‘It’s a great time to get into the industry’ says BSL Filmmaker Samuel Dore

From working with CBBC to Channel 4, Samuel Dore has certainly made a name for himself in the industry. After having the pleasure of meeting the writer-director on a film set, I asked Samuel to share his valuable experience of filmmaking over the years, alongside the hunger and passion required to be able to make storytelling come to life!  Joining me with the questions is Film Forums founder Richard Williams.

Getting into the film/tv industry as as a Deaf/BSL creative

FF [Millie]: How did you get into filmmaking originally and what kind of stories are you passionate about telling?

SD: I got into filmmaking on the basis I was a huge film buff. But, before then, I didn’t have any aspirations of being a filmmaker as I felt it would be difficult to get into the filmmaking industry as a Deaf / BSL (British Sign Language) person.

This was in the late 90s when digital filmmaking was still in its infancy and people were mainly shooting on film and tape; the industry wasn’t as accessible and diverse as it is nowadays so I had my reservations and settled on getting a degree in Graphic Design – I graduated in 1999.

We are seeing better representation for Deaf/BSL people both in front and behind the camera

Around 2000 I was approached by a friend who was working for a Channel 4 Deaf magazine programme called Vee-TV that had a strand where they commissioned new Deaf filmmakers to create short films. They knew I was a big film buff and commissioned me to make any short film. I was an avid clubber in the Bristol hard-house scene so I made a documentary, Bursteardrum, about Deaf people and nightclubs and that ignited the reluctant filmmaker in me.

I went on to write and direct my first short drama, Chronic Embarrassment (2001) which, again, was about Deaf nightclubbers. It was popular but it was a later short film of mine I wrote and directed, Tricks (2003) about a Deaf prostitute meeting an abelist client that helped step up my skills as a drama writer/director and exploring aspects of Deaf Culture and Identity in fresh and interesting perspectives.

Working with CBBC

Since then, I’ve been writing/directing an array of short dramas about Deaf and Hearing stories including more notable  dramas like a series of 30-minute Deaf/BSL dramas which I wrote and directed for the BSL Zone website. 

This is where Deaf films and programmes are made by Deaf people for Deaf audiences, with the main language being BSL including works such as Chasing Cotton Clouds (2009), Supersonic (2014), Reverberations (2019) and my forthcoming docu-drama Diagnonsense (2022). 

I also got my first mainstream broadcast TV drama directing credit last year for Freestyle (2021),  a short monologue film I co-wrote and directed for the CBBC’s Snaps series.

FF [Richard]: You are involved in so many creative areas. How do you manage your time and decide how many projects you can handle? Can you give us an insight into how a typical busy working day is structured for you?

SD: When I was starting off as a freelance filmmaker, I worked in many areas of the filmmaking industry from directing and self-shooting VTs for magazine and factual films including for the BBC and Channel 4. 

I have also been creating music, educational and lifestyle promos, the odd wedding and event video and involved in being a creative consultant on short films made by up and coming Deaf/BSL filmmaking talent as well as directing information films for Red Bee Media. 

Being a jack of all trades makes working life unpredictable

Whilst creating more short dramas, I have also maintained my graphic design roots, with taking a professional interest in DSLR photography. This meant I was becoming a ‘jack-of-trades’ and would take any job that interested me as being a freelancer meant things were often unpredictable work-wise.

However, it was a combination of the pandemic and being fully immersed into a scriptwriting initiative via the British Sign Language Broadcast Trust’s Scriptbank scheme where Deaf/BSL filmmakers are selected to go through intensive scriptwriting workshops which were taught through BSL which enabled me to produce a far better-written screenplay for Diagnonsense. 

When I was applying for jobs, I wouldn’t mention I was Deaf and people would see my work first, then invite me for interviews and then I would turn up with a BSL Interpreter

Prior to this, I had read books on screenwriting but could never really digest the ins and outs of it all. When being taught through BSL, something clicked and I felt more confident as a screenwriter but I’m still learning!

So throughout writing Diagnonsense through lockdown (and being paid for it thankfully) as well as feeling more confident as a drama writer/director, I basically decided to focus on making dramas. I found I was stretching myself thin being a ‘jack of all trades’ filmmaker and wasn’t developing my skills in any areas of the industry. Although I still do the odd graphic design commission and have a double-life as a film and TV drama unit stills photographer to keep the bills paid!

FF [Richard]: what challenges have you had to overcome in relation to being deaf in the film and television industry – both practically and perhaps whilst connecting with and working with others?

SD: It’s interesting as I’ve been fortunate not to have experienced much discrimination in this industry. Perhaps it happened to me but it wasn’t made evident. Maybe it was done behind doors, behind my Deaf ears, behind people’s computers but the hearing people I’ve worked with have been warm, welcoming, and open to learning about working with Deaf people.  I can’t recall any incidents where hearing people weren’t honest to my face and said they didn’t believe in my abilities as a Deaf filmmaker.

Defined by the work, not by Deafness

I always make it a rule to be defined by the work I do, not by my Deafness and that the creativity and standard, whether it’s my Deaf or hearing stories, comes through first and foremost. 

One example is when I was applying for jobs, I wouldn’t mention I was Deaf and people would see my work first, then invite me for interviews and then I would turn up with a BSL Interpreter! But nowadays, application forms often ask if applicants have a disability which is great as it means people are more open to working with diverse people. But still, you never know what they are really thinking behind their computers.

Hearing people are still wary about working with Deaf people on their productions as they incorrectly think it takes a lot of effort when it’s actually the opposite. All we need is a BSL Interpreter to facilitate communication between Deaf and hearing people and, in fact, I like to think the Interpreter is there to help the hearing person communicate with the Deaf person! 

Once the Interpreter is there, it makes everything so much easier; granted hearing people do struggle with a different culture of Deafness and sign language on film sets which can be stressful and super busy.  However, in the end, everyone gains positive knowledge and experience which in turn helps make film sets more welcoming and accessible for Deaf/BSL people.

Better representation for Deaf/BSL people in film and television

We are seeing better representation for Deaf/BSL people both in front of and behind the camera. There’s still a long way to go but there’s a significant difference compared to back in 1999 when this used-to-be-reluctant filmmaker didn’t believe the film industry would ever help Deaf and Disabled people carve out professional careers.

FF [Millie]: I understand you co-wrote and directed the CBBC short ‘Freestyle’ which was nominated for three Royal Television society awards. That’s fantastic! Can you tell us a bit more about this?

SD:I met my producer Michael Ford from Infinite Wisdom Studios, now Threewise Entertainment (who focus on family and children television content) many years ago. We were brainstorming ideas for sci-fi dramas with Deaf protagonists which fizzled out but we kept in touch and he found out about the CBBC’s Snaps monologue series that were looking for ideas for 10-minute maximum monologue films for 7-11 year olds and quickly thought of me.

We found our star, Jasmine Wilkins, who had little acting experience. We did a series of improvisation workshops, exploring the themes that mattered to her as a young, deaf  girl so the script came from her experiences of struggling in a mainstream hearing school and being discriminated against because she is Deaf/BSL. 

Jasmine made important contributions to the premise for ‘Freestyle’ and Michael and I formed all it into the script. Quite simply, us two slightly middle-aged blokes couldn’t really tell the story of a 13-year-old Deaf girl!

The shoot was great – challenging, obviously, as it was during the start of the 2021 lockdown but we were thankfully exempt from lockdown and people weren’t yet being vaccinated whilst  the film industry was quickly learning to adapt to this new way of filmmaking. We had a small crew of enthusiastic and highly-creative people alongside a talented cast, especially Jasmine who made it such a fun shoot.

My side job as a unit stills photographer is a great way of shadowing other film directors

The overall story had themes of empowerment that resonated throughout the production and for everyone involved.

CBBC ‘Freestyle’ actress nominated for an RTA award alongside Line of Duty’s Vicky McClure!

It was incredible as Jasmine got nominated for a RTA along the likes of Line of Duty’s Vicky McClure! We would have loved it if Jasmine won but just to be nominated within the esteemed company is such an achievement. Michael and I are incredibly proud of her and do hope she gets to be cast in other future film and TV drama shoots.

FF [Millie]: You’ve recently directed your short  drama  film Diagnonsense. Can you give us further insight into the project?  We know you can’t give away many spoilers!

Distribution on Film4 and Sky

SD: As I said before, Diagnonsense was created via the BSLBT’s Scriptbank scheme and was chosen to go into production first. It is a bit of a departure from my previous films which were usually steeped in the unorthodox combination of kitchen sink drama/fantasy as this is a ‘docu-drama’ about mental health care and Deaf patients in the mid-90s.

I decided to approach this as an observational / documentary style, a bit like Ken Loach which was very freeing and my DP Stephen Nelson shot it all handheld with natural light as much as possible. 

Keep on going even if you get your share of knock-backs

I didn’t have to worry about any VFX elements and could just focus on my fantastic cast’s performances and try to let it all play out as naturally as possible. Sadly, that’s all I can say about the film! Not only it will be shown on the BSL Zone website, it’ll be broadcast on Film4, TogetherTV as well as being available via Sky on Demand.

FF [Millie]: That’s amazing, Samuel! I can see you have written and directed a range of short films which have won awards in many festivals. What have been your favourite projects to work on? Did you have to crowd fund?

SD: I would say Chronic Embarrassment was a joy to work on as an evolving, very naive mid-20s drama writer/director full of ideas as no matter how wildly creative they were, I had no inhibitions or concerns. Tricks was one of my earliest attempts at focusing on serious character and dialogue-led drama. Chasing Cotton Clouds was a big step-up in production-size and longer-form drama which is probably my best work out of my films as it has stood the test of time over ten years later.

I’ve never actually had to crowd-fund. Nearly all of my films were either funded via pitching or applying for funds. 

I’ve also made a few films for no money, the most recent being Midsummer Boulevard (2019) which was a collaboration between various filmmakers, actors and organizations, all based in Milton Keynes where I live.  It was an ambitious 20-minute long film noir set in various locations and we pulled it off.

Samuel Dore: the artist behind the camera

 FF [Millie]: Not only are you a filmmaker but also a photographer, illustrator and graphic designer. Can you tell us about this side of your work? Do these skills come in handy when working on film projects?

SD: I’ve always loved all forms of art since I was a kid. I drew cartoons, studied art, craft design and technology for my GCSEs and A-Levels. Maybe it’s a trait of being profoundly Deaf since birth, but I’ve always been a very visual person, appreciating visual art; the skill, talent, creativity and effort it takes for artists to create their work. I get a lot of enjoyment from creating my own art even if it’s working on commissioned corporate logos.

I do find my various skills go well together with my filmmaking; I can draw my own storyboards, even detailed ones especially when it comes to VFX-esq shots, oversee the design of props that involves graphic design, use my photography skills to understand composition, depth of field, colour grading as well as sneaking in the odd on-set photograph to be used for publicity. 

My side job as a unit stills photographer is a great way of shadowing other film directors, being able to be up and close to them working with their cast and crew where I’ve been able to learn new tips and techniques.

FF [Richard]:  What advice would you give other filmmakers that want to work in the industry, especially those with a disability who might otherwise be dissuaded?

SD: Having experienced the film industry pre-digital and the progression of my career running parallel with the incredible escalation of the digital filmmaking industry, now is a great time to get into the industry.

Attitudes towards deaf and disabled people are improving, albeit slowly, but there are peer pressure groups like drama writer Jack Thorne’s Underlying Health Conditions initiative pushing for better representation and support for Deaf and Disabled people working in the industry.  This has resulted in major broadcasters such as Netflix and BBC to include more submissions from under-represented storytellers as well as the Deaf and Disabled People in TV group again pushing for better represented crew and sharing job/training opportunities in the industry.

Samuel Dore’s upcoming drama ‘Diagnonsense’.

The internet and social media is a smorgasbord of opportunities to promote your work, meet like-minded people, learn of work opportunities. I didn’t have this before.  I had to post VHS copies of my showreels where as now you can simply upload your work to video sharing platforms. Filmmaking equipment, software and techniques have also become more accessible, cheaper and easier to use so there’s no reason why people shouldn’t get out there and make their own content to build up their skills or share online, building up connections in the industry. 

Create work of a great standard so clients will see beyond your disability

You need to create work of a great standard that’s full of creativity and quality, then clients will see beyond your disability and commission you for your work. This happens to me and can happen to you if you just dig in, work hard and keep going while making sure you make your presence known too. 

Don’t be afraid to make mistakes, it’s part of the learning process and your skills will improve.

It takes a lot of perseverance and commitment but it will all pay off if you keep on going even if you get your share of knock-backs. Opportunities will present themselves –  you can’t really wait for them unless you get very lucky,  but I find it’s the people you know that help you get recognition for your work so you have to just constantly get in touch with people, meet new people on film sets regardless of your role. Even if it’s casual chit-chat, show them your work and they may remember you months or even years later when opportunities arise.

Being Deaf and relying on BSL Interpreters to communicate with people is a bit harder for me especially with trying to book the right interpreters for last minute jobs which is the norm in the film industry. I’m hoping my new clients are forthcoming about my needs as a Deaf/BSL crew but the stress and worry dissipates quickly once I get the access I need to work on mainstream/hearing film shoots whilst my every job I take on, especially as an unit stills photographer, very often leads to other jobs.

Credits

Co-Presenter, Second Editor & Artwork/Title: Richard Williams
Article Title, Co-Presenter & Editor: Millie Hayward
Images: Supplied by Samuel Dore and as credited