Professional Development 3 - Further Master's Research

I am continuing my research into Master’s course at other universities, and based on current rankings, am looking at degrees at Strathclyde University. Strathclyde offer the highest ranked Business and Management Master’s course at their prestigious Business school in Glasgow. This course is another one-year postgraduate course for uptake in September, and they welcome applicants from any previous BA (Hons) course at a minimum of a 2:1. Unlike other universities, this course is designed for students without business degrees already, which is ideal for me. The course is accredited by the Association of MBAs (AMBA) as a Pre-Experience Masters in Management. It has the benefit of only requiring a degree for entry, not practical experience as a manager, which is what Pre-Experience means. The business school is triple accredited, also accredited by EQUIS and AACSB.

Strathclyde is a great Uni, my brother and pals have studied there, and it seems very good, having won The Awards for UK University of the year in 2019 (for the second time). The most problematic aspect of this course the cost, which is high at £16650. I do believe that this cost is justified given the accreditation of the course, but presents some problems with feasibility. Given the high cost of this course, I would have to apply for support from SAAS, likely to cover both tuition fees and living costs. I have done my due diligence in researching this possibility, and SAAS would be able to cover the costs for a postgraduate diploma that takes up to one year to complete.

This seems promising, but I am not counting my chickens yet. The maximum amount coverable by SAAS for postgraduate single year tuition fees is £7000, meaning I would still need to find a way to cover the remaining £9650 with other funding and likely, partly cover it myself. This is not impossible, but I’d almost certainly require funding from somewhere to be successful in applying. I’ve asked my brother, who studies a postgraduate Master’s at Strathclyde, where he received funding from. He told me his course cost much less than the business one, and so he didn’t require any additional funding. I’ve also reached out to Strathclyde to ask them if they know of any bursaries or loans that could potentially help me with this option. I’ll relay any updates here on my blog with this option.

Moving on to the National Film and Television School, I attended the NFTS Screenwriting course online open day on the 23rd of March this year. This course looks truly amazing, and has a long history of producing outstanding writers for film, television, animation and games. The course also allows students to see their writing adapted in production. The writer of Sex Education, The Woman In The Wall, The Good Nurse, Grace, Redemption, Casualty and Noughts and Crosses all studied this course, making it a clear stepping stone into industry writing. The course leader Brian Ward has many years’ experience as a screenwriter in Film and TV. Course leader and visiting tutor Tammy Riley-Smith and Angeli Macfarlane are also experienced writes with many credits to their names.

I’ve viewed the student showcase for this course and they look exceptional and professional, including lots of animated films as well as live action. I think my favourite I’ve seen is the trailer for City of Lost Children, a near future thriller set in a refugee camp for kids in the UK. The course is for entry in January of next year, with an application deadline on the 9th of May 2024. This is a nearby deadline, and I intend to start working on my application as soon as possible. The UK tuition fees for this course are £14800 per year, but they have much funding available. The NFTS are proud to award more scholarships and bursaries to British students relative to size than almost any other educational institution in the UK, with approximately £1.5M awarded in grants in total. If a student is successful in applying for this course, you will be contacted by a funding team with details on how to apply for one of these scholarships. They have a comprehensive funding guide, including details of potential scholarships ranging from £1000 to £12000.

The course is 2 years long and study will take place in Beaconsfield, London. This would definitely be a welcome change of pace for me, but appears to be the best possible option for a Master’s degree. I hope that Napier and NFTS’s shared connection to Screenskills would bolster an application to study here. According to the website, this course covers all aspects of screenwriting across film, television, games and animation, in different forms and genres, from the development of ideas, treatments and bibles, through the drafting of scripts, into production and post, and you’ll receive comprehensive preparation for the professional world of the screenwriter.

Written work will be workshopped by professional directors and actors, and samples of work will be read by literary agents, broadcasters, commissioners and film and television production companies, in advance of a round of industry meetings in your final term where you can pitch your ideas directly to the industry. In terms of industry access, this seems to be the most strong course for entry into a competitive field. Entry requirements for this course are surprisingly open ended, with a strong portfolio, alternative qualifications, or a creative track record the equivalent of a degree from a British university. I feel I cover many of these bases, as I feel my creative portfolio is strong, and I have multiple qualifications in both filmmaking and screenwriting outside of this course. However, this means that a degree is not prioritised by this university for entry, giving an admissions team much more flexibility in terms of accepting applicants. This could either be a detriment or a strength; as more of an all-rounder, I may not have a body of written work as comprehensive as other applicants, as I’ve had to adapt to role requirements throughout the duration of the BA Film course.

Accompanying an application here should be an original screenplay of 12 pages in length. For this requirement, I would confidently attach my latest draft of my Graduate film script (which sadly was not adapted this year), entitled In the Breeks. This is my strongest and most personal script to date, following problems faced by youth in a drug afflicted rural town in the Highlands of Scotland. I would also need to attach a one page synopsis, which I already have drafted for a previous pitch, so this is achievable. I’m excited to apply for this course and compile this application, and will include a drafted application in my completed portfolio.

Another course of interest to me at NFTS is the Creative Business Masters course, another two year programme offered by this university. The name alone signifies exactly what I am looking for in terms of blending my creative and business skills as a career. This course claims that you will learn from players across the creative industries and build a lifelong network of contacts to help grow your business. The course covers the business and creative dynamics of seven areas – film, TV, games, theatre, publishing, digital content and music. You’ll learn about market analysis, negotiation skills, and learn how to make a business plan, with the personal and professional tools needed to set up and run your own business in the entertainment industry.

Completing this course would put me in good steading were I to return to Edinburgh to start a production company, as I’d leave with a fully worked-through business proposal or plan that has been taken to investors, partners and has been mentored by a dynamic business leader in the field. The caveats for this option pose a bigger challenge, as the requirements for entry include entrepreneurship, or current involvement in the development of an existing business. This is something I am currently lacking, but could potentially demonstrate by the time it comes to the application deadline on the 4th of July this year. This grants me a more relaxed window to craft a strong application. I would say I am better qualified for the Screenwriting Masters, but having recently produced the graduate project Under the Gorse, I would still have plenty of work to support my application. On this film project, we shot using 16mm film and worked with child actors, presenting a unique set of challenges to overcome and constant pragmatism in problem solving, much of which would be useful to discuss in my application.

My current work in marketing the Crowdfunder for Under the Gorse could also prove useful in bolstering my application for this course. Graduates form this course have seen much success, producing films like Jojo Rabbit, producing the Cannes selected film La Chimera, and working on promotional material for large companies like Little Moons, Garnier, HOMETHINGS, and Zapp.

I will continue my research into these degrees and draft applications/cover pages for each of these applications. In my next blog post, I will delve specifically into career options in the Gaelic and wider UK film industry.

LOLA: Turn And Face The Strange The feature debut of director Andrew Le... #movie quote #movies #movie line #movie line #movie scenes #cinema #movie stills #film quotes #film edit #vintage #movie scenes #love quotes #life quotes #positive quotes #vintage #retro #quote #quotes #sayings #cinematography

Landline from Matt Houghton on Vimeo.

Landline | landlinedocumentary.co.uk

Landline is a short documentary about the only helpline in the UK for gay farmers. Through a series of recorded telephone conversations and reconstructive visuals, the film uses the helpline as a lens through which to view the experiences of LGBTQ people in the British farming community. 

In a world that prizes traditional masculinity and in which ideas of ancestry are fundamental, being gay can be isolating. Suicide rates are extremely high in both young farmers and gay men in particular, and combining these can be a recipe for tragedy. But there are also thriving gay scenes in the most rural of towns, stories of unexpected friendships and relationships, and moments so unlikely that they could only happen in real life. Candid, intimate and shocking, Landline is a snapshot of a group of people bound together by circumstance but so often isolated from each other. 

A film by Matt Houghton | itsmatthoughton.co.uk

Winner: Best Documentary Short Grierson Awards 2018
 Winner: HBO Documentary Short Film Award  Runner-up: Best British Short London Short Film Festival
 Nominated: Best UK Short Open City Documentary Festival 
Nominated: Best Short Film Berlin British Shorts 
BFI Flare FiveFilms4Freedom: seen over 460,000 times in 12 days

Official Selection: CPH:DOX, Sheffield Doc/Fest, BFI Flare, Aspen ShortsFest, Aesthetica Short Film Festival, DOC NYC, Leeds International Film Festival, Seattle Film Festival, THIS IS ENGLAND Film Festival, Ji.Hlava International Film Festival, Outfest LA, Shanghai Pride.

Online premiere at Short Of The Week | shortoftheweek.com/2019/03/26/landline Interview at Director's Notes | directorsnotes.com/2019/03/26/matt-houghton-landline

Father: Jem Dobbs 
Son: Jonathan Blake Father 2: Alex Thompson 
Daughter: Niamh Blackshaw Son 2: Bradley Johnson
 Mother: Valerie Bundy Farmer: Oliver Devoti


Directed by Matt Houghton Producers: Rupert Williams, Alistair Payne-James
 Executive Producer: James Sorton Associate Producers: James Spinney, Peter Middleton Casting Director: Lara Manwaring Director of Photography: James Blann Production Designer: Guy Thompson 1st Assistant Director: Tom Lancaster Sound Recordist: Craig Rihoy Costume Designer: Cynthia Lawrence-John Make-up Artist: Charlotte Kraftman Film Editor: Matt Houghton Consultant Editor: Maya Maffioli Music by Noah Wood Sound Designer: Alex Bingham Colourist: Simon Bourne Head of Production & Talent Management: Jordan McGarry Development Producer: Angeli Macfarlane Producer, Short Film Schemes: Josic Cadoret Production and Development Officer: Alice Whittemore

Special thanks to Keith Ineson, The Richardson Family, Hannah Milne, The Ball Family, Marisa Clifford, Marie Cunningham, Kate Metcalfe, The Ivy House Pub, Vincent Gavin, Harriet Cannon, Nii Swaniker, Del Jones, Neil Tester, Craig Davis, Sam Bellamy, Jon Evans, Melissa Houghton, Jack Abbot, Liam Achaibou, Metal Culture, Daniel Grieshofer, Miles Blacket, Neil Andrews, Martin Kelly, Alistair Vlok, Mike Baldock and to everyone who shared their stories and experiences

A Pulse Films and Fee Fie Foe production

Gay Farmer Helpline | 07837 931894 | gayfarmer.co.uk

Animals (Sophie Hyde, 2019).

Zach, the Cleveland show had a Halloween episode and two guys dressed up as Edward and Jacob and ended up fucking, someone goes "the monsters are gay!" Ang then "not all gay people are monsters" but THEN "but all monsters are gay!" and I never thought I'd laugh at something created by MacFarlane but here I am

I can't believe we found the only good joke Seth MacFarlane ever made.

Landline | www.landlinedocumentary.co.uk Landline is a short documentary about the only helpline in the UK for gay farmers. Through a series of recorded telephone conversations and reconstructive visuals, the film uses the helpline as a lens through which to view the experiences of LGBTQ people in the British farming community.  In a world that prizes traditional masculinity and in which ideas of ancestry are fundamental, being gay can be isolating. Suicide rates are extremely high in both young farmers and gay men in particular, and combining these can be a recipe for tragedy. But there are also thriving gay scenes in the most rural of towns, stories of unexpected friendships and relationships, and moments so unlikely that they could only happen in real life. Candid, intimate and shocking, Landline is a snapshot of a group of people bound together by circumstance but so often isolated from each other.  A film by Matt Houghton | www.itsmatthoughton.co.uk Winner: Best Documentary Short Grierson Awards 2018
 Winner: HBO Documentary Short Film Award  Runner-up: Best British Short London Short Film Festival
 Nominated: Best UK Short Open City Documentary Festival 
Nominated: Best Short Film Berlin British Shorts 
BFI Flare FiveFilms4Freedom: seen over 460,000 times in 12 days Official Selection: CPH:DOX, Sheffield Doc/Fest, BFI Flare, Aspen ShortsFest, Aesthetica Short Film Festival, DOC NYC, Leeds International Film Festival, Seattle Film Festival, THIS IS ENGLAND Film Festival, Ji.Hlava International Film Festival, Outfest LA, Shanghai Pride. Father: Jem Dobbs 
Son: Jonathan Blake Father 2: Alex Thompson 
Daughter: Niamh Blackshaw Son 2: Bradley Johnson
 Mother: Valerie Bundy Farmer: Oliver Devoti
 Directed by Matt Houghton Producers: Rupert Williams, Alistair Payne-James
 Executive Producer: James Sorton Associate Producers: James Spinney, Peter Middleton Casting Director: Lara Manwaring Director of Photography: James Blann Production Designer: Guy Thompson 1st Assistant Director: Tom Lancaster Sound Recordist: Craig Rihoy Costume Designer: Cynthia Lawrence-John Make-up Artist: Charlotte Kraftman Film Editor: Matt Houghton Consultant Editor: Maya Maffioli Music by Noah Wood Sound Designer: Alex Bingham Colourist: Simon Bourne Head of Production & Talent Management: Jordan McGarry Development Producer: Angeli Macfarlane Producer, Short Film Schemes: Josic Cadoret Production and Development Officer: Alice Whittemore Very Special Thanks Keith Ineson, The Richardson Family, Hannah Milne, The Ball Family, Marisa Clifford, Marie Cunningham, Kate Metcalfe, The Ivy House Pub, Vincent Gavin, Harriet Cannon, Nii Swaniker, Del Jones, Neil Tester, Craig Davis, Sam Bellamy, Jon Evans, Melissa Houghton, Jack Abbot, Liam Achaibou, Metal Culture, Daniel Grieshofer, Miles Blacket, Neil Andrews, Martin Kelly, Alistair Vlok, Mike Baldock and to everyone who shared their stories and experiences A Pulse Films and Fee Fie Foe production Gay Farmer Helpline | 07837 931894 | www.gayfarmer.co.uk

Landline | http://bit.ly/2JByvNi Landline is a short documentary about the only helpline in the UK for gay farmers. Through a series of recorded telephone conversations and reconstructive visuals, the film uses the helpline as a lens through which to view the experiences of LGBTQ people in the British farming community.  In a world that prizes traditional masculinity and in which ideas of ancestry are fundamental, being gay can be isolating. Suicide rates are extremely high in both young farmers and gay men in particular, and combining these can be a recipe for tragedy. But there are also thriving gay scenes in the most rural of towns, stories of unexpected friendships and relationships, and moments so unlikely that they could only happen in real life. Candid, intimate and shocking, Landline is a snapshot of a group of people bound together by circumstance but so often isolated from each other.  A film by Matt Houghton | http://bit.ly/2U8Ulvz Winner: Best Documentary Short Grierson Awards 2018
 Winner: HBO Documentary Short Film Award  Runner-up: Best British Short London Short Film Festival
 Nominated: Best UK Short Open City Documentary Festival 
Nominated: Best Short Film Berlin British Shorts 
BFI Flare FiveFilms4Freedom: seen over 460,000 times in 12 days Official Selection: CPH:DOX, Sheffield Doc/Fest, BFI Flare, Aspen ShortsFest, Aesthetica Short Film Festival, DOC NYC, Leeds International Film Festival, Seattle Film Festival, THIS IS ENGLAND Film Festival, Ji.Hlava International Film Festival, Outfest LA, Shanghai Pride. Father: Jem Dobbs 
Son: Jonathan Blake Father 2: Alex Thompson 
Daughter: Niamh Blackshaw Son 2: Bradley Johnson
 Mother: Valerie Bundy Farmer: Oliver Devoti
 Directed by Matt Houghton Producers: Rupert Williams, Alistair Payne-James
 Executive Producer: James Sorton Associate Producers: James Spinney, Peter Middleton Casting Director: Lara Manwaring Director of Photography: James Blann Production Designer: Guy Thompson 1st Assistant Director: Tom Lancaster Sound Recordist: Craig Rihoy Costume Designer: Cynthia Lawrence-John Make-up Artist: Charlotte Kraftman Film Editor: Matt Houghton Consultant Editor: Maya Maffioli Music by Noah Wood Sound Designer: Alex Bingham Colourist: Simon Bourne Head of Production & Talent Management: Jordan McGarry Development Producer: Angeli Macfarlane Producer, Short Film Schemes: Josic Cadoret Production and Development Officer: Alice Whittemore Very Special Thanks Keith Ineson, The Richardson Family, Hannah Milne, The Ball Family, Marisa Clifford, Marie Cunningham, Kate Metcalfe, The Ivy House Pub, Vincent Gavin, Harriet Cannon, Nii Swaniker, Del Jones, Neil Tester, Craig Davis, Sam Bellamy, Jon Evans, Melissa Houghton, Jack Abbot, Liam Achaibou, Metal Culture, Daniel Grieshofer, Miles Blacket, Neil Andrews, Martin Kelly, Alistair Vlok, Mike Baldock and to everyone who shared their stories and experiences A Pulse Films and Fee Fie Foe production Gay Farmer Helpline | 07837 931894 | http://bit.ly/2JBySYc

Landline | https://ift.tt/2upg6ZP Landline is a short documentary about the only helpline in the UK for gay farmers. Through a series of recorded telephone conversations and reconstructive visuals, the film uses the helpline as a lens through which to view the experiences of LGBTQ people in the British farming community.  In a world that prizes traditional masculinity and in which ideas of ancestry are fundamental, being gay can be isolating. Suicide rates are extremely high in both young farmers and gay men in particular, and combining these can be a recipe for tragedy. But there are also thriving gay scenes in the most rural of towns, stories of unexpected friendships and relationships, and moments so unlikely that they could only happen in real life. Candid, intimate and shocking, Landline is a snapshot of a group of people bound together by circumstance but so often isolated from each other.  A film by Matt Houghton | https://ift.tt/UMmSo7 Winner: Best Documentary Short Grierson Awards 2018
 Winner: HBO Documentary Short Film Award  Runner-up: Best British Short London Short Film Festival
 Nominated: Best UK Short Open City Documentary Festival 
Nominated: Best Short Film Berlin British Shorts 
BFI Flare FiveFilms4Freedom: seen over 460,000 times in 12 days Official Selection: CPH:DOX, Sheffield Doc/Fest, BFI Flare, Aspen ShortsFest, Aesthetica Short Film Festival, DOC NYC, Leeds International Film Festival, Seattle Film Festival, THIS IS ENGLAND Film Festival, Ji.Hlava International Film Festival, Outfest LA, Shanghai Pride. Father: Jem Dobbs 
Son: Jonathan Blake Father 2: Alex Thompson 
Daughter: Niamh Blackshaw Son 2: Bradley Johnson
 Mother: Valerie Bundy Farmer: Oliver Devoti
 Directed by Matt Houghton Producers: Rupert Williams, Alistair Payne-James
 Executive Producer: James Sorton Associate Producers: James Spinney, Peter Middleton Casting Director: Lara Manwaring Director of Photography: James Blann Production Designer: Guy Thompson 1st Assistant Director: Tom Lancaster Sound Recordist: Craig Rihoy Costume Designer: Cynthia Lawrence-John Make-up Artist: Charlotte Kraftman Film Editor: Matt Houghton Consultant Editor: Maya Maffioli Music by Noah Wood Sound Designer: Alex Bingham Colourist: Simon Bourne Head of Production & Talent Management: Jordan McGarry Development Producer: Angeli Macfarlane Producer, Short Film Schemes: Josic Cadoret Production and Development Officer: Alice Whittemore Very Special Thanks Keith Ineson, The Richardson Family, Hannah Milne, The Ball Family, Marisa Clifford, Marie Cunningham, Kate Metcalfe, The Ivy House Pub, Vincent Gavin, Harriet Cannon, Nii Swaniker, Del Jones, Neil Tester, Craig Davis, Sam Bellamy, Jon Evans, Melissa Houghton, Jack Abbot, Liam Achaibou, Metal Culture, Daniel Grieshofer, Miles Blacket, Neil Andrews, Martin Kelly, Alistair Vlok, Mike Baldock and to everyone who shared their stories and experiences A Pulse Films and Fee Fie Foe production Gay Farmer Helpline | 07837 931894 | www.gayfarmer.co.uk

Cornetto Cupidity Love Stories - 40 Love from The Herd on Vimeo.

Cornetto Presents - 40 Love Production Company: The Herd Films - the-herd.ca

Director - Lloyd Lee Choi Producer - Kyle Hollett Writen By - Emma Katz Additional Dialogue - Rebecca Strom Director of Photography - Benjamin Loeb Production Designer - Caitlin Byrnes Costume Design - Zoe Green Casting Director - Tamara Hunter Production Coordinator - Jordan Barber Editing - Lloyd Lee Choi Post Sound Editor - Vidar Grande Colorist - David Tomiak VFX - Gloo Studios

Los Angeles Unit 1st AD - Ian Putnam 2nd AD - Valerie Aragon Background Coordinator - Matt Caponi 1st AC - Cecilia Guerrero 2nd AC - Nadia Baptista Location Sound - Reuben Colazo Gaffer - Alex Gaynor Best Boy - Layne McIsaac Key Grip - Nick Kristen Grip - Victor Wang Key Makeup / Hair - Stacey Hummell Tennis Trainer - Pablo Goody Wardrobe Assistant - Jessica Poynter Picture Car Bus Driver - David K Chistenson Production Assistants - Jennifer Merihue & Ashley Lane Stadium Crowd - The Inflatable Crowd Company

London Unit 1st AD - Craig Bilham 1st AC - Sam Rawlings Gaffer - Nick Green Makeup / Hair - Millie Wilkes Location Sound - Matthew Price Casting Director - Kristina Erdely Location Scout - Ross Kirkman

Cast Debbie - Phoebe Neidhardt Maria - Fernanda Romero Doctor/Cupid - Lily Allen Coach - Marco Rodriguez Chair Umpire - Preston Greeg News Anchor - Brian Johnston Tennis Opponent - Susie Abromeit Old Woman - Bunny Levine Tween 1 - Alice Wen Tween 2 - Leo Lungaro Ball Girl - Zoe Croft

Special thanks Fusion Cine, Eric Storrie & Stubhub Centre, Mark Cole & Milwall Football Club, Raul Fernandez & Natalie Pitcher of Hunk Mansion, Ashley Lane, Devin Karringten, Rebecca Sykes, Angeli Macfarlane, Simon Yang, Nick Streatfield

Music Matilda's Theme - Hilary Grist What A Difference A Day Makes - Dinah Washington Running For Cover - Ivan & Alyosha Pillow Talk - Wild Child

Created by David Alberts and Peter Souter Produced by Kyle Hollett, Rebecca Sykes and Ben Curtis Directed by Lloyd Lee Choi Created by Mofilm mofilm.com

A short creative documentary that charts the attendees of Britain’s longest running Wargames group, and explores the complexity of actual combat on individuals from a psychologist's perspective. Obsession, camaraderie and a Wargames Society that asks: what does it take to go into battle? Funded by Film London and the British Film Institute (BFI Network). Directed by - Jessica Bishopp Produced by - Hannah Eugénie Tookey filmlondon.org.uk/wargames Director of Photography - Sarah Cunningham Editor - Adelina Bichis Composer - Hollie Buhagiar Assembly Editor - Jessica Bishopp Featuring - Professor Edgar Jones, Professor in the History of Medicine and Psychiatry, King’s College London, King’s Centre of Military Health Research (KCMHR) Tunbridge Wells Wargames Society Featured Models Designed & Painted By - Steve Earl, Mark Gibbons, Martin Goad Focus Puller & Camera Assistant - Kate Molins Sound Recordists - Kirsty Howell & Nadine Richardson Gaffer - Jonathan Tomlin Grip - Nik Georgiev Sound Design & Sound Mix - Fred Pearson, Final Cut Sound Producer - Laura Harris, Final Cut Post Production Producers - Lucy Mason & Dan Kreeger, The Mill Colourist - Jim Bracher, The Mill Colour Grade - The Mill Production Assistant - Gennie Allcott Interview Transcriptions - Noemi Varga Drivers - Gennie Allcott & Nigel Bishopp Catering - Lucinda Bishopp & Brian Tayler For Film London: Jordan McGarry - Head of Production & Talent Development Angeli MacFarlane - Development Producer Josic Cadoret - Producer, Short Film Schemes Alice Whittemore - Production and Development Officer Executive Producers - Compulsory, Chris Toumazou, Kadri Mahmoud, Rob Hughes, Nigel Bishopp Production Company - Compulsory With Special Thanks To Tunbridge Wells Wargames Society, King’s Centre for Military Health Research, Brian Tayler, Karen Tayler, Lucinda Bishopp, Nigel Bishopp, Emma Bishopp, Paul Colebrooke, Steve Earl, Mark Gibbons, Martin Goad, John Hurst, Ivor Metcalf, W G Pavely, Terry Shoebridge, Rodney Somerville, Colin Stone, William Stone, Tony Wyatt, Edgar Jones, Direct Photographic, Filmscape, ProCam, Final Cut, The Mill Film Festivals - The Smalls Film Festival 2018, Official Selection, Nominated for Best Documentary Award. Imperial War Museum (IWM) Short Film Festival 2018, Official Selection, Nominated for the The Annie Dodds Award for Best Documentary. Underwire Festival 2018, Official Selection, Nominated for Composing Award. Eindhoven Film Festival 2018, Official Selection. London Short Film Festival (LSFF) 2019, Official Selection.

A short creative documentary that charts the attendees of Britain’s longest running Wargames group, and explores the complexity of actual combat on individuals from a psychologist's perspective. Obsession, camaraderie and a Wargames Society that asks: what does it take to go into battle? Funded by Film London and the British Film Institute (BFI Network). Directed by - Jessica Bishopp Produced by - Hannah Eugénie Tookey filmlondon.org.uk/wargames Director of Photography - Sarah Cunningham Editor - Adelina Bichis Composer - Hollie Buhagiar Assembly Editor - Jessica Bishopp Featuring - Professor Edgar Jones, Professor in the History of Medicine and Psychiatry, King’s College London, King’s Centre of Military Health Research (KCMHR) Tunbridge Wells Wargames Society Featured Models Designed & Painted By - Steve Earl, Mark Gibbons, Martin Goad Focus Puller & Camera Assistant - Kate Molins Sound Recordists - Kirsty Howell & Nadine Richardson Gaffer - Jonathan Tomlin Grip - Nik Georgiev Sound Design & Sound Mix - Fred Pearson, Final Cut Sound Producer - Laura Harris, Final Cut Post Production Producers - Lucy Mason & Dan Kreeger, The Mill Colourist - Jim Bracher, The Mill Colour Grade - The Mill Production Assistant - Gennie Allcott Interview Transcriptions - Noemi Varga Drivers - Gennie Allcott & Nigel Bishopp Catering - Lucinda Bishopp & Brian Tayler For Film London: Jordan McGarry - Head of Production & Talent Development Angeli MacFarlane - Development Producer Josic Cadoret - Producer, Short Film Schemes Alice Whittemore - Production and Development Officer Executive Producers - Compulsory, Chris Toumazou, Kadri Mahmoud, Rob Hughes, Nigel Bishopp Production Company - Compulsory With Special Thanks To Tunbridge Wells Wargames Society, King’s Centre for Military Health Research, Brian Tayler, Karen Tayler, Lucinda Bishopp, Nigel Bishopp, Emma Bishopp, Paul Colebrooke, Steve Earl, Mark Gibbons, Martin Goad, John Hurst, Ivor Metcalf, W G Pavely, Terry Shoebridge, Rodney Somerville, Colin Stone, William Stone, Tony Wyatt, Edgar Jones, Direct Photographic, Filmscape, ProCam, Final Cut, The Mill Film Festivals - The Smalls Film Festival 2018, Official Selection, Nominated for Best Documentary Award. Imperial War Museum (IWM) Short Film Festival 2018, Official Selection, Nominated for the The Annie Dodds Award for Best Documentary. Underwire Festival 2018, Official Selection, Nominated for Composing Award. Eindhoven Film Festival 2018, Official Selection. London Short Film Festival (LSFF) 2019, Official Selection.

A short creative documentary that charts the attendees of Britain’s longest running Wargames group, and explores the complexity of actual combat on individuals from a psychologist's perspective. Obsession, camaraderie and a Wargames Society that asks: what does it take to go into battle? Funded by Film London and the British Film Institute (BFI Network). Directed by - Jessica Bishopp Produced by - Hannah Eugénie Tookey filmlondon.org.uk/wargames Director of Photography - Sarah Cunningham Editor - Adelina Bichis Composer - Hollie Buhagiar Assembly Editor - Jessica Bishopp Featuring - Professor Edgar Jones, Professor in the History of Medicine and Psychiatry, King’s College London, King’s Centre of Military Health Research (KCMHR) Tunbridge Wells Wargames Society Featured Models Designed & Painted By - Steve Earl, Mark Gibbons, Martin Goad Focus Puller & Camera Assistant - Kate Molins Sound Recordists - Kirsty Howell & Nadine Richardson Gaffer - Jonathan Tomlin Grip - Nik Georgiev Sound Design & Sound Mix - Fred Pearson, Final Cut Sound Producer - Laura Harris, Final Cut Post Production Producers - Lucy Mason & Dan Kreeger, The Mill Colourist - Jim Bracher, The Mill Colour Grade - The Mill Production Assistant - Gennie Allcott Interview Transcriptions - Noemi Varga Drivers - Gennie Allcott & Nigel Bishopp Catering - Lucinda Bishopp & Brian Tayler For Film London: Jordan McGarry - Head of Production & Talent Development Angeli MacFarlane - Development Producer Josic Cadoret - Producer, Short Film Schemes Alice Whittemore - Production and Development Officer Executive Producers - Compulsory, Chris Toumazou, Kadri Mahmoud, Rob Hughes, Nigel Bishopp Production Company - Compulsory With Special Thanks To Tunbridge Wells Wargames Society, King’s Centre for Military Health Research, Brian Tayler, Karen Tayler, Lucinda Bishopp, Nigel Bishopp, Emma Bishopp, Paul Colebrooke, Steve Earl, Mark Gibbons, Martin Goad, John Hurst, Ivor Metcalf, W G Pavely, Terry Shoebridge, Rodney Somerville, Colin Stone, William Stone, Tony Wyatt, Edgar Jones, Direct Photographic, Filmscape, ProCam, Final Cut, The Mill Film Festivals - The Smalls Film Festival 2018, Official Selection, Nominated for Best Documentary Award. Imperial War Museum (IWM) Short Film Festival 2018, Official Selection, Nominated for the The Annie Dodds Award for Best Documentary. Underwire Festival 2018, Official Selection, Nominated for Composing Award. Eindhoven Film Festival 2018, Official Selection. London Short Film Festival (LSFF) 2019, Official Selection.