Softy filmmakers discuss production challenges, funding, festivals and more.
Published:
06 Mar 2025
Softy filmmakers discuss production challenges, funding, festivals and more ahead of their premiere at Manchester Film Festival.
To mark the opening of BFI NETWORK England’s Short Film Fund, we spoke to Softy writer/director Joshua Reeves and producer Chris Lane on their creative partnership. In this interview, they provide valuable insights into the challenges of production, the funding application process, and beyond. We also hear about the film’s journey in the festival circuit and the projects both filmmakers have in the works.
Joshua Reeves is a Manchester-born writer and director. He is the director of Marcus which is available on Amazon Prime. His other films Oxtail and Long Walk Home, were both commissioned by Sony. His latest BFI-backed film Softy, starring Ashley Walters, is currently making its way around film festivals, premiering at Manchester Film Festival.
Chris Lane is a Manchester native and award-winning Producer at Leapling Films, whose works have showcased at multiple BAFTA and OSCAR eligible festivals. Noteworthy freelance credits include Production Manager on feature film A Very British Christmas, starring OSCAR winner Rachel Shenton, and Production Coordinator on the popular CBBC series So Awkward.
Where did the idea for Softy come from?
Joshua: Someone confided in me about their experience of domestic abuse. That prompted me to research the stigma surrounding men who suffer in silence, often out of embarrassment or fear of judgment.
I also wanted to explore masculinity, especially among Black men who are frequently depicted as aggressive or hyper-masculine. My aim was to offer a more nuanced and emotional portrayal that defies those stereotypes and shows real vulnerability.
At the same time, I wanted to weave in themes of family, the power of love, and the loneliness that arises when people do not receive the affection they need.
How has the film changed since you first started thinking about it?
Joshua: Originally, I planned to tell the story from a female perspective, but shifting to a male viewpoint allowed me to explore a more layered, underrepresented narrative. It opened up new angles on vulnerability, masculinity and the challenges many men face but rarely discuss.
We’re always being asked about how to find a producer. How did the two of you meet?
Chris: Joshua emailed me, we met for coffee, and it turned out we knew all the same people.
I wasn’t looking to apply for short film funding at the time, but once we talked, I realised his project had real potential. Having produced several films with writer/director Mat Johns, I saw this as a chance to work with someone new and step outside my comfort zone.
As for finding a producer, the best advice is to keep making films and networking. Joshua co-produced his previous film, and even though he hated producing, that experience led directly to us collaborating.
You had two producers on the project - how did that come about and how did it work?
Chris: Tyrone [Wright] had produced Joshua’s two previous shorts, so it made sense for him to come on board as co-producer for Softy. We clashed at first; my background is in drama, where everything is run like a military operation, while Tyrone came from documentary, working with smaller crews and doing things more on the fly. Despite that, we found a good balance: I focused on pre-production details, and he oversaw the shoot and locations. It was great for Joshua to have that continuity of working with Tyrone on set.
Looking ahead, I’d absolutely consider co-producing a feature. I’m good at the details, but I could definitely benefit from partnering with someone more gung-ho. If there are any producers out there who’d like to team up, feel free to get in touch!
How many times did you apply for the Short Film Fund before you were selected?
Joshua: I applied three times. Through that I benefited from feedback from Film Hub North. Each application and round of feedback strengthened my work, so by the time I was selected, the project was in its best shape.
You worked with Ashley Walters on the film - how did that come about and what was it like working with him?
Joshua: Our casting director, Sheraz Ahmed, had worked with Ashley before and felt he would be a great fit for the role. I wrote him a letter, sent the script, and everything came together from there.
It was a privilege to work with someone of his calibre, especially since I have admired him for a long time. We connected quickly, which made the shoot go smoothly. I would love to collaborate with him again in the future.
The project received an uplift in its funding for access requirements - what was that for and how did it impact the production?
Chris: The uplift was additional funding outside our main budget, which we used to bring in two wellbeing facilitators; one for the adult cast and crew, and another specifically for our child cast as some of the themes of the story are quite challenging.
Initially, I applied for a single wellbeing facilitator due to the film’s adult themes and the presence of child actors. However, it was actually Film Hub North who suggested having two, ensuring dedicated support for the children.
Mark Knowles and Jo Lane (no relation!) took on these roles. It’s still a relatively new position in the industry, but they had different backgrounds and worked together well. Before the shoot, they suggested ways to help things run smoothly, and Jo even attended our child casting sessions. That meant, by the time we got to set, the young actors and their parents already had a familiar, friendly face to turn to if needed.
What’s the plan for the film now?
Chris: The film is already BIFA eligible, having been accepted into Manchester, Beeston and Sunrise, and we’re halfway to BAFTA eligibility thanks to Manchester.
My last funded short was eligible for the OSCARS, but I’ve never had much luck with BAFTA or BIFA. When I first met with Joshua two years ago, we discussed three key goals: making a film that showcases Manchester on screen, assembling a diverse cast and crew and creating a film good enough to be BAFTA and BIFA longlisted.
We’ve already achieved the first two, so hopefully, the third will follow. With Ashley in the lead role, we’re hoping it helps raise the film’s profile and gives it a better chance.
What’s next for you both?
Joshua: I am developing Softy into a feature film, and I would also love to make one more short as a proof of concept for another feature I have in mind. It is an exciting time, and I am looking forward to seeing where these projects lead.
I am also looking to team up with a script writer or script editor specifically to help expand Softy into a feature.
Chris: I’m not sure how many more shorts I’ve got left in me, as they’re a lot of work, but I’d definitely do another if it helped lead to a long-form project.
I’d still love to make a horror or drama feature with Mat Johns at some point because we work really well together. The main stumbling block for us has always been funding, so I’d also be happy to co-produce if that’s of interest to anyone.
In recent years I’ve been mentoring new entrants into the industry and really enjoy it. I got my break in HETV via the BFI, being mentored on our first short, so if I can help someone in a similar way that would be great. I’d be happy to mentor new producers based in the North too.
BFI NETWORK England Short Film Fund
Our fund supports filmmaking teams based in the North who are working on fiction shorts in live action, animation and immersive/virtual reality.
Applications close Tuesday 25 March 2025: read the funding guidelines and learn more here.
