Max Mir on Hamnet, studying at MetFilm School, and breaking into the UK Film Industry

You studied both BA (Hons) Practical Filmmaking and MA Directing at MetFilm School. How did your time with us shape you as a filmmaker?

Studying at MetFilm School was a very valuable experience because it was mostly practical. It allowed us to try things and make mistakes – some that I’m glad I didn’t make professionally. The BA gave me a strong overview of different formats and departments, which really helped me understand how teams collaborate to tell a story. It also confirmed that I wanted to focus on directing. Ironically, I thought I’d never be an AD – and now here I am!

The MA helped me really hone my directing skills and pushed me creatively. It forced me to think outside the box and understand my strengths and weaknesses. There was one very stressful shoot that, once edited, turned out far better than I expected. That gave me a lot of confidence.

Was there a project during your studies that proved especially influential?

The first Super 8mm film we shot, Dead Funny, was pure fun with no stakes. It gave us the chance to meet our MA peers on a film set rather than at school. We used the kit and rooms from MetFilm School, so that was amazing. It ended up screening at Cannes and the BFI and is now stored in the BFI National Archive. That experience gave us confidence to take risks and prioritise collaboration rather than waiting for the “perfect” idea or budget.

Congratulations on Hamnet. What was your role in the film?

Thank you! Hamnet is very meaningful to me because it marked the start of my AD career in the UK. I got on the project by taking a risk: buying a car with the last of my savings and taking a location marshaling job in Wales. 

I started in Locations, then gradually transitioned into the AD department. I worked as a Floor and Crowd PA, mainly on the London sets, including the Globe. As a Crowd PA, my job was to prep, transport, and look after the supporting artists; manage continuity; and support the Crowd 3rds throughout the shoot.

What attracted you to the project initially?

Money. Work. Honestly.

I’m incredibly lucky that it turned out to be such an emotional and impactful story, but when you’re starting out, you often don’t know what the project is until you’re already on it.

Is there a moment in the film you feel particularly proud of?

The birth of the babies. I was in charge of organising that on set and managing the baby swaps, which was both challenging and very rewarding.

How did collaboration on set influence the final film?

Most of our collaboration was with the AD team, our peers, and the supporting artists. Keeping everyone comfortable and supported, especially on an emotional project like Hamnet, is essential. Even small roles behind the scenes can have a big impact on the final film. Also, speaking to Chloé Zhao, the director, in Spanish made things fun – little moments like that help keep energy high and teams connected.

What advice would you give to current MetFilm School students who aspire to work on productions like this?

Save money and buy a car. Cut down on partying and expensive habits! It’s not the advice people want to hear, but having a car will often get you hired faster than your skills.

What are you hoping to work on next?

As a director, I’m developing a medical drama set in a hospital, which is very different from my usual comedy work. As an AD, I’ve been very lucky to be part of independent productions, low-budget productions, and even a production worth $500M. I’m hoping to work on productions with kind, collaborative teams – projects where work doesn’t feel like work! 

Inspired by Max’s journey?

Explore our BA Practical Filmmaking and MA Directing courses and discover how hands-on training, collaboration, and practical experience can help launch your career in film and television. Come and join us at an Open Day and meet our lecturers and explore our facilities.