A weekly podcast interviewing women behind-the-scenes and below-the-line of the British film industry.
#124: Eve Gabereau, Founder & MD of Modern Films
This week my guest is the wonderful Eve Gabereau.
Eve is someone whose work and ingenuity I became aware of quite early on in my own career and she is someone I have wanted on the podcast for a good while.
Eve is the Founder and Managing Director of Modern Films, a London-based, female-led, social issues-driven production, distribution and event cinema company. It was founded in 2017 and since gone onto to release buzzy titles such as BORDER, MURINA, HAPPY AS LAZZARO, WHITE RIOT, WHEEL OF FORTUNE AND FANTASY and Oscar-winner DRIVE MY CAR.
Two of their upcoming releases were part of this year’s LFF programme - Emily Atef’s MORE THAN EVER and Kristoffer Borgli’s SICK OF MYSELF, which both speak well to the kind of provocative, spellbinding and whip-smart cinema that Modern Films have made their trademark.
Prior to that Eve was the MD of Soda Pictures for 15 years, where she released such indie hits as TONI ERDMANN, ONLY LOVERS LEFT ALIVE, PATERSON and MY LIFE AS A COURGETTE. She also executive produced Rungano Nyoni’s directorial debut I AM NOT A WITCH.
She is a regular feature on panels and training schemes throughout the industry, and was also featured in Geoffrey Macnab’s 2021 book ‘The British Film Industry in 25 Careers: The Mavericks, Visionaries and Outsiders Who Shaped British Cinema’, so it’s fair to say I approached this interview with high expectations for the wisdom and insight it might contain and Eve definitely didn’t disappoint and it’s truly a privilege to count her among Best Girl Grip’s guests.
#123: Jeanie Igoe, producer
This week my guest is producer Jeanie Igoe.
Jeanie’s big break came when she landed a role at A24, where her credits as a production executive include Barry Jenkins’ MOONLIGHT, Trey Edwards Shults’, IT COMES AT NIGHT, Bo Burnham’s EIGHTH GRADE and Robert Eggers’ THE LIGHTHOUSE. She also served as a producer on their TV series RAMY, and a co-producer on David Lowery’s THE GREEN KNIGHT.
She then launched herself as an independent producer, with her first project MISS JUNETEENTH, the directorial debut from Channing Godfrey Peoples going on to premiere at Sundance and receive a nomination for the Grand Jury Prize.
Most recently, Jeanie co-produced CONVERSATIONS WITH FRIENDS alongside Catherine Magee and the team at Element Pictures, including former podcast guest Emma Norton and Development Producer Chelsea Morgan Hoffman who developed Sally Rooney’s novel into the series script, alongside the writers.
We talk about moving to New York, getting a job at A24 in its fledging years as a company and then being witness to their exponential growth, making the decision to start producing independently, moving back to Ireland, maintaining a work-life balance, how Jeanie creates an atmosphere of collaboration and care on set and adapts her role to the needs of the project and the filmmaker.
I hope you enjoy listening to our conversation as much as I did having it.
#122: Hanna Flint, Critic, Author & Broadcaster
This week I’m thrilled to be chatting with film critic, broadcaster, podcaster and now author Hanna Flint, about her path into the film and media industry, as well as how her new book STRONG FEMALE CHARACTER was born.
Having started out in various journalism and media roles for the likes of MailOnline, Metro and OK! Magazine, Hanna has since become a prolific film critic and features writer, with bylines at a wealth of outlets, including Variety, Empire Magazine, Sight & Sound, Time Out, The Guardian, Esquire, Dazed, British GQ and Stylist, and has also appeared as a critic and commentator on the likes of BBC Radio 4, Sky News, BBC Radio 5 Live and TALKRadio.
She is also a host for MTV Movies and the co-host of the Fade to Black podcast alongside Amon Warmann and former Best Girl Grip guest Clarisse Loughrey.
Her book STRONG FEMALE CHARACTER, is out now and weaves together personal memoir with cultural criticism as she reflects on how cinema has been formative to her own identity and the world we live in. The book is sprawling, funny and down-to-earth and manages to traverse topics such basketball, sexuality, sexual assault, colourism, her changing relationship to her Tunisian heritage, eating disorders, social media, family, first crushes and much much more.
Our conversation likewise covers lots of ground as we probe the pros and cons of doing an MA in journalism, how Hanna hustled her way into her career with hard work and persistence, how she established herself as a critic, how the idea for her book developed, the madness of writing it in just under three months and her relationship to it now as it makes its way into the world.
#121: Ines Adriana, Sound Designer & Mixer
My guest this week is the incredibly talented and prolific sound designer and mixer Ines Adriana.
Ines studied for an MA in sound design at NFTS and has been credited on over 40 projects since 2020, including some incredible short films like Ruth Greenberg’s RUN, Molly Manning Walker’s, GOOD THANKS, YOU?, Theo James Krekis’ PRAM SNATCHER, Nia Childs’ HOME, as well as documentaries such as THE CATHEDRAL and SELF-PORTRAIT.
Ines’ work has screened at Sundance, SXSW, Cannes, BFI London Film Festival and Sheffield Doc/Fest. She is a Film London Lodestar 2022, a Berlinale Talent alumni and a member of the BFI NETWORK x BAFTA crew.
We talk about how she discovered a passion for sound, finding the confidence and the skills to call herself a sound designer, her ‘fever dream’ experience studying at NFTS, how her career picked up momentum and how sound design can facilitate and augment story.
I always enjoy the craft-centred episodes because I’m such a rookie in that space and it’s such a fun opportunity to learn about a completely different area of filmmaking, so I appreciate Ines’ time and I hope you get something from our conversation.
#120: Lucy Bright, Music Supervisor
This week, my guest is music supervisor Lucy Bright.
Lucy started out at Mute Records working with artists such as Nick Cave and Depeche Mode, before moving to Warner Classics for six years and then leaving to manage composer Michael Nyman. She joined the film and TV department of publisher Music Sales (now Wise Music) in 2008 and worked there for a decade. In 2020 she launched her own music publishing company, Bright Notion Music, signing the composers like Anne Nikitin, Jed Kurzel and Tamar-kali Brown.
Lucy has supervised some of the most critically-acclaimed British films and TV shows in recent years including The Unloved, The Arbor, Slow West, Southcliffe, McMafia, This is England ‘90, Daphne, The Virtues, The Nest, Life After Life and BAFTA-winning short The Swimmer.
Most recently, she has worked on two forthcoming films: Charlotte Wells’ directorial debut AFTERSUN, which is showing at this year’s London Film Festival and then coming to UK cinemas via MUBI on 18th November, and I can testify it has a truly phenomenal soundtrack and Todd Field’s TÁR, set within the world of classical music in which Cate Blanchett plays the first female conductor of a German orchestra.It recently premiered to critical acclaim at the Venice Film Festival and is one of my most hotly anticipated films of the year.
We spoke about how Lucy got her start in the music industry and then gradually discovered the role of music supervision, getting her first credit as a music supervisor on Samantha Morton’s TV film THE UNLOVED, how she collaborates with directors and other HoDs to build a soundtrack, why certain songs cost more than others, how needle drops happen and what song she is particularly proud of clearing for use in a film…
#119: Olive Nwosu, Filmmaker
Olive Nwosu is a Nigerian filmmaker, a BAFTA Pigott 2020 Scholar, an Alex Sichel Fellow at Columbia University School of the Arts, and one of four ‘African Promises’ directors selected by the Institut Français.
She has directed two award-winning short films: TROUBLEMAKER and EGÚNGÚN (MASQUERADE), both set in Nigeria and which have screened in numerous film festivals, including Sundance, the BFI London Film Festival, TIFF and the Aspen Shortsfest. The latter was also nominated for Best British Short Film at the BIFAs in 2021.
Earlier this year, Olive took part in an online edition of the Sundance Screenwriting Lab and she is currently developing her first feature film with Film4.
We talk about initially studying engineering and how she discovered, and decided to pursue, filmmaking, some of the difficulties Olive has experienced in sustaining a practice and what that practice looks like. We also talking quite in-depth about Olive’s short film EGÚNGÚN (MASQUERADE) and how that film came to be, what she wanted to explore, how she crafted its visual language and finding the right collaborators.
I saw that film and Olive speak on a panel at Sundance London and was immediately beguiled both by her cinematic voice and by how she spoke about the film on stage and I knew straight away I would love to have her on the podcast and the conversation we had didn’t disappoint. I think Olive is a really special filmmaker and I was incredibly privileged to share this space and this moment in time with her.
Love but needs some sound considerations
I really love this podcast. I appreciate all the effort that goes into getting the guests and thinking through content etc. I just wish more thought went into the sound. Often it’s so hard to hear what the guest is saying some are unlistenable. In the last episode the mic was just close to the interviewer meaning I either couldn’t hear answers or was deafened every time a question was asked. Could you reassess mic placement or invest in a second mic?
But please keep going - it’s such a good podcast (when I can hear it!) x