Decisions in the Deep

Working on Decisions in the Deep took 12 months before it finally reached final production. This was for good reason. When Raki Ralko, the director, approached me with the script (originally titled Oxygen), we spent months discussing the project's feasibility and trying props we could make or buy. The idea was to ensure that at least the film was possible to make, and not fall into the trap of trying and not succeeding. So for months, we worked on the design, flaws in the script which wouldn’t make sense, how to visually explain to the audience what was going on, and most importantly, how to build a believable world. Once we felt that the vision was at least 50-60% possible, the rest of the crew started to come in.

Working so closely with Raki taught me a lot about being a HOD. Understanding budgeting for such a large project for one. Trying to fill in plot holes within a script through visual context, creatively problem-solving issues that came up at difficult moments. And being resourceful with a car! Another challenge we faced was building a set within a Grade II listed building with a distinct green colour, a small space in which we were uncertain whether it would be possible to build a submarine, and working under time/budget constraints.

I am grateful that I had this opportunity to fully embrace being a HOD, work with a fantastic art department team that carried out my vision to the end, and we were able to produce a story that was not only believable, but excellently executed in its visuals.

This film earned the Best Production Design 2026 award from the Independent Shorts Festival.