I had made a short comedy in London called The Moment of Accepting Life that was invited everywhere and won awards—and on the strength of this began to plan a feature-length romantic comedy.
But every time we got to the stage of financing the project collapsed because I had never directed a feature.
When this happened for the third time I decided to pick up a home-movie camera and shoot ninety minutes of film so witty and compelling that no one would ever doubt I could do something that big. (If I were doing it today I'd shoot it with a phone.)
So I wrote a script for a minimal shoot that wouldn’t take too much lighting or propose sound problems—and as soon as I started to cast it I was approached by people eager to work for deferred payment—not only superb actors but famous technicians. The DOP on this movie, Giorgos Arvanitis, is one of the best known in Europe—and it shows in the result.
And that's how I shot Emma Blue.