JOHNNY DURGAN: UK’S UNIQUE STORYTELLER

Jonny Durgan is a two-time Cannes Lion winner, and has been recognized for his creative work in commercials for major brands such as KFC, Sipsmith Gin and Vodafone. His debut as a writer and director came from the short film, “Somewhere I’ve Been”, which was showcased at various film festivals. His next short is G.S.W., which has been getting high praise on the circuit. Happy to be doing this interview.

I am aware that you are from the UK and have been reading about how film production is soaring in your country as of late. Are you finding this to be true?

Yes, it seems to be that way. The studio spaces are growing in number and in quality, which can only be a good thing. The larger productions seem to be choosing London and South East England, which is giving valuable opportunities and experience to people who wouldn’t have it otherwise. The Creative Industry is the second largest in our economy so long may it continue. As I work mainly in the independent grassroots part of the industry, it is putting eyes on the UK and the people I work with seem to be getting busier. So, it’s working!

Outside of GSW, you wrote and directed a production entitled "Somewhere I've Been" back in 2021. Please share the synopsis of this short, and also, how does this differ from your latest film? Are readers able to watch this project anywhere online at this time?

Somewhere I’ve Been stars Sheila Reid, Lindsey Coulson and John Love. Mary has lived in her home most of her life, but it is due to be demolished and she is being forced out. I have seen this happen across London as areas become more popular, displacing the community that made it what it is. Therefore, I wanted to tell a story about that. It’s entirely fictional but based on a problem we have here. It probably happens in most cities, but it shouldn’t! It differs from G.S.W. in that it is more likely to happen to every family as we deal with relatives getting older, but is similar in that it is a story of three people navigating a difficult situation in the best way that they can and the ramifications that come from it. It is available on YouTube on the G.S.W. YouTube channel @gsw_film.

There have been many reports that audiences are less inclined to watch the majority of commercials coming out today. As you are an expert in this area, to what do you attribute this change, and how do you feel advertisers can alter this result now? Also, of all the campaigns you have worked on, which one was your favorite to work on and had the best success?

The world of advertising shares similar problems to the film world. Audience habits and attention spans are changing, along with media channels, so we all have to adapt. To me, the principles are the same as they have always been. If you make something entertaining that leaves an emotional impact, then people will watch and interact with it - even if it is an ad.

The best success I have had so far was a commercial for Sipsmith Gin, made with the animation team who work with Wes Anderson. It was directed by Jeff Low, and I was merely a writer on that project, but it picked up two Cannes Lions and multiple other awards. It is hard to top that one currently, but I love working in advertising and it has taught me so much about writing, film making and storytelling.

I understand that you prefer to do film projects that are complex with emotional narratives. Are you set on staying within this area, or might we find you doing comedy, horror or even a rom com one day?

I do not consciously try and stick to any genre. It just so happens that the projects I have made so far lean into drama. My advertising work is heavy on wit and comedy, so I try to mix it up and work in different areas if I can. Danny Boyle is a hero of mine and the way he moves seamlessly between genres is something that I aspire to one day. I have a bunch of ideas that I am hoping to do next and they are all different to anything I’ve done so far. So, who knows what I will make next, but it is not something I consciously try and stick to.

Within G.S.W. lies an intense moral dilemma for the lead actor. Had she, or you, conducted any interviews or actual research with real EMS employees to get their take on these situations? You also cast a second lead to be somewhat of her live conscience. Would it be fair to say that neither character is betraying their own mortality by their choices?

That is a good question. My mum was an emergency room nurse for a time, so as a kid I heard stories of stressful situations that were very much life and death, albeit it nothing like what we see in the film. I did spoke to her and another paramedic when I was writing this, in preproduction, and on set. We had Medical Advisors, Alan and Keverne, who were checking terminology and showed the actors how to handle the equipment, but it was always in service of the film. I never wanted to get distracted by anything too medical, so we sacrificed authenticity for drama on a couple of occasions. It was a fine line to walk so we did not slow down the film by being too accurate.

Genevieve, who plays the character of Beth, is the one who sacrifices her standards but also stays true to what her parental instincts are. I think the thought processes of both characters move and shift in real time. Rather than being proactive and managing the situation, they both become reactive. This is the worst thing that can happen to your emotions, as they are so changeable. It’s hard to say if they’re betraying themselves as there are many ways the story could go after the ending that would determine that. That’s the moral question we leave you with at the end so it’s up to the viewer as to what happens to them.

You opted to cast some amazing artists in these roles. Can you share more about what qualities you found within Genevieve and Kaya that made them ideal for this movie? Further, I know your parents are medical professionals, so were they ever considered to play these roles?

We were incredibly lucky to have that level of talent in this film. They enhanced the script in ways I never imagined. Obviously, Genevieve has had incredible success with Andor and the wider Star Wars universe, so we were incredibly fortunate that she saw something in this role and had a tiny window in her schedule. It was a matter of days between Press tours for Andor and her next project, so it worked out for us. I am familiar with her role as Mon Mothma but it was her role in Tin Star with Tim Roth that made me think of her for this role. She plays a mother in a desperate situation and isn’t afraid to take a warm, maternal character to a darker place. So, I thought she was perfect but I also thought she’d never want to do this film, but she did! As for Kya, I had seen her in a number of shows here in the UK. She always has a vulnerability, yet also an inner strength, so she was perfect for rookie Jo. Further along in postproduction, we managed to get Gemma Whelan, Game of Thrones veteran and an incredible actress, to do a voice role as the Dispatcher. We were so, so lucky, and it was not designed to be that way; the stars just aligned.

Whilst I did get inspiration from my parents, getting them to be in a nice photograph is hard enough- let alone a film. Thus, I doubt they would have been so thrilled if I had asked them.

Did you create G.S.W. as another means to spotlight excess gun violence in schools today, or also to display how demanding the weight is on our paramedics? Has this film been viewed by school administrators or state health services as of yet, and if not, will this be possible at some point?

To be honest, I did not make the film as any kind of statement. The gun laws are so strict here in the UK, and rightly so, that I never felt the need to comment on them. Mass shootings are such a rare occurrence here, and I never thought that the film would be shown anywhere other than the UK. Since momentum has been building, it is now going to be shown in more USA and international festivals in the coming weeks. What has been striking is the reaction it has received from American audiences. They brought their own experience and anxieties when they watched it. That did not happen in the UK. It is a very real and lived experience every day for the USA, especially those with children. This was something I never considered before. What I did try and highlight is the magnificent job that medical professionals do for us. They have to make snap decisions and react in a way that saves lives. They are underpaid, overworked and deserve all the praise and more from us.

Can you please advise on your goals for 2026? Also, where can audiences see G.S.W. this year?

I came into this festival run with zero expectations, and I have been overwhelmed by the success we have had so far. It has come as a complete surprise. So I’ve learned not to make any plans; I’ve just been rolling with it! Next up for us is Cinequest Festival in California and we have others coming that I can’t talk about yet. If you follow us on Instagram, every announcement will be on there: Instagram