Interview with Nicholas Connor

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I'm nasty Daniels and this is Nicholas

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Connor nick has screamed with us at

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several liftoff film festivals he

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screams us at Manchester liftoff and at

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la liftoff with his film Northern Light

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and cotton-wool Nick why don't you

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introduce yourselves a little bit about

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your background and what led you up to

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this point

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yeah I'm Nicola from Manchester England

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and a writer in director in terms of my

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background obviously I haven't always

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been a writer I have slowly worked my

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way up through the ranks recently was

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the script supervisor and as a runner

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and intern slowly worked my way up

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building in a network people that future

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in future work with yes and then that

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for about five years have been doing

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professional film work and for the past

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two-and-a-half to three have been able

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to work on my own finance projects as a

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director under four so as a director

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what is your ultimate goal what what is

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it that you wish to accomplish within

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the film industry for me is making films

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that speak to me and other people around

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me they're kind of untold stories unique

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you know telling important narratives

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about people you know rich childcare and

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stroke survivors stories that haven't in

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my eyes been covered maybe correctly or

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before at all

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see yeah and that's probably my aim as

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the director is to just tell those

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stories that are untold and in my own

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unique way okay are there any filmmakers

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or films that really inspire you as a

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filmmaker are there any moments within

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those films that make you tick and make

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you wants of them not recreate it but

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take their or just take that inspiration

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and make it your own

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yeah of course so for me collage and

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might lead from like a social drama

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perspective you know I think dramas

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about real people in hard situations

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from that perspective I would say those

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two filmmakers and then from more event

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like a film perspective as a cinematic

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way rather than

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character and social drama perspective

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Savio Dolan who did like mommy mom cuz

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his foes are just so you know the

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capture the way that they take little

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moments they like quite mundane things

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and made something beautiful out of them

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so that's quite inspirational and then

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probably you know the typical Mike

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Scorsese Christopher Nolan's yeah yes

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[Music]

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Oh controversial because some people not

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a massive mi love interstellar I'm

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loving slower just because I think

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there's so many latest ballot and also

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or at the end of the day it's all about

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love and that's it is for a sci-fi film

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you know not just romantic look but like

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familiar love hmm you know it's so many

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different things so in that is probably

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is most of intellectual piece I just a

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lot of readings but yeah cool so with

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your own films what's been the biggest

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wall problem obstacle that you've had to

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overcome yeah

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maybe it won't be a problem for all but

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for me personally I would say probably

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age because you know I was as I was 17

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when I directed my first 1616 when

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addressed monopoly Heinen's film so that

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was like an hour long drama luckily I

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had a good crew around me cared but you

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know the second time around when I made

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a film called cold walk which had about

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five times the budget it was hard

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because I had a whole crew of people who

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have been in the industry for 10 years

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20 years and BAFTAs and stuff so it was

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kind of like how do I sell myself to

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them so that's kind of a battle

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personally at first and once you get

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them on sighs it's really collaboration

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then it's maybe that's a a wall that

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maybe won't be a problem for everyone

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but personally it was something at

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Sakhalin and you say that your film was

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fully financed and your second film had

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a larger budget which was also fully

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financed how did you manage to get the

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funding for your film

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so we went through private investment

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for the first two thumbs that we did and

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I see reproduction critical cherub

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productions so that's all privately

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financed and then film I made called the

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narrator was done through BFI and known

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on-screen things like that

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free DNS yes oh cool great so did you go

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to film school then I didn't go to

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formal film school in a sense of you

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know postgraduate master's you know that

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progression of things how most people

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get to come so I did do like a

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residential course which was

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specifically looking at young filmmakers

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and emerging talent rather than people

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who'd gone to university so yeah I did

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that and you know it's great but it

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wasn't for me in terms of the film

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school way of learning how to make films

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but yeah what would you suggest to

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filmmakers who are maybe starting their

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career and thinking about going to film

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school or thinking about just getting

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out there making their own projects what

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would you suggest for the filmmaker to

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do personally just to make the films

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that speak to them you know whether you

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if you want to make it an action film go

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make an action film in your back garden

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you know if you want to tell a drama

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tell something personal just tell

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something that speaks to you in your own

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voice rather than letting other people

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tell you how to do them or just because

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you think of people like that obviously

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filmmaking's and entertaining form

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rather than a personally driven constant

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artful see you have to consider an

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audience but make the kind of films that

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you want to tell because then the

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audience will come to you I think

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personally and you know film school may

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sway you away from that path so it's

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important to find that voice before you

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do that if you do that yeah I really

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think it's subject to who you are as

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well because some people need me that

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extra help maybe or or don't know

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exactly what they want to do within the

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film industry and films we can open them

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up to lots of different roles whereas if

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you know exactly what you want to do and

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you just want to get out there doing I

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think you should do that

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so yeah definitely because it's it's

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subjective and I think everyone learns

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in different ways I don't work well in a

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classroom and I deal well with authority

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but not in a sense of being told how to

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do something that I feel like I've and

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you know I mean it's it's a hard battle

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to each person to find what works for

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them some people it'll be the best thing

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in the world

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yeah so you've talked about that an

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obstacle course at your age

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is there any other obstacles that you

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faced whilst making the films any

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anything else you'd like to raise

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awareness of probably I mean we have a

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lot of weapons on cotton wool we were

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shooting in February in the middle of

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Yorkshire so we have to see yeah I mean

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we had a lot of obstacles there you know

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we have a child who is only six or seven

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who you know you can only shoot with

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them for about Carmen illegalities that

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could be on this face it's like full

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roadblocks and you have to break every

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two hours or whatever anything and they

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can only shoot so many hours in a day so

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that combined with weather cars getting

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stuck in the middle of the road hotel

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not being able to get the bats the hotel

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not even just so many problems and that

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was quite because we have to overcome

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so what would you say you've learned

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from from all these obstacles and that

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you'll take on to your next film or or

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whatever else you're working on other

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than not shooting in February in

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Yorkshire just be careful of your

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obstacles maybe you know it's one

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obstacle to shoot with a six year old

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for six days but it's enough another

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obstacle to have a six year old for six

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days for a 40 minute though to also have

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them whether to also have so just be

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aware of those obstacles because I

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always think obstacles create create you

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know is this typical quo you know

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sometimes the restrictions in life Craig

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the best creativity but there is a line

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there I think we're between too many

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obstacles that get in the way creativity

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and then a reasonable about

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schools which anything's gonna have to

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just be aware of bad saying okay great

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um do you have any other pearls of

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wisdom that you can share with our

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filmmakers or the network and say make

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films that speak to you the people

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around you but the main thing is ace to

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fail a lot and enjoy failing in a way

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because you might not be able to get the

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chance to fail again if you've got your

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career to a point where you know and I

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think I've spoken to you about this

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device is kind of like Aaron Sorkin said

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that his career went from down here to a

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few but man you know with Rob Reiner is

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kind of two very extremes and that he

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didn't get the chance to fail and try

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rubbish comedies and you know so just

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find your voice and to try things out

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while you're not the biggest Hollywood

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direction CF man that'd be a little

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pearl of wisdom

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yeah nice no I love that because like

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again if you're at film school you have

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the opportunity to create and

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essentially fail within the safety of a

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private screening whereas if you're

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alive and you're like out there then

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then yeah you have to I know yeah it's

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what the world see of you so now it's

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really nice pearl of wisdom there so um

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what's one of the proudest moments

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within your film career what what would

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you say it's been your biggest

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achievement so far um probably just

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making the films that I make just

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generally you know proudest moment is

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just looking back recently income ago I

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shot two films when I was really young

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than people believed in me and people

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signing on that thought you know why

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would they sign on for me

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you know but yeah I think for me he's

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just premiering cotton wool and having

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an audience there for me to see a film

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that's really quite personal to that

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large audience and that's probably my

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proudest proudest moment I'd say yeah

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nice um so what are you currently

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working on as you know actually let me

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go back it's it's cotton wool available

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anywhere or Northern Lights you'd be

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able to see that normalized is available

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on Amazon Prime I think at the moment to

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Ren but yeah that's not the nice at the

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moment but cotton wool still kind of on

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the festival circuit is been on the

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circuit for about a year and a half two

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years but it's a hard battle because you

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know the film world is very different

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from the distribution world and the

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sales agent world and we still try and

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find a distribution deal

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we haven't openly seeked too much but

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we're really kind of that's the next

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step for the film is to try and find

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some kind of place for it to have a

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larger audience and hopefully so and are

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you looking for film distribution or TV

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because being that I've seen the film I

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reckon it a bit nice and either so yeah

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I mean I would personally love TV

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because it's kind of had its own

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theatrical run in that it's I think

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festivals is the new theatrical run for

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very low budget films like cotton wool

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if you could have another future or run

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great but I mean it's a 40-minute films

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it just as you say

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into that you know TV bracket for two

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minutes with you know 20 minutes worth

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of adverts or BBC iPlayer or streaming

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see yeah it'd be nice if they could have

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a life in TV will say I'd like a little

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bit - oh really was so am what are you

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working on now or was coming up with

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some developing two shorts one a biopic

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based on a gentleman called Paul's gates

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and that's dealing with mental health

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there was quite dark hard-hitting

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storyline I've got the life rights to

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the book rights to it kind of early

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stages of making that into a film

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hopefully in coordination with the book

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release and hopefully we get some good

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people involved that and then I'm doing

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another film which is about a film star

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and it's

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kind of an anti romantic drama looking

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into her life and you know not

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necessarily that the typical struggles

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with fame it's more just looking at

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someone's life who is in that limelight

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well you know while they're in the

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living room watching TV rather than

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while the cameras are flashing so that's

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that they're the two projects then I've

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got a few feature development ideas but

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swirling around in that it's good to

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hear that you're so busy thank you yeah

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do you have anything that you'd like to

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plug or share with the network before we

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end our interview no I mean just get in

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touch look at some with filmmakers

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wherever you from with you know we

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flipped off being based all around the

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world you know when you're in Tokyo or

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LA if you're any of the LA screenings

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love to hear from you you know just to

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you know I love speaking to filmmakers

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wherever you are you know maybe I can

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learn something from you if there's any

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young filmmakers out there you need a

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little bit of advice about how to deal

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with difficult crew or people who don't

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quite I mean I mean there's bigger

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problems than age industry in terms of

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diversity but you know it is an issue

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that I think it can only be tackled by

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people talking about it so feel free to

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get in touch and yeah I'd love to share

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the phone with everyone hopefully soon

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and we'll see us as films in the network

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so yeah Nick's actually a really active

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member on the forum so if you do have

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any questions I suggest heading there

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and ask me Nick anything you'd like um

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Nick thank you so much for your time

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Sally thank you