Molly, thank you for finding the time to talk to me.
It was really no trouble. You received the list of topics I’m not comfortable discussing?
The washing pile in your bedroom. Your mistrust of the conventionally attractive. The fact that you live in an apartment above a fried chicken shop and if you open the kitchen window the extractor fan fumigates the kitchen with chicken grease. The number of stockings you have with holes in the toes and your love life. Is that right?
Yes that’s it.
Lyndy asked me to interview you about your short film, Miss Fortunate, so it’s highly unlikely any of those would come up.
I’m so thrilled Lyndy’s putting it up on 1.4, I think it’s such a brilliant resource for inspiration and expertise alike.
Tell me a bit about yourself and what you do.
Significantly, I’m you. I’m a screenwriter and an actor.
How did you get your start in the industry?
I haven’t yet.
Oh, well how did Miss Fortunate come about?
My mum died and I thought it was really sad and funny. Mum always said the mark of a good film was “You laugh, you cry” so I thought I should take her advice and write one. It’s really a proof of concept for a series.
I’m sorry to hear about your mum.
That’s ok, she was your mum.
What did you find funny about my mum’s death then?
It made the world so dark that any tiny flecks of light held my attention. Like the LED light on a TV in a hotel room with blackout curtains. I fixate on those too, I have to cover them with a towel otherwise I can’t sleep.
Talk to me about the director of Miss Fortunate, Ella Jones
She’s a genius. When she came on board I felt like I’d won an award. When people you admire want to work with you there’s no greater feeling.
You’re also in the film.
Yes. You are too, I’ll point out.
I don’t know why you keep bringing that up.
I think it’s important for the journalistic integrity of 1.4 to be open about our relationship.
How would you describe our relationship?
Difficult but only when you’re anxious. Otherwise I think we get on quite well. I like that you’re inquisitive.
That’s kind of you to say. I think you’re weird but I can appreciate that some people enjoy it. What are you working on at the moment?
That felt barbed. I’m about to start filming Alice Englert’s debut feature Bad Behavior.
You’re acting in that?
Both you and I are, yes. I’m also developing a feature called Hello, I’m a Ghost, which I just finished a proof of concept for. Alice Englert directed that too. I did a development sprint with Piki films for a project called Bitch Club late last year and I’m in talks about the series version of Miss Fortunate.
What was the most challenging aspect of filming Miss Fortunate?
You’re not interested in anything I just mentioned?
Not really, I’m here to discuss Miss Fortunate.
Charming. It’s a spoiler but I’d say re-staging my mum’s funeral was pretty hard. We also filmed in a morgue that had some… guests?
You mean dead people?
Is there a theme or genre that connects your work?
I joke that my genre is WOMEN.
Why is that a joke?
Well because women shouldn’t be a genre but if you say “A thriller about a sentient chapstick” you have to say “with a female lead” otherwise the assumption is the chapstick is male.
It seems that’s not a joke but a serious point about the state of filmmaking that you’ve labeled a joke in order to make palatable.
Is it a coincidence that your work is about women and you are a woman?
Wouldn’t people benefit from stories about a multitude of different people?
Yes but you have to start somewhere.
So you started with yourself?
Are you asking me if I’m self involved?
I don’t think there’s any need to ask that, you’re interviewing yourself.
Director: Ella Jones
Writer: Molly O’Shea
Executive Producers: Molly O’Shea, David Beazley
Producers: Alex Baldwin, Jacob Thomas
Cinematographers: Sara Deane, Luciano Riso
Casting Director: Leila Bertrand
Music Supervisor: SixtyFour Music
Composer: Roly Witherow
Editor: Flaura Atkinson
Justine Wright, Simon Willcox
Assistant Editor: Alys Willcox
Sound Designer: Martin Leitner, WAVE Studios
Production Designers: Lucie Red, Miryam Jacomini
Post Production Supervisor: Tomas Ossipof
Costume Designer: Lex Wood, Francesca Prizzon
Make Up Designer: Laura Miles
Make Up Artist: Ruby Lonsdale
Script Supervisor: Lefteris Parasyris
Art Directors: Teresa ‘Terry’ Palamara, Johnny Savage
Set Decorator: Ieva Petrav
Art Assistant: Mary Anderson
Assistant Make Up Artists: Ellie Smith, Rishika Sharda
Focus Puller: Emily-Jane Robinson
2nd AC: Max Openshaw
Steadicam Operator: Rupert Peddle
Gaffer: Salvador Gomez-Lopez, Leon Pyszora
Electricians: Charlie Lodge, Luke Hambly
Sound Recordist: Joe Harris, Julia Hardecka, Oscar Perez
Stills Photographer: Lily Bertrand-Webb
Filmed on Location at
East London Mosque
The Old Church Stoke Newington
With support from
Cast in order of Appearance
The Queen Ant: Herself
Scarlet: Molly O’Shea
Joss: Lise-Ann McLaughlin
Sadie -T’Nia Miller
Margot: Maggie O’Neill
The Humourless Man: Ben Whishaw
Jack: Alex Lawther
Joey the Cat: Himself
Mitzi the Cat: Herself
Crying Man: Tom Keller
Annoyed Woman: Hilary Whelan
Michele Del Forno
Joan Van Gerven