BFI Flare 2020: Helena Middleton
We spoke with Helena Middleton about her film My Mama, A Man, which was due to screen at the since cancelled 2020 BFI Flare Festival this year, despite this cancellation we still wanted to share our interview. Read about her steps into film making, her mother now being a film star, the catch 22s of film funding and her favourite part of the festival experience.
How did you find your way into filmmaking?
I made my first film as a friend of mine from University had seen plays I had directed and asked if I would be interested in making a short film together, with myself directing and him producing. We then very much dove headfirst in, we were both naive and ambitious, and ended up bringing together an amazing cast and crew, working with a brilliant script by Samuel Bailey. We crowdfunded that project and I very much learnt what I was doing as I went along; speaking to other directors, sitting in on a few shoots and reading filmmaking books.
Tell us about your film…
It’s a stylised documentary about my mum, Julie, experiencing the day as a man. The film connects her to the drag king community and we see her transform into Willy Foraday and then hear her reflect on her experiences. I hope the film inspires inter-generational conversations about gender and identity.
How did you take the news of being accepted into the festival?
We were totally over the moon, it is such a prestigious festival to be part of. My mum is very excited as she is proudly calling herself a film star now.
How has the process of being in the festival circuit been for you?
More than anything I love watching all the other brilliant films that are out there and meeting the filmmakers who have created them. I find that short films are particularly impactful - perhaps because they have to make a strong impression in a small amount of time - and so I love going to festivals and dedicating time to watching them.
Funding in this industry can always be a challenge, how did you achieve yours?
When I started making films I went to a lot of pitching meetings, they were all really encouraging but they all said I would have to make something before anyone would think of funding my film work. This is hard to hear as it’s obviously a bit of a catch-22, to get funded you need a film but you need funding to make a film. I realised though that my passion for making meant that I would work hard to create a slate for myself so that my future work will be funded. So for both my short film projects I have had crowd funders and have asked for many favours from kit houses etc. I’ve always been overwhelmed by the generosity of people working in this industry, there is a real sense that everyone wants to encourage and support new and emerging talent, whether that be with a coffee and advice or a discounted grading session.
Was funding the most challenging aspect of making your film?
When things aren’t fully funded it often means that you are wearing a million different hats and its easy to burn out. I really loved making this film but I found facilitating its creation took a lot of energy.
If you could have gone into any other role in the industry, which would you be interested in?
DoP, I love visual story telling and photography.
Do you have any favourite queer films?
The Kids are Alright, Carol, Milk. I just watched Portrait of a Lady on Fire which is amazing.
It’s not a film yet (but perhaps it should be!) but I LOVE the graphic novel and subsequent musical, Fun Home.
What’s the next project for you?
I am making a short dance/movement film about food poverty.
And finally, what film are you most looking forward to seeing this year?
I’m really looking forward to watching Make Up directed and written by Claire Oakley.
You can follow Helena and her film’s journey via the links below;
Twitter: @hssmiddleton
Website: helenamiddleton.co.uk
