FylmK – Interview with Bryher Flanders

Screen Cornwall works with Cornwall Council to commission a short film in the Cornish Language each year. FlymK has unearthed an broad range of genres and themes being explored in Kernewek, and has provided local filmmakers with an opportunity to create contemporary content that adds to the brilliant archive of shorts made in Cornwall. Applications for FylmK 2021 are now open, click here to learn more.

We spoke with recipient of the FylmK 2020 commission Bryher Flanders about her experience of writing and directing her short as a part of FylmK. MOWES (Lass) is a coming-of-age story set in Truro about a 16 year old girl who discovers that there’s more to where she grew up than she thought.

What triggered your interest in applying for FylmK?

I was an actor in the 2019 FylmK film AN TAROW which definitely reignited my interest in performing and writing in the Cornish language. As a first time filmmaker, I felt more confident applying for FylmK than other schemes because I knew others who had already made films through the fund, so I had insight on their experiences. I’d been wanting to write and direct a short for a while and when I was furloughed from March through to July, it seemed like the perfect opportunity to give it a go. I’m always thinking about how we make Cornish stories relevant whilst authentic. Using Cornish language creates a unique feel, a world which is familiar but where the language is widely spoken and used freely that brings a special atmosphere.

How did you come up with the idea for the film?

The idea for the script and some of the characters had lived in my head for a while. I wanted to tell a story that reflected my own experience and the lives of lots of young people I have met and have worked with in Cornwall. I wanted to look at growing up in Truro and queerness, as we don’t often see stories like this in Cornwall being told. It also helped that I had access to my step dad’s shop as the primary location!

How did you bring your team together?

Most of the team came about through another short I was involved in, Anoraks for BBC New Creatives, and through Zoe Alker, who made FylmK short in 2018 called YN MOR. I also roped in people I went to school with or used to hang around in town with as a teenager, whose work I had followed on social media and finally had an excuse to get in touch with them and see if they fancied getting involved. Through working with a local crew who perhaps have a more personal connection with the story you’re trying to tell, there is more of an understanding and familiarity with the characters and sense of place.

What was the production process like?

I was supported by Screen Cornwall both with script development and production. For the majority of the pre-production, I was producing as well as finishing off the script so Screen Cornwall helped with securing kit and filming permissions as well as providing script notes. The Cornish Language Office translation support, presence in the rehearsal room and on set was crucial to ensuring everyone was confident in the language and could focus on the acting.  The collaboration between myself and the Cornish Language Office was really key in bringing together the accuracy of the language with the authenticity of the storytelling.

What advice would you give to others considering working in Cornish Language?

I find working in the Cornish Language as fulfilling as it is challenging! I did have the advantage of previous experience of performing in Cornish, which was very helpful. However, I hadn’t written a script before that was going to be translated. I set myself and the actors a big challenge by writing a dialogue heavy script and was incredibly lucky with the actors I had as they all really committed to putting in the work with the language. For any short filmmakers applying for the scheme, a question I kept returning back to was what can the language bring to this story and vice versa? Why should this particular story be told in this way, using the language as a tool for storytelling?

If you’re successful in winning the funding, it might sound obvious but really know what each line means! When you get on to set and there’s a bunch of other things going on, a take might look good but the delivery might not match the actual words being said. This is another aspect the Cornish Language support is crucial for. I’d also say that patience is key. It’s always challenging creating a short film on a budget and to a deadline, but then there is the added pressure of the language. Allow more time if you can so that you’re happy with each take across all departments. The actors and crew might have no experience with the language so working through it together and taking in to account all different levels and ways of learning is really important in order to make the language accessible and enjoyable for everyone.