Current projects

Tuesdays and Thursdays. A feature film.

We’re casting our second feature film, a warm drama about two middle-aged women who move to Surfer’s Paradise for a new start. Jane, in her 60s, is British and has just buried her mother. She’s been married three times, has three adult children, and now she’s desperate for some ‘me’ time. Melissa, in her 50s, has just buried her much older husband Dougie and wound up his bankrupt business in Melbourne. She’s childless, and come north to be near her sister-in-law and family. The two women meet in the decrepit Mermaid Motel and strike up a friendship.

After a lonely Christmas Melissa tries internet dating and meets the charming David. In a strange coincidence, Jane meets a David on the beach, and starts seeing him. It’s not long before they work out they are dating the same man. David’s not interested in monogamy and neither of the women want to give him up. Bitter jealousy ensues until a terrible motel fire forces the women to reunite, ultimately reminding them of the true value of their friendship.

I am Evangeline. A feature film. 

I am Evangeline is a sci-fi drama with a romantic undertow. In a world where rich men manufacture clones for their pleasure, Evangeline is desperate to escape her terrible fate. Like all clones she has the sleeping sickness and faces an early death. But there’s a cure – living brain cells from her original, Diana.

Evangeline runs away to the city to find the cure and quickly finds herself the target of ruthless men. Almost kidnapped by the tailor, poisoned by the Weeping Man, and then sent back to her vicious master, Evangeline is the great survivor.

With the help of a two-faced grifter called Ten, Evangeline tracks down Diana. With the cure within reach, Evangeline finds she is not like her original and nor the world she inhabits. She has become someone else entirely. She is Evangeline.

Georgia Flood as Evangeline

Georgia Flood as Evangeline. Photo: Jason Lau

Benjamin Hoetjes and Georgia Flood. Photo: Jason Lau

Benjamin Hoetjes and Georgia Flood. Photo: Jason Lau

We have the most talented cast, with Georgia Flood and Benjamin Hoetjes headlining. Alongside them are Vanessa Moltzen who plays Sol, another runaway clone, Peter Rowley who is the Weeping Man, Mike Bishop, Nathaniel Kelly, and Chris Bunsworth.

Jonathan Roper is Producer and Bjoern Puckler is Executive Producer.

Peter Rowley as The Weeping Man. Photo: Jason Lau

Peter Rowley as The Weeping Man. Photo: Jason Lau

Remain in Light – post-production 

Robin and I in the bowels of Design Hub

Remain in Light is an documentary about the creation of a new Melbourne landmark, The RMIT Design Hub. It’s an intimate portrayal of the stress and joy of the birth of a building and features local architect Sean Godsell. The Design Hub itself posed a significant challenge to it’s creators, and this the heart of our piece.

RMIT University Design Hub

I am writer and co-director. The project was commissioned by RMIT University in 2010, and we are thrilled to be in the last stages of post production.

My team and I team spent hundreds of hours on the building site and with many of the professionals involved in order to capture the joy, heartache and technical ingenuity required to bring this building to life.

Remain in Light is aimed at audiences who are fascinated by large and complex creative projects, and love modern architecture. In the same way  Grand Designs succeeds, the documentary shows specialists at work as they realize a demanding and innovative project.

Jock and Robin on a gallery floor

The RMIT Design Hub sits on the site of the former CUB brewery, at the north end of Swanston Street, a bold architectural statement at the far end of the boulevard begun at our war memorial.  The building is both beautiful and formidable in it’s rigour, and Sean Godsell architects have won a number of significant prizes for their architectural vision.

I’ve been working with a fabulous team; Paul Ritchard co-director, Ros Walker producer, Robin Plunkett camera, Jock Healey sound, and Anne Carter as editor. David Chesworth and Sonia Leber have completed a beautiful sound/music scape for the film.

Robin and Jock in Design Hub

 

 

 

Defence of Darwin Digital Stories

Early 2012 was spent  co-producing 13 digital stories for the new permanent exhibition in Darwin at the Darwin war museum. this fabulous job was done in conjunction with Briarbird.com.

Interviewing Chris Cooper

These are the stories of soldiers, sailors, airmen and civilians who were in, or near, Darwin when the Japanese bombed, beginning 19 February 1942.

The production schedule itself was punishing. In just over 3 months we produced over 2 hours of broadcast quality stories. We worked with 4 directors, 3 cameramen and 3 editors. In among this I had to find time, and a clear mental space, to direct 4 of the stories myself. Alan was a cavalry man, now living in Melbourne, and Herb a junior officer on one of the two American ships caught up in the deadly bombing in Darwin harbour. He also lives in Melbourne.  Colin joined up as a militia man and he lives up in the beautiful Wimmeria, and Chris, a sailor, is on Kangaroo Island, a soldier settler who stayed.

Time spent with these gentlemen was of a different order, and needed to be. As always when shooting you have an eye on the time –  but talking about memories cannot be done quickly and for Chris and Alan, these are stories which have not been told before. I’d met each of them the day before, asked some preliminary questions, and checked out their houses. This really helped my subjects (and me!) be more relaxed on the day. Tim Wood, my excellent DP, set up lighting, camera and sound as quickly as he could. We mostly used the living room, choosing a chair our subject would feel comfortable in. I am always impatient when camera sets up but I am also a sticker for beautiful pictures, so it was a matter of letting Tim get on with it.

When the interview began, we were very quickly back in the past in that fantastic way that great stories transport you. The interviews themselves were between 1 and a half and 2 hours. I was surprised at how moved I was, how connected I felt to each of them, and later, how the things they have seen and felt and experienced have remained with me.  This job was such a privilege and it has made me realize how vital, and urgent it is that we record more of these stories before they are all gone.