Independent filmmaking thrives on authenticity, collaboration and a little bit of creative chaos — all of which pulse through The Hook, the striking new project from rising filmmaker Thomas Beatty.
Fresh from its success at Bournemouth Film Festival, where it picked up awards for Best Editing and Best Original Song, the film is already generating the kind of word-of-mouth buzz most indie directors can only dream of.
In this exclusive interview with Movie Metropolis, Tommy reflects on the film’s organic evolution, from its inception by Charlie Freeman, Elijah Rowen and Jack McEvoy, to the intensely collaborative process that shaped everything from its visuals to its music.
With festival runs, a planned release next year and an upcoming vampire series already in the works, this is a filmmaker firmly on the rise.
What first drew you to The Hook, and how did your role on the project develop?
The concept was created by Charlie Freeman, Elijah Rowen & Jack McEvoy. From
there, I got onboard, wrote and then eventually directed when it came to it, it was quite an organic process overall.
Winning Best Editing at Bournemouth Film Festival must have been amazing – was there a key moment in the edit that made the difference?
Very grateful. I probably infuriated Ellis Evans (The Editor) until the point where we had to get on the same page, but he was a good sport about all that and deserves all the credit he gets.
You also won Best Original Song at Bournemouth – how did that track come together?
Organically. Charlie wrote the bones. We were all living in the studio so a lot of
musicians and actors got involved. Cazz was assisting. It was a big collaborative
effort to get the right sound.
How are you approaching marketing The Hook after its Bournemouth success?
Really we have been fortunate that a lot of Press has reached out to us – We had a
very successful private screening at the Curzon on Shaftesbury Avenue which spread some good words about the film. Also I’m super blessed to connect with yourself at Movie Metropolis.
What message or theme do you hope most audiences take from the film?
If they get something from it, I’m happy. The core message is about masks wearing
away. You can’t fake being authentic and truthful if you aren’t living that way. So the mask will eventually slip and fall away and whatever is left of you will be on show.
What’s next for The Hook – more festivals, wider release, or something else?
All of the above really. Yes we are going to have a bit of a festival run – Then release into next year.
What was the toughest part of post-production, and how did you tackle it?
I suppose it’s simply seeing it through. How to tackle it really is through remembering why you started it. How it is a story that has to be told and told in the way that you want to tell it.
How has your storytelling style evolved since your earlier projects?
It’s become more clear what I’m trying to say. Sometimes I look back at certain things I had written in disgust and then sometimes I’ll find some gems. But the best work has come more from influence as well as collaboration.
Any advice for indie filmmakers looking to combine strong visuals and music effectively?
Listen to others. Especially people with a good ear. Beg, borrow and steal to get good musicians onboard. We were so lucky to work with Gavin Friday, Sounds Mint, Stereo Cupid, Stone and the list goes on. The strength of the music helps to dictate the strength of the visuals and vice versa.
After The Hook, what kinds of stories or genres are you excited to explore next?
We are going to do a Vampire Series called ‘The Dead Boys Club’ – dark criminal
world but with a music industry background which is obviously in a very similar vein to The Hook. Also scheduled to do a psychological thriller in the second quarter of next year.
One we ask everyone at Movie Metropolis, what’s your favourite film of all time?
At the moment it’s There Will Be Blood – but it changes daily.
And another, what’s your go-to cinema snack?
Probably red wine if that can be called a snack.
With The Hook making waves on the festival circuit and a wider release on the horizon, it’s clear Thomas Beatty is one to watch. With a combination of authentic storytelling, striking visuals, and unforgettable music, his work really does leave a lasting impression. With more projects already in the pipeline, audiences have plenty to look forward to – and maybe a glass of red wine in hand.
Don’t forget to read more interviews at Movie Metropolis.
