/ Don't hate the media, become the media.
Jello Biafra

MOOSE LIMBS: In a rural English village plagued by rats, an other-worldly new doctor arrives for his first day at work & WHO’S THAT AT THE BACK OF THE BUS? Alone on the top deck of the night-bus, an old lady is haunted by an unlikely apparition. 

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Any nerves ahead of the festival?

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Not really. Both films have played really well to previous audiences, so I look forward to seeing the reactions now as there’s a few jumps, jokes and tense parts in each film. The only nerves I do get are about there being some unanticipated technical hitch with the projection but I’m sure it’ll be fine. 

 

How does it feel to have your films at the festival? 

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Great. Neither film has played in Germany before so it’ll be interesting to see how audiences react, particularly to MOOSE LIMBS, which broadly and bluntly references the rise of Islamaphobia in Britain. It’ll be interesting to see how that chimes with German audience members. 

 

Tell me a little bit about your films how did they film come about? 

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MOOSE LIMBS is a story about a half-man, half-deer who moves to a rural English town and has a gruesome time with the locals. It came about after I had a really disgusting and cinematic dream one night, which I was then able to flesh out with some previous ideas I had had. 

 

WHO’S THAT AT THE BACK OF THE BUS? is about an old lady being haunted by an unlikely demon whilst travelling alone on the night-bus. It is actually a ‘proof-of-concept' film. I want to make a feature starring the ‘unlikely demon.' This short was a way to prove that it can be scary. It’s not what you’ll be expecting at all!

 

What was the biggest challenge you faced bringing these films to life?

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For MOOSE LIMBS it was finding the funding, which is annoying because in Britain NOW there’s lots of funding available for shorts about how divided the country is and I just think ‘well I’ve already made a short about that! Where were they 2 years ago?’ 

 

For BUS, the whole film is set at night but we were shooting it during the shortest night of the year, so we really had to make every second count as we had less than 5 hours to shoot the whole thing. We didn’t quite get everything we needed on the bus we’d hired, so I had to go out on public night-buses and covertly film the final things we needed, which confused a lot of drunk late-night passengers.