This is my first post in months. Since then I've had an emergency re-admission to hospital so I guess it's fair to say I've had better years. My only film-related work so far is an overdue return to writing the final draft script for the Tilo project and my voting duties for the British Independent Film Awards (BIFA) in the Raindance Maverick category - this year there are 57 entries.

Those following this blog might know my story but sometimes I wonder myself how much of it is true. An online search for "May Miles Thomas" or "Elemental Films" lists articles about me/my work but virtually none tells the whole story, lost among trivial errors; misspelt names, incorrect dates and misquotes. Does it matter?

Well, yes and no. From an ego perspective, I don't care because having to watch 57 films has a humbling effect and besides, it's always about the work, not me. However, what does matter is when false information about my work, if consigned to posterity, is unearthed decades later by some academic or researcher and presented as fact or worse, excluded on a false premise. When omissions and partial truths are reincarnated as fact what are we expected to believe?

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My husband caught me tapping on my laptop the other night. He asked what I was writing. “A blog post,” I replied, so he said, “Then write something self-affirming, something uplifting.” It doesn’t come easily. It’s over a year since I last posted on this site but on each attempt the words refused to be positive, so I lost heart and pressed delete instead.

On an overcast Friday in early February I’m writing this in my shed. Only I’m not. I’m staring at a set of colour-coded index cards on the wall, each card representing a scene for my ongoing project, Tilo in Real Life. On a shelf, alongside other props, sit three small electrical appliances purchased from eBay who appear as characters in the film, but right now they act as my conscience, taunting me to get back to work. This year, I tell them, this year.

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