Production Support Report

One thing I often get asked here in Production Support is "how can I connect with other filmmakers in Perth?" Well, Debbie Thoy was in that predicament herself, until she started up The Perth Film Network. Read on to find out more.

• Tell us a bit about yourself  Debbie.

Well I am a little nutty, but then I am a  filmmaker and that goes without saying.....but seriously......

Currently, I work as a Producer and am Managing  Director of my Production Company "Wizard Corporation Productions".  My  main strength however, is in marketing and promotion as that is something I  have pursued within the entertainment and sporting industry since I was 15  years of age.  It was a skill that came naturally and something  I seem to keep gravitating back to, no matter which direction my life  goes.
 
I have been involved in entertainment or  performing in some form since I was 3 years of age, starting as a  dancer.  I have been performing pretty much my entire life. I signed my  first autograph at 15 years of age and after many years of signing them, I  still ask "Why the hell would anyone want my autograph?" For me signing  an autograph was actually a reality check for me.  What! Movie stars are  normal people? How rude that was to find out at 15 years of age, back in the  80's when my bedroom wall was plastered in Film stars and the USA and  Hollywood was just the greatest place on earth. From that point on, I  never got star struck again, not that I ever really did. But I still had my  idols.
 
I have had a video camera in my hand since I was  15 years of age.  I used to pinch the school camera, having a video  camera in 1985 was a bit of a novelty and I started my film career making  education videos for the Heart Foundation and also for The State Basketball  League both of which, I was very involved with. I would edit them on two VHS  video recorders in my lounge room and I am SO grateful we have progressed from  there.  I was a performer, however, what was happening behind the  scenes, organising and creating the films or performance, always fascinated  me. I always found myself in the thick of it and always ended up in charge of  running the show. The main organiser, plus I would perform as  well.  I never was one to do things in halves.
 
I grew up during a time where acting and  entertainment were kind of frowned upon as a career and I was groomed to  have a "REAL JOB" which, I am eternally grateful for.  However I am  tremendously ambitious and creatively driven, so my "REAL JOB" was driving me  insane.  After becoming very ill, I made a decision to just go for  it.  So I took all my skills, all my experience and put them  together.  Went out and found out more about Australia's, particularly  Perth's, Film Industry.  I studied and did market research  of Perth's film scene for three years, attending workshops and  meeting as many people as I could.  I became a producer, a director, a  writer, an editor, an actor and a DOP. Unfortunately usually at the same  time.  I like to understand what every job entails, how it affects people  and the skill involved.  To do this I need to experience it and develop  that appreciation and understanding. It also of course, makes me a better  Producer.  Being a Producer is my job, however to become a Director is  probably my passion, however everyone wants to be a Director.  I am lucky  that I have some pretty great mentors in Mark DeFriest and James Bogle to help  me along.  I am continuously learning, no actually, I am speed learning  and of course I will never stop.  I am hoping this year I will find a  little time to actually make a film...just a short one!  

I worked out what Perth was desperately missing  in it's goal to have a strong and functioning Film Industry and I formed the  Perth Film Network to provide that service.

• What is the Perth Film Network and how long has it  been running for?
  

The Perth Film Network has been running since  March 2009.  I decided to do a marketing exercise back in March by  starting a facebook group and then holding a Networking Function to test my  theory. I didn't really advertise it in a big way, so I didn't really expect  many people on the first event.  I was more than a little surprised and  excited when I found people where actually lined up outside.  We  ended up with about 150 people for our first event, which was a fantastic  turnout and well, it's been full steam ahead since then.

The Perth Film Network is a place  for everybody involved in the Film Industry from the Executive  Producer right down to the runner on set, from the student to the veteran  professional.  If you contribute to the Film Industry, you are welcome to  join the Perth Film Network.  The Perth Film Network is a place to connect with other people of all levels in the industry.  You could  say it is a Social and Networking Club, however it really is  much more than that.   

The Perth Film Network summed up, is a major  marketing tool for everyone in the Industry.  Everyone can access it and  it can be used and adapted to suit everyones individual needs. We are currently working on a major Networking Website.  Everything we run whether it be Networking Functions, Actor  Training or Workshops is geared to help people prepare for the Professional  Film Market and all our lecturers etc are Industry Professionals.

• Why did you feel the need to start up the Perth Film  Network?

Perth has some fantastic Film/Television  and Acting institutions in WA. Screenwest, FTI and PAC Workshops to name a  few, who have been around for a long time and continue to provide excellent  courses and support. However, when I was looking to establish myself  and find great crew to work with, I found it very difficult.  There was  no real social and networking base for people in Perth to meet or  communicate.  I also found that most actors and filmmakers were well  trained, but had absolutely no idea where to go from there, how to  market themselves.  So after 3 years of research, I formed the Perth  Film Network offering that exact service.  Also it's a place where  people can feel welcome and be a member, no matter their level of  experience.

• What usually happens at the  events?
  

We  run Networking Events bi-monthly, people are able to register to come along.  The events are very laid back, relaxed and not formal or  structured in anyway.  Everybody comes along for one reason and that is  to meet new people and get new contacts.  We don't push people into  anything they don't want to do.  We have volunteers who are a part of the  Perth Film Network and assist at Functions.  They are myself, Naomi D  Lynch, Matt Zappala, Cazzandra James and Damian Vucic.  These people are  on hand to answer questions and help those who are not quite confident, make  connections with the right people.

I have  also started up the Actors Lounge, which I am hoping will kick off next month.  The Actors Lounge creates a safe and inviting environment where actors can come along and practise their lines with other actors, practise  cold read techniques and participate in showcases.  Actors assisting  Actors. Of course Directors, Producers, Casting Agents/Directors etc, are  welcome to come along and meet some great new talent in  Perth.

• Who is it mainly aimed at - key creatives, all  crew?
  

The Perth Film Network is for  absolutely everybody who contributes to the Film and Television  Industry.  It doesn't matter what level of experience you have, Whether  you are a Director or a Runner, a professional filmmaker/actor or an  amateur.
  

• What is in store for the Perth Film Network for  2010?
  

2010 will be  a huge year for the Perth Film Network as well as our regular Networking  Functions and the launch of the Actors Lounge.  We are running professional workshops such as "Break It Down, 2 Day Intensive Film Workshops"  with Director Mark DeFriest (18th &25th April).  These workshops give  everybody, no matter what position they hold or are thinking of doing, the opportunity to see a professional set in action, where Mark and a  Professional crew, film and break down a film scene in real time. Also  "Showreels Elite Scenes" where actors can get a scene filmed, directed by  either Mark DeFriest or James Bogle. Noel O'Neill and myself will be running  an acting/marketing course commencing next month over 8 weeks called  "Acting for your Type". New Action Film workshops where actors,  directors etc can learn how to shoot a gun for film and perform stunts  etc.  Finally a major event which I can't tell you about, because it is  all hush, hush. But it will be exciting. 

The biggest event will be the creation of a major  Networking Website that everyone can access.  We are holding a  fund raising event "Strategy Painball" on the 27th March to raise money for  this Website and also a talent up and coming Stunt Man, Mark Bentley to help  him get into the Australian Stunt Academy.

• How can people get  involved?
  

The best way to know what is happening is to join the Perth  Film Network.  You can join the mailing list which is free or become an  official member and enjoy FREE entry to all Networking Events and discounts on  all Perth Film Network Events and also discounts from selected businesses  around Perth on presentation of your memberships card.  Star Membership  is $35.00 per year (individual) or StarBiz Membership is $85 per year (small  business) in which businesses can offer discounts and services to our members  and be listed on our website.  They can register online at the Wizard  Corporation Website, temporary web home for the Perth Film Network, www.wizardcorpproductions.com.au <http://www.wizardcorpproductions.com.au>  . 
We also have a Fan Page and a group on Facebook and that  is a great source of networking.

• The creative team is very important when it comes to  FTI funding grants. What advice can you give to lonely writers or directors  looking to meet with producers or others to form  teams?
  

Ah see that is easy.  Get out, meet and get  involved with Perth's very talented Film Community. Meeting people can be  quite a daunting prospect, particularly going to regular events where many  people have already formed friendship cliques or work teams. That is one  thing that I have always been very aware of. 

The Perth Film Networking Functions are good  because everyone comes to them for one purpose.....to meet new people. It is a  friendly  inviting and set in a social environment and there is no  pressure what so ever to do anything.  You will be quite amazed at the  amazing network that forms almost instantly, as one person will know someone  that could help you and they know someone who can provide something else you  need. I have had feedback of actors scoring auditions, new film teams forming  and even paid jobs being picked up.  The best advice I can give people is  to remember to be yourself and confident with who you are.  Don't pretend  to be something you are not, people will see straight through it and it's  really hard to keep up an act and you will eventually be found out.  I  always encourage everyone to have a professional attitude towards their  film career, nomatter what level they are at.  The word business is  in "Showbusiness" for a reason.

• I hear these events fill up very quickly - have you  a new-found respect for the RSVP?
  

Ah the RSVP.  This is one thing I have  always had respect for.  The RSVP is an interesting one, people don't  realise how important it is, particularly in an industry where reputation is  so critical and first impressions count.

Not responding to an invitation is one thing,  however confirming attendance and not showing up is not only  simply rude and disrespectful, it also reflects tremendously on that  person's character and it's remembered.  I remember who doesn't turn  up to events or extra's who don't turn up on set, to me these people are  instantly unreliable and I think twice about considering working with them on  a project or employing them.  This also applies to people who don't RSVP  and just turn up, again disrespectful.  Unfortunately at our Networking  Functions we can only have 200 people and we cater, unfortunately on one  occasion 60 people didn't bother showing up or advising they would not be  attending.  That's 60 places that other people could have filled that  were on waiting lists and also we over catered. Unfortunately now the  Networking Functions are no longer completely free to attend due to  this.  In saying that there are the wonderful people who actually are  very courteous and professional and I most certainly remember them.   Those people I would employ and recommend.

Karthyn Dart asks WA ex-pat Writer/Director Michael Bond six questions about his recently completed low budget feature, Passengers.

How would you describe your film 'Passengers'?

For me it's always been an Australian film set in the US --- and a kind of inner city Road Movie. We take two journeys - the literal, across the city in real time during gridlock, and the more metaphoric journey through this couple's relationship. It's an intense excursion where essentially we view this relationship unravel, moment by moment, before our very eyes. It's confronting, unrelenting. Claustrophobic. And brutally honest.

 
Who else was involved in making the film?

The crew is a lovely mixture of Americans and Australians. My old mate Laszlo Baranyai (Noise, True Love and Chaos, Soft Fruit) flew over from Melbourne to shoot it - we met at the FTI actually, through one of Edwin Lynch's short films some years ago - and Laz went on to shoot my first short straight out of Curtin Film School so it was great to work with him again. Cast-wise I had hooked up with Cameron Daddo in LA in 2005, I think it was. I wanted to talk to him about another film I have up my sleeve and we both hit it off right away and wanted to work on something as soon as we could. I'd just finished first draft of Passengers and handed it to him and he loved it, said we can make this right now with the people and resources we can bring together. So we made ourselves a promise to never let the movie out of our control and press on and pull it together. So Daddo plays the lead and we co-Produced, which was a great experience and we intend to do more.  I think it's a partnership that will last for many years. I also cast Angie Milliken as his wife and we were fortunate enough to get Oscar nominee and Golden Globe winner Bruce Davison (X-Men, Longtime Companion) in one of the supporting roles. Having him on board was a real gift. 

We cut the film in Sydney. An old friend of mine from school days in Bunbury actually, has an editing company called Guillotine in Surrey Hills, so I spent seven weeks with him working and finessing. Good times actually. And then we did sound post in LA and graded the movie at a great facility called Keep Me Posted in Burbank. The grader - color timer they call them over there - had just finished grading the director's cut to Terrence Malick's The New World - one of my favourites - so that was a bit of a personal buzz for me.

 What was the Production process like?

The other day someone asked me that. I was thinking about it and thought - shit - were we crazy?! The film takes place during peak hour traffic in LA. The couple drive from their home in Santa Monica to Hollywood, supposedly for dinner with friends. By the time they arrive, their marriage is over. That's the premise. That drive takes about 20 minutes during non-traffic hours. Rush hour though - it's at least 90 minutes. And I was determined that this film be as honest as possible in every way. One of our American co-Producers has a studio and offered it to us, to re-create the appearance of traffic using rear projection, but I wouldn't have it. To me the shooting of the film had to be as honest as what the actors were going through - as what I was to be asking the audience to commit to. So I was determined to shoot in real traffic, no process-trailer, with the lead actor, Cameron, driving. We had six of us in the car for 12 hours a day, 6 day weeks, three and a half weeks. Support crew in a follow vehicle - wardrobe, make up, 1st AD and lighting guys. There's a great picture of Laszlo and myself jammed into the very back of the SUV on our site - hilarious! The Script Supervisor and Sound Guy in the back seats, hunched down. Looking back, it's not only nuts but quite an achievement. I'm glad we did it that way though there was a thousand ways it could have gone wrong - continuity of traffic from night to night, seeing people in shot without realizing it on the day - so on and so forth - but I'm glad we did it that way because it gives the film an immediacy that absolutely could not be recreated. And for the characters' journey - and the audience's journey with them - that immediacy is one of the most important things.
 
What's next on the cards for you and member's of the team?

Daddo and I have a slate of projects we want to get up. In that slate there's some feature projects and a couple of TV series' too. In LA it's all about contacts and fortunately he has some and over the last few years I'm building up some too. I have a TV show on which I have a writing partner and Michael and I sold that to Sy-Fy/Universal a year or so ago and now contracting is done we're belting out the script to that. It's a big deal that one, actually. Bryan Singer's company Bad Hat Harry (Usual Suspects, Valkyrie, Superman Returns, House MD) is on board so we have a pretty good chance of going all the way with this one and getting it up. Dealing with Network and Studio people is a different animal than guerilla filmmaking though, I can assure you. There's a feature project I want to come back and do in Fremantle. I think getting the money together for that one will be a long road so it's awhile off - I wish it wasn't.
 
What advice would you give to someone about to make their first feature film?

When I was conceiving Passengers I thought to myself - who is going to sit down and watch a movie with two people in a car for an hour and a half. No flashbacks, at least 70 minutes of just them. Who's going to sit through that? But I figured that your first film - for me anyway - is about taking risks and showing your particular vision of the world. I think you have to be single-minded about it. No compromise. With a low budget indie - which most first features are - you can do that. You can say - this is how I see the world, take it or leave it. We didn't spend much money on the movie because we didn't have much to spend - so that's restricting in one way but also allows a lot more creative freedom - a lot more room for expression. I think that's important especially on your first. Show the world you've got a voice - they don't have to like it - but hopefully you'll make something they haven't seen. I've had that comment too - from a lot of people. It's a vision of a relationship they haven't seen before. When I hear that, I get a warm fuzzy inside. It's not about awards or box-office this one - it's about getting to the heart of a relationship - and when I hear those comments I guess we did it. Stick to your vision. Have something to say and go for it.

 
Why Adelaide?

We finished the movie middle of last year, had our premiere in Mill Valley, one of the top film festivals in the US. We're playing some more festivals in the States this year but we're also looking to get distribution - our Sales Agent is in Berlin at the film market at the moment but with Daddo's name and it being home for both of us we wanted to do something more personal with Passengers in Australia. So we wanted to piggy-back on something happening around this time. Adelaide Festival and Adelaide Fringe - in its 50th year actually - happened to be running and The Fringe seems to me a good match for the movie. The same kind of audience that goes to Festival events would embrace independent film so there's an in-built audience and infra-structure we can lean on that can really help Passengers. We're seeing Adelaide as a chance to get some Distributors and film exec types to see the movie alongside regular film-goers - in the environment it's supposed to be seen in - the movie theatre. It's important for us to build this kind of momentum, use the screenings to get press, some reviews, build audience awareness, increase the fan base on Facebook etc, and on the back of that hopefully nail an Aussie distributor. At this point it's all about momentum.

Kathryn Dart is a writer and budding producer from Perth. She works as a mentor for the WA Screen Academy script supervisor students. Kathryn is currently working with John McGuckin of Bluestone Films and Intersight. More

Amy Broadfoot has just completed a two month North American networking tour on behalf of her new film marketing business Amičko Films. Along the way she presented five client's films at the Denver Underground FF, had drinks with the SXSW team, lunched with indie film guru John Pierson, talked macro diets with LA film producers, and coffeed it up with the Denver, Dallas, Mexican, San Fran' and LA film festivals, all before the madness of Sundance. This is her blog:

My mission: pitch, network, learn and watch. Sleep and food were the last priority. So Sundance, let's rock n' roll...


I racked up about 60 hours of work in 4 days so I think a step by step account of this would be a hell boring read, so here's a taster of a typical day at Sundance.

Day one: 6am start. Bus ride from Salt Lake City to the home of Sundance, Park City situated in the snowy mountains of Utah. Picked up industry pass and along the way met E! online news journo. Then straight into the Internet Evolution panel which discussed cloud technology and internet 3.0 and how this relates to the indie filmmaker. Then meeting with the CEO of IndieGoGo a new website where you can pitch and raise funds for your latest artist project, interesting stuff! Run to a meeting with the lovely Director of distribution for UK based company Independent, talk film industry hoo-ahh, pitch Amičko clients to a warm response, finish chat with a healthy whinge about Avatar. Now off to the New Frontier to play with new film technologies and catch a presentation by Joseph Gorden-Levitt on this brain child HitRECord.org, truly amazing medium using cloud technology to collaborate with artists world wide for interactive film production. Then to an industry reception (yay free food and drinks), mingle with filmmakers and festival programmers. Time check, can still make late night screening of The Red Chapel which ended up winning Best International Documentary. 17 hour day done, time for bed.



Amičko Films represented three WA films at Sundance, feature documentary 'More 4 Me' by Lincoln Fenner staring Marina Prior, new Perrella and Osborn short film 'It's Just Gary' and 'Fugue' by Jamie Helmer. Amy booked meetings with industry heads on their behalf to drum up attention with international sales agents, festivals and distribution, at one point she had festival programmers peering each other's shoulders to get a look at our catalogue.

The

Run Rabbit Run

Video Comp

 

AN OPEN CALL TO ALL FILM MAKERS, VIDEO ARTISTS, VJ's, DIGITAL ANIMATORS, MACHINIMATORS, STOP MOTION FREAKS, ROTOSCOPERS & OTHER SLAVES TO THE MOVING IMAGE MEDIUM

Run Rabbit Run is a weekly evening of art, underground culture & music held at the Llama Bar in Subiaco, Western Australia.

 

The Run Rabbit Run Video Comp is an initiative aimed at promoting and encouraging the making and viewing of art in the moving image medium.

 

For further details go to www.llamabar.com and click on the bunny

Mashable - The Social Media Guide have written an article on a beginner's guide to webisodes.

Its interesting, I've certainly noticed more and more people will huddle around my laptop at home to watch something I've found online. Or a TV show that isnt available in Australia. In fact some of my new favorite TV shows have been born because I've seen an episode online - and then ordered the DVD.

In reading this article it seems that simple, clever ideas work best. See what you think and check out some of the examples they've provided in the article.

After the recent shoot of the LINK funded film 'Bertrand the Terrible', which was funded in the second round of 2009, Yvette asked director Karen Farmer a few questions about working with kids and puppets.

In your words, what is Betrand about, and why did you want to make this film?

'Betrand the Terrible' is about a boy who believes he is a knight.

I really wanted to make a film that I would love to watch. Producer Bridget Curran and I both love fantasy adventures films. After musing over some fairly average ideas it all just hit me at about 3am one odd night.

How long had you been developing Bertrand before you received funding?

We received the LINK grant on our second try. It's a crazy film with some crazier sequences and we had to convince the panel we could pull it off. The script took approximately 10 months to develop.
 
I don't think there are many funded short films these days with Puppetry - can you tell me a little about the thoughts behind building Fretel as a puppet, and not trying CG?

Having a half goblin, half shrub, forrest creature in your head for months and suddenly seeing him as 3 dimensional, on set and occasionally talking to you is the weirdest experience ever.

It was never choice of CG or puppet, he was always going to be a puppet. I am a huge fan of Jim Henson's Creature Shop and growing up I adored 80's fantasy movies like Labyrinth, ET, Dark Crystal and Gremlins. The character of Fretel is laced throughout the film and I never thought on a LINK budget we could get a great looking CG character that could touch, bite, run and jump in full daylight. I miss puppets in films and with a whole kid cast I thought it would be better to have something they could interact with. Though I think more crew than cast fell in love with him.

That said we do have a CGI dragon. But he only exists if you believe in him.

Tell us a bit about working with a puppet and puppeteer.

The puppet, Fretel, took a lot of preparation and planning. We knew that we would need at least 2 puppets to play the one character. A stunt Fretel that we could throw around and the Puppet Fretel that was used for all his close ups. One of my favourite shots in the film was the cowboy switch (sometimes called a texas switch) where we threw stunt Fretel at the camera and he landed off screen and the puppet Fretel sat up into frame.

Fretel is half goblin, half shrub. Based on a very detailed description and a lot of reference pictures, Jesse Emmerson drew an amazing concept picture for him (which was freakily exactly as I had imagined). Ian Tregonning headed the team who made him and was our puppeteer. Jesse Emmerson and Alan Murphy were our onset Puppet Assistants.

Jesse sculpted Fretel in plasticine around a metal armature, then Ian moulded him and made the latex skins. He was filled with foam, then painted by Jane Tregonning.

Fretel's face is so inherently expressive. Little things like wetting his eyes and bouncing light off them really brought him to life. Puppet saliva good, puppet sweat bad.

The puppeteer needs somewhere to hide so Ian was always tucked behind logs, underneath wine barrels or lying upside down being pulled along on a dolley.

The old saying never work with children - how many children were you working with? How did you find the experience? Any limitations?

I loved working with them. We have five cast members, all of them between 11 and 14. Jenni Cohen was our amazing casting director and we wound up with a phenomenal cast. They were so kind, generous and hard working. It was a very physically demanding script and they really looked after each other.

Our two leads were Craig Hyde Smith who played Betrand and Jamaica Vaughan who played Cassie. Our three bullies were Troye Sivan, Dacre Montgomery and Macey Robertson.

We did a lot of rehearsals beforehand in acting, horse riding, stunts and sword fighting. Andy Fraser choreographed a wonderful sword fight and the kids just loved it. The shoot was fairly grueling for the crew but I think for them it was like a bizarre summer camp.

They were some of the best actors I have worked with and I am so proud of them. The difference being they had to have a chaperone on set (the brilliant Chantal De Souza) and the occasional game of funny faces.



What locations did you use?

Our locations were the Leeuwin ship and Fred Jacoby park in Mundairing. The forrest took many days of scouting to find. After a long day of falling down trails and not finding anything suitable, I decided in a moment of delirium to climb the Golden Pipe Line. Unable to climb it, I army crawled under it and came up in Narnia.

What have you learnt from this shoot?

Anything that can go wrong, will go wrong. Don't shoot in a no mobile phone coverage area and crews are unhappy when you forget jam at breakfast. Juggling fantasy and reality elements is really hard especially when the line is meant to be blurry.

What is next for you?

We are developing a few TV series ideas and I am trying to write a feature.
 
Bridget is working as a researcher and associate producer on "Who Do You Think You Are?" for Artemis International.

The Nick Shorts Film "Hairoes" which Bridget Curran produced, with writer/directors Jesse Emmerson and Gaetan Raspanti recently screened on Nickelodeon Australia and FOFF. It follows the adventures of hair stylist crime fighter, JAMES BLONDE and his 'kurlrate' sidekick GOLDIE ROCKS and the THREE HARES as together they battle the villainous hair abusing enemies of Fringe City.

At the moment we are in the thick of Betrand the Terrible Post production.

At FTI on wednesday 10th February at 6pm, FTI's Production Support Team, Yvette and Nat, held a Funding Fundamentals seminar. The seminar covered the Do's and Don'ts of the application process, how your application is assessed, and what the panel looks for when funding a project.

We have posted the slide show that we used at the seminar. Check it out HERE 

Many people ask for help with preparing an application for one of our many funding initiatives. It is a large task preparing an application and of course you want to have everything done correctly to ensure you are in with a chance!! 

Yvette is the Production Support Manager and can be contacted for inquiries relating to Hyperlink, Link, Town of Vincent, or any other initiatives or general inquiries.

Natalie is the Production Support Officer and takes care of Raw Nerve and OOMPF and can help you with other queries too.

For further assistance - take a look at Support & Advice and our FAQ section.

The Production Support department at FTI provides advice, assistance and funding to FTI Members for independent production projects. The support is provided through various programs. To find out more and to see if you're eligible, make sure you read through the guidelines and application forms for the the different funding initiatives HERE

A film competition that has no rules?! I like the sound of that.

Get on down to the Llama Bar this Thursday 4th Feb to check out the launch of Run Rabbit Run, a new competition for filmmakers, VJs, Animators - anyone into the moving image.

Your mission is to interpret the theme "Run Rabbit Run" and submit your film by March 5 2010.

For more details, check out: RUN RABBIT RUN and come to the launch night tomorrow where DJs and tapas/drinks specials will make you one happy bunny.