I started out in radio, living and working in a cafe/gallery in Liverpool by day, and by night making little radio features that went out on the local radio station.
Many of the stories I recorded would be about the customers who came into the cafe. They got me noticed, and within a couple of
Heartfelt, intensely personal storytelling. When you watch a
Telling the stories of people whose voices might not otherwise be heard. Young women like
There's this moment when the person you’ve made the film with watches it back. It's really exciting but it's also terrifying. When you get it
A good storyteller. Who is open and honest and surprising. In
People are more important than films. Tread gently and kindly, and you'll be fine.
I think you can get uniquely close to someone by looking into their eyes. From being thrown into their world, and out of yours, if only for a moment. That’s very special.
A couple of years ago, we were asked to make a film for one of the Queen’s charities. We were working in Northern Kenya with an eye specialist called
When he started at the hospital he worked alone with just one nurse, treating fifteen people a day. But slowly, he built a team and last year they treated 20,000 people for avoidable blindness. For me,
Make friends with other filmmakers and collaborate. It’s the quickest way to learn. Get yourself a really good pair of shoes. Finally, dream a lot.
Last year, I went on the filmmaker Werner Herzog's Rogue Film School (a man who claims he never dreams). It was very intense and eye-opening. Herzog is
See more of Benjamin's work on the
Director Jennifer Peedom shares the all-to-common mistake made by emerging documentary makers and how she plots a story while still expecting the unexpected.
Getting a striking portrait can depend on a lot of variables. Here experienced professional Richard I'Anson shares his valuable advice.