It’s my baby – screenwriters who direct

At a Guild event on 7 April 2008, a panel of feature film writer-directors discussed the ins and outs of taking on both roles.

The panel, chaired by Guild Film Committee member Phil O’Shea, consisted of Debbie Isitt (Confetti) and Tom Hunsinger and Neil Hunter (Lawless Heart, Sparkle, Boyfriends) and they began by talking about how they first got started in the industry.

Neil Hunter explained that he had always loved film and had always written, but it took a long time for him to put the two together. A course in practical film-making helped him to believe that he might be able to make films, and then he met Tom, with whom he made a short film.

Debbie Isitt started as an actor who wrote and directed for herself. Fresh out of drama school, she took a play to the Edinburgh Festival and continued in the same vein for about 15 years (with her theatre company, Snarling Beasties).

She said that she’d thought that, as an experienced and successful theatre director, moving into film “would be easy”, but in fact she came up against a lot of resistance. “I didn’t realise how much prejudice there was in the film world about people from theatre.”

She made her first short film for about £600, then got funding for four more shorts. For her first feature, Nasty Neighbours, Isitt adapted one of her own plays and managed to get Ricky Tomlinson to star.

“We had a lot of fun on set,” Isitt explained, “and the actors did a lot of improvising. That’s how I’ve worked ever since.” With Confetti, for example, she started shooting with a premise but only vague ideas about how it would develop or end.

Hunter said that he and Hunsinger also use improvisation, though only in the rehearsal process. That’s partly why it would seem strange asking anyone else to direct their work. “If you’ve spent years developing a script with actors and then writing and re-writing, it would be very strange to hand that over to a director.”

Asked by Phil O’Shea about their relationship with a producer, Hunsinger said that they were a bit like family – in both a good and bad way. “My advice is to try and avoid shouting at them,” he said.

Isitt wondered why, when she produced her own work in the theatre, that wasn’t possible in film. “What about ‘creative producers’?” she was asked. “They’re the worst,” she said.

However, all agreed that a good producer can help filter out some of the interference from various funders and other interested parties.

All three on the panel also stressed how important it was to have good working relationships with your crew on set. “A directory of photography who is sympathetic to your work can make a huge difference,” said Hunsinger.

Asked about what technical help they had received, Isitt said that when she started she tried to keep things as simple as possible and rely on common sense. “There’s so much mystification of the process,” she said. “It’s hard work, but so are lots of jobs. Directing is about whether you’ve got the mettle to do it. If you’re a wuss, stay at home.”

Invited to offer advice to aspiring writer-directors, Neil Hunter said “If you’ve written something then directing is not such a big step. Keep it simple.”

Tom Hunsinger agreed. “Make something,” he said. “Just do it.”

“If you’re really interested in directing,” said Debbie Isitt, “find some actors to work with. They’ll make your work come to life. And don’t be afraid to ask well known actors. You might be surprised who you can get.”

Article published 10.04.08