Where/when did your passion for film making ignite?

I would say it’s definitely been there since a really young age, certainly all the way through school it was something I always thought and talked about, and most of my work/decisions were geared in that direction. I’m not sure where the initial spark came from [my parents are both hairdressers, so it definitely wasn’t from them], I guess it just came from watching a lot of films when I was a kid. Big cliché I know, but I was a massive Star Wars fan, so I think George Lucas was the first time I really realized what a ‘director’ was, and I started looking into his other films and career. I remember seeing THX-1138 and American Graffiti and loving them, and being amazed that he had actually done other stuff besides Star Wars. After that, I started looking at other films and directors, and really it all went from there. My brother and some of my close friends were really into film as well, so I’m sure that helped.

How do you integrate your Graphic Design degree into your films (if you do at all)?

I don’t know if there is any real conscious integration, but I’m sure there has been some influence. It’s actually one of my biggest regrets – not particularly studying Graphic Design – but certainly the place and course that I studied. I did a year in London, at Camberwell College of Arts which was great, but then I spent 3 years at the University of Brighton which was awful.

I made it clear in the interview that I wanted to make films, so wanted most of my work to be moving image based. But as soon as the course started it became pretty clear that that wasn’t going to be the case. Everything was really typography specific, and I had some really negative tutors that basically weren’t at all interested in supporting what I wanted to do. It just ended up being a really unproductive experience that I could see I wasn’t going to get anything from. So I bought myself a minidv camera and started shooting little ‘films’ and teaching myself how to edit. That was probably the most useful thing I did in the whole 3 years.

I’m not against studying Design though; I know a lot of famous directors in the past have studied it. It teaches you a certain visual discipline and awareness – I just think I took the wrong course.

Are there any film-makers specifically you take inspiration from?

There are loads of film-makers that I really admire, too many to mention. I couldn’t say specifically who I take inspiration from, but I would say though that my favourite directors have always been Scorsese, Kubrick and Hitchcock. Of more ‘modern’ directors I think Paul Thomas Anderson is the one that would stand out above everyone else. Documentary-wise, I really love the Maysles brothers, and have definitely been inspired by their work, especially ‘Grey Gardens’ and ‘Salesman’.

Where does your inspiration for your films come from?

Just from everyday life I guess. Most of my documentary work is very much in the realm of the ‘character study’, so it’s all about meeting those interesting characters. Sometimes it happens completely randomly [like with Mary], or sometimes it might be on a job, or through a friend.

Of course I’m also inspired by something I see on TV or at the cinema, or in a book etc.

Do your childhood experiences influence your films?

I’m sure they do in some way, though I couldn’t really point to anything specific. I haven’t made anything which is in any way autobiographical. But I guess your experiences as a child help to mould the person you are today, so I’m sure in that way it has had some baring on the things that influence me, my sensibilities, etc.

Is there anyone you would particularly like to make a film about?

I’d really love to make a film about The Ultimate Warrior – the 80’s WWF wrestler! That would definitely be something that would link back to my childhood [or have I already missed the boat on that one?].

Whilst travelling across America what enticed you about Mary herself?

She is just one of the most charismatic people I’ve ever met. I travelled across the whole of America and met some really amazing people, but without doubt the memory of meeting Mary was the one that stayed with me the longest, and was undoubtedly one of the highlights of the whole trip. My biggest worry was that someone else would have ‘found’ her first, because I was so intrigued by her, and I felt sure that someone else would have felt the same way I did and gone ahead and made a film about her. Luckily for me they hadn’t.

What was it about Mary that attracted you to finding out more about her?

I think it was just an instinctive thing. I remember when I first met her, it really was one of those ‘eureka’ moments that doesn’t happen very often [for me anyway], and then stays with you for a long time afterwards. When I left Mary’s place after that first meeting, I turned to my to my friend that I was with on the trip and said that I had to make a film about this woman. I remember being slightly depressed afterwards though because I was worried that it would just be one of those things that you say, but maybe deep down you don’t actually think that it might realistically happen.

She sounds like a very strong willed lady, how did you convince her to take part in the film?

Well about a year later, I was still thinking about our meeting, which pretty much made my mind up that I had to at least try and make something happen. I was looking for a new project anyway as the one I was working on at the time had just fallen through, so I decided to try and contact Mary. I searched for her number for ages, but couldn’t find it listed anywhere.

Luckily, I found a short article about her that a journalist had just written for the local newspaper. So I got in touch with the journalist and asked her if she would go out to Mary’s place and get me her number, which she did. From that point on, it was about six months before I actually went out to shoot the film. At first Mary wasn’t sure she wanted to do it – in fact I think she was unsure right up to the point that I actually turned up at her door – but I basically started phoning her on a regular basis and talking all my ideas through. I also sent her a DVD with some of my previous work on it, so I think all of this helped to reassure her.

What does she want to do after the shop closes?

Unfortunately the shop has now closed. One of the main themes in the film is that because of the rising gas and fuel charges, the passing trade that Mary relied on for her business, just completely vanished, meaning that nobody was stopping at her shop anymore.

So, in an effort to generate other income sources, she started building all these amazing one-off pieces of furniture. She takes old and broken furniture, doors, wood, etc and reimagines and recycles them into these incredible, huge original pieces. I think it’s totally mind blowing that this woman builds all of this stuff completely on her own, having had no training or help from anybody.

The problem is that, as with her shop which was packed full of all this hugely eclectic and collectable stuff, no one in Kansas could care less about it. Undoubtedly, if she lived somewhere else, she would be a very rich woman.

What was your favourite piece in the shop?

I didn’t really have a favourite piece. Mary has got so much nice stuff, I couldn’t really choose. She has some really great original Coca-Cola stuff that I really liked, old fridges, signs, etc. But I really liked her furniture as well [though it would all be way too big for my tiny flat], it’s just so unique.

Did you buy anything of Mary’s during your time?

Yeah, there was so much stuff I would have loved to have bought, but obviously most of it was too big to fit in my luggage and bring back. But the first time I met her on the road trip I did buy a little ‘cactus’ salt and pepper shaker set, which still sits proudly on my shelf.  Then when I went back to shoot the film, Mary became intent on trying to give me half the contents of her shop. I had to really watch what I said in the end because every time I made a comment about something or said I liked something I would find it hidden in my suitcase that night, which would then cause a long standoff when I tried to give it back to her. She has an amazing collection of old records, and I did eventually accept some old Jonny Cash and Elvis LPs from her – she is far too generous for her own good.

What are your hopes for the film?

I would like it to have a decent run on the festival circuit, and hopefully get it broadcast on Channel4, More4 or the BBC. Anything after that would be a bonus – I just want it to be seen by as many people as possible really. I would really love it to draw attention to Mary as well, so that she would benefit from it. She certainly deserves it.

When is it going to be released?

I’m waiting to hear from a few festivals, but I’m hoping it may show in Copenhagen in November.

Are you working on any other projects at the moment?

I’ve just finished a short piece about an estate in Stratford that is being demolished to make way for the Olympics, meaning all the residents are having to be rehoused and relocated. I’ve got a few other documentary ideas that I’m developing as well and I’ve just started writing a script, so I’m really keen to move that along.

Where do you see yourself in 2 years?

I’ve recently signed with Mad Cow Films in London for commercials representation, so I’m really keen to develop that side of things. I’d like to still be making documentaries, but I also want to start doing more narrative work as well.

What is your ultimate goal?

My ultimate goal is to work with actors and make feature films. In the meantime I just want to keep working and learning things along the way.

Finally, who are your IDOL’s?

Jerry, George, Kramer and Elaine.