Recently in Raw Nerve Fund Category
On Wednesday 17th February, the 5 films funded under the Raw Nerve initiative for 2009 were screened at the Bohemia Outdoor Cinema. The night was a success with many of the films cast and crew showing up to show support to the filmmakers and to watch the films on the big screen.
In 2009, teams were awarded $2,000 cash and $5,000 in-kind assistance from the Film & Television Institute of WA to produce a 5-minute short film.
The five funded under Raw Nerve 2009 were:
CUBS (Prod. / Dir Jules Duncan)
I Will NOT Be Outbid (Prod. Mel Judkins / Dir Tasha Stephenson)
Trash Out (Prod. Orellie Tylor / Dir Phillip Walker
Crows Feet (Prod. / Dir Megan Palinkas) and
The Washing Line (Prod. Megan Riley / Dir Penny Bedford).
This year, all the Raw Nerve films were of high quality and the filmmakers should be really proud of what they achieved. It is not just me that thinks this! Many of the films have achieved success with local and national short film festivals - with more nominations and awards to come I am sure! 'CUB's' was shortlisted for Tropfest, and 'Crows Feet' and 'I Will NOT Be Outbid!' have been nominated for WASA's (for more info please check out the films HERE).
The evening also served as an information session for the initiative in 2010. The updated Guidelines and Application form is now available on the FTI website HERE.
RAW NERVE is a joint initiative of Screen Australia, Screen Development Australia (SDA) the national network of screen resource organisations and the Film & Television Institute WA. The aim is to provide early career filmmakers with an opportunity to showcase their filmic storytelling abilities. This year, funding consists of $3,000 in-kind and a $3,000 cash component, to cover fees for key positions (camera operator, sound recordist, editor, etc) as well as production and design expenses specific to each project. There are provisions for mentors to be attached to the projects, further details of this will be announced at a later date.
Just a few handy hints to remember when preparing your application for funding at FTI. These are available online along with other information about preparing an application. This information does get updated so check it regularly!
Please send me an email if you have any queries.
FORMAT THE SCRIPT CORRECTLY
Not hard! Email Nat for a script template. Or download from the Screen Australia website.
READ THE SCRIPT OUT ALOUD
Is the dialogue naturalistic? Do people talk like that? Then neither should your characters! How long is the film? Does it make sense? Read out directions also - don't describe too much. Only include directions that help reader to understand character development. We DON'T need to know every minute detail.
HOW LONG IS THE SCRIPT?
Raw Nerve projects should be around 5 minutes long - this means the script should be no more than 6 - 7 pages long. OOMPF projects should be 9 - 13 minutes long. Scripts should be no more than 15 pages.
DO A SPELL CHECK
This is not hard! Spelling errors really irk panelist and are so easy to avoid!
SHOW IT - DON'T SAY IT!!!
Convey information visually. Dialogue communicates backstory, background information and any facts that are necessary to the story.
For example, throughout a film, a character could wear a wedding ring and have pictures of himself with a woman and child in his wallet and in his house. Yet you never see this family in person. The audience is clever enough, they will surmise that the character has been through a divorce or separation, and that he still cares for his family.
BEWARE OF EXPOSITION OVERLOAD!!
Early career filmmakers worst enemy! A very common occurrence in submitted projects. Don't have the majority of exposition too early in the script. It lessens the opportunity for shocking revelations and plot twists towards the end.
Try to disperse exposition evenly throughout. Only include what is necessary for the audience to understand the story...but no more. Anything not required to help the audience understand the story right away can be saved for later.
INCLUDE A PRODUCTION TIMELINE
You don't have to specific include dates - periods of time are ok. How long will you allow / do you feel you will need for Pre / Production / Post?
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.
ABOVE: Scott Eathorne's SELLING HOPKINS
Remember this?
Q. How do you get of an elephant?
A. You don't, you get off a duck....
Nah, it doesn't age well.
The duck we are disembarking from at this stop has more to do with cricket. Specifically, the metaphorical duck's egg that represent zero which equals the number of funded films you new filmmakers have made so far.
But it can happen. You need to start with information.
You've got a story to tell and need some money, but you've never shot anything apart from the time you faked your cat lip-synching to Amy Winehouse for Australia's Funniest Home Videos.
Here's where the Film and television Institute can help you. Each year we run the Town of Vincent Film Project in conjunction with the good people at the Town of Vincent. We also run the Raw Nerve Fund in conjunction with the Australian Film Commission. Although different funds the films have a similar scope and length.
And we're about to screen the 2007 Town of Vincent films and the 2007 Raw Nerves for the edification of new filmmakers keen to make their markby making a very short, funded film.
Cue Blurb:
Raw Vincent Screenings
Got a 5 minute film idea you can make for $2000?
Do you want to apply for the Town of Vincent Film Project?
See what other filmmakers working on projects of this length and budget have achieved.
The FTI is screening a program of 8 dramas and documentaries from the 2007 Raw Nerve Initiative and Town of Vincent Film Projects.Following this, the FTI’s Production Support staff will hold a Q&A session for potential Town of Vincent and Raw Nerve applicants.
How much drama can you put into five minutes? How much information can you pack into $2000?
Come to the Raw Vincent Screenings and find out.
7.00-8.00pm Film Screening
8.00-8.30pm Q&A Information Session
Tuesday July 8, 2008
FTI Building
92 Adelaide Street
Fremantle
PLEASE NOTE THAT THE DATE OF THIS SCREENING HAS CHANGED TO
Tuesday 8th July 2008.
PLEASE UPDATE YOUR DIARY.
Tuesday 8th July 2008.
PLEASE UPDATE YOUR DIARY.
