Tag: Film
Bonnie Moir is a Melbourne based filmmaker whose has made countless award winning short films and music videos. Her most recent short film – NOT DARK YET – was nominated for the 2024 AACTA Award for Best Short Film. Lately, Bonnie has been working tirelessly on the 6 part television series EXPOSURE for Stan. In our conversation, we dived into how Bonnie writes, her process on set and the future of Australian filmmaking. Read on for more.
Your writing process with such personal and intimate stories like Not Dark Yet.
When making Not Dark Yet I was interested in the duality of freedom and obligation and how they coexist in our relationship to family. I was also interested in revealing the vulnerabilities inherent within our social structures, and to put a human face to something we tend to avoid interacting with.
It was quite a challenging and personal film to make. The lead actor is my dad and I suppose the character playing his son is a version of me (Played beautifully by Nicholas Denton). We finished cutting an initial version of this film which had the perspective tied to the son’s character but we found that there was an inherent connection and empathy that the audience had with the father character, so we ended up only keeping key scenes that we loved from that first version and writing and shooting new scenes from the father’s perspective that fit in with those key scenes and crafting the film from there. So it was ultimately quite an unconventional writing experience!
I have mostly collaborated with other writers but I am trying to get into the practice of writing every day. I tend to write in sporadic short bursts when I feel inspired by something.
On set, what language are you using with the actors? Is it based on the actor or do you always have the same type of language you use?
I’m not totally sure, to answer your question, each actor is different! I love a performance that manages to capture a surprising and unexpected ‘real’ quality. My hope is that I allow actors a space that is supportive to do work that is alive and kinda feral, whatever language I am using!
I heard you say that before you took over for season 2 of Love Me, you had this major moment of doubt / fear. How do you combat this feeling?
Who told you this?! Haha. It’s true. It was the first lot of TV I directed and I was gifted the entire season, it was a daunting and just generally a big prospect. The best way for me to combat that fear was to get stuck into it all and get to work. It’s also not done alone, a director is nothing without the crew – I worked with an amazing team including Ed Goldner (DOP), Marni Kornhauser (Production designer) and my beaut producers Hamish Lewis and Nicole O’Donohue and not to mention those brilliant actors!
Biggest lessons you have learnt from working with Garth Davis and Glendyn Ivin?
I love them both so much. I have been so inspired by working with them. I feel extremely lucky that I had the chance to assist and do second unit work with directors whose work I love and admire. Not to mention such kind and supportive individuals. I hope I absorbed a lot doing that work. I never went to film school, so it’s been invaluable.
You have shot some beautiful music videos with incredible artists. What does your process working with artists look like? Do you bring them an idea or is it more of a collaboration?
It changes depending on the artist. In some cases the artists have a strong concept in mind but others are keen for initial concepts and ideas based on the song – I’ve worked in both ways but have ultimately been lucky with the few music videos I’ve done that the artists have been very collaborative and an absolute joy to work with. I’d love to do more!
When you are on set, where do you like to stand? Next to the video village or up closer with the actors.
Definitely closer to the actors, if i’m too far away I end up manically running back and forth and round in circles. I’ve never really been sat at a video village type set up but maybe the added distance creates a different perspective? One closer to an audience or viewer? It’s interesting to think about!
Your short films, music videos and shows all focus on the human condition and relationships, is this something you think will always stay in your work?
I find that stories like this offer up the most potential for deep performance work and for great actors. I also think it’s the most interesting work visually speaking. But I am open to trying it all!
How the process of creating EXPOSURE has been?
Exposure is a series that I am currently finishing up, I just finished the grade with the amazing colourist Trish Cahill. It is a 6 part mystery-thriller for STAN. I worked with the most crazily amazing team including Nicole O’Donohue as producer and Justin Kurzel and Shaun Grant as EPs via their company Thirdborn, as well as Lucy Coleman as our writer and Aaron McLisky as DOP to name a few.
It was one of the greatest experiences, setting the series up, finding the tone and look, building the jigsaw puzzle of locations and developing the story with the team.
I’m getting excited (and nervous) for people to watch the show. It is coming out soon and I’d love for you to watch it!
Favorite filmmakers and movies?
This is a secret.
Advice to younger filmmakers just starting out who are stuck in that beginning phase?
I’d say to focus wholeheartedly on the experience and process of making the work, the creation of it, not so much the outcome. It should be about making/creating the film, working with that actor or collaborating with that DOP or whatever it is…and the experience and practice of that.
I want to acknowledge that it can be very challenging to go all in for those of us without financial support particularly when starting out. I’d say that perhaps getting a job that is in support of what you want to do ultimately can be helpful. Being a director’s assistant and second unit work was great for that as I got to learn but also I could make short films when in post with other directors. I got that work by reaching out to a director whose work I loved (Garth) and offering to help him on his film Lion on the days I had off my then non film related job.
Where do you want the Australian film scene to move?
There seems to be a general consensus that the work is better elsewhere but so much of the work I have seen that is made here by amazing film makers and crews makes me feel that this just isn’t the case. We make great stuff, but it needs support and validation.
I’m inspired by directors like Kitty Green and Thomas M. Wright, and Goran Stoveleski. I’d love the industry to support and facilitate more work like theirs!
Introduction:
For what feels like an eternity now, I’ve wanted desperately to write about the latest A24 feature, ‘Past Lives’, and its subtle brilliances in terms of cinematic storytelling, cinematography, directing, etc.
But, every time I started to write this article, I felt this underlying dread creep within my soul. A solemn dread reminding me that in order to fully analyze and communicate why I believe this film is so impactful. I would first have to re-watch ‘Past Lives’.
And no, it’s not because I found the film boring or dull or bland. The reason why I feared rewatching ‘Past Lives’ was due to the fact that I believe the film is without a doubt, the most tragic and heartbreaking piece of cinema I’ve ever witnessed. The simple concepts of regret, love, bitter-sweet nostalgia, moving on and In-Yun that seem to permeate throughout Celine Song’s directorial debut. Seamlessly blending together into a romantic drama that feels both heart-wrenching to watch, yet, unabashedly easy to relate to.
Celine Song’s first feature film is one that sits with you long after you leave the cinema. It is a true masterclass of storytelling that, unfortunately, has flown under the radar for a lot of cinema-goers, who had been spoiled by the stacked slate of films released in 2023.
And, with ‘Past Lives’ only grossing $14.6 million at the Global Box Office against its $12 million budget, it’s clear that the film unfortunately did not reach the mass audience it deserved to.
However, by analyzing and dissecting Celine Song’s tragic triumph through its story, its visuals and, its themes. I wish to unpack and uncover what elements makes ‘Past Lives’ stand out when compared to other films that released alongside the latest A24 masterpiece.
This is what makes ‘Past Lives’ a Heart Breaking Tale of…What If?
1. The Pain That Comes from…What If?
Written and directed by Celine Song herself. The story of ‘Past Lives’ serves as an almost auto-biographical rendition of Celine Song’s life. Drawing upon her own experiences as a South Korean who immigrated to Canada, Celine Song uses her own life to create the storyline and characters that ‘Past Lives’ revolve around.
The story of ‘Past Lives’ shows the fractured relationship of two South Koreans, Na Young, (portrayed by actress Greta Lee) and Hae Sung, (portrayed by actor Teo Yoo).
‘Past Lives’ narrative deals with how sometimes a love between two people is never meant to be, and the pains that come with moving on in life…even if you’re not ready to.
Editorial Note:
I will be summarizing the plot of Past Lives in the following paragraphs. If you wish to experience the film yourself, (which I highly recommend) or wish to simply read the analytical elements. Then please skip the following paragraphs.
We, the audience, watch as the seeds of Na Young and Hae Sung’s relationship are sown early together from a young age, with the two living together as friends in Seoul, South Korea. However, when Na Young is forced to suddenly immigrate to Canada and subsequently change her name to Nora Moon, the two close friends lose contact with one another for several years.
It isn’t until twelve years later when Na Young and Hae Sung would reconnect over Skype. With Na Young (now Nora Moon), having immigrated a second time to New York City, from Canada.
We watch as Hae Sung and Nora begin to cling to each other as the two rekindle their lost relationship, with Nora even wanting to return to South Korea to see Hae Sung in person again.
However, Nora decides not to go through with her plan to visit Hae Sung in Korea and ultimately, focus on her own goals which require her to stay in New York City. Nora decides not to use her past as a crutch, but instead, to attack her future with no baring on the life she used to live. Nora also makes the difficult decision to cut ties with Hae Sung for a second time. A selfless act to hopefully allow both Hae Sung and herself to move on with their lives separately.
Following another twelve-year time jump. We see how Nora has grown from her last interaction with Hae Sung. She has continued with her goal of making a name for herself in New York, she is an up-incoming play writer living in Queens with her husband, Arthur. An author who Nora met during a artist in residents excursion.
Arthur and Nora live happily together in New York City. However, when Hae Sung is invited by Nora to see her again in America, the now mature Hae Sung will travel from Korea to America to finally reunite with Nora in person after spending two decades apart.
Now, Nora, Hae Sung and Arthur will discuss the needs, wants and desires that each central character of Past Live’s yearns for.
Past Lives carries itself with a level of maturity and restraint that isn’t typically seen in a lot of directorial debuts. Each character within the story expresses emotions and reactions that feel genuinely authentic within the narrative.
Considering that many may find themselves relating to the struggles of either Nora, Hae Sung or Arthur, the film serves not to dramatize or exaggerate the natural tension that comes with ‘Past Lives’ narrative.
Celine Song isn’t afraid to both build up and break down the wants, needs and desires of her main characters. This willingness by the director to have her protagonists simply just discuss what could’ve been reflects the level of maturity ‘Past Lives’ narrative has when it comes with dealing with inner-personal relationships.
2. Nostalgia Through The Lens.
In order for ‘Past Lives’ to communicate its themes of nostalgia, growing up, and letting go through the visual storytelling medium. ‘Past Lives’ Director of Photography, Shabier Kirchner, employed a range of mise en scene elements that complement the films cinematography in order to have ‘Past Lives’ feel uniquely timeless.
In order to achieve this timeless feeling and effect, DOP Shabir Kirchner’s decided to film ‘Past Lives’ with Kodak 35mm film stock. (Film stock similar to everyday disposable cameras available to the public).
Shabir used Kodak 35MM Film Stock as to imbue its audience with a sense of nostalgia. The certain feeling one may get after looking at a nostalgic photo captured on a disposable camera. The film’s lack of camera movement mirrors the idea of making the film feel like a nostalgic photograph.
“My lens choices really came from conversations that Celine and I had about camera movement, or the considerable lack of movement, as many scenes play out with a static camera or imperceptible moves.”
Shabir Kirchner
The idea of having ‘Past Lives’ feel like a moving polaroid memory ties perfectly into the film’s many themes, chief among them being nostalgia and the bittersweet questions of…what-if? As if the audience was watching the film through their own bittersweet nostalgia or memories.
In each frame that Nora and Hae Sung share within the film, the two main characters are always divided/separated from each other, even in the films many tight close-ups. This physical divide symbolically represents Nora and Hae Sung’s inability to be together due to external factors in their lives.
Each shot of Nora and Hae Sung together on screen feels worryingly intimate, as if at any sudden moment, the two may give in to their long dormant feelings for each other. However, thankfully the film’s restraint puts those anxious thoughts to rest. Instead, ‘Past Lives’ visually showcases the divide between our main trio through both character blocking and framing.
In addition to this, the colour work in Past Lives allows the film to communicate its themes of bittersweet nostalgia to its audience on a subconscious level. While on initial viewing, it would seem that very little colour work was implemented on the Kodak 35MM footage, with the sizeable concrete jungles that are both New York City and Seoul constantly swallowing the film’s colour palate in harsh concrete greys and blacks.
However, subtle colour hints of pink’s and orange’s ,(colours often synonymous with the feeling of nostalgia), begin to leak through the concrete grey skyscrapers of Seoul and New York City. The literal rose-tinted colors of the film serve to bring warmth and nostalgia to the frame, further pushing the subconscious narrative that both Shabir Kirchner and Celine Song wish to impart to ‘Past Lives’ audience, making the film feel like a moving polaroid photo, trapped in a simpler, more nostalgic, easier time.
3. In-Yun
There is a certain Korean phrase that permeates deeply throughout Past Lives’ narrative, In-Yun.
As described in Catrina Prager’s article on the topic;
In-Yun is the belief that the interactions between two people in this life are owed to interactions (or near-interactions) in their past lives. The concept suggests that some encounters are not, as we might at first assume, accidental, but rather a cosmic tug on our sleeve. The Universe saying here, this human’s important in your journey.
Catrina Prager – Medium
We the audience, see how Celine Song intertwines this ancient Korean concept with Hae Sung and Na Young’s relationship and character journey’s throughout ‘Past Lives’.
At the beginning of the film, it’s heavily implied by Celine Song that Na Young and Hae Sung are destined to be together in cinematic language, (hence the close up shots and long, quiet pauses between our two main characters whenever they interact).
However, even with the two splitting apart from each other and starting new lives separately in other countries. Both Hae Sung and Nora use the memories of their young connection to keep themselves grounded in reality.
So, when Hae Sung finally gets to meet with Na Young (now Nora Strong) in New York City, far away from Korea and two decades after they first parted ways. Both Nora and Hae Sung are both once again confronted with In-Yun, now manifested as the reconnected relationship between the two main characters.
While the two had physically grown apart, Hae Sung and Nora’s spiritual connection with each other continues to bring the two main characters together, meeting again and again. Yet, the two constantly try moving on from their young and brash relationship, with the two focusing on things that have become more important then a lost relationship.
Yet, it’s Hae Sung and Na Young’s past life together in Seoul that compels and binds the two almost soulmates to reconnect and understand what could’ve been if certain things had changed in their lives.
“If you had never left Seoul…would I still have looked for you? Would we have dated? Broken Up? Gotten Married? Would we have had kids together?”
Hae Sung to Nora during their conversation together.
From the fallout of Na Young and Hae Sung’s undeveloped relationship comes the emotional baggage and accompanying pain of what could of been, commonly associated with grief or loss.
The death of a relationship that should’ve been in this life, but was instead destined for another.
In-Yun in the context of Past Lives refers to the nature of Hae Sung and Na Young’s relationship. The fact the two could have been soul mates in this lifetime, yet, In-Yun dictates that they could instead be together in the next life, or the life after that. But not this one.
Conclusion:
Celine Song’s directorial debut is a heart-breaking masterclass of cinema that blends complex themes with beautiful cinematography, nostalgic colors and engaging dialogue.
The manner in which Past Lives conveys it’s themes of In-Yun, bittersweet nostalgia and growing up is handled with a level of maturity and subtly that is severely lacking in modern cinema in general, let alone a directorial debut.
Furthermore, by pairing Celine Song’s storytelling ability with Shabir Kirchner’s crafty, nostalgic cinematography that makes ‘Past Lives’ feel more akin to a moving polaroid picture. It’s no surprise that A24’s latest masterpiece has received Oscar nominations for both Best Picture and Best Original Screenplay.
Past Lives is a film that sits with audiences long after they exit the theatre, its inability to pull any emotional punches and ability to connect / relate to everyone’s desire for love on a emotional level is why, Past Lives is a heart-breaking tale of…what if?
Written, Curated and Edited by Michael Qualischefski.
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.”
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: “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?
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?”
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?”
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.
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.
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…
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?
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.
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: 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!
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: 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: 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.
Below is the link for the films Go Fund me if you want to support this incredible project!
All photos taken by Dylan Robbins
The first Guardians of the Galaxy movie came out almost 10 years ago. It was an instant hit and loved by Marvel fans and normies alike. However, I don’t think this film gets the praise it deserves. GOTG changed superhero and action blockbusters forever. Due to its critical and commercial success, studios were suddenly willing to take more risks on weirder properties. On top of this, countless other franchises took heavy inspiration from Gunn’s comedic tone, colours and soundtrack. Thereby, the question becomes does Gunn’s style still hold up or has it been ruined by the onslaught of MCU films?
James Gunn has written perhaps the best script the MCU has ever seen. It is a touching and heartbreaking story that has very powerful themes behind it. The film focuses on compassion for all living things but comes from a place that’s feels earnest and genuine. At no point in Guardians 3 did I feel I was being beaten over the head with exposition or characters trying to tell me what the film was about.
What is perhaps even more challenging is balancing these themes alongside humour. Unlike most MCU movies, Guardians of the Galaxy 3’s jokes never feel draining or quippy. Instead, it uses the characters personalities to create humour. I love this decision to hold back on the jokes because when they were in the film they felt that much more effective and punchy. In my cinema at least, no line ever missed the mark and was always met with laughs.
As you have seen from the trailers, Guardians of the Galaxy Volume 3 is a story about Rocket Raccoon. We dive into his creation with flashbacks throughout the movie. These scenes were a constant gut punch that always touched the right heart strings. It transformed this pretty two-dimensional character into one of the most layered and complex heroes in the MCU. All of this was accomplished through amazing voice acting by Bradley Cooper and some astonishing VFX work.
While diving into the backstory of Rocket, Gunn still manages to balance the rest of the Guardians. Chris Pratt made me care for StarLord once again. He has an excellent arc that wraps up his previous mistakes while showing why he is the leader of this group. Zoe Saldana displays how different this Gamora is through her rage and morality. I also loved how Gunn doesn’t try to transform her back to her old self but sticks with this version of Gamora.
But for me Dave Bautista as Drax and Pom Klementieff as Mantis stole the show. They are such talented comedic actors that make every scene they’re in 10x better. This duo just have a brilliant chemistry that I would watch in movies that aren’t linked to the MCU. I do think there could have been more time contributed to Groot as he deals with some heavy emotions. He is a core character who never really got as much of an arc as I would have liked (I know it’s probably cause of how expensive he is).
On the other side of our heroes is the villain. It goes without saying that superhero films have a track record for weak villains but in GOTG 3 it is the complete opposite. Chukwudi Iwuji plays the High Evolutionary and delivers a stellar performance. He is an awful and delusional man who you truly despise. I think Gunn understood that too many MCU movies have villains who have good intentions and thereby wanted to go the complete opposite direction. The High Evolutionary maybe a simple villain with basic ambitions but he is a man you will truly hate.
Guardians of the Galaxy 3 is the most unique MCU movie I have ever seen. Amongst what I have said earlier, I think that there are two core reasons for this. Firstly, the designs. Every single movie Gunn makes gets weirder and grosser, but GOTG 3 is at the top of that list. The costumes, set designs and VFX all lead to this disgusting world that feels so refreshing amongst the MCU. Now at times, the VFX don’t hold up but it never took me out of the movie.
The second reason this film feels so unique is the violence and action. Guardians of the Galaxy 3 utilises gore and horror in a way even Raimi didn’t do. Some scenes were so brutal it had people in the audience looking in the opposite direction. But Gunn always brings us back to that fun and playful action he is famous for. In particular, there is a one take action scene unlike anything I have ever seen. It is easily one of the best marvel fight sequences and a brilliant achievement by Gunn and the crew.
While the Guardians movies are famous for their comedy, action and characters there is something perhaps that tops even this – the music. Those first two movies use music in a way that filmmakers have been copying ever since. But truthfully, this films music did not live up to the hype. While I love a lot of the songs in GOTG 3, it did not have the same tone and impact as the other movies. It honestly just felt like a few songs Gunn loves instead of a soundtrack that match the characters.
James Gunn has finished this trilogy off with the best film in the series and perhaps the best Marvel movie yet. It balances different themes, genres and styles but never feels like it loses its focus. Guardians of the Galaxy 3 is a three-hour movie that feels like 2 and is perfect for the cinemas. It’s ending made me realise how much I will miss these characters and value James Gunn as a filmmaker. His movies just get better and better and if I am Marvel I am shaking in my boots for the future of DC.
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Beau is Afraid (Non Spoiler Review)
Ari Aster has certified himself as one of the best directors working right now. With only two films under his belt, there is nothing he makes I wouldn’t see. Thereby, Beau is Afraid was one of my most anticipated movies of 2023. Like everyone else, I had absolutely no clue what it was about, but I trusted Ari. So, on a Sunday night I went to the cinema to see an 8:30 screening of this film. I had heard some things about Beau is Afraid but nothing could prepare me for those next three hours.
I will be honest. I don’t even know where to start with this film. There are so many different layers of themes, subtext and motifs that writing this review scared me. So, let’s start with the basics…
Beau is Afraid is a very entertaining and gripping movie. As soon as the lights went dark, I was invested in this world and character. Despite having absolutely no clue what was happening for 80% of it, I was intrigued by this adventure. But there is a core problem with the movie that is being brought up a lot – the run time. You truly feel the weight of those three hours. It has scenes that stretch on for too long and a lot of that fat needs to be trimmed. I understand Ari Aster wants to put you in the protagonist’s shoes but for a lot of this movie I simply wanted it to move on.
Ari Aster introduces a completely new type of horror. Beau is Afraid is about feeling what our protagonist feels. Ari wants the audience to feel as trapped, afraid and confused of the world as Beau does. He accomplishes this expertly through horrific imagery, a chaotic plot and evil characters. Even sequences that seem normal have this uncanny and upsetting vibe to them – a perfect representation of Beau’s anxiety.
Something that isn’t being talked about with this film is how funny it is. Throughout Beau is Afraid, there are these simple lines or props that instantly made my audience laugh out loud. In moments of high tension, it was an excellent break that made the 3-hour run time feel slightly shorter.
The performances in Beau is Afraid are incredible. Joaquin Phoenix can paint 15 different versions of fear and anxiety across his face in a way I have never seen done before. Even when Beau seems at peace there is this subtle neurotic nature that is bubbling below the surface. Joaquin just makes this very heightened and exaggerated world feel real through an earnest and sincere performance. On the other hand, I love how the other actors felt so over the top and exaggerated. In particular, Patti Lupone, Nathan Lane and Kylie Rogers all bring something new to these insane characters. As a result, it once again makes us feel Beau’s anxiety towards the people around him.
In a conversation between Martin Scorsese and Ari, Martin kept mentioning the technical skill of Ari Aster in Hereditary and Midsommar. In Beau is Afraid, it is at an all-time high. The angles, slight pans, blocking, production design, editing and lighting are truly ahead of their time. Every single detail of this film amplifies that anxious and muddled vibe. It is so effective in making the audience feel on edge that I drove home feeling uneasy. Every crew member of Beau is Afraid has added to building a world not to dissimilar from the Shining.
Ultimately, Beau is Afraid is about evoking a feeling in the audience. I think a lot of viewers will get too wrapped up in an explanation or a deeper meaning. However, I think Aster wants one simple thing with this film – to impart his own anxieties and therapy sessions onto them. It is about understanding the psyche of Beau and so many other people struggling with serious mental health issues. To me, Aster has one goal with this film and accomplishes it perfectly.
Should you watch Beau is Afraid?
Beau is Afraid will be the most divisive film of 2023. If you don’t know how crazy this film is going in, I don’t think you will enjoy it. But if you go in embracing the strange elements and long run time you will love it like I did.