SO WHAT IS DIRECTOR'S VISION?
At our studios we get the chance to work with so many talented creators in the industry, something we never take for granted because we know we can continuously learn from each other.
Now we’re hoping to share some of those learnings with you through our ‘Director’s Vision’ series.
Creative Executive Officer and Founder of Pressure Cooker Studios, James Matthes, says:
“We believe the best way to innovate is to grow the talent in our industry, forming a community to set a new standard with every project we touch.
We know that by sharing information and creating resources, we can build a stronger platform for everyone. We learn from each other’s failures and successes, and we believe that no mistake should be learnt twice. We know that by working together, we can all achieve greater success.”
In this edition, we speak to director Paul Ward about Philipstown WireCar Grand Prix, a documentary rooted in community, imagination and the fearless spirit of young racers building their own futures.
What was your vision for the film?
“As the film is a documentary there was less of a vision and more of an approach to start, that being, to discover and reveal the story not impose a story. And to be led by the kids, inspired by not only how they envision themselves in their cars, but how they approach life. Hero’ing the kids’ story was always our north star.”
And what was your brief to Pressure Cooker Studios?
“The brief was specific and open at the same time, ‘Create a sonic universe that is deeply inspired by and unique to Philipstown’. We always knew we wanted something that would only make sense for this film, we just didn’t know what that would sound like, and that’s where the collaboration with Pressure Cooker Studios began.”
At what stage did Pressure Cooker Studios get involved?
“It was relatively early on, in the first few months of filming, but the project ambition was big so it always felt tight time wise, especially as we needed to have some sort of soundtrack to film for the race that is shown to the kids, so the music had to be quite far down the line even before we had a proper story edit, which I guess is rather unusual.”
What from the treatment Pressure Cooker Studios presented made you feel they were the right collaborators on this project?
“There were many things, but I think an overriding reason was because they had the ambition for the project, and were excited and not intimidated by it. We had no idea what sound we were after so early on in the project, we just knew we needed a partner to go on the journey with us, and help us find and elevate the story through sound, and PCS did just that.”
How did music influence your filmmaking process?
“I’m not sure how much it did if I’m honest, I think the film making process was so organic here at the start especially when the story was still revealing itself. Of course later on when mini edits were starting to take place, wip scores and themes really helped shape scenes and really ground and realize different characters.”
How did the music and audio elevate the storytelling overall?
“I mean tremendously, in every way. The music is part of the story, it holds the emotion, carries the momentum, it’s everything. I’m not very sophisticated in how I want music to be made, but I’m very clear how I want it to make me feel, and feeling is of the highest priority for me in storytelling. Almost everybody who watches the film tells me how deeply they felt the film, and how powerful the music was, so they are intertwined and inseparable.”
What was your experience working with PCS?
“It was a great collaboration, there was lots of pressure on the music side of the project, and we always felt like they had our backs. There were times where things needed to move fast, and changes had to be made quickly, and there were times where sections weren’t hitting as expected but no matter the ask, there was always excitement to find the solution, and push it further. So even if we weren’t always there on first listen there was no doubt that it was just part of the journey to getting where we needed to be, and I think it made for something truly special. The sonic world building is one of the aspects of the project I am most proud of.”
What would you do differently next time, if anything?
“I think it would just be to allow for as much time to play and explore while not under pressure, to embrace the unknown, sure it’s nice to make specific music for specific scenes or characters, but I think the exploration phase right at the start is the most crucial even if you don’t know where you going so I would invest in that part of the process as early as possible.”
Any tips for up and coming Directors when handling Music and Audio on a narrative project?
“Trust the process, it’s so different from short form commercial work, where you are often trying to nail a specific emotion for 30” spot and you need it yesterday. I think in long form there is more play, more freedom to explore sound and emotion, and it’s scary because you are not sure where you are going, but the unknown is the most exciting place to be, so trust the process, enjoy the journey.”
Since its release, Philipstown WireCar Grand Prix has continued to receive recognition on both local and international stages. The film has so far been selected for BrandStorytelling 2026, a Sundance-sanctioned platform celebrating excellence in branded and long form storytelling, placing it in conversation with some of the most progressive documentary work globally.
Closer to home, it has received multiple honours at the I DID THAT Craft Awards 2026, including Best in Craft for Direction for Paul Ward, along with Craft Mentions for Editing, Online VFX, Music Supervision and Original Music.
We loved collaborating with Paul, Giant Films and the Accenture team on the Original Soundtrack to this incredible documentary. It carries the dust, the pride, the imagination and the momentum of those kids. For us, that is the work. To step into the unknown, embrace the ambition, and build something that could not exist anywhere else.