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| Metro
Screen People |
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| METRO
SCREEN PEOPLE |
BARBARA
KARPINSKI |
How did you become involved in Metro Screen?
Through attending production group meetings.
What has been your highlight
so far at Metro Screen?
I did the courses in directing and editing and spent a lot
of time with my editor, Rolmar Baldonado in the small edit
suite. I suppose the highlight was when Rolmar and myself
and my lawyer accidentally locked ourselves behind the gate
in the small editing room on a Saturday night. My lawyer
had a panic attack but I had Craig's home number so called
him and with brute strength was able to lift the gate up.
Me and the lawyer escaped but alas, poor Rolmar stayed the
night to finish the film as little known to him I had spiked
his bed time cuppa of milo with double strength coffee.
What are you up to?
I have found new people to exploit and borrow money from.
Filmmaking gives you a unique opportunity to exploit all
your friends and family as well as scam money off perfect
strangers when none of my friends and family are talking
to me. If I had not chosen film making, the only other profession
that affords you such sociopathic opportunities are drug
dealing or an addiction like perhaps heroin, but that is
very 80's. I think they should have rehab for indie film
makers then we could all retrain to be telemarketers and
public servants.
How
have your films been received so far?
‘Single Sexy Bilingual’ has screened in Frameline
San Francisco and at Cannes. I was given a grant by the
AFC to travel to San Fran in June.
How did Metro Screen impact
on your confidence as a filmmaker?
They were really nice to me. And gave me the chance to make
mistakes.
Like when my hard drive of ‘Queen of Comedy’
blew up, not naming names here, the MPG gave me money to
re-edit material, which was really nice.
What are you future plans?
Sleep, and more sleep.
Please feel free to add
anything else you'd like to say.
2007 has been a very busy year. I am currently writing an
application into SBS for ‘Queen of Comedy’. |
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CATE
SHORTLAND |
What
are your favourite films?
Funny Games, The Piano Teacher, Micheal Haneke, Badlands,
Thin Red Line, Mallack, Taxi Driver, Scorsese, Cyclo, Tran
Anh Hung, La Collectionneuse, Eric Rohmer, The Piano, Sweetie,
Jane Campion, Happy Together, Wong Kar Wai, 21 Grams Inarritu,
Magnolia, Paul Thomas Anderson, Blood Simple The Coen Brothers,
The Boys Rowan Woods, Tears Iven Sen. See the Sea, Francois
Ozon. Dreamlife of Angels Erick Zonca, Irrerversible Gaspar
Noe, Ali: Fear Eats the Soul Fassbinder.
Who are your favourite filmmakers / who do you
admire in the screen industry.
Micheal Haneke, Todd Haynes, Wong Kar Wai, David Milch, Jane
Campion, Fassbinder, Ivan Sen, Gus Van Sant, The Coen Brothers,
Lars Von Trier, Jan Chapman, Alejandro Inarritu, Andrew Dominik,
Scorsese, Rowan Woods, Terrence Mallick, Paul Thomas Anderson.
Why did you get involved
with Metro Screen?
I love being part of the community of film makers that Metro
is involved with, and has assisted from its inception. It
is a rare, inspiring and egalitarian atmosphere to be in.
I have been lucky to have had great teachers in my life, and
I enjoy sharing what these people have given me with others.
What's your background?
I’m from the suburbs of Canberra. My sister and I used
to get on the bus into town and see a lot of art cinema at
Electric Shadows. Warhol and David Lynch were favourites.
Initially I studied art and history at Sydney Uni. I lived
with artists and started taking photographs. It was studying
Film Theory with Laleeen Jayamanne that really exposed me
to world cinema and to different ways of telling stories –
she inspired me to want to make films. I began making short
films and doing writing and directing courses. I applied to
AFTRS 4 times and after each rejection I would make another
short film. My lecturer at AFTRS, George Whaley taught me
ways of working with actors. I left AFTRS after a year and
began making TV. I then made my feature film ‘Somersault’.
I work in TV and am inspired by the possibilities (or lack
of them) in Australia to make great television. |
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DEAN
FRANCIS |
What
are your favourite films?
That's like asking which is your favorite child! I love cinema
in its various forms. I suppose the 'perfect' film for me
would be 'The Shining'. Another favorite would be 'Happiness'
for its incredible screenplay, and even though I saw it only
recently, the new David Lynch film 'Inland Empire' is pretty
sure to secure a place amongst my top five.
Who are your favourite filmmakers
/ who do you admire in the screen industry?
David Lynch is of course an all time favorite and Kubrick
is my idol. I'm a big fan of Werner Herzog – especially
the way he seems to consistently tell what is basically the
same story and always keep it fresh and imaginative, putting
so much of himself into the films. I'm a big fan of Steven
Soderberg – especially his recent low-budget work and
I really admire Todd Solondz for his ability to consistently
create boundary pushing work in an essentially conservative
industry.
Why did you get involved
with Metro Screen?
Metro Screen is unique in that it fosters filmmakers from
the very first moment they pick up a camera – like when
they're 11 – right through until they're shooting their
feature. So it's an essential part of the industry, skilling
up the next generation, who are the future of our filmmaking
culture. I think it's really important that this is done with
real passion and skill. When I was starting out I didn't have
a Metro Screen, but I was lucky enough to benefit from the
guidance and inspiration of more experienced filmmakers. So
it's important that now I have more knowledge and experience
that I help others. As well as that, Metro has a great sense
of community and so it's a fun place to work.
What's your background?
I started making films on Super 8 film
when I finished high school and was surprised when they were
picked up and screened, then went on to win awards and screen
overseas. So I threw in my Arts Degree, studied Cinematography
and kept writing, directing and producing projects –
shorts, TV pilots and a short feature. I worked at the ABC
as a field producer and then did my Masters in Directing at
AFTRS. |
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| DONNA
CHANG |
How did you become involved in Metro Screen?
I started getting involved in Metro Screen through the Raw
Nerve Program 2007, when I got my chance to direct my first
short film 'Glory'. Being a typical uni student with no money
and little experience, it was a fantastic opportunity to really
consolidate a lot of the theory about filmmaking that I've
learned through the years.
What has been your highlight
so far at Metro Screen?
The support from my mentor, Sam Jennings, and the Metro Screen
Project Manager, David Opitz, was incredible during the process
of making 'Glory'. Their advice and knowledge I found invaluable,
especially when trying to wade through the often intractable
swamp that is low budget filmmaking!
What are you up to?
I'm currently finishing off a BA in Media Arts and Production
at UTS, and working at the ABC in Radio Current Affairs. I'm
also taking part in the Portable Film Festival's Screen Academy
in November 2007. My next project is writing, directing, and
producing a 16mm film to be produced in March 2008.
How have your films been
received so far?
'Glory' is currently being submitted to film festivals around
the world, but has so far been accepted to the CAN 2007 11th
Leicester International Film Festival's travelling program
in the UK.
A short doco I produced 'Queen St Gallery' (2006, dir. Jade
Cantwell & Melissa Pullicino) was screened at the 2006
Byron Bay Film Festival and was runner up in the 2007 Bailey's
Shorts on the Shore Film Festival.
How did Metro Screen impact
on your confidence as a filmmaker?
Metro Screen's Raw Nerve Program definitely made me more confident
as a filmmaker. Going through the whole filmmaking process
as a director from start to finish really opened my eyes to
the intricacies of each step of production. I've learned so
much, and the experience has been invaluable.
What are your future plans?
Right now, I hope to pursue further study or land myself a
full-time job in the film, TV, and media industries after
graduation (That's mid-2008 for you prospective employers
out there!). I'm also interested in working overseas in the
UK and/or US, and gaining more experience in the industry. |
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| GEORGE
BARBAKADZE |
How
did you become involved in Metro Screen?
I did a few short courses in Metro Screen and then last year
I was a participant of the MMS program.
What has been your highlight
so far at Metro Screen?
People I worked with and the support I had from Metro Screen.
What are you doing now?
At the moment I am working on a few scripts. Two shorts and
a feature.
How have your films been
received so far?
My films did and are still doing very well in festivals all
around the world. "The Bridge" is the winner of
Melbourne Queer Film Festival 2006. And it has played in almost
30 film festivals.
"Black rain", the film I made under MMS program,
has a very interesting festival life. It was nominated for
the Golden Unicorn at the Alpinale film festival in Austria.
"Black Rain" was the first Australian film to screen
in Alpinale, as the festival is only for European countries.
Because of my origin (I am from Georgia originally) the festival
made an exception and screened "Black Rain".
And since then, the film has screened at many prestigious
film festivals such as: Los-Angeles International Short Film
Festival, Sao-Paulo International Film Festival. ‘Black
Rain’ screened in almost every continent and been received
very well.
How did Metro Screen impact
on your confidence as a filmmaker?
Confidence comes with practice. The more films I make, the
more confidence I have for the next one. And, the best thing
I learn after every single project is: What not to do next
time. "Black Rain" was no exception.
I am very grateful for Metro Screen for choosing my project
and giving me an opportunity to make this film. And the timing
for this film was the best.
The film is about the Chernobyl Disaster and 2006 marked the
20th anniversary on the Chernobyl tragedy. Making it was great
fun and the film took my filmmaking career to the next level.
What are you future plans?
My main focus in on a feature I am writing at the moment.
It will be shot in Georgia and Australia. And meanwhile I
work on small projects to keep fire going.
QUOTE: "Black Rain"
“Past comes into present as we watch them feed on their
enjoyable, sometimes excruciating reminiscences.” 10th
Annual Los Angeles International Short Film Festival 2006.
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| GEORGIA
CLARK |
How
did you become involved in Metro Screen?
I started loitering around Metro Screen events when I was
doing my Media Arts and Production degree at UTS – it
was a great place to meet like-minded filmy types whose idea
of an excellent afternoon is spent alone and in the dark.
Being on the email lists and attending events is a great way
to stay in touch with the exciting emerging Sydney film-maker
scene.
What has been your highlight
so far at Metro Screen?
Winning the SPAA Fringe pitching comp a few weeks ago was
pretty great – free registration to SPAA Fringe! And
kudos! You can’t put a price on kudos. The speed networking
nights are a great way to feel like you’re in your very
own version of Groundhog Day and I also just got some production
subsidies through Jump Start for a web serial I’m making
with some friends – so really, it’s just a constant
highlights package.
What are you up to?
Right now I’m days away from the deadline for a teen
fiction book I’m writing which means I’m spending
a lot of time staring out my window with a hangover deciding
I don’t like it at all, who am I kidding, I’m
not a writer and no one will like it anyway (ah, the needy
neuroticism of writers!). Once that’s finished I’m
focusing on developing a TV dramedy for Showtime, writing
and directing a lo-fi satirical web series which we’re
filming in my sharehouse (I’m totally sure my flatmates
won’t mind), working on magical, mysterious short film
script for my uber-talented friend Danielle Zorbas to direct
and putting an application together for a writer’s residency
in Tokyo. My head hurts just thinking about it!
How did Metro Screen impact
on your confidence as a filmmaker?
Metro Screen is a fantastic place to skill up, socialize and
start getting your stuff out there. There’s so many
ways to get involved, whether it’s on someone else’s
film, or applying for production subsidies and making your
own. Get out there and do it!
What are your future plans?
A sweet pad in Williamsburg, Brooklyn, a ridiculously successful
TV show on the go which allows me to write, direct and produce,
and a fridge full of beer and bagels. |
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| LUCI
TEMPLE |
How
did you become involved in Metro Screen?
I first joined Metro Screen because I'd been to a few industry
talks hosted by Metro Screen, and noticed that with membership
came a free script consultation. I figured it was a good
way to get professional advice at an affordable price. Since
then I've continued to make use of events, the eNews is
essential reading, did a Digital Micro Movie course, and
made a short film earlier this year through the Raw Nerve
initiative.
What
has been your highlight so far at Metro Screen?
Making a short film through Raw Nerve was not only a highlight
at Metro Screen, the experience is one highlight in my life
to date. It set a new direction, transforming me from writer
to filmmaker.
What are you up to?
1) Still submitting ‘Don't Panic’ to film festivals
(Keep updated at www.templefilms.com.au/dontPanic.html
and www.myspace.com/dont_panic_film)
2) ‘Dodge’ is a short film I wrote and am scheduled
to direct in 2008. It is being produced by Metro Screen
graduate Annmaree Bell of Azure Productions.
3) As writer I have three feature projects in development:
Blackened with Maddfilms; ‘Damaged’ for Bunker
Productions; and a rewrite of ‘The Valley’ for
Conti Bros Films.
4) Completing a Masters of Creative Writing at Sydney University
(almost finished)
5) Writing a children's novel (and just finished co-writing
one, as yet unpublished)
How have your films been
received so far?
‘Don't Panic’ is my first film as producer/director,
and I'm still waiting to hear back from festivals. We had
a preview screening at the Chauvel, which went very well.
A complete stranger even approached afterwards to see if
he could buy a copy! Feedback has come from many sources,
and has been overwhelmingly positive.
As a writer I've had two short films made previously: ‘Trapped’
produced by Jar Films, and ‘Help’ produced by
Bunker Productions. Both of these screened internationally,
‘Help’ is still on the circuit.
‘Trapped’ screenings:
- Palm Springs International Short Film Festival 2005 (USA)
- Los Angeles International Festival of Short Films 2005
(USA)
- Commonwealth Film Festival 2006 (UK)
- St Kilda Film Festival (& National Tour) 2005 (AUSTRALIA)
- Tropfest Best of the Rest 2005 (AUSTRALIA)
- The Space 4 Shorts Film Festival 2006 (UK)
- Exground Film Festival 2005 (GERMANY)
- Stamford Arts Festival 2006 (UK)
- SBS Television 2006 (AUSTRALIA)
‘Help’ screenings: Palm Springs International
Festival of Shorts 2007 (USA)
How did Metro Screen impact
on your confidence as a filmmaker?
Metro Screen's Raw Nerve initiative was absolutely crucial
for my transition from writer to filmmaker. Writers are
probably the most isolated element of the filmmaking process,
which means we simply don't meet people - DoPs, Soundies,
ADs, PAs, etc - that others do naturally on set. I'd considered
directing several times over the years, but the fact that
I had no contacts made it very difficult to realise. The
backing by Metro Screen a) gave me validity, b) greenlit
the film, c) meant I could convince others to work on the
project based on it being competitively selected for production
support, and d) I had a supervising producer to turn to
as I muddled my way through the production process.
I walked away very happy with the film I'd made, and confident
that I could do it again. In fact, after the Chauvel screening
of ‘Don't Panic’ I was so bouyed by the positive
reception that I made a last dash effort for the YFF deadline
and we (myself and producer Annmaree Bell) pulled a quality
team together within a week for the submission. I no longer
see this as a hurdle, and I look forward to making many
more.
What are you future plans?
In the immediate future my plate is pretty full with the
previously mentioned short, feature, and novel projects.
The medium to long term future is always murky. If it were
completely in my power: build my director's reel with more
shorts, music clips, commercials, corporates; see my feature
screenplays financed and made, perhaps picking up a director's
attachment or Unit Director role on one; write a feature
screenplay for myself to direct and get that up. I'm also
interested in new media, and have some ideas I'd like to
develop for online interactive storytelling at some point.
There's a lot I want to do, it's just a matter of time,
priority, and opportunity.
Please feel free to add
anything else you’d like to say.
I'm happy to hear from others who'd like to collaborate.
In particular I'd love to hear from producers who appreciate
a good short script, or are looking for new media project
ideas, or looking for a director for short films, music
clips, commercials, or corporate work. Feel free to check
out my website www.templefilms.com.au
or link to www.myspace.com/dont_panic_film
. You can contact me by email luci(AT)templefilms.com.au
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| RENE
HERNANDEZ |
How
did you become involved in Metro Screen?
My introduction to filmmaking and the industry was a weekend
course at Metro Screen. Some one at the time suggested looking
into courses at Metro screen, I didn’t really know
what role in filmmaking I wanted to pursue so I picked a
course on making music clips. It was enough motivation to
go out and chase a role as Production Assistant.
What has been your highlight
so far at Metro Screen?
The people I've met over the years. Kristina Ceyton, the
producer I work with I met on an MPG short film. Adrian
Rostirolla, the Editor I work with, was my tutor on an editing
course at Metro Screen. And there have been several other
collaborators that have come through that renowned Metro
Screen notice board or email newsletter.
What are you up to?
In pre-production on an AFC funded short film.
How have your films been
received so far?
My last short film "small boxes" was nominated
for an AFI, won 8 awards and screened at over 4O national
and international festivals.
How did Metro Screen impact
on your confidence as a filmmaker?
Filmmaking is so much about learning and it all adds up.
And that includes all the Metro Screen courses I've done,
receiving MPG subsidy on a short film, those early MPG meetings.
And how can I forget....a prize at the Metro Screen Kaleidoscope
film festival!
What are you future plans?
To continue working as a director and a feature film wouldn’t
be too bad.
Stills
from top to bottom are from the films:
"Small Boxes"
"In Too Deep"
"Muffled Love"
"It Was Dark"
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| RIDWAN
HASSIM |
How
did you become involved in Metro Screen?
I found out about Metro Screen in 1993 when I was studying
an Applied Chemistry Degree at U.T.S through a flyer at the
Film Studies Department. I use to sneak in to lectures and
classes in the Communications Department at U.T.S completing
a whole lot of film related subjects until the Communications
department became suspicious about my continual excuses that
there was an admin error with my enrolment and that I was
doing their courses as electives to my Chemistry Degree. In
my third year they wanted confirmation from my school that
i was officially allowed to enrol in their subjects. They
never saw me again after that. That is when i discovered Metro
Screen. I then applied 4 times unsuccessfully to various scholarship
programmes at Metro Screen. On the fifth time I applied to
pitch a project, under a pseudonym of a Jewish woman and I
was accepted! That pitch was the best of the night, receiving
a standing ovation. Fox Icon who was represented by Mark Lazarus
at the time, as well as Channel Seven Executive Bevan Lee
who were on the panel were excited to go ahead with the project
if I could present a feature script within 3 months.
This was my gateway to the international film industry. Unfortunately
I had no idea of how to write a feature film script. That
was in 1998. I subsequently did every course Metro screen
had to offer, most of which I was generously accepted or sponsored
to do so. I am now finishing the feature film script i pitched
that night almost ten years ago to Mark Lazarus, have secured
finance, and plan to shoot it in 2009. I am also completing
my short film portfolio-over the next 12 months- I will have
5 short films by the time I shoot the feature.
What has
been your highlight so far at Metro Screen?
I was sponsored to make my first film KHATABAH via RAW NERVE.
It won 4 awards overseas and was the foundation for my follow
up anti-the war on terror short film THE BEACH which I have
made via the Young Filmmakers Fund of the NSWFTO. After
making THE BEACH, I gave copies of it to everyone I met
for about 2 years, hundreds of copies, even to Guantanamo
Bay detainee Mamdouh Habib and anti war protester Cindy
Sheehan. The film hit a chord with some of the people that
i gave it to and that is how I secured finance to make my
first feature. I was also accepted as part of a METRO SCREEN
DOCUMENTARY SCHOLORSHIP COURSE in 2007. I completed a short
documentary about my 4 year old daughter Yasmeena called
THE CHILD STAR that i plan to enter into TROPFEST 2008 and
from which i plan to create a Television series about or
a series for YOU TUBE.
What are you up to?
Completing my short film portfolio and my feature film script
pitched in 1998 at Metro Screen to Fox Icon and a short
film called FRIENDLY FIRE which I received a very generous
equipment subsidy from METRO SCREEN MEMBERS NETWORK in 2007.
Friendly Fire completes atrilogy of Middle Eastern shorts
i have made that directly/indirectly allude to the war on
terror. My final 2 short films prior to the feature film,
will be set locally about the muslim experience in Australia.
How have your films been
received so far?
KHATABAH won 4 international awards
including Best Short comedy at the Women of colour film
festival in Broadway, New York in 2004 and Best Screenplay
for a short film at the San Francisco International film
festival in 2005. It screened in over two dozen film festivals
worldwide, including Flickerfest, Amnesty International
USA, Molodist Kiev Film festival, BAPFF, Tiburon.
THE BEACH screened on ABC2, secured International Distribution
from a major distributor in Canada as of November 2007 and
is a special feature on the DVD THE ROAD TO GUANTANAMO,
which was very special to me as Michael Winterbottom who
made THE ROAD TO GUANTANAMO is one of my favourite filmmakers.
Having my work along side his was a special honour which
was too good to pass off, even though that cost THE BEACH
in terms of being disqualified by a number of film festivals.
Morally i could not pass off the opportunity of being on
that dvd which spoke of the Tipton 3, who were Muslim boys
taken illegally from Afghanistan to Guantanamo (later released).
As a Muslim filmmaker their plight, is my plight.
How did Metro Screen impact
on your confidence as a filmmaker?
I refused to formally attend film school when i was young
as i wanted to have life and work experience to discover
my own style, have something to say about my own world and
culture instead of being a clone who pumps out the same
usual type of drab that majority of people do, which has
nothing to offer, no insight, just gag films. Metro Screen
has prepared me for my first feature film by giving me the
confidence after KHATABAH to work with and establish relationships
with professional crew and highly qualified DOP's such as
Jules O 'Loughlin, Oliver Lawrance, Peter Holland and Nicola
Daley as well as work with Adrian Rostirolla who i met in
1998 in a course at Metro Screen. I was also able to work
with composers Amanda Brown, Ash Gibson Greig and Ric Mills
and have discussed working with Caitlin Yeo, all because
of the start i was given at Metro Screen with my first film.
I have also established a great repartee with some of my
colleagues in courses who i have long term plans to work
with in the future.
Before Metro screen i had great ideas but no concept how
to realise them. Now with the help of Metro Screen and their
excellent tutors and hands on courses that I have done there,
i have the skills to match those ideas. I no longer feel
i need to attend AFTRS, as by the end of 2008 i will have
acquired a showreel that exceeds AFTRS Masters of Directing
graduates and already in my shorts the Head's of Departments
have been AFTRS Masters graduates.
What are you future plans?
Complete my Bachelor of Arts (major in theatre studies)
/ Bachelor of Business (international business) degree that
i am enrolled in at U.N.E. After that, complete an MBA and
take my company globally like MIRAMAX to begin with and
eventually as a long term plan DREAMWORKS. I also want to
complete a PhD in Islamic Studies. After performing a main
role in THE BEACH and receiving a standing ovation and lavish
praise from my peers and colleagues for a performance piece
I did in Theatre Studies 110 at University, I got the bug
for performance and I now plan to develop myself as an actor
wherever possible. I see a real gap in Australia and globally
for actors of my ethnicity and cultural background. In terms
of filmmaking, I see myself as a storyteller more then a
filmmaker. All my stories, be it films, novels or plays
explore the lives of Muslim characters. This is an attempt
to break down the stereotypes and prejudice aimed at Muslims
after the War on Terror began and also on the flip side,
to educate Muslims who are extremists or phobic of the west,
that there is no place for totalitarianism in our world.
Please feel free to add
anything else you’d like to say.
After my first feature film, I want to establish a scholarship
(like RAW NERVE) for filmmakers via METRO SCREEN which will
be for older filmmakers (over 35 years in age) to make films
for children and for children (under 12 years) to make films
about their world. Children are our future, they will shape
our future world, so it is crucial for them to be storytellers
at a young age. This will be my way of giving back to the
film community and Metro Screen who have supported me all
the way and without whom i would not be where i am. I proudly
recommend Metro Screen to everyone that I come across.
QUOTE: "The Beach"
"I like the story of THE
BEACH. Well done! I feel honoured that one of my photos
moved you so deeply that you imagined and realised a story
to go with it. It is an eerie feeling seeing the photo come
to life." Jean-Marc Bouju, Multi Pulitzer
Prize winning photographer.
http://www.thebeachshortfilm.com
|
The above images are,
from top to bottom:
"Child Star"
"Khatabah"
and "The Beach" |
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| TRESA
PONNOR |
How
did you become involved in Metro Screen?
I was lucky enough to be one of the recipients of the Raw
Nerve initiative. Since then, I joined as a member and completed
several short and part-time courses at Metro Screen.
What has been your highlight so far at Metro Screen?
I would have to say working with Sam Jennings. To have someone
so open and committed to the film was a blessing. Sam brought
a wealth of knowledge and expertise that was supportive
to the whole filmmaking process.
What are you up to?
Volunteering to work on several film projects so I can build
up my experience and skills set. I really want to develop
and get a better grasp on the various roles people play
on film sets before I make my next film. I’m also
drafting a short film about a boy who can’t walk but
wants to fly.
How have your films been received so far?
Fortunately pretty well for my first short. Its screened
in over 10 film festivals.
Reelife Film Festival – 2 Audience Awards
Short Cuts Film Festival – Most Popular Film
Short Fuse Festival – 3rd Prize and Best Local Filmmaker
International Heart of Gold Film Festival – eligible
for IF award
Bondi Film Festival
In the Bin Film Festival
Short Soup
Communities for Communities
Harmony Film Festival
Angry Film Festival
Scotland Island Festival
Caught Short
How did Metro Screen impact
on your confidence as a filmmaker?
Metro Screen was instrumental. Just being chosen to be one
of the five to make the film was encouragement enough. It
was refreshing to know an institution that is committed
to give first-time filmmakers a go.
If it weren’t for Raw Nerve, I never would have thought
I was capable of making a film. The lessons I learnt in
making "Brown Trash", gave me the confidence to
submit my University thesis as a documentary (The video
ethnography has screened Internationally in Milan and Texas
in competition for Consumer Research Film Festivals).
What are your future plans?
To stop procrastinating and write a solid short film script
and hopefully shoot it in the not too distant future. I’d
like to also study film once I save enough money.
Stills
to the right are from the film
"Brown Trash" plus a behind the scenes image
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| STEVEN CROMBIE |
How
did you become involved in Metro Screen?
I found out about the course through various friends in
the industry who recommended it. I was coerced by a Metro
Screen fanatic, signed the dotted line, and started a six
month full time course the next day.
What was your highlight through the course at Metro Screen?
Watching our films on the final night, bewildered by the
knowledge that I was now capable of making short films!
Before I begun, I most definitely had no idea where to start.
What are you doing now?
Now I am writing, co-producing and presenting documentaries
with Lonely Planet and Discovery Channel, and writing a
book for Pan Macmillan on the side.
How have your company’s films been received so far?
Well the guys in post-production like it. But our first
show – ‘Lonely Planets Natural Born Traveller’
won’t be on Discovery until October and Channel Ten
until probably December. We have sold to over 20 countries
including the USA – so that’s a good sign.
How did Metro Screen impact
on your confidence as a filmmaker?
It made me realise that I am able. I was pretty average
in the course in comparison to my classmates – but
determination is the key. If you genuinely think you have
a great film stuck inside your brain, don’t let anyone
or anything deter you from getting it out of your head and
onto the screen. Metro Screen armed me with the skills and
capabilities needed to pitch to production houses with confidence
– and for that I am truly grateful.
What are your future plans?
Travel the world writing and filming. My dream would be
to write a book every two years and complete a documentary
series every 6-12 months.
If I never did this course, there is no chance in hell I
would be where I am today. Metro Screen and the passionate
people that front the organisation armed me with a plethora
of brilliant tools and inspired me to fulfil my dreams and
continue to do so today. So yeah – thanks.
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| SIMON BLYTH |
How
did you become involved in Metro Screen?
I saw a screening of Raw Nerve films and I'd had some ideas
for short films so I decided to put them down on paper and
submit them to the next Raw Nerve round. It was great to
get a phone call form David Opitz to say Metro Screen had
selected one of my scripts 'Father's Day' for funding. 'Father's
Day' tells the story of a ten year old boy who meets his
Dad for the first time. The day he has waited so long for
doesn't quite go as planned.
What was your highlight through the course at Metro Screen?
Seeing the story go from the page to the screen. Making
a short film takes a lot of hard work, by the end it's not
easy to watch it through fresh eyes. So when you see it
for the first time with an audience and you hear them laugh
in the right places and have moved them by the end of the
film, it reminds you why you are a filmmaker.
What are you doing now?
I am in post production on a short film 'Brother Boys' funded
through the NSW Film and Television Office Young filmmakers
fund. The film tells the story of two indigenous boys Nathan
and Dean who are best friends. Growing up in a small country
town, they spend their days fishing, catching rabbits and
dreaming of becoming professional rugby league players.
The events of one weekend will leave their friendship in
jeopardy.
How have your company’s films been received so far?
'Father's Day' has screened at 21 festivals around the world
including the Los Angeles International Children's Film
Festival and Mill Valley Film Festival in California as
well as Flickerfest and the St Kilda Film Festival in Australia.
It also won best short film under 10 minutes at the Homebrewed
film festival in 2005
How did Metro Screen impact
on your confidence as a filmmaker?
When I finished 'Father's Day' I wasn't sure if it would
be selected for a festival. Its nearly three years since
I made the film and it's still getting invited to festivals
- This weekend it screens at the International Festival
of Cinema and Technology in Jacksonville, Florida. David
Opitz, the Raw Nerve organiser, Sam Jennings the scheme's
mentor producer and all the staff in facilities have been
very encouraging and helpful. It inspires you to do it all
again and make another film.
What are your future plans?
I want to make a feature film based on the characters from
my short film 'Brother Boys'. I am currently writing the
script with Sydney Morning Herald journalist Jessica Halloran,
who was also the co-writer of the short film.
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| ALEX
ZAR |
How
did you become involved in Metro Screen?
Thanks god for being rejected by Tafe, I found Metro on
the net.
What was your highlight through the course at Metro Screen?
Watching our work on the big screen at the graduation.
What are you doing now?
I have formed a production company, a photography business
and a wedding videography business.
How did Metro Screen assist you to get were you are now?
Metro gave me, the connections that Ineeded, the confidence
and a degree that confirms my ability.
How did Metro Screen impact
on your confidence as a filmmaker?
Its a great confidence booster, you get to experience the
whole thing from A to Z and at the end, you get to show
your work to everyone.
What are your future plans?
I am currently looking for a short script so that I can
Direct and produce. It has to be a uplifting story with
some great life lesson and a dash of laughter.
Is there anything else
you’d like to say?
I like to recommend Metro Screen to anyone who is considering
film making. Its a great place with great people.
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| PAULINE FINDLAY |
How
did you become involved in Metro Screen?
After shooting my first short film in 2006 I realised there
was so much to learn. I came from a theatre background so
I really wanted to understand and feel confident with the
technical side of filmmaking. I wanted to be able to edit
my own films if necessary and be able to do any of the other
crew roles.
What was your highlight through the course at Metro Screen?
Realising I could really tell stories that engaged an audience.
Becoming confident with the camera and seeing my films come
to life in the edit suite was truly amazing. It also teaches
you to just get on with the doing, making films. You learn
from every film you make so if they don't quite hit the
mark get out there and do it again and again. Filmmaking
is all about what is going to go wrong and how you will
deal with it. The minute you get your head around that you
can jump with faith.
What are you doing now?
I'm currently studying at AFTRS on the Graduate Certificate
in Screen Drama: Directing & Screenwriting. I'm writing
and researching three features. I also want to shoot a short
at the end of the year.
How did Metro Screen assist you to get were you are now?
Metro Screen gave me the tools and confidence to be a filmmaker.
You learn everything from writing, producing, directing,
editing, sound, music and so much more. After the full time
course at Metro you are very well equipped to get out there
and make films. The teachers at Metro Screen are all working
professionals in the industry. I got my first paid job in
the industry at Iris Pictures working on six documentaries
that are screening on SBS in early 2009. If it hadn't been
for my documentary teacher, John Janson-Moore, I might still
be looking for work. Metro Screen gives you the launch pad,
it's up to you how you use it.
How did Metro Screen impact
on your confidence as a filmmaker?
Enormously. It made me believe I could make films on a micro
budget. You don't need huge budgets to tell great stories
you just need engaging characters and an interesting idea
then surround yourself with like-minded people. Great teams
make great films. Metro Screen gives you all round experience.
Without attending the full time course at Metro Screen I
wouldn't have been able to shoot, edit, produce and direct
a behind the scenes doco on a Mitsubishi commercial which
was in conjunction with Tropfest for 2008.
What are your future plans?
To finish at least one of my features this year and look
at getting it script edited and up on the screen. Keep shooting
short films to keep my skills fresh. Meet more people that
love telling stories in unique ways. Keep stretching myself
and finding people that are supportive and great fun to
work with. Really I just want to make films. Oh, by the
way, if I get to have breakfast with Baz Luhrmann some day,
that would be beyond cool!
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Image: Ella Dreyfus
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| MICHAEL KOSMIDER |
How
did you become involved in Metro Screen?
I got involved with Metro Screen through the Certificate
IV course that I did in the second half of 2006.
What was your highlight through the course at Metro Screen?
For me, the highlight at Metro Screen was the 25 year anniversary
party. From the speeches made that day I understood how
Metro Screen operates as an organisation and I got to meet
various interesting people who build it.
What are you doing now?
Currently, I'm doing Grad. Dip. in Media Arts and Production
at UTS.
How did Metro assist me to get where I'm now?
Metro Screen has been and remains a part of my education
path. I've done my course with Metro Screen after finishing
a BA in Arts (majoring in film and philosophy) at UNSW.
While I was at Metro I've made up my mind that I definitely
want to go back to university and continue studying film.
In 2007, I went back to UNSW and I've written a thesis on
Australian cinema and specifically, on films of Rolf de
Heer for which I received first class honuors. My next step
was to do masters at UTS and this is where I'm now.
How have my projects been
received so far?
Well, the documentary I made at Metro, "Pulling the
Ropes" was screened at the Parliament House of NSW
in October, 2007. After this event, I've submitted it to
number of local film festivals in Sydney because it is a
local story about the ban on female boxing in NSW. Amongst
these festivals were Urban Shorts, online film festival
MoonlightTV, Showfest and Newtown Flicks. Instead of writing
about the awards and mentions my film received, I would
like to say that I'm proud of it for the input it had on
changing the laws prohibiting women from boxing in NSW.
Boxing for women is still illegal in this state, but "Pulling
the Ropes" have changed minds of some important people
who supported the ban and there are now politicians fighting
to get this law changed.
How did Metro Screen impact
on your confidence as a filmmaker?
The certificate IV course I did at Metro gave me confidence
to make my own films basically because it allowed me to
practice making films. I always though that filmmaking carries
great responsibilities with it and there are a lot of things
that can go wrong but filmmaking can also be very rewarding.
Experiencing both, making mistakes and succeeding gave me
confidence to continue on pursuing filmmaking.
What are your future plans?
My plans are to finish MA in Media Art and Production at
UTS and to make more films in Australia.
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| MONICA DAVIDSON |
What
are your favourite films or screen projects?
Too hard! My favourite films are the ones that make me feel
something amazing and stick in my mind forever. This year's
favourites are Lars and the Real Girl and The Dark Knight.
Last year's favourite was Juno. Favourite Australian Film
is My Brilliant Career. Favourite musical is Singing in
the Rain. Favourite Hollywood film is American Beauty. Shall
I go on?
Who are your favourite filmmakers or screen makers / who
do you admire in the screen industry?
I admire most the people who have been able to make the
films they want, meet their audiences' needs, and make loads
of money without compromising their ideals. The God of that
particular pantheon is Spielberg, but there are so many
more. Michael Moore is another. Doing what you love and
making money from it, isn't that what it's all about?
Why did you get involved
with Metro Screen?
Because it's fantastic! I'm surprised when people in the
industry aren't involved. I've been lurking around Metro
since I did my degree, which was in the late 80s (it was
still Metro TV then!). I ran the Women on Women Film Festival
for 2 years from Metro's offices in the early 90s, and since
I started my own production company I've been using the
equipment and editing suites for my community projects.
I also like to hang out in Facilities and pretend that I'm
cool.
What's your background?
I'm originally from Newcastle, and I blame that for the
fact that I have difficulty controlling my colourful language.
I call it Geographical Tourettes. I moved to Sydney to find
my career knight in shining armour and the streets paved
with gold, and while I waited I did a BA in Communications
at Macquarie University. My first paid job was as a camera
assistant, and I've worked every crew role there is. I'm
now a writer, director, producer and business person. I
also have professional ADHD and can't decide what I want
to do when I grow up.
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| SAM REBILLET |
Samantha
has directed five shorts and two documentaries, all which
received major prizes at festivals both internationally
and in her homeland of Australia. Prior to directing she
worked in production and as a director's assistant to Alex
Proyas and Mark Joffe, gained many an acting credit, modeled
in innumerable commercials and completed two masters degrees.
She has also taught film at Macquarie Uni, COFA, NIDA and
the International Film School Sydney. She is currently directing
a long form documentary on Aspergers, financed by Screen
Australia.
What are your favourite films or screen projects?
The list is forever growing, but still remains topped with
works by Jim Jarmusch, Wong Kar Wai, Ang Lee, The Dardennes,
Alejandro Gonzalez Inarritu, Federico Fellini, Lynne Ramsay
and Francois Truffaut – the ‘400 Blows’
has to be one of my all time faves
Who are your favourite
filmmakers or screen makers / who do you admire in the screen
industry?
I admire those who manage to work with freedom and independence
Why did you get involved with Metro Screen?
Dean Francis is to thank for this one.
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| KAREL SEGERS |
Producer
Karel Segers’ credits include shortfilms, a documentary
Return to Port Davey <http://www.ozzywood.com/film-production/ozzywood-documentary-return-to-port-davey.htm>
and two features. He is a leading story and script consultant.
What are your favourite films or screen projects?
• Touch of Evil
• Close Encounters
• The Incredibles
Who are your favourite filmmakers or screen makers / who
do you admire in the screen industry?
• Steven Spielberg
• Alfred Hitchcock
• Clint Eastwood
• Peter Jackson
Why did you get involved
with Metro Screen?
As a consultant I was telling screenwriters and filmmakers
the same thing over and over again. It made so much more
sense to get them all in one room and teach it once, in
a lot greater detail.
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| JONATHAN WALD |
What
are your favourite films or screen projects?
I like all sorts of films, as long as their stories are
told with clarity, passion, and originality. A few I love
are Jaws; Persona; Turtles Can Fly; Annie Hall; Beau Travail;
Strangers on a Train; Distant Voices, Still Lives; Days
of Heaven; Imitation of Life.
Who are your favourite filmmakers or screen makers / who
do you admire in the screen industry?
I admire filmmakers and screen professionals who find a
way to tell their story their way – a difficult task
in an expensive medium!
Why did you get involved
with Metro Screen?
The students at Metro are terrific – they're diverse,
dedicated, and they have something to say.
What's your background?
I started out directing theatre in the US. Then I worked
for a few film festivals before going to UCLA film school.
I came to Australia to study for a year at AFTRS, and haven't
left. I've directed 5 short films which have played at over
200 festivals around the world, and more than a dozen plays,
the latest of which, the Australian premiere of a French
play called HILDA, was selected for the Best Independent
Theatre season at the Seymour Centre.
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| JOHN
JANSON–MOORE |
What
are your favourite films or screen projects?
Vertigo, Sunless (Sans Soleil), Last Year at Marienbad,
High School, Mirror, Contempt and anything else which moves
the soul and stirs the mind.
Who
are your favourite filmmakers or screen makers / who do
you admire in the screen industry?
Chris Marker, Fred Wiseman, Goddard, Hitchcock, Tarkovsky,
Lars Von Trier, Isaac Julien, Kim Loginotto, etc...
Why
did you get involved with Metro Screen?
Metroscreen is an amazing place where people from all walks
of life can congregate to learn and exchange ideas and knowledge.
It provides a sense of community for professional and non-professional
screen-makers and screen-lovers in an open, engaging, friendly
and relaxed atmosphere. It's something I enjoy being part
of.
What's your background?
My background lies in arts with a strong involvement on
the cutting edge of social and community concerns whilst
exploring creative solutions. This combined with my practice
in visual arts, including photography and experimental filmmaking
has seen me cultivate a career in documentary filmmaking,
whilst continuing to practice other artistic pursuits. Born
in London with a Chinese/Fijian/British background, raised
in Melbourne and having lived in Berlin, the UK, Sydney
and the Central Desert, I've travelled extensively throughout
Asia, Europe and the U.S. – making me a filmmaker
with a truly international perspective. |
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| ANNMAREE J BELL |
How
did you become involved in Metro Screen?
My introduction to filmmaking was the Certificate IV course
at Metro Screen. It was an amazing course and I met some
incredible people, very passionate and creative, the course
gave the foundation to go and make my own films and after
I graduated in December, John and I started Azure Productions
in January.
What has been your highlight
so far at Metro Screen?
The people. I still work with some today, like Nat Amoore
and Michael Chrisoulakis, Adrian Rostirolla, Craig Boreham...
And many more creative and amazingly talented people.
What are you up to?
In post production of a Screen Australia funded short film
called Vinyl written and directed by Ashley Fairfield and
in pre-production on another Screen Australia funded short
film written and directed by Craig Boreham.
How have your films been
received so far?
Ups and downs, but that is the point of story telling, not
everyone loves the tale, but the tale needs to be told,
we have screened in over 5O national and international festivals.
How did Metro Screen impact on your confidence as a filmmaker?
It gave me the courage to believe that I could do it.
What are you future plans?
To continue growing Azure Productions, we are developing
several feature scripts at the moment, I will working to
get these stories to the screen.
What are your favourite
films?
That is a tough question to any person who loves stories,
different films for different emotions, when ever I’m
sad I watch Princess Bride to cheer me up, I loved The Departed,
the journey and ride of that film is amazing, I loved the
1st half of Che Steven Soderbergs new film, again the journey
is amazing... There are many more for a plethora of reasons...
Who are your favourite
filmmakers / who do you admire in the screen industry?
I love Robert Rodriguez, a filmmaker who can go from El
Mariachi to Spy Kids is a great storyteller!! Joss Wesdon
is an amazing writer, he takes a story and the characters
to the next level. Closer to home I love Matthew Dabner
who is a producer/writer and all the scripts and films I’ve
read of his take me on that journey that I love in films.
What's your background?
I was in drama at school and loved it, but worked just to
escape and travel, when I finally came home and I moved
into project management in the corporate world. It was at
the end of a very large project, I had to reign in the spend
and deliver the project, I was/am proud I worked very hard
and I did deliver, but I was empty, I craved something more.
That’s when over a glass or three of a fine red, I
was chatting to an actor friend who suggested a career change,
I explored filmmaking and magically I am here :)
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| Metro
Screen Contact |
For
further information please contact us on Metro Screen:
Metro Screen
P: +61 02 9356 1818
F: +61 02 9361 5320
E: metro@metroscreen.org.au
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