March 2010 Archives
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.
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.
- What is the Perth Film Network and how long has it been running for?
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.
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.
- Why did you feel the need to start up the Perth Film Network?
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.
- What usually happens at the events?
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.
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.
- Who is it mainly aimed at - key creatives, all crew?
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.
- What is in store for the Perth Film Network for 2010?
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.
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> .
- How can people get involved?
We also have a Fan Page and a group on Facebook and that is a great source of networking.
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 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?
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.
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.
- I hear these events fill up very quickly - have you a new-found respect for the RSVP?
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
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.
Michael Bond
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.
Cameron Daddo and Angie Milliken
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
