David Robinson-Smith is an Australian writer and director who recently completed his festival run of Mud Crab and We Used to Own Houses – two incredible short films that explore class and culpability. David is now focused on writing and directing his first feature film. In our conversation, we discussed his writing process, the short films and the future of Australian film.
MUD CRAB
I heard you say that you drew a lot from you own experience being from Budgewoi. Was writing this a challenge when incorporating your own story and life into a short film?
“It made it a little easier. The short film is an accumulation of stories of people from around here. It is emotionally harder. A lot of the stuff is pulled from real life and people I know. I curated stories into a character that says what I want to say about a place / issue.”
Similar question, but what does your writing process specifically look like? What’s the day in / day out of it all?
“I have kind of evolved since Mud Crab. I was page by page and would just sit down and write to see what happens. Essentially, just waiting for the spark to come. But now I am much more disciplined about it. I have the story and characters mapped out before I ever open Final Draft. I consider watching films and reading as part of the writing process as well. I used to feel guilty about doing it. I also try to be more regimented. The actual writing can be very fast and only takes a few weeks per draft. I need a routine now. Walk the dogs, 9am start writing, do that until 12 for a break and then start again at 1. Wrap up by 5.”
Is it just about writing until your tired or a specific number of hours every day?
“I just go for the same amount of hours everyday. If I am not feeling the actual script writing, I just start researching or watching something instead. Jack Clark from Birdeater says he finishes on a high so the next day he is keen to write it. I also embrace sudden spurts of energy for writing. Like if it’s 8pm and I have had a wine I will write again.”
Another fascinating part of the short film is the decision to contrast the first half with the second half through the colour pallet and time of year. Can you just talk about the motivation behind this creative decision.
“The inspiration for the short is about coming back to your hometown and seeing that guy in the pokie room who has become a different person and reflecting on things you have witnessed that person go through. What you assume they might be holding onto. So the decision was to give that feeling of change. I really needed people to understand that these characters are different people now. Both have grown in their own ways but the past isn’t done with either of them. It was about making sure the viewers are aware that everything has shifted. Along with that I felt like the film needed a shift in mood. The first half is younger, full of people and energy. The second half is darker, less beautiful and more isolating and lonely.”
WE USED TO OWN HOUSES
I heard you say that you have this fear that filmmaking will only be available to those higher socio-economic backgrounds and thereby we will keep seeing the same films being made. Was that kind of the genesis for this project?
“It’s the motivation for the politics behind it. I want to see class discussed more in the industry. I hope my work will accumulate and make a larger point when viewed in totality.”
When you moved back into your hometown to make it, what was that experience like?
“I just get jokes from friends like “it’s not that bad here, is it?” which it isn’t. Due to a series of incidents while growing up in the area, it feels oppressive to me. I can’t fix that and that’s what the film is about. Everyone does it around here where they just kind of clench up when you bring up the issues. When I moved to Newtown when I was 21 it was shocking. I realised how many of the experiences I had weren’t normal. We’ve had a family friend stabbed to death, and I’ve been in court as a witness to a bottling. One incident that sticks with me happened when I was 15, working at Lake Haven Shopping Centre. On a Thursday night break, I walked to the newsagent to read magazines when a drunk man punched me in the head and kept walking. I continued to the newsagent, read magazines, and returned to work without telling my boss, feeling too embarrassed. I completely forgot about the story until I found myself back in the spot where it happened with Jaclyn, and then I told her about it. Her reaction told me a lot. It’s the accumulation of many times like this that leads to the feeling of oppressiveness in an area. It’s not that the area itself is bad, but you can’t untangle your memories from it. Moving back, I realised the area had changed a lot but I still hold onto everything.”
These themes of culpability, violence and exploitation that you have explored throughout your work seem like a golden thread. Do you think it’s what you will continue you focus on?
“I like people who are guilty and aren’t processing it correctly. The feature film is in that world. It definitely has similar undertones and themes.”
The Future
Advice for younger filmmakers?
“Film literacy is probably the most important. Just broadening your perspective in terms of what you like. Having a strong taste is everything. You have to develop your palette and taste. Also, just making as many shorts and music videos as possible. Don’t shy away from your weaknesses. Like if you love camera and don’t feel comfortable with actors, maybe focus on getting better talking with them vice versa.”
More challenging question but what makes a good director on set?
“Other then making good films… You have got to be calm. I don’t like seeing people who freak out or have temper tantrums. You are the leader. Taking time to think and figure out problems is pivotal. Someone who talks to the actors quietly, no one else needs to hear it.”
I heard you say you were writing a feature. Is that still what you are working towards?
“Yep. I am waiting for Screen Australia to go through our application for development funding right now. If approved, that funding will give me 6 months for writing on my budget. I have been writing it for 2 and a bit years. It’s kind of all I do now. I just got signed to Good Oil Films, but I haven’t done an ad… But that will happen at some point this year. My aim is to do that plus features.”
Where do you want the Australian film scene to move?
“I just want to see people take risks on original ideas and filmmakers with something to say. I want to see more complex serious drama feature films. I want to see another Lantana.”