What was it about David Lynch’s Mulholland Drive that inspired you so much?

 

Well, everything really - the mood, the atmosphere, the fact that you can see something new every time you watch it. It’s unlike anything else and completely singular in its vision. David Lynch was the reason I first began working in film, because he made me realise you could tell stories in a genuinely unique way. 

 

So in some ways The Parish became a kind of homage - particularly to ‘that’ diner scene in Mulholland Drive - but always with the intention that it would become its own thing. It was a nod, and a way of showing love for the work. I know some people might look down on that kind of direct influence, but it was made entirely from a place of respect and admiration. No one could ever reach Lynch in terms of his ability to seemingly place the subconscious directly on screen, and that’s what I’ve always found so powerful about his work. Lynch’s passing just after the film was finished gave that influence a completely new weight. It really felt like we lost something big with him going. Suddenly, The Parish, which started as a nod, slowly became, for me at least, a way of saying thank you to him. Miss him.

 

When you wrote Joe and Blake did you know you wanted Alexander Cobb and Sam Parks to take on these roles?

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I met Alexander Cobb completely by chance and something immediately clicked. I knew he was Joe almost straight away.  And then when I saw his reel after and realised how good he was, it blew me away. So much of the script came out of that meeting: the rhythm of the character, the way he spoke.  And honestly, on the day it was surreal to see him embody the character - it was so real it felt like I hadn’t written it…amazing.

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I’d worked with Sam Parks a few years ago and always wanted him to be in one of the films, and in this, he was the perfect counterbalance. Sam has a really instinctive way of reacting to what’s being said to him - he almost becomes the audience. And for him to be so up for the ending, especially given how cold it was, he was an absolute star. Together, they built something that felt very real and very present. 

Once they were involved, it became hard to imagine anyone else in those roles.

Did you have any apprehensions about making a short with such an intimate crew?

Not at all - that’s how I’ve always worked. Rhian, my producer (and wife), and I have been making films together since art school, and we’ve always approached making work in a really collaborative way. That artist-film background means I was often involved in everything, sometimes just by myself, so working with a small, trusted group feels completely natural to me.

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Rhian was also integral to The Parish in very practical ways - she was the Production Designer on the film, set-dressed it, and helped create the strange mushroom elements with me - so the process was very intimate. Even the kids at the beginning of the film are our two boys, which probably says a lot about how we work. It really is a family affair.

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Working like that creates a real sense of focus, and hopefully it makes our sets feel friendly and supportive, allowing ideas to evolve very quickly on set. I like it to feel like we can play, try things out, and respond in the moment. When you’re nimble, you can do that much more easily.

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You also served as DOP, created the original score with Alex Hyland, and created the sound design. As a director what did you learn from taking on these additional roles?

 

Well, like I say, that’s how I like to work, but it always reinforces for me how much sound and image are completely intertwined and constantly inform each other. I like to sketch out the sound world before we shoot to find a mood, and that always feeds into how I shoot and how the film plays out.

Will you continue to take on additional roles in future projects?

 

Absolutely - certainly for my own work. I find it hard to split sound and image, and I like being hands-on with both, as well as in the edit room. That said, I’m also learning when specific expertise can really push things further. I enjoy being deeply involved in all aspects of the work, but I’m increasingly interested in how that can sit alongside bringing in people who really understand and elevate specific elements, as happened with the final sound mix on The Parish with Pär Carlsson.

 

You’ve mentioned that The Parish was a personal experiment for you in restriction, how successful do you think this experiment has been?

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I think it was successful in that it clarified a lot for me. Working within clear limits - one location, a small team, minimal resources - helped sharpen the film’s identity. It also reaffirmed that restriction isn’t something I’m pushing against; it’s actually where my work tends to thrive and where I find my ideas flow best.

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Since The Parish, I’ve begun working in 16mm… I’ve become obsessed with celluloid and that new restriction is definitely something I’m adding to the mix moving forward.

 

This isn’t the first time you’ve used your short film project as a way to experiment. Back in 2020 you made Bugbear with no budget. What did you take from this project, and will you continue to push yourself and your creative boundaries with future films?

 

BUGBEAR was unique for me in that it was the first film I’d made specifically as a narrative since just after art college, and it was made in an obviously unique situation because of Covid. I’d always, deep down, wanted to make narrative work, but in reality, I’d mostly been making artist films. Suddenly, I was in a position where I thought, we’re in lockdown and we can make something outside, so why not just make one and see what happens.

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So BUGBEAR was about permission - giving myself the freedom to make something without waiting for the “right” conditions. That mindset has stayed with me. I think I’ll always use short films as spaces to test ideas, processes, and instincts, and to keep pushing myself creatively. As for creative boundaries, pushing them is the fun part, so I think I’ll probably always be chasing that.

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How vital, particularly for a film like The Parish, is the creative collaboration between you and your team?

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It’s everything. Because the team is small, and with The Parish, the main shoot was one long day, everyone’s contribution really matters. There’s a shared sense of responsibility and trust, and that allows the film to grow organically. The performances, the sound, the atmosphere - all of that comes from people being genuinely invested in the work, and I can’t thank them all enough.

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Collaboration, for me, is where the fun is. You might start with a clear idea of what you want to put on screen, but so often it’s through collaboration that you realise what the film actually needs, or where it wants to go.

"British film means a lot to me. I think we have some of the best filmmakers and artists in the world, and I’m really proud of that."

What as the message you wanted to say with The Parish, and do you think you achieved that?

I have ideas about what it means to me and what I’d like people to take from it, but that’s really up to the audience and the individual. I wasn’t trying to convey a clear message so much as a feeling. I wanted the film to sit in that space between understanding and uncertainty - like remembering a dream. Whether I achieved that is entirely up to the audience.

Have you always had a passion for filmmaking?

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Yes - though it’s evolved. I started making work through art and experimentation, and over time that’s shifted towards narrative, which was always in the back of my mind to pursue. The passion has always been there; it’s just found different forms.

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How much has your approach to your films changed since your debut?

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I’ve realised that a lot of what I’ve learned are things I want to bring into my narrative work, rather than hide away from. Since BUGBEAR, I think I’ve become much more confident in trusting instinct and admitting that I just love making these things - it’s kind of an addiction, really.

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At the same time, each film feels like a small step closer to understanding how I want to work and what my practice actually is, which is why it continues to feel so exciting.

What does British Film mean to you?

British film means a lot to me. I think we have some of the best filmmakers and artists in the world, and I’m really proud of that. There’s so much talent bubbling under the surface - I see it everywhere. I just hope more work gets made and more voices get heard, because it really feels like something unique and exciting is just around the corner.

And finally, what would you like you audiences to take away from The Parish?

I hope that it sits with them - lingers as a feeling or a mood, or as a half-remembered experience. If it does that, then I think it’s done its job.