Pinch of Fantasy (2025) by uswfilm

OVERVIEW OVERVIEW

20-m i nute Engl i sh-language short 20-minute English-language short

Blend i ng meta-c i nema and dramed y Blending meta-cinema and dramedy

Produced on a £2,000 budget Produced on a £2,000 budget

S hot entirel y in South Wales Shot entirely in South Wales

2 .35:1 aspect rat i o at 25fps 2.35:1 aspect ratio at 25fps

5 .1 su rr ou n d sou n d 5.1 surround sound

LOGLINE LOGLINE

After his tribute to his late mother flo p s at it s

After his tribute to his late mother flops at its premiere, a stru gg lin g y oun g filmmaker is pushed b y a n premiere, a struggling young filmmaker is pushed by an e ccentric cinephile to confront his g rief and creativ e eccentric cinephile to confront his grief and creative f ai l u r es. failures.

SYNOPSIS SYNOPSIS

When D y lan Hart agrees to film his terminall y ill mother’s When Dylan Hart agrees to film his terminally ill mother’s final months, he believes he’s crafting a heartfelt final months, he believes he’s crafting a heartfelt tribute. But after her passin g , his attempt at preservin g tribute. But after her passing, his attempt at preserving her memor y collapses i nto publ i c hum i l i at i on at i ts her memory collapses into public humiliation at its fest i va l debut . festival debut.

Lost in grief and creative disillusionment, D y lan find s

Lost in grief and creative disillusionment, Dylan finds u nexpected gu i dance i n Har i — a sharp-tongued c i neph i le wh o unexpected guidance in Hari — a sharp-tongued cinephile who f o r ces him to f ace t h e u n co mf o r tab l e t r ut h be hin d hi s own forces him to face the uncomfortable truth behind his own stor y. story.

B lending raw emotion with a touch of surrealism, Pinch of Blending raw emotion with a touch of surrealism, Pinch of F antas y is a self-aware exploration of loss, imagination , Fantasy is a self-aware exploration of loss, imagination, and the fragile line between art and realit y. and the fragile line between art and reality.

DIRECTOR’S DIRECTOR’S INTRODUCTION INTRODUCTION

I’ve alwa y s been drawn to stories that blur realit y wit h I’ve always been drawn to stories that blur reality with i ma g ination. Pinch of Fantas y does that in a wa y that’s imagination. Pinch of Fantasy does that in a way that’s loud, strange and totall y unser i ous. That’s what made me loud, strange and totally unserious. That’s what made me w ant to direct it . want to direct it.

I t’ It’ s a film about g rief, but it doesn’t pretend to be s a film about grief, but it doesn’t pretend to be d eep or pol i shed. It’s scrapp y , self-aware and full o f deep or polished. It’s scrappy, self-aware and full of surreal g a g s. Underneath all that, it’s tr y in g to sa y surreal gags. Underneath all that, it’s trying to say s omethin g real. Losin g a parent is painful and something real. Losing a parent is painful and c onfusin g . This film explores that in the onl y wa y we confusing. This film explores that in the only way we knew how — b y leaning into chaos . knew how — by leaning into chaos.

W e knew we were makin g a student film and we didn’t hide We knew we were making a student film and we didn’t hide it. We embraced the limits. No mone y , cheap props , it. We embraced the limits. No money, cheap props, borrowed spaces. That became the look and f eel. It’s borrowed spaces. That became the look and feel. It’s rou g h, bold and honest . rough, bold and honest.

I I t’s a f i lm about a f i lmmaker tr yi ng to make sense o f t’s a film about a filmmaker trying to make sense of loss, and it never takes itself too seriousl y . It’ s loss, and it never takes itself too seriously. It’s w eird, mess y and full of heart. I’m proud of that . weird, messy and full of heart. I’m proud of that.

– Saul Sulwa y , D i rector of P i nch of Fantas y – Saul Sulway, Director of Pinch of Fantasy

CAST CAST

CAST

DYLAN HART DYLAN HART

LUKAS EDGAR LUKAS EDGAR

HARI HARI

GEORGE BIRD GEORGE BIRD

LUKAS EDGAR PLAYS DYLAN HART, AN LUKAS EDGAR PLAYS DYLAN HART, AN ASPIRING FILMMAKER WHO, DUE TO HIS ASPIRING FILMMAKER WHO, DUE TO HIS GRIEF OVER LOSING HIS MUM, USES GRIEF OVER LOSING HIS MUM, USES HIS CAMERA AS A SHIELD OR HIS CAMERA AS A SHIELD OR SANCTUARY FROM THE COLD REALITY HE SANCTUARY FROM THE COLD REALITY HE BELIEVES HE IS IN. HIS ARC IS ONE BELIEVES HE IS IN. HIS ARC IS ONE OF SELF DISCOVERY, LEARNING TO OF SELF DISCOVERY, LEARNING TO BLEND HIS QUESTIONABLE STYLISTIC BLEND HIS QUESTIONABLE STYLISTIC CHOICES WITH AUTHENTICITY. CHOICES WITH AUTHENTICITY.

PLAYING THE MYSTERIOUSLY

PLAYING THE MYSTERIOUSLY ECCENTRIC HARI IS GEORGE BIRD. ECCENTRIC HARI IS GEORGE BIRD. HARI IS BOTH A CINEPHILE AND A HARI IS BOTH A CINEPHILE AND A CATALYST WHO APPEARS TO HELP CATALYST WHO APPEARS TO HELP DYLAN PICK HIMSELF UP AFTER HIS DYLAN PICK HIMSELF UP AFTER HIS EMOTIONAL FILM FAILS AT THE EMOTIONAL FILM FAILS AT THE FESTIVAL. THROUGH PLAYFUL AND FESTIVAL. THROUGH PLAYFUL AND CHAOTIC MEANS, HARI’S GOAL IS TO CHAOTIC MEANS, HARI’S GOAL IS TO GUIDE DYLAN TO REALISE WHAT HE GUIDE DYLAN TO REALISE WHAT HE WAS MISSING IN HIS FILM. WAS MISSING IN HIS FILM.

CAST

GLYN HART GLYN HART

MARC WILLIAMS MARC WILLIAMS

ANGHARAD HART ANGHARAD HART

MARC WILLIAMS PLAYS DYLAN’S MARC WILLIAMS PLAYS DYLAN’S FATHER, GLYN HART. GLYN IS A MAN FATHER, GLYN HART. GLYN IS A MAN WEATHERED BY LOSS, QUIETLY WEATHERED BY LOSS, QUIETLY MOURNING HIS WIFE WHILE HE SEES MOURNING HIS WIFE WHILE HE SEES DYLAN AVOIDING THAT HARSH REALITY. DYLAN AVOIDING THAT HARSH REALITY.

HIS HARSH TRUTHS COME FROM A PLACE

HIS HARSH TRUTHS COME FROM A PLACE OF CARE AND CONCERN, GLYN’S OF CARE AND CONCERN, GLYN’S CONFLICT WITH DYLAN STEMS FROM CONFLICT WITH DYLAN STEMS FROM LOVE, CONFUSION, AND THE PAIN OF A LOVE, CONFUSION, AND THE PAIN OF A FRACTURED RELATIONSHIP. FRACTURED RELATIONSHIP.

PLAYING THE PART OF DYLAN’S LATE

PLAYING THE PART OF DYLAN’S LATE MOTHER, ANGHARAD HART, IS REBECCA MOTHER, ANGHARAD HART, IS REBECCA HANBURY. WHILE WE ONLY SEE HANBURY. WHILE WE ONLY SEE ANGHARAD THOUGH DYLAN’S FILM SHE ANGHARAD THOUGH DYLAN’S FILM SHE IS WARM, NURTURING AND EMBRACES IS WARM, NURTURING AND EMBRACES

DYLAN’S LOVE FOR FILMMAKING. DYLAN’S LOVE FOR FILMMAKING.

ANGHARAD IS THE EMOTIONAL CENTRE

ANGHARAD IS THE EMOTIONAL CENTRE OF THE FILM, AS HER PRESENCE OF THE FILM, AS HER PRESENCE LINGERS AFTER HER DEATH TO SHAPE LINGERS AFTER HER DEATH TO SHAPE

BOTH DYLAN’S CREATIVE WORK AND BOTH DYLAN’S CREATIVE WORK AND HIS EMOTIONAL RECKONING. HIS EMOTIONAL RECKONING.

FULL FULL CAST LIST CAST LIST

LUKAS EDGAR – DYLAN HART

GEORGE BIRD – HARI

MARC WILLIAMS – GLYN HART

REBECCA HANBURY – ANGHARAD HART

WILL SMITH – FESTIVAL ORGANISER

SAUL SULWAY – NASTY BYPASSER

MATTHEW MURPHY – NASTY BYPASSER

BRAD BURNELL – COURIER

AMBER FANE–BARROW – FRIENDLY NURSE

CREW CREW

DIRECTOR DIRECTOR

SAUL SULWAY SAUL SULWAY

WRITER/EDITOR WRITER/EDITOR

MATTHEW MURPHY MATTHEW MURPHY

Saul developed Pinch of Fantasy as a

Saul developed Pinch of Fantasy as a creative exploration of imagination creative exploration of imagination and isolation. With a background in and isolation. With a background in producing visual content through his producing visual content through his company Talu Studios, he brings a company Talu Studios, he brings a strong sense of mood, pacing and strong sense of mood, pacing and visual storytelling to the film. visual storytelling to the film. Inspired by magical realism and Inspired by magical realism and stylised character-driven cinema, stylised character-driven cinema, Saul parodies the film’s own genre as Saul parodies the film’s own genre as it sits between dream and reality. He it sits between dream and reality. He continues to develop work under Talu continues to develop work under Talu Studios, with a focus on narrative- Studios, with a focus on narrativeled creative projects. led creative projects.

While specialised as an editor, While specialised as an editor, Matthew wrote the script as a love Matthew wrote the script as a love letter to filmmaking and the art of letter to filmmaking and the art of film and cinema. Inspired both by film and cinema. Inspired both by British Indie Cinema and Classical British Indie Cinema and Classical Hollywood editing techniques, he Hollywood editing techniques, he brings a sharp eye to character and brings a sharp eye to character and rhythm with his editing, crafting a rhythm with his editing, crafting a film that explores grief, creativity film that explores grief, creativity and the line between imagination and and the line between imagination and reality. Matthew plans on going reality. Matthew plans on going freelance with his editing skills with freelance with his editing skills with which he has already found success in which he has already found success in working with external clients. working with external clients.

CREW CREW

PRODUCER PRODUCER

Corben served as Producer on Pinch of Fantasy, overseeing the logistical Fantasy, overseeing the logistical backbone of the production. From backbone of the production. From securing locations and managing budgets securing locations and managing budgets to coordinating schedules and ensuring to coordinating schedules and ensuring the shoot stayed on track, Corben kept the shoot stayed on track, Corben kept the production running smoothly. An the production running smoothly. An aspiring Producer and First AD, he aspiring Producer and First AD, he brought energy and organisation to brought energy and organisation to every stage of the process. every stage of the process.

CORBEN HANSON

DIRECTOR OF DIRECTOR OF PHOTOGRAPHY PHOTOGRAPHY

As an experienced cinematographer, in As an experienced cinematographer, in the role of Director of Photography the role of Director of Photography Gareth used his combined creativity and Gareth used his combined creativity and technical skills to fulfil director technical skills to fulfil director Saul’s vision for Pinch of Fantasy. He Saul’s vision for Pinch of Fantasy. He feels his dyslexia contributes to his feels his dyslexia contributes to his ability to easily visualise stories and ability to easily visualise stories and shots in his mind, thus supporting shots in his mind, thus supporting Saul’s imaginative and surreal ideas Saul’s imaginative and surreal ideas for this film. He loved being on set for this film. He loved being on set and working as a team on this wonderful and working as a team on this wonderful film and is eager to work in the Film film and is eager to work in the Film and TV Industry, in the camera and TV Industry, in the camera department. department.

GARETH EDWARDS

CREW CREW

As Sound Supervisor Alix Reynolds was As Sound Supervisor Alix Reynolds was responsible for the Planning, responsible for the Planning, Recording, Editing and Mixing all of Recording, Editing and Mixing all of the sound heard in ‘A Pinch of the sound heard in ‘A Pinch of Fantasy’. Alix's duty was to make the Fantasy’. Alix's duty was to make the film as immersive and detailed as film as immersive and detailed as possible, keeping the viewer engaged possible, keeping the viewer engaged with clean dialogue and tension- with clean dialogue and tensionbuilding Sound effects. Alix also building Sound effects. Alix also worked closely with the composer Ben worked closely with the composer Ben Randall to make the sound scape and Randall to make the sound scape and score as cohesive as possible. score as cohesive as possible.

SOUND SUPERVISOR SOUND SUPERVISOR

ALIX REYNOLDS ALIX REYNOLDS

ART DIRECTOR ART DIRECTOR

DYLAN HAYWARD DYLAN HAYWARD

A second-year Set Design student, A second-year Set Design student, Dylan Hayward was tasked with Dylan Hayward was tasked with imagining and decorating the imagining and decorating the intuitive sets seen throughout intuitive sets seen throughout Pinch of Fantasy. Balancing Pinch of Fantasy. Balancing creative flair with practical creative flair with practical design, Dylan brought the film’s design, Dylan brought the film’s world to life through thoughtful world to life through thoughtful detail and inventive spatial detail and inventive spatial storytelling, making each location storytelling, making each location feel both magical and grounded. feel both magical and grounded.

FULL CREW LIST FULL CREW LIST

DIRECTOR DIRECTOR

SAUL SULWAY SAUL SULWAY

PRODUCER PRODUCER

CORBEN HANSON

WRITER & EDITOR

MATTHEW MURPHY MATTHEW MURPHY

ASSISTANT DIRECTORS ASSISTANT DIRECTORS )

CORBEN HANSON (1ST AD

CORBEN HANSON (1ST AD)

OSIAN COLEMAN (2ND AD)

OSIAN COLEMAN (2ND AD) ()

CASTING DIRECTOR

SAUL SULWAY SAUL SULWAY

DIRECTOR OF PHOTOGRAPHY DIRECTOR OF PHOTOGRAPHY

GARETH EDWARDS

CAMERA OPERATORS CAMERA OPERATORS

GARETH EDWARDS

JOE EVANS JOE EVANS

1ST ASSISTANT CAMERA 1ST ASSISTANT CAMERA

ELLIE SIMPSON ELLIE SIMPSON

2ND ASSISTANT CAMERA 2ND ASSISTANT CAMERA

JACK DAVIES JACK DAVIES

JOE EVANS

SOLOMON DOUGAL HARRISON

3RD ASSISTANT CAMERA 3RD ASSISTANT CAMERA

MATTHEW BRYANT MATTHEW BRYANT

SOUND SUPERVISOR SOUND SUPERVISOR

ALIX REYNOLDS ALIX REYNOLDS

SOUND RECORDIST SOUND RECORDIST ALIX REYNOLDS ALIX REYNOLDS

SOUND ASSISTANT SOUND ASSISTANT AMBER FANE–BARROW AMBER FANE–BARROW

FOLEY ARTIST FOLEY ARTIST

ALIX REYNOLDS ALIX REYNOLDS

FOLEY RECORDIST FOLEY RECORDIST SAUL SULWAY SAUL SULWAY

SOUND EDITOR SOUND EDITOR

ALIX REYNOLDS ALIX REYNOLDS

GAFFER GAFFER

SAM LEWIS–BURNS SAM LEWIS–BURNS

GRIPS GRIPS MATTHEW BRYANT MATTHEW BRYANT JOE EVANS JOE EVANS

SOLOMON DOUGAL HARRISON

SOLOMON DOUGAL HARRISON JACK DAVIES JACK DAVIES

ART DIRECTOR ART DIRECTOR

DYLAN HAYWARD DYLAN HAYWARD

PRODUCTION DESIGNERS

DYLAN HAYWARD DYLAN HAYWARD ABI REED ABI REED RUBY STEPHENSON RUBY STEPHENSON

STORYBOARD ARTISTS

MATTHEW BRYANT

MILLIE–MAY EASTHOPE

COSTUME SUPERVISOR

SAUL SULWAY

MAKE-UP CONSULTANT

JESSICA SHALOM

MAKE-UP ARTISTS

HALLIE HOGAN

FFION BEVAN PATTERSON

COLOURIST

JACK DAVIES

VFX

DYLAN POWELL

CREDIT COORDINATOR

TYLA MATHERS

ORIGINAL SCORE

BEN RANDALL

PRODUCTION ASSISTANTS

BILL PRICE

DAISY DA GAMA HOWELLS

GILL EDWARDS

https://www.youtube.com/watch?v=RWyv90s8bVQ

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FAQS FAQS

What was the inspiration for the story? What was the for the story?

My initial inspirations came first from Submarine directed by My initial inspirations came first from Submarine directed by Richard Ayoade as I fell in love with the film’s visual style. Richard Ayoade as I fell in love with the film’s visual style. It almost acts like a love letter to Wales with its stunning It almost acts like a love letter to Wales with its stunning locations which is something I wanted to achieve with this locations which is something I wanted to achieve with this film. I also gained a lot of influence from a manga by Tatsuki film. I also gained a lot of influence from a manga by Tatsuki Fujimoto called ‘Goodbye Eri’ which, if you know it, this film Fujimoto called ‘Goodbye Eri’ which, if you know it, this film will have similar elements to, but as I got further into the will have similar elements to, but as I got further into the characters, I started implementing traits that myself and the characters, I started implementing traits that myself and the people around me possess which made the story not only go in a people around me possess which made the story not only go in a different direction, but a direction that felt much more different direction, but a direction that felt much more personal to me which I found fascinating. personal to me which I found fascinating.

- Matthew Murph

- Writer / Edito r - Matthew Murphy - Writer/Editor

What was the approach to budgeting? What was the approach to budgeting?

From my experience – plan for the worst, hope for the best. 10%

From my experience – plan for the worst, hope for the best. 10% contingency on everything. Whatever you think it will cost add contingency on everything. Whatever you think it will cost add 10% - 20% it will save you as things will very likely not go 10% - 20% it will save you as things will very likely not go 100% according to plan. Even with the best planning. 100% according to plan. Even with the best planning.

-Corben Hanson - Producer -Corben Hanson - Producer

How d i d y ou balance real i sm w i th surreal moments ? How did you balance realism with surreal moments?

We used r ea li s m as a f ou n dat i o n a n d l et t h e su rr eal We used realism as a foundation and let the surreal m oments emerge naturall y from D y lan’s emotional shifts . moments emerge naturally from Dylan’s emotional shifts. Ever y st y l i st i c cho i ce was grounded i n h i s perspect i ve . Every stylistic choice was grounded in his perspective.

- Saul Sulwa y - Directo r - Saul Sulway - Director

FAQS FAQS

W hat was y our rat i onale beh i nd shoot i ng d i fferent aspec t

What was your rationale behind shooting different aspect r atios ? ratios?

I wanted to ver y much conve y to the audience a differenc e I wanted to very much convey to the audience a difference between D y lan’s f i lm and our f i lm. I felt that hav i ng tw o between Dylan’s film and our film. I felt that having two di fferent aspect rat i os was a wa y to do th is different aspect ratios was a way to do this ci nematograph i call y . I was i nsp i red b y the use o f cinematographically. I was inspired by the use of d ifferent aspect ratios in The Fabelmans (2022) b y Steve n different aspect ratios in The Fabelmans (2022) by Steven S pielber g and also in the post credit scene of Super 8 Spielberg and also in the post credit scene of Super 8 (2011) b y J.J. Abrams. And I wanted to use it in a (2011) by J.J. Abrams. And I wanted to use it in a si m i lar but sl i ghtl y d i fferent wa y to d i fferent i ate similar but slightly different way to differentiate between the more amateur c i nematograph y of D y lan at th e between the more amateur cinematography of Dylan at the s tart and our actual footage. I suggested th i s to our start and our actual footage. I suggested this to our c rew, especiall y the director and editor, and the y like d crew, especially the director and editor, and they liked it. it.

- Gareth Edwards - D i rector of Photograph y. - Gareth Edwards - Director of Photography.

D o y ou th i nk aud i ences not i ce the sound i n a f i lm l i k e Do you think audiences notice the sound in a film like t hi s? this?

Ideall y , the audience will feel it more than the y notic e Ideally, the audience will feel it more than they notice i t. If I have done m y j ob well, i t w i ll draw y ou in it. If I have done my job well, it will draw you in e mot i onall y w i thout pull i ng y ou out of the stor y . W i t h emotionally without pulling you out of the story. With Pinch of Fantas y , sound was there to enhance th e Pinch of Fantasy, sound was there to enhance the s tor y telling without ever shouting for attention . storytelling without ever shouting for attention.

– Al i x Re y nolds - Sound Superv i so r – Alix Reynolds - Sound Supervisor