The National | 15 July 2020

British Shorts | 2020

Did you have any apprehension about making such a personal film?

Naively, no. But in hindsight, I should have. It was incredibly difficult to make, even though it’s only 12 minutes long! I think my certainty (which has never faltered) that these were beautiful characters with a fascinating story, temporarily blinded me to the fact that making a film is really tough – especially when you have such a close personal attachment to the people in it and a tight deadline. But we got there in the end!

How did you pitch the idea to your Aunt & Uncle, did they have any doubts about taking part? 

They couldn’t understand why their lives were interesting enough to be made into a film; but that’s them to a tee, humble and unassuming. They’d do anything for their family so they were willing to take part; at first I was filming them as part of an assessment at uni, so I think they just thought they were helping me get a good grade. But I always knew their story was universally appealing and I always planned for it to reach wider audiences; I certainly don’t think my aunt and uncle expected it to go this far! It premiered internationally at DOC NYC and I took my aunt to New York with me because that’s truly a once in a lifetime kind of experience. It’s a memory I’ll hold dear forever.

What would you say have been some of the biggest lessons you’ve taken from making That Joke Isn’t Funny Anymore?

I shot the film entirely by myself, and fell into most of the pitfalls that inexperienced shooters fall into! For instance shooting when there wasn’t enough light, or not holding a shot long enough… the list goes on. I cursed myself many a time in the edit, dealing with my own shoddy footage! Having said that, many people who have seen the film tell me it’s ‘beautifully shot’ – so I think the quality of a film is in the eye of the beholder. The story matters more than the aesthetic for me.

Have you always had a passion for filmmaking?

No, but I’ve always had a passion for telling stories. I used to write my own magazines featuring ‘real life stories’ and agony aunt columns (all stories and letters fabricated by me), and release them weekly for members of my family to read (the magazines were all hand drawn so I’d get them to pass the same copy round themselves). When I was a teenager, I started interning as a journalist and I wrote features for national newspapers from quite a young age. I found my way into TV via advertising (I was a Commercial Producer for many years); but I always thought Directing was something that other people did. The only Directors I ever worked with in advertising were male and they knew everything about cameras and scripts etc, which I found quite intimidating. I knew deep down I wanted to make documentaries but it took me a long time to go for it. Eventually, I decided to take out two loans and go back to university to learn camera, editing, story, documentary theory… it was a good decision for me. I found my passion.

How has your approach to your films changed since you started out?

I’ve grown in confidence; I now understand that my style of filmmaking and my individual voice have a valid place in this world. I have something to contribute: my films are personal, empathetic, moving and funny, and in some cases they have had a social impact (my first film We Are All Here, about the suicide of a 21 year old rapper from Scotland, has raised thousands of pounds for mental health charities and is now being used as part of mental health curriculum at universities). I also feel far less intimidated; filmmaking is still really hard, mentally and financially, and there are times when you think ‘Why am I doing this?’ – but now, I know it’s OK not to know everything. I know that the struggle is part of the process and that it’s worth it in the end.

What has been the best piece of advice you’ve been given?

Be kind. My parents instilled that in me from a very young age.

Do you have any advice you would offer someone thinking about getting into filmmaking?

Don’t be deterred, and don’t be disheartened when you hit hurdles, because that’s par for the course. Watch and read what you can, especially in your areas of interest. Identify the parts of the film industry that you don’t understand and work on getting to grips with them; whether that’s attending talks or trawling Google. Take every opportunity to learn. But also collaborate with others – you can’t know everything, and your weak spots will be someone else’s specialism. It’s a joy to work with a team who all have different talents and watch your vision come alive before your eyes.

What are you currently working on?

I have two longer documentary projects in development, working with some very wonderful characters, and I hope to get both into production this year. I am pitching on some documentary-style commercial projects as a Director, which is new and exciting. And I continue to campaign for mental health awareness and tour We Are All Here around schools and universities in order to get young people talking about mental health. The social impact campaign around the film has been powerful and I hope to achieve the same with That Joke Isn’t Funny Anymore, raising awareness about brain injury and disability, and perhaps changing the way we see and treat certain people in society.

And finally, what message do you want your audiences to take away from this film? 

I think it’s important for audiences to take away their own message from the film: some might think about their lives/relationships and the choices they make; others might take comfort if they too are affected by the isolation of caring for someone with a long term illness… I think the best I can hope for is that the film stays with people and encourages them to live life to the fullest, because it can all change in an instant. That’s not meant to sound morbid – I just mean we shouldn’t sweat the small stuff, and we should find the beauty in every day. In these troubling times it’s important to take care of ourselves and others.

Read original article in The New Current

Hannah Currie is a Documentary Filmmaker from Glasgow. Hannah currently has two films touring the festival circuit, We Are All Here, about the suicide of a young rapper from Glasgow, and That Joke Isn’t Funny Anymore, about a couple coping with life after a devastating brain injury.

The latter, developed during Hannah’s time on the Scottish Documentary Institute’s Bridging the Gap programme, won the BAFTA Scotland award for Short Film in November last year.

The film also screened at DOC NYC and Cucalorus Festival, and Hannah took part in IDFAcademy’s DocLab, a five-day programme for international talent in the field of documentary storytelling and interactive media. Screen Scotland was delighted to support Hannah’s attendance at these Festivals through our Market and Festival Attendance Fund.

We recently chatted to Hannah about development, how the BAFTA Scotland award and attending these Festivals has impacted her career, and what she has planned for the future.

What inspires your work?

“I am drawn to multi-layered characters and I take pleasure in becoming part of their lives and capturing the experiences and emotions that can move audiences and encourage thoughtfulness about others. Life is extraordinary and I’m very curious. When I sit on the bus, I want to know about everyone around me.

“I’m interested in personal stories that tackle universal themes like mental health, love and loneliness, addiction and recovery. And I like the idea of giving a voice to people who are not normally heard or whose realities are ignored by mainstream media, though I’m very aware of the huge responsibility that comes with putting a life onscreen.”

2019 was a fantastic year for your career – what was a highlight?

“It was all a bit of a blur for me. I graduated with a Masters in Screen Documentary in December 2018 and by January I was adapting my graduation film (We Are All Here) for broadcast. The re-titled Lumo: Too Young To Die launched during mental health week on BBC Scotland and that was a massive deal for me, having spent a lot of my time fundraising and volunteering for mental health charities. And it was my first TV commission which was a dream come true really!

“The film won a Mind Media Award and was nominated for BAFTA and RTS student awards, and it will next screen in the National Gallery of Singapore for their mental health festival in February.

“The highlight of 2019 was absolutely winning a BAFTA for TJIFA; the film is about members of my own family whose life has become incredibly difficult due to illness, and it was a proud moment to be able to dedicate the award to them.”

Huge congratulations on your BAFTA Scotland win. What did that achievement mean for you and everyone involved in the film – and has it brought about new opportunities for you as a Director?

“It’s been a real game changer! Receiving that recognition for a piece of my work gave me renewed confidence that I’m on the right track career-wise, and confirmed that the film is speaking to people in the way I’d intended.

“Being very new to documentary filmmaking, it validated me in the documentary field and advocated that my films are worth watching, which is helpful when you’re constantly competing for audiences and funding. Plus Edith Bowman bought me quite a few shots of sambuca which was nice because I think she’s a legend!

“I think the award definitely puts you on the industry radar and has the potential to bring about new opportunities, because you can sell yourself as a BAFTA-winning Director, but really the most important thing in creating new opportunities is putting in the work! Though I still might try and bring my BAFTA with me to all future meetings and see if that’s enough to swing things in my favour.

“For the people in my films, awards and nominations are not going to majorly impact their lives – my aunt Lindsay and uncle Paul still struggle through the daily reality of living with a brain injury. However, the recognition might mean more people see the film and receive its message – and that’s definitely a positive thing.”

Last year you attended DOC NYC, Cucalorus Festival and IDFA – taking part in the IDFAcademy. How important is it to attend international festivals for you as a Filmmaker?

“I was extremely lucky (and grateful) to attend these international festivals with support from Screen Scotland, and if there’s one thing I learned from that experience, it’s that placing yourself right in the hustle and bustle of international film festivals is of enormous benefit to your documentary career.

“Watching docs, talking docs, making industry connections, and attending masterclasses by world class filmmakers is inevitably going to up your game! I learned the basics of documentary filmmaking at University; but I learned how the whole machine works at these festivals.”

Do you think attending these festivals has had a positive impact on your film projects – completed or in development?

“Yes, hugely. Thinking, selling and developing all play a big part in making films, and festivals are the perfect environment to do all of these things. You learn how to pitch your films to people in a few lines; you see what they react well to and what doesn’t hold their interest, and so you think on it some more and develop your idea and each time you do that, it gets stronger.

“For my completed films, I hand out postcards with links to the trailers on my website and this is a calling card to say ‘Watch my work, select it for your festival, and remember me because I’ve got more to give!”

What was it like participating in the IDFAcademy? What were your biggest takeaways?

“I can’t emphasise enough how good IDFAcademy was – it was a huge privilege to be selected and I’d encourage all new, ambitious documentary filmmakers to apply.

“The Academy demystified sales and distribution, two areas of the documentary industry that I’ve always found tricky to navigate; and it made me realise that my own voice and filmmaking style are valid and important in a sea of voices and films.

“I was fortunate enough to witness a masterclass by Mohsen Makhmalbaf (considered one of the most influential documentary filmmakers of our time) and I loved this advice from him:

‘Filmmakers shouldn’t copy each other; we shouldn’t copy reality; we must use our own point of view to give different perspectives of truth. If you focus only on cinematic technique, you focus on the glasses of cinema; we need the observer. We need the individual point of view.’

“I came home feeling really inspired.”

What are you working on in 2020 and what are your hopes for the future?

“I have just completed the trailer for Glasgow Short Film Festival 2020, which my brother Tim and I were commissioned to make after We Are All Here won their Audience Award in 2019 (Tim edited the film). I worked closely with an exceptionally talented team of people to pull the trailer together and I’m very proud of it, so I can’t wait for audiences to see it on the big screen at the festival in March.

“Documentary-wise, I have two projects in development, both of which I am really excited about. I have new ideas all the time (usually at 3am when I can’t sleep) but these are two strong subjects that I’ve been coveting for a while and this year I’d like to get both funded, commissioned and into production. Wish me luck!

“When I’m not making films, I run a club-night called MILK with my friend Aileen – we’ll be DJing at the 2020 Glasgow Film Festival at the end of February this year! I also try to dedicate some time to campaigning for causes that get me fired up.”

Follow Hannah’s work

The Joke Isn’t Funny Anymore will screen at British Shorts Berlin on Friday 17 January, then at DOCfeed Eindhoven in February.

To find out more about Hannah’s documentary work, check out her website at www.hannahcurriefilm.com. Follow the social media for We Are All Here and That Joke Isn’t Funny Anymore for updates.

Read the original article on Screen Scotland

Short Film won by That Joke Isn’t Funny Anymore.

That Joke Isn’t Funny Anymore

Best Short Film

Up for the Short Film Award, this 12-minute long documentary has been compared by the Scottish Documentary Institute to “a real life Groundhog Day.” Directed by Hannah Currie and produced by Beth Allan, the film was shown at Leeds and Edinburgh Film Festival to critical acclaim. Set in Ireland, the film follows the complicated relationship between a couple 10 years after husband Paul’s life-altering brain injury, which left him in a loop of memory loss and joke telling. The film is developed through Bridging The Gap, an initiative that provides support and opportunity for emerging filmmakers in Scotland and Northern Ireland.

Hannah Currie and Beth Allan’s 2019 documentary, That Joke Isn’t Funny Anymore, is a surprisingly funny film about the serious effects of brain injury on Hannah’s uncle, Paul.

With the film currently screening at festivals and winning a BAFTA Scotland award (after this interview took place), we caught up with Hannah and Beth to find out how Bridging the Gap helped them develop their very personal documentary.

First up, can you tell us what the film is about?

Hannah: The film is a ten minute window into the ‘Groundhog Day’ lives of my aunt and uncle, ten years on from the brain injury that turned their worlds upside down. My uncle struggles to remember he is married sometimes… but he can remember jokes. And he tells them a lot. More generally, the film is about relationships and resilience.

What’s your background(s) in documentary filmmaking?

H: I was previously a journalist and a producer, so I’ve always been interested in hearing people’s stories and telling them creatively, but I only plucked up the courage to try my hand at directing in my late twenties. I left my job and spent all of my savings on a six week documentary course at New York Film Academy; that got me totally hooked so I decided to take out two loans and go back to education full time to study a Masters in Documentary Directing, which I completed at Goldsmiths University of London. My graduation film We Are All Here went on to win quite a few awards and was commissioned by BBC (and televised under its new title Lumo: Too Young To Die); so this gave me a wee bit of confidence to apply to Bridging the Gap with my next film project. I’m still paying off those loans and will be for years to come, but I have no regrets.

B: Quite new to it really. I’ve been running a production company called Forest of Black for many years, making commercials and music videos. I’ve made quite a bit of promotional style documentary, but creative documentary is something different. I have a couple of feature documentary projects in development and was on the Eurodoc programme for European creative documentary producers last year, so I am inching my way forward to producing my first creative feature doc – but these projects are increasingly tough to finance and take a very long time! Producing the BBC version of Hannah’s film We Are All Here and That Joke Isn’t Funny Anymore are both Hannah and I’s first broadcast and commissioned short documentary projects, so we’ve been learning together!

How did you first become aware of Bridging the Gap and how did your initial proposal come together?

H: I’d been aware of Bridging the Gap for a number of years and had tried (unsuccessfully) to apply before. I now realise that my previous applications missed the mark, either because they had no sense of story or I hadn’t secured access to my characters. These are things I learned are pretty fundamental along the way. I had always been really interested in making this film about my aunt and uncle, but I knew the idea needed work, and Bridging the Gap seemed like the perfect opportunity to develop it and give it the best chance of being seen.

B: I’ve been aware of Bridging the Gap for many years and known lots of filmmakers who have made films through the scheme. I’ve always wanted to produce a BTG film but timing has never been quite right. I also made an application with another director that wasn’t successful. After working with Hannah on the BBC version of her grad film it made a lot of sense for us to apply to the BTG together. That Joke Isn’t Funny Anymore had such a great elevator/one line pitch right from the very start, and Hannah’s research footage with her aunt and uncle already showed they would make great characters. It felt like a great fit for BTG. Producers are not involved in the development sessions, so Hannah had to go through all of that herself, which isn’t easy but is really an essential part of figuring out what your film is.

How did the proposal change during the development process?

H: It changed a lot, and often. Development is a real learning curve and makes you question every decision, which I found particularly difficult because of the personal nature of my project. But I learned so much from the process, including when to trust my instinct. You might receive a bit of feedback and think ‘No way am I doing that’ – and then at least you know you feel strongly about something and want to fight for keeping it in the film. But you also need to be willing to listen and let go when something isn’t working.

What stands out to you about the filming and editing process, did anything surprise you?

H: Filming with my aunt and uncle was really interesting for me because I felt like they both opened up to the camera and used it as a confidante at times; perhaps my presence provided a space for conversations that they’ve stopped having with each other long ago. Editing was extremely tough; I think I underestimated how difficult it would be to make a short film about such a serious subject, especially because it’s my family and I feel a sense of duty to do them justice.

B: Hannah did the whole shoot on her own which was tough, but given her relationship with the characters and how much she needed just to embed into their lives, I think this was the best way to make the film. Yes, the edit! To reiterate what Hannah says, it was tough. It was a surprise to both of us how long it took to ‘find’ the film. Really it was the very last edit, and beyond when we were meant to deliver before we felt we had found the right shape. Even then we were not totally sure. It’s really important during post to consult lots of people that you trust and get their feedback. But there also has to be a point where you just make a decision and follow that. The film could go in many different ways, but you have to settle on one and make the best version of that film that you can.

What’s it been like seeing the reaction from audiences to the film?

H: It’s been really lovely. People seem to warm to my aunt and uncle as I hoped they would; and to relate to the film on a personal level, even if they haven’t experienced brain injury. Relationships are difficult.

B: It’s not been screened publicly much yet, so there is lots more to come I hope. Both Hannah and I have been nicely surprised at how well the film is being received by programmers, it’s playing at some really high profile festivals. I guess it is quite a programmable film, it’s about a serious subject matter, something quite strange in a way, but also it’s really just about relationships and love which everyone can relate to. And it’s funny, which can be a relief in a collection of short documentaries which can often be quite tough going to watch due to difficult subject matter.

What does it mean to you to be nominated for a BAFTA Scotland award?

H: I still can’t really believe that’s true. I struggle with self-belief so it certainly helps with that. I’m completely honoured, and very excited.

B: It’s great of course! I like to think I don’t worry too much about awards and care more that an audience enjoys a film, but of course it’s nice to have official recognition and also lovely that lots of friends and colleagues have got in touch to congratulate us. It hopefully means a wider audience for the film too and will be helpful for our profile in trying to finance the next project.

What would you say to anybody else considering applying for Bridging the Gap?

H: Do it! It’s an incredible opportunity to learn from experienced filmmakers, grow your practice and fund your film project. The best bit for me is the distribution; SDI submit your finished films to festivals around the world which can be a really expensive process for independent filmmakers. It’s so exciting to show your work to international audiences.

B: Yes, absolutely go for it. It’s of course possible now to make a documentary on your own steam since the kit and software are fairly accessible for lots of people. But the value of input at development stage for your documentary idea is huge. Development can be difficult and painful, but it really helps you to analyse your project properly, why you want to make it, what you want to say with it, how an audience might perceive it, this stuff is so important, particularly with documentary. And as Hannah says, SDI’s distribution is amazing once your film is complete. They are really respected and they put a huge amount of work into getting your film into festivals which all helps towards securing the next commission.

What’s next for you both?

H: I’m fortunate enough to be taking That Joke Isn’t Funny Anymore to some really cool film festivals including DOC NYC and Cucalorus in North Carolina, and then I’m attending IDFA Academy at the end of November, supported by Creative Scotland. Beth and I are working on a documentary about a Glasgow artist and I have a few other ideas in development. The cogs are turning!

B: Hannah is developing a new documentary project which I’ll be producing and I have two feature docs in development that I hope will be financed next year so we can move into production. As well as the day-to-day of running my production company, producing, making commercials and music video, I’m co-producing a short narrative film funded by SFTN which shoots in December and will be a lot of fun to make. I’m also part of this year’s SFTN run Creative Producers course which is a really great programme to develop producers, helping us figure out what kind of producers we want to be and how to support the development process effectively. I’m a big advocate for labs and programmes like this. It’s otherwise quite a lonely road trying to get films made as a director or producer, so these kind of peer networks are a huge support and a kind of group therapy!

Read the original article on scottishdocinstitute.com

A hugely popular DJ and music promoter, Hannah Currie’s adventures in documentary filmmaking produced Lumo: Too Young to Die and That Joke Isn’t Funny Anymore which picked up a well-earned a nomination for Best Short Film at the Scottish BAFTAs. (CA)

Read full article

Can Lindsay’s love for her husband Paul sustain her through the trauma of his brain injury, which leaves him in a perpetual loop of memory loss and joke-telling?

Interview with Director Hannah Currie

Congratulations! Why did you make your film?

I have wanted to make this film for a long time. Ten years ago, my uncle Paul suffered a brain injury and the series of complications that followed left him with neurological side effects – including short term memory loss and, fascinatingly, the propensity to tell jokes repeatedly. My aunt Lindsay has stood by him through very challenging times – even when friends and family members have peeled away, she has stayed. They live in the remote Wicklow Mountains of Ireland which makes things even more isolated. I was interested in their relationship and her incredible resilience.

Imagine I’m a member of the audience. Why should I watch this film?

At its heart, the film is about love and identity and I think we can all relate to those themes deeply. But more than that, Lindsay and Paul are just the sweetest, funniest characters and I think you’ll enjoy spending ten minutes with them! The film straddles the line between laughter and tears, because their life is a little like that. The humour can help ease the trauma but it can also exaggerate it sometimes too, because it is a noticeable part of Paul’s injury.

How do personal and universal themes work in your film?

The film is highly personal – you can hear my interaction with Lindsay and Paul from behind the camera and you can feel the trust and love between us. But the themes at play are highly universal: love, relationships, identity. What happens to these things when you can’t remember? What can we learn from two people who have been tested to their limits and keep on going?

How have the script and film evolved over the course of their development?

The film was made as part of Scottish Documentary Institute’s Bridging the Gap Scheme, therefore it underwent three months of intensive development before I pitched it for funding. Twelve films underwent development and then five received funding to go into production, and I was lucky enough to be one of those five. The film changed a lot during that time. There were things I wanted to include – like some of the friction caused by my uncle’s maladaptive health behaviours (he smokes and drinks and he shouldn’t); and the difficult financial situation they find themselves in because Paul can no longer work like he used to… but the remit of the Bridging the Gap scheme is to make a short film approximately ten minutes in length, and it quickly became apparent that I would need a much longer film to cover all of the complexities of their relationship. It is my intention to develop and make a longer film in the future.

What type of feedback have you received so far?

The feedback has been unexpectedly wonderful. Making a film about my family was much more difficult than I’d anticipated, and when I finished it I thought it was terrible. But then I started to hear from film festivals that I could only dream of being a part of and they wanted to show my film! (Thanks to Scottish Documentary Institute for distributing the film). Then, we heard words that the film was nominated for a BAFTA Scotland award – the ultimate honour! The ceremony is on 3rd November. In terms of personal feedback, people just seem to love my characters, which is wonderful because I love them too and I’m proud to share them with the world.

Has the feedback surprised or challenged your point of view?

Absolutely. I am highly self-critical and I really convinced myself the film was no good, but now I accept that I was being too hard on myself. I am looking forward to watching the film with audiences and viewing it through their eyes. The best experience of making films is watching them with other people and feeling their reaction first hand.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I am grateful for any and all opportunities to talk about the film and it’s so lovely to be a part of the global filmmaker community – a dream come true – so I was delighted to hear from We Are Moving Stories. What a cool platform! I’m privileged to be a part of it.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

All of the above! I’m brand new to this game so I’m very happy to hear from anyone who is interested in helping me move my film projects forward and get them seen by wider audiences. I have two further documentaries in development, which I believe are very strong; plus another completed film (the award-winning We Are All Here, which tells the story of the suicide of 21-year-old Glasgow rapper Lumo). And, as mentioned, I have hopes and ambitions to develop That Joke Isn’t Funny Anymore into a longer film.

What type of impact and/or reception would you like this film to have?

A warm, fuzzy, heartfelt one, which leaves people thinking about love, family, relationships and resilience. Maybe someone in the audience will go home that night and hug their nearest and dearest a little bit tighter – that would be just fine.

What’s a key question that will help spark a debate or begin a conversation about this film?

If your partner was to change irreversibly, would you stay or would you go?

Would you like to add anything else?

I am bringing my aunty to DOCNYC and Cucalorus with me to watch the film and partake in the Q&A. She is very excited – these festivals are a long way from the abandoned farmland where she lives. She works tirelessly as a nurse and never gets holidays, so it means the world to me to bring her along on this adventure. So if you see the film, or see us, please come and say hi and tell us what you think!

What other projects are the key creatives developing or working on now?

My Producer Beth and I are working on our next project, a documentary about a self-taught painter from Glasgow called Ross Muir who has overcome tragedy to become one of Scotland’s most successful artists. He is wickedly funny and highly entertaining to spend time with; but his story is not a simple one and sometimes his demons threaten to undermine his success.

Read the original article on We Are Moving Stories

Two SDI-backed films were this week nominated for prestigious British Academy Scotland Awards, with the winners due to be announced in Glasgow on Sunday 3 November.

Freedom Fields, which follows three women and their football team in post-revolution Libya, was nominated in the Feature Film category. Directed by Naziha Arebi and produced by SDI’s Flore Cosquer, Freedom Fields is an intimate film about hope, struggle and sacrifice in a land where dreams seem a luxury. A love letter to sisterhood and the power of team.

Director Hannah Currie’s 2019 film, That Joke Isn’t Funny Anymore, was nominated in the Short Film category. The film follows Paul, who has suffered a massive brain injury, dealing with the bizarre effects that leave him caught in a perpetual loop of joke telling. Produced by Beth Allan, That Joke Isn’t Funny Anymore was developed as part of our annual Bridging the Gap scheme, supported by Screen Scotland and the University of Edinburgh.

Congratulations to everyone involved in these enriching documentaries!

Read the original article on Scottish Documentary Institute website

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