STATES OF MIND
Meet the Crew
Alexandre Culau
Director
This project required extra effort from each member of the crew; in my case, I was involved in the production since the beginning; to get the locations, such as the Anglican Cathedral and the Bock’s bar was necessary contact several people months before we cast actors. As the director, I faced the challenge in keeping the crew motivated during this process, in a way that every member was allowed to contribute with their own creative vision and don’t lose the core of the original idea from the script. Moreover, I isolated technical issues of the productions from the actors to ensure they were focused on their performance.
Liam Kane
Writer & Assistant Director
As the Assistant Director, it was my responsibility to ensure that the set was running smoothly and on time for the production. It is my job to keep things moving, working with the producer to plan out the shoot days, and ensuring the camera, lighting, and sound are all in sync. Although taking a significant position in pre-production as the writer, it was still important to carry over this duty into production. This meant I helped to tweak and solve any problems with the story, collaborating with the director and actors, and ensuring the story stays true to the original purpose.
Alfie Taylor-Lane
Writer and Producer
As one of the writers, I worked closely with my Co-Writer to help envision exactly what the Director wanted for States of Mind and how we could create a concise and engaging story that delivered impact within the limited timeframe. As a Producer, I helped arrange and booked multiple shoot days, working closely with the AD to achieve this, as well as gathering the necessary props and make sure we were within budget. When we arrived on set, I acted as the AC (Assistant Coordinator) to ensure the Editor knew what take was which to help us ensure a smooth post-production process.
As the editor for this project, it was my responsibility to build off the work of the screenwriters and cinematographer and deliver a final product that reflects the film's surrealist tone and fractured narrative. This was by far the most ambitious project I have undertaken and allowed me to experiment and learn new visual effect techniques, that help develop the world of ‘States of Mind’ into a visually compelling story. Similarly with my use of lighting I hope to create a visual atmosphere that correlates with Scotts deep emotional arc throughout the film.
Harry Panagiotakis
Editor & Lighting
Ben Fu
Sound Designer
This film gave me the opportunity to push sound beyond convention and create something truly different. It features sonic textures that don’t exist in the real world, using abstract and layered design to reflect the inner turmoil of Scott. I crafted motifs for Vanessa and the treasure box to build emotional continuity across the film’s fractured timelines. With minimal dialogue, sound became a core storytelling device. It did not just support the visuals but brought them to life. My goal was to create a soundscape that feels alive, surreal, and deeply psychological, while also making sure the audience never gets lost in the story.
Finlay Rushton
Cinematographer
Being cinematographer for this experimental film allowed a range of creativity with incredible locations to explore. From close-ups to create an intimate effect to wide shots that present astonishment, my job was composing the action into frame and getting the best use out of equipment for each shot. I had to constantly communicate with my director to understand the actor’s movement, as well as constantly talking to the editor to make sure shots aligned with how he could apply the vfx. My biggest goal was for the audience to get enticed with our protagonist and emotionally connect with him visually.
