WomenCinemakers vol V WomenCinemakers vol V | Page 53

Can you describe your experience of studying filmmaking
at the London Film School?
London Film School has a strong exploration for world cinema
and a great practical and comprehensive approach to the craft.
Developing the skills and discipline, working together in a
collaborative process, while exploring our own sense of
individuality is what drew me to the programme. We started off
filming Black and White on a 16mm Aaton, to 35mm
SuperAmerica, and more recently they've incorporated the Arri
ALEXA. We learned to build studio sets, production design,
sound design, and editing. Narrative to documentary. I've
worked on films throughout my time at LFS in every capacity.
Name it, I've done it.
London Film School has played a huge part in the development
of some of cinema's greats worldwide. From Mike Leigh,
Michael Mann, and Duncan Jones, to Cinematographers Roger
Pratt, and Tak Fujimoto and many more. When you work every
aspect behind the camera, whether being the director or being
the spark, you not only gain a huge appreciation for the
amount of work and collaboration that each position plays a
part in, but knowing the capabilities of each of those
departments I feel can make you an even stronger Director if
that's your path.
We would like to catch this occasion to ask you to express
your view on the future of women in cinema. For more
than half a century women have been discouraged from
getting behind the camera for decades, however in the
last decaded there are signs that something is changing.
What is your view on the future of women filmmakers?
Strong women, from the beginning fought hard to find their
place in filmmaking from Alice Guy-Blaché to today's pioneers.
It's a really exciting time for women. Not only is societal
changes occurring, but with the continued development in
digital filmmaking. Digital filmmaking is providing greater
access to those who may not have had the means to pursue
cinemakers // 19