Congrats to the team for taking home best international series and best cinematography.
Also nominated for
Nadia Townsend best supporting actress
Stuart Willis best director
A film clip produced, directed & edited by Nadia Townsend and Ruby Challenger.
Synchronised swim team – The Emeralds.
Ruby Challenger and I met when she worked as the costume designer on my first short film BRAWL and I recently worked as dramaturg on her directorial debut DAILY BREAD. BRIGHTER by MONIKER is our first project together as co-directors. MONIKER is an emerging electro outfit.
DOP Vanna Seang.
Images by Kwa Nugyen
COMING TO TOWN
For the last couple of years I’ve been working on a project called Kasey is Missing, an initiative of Information and Cultural Exchange (I.C.E) and Nepean Community Neighbourhood services – a project that has been an ongoing and long time engagement with the community and has became a beautiful web series about a young girl who’s friend goes missing and no one seems to notice or care.
The series was created by bringing together a group of film makers and developing scripts with the community through workshops and improvisation. As we explore the possibility of a second series we made a trip to Wellington NSW – the second oldest settlement west of the Blue Mountains, Wiradjuri country. The home of Aunty Mary, who plays Aunty Mary in the series – a warm, strong and caring character, a rock for the community and the only person who seems to hear the concerns about Kasey’s absence. Following Aunty Mary’s lead we explored her home country and ran 3 days of workshops in association with Wellington Information and Neighbourhood services.
Meeting the youngsters of the region and working with Aunty Mary and Information and Cultural Exchange crew was a highlight of my year. Wellington is an enchanting place with a heavy history – We are currently seeking funding for the continued development of the series throughout 2017.
A short explanation of the finer workings of the dramaturg in film and TV.
When I work as a dramaturg on films often no one really knows what I’m doing there. They see me following the director around, whispering in his or her ear, speaking intently with the actors and maybe liaising with other departments putting in requests here and there.
After a few days of this mysterious behavior I will often have some one sidle up to me and sheepishly ask, ‘so is it drama… turrrr…’ a slightly confused upward fading inflection, and I finish the word for them, ‘turg’.
I then explain, ‘With a hard g…..’ They look at me blankly.
‘I know I say, it sounds like turd, dramaturd’. They may smile but mostly remain confused.
So I continue, ‘or you could say turge with a soft g…’. At this point I might get a non-committal lift of an eyebrow.
So I joke, ‘you could call me a drama turkey if it helps’. I push the gag, ‘or a drama twerky’, and I give a little shake. They look at me blankly. A moment.
Then they finally ask, ‘so what is it that you actually do? You’re like an acting coach or something right?’ At this point I steady myself for a well rehearsed and much tried explanation of my work as a dramaturg most certainly NOT to be confused with the work of an acting coach.
Dramaturgy (with a soft g) is the art of dramatic composition.
Traditionally the dramaturg works in the theatre and it’s more of a research or literary role, working closely with the text and its rightful execution.
Film and TV dramaturgy is pretty uncommon, particularly in America and Australia. The only other film dramaturg’s I know of in Australia are Nico Lathouris (Wild Side, Heartbreak High, Yolngu boy Boy) and Sapidah Kian (who worked with me on Brawl).
The film dramaturg is viewed with suspicion because ‘directors know how to direct and actors don’t want to be told how to act’. So just to clarify, the Dramaturg neither directs nor teaches acting.
When I work as a dramaturg I work with the director for the story in the same manner say that the focus puller would work with the Director of Photography.
I neither choose shots nor decide what is the most important thing to look at in the story but rather do what I can to make sure that when they need to capture something for the story it is in focus.
I interrogate the story, design a program for the rehearsal period and engage a methodology that will assist and support the story in every facet possible. Whilst working predominantly with the performers the dramaturg also liaises with all departments as a guardian of the story say, while the director is the keeper of the vision, if you like that kind of terminology.
Often in film all the departments and players work in isolation and the only time they come together is on set, once on set there is the overwhelming presence of the ticking clock, under this kind of time/money pressure the intricate nature of negotiating an understanding of story is pushed to the side and every one does what they have to do to get thru and make sure they come out okay and perhaps amongst all this there are moments of meeting on common ground and magical happenings where the planets align and we are all united for a small moment in the story we are telling. Or we just shoot cutaways and hold steadfast in the knowledge that we ‘cast right’ and we can ‘fix it in post’.
The dramaturg’s job is to make sure that as many people as possible are as united as possible in an understanding of story before they step on set so that the production can in fact, save time, therefore money and all the individuals are given time and space to speak their truth whilst finding common ground and get the best job done in time and under budget.
Okay, so this is point at which I get real passionate about making sure the person who sheepishly inquired gets the point…. They attempt to back away slowly. I hold their gaze, they ain’t going anywhere till they get the point I’m trying to make.
I can’t help it. I often have well versed industry people give me their highly ill informed opinion of why they don’t want an acting coach on set…’ dramaturg’ I correct them. ‘same thing’, they say. Hold my tongue, I do.
“Dramaturgy is about having a game plan. I don’t think I would do another film without her. ”
– Eddy Bell, writer/director of Ghost Bull
Eve Ensler, on Brawl
Nadia is attempting to dissect what is at the core of young men and their need to destroy in order to survive. Particularly privileged men who’s survival is not being ‘threatened’.
A review of Turtle Lab’s latest production
by Jason Blake
Old 505 Theatre, June 22
Until June 30
A very pregnant woman meets her husband at their favourite bistro after a day of gift shopping in the city. It should be the relaxing start to a cosy night in a hotel suite. It takes just a few minutes and an awkward incident with a mobile phone to set a tragedy in motion.
Playwright Neil LaBute sucks elements of the ancient Greek Medea story into the present in this short, corrosively funny play whose shock ending depends on the viewer being swept up in its sudden escalation from infidelity drama to mythic showdown. Thanks to Jonathan Wald’s modest yet bold production, there’s a better than even chance you will be.
Working with designer Burju Nuhoglu, Wald counters LaBute’s hyper-naturalism by placing the scene in an abstract gallery-like space and isolating his characters in a gauzy cube. White carpet and walls throw everything into sharp relief. Liam O’Keefe’s lighting shifts the tone with block chords of colour.
Faced with her husband’s pleas to not make a scene in public, Nadia Townsend’s woman does just that – and what a scene it is. Her performance makes this woman’s extreme reaction to her husband’s misdeeds seem not only plausible but justifiable.
Wald’s decision to include another figure in the scene – an ugly, yet tuneful presence – is a brave one, but it pays off, lending what could be a straightforward two-hander a welcome strangeness.