It was an article in which the lingerie designer Damaris was quoted as saying: “Every woman has great bum cleavage” that inspired new director Justin Anderson to suggest to her that he could make “the world’s best bum movie”. We saw. We liked. And we’re girls. We caught up with Justin soon after he’d signed to his first production company, Stamp Films, in Shoreditch.

First day in the office then?

I’ve just brought in my films to put online so I’ve been with Stamp for a couple of minutes. This is year zero.

And what would a quick flick through your CV reveal?

Studied painting at the Slade and video art at the Rijks Akademie in Amsterdam where I made a performance film on chewing gum and bouncing balls that was screened live on tv. Worked as a film editor but returned to art. Have always had a painting studio which I shared with a fashion designer for whom I made a film for Showstudio called Dress Number One. Out of that came the film called Chore for Damaris.

Tell us about most men’s dream job, making a film for the inventor of the peephole in knickers?

I loved Damaris’ attitude. She’s got a good visual sense and I wanted to make something that was the antithesis to the Agent Provocateur tone of ‘my girlfriend is a stripper’ which is a male notion of female lingerie sexiness. I wanted to make a film that was girl-sexy so I spoke to a lot of girls about it. I also asked every girl I knew on Facebook ‘what did they wear when they did their cleaning?’. I got some very weird answers. Someone wrote, ‘I wear my normal clothes and watch my cleaner do it, you pervert!’
What was interesting about the research was that all girls I spoke to had a cleaning routine. Nearly every boy I spoke didn’t. There is this unspoken thing. Girls also don’t shy away from sexuality as much as boys do. They’re not prudes, but they are less obvious. It’s more a boy thing to be more obvious. The idea behind Chore was to make something sexy but kind of funny and irreverent and away from the predictable boudoir style that most lingerie work falls into. I was very careful to check with all the girls I know that I wasn’t alienating them. The style came from looking at white goods in John Lewis’ basement and looking at brushes and the nasty acidic colours.

We like the pace, the attention to detail…

We shot over two days on 16mm and the DP was an Italian woman, Alessandro Scherillo. I felt it was important to work with a female DP, I didn’t want it to be a bunch of blokes going pwooaar… look at that. I wanted it to have a different feel to it. Alessandro had made a film for Hussein Chalayan and we connected, she got it, and we understood the same visual references …
I shot the 35mm stills on the world’s oldest Nikon for some of the cutaways like the condensation on windows that were layered on top. I edited it using Final Cut Pro but the roots of my films come from being an artist rather than my editing days.

What’s next?

I like working with client briefs and not just shoe horning in an idea that I’ve already had. My next film is out on Italian Vogue on April 4th called Poem. I was a finalist of the Shaded View of Fashion Film Festival last year at the Pompidou Centre and was invited to make a 60 second film on light. When I first got it I thought every film is about light, it’s really tricky. This film though is based on a poem by Harold Pinter about the light of his life, Lady Antonia Fraser. For a fiery old bastard he wrote such an amazing tender love poem.

We have to wait until mid April to show Poem to you but meanwhile see Justin’s earlier work on www.stampfilms.com.