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He started making films in his late teens and after graduating High School he went on to educate himself away from TV screens and Hi8 Cameras.
He began at The New York Film Academy producing and directing short films and working as a technical advisor. Those educational years resulted in a number of projects which recently or not so recently have been recognised internationally.
Further he was selected to the talent pool Trailblazer in by the Edinburgh Int. Film Festival recognising new emerging talent and won the Channel 4, 4Talent award for Best Directing in In Timo started working with Mark Cousins and has been editing his films ever since.
Sometime in early , I bumped into Mark Cousins on the street in Edinburgh, and asked what he was up to.
He said that he and Tilda Swinton had dreamed up a new idea for a film festival that summer, which involved pulling the Screen Machine, a ton mobile cinema, by hand across the Scottish Highlands, showing great movies in small villages along the way.
They called this wild idea The Pilgrimage. Mark had consulted the British Tug-of-War Association about how many people it would take to pull a truck of that size, and showed me some figures scribbled on the back of an envelope.
Mark was a maths whizz long before he was a world-renowned cinephile, but he was a bit troubled about his calculations.
I guess we won't find out until we actually try. It might be a disaster. I decided then and there that my family — myself, wife Mary Bell and our two sons, then 8 and 12, both film mad — had to become Pilgrims.
Mark may have been uncertain about whether he and Tilda could pull off this lunatic scheme, but I had no doubt whatsoever that it would be an once-in-a-lifetime experience for anyone who took the plunge and trusted in their vision.
And so it proved. We met amazing people who came from all over the world. We watched great films. We swam in lochs.
We got eaten by midges. About 50 people pulled the Screen Machine with ease though not me, because I had a bad back. So when I was standing in the Bridge of Allan Co-op last autumn, and Mark called to ask, rather diffidently "I'm sure yous are too busy," he said , if Mary and I would like to produce "A Story of Children and Film," it took me about a second to say yes.
For all his modesty, Mark has a clarity of conviction which makes remarkable things happen, and which delivers enormous rewards for anyone who tags along for the ride.
I've learnt not to hesitate if he asks me to do anything. So being giving the chance to help him make his next film was an extraordinary gift.
There are some horses or is it a dog, or a cat? I've been in love with films since I was a child when I used to go to my local cinema every Saturday from about the age of 8 or 9 to what was then called a "Cine-Disco" child of the 70's!
The local "Cine-Disco" involved about an hour of music where us kids were allowed up on the main stage to dance about to the music, chat with our mates, eat lots of sweets and learn what it was all about to speak to girls!
Then once the hour of music was over we all returned to the cinema seats and were treated to some cartoons, an old black and white mystery serial that would run on each week and then a main feature.
The main feature would invariably be anything that was out at the time like "Star Wars" or "Superman" but more often than not, it would be something by the Children's Film Foundation.
As I got older and into my teens, I was given my first video recorder an old Betamax and I would record virtually any film that was broadcast on TV.
This enabled me to watch the likes of films by Hawks, Hitchcock, Lang, Ford and discover foreign cinema at quite an early age.
I was hooked and wanted to learn more, so started reading many books on film too. Outside of my day job, my work in film has begin to develop over the past 10 years or so, to a point now where I am keen for this to be my main vocation.
I have my own archive of films and documentaries on cinema as well as having access to many private film collections around the world and some film archives too.
I help many film writers, critics, directors and film lecturers by tracking down titles they are looking for, for research and study purposes.
I've known Mark about two years, at first just via email and then our paths crossed in August at Los Angeles airport in the departures lounge.
Whilst at the festival we hung out a few times together, got talking about films generally and gradually got to know a bit more about each another.
I expressed that I was not very happy in my current job and Mark very kindly offered to help to see if he could find me something linked more with my strengths and knowledge of film.
Towards the end of November I received an email from Mark asking if I would be interested in being a researcher on a new film he was about to start making.
About a week later Mark and I met in Cambridge and spent a few hours discussing the film in more detail and what my role would entail.
The next challenge, once I had seen a rough cut of the film towards the end of February, was to then start acquiring the best possible source materials of each of the 53 films that are used in the film.
Mark had a few of the titles in his personal collection and the rest I was able to obtain via other means.
By the end there were only a couple of titles that proved difficult to obtain. So it was with A Story of Children and Film.
I realised early on in my thinking that, unlike my other films, it would not be about a journey, a road movie, it would be a series of themes.
So I scribbled each childhood theme — shy, secretive, performative, destructive, watching, leaving, adventurer, dreaming, grumpy, scared, loss, limited horizon, daring, class, adult, dog with a bone, alone — on the page, and drew a rough box around each.
Then, each time I watched a film, if it had a good scene about one of those themes, I wrote it down in the relevant box. I noted down the order in which I saw the themes — shyness came first, for example, and destructiveness came last.
This, by and large, became the order in which we edited the scenes in the film. When it came to the edit, we chose what I thought were the best examples.
The former allows me to jump between themes, notice connections, etc. The screening was presented by Cannes artistic director Thierry Fremaux.
Without condescension or cynicism, Cousins offers us his own humanist idealism, as refreshing as a glass of iced water.
Throughout, the film is rich in [its cinematic] finds, works seldom seen or discussed but, in many cases, just as impressive as the famous examples he samples.
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