He studied Forensic Science<\/strong> at Nottingham Trent University, graduating with First Class Honours. While his studies focused on forensic photography rather than filmmaking, they provided him with valuable technical skills. Outside of class, Mallard taught himself photography and videography, laying the foundation for his future career behind the camera.<\/p>\n\n\n\n After graduating, he worked in financial services while pursuing acting, appearing in productions including The Many vs The Few<\/em> (2019), Men Matter<\/em> (2020), and Ancient Apocalypse<\/em> (2021). During the first COVID-19 lockdown, he wrote the screenplay for Masters and Vices<\/em>, a psychological drama exploring pornography addiction, recovery, and personal transformation.<\/p>\n\n\n\n Filmed entirely in London, Masters and Vices<\/em> stars Mackintosh Muggleton and features music by acclaimed composers Herman Beeftink and Bret Autry. Since its release, the film has earned multiple international awards and official selections, including Best Director<\/strong> at the 2026 Blokhed International Film Festival, while continuing its successful run on the international festival circuit.<\/p>\n\n\n\n Today, Gregory Mallard continues promoting Masters and Vices<\/em> through film festivals and podcast appearances while developing new projects and further refining his craft as a writer, director, producer, and actor.<\/p>\n\n\n NY Glamour Magazine:<\/strong> Your journey into filmmaking is far from conventional. From studying forensic science and forensic photography to becoming an award-winning filmmaker, how did those early experiences shape the creative storyteller you are today?<\/p>\n\n\n\n Gregory Mallard:<\/strong> My journey into filmmaking was definitely fueled by an eclectic blend of influences as opposed to a standard film school route and this is reflected in my approach to production.<\/p>\n\n\n\n From an early age, I had a passion for watching behind the scenes documentaries of my favourite films, but didn\u2019t see filmmaking as a viable career option at the time. I studied forensic science at Nottingham Trent University, gaining over 200 hours\u2019 worth of experience in forensic photography. I was trained to use the Nikon D90 Camera (the first DSLR camera to shoot video) in manual mode to take photos which would be admissible as evidence in a court of law. The digital skills which I learned gave me a solid foundation in photography that I carried over to filmmaking.<\/p>\n\n\n\n During my degree I was expected to take photos or video footage of mock crime scenes or evidence, these, – unlike a controlled film set, were not designed to make it easy for one to maneuver around to get a clear shot. These conditions served me well in indie filmmaking as it gave me the confidence to make use of whatever tools were available to me at the time. It also meant that I didn\u2019t fall into the perfection trap, thinking that you can\u2019t present your work unless it\u2019s a Hollywood masterpiece. During the first national COVID-19 lockdown in the United Kingdom, I self-shot and presented a technical video from my own home that was uploaded to YouTube in May 2020. Although the video wasn\u2019t the greatest work of cinematography, it gained over twenty thousand views and further motivated me to improve upon my craft as a Director and Producer.<\/p>\n\n\n\n Forensic photography has definitely influenced my indie filmmaking style. When I would shoot video footage of mock crime scene evidence during my forensic science degree, the shot would almost never be a panning shot. Likewise, I utilise many locked-off (static) shots in my directorial debut. Having little time and resources comes with the territory of indie filmmaking, and I believe that the best way of getting a good shot is the locked-off shot as one has more control over the variables within the frame.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> You have often spoken about teaching yourself photography and filmmaking outside of university. Looking back, how important was self-learning in helping you develop your own creative voice?<\/p>\n\n\n\n Gregory Mallard:<\/strong> I think a person has to enjoy what they\u2019re learning by being able to experiment and see the practical applications of it- as opposed to just learning something for the sake of learning it. This is why I sometimes found studying mathematics at school rather boring as I wasn\u2019t told what the real-life applications of things like quadratic equations were.<\/p>\n\n\n\n Growing up, my mother let me to use her Canon Sure Shot 60 Zoom camera at home and in the garden for fun and as a creative outlet. As there was an element of play, there was no pressure to take the \u2018best\u2019 shots. I wasn\u2019t judged on my photography skills and was only intermittently guided by her, so I could learn from my mistakes in a stress-free environment.<\/p>\n\n\n\n Whilst I wasn\u2019t taught to take photos or record video footage for the purposes of entertainment during my degree, I would enjoy using the camera as an artistic outlet. I would book the camera outside of lecture hours, taking photos and videos of landscapes and monuments, learning in my own time and on my own terms. This self-learning proved valuable in my future productions because it allowed me to learn in a low-pressure environment so I could better absorb the necessary technical skills required for filmmaking.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> Before directing your own feature film, you worked as an actor while building a career in financial services. What inspired you to take the leap from balancing two worlds to creating your own films?<\/p>\n\n\n\n Gregory Mallard:<\/strong> A combination of factors led me to transitioning to become a filmmaker. Having been on set for multiple student, indie and non-indie productions in addition to having a basic knowledge of the filmmaking process gave me a strong grounding to understand how to efficiently organise a feature film production. However, this alone was not what finally made me write the screenplay for my directorial debut.<\/p>\n\n\n\n I had a rough idea for a feature film screenplay in mind, but didn\u2019t have enough time to set about writing it with a clear mind. Boredom can spark creativity, and it wasn\u2019t until the first national COVID-19 lockdown that I was finally able to clearly gather my thoughts and put pen to paper. Due to lockdown restrictions, I wasn\u2019t going outside as much and a lot of the acting work had dried up too, so I was able to become fully immersed in writing the screenplay.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> During the COVID-19 lockdown, you began writing Masters and Vices<\/em>, a film that tackles the sensitive subject of pornography addiction. What motivated you to tell this particular story, and why did you feel it was important to bring this often-overlooked issue to the screen?<\/p>\n\n\n\n Gregory Mallard:<\/strong> When one researches the top addictions of the 21st century, porn addiction frequently ranks in the top 15. Nevertheless, despite its prevalence, it\u2019s not as widely documented in feature films. At school, we had drugs, alcohol and smoking awareness days, but nothing about porn addiction. This cultural silence and taboo of the addiction formed a creative vacuum- that is when the idea to create the film presented itself.<\/p>\n\n\n\n Masters and Vices<\/em> is not just a feature-length psychological drama film; it is a motivational and inspirational film showcasing the potential for one to transition from self-destruction to self-improvement- a tribute to the indomitable human will.<\/p>\n\n\n\n The film challenges the audience to overcome any stereotypes which they may have about what is- for the most part, a seemingly invisible addiction. It raises awareness of porn addiction in its many forms and highlights its ramifications throughout the film. One never realises if they are truly addicted to something, until they try to stop it- the film explores this phenomenon by confronting the addiction\u2019s consuming nature by its honest depiction of the recovery process.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> As the writer, director, producer, and driving creative force behind Masters and Vices<\/em>, what were some of the biggest challenges you faced in bringing such an ambitious independent production to life?<\/p>\n\n\n\n Gregory Mallard:<\/strong> Making a feature film is no easy feat. This coupled with the fact that I was working full time throughout principal photography and restrictions were in place for the second and third national COVID-19 lockdowns meant that I had to really think strategically about the shooting schedule and logistics. Filming was confined to weekends only. This meant that I had very little free time after working, shooting and carrying out admin work as the Producer- effectively doing two full-time jobs over many years.<\/p>\n\n\n\n Due to the COVID-19 lockdown restrictions, most locations would only allow a maximum of 10 people on set. As such, we had to shoot the second part of the film\u2019s third act first as it didn\u2019t involve so many supporting cast and background extras. This coupled with the fact that windows at locations had to be open all the time or between takes meant that shooting during the lockdowns was very-time consuming.<\/p>\n\n\n A major challenge I faced during principal photography was when cast members would not show up at the last minute. This meant that I always had to think of several scenarios for a scene in case an actor was a no-show. Ultimately, no matter how well one prepares for a shoot, there may always be unforeseen circumstances that can blindside you.<\/p>\n\n\n\n As I was the Lead Actor, Director and Producer, if I failed to show up then I not only let myself down, but my whole cast and crew. Thus, because I was wearing many hats, I would be on set even when I was ill or injured. This was quite stressful.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> Masters and Vices<\/em> has received international recognition and earned you the Best Director award at the 2026 Blokhed International Film Festival. What does this recognition mean to you personally, and how has it influenced your confidence as a filmmaker?<\/p>\n\n\n\n Gregory Mallard:<\/strong> I would again like to express my deepest gratitude and heartfelt thanks to Blokhed International Film Festival for these awards and for supporting independent filmmakers around the world. As an independent filmmaker it really means a lot to me that the festival showcased my directorial debut in the heart of Long Island. This motivates me to raise the bar in motion picture going forward.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> Your background as both an actor and director gives you a unique perspective behind the camera. How does your experience in front of the camera influence the way you work with actors on set?<\/p>\n\n\n\n Gregory Mallard:<\/strong> Part of how I tailor my approach to directing actors on set is based on how I would like to be treated as an actor myself. I endeavor to give my actors as much supporting information about the characters they are playing on and off-set so that they understand what shapes their behaviour and can emotionally invest in them. I try my best not to have a dogmatic approach when it comes to the script. Once I have explained the rationale behind a character\u2019s actions, I let the actors interpret how they deliver their lines to camera in their own unique way. I find that this hands-off approach allows actors to give a more natural performance which isn\u2019t overacted.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> Every filmmaker has a defining moment when they realize they are exactly where they are meant to be. Was there a particular experience during the making of Masters and Vices<\/em> that confirmed filmmaking was your true calling?<\/p>\n\n\n\n Gregory Mallard:<\/strong> Once half of filming was done, the shoots operated like a very efficient machine. Most of the issues causing delays were either eliminated or I discovered quick turnarounds like cheating a shot to make a certain movement sell on camera.<\/p>\n\n\n\n Because I became better at taking preventative measures to avoid any confusion on set there was a point where I could produce a scene on autopilot which allowed me to enter a flow state when directing it. That sublime feeling of immersing oneself in the highest form of artistic expression whilst easily managing the logistical challenges of overseeing cast and crew is what made me realise- yeah, I can definitely do this, do it well and enjoy doing it.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> Today’s film industry is constantly evolving through new technologies, streaming platforms, and changing audience expectations. How do you see independent filmmakers adapting while staying true to authentic storytelling?<\/p>\n\n\n\n Gregory Mallard:<\/strong> Whilst cinema certainly isn\u2019t dead, and I don\u2019t think anything will replace its experience anytime soon, the rise of video streaming services has certainly changed consumer\u2019s viewing habits.<\/p>\n\n\n\n Due to the increased accessibility of the internet, AI, video camera technology and home viewing of films being more normalised through streaming services, I think now, more than ever, indie filmmakers are best able to compete with major film studios. The fact that I was able to write, direct, casting direct, location scout, produce and market a feature film completely on my own is a testament to this. I decided to self-distribute my film via YouTube.<\/p>\n\n\n\n To a certain extent, video sharing platforms contribute to a democratisation of attention, which means indie filmmakers don\u2019t have to feel as pressured to have a theatrical release. With podcasts now being as popular as traditional TV talk shows, it is much easier for indie filmmakers to promote their work online without having to approach a major TV network.<\/p>\n\n\n\n The integration of high-quality video cameras in smartphones and other devices means that one now has the option of shooting a short film without having to buy expensive camera equipment. For the record, the second YouTube video I produced was self-shot at home with my iPad\u2019s camera. As more people are spending time on social media and watching films on vertical mobile phone screens, I can see more indie filmmakers considering shooting in a corresponding aspect ratio to have greater engagement on social media platforms. <\/p>\n\n\n\n I utilise AI to explore new and creative ways of showcasing Masters and Vices<\/em> for a global audience. For example, I dubbed the entire Main Official Trailer to Swedish and uploaded it to Instagram in August this year to reach a new demographic. Whilst I understand and appreciate the concerns surrounding AI, I\u2019m currently looking to make AI work for me as an indie filmmaker as opposed to being threatened by it. Whether we as filmmakers like it or not, AI is here to stay so why not try to stay abreast with its developments and where possible attempt to make the most of it.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> Throughout your career, you’ve demonstrated remarkable perseverance, producing your debut feature while continually refining your craft. What advice would you give to aspiring filmmakers who dream of directing their first feature but are hesitant to take that first step?<\/p>\n\n\n\n Gregory Mallard:<\/strong> My first advice to anyone considering directing their first feature is not to rush. Filmmaking is definitely a marathon and not a race. Long-term thinking, patience and cool heads prevail in this field. Think surgically about why you want to make the feature film, your market audience and your festival circuit strategy. It\u2019s absolutely fine to think deeply about these questions for several months before commencing pre-production. Making a feature film is a herculean task, so it is best that one decides upon key strategies in advance, rather than having to backtrack later on.<\/p>\n\n\n\n Similarly, whilst it is important to stretch and challenge oneself, I would advise any aspiring filmmaker not to feel pressured that they have to make their first feature by a specific age. Although I released my directorial debut when I was 33 years old, there are many acclaimed directors who made their debuts much later in life. Comparison is the thief of joy and there is no hard and fast rule that says that you have to direct your first feature by a certain age.<\/p>\n\n\n\n Finally, I would advise any aspiring filmmaker who is hesitant to direct a feature, to test the water by producing short films, short-form content or a proof-of-concept film. I directed and produced YouTube videos under 10 minutes long before releasing my directorial debut. Short films are a great way for filmmakers to get their feet wet and self-asses their skills before making the big jump to directing a feature.<\/p>\n\n\n\n NY Glamour Magazine:<\/strong> As you continue promoting Masters and Vices<\/em> through international film festivals and your podcast tour, what new creative projects or stories are inspiring you for the future?<\/p>\n\n\n\n Gregory Mallard:<\/strong> Just reading the papers and following social events that occur on a daily basis is more than enough to inspire me and draw upon for future creative projects. Reading about people\u2019s lives, be it fascinating, challenging or tragic becomes lodged in my psyche. Because some of these real-life stories chyme with my own experiences, I can go about producing films about these themes in an authentic way.<\/p>\n\n\n\n Watching Kane Parsons\u2019s directorial debut Backrooms<\/em> earlier this year was deeply inspirational for me as an indie filmmaker. It was one of those rare moments where a YouTuber manages to adapt their work into a feature film and have a worldwide theatrical release. Having watched the Backrooms YouTube web series, it was very interesting to see how Parsons adapted the series into a feature film. <\/strong><\/p>\n\n\n\n NY Glamour Magazine:<\/strong> If audiences could take away just one lasting message from your work as a filmmaker, what would you hope that message would be, and how would you like your films to be remembered?<\/p>\n\n\n\n Gregory Mallard:<\/strong> I see filmmaking as the highest form of artistic expression as it combines the art of music and moving image to create an immersive experience. I would hope that Masters and Vices<\/em> raises awareness of an overlooked addiction and paves the way for filmmakers to challenge and overcome social taboos. If viewers can relate to the subject matter of Masters and Vices<\/em>, it would be ideal if it prompts them to do some soul searching. <\/p>\n\n\n\n I would like my films to leave a profound and lasting impression on the viewer. When I watch a good film at the cinema, I become completely immersed in another reality. I would then deeply contemplate the film\u2019s plot and meaning for around a week after leaving the cinema. That is exactly how I would like my films to be remembered.<\/p>\n","protected":false},"excerpt":{"rendered":" Exclusive Interview with Gregory Mallard – Filmmaker Gregory Mallard is a British actor, writer, director, and producer best known for his multi-award-winning directorial debut, Masters and Vices, released in August 2025. Born in Surrey, England, and raised in Weybridge, Mallard developed an early passion for cinema through behind-the-scenes documentaries, although he did not initially see […]<\/p>\n","protected":false},"author":1,"featured_media":19937,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-19936","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film"],"_links":{"self":[{"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/posts\/19936","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=19936"}],"version-history":[{"count":1,"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/posts\/19936\/revisions"}],"predecessor-version":[{"id":19940,"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/posts\/19936\/revisions\/19940"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/media\/19937"}],"wp:attachment":[{"href":"https:\/\/nyglamour.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=19936"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=19936"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=19936"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/nyglamour.net\/wp-content\/uploads\/2026\/09\/3rd-Gregory-Mallard-photo-by-Christine-Santos-732x1024.jpg\")
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