Making "Mole"

As I was packing for the Berlin Talent Campus back in February I discovered that one of my favourite bands of all time, Dear Reader, had migrated from their native South Africa and were now based in Berlin. I sent a near-incoherent email to them before literally sprinting out of the door to catch my flight in time, scribbled a few vague concepts on the plane but thought nothing would come of it. When I landed I was greeted with an enthusiastic email and met with singer Cherilyn MacNeil in a smoky Berlin bar a few days later.

Fast forward three months and I’m in a tunnel in Southwark scrubbing feathers from the floor, having just wrapped on the Official video for ‘Mole’.

Mole was an experiment in allowing action to unfold in long, unbroken takes: we see Cherilyn drifting passively down a seemingly endless tunnel, each scenario she passes visualising a different phase of a relationship, from the first kiss to the alter.

The video was produced by Ben Burdock, producer of my previous short film Polaroid, who managed to make a cold, damp tunnel and 50 cast and crew into a peaceful equation. Adam Etherington, who has helped me out a lot over the course of the year after meeting via Sci-Fi-London, did a typically stunning job as DoP, bringing each section distinctly to life.

Special mention should also go to Art Director Katie MacGregor for constructing a den of sheets that made me want to hide away and play scalextrics (obscure reference: I used to like making bed sheet forts as a kid); Camera Assistant and awesome DoP in his own right, Karl Clarke for keeping everything pin sharp; Charlotte Young for the beautiful costumes; Assistant Director Riccardo Servini, without whom we would still be shooting; Second Assistant Director James Quinn for ensuring that everyone knew what was going on throughout the entire stretch of the tunnel; Chris Bevan, Joseph Maudsley and Karl Poyzer for coming all the way up from Derby for the two day shoot;  and finally Emily Greely, with whom I spent two weekends and an all-nighter at The Mill painting out entire people from the shot, as well as making a million other tweaks that I dare you to spot. Oh and by that I mean I spent two weekends and an all-nighter watching Emily work, eating and apologising profusely as it got later and later.

Please watch, like and share the video as much as you can. If this one goes well, people might give us more money to mess around with cameras and put off getting a real job.

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