As part of the Directors UK Inspire scheme, Sophie Black was mentored by Justin Molotnikov, a drama and fantasy director.
Here, Sophie shares an insight into her experience from her time shadowing Justin on the set of his production Sanctuary: A Witch’s Tale (AMC Studios and Sundance Now), as well as on her mentorship and being part of the Inspire scheme.
Image: Sophie Black and Inspire mentor Justin Molotnikov on set
Inspired by Inspire
When I started making films, I felt like a bit of a late bloomer — there weren’t many creative opportunities on my doorstep and the learning assets were much more limited than they are now. When it came to my degree, I specialised in Production Design because I’d always been artistic, and I wanted an employable skill that could help me get on set as soon as possible after graduating. As a result, I had a fantastic early career in the art and costume departments of numerous independent shorts, features and commercials, but secretly, I’d always wanted to be a director.
I finally took the plunge in 2012, when I made my first short film with a professional crew, Ashes, and since then I’ve directed nine short films. My most recent short, A Different Place, was completed in late 2022 and has been screened at several different festivals including BFI Flare. I’ve won numerous awards for my short films and directing and have been accepted into BFI NETWORK x BAFTA Crew in both 2018 and 2019, and recently became a member of BAFTA Connect.
I was drawn to the Inspire programme because I wanted to learn more about genre directing and filmmaking, as well as grow my skills and career through practical learning. What was brilliant was that the Directors UK team took the time to learn about me and the kind of films I wanted to make, resulting in them putting forward Justin as a potential mentor. It was a brilliant suggestion. He had been responsible for directing big genre-based credits such as Doctor Who, Merlin and Outlander — all of which I’d watched and enjoyed — as well as the children’s series My Parents Are Aliens, which I’d loved when I was younger. It was a great range of credits that got me excited to learn more.
Connecting with my mentor
Going into the mentorship, I had so many questions for Justin about directing within the fantasy genre, and he gave me some great advice and insight in response, often when we were chatting during downtime on the Sanctuary: A Witch’s Tale shoot. What was interesting to learn was that he was often hired to direct fantasy projects because he took a very grounded approach to the subject — his focus was uncovering the truth of the character in every situation, regardless of the genre. Similarly, a piece of advice that he gave me was the importance of consistency within the world being represented on screen. For example, if you’re working with “magic”, Justin advised determining the source of where it comes from, whether that’s the earth, the air, certain body language, whatever that might be, and sticking to this source throughout, so that the magic feels consistent and truthful as well as fantastic and other-worldly.
What was brilliant about the mentorship was that, although our shared experience in fantasy was the reason for me being partnered with Justin, the lessons I learned went so far beyond this. His advice about pacing myself and keeping a calm head, both in my day-to-day life and on set, was invaluable and has changed my overall outlook, and I’m so grateful for that.
Image: Sophie Black and Inspire mentor Justin Molotnikov on set
Shadowing on the set of Sanctuary
Whilst I was being mentored by Justin, I had the opportunity to shadow him on the set of AMC Studios and Sundance Now’s Sanctuary: A Witch’s Tale in Dublin — it was the first time I’d stepped onto a bigger-budget studio shoot, so it was a brilliant (albeit initially nerve-wracking!) experience.
For independent filmmakers, there is often a battle with imposter syndrome. It can seem as though studio shoots take place in an unreachable world, and that the directors and crew who work on them have wildly different skillsets and stamina levels compared to our own experiences. As I drove past custom-built sets and a 44ft camera crane that was so big it had to be driven around the location, complete with a steering wheel and horn, I knew that I wasn’t in Kansas anymore…
It didn’t take long for the crew and staff to make me feel welcome and at ease, from the production team who recommended accommodation and transport, to the on-set crew who took time out from their schedules to chat to me about their individual roles and how they collaborated with the director. I was surprised to see that many of the skills I’d learned from years of making indie shorts and working at a corporate agency were also transferrable and applicable to this shoot, which helped boost my confidence.
That’s not to say I didn’t learn anything new. Quite the opposite! I was lucky enough to be shadowing during a block where the production was shooting the biggest scene of the series, involving much of the lead cast, a huge crowd, multiple stunts, and visual effects — including pyrotechnics! There were so many puzzle pieces which needed to come together. There was something new for me to take in almost on a minute-by-minute basis, from learning how to read two monitors at once, to seeing how small fight vignettes from the stunt team could be used to add texture and extra energy to a panicked crowd shot. I had to absorb a lot of information in a short space of time, and it was thrilling.
However, the biggest lesson I took away from the shoot was how everyone stayed calm and focused, even in the face of big challenges; both those they had prepared for, such as all the different components of the series’ biggest scene, and those they hadn’t, such as bad weather or illness amongst cast and crew. The team worked hard and collaborated to solve any problems, and there seemed to be no outward displays of stress or tension. As the director, it seemed that Justin really led by example — trusting his team to make decisions without micro-management, giving his actors autonomy and asking their opinions, and staying centred when quick decisions about the schedule had to be made. This was infectious, as it set the bar for on-set behaviour and helped everyone around him to feel more relaxed, which was really inspiring to see.
When you start shadowing, it’s tempting to stay on the sidelines and try to avoid getting in anyone’s way. However, there were so many people working on the Sanctuary: A Witch’s Tale shoot that it was impossible to not be in someone’s way, and I had to make peace with that! It helped that whenever he spotted me hanging back, Justin was great at getting me involved, introducing me to his cast and Heads of Department and encouraging me to listen in on their discussions. He was really generous with his space that way, not just with me but with the entire team; everyone was treated with an equal level of respect.
Putting these lessons into practice
Once I returned home from shadowing on the Sanctuary: A Witch’s Tale shoot, I expected to go back to my everyday tasks, such as updating my CV and looking for work. Instead, not soon after I got back, I was asked to direct an episode of the independent fantasy series Ren: The Girl with the Mark for Mythica Entertainment.
This was a great opportunity to put the lessons I’d learned from Justin into practice, so we temporarily put aside the topics we’d planned to discuss during our mentoring catch ups so that we could focus on exactly what I needed to know to tackle my first TV directing job with confidence. This was invaluable; we discussed everything from practical tips about fight choreography and finding the truth of characters within heightened fantasy scenes, to emotional guidance, such as pacing myself through an intense schedule that could otherwise have been overwhelming. It was a challenging shoot in all the best ways, but I was able to draw on so much of what I’d learned from Justin. Debriefing with him afterwards, sharing what went well and where I thought I could improve, was also incredibly useful – and something I strongly recommend that more directors consider.
My advice to prospective Inspire applicants
After I was accepted onto the Inspire programme, it took a few months for me to find someone who was the right fit and who was available to be my mentor. For anyone who finds themselves in the same boat, my advice is to not only stay positive, but to try and enjoy the search. I had meetings with so many amazing directors along the way, all of whom gave me great advice — they even inspired me to write another draft of a feature-length screenplay I’d been sitting on for a while (which then led to a meeting with my dream distribution company!). I don’t think I would have made the time to be creative and productive in that way if it weren’t for the Inspire programme and the conversations I had during my search for a mentor, all of which really made me focus on what I wanted to achieve over the course of a year.
I couldn’t have been happier with my mentor – not only does Justin have extensive experience, particularly in the fantasy genre that I love, but he has a calmness and a willingness to trust the team around him, and he has taught me to look at our industry and the role of the director in a whole new light. When pre-production looms, I don’t automatically go into “stress mode” anymore; I take a step back and make time to centre myself, remember that problems can be solved with hard work and collaboration, rather than unnecessary worry. What’s more, I remind myself to enjoy the process and to make the most of working collaboratively with my crew and production team when I’m on set. I also try to take everything a day at a time and not be weighed down by the bigger picture. It’s not easy and it takes practice, but I’m getting there!
I joined the Directors UK Inspire programme because I wanted to learn practical tips to enhance my skills and elevate my craft and career as a director; what I couldn’t have predicted was how it would change me as a person. I am so grateful to Justin and the Directors UK team for all the experiences I’ve had as part of this programme, and for the lessons I’ll carry with me throughout the rest my career moving forwards.
