Director and choreographer : Jack Thomson
Cinematography : Michele Cadei
Musician/Sound : Unity by AGF
Styling : Hayley Hai
Hair : Aaron Fawcett
Editor : Matt Dennis
Producer : Ian Fenton
Buggy Driver : Joshua Harriette
Focus Puller : João Pedro Azevedo
Runner : Ethan Fenton
Runner: Alan Thompson
Born in York, Jack Thomson is a dance artist, with practises
performance, photography and film.
As a performer Jack has dance work by choreographers Mark
Baldwin, Shobana Jeyasingh, Izik Galli, Caroline Finn, Alexander
Whitley, Kate Flatt, Anthony Middleton, Ohad Narhin, Redha
Benteifour and Willi Dorner to name a few. In 2015/2016 was
also recipient of a Weston Jerwood Creative Bursary to develop
further as an artist.
His practice in still and moving images has led Jack to have
several exhibitions with his photographic work.
In 2017 Jack was commissioned by Random Acts (Channel 4) to
direct and choreograph the dance film, Business is Brutal. This
short has gone on to be screened in over 40 film festivals across
the Globe and has won 'Best Interpretation’ at the InShadow Film
Festival (2018), Best Art/Artist Led film at the New Renaissance
Film Festival (2018) and was Highly Commended SHOWstudio
Fashion film awards, in partnership with Harrods (2019).
Bodies navigate and self organise as they run alone but
The competitive landscape is overwhelmed by public and
Actions act as the only markers in time, as they are reduced
to noticeable and forgettable images.
Where are we in this moment?
Individuals unknowingly connected through unseen
templates of social dynamic, captured in the container of the
We Are Ready Now, is a short dance film commissioned by New
Creatives ; a platform for emerging artists realised and
supported by BBC Arts and Arts Council England.
Time, togetherness and the organisation of bodies are the driving
ideas in this work. I wanted in this film to loose the sense of time,
highlighting individual actions and narratives as our way of
making sense of the world.
It was important that this piece of work scratched at the potential
possibilities of what can be done with movement when we bring
it to the screen, it was of was a space for choreography and film
to meet, and then leave as an inseparable entity.