Tag Archives: Bafta

Victoria Mapplebeck on her new smartphone short The Waiting Room, an intimate account of her breast cancer journey

Filmmaker and single mum Victoria Mapplebeck was nearing completion of her BAFTA-winning film Missed Call, when a routine mammogram revealed she had breast cancer. Naturally, she began filming, using her smartphone to chronicle life after the diagnosis, as she undergoes chemo and months of uncertainty, living alongside her teenage son Jim. Her short film The Waiting Room has just launched on the Guardian website. A VR project with the same title will premier in the autumn. Together they lay bare the reality of living through a cancer diagnosis and treatment in sometimes shockingly intimate detail.

My interview with Victoria has been condensed for length and clarity. 

Carol Nahra: How did you have the wherewhithal to start filming so early on in your diagnosis?

Victoria Mapplebeck: It helped that I had done two smartphone shorts (Missed Call, and its predecessor 160 Characters). I had been filming with Missed Call relatively recently, so I was in the  habit of continually filming with my iPhone X; I would have found it a much bigger leap if I hadn’t made a film for a few years. I think I also knew from Missed Call that there’s something about scrutinizing the hell out of difficult stuff that I find helps. It maybe doesn’t help everybody but it helps me. It’s almost like it brings emotional dramas into closeup and puts it at a distance at the same time. 

CN: You seemed to cope well with difficult news.  Is one part of your mind always being the director even when a doctor is telling you it has spread to your lymph nodes? 

VM: Yes, I remember coming out of that session with my oncologist and it being difficult to hear – because when it becomes lymph positive it means you are in the firing line for chemo, particularly since mine was a grade III. I knew as he was telling me this. I was hearing this at one level – in the VR piece you can hear my anxiety. So you have almost this dual experience – feeling it as a patient as he is telling me, but also knowing that it is film gold in the language he is using. This is a classic filmmaker moment: feeling the  personal and very real impact of a cancer diagnosis , but also knowing that the  way it has been delivered to you, will make for a really strong sequence. I remember coming out from that  appointment and realising that I couldn’t find the audio recording. I had done it on one of those voice memo apps and it wasn’t showing up. And it was one of those things where it had gone into the cloud and had taken a while to show in the phone app. And I sat in the waiting room weeping because I thought I had lost the audio. Rather than weeping because, bloody hell, it was bad news and I was going to have to do chemo (laughing). You know you are a filmmaker when you’re more upset by losing the material than hearing that you have to do chemo!

Jim, in a still from The Waiting Room

CN: You looked very alone. You talk to people on the phone but we don’t see anyone other than your son Jim. Were you as alone as you appear to be?

VM: I decided I was going to do all of the consultations on my own. My mum and friends would happily have come with me. But I think it’s quite hard to have somebody there with you. Having support from friends and family can really help at times but dealing with their worries and emotions can also add to the stress of the experience. And the funny thing was – it sounds sentimental to say the camera was a companion – but the distraction of filming seemed to help. If I had people with me I don’t think I would have filmed as much.

I sat in the waiting room weeping because I thought I had lost the audio…You know you are a filmmaker when you’re more upset by losing the material than hearing that you have to do chemotherapy.

Victoria Mapplebeck

I remember people saying ‘oh you’re so brave to film it’. But I knew if I was really low, I didn’t have the energy to film and I would feel worse. I think people are also often surprised by how much a gallows sense of humour helps you get through some of the toughest parts of treatment. I remember the first day – because I really did suffer with the sickness. It’s like dealing with your worst hangover times 100. You sort of feel it coming on and then I was vomiting for hours. I texted my closest friend Glen – who you hear in the film on various voicemails – he was really supportive throughout. I texted him ‘oh it’s started, I’ve started vomiting’ . He texted back,  ‘are you filming it?’ and I said ‘yes of course!’

The VR rig

CN: Can you describe your different ambitions for the film vs the VR project?

VM: The film is much more about the fallout of cancer in the domestic space in terms of myself and Jim and family life. Particularly the kind of impact it had in terms of my relationship with Jim and what it must have been like as a young person dealing with that. The VR piece touches on that a bit – I use the audio conversations with Jim for that as well – but the VR piece is a lot more about cancer in the clinical setting. The conversation with the consultants feature more. I use the medical imaging in both films but I don’t think they work anything like as powerfully in 2D as 3D. 

CN: What’s it like seeing yourself having a mammogram? 

VM: I did actually go with the shot which gave me slightly more privacy because it was one from behind! Trust me there was one that just left nothing to be imagined. I think I thought to myself you know, pretty much all women are having these post 50. Everybody complains about them and hates them. Menopause is affecting 50% of the population and yet we don’t feel able to talk about it. And that’s something that hits breast cancer women. If they’re not menopausal – which I wasn’t – you get this chemically induced menopause which is much more severe. If I make a longer version of the film I think I definitely want to include the challenges women living with breast cancer  face once they’ve completed their first stage of treatment and attempt to get back to normal. Health-wise you never are really what you were before you were diagnosed. And I think there’s an expectation that you will be, and that you will just go through all these big treatments and get through it and then everything will be as it was. And it isn’t really like that, life is never quite as it was before. Breast cancer hugely changes your identity, but I don’t want to be completely defined by it. Scrutinising my experience of cancer  in such forensic detail has been liberating in some ways but I’m now ready to move on to new challenges.  I don’t feel like a ‘cancer survivor’ or a ‘warrior’  or very brave … I’m just very glad to be on the other side of it when so many people don’t make it that far. We will all encounter illness and death at some point in our lives, and yet we struggle to find the language to deal with it. My film begins with a very personal journey but as cancer affects one in two of us over the course of a lifetime, I really hope that it might be useful for anyone whose lives have been touched by cancer.

Victoria and son Jim after winning the BAFTA , Best Short Form Programme, May 2019

Victoria is now in remission. The Waiting Room VR project has been commissioned as part of the Virtual Realities – Immersive Documentary Encounters EPSRC funded research project. You can watch The Waiting Room film on the Guardian website here.

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Sue Bourne’s A Time to Live

We know we are all on a one way journey to the grave, but it’s not something most of us care to dwell on.  Not so for filmmaker Sue Bourne, who has spent the last year traveling around the UK making a film about people who have been given a terminal diagnosis. A Time to Live manages an extraordinary feat: it’s a life affirming film about dying. But Bourne would be the first to argue that it’s not about death, but, as the title indicates, about living: in story after story, we are introduced to people who have heard the most unbearable of news, and are now navigating a new normal.

Bourne and editor Sam Santana (both have featured in Docs on Screens; this is their first film together) did a Q&A with journalist Stephen Armstrong following a London BAFTA preview screening last week. In introducing the film, BBC Two Controller Patrick Holland said that Bourne is “forensic and unrelenting when she mines the emotion of a very specific experience to reveal wider, universal truths.”

sue and sam
Sam Santana and Sue Bourne prior to Bafta screening

When Bourne approached Holland to say that she wanted to make a film about people make the most of their limited time left, he was quickly on board: “It was one of the easiest commissioning decisions I’ve ever had to make.”

A Time to Live tells the story of twelve people of various ages, and their responses to being told they don’t have long to live. Bourne deliberately sought a selection of people who have acted out in surprising ways, including Annabel (pictured below), a woman whose first act upon receiving her prognosis was to leave her husband.

“I mean what was interesting about Annabel’s story is that it was quite radical,” said Bourne. “I think she had been quite a timid person…what cancer did was it emboldened her. And she thought ‘Bloody hell, if I’ve only got a short time left, I really should do all those things I’ve been thinking about’.”

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Annabel – (C) Wellpark Productions – Photographer: Natalie Walter

To make the film, Bourne kept to a small nimble team, as she recounted to the Bafta audience: “Natalie (Walter) joined in and the two of us did all the research to find the people. I don’t like filming until I knew exactly what is going to go in the film. Natalie not only shot it but also oversaw the whole sound; it was remarkable. And then we set off on this van around the country to film all twelve people. And we had to be flexible because these were really ill people…We just moved around the country more or less for three months. We all had flu injections and boxes of supplements because we couldn’t go into their house and be any risk to them at all.”

Shooting completed, Bourne and Santana holed up in Bourne’s house for a ten week edit. It was a new experience for Santana, used to cutting rigged and other narrative driven films: “For me it was the first time cutting a film without what you call evolving narrative or process or intercutting, where you start one character’s storyline and then intercut to another. We didn’t do it…So we kind of felt that we needed to make subtle transitions.”

On the whole the transitions did not employ Bourne’s voiceover, often a prominent feature: “Usually in my films there is quite a lot of commentary. Because I’m kind of the narrative thread, weaving through it. But it became quite apparent early on that I didn’t need to say anything. This was their story.”

As a one woman show at Wellpark Productions, Bourne continues to be the main interface with her contributors, and the edit was frequently interrupted. “Sometimes we’d get news that was not particularly good,” said Santana. “People who we were just about to cut their story or had just completed their story. And we just had to work really hard and keep plowing on. That would be tough.” Bourne added: “And then actually you’re motivated, and you go, okay we really need to tell this person’s story.”

The film proceeds from one story to the next, without interweaving. Remarkably, there are no hospitals or footage of anything medical. The interviews are solely with the twelve contributors – supportive spouses and family are seen but barely heard.  At the end, there is no revealing of who has died since filming ended – Bourne wanted their stories to be about their lives rather than their deaths.

The film’s power is in its universality. As Holland noted in his Bafta intro: “We are all of course life limited. What Sue’s film does is make all of us reflect on our own choices. On what a good life means. And what you can do to make a difference to ourselves and others. It’s a profound and challenging film.”

A Time to Live airs on BBC Two on Wednesday, 17 May, 9pm. Extended contributor interviews, made in conjunction with the Open University, will be available via the website after broadcast.