About me

I have been very fortunate to live and work all over the world. Born and raised in India, my first experiences of film sets were on the Bollywood spectaculars where my mother worked in the art and costume departments.

I have worked in the film and tv industry since graduating from University, both in London and in Paris where I lived for 10 years. I have leant in that time that collaboration and cooperation are the best skills to have. Talent is unquestionably important. But then so is understanding your limitations, and having a plan to address that. I think collaboration and cooperation is the answer to that particular conundrum.

The world of film and television that I studied in late 1990s at Westminster University is almost unrecognisable to the world that exists today. I have witnessed, at close quarters, the two great changes that have happened over the past 20 years - the revolutions of digital acquisition and distribution/exhibition. The quality and quantity of, particularly episodics, is simply extraordinary. And of course the platforms through which it is possible to view this vault of material is similarly era defining. We are able to produce and view content, from feature films to YouTube channels, in a way previously unimaginable.

Nonetheless, Robert Wilensky was right when he posited that "We've all heard that a million monkeys banging on a million typewriters will eventually reproduce the entire works of Shakespeare. Now, thanks to the Internet, we know this is not true." The digital age offers so much, including the danger that all quality is lost. Quantity absolutely does not mean quality. And I think today a mindfulness of great ideas, of a quality control of these ideas and how they are produced is crucial.

I am often asked whether working in the production of film and TV, detracts from the pleasure of watching. Possibly. However, if the material is bad then I think everyone is able to spot that. Rather the sign of content that is really great is when you are totally engaged. Nothing distracts. A prime example of that is the great cinematographer Roger Deakins. The reason Deakins is (arguably) the greatest cinematographer ever is that his peerless photography is part of the sum of what is on the screen. The greatest imagery is when the idea and all the elements of execution come together seamlessly. Each is part of the whole.

And finally with teenage, university going children, I am kept on the short and narrow. Because of them, I am introduced to and see a very different perspective on what's hot and what's not. Having said that, we are in near total agreement that Jaws, The Godfather, Midnight Run, Happy Valley, Dix pour cent and Mindhunter are worth staying in to watch.

benedictbannister

Skills

Directing, Lighting, Motion Control, Producing, Stop Frame Animation, table top, Visual Effects

Sector Experience

Advertising, content, film, Television

Awards

Internation Bicycle Film Festival Award

Clients

AMV BBDO, Diocese of Westminster, M&C Saatchi, Ministry of Justice, Short Form Film Company