When I was a kid, I used to present 'films' in my Mum's front room by using toys as props (particularly my brother's Millennium Falcon) and writing the credits on pieces of paper. If I messed up, she had to sit through the credits again while I got it right. Storytelling has always been what I love, and I'm just as resourceful now as I used to be when I was a kid. I've recently functioned as a one-man film studio - scripting, storyboarding, filming, sound recording, editing and colour grading projects that wouldn't look out of place on a cinema screen - and my most recent short film was selected for the BAFTA-qualifying Aesthetica film festival in 2022, where it was nominated in best drama. I've filmed and cut projects with the BBC, Royal Academy of Music, World Monuments Fund and lots of individual artists, and assistant-edited on high end work for the likes of Netflix and ITV, in pursuit of cutting my teeth so that I can call myself a filmmaker.

After moving to London at 18 and training as an actor, I lived and worked there for 18 years before branching into directing, shooting anything to hone the craft and bringing a natural storyteller's eye. I've always been quite handy with technology, so picking up a camera and learning how to cut footage was relatively straightforward - the hard part is knowing how to tell a story, which with my acting foundation I'm well versed in. With any project, the aim is always the same - to gain the viewer's empathy and leave an impression on them. If it doesn't grab me in some way, I know it won't grab them either.

The philosophy behind Deep Cut is that, generally, when I'm working on something, I tend to go with my instincts and pursue that in the telling of the story, following whatever curiosity and excitement there is, hopefully ensuring that whatever I end up presenting to be watched 'cuts deep'.