Being Bradford Dillman Q&A

So, what inspired the short?
EMMA: I always loved the extreme reactions I got from people when I told them my mum had told me I was
born a boy when I was 3. There never seemed to be a middle ground, it was either one of extreme amusement,
or total horror that she could say such a thing to a young child. I’d often get “Are you okay?” but the
funniest response was “Were you?”
PETE: When Emma told me the story I thought it was really funny. It felt like the perfect opportunity to do
something that captured a far stranger, darker and realistic side to childhood than the happy happy ‘bite and
smile’ commercials I’d been working on.

How closely does the story of the short stick to the reality?
EMMA: Well, both Pete and I have included various references to our childhood memories along with obscure
adult games we used to play. I say we, the ‘Jumping off the chair quietly game’ was one of Pete’s. I thought it
was so silly when he told me about it we decided to put it in.
Regarding my home life, I wasn’t an only child and I didn’t have an imaginary friend but, I do remember
playing on my own quite a bit - there was a big age gap between my sister and me. The kids on the street are
real though and they did definitely sing, “Emma’s a wally, she fell off her trolley”. Unfortunately I can’t remember
what genius came up with those lyrics now. My real life mum does enjoy a drink but not to the extent of
Molly’s mum. Basically, there’s a lot of artistic license applied with a dash of reality too.

How did your mum react to the film when she saw it?
EMMA: My mum sees the funny side of it. She knows there was no malice in the story. Adults say things
to kids all the time, sometimes for their own amusement, sometimes to get them to behave. You can say the
most innocent of white lies to a child and they will take your word as gospel.

At which point did you decide an animation would be the best platform and why?
PETE: We wanted to use children’s book imagery and subvert it a little, give it an odd twist, just as the story
itself subverts most people’s ideas of what childhood should be about.
EMMA: Both Pete and I were working at Loose Moose at the time, we were under some ridiculous illusion it
would be the simplest format for us to make it in. How wrong we were. It’s hard to make an animated film
when you’re not an animator yourself.

How and when did the production of Being Bradford Dillman start to come together?
EMMA: We’d experimented with a few animation techniques over the years but the production really started
coming together when Daniella Orsini came on board. We loved Daniella’s style and thought it would be a
good way forward for the film. It meant we could retain the charm of Pete’s artwork and characters.

You said you don’t remember having an imaginary friend. Why did you feel it was necessary to bring the character of Bradford to life on the screen?
EMMA: Yeah, Bradford was the biggest leap from reality. Molly’s life is quite tragic at the start and by introducing
Bradford, we gave Molly a friend in which to help develop her confidence and happiness. He’s essential
for her character to grow.

Which character do you both relate most to (Molly or Bradford) and why?
PETE: It’s Molly for me. I think her imagination takes over and leads her into strange areas and then leaves
her there, stranded.
EMMA: Definitely Molly but I have a bit of Bradford in me... usually after I’ve had a drink or two and lose my
sensible side.

Making a movie with your friends...has that been fun or difficult?
PETE: It’s been difficult sometimes but only because of the budget constraints we had. Although the amount
we spent on wine could probably have funded the film when I think about it!
EMMA: (Laughs) Yeah, Pete and I had a lot of fun and drank a lot of wine while writing and developing the
film. It was a nice way to relax and be creative after our day jobs at Loose Moose. What’s been really nice is
making new friends in the crew along the way.

Given the chance, what would you change about Being Bradford Dillman?
EMMA: At the moment, not a lot but I’m in no doubt I’ll have an ever-growing list as time goes by.
PETE: I’ve finally learnt to take the changes you’d like to make to a piece of work and to create a new piece of
work with them instead, although I’d probably make the characters’ eyes a bit smaller now!

Interview by Sarah Doody of Space of Mind