A procession of successful single women has been travelling from the United States to Australia lately.
Laura Price, a San Francisco lawyer, went to a tropical island to convince her childhood best friend to inherit a billion-dollar business. On arriving, she found he was now a hunky beach bum who preferred charity work … but might just be a better match than her questionable fiancé back home.
A San Francisco lawyer (Saskia Hampele) connects with a laid-back Australian hunk (Liam McIntyre) in This Little Love of Mine. CREDIT:STEVE JAGGI COMPANY
Then there was Caroline Wilson, a New York chef, who went to a coastal town after discovering her late aunt had left her a café. On arrival, she met the hunky cook … who just might be a better match than her dodgy ex-fiancé back home.
And Amelia Hart, a Chicago florist, went to a country town to salvage her little sister’s wedding. But as she spent time planning with the hunky best man, she realised – you guessed it – he just might be a better match than her dubious boyfriend back home.
They are all characters in romantic films that have been shot in Australia recently: Christine Luby’s This Little Love Of Mine, Rosie Lourde’s Romance On The Menu and Rogue Rubin’s Love In Bloom. And they’re part of the latest trend in Australian films: “uplifting, positive, female-driven stories set in idyllic locations”.
The Australian romance film boom
Romance on the Menu (2020) – Released on Hallmark in the US, Netflix in the rest of the world
This Little Love of Mine (2021) – Released in cinemas, then on Netflix
Christmas On The Farm (2021) – Released on Stan*
Sit. Stay. Love (2021) – Released in cinemas
A Perfect Pairing (2022) – Released on Netflix
Mistletoe Ranch (2022) – In cinemas from November 17
Love In Bloom (2022) – Releasing in February next year
You, Me And The Penguins (2023) – Releasing next year
A Royal In Paradise (2023) – In post-production
Love By The Glass (2023) – In production
In other words, romances in which career women – often in their thirties and with bad boyfriends – find love with a caring and ruggedly handsome guy. Often a laid-back Australian.https://www.youtube.com/embed/WR21TH-6LfY
Demand surged so much during the pandemic that Brisbane-based producer Steve Jaggi (Rip Tide, Dive Club) has shot eight romantic films in Queensland, including the ones above, since just before COVID-19 closed borders.Advertisement
The best title: Sit. Stay. Love, which is about an American aid worker who, on heading home to snowy Vermont for Christmas, has to save an animal shelter with a handsome vet. It’s also from the popular sub-genre of Christmas romances.
The poster for Mistletoe Ranch: a Christmas romance about a rising photographer (Mercy Cornwall) who heads back to the small American town she grew up in and finds sparks with her ex-fiance (Jordi Webber). CREDIT: STEVE JAGGI COMPANY
Another Brisbane production company, Hoodlum Entertainment, has made two romantic comedies along the same lines: Stuart McDonald’s A Perfect Pairing (a wine expert from Los Angeles heads to rural Australia to land a new client) and Christopher Weekes’ Christmas On The Farm (a successful author heads from New York to an Australian farm to cover up the lie behind her book).
In a way, they are (much) lower-budget versions of the Hollywood romcom, Ticket To Paradisethat Julia Roberts and George Clooney shot in Queensland during the pandemic.
Sometimes, the female stars are Australian or made their name here, including Rhiannon Fish (Home and Away), Tammin Sursok (Home and Away), Georgia Flood (Wentworth) and Mercy Cornwall (Dive Club). But Canadian Cindy Busby (Supernatural) and American Susie Abromeit (Jessica Jones) have both shot two of these films.
The next one off the production line, Mistletoe Ranch, opens in Australian cinemas next week. It centres on a rising twentysomething photographer who heads back to the small American town she grew up in to save Christmas celebrations … and finds a spark with her handsome ex-fiance.
Like Sit. Stay. Love, it was shot in Queensland using snow machines to create a wintry landscape.
Jaggi, a prolific producer of young adult and romance projects, says the demand for romances has exploded in the past two years. “COVID undoubtedly made a huge difference,” he says. “More and more people wanted to watch uplifting content.”
The expansion of streaming services has meant there are also new buyers for these optimistic PG-rated films.
“Before COVID, as an Australian company, you tried to make a film that would work for as broad an audience as possible to make money,” Jaggi says. “Now it’s the reverse: if you want to be successful as a business, you make more and more niche content.”https://www.youtube.com/embed/MFNKHY86oFk
The market includes the American cable channels Hallmark and Lifetime, more sophisticated romances for streaming services led by Netflix, and even more sophisticated versions for cinema release. Largely appealing to an aspirational female audience interested in adventure, Jaggi’s films are set either in Australia, the US or an exotic “generic” location.
“Escapist destinations tend to work well with the audience,” he says. “What we find works really well is if one of the protagonists is American and one is Australian. The ‘Australian hunk’ is a good formula.”
Jaggi is now planning 10 to 12 more romance films in the next two years. He is considering diversifying into having a thirtysomething man finding love, same-sex couples, and possibly “steamier” storylines.
While none of his films have Screen Australia funding, they are all supported by Screen Queensland – either logistically or through regional grants. And most use the country’s 30 per cent tax incentive (called the producer offset), while giving a break to rising (often female) directors.
“Australia is a huge entertainment exporter,” Jaggi says. And while that has traditionally been family and children’s shows watched by millions around the world, it now includes romances.
Anna Torv and Robert Taylor in The Newsreader, courtesy ABC.SHARE
In 1986, when screenwriter and producer Michael Lucas was eight years old, his dad got picked up from the local oval by the Ten Eyewitness News helicopter. ‘It was the most exciting thing that had ever happened to me,’ Lucas says, laughing on the phone to Screenhub.
‘My father was an infectious diseases doctor and AIDS specialist,’ he explains, ‘and because of that – much like in this past year when medical professionals and epidemiologists have appeared in the media a lot – he went on news shows. I have these really vivid memories of the helicopter taking him away, and I’ve still got the videotape of him being interviewed by David Johnson and Jo Pearson.’
1986 was also the year NASA’s Space Shuttle ‘Challenger’ exploded just moments after launch. Lucas remembers seeing it on TV. ‘My mum was crying, and that made a big impression on me, as it does when you’re little and you see mum crying which doesn’t happen very often.’
These experiences helped inspire the creation and writing ofThe Newsreader, the ABC drama set in the high-stakes world of an 80s nightly newsroom. Created and produced by Lucas and Joanna Werner, with all six episodes directed by Emma Freeman, the series has lots of big hair and some giant shoulder pads (costume designer Marion Boyce has a ball). It’s fun period drama, in all the ways that period dramas are fun (‘look at the racism! Look at the sexism! Those cars…), while speaking to contemporary Australian cultural debates, and presenting a complex but very recognisable species of romantically charged work friendship.
Anna Torv stars as the ambitious female newsreader, battling sexism (particularly that of her boss, a magnificently monstrous William McInnes) and her own internal panic attacks. Sam Reid plays her junior co-worker, a sensitive but diligent young journalist who’s still unsure of his voice. As they work together covering the events of an intense three-month period, including the AIDS crisis and Lindy Chamberlin’s release, they form a unique bond.https://www.youtube.com/embed/k_0kxdPnEWg?feature=oembed
Writing relationship dramas and rom-coms is Lucas’s specialty. Nominated four times for the AWGIE for Best TV Screenplay, his credits include being a core writer and script editor on the hit series Offspring (2010 – 2014), Wentworth, Rosehaven, producing on Party Tricks and creating contemporary relationship drama Five Bedrooms, which sold to the UK and is now in production on its third season. (Season 2 begins on new streamer Paramount+ on August 11.) Lucas was also the writer of the 2012 unconventional romantic comedy feature film Not Suitable for Children, directed by Peter Templeman and starring Sarah Snook and Ryan Kwanten.
Lucas says that, when he started work on it in 2015, the kernel of the idea for The Newsreader actually had nothing to do with the politics of the newsroom, and everything to do with a particular kind of relationship dynamic.
‘I was writing a relationship drama between the characters of Dale and Helen, and it was set in the 80s. I wanted to look at a male character that was sort of struggling to be the masculine ideal that the world wanted him to be. And conversely, I wanted a female character who had those sort of alpha traits and she was punished for it. About a year and a half later I set it in the newsroom.’
As difficult as COVID was, there was this massive silver lining to all these remarkable people being home in Australia and there was not much other production happening. So, in normal circumstances, Anna Torv would have been in LA and Sam Reid would have been in London and we still would have offered it to them, but God knows what we might have been competing with. But they were back in their family homes.
Michael Lucas
‘I thought, well, if he wants to be this masculine ideal, what does he want to be? A politician? A sportsman? And then once I thought of a newsreader, it lit up for me.’
It should be noted too, that Lucas is a self-confessed news junkie. He finds looking through news archives ‘exhilarating’, and also loves any kind of film or TV show set in a newsroom. ‘From Broadcast News, to Press Gang, Frontline, Tootsie and Network, I love them all,’ he says. ‘But particularly Broadcast News, and there are some very specific moments of homage to that movie in our series.’
L-R Robert Taylor, Marg Downey and Michael Lucas in episode 2 where Lucas cameos as a DJ. Supplied.
Screenhub: What kind of research did you do to write this script?
Michael Lucas: I spoke to a lot of people. I was so lucky that people were incredibly generous, but also, a lot of the people that were working in news in the 80s are just on retirement age at the moment and It felt like I was hitting them up at a good time. They were ready to unload about what the workplace culture was like back then.
I built up a big Bible and I spoke to people that were on camera, off-camera, producers, people in as many different roles as I could to build up a portrait. I very quickly found that even though I was speaking to people from different networks, some commercial, and some ABC, there were definite hallmarks of those kinds of workplaces no matter who you were speaking to.
The newsroom you present here is quite diverse, with actors like Michelle Lim Davidson, Chai Hansen and Chum Ehelepola given key roles. Was it really like that?
I think undoubtedly newsrooms at that time were very male-dominated and very white. And so that was a real conversation in terms of casting it in 2021. There are so many different approaches you can take. There’s Bridgerton, which is almost set in a in a different version of history, and then there are shows where you’re colourblind or colour conscious. We spoke about it endlessly.
And I would say that with a mix of particular characters, they were conceived to really tell a story of what it would be like to be sort of a first-generation immigrant coming into a workplace. That was really something that was happening in Australian culture in the 80s.
In other cases, there would be a spectacular performer that really was perfect for that character and so we cast them. Our newsroom is a little bit more diverse than it would have been, but that’s where we landed.
In the first two episodes I’ve watched, there’s a lovely ambiguity and subtlety between the two leads. Nothing is over-explained.
I have to give a huge amount of credit for that to both the director Emma Freeman and the actors, Anna Torv and Sam Reid, who, if they could act it with subtlety, didn’t want to state it [in words]. They had such beautiful instincts. And I feel like I should say that, because they may have protected me from myself a few times! They’ve really made me look good.
The show also really captures some of that ambiguity around homosexuality that we had in the 80s, where there was a lot of very camp pop culture, but to be gay in real life was still very difficult and secret.
It was such contradiction, wasn’t it? You turn on TV, and you’ll get Culture Club. But then in the wider world, there’s this intense homophobia and repression. It was really strange even now to go back to that and try and get your head around what was the real attitude?
Sam Reid and Chai Hansen in The Newsreader, courtesy ABC.
Was it difficult to get the rights to all the archival footage you’ve used?
It was maddeningly complex! There’s a very good reason the ABC was the perfect place to make this story, because they have those expansive news archives and the ABC News owns so much footage, which was fantastic. But it was more complex than I could have imagined, depending on which show the footage came from.
Like, if it was on an ABC news bulletin, then they could give us the right to that and we could use it. But if it was on Four Corners, that’s a different rights situation. We had to be a little bit crafty, for example, in the opening episode, the footage of the Challenger explosion had to be purchased from the US.
Literally every frame has a different rights situation. I don’t know if we’ll get a season two, but if we do I want to change the process and start with all the material we have access to first.
When did you go into production and how did COVID affect you?
We started shooting in Melbourne in November 2020. We were lucky to sort of land in a relatively calm time although we still had massive curveballs, things like sending the cast home for Christmas and then the Northern Beaches outbreak happens and then we have to say to some of them, ‘I’m sorry. You’re not going to have a family Christmas. You’re packing up your car. You coming to Victoria right now.’ Those sort of things happened.
We also had plans to shoot in different parts of the country at various points, but it all had to be Victorian-based.
As difficult as COVID was, there was this massive silver lining to all these remarkable people being home in Australia and there was not much other production happening. So, in normal circumstances, Anna Torv would have been in LA and Sam Reid would have been in London and we still would have offered it to them, but God knows what we might have been competing with. But they were back in their family homes.
Not just the actors, but amazing heads of department like production designer Melinda Doring, who doesn’t usually do recurring series, she usually does feature films. We were one of the first productions to go back into shooting and I feel like we got some amazing coups in casting crew that that were probably the product of 2020 being such a weird year.
What can you tell us about the excellent cringe 80s costuming?
Costume Designer Marion Boyce [The Dressmaker, Miss Fisher’s Murder Mysteries] is amazing, and that was another thing that came out of Melbourne’s lockdown. She was online the whole time going to deceased estates that were auctioning off 80s clothes, and a lot of the things that Anna Torv in particular wears are real vintage outfits from the 80s. On a normal production, there’s no way the designer would have months and months to sit there online going to auctions because of a pandemic.
When did Emma Freeman come on as director and did you always envisage her doing all six episodes?
Basically, as soon as I got together with Jo [Werner], we discussed Emma. We had to wait until the date firmed up before it could become a formal offer, But I’ve worked with her for so long and so has Jo, and we kept dropping it into conversation to get her interest. I thought we were in with a real shot because I knew she would love to do something in the 80s, knowing what she loves. She’s done the 70s and Puberty Blues but she hadn’t ever really gone into the 80s. She’s so respected and has so many offers from overseas, we were lucky to get her
In terms of Emma directing at all, that was partially because we had to shoot it all as one sort of block. We didn’t shoot in discrete episodes, we shot all six episodes all at once. So there were practical elements, but also we had a really particular tone we were trying to hit. And I just knew that Emma intuitively understood it.
When she directs my stuff, I always feel like she is in contact with both the comedy and also the sort of darker underlying or more dramatic elements. She manages to bring both of them out so skillfully. I wanted her to be able to be a core storyteller and really put her stamp on it.
Do you have advice for emerging screenwriters?
I know a lot of people always say this, but write. Write an awful lot. I just wrote and wrote and wrote. I’d been writing for 10 years before anything of mine was professionally produced. I wrote a lot of things that are tucked in a bottom drawer for a very good reason. And I think you have to go through that. I certainly come in contact with a lot of aspiring screenwriters, who really want to get into it, but haven’t really spent that time.
The other thing is if you can try and balance that with real experience of film or TV productions. I was an assistant for Bazmark, [Baz Luhrmann’s company], and I was a script assistant for John Edwards, and Imogen Banks and, and that was really essential to witness the process of scripts being made, how production works and how to how to interpret notes and all those sorts of things.
Try to write as much as you can and seek out opportunities, whether it be doing placements, or whether even just starting as a runner. I was a runner in my very early days. It’s all really valuable.
The Newsreader premieres on Sunday 15 August at 8.30pm on ABC TV and ABC iview.
Production Credit:The Newsreader is a Werner Films Production for the ABC. Major production investment from Screen Australia and the ABC and financed with support from Film Victoria. Worldwide distribution is managed by Entertainment One (eOne). Created by Michael Lucas. Directed by Emma Freeman. Produced by Lucas and Joanna Werner. Executive Producers Werner and Stuart Menzies. ABC Executive Producers Brett Sleigh and Sally Riley.
A bevy of talented Australian writers have been selected to participate in the screenwriter accelerator program.
ALL SCREEN
Image: VicScreen Marketing
Nine Australian writers have been selected to participate in the highly coveted screenwriter accelerator, Impact Australia, delivered by Impact and Gentle Giant Media Group.
Launching in Melbourne, the eight-week intensive will see talented writers from Victoria, New South Wales, Queensland and the Australian Capital Territory convene at the University of Melbourne’s Victorian College of the Arts’ Southbank campus to participate in the program.
The successful participants of Impact Australia 2022
Victoria • Other People by Jordan Prosser • After Her by Sunanda Sachatrakul • Don’t You Remember by Dannika Horvat
New South Wales • Norfolk by Elias Jamieson Brown • The Mandala by Joel Perlgut and Victoria Zerbst • The Almost Insufferable Burden of Being a Talented Woman by Siobhan Domingo
Queensland • Roxbury Manor by Paul Clarke
Australian Capital Territory • Poly by Naomi Telushkin
These participants will be mentored by industry-leading screenwriters from around the world. This team of ‘Shapers’ will support and empower the diverse group of creators with the goal of accelerating the selected projects to be pitch-ready for global buyers and producers at the Impact Global Pitch Day in January 2023.
This year, the ‘Shapers’ will include Shaun Grant (Nitram, The Snowtown Murders), Kai Yu Wu (The Flash, Paper Girls), Sarah Lambert (Lambs of God, Love Child), Stuart Beattie (Obi-Wan Kenobi, I Frankenstein), Hunter Covington (Community,Black AF) and Stacy Traub (Black-Ish, Glee).
Impact CEO, Tyler Mitchell said: ‘The success of Impact alumni has been phenomenal to watch. With 8 movies produced, a Best Foreign Film Oscar candidate, 48 projects set up at major studios and networks, and the series Firebite on AMC+, which was co-created by Impact Australia’s Brendan Fletcher – it’s just been incredible to see these writers’ careers take off. We can’t wait to see the exciting material that emerges from this talented group of Creators and look forward to bringing this next wave of Australian creative talent and their projects to the global stage in January 2023.’
‘It is so exciting for Impact Australia to return to Melbourne for its third season, for the first time in person at the Victorian College of the Arts on the University of Melbourne Southbank Campus,’ said Gentle Giant Chairman and CEO Greg Basser.
‘None of this would have been possible without the great support from Screen Australia, Vic Screen and the University of Melbourne along with our partners at Screen NSW, Screen Queensland, Screen Canberra and Screen Territory. We can’t wait to see what these outstanding nine creators deliver as they work with some of the best writers from the global screen industry under the watchful eye of the Impact team. Melbourne and Australia continue to show that they truly are the home of original content for global audiences.’
‘A huge congratulations to this year’s talented cohort,’ said Screen Australia CEO Graeme Mason. ‘We’re thrilled that Impact is back in person this year and we are pleased to support these impressive writers with an opportunity to build invaluable relationships through the program and forge pathways to achieve global success with their screen stories.’
‘As global demand for quality screen content continues to boom, we’re positioning Victoria’s screen industry for success – delivering more local jobs on some of the world’s biggest screen projects,’ Victorian Minister for Creative Industries Steve Dimopoulos said.
‘We’re backing Impact as part of our $191.5 million VicScreen strategy, which is just one of the ways we are investing in local skills, stories and talent.’
Impact Australia is supported by Screen Australia and Learning Partner the University of Melbourne, in partnership with VicScreen, Screen NSW, Screen Queensland and Screen Canberra.
The mentorship program launched on 26 September and runs for eight-weeks, culminating in the Pitch Day in January 2023. For more information visit the Impact Development website.
The box office sees a small elite flocking to You Won’t Be Alone, as mainstream audiences prefer a pair of elderly lovers wisecracking in Ticket to Paradise.
Goran Stolevski’s Australian-Macedonian film You Won’t Be Alone arrived this year with some excellent reviews. ‘A spellbinding horror movie from a great new talent’, said The Guardian, though David Stratton admits to being down on the film.
We will side patriotically with Variety, which contributes, ‘Drawing on his Macedonian roots, director Goran Stolevski delivers a truly unique feature debut: an erotically charged, at times brutish quest for identity, disguised as an elevated horror film.’
The film also played at the Melbourne International Film Festival, where Stolevski’s sophomore featureOf An Age opened the festival to rave reviews. 2022, it seems, is the year of Stolevski.
But how does the Box Office treat that true filmic reality – a new talent with a powerful vision? It went out on seven screens and made just $11,000. Here’s hoping this is ‘week one’ in a cunning plan by distributor Madman. It has taken $422,000 around the world including $405,000 from the US, before streaming in North America on Peacock.
In other news, Del Kathryn Barton’s Blaze has been in cinemas for five weeks, is now on only one screen and has made $85,000. It seems daring cinema is not being celebrated – and magic realism is treated like the pox.
The box office ladder
For the second weekend in succession, soft rom-com Ticket to Paradise from Julia Roberts and George Clooney takes the top slot with a hefty $2.87m, even as all the states went into school holiday mode and saw younger audiences filling theatres.
Ticket toParadise lost 61 screens to run on 454 total, but only dropped 5% in total box office, to put a solid $7.8m into the exhibitor bank accounts.
DC League of Super-Pets went up by 50% to reach $7.87m, almost challenging Ticket to Paradise for top slot. In fact, it has made $4,000 more than Ticket to Paradise over the same two weeks by pulling ahead this week.
Paws of Fury climbed into the ring to face the Super-Pets, but took only $559,000. It has 150 less screens, but is also burdened with a younger demographic. It opened in the US back in July with $9.7m, and ultimately made $38m around the world. The budget was around $70m.
The other reasons for the Fury flop? it is a parody/homage to Blazing Saddles (which is too confusing for the young’uns), and it has been accused of racism for using Chinese gang tropes.
Avatar has been re-released and lit up 500 screens to make a modest $1.39m to claim third place on the ladder. IMAX would have been a significant contributor. It turns out we still have an appetite for colourful space adventures.
Fall, at the number four slot, probably deserves more. Two people trapped up a 2,000 foot mast is an elegant premise that makes no bones about the emotions on offer, and it did very well internationally. $20m off a budget of $4.6m will make UK expat director Scott Mann very happy after a miserable run of three indie action flops, none of which took more than $6.2m.https://www.youtube.com/embed/iSspRSGc4Dk?feature=oembed
We got this film late, and it claimed $754,000 off 264 screens. Not bad, with more to come.
Bullet Train, fattened up with $12.05m over 8 weeks, is coasting into its final station, but still making $337,000 on a weekend. Horror pic Orphan: First Kill has taken $2.56m in four weeks; Rom-com After Ever Happy is slogging along with $1.80m in three weeks, and horror funny Bodies Bodies Bodies has hustled $692,000 in two weeks, which is not bad.
Elvis is sitting on the porch strumming a guitar with $33.27m.
Good Luck to You, Leo Grande has hung in for six weeks to reach $3.06m, with $85,000 this weekend on 94 screens. Without a US release it made $9.72m around the world though some of the figures are obsolete.
Three Thousand Years of Longing never found an audience. Here it has made $1.21m in four weeks and is down to 75 screens and $90,000 over the weekend, though the international total is $24m. However, $12.58m comes from the US, so Leo Grande pushed it fairly hard. They are very different films, but they both have Australian directors.
The Drover’s Wife: the Legend of Molly Johnson has been around for 21 weeks, is now on one screen, and has made $1.90m, but won’t cross the $2m barrier. So near and so far.
See How They Run is built around Agatha Christie’s play, The Mousetrap, which a producer tries to option before his murder. Even the Christie herself becomes involved. Who knows how it will go here, though competition for grownups wanting some silly fun is limited.
Smile is yet another psychological horror rooted deep in the supernatural, involving doctors and self-generated horror. It’s said to have good scares, but little stands out in rewriting an ageing genre.
In other words, the school holiday films are playing out, and nothing much else is happening.
Go and see You Won’t Be Alone if you can find it. You will belong to a small, smug elite – and don’t we all want that?
By Sandy George. 6 September 2022. Screen International
Melbourne-based producer Arenamedia is on a roll. The filmmaker-driven independent, run by Australian producer, director and writer Robert Connolly, has three films — Blueback, Emily and Sweet As — playing at Toronto International Film Festival (TIFF).
Connolly wrote (with Harry Cripps) and directed 2021 Australian box-office hit The Dry, starring Eric Bana, and his directing credits range from his early social and political critiques The Bank, Three Dollars and Balibo through to family film Paper Planes, International Emmy-nominated TV series The Slap and Deep State for Fox Network Group. As a producer and executive producer, Connolly has also worked on films and series such as The Boys, Romulus, My Father, The Warriors, Gallipoli and Chasing Asylum.
With Connolly often busy directing and writing, Arenamedia has three other full-timers who produce or executive produce: Liz Kearney, Robert Patterson and emerging writer/producer Tara Bilston. James Grandison — who runs the Western Australian office and produced Blueback alongside Connolly and Kearney — Kate Laurie (Petrol) and Chloe Brugale (Because We Have Each Other) are non-exclusive producers at Arenamedia.
“We are lean but have a model that allows a diverse amount of work,” says Connolly, who notes that all Arenamedia producers and other key creatives have a stake in their own productions via partnership arrangements. “The whole producing team share an interest in deeply humanist stories, whether they be dramas, thrillers or comedies… We’re not trying to second-guess the market.”
Like many producers, Connolly believes television has taken over the middle ground of scripted content, forcing a polarisation of cinema. This partly explains Arenamedia’s slate being either bold, hard-to-finance films by new and emerging directors or films of scale, usually driven by Connolly himself.
Environmental drama Blueback — premiering as a special presentation at TIFF — is an example of the latter. It stars Mia Wasikowska, Radha Mitchell and Eric Bana, and is written and directed by Connolly based on Tim Winton’s novel. “It has this epic, dramatic scale but at its heart it is a profound film about saving the ocean, and a commercial film with big environmental ambition,” says Connolly. HanWay Films has pre-sold Blueback to territories including Weltkino Filmverleih in Germany, while Roadshow Films will open it locally on January 1, 2023.
Meanwhile, Emily is actress Frances O’Connor’s feature directing debut and opens TIFF’s Platform section. Emma Mackey plays author Emily Brontë, and the Tempo/Beaglepug production with Arenamedia has been pre-sold widely by Embankment Films, including to Bleecker Street for the US.
Jub Clerc’s directing debut Sweet As is playing in TIFF Discovery, anchored by emerging First Nations actor Shantae Barnes-Cowan’s performance. Investment from the Melbourne International Film Festival (MIFF)’s Premiere Fund meant it received its world premiere there on August 13.
“The whole producing team share an interest in deeply humanist stories, which could be dramas, thrillers or comedies,” says Connolly.
Diverse portfolio
ROBERT CONNOLLY
Meanwhile, Force Of Nature is in post. The sequel to The Dry is again with MadeUp Stories and features five women who go on a hiking retreat in the Australian bush but only four return. “We’re unafraid of making unashamedly Australian work with Australian talent,” says Connolly.
Also in the works is Mike Hailwood Film, based on the UK motorcycle racing legend’s 1978 comeback. Bana is writing and will play Hailwood and direct alongside Connolly. “It will shoot on the Isle of Man, in Victoria and possibly in New Zealand but maybe not until 2024,” says Patterson.
There are also a pair of animated features on the slate: stop-motion Memoir Of A Snail, written and directed by Oscar winner Adam Elliot (Harvey Krumpet), and Magic Beach, based on Alison Lester’s children’s book.
Kearney and Connolly are also involved in Originate, a VicScreen/SBS initiative that aims to champion new voices from traditionally underrepresented backgrounds. They will act as executive producers and mentors on the project that goes into production.
Patterson says Arenamedia has strong theatrical ambitions for its projects. It has its own distribution arm CinemaPlus and sales arm North South East West, which makes it easier for the firm to access finance from government agency Screen Australia — whose eligibility criteria stipulates that local distributors and international sales agents must be attached prior to production.
But Arenamedia will partner up where appropriate. Sphere Films and Roadshow picked up Sweet As on completion, for example. Roadshow has signed on for six Arenamedia theatrical releases, including The Dry and Force Of Nature. Madman has Emily locally. “We’re all about the cinema experience for communal consumption,” says Patterson. “We’re not purists and snobs but it’s what we all do and love.”
Playwright Suzie Miller received the Major Award at the AWGIES for her play Prima Facie, part of a career build between Sydney and London which spans 20 plays in 20 years, spread over 70 productions around the world. She has received a lot of support, and was mentored by Edward Albee for three years.
Now Miller is also working in television and film, after a short burst with the small screen over 15 years ago. She has been involved with Hoodlum, Heiress Films, Bunya Productions and Matchbox Pictures.
These are many of the companies known to support writers effectively and understand her achievements. Miller told Screenhub in an interview that, ‘I have a fantastic manager [at HLA], who introduced me to the people she thinks are critical. So it is almost like there’s a mediator between me and who I end up working with. I do have fabulous producers, each one of them sort of hand picked, and we see eye to eye on issues and storytelling. And that’s just been a blessing really.’
A legal impediment
Miller has been a practicing lawyer, enjoying the combat of the courts, and loves ideas. She also has a practice-based PhD in theatre/science for which she wrote a play about a mathematician. There is a particular legal switch between theatre and screen which gives playwrights the irrits.
‘When I was mentored by Edward Albee, he really emphasised how significant it is that playwrights keep the copyright on their product’ she said. ‘No matter who pays for the commission, you can never be sacked as the writer. That idea of being sacked from your own project is terrifying to a playwright because it never happens,’ she said.
‘You can be passed over because someone decides it goes in a direction they can’t program, but you are still paid the commission and you own it outright and you can take it somewhere else.
‘I feel that I’ve been really lucky. Possibly I’ve been blindly going in as a playwright, where you project ownership of the story in some way, because you don’t know any other way,’ said Miller.
At the moment her screen collaborations are her own creations so she is not sharing them with other writers.
Relating to audiences
From a screenmaker’s perspective it seems that playwrights have a different relationship with audiences during the process of creation. They can work with a company, evolve in the collective moment, and show it to audiences very quickly. In screen the process is much more segmented and shared with viewers long after the show is built.
Not so, Miller replied. ‘What people don’t realise about playwrights is the years of writing before you actually get the actors in a room rehearsing. When you are fine tuning and getting notes from producers or directors or dramaturgs.’
‘When I was mentored by Edward Albee, he really emphasised how significant it is that playwrights keep the copyright on their product’
Prima Facie is a one woman show described as ‘an unsparing study of the Australian legal system’s treatment of sexual assault cases’. The play, which opened to standing ovation, concludes with a simple but compelling statement – spoken by the character Tessa, played by Sheridan Harbridge – “something has to change”.’
Miller pointed out she could have written that work any time in the last ten years, but she effectively had to wait until it had a political context. Theatres had to sense the movement and audiences had to grasp the moment too. That is ten years of patient evolution.
Screen producers understand that gap; Miller argues that writers are better off on this side because the development process can be financed earlier in the evolution of a project.
Starting with ideas
In general it seems that playwrights bring an intense sense of dialogue and the ability to explore complex material in very simple ways to the table.
‘Yes, that is what it really does,’ Miller said. ‘And that’s based on the fact that there’s no money. Theatre people often start with broad strokes and themes and metaphoric devices, to think about the whole picture and then bring it down to two people having a conversation.’
‘What people don’t realise about playwrights is the years of writing before you actually get the actors in a room rehearsing.’
When she goes into a film and TV spaces, she finds the opposite. ‘It seems they start with the dialogue and then try to infuse it with the thematic and the bigger picture stuff. [Playwrights] actually have to have all these ideas really flowing around on a metaphoric basis before we can create the characters that actually bring the audience to that place,’ she explained.
‘The development of an idea is about shaping or sculpting as opposed to the writing, as it does require you to think in sort of a few dimensions, rather than just in text. And then you have to, somehow, briefly bring it into text by creating characters that can carry the audience. And that’s why you have quite deep characters. So it’s not because you do that character work that everyone seems to do by lot of background writing, it’s more that you just think about a person, that’s someone who is flawed because of an idea that you want to get.
‘The world building is so exciting, but then the character building is something that I just get so excited about, because you never know how you’re going to trip your character up until you do it. Or how you how your character is going to go into a deeper kind of freefall. About life or a deeper kind of way, where the stakes just keep increasing, until you’re actually at the moment where you’re about to run it, and then it sort of writes itself, and you’re terribly excited about it.’
Miller made an excursion into serial television early in her career. She hated it, and has been cautious about coming back. But it seems that theatre and screen are becoming more and more similar.
‘It feels with film and TV there is a hunger for production and a desire for great content. And I am sure theatre would say that as well. But theatre is more of a hierarchy, and film is more collaborative in a really special way. It’s not just the writer on their own forever. There’s people involved if you want them to be involved – which is an interesting irony because you imagine that would happen in theatre. And it does, to a point, but they just don’t have any money to subsidise writers.’
You weep for them
It seems to me that the screen side has replaced the traditional live performance notion that drama is conflict.
‘Ultimately, I steer us away from the idea of just conflict,’ Miller said. ‘Because young writers see conflict as a fight, but it’s not always an argument – sometimes it’s just conflict with inner tension, it’s like a tension has to be there. And conflict can be like an emotional conflict. You just feel it in your bones, because the characters got such a depth to them. But also I am saying that conflict is actually a sophisticated way of thinking, it’s just about the stakes for someone. But once you’ve had good characters, you cry for them inwardly, you weep for them.’
The streets of St Kilda
Suzie Miller grew up in St Kilda, and was the first generation of her family to go to university. ‘My father wasn’t an emotionally expressive person,’ she explained. ‘But he really loved maps, and he had an elegance with mathematics. And so he sort of brought me into that world really early. So I never had that fear of science and math which lots of girls had. it was always something that was magnificent. It was almost religious for me in a way, like it had a kind of beauty to it.’
She studied immunology at university where she realised the jobs were mostly in areas like pharmacology or research.
‘Really what happened in my final year was is that Chernobyl exploded. I thought, “Oh, this is a huge, I want to have a conversation, I want to turn on the television, I want…” – I realised I am very much a person that loves to be in dialogue.’
To the surprise of her family, she went to law school. ‘But there was a certain point when I was on a program working in King’s Cross with street kids and young drug addicts. And I was going home every night thinking, “Oh my God, this is so overwhelming,” and I turned it into a play about 24 hours in the community. And it went on at the Opera House and in King’s Cross. And I remember people coming up to me saying I had no idea that these people could be my sister or my cousin or they were always just the junkies down the crowd.
‘I realised I am very much a person that loves to be in dialogue.’
‘When you’re actually sitting in the theatre, and you’re forced to relate to the characters, I felt that there was there was a chance for me to express their humanity in a three dimensional way. And so that kind of changed me forever, actually. Because I thought, “Right, I think that’s what I have to do.” It sounds so naïve. That is actually true. I mean, I was in law because I wanted to change the world. And actually, before that, I was hoping to find a cure for cancer when I was a scientist.’
She described the kind of childhood that belongs in a novel. Long before St Kilda gentrified she was a bit hyper-active, eager to learn, hanging out in the streets, working in the chemist and a printers and the hot bread shop (opposite the cake shops in Acland Street) and delivering papers and generally being ‘a bit naughty’. Going home to play chess with her father.
But she talked about her mother in a special way. ‘To be honest, my mum was amazing. She was the most charismatic, beloved person, by all her friends in the community. She was also really badly visually impaired, but she sort of cut through everything and was sort of magnificent.
‘She ended up becoming the Mayor of St Kilda because she was so community minded. Because of that I have never questioned that I would have my own journey.’
David Tiley was the Editor of Screenhub from 2005 until he became Content Lead for Film in 2021 with a special interest in policy. He is a writer in screen media with a long career in educational programs, documentary, and government funding, with a side order in script editing. He values curiosity, humour and objectivity in support of Australian visions and the art of storytelling.
Jon Bell’s ‘The Moogai’ will receive production funding from Screen Australia.
New seasons of Total Control and children’s titles Rock Island Mysteries and Strange Chores, as well as feature films from Northern Pictures, Made Up Stories and Causeway Films are among the nine projects that will share in $12 million of production funding from Screen Australia.
Four feature films, three television dramas, and two children’s titles will be supported through the agency, the likes of which also include a feature version of Jon Bell’s award-winning short The Moogai, and television dramas While the Men are Away and North Shore.
Screen Australia head of content Grainne Brunsdon said there had been a “solid pipeline of impressive applications” so far this financial year, making for an “incredibly competitive” selection process.
“We know there is an appetite for fun, joyful drama content in the international market right now and we’re pleased to announce a number of distinct Australian dramedies and romantic comedies that will engage global audiences as part of this mix,” she said.
“We are also proud to support Australian creatives expanding their skillset, including Northern Pictures producing their first feature film Little Bird and Arcadia bringing to life their first episodic drama with While the Men Are Away for SBS.”
Head of First Nations Angela Bates said the titles supported through her department explored “important themes of intergenerational trauma, colonisation, and power”.
“We are proud to announce two premium dramas today including a new season of Total Control, which continues to not only captivate viewers but also provide important opportunities for emerging filmmakers above and below the line,” she said.
Deborah Mailman and Rachel Griffiths in ‘Total Control’.
The successful projects are as follows:
First Nations
The Moogai: A psychological horror from writer/director Jon Bell, who teams up with producers Mitchell Stanley, and Causeway Films’ Kristina Ceyton and Samantha Jennings. The film follows Sarah and Fergus, a hopeful young couple who give birth to their second baby. What should be a joyous time of their lives becomes sinister when Sarah starts seeing a malevolent spirit she is convinced is trying to take her children. Fergus desperately wants to believe her but grows increasingly worried as she becomes more unbalanced. The Moogai is financed with support from Screen NSW. Australian distribution is by Maslow Umbrella 387 Entertainment with Bankside managing international sales.
Total Control (season three): A six-part third series of the ground-breaking drama for ABC starring Deborah Mailman and Rachel Griffiths. In the corridors of power, adversaries Alex Irving and Rachel Anderson battle to control their political destinies. Season two writers Stuart Page and Pip Karmel again team up with producers Darren Dale, Erin Bretherton, and Rachel Griffiths. They are joined by writers Julia Moriarty, Meyne Wyatt, and Debra Oswald. Total Control season three is financed with support from the ABC, with All3Media managing international sales.
Feature Films
Addition: The debut feature film from writer Becca Johnstone and director Marcelle Lunam, who are working with producers Bruna Papandrea, Steve Hutensky, and Jodi Matterson of Made Up Stories, and Cristina Pozzan of Buon Giorno Productions. This romantic comedy follows 30-something-year-old Grace who has a thing for numbers and the inventor Nikola Tesla. But when an average guy, Seamus, comes along, Grace falls for Seamus and her meticulously ordered life begins to unravel around her. To let this love in, she must let go of the things she’s been holding onto. Addition will be distributed in Australia by Roadshow Films, with WME managing international sales.
Went up the Hill: A psychological three-handed thriller played out between only two actors. The story follows Jack as he travels to a remote region in New Zealand to attend the funeral of Elizabeth, the mother who abandoned him as a child. There he meets Jill, Elizabeth’s widow. Both are searching for answers; Jack about why she deserted him and Jill about why she killed herself. But Elizabeth’s spirit lingers and soon finds a way to possess both Jack and Jill’s bodies at night. Caught in a life-threatening nocturnal dance, Jack and Jill must find a way to let go of Elizabeth’s toxic hold, before she pushes them to the edge. This film is a New Zealand/Australian co-production from writer/director Samuel Van Grinsven and writer Jory Anast, who previously collaborated on their debut feature Sequin in a Blue Room. Causeway Films’ Samantha Jennings and Kristina Ceyton are producing alongside Vicky Pope. Went up the Hill has been offered production investment from the New Zealand Film Commission and is financed with support from Spectrum Films, Stage 23, RB Sound, and Screen Canterbury. Vendetta Films is handling local distribution while Bankside Films is on board for international distribution.
Little Bird: A romantic comedy from Northern Pictures about a poor but spirited young woman, who teams up with a burnt-out legend to become one of Australia’s most extraordinary flying teams. Set in the glamorous world of 1930s aviation and based on pilot Nancy Bird Walton, Little Bird is about defying expectations and letting your spirit soar as high as the sky. The creative team features director Darren Ashton, writers Harry Cripps and Hannah Reilly, and producers Joe Weatherstone and Catherine Nebauer. It is financed with support from Screen NSW, with local distribution by Maslow Umbrella 387 Entertainment and Parkland Pictures managing international sales.
Television Drama
While the Men are Away: A queer, revisionist historical dramedy for SBS set in 1940s rural Australia. While the men are off fighting in WWII, the people who have been excluded from power suddenly find themselves running the show. Two Women’s Land Army recruits from Sydney arrive in the country and undergo a heady course in race relations, rural politics, spirituality, sex, and personal growth- oh, and farming. While the Men are Away is created by Alexandra Burke, Kim Wilson, and Monica Zanetti, and written by Wilson, Zanetti, Jada Alberts, Magda Wozniak, Enoch Mailangi, and Sam Icklow. It is produced by Lisa Shaunessy of Arcadia. The series is financed with support from Screen NSW with Red Arrow Studios International managing international sales. The title is the first 8 x 30 drama from SBS Scripted Originals.
North Shore: A six-part crime thriller for Paramount ANZ created by Mike Bullen and directed by Gregor Jordan with writing from Marcia Gardner. Set on and around Sydney Harbour, this series follows the clash of cultures when British and Australian detectives team up to solve a complex murder mystery, and uncover a conspiracy with international political consequences. Produced by Beach Road Pictures, North Shore is financed with support from Screen NSW. It is also produced in association with ITV Studios, which will handle international distribution.
Children’s Projects
Rock Island Mysteries (season two): A 20-episode second series for Network 10, detailing the adventures of Aussie teen Taylor Young and her gang of friends. The group continue their adventurous search for Taylor’s missing Uncle Charlie now that they know he is still alive somewhere within the increasingly mysterious Rock Island. Season two sees the return of directors Jovita O’Shaughnessy and Evan Clarry, and writers Alix Beane, Marisa Nathar, Jessica Brookman, and Trent Roberts. They are joined by writers Matthew Bon, Chloe Wong, Rachel Laverty, and Dave Cartel. Rock Island Mysteries is produced by Timothy Powell and Jonah Klein of Fremantle Australia. The series is financed with support from Screen Queensland, with international sales by ViacomCBS.
The Strange Chores (season three) : A 26-part third season for ABC of Ludo Studio and Media World Pictures’ series about two teenage wannabe monster warrior heroes, Charlie and Pierce, and a spirited ghost girl Que, who master their skills from the ageing monster hunter Helsing by doing his strange supernatural chores. Director Scott Vanden Bosch returns with writers John McGeachin and Luke Tierney, and executive producers Daley Pearson, Charlie Aspinwall and Colin South. They are joined by writers Alix Beane and Magda Wozniak, and producer Carmel McAloon. The series is financed in association with VicScreen and with support from Screen Queensland. It is distributed globally by Boat Rocker.
The experts weigh in on why, in 2022, we love a rom-com more than ever. By Shona Hendley, Harper’s Bazaar August 2022
Father of the Bride | HBO
IF YOU READ that this was the ‘year of the rom-com,’ you’d be forgiven for thinking that we’d hopped in a time machine and travelled back to the 90s.
But alongside the claw clip, bucket hats and denim overalls, all that fashionable from 30 years ago is cool again, including romantic comedies.
With films like The Lost City, Ticket to Paradise, Marry Me, Shotgun Wedding, Fire Island and even a modern remake of Father of the Bride, there is no shortage of rom-coms making it to the silver screen or to streaming platforms this year.
So, what’s behind this rise in popularity? It has a lot to do with the intrinsic feel-good nature of the genre at a time when audiences are needing it says writer and director Mark Poole.
“Especially since the Covid-19 pandemic, audience have been interested in ‘feel-good’ films.”
Ticket to Paradise | UNIVERSAL
While we are still bingeing on true crime and horror — with the likes of Servant, All of Us Are Dead, The Girl from Plainville and The Staircase dominating downloads, the balance is offered and taken up with rom coms such as Bridgerton and Uncoupled proving just as popular by streaming audiences.
But as well as offering a welcome reprieve from the ongoing challenges associated with the pandemic, the uplifting mood and comedic factor generated from rom coms offer both a physical and psychological benefit to the audience says relationship therapist and director of Love Therapy Australia, Lauren Bradley.
“Viewing something positive and enjoyable can boost dopamine levels … Laughter sends a powerful message to our body and brain to relax, through lowering blood pressure, increasing endorphins and decreasing stress hormones.”
They also provide a sense of comfort.
Fire Island | JEONG PARK
“Rom coms reassure an audience that the world remains the same, that the boy will always get the girl (or vice versa) and that a dream wedding is the solution to everyone’s problems. In an uncertain world, audiences seeking certainty can watch a rom com and know that the movie will end on a high note,” says Poole.
And this offers a sense of safety, stability and familiarity which can be comforting and reassuring, especially when our real life isn’t this way believes Bradley.
“Feel-good shows take us back to a time when things were simple and positive, with clean, happy-ending plot lines, and rounded resolution, often exactly what’s missing in our real life.”
LAUGHTER sends a POWERFUL message to our BODY and brain to RELAX
Like pop superstar Kat (Jennifer Lopez) and school teacher Charlie (Owen Wilson) overcoming enormous differences in their careers and lifestyles to find their happy ending in Marry Me.
And while rom coms definitely offer their audience a reliable, happy ending, modern films and tv shows in this genre are also often heavily reliant on nostalgia and this, Associate Professor of Film Studies at the University of Sydney, Bruce Isaacs says can’t be underestimated.
“Nostalgia is one of the strongest impulses we’ve got, and modern rom coms are tapping into this.”
The return of rom com royalty, the actors who starred in 90s rom com blockbusters are just one way the genre is giving a big nod to this.https://www.youtube.com/embed/Ebv9_rNb5Ig
Because alongside the return of Sandra Bullock in The Lost City, JLo in Marry Me and Shotgun Wedding, is none other than Rom Com Queen, Julia Roberts who is starring with George Clooney in a Ticket to Paradise — hello 90s romantic comedy vibes!
“For many people born in the 90s and 2000s echoing back to old favourites takes us back to childhood, which for the fortunate and privileged, was a time of ease and carefree freedom.
We may gravitate toward shows that draw from positive experiences and memories, seeking to replicate that feeling in our lives,” says Bradley.
And while nostalgia is in demand, Poole says that modern rom coms are also becoming more inclusive, another element that the audience is responding to.
NOSTALGIA is one of the strongest IMPULSES we’ve got
“There is an increased demand for movies with a number of strong females in the lead roles. Bridesmaids (2011) arguably began this trend which reflected the increasing power and status of women in the current political, business and domestic environment,” he says.
There are also more examples of rom coms representing different ethnic and cultural backgrounds, and the class system, which had often been overlooked in earlier rom coms.
Wedding season | KEN WORONER / NETFLIX
“More recent rom-coms often feature at least one lead character from a non-white background. A contemporary example is Netflix’s Wedding Season (2022), a rom-com set in the context of Indian families living in New York,” Poole says.
While the rom com of the 90s may have had its moment, the rom com of 2022 is definitely here and is firmly in the spotlight.
“This is the only project I’ve ever done which Closer isn’t producer of,” Sophie Hyde tells us during the promotional junket for her latest directorial effort Good Luck to You, Leo Grande, an entirely UK production.
Closer Productions is the Adelaide based company that has brought us formally and thematically progressive works such as feature films 52 Tuesdays and Animals, documentaries In My Blood it Runs, Life in Movement, Sam Klemke’s Time Machine and The Dreamlife of Georgie Stone, and series Fucking Adelaide and Aftertaste.
Hyde is co-owner and one of the directors at Closer, and says that it’s “sometimes nice to go and do something else,” with regards to Good Luck to You, Leo Grande, starring Emma Thompson and Daryl McCormack.
“Australia should be producing things like this. This is the only film I’ve ever done that I’m not a producer of… Silly me,” Hyde says about the film, which is getting a big push around the world.
“I think this is exactly the kind of thing we can be producing out of Australia. As producers, we don’t look at the international world. It’s a real tight balance because Australian audiences in the cinema for Australian films are not necessarily the same… We seem to have films that are successful in Australia in cinema, and then not as successful overseas. Or they’re successful overseas and not as successful in the cinema here. I don’t know why. I don’t know how to grapple with that. I just know that I make films that feel like they’re international, but they feel Australian to me too. I hope that we open up and want to see more kinds of stories. That’s always the thing, more different stories … for everybody.”
Good Luck to You, Leo Grande is certainly a different kind of story. Essentially a two-hander set in a hotel room, the film stars Emma Thompson as a former schoolteacher of religion, a recent widow who hires an escort, played by Daryl McCormack, so that she can experience delights of the body that she has repressed for so long.
Written by comedic performer Katy Brand, and with Emma Thompson attached, Hyde was sent the script off the back of her work on Animals.
“It was a very early draft of the script, a very short draft. I had a meeting with them and said what I wanted to do with it. Then we worked on the script for 11 drafts quite quickly.
“Katy had sat down and written a story about these two characters. She’d written a script where they met three times, and she knew it was an early draft. She knew she wanted to go further with it, but it was short at 70 pages. It was dialogue. And then we expanded it to be the fourth meeting and changed a bunch of the story.”
When we bring up the fact that the story could have equally lent itself to the stage, Hyde is quick to point out her reasoning for the cinematic approach.
“For me, we’re looking at intimacy between two people and two bodies,” says Hyde. “That never feels like a play because that’s not my art form. All I see is movie, especially when it’s as intimate as this. I think that’s much more the pleasure of a movie where you can be close to someone, you can feel with them as opposed to looking at a distance. These kinds of films are the ones that I think of as the most cinematic in some ways. I never felt like I wanted to make it bigger. There was always a sense of emotional terrain, and the landscapes of their faces and their bodies was enough.”
Speaking of intimacy, did Hyde work with an intimacy coordinator on the film? No, though I think that it’s such a good advent in film. There’s been so many instances where actors have been really mistreated. I think as a director, in the most part, it means you can push harder for what you want because you know you are safe in the boundaries.
“With this though, Emma and Daryl and I talked about it a lot, and we were just really comfortable with the idea that we had each other. And another voice felt like too much for this. I think I work in some of the same ways that an intimacy coordinator does, which is very much about continual, constant, enthusiastic consent. That’s something that is present all the time in the shoot, and in the way that I work with actors. But on something bigger, where I’m not just dealing with two people, I would bring someone in.”
Working on such a contained project, shot in 19 days with a minimal crew, also allowed Hyde to work at her best. “I had a monitor, and I was offset a lot, just outside the hotel room. As a director, I have to have direct line to my actors, even if I’m a long way from them, because I go to them a lot. If anyone stands in front of me and the actors, I get really annoyed. It’s one of the only things that annoys me on a set, actually. That’s really important to me, that direct line to them and the sense that I can get to them fast, as soon as they cut.”
Even though this was not technically a Closer production, Sophie Hyde certainly had the support of her team, including her partner Bryan Mason [above, with Sophie on set], who was cinematographer and editor on Good Luck To You, Leo Grande. “We spend so much time together developing, and he’s there from the very start,” Hyde says. “I had really strong ideas about this film, about the way that light would be in each shot and the way that it would look, the neutrality of the space. And so we just had to build the set with the production designer, and to make sure that we could get those kind of shots. It wasn’t storyboarded, but we knew exactly how we wanted it to look all the time.
“A lot of our [Closer] team helped in the development of the script too. And post is a lot of the same team, so you still have the same DNA in a project like this.”
Good Luck To You, Leo Grande is in cinemas August 18, 2022
From a unique and authentic voice comes the highly anticipated feature debut Shayda, by writer and director Noora Niasari, starring Iranian actress Zar Amir-Ebrahimi (Tehran Taboo, Morgen sind wir frei) with major production investment from Screen Australia.
Melbourne-based Niasari is well known for her award-winning short films including Waterfall which screened at the 66th Melbourne International Film Festival (MIFF) where it was nominated for best short film, Tâm and feature documentary Casa Antúnez. HanWay Films has come on board to handle international sales and distribution, UTA Independent Film Group is representing the U.S. sale.
Shayda is produced by Vincent Sheehan (The Hunter, Jasper Jones, Animal Kingdom, Lore) through his new production venture Origma 45. Cate Blanchett, Andrew Upton and Coco Francini at Dirty Films (Apples, Carol, Little Fish) are executive producers. Shayda received major production investment from Screen Australia in association with The 51 Fund and financed with support from VicScreen and the MIFF Premiere Fund, while local distribution in Australia and New Zealand will be handled by Madman Entertainment. The 51 Fund (Cusp and the upcoming Shari & Lamb Chop) provides financing to feature films of any genre that are directed by women, with the goal of providing support to the most exciting female voices within the creative industry. Caitlin Gold, Lindsay Lanzillotta, Naomi McDougall Jones, Lois Scott, and Nivedita Kulkarni also serve as executive producers on behalf of 51.
Heads of production will include Cinematographer and Niasari’s closest collaborator Sherwin Akbarzadeh (Stories From Oz). Osamah Sami (Ali’s Wedding), Leah Purcell (The Drover’s Wife: The Legend of Molly Johnson), Mojean Aria (The Enforcer), Jillian Nguyen (Expired) and Rina Mousavi (Alexander) will star alongside Amir-Ebrahimi. Production will commence on 11 July in Australia.
A young Iranian mother (Amir-Ebrahimi) and her six-year-old daughter find refuge in an Australian women’s shelter during the two weeks of Iranian New Year (Nowrooz) which is celebrated as a time of renewal and re-birth. Aided by the strong community of women at the refuge they seek their freedom in this new world of possibilities, only to find themselves facing the violence they tried so hard to escape.
Vincent Sheehan commented, “Shayda is a powerful, timely and important story to be telling and Noora’s unique Iranian/Australian voice as a director will be a potent combination. I am thrilled to be working with such a quality stable of producers and market partners with a shared passion and commitment to backing Noora and her story.”
Screen Australia’s Head of Content Grainne Brunsdon said, “Rising talent Noora Niasari has created a well-crafted script, vibrant characters and an authentic world and Screen Australia is delighted to support her debut feature through development and into production. Shayda offers a unique perspective on a story with universal themes of survival and the cost of freedom.”
Dirty Films also noted, “We first encountered Noora’s talent watching her short films, The Phoenix and Tâm. We were blown away by her precise, emotionally-driven filmmaking and her capacity to draw out gripping performances. We are excited to be working alongside Vincent again to help Noora fulfil her bold and distinct vision for Shayda.”
HanWay Films MD Gabrielle Stewart said, “We are delighted to be part of an incredible team supporting Noora Niasari’s feature debut. Noora has written a beautiful piece that reflects much of her own experience of moving to Australia as a child. There is an intimacy to her storytelling that brings to life what it is to honour the traditions of the culture you have left behind as a mother raising her young child, whilst together bravely embracing a whole new one.”
