Get to Set Quickly

We all know the maxim time is money and this maxim seems especially relevant to filmmaking. More time in development, more time in pre-production, more time on set usually means more money – either money you are spending by paying cast and crew for more days, hiring equipment, spending on locations, or money and time you are wasting by working on that script day by day, week by week, month by month. Time that you could be spending elsewhere.

Film is an interesting artform. Is there any other artform that requires such high initial costs, such high end equipment, such specialised and various personal to the point where budgets commonly top $1 million and crews on film can reach into the hundreds, only to then sell to a consumer for a few dollars on a streaming platform, or for 1 cent per hour if you are an indie filmmaker on Amazon Prime?

The economics of filmmaking are rigged against you. The amount of independent filmmakers who make a living solely on their films is low. But it can be done. Targeting a niche audience is one method and this approach, combined with regular and consistent output, gives you a chance to make money.

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Saying No To Yourself

“I want it all and I want it now.”

Freddy Mercury first sang the iconic line in 1989 and to this day when I hear it I feel inspired to pursue all my goals. All at once.

The greatest hindrance to this is we all have a finite amount of time and most people cannot work on their creative dreams all the time. You have rent or a mortgage to pay. You have to put food on the table. You have to save because who wants to live cheque to cheque. Maybe you even have children or a family to support.

So you work a day job. It eats up your peak creative hours when your brain is the most proactive (and for most people that is mornings according to studies) so you are already drained when it is time to work on your own stuff. Or you run a production company, you serve clients, you work in the field you enjoy, but adjacent to what you really want to be doing – creating your own work instead of videos for others. You freelance, you write, you edit, you shoot, you crew on productions. The work is inconsistent, you hassle, you network, and then it all gets shut down anyway because 2020. What a year.

But even in better years there have always been those jobs you know in your heart you shouldn’t take but your mind says I need the money or it may lead to future work. The time wasters. The lowballers. The clients who demand strawberry sundaes but don’t have any strawberries for the recipe.

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The Mind-Body Connection

When I am not in front of the camera acting, I coach some of the most phenomenal people of New York City and around the globe. My clients include CEOs, company presidents, judges, UN delegates, students, teachers, medical professionals, footballers and basketball players, ballerinas, PhD graduates, economists, media representatives, administrators, actors and artists, accountants, parents, children, business executives, plus many more beautiful kind successful humans.

The reason these people from all walks of life and varied professions come to me is for Speech Coaching, Accent Reduction and Public Speaking training.

When I moved into doing this work at a company, my boss had opened up a concept to us speech coaches called 'the rate of no clutter', which we applied as instructors. The rate of no clutter is a technique using a series of drills and exercises that helps the client master their public speaking from a really practical perspective. Through this work I started to notice certain clients had massive blocks (as the healing world would call it) towards achieving success, which ordinarily could be mastered with the practical application of tools like the rate of no clutter drills.

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Staying Creatively Focused During Uncertain Times

It's a difficult time right now. I don't have to tell you that, you are going through it, as am I. Everyone around the world is suffering, some worse than others due to the situation they were in even before this COVID-19 virus started to change everything that most of us took for granted on a daily basis – family, the environment, work, our mental health, spirituality, our finances and the arts.

The physiological human response when a pandemic of this capacity strikes, or any situation really that a human (or an animal) feels is out of their control, or when a threat is suddenly present, is to go into 'fight or flight mode'. In response to acute stress, the body's sympathetic nervous system is activated due to the sudden release of hormones, boosting alertness and heart rate and sending extra blood to the muscles, prepping the body to respond and to survive. I don't know about you, but as a writer and a film director, I find human behaviour fascinating and the human condition to be so complex and full of possibilities.

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I'm Self-Distributing my Indie Feature Film and the Idea Scares the Hell Out of Me

That's right – I am doing something different this year, self distributing my production company's indie feature film, In Corpore. It's not my decision alone, my partner and co-director is jumping on this rollercoaster ride with me and we plan to market our self funded, no stars attached, micro feature in all four countries we shot it in – Germany, Malta, Australia and America. Not only that, as part of our self distribution plan we are looking to use four wall distribution where possible, and even tour smaller states in America should the interest be there.

You are probably wondering why. You are probably screaming it at the screen. Please stop yelling, it will be ok.

Well, with all those distributors, aggregators, online platforms and sales agents who seem supportive and constantly hungry for fresh content it's a fair call to ask why we would go at it alone. For us, the first reason is that we have lost faith in handing our hard work and money to someone who does not have the film’s or our own best interests as the main priority.

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The Value of Micro-Shorts

“If you want to be a filmmaker, grab a camera and go out and shoot something, anything.” 

This is advice I've heard multiple times during my decade plus long involvement within the indie film scene. This very same advice I have given, and still do give to new filmmakers, however the camera element can now be a phone and the filmmaker part can also be broadened to include 'content creator' and such. How times, technology, and thinking have changed.

Luckily, what has also changed and evolved over the years is my mentality towards the value of short films, as myself and most others once shared the idea that you made shorts early on in your career, then you graduated to features. Now you are a 'real director' – whatever that means. But this kind of thinking is limited.

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Reflecting on a Decade in Film

As 2019 comes to a close in just a few short days, we also close the door on a decade of indie filmmaking. Where were you on January 1st, 2010? Do you remember how you celebrated the New Year? What were your plans for the year to come, did you have goals for the decade in store? Did you achieve them? 

Who were you ten years ago? 

Who are you now?

If you are like me, remembering what you were doing last week is challenging enough, let alone what you were doing in 2010. But I know I was 27 years old. I would have woken up at home, in my mum’s house, and on that day we would have gone to our cousin’s birthday party – it was a tradition since we were kids. I was in Australia so it was likely hot. I am sure I would have had some shitty day job – delivery driver, telemarketer, factory hand – I’ve had so many shitty jobs I’ve lost track long ago. 

I was already a filmmaker. In February 2010, I would wrap my first feature as a director, the no-budget gross out comedy Dace Decklan: Private Eye. Tarantino would debut with Reservoir Dogs in 1992, a touchstone in indie cinema, while Sam Mendes would win an Oscar for American Beauty in 1999, his first film. Dace is my debut. I don’t regret it, though I don’t think I could watch it sober today.

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The Value of Time versus Money

A few weeks before I left for Rome for a festival screening of my film, my new company had been extremely busy putting together two applications for a local grant. It's been a hectic end of the year, lots of changes such as a move to a new office, while also personally moving home. My business partner Ivan has this saying, which popped up through all the recent chaos: "Value your time more than money.”

I recalled this statement as I wandered around Rome Termini trying to work out where to buy a bus ticket from, while the sweat started to build on my skin due to my layers of clothing. I checked my watch one more time. The plan I had was to arrive at the venue for the screening early to make the most of my day there and meet the organisers with plenty of time to spare. Doors opened at 12pm and it was close to 1.30pm when I was finally on that bus. My film was not screening until 4pm so I still had time but I wanted to be there from the start of the day.

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Teaching Through Doubt

Many years ago I was told I should teach film by a friend of mine also in the industry. He wanted to gather a group of local filmmakers in Melbourne and run workshops on camera, lighting, editing, producing. I humoured him but inside I was scared.

What useful knowledge did I have to pass on? What if they asked technical questions? I have never been a computer nerd, a camera geek, or someone obsessed with the specs of gear and to this day I still have a hard time grasping crop factor on different camera sensors. Could I even explain how I produced a film – it just seemed to be stumbling for one hurdle to the next, with no methodology to the madness, getting things over the line via instinct, pestering, perseverance and luck. 

How did you teach someone to make everything up on the spot when plans fell through?

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