Tristan spent a number of years working as an Assistant Director before moving into development on a number of UK Film Council new talent schemes. In 2008 Tristan joined the production company The Bureau as the Development Executive on the prestigious Cinema Extreme Scheme.
In 2010 Tristan and The Bureau Film Company founded SOS, a Europe-wide development lab for writers and producers. Tristan’s first producer credit was on Martin Radich’s debut feature film Crack Willow and he has gone on to produce a number of shorts and features, including Late Bloomers, written and directed by Julie Gavras, and Andrew Haigh’s Weekend.
What kind of projects attract you?
Recently I’ve had quite a lot of scripts sent through, so this question has been on my mind a lot. To help, I bought a dozen of my favourite films, which I now keep beside my desk, as a reminder of the movies I aspire to make. They range from Cries and Whispers and La Notte to Once Upon A Time In America. But I’ve realised that whether it’s art house or genre there is one common thing; character. Strong, complex central characters who have to battle their way through their stories.
You can produce the film of your dreams. What and who would that entail?
If it were a film that has already been made it would be Lawrence of Arabia. To make something that beautiful, that magical and of such scope, whilst still telling a personal story that says something about being human, is an extraordinary achievement.
What’s the best advice you’ve been given as a producer?
It’s not so much spoken advice, but I have been fortunate enough to work with some brilliant producers. Firstly Simon Channing-Williams, who I first met when I was a runner; simply being around him was inspiring. It seemed to me that every choice he made was done for the right reason—namely the quality of the film. More recently I’ve produced with Bertrand Faivre from The Bureau, who has a similar commitment to quality, but he also has a very inspiring, and independent spirit.
Tell us the most significant moment in your career so far?
I think it might be a little early for that. Ask me in 20 years…
You’ll die happy when…
I’d like to adjust this one a little, to ‘I’ll die happy if…’ I can look back and feel pride, not regret, for the work I’ve done.
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