Steve GannBeing Dangerous and Incorrect - Sexual Politcal Whatever.
July 11th 2007 13:50
So here is the question: If films need teams of people interacting with one another -- collaborating to find a common vision -- what is the best type of team to put together?
Me, I want a producer. I am a needful guy. I want to be pampered and looked after. How can I justify this? Because I have a vision of what I want to create. Correction I have several visions of what I want to create. To be successful in this, I need a producer who loves what I write and will work with me to realise a common vision. I am not looking for someone to cater to my ego. I am looking for someone who will make strong guiding moves and instruct me when they think I am going off the rails.
My last post was a response I made to an American guy (read Producer?) who asked me how my projects are going.
To the people who can write and produce their own work, more power to them. I wish them all the success in the world. However as Dirty Harry said in Magnum Force, a man has to know his limitations. I am a writer with training and background that I believe will equip me adequately as a director.
Over the years I have completed a BA in Drama, a one year course in film and TV production at North Sydney Tech (as it was then), a script writing on-line course with the AFTRS and am at present doing a Master of Film Studies at the University of Sydney. Over time I have talked to various people about my projects and made a bloody nuisance of myself in trying to get networking events going between SPAA and AWG. I was instrumental (ie I was the irritant causing the squeaky wheel) that got the first Speed Dating exercise off the ground in Sydney about 3 years ago -- and that when I was a lapsed/non-financial member.
I have spoken to producers and those who pretend to wear the mantle. At one time I spoke to Ben Gannon. At another when he was getting underway, to Tony (Sorry) Anthony Buckley. Neither of them responded to my concepts. So on with the motely. I have sent literally hundreds, maybe thousands of letters over the years. I made submissions to AFC and FTO until rejection slips clogged the hallway.
I don't believe we have enough professionally trained producers in this land of Oz. They are as scarce as hen's teeth and usually very busy. That being said, I don't have the skills, background or the temperament to make a good producer. I am not organised in the right direction and I would probably end up decking someone out of frustration.
What I can do, is tell a story. I can build a narrative. I can put characters in a situation where they have to work, sweat and squirm to find their way to new horizons. I also can work with actors to give them the confidence and level of focus where they can perform outside their normal comfort zones -- to take off their skins and dance to a different drum.
Now pardon me for a moment while I go into dangerous territory. I am not a fan of much of the film that comes out of Australian. I don't think it is dangerous enough. I don't believe the stories have enough edge or that there is enough developement.
Part of the reason for this is the lack of time spent in stripping back the script and looking at what can be done to build more layers of intensity. There is not enough done to weave story lines and characters so that they operate on multiple levels and with a degree of chaotic uncertainty.
We need more outlawry, more political incorrectness. If we are going to deal with Aboriginal stories, then make them real - bring out the violent disagreements, the condescending attitude of the arrogant white establishment. Show Australia warts and all. Make it raw and real. Expose the visceral violent racial conflicts and the the problems with a mulit-cultural society.
We should stop pretending that Australia is the Ultima Thule or Shangri La of our modern world. Yes it is a great country and it has much to be proud of -- but it has an underbelly too and our writers should be encouraged to explore this. We need dangerous visions that explore pluralistic values and show the pain of acting without thinking. Most important in this is exposing the lack of vision and plain dumb thinking of our political leaders. They should be pressured and pilloried until they start to perform. All parties. All governments. All levels. At the moment the level of thinking and ability to tackle the future is decidely lacking.
Vote for those politicians with passion, intellect and a vision for the future -- and make sure that they support the arts community which has suffered as a poor relation for so long that it is pathetic.
Many years ago I came across a piece of graffiti on a corrugated iron fence deep in the Western Suburbs. It read:
It doesn't matter who you vote for, it's always a politician who gets in!
Don't limit your contact with politicians to voting. Lobbying, letters and email are always an option. Sometimes I think the Greeks and Romans handled things better. Politicians who didn't perform, were banished or in extreme cases, assassinated.
The opening of Julius Caesar: You blocks, you stones. You worse than senseless things -- knew you not Pompey?
Or that song from the Mikado: Oh I've got a little list of them who'd not be missed.
Now friends, that may be politically incorrect, but tell me in all truth: Don't you have your own personal list. Perhaps something worth posting on the internet. A Drop Dead list for politicians. Forget Big Brother. Let's have some reality TV with real teeth.
Sometimes I miss Don Chip with his keep the bastards honest. But then of course, he was a politican too!
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Comment by Nickoftime's Sanity Corner
some heaving reading for me at this hour of the morning, but gets the blood goin!
Liked that way you saterized politics and politicians...cause lord knows they certainly do need it...
LOL
Great post!
Take care,
Nick
Comment by David
I couldn't agree more.
You seriously need to consider directing your own films. Finding a producer who shares your vision in Australia is a tough ask. A Master of Film Studies sounds great, but having read this Post, you need to be doing a director's course (one where you get to make a film during your time at Director's School).
I've had one cinema feature produced (as a writer) but the director and producer didn't share my vision. I'd do a director's course but the one I would do is in Sydney and I live in Adelaide, plus there's financial considerations. It's just not practical at the moment.
The guy I would speak to if I was in your position? Duncan Thompson (Head of The International Film School Sydney). I've inserted the link. Just click on his name.
David ...
Comment by JohnH
Thanks for the thought. I will make contact with Duncan shortly. Extending the network is what it is all about.
By way of clarification, I have had some experience, training and background. On stage I was an actor for over twelve years getting to know theatre and finding my place in it. I toured, stage manager, stage director and the list goes on.
In 1977 I completed a BA in Drama (including film) and the following year went to North Sydney Tech where I was trained in the roles of writer cum director. I wrote material for most of the other students. I also got stuck into finding out work arounds and can dos to overcome lack of equipment or resources. At one stage we wanted to shoot the inside of the TV master control room. The cameras at that stage were the huge hydraulic contolled beasts that took two men (one camera man -- one on cables) to get them around. I went hunting and found a smaller camera on a tripod in a storage cupboard. Off with the tripod and using a pillow on the shoulder of the cameraman -- we got the shot.
Two years later with a then wife very pregnant we were running our own special effects, model making business -- Moebius Productions. Of course we went bust but it was invaluable experience learning about lenses, matte processing, dioramas, models, armatures for motion control camera work and of course explosions!. Sad to say we didn't get to use most of the exciting stuff. The biggest frustration was that people wanted the equivalent of Star Wars on a budget of $200. We tried to give the best we could, but in the final analysis it ended up costing us big time.
I've shot one short film and helped others over the years in a number of ways. There are some funny stories I could tell you over the Moebius Years, but another time maybe.
I suppose what I am saying in the final wash up is that I am happy to contact Duncan and it is quite possible that we could work together on something.
Whether or not there would be value for me in getting training at the school is something else again. I am not saying that I know everything there is to learn, but I would prefer to start any further learning in working on projects, mine or other peoples -- I'm not fussed either way. Mean time I will continue my hunt for a producer.
Oh look there's a likely looking beast. I say Henry, pass me that elephant gun will you.
And so it goes
Cheers
John