The Hours
Commercial
Arri Amira + Super16 ZOOM
Back in 2022, I returned to my alma mater, Loughborough University, to meet with the Director of Athletics, Femi Akinsanya. We spoke about creating a poetic portrait of the daily grind that defines elite sport. Through that conversation, I was introduced to Alex Haydock-Wilson, a New Balance athlete and Olympic medallist competing in what I consider the most brutal discipline: the 400 metres.
As a former sprinter myself, I’ve always had admiration for this distance. I ran the 100 and 200 metres, but the 400 was a different beast. I remember watching Michael Johnson glide through Atlanta in those gold boots, and later, Kirani James quietly shake up London. That respect stayed with me. I’d been researching the psychology of the event for a while, and with a small crew and limited resources, I leaned into something stripped-back and observational.
The film was shot entirely on sticks using a Super 16 zoom lens, giving it a slow, voyeuristic quality. We wanted to show the commitment required when no one is watching. Loughborough’s campus became our canvas. I knew the facilities well, and we were lucky to catch the right light, right season, and right tone to let the space speak for itself.
Massive thanks to DP Dan Hilltout and sound recordist Luke Predeth, who captured the stillness and echoes of off-season training. And to my gaffer David Anderson, who reminds me every time we meet that his main job on this one was turning lights off.
We did get slapped with a £70 fine from the Lidl car park during lens tests. Worth it.
This short is about rhythm, discipline, and the space between the visible moments of glory. These are the hours between the seconds.
