The July issue of the film industry publication Screen International features a selection of the top directing, writing and acting talent in the UK whose achievements have shone an especially bright light during the past year.

Now in its seventh year, the magazine's UK Stars of Tomorrow annual special edition points at the names that will be making the headlines in the near future. Talent spotted by past editions included Oscar® winning director Andrea Arnold as well as actors Emily Blunt and James McAvoy. Last year, the special issue featured Destiny Ekaragha - supported by Film London in two short works - and Ben Drew (aka Plan B), who is currently working on his debut feature Ill Manors, produced through Film London's Microwave scheme.

This year, amongst the young faces in the film-makers' section is writer/director Jonathan Entwistle. The London Film School graduate caught the industry's eye after three shorts, including his graduation film Cotton Stones, The Good North - a story about racism in a northern town - and Mulligatawny, a short produced through Film London's PULSE scheme, and the story of a woman trapped in a harsh world of miscommunication and violence. Entwistle is currently working on his debut feature, a thriller set in the Manchester moors.

Being named one of Screen International's UK Stars of Tomorrow is a great recognition from the industry. Were you aware of the hype surrounding you and your work?

Not at all. My work had been well received by the people at Film London and my short The Good North had gained praise from UK Film Council. It wasn't really until I walked into the photo shoot that was organised by Screen [International]; A man with a top hat led me into a huge glass elevator at the Club at The Ivy and I suddenly thought, perhaps this is a big deal! When I got into the room and found myself surrounded by other great actors and film-makers, I was very proud to be involved. I feel honoured that my work is considered of any interest to people other than myself. That really is what cinema is all about.

The recognition comes after a body of work in short form. Would you say this is an indication that shorts are the increasingly recognised as the springboard for emerging talent?

Shorts will always be a way of exploring stories and characters for film-makers and, because of the budgets required to make a feature, shorts are the only way of making work to show your ideas. It should always be about the ideas and concepts. Different directors can make very different films; a 30 second animation or commercial can show an equal amount of skill in the craft of film-making as a 20 minute Film Council short that is accepted to festivals around the world. The short form today does, and should, include many different sorts of moving image work. There are cinematic elements in many commercials, music promos and virals which can be harnessed into successful commercial drama.

You had the chance to have a face-to-face with legendary film-maker Mike Leigh - what's the most useful tip you got out of that encounter?

It was a fantastic experience to sit and talk with Mike. To hear him discuss my films alongside movies such as Naked and Secrets & Lies was great. The one major tip that will stay with me for the rest of my life was that a director should never compromise. Never waste one's energy doing something you do not love.

You have recently wrapped the PULSE-funded Mulligatawny. Tell us about your experience while developing and making the short.

Mulligatawny has been rewarding, but tough. It is the first project I have worked on with a long lead in time - the project is nearly a year old - that's a long time to dwell on an idea, especially for an 8 minute film. And because of that the project has had its ups and downs. It's a film set in East London, about a woman in her early 60s who is trapped in the world of racism, violence and mis-communication. It only really struck me as we started rehearsal that this was the first time I had not worked with teenagers! It was a massive learning curve and I got to travel it with the fabulous Ruth Sheen and Alan Williams. We are finishing the grade and the mix this week. You can never tell how successful you have been until you see it up on the big screen.

How necessary would you say short film-making schemes like PULSE are in today's industry?

That's a tough question because film-makers need a platform to work, but they also need budgets that allow schemes like PULSE to really get good films made. Whilst there will always be exceptions, there has to be a budget that corresponds to the scope of a production. Budget allows time and time allows for thought. As soon as you start to rush, you will lose certain aspects that you wanted and it will force compromise. It's a clever balancing act.

You are preparing your feature debut at the moment. Could you tell us a bit more about the project?

It's definitely a thriller and it all takes place on the moors around Manchester. It's as cool and beautiful as it is hard and gritty. I am really trying to hone my craft and add a deeper cinematic element to my work. I am working with a writer who I met through the Stars of Tomorrow. Think bleak landscapes, hooligans and dead bodies and you're in the right ball park.

Screen International's UK Stars of Tomorrow special is available from selected newsagents and online (http://www.screendaily.com/home/stars-of-tomorrow/) for subscribers only.

Jonathan Entwistle's short The Good North will be screened at the BFI 54^th London Film Festival in October.