Professional Experience 2016-2017

The last ten months have been a real game changer for me. The hardest lessons I have learned have been you cannot control everything and how to manage my time. You could even argue I am still learning these two. To elaborate this further, I can say I have  learned to delegate tasks and trust my colleagues more. I tend to give myself too many jobs and as a result I get overworked and run out of valuable time. For one of these projects, I ended up writing, producing, directing, editing, and sound mixing. That was simply an unnecessary work load. It was a waste of energy and the project suffered as it didn’t end up being as polished as I originally envisioned. It is also clear to me that I need to keep my ideas contained and in focus. I tend to try to do too much and involve too many different concepts, which leads to confusion and lack of cohesion. Keeping the film themes clear and simple will allow me to develop these further and the complexity and depth comes more organically.
I was also able to speak to industry professionals at different instances at events organised by the Manchester School of Art. They were a fountain of knowledge and I was able to understand what were some of the things I could be doing to make myself more employable as a creative. I was also reassured that being a mature student is a a great advantage rather than a disadvantage. I worried that I was not going to be as appealing as somebody with the same experience, eight years younger than me. Thankfully, the only thing employers care about is character, creativity and professionalism. This has motivated me to focus in excelling in my practice even more. These events also informed me about other things I could do with my skills in the creative world, outside of the obvious options like film and television, and to really feel the importance of networking and collaborating with people from other practices. I had a bit of experience with this whilst doing Unit X on my first year, so it was nice to find out the same rules apply in the real world.

I have also taken a few steps further to make myself more marketeable and decided to set up a website. I used a free engine that was included in my Adobe Creative Cloud subscription. In addition to this, I bought a domain with my name for the site I built and a contact email that looks very professional ( I am currently in the process of creative some business cards and creating a better looking website. I am certain that this will improve my odds at being employed.

Cinespace 2016 Submission: Starry Skies

This is actually something I was not aware of. Matthew Towers, a colleague from the Manchester School of Art told me all about it last summer and we decided to produce a short film and submit it. The brief was fairly simple, produce a work that captures the spirit of NASA and human exploration of space, whilst making use of footage from NASA’s video archive. We decided to make a personal film about a layman’s connection to the stars. The project was a lot of fun to develop and there were several challenges we had to overcome. It was the first time I was writing, directing, producing and editing a starry storyboardshort film. It was also the first time I worked with a child actor, and the first time I tried to mix elements from narrative, experimental and documentary styles. I did a fair amount of research on how to work with children, as I knew it would be challenging. We found our actor through StarNow and him and his mother were an absolute pleasure to work with. They had an incredibly professional attitude, which helped us a lot.
We also worked with a Chilean friend of mine who does VFX for a living. His work was absolutely indispensable, as these beautiful visual effects really held the film together. We also had another colleague from the Manchester School of Art, Callum Kilgarriff, compose the soundtrack.

Music Videos: Kidsmoke’s See The World & Seeing Hands’ It’s True

I had already done some work for Kidsmoke, a band I met at a gig. They were very happy with what we did on their previous video and they wanted me to do their next one. This time, they had recorded a lot of footage of their gigs, driving around and an acoustic session of the song, so it was up to me to edit it and make it look like a music video. This was super challenging as I had to go through a lot of footage and select the best bits for the video. I cut it with the acoustic session they had done of the song and recordings they had from some live performances. After that, I did some colour grading to improve the GoPro/iPhone footage they had and added some filters.

I contacted the guys from Seeing Hands via email, linking my website and previous work. I try to work with bands I really like, as I feel I have to like their music first. They were happy for me to do a video for their single and they wanted me to use archive footage from a particular video on Once I had looked at the video and listened to the song on repeat, I attempted to create a narrative between two plane pilots, flying from opposite sides of the world to meet in the air. I also added vignetting, a projector flicker effect, and film burn to age it up a bit more. I also created some title cards on Photoshop to use at the beginning and end of the video. This brought the whole idea together. They loved the project and I am proud to say the video has nearly 29,000 views on YouTube.

Applying to film festivals

Besides submitting ‘Starry Skies’ to the Cinespace16 film festival, I have also submitted ‘Only When I Miss You’ to several film festivals all over the world. The hardest part was getting the confidence to make the first move and just apply. This project was developed for the Exploration unit at Manchester School of Art and after receiving some feedback I decided to re-cut it and get it out there. So far, the film has been selected to play at the Roma Cinema DOC Festival in Italy, in the Experimental category.

Applying to the Student Filmmaker Award 2017

I saw a flyer for this year’s Student Filmmaker Award/Insight Film Festival: A Newer Hope at the School of Art and decided to do further research. The brief was asking for a treatment and script for a short film regarding our personal interpretation of the sentence “a newer hope”. I had a first draft of a script regarding gender roles in children and decided to do some more work on it and write a treatment to submit it. I am looking forward to hearing their feedback.



I made a t-shirt design

I loved that Muppets film with Ricky Gervais. It was silly, funny and very quotable. I loved it so much I really wanted to buy a t-shirt with a quote from one of the characters from the film. I searched and searched, but I couldn’t find it. The sad reality was that the t-shirt simply did not exist.

So I made one.


I used Adobe Illustrator and it was simple to do. The hardest probably was coming up with a background colour that looked good against the all green.


Here’s a preview of the site I used (Redbubble). Click here to go there, you can even buy a mug or an iPhone cover!





Unit X – Reflection

London Scottish House, by Tom Warburton

Unit X is finally over and the exhibition was a success. It all happened here, at London Scottish House, a now empty office space. The exhibition spanned four floors showcasing work from all disciplines from the Manchester School of Art. The opening on Friday was nice to see, as many people came and spent time looking at the artwork. Even the Hairy Bikers showed up (credit to Clare Campion). You can read an article about it here (Manchester Evening News) or keep an eye out for a full review here (Project Unit X).


As a group we were incredibly happy with our work. Seeing it finally showcased was rewarding and a new step for me, as I had never shown any of my work in the context of an art gallery or exhibition. I received invaluable feedback from tutors, as well as peers and attendants, which highlights the importance of the artist/viewer mechanic. I am a huge believer that the audience interpretation is more important than the artist’s intention. We were also visited by the English National Ballet, as we chose to work on their brief for Akram Khan’s Giselle. They genuinely seemed to enjoy it and were able to understand our intention easily. It was reassuring to know that our concepts and ideas were clear enough to be decoded properly. They also commended the piece as it encompassed the spirit of collaboration whilst using different mediums and styles of practices.

It is very interesting to look back to the very beginning. The inception stages of our work. We had ambitious yet vague ideas that we managed to polish and simplify without compromising the core message. We ran into technical obstacles that we were able to resolve as a group. There were brief moments of panic, but we helped each other remain calm and focus at the tasks at hand. As individual artists with individual voices we were still able to find common ground and come together in harmony as opposed as just mashing random ideas together. Our core ideas and the purpose of the work gre stronger and stronger the longer we went on to develop it. Not only were we able to deliver a product meeting a deadline, but we were able to work together to create something we are very proud of. This is very significant from a personal point of view, because the rest of the team were people I had never met before. It was a group that was randomly generated, so we could not choose our usual work partners. We were forced outside of our comfort zone into the unknown. We did not know what to expect and it was up to us to figure it out.  It was a long process that required a lot of hard work, but the end result is a testament to the power of creativity and collaboration.

Unit X – Lines of enquiry

This is a follow-up post to a previous entry on Unit X. Click here to read the first entry!

After coming up with a concept for our Unit X project we started planning the execution. This is where we ran into potential problems, mostly to do with time. We wanted to animate a character that would cross over two different backgrounds, that would walk into the frame, dying and then doing a bit of graceful dancing. Turns out we had thoroughly overlooked the amount of time this would have taken to animate. Even if we rotoscoped a dancer’s original performance. We only have two animators in our team and regardless of how much the rest of us could help it would have been impossible to complete realistically. After meeting with our tutor for a tutorial we had to face the cruel reality: it was back to the drawing board. It was discouraging for me as these news came in the form of a sudden realisation, and I had been feeling pretty confident about the project all the way until then. But we pushed on.

New concept - Drafted by Anita Kwiecien
New concept – Drafted by Anita Kwiecien

We liked the idea of an unconventional presentation for our exhibition, so we kept the vertical aspect in mind when re-thinking our approach. We also decided to incorporate each individual practice into the piece, which in turn helped distribute the workload efficiently.
The idea became simpler in execution, but bigger in concept. One art piece composed by three standalone works. One with real footage (filmmaking), one with animation (self explanatory) and one with stop-motion animation (photography).
The concept remained the same. Giselle’s transition into the underworld. Leaving one frame to enter another in a quite literal sense.


From top to bottom, we would approach the different stages of Giselle’s journey into the underworld. Dying from heartbreak, falling into the underworld and finally her sorrow and despair at the realisation that she would be stuck there forever. Laying these down vertically would also create an obvious sense of geography as well as a literal downfall.

After establishing this as a plan, we started working. A group were to work on the middle

Clay models tray
Clay models tray

panel. They were to animate our character falling and create a layered background with parallax effect. Another group was to create the stop motion animation, which was accomplished at the Animation Suite. The models were all created by us, using modelling clay and watercolour paint. The picture featured to the right displays a few mushrooms, rocks, stalactites, tree roots and a tree. A puppet was also made using clay on a wireframe skeleton and cloth. The group also fabricated a dark environment inside a box where these models were arranged.

Another task was to film a shoot a dancer’s performance. We wanted something short to kick the piece off. We printed a flyer and distributed in the Benzie Building and at the 70 Oxford Street building.
An architecture student helped us achieve this rather smoothly. It took us about 40 minutes to set up a scene we were happy with. We were very impressed with Winnie, our dancer, and her professional performance. We had briefed her on what we wanted and she was very well prepared. It only took a few minutes for her to perfect the timing/performance.

Overall, we are very happy how things have gone considering the obstacles we ran into. We came up with a strong concept and unique execution. You can see a sample of how our piece is supposed to be experienced below. Watch in full screen:



Synopsis – The Host (Gwoemul)

Warning: This synopsis reveals the plot in full, including the ending.

The Host (Gwoenmul) directed by Bong Joon-ho
The Host

Korea, the year 2000. An american scientist works in a laboratory with his Korean assistant. They dispose of dangerous chemical waste into the Han River. An amphibious creature is sighted in the river years later.

Korea, 2006. Gang-du, a fast food shack owner is delivering food with his daughter Hyun-seo, when a gigantic amphibious creature emerges from the river attacking and eating people. When trying to escape, the monster grabs his daughter and disappears in the water. The gobernment issues a communicate explaining that the monster is also carrying a deadly unknown virus and that came in contact everyone must be tested. While quarantined at the hospital, Gang-du  receives a call from his daughter. She is alive somewhere in the sewers where the creature built a nest. Against all odds, he is able to track down the location of the call and rescue his daughter, who has also helped See-joo, a small boy escape. In the process of escaping, Gang-du’s daughter dies trying to save the boy.

After the creature has been killed, Gang-du adopts See-joo.

Synopsis: High-Rise

High-Rise, directed by Ben Wheatley

Warning: This synopsis reveals the plot in full, including the ending.

Dr Robert Laing moves into a luxurious tower block. The building’s structure reflects social status, as the residents in the lower floors are middle-class and the residents in the higher floors are high-class. The very top floor is owned by Anthony Royal, the owner and architect of the building. The residents of the tower socialise with others from their own floors, reinforcing the concept of class division, but after a complete power failure chaos ensues. The residents adopt tribe-like behaviour and parties are held in the hallways of the high-rise. The tension between classes escalates, people are beat-up, killed or forced into becoming maids.

Laing makes it to the top floor and has dinner with Royal, where the architect argues that the events that are currently taking place in the high-rise will ultimately lead to improvements at the newer buildings still under construction. Royal is shot and more people are killed.

Life in the high-rise has now become normal. Anarchy and chaos reign supreme.

Synopsis: Kill List

Warning: This synopsis reveals the plot in full, including the ending.

Kill List Ben Wheatley
Kill List

Jay, who lives with his wife Shel and young son, has not worked since a traumatic mission as a hitman in Kiev. Attempting to escape a stale relationship with her husband, Shel invites Gal, Jay’s partner from his hitman days and his new girlfriend Fiona to a dinner party. Gal convinces him to work  on a new mission to kill three targets. Fiona goes to the toilet and carves a cultist symbol behind their mirror.

The first and second targets seem to recognise Jay and are grateful to be killed by him. The third target is an MP who is tracked down at his mansion. There, they witness a human sacrifice ceremony in which Jay opens fire. The cultists kill Gal and capture Jay, forcing him to fight a hunchback. Once he kills him, he removes the disguise and discovers that it was in fact his wife and son tied to her back. The cultists crown Jay as he loses his sanity.

Kill List – Directed by Ben Wheatley.

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