@conchordsnet just posted an update with the Evelyn Everyone press kit and a 4 minute preview. Looks quite interesting:
Saturday, February 20, 2010
Evelyn Everyone Press Kit
Eve is thirty-three, single and searching for love online.
She might just find herself.
Produced in Association with Screen Australia
WRITER/DIRECTOR KYLIE PLUNKETT
PRODUCER KATE BREEN
DIRECTOR OF PHOTOGRAPHY CALLAN GREEN
PRODUCTION DESIGNER TIM BURGIN
EDITOR/SECOND LIFE ANIMATION KYLIE PLUNKETT
SOUND DESIGNER JULIAN LANGDON
ANIMATION ELKA KERKHOFS & LEIGH RYAN
Running Time: 16â€™49â€
Year of Production: 2009
Shooting Format: HD/P2/Film Lenses
Sound Format: Stereo / Dolby 5:1
Screen ratio: 16:9 or 1:1:78
Country of Production: Australia
Colour & Black and White
This film is available for screening on DIGIBETA OR BETASP (PAL OR NTSC)
PRODUCTION COMPANY: BUTTERFLY PRODUCTIONS
168 GILLIES STREET, FAIRFIELD VIC 3078
PH + 61 400 487 808 email@example.com
Evelyn Everyone received funding in 2008 from Screen Australia under their Digital Strand X Experimental Short Film Fund.
ONE LINE SYNOPSIS
Eve is thirty-three, single and searching for love online.
She might just find herself.
ONE PARAGRAPH SYNOPSIS
Evelyn Everyone is stuck, single and lonely. On her thirty-third birthday she makes a final bid for love, in the online world of â€˜Second Life.â€™ But as Eve immerses herself in this unreal cyber world, she begins to realize that her fantasy lover is not who she initially imagined. As Eveâ€™s world is turned upside down, and inside out, she realizes that this is her opportunity to grab a second chance at not only love, but life.
ONE PAGE SYNOPSIS
Eve works at a â€˜One-Stop-Photo-Shop.â€™ She is a photo shop technician, operating a mass production photo processor and dispenser. Eve has always sheltered within the safe, and the known. Her clothes are comfortable, her job is comfortable, but her life is boring and un-fufilling. She yearns to become a professional photographer, but hasnâ€™t yet found the courage to ditch her day job, and carry out her dreams.
On her 33rd birthday, longing to leave her mousey life behind, Eve faces the fact that she is lonely. Without a lover, and with very few friends, she decides to search for â€˜love online.â€™ Eve enters the world of â€˜Second Life,â€™ an online virtual reality, where people feel they have a second chance to achieve things they canâ€™t in real life. Here, people seem to be more likely to chase their dreams unencumbered by the risks and realities that real life contains.
Searching fruitlessly for a love mate, and hopelessly lost, Eve stumbles upon â€˜L Word Island,â€™ a community of online gay women. It is here that Eve discovers with great shock and surprise, that she is attracted to another woman.
Goaded into action by the woman she meets online, Eve gathers her courage and explores this notion in the real world. She has an epiphany, realizes she is gay, and finally understands why sheâ€™s never really had a relationship before. Eveâ€™s confidence rises as she transforms from geeky mouse to sexy femme fatale. She is empowered by what she has learned in â€˜Second Life,â€™ finally understanding that taking risks, and trusting yourself pays off more than it doesnâ€™t.
Eve sets up her first â€˜real worldâ€™ professional photographic shoot. Unleashing her natural zany instinct, she becomes the professional photographer she always wanted to be, producing beautifully elaborate, and slightly odd photographs of people with their pets.
On the day of her first real world photo shoot, the animal wrangler/beautician she has hired to look after the pets and the people turns out to be quite spunky. Real world footage, combined with stylized animated still photographs shows us Eve, doing what she loves most with the woman who is about to become her girlfriend.
BIOGRAPHYâ€™S OF THE FILMMAKERS
WRITER / DIRECTOR / EDITOR / SECOND LIFE MACHINIMA â€“ KYLIE PLUNKETT
Kylieâ€™s dream of becoming a film-maker first dawned at the age of twelve. Then for years, she felt it was an unrealistic and unachievable dream until she reached her second year of University, and she was finally able to take her first papers in the study of film. Then it all became very possible.
Kylie completed her Bachelor of Arts in Film, at Victoria University in Wellington in 1994. She then went on to gain a Diploma in practical filmmaking at Avalon Studios Film School in 1996. Directly from this she started to work for Television New Zealand, â€˜One Network Newsâ€™ as an Operations Assistant. Here she won awards for work carried out in the field.
While working at T.V.N.Z she made her first documentary film called, â€˜The Gathering.â€™ This was screened in 1997, around the main centers of New Zealand, and sold out the Paramount Theatre, as part of the Wellington Fringe Film Festival. In 1999 she left television, to follow her real passion, film. She started working as a camera assistant on New Zealand feature films such as the trilogy of â€˜Lord of the Ringsâ€™, and â€˜King Kong.â€™
In 2006 Kye decided to take all practical skills sheâ€™d learnt in shooting news, and camera assisting on big films. She wanted to tell her own stories, so she took a step sideways, and went back to school. She gained entrance to one of the best film schools in Australasia, and achieved a Graduate Diploma within the Documentary stream of the School of Film and Television, at the Victorian College of the Arts in Melbourne. It was here she won â€˜The Margaret Lawrence Social Justice Award.â€™ And also â€˜Foote Travel Fundâ€™, which helped her to make her second semester film, â€˜The Butcherâ€™s Wife.â€™ Upon itâ€™s completion, it was nominated for â€˜Best Documentaryâ€™, and awarded â€˜Most Daring and Innovative Filmâ€™ at that school in 2006.
â€˜The Butcherâ€™s Wifeâ€™ screened in August 2007 in the Melbourne International Film Festival, winning the Award for â€˜Best Student Productionâ€™, as well as â€˜Best Tertiary Documentaryâ€™ at the ATOM Awards 2007. It also won â€˜Best Filmâ€™ in The Falls Creek Film Festival in 2008, and earned her $25,000 of in kind services and equipment allowing her to make yet another film. That film is currently in development, and will be shot later in 2009.
â€˜Evelyn Everyoneâ€™ is her latest film.
DIRECTOR OF PHOTOGRAPHY â€“ CALLAN GREEN
Callan was born in New Zealand. At the age of six he was given a happy snap 35mm stills camera for being a good boy. From that day on Callan's passion and dedication to photography was paramount. While acting in what was later voted NZ's worst commercial of 1993, Cal witnessed his first 35mm motion picture camera in action. From that point there was nothing holding him back, he had a dream and "cinematography" was it. As soon as Callan finished high school, he headed straight for the local production and rental houses. After seven years in the camera dept working as a clapper loader on TVC's and features including â€˜The Lord Of the Ringsâ€™ Callan decided to continue his dream and so applied to study at the Australian Film Television and Radio School in Sydney. He graduated with his masterâ€™s degree in 2004.
Now aged 28, Callan has had his work screened all over the world including Cannes, Sundance, Berlin, London, Tokyo, Tribecca, and Camerimage film festivals, He has clocked up over 10 years of cinematography experience, and won multiple Gold & Silver ACS awards for his Music clips, Short films and commercials. He has also won the coveted â€˜Golden Tripodâ€™ for best-shot music video in Australia, at the ACS National awards in 2007. He recently had his first feature film â€˜Burke & Willsâ€™ theatrically released Australia wide.
PRODUCTION DESIGNER â€“ TIM BURGIN
Likes nothing better than working with a creative team and has been in Melbourne working quietly with some of Australia's best new directors and producers. Tim is a graduate of the Victorian College of the Arts School of Film and Television and has worked in a number of key creative roles. As a writer and director he has won several awards nationally and internationally for his short films.
In the Art Department Tim has worked on a large body of work including feature films, installations, shorts, T.V.Câ€™s, music videos and documentaries. Some projects Tim has worked on include the documentary, â€˜Fabric of a Dreamâ€™, nominated for a BANFF World Television award, â€˜Churchill and Menzies at Warâ€™, and the feature â€˜The Jammedâ€™ nominated for 7 AFI awards in 2008.
ANIMATION â€“ ELKA KERKHOFS
Elka Kerkhofs, Belgian/Australian hybrid artist, works as a writer, director, animator, filmmaker, video, sound and lighting designer. Elka has a Masters in Visual Arts (Photography), a Diploma in Contemporary Music and in 2006 finished her postgraduate studies in Animation at the Victorian College of the Arts during which she received the VCA merit scholarship, the Anthony Ganim PG award and the EH Shepard animation award.
Her animation â€˜Filled With Waterâ€™ was â€˜Highly Commendedâ€™ in the Sydney Film Festival, Dendy Awards in the most innovative category, won the â€˜Best Production Awardâ€™ at the 2007 Sydney Mardi Gras Film Festival My Queer Career Competition and has won the â€˜Best Tertiary Animationâ€™ in the 2007 Enhance TV Atom Awards in Melbourne. In 2007 it premiered at NewFest the New York GLBT Film Festival, and Frameline the San Francisco GLBT Film Festival, who also picked up the film for distribution. In 2008 â€˜Filled With Waterâ€™ was nominated for â€˜Best Queer Short Filmâ€™ for the Planet Out Awards in Miami and â€˜Best Australian Short Queer Filmâ€™ at the Melbourne Queer Film Festival. Her 2006 animation, â€˜Into The Depth of the Grooveâ€™ was a finalist at the Oneminutebelgianopen in Ghent in 2006 and the 1 Minute Film & Sound Awards in Leffingeleuren in 2007.
In 2008 Elka completed a Masters in Animation at the VCA, Melbourne University where her latest film â€˜Lashâ€™ won prizes for Best graduating Student production and Best Masters by Coursework Animation Production.
CO-ANIMATOR â€“ LEIGH RYAN
Leigh Ryan is a Melbourne based Animator, illustrator and visual artist. A graduate from the VCA animation school he is a celebrated emerging animator with a variety of experiences including corporate commissions for Toyota, Coca Cola, Headspace, Origin, Inex, Hardie Grant Books, Hills Solar and GoGo Frog.
He has created full art installations for contemporary dance works including Sheridan Langs â€˜Frailty of the Human Heart.â€™ His work with Mark Lang on the Skipping Girl Vinegar four part animated film clip series, has received critical acclaim across the country and been awarded multiple â€˜clips of the weekâ€™ for Rage and JTV.
His work with award winning Director Kylie Plunkett on her new film Evelyn Everyone has been one of his most rewarding works thus far in his short yet animated career.
SOUND DESIGNER â€“ JULIAN LANGDON
Julian Langdon is a talented sound designer/composer capable of creating the delicate balance between naturally captured atmosphere and warped, manipulated sound effects. Julian studied composition and improvisation at Box Hill College of Music in Melbourne, and recently finished studying a Bachelor of Music Performance with Honours (Practical Composition Stream) at the Faculty of Music, The Victorian College of the Arts, Melbourne. His compositional style involves the mixing of genre, sonority and context, and he is committed to the creation of new concert works as well as the exploration of works within cross-art and multimedia.
Julian has had work in a variety of cross-art forms including film, theatre, dance, and the World Wide Web. His focus more recently has been aimed at screen composition and the last few years have seen successful collaborations in narrative and documentary film, animation, web design, computer games and advertising.
PRODUCER â€“ KATE BREEN, BUTTERFLY PRODUCTIONS
Kate is currently working as a production manager at leading Melbourne Production Company - Circe Films, on numerous TV and Film projects. This includes â€˜Margaret Fultonâ€™ (52 min TV doco), â€˜Once Bittenâ€™ (2 x 52 min TV doco series), Liquid Stone â€“ â€˜Unlocking Gaudiâ€™s Secretsâ€™ (52 min doco), â€˜Embedded with the Murri Mobâ€™ (52 minute TV doco), â€˜Jesus Canâ€™t Skateâ€™ (feature doco), â€˜Podloveâ€™ (5 x 5 min TV & online series), â€˜ABC of Dance 4 Filmâ€™ (3 x 30 min dance series) and â€˜Muttâ€™ (short animation).
Kate has produced numerous short films including â€˜Pestsâ€™ (Film Victoria funded 15 min drama), â€˜Happy Accidentâ€™ (4 min finalist in the Diet Coke short film competition), â€™Wankerâ€™ (2 minute cinema commercial), â€˜Trustâ€™ (10 min doco), â€˜Lifeâ€™s Little Dramaâ€™sâ€™ (15 min Super 16 drama), â€˜Wallyâ€™ (7 min drama) and â€˜Nik of Timeâ€™ (4 minute drama). In 2005 Kate completed a Graduate Diploma in Producing from the Victorian College of the Arts, winning the prize for Best Producing Student.
Kate has strong project management skills having worked as a marketing and communications manager for more than 8 years for IBM, Oracle, chello broadband, Zomba Music and Access1.
CAST: LEAD ACTRESS LOREN HORSLEY
Loren Horsley was most recently been seen as Lily in the Internationally award winning film â€˜Eagle vs Sharkâ€™ (which premiered at Sundance 2007 and went on to play at all major film festivals). This critically acclaimed performance saw her win Best Actress at the Newport International Film Festival and the St Tropez Festival De Antipodes.
Loren has worked extensively in New Zealand as an actor and deviser in theatre, radio and film for over ten years. She has held lead roles in the NZFC feature film â€˜Kombination,â€™ Gaylene Preston's Doco Drama â€˜Lovely Rita,â€™ television series â€˜The Insiders Guide to Happiness,â€™ â€˜The Strip,â€™ â€˜Atlantis High,â€™ and has had guest roles in â€˜Xena Warrior Princessâ€™ as well as â€˜Young Hercules.â€™ Her theatre credits include lead roles in â€˜Under Milkwood,â€™ â€˜Top Girlsâ€™ and â€˜When Sun and Moon Collide.â€™
WRITER & DIRECTORS STATEMENT â€“ KYLIE PLUNKETT
WHAT WAS THE INSPIRATION AND BACKGROUND BEHIND THIS STORY?
The original concept for this project was conceived and began as a collaboration between myself, an established documentary director, producer Kate Breen, and animator Elka Kerkhofs. We originally intended to make an animated documentary for the SBS Podlove Series. We threw around a few ideas of what we wanted to do, but had trouble finding the very particular documentary subject/person in time for the funding round. I really wanted to take a crack at making a dramatic short film, and the character I had started writing for the documentary, was just warped enough to be perfect for a short film. I developed the script for six months, and through Kateâ€™s shrewd skills, we managed to find a funding round that was just perfect for our idea.
I guess Eve is really a character born out of my own homophobia. I was twenty-five before I first felt an attraction for the same sex. And I really feel that this only came about (apart from absolutely just falling in love) because I had become old enough to be true to myself, and to trust myself, that I could handle and carry the label â€˜lesbianâ€™ above my head, as I knew I would be labelled through societies eyes. I still fear sometimes what people think of me, and hate labels and boxes in general. There is a joke, or a saying that has been going around, for many years now, but it has so infiltrated society, that I now hear it from every walk of life.. â€œThatâ€™s so gay.â€ And when the person useâ€™s this reference, theyâ€™re not making a reference to something being happy, or something being homosexual. They implying that what theyâ€™re looking at, is a bit cracked.. a bit wrong, a bit damaged. Anyone who identifies as a gay (homosexual) or as a lesbian person, has the potential to feel it a personal slur against themselves, whenever they hear this derogatory comment. I hear it all the time, and although I try to talk to people to ask them what they really mean when they say thatâ€¦ my passionate dislike for this turn of phrase still came out in this film, as my dislike of it was just something I had to express.
My commitment to filmmaking, is not only to tell stories that reflect human-kind, but particularly to reflect marginalized members of society. With this film I wanted to touch both the GLBTI community, as well as to reach the mainstream community. I wanted to create for people who havenâ€™t experienced â€˜coming out,â€™ an emotionally true account, so that there could be a greater understanding between all people, no matter what their sexuality might be.
WHAT THEMES ARE EXPLORED IN THIS FILM?
â€˜Evelyn Everyoneâ€™ carries the message, that in spite of all our technological developments, humanityâ€™s core need is still love. In the main instance, it is a romantic ideal that we initially set up, but in the end, this is just symbolic of the more universal and personal love, that we all need to feel within ourselves.
Part of this love is accepting ourselves as we truly are. Discovering your sexuality and coming to terms with it, is a very important theme of this film. I wanted to show that not only had Eve to overcome societyâ€™s preconceptions about sexuality, but that she also had to face her own prejudices and preconceptions about what it meant to become a lesbian, and come to terms with that.
Eve first begins her journey of self-discovery online. The opportunity to create a second online self allows Eve the chance to explore her sense of identity in a somewhat protected state. She is cushioned behind the anonymity of a cyber Avatar, and here allows herself to experience, and to experiment in ways she would run a mile from in the real world. The microcosm of â€˜Second Lifeâ€™ is fascinating. Here the inhabitants feel they have a second chance to achieve things not possible in real life. People are more likely to chase their dreams unencumbered by the risks and realities that real life contains.
It is in Second Life that Eve discovers the key to her happiness. She realizes that if she isnâ€™t true to herself, she will never find happiness or fulfillment in this life. But it is because Eve is empowered by her realization, and takes this knowledge back to the real world, and by â€˜coming outâ€™ that she ultimately discovers not only her sexuality, but the knowledge within herself, that she alone controls the fate and the circumstance of her own life.
EXPLAIN A BIT ABOUT YOUR MAIN CHARACTER EVE
At the start of the film our main character Eve is desperately lonely, and completely stuck in her life. She consistently fails to see real world opportunities around her. She has procrastinated, any kind of intimate or personal relationship, well into her thirties. When we first find her, she is working in a One Hour One Stop Photo Shop, and has been, â€œfor nine years.â€ It is an accumulation of loneliness, as well as a chance discovery of an advertisement about Second Life, that forces Eve to venture online to discover a love mate.
After stumbling into a Second Life lesbian nightclub, Eve becomes superbly uncomfortable when she is approached by another woman. Absolutely to character, she fleeâ€™s trying to avoid any communication. Pursued by the woman she is forced finally to engage in conversation and is subsequently challenged about her sexuality. Taunted into a cyber kiss with a woman, Eve emerges from Second Life and dares to confront the idea that maybe she is a lesbian after all.
Later on, comfortable with this realisation, Eve is empowered to take control of her life and to dare to do what she has always previously only dreamed â€“ to become a professional portrait photographer. In coming to a realisation about her true sexuality Eve becomes more comfortable in her own skin and the resulting confidence propels her forward in all aspects of her life. By the end of the film, she has transformed from geeky Photo Shop technician into a confident sexy woman.
WHAT IS THE VISUAL STYLE OF EVELYN EVERYONE?
The visual components include a mix of live action drama shot on HDV with 35MM film lenses, using real world actors and inter-cut with 2D animations (or Machinima) captured directly from the Second Life virtual reality world. The Second Life animations depict Eveâ€™s cyber reality, showing the situations she experiences. The drawn/ collage animations take us into a third dimension, that of Eveâ€™s imagination. Here the colours too, are rich and lush, and reflect a childhood naivety combined with a more mature perspective.
Cinematographer, Callan Green and I discussed in detail the look and colour of the film, down to each scene, and itâ€™s emotional state. We joked that in the end it would be all the colours of the â€˜Gayâ€™ rainbow. And indeed it is. The One Stop Photo Shop is blue in hue, the trams stop green, Eveâ€™s apartment is warm oranges, all the way down to the ginger cat. Tim Burgin of the Art department was also involved in these discussions, and matched and merged props to help keep the emotional integrity of the scenes.
DESCRIBE THE PROCESS OF FILMING IN SECOND LIFE?
Making films in â€˜Second Lifeâ€™ in the mode of â€˜Machinimaâ€™ opens up a whole world of opportunity for geeky filmmakers. With relative ease I can capture images traditionally only possible with expensive cranes, helicopters or dollies. I can direct the action via phone, email, or even instant messaging, by instructing the person operating each Second Life Avatar, as to what they say, and what they do.
The on-screen action is captured via a software program called Fraps or Snapz Pro X, (depending on your equipment) then with the click of the mouse it is saved to my hard-drive. Your computer screen becomes your virtual camera. It is also possible to alter the environment setting â€˜in worldâ€™ and within the environment menu settings, I can change the sun setting to â€˜magic hourâ€™(sunrise/sunset) indefinitely.
DESCRIBE THE ANIMATION THAT APPEARS IN THE FILM
We chose to use a different style of animation in â€˜Evelyn Everyoneâ€™ contrasting the somewhat sterile cyber environment of Second Life, with that of drawn/collage animation. This happens at the crucial point where Eve has just had her first cyber kiss with a woman. Eve is literally drawn back into her imagination. She is pulled into a movie of her own life.. the ultimate flashback, but without facing death! She remembers all the moments she had growing up, where she was drawn to the female rather than the male in every instance.
We needed this sequence to be as emotive as possible, trying to make it believable in such a short space of time, that Eve has blocked her lesbian tendencies for so long, and now suddenly in one long cyber kiss, she remembers all of those moments, at the same time confronting her own homophobia, and finally overcoming it. The song â€˜Lezberadoâ€™ was crucial to making this work, and the lyrics and music were devised to match and support the animation.
Key collaborators and award-winning animators Elka Kerkhofs and Leigh Ryan utilized roto-scoping, cutout and collage techniques to create the animation. Photographs of actors were electronically drawn, tracing their faces and bodies and coloured in Illustrator. These were then composited in After Effects, with treated photographic collaged backgrounds that had been built in Photoshop. Our two animators worked for 14 days to create this one-minute piece of animation. The biggest challenge for the animation team was to create and draw animated versions of Eve that varied drastically in age, but that would also be completely recognizable as the representation of the â€˜real worldâ€™ Eve.
DESCRIBE THE SOUND DESIGN AND MUSICAL ELEMENTS IN EVELYN EVERYONE
The musical elements of Evelyn Everyone are huge. You can tell by watching the film, I had a hard time keeping my finger off the â€˜playâ€™ button on the stereo. Both the songs â€˜Les Peradoâ€™ the piano instrumental, as well as the fuller vocals and guitar version â€˜Lezberadoâ€™ were written and created for this film.
â€˜Les Peradoâ€™ starts the film off in a melancholy mood, but somehow subverts this feeling to become quite cheerful sounding by the end, where it chimes in again, bringing Eve into her new world, that of accomplished, stylish photographer.
We obtained a number of tracks from highly talented musicians, which help to evoke the emotional elements, and moods of scenes.
The sound design elements are complicated, dark and interesting. We placed just about all of the sounds you hear in the film, choosing each one carefully. All the way from the sterile hum of the machines in the Photo Shop to the purring of the cat, highlighting Eveâ€™s awakening sexuality, and to the pounding ocean during the sensuous kiss. Also we played around with manipulating natural sound effects, as I had this idea in my head, that â€˜Evelyn Everyoneâ€™ is a fairy tale transmitted from the future. In some places sounds are speed up, slowed down, and reversed, in order to create an un-natural, distorted feeling.
AS A DIRECTOR WHAT DO YOU HOPE TO ACHIEVE IN YOUR FILMMAKING?
To discuss the important things in life, whilst avoiding the clichÃ©â€™s.. to shift peoples perspectives, to affect people, to change their emotional state, their political, social beliefs, to entertain them. To discuss and relate my own human experience with others â€¦to â€˜embiggen.â€™
WHAT FEELING DO YOU HOPE TO LEAVE WITH THE AUDIENCE AT THE END OF THE FILM?
Iâ€™m pretty confident that the audience will leave this film feeling uplifted and entertained. â€˜Evelyn Everyoneâ€™ is a visual feast, it mashes up a number of different visual styles, and mediums, including reality driven drama, captured animations, or machinima filmmaking from Second Life, drawn/ collage driven animations, as well as a deluge of montaged still photography.
Loren Horsley who plays our main character Eve, is an absolute delight to watch, and the sound track to the film is punchy and catchy. People will leave the cinema singing â€˜One Chanceâ€™ in their heads, and this is the one message I want them to leave with. There are no second chances in life, youâ€™ve just got to go out there, and make the most of every opportunity.
WHAT IS YOUR NEXT PROJECT?
My next film is called â€˜79â€™. Itâ€™s an eight minute film about a six year old girl, who realizes very early on in life, that bad things donâ€™t just happen to other people, they happen to her. You can probably tell by the sound of it, itâ€™s a gritty drama. I want to make something completely different from this film, and am looking forward to focusing on actor performance, and dallying between drama, and thriller genreâ€™s.
KYLIE PLUNKETT - FILMOGRAPHY
â€˜Evelyn Everyoneâ€™ Digital Short Fiction Film
â€˜The Butcherâ€™s Wifeâ€™ Digital Short Documentary Film
Writer/Director/Cinematographer/Editor/Associate Producer - 2006
â€˜The Butcherâ€™s Wifeâ€™ Awardâ€™s:
Winner â€˜The Margaret Lawrence Social Justice Awardâ€™ VCA, Aug 06
Winner â€˜The Foote Travel Fund Awardâ€™ VCA, Aug 06
Nominated VCA School of Film & Television â€˜Award For Best Documentaryâ€™ Dec 06
Winner The Open Channel â€˜Award For Most Daring and Innovative Filmâ€™ at the VCA, Dec 2006
Winner â€˜Best Student Short Filmâ€™ Melbourne International Film Festival 2007
Winner â€˜Best Tertiary Documentaryâ€™ in the Atom Awards Oct 2007
Winner â€˜Best Filmâ€™ at The Falls Creek Film Festival June 2008
OFFICIAL SELECTION NEW ZEALAND INTERNATIONAL FILM FESTIVAL, AUG 2007
MELBOURNE INTERNATIONAL FILM FESTIVAL, JULY 2007
FITZROY SHORTS FILM FESTIVAL SEPT 2007
CONTINENTAL DRIFT SHORT FILM FESTIVAL OCT 2007
THE HAMPTONS FILM FESTIVAL NY OCT, 2007
GIRL FEST HAWAII NOV, 2007
SHOW ME SHORTS FILM FESTIVAL, NOV 2007 (NZ)
FALLS CREEK FILM FESTIVAL 2008
â€˜Out of the Blackâ€™ Digital Short Documentary Film
OFFICIAL SELECTION â€˜THE ATOM AWARDSâ€™ 2008
â€˜The Gatheringâ€™ Digital Feature Length Documentary Film
Conceived & Directed - 1998
(This film travelled and played in Cinemaâ€™s All Over New Zealand. It broke the record in Being The First Film In The New Zealand Fringe Film Festival To Sell Out The Paramount Cinema.)
As Director of Photography:
â€˜ABC Rapâ€™ Digital Music Video 2008
â€˜Aftermathâ€™ Digital Short Film 2006
â€˜BunnyWoodâ€™ Digital Music Video 2006
â€˜Broken Glassesâ€™ Digital Short Film 2006
â€˜Carry Onâ€™ 35MM Kodak/MTV Music Video (The Rabble) 2005
â€˜The Way Of The Racerâ€™ Digital Music Video (Grand Prix) 2005