SHORT BIO

Drue Bisley, former Head of Film Creative for Mario Testino, is an award-winning fashion film director and creator of luxury fashion and beauty digital content. Her work aims to marry beauty with purpose, crafting visually striking and emotive films. With a specialism in cinema theory, she integrates clothing into her storytelling, ensuring it enhances the narrative through its signifiers rather than detracting from the authentic human connection she aims to establish with the audience. Drue is based in the UK.

1. Was there a particular event or time that you recognized that filmmaking is your way of telling stories?

I was brought up watching classic Hollywood and early cinema. I was drawn to films where costume always played a big part in telling a story and driving the narrative, especially those big moments, like when Grace Kelly turns on the lights in Rear Window – slowly revealing herself whilst stating her name, with her white circle skirt and white gloves. Fashion moments in films like this had a profound impact on me growing up.

2. Do you think it is essential to go to a film institute in order to become a successful filmmaker?

I studied a master’s in Fashion Film so I guess my path has been different to others. Aside from cinema theory, I am self-taught as a filmmaker so I would say it isn’t essential. My advice is to get field experience as soon as you can. 

3. Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

I think it’s harder to keep going. Sometimes there can be positive, motivational days when it feels like you can do anything, and other days you doubt your abilities and whether you’ll accomplish what you deem to be successful. On the bad days, I seek Rick Rubin’s wise advice by opening a page from ‘The Creative Act’. Reconnecting with yourself and reminding yourself you feel this way because creating is your reason for being – so picking yourself up and finding strength is all part of the journey. 

4. What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?

Learning to trust my instincts and my taste. With Tales Of Courage being my first film it was all such a leap of faith. Having my collaborators and crew believe in this project, kept me going. 

5. What were the production realities from casting through editing that you had to accommodate? How did you navigate those compromises or surprises and still end up with a cohesive film?

The film was inspired by the talent Harriet Longhurst, so the casting and her story are the reason this film exists! More on next answer below….

6. What was the hardest artistic choice you made in the making of a film, at any stage in production?

For me, it was having to scale the vision down at points because of budget limitations, which I feel affected certain choices that had to be made. With the film being so visually driven for both storytelling and artistic reasons, I had to be clear with myself throughout about what the film absolutely needed in order to tell Harriet’s story. I knew that I wanted to tell the story distinctly in three parts that felt visually different from each other but also had to express the real-life story that it is.  Having this as a constant to refer back to, made sure the current vision kept aligned with the original one, regardless of any compromises that had to be made.

7. You are a collaborator. How have you discovered members of your team and how do you keep the relationship with them strong?

 I am very lucky to have worked with some amazing people both personally and professionally in my career – so selecting the team I wanted to collaborate with was so important but also straightforward. With the story being an intimate portrait, I wanted to have people who resonated with the story as well as knowing they would be right in terms of their taste and talent. Finding people that will help make the project not just a reality, but the best it can be. 

8. What do audiences want? And is it the filmmaker’s role to worry about that?

For my work, I don’t think about this because I feel it would stifle the type of films within my genre. But it is important to me that the viewer/audience enjoy the film. I think if you concern yourself too much with what audiences want, then you can’t have a clear idea of what film you want to make and it won’t be authentic to you as a filmmaker. I guess it is not so relevant for my area perhaps. 

9. What role have film festivals played in your life so far? Why are they necessary? How do you get the most out of them?

 I feel there are an overwhelming amount of festivals out there. Being new to this it’s a difficult landscape to navigate, especially with something more niche like a fashion film. The film has won some awards, shortlisted and even not selected. It doesn’t take anything away from how proud I am of this film. Whatever the outcome has been in this film’s life across the festivals, I am so grateful for the response it has had. For your work to resonate with people is an amazing feeling, and the recognition within the festival circuit has validated all the decisions that were put into this film. Thank you to STTP for awarding the film as part of their monthly awards.

10. Do you believe that a filmmaker should be original and fresh or he/she should stick to classic but safe cinema style?

I believe a filmmaker should do what is right for them. I think what is important is creating a film that stands out as your signature. Whether in terms of subject matter or visually. What drives your creativity to make work is what is important, whether that results in something fresh and new or more classically aligned. It’s what drives you at the end of the day.