What was your first day on set like, do you like to give a big speech to your crew before you start shooting?

 

I do like to address the full team before we start – I like taking a moment to start on a note of calm and purpose. I also like to remind people to treat everyone with respect and that there will be no tolerance for offensive behaviour, especially since I am non-binary and I work with queer and trans people. Traditionally film sets can be quite heteronormative, masculine spaces, and it’s important to me that I model the kind of respectful on-set behaviour that I would like to see everywhere. 

 

Can you tell me a little bit about how Queer & Confused came about, what was the inspiration behind your screenplay?

 

The idea first took shape as a TV pilot which I wrote back at the end of 2023, at which point it was set at the University of Cambridge (my alma mater) and followed a group of four friends. At the time it was the 40-year anniversary of women being allowed to study as undergraduates at my former college, Corpus Christi, which I thought would be a fascinating time to explore. As soon as I wrote it I realised that I had to make some part of it a reality, so I adapted it into a short script and set about trying to bring it to life. 

 

Did you have any apprehensions about making a film that drew so much from your own personal experiences?

 

Nothing will be as difficult as appearing on-screen in GIRLY! Honestly, I think much of my work is a way for me to process my personal experiences – the vulnerability it entails is partly what makes it feel urgent.

 

What where the challenges you faced making a period film?

 

We had a very limited budget for the entire production, and only two days to film. Our fantastic production and costume design was the result of the ingenuity of our production designer, Ayesha Linton-Whittle, and our costume designer, Dorian Angus-Card. We had several conversations which also involved our DOP, Eden Sandy, so that the entire team was on the same page regarding the specific look we were aiming for. We settled on an atmosphere that was reflective of the story taking place at the end of one decade and the beginning of another – Charlie and Dolly care very much about music and fashion, but they’re also still coming into themselves and they’re living at a time when fashion was evolving rapidly. Hence the pink velvet curtains and the smudged eyeliner and the brightly coloured tights – all of which refer to slightly different aesthetics. 

 

If you could describe “Charlie” and “Dolly” in a sentence what would you say?

 

Dolly is trying to have a good time, Charlie is trying to figure out who the hell they are.

 

What was the hardest scene for you to write and shoot?

 

Definitely the scene at the bus stop where Charlie finally opens up to Dolly.  I knew that the emotional heart of the film was in that scene and I was so worried I wouldn’t get it right. I kept tweaking it in the run up to the shoot, worried that its meaning might not be clear enough. When we shot it, something wasn’t clicking until I asked Thomasin Lawson (Charlie) to look towards Olivia Cordell (Dolly). Thomasin and Olivia are both incredible and made the scene even better than I could have hoped - they brought the humour and the sensitivity which the scene calls for, and it’s now the scene I’m most proud of.

"So as far as possible, we all need to find ways to keep making the stuff that funding bodies don’t support."

How important is the collaborative nature of filmmaking when working on a short like Queer & Confused?

The film wouldn’t have got to where it is today without the team effort of everyone who worked on the film. Everyone involved volunteered their time which was incredible, and I felt so lucky to find collaborators who were willing to take this on and bring their own unique perspective to the project. It is truly the product of so many people’s passion, and I think you can feel the love that went into making the film!

Do you have a favourite scene in Queer & Confused, and why?

Other than the bus stop scene, the club scene was an absolute joy to bring to life. We were very lucky to be able to film at The Divine in Dalston, and it was so much fun to create Crash Club, which is our homage to the legendary Blitz nightclub that existed from 1979-1980.

What was the biggest lesson you learned about yourself from this experience?

I learnt that even when, or maybe especially when, you’re working with no budget, it’s important to have faith that you will find the teammates who care about the project as much as you do. If you have a story that you desperately need to tell, the chances are there are people out there who want to help you tell it.

Where did your passion for filmmaking come from?

My passion for films came from my parents, who made cinema-going a habit and introduced me and my brother to films from the ‘70s and ‘80s. I can see a direct link from some of those films, like the John Hughes Brat Pack movies, to Queer & Confused.

Is there any advice you would offer a fellow filmmaker?

There are so many challenges when it comes to making a short film - as much as there are funding bodies who can provide support, they’re highly competitive and there will always be more demand than supply. So as far as possible, we all need to find ways to keep making the stuff that funding bodies don’t support. And I think that is possible when you find community and you’re willing to help each other out.

And finally, is there a message you hope your audiences will take away from Queer & Confused?

Queer & Confused is ultimately a story about friendship, one that I hope is uplifting and leaves you wanting more. I’m currently working on a feature adaptation along with screenwriter Alannah Lewis, and I’m really excited to see where the project takes me next.