Episode 007: Emma Duffy

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Starting her career assisting directors and producing shorts in Australia, Emma returned to London where she worked for the BFI and Film London, as well as producing commercials, music videos and shorts, including Oysters which was commissioned as part of London Calling Plus in 2016.

Emma has previously taken part in the Edinburgh International Film Festival Talent Lab and the Mini Meet Market at DocFest, and was selected for this year’s Birds Eye View Filmonomics scheme. As well as producing her own projects she also works on film and drama projects for the Wellcome Trust, bringing writers, researchers and ideas together.

In this episode, we talk about producing her first feature, Mari, which premiered at the 2018 London Film Festival, the mantra she uses to keep things in perspective, how she overcame on-set obstacles, the differences between a producer and an exec producer credit and why you should send difficult emails before lunch!

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Episode 006: Caragh Davison

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This week I also spoke to BFI NETWORK co-ordinator, Forever Young Film Club programmer and all-round brilliant person Caragh Davison.

Caragh works across all of BFI NETWORK’s new talent film funding and professional development activity across the UK. She first joined the Film Fund in March 2017 as Executive Assistant to Ben Roberts and the Senior Production & Development Execs. Previously, she was working as an assistant at Creative England and before that spent two years as a Content Producer at a production company, working across short film and web content.

This was a joyous chat about soaking up knowledge at every opportunity, starting out in the industry when you don’t know anyone in it, the value of teen cinema and why there’s no shame in watching To All The Boys I’ve Loved Before more than three time.

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Episode 005: Delphine Lievens

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This week I spoke to Delphine Lievens, who I was introduced to via Grace Barber-Plentie, of episode two fame.  Both Delphine and Grace worked at Altitude Film Distribution and now Delphine works in box office analytics.

We had a really lovely chat about a whole side of film I haven’t really touched on in the pod before, from data and how that can inform when a film is released, to trends in cinema and why a film might under-perform at the box office. Delphine speaks really eloquently and knowledgeably about the theatrical release landscape and it was a real insight and joy to sit down with her.  

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Episode 004: Maya Maffioli

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This week I spoke to film editor Maya Maffioli. Maya grew up in Italy, and upon moving to London worked as a runner and edit assistant in a post-production facility in Soho. She’s also has an MA in editing from the National Film and Television School. It was there she met Michael Pearce and went on to edit his BAFTA-nominated short films Rite and Keeping Up With the Joneses, as well as his BAFTA-winning debut feature film Beast.  

Maya is currently working on Sarah Gavron’s latest film, and also edited Annabel Jankels’ film Tell It To The Bees starring Anna Paquin and Holliday Grainger, which recently sold to Vertigo Releasing at this year’s EFM. As well as the controversial Russian art project Dau, in which 400 people lived as Soviet citizens in a meticulously reconstructed research facility, causing Screen International to label it “one of the strangest endeavours in European film history”.

We discussed how Maya even knew that editing was a career path, why there are still so few female editors, how she got an agent and who she counts as editorial influences. 

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Episode 003: Helen Simmons

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Helen Simmons – a producer, writer and Screen Star of Tomorrow 2018, joins me on the podcast to talk about producing partnerships, making a micro-budget feature film, when she finds the time to write and why you shouldn’t force yourself to be a morning person. It’s a blinder of an episode in my opinion.

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Episode 002: Grace Barber-Plentie

Grace Barber-Plentie, a programmer, writer and marketer for BFI distribution, joined me to talk about internships, periods of unemployment, setting up her own film club and why it’s important to have a passion project that you’re not depending on income for.

Check it out on iTunes, Podbean and  Spotify!

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Episode 001: Georgia Goggin


You can also listen and download the podcast on Podbean, Spotify and very soon, iTunes!

About 12 days ago now I sat down with Georgia Goggin, a producer first and foremost but also a director. She produced the short film We Love Moses which premiered at the BFI London Film Festival in 2016, won numerous awards and screened at festivals worldwide including Toronto. She’s currently producing her first feature, written and directed by her regular collaborator Dionne Edwards, who as I speak is at the Sundance Institute Writers Lab with the project, so I feel very lucky to have been able to meet Georgia at what is undoubtedly the dawn of an abundant career. What struck me most about Georgia is how incredibly hard she works. This is someone who is clearly firing on all cylinders. We talk about motivation, collaboration, mentorship, sexual harassment on set, how to get a meeting, wearing the directing hat as opposed to the producing one and a new funding opportunity for filmmakers that she’s collaborating on called The Uncertain Kingdom. It was a joy to be in the room with Georgia so I hope you get as much from it as I did.

Here are links to the organisation, films, networks and other bits and pieces we talked about…