As a woman of colour trying to break into film, Merchant Ivory nurtured my career

Ismail Merchant, Ruth Prawer Jhabvala and James Ivory in 1992. ‘Jim was supportive of Ismail’s directing, and, differences aside, everyone knew they were together, supported by Ruth and her husband, Cyrus.’ Photograph: Jane Bown/The Observer

I first worked for Merchant Ivory Productions (MIP) as a runner on Jefferson in Paris in 1994; my first day on a film set was the flight of the Montgolfier brothers at Versailles. I returned to its offices in 1997 and from 2000 to 2003, between university and film school. Ismail Merchant, screenwriter Ruth Prawer Jhabvala and Jim Ivory mentored and supported me through my master’s and beyond; they were my real film school.

Contrary to the portrait painted by Ryan Gilbey’s account of Stephen Soucy’s film, when I joined, they were not fractured and chaotic (‘I got you an Oscar. Why do I need to pay you?’ The secret shocking truth about Merchant Ivory, 12 March). Jim was supportive of Ismail’s directing, and, differences aside, everyone knew they were together, supported by Ruth and her husband, Cyrus. Their shared home in Claverack was a personal and creative sanctuary. Many of us in the house witnessed the routine and friendship that helped them create often radical films.