Kathryn Ferguson

Because I guess what we realized after our years of gathering and going through the archives in depth was that there was a huge chunk of her past missing and wasn't documented.

So then there was the decision to try and work out how we could bring this to life.

In a very sensitive way, I was very conscious I was dealing with somebody else's trauma and with a very sensitive story.

So for me as a filmmaker, I just went about it doing it in the most delicate way that I could.

It's more, I guess, my imagining.

It's like a dream sequence nearly of what she told me in her interview.

And I was trying to

create images I guess that would work as part of this tapestry that interwove the archive the interviews and the pre-existing visual elements that we had we also were fortunate enough to be able to work with John Mabry and bring his beautiful cinematography and iconic music video making into the film we also got to interview him it took me two years to convince him that

to talk to me and when we finally did we had a ball he was amazing and I also John Mabry for me even as a teenager growing up in Belfast in the 90s I was such a mega fan of his work the filmmaker without me even realising that's where I wanted to end up I was so taken by

with what he was doing with Moving Image.

And he'd been such an idol of mine.

So being able to then interview him about his relationship with her, it just felt very full circle.

He did that.

He did Troy.

He did, what did he do?

Goodness, I'm sorry.

Absolutely.

He was a prodigy, definitely.

I'm sure you did.

Amazing.