Malta is the only country in the EU where a woman will be arrested for having an abortion. Here, the path to a legal abortion is fraught with barriers: it demands a consensus from not one, but three separate doctors, all agreeing that abortion is the sole measure to save her life. Abortion is illegal even in cases of rape and incest, making Malta one of the strictest anti-abortion nations in the world.
So when No Woman is an Island was invited to screen in front of the EU Parliament in a bid to help change Maltese law, I was honoured. To screen in Parliament, where MPs advocate, deliberate, and enact laws to foster positive change across all member states, including Malta ... Well, that was precisely one of the motivations driving my documentary work.
Read MoreIn 2022 we have been paying attention to an aspect of film distribution we have largely ignored for several years beforehand: film festivals.
We have had rejections of course. With many festivals receiving thousands of entries, there will always be rejections. But we have also found some success. Machination has picked up several awards at film festivals for Acting, Directing, and Sound Design. Cats of Malta has been selected for the Melbourne Documentary Film Festival, New York Cat Festival, and other festivals we cannot reveal quite yet. Our latest Life Improvised film, The Dance, screened at Kinemastik International Short Film Festival in Malta last night.
But this handful of success has come at a cost of almost $1000USD so far in festival submission fees. Could this money have been better spent elsewhere? Like running Facebook ads for the release of Machination? Have we gotten enough return for our funds? In short: are film festivals worth the cost and effort?
Read MoreI have been in Melbourne longer than intended. What was initially only meant to be a visit for a month or so, has stretched into a stay over four months as I’ve helped my mum move into a retirement village and sell the family home. Cleaning out the house has taken me for a trip down memory lane as I’ve discovered props, pictures, and DVDs from my first ever film: Shades of the Soul.
Hardly a soul has seen the film. Pun intended. I made it back in 2006 together with my friend Heath Novkovic, co-writing and co-directing. It is actually a feature film, 87 minutes long. I also played the antagonist, Leviticus, a military commander leading an expedition in the jungle when he is attacked and corrupted by a demon. He puts on a mask (we knew so little about copyright the mask in question is a replica from the band Slipknot) and begins gruesomely killing his own unit one by one, until the final confrontation with the lead protagonists and lovers Alexandra ‘Ice’ Peterson and Marcus ‘Dracon’ Maitlin. It was typical slasher fare with a touch of occult, only more poorly done than most, due to our total lack of experience and budget.
It’s such an amateurish film that it was never released, and I don’t even count it in my filmography. We were a bunch of dreamers running around the ‘jungles’ of Brimbank Park with camcorders, playing at filmmakers. But as I sat down and watched the film for the first time in many, many years, inspired by the nostalgia this trip to Melbourne instigated, I realized something: there is freedom in naivety.
Read MoreLast week I sent off a private screener of Cats of Malta to our Kickstarter backers. The next day I received a reply from an actor/filmmaker I knew from my past life working out of Studio 106 in St Kilda. Katrina asked me about our improvised process of filmmaking, how we make films, and if she could see an example of my favorite improvised NPG film.
This request got me thinking and sent me down a rabbit hole of reminiscing about our improvised work and how we started producing and shooting films using this unique method. All this thinking led me to Tubi TV and getting lost within the first twenty minutes of Friends, Foes & Fireworks – the first improvised film Ivan and I produced and directed, plus shot in a single night.
Within the body of the email reply to Katrina I pasted the Tubi TV link to Friends, Foes & Fireworks and filled the rest of the blank space with our improvisation inspirations, directors and films we admire – one of which is Mike Leigh. His name led me to thinking about the whole improvisation journey and business transition which NPG has gone through since making Friends, Foes & Fireworks in 2017. Again this led to yet another fond memory – the five days Ivan and I spent in Basel during 2019 taking part in the Character Based Improvisation (CBI) workshop Robert Marchand teaches.
I also mentioned the CBI workshop to Katrina, then I hit ‘send’. Sitting at my desk I realized it's been a few years since Basel, and that realization brought on some wonderful memories.
Read MoreThe concept of the New Year resolution started around 4000 years ago with the agricultural Babylonians. During their ancient annual Akitu festival, which included crop harvesting and appointing a new king, the Babylonians focused on pleasing their gods. Over twelve days they made promises to their gods that they would pay debts and return borrowed tools. Keeping this promise would gain them favoritism from the Gods in the coming year.
Other cultures adopted a similar belief around New Year's resolutions. In ancient Rome 46 B.C, the new calendar was introduced by Emperor Julius Caesar, making January 1st the start of the year. Caesar named the month after the two faced God Janus. Similar to the Babylonians, the Romans offered sacrifice and made promises to Janus to show good behavior in the new year.
UNDER PRESSURE
It’s these traditions that we have to thank for the reason most of us feel the pressure around mid-December to be better versions of ourselves in many aspects of our lives once January 1st rolls around.
Which brings us to today. Why does our society still hold on to variations of these ancient traditions?
Read MoreThe golden age of filmmaking in Hollywood set up an image of a producer being the person who calls the shots and says what goes and what doesn't – outsiders often or not have this image of a white, male, most likely middle-aged big shot, totally comfortable with demanding what he wants and getting it too. He is assertive, which is a kind way to say mean or bossy (when talking about men anyway), and everyone drops to their knees, scampering all over the studio to please him and meet his requests.
In the modern world, we still have these important producers, but the image of them has changed slightly, along with the way producers operate, and importantly what has also changed is how the people working below the producer respond to their demands.
Our generation is accepting of producers of any gender, religion, race and colour, but we are also aware of the power imbalance that comes ingrained in the hierarchy of the film industry. This was demonstrated by the much needed Me Too movement, and what followed for industries outside entertainment with the Time's Up movement. Both proved that you can't be simultaneously worshipped and an insensitive asshole that abuses the power that comes from your role.
Read MoreSome actors have a character they portrayed on the screen whose shadow they live in most of their lives. For Sean Connery and Roger Moore it was James Bond, Boris Karloff had Frankenstein, Bela Lugosi had Dracula and mine is Dace Decklan: Private Eye.
Who the hell is Dace Decklan: Private Eye, you might ask?
It all started as a twinkle in the eye of film director Ivan Malekin. How he ever came up with the concept of melding Magnum P.I and James Bond I will never know. Then again maybe I should just ask him? I just realised I never did.
Read MoreGenerally speaking, most people believe that committing piracy is not really a big deal. It's not that harmful. For most of us average folk, it's simply not feasible to sign up to and pay for a multitude of subscription streaming sites. We pick one service, maybe two if we are on a steady wage, but how many people can afford to indulge in memberships to Netflix, plus Amazon Prime, and HBO Max, and Disney+, and Hulu, and all of the other streaming services out there? It becomes much too expensive, so when it comes to cost, piracy can be understandable too.
WHAT THE CURRENT STATS SAY
Certainly, more and more people are turning to piracy, not just in TV and film, but across all industries. The international piracy stats in 2021 indicate:
The USA is at the forefront of piracy with 17 billion clicks on illegal piracy websites in 2021 alone.
Russia has the highest piracy rate in Europe with over 14 billion piracy site visits, while Indonesia is the leading country in Asia for piracy with 6 billion visits.
70% of online users find nothing wrong with online piracy while 34% of Gen Z (people born between 1997 and 2012) use stream-ripping programs and websites to download films and audio from streaming sites.
Pirated videos get over 230 billion views a year.
Read MoreExposing the Double Standard Surrounding Sex & Violence in Film & Art
Our new film In Corpore is too sexy for Tubi.
This is something we learnt two weeks ago, and we’ve added Tubi to our list of platforms and apps we cannot reach with the film. All our attempts to advertise In Corpore on Instagram fail. Our trailers and teasers are flagged on YouTube. When we wrote in the film’s IMDB synopsis “a sensual, sex-positive exploration of contemporary relationships”, the synopsis suddenly disappeared. Trying to advertise the film through GoogleAds is an ongoing battle and we are losing – Google restricted our ability to market the new release through YouTube due to images being deemed “adult content”. Images, mind you, of people dancing, fully clothed. And for a year leading up to the film release, we couldn’t even share the In Corpore website on Facebook or Instagram because it was blocked by those platforms. The crime: too sexy.
Read MoreI've been in this indie filmmaking community for over a decade, and I’ve been directing since 2013, yet it always amazes me how there is always something more to learn in this industry as a director with each project.
This year I fell into directing my first documentary, Cats of Malta, and man did I learn a lot as I researched the topic and subjects that make up the Maltese cat community. Right now as we edit the project I'm becoming even more knowledgeable on how producing docos work, thanks to Google.
I have watched a few docos this year too, standouts being Tiger King, which showed me a lot about how to interview subjects and that true to life characters exist, you just have to find the interesting and sometimes kooky parts of their story. Another Netflix doco, High Score, was entertaining from start to finish. Even though I am not a gamer, High Score was so well put together as a series, each episode explaining a different shift in the industry, that even I as a novice on the subject was hooked.
One of the first things I learnt from the process of directing a doco is that I had to know what I could legally film. People in the background, peoples faces as they interacted with our interviewees on the street, and I will confess that I was reading about the legalities as we were filming.
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