FOR YOUR CONSIDERATION

Q: What was the genesis of this film, and how did it evolve over the course of development to production and completion?

"The initial concept came from my university dissertation back in 2021 when we shot the proof of concept. At that stage I originally imagined it as a creature feature but as I developed further from writing through to production, I realised there was a more personal and human story within.

When I began writing the feature, I wanted to explore more of the human side to these characters, why they were fighting for survival. Why they stick together and look after one another. I think from the short film, audiences came for the horror but stayed for the characters and to see their journey through.

In the production phase, it was the casting, the locations, performances, the environments that the film created a new identity, still rooted in the original concept while pushing the boundaries we thought were not possible with our limited resources and expanding on the humanity, hope and endurance that made these themes so interesting to me."

Q: What did you feel was the most fulfilling element of working on this film?

"You spend so much time planning for these things, trying to figure out every possibility where something will go wrong or an outcome where filming never happens it’s easy to forget what compelled you to take on such a task. That being said, the minute you bring your carefully selected cast and crew to that first location, the first shot is lined up and you roll is the greatest feeling in the world.

To see a group of people, some of whom we had never met, nor would have ever without this project, come together with one goal and vision in mind is an unforgettable experience. As tough as the shoot was, we always found time to have a laugh with one another. It was a real family we created on set of this film and that is what was most fulfilling to me."

Q: To what extent was your on-screen talent vital to the success of the film?

"There are things you can establish on the page and things you can construct through directing, cinematography and editing, but ultimately the audience has to believe in the people they are watching.

What Tom Kerrisk, Louis Kirwan, Rosey Hayes and Colin Malone brought was something I don’t think you can manufacture. They brought their own intelligence and instinct to the characters and often found things in the material that I hadn’t consciously put there. Some of my favourite moments in the film come from simply giving them the space to inhabit the scene rather than trying to prescribe every beat.

I think the film asks the audience to stay with and understand these characters and their desperation and that only works because of the performances.