After I concluded my interview with legendary musician Billy Bragg, I didn’t think the film festival could get any better. Of course, I was very wrong. I barely had time to breathe after reviewing my schedule for Saturday and Sunday. I had four interviews lined up with directors and I also had to be a one man band: both recording and conducting the interview. John Edington, director of “Robyn Hitchcock, I often dream of trains” was very understanding when I explained to him that I had to not only ask him questions, but carefully keep a steady hand on the camera whilst we spoke. Thankfully, the interview was relaxed, and my only problem was a tired arm. Edington explained how his documentary film was more than just a video of a concert performed by British musician Robyn Hitchcock. He used techniques such as camera angles, and editing to create more of an intimate feel to the documentary. Edington causally mentioned that one of his past works was Emmy nominated.

I had time to spare before my next interview. I hurried into the theatre where “Colin” was about to premiere. Video camera in hand, I was ready to record the introduction of the director Marc Price, along with the star of the film Alastair Kirton. I waited in the corner, along with my photographer, David. We noticed two men walking up next to us, and asking if they could hide in the corner with us. David and I exchanged glances, and realized we recognized one of the men, except we normally see him pale-faced with blood dripping from his mouth. We quickly realized it was both Price and Kirton, waiting to be introduced, but nervous for the audience’s reaction to their film. However, their film was a hit at Cannes film festival already, so seeing them still nervous and excited made me instantly like them. I ended up having to leave the theatre early. I knew that the blood and gashes were artificial, but I still couldn’t handle it.

A few hours later, I sat down with Stuart Hazeldine, director of “Exam.” His film explored a fictional setting where 8 job applicants are told to stay in a room for 80 minutes, while trying to find an answer to a question that has not been made apparent. I asked Hazeldine how he managed to keep the film interesting, while only being filmed in one room. He simply explained that different camera angles, and close ups will make the audience forget there’s no change of scene. I made a point to watch the film, needless to say I was kept on the edge of my seat, and hardly noticed it was shot in only one room.

On Sunday, I got the chance to interview Oliver Ralfe, director of “Journey of the Childmen” and Dom Shaw, director of “All the Years of Trying.” Both films were documentaries. “Childmen” followed to British comedy troop The Mighty Boosh. Dom Shaw’s film focused on the musical influence of punk artist Patrick Fitzgerald. Both directors were happy to share some of their time with me to discuss how they created their films.