Crows Feet - Raw Nerve 2009
Nat Eaton from Production Support at FTI had a quick chat with local Producer / Director / Writer Megan Palinkas, about the process and experience gained from working on the recently wrapped shoot for the 2009 Raw Nerve funded film "Crows Feet" and where she hopes to be when the project is delivered.
1. How have you found producing an FTI funded project?
I've had to beg, steal and borrow to make this film. As grateful as I am for the grant, the simple fact is that $2000 doesn't go very far. No-one's getting paid their worth, if anything, and people let you down. It's been very stressful at times but the experience has been such a rich one and I've learnt more than I ever expected to.
I'm glad I produced this film. It's important to me as a writer/director to have some ownership of my work but next time I will definitely source a producer. No matter how much you put into place to prevent it, shit happens on set and the producer is the 'go to' man. On set I'd rather not waste energy on debating whether the runner should shoot off to Osborne Park to pick up a spare battery.
2. How did you come about applying for Raw Nerve?
I come from an acting and writing background but recently I've been drawn to the idea of exploring the other side of the camera. It's a nice change to be in control of the creative proceedings rather than at the mercy of them. I knew of Raw Nerve and thought it would be a great opportunity to cut my teeth as a first time director. Luckily the panel liked the script and took a chance on me.
3. How would you describe the filming process of 'Crows Feet'?
The shoot was probably the most enjoyable part of the process for me. It was immensely satisfying to see that script come to life because the 2 main characters are based on my grandparents. We actually shot most of it at their house because I figured it would save a bit on production design.
The director of photography, Anthony Hanson recruited the crew. They were wonderful, especially first AD Rosie Bright who did a superb job corralling extras and keeping us on schedule.
4. Who else was involved with the project?
Anthony Hanson was the director of photography on the project and his creative contribution was priceless. We went in pre-shoot and created digital storyboards so on the day I had a very clear idea of how I wanted to execute each scene. He just 'got' my vision and none of my requests were too hard to carry out, bar for one infamous steady-cam shot.
On the acting front I don't have enough good things to spout about my lead actor Clem Littleton. He was simply magic. I can't wait for audiences to see his performance.
5. What was the most interesting incident on set during filming?
Let's just say that capturing a wild bird and an actor in the same frame is pretty tricky.
6. What knowledge have you gained through this process that will benefit you in future projects?
Being an actress I was familiar with crew roles and common filming techniques, but now having experienced the process as the 'captain of the ship' I have a renewed respect and fervor for film and the people who work together to create them.
I can't wait to make my next one. I have a ton of scripts that I'm working on at any one time but at the moment I can't see the forest for the trees. There's one in particular that I would love to make but it's a period piece and that equals chunky budget so I'll consider my options come the new year. I have to get this monkey off my back first and we're on track for a mid-December completion. I just hope people will like it.
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