When did you first get involved in filmmaking?

I started making some absolutely bizarrely terrible films when I was 14. The first one I ever made was called the Fajita Fatality which was a murder mystery Poirot spoof about a magical, murdering Fajita.

I’m definitely trying a bit harder now, but in the same way that posting a photo on Instagram doesn’t make you a photographer, back then I wasn’t really a filmmaker. I was just messing about with my friends.

How have you changed since then?

I’m taking filmmaking a bit more seriously and, besides food, there are definitely other influences. When I was younger I watched a lot of Tarantino and I remember seeing Reservoir Dogs and thinking “Films can do this”. I actually put it on as a play in Pembroke Cellars a few years back, which was an interesting way to explore the differences between directing theatre and film.

What are the differences?

For the actors, it’s all about telling them to do less; the tiniest facial movement can portray everything. I like to be in control of what I’m making. When I was directing Reservoir Dogs, the producer dropped out at the last minute so I ended up doing it all. Although I was very proud of the production, I hated the lack of control. I just wanted to make it perfect and film lets me indulge my perfectionism.

Would you say a space is developing for film? Is it starting to challenge the dominance of the theatre scene?

There’s a long way to go, but we’re definitely making progress. I’m part of CineCam and lots of freshers have shown an interest in it. With films, there’s less structure than plays so it’s harder for a society to organise. But this means it becomes an individual effort and we have more freedom to enjoy ourselves. I see some in the theatre scene who take it so seriously that they become ruthless but it should just be about friends trying out new things and that’s what I like about student life in general.

You really captured student life in Last Night. Do you find Cambridge an inspiring place to work?

Definitely! Professional film makers would pay thousands to shoot in Cambridge so I thought: “Why not use what’s on offer?” That’s why there are so many shots of the city and the river, as well as the nightclubs. There are also so many interesting things going on in people’s lives here that we don’t need to make a film about saving the world because daily themes, dealt with well, can be very engaging.

The main theme is a very sensitive one. Why did you want to make a film about rape?

The fact that rape happens so close to home and I know so many people affected by it really disturbed me. At Cambridge, you feel like you’re safe but it’s a very real issue. I still don’t understand it, but I was compelled to make the film to work out how this could happen and what leads to it happening. There are so many incredible women working to change the situation and if they weren’t doing the work they’re doing, this film probably wouldn’t have happened.

What was the reaction to the film?

I had lots of amazing messages thanking me for raising the issue which was really moving. If the film can make just one person realise the terrifying fact that sexual assault isn’t about some stranger in a dark alleyway, then it’s worth it.

What else have you been making? Have you any projects lined up?

Recently I’ve made trailers for Tribes and Living Quarters which is a very different process. There’s no narrative to work with and you’re carrying out the director’s vision which can still be very satisfying. But I’m looking forward to getting back to directing my own films and I’m making a film about bullying with Nathan Miller called Outsiders, which is very exciting. I’ve also got one or two other projects on the go but I don’t want to give too much away. You’ll have to wait and see.

If you are a student artist, band, musician, poet or any other type of Cambridge creative who would like to be featured in this series, please email interviews@varsity.co.uk