Lindsey Dryden

Birthplace:
Stroud, Gloucestershire, England, UK

Lindsey Dryden (she/her) is an Emmy®-winning film producer, director, writer and campaign strategist with bases in Gloucestershire, UK and Austin, TX. She is the founder of Little By Little Films, and known for telling stories that allow audiences unique and authentic access to unexpected, moving and gripping new worlds; for nurturing bold new voices; and for advocating for opportunities for underrepresented storytellers in the film industry. She is a sought-after consultant, guest speaker and mentor, and has been a juror and/or screener for BIFA, BAFTA, SXSW and film funds. Lindsey is the 2019 Simon Relph Memorial Bursary winner, a BFI Vision Awardee 2020 and a full voting member of the film and TV chapter of BAFTA. She’s a proud founding member of Queer Producers Network and FWD-Doc (Filmmakers with Disabilities); a member of Documentary Producers UK (DPUK); a Lecturer in Film Production (and a Fellow of the Higher Education Academy); sits on the BFI’s Disability Advisory Board and Press Reset campaign; and is a fellow of BAFTA/BFI Flare, Guiding Lights, Good Pitch, HotDocs Forum and Sundance Creative Distribution Initiative. Lindsey produced Sundance Special Jury Award-winning and Oscar longlisted feature documentary Unrest with director Jennifer Brea (2017, PBS Independent Lens/Netflix), and produced Emmy®-winning Trans In America with directors Daresha Kyi and Cary Cronenwett (2018, ACLU/Conde Nast). She co-produced multi-award-winning Unrest VR (2017, Tribeca), Exec Produced Ahead of the Curve (Frameline, 2020) with co-directors Jennifer Rainin and Rivkah Beth Medow and an all-female LGBTQ+ crew, and Exec Produced BIFA-nominated The Forgotten C with Jessi Gutch and Molly Manning Walker for the Uncertain Kingdom series (2020). As a director she is represented by Hannah Boulton at The Agency. She has written and directed feature documentary Lost and Sound (2012, SXSW), short Jackie Kay: One Person, Two Names (2017, Tate Queer British Art) and short doc Close Your Eyes And Look At Me (2009, True/False), and has several nonfiction films and fiction scripts in development. With a background as an Impact Producer, Lindsey consults on and crafts innovative impact, distribution, exhibition and audience engagement strategies. She co-authored FWD-Doc’s Toolkit for Inclusion & Accessibility with Netflix and Doc Society and Unrest’s Sundance Creative Distribution Case Study, and contributed to DocSociety’s Hi5 Impact Unrest Case Study.

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Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.