‘We do it because we have to’—the behind-the-scenes experience of producing a film
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There’s a saying I’ve heard repeatedly since delving into the movie making world: ‘Those who do this, do it because they have to.’
It’s been said in many ways, but always with the same understanding: that film making is so hard, (and this is another common saying) that every movie is, in fact, a miracle. So those who ‘make it’ and go the distance are here because they simply have to be.
They’re willing to endure the pain because they don’t have a choice. It’s not so much a burning desire but a realisation: ‘If I don’t do this, I’ve wasted my life. I’ve gone against my passionate, lifelong, true love for storytelling.
I know that sounds dramatic, but I’m sure others out there have the same feeling of their inner compass pointing in a clear direction and shouting ‘this is what I’m meant to do.’
When I’m not doing it, there’s always a slow-burning ache, reminding me of lost time. When I have a creative project going, all is right in the world.
When I’m writing, directing or creating, it energises me. It doesn’t matter how long the day is, if I’m tired, cold or hungry. The energy of doing it takes over. So, a few of us are making Animal because we have to. This is the kind of film I’d love to watch, and the one thing (if I had to choose, and I do) which I’d make right now.
We’re going into the mist this September to film a story about a woman’s intuition and what it means to be human. It’s set at a time when cyborgs, AI and genetic engineering have become the norm….and it follows one woman, Suzette (Isabelle Faure) leaving her husband (Michael Sparks) and artificial life the city behind.
She discovers a hut in the bush…before things get spooky. A mysterious, wild, silent stranger (Karen Vickery) starts to appear, at first terrifying Suzette…until we realise there’s more to Suzette, and this stand-off, than meets the eye.
Inspiration
There’s a famous movie by Ingmar Bergman, Persona (1966), a psychological thriller starring two women in a remote location and studying the dissolving of their false personas as things get very real. One character doesn’t talk, but the human face and story express more than words ever can. It’s a mind-bending experience to watch. It had a huge impact on me. I’m a bit obsessed by Bergman, watching his movies connects me right back to the magic of cinema – how it can transport you.
Animal explores themes close to my heart and in some ways wrote itself. I had an idea about a woman in the bush, discovering a hut…and starting to see another woman appear and disappear. It was initially a play—I had the opening scene between Suzette and Michael written, and developed it with actors and feedback while I mulled over the mystery of the disappearing woman. This is the kind of movie I’d like to see, and keep making.
Over several months of site visits, camping and shooting with Jogi and his First Assistant Staffie, Arya, the location inspired more and more visual ideas, culminating in a weekend when I wrote the rest of the script.
I tend to write in a visual way, waiting till I can ‘see’ the scene before writing it….although some scripts and genres definitely require more of structured approach. With this one, I had a rough outline, but didn’t know what the twists and turns would be. I didn’t want to intellectually create them. So there was a lot of waiting and sitting there scribbling until an idea came. The ones that surprised me stayed.
Cast and crew
I wanted to work with the best possible people who were willing to give this project a go—people I can learn from, collaborate with, and feel inspired by.
I’m so inspired by co-producer and Director of Photography, Jogi (Joachim Ellenrieder). He has an incomparable talent and (self-described) ‘obsession’ with photography, filmmaking and cinematography. We’ve been adventuring in the bush, developing the tone and style of the film through location visits, test shoots and prep for a year now.
In a few site visits, Jogi came up with so many quality test shots, I realised we could present them in a sizzle reel.
We’re using this to promote our project through the Australian Cultural Fund, which offers Australian artists the chance to receive tax deductible donations toward their projects.
Isabelle is a born artist across many disciplines. She’s been an absolute joy to delve into the script and rehearsals with and has brought so much to the character, script and music. She has even translated some of the dialogue into very poetic French!
The casting process took some months and was quite daunting. Isabelle was cast in January and then we were overjoyed to have the legendary Karen Vickery and inimitable Michael Sparks join the cast recently. Such accomplished actors at the top of their game – which made things very real for Jogi and I.
Our talented, wise, hardworking cast completely embody this story and have expressed such a deep connection to the film. I can’t wait to see them work their magic through the characters.
As a film with little dialogue, set mostly in the bush with a ’slow’ style based in the living moment, Animal will require lots of atmospheric natural sound, and some awesome music.
I feel incredibly lucky to work with Tim Duck (Versed Productions) on sound, and the amazing Happy Axe for the sound track. Happy Axe’s music came to mind immediately after writing the film. I’m talking with some more talented local musicians to collaborate on the sound track.
I’m nervous, excited, and rising to the challenge of working with these incredible, accomplished humans and artists.
Constraints lead to creativity
We’ve kept the script and project small—two key roles in one remote location— to help us focus the budget and maximise the production value. The shoot will challenge Jogi and Tim creatively and technically.
The constraints of a small, agile crew remind me to focus on telling the story, know the shot we’re going for, be prepared and collaborate openly with Jogi and Tim. I’ll be editing the film, which forces me to imagine the edit as early as the writing stage, and make clear choices.
I’m really looking forward to post-production, collaborating with Tim, Happy Axe, some amazing local musicians and Tim’s students who are busy creating experimental sound for a soundscape.
A passionate creative community
It’s a bloody great vibe when you work with others who love doing this. I’ve met so many kindred spirits in Canberra, busy making, writing, filming, performing and sharing their work.
There are some seriously smart, passionate and experienced people working hard to help Canberra’s screen industry reach its rich potential. They’re much more qualified than me to comment on the industry’s development, but it’s clearly an interesting time.
We’re starting to see the results of about a decade of focused strategic, collaborative and innovative efforts from many people across government, business and the arts to build capacity, build infrastructure including our very own sound stage, raise our profile and attract premium projects to the region.
I’ve experienced firsthand the unique opportunities like Screen Pod, connecting writers with a community, an intensive development process and the market: culminating in pitches to producers. It’s so exciting to see fellow ‘Podlets’ meet the right producer, and actually make their project.
Get involved
We’re asking the community to help our project succeed: whether you donate through the Australian Cultural Fund; offer in-kind support for catering, equipment or supplies; or like and share our content on Facebook, YouTube or Instagram. We want to share this journey with you!
We’d love you to come along to the special screening and exhibition we’ll hold here in early 2024. And if you’re a fellow creative on this path, we’d love to hear from you. Let’s do this. Because we have to.
