Saul Aiden Murphy

The Last Stone Carver (2025) is more than a documentary, it’s a deeply personal journey through legacy, memory, and craftsmanship. As Tom Murphy’s grandson, I grew up surrounded by stories of the Liverpool Anglican Cathedral and the man who quietly helped shape it over the course of half a century. But like many people who live in the shadow of something extraordinary, I didn’t fully grasp the scale of his contribution until I began making this film.Tom wasn’t one to seek recognition. He believed in the work itself, the discipline, the patience, the tradition. As a stone carver, he quite literally left his mark on one of the most iconic cathedrals in the world, yet he did so with remarkable humility. This film is my attempt to bring his story into the light, not just as a tribute to him, but as a way to preserve a rapidly disappearing craft and honour the human effort behind architectural grandeur.In making The Last Stone Carver (2025), I was struck by how many layers there are to Tom’s life, his role as a craftsman, as a father and grandfather, as a Catholic working on an Anglican cathedral, and as a man whose talents were sought as far afield as New York, yet who chose to stay rooted in Liverpool. The moment he was awarded the British Empire Medal was a rare public recognition for someone who spent a lifetime working in quiet devotion. He was deeply proud of it and we, his family, were proud of him.Through archival footage, interviews, and conversations with those who knew him best, I hope this film captures not only what he did, but who he was. It’s a story of legacy etched in stone, passed down through family, and now shared with the world.

I grew up hearing family stories about my grandfather over many years, so I came to the project with a clear sense of which periods and aspects of his life I wanted to explore. From there, I delved into our family archives, uncovering newspaper articles and historic television interviews that helped shape the narrative.

I then approached the North West Film Archive to source archival footage of cathedral workers from across the twentieth century. These clips became a key storytelling tool, informing the direction of contributor interviews and allowing the film to move beyond a series of talking heads. By having archive material to cut away to, the contributors’ stories could be grounded visually, adding depth, context, and a stronger sense of history.

With access to the cathedral secured, we carried out a recce with Gene, the Director of Photography, and Sasidhar, the drone operator, to plan the cathedral interviews. Together, we discussed which shots to prioritise and how best to capture the full grandeur, scale, and presence of the cathedral on screen.

Some of my uncles were understandably nervous in front of the camera and became a little fidgety during filming. I addressed this diplomatically, taking time to explain the process and reassure them, which helped them relax and engage more naturally on camera. Also always have water on hand for those dry mouths!

One of the main challenges was assembling a crew willing to commit to the project for a modest fee and to believe in the film. Fortunately, we were supported by an enthusiastic and dedicated team who fully embraced the project. The cathedral staff and clergy were instrumental to the film’s success, their positivity, patience, and understanding were invaluable throughout the production.

For the film, I wanted to interview Tom Murphy’s children, as they are the closest living link to him. As my father passed away many years ago, my mother represented our side of the family and contributed an interview. She reflected on her memories of Tom, including the moment she nominated him for a prestigious city award, offering a deeply personal insight into his life and legacy.

For several interviews, I travelled to Ireland and the south of England to speak with family members. On these occasions, I worked alone as a one-person crew. In hindsight, I would have allocated funding to bring a small crew, as managing both the primary interview and B-camera simultaneously meant that the secondary footage from these interviews was ultimately unusable. I think the pressure may have been a bit too much! 

The Liverpool Olympia was the first documentary I produced and directed outside of film school, making it a particularly proud milestone in my career. The venue’s owners have since shared how much they enjoyed the film and noted that, after circulating it to key stakeholders, it helped generate renewed interest and secure funding, supporting efforts to keep The Olympia open and active for years to come.

Start your project today. Serendipity has a way of taking its course, and with determination and passion, a crew will form around your film. When others see your commitment, they will share that passion, and in turn, you can support them on their own projects. Learn from your mistakes, trust the process, and most importantly, enjoy the journey. Networking is helpful and important when looking for your next job too.

I began my career as an actor, which allows me to communicate with performers in a shared language and with a similar creative approach. Although this film did not involve actors, that experience proved invaluable when working with contributors. Before filming, I spoke with them in detail about the topics I hoped they would cover, helping them feel prepared and at ease. During interviews, I made a conscious effort not to draw attention to the cameras, allowing conversations to unfold naturally and authentically. 

I was very fortunate to work with a professional sound designer and composer on the film. Much of the archive footage I sourced had no accompanying audio, which meant a significant amount of sound had to be created from scratch — right down to the detailed textures of chisels striking stone and wood. While we discussed some initial musical ideas, he brought a wealth of creative suggestions to the table, ultimately shaping a soundscape that perfectly complemented the tone and emotional depth of the film.

Any feedback or criticism is welcome, as a filmmaker I am still learning and developing my craft.