
In 'The Mediator,' a woman assists a man in mending his fractured relationships.
Dean Leon Anderson is uncertain whether the profession depicted in his short film “The Mediator” truly exists, but he believes it should. The narrative centers on Mary, portrayed by Cat White, who is tasked with assisting a quadriplegic man in mending his fractured relationships.
“A person who facilitates emotionally difficult conversations between those unwilling to confront each other? I’d hire one without hesitation,” Anderson shares with MovieMaker. “Maybe I should start my own agency. The inspiration arose from the thought of what would occur if someone essentially outsourced their most challenging relationship — the kind of dialogue that seems impossible to have without a mediator.”
The film is scheduled for screening on Saturday at the Santa Fe International Film Festival, where Anderson will also participate in a Q&A session following the showing. Daniel Portman plays Chris, the man seeking help, while Mia Tomlinson takes on the role of Olivia, his long-suffering sister.
Anderson, a British writer and director, specializes in emotionally resonant, character-focused films, including “My Time With Joe” (2020) and “Class 15” (2016). We discussed topics such as emotionally repressed characters, narrative structure, and the true nature of the mediator in “The Mediator.”
MovieMaker: What led you to become a filmmaker?
Dean Leon Anderson: I’ve always had a passion for films, but it took me a long time to figure out how to actually become a filmmaker. Growing up in South London, it felt like a distant and enigmatic career. The journey began when a friend received funding from BBC Films for a short film, and I asked to lend a hand. I ultimately assisted his producer and soaked up as much knowledge as I could on set. That experience ignited my passion. Shortly thereafter, I began drafting my own scripts.
Initially, I lacked access to funding and had to piece everything together — self-funding, borrowing equipment, and persuading friends and family to participate. It was very much a DIY approach, but I learned a lot through that process. After finishing several short films, I began to receive genuine support for my work, and everything expanded from there. It has been a gradual journey, driven by momentum and determination.
MovieMaker: How did you discover your exceptional cast?
Dean Leon Anderson: I was fortunate to collaborate with Sharon Duncan-Brewster (Dune, Sex Education) on my previous short, “Class 15.” I believed I had crafted a solid script, but she added such depth to her character that it raised my standards for casting “The Mediator.” The characters are complex, and I realized I needed two strong leads who wouldn't just act according to the script but would infuse their own instincts and push the material.
I met casting director Zyrenka Cox through a BAFTA film initiative, which was perfectly timed. I had originally envisioned older actors for the roles, but her suggestions completely changed my perspective. She proposed Daniel Portman [Game of Thrones], Mia Tomlinson [The Beast Must Die], and Cat White [Ten Percent], and I instantly recognized their potential.
I was already familiar with Daniel’s work, and after discussing it with Zyrenka, I was confident he would be ideal for Chris. I auditioned several actresses for Mary, but Cat distinguished herself from the outset. I had noticed Gina Bramhill in The Flatshare and appreciated her subtlety, while Ian Burfield [EastEnders, The Selfish Giant] had a voice that rooted his character. I was very fortunate that they all signed on.
Dean Leon Anderson on the Untold Backstory of ‘The Mediator’
Dean Leon Anderson, writer-director of “The Mediator.” Photo courtesy of the filmmaker.
MovieMaker: Why did you choose to tell this story?
Dean Leon Anderson: After completing “Class 15,” which unfolded in a classroom during a parents’ evening, I developed a keen interest in crafting stories within intimate, confined settings. “Class 15” began in a polite and civil manner, only to devolve into chaos. With “The Mediator,” I aimed to invert that structure — starting from a place of genuine animosity, featuring two individuals who are entirely emotionally closed off from one another, and exploring whether they could achieve something more human.
I’m drawn to characters who are emotionally trapped and to scenarios where communication has faltered. There’s something fascinating about observing what happens when people are compelled into a confined space or even a phone call, leaving them no choice but to confront what has remained unspoken.
MovieMaker: Can you explain your use of elegant cuts to black to indicate the passage of time?
Dean Leon Anderson: Initially, the script featured a chapter structure, with each time transition marked by a title and time of day to indicate how long the characters had been together. I had been inspired by Joachim Trier, whose films often creatively manipulate structure. I wanted to experiment with a similar approach, especially since the narrative unfolds


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In 'The Mediator,' a woman assists a man in mending his fractured relationships.
Dean Leon Anderson is uncertain whether the position depicted in his short film "The Mediator" actually exists — but if it doesn't, it ought to. The film narrates the story of a woman.