麻豆约拍

What is more important, story or character?
In the spirit of choosing one over the other I鈥檒l go for character, as a good story really struggles without a charismatic, intriguing and humorous character to fall in love with. When I found my family I was delighted that they were so unusual, both for the film and for myself.

What made you first want to explore the subject?
It was a compulsion. I needed to know who my relatives were. Growing up without that聽 knowledge gives one a sense of being a cuckoo, not fitting, not knowing what one is made of. It鈥檚 disorientating. I wanted my mum to be able to know too. But I think every film should be a compulsion, even when not so deeply personal.

How long did it take to get the film off the ground?
It took about 20 years. I started making it when I was 17 and bought my first secondhand聽 camcorder from the Friday ad. That was when I started to film my mum. But it took me twenty years to find the courage to stand up to the people in my family that wanted to keep us secret. Storyville supported the idea for 4 years, while I wrestled with my relatives and myself to an extent. I had many doubts and fearful moments before I found the courage and
conviction to make it. They were very patient.

What were you most surprised to learn in the course of production?
I learnt that it is important to keep pushing against conservatism, religious prejudice and shame. Even if it hurts. Giving up hurts more.

Which documentary has most inspired you?
Sisters in Law by Kim Longinotto is one of my all time favourites - I love the subtle details she records, never allowing a simplistic narrative.

Favourite Website/blog?
At the moment I am a Tumblr addict, because I am doing PhD research into the homoerotic fan art and fiction made by teenage One Direction fans.

Person you鈥檇 most like to interview (living or dead?)
John Grant, in a hot spring in Iceland. I am trying my hardest to make that happen.

Best piece of filmmaking advice you鈥檝e ever been given?
Do not ever give up. I was taught that by producer Oliver Morse at 4am while chasing a surprisingly speedy illegal milk float around County Durham.

Best piece of filmmaking equipment you can鈥檛 live without?
I like a camera that is unobtrusive, works with radio mics, and ideally fits in my handbag. I have no patience at all for equipment getting in the way of my relationships with the people I film.

If money was no object, what is your dream documentary subject?
An epic, darkly comic, psycho-drama about John Grant, set in a hot spring in Iceland.

Favourite film of all time?
I will go for High Hopes by Mike Leigh, a massive influence on me at the age of 12. I watched it hundreds of times trying to unpick the performances, the pace, the music, the framing, the storytelling. It gave me an obsessive love for the tiny signals of meaning that people give each
other, and for the complexity of human relationships. I still love the way it deals with class and gender, and its tragi-comedy.

Most difficult access?
All access is difficult if you want enough to record real emotional depth.

Best recent read?
I am reading a lot of homoerotic fan fiction, but I balance it with cultural theory. I recommend Barbie鈥檚 Queer Accessories by Erica Rand, which falls into both camps.