It’s a wonderful world in the land of Nick Scott recently. He’s just signed to Crossroads in London and his film School Portrait has hit way over a million views since going viral over the festive season.  We catch up with the new director.

You’ve collaborated with the actor Jonathan Rhodes on several projects including the justifiably-loved School Portraits and Big Society which is scooping up around the current festivals.

How did the collaboration come about and evolve?

Jonathan and I met in Berlin in 2007 after being selected for something called the Berlin Talent Campus. We got on straight away and have a very similar sense of humour. I carried this little dictaphone with me to record interviews but ended up taping lots of crazy improvisations with Jon as we came up with ideas for characters.

Jonathan is a brilliant improviser and our collaboration has evolved into quite a specific process where I come up with an idea and write some structured scenes and then we improvise within that to find dialogue that suits Jon’s natural delivery.

So what is ‘Big Society’ about?

Big Society is about an officer in the British army who has developed a controversial new approach to tackle the anti-social behaviour he sees on the streets. It’s a sort of Dirty Harry meets the Wombles.

What themes does it explore?

It’s a satire that (hopefully) explores the link between corporal punishment and anti-social behaviour. I also wanted people to think about the moral complexity that comes with life in the military. I grew up in Colchester which is a garrison town and always found it an incredible ask of soldiers to switch so quickly from one moral world to another when they come home after seeing conflict.

Nick you’ve just signed to Crossroads as a new director. Have you ever been a paid-up member of a production company before?

I’ve worked on short films with decent budgets but it’s difficult to get funding and I usually end up putting everything I have into the production. So yes, the idea of getting paid to direct is quite new to me!

Have you given up your day job then?  

Aaahhh the day job… this always surprises people! I actually work part time as an economic adviser, advising the government on climate change, which is complex and highly political area. It’s job I enjoy and I guess is the reason for some of the political undertones in my work. However, I am hoping to get into more commercial work with Crossroads.

A civil servant dealing with climate change sounds a long way from making such surreally funny films as your straight 8 films, for instance Earth to Earth

and the very clever split-screen The Other Half

Did you learn how to direct by shooting straight 8 films? And was it this discipline that led you onto shooting short films?

I’ve been making films since I was a kid but it was really when I came to London and started collaborating with lots of talented people here that I started taking filmmaking more seriously. I decided to go back to square one and learn about storytelling by studying screenwriting. I made Earth to Earth shortly after that, which is probably why the narrative is so structured.

I had made films before straight8, but I think it is a brilliant discipline that helps you improve as a filmmaker. It forces you to make clear choices about the way you tell a story visually, which is a very healthy discipline. I’ve made quite a few and they have definitely made me a better filmmaker!

Do you write and develop your own scripts?

I usually come up with the central premise and then structure a loose narrative, but I’m increasingly developing the final script with those I’m directly collaborating with, we can play to the strengths of those involved.

For example, I’ve recently finished the second in a trilogy of character studies which have been developed in close collaboration with the particular actors involved.

What would be the ideal commercial for your first job?

I love working with actors so something based around performance, preferably comedy, would be fantastic. The Hamlet cigar ad with the baldy man in the photo booth is single take comedy genius. It always features high on most memorable lists which shows how well it engaged its audience. Would love to do a similarly simple comic idea which people could cherish to the same degree.