Oct 13, 2026 · 31 min · 11 segments
Join us for a conversation with director **Jason Figgis**, whose documentary *The Girl on the Balcony* has been nominated for **Best Documentary** at the 17th Underground Cinema Film Awards. Jason…
Jason FiggisGuestDaveHostUm, and yeah, I suppose back then, I, you know, my, my background at the, at the, the 17 years ago was theater, so, uh, I'd been involved with film but not on the scale that I am now.
So it was all very, I was very green back then, you know, and, uh, but, um, you submitted your work to us back then.
Your first feature was, uh, Three Crosses, uh-
Like, I, I already knew Emmet, um, over the years.
But, um, and, um, but then, you know, when I saw the likes of Charles Dance in the film, and I saw Bill Fellowes in the film, I said, "Wow, this is fanta-" Uh, we haven't had a film like that come in to us, you know, from an independent filmmaker with that sort of caliber of cast.
Just lots of great names.
Y- yeah, it was k- it was kind of an unusual one, that, in that it was very organic.
It was my first feature film, and every time I'd meet a new actor I'd write a new role.
Yeah.
I, I think I told you before, I ended up shooting 135 hours of footage for a film, which I then had to whittle down to 90 minutes.
And, and of course, I didn't have the, I didn't have the benefit of AI to be able to throw it all and go, "Make me a movie, will you, for God's sake," you know? So I had to trawl through everything and try and make something coherent, which became a kind of a graphic novely kind of ultraviolent revenge film.
Actually, I had one person come up to me and tell me they thought I was a psycho, and I, I, I don't remember anything in it that was that offensive that I would be called a psycho, but, uh, I don't know, maybe I thought about things differently back then.
Yeah, and, uh, I, I, I don't think so.
I mean, it was an, an entertaining piece.
I mean, there was, there were scenes in there, thinking back on it now, you know, that w- I can remember watching it and seeing Emmet go through a number of different hairstyles.
[laughs]
Um, and yeah, I suppose back then, I, you know, my, my background at the, at the, the 17 years ago was theater, so, uh, I'd been involved with film but not on the scale that I am now.
So it was all very, I was very green back then, you know, and, uh, but, um, you submitted your work to us back then.
Your first feature was, uh, Three Crosses, uh-
Like, I, I already knew Emmet, um, over the years.
But, um, and, um, but then, you know, when I saw the likes of Charles Dance in the film, and I saw Bill Fellowes in the film, I said, "Wow, this is fanta-" Uh, we haven't had a film like that come in to us, you know, from an independent filmmaker with that sort of caliber of cast.
Just lots of great names.
Y- yeah, it was k- it was kind of an unusual one, that, in that it was very organic.
It was my first feature film, and every time I'd meet a new actor I'd write a new role.
Yeah.
I, I think I told you before, I ended up shooting 135 hours of footage for a film, which I then had to whittle down to 90 minutes.
And, and of course, I didn't have the, I didn't have the benefit of AI to be able to throw it all and go, "Make me a movie, will you, for God's sake," you know? So I had to trawl through everything and try and make something coherent, which became a kind of a graphic novely kind of ultraviolent revenge film.
Actually, I had one person come up to me and tell me they thought I was a psycho, and I, I, I don't remember anything in it that was that offensive that I would be called a psycho, but, uh, I don't know, maybe I thought about things differently back then.
Yeah, and, uh, I, I, I don't think so.
I mean, it was an, an entertaining piece.
I mean, there was, there were scenes in there, thinking back on it now, you know, that w- I can remember watching it and seeing Emmet go through a number of different hairstyles.
[laughs]
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