Stephen Connolly received finance from the Film London Film-makers' Festival Fund (FFF) in March 2007 for Film For Tom. The fund provided Stephen with £347.85 for travel and duping costs, which enabled him to travel to the Ann Arbour Film Festival in Michigan. Film For Tom was in competition and walked away with the 2007 Griot Award for Best Editing.

The Film London Film-makers' Festival Fund awards film-makers up to £500 for print production, or up £250 towards travel costs, for a short film that has been accepted to screen at an international festival.

Stephen is an artist film-maker who studied Fine Art at Central St Martins. Film For Tom is a 'lyrical homage to a friend', structured by recordings made of Tom before he died and including some of his still photography.

Read an interview with Stephen:

How did you get into film-making?
At the time, I thought the film-making area at Central St Martins was the liveliest place in the college and I wanted to be part of it. We were encouraged to take a critical stance on, and address all aspects of, making films. We were taught to work as solo practitioners, and I still work this way today. With experience, what I find most fascinating about film-making is the ability to construct complex statements - simultaneously passionate, political and lyrical - using image and sound.

What is the story behind the film?
I had a vague idea that I should collect material for possible film projects, so I started by interviewing friends and people I knew, just audio. The tapes sat in the back of the shelf for two years and then something terrible happened to my friend Tom. As a film-maker, I had to respond to the situation and so made the work - it is a portrait, a 'J'accuse' polemic, and a work about the value of recordings and documents.

How did you find out about the Film London Film-maker's Festival Fund?
Through the Film London website.

Was there a strategy behind your festival applications?
I try to premiere my work in Rotterdam, as in my opinion it's the largest festival with a coherent shorts sidebar not dominated by drama. I also love going there for its strong world cinema orientation. From there I try to get the work shown around Europe, and then in Canada the following year. The US may then follow - as their programmers go to some of the festivals in Canada. My only rule is never to pay to enter a festival - I feel this is completely wrong.

Why do you think that it is important to attend short film festivals abroad?
In some festivals abroad, in my experience, you have a serious and committed audience looking for something different from television and so it's really interesting to speak with them and other film-makers - it widens your perspective. By attending festivals you also get to meet the programmers, important because you can send your work directly to them and they also sit on committees awarding funding and so on.

In what way do you think that attending the festival has furthered your career?
I particularly wanted to go to Ann Arbor to meet people that have curated my work in the US and because I had a rough cut of a work in progress - shot in the States. My film, Film For Tom, was slotted in a programme with US heavyweights so it was ideally placed, and it won an award - so had an impact. I also managed to arrange a small private showing of my rough cut, so created some anticipation. I'm keen to make work in the States in the future so this was a good first step.

What are your plans for the future?
I'd like to tackle a larger project, but I'm also a bit wary - I've got to find a way to maintain creative freedom and control. I'm interested in addressing the gallery as a space for showing work, and, as mentioned above I'd also like to go the States. Long form16mm work still has a strong presence there and this interests me as a maker and a viewer.

Can you offer your top three tips for anyone looking to attend a festival?

• When introducing or Q&Aing your film, wear something distinctive so audience members can identify you and introduce themselves after the screening
• Take a laptop - for communication and background research, and for showing people your work on DVD - not everyone can get to every screening
• Take some time off - away from the festival. A festival is work for a film-maker - albeit enjoyable. Without a break you'll go crazy watching shorts all day, for days on end

For more about Stephen and his work, please visit: www.bubblefilm.net.