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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 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

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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

Categories
Interview

Interview with Writer / Director Josh Allan

Josh Allan is a Brisbane based writer and director. Recently, he released a short film called 2:32AM which has won multiple awards and screened at countless festivals. It is truly an incredible short-film about human connection and finding your place in the world. As soon as I saw it, I knew I had to grab an interview with Josh. Read on for our conversation about his short film, movies and his future.

On 2:32Am

What is 2:32Am about?

“It’s a short film about two lonely strangers learning to find that deeper connection that they’re both missing. Titus is this sort of rough around the edges, charismatic character that has an internal conflict he needs to address. Whereas Caleb is more of that reclusive Uni student who hasn’t made close friends.”

What was your process writing this short film?

Josh Allan on set of 2:32Am

“I find writing challenging. My process is kind of all over the place. It starts with messy feelings or ideas that I will start to write into a script. I have also learnt to integrate feedback a lot. My main process is trusting my intuition while also reaching out for help.”

What were the biggest challenges of creating an indie film and how you overcame them?

 “I found that on set we had a limited time to shoot. It was difficult trying to work to a schedule while trying to preserve the quality. What I am always learning is to trust yourself, the material and the people around you. Trust amid the stress is key.”

How do you run your set?

“To me a lot of problems that you need to solve during production start in pre-production. I like to have in depth discussions before I get on set. Most of the tension on set comes from a lack of creative alignment. If someone is stressed or angry I just try and see it from their perspective.”

How you battle lack of motivation?

“The thing that helps me is if I am stuck on one project, I jump onto another temporarily. I am a filmmaker and I also do music, so I swap between them.”

Cast and Crew of 2:32AM

Talking Film

What filmmakers inspire you

“Richard Linklater. I find the way he wrote stuff – from a very personal / semi-autobiographical place – very interesting. Rather than having an overt plot, conversation becomes the plot. In interviews for the Before Trilogy, he was saying the connection is cinematic enough.”

“Steven Spielberg and George Lucas. While they don’t influence my style, they inspired me to make films.”

Can you list four of your favourite movies?

Josh on set

“Manchester by the Sea I really like because my Dad and I connect through it. Short Term 12 I could watch that movie forever. One that has stuck with me and ignited something within was Whiplash. It showed me that a story based in the real world can be more anxiety inducing than a horror. Also, Kramer vs Kramer I clicked with it because my parents got divorced when I was that age.”

The Future

What’s next for you?

“I am one of the producers of an up-and-coming indie film studio. We have been making some micro short films and we have a drama/ thrill coming out called Sparring. It’s like a Whiplash style psychological thriller about a military guy being interrogated by a dictatorial figure.”

2:32AM

Where do you want Australian movies to move?

“Truthfully, I am not that wired into the Australian film industry and the trends. For me, I don’t feel much pressure to try and represent the whole country. It’s fine for filmmakers to make something that doesn’t have to be distinctively Australian. Also, I think filmmakers worry too much about what the market wants and appealing to a demographic.”

All photos by Millie Lawyer

Categories
Interview

The Best Christmas Short Ever – Interview with Writer Tyson Yates

About 4 years ago, I went to the Brisbane Backyard Film Festival. Two films from that night stuck with me that I truly loved and have never stopped talking about. One is Follow that Taxi (I did an interview with Sam Monaghan this year) and the other is It’s Christmas. It is one of the funniest and most original short films I have ever seen and my favourite Christmas short ever. On top of this, it won the audience award at the Brisbane Backyard Film Festival. Before you read this interview, go and watch this film below, it is well worth your time.

Recently, I did an interview with the writer of It’s Christmas – Tyson Yates. Tyson is a Brisbane based writer and director. On top of this project, he has written Lemonade – a comedy web series – and wrote and directed Smashed – a comedy short which won Audience Choice at West End Film Festival. Read on for more.

DP David Aponas and Tyson behind the camera

What inspired the story of It’s Christmas?

“I used to work in journalism, but my number one thing was writing for film. One year I upped and left and do a year of film school. I plopped myself down in Brisbane and did a year at university.”

“The whole idea is just kind of a typical Christmas for me, I am from a small country town in Northern NSW. It was hot, sweaty, there was drama over the prawns. This one was just one of the first scripts that just flowed out of me. I don’t think I struggled to write that one at all. It was just taking tid bits from my family and inserting into the script. And also just who doesn’t love writing genre.”

What was your process writing for this and writing in general?

Kristie and Tyson Yates

“When you are writing you put a lot of pressure on yourself. I think the unspoken thing though is that no one has it right – even some established filmmakers and writers. There has never been this smooth process in writing. But I think the background in media and written journalism really helped the discipline of it. When someone is paying you to write a story you don’t have an option of not feeling it or having mental block – the deadline is 5.”

As someone who writes and directs did you find it hard handing over the It’s Christmas Script?

“I have directed the last couple of things I have done. I released smashed a couple of years ago and that was the first major thing I directed. I just decided to Direct to get it done in the exact way it’s in my head. With It’s Christmas, I must have been a terrible person to have on set because I was following the director around and buzzing around like a fly. I think in the future I will focus less on directing and more on script writing because it’s just a huge commitment.”

Tyson directing actors – Winnie Mzember (middle) and Kyle MacCallion

Are there any specific Christmas movies you love or are inspired by?

“I really love the tone of A Moody Christmas. It spoke so much to me and I think they were aiming for the same thing because it feels like a person experience of an Aussie family. I have had a couple Christmas’s in the cold, and you miss it when you’re not here. I also love genre Christmas movies like Krumpus.”

Were there any general movies that inspired it as well?

“Absolutely Sean of the Dead. Edgar Wright is a perfect example of a filmmaker who can take ridiculous concepts and squeeze sentiment into it.”

Tyson on sound with Nicholas Rowan (sound) and Mellisa Johnson (makeup)

Other Projects

Creating both Smashed and Lemonade, what have you learnt from both projects and would advise filmmakers about starting a web series?

“I am from the school of keep it simple. Everyone does their share house comedy, it’s low stakes. You watch some amazing comedies like Arrested Development and Scrubs, the comedy just comes from the simplicity and characters – something I am still learning. Don’t be discouraged by not nailing something. It was interesting at film school how many people wanted to be at the finish line already. I have resigned myself to the fact that it’s going to take a long time to learn but the best way to do that is to keep it simple.”

As someone who also did one year of film school, I was wondering your opinion on it and if think it’s worthwhile?

On the set of Smashed

“There are two different camps, I guess. I learnt a lot from film school and especially what not to do in a safe situation. You are at the mercy of whoever else happens to be in your cohort. It can be a bit of a scramble to get on top. I didn’t have that problem to much as I had some pretty set goals. There was also good teachers I learnt a lot from. But the reason I left was because the classes and lessons were starting to repeat themselves.”

What is next for you?

“I recently got a job in a production company so any of my film projects just stopped at that point. I had a hiatus for a few years and then recently we jumped back on board with the short stack guys and shot a short film in August. It’s very similar to smashed in that it’s a couple of locations and housemates together. We are just doing the assembly edit now so it’s looking good.”

If someone came to you with one film wish, what would it be?

On the set of It’s Christmas

“I don’t know if I would want to wish my way to the finish line. But me right now I feel I am still finding my way through writing and directing. I would be absolutely horrified to have a world class actor standing in front of me asking what do to. It would be something small like making an indie feature that is well within my means. I would love to have this indie gem of a film that is well regarded. And then I am happy to be sky rocketed into making a Marvel film, substance abuse, not seeing my family – you know, the Hollywood dream.”

Where do you want to see the Australian film scene in 5-10 years?

“I think I have never really put much thought into getting funding. “I guess i believe that a good script will have it’s time and eventually get made. I know people bang on about funding being political, but those people usually have a shit script. I like to believe that a good idea, a good script, will get picked.”

Categories
Film Reviews

Glass Onion Non Spoiler Review: The Best Movie of 2022?

Knives Out was one of the best movies of the last 5 years. It is one of the most entertaining and rewatchable movies I have seen in a long time and will undoubtedly be considered a classic in 10 years. So… the question becomes how do you top this and more importantly is it even possible? Can Rian Johnson improve upon one of the most loved and successful movies of the last 5 years? Truthfully, yes… Read on for more.

(Since this movie is very easy to spoil and I understand how easy it is to ruin it, I will keep it very broad and simple.)

Before I watched this, I was trying to work out what Rian Johnson could do to keep the audience guessing and surprised. As a filmmaker, it is embarrassing for me to admit that I had no ideas. Despite this, Rian creates a new and compelling that story that will keep you glued to the screen from the beginning. It goes in directions I didn’t expect at all and plays upon the traditional narrative perfectly. Rian Johnson knows exactly what the audience is expecting and manipulates it from beginning to end.

One of the best parts about the first Knives Out is the characters. They each feel completely different to the other and are addicting to watch. I truly believe Knives Out A Glass Onion has better characters. Each one is a very clever and refreshing take on the modern celebrity.  But what’s even more important is that they feel like real people. They have multiple layers that are revealed as the movie progresses and while they have flaws, you understand where they are coming from.

On top of this, they are cast perfectly. Everyone in this movie brings these characters to life. With a different cast, this movie is nowhere near as gripping and entertaining. I think lately films just load up on huge casts only to get ticket sales. But with Knives Out 2, it feels like each actor was chosen for the character and not for their level of fame. Cough Cough Amsterdam cough.

Before I move on, I have to talk about Daniel Craig. This character that him and Rian Johnson have created is one of the best movie detectives I have ever seen. He is this weird mix of being an idiot while also a genius that I love. It is a unique and refreshing character that I could truly watch an entire season of. Also, he is just very funny. No matter how simple the line is, he manages to always deliver it perfectly.

While I loved this movie, there was definitely a slump. About halfway through, I just found myself a little bit bored. I think in moments it treats the audience a little stupid and takes too long explaining things. It isn’t terrible it’s more just feels like the run time could be cut down by about 10-15minutes. Also, I think some of the humour doesn’t really work. It occasionally just feels forced and never seemed to get many laughs in the cinema.

One of the most important parts of a murder mystery is the twist. Now in the first Knives Out, the reveal never felt surprising or satisfying to me. In the sequel, I kind of feel the same way. But I think that’s on purpose. There are so many other twists and turns in this movie that the killer or killers doesn’t seem important. Instead, I think Rian Johnson wanted to focus on creating twists as the movie progresses instead of in the last few moments.

Should you watch Knives Out A Glass Onion?

Definitely. This movie is a very entertaining and enjoyable watch that will keep you guessing from the beginning. While the cinema run is over, watch it as soon as it’s out on Netflix so it doesn’t get spoiled for you.

Categories
Interview

The Macfarlane Brothers Interview

Lachlan and Austin Macfarlane are two filmmakers based in Brisbane, Australia. For over 14 years, they have been making sketch comedy shorts with heavy VFX. Now they both work tirelessly on their TikTok and YouTube Chanel – racking up millions of views and even starting viral trends. Read on for more.

You both have been making short films and content for over 10 years, what created this attitude to just make stuff and get it done?

“I started making films just for the fun of doing them when I was like 10. It was just doing things for the fun of it. By the time I got to the end of school it was even more of an incentive to make videos. Also, when you’re at Uni you only make 7-8 things and I feel you want to finish with more than that.” – Lachlan

“I started getting into editing because I was making Marvel trailers. The reason I got into VFX was because I wanted to make Doctor Who intros. It harkens back to us being kids and having lightsabre fights and thinking “wouldn’t it be cool if we could make actual lightsabre fights.” – Austin

Across your careers, you can see how much your VFX has improved. Is this from school, University or just teaching yourself?

“I would say both but mainly self-taught.” – Lachie

“In year 8 and 9, every lunch time I would do a VFX shot. I would shoot it on my laptop, and I would do stuff like shooting a door and it would explode. Another day, my friend punched me and turned into a lunchbox.” – Austin

What’s your process in making these insane TikTok’s and reels you create?

“We will write, shoot, direct, star in, all ourselves. We split up the post tasks because we each have our own strengths. I will usually do the VFX while Lachlan will do the editing.” – Austin

“We will try to film as much as we can on the weekend and then work on it through the week and then get started on the next one straight away. It’s ultimately just about maintaining that repetition.” – Lachlan

“We both have so many ideas but unless it’s something we instantly jump at, we don’t even film it. Our sister is a good judge…. If we show it to her and she laughs it’s probably going to be good…” – Austin

Looking back on film school are you glad you did it or do you wish you did your own thing?

“There are way more people saying don’t do film school than there are saying do it. I would say it depends… When I went to film school, I found it hard to stand out from everyone else. It was difficult, I think at my school you needed a big personality and to be different from everyone. But ultimately it got kind of easier as you get to know people and I found it worthwhile in the end as I got heaps of connections who later got me a job.” – Lachlan

“I think for Uni you get out what you put into it ultimately. I work full time now as a junior online editor and I wouldn’t have got that job if I didn’t go to Uni, and the programs I use at work I learnt from uni.” – Austin

Can you explain the whole Michael Buble story?

“We love him and have loved his Christmas album since we were kids. We made this TikTok where we take him out of the ice for Christmas. I opened my phone the next morning and he had sent us a message on TikTok and commented it. I will ride that high until I die and we are very chuffed about that” – Austin

What filmmakers really inspire you.

“The Daniels definitely. It was very inspiring seeing how they went from small little sketch stuff to features. They are a team of two guys and we have taken a lot of inspiration from their style and we took on that comedic black comedy tone. Also, Edgar Wright and how he shifts your focus so well and so uniquely.” – Lachlan

What are some of your favourite films?

“The World’s End is one of my favourite Edgar Wright films because it has that emotional side. Also, any of Alfred Hitchcock’s films are incredible. Ours are both the same basically as well.” – Lachlan

“Swiss Army Man is my all-time favourite. Parasite, Psycho and the 400 Blows. I love Belfast, Little Women, Whiplash and Star Wars.” – Austin

Where do you want the Australian film scene to move?

“I would like there to be more. I am very new to the industry, but I would love the public to be more into it and proud of it. Also, shows that it doesn’t have to be about Australia.” – Lachlan

“I love how many productions are happening on the Gold Coast.” – Austin

What is next for you guys?

“We are going to make bigger short films. But for now, we are just doing TikTok and YouTube. Next year we are going to try for the Screen Queensland Skip Ahead program.” – Lachlan