Scene Stealers

For an emerging filmmaker, the anticipation of starting a new film can be a daunting yet thrilling project. For writer/director Jacob Holmes-Brown, translating his work from page to screen is an exciting process, as production for his film The Rag Witch continues this week.

The film follows Marcus Stone, a shattered and disillusioned young man who is dealing with the brutal death of his childhood friend, Leon. Marcus deserts the same military detachment that he and Leon served for over six years, and falls into the hands of a powerful individual known only as The Witch. Drawn into the Witch's shadowy world by her blind servant girl, Sofia, Marcus is offered a chance to escape and a chance at a new life.

Holmes-Brown spoke to FTI about what audiences should expect from his period drama feature.

 

What would you consider your original inspiration for writing the screenplay?

 I set out to write a story that merged folktale conventions with a more modern environment, in which a folktale would find itself out of context. In this case we have a deserting soldier, Marcus, whose only hope of escape lies with a "Witch" or at least a woman who styles herself as one. Our story takes place during the Great Depression in Australia, in an age when such "folktales" should have become obsolete.

 The inspiration for the story came from a quote in the first episode of the TV series Carnivale: "There was magic then, nobility, and unimaginable cruelty. And so it was until the day that man forever traded away wonder for reason." Combine that with an obsession for myths and Russian history. How that translates into the finished film is an interesting process, but I aimed to write a film in which the folktale conventions would be explained with reason. Yet we are still left with the tale of a broken soldier finding his true self and overcoming his adversity; a tale in heroic tradition.

 

As a young, emerging filmmaker, how would you describe your experiences with getting your script into production?

 

From the beginning I think Nikit Doshi (Producer) and I realised that this would be a self-funded production, as it had to run according to our own schedule and film-making style. So it is essentially an incredibly low budget feature film, but we have been exceptionally blessed with the people we have had around us from the beginning of the project. I have been particularly fortunate with my Director of Photography, Arthur Bienkowski, who from the very start of the film knew exactly what kind of film I was setting out to make.

 

With very little experience directing outside of the university environment, I have had to challenge myself in working with cast and crew in new and very different ways. Often we have attempted exercises and discussions by instinct rather than prior knowledge. But the process of working with my actors, particular James Porter, Rina Freiberg, Nina Deasley and Cody Fern, to develop their characters and to build our scenes, has been very rewarding.

 

The whole process has been quite a startling experience. We have experienced, I would think, a great deal of the knockbacks that emerging film-makers are struck with. From location issues and filming delays, to changes in cast and crew. But we've used each opportunity to further hone the film, and to concentrate our efforts in getting the film made. It has proven to me that with enough faith and perseverance you can make your film, on your own terms.

 

Do you have any expectations or apprehensions going into the first stage of filming?

 

It is always interesting turning up to set on day one with a crew that you've never worked with before. A cast who remain, under your hand, untried. But now that we are halfway through our first block of shooting I am humbled everyday by the willingness and talent expressed by our amazing crew. Rarely have I seen a group of people work so coherently and comfortably together.

 

Personally, I am waiting to see how my writing fares once taken through the process of rehearsal, shooting and editing. I think that this is the real test of a director; to translate everything that occurs into a coherent whole, with one core and one mind. I am very excited to see my actors step into their scenes. We have had considerable conversations regarding the development of the characters and I look forward to seeing them allowed to grow and breathe within my scenes.

 

Can you tell us about the filming locations?

 

As it is a period film we went on a long process to find a suitable building for our set. With a budget as low as ours, building our interior sets was never an option and so we knew that we had to locate a building that would give us everything that we needed in one space. I think I have now seen every significant pre-1930's building in the Perth metropolitan area due to our location scouting!

 

The building in which the majority of our film takes place is the Old George Hotel in East Fremantle. It is a National Trust building, but it maintains the art deco type look that I always associated with the Witch's building (high ceilings, white walls, ornate cornicing). Other locations include some historic areas down south and parts of the John Forrest National Park.

 

When can audiences expect to see the final product?

 

That is the #1 question. But I believe that the film will be completed shooting by early September and we shall be completing the post-production process by the end of the year, or early next year. From there we are aiming at International film festivals with the goal of an International premiere.

 

 

Check out The Rag Witch official site, or become a fan on Facebook.

 

 

THE WAITING CITY (2009)

Written and directed by Claire McCarthy

Starring Radha Mitchell, Joel Edgerton, Isabell Lucas and Samrat Chakrebarti

 

Ben (Edgerton) and Fiona (Mitchell) are a youngish Australian couple who travel to Calcutta to adopt a baby. Instead of a smooth well-organised process, they encounter another culture's bureaucracy and find the frustrations of waiting puts a strain on their marriage.

 

From the moment Ben and Fiona arrive in Calcutta, they carry with them a tension about the adoption. They are restless because their lives are on hold until they see their child and take her back home to Australia. They have waited for years and when they are forced to wait days longer than they expected, they are not mentally prepared for the increase in tension that this further delay causes.

Calcutta is utterly foreign to them, but in an attempt to gain further knowledge for their child when she gets older, they explore the city and it's culture. Fiona is also winding up a legal case she is working on, and therefore spends hours working on her laptop or Skyping her colleagues in Sydney. The serious cracks in her and Ben's relationship are revealed. And we are left wondering if the adoption will happen or even whether this couple are good candidates to raise an adopted daughter.

 

The plot of The Waiting City is light on incident. The journey of its characters is largely internal. However, I was fascinated by that journey. First time feature director McCarthy has created a solid and engrossing drama. Ben and Fiona's drive to have a child will be familiar to many and their bewilderment at dealing with an utterly foreign culture will also strike a chord.

 

To take a small and internal story and open it up enough to make a feature is a feat that many Australian independents don't achieve. McCarthy's success in doing this is due to a number of well-handled elements. The story has just enough meat on its bones to make it worth investing in emotionally. The performances of the two leads are very strong. Mitchell is often excellent in her movies, but not always in the right vehicle. The role of Fiona is perfect for her. Edgerton is a charismatic actor, who has played a number of similar-feeling roles, but the part of Ben is his best performance for a number of years. McCarthy's way of shooting Calcutta puts the audience right in the thick of things. You are not kept at a comfortable travelogue distance; rather you are thrust in the middle of the crowd and onto the street right along with Ben and Fiona.

 

The film's cinematographer, well known in Western Australian film circles, is Denson Baker. He was in Perth for The Waiting City's launch and later to do a master-class at the FTI. I had a brief conversation with him and mentioned how good it was to see an Australian film that worked. He, quite rightly, put aside my cultural cringe and said that he liked to think of the film as international.

 

This is the best way to consider it. We can be proud that a film made with Australian talent is this good, but perhaps more noteworthy is that it has the chops to be shown anywhere and doesn't rely on quirky Australian traits or our wide brown landscape as its hook. It's a character story that relies on craft and talent.

 

Obviously this is not a film for an audience looking for a vast tale of externalised emotions and death-defying actions concluding with giants orange fireballs in the night sky over Calcutta. This is a film of details, primal emotions and the threads that connect people, make relationships and create families. It deals with national identities and familial roles. If you like the idea of a movie where you join the dots and read what is implicit, then you could find The Waiting City very rewarding.

 

The film is currently screening at Luna Cinemas in Leederville. I rated it an 8/10.

 

 

Reviewed by Mr Trivia.

 

It sounds clichéd, but when I became a mother I saw the world through different eyes - the eyes of a protector.  Yes, I have been an older sister who has fought her brother's battles.  Yes, I have stood up for injustice I've seen in the world.  But there is nothing more powerful than the protectiveness a parent feels for their small, defenceless child.

On the surface, 'Cropsey' is an exploration of the mythology of the bogeyman:  That faceless threat that parents and other children perpetuate to make kids fear the unknown.  But the reality is that there ARE bogeymen (and women) out there that actually will hurt your kid if they get a chance.

This frightens me to the point of restricting my child's liberty.  I take her to the park and see some of the people hanging out there, and I can't imagine a point in her life when I'm going to feel comfortable letting her be in the vicinity of those people without me there.  One day I'm going to have to, I know.  But right now, after seeing this film, it might be when she's about 35.

Cropsey is a New York legend that kids told around camp fires in New York state for years.  After the gruesome discovery of murdered 12 year old Jennifer Schweiger in 1987, Staten Island is abuzz with reports of a real life Cropsey who preys on mentally challenged kids.

The prime suspect, Andre Rand, worked at Staten Island's infamous Willowbrook Mental Institution, a place exposed by a young Geraldo Rivera in 1972 for the degenerate treatment of it's young wards.  The footage is truly terrifying.

Rand is then accused of abducting and murdering another four kids from around the area.

One of the things this film raised for me was:  If my kid was abducted and murdered, how much evidence would I actually need to be sure they had the right guy?  It probably wouldn't be much.  And that's scary.

Cropsey screens again on Sunday at 1:30pm. 

I love a good film festival.  And it's more than just the films, it really brings out a sense of community.  One person has been there for pretty much every session, local filmmaker and projectionist extraordinaire Pete Gurbiel.  I asked him what he's enjoyed so far and what he's still looking forward to:

I was looking forward to THE LOST THING big time. I've been a fan of Shaun Tan's illustrations since he provided the cover artwork to Lotel's 2000 Album. The execution of the animation was spectacular, and lifted Tan's heady concepts right off the page - massive approval!

Things to look out for are THE LOVED ONES and NIGHT OF THE TRIFFIDS, shows you'll be hard pressed to catch on the big screen any time soon.

What's everyone else looking forward to?

It's on.  Tonight.  At the Astor.

If you're into animation then you won't want to miss this fantastic selection of short films. Included is Shaun Tan's 'The Lost Thing', which recently won the Yoram Goss Animation Award at the Sydney Film Festival.  You can view the trailer here.

Local animator Pierce Davison's short 'Backstage', which was produced as part of the Nick Shorts initiative is also screening.

Guaranteed good times tonight, Tuesday 13th July, at 7pm.  Ticket info online.

Also in animation news, local industry group WAnimate held their annual WAM BAM 48 hour speed animation comp on the weekend resulting in these four great short films:

The Pumpkin

Real Vampire

Bee Happy

Passion Play

Last night I realised how much I've been taking my hair for granted.  I don't dye it, I don't get it cut that often (note to self, probably should get it cut more), and I definitely don't burn it with chemicals to make it soft and bouncy.  Rev's opening night film 'Good Hair' exposed the multi billion dollar industry based around black women's hair.  If you missed it last night, it's screening three more times.  Details here.

But opening night is about more than just the film, it's also about the party.  Pics are now up on the FTI Facebook Page.

Friday night's pick?  Revel-8.

Saturday pick:  When You're Strange

Sunday pick: Howl

It's almost Rev time, one of the most exciting times in Perth because you can go to the movies every day for 10 days and see something amazing.

This year's lineup has an awesome selection of features, shorts and docos.  Thankfully those good people over at Rev have a list of 'Hot Sessions' on their website - make sure you get your tickets in advance for those films because they're close to selling out.  Ticketing information can be found here.

This year two Western Australian features have been selected to screen - A Day at the Oasis by Tim Beckett and Tim Lethbridge and The Sculptor by Christopher Kenworthy. 

ScreenWest is once again presenting Get Your Shorts On - a selection of some of the best short films produced in WA this year, and local shorts Rock N Roll Mud Wrestling by Mike Hoath and Backstage by Pierce Davison will be screening prior to features.
 
And don't forget, Rev isn't just a film festival - there's a conference as well with sessions on distribution, the state of Australian film and independent production.

Our Rev Hot Picks

Opening night:  Good Hair

Animation Showcase

Best of Domefest

Get Your Shorts On

One Hundred Mornings

The Loved Ones

American: The Bill Hicks Story


Probably best to get a gold pass.  See you at The Astor.

FTI spoke with renowned filmmaker Jon Reiss about his bestselling Think Outside the Box Office workshop, which runs in Perth as a part of RevCon. Reiss' workshop addresses methods of hybrid marketing and distribution for independent filmmakers.


You stress the importance of engaging your audience as early as possible. How early do you suggest and how are you engaging them?

I suggest either from inception of the filmmaking process - when you are going into pre production - no later really if you are able to. The process starts with audience identification - specific identification. NOT 15-25 year old boys/men, but something more defined than this. Then research as to how these people receive information, eg what if any social networks, blogs, organizations? And then start connecting with them in these places. All films are different and all films have different audiences who all consume information in different ways.

Has distribution changed in the time between your promotion and release of Better Living Through Circuitry and Bomb It!?

Yes, there are much fewer lucrative overall deals for filmmakers. Not that these were the best for all films or filmmakers. In addition consumption patterns have shifted and the internet has opened up huge opportunities for distribution and marketing to filmmakers.

Could you describe your distribution and marketing strategy for Bomb It!?

In a nutshell I created a split rights hybrid strategy in which I did my own theatrical release, partnered with a DVD company and sold the dvd and other merch from my website and created a very intricate parsing out of all of my digital rights. Marketing has been across numerous media and strategies from traditional press to affiliate marketing to street teams and everything in between.

Would you suggest that filmmakers create transmedia content alongside any feature length films they produce?

I think it's the future for film personally.  I think transmedia opens up so many creative doors for filmmakers - they should be jumping on it.  The possibilities are endless - it's the wild west for us.

How creative do filmmakers need to be about marketing their own content?

Very!

Do you have any other tips for independent filmmakers?

Create your own unique distribution and marketing strategy for your specific film. Filmmakers need to consider their goals, their film, their audience, their resources and the variety of rights are available to them which I have reclassified as Live Event/Theatrical, Merchandise and Digital. I also strongly recommend (especially if you don't like doing this stuff) engaging what I have termed a Producer of Marketing and Distribution. All of this is what the workshop is all about.

Think Outside the Box Office Workshop
Perth Art Gallery Theatrette
Saturday 17 & 18 Sunday July 2010
Check out our website for more information about the workshop and how to get involved.

FTI spoke with Chris Kenworthy, co-writer, producer and director of The Sculptor, about his inspiration and processes during production for his latest film.

What was the original inspiration for the film?

Probably the poets, Ted Hughes and Sylvia Plath. What happens when two extremely talented people try to live a creative life together? And what happens when you throw the occult into the mix? Ted and Sylvia were quite heavily involved in the occult, and one of their friends went so far as to say that it was black magic that killed Sylvia. We had no desire to write a film about Ted and Sylvia, because you couldn't do justice to them in two hours, but we took some of their intensity and some of their history, and used that as a starting point.

Atmosphere is really important to the story, could you tell us about how the cinematography and sound have contributed to the rural gothic Australian claustrophobia of the film?

The Australian landscape is often shown as open all the way to the horizon, but I wanted to show that you can feel quite smothered and trapped out there. The sense of claustrophobia was largely created by using locations that had some sort of wall around them, such as a wall of rock or a wall of trees.

For the night scenes, the idea was always to have a smooth roll-off into complete darkness. When you're outside at night, that's often your experience. You can see some things clearly, but there's a lot of complete darkness in the spaces, and that's frightening.

Good sound design was important to the whole film, but at all times it was used to illuminate the story. I never want atmosphere for the sake of atmosphere. Everything has to make sense in terms of story.

What brief did you provide your Production Designer, given the importance of design to the story?

I started talking to Emma Fletcher eighteen months before the shoot, but there wasn't a brief so much as an ongoing discussion about source material, colour and texture. I created some pre-viz images for her, but after that I preferred to let her create and then I'd choose what suited the film. I went in to the workshop most days during pre-production and she always had something good to show me. I once told Emma I wanted some of the sculptures to be really big, and she took me literally. Some of them ended up being massive. They took weeks to create, transport and assemble, even though they're only on screen for a few seconds.

In terms of your film making process, are there any techniques that you rely on? Do you find these are project specific?

So far, I've never had a project specific technique. I always choose the lens, and I choose where the camera goes. Some directors leave this to the DP and concentrate on performance. But I think it's my job to get the best performance from the actors, and find the best way of capturing it.

Mark DeFriest once said to me that when you're almost done with one set-up, you have to start planning the next one in your head, so nobody's waiting around when you call cut. It's really good advice, although it takes a lot of concentration to watch one take while blocking the next shot with another part of your brain.

How hard was it to produce the film as a privately funded production?

In many ways it was easy, because it took just six months to raise the money, which is really quick. On the other hand, no matter how much money you have, you're always fighting the clock and the budget. In that sense, it was like any other movie.

There was a lot of pressure, but the pressure didn't come from it being privately funded; it came from being producer and director on the same job. You have to be incredibly disciplined with time and money, but still find the space to be creative. And you have to live off three hours sleep a night.

You have a take in the film lasting a full 3 minutes that was not planned. Could you tell us how this came about?

We'd spent hours on some really technical shots, and the actors were bored and drained. I think everybody knew that we'd just spent nine hours working on a scene that was never going to make the cut. We had to do something to get inspired again, so I decided to shoot one of the key scenes in a single Steadicam shot before the sun went down. The actors weren't expecting that scene for another few days, but they rose to the occasion and didn't miss a single line. You've never seen such energy and commitment on a set, and it was just what we all needed.

Were there other elements in the film that were created during the shoot?

New elements were brought in all the time, whenever they met the needs of the story. Directing is about harvesting all the talent on set, rather than ordering people around, so you talk to everybody and listen to their ideas. The little details that are added on the day can make all the difference to a scene.

Future Shorts Australia had its premiere screening in Fremantle last week. Pink wigs and all, it was entertaining to see the opening night unfold. Held at the Fly By Night, the crowd was a unique mix of young and old, family and friends, filmmakers and film fans alike.

You could sense between the flow of drinks and the social chatter, there was a buzz about the headlining Perth short film, 'It's Just Gary'. With an introduction from Future Shorts' Australian Program Director Amy Broadfoot, audiences could tell that the event - and future events - would be about showcasing the most innovative local and international shorts.

Musical guests Brash and Sassy entertained and opened the event with their electro 80s beats. The venue looked brillant, providing an intimate and casual atmosphere but with a quirky twist. Highlights from the night included Sons of Tu, a New Zealand war comedy perfectly illustrating that boys will be boys. The emotionally captivating animated documentary Slaves from Sweden, also made a powerful impact on the night. Not forgetting the old school arcade gaming film Pixels from the US, a quick short that became a memorable favourite.

The night ended a little awkwardly, and perhaps a closing message or response would have rounded off the night perfectly. Despite this, the premiere of Future Shorts Australia left the audience with plenty to talk about. The films were a brilliant mix of comedy and conflict, animation and live action. If you missed the event last week, make sure you check out the encore screening on June 29, 2010.

Future Shorts Australia can be found on Facebook.