WHERE THE SEA DOESN'T FOLLOW
Assistant Producer / 2nd AD
Graduation Film, University of the Arts London
Fifteen-year-old Vivian travels to China to visit her grandparents and her ten-year-old sister, Angie, who lives with them. Far from home, and without speaking Cantonese, her sense of isolation deepens.
I gained hands-on experience in assistant producing by helping with location scouting, securing child actor permissions, and coordinating schedules with chaperones. On set, I was the 2nd AD therefore supported the 1st AD, managing timing, keeping child actors engaged, and ensuring scenes stayed on schedule. I also helped maintain smooth communication between crew, talent, and parents.
SCORHILL
1st AD
University of the Arts London
Struggling to come to terms with the death of his close childhood friend, Oscar’s return home forces him to confront his roots, relationships and mortality.
As a 1st AD on a shoot in Devon, I learned how important it is to stay organised and adaptable. Working in a small village with outdoor locations meant coordinating transport, managing timing, and handling unexpected changes on the spot. It taught me the value of clear communication and planning, but also of keeping calm and flexible when things didn’t go as expected.
Director
University of the Arts London
A grandmother’s dementia worsens with each family visit, ultimately causing her to lose the ability to speak English and leaving her unable to communicate with loved ones who only speak English.
A MEMORY APART
Making A Memory Apart taught me to focus on what really drives the story and the characters, and that sometimes you have to let go of parts you love to make the film work. Directing actors showed me the importance of patience, preparation, and helping them connect with the scene in a way that feels real. Even though as a director and writer I knew what I wanted the final product to look like without my crew’s ideas and contributions the film would not have been this strong. From DOP suggestions of specific camera angles or movement to an actor's thoughts that made the film feel more natural. Rather than me managing every small aspect of the film it is a group project and we all worked together to create it making communication the key aspect I will take away for future projects.
BEHIND THE SCENES
This documentary follows Shannon, a woman living a solitary yet fulfilling life on her small houseboat. Through a blend of observational footage, intimate interviews, and atmospheric b-roll, the film offers a quiet glimpse into the daily routines and subtle beauty of this unconventional lifestyle. Structured around a chronological day in Shannon’s life, it captures the tranquility of her existence without falling into romanticization.
As the producer, I found and connected with our subject, Shannon, building a trusting relationship that allowed for authentic storytelling. I managed the logistical planning of the shoot, including rescheduling and reorganising travel due to her move to zone 6 in london. I coordinated the team’s availability around Shannon’s working hours, ensured we could film efficiently within a limited timeframe, oversaw budgeting to keep travel costs low, and made sure all safety measures from the risk assessment were followed on set. Clear communication between all departments helped keep production running smoothly.
LITTLE DRIFTER
Producer
University of the Arts London
IN THE WORKS
Winni returns to her childhood home after her grandmother's death a box of old tapes, letters, and books leads her to piece together her mothers forgotten story.
Art Department Assistant
Graduate Film, MetFilm School
FOLD OF
WATER
I managed costumes, sourced props, and made sure the set looked authentic to the 1980s. Over the course of the film, I was also responsible for transforming the space back into the present day, making sure the visual continuity stayed consistent from scene to scene. Thefilming took place over a week and involved dressing five different rooms in a house, each with its own look and atmosphere. One of the biggest challenges was maintaining continuity during scenes that required multiple takes like one with a child actor putting on lipstick or a scene where a mirror was shattered. I also prepped and maintained food for a cooking scene, keeping it looking fresh and ready for the shoot over several shooting days.
COMME UNE APHRODITE
Producer
University of the Arts London
Elaine and Jasper who live together in a bare white room. She drinks, smokes, and stares into nothing. He tries to hold it all together. As quiet cruelties surface, their love begins to disintegrate into accusations, addiction, and finally, disappearance. A poetic, disturbing portrait of a relationship cracking under silence.
Currently posting casting calls and scheduling in-person auditions. I am also finalizing the risk assessments and managing the team on a tight schedule as we prepare for the upcoming studio shoot.
