Category: Interview

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Interview

Call Girls – A Conversation with Kelly Hodge and Lauren Harvey

Call Girls is a play originally written by Lauren Harvey and Kelly Hodge. It is now premiering down at the Adelaide Fringe Festival after the success of the excellent web series. I have personally being following Lauren Harvey and Kelly Hodge ever since I first heard about Call Girls over a year ago. It is an extremely funny and original idea that has consistently being executed well in all mediums. Read on for my conversation with the creators.

The Play

Call girls has had a long journey with it starting off as a theatre show, then a web series and now taking it back on the road with the Adelaide fringe festival. I want to go back to the beginning where you two were both writing it. What did this look like, how do you two write together, what was your process creating the show?

“Lauren and I were both doing drama degrees at QUT. We were both working in call centres during COVID. I wasn’t doing any acting, but I was just writing down every single Call.” – Kelly

Lauren and Kelly on the web series.

“I was pretty much doing the same thing at a different call centre. I started working full time when COVID hit and it was awful. You literally couldn’t write some of the shit people say to you. We met and hit it off and we both started bitching about our jobs. I thought of the title and new it was a comedy play. I approached Big Fork for the Brisbane fringe festival about this idea and they said yes so we had to write a script and develop the play. We knew it was going to be a 55 minute play so we gave ourselves 10 scenes.” – Lauren

“We also used so much of our own experience in the play. We just wrote down every funny thing from our time in the Call Centre and compiled it into one document.” – Kelly

What were the core inspirations for the stage play?

“I love Working Dog productions and Rob Sitch. The real Australian sensibility and satirical nature. For the relationships of the girls definitely Broad City. Also, Sorry to Bother you for the web series.” – Lauren

“Definitely Utopia. Also, Gilmore Girls for the friendship between them. The way they can make mundane things really fun is what I got inspired from.” – Kelly

When you were on stage performing, what did this period of your life look like? The day in day out of it all.

“When the first play got put on, we were still writing it. Four days out from opening night we reworked the whole script and cut out half the play. We were also at acting school while doing it. I decided to join a Shakespeare school tour. So I was doing that during the days.” – Kelly

“The morning of opening night, I was listening to the voice recording on repeat trying to learn the lines. We had a “preview” and it was a shambles. It was the night before opening and when we finished performing the response was just silence.” – Lauren.

Did you have any funny moments on stage where things went wrong?

“I fully fucked the lines. But I ended up coming off good because I was improving the lines with the most conviction I could muster. Kelly’s lines were queued off my lines though…”- Lauren

“I had no idea where she was at in the script. My Mum later that night was like “did you forget a few lines there?” I also, spilt a slurpee all over myself. I was a hyper clean character, and I just left it there even though my character would clean it.”– Kelly

The Show

The process adapting it for the web series and working with the team?

“When we were doing Brisbane fringe, Maddy Leite was doing a lot of the tech stuff for the show. Her and Mack Struthers are a partnership and she started talking to him about the show. When we were approached to do the web series, we were both like yes!!  Mack and Maddy just came off a web series and wanted to do another one and learn from it.” -Lauren

“Mack got really inspired by the characters and really saw them for what they were. He could see and understand the dynamic.” – Kelly

“So we did a bit of a writing retreat and had a big discussion about the themes and central meanings. It was basically creating a whole new web of interpersonal relationships and getting the story to play out over a longer time period.” – Lauren

“It was a tight turn around between the play and the web series. We finished the year of acting and the play. We then got straight into writing the web series and were filming in January. The big challenge was converting this 50minute play into a 5×5 web series.” – Kelly

Advice for filmmakers trying to get their scripts made or get things moving?

“Running with any idea at the start. I was working full time at a call centre, and I just had this gut instinct that it was a good idea. I didn’t have any resources, but I still put the energy into the idea. Being open at the beginning is pivotal. Also, community. Finding people to make things with.” – Kelly

“Pursuing connections that feel right. Also, you must express your own life because no one else can. You must have self-trust that you have something special to tell the world.” – Lauren

The Future

Now you are taking it to the fringe festival, how are you both feeling about such big event?

“I feel good. After the play, it felt like if we can do this we can do anything. Having worked together and having it written gives me confidence. However, I did sit down with myself and just remember that there is four weeks and still a lot to do. But because of all the work, I trust that it will be well received.” – Kelly

“After we finished the rewrite for Adelaide Fringe, we were just buzzing. We realised how well we knew the characters and the script. I just remember thinking, I just cannot fucking wait to perform this.” -Lauren

If you want to say, what is next for both of you? Are you writing a new show together or focused on performing call girls?

“We have a potential opportunity coming up that will take Call Girls to a whole new level. Personally, I am the lead in the new David Williamson play that’s premiering in Noosa. It’s my first gig outside of acting school so I am very excited. Also, I have a new literary agent as well and am doing a lot of writing in the pipeline.” – Lauren

“We have basically done 4 script rewrites for Call Girls. It’s just enough to keep us very busy for a while.” – Kelly

BUY TICKETS TO THE ADELAIDE FRINGE FESTIVAL BELOW!

https://adelaidefringe.com.au/fringetix/call-girls-af2024

WATCH THE WEB SERIES HERE!

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Interview

A Conversation with Writer / Director Dane McCusker

Dane McCusker is a writer, director and producer who has created award winning short film content over the last 10 years. Recently, he wrote and directed his first feature film – The Big Dog. The feature follows a married stockbroker whose bank account gets drained by a secret dominatrix. Talking with Dane taught me a lot about making an indie feature film and is a fascinating read for up and coming filmmakers. Read on for more.

Writing

Your writing process with the big dog. How long it took, how each day looked, how you write?

“It was interesting with this one because I made it as part of my Master’s project at AFTRS. I brought finished scripts with me because I wanted to use the resources to make a film. When I got there however, I realised none of these scripts would be achievable with the limited resources. So I was searching for something to make and saw the opening of the film on Instagram. Pretty soon after that we went into a COVID lockdown. I would wake up every morning at 9 and just write until I couldn’t work anymore. It took about 3 and a half weeks to get the first draft done. And then it was a year until we shot it and went through about 4 drafts.”

Did you start with a lot of outlining, or do you like to go straight into the script?

“I would write like a 5–6-page treatment essentially just outlining what happens in the story. Then I carded it out on index cards and kept that on my wall and used it as a guide for drafting.”

How do you balance all these different subjects that require a delicate touch? 

“With all the focus on male entitlement and toxic masculinity, I had written about that a lot in shorts before and dealt with similar themes that had come from me. When it came to something specific like FINDOM is where I had to research. It is a dark comedy but I wanted to make sure it wasn’t making fun of people who engaged in that fetish. I reached out to women dominatrices to see if they would be open to talking to me and they were really interested in it and making sure it was portrayed accurately.”

I have seen you mention that you like to focus on dysfunctional men and the impact on their relationships, is this something you think you will continue to explore?

“In some iteration it will always be there because it is such a prevalent topic that impacts so many things in life.  We will always be dealing with it and therefore I will still be writing about it in some way.”  

The Process

When you had those issues of limited crew and actors’ schedules and COVID, what do you rely on to keep you going?

“Once the production train was running it was understanding that everyone had invested so much into this. But when I was writing, it was more about discipline and sticking to a routine. If there are days when you don’t feel inspired, you still should be working.”

I saw you say you love bringing improv onto set for your shorts, was this applied to the film as well? What do you offer the actors for improv?

“I improv around the written scenes. For example, a backstory for a scene or character and then putting that into the written work. The Paige and Shanty scenes we would just improv what the start of that looks like. I essentially use improv to make sure the tone and rhythms feel right.”

Your biggest filmmaking inspirations – directors and films?

“Broad inspiration is Kubrick. I really connect with anyone who delves into the ironies of life. Specifically for the Big Dog we watched Ruben Ostland to see how dysfunction could be funny without doing it in a way that felt super cheap.”

Simple question, but what are some of the biggest jumps between a short and a feature?

“In terms of the practicalities there isn’t that much difference. Keeping the whole narrative in your head is tricky. But the biggest thing I have noticed is that a feature has commercial applications, and you must think about how it is going to play for an audience.”

Advice to younger filmmakers who are stuck in this period where people aren’t paying attention to their shorts, and they have dreams of making a feature?

“Just keep going and be resourceful. There is heaps of different pathways to make it. Be as strategic as possible in getting the most out of very little.”

The Australian film industry seems like it is a moving in a direction where at least some indie low budget films are being made – Birdeater, Talk to Me, Sunflower – where do you want the film industry to continue moving?

“I think there is more grassroots and independent films being made in Australia then I have ever seen. It is hard in this country because there is such a small market for films but hopefully this wave of films shows it is possible.”

What is next for you?

“Jess Murphy and I have a production company called 2CP Pictures and we have two other features in development at the moment. We want to just keep making pictures.”

Watch The Big Dog on Apple TV below!

https://tv.apple.com/au/movie/the-big-dog/umc.cmc.3gl88h3gry6dzs8z2i6oyvxyv

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Interview

A Conversation with Lawson Cross

Lawson Cross is a Brisbane based Director and DOP who specialises in Music Video Production. With his dark and grungy style, Lawson has worked with some of the biggest Australian artists. On top of this, Lawson is also an extremely talented street photographer. Lawson’s work ethic and commitment to learning and improving his skillset inspired me to improve my own abilities. For any up and coming filmmakers, this is a must read.

Beginnings

I just want to go back to where your interest in filmmaking started?

“There wasn’t ever one specific thing. Since I was young, I just knew that creating things made me happy. I remember there was a rap battle in high school and I filmed it on my phone. It kind of went viral in my school overnight because all the teachers were playing it. Class kind of stopped because everyone just wanted to watch it. I kind of realised I wanted to make videos and signed up for Screen Media Production at University.”

I heard you say once that you would post a photo every day to improve your skills. Can you just kind of dive into this mentality?

“The only reason I learnt anything was because I was scared of not being good enough. I came from a small town, and I was the “hot shot” simply because I could use a computer. I took a gap year to save up money for university. I would work 7 days a week in the grocery store from about 6am to 10am and then come home and just watch hours of filmmaking tutorials. I thought I got competent at editing and then I got to film school and they taught us the exposure triangle on the first day. I was honestly rattled by it. I went out and bought a camera and spent a week researching everything about it. I went out every day to take photos and slowly developed a good eye over time.”

Music Video Production

Can you just break down where it starts?

“It starts with an artist messaging me asking for a price. Then I just listen to the song on repeat and try to just imagine what it feels like. Either it is something I have wanted to attempt for a while, or I really like this one visual and I want to try that.”

The production processes.

“The kind of approach I take with my filmmaking is that I am very matter of fact, analytical and methodical. I will pre plan every part of it and communicate the exact lighting with my gaffer. On the day, 90% of the time we won’t change a thing. By doing that it allows you to bite off bigger shots and ideas. I also do all the big shots ‘to a tee’ beforehand just so I don’t fuck it up on the day.”

How do you work with an artist? Do you like complete control or is it more of a collaboration?

“I have a very specific style. Artists see this look and want to collaborate. My ideas are always way bigger than the budget though. The more money, the more streamlined it gets, but the less money results in less ambitious freedom.”

Your photography has these characters that you bring to life. Can you just expand break on this process?

“A lot of my inspiration doesn’t come from people but instead pieces. It’s very inspired by 90s grunge and advertising. Like the old PS2 ads and skater mags that you don’t see anymore. Also, renaissance, and religious paintings. These paintings are aligned geometrically with specific lines and layouts. I became inspired by the composition and a single frame telling a story.”

Who are your biggest inspirations? Filmmakers, writers, directors?

“Greg Fraser definitely. I saw the Creator twice in cinemas and it was incredible. Greg only started out being the DOP, but the Batman is my favourite looking film of all time. It is my exact style, the teal and orange rainy cityscape. I love a dark pitch-black image. He is just doing what I do but at the highest degree.”

Your advice to up-and-coming filmmakers / creatives in Brisbane / Australia?

“I would say the biggest thing is knowing when you are being fucked with. A big issue for a lot of people is being led astray. There is a lot of motivational content that is good up to a certain degree. Eventually you must realise when it is time to stop watching self-affirming content. You just must start making your own mistakes and learning on your own. Honestly, just fuck up in private.”

Subscribe and follow Lawson to see his upcoming projects!

https://www.youtube.com/@LawsonCross

https://www.instagram.com/lawson_cross/

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Interview

A Conversation with Birdeater directors’ Jack Clark and Jim Weir.

Jack Clark and Jim Weir are Australian filmmakers who recently created their debut feature film – Birdeater. The film has won awards at festivals around Australia and is now going international. After months waiting to see it, I was finally able to watch it at the Brisbane International Film Festival. Birdeater was one of my most anticipated movies of the year and it did not disappoint. It was a harrowing and hilarious experience that perfectly encapsulated young Australians. Read on for my conversation with Jack Clark and Jim Weir.

FRAZIER: “I have read about how challenging the shooting was with weather, actors changing and funds running out so I wanted to ask how you maintain motivation when all things feel hopeless and over in production?”

JACK: “You really must rely on each other. We had our worst moments when we were in ourselves and not communicating. To establish the tone of a set is such a big part of being a director that is often overlooked.  We realised that if we established the tone on set it would spread across everyone. Ultimately, the crew and cast were the biggest support for us. Especially people like Roger Stonehouse (Director of Photography) who were shooting every single day.”

JIM: “For upcoming filmmakers, follow through is important. Doing the entire life cycle of a project is where you really learn. It’s a common trap we saw at film school where when you start a project and it gets tough, they would throw in the towel. Another one is when you have a project that might get made, people will just start thinking of the next thing. Just having the discipline to ride the life cycle of a film.”

FRAZIER: The paranoia game, these men always wearing masks in front of their partners, it all felt like I was watching people I knew. Can you talk about creating these very specific but relatable moments and characters for an Australian audience?

Jack Bannister as Charlie, Mackenzie Fearnley as Louie, Clementine Anderson as Grace, Ben Hunter as Dylan, Shabana Azeez as Irene, Alfie Gledhill as Murph, Harley Wilson as Sam.

JACK: “It was all about bringing an audience to the bucks night. Irene and Grace come to the party which is something that girls aren’t usually present for. We felt like that was enough for the characters to panic and reveal their paranoias and insecurities. The paranoia game just plays into all this.”

JIM: “Something we used as a rule of thumb is start with an archetype where the audience will instantly form an opinion of them. Then, add dramatic contradiction that opens them up to being more interesting. Like Dylan, he is this party animal and antagonist that is desperate to have a good time but also is deeply lonely and sad.”

FRAZIER: What did the writing process look like for both of you?

Clayton D Moss and Jim Weir

JACK: “We are both writers since film school. It has taken a while to build up a regularity with writing. They always said it at film school that you need to write everyday, and it felt very daunting but slowly it did become a regularity. It is a lot of shit ideas I feed Jim that sometimes work and are exciting. We were always writing. We were writing on the day; we were writing narration on the last day in case we needed it. It is just a constant thing. Then you get the actors on board and if they are good, they will have their own opinions.”

JIM: “Actors will see something in their character that is there but is usually a small part of the character that they latch onto. Most of my day-to-day job is being available for conversation and being able to talk through ideas and try to work out what we are trying to say. I will just sift through 1000 ideas Jack throws at me and I will just say what is good”.

FRAZIER: So the core focus is just on chipping away everyday together at it?

JACK: “It is definitely hard. I remember I used to get nice notebooks. A big change for me was getting really shit notebooks because then they aren’t precious about what is on the page. I also like the process of writing it because you are already editing it from physical to digital.”

FRAZIER: “So you don’t do the first draft by hand? It is just writing all your ideas down first and then bringing it onto the electronic document.”

JACK: “If my writing was more legible, I would trust myself. But honestly I would just focus on not being too precious.”

FRAZIER: “I won’t ask you again about Wake in Fright but I did hear you both talk about the Celebration, Nashville and Mishima, but more specifically this period of watching just the weirdest films you could in AFTRS. How important do you think this period was and its effect on you as filmmakers?”

Clementine Anderson and Jack Bannister

JACK: “A lot of the movies we watched in film school were probably above my paygrade. I probably latched onto a cool dolly. It’s more the process of realising how many different and unique perspectives are out there. It is realising that if you want to make something that is cutting you have to overwhelm yourself with content. There are still so many areas I haven’t even scratched yet.”

JIM: “It is crucial. Slowly building up that film literacy is important because when you are stuck you will have a catalogue of great movies in your brain. An example would be we have seen so many movies with a character having a quiet moment reflecting in a bathroom mirror. We had the idea that in this bathroom there is no mirror because it denies the girls a moment of reflection.”

JACK: “You will come to a scene and shooting its coverage and straight away you will think “I know how to shoot this scene.” You have to forcibly stop yourself and realise you have taken that movement or shot from something else. You just have to be aware that you have taken it from something else.”

JIM: “Something we are quite conscious of is having as many references as we can outside of the genre and especially not taking references from recent films that are doing the same thing. That is when you have work that feels derivative. You have to go further back. People say Birdeater feels original but that is because so much of it is stolen from films people haven’t seen.”

FRAZIER: “Yeah I remember you saying Jim that if you just watch enough films you will shoot in the way you watch.”

JACK: “It is tough as well and a question people in film school need to ask themselves. If you want to make narrative content, do you like movies and do you watch them.”

FRAZIER: “I know Jim you have said that the best advice is to just keep making shorts and eventually they will look like what you watch, but I was wondering if you both had any specific advice on the ability to keep the film dream alive when it doesn’t feel like anyone cares and what your making isn’t receiving attention?”

Shabana Azeez and Mackenzie Fearnley

JACK: “It comes down to a method thing. There will be a day when it looks like what you want to make or maybe even better. But then another questions arises which is do I really care about this? Now that you can do it is it something you truly want to say. When you are young you can focus on learning how to make films but then be aware that the harder challenge is what to do with that.”

JIM: “From a more practical perspective it is easy to get caught up in the trap of the filmmaking success being where you get your joy in life. I think the challenge is what can I do to be happy in my life as a struggling filmmaker. If you aren’t happy struggling, you won’t be happy successful. Getting good reception to a movie, everyone is surprised by how little that does for you on self-perception and how happy you are in life.”

JACK: “There was a big trap in film school where people thought their third-year film was going to be “it” and the best thing they have made. But it should just be a process where you are looking ahead.”

FRAZIER: “There has been this recent shift in the last 5 years with Australian films and the direction they are moving. I was just wondering your perspective on where it’s going and where you want the film scene to move and explore?”

JIM: “I am feeling very optimistic. I have met a lot of aspiring filmmakers and directors who have such interesting things to say. There is a trend of filmmakers playing with different genres which is something I definitely want to see continue.”

JACK: “I want to see something we didn’t do and that is more stuff in cities. Maybe it is a self-defence thing, but we push our movies away where there is nobody else. I saw films shot in Sydney and I was so excited to see films shot here. A good Sydney drama would be nice and I will be happy. But I am very excited because there are so many young filmmakers coming up.

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Interview

A Conversation with Writer/ Director Angus Kirby

Angus Kirby is a Brisbane based filmmaker. Over the last few years, he has made countless short films that have screened in festivals around the world. A personal favourite of mine is a short called Desperate Pleasures which follows the unlikely relationship of a cocaine dealing real estate agent and a lonely woman. Recently, he released The Odd River, an album film created for singer Helen Svoboda. On top of this, Angus is in post production on his first feature film – Carnal Vessels. Read on for my conversation with Angus.

Talking The Odd River

Can you give just a rough summary of what the Odd River is?

“Deep in nature, out of time, through a river portal, a young woman discovers a genetically modified food source that gives her strange visions of the end of the natural world.”

“Essentially, it is an album film made as part of a grant called the Freedman Jazz Fellowship that Helen Svoboda and I applied for. The idea was that she would make an album and I would make an film in response to it.”

How long ago did the creation of this project begin?

“It was right around COVID. We were going to do this in 2020 and then COVID happened, and it was put on hold. We ended up shooting throughout 2022.”

How did you work with Helen to create it? Is it entirely based on your ideas or more of a collaboration?

“The film is my vison but everything was communicated with Helen beforehand. She knew the outline of the whole thing. It was a lot of trust on both ends. But she did let me really go for it.“

What did each day on set look like?

“I did a lot of camera tests beforehand because we shot it anamorphic. We had this ethos of everything in nature had to be natural light. It was about embracing what nature was going to give us. We had a studio section as well which was all artificial. We had just a key light and an edge light and then did some stuff with coloured LED wands to flare the lens. It was essentially a lot of preparation so that we had freedom on the day.”

The Odd River has these core themes of nature and the environment. Is this something you view as a golden thread for the future of your work or specific to this short?

“It is specific to this because I saw the opportunity do it. It is something I just didn’t know what else to say that hadn’t been said. With this, it felt like the chance to do something that was paired with Helen’s music. I wanted to try and capture the feeling of nature being much bigger than we are.”

Since it feels like a dream, do you often use your own dreams as inspiration?

“When I can remember them but it is more the feeling of the dream rather than the details. The dread of climate change and how overwhelming it is is a feeling that I wanted to replicate.”

Other projects

Can you talk about how you write? In terms of your specific process, do you do it every day, do you find it challenging?

“It has changed a little bit. I mainly outline before I start writing. My high school English teacher told me you spend two thirds of your time outlining. I took this over to screenwriting. I write everything from the outline to the first draft by hand. When you write by hand you’re not thinking critically.”

“I have never really written every day when I am not focused on a project. I may do it for a day or two and then come back to it.”

Desperate Pleasures, Now a Minor Motion Picture, Stolen Glances, they all have this incredible balance of comedy and drama.  Is there a specific filmmaker you use as inspiration for this tone or is it more your own instincts?

“It is more my own instinct. I like it when you can have those different tones next to each other at the same time. But my early hero was Jim Jarmusch.  Pedro Almodóvar as well, he just has the template for any great film career. If there’s one filmmaker I aspire to be like in terms of tone its Pedro. He is definitely my idol.“

Carnal Vessels is an upcoming feature film you have recently finished shooting. Can you just give us a log line about what this film is about?

“It’s about these two young friends who swap bodies the moment they fall in love. It throws everything into chaos as they both go off into different sexually charged adventures as each other over a weekend.”

How did you manage to shoot a feature in such a short amount of time?

“We did it within the master’s program at Griffith University. I have spent the last 5 years tutoring at the film school, so I had connections there. I also had students keen to get on set who were in their first or second year who were very talented. I had made a few shorts and I had enough confidence to go for it.”

“We made it quickly, but it was still a generous schedule. The feature was shot in 24 days, and it was a 75-page script. A lot of it came down to the circumstance I found myself in. But it was also a decade of build up from shorts, gathering collaborators and building up trust.

“But you can do this for 15k with a small crew and a tiny camera and make something that looks and sounds incredible. We are at this exciting point where you have these consumer cameras that if you know your post workflow well and have a creative eye you can make something amazing.”

The Future

Where do you want the Australian film scene to move?

“I know the Government has promised it but I hope there is a quota system that happens soon. Especially with TV too because it is the core of the industry. We have seen it done in Europe successfully so why can’t we do it here. I also wish for more aggressive investment in local productions and just figuring out how to market Australian films successfully. It comes down to how do we do better, how do we get the film seen more and how can we make things that are culturally important and also commercial.”

Dream film wish?

“To be in a situation where I knew I could do this forever and not have to do much else. Also, a good on set masseuse.”

Go see the Odd River on the 30th of November at the Palace Cinemas. Buy tickets below!

https://events.humanitix.com/the-odd-river-brisbane-screening

All photos taken by Daniel Rafet Grima.

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Interview

A Conversation with Kenny Waterson

Kenny Waterson is a Sunshine Coast based filmmaker and stand-up comedian. Recently, his film Unsung Heroes was selected into the Sunshine Coast Film Festival. The documentary follows three volunteers at a community football club in regional Queensland. The short explores themes of purpose and passion as it makes the audience question why we do what love. It deeply affected me as I looked at the people in my own life and questioned why they devote so much time to things I once considered “pointless.”  Read on for my conversation with Kenny.

Talking Unsung Heroes

What grabbed you about this story?

“I was initially intrigued by Rick Bastian (Kenny’s coach). He is this eccentric Dutch guy that takes social football seriously. I had watched the All or Nothing documentaries and Ted Lasso and I thought it could be funny to follow the reserves of a local football club. When I got into it, I realised it was a shallow story but overtime I started focusing on this question about why these volunteers give their time for a club.” 

How long it took to shoot this documentary?

“I started filming in March of 2022 with Rick. I stopped filming at the end of the season in October.”

What each day of shooting looked like?

“I work full time so I knew playing at the club that I would be their two nights a week. It fit in around then. I would finish work on Friday afternoon and do an interview with the talent in the evening. Then the following day I would be shooting the football games with another camera operator.”

How do you keep focused on the documentary when you don’t know where the story will end up?

“I focus on documenting what I am interested in. I have played football all my life and it’s been a big part of my family life.”

How do you balance full time work with making a documentary and doing standup?

“I work as a full-time editor for a production company 5 minutes from home. Having a job that’s in the industry has taken a massive weight off my shoulders and helped blossom my creativity. It takes the financial pressure off everything so I can focus on the creative side.”

Talking Standup

Your process writing jokes for stand-up?

“I try to be aware of my surroundings and my life. Things will come to me and there will be a specific feeling and I write it down in my notes. I set aside about half an hour to an hour to write. Most of these ideas are trash but it just revolves around cycling through them all constantly.”

Where do you want to move for stand-up comedy?

“A lot of my favourite shows are mockumentaries like the Office and Chris Lilley shows. I would love to get to a point where I can produce, write or perform in or for a show like that.”

Talking Films

Favourite documentaries that inspired you?

“A film I love is called Grizzly Man by Werner Herzog. It inspired me to seek out characters like that because they are out there, you have to just be open to being interested in others.”

Four of your favourite films?

“Grizzly Man. I loved animation growing up so Toy Story was my favourite childhood film. Comedy wise definitely Superbad. My favourite drama film is Slumdog Millionaire.”

What is next for you / what are you working on?

“My immediate future is trying to get as many people watching Unsung Heroes. I am also moving overseas to London. That is kind of in pursuit of other projects. I really just want to build upon what I learnt from this project.”

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Interview

A Conversation with the Crew of My Tai

A few months ago, I saw an Instagram account promoting a feature film in Brisbane. I instantly followed it and started seeing more and more behind the scenes photos. In each post, it seemed like a new location, more actors and more incredible set pieces. I was so intrigued by what this film was about that I knew I had to get an interview with the creators.

Jake Ashton (left) and Ruben Wilkinson (right)

Hannah Smith is the director of My Tai. She has worked on countless feature films like Love and Monsters, Godzilla vs Kong and the Portable Door. In 2021, she created the short film The Empyrean which was a selection for the St Kilda Film Festival.

Jake Ashton is the writer of My Tai and plays Noah, one of the leads. He was also a lead in the show Friends of Atticus and voiced AJ the Rooster in Cluck!

Abdul Mateen (A.M) also known as Kash, is the producer of My Tai.” He is currently in post-production on his graduate short film – Welcome to the Esh Life. He also created the short film Disconnected which follows a First Generation immigration struggling to find his identity.

INTRODUCTIONS:

FRAZER: Could everyone just go around and introduce themselves, and their roles in this film?

JAKE: I wrote the film and I play one of the two leads – Noah. Also, I am a producer…

HANNAH: With the indie life, it makes him a producer.

JAKE: My two producing credits are this and Dune.

HANNAH: I am the director and producer #indielife. Jake and I are unwilling producers but AM is the actual producer.

AM: I got to produce for these two amazing humans.

FRAZIER: I feel like I should say I am a producer now as well.

AM: The gofund me is still live if you want to be one…

Mathias O Neil (left) Kash (right) with Bear (dog).

TALKING MY TAI

FRAZIER: Jake could you just give me a rough log line about My Tai?

JAKE: My Tai is about a bartender named Tai who is trying to make a masterpiece cocktail. He is named after a Mai Tai cocktail which his grandfather made. As a result, he has lived in the shadow of that his whole life. With a tropical cyclone coming in to destroy his beachside bar, he only has a couple of days to figure out the cocktail.

FRAZIER: For you Kash and Hannah what really grabbed you about this project?

Ruben Wilkinson on set

HANNAH: I was able to read it through the lens of Jake and Ruben. I knew without a doubt it would be a hilarious project. But for AM he had no choice.

JAKE: Yeah we had actually kidnapped his family. Their safe return was quiet the incentive.

AM: It played a small part… But what actually grabbed me was that I just sat there and instantly read through 40 pages of the script. The script was just so fucking entertaining.

HANNAH: It is refreshing to have an Australian comedy that’s a genuine comedy.

FRAZIER: I have seen the BTS photos, and I truly have no idea what is going to happen.  But just taking it back a little, I want to dive into your writing process Jake and how you got a screenplay completed?

JAKE: It was January 20th, 2022. I had ten days while we were working from home because of COVID, and I wanted to write a movie in ten days. I wanted to write a script for Ruben because he is so funny and charismatic.  I got it done in ten days, printed it off and gave it to him and was like “dude I wrote you a movie.” I didn’t think about it again. At the time, I was also writing a movie for Hannah. She ended up reading the script and messaged me saying we should make this.

FRAZIER: I can’t even get something written in a month…

JAKE: The biggest help for me in order to get something written quickly is to say to yourself “this can be terrible.” Just let it be terrible, who cares.

Jake Ashton (left) and Hannah Smith (right) on set

FRAZIER: For you Kash, what were some of the biggest problems you faced and overcame in producing an indie feature film?

AM: Locations were our biggest challenge initially. We didn’t know what the bar was going to be or where it was going to be. Huge shout out to Darrin Smith, one of the best construction coordinators in Australia. Not only did he build us an incredible bar with his team but also did it inside his home, allowing us to use his space to comfortably film. Another massive challenge was our preproduction time which was less than 2 months. We were just trying to make it work in the 2 months that we had. If the crew wasn’t passionate about getting this to life, it wouldn’t have happened.

FRAZIER: Hannah, how do you balance keeping true to the script while allowing for improv?

HANNAH: As long as I get a take I am happy with, I am totally happy to throw the script out the window. Jake and Ruben are really good improvisational comedic actors. I also like not calling cut and letting a scene sit for way too long because then magic always happens.

FRAZIER: For you Jake and Hannah, what were some film inspirations when you were re writing the script?

JAKE: Anchorman, Zoolander, Naked Gun, Flying High, Top Secret. We talked a lot about how it felt like a live action cartoon like the Simpsons. I love comedies where it’s just machine gun jokes.

Hannah smith (left) David Aponas – DP (right)

HANNAH: Naked Gun is like my favourite. Any Leslie Nielsen movie was just perfect.

FRAZIER: Hannah do you have a specific style for shooting, or does it change depending on the project?

HANNAH: I think I am consistent in what I like and now I’m more confident on a set I make sure I push for it. I love my wide shots and I really love delving in and building a world from the ground up, so I think stylistically a film is built from the ground up as well!

Jake Ashton (left) Hannah smith (right)

FRAZIER: I was just wondering if I could get everyone’s core piece of advice after completing the shooting of a feature film?

AM: Getting the right people. It will help you conquer any challenges. We had a 17 page shoot day and having the right people made it work and made it successful.

HANNAH: Momentum. In our early days, we had a meeting 2 months out. We were debating whether to push it back till the following year or do we keep the momentum going. We chose to keep it going and it was truly lightning in a bottle.

JAKE: We also never set out to make a movie that was the most popular genre. We didn’t want to appease anyone but ourselves. You must make the thing your passionate about – no matter what the story it is. Just surround yourself with good people and make what you want to make.

TALKING MOVIES

FRAZIER: What is your one dream film wish?

JAKE: When the movie wrapped, we all went to see Barbie, so getting to work with Greta Gerwig would be the dream.

Hannah (left) Jeffrey Walker EP (middle) Jake (right)

HANNAH: I would love to work with Del Toro because he is my hero. Also working on a Spiderman movie. But I have a feature of my own that represents everything I want to put out into the world. I have always said that “if I can make this one movie, I don’t care what happens after that.”

AM: There is a project I would love to create and show run. It is a series that is superhero oriented. It would be a mix of the Boys and Invincible. It would be low scale series that would slowly become bigger. Another core dream is a Bollywood film that becomes global. It would encompass everything I have learned growing up in all these different places.

FRAZIER: Where do you all want the Australian film scene to move in the next 5 to 10 years?

Jake Ashton (left) Ruben Wilkinson (right)

JAKE:  I think the future of our industry is built entirely on us being inclusive of all people in our community. To make sure we are not just pidgeon holing the type of work that people from all communities are able to make. The idea that anyway from minority group are being told “yes they might be able to make something” but only specifically this. I hope the future includes all group while allowing them to make every type of film.

HANNAH: I think introducing more genre and bigger budget into Australian film and Television would be great! There is a shift coming and our content is already changing, but I feel like, generally, our stuff is very safe and we can go much bigger and much bolder.

AM: They are trying harder to say they are being diverse, but these stories aren’t diverse. It’s very specific formulaic storytelling. I did a test with my international friends a few years ago. I played different movies form UK, US and Australia. I asked them to tell me which movie was from which country and unless a film was set in a desert with a strong accent they didn’t know it was Australian. I hope Australia embraces its multiculturalism and explores stories from cultures and perspectives we’ve never seen or heard from before.

The Crew of My Tai

Below is the link for the films Go Fund me if you want to support this incredible project!

All photos taken by Dylan Robbins

https://www.gofundme.com/f/my-tai-indie-feature-film?utm_campaign=p_lico+share-sheet&utm_medium=copy_link&utm_source=customer&fbclid=PAAaZODNKUQXSA2QpBkqV304uVvLEm4LizC0mNHwlWYNLPsevPMSOAgiz3jx4

Categories
Interview

Kiara Mezzina on her award winning short film ‘Nino’

Kiara Mezzina is a Gold Coast based writer and director. Last year, she completed her graduate film “Nino’ which follows a little boy from Italy as he navigates Australian culture with the guidance of his cousin Salvo. The film has screened at countless festivals and is a testament to the talent and work ethic of Kiara. Read on for more.

Talking Nino

Where did this idea come from?

“It’s a story about my father. My family are immigrants from Italy. They always told me stories of growing up in Australia and how they were treated. I really wanted to bring that to light.”

Your writing process, day in and day out. What writing looks like for you?

“My attention span isn’t that great. Writing a beat sheet and planning a treatment doesn’t really work for me. I write dot points for the beginning middle and end and then I get into writing the script.”

“Since it was my dad’s story, it was a big collaboration with him. The writing sessions were sitting with him and then trying to translate it into a film.”

What were the struggles of shooting it in this time period and in Italian?

““We had a limited amount of people show up for auditions as we needed young boys who could speak and act in Italian. A very niche pool in Queensland. Me and my dad went door knocking around Italian restaurants, cafes, and areas. That’s how we found some of my actors and extras.”

“I grew up listening to Italian because my family speak it. I understand it but can’t speak it. We had an Italian translator come on board. She translated it in a formal way but when the actors came on board, they changed the dialogue to make it sound more natural.”

“We were shooting on the Gold Coast, which isn’t a particularly old city. We had to door knock on period appropriate houses to ask if we could shoot at people’s place. Eventually we had an older couple who were super nice and let us use their house.”

How do you maintain motivation during the three different stages of production?

“Having a good group of friends and having your family support you. My family was the best. Also, my editor Connor Wikaira was super supportive and kept me going when it got really hard.”

Talking Movies

What films and filmmakers inspired Nino

“Cinema Paradiso was the number one influence on this film. The tone, feel and nostalgia of this film was something I was trying to replicate. It also balances some hard hitting themes with a light hearted undercurrent.”

Favourite films and filmmakers?

“Cinema Paradiso, Some like it Hot, The Birdcage and Back to the Future.”


“For filmmakers its controversial but Woody Allen really inspired my love for period dramas and contemporary dialogue. Greta Gerwig and  I know its stereotypical but Tarantino.”

One filmmaking wish?

“If I could go back in time, I would want to be a part of the writer’s room for the Office. I love the idea of consistent work every week on a comedy show.”

Talking the Future

Where do you want the Australian film scene to move?

“I think we really need to start looking at how we can tell stories in 1-3 minutes for socials. I know it sucks but its where the industry is moving.  I want to try and find ways of telling stories in the shortest amount of time.”

What is next for you / are you working on anything new?

“I am collaborating with someone from Nino on a TV series. We are currently just writing it. We are hoping to pitch that at some point. It’s like an Australian version of stranger things. I am also working on an online series about dating and single life.”

Categories
Interview

From indie feature film to working with the ABC – A Conversation with Filmmaker Nat Kelly

Nat photographed by Sophie Turner

Nat Kelly is an Australian filmmaker, reporter, and TV presenter. He has made multiple award-winning short films, written and directed a feature film and web series and now works as a reporter and presenter for Behind the News.

 As soon as I discovered Nat’s work I was fascinated. At such a young age he has already accomplished so much and still constantly puts out shorts while working as a reporter.  Nat is truly an inspiration for indie filmmakers and this conversation made me excited for the future of Australian films.

Short Films

Where did your filmmaking journey really begin?

“When I was 5 or 6 I was interested in video cameras. Me and my sister had one camcorder which we would use to film and pretend we were newscasters. The whole storytelling side came when I was 10 when I was involving my sisters and friends to make skits.”

How did After Tracy change your filmmaking journey?

“I really appreciate what it did for me at the time and what it meant for me and my friends. It gave us a lot of confidence to go forward and make other things.”

How have you consistently put out so many short films in such a short period of time? (Process)

“Sometimes we want to make a film so bad that we write it that afternoon and shoot it the next day. The ones that take a bit longer have to be done in the holidays.”

We’re Family Now?

Can you run through the process making an indie feature film?

“I was rewriting the film as we were shooting. We were casting as we were going as well (something which is reflected in the costumes). It was all us – me, Thomas, Max, Joseph and my sister. Having such a small crew made us really bond and develop a shorthand. It was a lot of admin cause I knew no one who wanted to produce.”

Most challenging parts of shooting a feature

Nat Kelly (left) and Joseph Baronion (right) on set

“The biggest hurdle was writing. My struggle was actually putting pen to paper. Once it was done, it became the on set morale. There is this uphill battle of trying to get your crew on board with your ideas. The pressure is on me to giving them everything they need. But eventually you reach a point where you are getting feedback and collaborating together. It takes the pressure off you and makes the end result better.”

How did selling out a cinema feel?

“It felt validating for us because we had only made short films before. Feature films had always been a bar to reach and once we hit it, it was a bucket list item ticked off.”

Fracketty Frack

Your process writing Fracketty Frack

“It was inspired by the Government in the NT threatening to lift the fracking ban. I put a line of tape across a wall and put beats in between as I think of ideas. We wrote it originally as a feature and they didn’t want a feature so we changed it to a web series. It took me around 4 months to write.”

How did Screen Australia and Screen Territories grant help?

“It was really good. They were very hands off. I only had funding to write the script and not the actual production. It was almost like I had all the control over the production. I only wished it got a bit bigger towards the end since it was a screen Australia project.”                                  

Cast / crew of Fracketty Frack

What has making a webs series taught you?

“One key thing it taught me was being okay to rewrite on set. Being close with the writer or being the writer yourself helps make sure you know what is best for the story. Nothing is sacred, you just have to care for the final project.”

Behind the News

Nat on Behind the News

What have you learnt from working on an ABC News Program?

“It’s taught me the skill of being okay with repetition. It’s about bringing freshness to it every day and always keeping it entertaining.”

How has running Behind the News helped you with your filmmaking skills?

“It’s ultimately helped me hone my skills every day to being able to make content as quickly as possible. It has given me the confidence to make my own stuff quicker cause I know I can make 5 minutes of content daily.”

Filmmaking

4 of your favourite movies?

“The Castle, Hunt for the Wilder People, Hot Fuzz. There’s also one film that I have never told anyone because it is ridiculous. It is Thomas and the Magic Railroad. I think what fascinates me about it is the production woes it had have taught me a lot about filmmaking. The making of it is more interesting than the actual film.”

Nat Kelly (middle) and Thomas Field (right) on set

Who are your biggest filmmaking influences?

“I love everything Working Dog do. I love the way they work; they just make something no matter what. That ethos of lets just do something is something I love. Also, Taika Waititi and Edgar Wright.”

What is your one film wish?

“I would love to be involved with a Wes Anderson film. Especially the Art Department.

The Future

If you want to say, what is next for you?

“I really want to make some short films. I would also love to make another longer film for storytelling reasons. It’s more of an event and people sit around together to watch your film.”

Where do you want the Australian film scene to move?

“I would like to see the Australian film industry pivot in a way where there is more of an opportunity for filmmakers to take risks. We have some amazing talent that I would love to see more of.”

Categories
Interview

Writer / Director Felix Lovell on his upcoming short film

Felix Lovell on set

When I started interviewing people, I had the singular goal of finding filmmakers who are out there making short films no matter what. Whether it’s shot with their friends or with no budget, I wanted to focus on artists who are extremely passionate about their craft. Felix Lovell embodies this. He has been making quality short films for years, is a very talented photographer and is constantly working on other peoples projects. Now, he is focusing his efforts on a short surreal drama called The Scatterer.

Talking his Upcoming Short Film

What is The Scatterer about?

“The Scatterer follows a professional ash scatterer named Arthur who encounters a mysterious figure in the outback and is tasked with scattering their ashes. Memories start blurring with the present as he seeks answers for unanswerable questions.”

How long has this idea been stuck in your head for?

“I would say September/ August 2022. Looking back on it, I could see a lot of things in my life influencing what I wrote. I wrote it around when my grandpa was dying and also, I wrote the first draft while in hospital with appendicitis. Subconsciously, all these feelings were being put into the script.”

Felix on the set of Kudzu (2022) with

Your process day in and day out writing?

“I have a massive list in my notes app on my phone. Any inspiration, things I have heard people say or things I have seen go into it. My ideas come from looking at that list, finding common themes and collating them into a story.”

“For the writing, I map out a story arc before I start writing on the script. I only write when I am actually feeling inspired since it is a passion project. When I write I also like to act out what I am writing. Whether it be blocking it or talking to myself, it helps me visualise the story a lot more.”

Before shooting starts, what is your biggest concern?

Kudzu (2022)

“The first concern was location because it was far away and set in the desert. It’s almost been solved by a lot of research and a cinematographer (Elliot Deem) who suggested Lightning Ridge. Another thing we are struggling with now is casting. We are casting two demographics I am not super connected with but luckily our casting director (Shanay Warren) is helping a lot. It’s also just a blessing to have Eleanor Somerville as the producer because she just has this ability to get things moving.”

Kudzu, Somnium, Malingee have such a specific style and tone, is there a filmmaker you are inspired by?

“David Lynch is my number one. Also, Yorgos Lanthimos even though my films don’t reflect the tone of his. I love any filmmaker who is bold enough to do something that might not make any sense immediately but it sticks with you. I also love Robert Eggers, Ingmar Bergman and Andrei Tarkovsky.”

Talking movies

4 of your favourite films?

“Eraserhead is my number one all-time favourite film. You love it or you hate it. Also, Stalker, the Lighthouse, and the Killing of a Sacred Deer.” 

Talking the Future

Where do you want the Australian film scene to move?

“It’s great having these classic Australian stories like The Dressmaker but having films that are willing to experiment and do something different is important. I was lucky enough to work on Angus Kirby’s new film. He isn’t afraid to do something that doesn’t fit the standard Australian drama structure. Good examples of this are Nitram and Babyteeth.”

What is your one film wish?

“I want Lynch to release one more film. I think he has one more project in him. I really hope he doesn’t die. Actually, maybe that’s my wish, to keep David Lynch alive.”

What film are you most looking forward to in 2023?

“Beau is Afraid I am very excited for. In terms of someone pushing boundaries, Ari Aster is constantly doing just that. It just looks crazy and I’m here for it.”

Make sure to go and watch Felix’s short films on his Youtube Channel and follow The Scatterer on Instagram. If you believe in this project as much as I do make sure to donate to their Go Fund me here

https://www.gofundme.com/f/the-scatterer-2024-short-film?utm_source=customer&utm_medium=copy_link_all&utm_campaign=p_cp+share-sheet