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Simon Shore's introduction to film making came during a three year stay in Paris, where he got a job doing "painting by numbers" in a film animation studio. "My girlfriend at the time was working there, and it seemed an amusing enough way to make a living in Paris. Although I had a place at university to do theatre studies in England, I finally decided that film was more interesting. I used to buy unmarked cans of film at the Paris flea market and take them home to cut them up on an old editing bench I'd found. I never knew what I was going to get; sometimes it was part of a feature film, sometimes a documentary (once I found a sequence from Abel Gance's Napoleon, but I had learned a lot about film making that way."
He returned to England to do a three year course in film at the London College of Printing, where his graduation film, an adaptation of Flann O'Brien's The Third Policeman, earned him a place at the Royal College of Art Film School. At the RCA, he made La Boule as a second year exercise: "It was a stupidly ambitious idea to make a film in French with two five year olds when I was only allowed four rolls of film. But it was only my second year film, so I though 'what the hell' - it wasn't as if it was my graduation film." In the event La Boule earned him not only a degree, but also the BAFTA award for the Best Short Film of the Year.
He went on to direct two highly constrasting documentaries about young people under pressure: Not Quite Paradise took him on a scientific expedition to the Indonesian rainforest for three months and Eton: Class of '91 provided a rare inside look at Britain's most exclusive school.
Shore's short film Duck, starring Jim Carter and Frances Barber, was followed by two feature length dramas for television, both dealing in very different ways with the problems of growing up against a background of violence. Henri told the story of two Northern Irish girls - one Protestant and one Catholic - who meet at a Belfast music festival. The French-set thriller The English Wife explored a hidden world of domestic violence among the bourgeoise.
Get Real, Shore's first feature film, was developed in close collaboration with producer Stephen Taylor and writer Patrick Wilde.
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