Kathryn Ferguson

I mean, as you said, we're living in this very tumultuous world and things are really bad at the minute and there's so much injustice and

bullying and awful things happening as we well know and I guess what we're trying to do is make work that doesn't shy away from it doesn't try to plaster over it or sugarcoat it but what we want to leave you with at the end of each of these nostalgia not so much on that

So that was a different one.

But, you know, I guess with the films I know that I'm about to make next, you know, it's very much taking you on a journey, but kind of holding you through it.

And even if it does enrage you, even if it does tap into like a deep grief, I want to hold you on the way out the other side of it.

So you leave.

with lots of feelings, but hopefully feeling held and that are hopefully inspired, actually, really.

And that there's hope within it all as well, you know, so I can't see, bar nostalgia, ever making another film that won't do that.

I think that's kind of the ethos of what I do and want to do.

Yeah.

And I got to work with her in 2009.

Quite early on in her career.

Very early.

She was just about to play her first Glastonbury and I got a call from Dazed and Confused magazine asking if I wanted to film this new pop star who was going to be, I mean, I must have heard of her, but who was going to perform at Glastonbury.

And they wanted to do like a fashion-y type thing, like a fashion film of her.

They didn't have any real budget.

And they didn't really know what we could do with her.

But for me just to come with a small crew and it was Anna Trevelyan was the stylist, was going to bring all of these amazing young designers and brilliant UK designers, including Pam Hogg, Fred Butler and others.

Charlie Lemindo, I remember, just all of these amazing pieces.

And we just had to work with what we had, which was Gaga going in and out of these huge hangers.