Peer Review: Denisha Anderson

Who are three contemporaries that you admire?

To start I’d say Ronan Mckenzie. She just shoots so beautifully, capturing the essence of her subjects with such gentle flair. There’s something playful within her work but also an intimacy and power that is unique within her style. As an artist and visionary, she delivers behind the lens and within curation and design.

I will then follow with Gabriel Moses. Moses' work is strong and dowsed in his heritage and culture. It celebrates those who came before him, such as Malik Sidibe, who is a clear inspiration in the performances Moses captures on screen through both motion and stills. I saw his show at 180 recently and I was blown away.

How [Adjani Salmon] integrates Jamaican culture and its nuances on British television and cinema screens is truly inspiring, as I’ve never felt as seen as in the way he tells his stories.

Within the music video world, I have to say directors Dave Meyers and Ebeneza Blanche. Very different but both impactful. Meyers has created iconic work I still love today, from legends like missy Elliot to Kendrick. Blanche is a new director from this side of the water. His work is vibrant, playful, creative and covered in his culture and heritage, but packaged in a way that transcends international borders commercially. That is something I admire and want for my own work.

Finally, Adjani Salmon. Another talent from this side of the isle, but unlike Blanche and Moses who are from Nigerian decent, Salmon hails from Jamaica. How he tells stories is refreshing, challenging but also places those from the West Indies in his work effortlessly. How he integrates Jamaican culture and its nuances on British television and cinema screens is truly inspiring, as I’ve never felt as seen as in the way he tells his stories, and that is another aspect I want to achieve in my work. 

Please share 3-4 pieces of work that exemplify great direction?

Akira Kurosawa - Rashomon. For narrative play and flashbacks. 

Spike Lee - Do the right thing. Literally blew my mind. Lee was the guy that made me think, 'hey, I want to do this'.

Barry Jenkins – Moonlight. The tenderness and care presented through the eyes of a young black male. A story I’ve never seen, especially within the LGBTQ+ community, it's truly poetic.

I like working with different artists, everyone has a vision to bring to the table... I can get really inspired by their energy.

Wong Kar Wai. His whole catalogue blows me away. I reference his work all the time, I recently watched Happy Together about a couple travelling in Argentina, his relationship with DOP Christopher Doyle is a pairing of two perfect halves. 

Lynne Ramsey – Gasman. As far as shorts go I watched this when I was 20 years old and still do today, how the story unfold with such little dialogue but it comments on living two lives, and the desperate need of attention between father and daughter is done so amazingly.

What do you like most about the work that you do?

To be honest, I like working with different artists, as everyone has a vision to bring to the table especially across departments and in those conversations, I can get really inspired by their energy as well as skillset.  Every person is a part of the overall puzzle for me, so creating and having fun on and off (post edit/grade) set is all magic.

What was your journey to becoming a director?

One thing for sure is that it wasn’t linear. I started off with a societal based vision of “go to uni and get the job and all will be rosy”. However, me being a young naïve Nancy over here, I realised quickly things weren’t to be that straight forward.  I’ve written and shot my own short fiction and docs and some have been selected in festivals etc. However, the real tea is how I got here, which is persistence and a good circle around you. 

If it wasn’t for my circle drawing me back in, it was the undeniable pull I have towards creativity. It really does fill me up like a hearty meal.

My friends and family showed me what belief looked like before I could find it in myself.  I’ve tried to quit more times than my fingers and toes can count but if it wasn’t for my circle drawing me back in, it was the undeniable pull I have towards creativity. It really does fill me up like a hearty meal. The pursuit hasn’t been easy, I’ve had a million jobs, across retail, hospitality, education, whilst working on set as a spark for little to no money at all. 

I actually specialised in cinematography with dreams of being the pioneering first black British female cinematographer, but those dreams were quickly dashed after a coffee I had with a well-known gaffer... who told me I will never make it because I’m a woman, and because of my race. I was 23 at the time. Haters aye…you gotta love em! 

But no, seriously, all these hurdles and knock backs kept me pushing, kept be determined to prove a point, to myself, that I can do whatever I want. Ok, I’m not that DOP I dreamed of but I am still a visionary and still working towards creating that legacy to inspire.

What inspired you to move towards working with animation? How did you find the transition?

I’ve always wanted to make an animation so when the opportunity arose I took it with both hands. Originally the artists wanted live action but it made more logistical sense to go for an animation. I had to twist their arm a bit, but not that hard. 

Regarding the transition it wasn’t so hard, I’m a woman who learns on the job and working with such a great talent and friends like Louise Saunders, made the job seamless. I did all my normal prep as per; listening to the song on repeat, reading lyrics and getting inspiration from the artists behind the song. 

Keep up with yourself, focus forward and be present. How you see, and how you put stories together, is unique to you.

How does your photography merge with your filmmaking practice? 

Well, I see them as cousins, they're related but the impact and process is different. Sometimes my photography work will inspire my video work and vice versa but it all depends on the project.

What is one thing all directors need?

Self-belief, compassion and a great story you have to tell.