FTI Blogs

The Perth Film Network - what's it all about?

2010-03-03T07:03:34Z

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.

Michael Bond spends over three weeks in LA traffic for 'Passengers'

2010-03-02T06:31:28Z

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.

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

Ronan's Escape Red Carpet Premiere

2010-02-25T05:20:33Z

Monday the 15th of February marked the world red carpet premiere of RONAN'S ESCAPE at Hoyts Cinema. Written and directed by A.J. Carter, a West Australian filmmaker now based in Los Angeles (USA), the film was shot in the majestic landscapes of WA's wheat belt on 35mm and Super 16mm in the summer of 2008 and 2009.

A.J. Carter (Writer, Producer, Director), David Lazarus (Ronan), Brad Major (Producer), David LeMay (Director of Photography)

RONAN'S ESCAPE is a tragic, yet visually beautiful film about a 14 year old school boy named Ronan (played by David Lazarus) growing up in a rural West Australian town. He is the social outcast of the school and has been for years. The film follows the last few hours of Ronan's day at school before he makes his escape in a heartbreaking and somewhat controversial ending.

The film was a massive collaborative effort and included a team of established industry professionals including director of photography David Lemay, special effects and props guru Jeremy Shaw and Oscar nominated Producer Martin Mhando. Other names included co-writer and editor Lukas William Martin, producers Kate Separovich, Brad Major and Jennifer Carter, and young American composer Hamilton Cleverdon.

A.J. Carter (Writer, Producer, Director), Luke Martin (Screenplay), Kathleen Separovich (Producer), Brad Major (Producer)

The evening kicked off with red carpet photography, complimentary pre-drinks and food. Around 330 guests were then invited to take their seats as A.J. Carter gave a moving introductory speech about the film, complete with special thank yous to all cast and crew. After the 15 minute screening, a question and answer session was held with A.J. Carter, David Lemay and David Lazarus fielding many interesting queries from the audience.

The premiere was a successful celebration of the hard work employed by all the local filmmakers involved and in appreciation of the private investors who funded the project. It highlights the high quality cinema capable of being produced right here in Western Australia.

The film is currently on the international film festival circuit, having just screened at Sedona International Film Festival (USA) on Tuesday the 23rd of February. The film is also an Official Selection for Byron Bay International Film Festival (AUS) which kicks off in March.

Kristy Symonds
Associate Producer and Public Relations Officer, Ronan's Escape

Power To The People

2010-02-25T04:27:26Z

WASA - People's Choice 3 Screening

The WA Screen Awards People's Choice Awards ran like clockwork last night. The third night of screenings ran for more than two and half-hours as more WASA nominated films were shown to the public at the Bohemia Outdoor Cinema at the FTI.

The night kicked off with the crowd-pleasing STUFFED (p. Alex Giles). This quirky, toy-themed comedy was directed by Øyvind Opshaugas. The same director was responsible for the Kazimir Sas produced and written THE BUBBLEOLOGIST an ethereal film that lay somewhere between a poem and a documentary.

L- R Jules Fortune, Freya Beueschlce and Magdalena Wozniak. Photo: Dylan Tilbury

Serious drama abounded with Corrie Jones' beautifully realised Hyperlink-funded film WATER (p. Sarah Shaw). The sensitively directed short said a lot with very little dialogue as it traced the journey of a boy dealing with the aftermath of a life-altering accident. Zak Hilditch's ARRIVALS & DEPARTURES (p. Liz Kearney) was screened for a second time. The story of Rory's 18th birthday and his brother's idea of an appropriate present was the subject that won the City of Fremantle's Best Fremantle Film Award in the recent Bohemian Shorts Film Festival.

L - R Naomi Osborn, Tim Grey-Smith and Evie. Photo: Dylan Tilbury

Simon Larkin's SORRENTO (p. Sophie Matthewson) dealt with the damage a secret can do. The power of secrets to destroy friendships was also the theme of Mike Hoath's THE BUCK'S PARTY (p. Freya Brueschke). The latter film was a slice of life that looked beneath the expectation of the soon-to-be-wed.

L - R Meg-Isabella Hewett, Madi Hall and Tess Godfrey. Photo: Dylan Tilbury

Comedy was also part of the program with a second screening of Mel Judkins and Tasha Stephenson's E-bay documentary I WILL NOT BE OUTBID, a Raw Nerve funded film. Julia Ngeow's schooldays film CARLOS RULES THE WORLD (p.& w. Ethan Marrell) definitely made an impression with the crowd. Laughs could be heard in Princess May Park for both productions. The comic crowd pleaser of the evening was Vincenzo Perrella and Dan Osborn's THIS IS PERTH. The short went viral on YouTube in 2009 and it's easy to see why. The audience chuckled through the references to Old Bertie and Parliament House and particularly enjoyed The Revolving Prison.

L - R Tasha Stephenson and Rupert Marcello. Photo: Dylan Tilbury

Documentary was also strong in the night's program with Denise Groves MY NAN AND THE YANDI (p. Jennifer Gheradi) a Deadly Yarns funded film. The film is simply told but makes all its points clearly. The night closed out with Mat de Koning's HARMONY IN HALL'S CREEK (p. Jo Randell) The 25 minute film shows how music can help heal a town's troubled past.

The 200 plus crowd included Zak Hilditch, Alison James, Aaron McCann, Mat de Koning, Vincenzo Perrella, Tasha Stephenson, Damien Spiccia, Shannon O'Neill, Ella Wright and John Rapsey.

NOTE: A fourth People's Choice Night has been scheduled for this Saturday Night (20th February) FTI Screen Events Manager Liz Sideris explained, "There were more nominations in all categories this year and we also have many longer films to program, so it became essential to put on an extra night."

So there you have it. Get down for the fourth and final night of the WA Screen Awards People's Choice Awards. Bring your 'phone and get ready to vote for your favourite

Phil Jeng Kane
Editor, Monitor Magazine

Amy Broadfoot reports on Sundance

2010-02-24T13:53:32Z

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...

The Egyptian Theatre - the hub of Sundance

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.

Dan Gorden-Levitt who happily explained his brother's brain child HitRECord.org

But to recap on the whole Sundance experience, I have to say it was a bit of a let down as far as leading film festivals go. The general industry opinion is that Sundance has peaked, and although still good, it has had its time and we should now be watching new comer SXSW to take over the reigns. 'What, Sundance not so cool?' you say, sadly yes. It's expensive, it's not very user friendly and the admin team do a average job. Perhaps we have too higher expectations of the mighty and all powerful Sundance. But due to the reasons above the industry are choosing to attend other festivals such as Toronto IFF or my personal favourite Karlovy Vary IFF. Don't get me wrong, Im glad I went and the visit proved extremely successful for my clients so big thank you to ScreenWest for providing my travel grant, but I'm in no rush to go again. We'll just have to see what Locarno IFF brings for Amičko Films in August.

Installations in the New Frontier

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.

Run Rabbit Run - Video Competition deadline extended!

2010-02-24T02:57:47Z

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

A Beginner's Guide to Made-for-Internet TV

2010-02-23T02:26:04Z

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.

Raw Nerve Screening & Info Session

2010-02-22T08:16:55Z

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.

The Toll Premiere

2010-02-19T10:15:13Z

Sunday 8 February was the premiere of the locally made independent feature THE TOLL. It is the third feature directed by Zak Hilditch. His first two were The Actress and Plum Role. The Actress garnered good reviews, won awards and was eventually distributed on DVD. THE TOLL is about two men who go into the forest of the South West, searching for a treasure they believe has been stashed away by a dying man. The two men are played by Steve McCall and Nick Britton. Other cast includes Rose McKenna, Talei Howell-Price and Kingsley Judd.

The script was written by McCall and Hilditch and the film was produced by Antony Webb. Webb was also cinematographer and editor of the 84 minute feature. The experience this team has gained in making three features and a string of shorts was obvious in the finished product. THE TOLL is an absorbing two-hander with an unpredictable story, strong performances and a convincing resolution. The independent, ultra-low budget feature is easy to get wrong, however this film is solid in all departments including the music which was composed by Dave Richardson and Steve McCall.

There were two screenings of the film in the FTI Cinema. The first was for friends, family, the second was for Industry. Webb and Hilditch gave an opening speech at the beginning of the second session in which they thanked their dedicated crew who worked for love in cold and gritty condition during a wet winter. There was a lot of love in the room and an extra dollop went to Ethan Marrell for his firsting of the film. He then proved his credentials further by reminding the audience to shut off their mobile phones as the lights went down.

There was a conjoined after and pre-party for the two audiences. Seen at this event were: Debbie Thoy, Wade K Savage, Pauline Butterworth, Stuart McKenzie, Ash Gibson Greig, Alex von Hoffmann, Tristan Fidler, Naomi Lynch, Lauren Hestelow, Jacob Fjord, Pierce Davison, Liz Kearney, Luke Jago, Michael Hoath, Janine Boreland, Henry Inglis, Lauren Elliot, Aaron McCann, Kate Csillag, Anthony Hanson, Alison Hayles, Alison James, Liz Sideris, Ken Miller, James Helm and Steve Sheen.

Phil Jeng Kane
Editor, Monitor Magazine

WASA - People's Choice 2 Screening

2010-02-18T05:44:57Z

Week 2 of The Outdoor Bohemia Film Festival kicked off last night (Thursday 11 February) with a packed out screening of the WASA People's Choice Awards. The WASAs are the WA Screen Awards and this event allows filmmakers and filmgoers the opportunity to see the nominated early career films. An audience of 300 plus attended in perfect conditions to see a slew of music videos and short dramas.

Brendon Nass

The night definitely had a science fictional bent with the shorts DISTANT FUTURE (d. Aaron Moss, p. Ellena Stacey) RUNNER (d. David Meadows, p. Zoltan Vincenze) and 20 CREDITS hitting the big outdoor screen. 20 CREDITS was made by John Curtin College of the Arts. Emma Clements from the College's media program was there to support the nominated film. JCCA produced films have been nominated for WASAs in the last six years. "And last year we were pleased to win one," Clements said.

Edith Cowan University and Central TAFE usually gather a number of nominations at any WA Screen Awards. Central's Ross Maccallum was at the Bohemia Cinema again watching over his charges. FTI connected films included the OOMPF funded A BASEMENT ON A HILL (d. Cassidy Hill & Charlie Domville-Lewis) ENEMY (d. Pete Gleeson, p. Kate Neylon) and the student film A SPECIAL SWEET TREAT (d. Seb Baltyn, p. Raad Cerenich and Stephen Phillips).

WA Screen Academy's Pigskin (d. Simon Larkin, p. Jules Fortune, w. Ceinwen Langley) seemed to be much talked about as this writer eavesdropped in the candy-bar queue, but at the time of writing, the People's Choice winner for the evening had not been announced. Hopefully most of the audience got their iPhones or Nokias out and used the phone system to vote for their favourite.

Seen in the crowd: Andrew Buckley, Mat de Koning, Johnny Ma, Cassidy Hill, Charlie Domville-Lewis, Kate Neylon, Pete Gleeson, Richard Mahony and Chris Pollard.

Jed Laloh, Lindon Mellor and Zoe Hollyoak

Bohemian Shorts Fremantle's First Film Competition

2010-02-18T05:14:53Z

Saturday 6 February was the night many local filmmakers had been waiting for. The FTI and a slew of sponsors had set up a local short film festival based in the Port City. An audience of 270 showed up to see what the competition looked like. The quality of entries was high with the festival attracting national and international entries as well as those from W.A.

Films ranged greatly in subject matter and approach; from the homemade simplicity of Kate Vyvyan's THE DOG AND THE STICK through to the war movie with a twist Pete Gleeson's ENEMY; from the stark animated horror of THE COLLISION through to the slickness of the feelgood American entry TRUE BEAUTY THIS NIGHT.

Zak Hilditch, Brad Pettitt, Mayor, City of Fremantle and Liz Kearney

Sheer Freo-ness was one of the qualities encouraged by the competition and this could be found in abundance in Vincenzo Perrella and Dan Osborn's HELLO, IT'S FREO. The film was a follow up to their 2009 film, the YouTube sensation THIS IS PERTH. Fans of the first film discovered that Old Bertie has a rival for terror and that Dan Osborn has even more deadpan expressions to offer the world. Perhaps even more Freo was Chris Pidgeon's extraordinary Dr Freo. Cramming more Fremantle landmarks and locations into its 8 and half minute length, the film told an action -packed story of one tense man's transformation into a calmer, more sequinned individual.

Keith Richardson & Chris Pidgeon

The City of Fremantle Best Film Award with a prize of $3000 went to the Australian drama THE LAUNDROMAT (d. Timothy Melville). The City of Fremantle's Best Fremantle Film was ARRIVALS AND DEPARTURES, directed by Zak Hilditch. This came with a prize of $5000, which was accepted, by Hilditch and producer Liz Kearney.

Utilising the Reality Show-tested SMS voting system, the audience picked their favourite for the evening Mel Judkins and Tasha Stephenson's Ebay documentary I WILL NOT BE OUTBID.

SMS voting for the Bendigo Bank - Fremantle Community Branch People's Choice Award winner

Also seen in the partisan Fremantle audience were Joachim Strand, Ghazal Lahooti, Pete Gleeson, Kate Neylon, Pierce Davison, Liz Kearney, Vincenzo Perrella, Dan Osborn, Chris Trappe, Aron Dyer, Antony Webb, Pauline Butterworth and Alison James.

The Inaugural Bohemian Shorts Festival was an audience hit and if you filmmakers would like a shot at winning some prize money start thinking about next year's script now.

Blog by Phil Jeng Kane

Editor, Monitor Magazine

Drawn to Freo: Nick Shorts Family Night

2010-02-16T06:28:04Z

Friday night February 5 was a Bohemian Night of Animation. The weather had leapt about five degrees from the previous evening's crispness. Perfect weather to showcase Nick Shorts, a funding and development initiative between Nickelodeon Australia, ScreenWest and the FTI.

Six original Western Australian animated shorts drew out the fans, industry and local animators. The films were The Paper Tale (Sohan Hayes), The Geeks (p. David Downie, d. Todd Milias) My Extraordinary Little Sister (p. Kate Vyvyan, d. Stephen Grant, TJ Beeson), The Surprise (p. Kate Rothschild d. Stephen Grant & TJ Beeson), The Hairoes (p. Bridget Curran, d. Jesse Emmerson & Gaetan Raspanti) and Backstage (p. Jacob Fjord, d. Pierce Davison).

L-R Pierce Davison and Jacob Fjord

These locally made animations covered subjects as diverse as a baby with magical powers of flight through to claymation kids keen working hard to perfect their theatre show. The films drew laughs and applause from a crowd of 300 including about 50 appreciative kids. Some of the audience had been trained in the FTI's animation program and had come to see the work that former classmates and colleagues had produced.

Graeme Sward introduces Nick Shorts to the young and young at heart

The locals had set the scene perfectly for Hayao Miyazaki's internationally popular animated fish feature Ponyo.

Seen in the animation-savvy audience were Kate Vyvyan, Aaron Kennedy, TJ Beeson, Jacob Fjord, Pierce Davison, Phil Bebb, Tim Merks, Roseline Lau, Gareth Lockett, Pat Giles, Ian Tregonning, Harry Bardwell, Susie Campbell, Troy Zafar, David Downie and Shannon Jenkins.

L-R Suzie Campbell, Alfie Wall, Kate Vyvyan and David Downie

TJ Beeson

Blog by Phil Jeng Kane

Editor, Monitor Magazine

Bertrand the Terrible - LINK funded film

2010-02-16T04:11:33Z

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.

Information from Funding Fundamentals Evening

2010-02-15T08:40:21Z

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

Bohemia Opening Night: Hanging on the Telephone

2010-02-05T03:36:42Z

Last night saw the opening of the Bohemia Outdoor Film Festival. It was the first of three WA Screen Awards People's Choice Screenings.

Animations made a strong showing in the program with the films HAIROES and MY EXTRAORDINARY LITTLE SISTER from the Nick Shorts Initiative. These flash animated films stood out from among the mostly live action material that surrounded them. The same could be said of Raging Pixel's THE COLD-HEARTED GIANT. The LINK funded 3D animation is based on an Oscar Wilde short story.

Filmmakers! All at the bar. Photographer: Dylan Tilbury

The Tertiary Educators turned out a strong crop of dramas for 2010. Fairytales gone wrong was the common theme of BEDTIME STORIES and BLUE PONIES AND WHITE SKIES. CHASING RABBITS had high production values and strong performances as did the noir-ish BOXED IN.

Perhaps the youngest talent on show last night was in the film CRASH made under the auspices of the Filmbites School. The disaster of teenage binge drinking was put under the spotlight in the 15 minute drama.

Screen Events Manager Liz Sideris was happy with the solid turn out and encouraged the audience to use the brand new SMS voting system.

Fans of television's SO YOU THINK YOU CAN DANCE will be familiar with the technology. If you've never voted to keep someone in The BIG BROTHER House or for your favourite AUSTRALIAN IDOL, now you have a chance to exercise your texting thumbs in the cause of Western Australian filmmaking. Each film has a unique code that you can type into your Blackberry, iPhone, Nokia etc and send to our dedicated voting line 0412 055 255. And yep, we have the technology to lodge one vote from one phone.

Seen in the first night crowd were Annabelle Fouchard, Stuart MacKenzie, Wade Savage, Miranda Edmonson, Geoff Miethe, Johnny Ma, Darian Bradara, Julia Ngeow, Shaun Lee-Chen, Zak Hilditch, Antony Webb, Central TAFE's Ross Mccallum and RTR General Manager Graeme Watson among others.

Image: (L-R) Eliza Kavanagh, Sophia McGuckin, Jeremy Rogers, Jacqui Daniels, Georgina Carr, Judith Carr, Sophie Kesteven, Daniel Robinson, Gabe Ayres and Ry Martin. Photographer: Dylan Tilbury

Come on down tonight with the family and enjoy the fruits of the Nick Shorts Initiative. Six WA animated shorts that will run before Hayao Miyazaki's PONYO.

See you there.

Phil Jeng Kane
Editor, Monitor Magazine

Run Rabbit Run - Llama Bar

2010-02-03T01:57:19Z

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.

St Kilda Film Festival Entry Deadline

2010-01-27T08:51:11Z

Entries for the St Kilda Film Festival http://www.stkildafilmfestival.com.au/ close this Friday January 29, 2010. All entries must be received by 5pm or be post marked on the 29th January 2010.

St KIlda Film Festival is Australia's longest running short film festival and has been showcasing Australian short films for soon to be 27 years.

St Kilda Film Festival screens only Australian short films in all genres including drama, comedy, documentary, animation and digital media. Due to scheduling considerations, films with a running time of more than 40 minutes may have some restrictions placed upon them. Filmmakers with longer films are advised to contact Festival staff for further information before submitting their entries.

The 2010 competition will screen the top 100 short film entries received, and the competition is fierce!

The short film competition awards over $40,000 worth of cash and in-kind craft awards, including a $10,000 prize for Best Short Film!

Works in progress may be entered, just indicate the work in progress status clearly on the preview tape and advise of expected completion date.

You will need to do the following:

1. Submit a completed entry form,

2. Pay the entry fee, $33 inc GST per film submitted, via online service, or by cheque or money order sent with preview tape.

3. Send a preview copy of the film on DVD (ensure the DVD is not copy-protected, and that you do not send the original - it will not be returned).

4. Include one film still to be used in the program/website if film is successful (at least 300 DPI and as large as possible). Do not email your stills - the large files block up our inbox! Materials that are emailed will not be accepted. You can also include a CV of the writer/director/producer plus any publicity material (ie reviews, press kits etc)

Once the online entry form and payment have been completed, preview tapes and additional material should be posted to:

St Kilda Film Festival

Private Bag No 3

PO St Kilda

VIC 3182

One WA film will be programmed at each venue of the WA tour so your odds are high for a screening in your home State.

You have to be in it to win it! All the best!!

Billabong - wrapped!

2010-01-27T08:45:38Z

After the recent wrap of one of the latest LINK funded films, I catch up with Billabong producer, Michael Liu.

What is Billabong about, and what attracted you to being involved in this project?
Billabong is about the coming of age of two young boys (who happen to be cousins). Initial trust issues are resolved between the two through an incident that occurs as one risks it all to saves the innocence of the other. I was initially attracted to this project by Jeff Asselins passion for this production, I knew it was highly personal to him and ultimately I knew he would pull this off if given the right support.

How long had this project been in development?
To my knowledge, at least 8 months

Can you tell me about the locations?
The locations at the Billabong, the forest & the wood chopping area were specifically chosen by Jeff and I think he did an amazing job at finding the different environments that matched his particular vision for the different scenes. The Australian bush landscape is quite visually different when one chooses to spend the time to observe it.

Any comments on the crew? Any good up and coming production/crew personnel that people should keep in mind when crewing for their next short?
Jimmy Frater - Knows his way around a camera as good as any, he's very cool, calm and guided the crew when needed. In my view, he was the safety net for the whole shoot. I guess he doesn't need any sort of plug from us, but I can tell you that I'm eyeing him off for a feature film project I'm trying to develop this year.
Anthony Webb - DOP. Great eye for framing & composition movement, this kid is going to be big from that perspective if given the chance and given more experience. A this stage of his career he does need support in way of a more 'fuller' camera crew.
Aaron McCann - 1st AD. A guy to watch, he really came of age on this shoot as a first AD, the Nazi from hell. I have a feeling he will be a really good Director one day. He knows everthing about film and can probably go anywhere in the industry he wanted to.
Chris Pollit - Camera Assistant. He worked for nothing, stuck to the camera department like glue, pretty much knew his way around a camera and he's got the perfect temperament for the camera department. I get a feeling he's going to go well in this department.
Allicia Gibbs - Gaffa, She worked so hard, didn't complain, and really knew her stuff. Don't be fooled by her small frame and quiet nature, It was great to see her get in there and mix it with the boys!
Lianna Fiocco - works really well with everyone on the set, and has the best fake blood mix I have ever seen, and my girlfriend, who is an experienced registered nurse (and obviously the set nurse) and 5th year med student will testify to that!!
Corey Lorite - lighting assistant. He was so keen to get in there do what I consider a rather thankless task and did it all with a big smile on his face!
Location Equipment - did us a great deal on the lenses we needed. Rob & Dave were extremely understanding.
I have to say that everyone we dealt with (on and off set) were very rather supportive of our project.

What was it like working with children? Was it hard to fit the shoot around the limited hours allowed for kids?
We were blessed that Jeff managed to cast the right kids for this job (on and off the set) and have ample rehearsal time with them. Apart from being excellent actors, Isaac and Craig were good kids who didn't let their talents get to their heads. A couple of days were a bit tight but everyone worked together to get the result that Jeff wanted.

How did Jeff deal with the sensitive content when directing the child actors?
Jeff managed to find the right mix of discipline & sensitivity to get the performances he needed to make this film a success. The time in rehearsals where Jeff was able to build a personal/trusting relationship with the boys really made a big difference with a project like this.

How was the shoot overall? Any challenges? As a producer, have you learnt something new from this shoot?
F********Ck! That was my outlet, and thanks for indulging me on that one. The first shoot day at the Billabong needed a bit of running water at the location and a more green look in the vegetation so we decided to pull the first shoot day to mid November as the water was running out fast. The crew and talent turned up to find out it was a weather day as there was thick flat cloud cover that totally killed the look Jeff was looking for, so there was a mad panic to reorganize who we could get for the next shoot day option that we were waiting to happen according to the weather bureau. After begging and pleading with the crew not to charge us for a weather day (I think my home made doggie bags from my now defunct boot full of home made catering helped) we just bit the bullet by Friday and called the shoot with 2 days to spare for the following Sunday. There was then the mad dash to get crew that were available to replace the ones that weren't. In the end we got a magnificent hot and sunny day.
The second part of the shoot was magnificently organized, until 2 feature films came to town and we lost half our crew and gear. Thankfully with the help of the key crew we managed to create work arounds for different crew & gear availability on the different day. I'm not going to go into detail here because I don't really feeling like re living event but the shoot nearly got called off. I think I aged 2 years and Jeff is now naturally bald!

Any interesting stories to tell from the set?
On day 2 of our shoot (December) camera assistant Chris Pollit pulled a dead Kangaroo off the road (a huge Red female), he found a Joey in the pouch and bought it to the location and we swapped it for a dead and live blue tongue lizard that was delivered to our set by the Armadale Reptile Centre, the Joey ended up being physically unharmed and is now being cared for in a wildlife refuge.

Are we ready for 3D television?

2010-01-18T14:19:34Z

The success of James Cameron's 'Avatar' has pushed 3D technology from the realm of geek discussion and the I-Max documentary into the forefront of a possible resurgance for cinema.

For years cinema had been facing off it's biggest challenger - the home theatre, but 3D cinema has enough pull to prize us away from our ginat plasma screens and lounges and into the auditorium again. 'Avatar' doesn't have the greatest story or acting - but it's visually wonderous - showcasing the possabilities of 3D cinema far more than previous documentaries or animations have.

Yet no sooner have cinemas found their potential saviour than the home version arrives, in the USA 3D televisions and cable channels are just around the corner. But will 3D techology only work for content that is spectactular? Sure the World Cup in 3D sounds appealling, but does anyone want to see 'Sunrise' with David Koch is 3D, or the Lotto results in 3D?

It's going to be called a Vook

2010-01-18T13:54:43Z

For a while now we've been talking about the opportunities between the worlds of publishing and video production. Books with accompanying videos. Apparently these things shall be called vooks. Go forth now, 10 points for the filmmaker and novelist who get joint funding from the Fremantle Press and ScreenWest to make W.A.'s first vook.