At just 17 years old, filmmaker Bailey McKenzie wrote and directed The Last Hope, a debut feature that earned him a Best Director nomination and recognition on the international film festival circuit. What began with LEGO stop-motion shorts and self-taught screenwriting quickly grew into an ambitious live action project that showcased not only his passion, but also his determination to make his mark as a storyteller.
In this interview with Movie Metropolis, he reflects on the challenges of taking on multiple roles behind the camera, the impact of early success, and how his creative journey has evolved since. He also shares insight into his upcoming feature, Only for a Moment, which promises to be a moving exploration of love, loss, and resilience.
What inspired you to write and direct The Last Hope at just 17 years old?
When I was around 15/16, I made two LEGO stop motion animations, wrote the script in Notes (not formatted in any way), and hired voice actors off Facebook. After that was done, I just thought to myself: what if I can make a live action film? And that’s really what I did.
I taught myself how to format a screenplay, what makes a good one, how to use a camera, which lens to buy, how they work, and which mics to use. That’s really how it happened – just pure passion and determination made it what it was. It was also a good story, an ambitious one definitely for a first-time director and a one-man crew, but it all worked out for the best.
How did you manage the challenges of being writer, director, and cinematographer on the same project?
At first I didn’t see it as an issue because, truly, it was my inexperience – my first film and my first time doing anything at this scale. I learnt everything I could and would need to make that film the best it could be. During the longer hours on set I did find it a challenge, but most shots were via a tripod so it made it easier. Yet having to monitor the mic level, check if the camera was in HD, and make sure we were on schedule – it was a lot at times. Looking back though, I wouldn’t change a thing. I’m still super proud of how it turned out despite some challenges.
What impact did your Best Director nomination have on your confidence and career direction?
The nomination for Best Director truly made me think about doing this as a career differently, because as I said, I went into The Last Hope just trying to see if I had what it takes to make a good narrative film. After its success and praise, I truly did feel like I could make this a career. I always wanted to make it as a writer/director, but I really felt more of an urge to take risks and leaps forward after the success.
How has your approach to film-making evolved since The Last Hope?
To be honest, my approach has in theory stayed the same. My attitude towards a film is: if I and others see value in it, I’ll make it no matter what. I’ll figure it out and get it made to be the best possible version it can be. I’m glad I started with that approach because no matter how big something may feel, having that outlook and mindset of blind optimism almost makes it feel doable, even if the odds are against me.
Can you tell us more about your upcoming feature Only for a Moment and what audiences can expect?
Only for a Moment delves deep into characters Jenny and Bruce, peeling back the layers of humanity within them to tell a truly beautiful story. It explores the effects of supporting a loved one with cancer and the emotions that come with it. This film is a sad, hopeful, and thought-provoking character study that spans not only their present but also their past. Dealing with an issue so heart-wrenching and devastating, it was important to be faithful and specific in portraying Bruce and how his body would react to certain actions, even the smallest ones.
In Only for a Moment, I wanted the audience to feel – simple as that. Feel love, pain, sadness, and heartbreak as we follow a couple unable to hold onto their love and live until they grow old together. For Bruce and Jenny, they will never have that opportunity. So the audience must watch them painfully try to forget their suffering, if only for a moment, and simply live.
To me this film is more than just a story – it’s an exploration of the love and care within us all.
Which filmmakers or artists have most influenced your storytelling style?
I honestly have thought about this while on set, and I don’t see any specific influences that have led me to my storytelling style. It’s my own way of doing things – whether it be story, characters, or thinking of a visual storytelling moment in a film. There is one film in particular though that influenced my first film (The Last Hope) – and that film is Prisoners by Denis Villeneuve. The aesthetic style and plot helped me structure my first film while at the same time making it my own original story.
How has the film festival circuit shaped your journey and opened new opportunities?
The film festival circuit is another big one that helped shape my forward-thinking approach towards my career. With how well The Last Hope did, I was offered discounts via festivals who reached out after the success, wanting to showcase it on their circuit, which was a big boost. It’s definitely opened my eyes to meeting people I never thought I’d meet, just purely because they connected to my story in some way – which I’m very grateful for.
What are the key differences for you when creating a short film versus a feature-length project?
I would say with short films, I learnt with my first film to write within your limits but don’t limit your creativity while doing so. For example, I wanted a big chase sequence in The Last Hope but knew I couldn’t make it work how I would’ve liked it to, so I had to come up with something else. That always kept me on my toes. Versus with a feature film story, that statement rings true – just on a larger scale – so for me it works in tandem.
How does being from Edinburgh influence your stories and creative vision?
To be honest, Edinburgh as a city hasn’t influenced any of my stories yet. Edinburgh is a great place for creatives, as there is always something happening. For example, the Fringe and Edinburgh International Film Festival just wrapped up three weeks back, and that was an incredible opportunity which I took full advantage of – meeting new faces and learning from industry professionals.
My creative vision always comes from me and my mind, never places or surroundings. Sure, I could get inspired by something I see outdoors, but that isn’t special to just Edinburgh – I could be influenced anywhere and get inspiration to write a new scene or think of a way to finish a plot point, as my brain never stops thinking and creating.
What genres, themes, or collaborations are you most excited to pursue in the future?
I have always loved not being tied down to one genre of film, whether it be action or romance. I believe in storytelling and my ability to tell whatever story I feel is worth sharing at that point in time – what moves me and what I feel a sense of urgency to get out into the world. Exactly like my current feature, the story and themes shown in that film are relatable for audiences, just as they were for me when writing. That’s the beauty of storytelling: I could write a scene one way, and someone who sees it can interpret it in their own way and have a unique perspective on it.
One we ask everyone at Movie Metropolis – what’s your favourite film of all time?
Well, my current favourite film (which always changes) is Tick, Tick… Boom! by Lin-Manuel Miranda, which was his directorial debut. I really relate to the themes and even some of the dialogue in the film. Being based on the real-life Jonathan Larson, it’s truly a beautiful take on his life, played brilliantly by Andrew Garfield.
And another – what’s your favourite cinema snack?
Salted popcorn and a big Pepsi!
Through early LEGO stop-motion experiments, unrelenting self-education, and a willingness to wear every hat on set, Bailey McKenzie has already carved out an impressive path for himself in the film world. With Only for a Momant on the horizon, his work is evolving, but the core of what drives him – empathy, ambition, risk – remains the same.
If you’d like more insight into voices shaping cinema today, check out our other interviews.
A big thank you to Bailey for taking the time to be interviewed.
