Midlands Filmmaker in Focus: Owen Tooth

We're back with another edition of filmmaker in focus, our monthly spotlight on talented filmmakers from the Midlands. This month, we spoke with award-winning director (and wheelchair user) Owen Tooth, who blesses our screens across film and TV and previously participated in BFI NETWORK Midlands Directors Lab.

First of all, huge congratulations on directing an episode of EastEnders - and making history as the first wheelchair user to do so. Even more exciting is that your first full directing block airs next week, and the producers have entrusted you with a standalone special commemorating the 80th anniversary of VE Day. That’s an incredible milestone, both personally and for the industry.

This is a trailblazing achievement for you and is inspiring for other disabled filmmakers. What do you think are the main ways the film industry needs to improve for disabled filmmakers? 

Honestly? It’s all perception. There’s the ‘director’s chair’, but the idea of a director arriving in their own chair really throws some producers; they worry about what problems it might cause without looking into the reality of it. Accessibility isn’t that hard, and we all need to look at what part we can play in bringing in talent from groups who are underrepresented: disabled filmmakers are one part of that, but there are so many groups who've been historically shut out of the industry and it's long past time those barriers came down. 

We’ve used “time and money” as an excuse to cover too many sins in this industry. But the irony is — when we work toward better accessibility, it often saves time and money, and boosts productivity for the whole crew on set.

Can you share an example of a time when you felt fully accommodated and supported as a filmmaker on set?

This morning, I was directing EastEnders, and the team here are completely relaxed around d/Deaf, disabled, and neurodivergent colleagues. They’ve been working alongside us for years. Members of my cast and crew were wheelchair users, d/Deaf, and neurodivergent, and together we achieved something I’m incredibly proud of at an amazing pace. 

Best of all was the trust I was given as a director. I brought so many ideas to the executives to help make the episodes as good as they could be, and with the help of a passionate team, it’s resulted in some of my best work. I got to focus on creating a happy, collaborative set, with everyone working toward the same goal.

Behind the scenes, the producers had checked with me if I had specific requirements (and asked me to check back in with them if anything came up), but I only found one doorway I couldn’t get into without a ramp in the whole studio complex. That's kind of normal, I don't usually face physical barriers; it's the assumptions people make that get in the way. 

That kind of support clearly makes a real difference. Shifting gears a bit—looking back at your diverse body of work, from the 16mm one-take poetry short Catharsis, to the dark fairytale The Opening, your horror debut feature Devil’s Tower, and the impactful documentary A Story of Change—you’ve explored a wide range of genres and styles.

With so many creative projects under your belt, how do you decide what to take on next? And what drives or inspires those choices?

Well, that’s a two-part question. As a freelancer, I’m always balancing multiple projects in various stages. When I’m very lucky, projects happen one after the other. When I’m a bit too lucky, they all happen at once, and my work/life balance goes out the window. Then there are the times when work doesn’t materialise, and I have to put energy into making it happen. Right now, I'm working on projects and shows that I've been trying to get work on for a few years. It takes time, so I have to be patient and think long-term with my career.

As for inspiration… When I read a script or uncover a story that resonates, I see it so vividly that I can’t wait to share it with the world. I have dual drives as a director right now: there’s the storyteller who loves the art of creating, collaborating, sharing, and inspiring those around them, then there’s the changemaker, who sees so many problems in this industry and our wider culture and needs to make a difference.

You are set to direct BAND, backed by the Netflix Documentary Talent Fund, alongside fellow Midlander David Chabeaux. How did you both meet?

I’d seen David a couple of times at MAYHEM Film Festival at Broadway in Nottingham (one of the highlights of my year), but the first time we had a proper conversation together was when he was looking for a local filmmaker to team up with, and my name came up. We hit it off immediately, and things snowballed quickly from there! 

Is there another favourite filmmaker from the Midlands you’re especially excited about right now, whose work you enjoy, that you think we should look out for?

Of course! I feel very proud to be a Midlands filmmaker when I look at the people I share a home with. It’s a struggle not to turn this into a list of the brilliant writers, producers, directors and more who are creating such exciting work. 

I’m especially excited for Sophie Black; she’s got an intimate and beautiful eye for story, and she’s going from strength to strength this year. There’s something powerful about people who enjoy making shorts without feeling pressured to turn their art into a career, but when someone does want to move into features or TV, then it takes an astounding level of commitment and momentum. It looks to me like Sophie’s right on the edge of becoming a success story all of us can be proud of.

You’ve taken part in several training schemes, including BFI NETWORK Midlands Directors Lab. How important do you think it is to continue learning throughout your career?

It’s essential, and it’s so rewarding. The reason that I have started moving upward in my career is because I decided to look at the areas of the craft where I was weakest, so that I could tackle them head-on. There’s always more to learn, and that’s part of what attracts me to each project: it’s a chance to solidify what I’ve studied before I move on to the next challenge.

How do you approach a set to ensure you will get the best work out of the cast and crew you are working with?

With joy!

The more I work, the more time I spend preparing, and the less I say once I get on set, but I’m always smiling. I’ve learned to really enjoy watching the cast bring their ideas to the set, and then we can play together to find what works. I used to have such strict ideas of how words needed to be delivered. Now, my prep is intense, but I trust that the actors have done their homework too. It’s the same with the crew - I arrive with a crystal clear idea of what I am aiming for and how I can communicate that vision to each Head of Department… but first, I want to hear their ideas. My job is to inspire each person in the room to do their absolute best and take pride in the work.

You recently made the short film You Know the Rules, created for the microshort scheme with the BAFTA Connect crew. You had 6 weeks to create a 60-second zero-budget short film with one rule: it had to include an egg timer. Do you find working within creative limitations like this more or less challenging?

There’s so many limitations or constraints we just don’t think of (budget, shooting time, location, certification, genre) that it’s part of the writer and director’s job to work out what needs to be said, and work with what we’ve got to do make that happen: every film is a puzzle to unlock. I’ve never directed a story without some kind of limits, I’m not sure what I’d do with unlimited time and money and no restrictions of any kind, but I’ve a feeling it would be kind of dull!

Owen’s career continues to be a testament to what’s possible when talent meets opportunity — and when the industry opens its doors, not just wider, but smarter.