Navigating Skill, Humor, and the Cinematic Journey in an Exclusive Q&A with Pitch to Screen® New York
London-based writer and director Sam Baron has earned acclaim in the film industry, notably winning The Academy Nicholl Fellowship Award for his screenplay “The Science Of Love,” featured on The Brit List. His short film “The Orgy,” starring Amit Shah and Alexandra Roach, gained global recognition at film festivals and is now in development as a TV series with Sony. His latest short film, ‘Tall, Dark, and Handsome,’ with Amit Shah and Laura Aikman, is now a Vimeo Staff Pick.
With a track record of shorts boasting six million online hits, Baron’s work has been spotlighted by platforms like Vimeo, Indiewire, and Short Of The Week. Beyond shorts, he’s written for TV shows including the BBC’s “Chloe” and Netflix’s “Lockwood & Co”, as well as developing his own originals with Sky Comedy, Netflix and the BBC.
Baron’s industry contributions include roles in development at Ealing Studios, script reading for the BBC, and production work on series such as “The Hour” and “Mr Selfridge.” His journey reflects both artistic finesse and a commitment to pushing storytelling boundaries in film and television.
In this exclusive Q&A for the Pitch to Screen® Festival in New York City, Sam shares insights into his inspirations, challenges, and achievements, offering a personal perspective on the dynamic world of indie filmmaking.
How did you first step into the world of filmmaking?
I started by going to my local drama club on Saturdays when I was 12 years old. The best actor in the group was a guy called Raphael von Blumenthal, so I hung around near him and convinced him we should make a film together. It took 3 years, but we did it. We carried on making no-budget films during our teenage years and somehow got six million views in the early days of YouTube. Twenty years later, we’re still great friends and still flying the flag high for indie filmmaking!
We’re very interested to know more about your creative process when developing a new film project. Could you walk us through it?
It always starts with an idea that is personal, makes me laugh, and feels naughty — like I might get in trouble if I make it. Once I’m tickled on those levels, I riff on the comedy of it (“Wouldn’t it be funny if…”), trying to move quickly and not judge it, just adding ideas even if they contradict each other (I want as much funny stuff I can pull from as possible). Then I try to treat it like a serious piece of drama (“What’s it really about? What’s it saying? Why should we waste a lot of time and money to make this thing? Why is it more than just a forgettable comedy sketch?”). I try to write the first draft as fast as possible, without thinking too much — just writing what would normally happen in each situation, looking for moments of depth and extra ways to make myself laugh or surprise myself, keeping the stakes and tension building, keeping the narrative dominoes tumbling, joining scenes late, leaving them early, skipping anything boring. Then I show the script to a trusted person — often my girlfriend Alice Seabright, who is brilliant with script notes. She’ll give me a quick steer. Then I rewrite it a lot, bouncing it off as many people as I need to until it feels finely chiseled. Actors are often great for giving character notes that can take it to the next level. Amit Shah is like a scientist — every word and pause needs to make sense to him. I love it. Then we try to get it made, and that’s a whole other thing!
“It always starts with an idea that is personal, makes me laugh, and feels naughty — like I might get in trouble if I make it.”
Balancing artistic expression and commercial considerations can be quite a challenge in filmmaking. How do you manage this delicate balance?
I’ve learned the hard way what happens if you don’t entertain or engage an audience. There’s nothing more painful than sitting through a screening of a self-indulgent mess you were convinced had artistic merit. So I think about the audience constantly — before, during, and after the shoot. I test my scripts and my edits extensively. I don’t make a film unless I’m pretty certain it’s going to both scratch my own personal artistic itch and satisfy a big audience. You can’t make something that everyone will love, but you can value people’s time and be rigorous with yourself to make sure that your work is as strong as it can be.
“I think about the audience constantly — before, during, and after the shoot.”
Have you faced a particularly challenging moment during the production of one of your films? If so, how did you overcome it?
Many! One of the toughest was filming with a baby. It was meant to be happy but it wouldn’t stop crying. I decided to embrace it and changed the scene on the fly to fit the baby’s temperament. It worked brilliantly and I’m actually glad it happened now — the scene works better for it!
As a filmmaker, staying motivated and productive is crucial. What strategies do you employ to maintain your creative momentum?
I keep lots of projects brewing at the same time, so when one hits a stumbling block, the others can take my focus — and whilst I’m busy with one, my subconscious can be working on the others, so I always come back with a fresh perspective and new energy. I love having different collaborations ongoing for the same reason.
Are there any notable filmmakers or film movements that have significantly inspired your work? Please share your thoughts on their impact.
Richard Linklater, for his commitment to the notion that films without conventional plots are worthwhile — he often uses a period of time as his canvas, and illuminates the complexities of people within that frame. Noah Baumbach, Charlie Kaufman, Judd Apatow and the Duplass Brothers for similar reasons — human stories, told with love, which never let their protagonists off the hook. Trey Parker & Matt Stone, for their defiant independence. François Truffaut for showing life as it really looks and feels, whilst also reminding us that films are dreams, memories or fantasies. Phoebe Waller-Bridge and Greta Gerwig for the way they reveal humor and sadness to be two sides of the same coin. And so many more, I could keep listing names all day…
Dealing with criticism and feedback is an essential part of any artist’s journey. How do you handle such responses to your films?
F*** you. You’re right. I’ll do better.
In your opinion, what are the most significant challenges facing the film industry today?
Financing. It’s always been a struggle — Orson Welles once said that he set out to be a filmmaker but spent 95% of his time raising money. We’re in a particularly odd time right now — people aren’t going to the cinema to see small and medium-sized movies anymore, and there’s no VHS/DVD market to make up the shortfall, so it’s very hard to get original human stories made. But every comparable period in cinema history has led to a boom in the independent film world, with new methods and approaches being born, so we have to keep our spirits up, get creative, and find new ways to get our stories out there!
Keeping up with the latest trends and developments is essential in any creativefield. How do you stay informed about the ever-evolving world of filmmaking?
I don’t follow the trends, I follow my own tastes and interests. If that aligns with the wider world, fantastic. If not, I’ll just have to work a lot harder to try to get the audience on board with what I’m making.
What advice would you give to aspiring filmmakers who are just starting their journey?
Don’t censor yourself. Define your own bullseye. Amuse yourself first. Make stuff, even if it’s for no money with your friends on the weekends. Then screen it, and pay attention to how it feels to sit there. Next time, do more of what felt good and correct for what felt unbearable. Rinse, repeat.
“Don’t censor yourself. Define your own bullseye. Amuse yourself first.”
Explore more about Sam Baron’s work and stay tuned for the next projects:
Website: www.sambaron.com
Instagram: @baronifish
Twitter: @baronifish
Pitch to Screen LLC. All rights reserved.