WendyWongsharesherDirectorsUKInspireexperience
Wendy Wong has always been driven to tell stories shaped by identity, belonging, and queerness, but breaking into TV meant gaining a deeper understanding of the craft beyond short films.
Taking part in Directors UK Inspire 2024-25, and mentored by Tom Vaughan, Wendy was able to witness the full journey of a production, from early prep to the edit suite. The experience not only demystified TV directing but also strengthened her confidence and sharpened her approach to her own passion projects.
Can you tell us a bit about yourself?
I’m a London-based writer/director who grew up in Hong Kong and have lived in the UK for over a decade. My experience of being both queer and of dual nationality deeply shapes the stories I’m drawn to: ones that explore identity, belonging, and queerness. I rarely saw people like me on screen, and that inspired me to begin my creative journey as a filmmaker with the hope of bringing about change.
Why did you apply for Directors UK Inspire?
When I applied for Directors UK Inspire, I had directed a Royal Television Society-nominated short, and the screen adaptation of Selina Thompson’s award-winning play. I had also been selected as a BAFTA Connect member, and written and directed a queer coming-of-age short, If You Only Knew. Alongside that, I gained short-term shadowing experience, including time with Laura Scrivano on The Lazarus Project and Freddy Syborn on Bad Education. I felt I had built a strong foundation as a filmmaker, and Inspire was the next step to deepen my experience and help me break into TV directing.
I applied to Inspire because I’d seen how transformative it had been for other directors I know, and they spoke highly of the mentorship. The programme’s reputation and commitment to nurturing talent really excited me. I was encouraged by Inspire’s focus on underrepresented voices. I also admire that Directors UK actively champions diversity, and I want to contribute my perspective as part of building a more inclusive industry.
What did your mentorship consist of?
My mentorship with Tom Vaughan (Doctor Foster, Victoria, A Good Girl’s Guide to Murder) focused on exploring my passion projects, and general guidance for what next steps I should take in my career. We initially met for coffee, where Tom asked what would be the most helpful things for me. I explained that I was eager to experience pre-production. I wanted to understand what conversations take place, what decisions are made, and how the groundwork is laid.
Tom generously brought me in from the pre-production stage, where I joined the location recce, page-turn meetings with the DOP, location, and art department, meeting with the execs, being on set daily, etc. I got to see the whole process right through to post-production, six months later.
What did you learn from that experience?
Experiencing prep and post first-hand gave me a much deeper understanding of how TV productions are built from the ground up. Seeing the process from start to finish offered the full picture of what it means to be a TV director, and I quickly realised how many elements you never encounter when making short films.
By observing Tom on set day after day, I learned through repetition and soon understood how he would approach a scene. Being in the cutting room was equally invaluable. Tom emphasised how crucial coverage is, and the edit really brought that lesson home. There were moments I thought, ‘thank goodness we had that angle,’ because it made all the difference. Beyond the creative learning, it was also an incredible opportunity to connect with crew, heads of department, and execs.
In what ways did the mentorship prepare you to take the next step in your career?
The mentorship really helped me hone my directing skills. I directed a short film last month with a very limited budget and tight schedule, and the lessons I’d learned from Tom were vital. Thanks to that experience, I felt more confident about when to save time, when to move on, and how to work effectively with actors under pressure. I honestly don’t think I could have managed it as well without that experience.
Tom was also incredibly generous with feedback. He read my scripts and pitch deck, and his notes strengthened my work significantly. When I pitched my feature project at BFI Flare as part of the BFI-funded DarkRoom development lab, Tom’s feedback on my presentation made a huge difference.
The community I’ve built with my Inspire cohort has been equally important. My fellow mentees have been amazing! We share resources, exchange advice, and support each other through the ups and downs. Sometimes their insights, coming from the same career stage as me, were exactly what I needed. It’s been such a wonderful support network and one that I know will continue as we all move forward.
Do you have a current project you’re working on?
I’m currently in post-production on my comedy short This is Because My Boyfriend Looks Like Colin Firth, which explores themes of embracing your heritage through humour. I had the pleasure of working with Olivier Award-nominated Mei Mac and writer/actor Lana Lei, who both deliver phenomenal performances, and I can’t wait to share the film with audiences.
Beyond that, I’m developing my feature Hell Bent, a fantasy rom-com I created during the DarkRoom lab and pitched at BFI Flare. I’m in conversations with Candid Broads Production, who are very excited about the script. I’m thrilled at the prospect of bringing this story to life and making my feature debut!