It often starts with a single image. For writer-director Ryan Watt—a filmmaker with a penchant for classic Hollywood and black-and-white aesthetics —the spark for his four-minute comedy Tea & Biscuits wasn’t a complex character arc or a philosophical question. It was a technical challenge: could he convincingly freeze a character on screen?

The result is a hilarious, bite-sized short that revolves around three friends in a flat—one of whom happens to be frozen solid in a bizarre pose. It is a brilliant example of high-concept storytelling on a micro-budget, proving that you don’t need a massive crew or a sprawling location to make something memorable. We sat down with Ryan, whose commercial portfolio includes work for brands like Uber and Lidl, to discuss VFX, the influence of Edgar Wright, and why filmmakers should stop overthinking and start shooting.

The Big Freeze

The premise of Tea & Biscuits was built entirely around a visual effect Ryan knew he could pull off. "I thought, okay, that’s a semi-interesting technical aspect that maybe is a little bit of a USP," he explains. Rather than writing a script and then worrying about how to film it, he reverse-engineered the story to fit his technical skillset.

The goal was to make the effect feel grounded. "Every person who wants to be a filmmaker has messed around... with duplication or freezing," Ryan admits. To elevate it, he incorporated the freeze amidst actual movement and motion, making the impossible situation feel unnervingly realistic.

He also kept the production incredibly tight. Shot in his own kitchen , the skeleton crew consisted of just three people: Ryan, cinematographer James Million, and sound recordist Alexis Psillas. By keeping the stakes low and the location controlled, he removed the logistical barriers that often stop films from getting made. "If we made some mistakes... then if anyone’s gonna have to deal with the repercussions, then it can be myself," he says.

Channeling British Comedy Greats

While the location was static, the visual language was anything but. Ryan cites British comedy icon Edgar Wright as a major influence, particularly in how to make a single room feel dynamic.

"It was just a chance to reference or be inspired by a lot of our favourite shots that we've seen over the years," Ryan says. He and James Million challenged themselves to see "how many interesting shots can we fit into this four-minute film".

The film relies heavily on the performances of its cast—Edmund Holmes, Giulia Hallworth, and Joe Jenkinson —to sell the absurdity. Jenkinson, in particular, had the arduous task of holding "as steady as humanly possible" while the others acted around him. Looking back, Ryan admits they might have been too ambitious with the shot list for a one-day schedule. "It’s a little bit shorter [average shot length] than I would consider my style to usually be," he reflects. It is a valuable lesson for early-stage filmmakers: sometimes fewer shots allow for greater polish.

Getting Seen Over Getting Laurels

When it came to distribution, Ryan took a pragmatic approach. Rather than spending a fortune on festival entry fees with no guarantee of acceptance, he focused on finding an audience. The film found its home through the CenterFrame Industry Showcase, where it stood out for its wit and execution.

Ryan opted for CenterFrame’s distribution model, which offers a 50/50 revenue share, over a traditional festival run. "I’d probably rather as many people saw it as possible rather than it’s a heavy film festival selection that maybe doesn't mean too much to most people," he says.

For Ryan, the goal isn't just about prestige; it is about sustainability. Any revenue generated from the film is viewed as a "free license" to reinvest directly into the next project. It is a forward-thinking strategy that prioritizes career longevity over short-term accolades. You can see this approach working for other filmmakers on the platform, such as the team behind the equally inventive Bald or the dark comedy Satisfaction.

Advice for First-Time Directors

Ryan’s biggest takeaway from the project is simple: don’t let the fear of difficulty stop you. The impetus for Tea & Biscuits was to remind himself that making a film doesn't have to be an impossible mountain to climb.

"Don't build it up to be something so impossible or so challenging in your head," he advises. By using the resources you have—your flat, your friends, and a simple visual idea—you can create something special, perhaps even rivaling the punchy energy of shorts like Two Minutes.

Check out Ryan Watt's CenterFrame Member Profile Here

NATHAN HAINES

Co-Founder & Filmmaker | CenterFrame Team

Check his profile on CenterFrame