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get into it. I am with Tasha Natasha, who is a filmmaker, correct? Correct. So what I'm gonna just ask is if you introduce yourself, tell us who you are away as you do. And then we'll go from there.
Sounds good. Yeah. My name stash. Natasha. I'm a filmmaker, Director, videographer, I edit I write basically all of the things that I produce stuff as well. Yeah.
Okay, so my first question, which is a question that everyone is, how did you get into what you do? So I'll say, What do you How did you get into filmmaking?
And so I originally studied, I'm from Switzerland. And I originally studied kind of graphic design, and Switzerland's and did graphic design for a while. And then I did a semester in Melbourne, actually, in video production. I was like, Oh, my God, I love this, like, fell in love with like filmmaking. And then I came back and said, I'd love to as a bachelor project, do a film. And they were like, yeah, yeah, you can kind of do that. And then I made a film about masculinity. Back, that was like my bachelor project. And then just fell in love with it. It was like, This is what I want to be doing for the rest of my life. And then came to London did an internship and production companies worked for different production companies did all sorts of roles from like, runner, to, AC to, you know, all of the stuff that you do when you're kind of starting out? Yeah, and yeah, that was like six years ago now. Wow. Yeah.
So you've been in the industry for six years? Or did you start, like, longer, if that makes sense?
So I've been in the industry for six years now. Roughly, yeah, yeah.
Okay. So um, how did you get introduced to creative works? Like how did the creative work relationships up?
I think I'm trying to remember this because it's been a while. I think I was Googling office space. Yeah. So I was Googling office spaces in East London, and went to see when to look at a few. So I went to look at one in later, I went to look at another one. I think Clapton and then came here. And just really liked the vibe. Love the people. Yeah. And then just was like, Yeah, this seems like the right place for me.
That's awesome. That's awesome. So in regards to your relationship with creative works, you've done quite a lot with us. And there that so to speak a bit more on like, the birth of your shorts nights and where it's going.
Yeah, so the short film that that I organised is, I can't even remember how it started. I think it was having a conversation with Elena about like, short films, and that there's not really a space for like, short film nights. And I'd be like, Sofar sounds. That's, you know, this like music venue, where it's like underground concerts, and it's like, in weird places. And I felt like it'd be nice if there was something similar for short films, like not a kind of stuffy, you know, pretentious kind of short film Night, but something a bit more casual, and people drink wine and just watch funny films together and get drunk. Yeah. And so basically, I wanted to create something that I would want to go to yeah, like I wanted to go and what and there's also a lot of short film nights that show really shitty films, it was really important to me that I selected films that I thought were really amazing. Yeah. And for different reasons, and films that we can then talk about and films that were just interesting and promote, like, a bit of a thought. Yes, you know, so I think yeah, and then and then it was like, maybe there's a topic for each one's and then we came up with like, having a topic for each kind of screening and then selecting the films based on on the overall Topic.
Topic because you've done two so far. Which is awesome, because we did and we didn't want to in collaboration with London Design Festival. How did you find that?
That was really nice. Yeah, that was the first one we did identity. That was really nice. Yeah, yeah.
Nice outcome.
That was a nice outcome. And lots of people came and enjoyed. It's just nice to watch films together. Like yeah, to be honest. I think it's one of the best things in the world is like drinking wine watching films. Yeah, why not. I love it. So and then talking about it. And so yeah, that was really nice. That was on the topic of identity, which can mean so many things for so many people like it's such a wide topic. Yeah. That it like a lot
of different perspectives. Yeah.
Yeah. Yeah. Which is nice. Yeah. And also like to mix it up, like having documentaries mixed with animation mixed with kind of narrative pieces. I feel like it's interesting as well, too. Because usually there's like, there's a documentary film festival or there's, you know, a narrative, whatever. Yeah.
Like just a topic. Yeah. And then letting people just, well, not just people by letting filmmakers just use their imagination and their perspective of what the topic is. Yeah, exactly. Yeah. Nice. Yeah. So to kind of like, follow up on perspective, and like myself, I'm a creative myself, I do photography, occasionally have a videographer. So I know like with photography, I look at photography in the same light as literature. Because a picture and a book are just words in general. everyone perceives it differently. So in a sense of your form of filmmaking, how do you make it in a way for your audience? To see what you're seeing?
Such a good question. How do I make them see what I see? And I think I can only do that to a certain degree, like you say, I think that's the beauty of filmmaking only kind of creative thing is that it's, there's room for interpretation. Yeah. So I think there's that what I've recently kind of discovered is like, sound design is such a massive, massive thing. Like, I kind of taking them on a journey, not just visually, like making sure that the visuals are what I have in mind. Yeah, but the emotion often then also comes from like, the sound and the music that you link to that video. So I think that on Yeah, I want people to watch myself and feel something that's always been my thing. Yeah. Like, I want them to feel whatever that is, if it's creating joy, if it's love, or if it's or you know, whatever it is feel weird, whatever. But like they need to feel something and having the right music is like I spent, and this is the other thing I spend so much like half the time choosing the shots or coming up with a shortlist or finding actors. And then the other half finding music like definitely is equally important. But you know,
I do find that. Like I said, I do a lot of edits. So sometimes the shot or the pace of the shot has matched a piece of the audio. But then at the same time, sometimes I like to mess around with audio. We've already edited stuff. So for example, like we're trailers, like, for example, in my head, a lot of people will argue that, to me, generic is a comedy. But that's my personal opinion. So I feel like if you change the trailer, the pace of the trailer and change the music, it can actually come across as a comedy and not just action. So I find it really interesting how sound does make a big difference to away anything that you are watching. And it's really amazing
100 of percent, it makes such a difference and makes all the difference. But I think it's also you know, sound makes a difference. But it's also important to who you select, like I do a lot of dance stuff and collaboration to like fashion brands and dancers. And for me, then it's also important. I think as filmmakers, we also have an obligation to not just always show the same people, you know, not just always have like, skinny white girls dancing, but that we showcase different types of bodies, different people. And like, I think that's equally important of telling stories and, you know, people resonating with pieces if they can't see themselves in the pieces how they're going to resonate. Yeah. So that's something that's also really important to me. And sometimes I've clashed with people, you know, with photographers or people that wanted just a specific certain look, and like eyes zero for the models. No, like, that's not the kind of films and things I want to make like. So yeah, yeah, that's also important. Yes,
definitely. issue. So okay, so my next point is to deal with the write club. So I will say, like I said, to even show you last week, if I'm correct, I think that it's a shame. He's an OG member. And like yourself, so you see the progression of what it was. So what it is now, how do you feel the how'd you feel the right club has helped you move your creativity?
Massively, I mean, yeah, write club. I think I was also one of the first members of write club, and I loved it. When I saw the post. I was like, yes, fuck, yes. I was really excited about it, because I wanted to get into writing, but I kind of didn't. Because I've done all the other stuff. Like I didn't feel like that was something I knew enough about. So I was like, this seems like a safe space to come and explore and like, start you know, and then I think it was also lucky that there were other people in the group that already have experience, you know, yeah, experience in TV writing experience in script writing. Yeah. So it was lovely to just kind of be able to try different things. And yeah, it's such a great I love it. I love coming in on Wednesdays. And because I don't, I'm not in that often anymore. Because I want to say quite a lot, and I'm filming. But I always come in on Wednesday to like, do write job. And yeah, it's also think good just to block out that time and write. Like, when I get busy, often I'm like, oh, but the write, you know, that goes to one side. And Wednesdays make me on the write club makes me prioritise it. Yeah. And sit down and write. Yeah. And also exchange with other people. You know, like, if I'm writing something, and I can't, I'm struggling with this character. And then I speak someone else who's struggling with something similar. Like, it's nice to get feedback. And also, accountability.
Yeah. Like, that's awesome. Because, yeah, I do know that a lot of the new members you already know. So you've also introduced a lot of people that you know, to the write club, which is awesome. Love it. Yeah. As well as the fact that you've also made friends. I don't know. What did you and Sam know each other before?
Or we knew each other before?
Yeah, yeah. Cuz I will say that that was a awesome collaboration as well. Because in one of I don't know, I didn't come to the second shot that night. But on the first shots night, he was also featured, within a short, so
that's awesome. Yeah, Sam is a friend of mine. And he's an actor. And I showed one of his films that the short of short film screening and then I told him about the right time, he's like, yeah, when it comes to that, and like, that's how it is, I think with with lots of creative stuff. It's like it feeds each other. Yeah. One thing leads to something else. And I think that's beautiful. And also, I mean,Shray, someone I met Yeah, right club, you know. So now we, we've become friends and we do stuff together. And it's, I think that's the beauty of creative works. Like you actually meet so many lovely inspiring people, different people and people very diverse.
Everyone's creative sector. Yeah, because there's so many different types of people. There's some people here that you might not even think you need, in the sense of whatever project you're working on. And then randomly you're like, Oh, I might need a new colorist. And then they're like, wait, I work in a place where I think there's at least two, so yeah,
yeah, it's random. Also, you meet people, like I've gone to the drinks thing, times, and then I met someone who's Swiss as well, like, all these different links that you then end up having people and collaborations that happen. Yeah, it's really cool. Yeah, so yeah.
So in the sense of like, networking, I know, with your shorts, that you have your panel at the end, and then the networking. And you know, we do a lot of networking events reveal creative works. How'd you find that? Because I don't know if you ever have you ever come to any of our ones where there's like external people? How do you find like, in the sense of,
I don't think I ever come to any of the external. I'm not sure actually. It's gonna come to trade. And I miss that. Oh, yeah, networking. I mean, I think it's very important as a creative. It's, it's all about the people, you know, yeah. It's all of you can have the best skills in the world. But if you don't know the right people, there's just no point like, yeah, you need to know the right people. So I think networking is key. And it's also just nice. I think sometimes networking can be a bit forced, or Yeah, if it's like, now you need to network and that's why I love with the short film, they it just feels a bit more. Like, yeah, you know, you're all having a drink. And you've just watched these films. Yeah. And then you just end up speaking about and you end up talking about the films afterwards. It's just feels more natural. I like networking, it feels a bit more natural
is I find, what I've found in a lot of events that we have, we have had here is that we have like the panel talk or the showcase of whatever it is that we're showcasing. And then naturally people gravitate to each other after. So no one actually announces, okay, we're going to network now because I find that so much more awkward. Whereas it's finished, and then everyone just ends up. makes it okay, this few drinks, that's food, help yourself and then people then naturally then start network and I find in that way, it is so much more better than when someone didn't say okay, now network is like, now I feel like I have to talk.
Yeah, yeah, I feel like networking sometimes feel a bit like speed dating. Yeah. And it's a bit like, Okay, tell me everything about you give me your best qualities right now. And like, why do I need to keep talking to you, and it feels a bit intense. But if it just happens naturally in you, you know, then it's better to eventually gravitate
to each other. Yeah. So since you said you've been in the industry for six years, that would be fairly new, if you think about it. So what advice would you give to anyone who is Starting off, or even someone who is like, was in the industry, but it's not really working out. So they're not really sure what to do like, what advice would you give them?
I would say, work yourself up from the from the bottom, I think, I think especially in the creative industry, there's a lot of directors that just want to be directors and they come in and make, they don't want to do the other jobs. And I feel like I mean, I was a runner on production company I worked, you know, did all sorts of jobs. And I think it's important to just kind of work yourself up and do Oh, don't be like shy of doing other jobs. Yeah. Like, if it's not working out as a director, try the producing or do cameras testing. It's good. I think also, the best people in the creative industry are the ones that have done different jobs. Yeah, I feel like as a director, it makes me a better director. I know what the camera departments doing. Yeah, I've been a camera assistant. I've done camera work, like I know specifically what they're doing. Yeah. And I think the best people in charge are the people who have done all the jobs below. Yeah. And they know what it's like as well. They have an understanding on my sets, like, people are all treated equally, whether your camera department or you're a runner or whatever, like there's no, because you're an actress, you're treated differently to cameras. So that's just not the case. And I think the industry needs more of that. Yeah, of people who have done lots of different jobs. Yeah,
I think that means I feel like that works in everything. Once someone has done the, if you want to put it on like a tear, once you've done the bottom tier job. Yeah. And now you're at the top if you want to call it that, you then have like not sympathy, but you have an understanding on how the people below you or your employees feel because you was them before. So I find in that sense, it does make it much more fair and easier.
100 percent
yourself as a freelancer or Yeah,
yeah, definitely freelancing.
advice would you give regarding freelancing?
What advice would you give regarding freelancing? Yeah, that's enjoy the ride. Yeah, joy, because it's waves. It's like, yeah, it's waves were like this weeks, we have so much work. And then there's weeks where don't have a lot of work, and you just need to be prepared to ride the wave. Yeah. And I enjoy that. And like, enjoy the freedom, I think as well, like, you know, sometimes I'm not working on Tuesday, and then I can go to the site and there's nobody there, you know, but then I need to work on a Saturday or Yeah, I think, yeah, well, then I can, you know, go for a week go somewhere and work remotely because I can, but then I might not have that stable income that people might not. Yeah, it's just different. But I think it's something that you either like, or you don't prefer the stability. Yeah, I kind of like that every week is different than Every job is different. Like that. But that's each have their own. But it's definitely it's a lifestyle more than just a job like it becomes. It takes over. Yeah, yeah.
I do have one question is more of like, what would you say is your favourite project you've worked on?
Well, that's a good question. Yeah. Favourite project? I've worked on lots of like, last year, but I love Yeah. Honestly, one of my favourite projects at the moment is I'm writing a TV pilot. And I'm so excited about that, like, you have mentioned it. Yeah. So I've done like some kind of test runs or like table reads with actors. And seeing something that I've written, being acted out. Just gave me goosebumps. That to me is like, because I've always been on the other end, where I've gone scripts, or I've come and filmed something and edited it. I've never been at the beginning. Yeah, where I'm writing the story. And then it's coming to life. Yeah. So that's making me really excited. So
how long have you been working on this? Because you've been speaking by since last year, amazing. Many, many years. How long have you been working on this one project?
I probably been working on the script for a year. Yeah. But I think I think scripts are underrated. I think scripts take time. And they go through stages. And I think also another thing that I've learned in the industry, you make a lot of shit. And then you make some good stuff. Yeah, like, I wish someone had told me that. You know, years ago, I think you just make you have to make lots of stuff, make lots of mistakes, lots of shit, and then you eventually make something good. So I went through stages and drafts of the script that were terrible. That was shit. And now I think it's at a point where it's good, but it had to be like go through those stages. Yeah. It just takes time. Yeah.
Because especially in like, you're talking about writing the script for pilot, which is literally just one episode. Yeah. And the fact that it's taken a year, which is actually a good thing, because it's your first time as well. So that is that is actually good because some people it takes them like two years to even just write one chapter So I have a episode that is, that is really awesome. And I do recall you speaking about if I'm correct. I can't remember if it was a podcast or if it was a script regarding cereal.
Yeah. My all time favourite podcast in the world if you haven't listened to it is down. Okay. Yeah. Which is incredible. Yeah.
How How's how's that going? Like, because I remember you and your friend speaking about it one time. Write club and he was talking about like cereal and they've been like a midnight snack. And
yeah, yeah. So the so the Cereal podcast, or YouTube, I think you're talking about the cereal thing that I filmed? Yes. Yeah. Yeah. Yeah, basically. So I made years ago made a film called Late Night, darling. Yeah. And it's about people eating late at night when they're by themselves alone. And so it's a bit about loneliness, a bit about solitude and a bit about what you do when nobody's watching. Yeah. And so I wish we all do it. Yeah, nobody's watching. Let's go. And so I did that in Zurich. And then I always wanted to make a London version. Okay, people in London, and I feel like London is a lonely city. Yes. Very. It's such a lonely city. And I feel like this then also difference between loneliness and solitude. So you can be happy by yourself. And yeah, and it because it's also such a big city. Like you're lonely when you're surrounded by people in the bus. You're not alone when you're sitting alone in the office, and nobody's here. Yeah, that's a moment when you can maybe breathe. And you're like, Yeah, well, for the first time in a long time, I'm by myself. So there's a difference. There's a difference. And so yeah, I've started shooting that here with a friend of mine. And we're shooting different scenes in different places. One of them was in creative works. I recall. So the scene we shot was a girl in the office, and it's late at night. And she everybody's left the office, and she's kind of by herself. And she wanders around, and then she takes some cereal on someone's desk is like, just completely perfect. She's eating cereal and running around, running around with the chair. And then she like, dribbles a bit of cereal on that perfect desk, and like she does stuff that's, you know, maybe a bit mean, but she just embraces kind of the office having the office to herself. Yeah. And doing weird stuff.
Yeah, I do know that feeling. Because when I used to work in the office, I used to love actually working by myself. It was because in a sense of like you said, with loneliness. There's a difference in the sense of like, if you go home and you feel lonely, some people do enjoy their own company. But then after a while, it's like, I'm literally just doing the same thing day in and day out. But I find sometimes at work, you don't always want to talk to someone, sometimes you just want to sit there, maybe just have your music playing and just do what you need to do. So when I used to work in the office, it used to be two people in the office. So when I used to be by myself, I used to, I used to love it. So I 100% know that feeling? Yeah, no one really just there's not that fourth conversation. Yeah, it's just if someone wants the covenant does not say what Yeah.
Yeah. Yeah, honestly, like I'm shooting. On Thursday, we're shooting another scene for that in a gym close by. Yeah. So we're shooting the scene in a gym with a guy that's, he's on a treadmill. He's in the gym by himself. It's late at night, everybody's left. And it's a bit more about body image. And here like struggling with his image. And I think a lot of the time we talk about that when it comes to women. Yeah, but he is a guy. I feel like he also has, you know, he's bulimic. And he's struggling with the way he looks. And so he works out. But then he goes to the fridge and does some binge eating and then throws up and it's like, it's his story of like, he's alone. And he's doing what he wants. And he's doing a little weird dance. But also, it's a bit of a dark story because it showcases his body image. Yeah, struggle,
again, referring back to what we were talking about originally, with identity. Because even though this short film is not based on identity, it's based on loneliness, as you said, each scene does still even shows each person's identity, which is really interesting, because when we were watching the short films for identity, it's quite interesting watching everyone's perspective, and everyone's idea of what identity is because there's so much the word identity, it's very, I don't even know it's not it's not niche, but it's very diverse. That's I will say, it's a diverse word. Because you can have more than one identity, but is whichever one you want to like. Show. So that's, I think that's the beauty of filmmaking, or any form of like, showcasing artwork. So whether you're a painter of director, filmmaker, photographer, wherever you want to even write for as well, wherever you want to Do is there and again, like we said, so many people can look at it and see so many different things, which is the beauty of the art.
That's really Yeah, that's the beauty of the art. Like everybody has their own interpretation like Yeah. And I think that's I often watch, like, we have this film night at home, and I watch stuff with friends. And then we discuss discuss the film's and it's like, yeah, you know, the stuff that I've picked up on is different to the stuff that other people have picked up on. And it's just, yeah, that's the beauty of filmmaking.
So I have one final question. And then I'm gonna go to the question that she
Srei This better be a good question.
So my question is a bit difficult. I don't know if we'll be able to answer it. But what was the first thing you saw? Which made you realise, yes, this is what I this is why I want to be a filmmaker.
I think one of the first films I watched that I thought was deeply inspiring was wild tales. Okay. It's a film by an Argentinian director, and it's set in Argentina. And it's basically different short films, all strung into one. And the short films are linked by emotion, which I think is just really beautiful. Like they're not, it's not like, you know, this is about this. And there's, like, they're all linked with this one emotion and the emotion is revenge, okay. And it's just done in such a beautiful way. And I watched it, and like, all the characters had this moment of like, snapping and being like, Fuck this, like, I'm just not, I'm just, I'm just gonna do what I want to do. And it felt a bit like, it's really nice that in filmmaking, you're able to do that you're able to take characters to a place that we as humans don't go and can't go. But you can live out your darkest fantasies, and you can take characters to these places. And that felt really nice. And also, it was just funny. Like, I remember thinking, this is so dark. And this is so funny. That yeah, I was just impressed by by all of it by the storytelling and the script. And the characters, just the whole thing. Just the whole. That's lovely. Yeah. Anybody who hasn't seen wild tales, go and watch it. Yeah. It's
interested. kind of watch it. So his for the big question. What has been your biggest failure?
Easy, okay. I guess like I said, I think you have to make a lot of shit to make good stuff. And then I remember, I made a short film. When I first came here, I was directing. It was like my first directing of a short film. It was about knife crime. And it was about this kid. And I just didn't know what I was doing. I just didn't know what I was doing. And just to add, hadn't worked with the DP before. Kind of there was someone on set that I should have sent away. She was doing a terrible job. I should have just been like, you should leave. Yeah, we didn't do all of that. Like, I made so many mistakes. Yeah, I made so many mistakes.
But as long as you know, that's all that matters, right? Yeah.
I mean, and then work from it. Yeah, it's definitely a lesson and I want it back and like, yeah, cringe. It's terrible. But it's I learned from it. And I know like each mistake you make, you're like, I'm never gonna make that again. Yeah.
Yeah. Okay, so now it's just your turn to write the final question. Who's that? His?
Is that the question that was?
I'm trying to think what would be a good question.
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