Starfish_Edition_One

Issue 1 the MagaZINE about disabilities in the film and tv industry July | dec 19 Disabilities and sexuality: a love story

A look at Oska Bright Film Festival The world’s leading disability film festival and their recent partnership, featuring an ex- clusive interview with the festival’s producer Lizzie Banks. Cartoon Network & Exceptional Minds The animation studio partners with a train- ing academy for autistic students to provide them a gateway into the industry. The short Indimenticabile A look at the award winning Italian film that shines an authentic light at the relationship between a disabled girl and her lover, in- cluding an interview with the film’s director Gianluca Santoni. Pixar’s Float Why the animation studio giant’s latest short film is a giant step for the industry. Analysing Autism in Atypical The Netflix series has been the cen- tre of attention and heated debates as it features Keir Gilchrist as Sam. Short film reviews This edition’s selection of short films cen- tre around the theme of sexuality. All short films are available for streaming online at Short of the Week. My Second Home Maisie Hardy discusses her short film and her inspiration behind it. Excitable Edgar Director of the famous John Lewis ad shares his thoughts on Edgar being inter- preted as a child with additional needs. Page 2

Editor’s Note This is a magaZINE. It’s not exactly a magazine and it’s not really a zine, it’s somewhere in between. Is that a thing? Not yet, but it’s 2020 and I’m making the rules, so bear with me (if you want to). On a more serious note, this is a bi-annual publication designed to highlight and celebrate the array of disabilities present in the film and tv industry that can sometimes be overlooked by mainstream media channels. For those that don’t know me, I am an able-bodied, white, young female, so why on earth do I feel entitled to create a publication designed to ignite disability activism? The simple answer is, someone had to. You know the saying, ‘be the change you want to see in the world’, well, I might have taken it a bit too literally. A very close friend of mine, Maisie Hardy, (who is featured in this edition btw) commented on this saying, “There are millions of unheard stories out there in the world, stories that for some reason or other cannot be voiced by the people and community they belong to. As writers, filmmakers and artists, I think it is our purpose, our calling even, to give a voice to these stories. To use our skills, access and privileges to share them with others. I urge you to seek these stories out and share them in the best way you can.” And with that, dear readers, I shall leave you to it. P.S. At the bottom of every page with text, there is a QR code that when scanned will direct you to the article’s page of this publication’s website. In an ideal (non-Covid19-world-lol) these web pages would have audio transcriptions of the articles. If any readers would like a version of this, please get in touch. All image credits can be found at the back-cover page. P.S.S. Enjoy dear reader, it was made with love. Page 3

In conversation with Lizzie Banks all spotlights on Oska Bright The disability film festival paving the way for industry change in Europe four days and features over 60 films to an audience 3,600-strong. Matthey Hellett, the festival’s lead programmer, says that one of their aims is to challenge and support the in- dustry to “give a voice to a community that is not seen or heard enough”. The festival also boasts a great number of learning-disabled staff who work year round. And would you look at that; a festival curated by passion- ate disabled individuals provides for an ex- tremely diverse experience that a cold Netf- lix algorithm simply can’t beat. Film festivals bring together filmmakers Apart from being widely recognised in the and audiences passionate about cinema, UK, Oska Bright has also recently become they offer an alternative to bombarded highly influential among the European film blockbuster marketing and they champion festival circuit. On October 18th, they an- alternative films that don’t necessarily tick all nounced that, in collaboration with Klappe the boxes of Hollywood productions. Some Auf (Germany) and Engelsiz Festival (Tur- people (a.k.a. me) even argue that they’re the key), they launched a network of disability backbone of the film industry because above film festivals across Europe. This partnership all else, they celebrate films and filmmakers was established in an attempt to overcome that might not otherwise receive recognition common challenges such as fundraising, from the mainstream industry. This is where sponsorship and limited resources that these the Oska Bright Film Festival comes in. festivals face. The network will meet once a year to discuss strategic aims, but for now, Taking place from the 23rd to the 26th of Oc- their first collaborative project is a co-curat- tober in Brighton, Oska Bright is the world’s ed screening featuring films from the partner biggest learning disability film festival. It was festivals that will premiere at Oska Bright founded by a group of learning-disabled next week. But as great as Oska Bright is, I filmmakers frustrated at having nowhere to sincerely hope it isn’t around for too long. In show their work. The festival is fully acces- an ideal world, the films and filmmakers that sible and champions short films made by it celebrates should be integrated into the in- dustry. As David Parker stated, if Oska Bright or about people with learning dis- meets its “aims on inclusion and equality abilities. What started as a one-day of opportunity”, disability film festivals no event back in 2004, now runs for longer need to exist. He adds, “maybe then I’ll be able to buy a cinema membership and watch a diversity film on screen.” Page 4

In conversation with Lizzie Banks Oska Bright has recently been recognised as one will talk to you. It’s so lovely to walk a BAFTA qualifying festival. What are your into the bar in between films and see film- feelings on that and what this means for the makers from all over the world talking to festival going forward? one another. There are people who’ve sub- It’s been a long term ambition for us to be- mitted since 2004 sharing their experienc- come BAFTA qualifying, so for it to happen es with people who have just discovered this year was a fantastic achievement. We’ve us. It’s such a wonderful group of people. been pushing for it because it’s another path- way into the industry for filmmakers with Oska Bright was recently involved with cre- learning disabilities, autism and aspergers. ating a network of disabled film festivals It’s a stepping stone to being screened at oth- across Europe. What does this mean for er festivals around the UK, which is some- you? Why is it important to have these con- thing we want to support and encourage nections in the industry? filmmakers to engage with. We want these It’s so important for us to keep connected films to be seen more widely because they’re with other festivals around the world, and brilliant and they deserve the recognition. especially in Europe. It’s been really useful to sit down together and to compare how Could you perhaps describe what the at- we all run, best practice in access and oth- mosphere is like during the festival? er considerations when running a festival. What I like most about the festival are the It’s great to be able to connect with disa- returning and long term submitters you get bled filmmakers from Europe, we to the festival. There’s a warm buzzy feeling, hope it will have an impact on people have said its friendly and that any- our submissions in the long run. Page 5

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Industry comment a match made in heaven Cartoon Networks partners up with Exceptional Minds in scheme to ingress autistic students into the animation industry Those who know me if at all, know that opportunity “often requires different treat- I grew up with a deep appreciation for ment”. To resort back to my old pal Albert Cartoon Network. My Sunday morn- Einstein, treating disabled and non-disabled ings were reserved for Courage the Cowardly candidates the same during a selection pro- Dog, Scooby Doo and Rugrats. But little did cess would be like judging a fish on its ability I know that 15-odd years on, I would read to climb a tree, and the world is just way too something on the news that would reinforce evolved for that type of thing now, isn’t it? To and justify my appreciation for the broad- those arguing that quotas are unfair, Journal- caster as an adult. ist Krishnan Guru-Murthy responds that the status quo itself is unfair and that the people On September 16th, Cartoon Network Stu- who argue against it are the ones who have dios announced a three-month mentoring had the advantage for years. In other words, programme in partnership with Exceptional nothing short of quotas will reverse the TV Minds, a non-profit training academy that industry’s declining diversity. prepares individuals on the autism spectrum for the postproduction fields of the film and Cartoon Network’s collaboration might bring TV industry. In the scheme, Cartoon Net- about accusations that it’s lowering its stand- work will pair their mentors with second- ards. However, a large number of neuro-di- and third-year students to help them break verse people thrive in the creative industries into the notoriously tough industry. where the ability to think differently is a mas- sive advantage. The founders of Exceptional While some may see this as the first step Minds believe that young adults on the au- towards mere exploitation of employability tism spectrum have an ‘edge’ to them when quotas of underrepresented groups, others it comes to work like this. While they may will praise the studio for incorporating what have difficulties with communication and the Equality Act of 2010 terms as ‘positive social interactions, they are very “detail-ori- discrimination’. According to the most re- ented and rule-governed” – valuable traits cent Diversity in Broadcasting Ofcom re- for the laborious work of visual effects. port, disability is the only characteristic that can be supported by positive discrimination Howie Hoffman, creative director of Excep- under the Equality Act of 2010. It allows for tional Minds, also claims that disabled pro- companies to set quotas and recruit mem- fessionals are “especially adept” at creating bers from disadvantaged minorities to ac- what he deems essential to any good anima- count for a more balanced workforce. And tion – “a parallel universe that is similar but in the television industry, that’s a blessing in quirkier than ours”. He says that when we disguise right there. give these special and uniquely abled indi- viduals the right tools, the results are truly The Disability Law Service states that “many outstanding. And hey, if that leads employers do not understand that they can, to a few more disabled characters and should, treat disabled people more fa- on some of my beloved cartoons, vourably” because for them, equality of I’m not complaining. Page 7

Special Feature a love story: disability and sexuality A look at the Italian short film Indimenticabile and its portrayal of sexuality The Aesthetica Short Film Festival drew screening. When I interviewed the director to a close on Sunday Nov 10th. My goal Gianluca Santoni and asked what his main this year? To watch at least 20 shorts intentions were when making this film, he across all genres. Needless to say, life got first answered that he simply wanted to tell in the way and I failed. But I did watch 159 a love story. But halfway through preproduc- films from their 400+ official selection so I’m tion, he realised there was a bigger cause calling it a success. And what did I notice? As behind it; picturing a disabled woman in a per usual, there was quite an abundance of sensual light “could be a cultural statement films about love, sex, and relationships and for the industry”. a few select ones about disabilities, but what I was absolutely ecstatic to see was a short The last prominent film about disability and film about a disabled person’s sexual desires. sexuality was probably The Sessions, re- leased back in 2012. Since then, our society The short Indimenticabile recounts the com- has become more accepting of sexuality in plicated love story of Luna (a quadriparetic) all its shapes and forms, but somehow dis- as she encounters Angel, a male sex work- abled people’s sexualities have been forgot- er. The film unapologetically portrays Luna ten at the side-lines. Basic human needs and in a raw and authentic light, much to the sexual desires are always going to be there audience’s consensual approval after the no matter what body you have and sex is an

important component to any person’s well- prise that Trailblazer’s report on the subject being and lifestyle if they choose it to be. revealed that three out of four people with disabilities feel inaccurately represented in One of the many stigmas surrounding disa- the media. bilities and sexuality is that in the rare in- stances that the two are linked, disabled One of the causes of this general consensus people are either infantilised or hypersexu- is that the increased awareness of the sexu- alised, which more often than not leads to al needs of disabled people is stemming ex- them being portrayed as fetishes, a concept clusively from educational and informative which is explored in Indimenticabile. The platforms. Take Hannah Witton’s channel on film’s trailer features one of its most touching YouTube, for example, which is all about ‘sex and poignant scenes; a family conversation & relationships, stoma & disability’ or Open around the dinner table where the protag- University’s newly released set of interactive onist asks her father (and in extension, the sex education videos targeted at young peo- audience); ‘Why is it if someone wants to ple with disabilities. sleep with me, he is a pervert?’. I asked the director why he chose such a powerful scene While the phrase ‘the more the merrier’ is for the trailer, to which he answered that it 100% valid, we need these stories to be told brings out the subtext that has served as the through entertainment platforms such as heart of the conflict throughout the film. films and TV shows. The suspension of dis- belief is heightened in fiction and audienc- A 2018 report from the United Nations Pop- es are much more likely to be engulfed by ulation Fund suggests that accurate and di- the story and consequently accept it as ‘nor- verse depictions of disabled sex on screen mal’. After all, disabled people are as horny can “reshape social interactions” and “re- as everybody else and as Gianluca move barriers”. But when most of these por- himself put it, “we all want to expe- trayals are derogatory or pitiful, it’s no sur- rience love in all of its forms”. Page 9



In Conversation with Gianluca Santoni To this day, it is quite rare to see disabled What were your main goals and intentions people represented in a sexual context. Do when making this film? Do you have a mes- you think there is a stigma around this top- sage that you would like to share with the ic? How do you think the media is handling wider film and TV industry? that? I don’t know if we can talk about a ‘stigma’, I just wanted to tell a love story involving two but for sure it’s something that people still completely different worlds, but while I was consider weird. Maybe the reason is that writing it, researching and talking with boys the media - not always on purpose – tends and girls who lived this kind of situations on to give a stereotypical vision of the disabil- their skins, I understood that it was some- ity and the sexual component of a human thing more. I thought, and I still think that to being is not included in this representation. talk about a love story with a real disabled To be honest, something is slightly changing girl and to picture her sensually could be a in these last few years. Even on Netflix tv strong cultural statement for the industry and shows now disability is treated like an aspect for people in general. of a character and not like the main and only thing defining him or her. Do you think that short films provide the Your film was screened at quite a few fes- best way of telling these stories? Did you tivals around the world. Could you tell me ever consider making Indimenticabile a fea- what the response has been like from audi- ture film? ences? I’m working right now with a great writers The response from the audiences is amaz- team in subject for the feature film of Indi- ing. We won many Audience Awards so far. menticabile, which means Unforgettable. It’s like if evryone somehow can see theme- When I was writing the story it was already selves into these two characters because af- clear that a feature film would had been the ter all, the more you get closer to people the real perfect shape for this story, because it al- more you understand that words like ‘regu- low us to show more fundamental details on lar’ or ‘normal’ don’t mean anything. We all the realationship between Luna and Angel. want to experience love in all of its forms. Also, Luna’s father will have more space and we will meet Angel’s mother, a very original character. Page 11

floating towards acceptance Disney Pixar releases a short film about a young child with autism as part of their new series of ‘underground’ stories Spark Shorts and we love it Pixar has only gone and done it again. forward eight years, SparkShorts offers him On November 12th, the company re- a blank canvas, and Rubio creates animated leased Float, an animated short about versions of himself and his son. a loving father who comes to terms with his son’s special ability to, well, float. In under Let’s just take a second to appreciate Pixar, seven minutes, Pixar manages to yet again shall we? pull at everyone’s heartstrings and tell a tear-jerking story featuring one of the Over the years, this studio has most authentic portrayals of autism somehow mastered the ability coming from a big Hollywood stu- to tell incredibly personal sto- dio in recent years. ries in such a universal way that they resonate with a mass Float was commissioned as part audience. In fact, it’s quite re- of Pixar’s initiative called Spark- markable how a story Shorts, a collection of short films about a floating created by in-house art- boy is having such ists from diverse back- a strong impact on grounds within various people. More impres- departments of the compa- s i v e , however, is the fact ny. The artists are given a little bit of that Pixar - one of the world’s money, a little bit of time, and a whole lot of freedom to tell whichever story biggest and most influential media tickles their fancy. Because there is no companies - is the one telling this oversight and very little supervision story. It’s a big statement, and a from the ‘big bosses’, directors have complete control over their short very important one at that. films, which has proven to result in extremely poignant personal tales, to What would happen if all major which Float is no exception. animation studios followed in Disney Pixar’s footsteps? Would Upon hearing about this new set of in-house the next generation grow up to be productions, director Bobby Rubio (who has more accepting than us? Would grounded previously worked as a storyboard artist on children treat floating children as equals? Incredibles 2 and Inside Out) saw it as “a While this short focuses on how a father wonderful opportunity to tell [his] story”. comes to terms with his son’s disability, it Rubio has stated that when his son Alex was is ultimately a call for acceptance from the diagnosed with autism at age 2, he didn’t wider population. This is a step in a differ- handle it very well. His wife suggested that ent direction for Pixar and as Rubio himself put it, “this isn’t a fairy tale”. But hopefully he write a comic about it to help this small step will create a ripple effect and him cope, but Rubio admitted that inspire other major studios to join Pixar on he couldn’t get past the cover. Fast the walk for better disability representation on screen. Page 12

In Conversation with Mark Arnold In your view, what is the significance of Dis- ate around ney Pixar releasing this film to a mass audi- an adult. ence considering the size of the company? This can Every Disney Pixar film, short or feature, is especially an event. For them to release Float to a mass be so for a audience is hugely important. They have giv- disabled person. en it the attention to detail, quality of pro- duction, and marketing promotion that they If the central character would give to any of their offerings, and that in Float had been an adult, it is great to see. I’ve been in touch with Bobby would inevitably have been viewed and re- Rubio, the writer/director/producer of Float ceived differently. Although Pixar films are and he is clearly thrilled with the way it has for everyone, their target market is always been received. going to be families. What Float may do is to help children themselves think about disa- Although not explicitly stated in the film bility/difference in a new way. That children that the child has special needs, the mes- that aren’t like them are not to be feared or sage is quite clear. Do you think that this avoided, but can be just as fun as anyone short film can be seen as a step in a different else. direction for Disney Pixar? It’s a big statement. This is a stand-alone Disney Pixar is widely known for weaving in short, so it’s important to not get ahead of morals into their stories. What do you think ourselves, but it is a huge step forward. is the moral of this particular story and how There have been subtle nods in this direction will it resonate with audiences? in some of the major Disney Pixar releases The defining moment in Float is the only before (Nemo’s ‘lucky fin’ for example), but piece of narrative in the film. It’s when the Float is the first time that the whole theme of father, not understanding his son, drags the film has been regarding a central charac- him away screaming from the playground ters’ disability/difference. Let’s see what the and says, “Why can’t you just be normal?!” future brings following the evident success These are words that all of us with a disa- and acceptance of Float. It will be interesting bled/different child have, in our darkest mo- to see if there is a disabled/ ment, said/thought/prayed. Like the father different central char- acter in the next in Float, we’ve all regretted it and big release. repented of it immediately after- wards, but those words are Why do you think hard to undo. that Disney Pixar frequently uses That these words are the children in par- only spoken words in the film ticular to tell makes them so powerful. They their most challenge the audience to face impactful up to their own feelings, preju- stories? dices, misconceptions, and There is an “Aaahhh” factor maybe start thinking differ- in children’s stories that ently and with more com- is much harder to cre- passion about chil- dren with additional needs and their families.

Industry comment Typically Atypical Or, an exploration of the debate about able-bodied actors playing disabled characters in mainstream television shows Season three of the Netflix original series his character inevitably falls flat, often be- Atypical dropped on November 1st and coming a walking 101 autism checklist. Keir needless to say, I binged it all in one sit- himself has expressed that “the most helpful ting. Am I proud of myself? No. Am I proud of piece of research” he relied on to build his the producers for casting a neurotypical ac- character was the book ‘The Journal of Best tor to play a disabled character? Still no. Not Practices: A Memoir of Marriage, Asperger much has changed since season two, and Syndrome and One Man’s Quest to Be a Bet- so the debate on whether Keir Gilchrist was ter Husband’. That’s saying a lot, isn’t it? the right casting choice for Sam still remains heated. On one end of the spectrum, we But ultimately, I can’t help but defend and have rightfully fully condoned the practice applaud the showrunners and writers be- of ‘blacking up’, and on the other end, it is perfectly acceptable and some- hind Atypical for times even overlooked their effort. how often a gay actor Being plays a straight char- one of acter and vice versa; so where does the prac- the only tice of ‘crippling up’ lie on mainstream this ethical spectrum? Has that debate shows depicting autism on gone completely silent since the premiere of screen is a challenge in and of itself because films such as The Theory of Everything? You it’s virtually impossible to please everyone know what my lovely readers, I say it’s about considering that autism is a condition expe- time to bring it back. rienced by thousands of different people in a million different ways. As the saying goes, ‘if According to the most recent Ruderman you’ve met one person with autism, you’ve Family Foundation study, “disability has a met one person with autism.’ Let me be the 2% representation rate in the popular me- first to say that if you’ve seen one show about dia”, and of that 2%, about 95% is played autism, you’ve seen one show about autism. by non-disabled characters. In an anony- mous survey I conducted on the topic, the In the survey I conducted, 75% of par- vast majority of participants agreed that this ticipants agreed with the statement that shouldn’t be the case, and some justified it “non-disabled actors playing disabled char- by saying that it “takes away the authenticity acters increase visibility for the disabled of a real disabled person.” And personally, I community.” So even if Atypical’s depiction couldn’t agree more. of autism isn’t completely accurate because its protagonist is played by a neurotypical To all you fangirls out there, I am in actor, at least it starts a conversation. And if no way doubting Keir’s acting abil- everyone is talking about it, surely people ities; I’m just saying that because are bound to start listening, right? Right. he is not on the spectrum himself, Page 14





Short Film Reviews Hands Solo The world’s first, and probably only, mockumentary about the world’s most famous (and most fictional) deaf porn star and his (very fictional) accomplishments “Hands Solo is the most famous porn star Although the fourteen minute runtime could in the world.” Now, although I don’t have have been significantly shortened to create a the knowledge or expertise to debunk or more concise and stronger narrative, the sto- confirm this statement, this mockumentary ry is unveiled to the audience very elegantly. makes a pretty good argument for it. Person- The joke that serves as the backbone of this ally, I have never been a die-hard fan of moc- film is successfully explored through several kumentaries, mostly because the blurred line different angles that never lose their comedic between fiction and reality is stretched to its element as they are delivered. The punchline breaking point, which can be quite unnerv- that seems to be somehow successfully in- ing at times. corporated into many segments of this short film is very well thought-out and carefully However, what Hands Solo manages to do is executed. take this genre and use every one of its qual- ities to its advantage. With the juxtaposition This mockumentary portrays a deaf protago- between the ‘live’ show, medical ‘experts’ nist in a comedic light that is very rarely seen detailing Hands’s talents, and the interviews as he is never played out to be the punch- with his companion Bunny, the audience is line himself; we as an audience given a snapshot into this character’s life that are laughing with him, instead of is extremely appealing. Don’t believe me? at him. What better way to make a Just watch the opening sequence. mockumentary about a pornstar? Page 17

Love is Blind 7min Comedy Directed by Dan Hodgson Expecting an innocent, typical, get-your-tissues-ready-to-wipe-those-laughing-slash-crying-tears snippet of a romantic comedy, are we? Well, you do get that with this short film, but you also get so much more than that, and that’s the beauty of it. Although this is a light-hearted comedy, it has under- lying dark tones that make it not only an entertaining watch, but also what I would deem necessary. There is an extremely poignant and gut-wrenching twist halfway through that will leave you with an uneasy sensation that stays with you long after this short short film is over. And a small side note, if you’re considering a career in filmmaking, this is what a pretty damn perfect ending looks like. 1, 2, 3... You Please 15min Comedy Directed by Josh Close If you somehow make the excuse that you don’t have the time of day to watch films, the first minute of this short about a young woman with OCD might captivate you enough to change your mind. We follow Jesse as she deals with severe OCD, but her disability is never portrayed in a negative light, nor in an overly comedic way for the sake of it. Instead, its portrayal is au- thentic, making viewers want to engage with the character. The fairy tale quality this film has is unlike others out there and it works well when paired with the romantic storyline. Page 18

Wild Horses 26 min Comedy Directed by Rory Stewart This short film does what many filmmakers aspire to do; take a personal story and make it univer- sal. The protagonist of Wild Horses is a young girl battling with the struggles of having M.E., but the emotions she undergoes will resonate with anyone that has ever felt trapped in their own body. As an added bonus, the animations that bring character to the film as a whole couldn’t have been more well executed, and combined with the film’s surreal tone, they add a much needed light-heartedness to the story. Although the pace of the story could have been faster to keep audiences more easily hooked, this heartfelt story is well worth 26 minutes of your time. Keep The Change 16min Dramedy Directed by Rachel Israel The portrayal of autism that this short film offers is unparalleled with many others as it feels extremely natural and authentic. When considering that the main characters are both unprofessional actors, this quality becomes even more important. Although the storyline could at times have been more dramatic and built up tension from the beginning, the characters make it worth a watch. The dialogue feels unstaged and the actors embody their characters with such elegancy that makes it worthy of recognition. Page 19

Documenting Disabilities Filmmaker Maisie Hardy talks about her debut film My Second Home, a documentary featuring a three-time Special Olympic medalist with FASD Released in July of 2019, My Second idea, it just didn’t seem like the right time to Home is my debut film. It began as a make it. However, I knew that the best ver- university project, but from the mo- sion of me as a filmmaker was one that uti- ment I chose its subject and its characters, it lised this understanding of stories like Ned’s, became so much more than that. T-Jay is the one that stood on the strength of my own character I chose for the film. For you to un- personal connection to the subject. derstand why I picked this young boy, I first need to introduce you to a character in my This film was a vehicle for change in my eyes. own life; Ned. He’s my little brother and he’s As naïve and hopeful as I may have been, I super cheeky, funny and mischievous. He’s saw this as an opportunity to share an impor- also an amazing artist. When Ned was six tant message. I wanted this film to have a pur- and I was nine, Ned was diagnosed with ep- pose beyond achieving my university grades. ilepsy. Like many children with life-threaten- So I found T-Jay. He’s a 14-year-old boy from ing conditions, Ned has this remarkable abil- Haworth in North Yorkshire. T-Jay is a fun- ity to take everything in his stride. He may ny, energetic, and an extremely determined be exhausted from his seizures, but he never boy. When he fixes his mind on something, complains. He accepts it as normal. you can almost be certain he will do it. Like my brother, T-Jay has been labelled “disrup- I grew up aware that life does not always tive” and “naughty”, when really the only come easily. I knew that going to school was term you should give either of these boys is a privilege, that I was lucky to be able to “misunderstood.” T-Jay was diagnosed with hang out with my friends, go on school trips, Foetal Alcohol Syndrome Disorder (FASD) attend college, then university, and to live an at birth. This is caused by excessive drinking independent adult life. Ned, by nature of his and drug use by the mother during pregnan- condition, has never truly experienced any cy. As a result, T-Jay has brain damage. With of this. Ned will always be a huge inspiration horse riding and volunteering at the stables, to me. He’s my reminder to always be open T-Jay can channel his energy into something minded and to always be considerate of oth- positive. He can feel the weight of respon- ers. Because no matter how much you think sibility in a supported environment, and be you know about someone, there’s always a calmed by the presence of these amazing, chance you are missing a big chunk of the patient animals. T-Jay, like my brother, is a story. remarkable boy. He exceeds expectations. At just fourteen years old – the youngest par- Ned and everything that has happened to ticipant, T-Jay competed for Team GB in the him is my why – he is a character I want to Special Olympic World Games. He became shout about. I want to tell the story of this a three-time Special Olympic medalist in brilliant artist, this fearless boy who takes equestrian sport. the world in his stride, even if it constantly knocks him down. And one day, when I’m T-Jay lives with his Nan, Carole. When I first met Carole, we talked for hours. Little did we ready, I will tell Ned’s story. But last know when we first spoke over the phone year, when I was wracking my brain how much we had in common, as family trying to develop my university film Page 20

A Filmmaker’s Perscpective of a disabled child. We hadn’t realised how and contemporary storytelling. Not only was many experiences and emotions we shared. T-Jay inspiring, but he was also evidence of I knew from the moment I met Carole and what could be possible when the right com- T-Jay that they were the characters I wanted munity and support were in place. Support to shout about. There are countless remark- that children like T-Jay and my brother, and able families like this one, people who look countless others, so desperately need to adversity and disability in the face and push thrive. on despite their struggles. These are the sto- ries that need telling. For a long time, this In order for this support to continue, we need film was a private entity. I clutched it to chest to keep talking about it. With the shared ex- and poured all my passion and force for this perience film enables and with the power subject into its creation. To finally share it it has to introduce new perspectives and with the world and experience the very thing knowledge, it is a brilliant way to fuel this I had hoped for, confirmed to me the impor- conversation. Let’s keep this conversation tance of bringing stories of disability into going. Let’s inspire others to do the same. film. Let’s share these stories loudly and beautiful- ly. Because as filmmakers, we can make sure The fact a film can change people’s attitudes people with disabilities have an important so quickly illustrates how important it is to place in film, and in turn, an important place bring these stories to the forefront of media in the world outside of it.

to all the Edgars in our lives, We hear you. We see you. We accept you. Dear readers, I am somewhat embar- son (James, aged 17, Autistic with Learning rassed to say that I have now been liv- Difficulties and Epilepsy). When I spoke to ing in the UK for over two years and him, he said that like Edgar, children with have only just wrapped my head around the special needs live in a world that doesn’t ful- buzz that comes with Christmas adverts from ly understand them yet. “Edgar can’t help it. high street brands and supermarkets in this He was born a dragon, dragons breathe fire, country. When John Lewis and Waitrose pre- and the world isn’t set up for fire breathing miered ‘Edgar the Dragon’ a couple of days dragons who might flare up at any time”. ago, I finally understood why some people say it marks the official start of the holiday Because John Lewis and Waitrose were pro- season. While the ad will probably catalyse moting a message (that of inclusivity and the sale of thousands of baby dragon plush friendship towards outsiders), the product of toys and boost Dan Smith’s cover of ‘Can’t the ad itself became secondary. As someone Fight This Feeling’ to the top of the charts, not originally from the UK, I confess it took I would like to bring attention to a highly me a few seconds of scrolling down Twit- overlooked idea behind the it: its protagonist ter to understand that Edgar was holding a can be interpreted as a disabled child with chocolate pudding. But the thing is, I was special needs. Hear me out. not at all inclined to buy one. Instead, I was left close to tears as Ava supported Edgar not Excitable Edgar is a cute but misunderstood by trying to fix him and get him to fit in, but character who uncontrollably breathes fire by helping everyone accept him for who he and destroys everything around him when is. he gets too excited, turning into an unde- sired haphazard in the village. His actions The emo- tional ending challenges us result in the accidental death of a snowman, to think about all the Edgars in our the melting of an ice rink and t h e lives and how we can be incarceration of the village’s more compassionate towards Christmas tree. This behav- them. Dougal pointed out that iour, combined with his kind although John Lewis and Wait- but misunderstood inten- rose spend money making tions, assimilate him to a child with special ads like these with the needs. ultimate commercial in- tention of selling their Mark Arnold, the au- thor behind The Ad- products, they’re also ditional Needs Blog- very careful to imbue father, also saw the client with a mes- this parallel sage of positivity and between Ed- gar and his hope. And if that doesn’t warm up your heart to the holiday season, I don’t know what will. Page 22

In conversation with Dougal Wilson I’ve read that It’s interesting that people are picking up the original on the theme of Edgar the Dragon being intention of the understanding and inclusivity of those that advert was to incen- might be considered different or outsiders. tivise people to find the perfect gift for It wasn’t specifically intended for Edgar to their loved ones. But how do you feel about represent someone with a disability, but as the advert being interpreted as a reflection I said, it’s one entirely valid interpretation, of children with special needs? Would you and it would be very positive if it started say this is a valid interpretation? any kind of trend for other commercials. The line at the end of the advert is  “Show them how much you care.”  Yes, the ultimate What are your thoughts on advertising be- commercial intention of the ad is to get peo- ing a medium for promoting diversity and ple to buy something from John Lewis or change in the film and television industry Waitrose. That’s why they spend the money as a whole?  on making it.   But it’s also important that the I think it’s very important that advertising commercial imbues the client with a mes- shows leadership in promoting diversi- sage of positivity.   ty. Advertising is often seen as a reflection of culture and by depicting minorities or diversity as normal and mainstream, I be- lieve advertising certainly has a role to play in promoting acceptance and tolerance. This particular message is about loyalty and You’ve directed some amazing adverts for friendship to anyone who is misunderstood other big companies as well. What would you or an outsider.  This could simply be some- say makes the John Lewis & Partners com- one shy or awkward or even an immigrant.  mercials stand out as something that many The audience can view the dragon as a met- people expectantly wait for year after year?  aphorical character that represents anyone The most important element of any commer- that fits their personal experience.  So yes, if cial is a story that you engage with emotion- people interpret him as a reflection of a child ally.  It also helps if it’s entertaining and fun with special needs, that’s entirely valid too. to watch and doesn’t take itself entirely se- riously. The John Lewis ads try and achieve Considering that reception of Edgar the this and to do it in a way that respects the Dragon has been so positive, do you think audience, rather than patronising them. this advert will impact mass media market- ing in any way to make it more inclusive for Lastly, a question I always like to ask; did people with disabilities? you have any happy accidents during pro- Popular commercials often set off trends in duction or anecdotes you could share? similar styles.  The John Lewis campaign in Ha let me think.  Usually this is to do with particular has become highly influential onl unexpected performances from cast mem- Christmas advertising since it started with bers.  When the dragon melts the ice, there’s the “Long Wait” commercial. Other ads be- a great kid who screams in terror as he runs gan being less about festive fun and more towards the camera - I didn’t expect him to about positive messages of inclusivity and look so scared but it nicely offsets the sen- sharing.   For example Sainsbury’s  “Mog’s timental tone. There are also some Christmas Calamity” or Waitrose’s  “Home great unexpected faces of the chil- For Christmas”. dren after the dragon melts the tree. Page 23

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