Tom Whitworth - Writer/Cinematographer

Tell us a little bit about what you do?

I guess I try and make the best films I can, although I'm always learning. After graduating with a BA (Hons) in Film Theory and an MA in Film and TV Production, my professional career has been ever-changing. Over the past year I've written, produced and directed corporate films in Kenya and Rwanda, served as a camera assistant trainee for an advertising company in London, and completed a promo video for a potential F1driver - the range is pretty diverse.

To change roles every now and then means new experiences and new challenges, different perspectives on this monster we call 'film'. That way, when it comes to the projects I'm really passionate about, I have the right skills for the job!

What sort of stuff have you worked on recently?

I've worked on and I'm still working on a few interesting projects. The other day the UK Film Council received a feature-length script I have been p enning for the last three years - the writers block gave way in the end, and the journey with this one idea feels like a milestone. Writing certainly helps to get my creative juices flowing, helps me think about storytelling. I'm ready for something new now.

In addition to that I'm in talks with a few major production companies to direct a possible documentary in Greenland, and the post-production for a short film I wrote, produced and directed last year was completed - the short has been entered into a few festivals across the country.

These projects were all born out of a passion to succeed in the industry. If you keep yourself busy and motivated, you stand a better chance of getting somewhere.

Who and what most inspired you when you were younger to want to work in TV and film?

My grandfather has inspired me most of all. He was, and still is, a horder, a collector, an obsessive, and his photography, drawings and film collection still has me wide-eyed to this day. He was the one who introduced me to John Carpenter's 'The Thing' and special effects, Steven Spielberg (Jaws, Close Encounters, Indiana Jones) in his crowd-pleasing prime, Mary Poppins and a spoon full of sugar, Arnold Schwarzenegger smokin' bad guys, Sigourney Weaver and the 'bitch!', James Bond geekiness I still possess (despite of the bland Pierce Brosnan), Basil Fawlty's 'don't mention the war', Blackadder with pencils up his nose, and strangely, and maybe irresponsibly, David Cronenberg. All under the age of ten.

It's thanks to him that I love cinema and television comedy, specifically, the way I do.

Cheers Grandad.

But 'Fargo' was the film that made me I want to become a film-maker.

Did you make many short films when you were younger, and if so what were they about?

I did, yeah. They were ridiculous action films, as part of my media studies for G.C.S.E. I'd been watching alot of John Woo before he sold out to Hollywood - Channel 4 did a Hong Kong season, showing The Killer, Hard Boiled and A Better Tomorrow, so our group did a 'fake' trailer for a gangster film that didn't exist - Tarantino and Rodriguez ripped us off!

The fake film was called 'The Memory Remains' and we had the Paramount logo, a soundtrack featuring The Prodigy, an 18 certificate, stunts - a mate of mine crashed his motorbike into a hay bail - guns, everything. I remember the fake blood too. In fact we were almost arrested when a copper found us beating our mate with baseball bats! True guerilla film-making.

'The Memory Remain's' may sound excessive, and it was, but it was an experience that I needed in order to move forward.

What do you think about film courses c ompared to work experience for young film makers?

Work experience is invaluable. Simple as that. The earlier you can do work experience on a set, the better. It's important to be able to watch and learn, to get a real hold of what it is you want to do.

Film courses are worthwhile, don't get me wrong, particularly Film Theory. Do not underestimate it. I came to Film Production knowing a hell of alot about structure and genre and the cultural significance of film, and I felt comfortable learning the skills after be taught the reason for having them.

Having said that, it was on my Production course where my lecturer gave me the most important piece of film teaching I've had. He said 'What are you trying to say? Because if you're not trying to say anything, what's the point!'

What do you think is the future of the production side of film and television and what skills will the industry require from film makers in the future?

The internet will play a huge part in the evolution of film. Future film-makers will be required to have web-based skills as much as Production skills.

But independent film-makers are being given a chance too. Although distribution deals are still hard to obtain, it has never been cheaper to make a film. And that is thanks to digital. Even now, you can shoot at 25fps (film quality) on a affordable budget. Ten years ago this was unthinkable.

In the end however, film-making boils down to one thing... a good story.

Is there one piece of extra advice you would give to young filmmakers?

Never lose faith in your ambition, and don't be afraid to set your sights to high. There are so many people looking for a place in the industry, so it's important that you do your homework beforehand. Some people can blag their way though, other's aren't so lucky.

Better to know what you're talking about first. That way, if things don't go according to plan, you will always have youself to fall back on.

What are your ambitions in the industry now and who would you most like to work with next?

I've wanted to direct documentary and fiction since I was a kid, so I guess I'm still working towards that. But the ultimate would be to re-energize the flagging British film industry. With the notable exception of Andrea Arnold, Lynne Ramsey and Shane Meadows, it needs a swift kick up the arse!

Who I'd like to work with next is quite tough. I guess, despite my nationalism, Paul Thomas Anderson would be a dream. He started very young, in his twenties, and like a 21st Century Orson Welles, has become 'the' definitive American director with 'There Will Be Blood'. He would be great to learn from, return to Blighty, and try and do the same.

Remember what I said about ambition...