Taylor

When the script for ‘Taylor’ landed on my desk we were midway through the first pandemic enforced lockdown. During this period, I had spent time reflecting on the work I had made to date as a director, and what kind of work I wanted to make, if and when the world returned to some sort of normal.

At first glance, I wasn’t sure ‘Taylor’ was the right fit for me, even though I knew I needed another narrative short or two on my reel. I had no issues with the concept, but I’d seen enough British made short films, which felt issue driven and earnest, rather than story driven and sincere. I was worried this might be the same. But, I was wrong.

My first impressions of the script were two-fold. Annie’s economical, empathetic, and evocative storytelling was a breath of fresh air, and especially impressive given it was her first script. The second was a deep connection to the characters, who felt authentic. However, crucially, what really stuck with me after repeated reads was the notion of falling in love, with life, and the act of living. That was how I connected to Taylor, because I too had been in that position at times throughout my life, some very recently.

This was also definitely a by-product of the moment we were in; lockdown, separation, hiding, avoidance, these things became more prescient as I contemplated taking on the project. And then it hit me, that was how I felt I needed to approach the film, not as a queer love story or queer story, but as a story about finding love in life, maybe for the first time. This was also key to determining whether it was my story, and my truth to tell.

I was raised in a diverse and inclusive community encompassing gender, race and sexuality, so I felt a connection to the material that went beyond superficiality. However, I would be lying if the question of whether I was the right person to tell this story didn’t cross my mind numerous times throughout the journey from the page to the screen.

Initial discussions with friends and family allayed some of my concerns, and they also made me more determined to approach the subject matter with sensitivity, empathy, confidence, and wherever possible, avoid cliché and harmful stereotypes.

For me the film had to speak of a universal experience that anyone could connect with, and fortunately I was surrounded with a diverse team, who all brought their own unique life experience to the project, as well as something intangible, which I hope is felt on screen.

This wasn’t an easy production. Shooting with covid regulations was a fairly new experience for many of the crew, however, it kept everyone super focused and sharp, particularly on the demanding days where we hit a few bumps. And it’s made what we’ve achieved even sweeter.

I’m incredibly proud of this film for many reasons. Everyone committed to it, and they brought a beautiful vibe to it, right up until post. I’ve also definitely made lasting friendships and collaborative relationships.

I hope ‘Taylor’ can be a fruitful film for me, and many of those involved, but the thing I will always take from it, is that it gave me something real to focus on during a period of uncertainty, and it made me fall in love with directing again, after a long time away from it.

I can’t fully pinpoint all of the influences and places my vision for this film came from.
Some came from my past and my childhood, some from more recent experiences and the things we face every second of every day. Some came from the stories of friends and some came from those few months of living in what felt like a real-life Black Mirror episode. Some also came from my lifelong love of the colour Yellow! But mostly it came from my heart, and my gut. Collectively it’s a recipe I hope I can reproduce again, and hopefully with some of the crew I worked with.

I don’t know how people will respond to the film, but what I do know is that the film is best enjoyed as a double shot, of love and life. So, knock it back! Then let it knock you out!

Thank you,

Isaac