Cluster

Jess Bellamy took this photo for me - we were pretty excited about our first ticket stub.

After a whirlwind year starting with writing the monologue, seeing it staged as part of Tell It Like It Isn’t, having it published by Currency Press, being commissioned to turn it into a short film working with director Damien Power and an amazing production team, this project has reached its pinnacle.

On Tuesday night we launched the films of Boot and Bat Eyes, written by Jess Bellamy. What an incredible opportunity – I’m so grateful to atyp and everyone who made this happen (especially the man-who-never-sleeps, Dan Prichard). We also launched the film versions of the monologues in their entirety, so that audiences can see exactly where we started. I’m proud of both.

The response so far has been incredible, and very exciting as this project is about celebrating and communicating young, new voices, far and wide.

Lucy Coleman (Julia) and me.

So now there isn’t much else to do other than help us celebrate and share these films as widely as you can.

BOOT – the film – lives here.

BOOT – the original monologue lives here.

Jess Bellamy’s Bat Eyes lives here in film form and here in monologue form.

There is also the new and improved (and thoroughly comprehensive) Fresh Ink site, where you’ll find an interview I did and plenty of other great things.

And finally, if you want to be super-duper hugely appreciated, vote for the films at Short Of The Week to help us make these little films viral. (Select the 3 vote option)

I really can’t believe this has all happened, and I know these things normally take years to get off the ground. I am really very lucky and thankful.

Happy writing,

Jo

“I don’t want a lot for Christmas, there’s just one thing I need…”

Ok, can it Mariah. It’s the festive season, and this year I’ve decided to do something for me.

I feel like I’ve been living with the same plays for too long. I’m sick of finding myself with nothing new to submit every time a deadline rolls around. It’s not that I don’t have anything to write about – in fact there are several plays I’ve carried with me for some time, begging to be written – I just never give myself the time. Too often life and work get in the way of writing, so this year I’m going to make time.

And I will say it here, write it down so that I keep my own promise to myself -

I’m giving myself a new play for Christmas.

There. I said it. I bolded it. It’s going to happen (wish me luck!)

Wishing you all a safe, happy and joyful festive season spent with loved ones, pudding and pav. See you in 2012.

Happy writing,

Jo

I was sent the location and time – 6.30pm, Tempe Park.

The crew had just spent two days shooting all the inside scenes from the two films, of course now we were due to shoot outside. Throughout the day I frantically checked the weather status. It consistently poured as I drove down from the north cost to Sydney, hoping to find the city alight with sunshine. Alas, the gloominess continued and as I drove out to the location, I could hear thunder claps above the car radio. I could also see lightning bolts crack across the skyline. I don’t know much about film, but surely not a good sign.

When I arrived I found the entire production crew huddled under a shelter, waiting for a call on whether we would be able to shoot or not. Inside the Jets clubhouse I found a flurry of actors, costume and makeup, catering, more production crew and director Damien Power looking hopeful, but with nervous eyes out the window at the deluge.

I was quickly made at home with a steaming cup of tea and the assurance that a call was going to made at 8pm on what was going to happen. One thing was for sure, it was not going to be easy to get all these people in the one place at the one time again, especially with the added production aspects on standby.

I bided the time talking with the Acting Coach, Sarah Woods, herself an actor and friend I have worked with before. I was very aware of making sure I didn’t step on anyone’s toes, get in the way, or generally be a nuisance on set. I had no idea what I was meant to be doing and where I should stand but I was so thankful that Damien and his team welcomed me to be there and part of the experience.

The one resounding thought that would not leave me, is that all these people were here because I had written some words on a page. Incredible.

Me and the 'Boot boys' - 'Darren', 'Dave' and 'Gavin.'

I quizzed Sarah on who was playing who – “What one is Julia? Who’s playing Mike? Is that Gavin or Darren?” My characters were before me, real people, off the page and come to life. It’s times like these that you really feel how much power a writer has, and the weight of mere creation. I met the young, enthusiastic cast and answered quick questions including “Is the story based on a real one?” What struck me is how confidently they carried themselves in what was a new experience for them as well, asking questions of Damien and the crew, readying themselves for a long night of shooting.

By 8pm, the call had been made. We were shooting, although because of the weather the script needed to be tweaked for new locations. The 1st AD gave directions to the actors about when and where they needed to be. Damien worked swiftly to explain the necessary changes and within minutes we were bundled into cars and up the road to the set, ready to shoot.

The 'split'

I was lucky to be given a set of headphones (comms or cans? I forget the lingo, it was a new language to me) so I could watch from behind the split (more lingo, meaning the screen the director looks through to see what the camera sees) and hear the actors. I could also hear all the production crew and enjoyed playing the game of ‘Which voice comes from where/who?’ Among conversations about the scenes being filmed, there was also plenty of talk about the pronunciation of Dana (Dayna or Daana?), the planes taking off overhead, flight schedules and curfew and that the “Jet noises were probably coming from the jet.” In between takes I was interviewed for the behind-the-scenes doco being made for The Voices Project, and worried that being the middle of the night, I wasn’t particularly articulate.

I was amazed at the number of people and spent most of the night figuring out what part they all played in bringing this film to life. Whether it was the props girls filling and refilling beer bottles with ginger ale for each take, or the person with their head in the script in charge of continuity, everyone played their part. The whole production was like a well-oiled machine, and fascinating to watch.

The girls ('Dana' and 'Julia') in the car

The scenes themselves, I’m not going to mention. I don’t want to give anything away, suffice to say that the actors, Damien and the crew did an incredible job and the film is going to look stunning. I will never forget the first time I looked into the split – from what looked like a very ordinary group of kids hanging out suddenly transformed to something special on-screen. I feel very fortunate to be given this opportunity, on my first ever film, to work with such a professional team. When inevitable issues raised their head, a workable solution was found quickly, with several options shot to be decided on at a later date. The crew pushed through a ridiculous number of noise disturbances including planes, dirt bikes at 2am, trucks beeping while reversing, birds tweeting as the morning rose, and even a group of teenagers hanging in the park next to the shoot who were very interested in what was going on and called out to ask several times during takes. The irony was not lost that the real-life Boot was happening right next to us. There was of course the waiting game between set ups and shots, but I was never bored (and we were there for nearly 10 hours!) and whiled away the time taking shots myself and tweeting through the night alongside atyp’s Dan Prichard.

By 4am, we had wrapped (and much to my amusement, they actually say “That’s a wrap!”) and we were done. A quick celebration for a job well done and then within minutes the set was in the process of disappearing. I was thrilled with what I saw and know the finished product is going to be something very special. It’s been a fascinating process adapting a monologue into a short film, but I’ve opened myself up to the challenge and all that comes with it. People who know the monologue are going to see something they weren’t expecting and those that don’t, well you’re in for a treat.

And that’s all I’m saying for now.

Director Damien Power addresses the cast and crew before the shoot

Boot will land with The Voices Project in February 2012. I’ll be sharing more info and blogging over at Fresh Ink as well about the process of adaptation, so stay tuned.

Happy writing,

Jo