Where and when did you first create the idea behind Mater Mortem?

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I first began working on Mater Mortem in my first year of university. I didn't think much of the idea at first, I write scripts as a hobby. It wasn't until I began to really flesh the idea out that I started to see the potential in it. I spoke with my D.O.P, Leah, and my sound designer Maya, and they were on board with the idea almost immediately. We've been speaking about it as a group since, and after around 399 script re-writes, we finally decided on the one we liked and wanted to turn into a film. It really all started as a playlist on my phone. Different songs from different time periods just seemed to mix really well together and I started putting together a story of a lost soul that could visit each of the time periods without destroying them.

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What inspired you to write Mater Mortem?

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It came about as the result of a debate on the relevance of time and its inaccuracy. I started to re-imagine how time could be structured to account for its inaccuracies. This created a complex system of layers that would allow a character like Mater Mortem to move freely without living people knowing of her existence.

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How does it feel to watch you and your crew bring your script to life?

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It's an odd feeling. I just assumed that the script would sit in a desk, like most of the others that I have written. It was just something to keep me occupied when I needed something to de-stress with in my first year of university. I like the way that the film looks more than the original script, that's the beauty of collaboration I suppose.

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What are your biggest hopes for Mater Mortem's future?

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Really? Just that people like it I suppose. We all dream of making the festival circuit at some point in our lives, but if it was just to be a pretty and interesting film, that I made with people that I genuinely admire, then that's enough for me.