In 2011, I composed the score for The Door, Andrew Steggall’s exquisite adaptation of H.G. Wells’ “The Door of the Wall.” This 21-minute masterpiece features Charles Dance and Harriet Walter, exploring the haunting tension between memory and reality through chamber music performed by the Brodsky Quartet.
The Door (trailer) from Andrew Steggall on Vimeo
A Tale of Memory and Enchantment
The Door is based on H.G. Wells’ evocative short story “The Door of the Wall,” a psychological exploration that delves into the mysterious borderland between childhood memory and adult reality. The film follows Thomas Arlington, a man of considerable wealth and power—chairman of a bank, impeccably tailored, owner of a yacht that has hosted the Chancellor of the Exchequer—yet haunted by a singular childhood memory.
At the heart of Arlington’s torment lies the vivid recollection of a green door in a wall in West London, a portal that once led him to an enchanted garden of impossible beauty. Now in his sixties, this memory both sustains and destroys him, representing the lost innocence and wonder of childhood that success cannot reclaim. It is Steggall’s masterstroke to present this internal struggle through Wells’ timeless prose, creating a meditation on what we sacrifice in the pursuit of worldly achievement.
A Distinguished Ensemble Cast
Charles Dance
The legendary Charles Dance brings gravitas and nuanced vulnerability to the role of Thomas Arlington. Known worldwide for his commanding presence in Game of Thrones, The Crown, and Gosford Park, Dance delivers a performance that captures both the external authority and internal fragility of a man haunted by his past.
Dame Harriet Walter
Dame Harriet Walter, whose illustrious career spans the Royal Shakespeare Company, Atonement, Sense & Sensibility, and Succession, appears as the enigmatic “Woman with Sorrowful Eyes.” Her dress, notably crafted by Vivienne Westwood, adds another layer of artistic distinction to the production.
The ensemble is completed by Elliot Cowan (Happy-Go-Lucky, The Golden Compass) as Edward Arlington, Tobias Menzies (The Crown, Outlander) as the “Man with the Wings of a Swan,” and Thomas Hardiman as Young Thomas Arlington. Each performance contributes to the film’s dreamlike quality, blurring the boundaries between memory, fantasy, and reality.
International Recognition
Warsaw Film Festival 2012
Official Selection
Short Film Competition
The Door was selected for the prestigious Warsaw Film Festival 2012, one of Europe’s most significant cinema events. This recognition placed the film alongside international works competing for the festival’s coveted awards, highlighting the universal appeal of Wells’ story and Steggall’s visionary adaptation.
Chamber Music for a Haunted Soul
The score for The Door demanded a musical language that could navigate the liminal spaces between reality and memory, between the mundane world of corporate success and the transcendent realm of childhood wonder. Working with chamber forces, I sought to create music that would mirror the film’s intimate scale while supporting its profound emotional depth.
The Brodsky Quartet Collaboration
The score was performed by distinguished members of the world-renowned Brodsky Quartet, including Paul Cassidy (viola) and Jacqueline Thomas (violin), alongside Jackie Shave and Magnus Johnston. The Brodsky Quartet, formed in 1972, brings decades of interpretive expertise to contemporary classical music, making them ideal collaborators for this psychologically complex score.
My own piano performance complemented the string textures, creating intimate musical conversations that underscore Arlington’s internal monologue. The chamber format allowed for subtle shifts in texture and color, perfectly matching the film’s nuanced exploration of memory and longing.
Critical Acclaim
“The pulse of Jools Scott’s bewitching score underlines the cyclical nature of the narrative.”
“Everything was tinged with elegant light, with a sense of mystery and foreboding; an excellent score and sumptuous costumes added to the elegiac feel.”
“The illusory imagery and Jools Scott’s potent chamber music score emphasise the magic of this moving dream play.”
Listen: Theme from The Door
The haunting main theme performed by chamber ensemble with piano
Andrew Steggall: A Visionary Director
Andrew Steggall brings a distinctive artistic vision to The Door, combining his background in theatre and opera with a keen cinematic eye. His approach to adaptation respects Wells’ psychological complexity while creating something entirely contemporary and relevant.
Steggall’s other notable works include Departure (2015), a coming-of-age drama that premiered at film festivals worldwide and earned critical praise from Variety Magazine, and the short film Sparrow (2010). His work consistently explores themes of identity, memory, and the complex relationships between past and present.
Through Motion Group Pictures, Steggall continues to develop projects that challenge conventional narrative structures, making him one of the most intriguing voices in contemporary British independent cinema.
Collaborative Artistry
The Door exemplifies the collaborative spirit that elevates independent filmmaking. Shot by cinematographer Brian Fawcett, the film captures both the mundane corporate world and the ethereal garden with equal visual poetry. Production designer Sarah Bacon creates environments that seamlessly blend reality with memory, while editor Charlie Harvey crafts a rhythm that mirrors the film’s psychological complexity.
Production Partners
- Air Studios
- The Whitehouse
- UsS Productions
- Splice
Technical Excellence
Shot on the Arri Alexa camera system, courtesy of S+O Media, the film achieves remarkable visual clarity and depth, perfectly capturing both intimate character moments and the otherworldly garden sequences.
The Door stands as a testament to the power of literary adaptation when approached with intelligence, sensitivity, and collaborative artistry. It remains a highlight of contemporary British short filmmaking and a personal milestone in my journey as a film composer.
Visions from The Door
[Film Still 2: The enchanted garden scene]
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[Film Still 3: Harriet Walter scene]
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Steggall’s visual poetry captures the liminal space between memory and reality, where the past refuses to remain buried