"Wake me up, and then f*ck me up." According to the story, that was the order a legendary supermodel gave in a London bar in 1985, and the drink Dick Bradsell made in response became the Espresso Martini. Forty years later it is a global staple, yet its origins are often lost in the noise. Dick Bradsell Espresso Martini, a five-minute micro-documentary shot on location at London's iconic The Social, sets the record straight. It is guided by the intimate voice of Bradsell's daughter, Beatrice, who serves as narrator and curator of her father's legacy and recreates the finalised recipe on camera.
The film is the directorial debut of Jacqueline Fernandez, a Texas-born, London-based filmmaker with more than 20 years behind the camera. Those years include seven as personal makeup artist to Michelle Rodriguez on films such as Widows and the Fast & Furious franchise, and time spent watching directors like Terrence Malick and Steve McQueen at work. Shot by 2025 BSC Award-winning cinematographer Jon Muschamp, Dick Bradsell Espresso Martini captures the rhythmic, tactile beauty of the craft. Fernandez describes the film as pushing "the boundary between 'product' and 'person.'" Its aim is to shift attention from a drink the whole world knows to a man too few people remember.
Key Takeaways
- Fernandez found the story by accident: Bradsell's name filled half the menu at a London bar, and she was surprised by how young his creations were.
- The whole film was shot in two days on a tiny budget, so she gave up her "arty set ups" in favour of a more logical plan.
- She hopes to develop the micro-doc into BITTERS, a semi-fictional series set among legendary bartenders in Thatcher's London.
Fernandez spoke with us about curiosity, compromise, and the weight of telling someone else's family story.
Interview
What drew you to make this film, and why this story, why now?
It started simple. I was filming in London and took a visit to the Wigmore at The Langham. Dick Bradsell's name was on half of the menu. I was genuinely surprised by how relatively young some of his cocktail creations were, especially the Espresso Martini, which is only forty years old. That discovery sent me down a curiosity hole, where I found that Bradsell was the man behind the revolution of London's sipping culture, and that he wasn't more widely celebrated.
Fast forward to today, and the Espresso Martini is a global cultural staple, yet the true origins of the story often remain lost in the noise. This micro-doc serves as a tribute to a pioneer. In a modern landscape obsessed with fleeting trends, I want to help ensure Bradsell's legacy remains a permanent fixture of cocktail history.
What surprised you most about the filmmaking process, creatively or logistically?
The small, recurring misconceptions were what convinced me I had to make this project. A crew member assumed the drink dated back to the 19th century. When we were filming exteriors, a bystander insisted the drink came from Italy. The drink is the subject, but Bradsell is the soul of this project. During post-production I was surprised by the tremendous weight of responsibility I felt to tell his story with care and honour, and to make his family proud.
What moment in the film feels most like you, or like something only you could have made?
This question connects to my statement about the film: "I view Bradsell's journey as a mirror to only a handful but will inspire many; a story of reinvention, courage, and a relentless pursuit of a creative path. I'm drawn to the untold stories of individuals who have shaped culture from the fringes."
What was the hardest creative decision you made while making the film?
We had a tiny budget and two days total to shoot the entire project. Day one was a twelve-hour day, but it included picking up the rental van, collecting equipment and loading it into the location. We had only eight hours on day two, and that day also included breaking down, loading out, cleaning the location and returning both the camera and lighting gear before the facilities closed. So we were on an ultra-tight shooting schedule. Tom Reynolds, the 1st AD, and I looked hard at the days. He really wanted to fulfil my wishlist, but it was impossible. I had to sacrifice all these arty set ups and stick with a more logical plan.
What tool, technique, collaborator, or mindset shift helped most during production?
The Director of Photography, Jon Muschamp, was the heart of this project's collaboration. Since this was my directorial debut, it mattered enormously that he was remarkably patient and gave me a safe space to grow and learn. His creative guidance felt authentic, essential, and grounded. Moving forward, I am dedicated to building projects that prioritise this same spirit of open, transparent communication and collaboration.
What does it mean to have your film selected for HollyShorts London?
Being selected means so much, not just to me but to every single person who supported this film. I feel this is a beautiful way to shine a light on the incredible team behind the project. Knowing that our work is being seen by industry professionals, press, and fellow filmmakers is deeply validating. It's absolutely gratifying to see our collective hard work resonate on this stage.
Where do you see this film going next?
I would love for this micro-doc to make its festival circuit rounds. I also see it branching into a semi-fictional series called BITTERS, a Bear-meets-booze-fueled fever dream. It would be loosely based on Bradsell and other legendary bartenders from across the pond during the 1980s, set in Thatcher's London. For now, I intend to focus on short-form storytelling. Short-form production has a unique, tight-knit "family" energy that I find creatively fulfilling and essential to my process. At the core of all my work is a desire to be honest and transparent. I want to create stories that don't just occupy a person's time but stimulate and engage their curiosity.
Main Cast & Crew
- Narrator: Beatrice Bradsell. Daughter of Dick Bradsell, she carries forward and preserves her father's creative spirit. She contributed to Dicktales (Mixellany Limited), an intimate compendium of his handwritten notes, original cocktail recipes and playlists.
- Director: Jacqueline Fernandez. A Texas-born, London-based director, writer and producer with more than 20 years in the film industry and a former 706 Guild member. She worked as personal makeup artist to Michelle Rodriguez on Widows, Dungeons & Dragons: Honour Among Thieves and the Fast & Furious franchise. girlsinfilm.net/director/jacqueline-fernandez | Instagram: jax.jacquelinefernandez
- Director of Photography: Jon Muschamp. A graduate of the National Film and Television School, where his graduation films won awards including a BAFTA and the student RTS Best Cinematography in Fiction award. He shot the debut feature The Flood and the BAFTA-nominated short The Trap, and won a 2025 BSC Best Short Film award for Bookyville. jonmuschamp.com | Instagram: jonmuschamp
- Music Composer: Adrian Quesada. An eight-time Grammy nominee for his work with Black Pumas and a Grammy winner with Grupo Fantasma. He co-wrote and sang "Like A Bird" from Sing Sing, which earned a 2025 Oscar nomination for Best Original Song. adrianquesada.net | Instagram: adrianmquesada
- 1st AD: Tom Reynolds. An assistant director with more than 15 years in the industry, on franchises including Star Wars, Jurassic Park, Marvel and Fast & Furious. Most recently he was second-unit 1st AD on Hail Mary, Practical Magic 2 and VisionQuest.
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