A leading costume designer dating back to the 90s, Cappi first set her foot into the industry as a freelance Costume Supervisor for the second series of ABC’s Sea Change. Since then, her prolific career saw her leaving her mark on key projects, including Lion, I, Frankenstein, Animal Kingdom and The Home Song Stories, which she took home her first AFI Award for best Costume Design in 2007.
Cappi had mentors along her journey in the industry, whom she was influenced by both professionally and personally. Having worked together for a decade, Rose Chong not only taught her the skills involved with Costume Design and the history of Costume in general, but she also taught Cappi how to interact with creatives and actors smoothly. After all, good people skills are one of the most important skills to have in the industry.
Her golden tip for aspiring fellow practitioners is to hound people to let them in on a project and find out as much as possible about a job to make their way into the industry.
Straight out of drama school and with no idea of how a set worked Elise’s first gig was playing Jenny, a rape victim in a television series. Acting her heart out, weeping real tears, Elise’s pride was shattered when the first AD advised her that the camera was on a close up of another actor and they were now turning around to shoot hers.
After five years as a working actor Elise had perfected crying on cue but was frustrated by the limited roles for female actors. In an attempt to address this, Elise wrote and directed her first feature film Strange Fits of Passion which was accepted into the Cannes Film Festival. Career highlights since then include the Emmy winning children’s series Nowhere Boys and the new SBS drama Sunshine which she wrote and co-created with Matt Cameron.
Elise is also looking forward to the production of her co-written feature with Andrew Knight Ride Like a Girl, and her two original television series – Stateless and Overflow.
Elise credits Tony Ayres and Andrew Knight for their towering talent and generosity in providing her with invaluable encouragement and opportunity. Elise strongly believes in the importance of mentors and knows her screenwriting career would have floundered without this level of faith and support.
In the past year Elise has gone from 5am starts at the races, to hanging out with school girl virtuoso musicians, to interviewing refugees who’ve survived Nauru, to watching the techniques of South Sudanese basketball coaches. Elise believes one of the great joys of being a screenwriter is constantly educating yourself about things you have absolutely no idea about.
The two greatest assets a screenwriter can have are perseverance and the ability to listen. Both things she learnt from being an actor. In the future, Elise hopes to finally make her second feature as writer/director - her personal passion project Dysmorphia. She would also like to show run her own original TV series.
An award-winning leader in the Australian community, Giselle’s first foray into the games sector is what she describes as “blind luck” when she began working with a Melbourne games educator in 2007. Despite closures in the industry Giselle re-booted the Melbourne chapter of the International Game Developers' Association (IGDAM) in 2009 which has been connecting the game community on a monthly basis ever since.
Among a host of events Giselle has coordinated including Game Connect Asia Pacific, she has managed the Melbourne Global Game Jam (GGJ) each year since 2011. Her involvement grew from there, eventually taking up the Executive Producer role for the global events in 2016 and 2017. This has been a career highlight for Giselle.
Giselle has been with Hipster Whale since 2015 and together the company has released Crossy Road, PAC-MAN 256 in collaboration with Bandai Namco, and Disney Crossy Road with Disney (a visit to PIXAR in California proving to be an unforgettable experience).
Giselle has been key in boosting the profile and numbers of women in the sector. She is inspired by the women doing amazing things in the game space, and who support one another in their endeavours. This includes Hipster Whale President Clara Reeves, Kate Edwards (IGDA), Brenda Romero, Rhianna Pratchett and her close confidante Rebecca Fernandez who formerly ran the IGDA chapter in Sydney.
Giselle’s advice to game developers is to support one another, seek out allies and speak up because often when things are skewed towards the male experience it's because someone just hasn't considered it from another angle.
Giula glided onto the screen scene as a trainee script editor on All Saints through an attachment program via AFTRS - taking notes in plot meetings, writing audition scenes and going through scripts to find cuts for production.
Giula’s career brims with iconic projects, starting from her first show as a scriptwriter at McLeod’s Daughters, where she learned the rigors of writing to a budget and a schedule. Working on Love Child with Sarah Lambert proved to her that there can be so much humanity and depth of compassion in the work that they do whilst Glitch, with Lou Fox and Tony Ayres, was the perfect confluence of genre and character - a vein that Giula is at her happiest mining.
For Giula, it’s always been her fellow writers who have made her journey in the industry a highlight. In the writers’ rooms, the energy and the personalities click and the stories flow. It’s therapy, work and creativity all packed into a few days.
Giula’s words of advice for upcoming writers is to pen the things they most want to write about, without thought of production or an audience. They may not get made but they will demonstrate your voice and they will open doors to career opportunities that wouldn’t happen any other way.
Julie had been working as an actress for about 15 years when she made the move into producing, starting her training at AFTRS. She had some great teachers but credits Robert Connolly as a stand out. His support helped Julie receive a Film Victoria internship at Matchbox Pictures with Tony Ayres and Michael McMahon who ran the office at the time.
It was an incredible opportunity and provided a foundation to build to bigger things which have since included producing the second series of Glitch, Seasons 1 & 2 of The Family Law, Maximum Choppage, Anatomy 4 and The Turning among her many other credentials.
Julie rates her experience producing Season 2 of Glitch among her career highlights working alongside a team including Louise Fox, Tony Ayres and Emma Freeman who Julie regards as an amazing leader and director.
She has also loved her time working on The Family Law for its warmth, quirkiness and the way it has contributed to diversity in casting and storytelling in Australia.
Julie attributes the guidance and mentorship she received from the Matchbox alumni. Alongside Tony Ayres, Michael McMahon and Chris Oliver-Taylor, Julie highlights Debbie Lee, Helen Panckhurst, Penny Chapman and Helen Bowden who all forged incredible careers while balancing other commitments.
Outside the Matchbox walls Julie credits Andy Walker as a mentor and also looks to some of the fabulous women in the industry such as Imogen Banks, Maryanne Carroll, Laura Waters and Bruna Papandrea.
To anyone starting in this industry Julie would tell them six things:
1. Be persistent
2. Think about what you can give not just what you can get
3. Be prepared to start small
4. Excel at every opportunity you are given
5. Be kind and good to work with
6. And try to keep your sense of humour. We are just making TV after all.
Karin broke into the film industry when her graduation film from the National Film School had a run in a London cinema. The then-head of Thames Television, Jeremy Isaacs, apparently said, ‘give this woman a job’ and so it grew from there.
Karin also credits Guardian film critic, Barry Norman as being a benefactor in her career. She has since returned the favour to many early career film makers establishing The New Screenwriters’ Fund and the Creative Nation initiatives at the Australian Film Commission which kick started numerous careers.
Karin has a nose for great people and projects, Celia, Romper Stomper, Rock ’n Roll Nerd, Home Song Stories and Look Both Ways to name a few. Her own career ranges across documentary and drama, researching and co-writing the Channel 9 ratings winner telemovie One Way Ticket, making the AFI winning documentary Raoul Wallenberg: Between the Lines and writing the AWGIE nominated children' film, War & Puss. Through her company, ScriptWorks, Karin consults and script edits on documentary and drama projects with a knack for isolating a central problem or the key potential in a project then working with the team to focus solutions. Her work has assisted projects including feature documentaries Putuparri and the Rainmakers (2015 dir Nicole Ma, winner of the Cineflex Oz prize) and In the Shadow Of The Hill (2016 dir Dan Jackson, winner of the Sydney FIlm Festival Documentary Foundation Australia Award) and on Chris Anastassiades’ screenplay of The High Ground, an Australian Western that will shoot in 2018.
She is the recipient of the Dorothy Crawford Award from the Australian Writers’ Guild for her service to the profession and is a Visiting Professor of Screenwriting at the Eicar Film School in Paris.
There’s a saying in Karin’s house, ‘Take my advice, I’m not using it.’ To this she adds ‘Never give up, keep making work and never let someone else tell you who you are.’
It was her love of games as a storytelling platform along with a desire to be a part of creating fantastical and entertaining worlds that saw Katie enter the games world.
Since then Katie has been influential in the marketing, PR and event management of major game events as one half of Lumi Consulting whilst providing support for events including Unite Melbourne, Melbourne International Games Week and Luna (Funomena).
She also runs Blushbox Collective for Australian game developers curating resources, creating events and making prototypes of games focusing on love and romance.
The value of her expertise saw her named in MCV Pacific’s 30 Under 30 and a guest speaker at GDC and PAX.
Building and running a successful and profitable business has been a deep source of pride for Katie. She’ll never forget the first time when the business could afford to buy staff new computers.
Katie sees her business partner Lauren as a role model alongside women like Brenda Romero and Robin Hunicke whose intellect, charisma and fierce passion for gaming has withstood many changes in the industry and shown Katie that it’s ok to be confident and say so.
Katie is a maelstrom of ideas swirling around just waiting for the right times. In 10 years she’d like to have several successful businesses and be creating unique experiences for players and people with an amazing team around her that she’s constantly learning from.
Kath began working in the Film Industry in Melbourne after finishing her degree at what was then known as the Swinburne Film and TV School.
Her first gig out of film school was operating the camera on a collection of short films made by women at The Women’s Film Unit.
Soon after Kath undertook an attachment with filmmaker and DOP David Parker.
She went on to work with Parker over many years on projects like The Big Steal, Rikky and Pete, Child Star - The Shirley Temple Story and most recently on Kath and Kimderella.
Over the years, while raising her kids, Kath has undertaken second unit work for DP’s including Brendan Lavelle ACS, Jaems Grant ACS and Craig Barden ACS.
Kath worked with Craig as his B camera operator and second unit DP for the first three seasons of Wentworth until 2015 when she took over as DP.
In early 2017 Kath shot the 13 part series Mustangs FC for Matchbox Pictures and the ABC.
She is currently shooting Series 6 of Wentworth for Foxtel and FremantleMedia.
Kath believes persistence is key when you are starting out. Keep at it, be brave, be bold and be imaginative.
Lauren’s career in the games sector came about by her strong need to work independently in a field that values creativity and technology.
As Co-creator of Lumi Consulting, Lauren has supported events including Unite Melbourne, Luna (Funomena) and Melbourne International Games Week. She credits this success to the support and care from co-founder Katie and together they’ve found the perfect personal and professional match.
The ‘wow’ moments for Lauren are the times she speaks at industry conferences and is considered a peer by skilled and kind colleagues. Named amongst MCV Pacific’s 30 Under 30 Lauren is a mentor to other female founders outside the games industry. Hearing from women, gender diverse and LGBT folks who are encouraged by Lumi’s success fills Lauren with determination.
Being an Australian employer in the games sector is important to Lauren and she feels right at home in the games sector. She’s inspired by teams that evoke new ways for players to experience something - particularly projects that focus on positive emotions and nonviolence that make the world a slightly kinder place.
Maggie had been producing film and writing and directing theatre in the Northern Territory for 12 years prior to her transition to long-form drama. Her projects took her right across the Top End, often to remote communities. As a member of production company Burrundi Pictures Maggie was involved in helping to create Yothu Yindi’s early film clips, Treaty, Djapana and Tribal Voice, and the company was a co-producing entity on the feature Yolngu Boy which Maggie was closely involved in.
Maggie’s first feature was Van Diemen’s Land, an experience she refers to as a genuine team effort on a physically and psychologically demanding project. She recalls the incredible drive amongst the team headed by director Jonathan auf der Heide and co-writer and lead actor Oscar Redding. Shot by Ellery Ryan Maggie loved every second of producing this challenging film.
Every project since then has involved a challenging element, which is a key reason Maggie chooses them. She credits the moment Robert Connolly asked her to produce The Turning with him as a true turning point. The project saw Maggie produce five of the chapters as well as the overall feature and one vivid memory is squeezing in one more scene on the final day of a punishing week’s shoot. Maggie highlights Rose Byrne’s professionalism and talent which pulled the crew through and earned her an AACTA Award for her performance as Rae.
Another highlight for Maggie was at the Berlinale Gala screening of The Turning when Robert Connolly fetched her from the audience to acknowledge her contribution to the project. Walking down the steps of a gloriously opulent cinema, in the spotlight, on the arm of Festival Director Dieter Kosslick is a memory Maggie is unlikely to forget in a hurry.
Marcia scored her first gig in the industry when the short film script she sent to the Producers of Paradise Beach saw her hired as a storyliner. She has since been influential in composing scripts for Wentworth, The Doctor Blake Mysteries, Sea Patrol and Stingers among others.
Marcia’s contribution to Wentworth and Stingers saw the projects win two AFI/AACTA awards for Best TV Drama. She also took home the Australian Writers’ Guild Hector Crawford Award for Outstanding Contribution to the craft as Script Producer.
Marcia recalls the valuable support she received from Stingers Producer John Wild who encouraged her to step up to the leadership role of Script Producer on their show.
For the aspiring filmmaker women out there, Marcia suggests getting an entry level position on a show and soak up as much as possible. Passion and persistence will surely be rewarded.
When Naomi used to skip school to go on cinema-crawls on her own, she was onto something beyond rebellious teenage streaks. The pure joy of watching movies and immersing herself in the alternative worlds has remained with her ever since.
Naomi’s key projects include her first television drama The Gift, The Secret Life of Us, Hawke and co-production feature, The Longest Shot. She considers Oddball as her career highlight - not only because it is a wonderful family film but also because she could experience its screening with her two daughters who loved it.
Outside the film industry, Naomi’s role models are the incredibly bright, strong and hilarious women and Elders in the family, who never cease to amaze her with their accomplishments.
Viewing her career as a marathon rather then a sprint, Naomi aims to keep producing films that have a positive impact on the audience and make them laugh, cry and question. She is also very keen to foster and encourage the next round of amazing film makers.
Naomi has always been interested in film and television and, after what she describes as some terribly embarrassing efforts in front of the camera, decided she’d prefer to be behind it.
The decision was a good one, with Naomi leaving her mark on many acclaimed Australian productions including Wentworth, The Doctor Blake Mysteries and Rush as well as international projects, Ghost Rider, Rush Hour 3 and HBO’s The Pacific. In 2014 she produced an award winning short film, The Kingdom of Doug, and two years later, the ABC sketch comedy series You’re Skitting Me.
Naomi counts Wentworth as her most challenging and satisfying project to date. A particular stunt involving a prison transport van crashing into a body of water was a massive undertaking with months of preparation, lots of additional personnel and equipment and a number of shooting days.
Another highlight was working on Don’t Be Afraid of the Dark with Guillermo Del Toro who Naomi credits as having an incredible mind.
Naomi feels fortunate to have collaborated with many amazing Australian and international talent. She’s learnt so much from everyone she’s worked with along the way, with a special nod to her writing partner Victoria Thaine with whom she’s currently developing a number of film and television ideas.
Naomi hopes to continue to be a driving force in the screen industry, bringing Australian stories to the international stage. She’s especially interested in co-productions with France and China.
Since youth, being a writer and a comic performer came naturally to Robyn. After a few years of live comedy and theatre, Robyn started getting bits of television work and adapted the skills she had developed for the screen.
After some time, Robyn realised that the combination of producing and directing would give her the power to control the stories she wanted to tell. The result has seen a string of successful projects to Robyn’s name including The Librarians, Very Small Business, Little Lunch, Now Add Honey and Upper Middle Bogan which was adapted for the US market – a moment Robyn reflects on as a special opportunity for Gristmill to speak to entirely different audiences.
Though she was raised not to see herself as prohibited by being a woman, Robyn grew up with very few female writers, producers, directors and actors to look up to in the industry and it took some time for her to understand that she could do all of those things.
She highlights on-screen influences including Lucille Ball, French and Saunders and Emma Thompson who all had a great effect on Robyn.
Robyn’s advice to women is to be tenacious, audacious, generous and upset the paradigm. Listen and learn from notes, seek a second opinion and remember that people will be making decisions based on what they know - which may be limited. Never underestimate people’s lack of imagination and know that you can work very hard to change someone’s mind. Be prepared to fight with a smile - that applies to all genders. Don’t give in and don’t give up. If you have a story to tell, know that if you are determined then you will make it.
Rosie has always had a deep love of narrative. Starting out as a journalist, she began screenwriting and soon realized that she needed a deeper understanding of production. This morphed into a year of film school, more than 20 years of editing and then directing – mostly documentaries. Rosie’s key focus throughout was to tell great stories. It saw her create four documentaries for television and then her first feature documentary, The Triangle Wars (2011), about a contentious development on the iconic and much-loved St Kilda foreshore.
This was followed by another feature documentary, The Family (2016) about a notorious Australian cult and the scars its survivors still bear to this day. Directing The Family was simultaneously the most difficult and rewarding experience for Rosie. A complex story involving complex people meant Rosie was constantly navigating the delicate balance between telling a strong story and respecting the lives of the people she was interviewing. She sees the experience as a huge learning curve but an incredible privilege.
Role models are too numerous to mention for Rosie who has become a great influencer in the field herself. Her advice to others: be persistent, take risks, trust your instincts and don’t step on too many toes as it’s a very small industry.
As a devoted film lover and a passionate producer of tales that reflect and challenge our culture and society, Philippa moved to Melbourne for a Master of Arts degree in Communications at RMIT. Her initial plan was to study the industry and policy side of things but she ended up loving the production courses, so she set off on that path instead.
Philippa’s career saw early success with her first funded production Clara – a short animated film which won a prize in competition in Cannes. She considers her feature documentary about Jack Charles, Bastardy, as one of her most memorable projects because of the impact the film has had on Jack’s life. Her debut feature drama Galore by Rhys Graham also resonates because of the unique setting, the creative team collaboration and its international premiere at Berlinale.
Aside from all of her close creative collaborations with the writers and directors she works with, Philippa is very proud to have been awarded Screen Producers Australia’s Independent Producer of the Year Award (2008) and Film Victoria’s Greg Tepper Award (2009) along with being a recipient of the Natalie Miller Fellowship - Film Victoria Women in Leadership Development (2016), and the NMF Brilliant Careers Program (2017).
Sue Maslin has been a role model for Philippa with her dedication to the craft of film producing and commitment to developing the next generations of female filmmakers. Sue was the first producer Philippa worked for and the duo still collaborate on projects.
Philippa’s suggestion to women seeking a career in the industry is to say yes to opportunities, be brave, be generous to people and remember the privilege of being a storyteller.
Sue never sought a career, instead her intention was to tell great stories about ideas that mattered. Her career grew naturally from there and over time Sue started to consciously shape its direction.
Sue produced iconic Australian features including The Dressmaker, Japanese Story, Road to Nhill, and documentaries Michael Kirby - Don't Forget The Justice Bit, The Edge of The Possible and Mr. Neal Is Entitled To Be An Agitator.
The Dressmaker grossed more than $20 million at the box office and garnered the highest number of nominations at the 2015 Australian Academy Awards, winning five including the coveted People's Choice Award for Favorite Australian Film. It proved that there was a commercial audience for films made by and about women in Australia.
Sue’s words of advice… don't do it alone. Build a support base of creative collaborators, mentors, an industry network and hopefully a supportive family. With these in place, follow your dreams and never forget that you are only as successful as your ability to connect with audiences.
Marion's first project working as a designer was for a sci-fi film called Future Shlock by Valhalla Cinema. It came about after the film's director and producer came to see her nightclub fashion show. Marion knew immediately she had found her tribe.
Marion's career and reputation as a designer grew from there with work on Crocodile Dundee, Starter Wife, Miss Fisher's Murder Mysteries and many others. Her work in the 2015 feature The Dressmaker brought to life many of the iconic costumes that dazzled audiences and helped to make the feature a standout success with 13 AACTA nominations, including Best Costume Design.
When thinking about influential people in her career development Marion highlights Clare Griffin, who was the Head of Costume at Crawford Productions. Marion recalls Clare throwing her in the deep end backed by faith and belief that she would succeed.
Marion's advice to upcoming costume designers is to never stop learning and watching.
After dipping her toes in a number of student and short films, Bryony’s breakthrough collaboration was with Bret King for Matthew Saville’s Roy Hollsdotter Live in 2003.
Following this, her first television show in 2005 We Can Be Heroes by Chris Lilley took audiences by storm and ensured Bryony remained busy writing music for film and television.
Her projects include Noise, A Month of Sundays, Felony, Please Like Me, We Can Be Heroes, Summer Heights High, Angry Boys, Tangle, Berlin Syndrome, Don’t Tell, The King and Cloudstreet – a project Bryony credits as having a magical alchemy with every department striving to honour the text. As a result something greater than the sum of its parts was achieved.
Bryony credits her launch in the field to collaborations with her group of friends, including Matthew Saville, Geoff Hitchins, Sian Davies, Katie Milright, Greg Williams, Clea Frost and many actors, all of whom were passionate about making films. They worked together for free (or a pittance), made mistakes, inspired each other, and learnt from each other.
Bryony hopes to continue working on projects that intrigue, engage and inspire her, as well as challenging herself musically by trying things she hasn’t tried before.
Her words of wisdom to those seeking a career in filmmaking and composing is: focus. Commit. Work hard: filmmaking, and composing are verbs –improvement comes if you keep working. Write without worrying about how good the result is – the process is what is important. Hone your craft, both musically, but also, crucially, how you respond to the images in front of you. Create opportunities for yourself and don’t worry about a career trajectory – just keep working hard on projects that interest you and the career will sort itself out. Ask for help if you don’t know something, and learn from your mistakes.
Arriving in the screen industry was a lucky sidestep for Alison from her career in sport and recreation management. Her people andproject execution skills were a fit for the fast-paced development environment at Electronic Arts, one of the world’s leading video game developers.
Having worked at EA's Vancouver Studio from 2005, Alison learned her craft working on console sports games projects including FIFA 2007-2013, later returning home to Melbourne to work on EA’s locally produced titles, Real Racing 3 and Need for Speed No Limits.
Alison is inspired by the creative magic of a team of artists, designers and developers she encounters in the industry. The most exciting challenge is the balancing act of bringing order to their chaos to publish incredible games that are enjoyed by millions of players worldwide.
Sadly, a very special role model and mentor for Alison passed away recently. Gabbie Badman was EA’s HR Manager and opened many doors for people to find their feet in games and grow their careers. She leaves behind a brilliant legacy of passionate game developers grown from the seeds she planted.
Looking ahead Alison would like to continue to find ways to line the Australian games industry’s halls with a diverse cast of characters. By doing so it will see an even bigger variety of games that tell more stories and bring joy and engagement to a wide audience.
Passionate about telling stories that reflect underlying currents in society or influence an audience’s view of the world, Deb Cox is driven by the writing side of the industry.
After graduating with an English Literature and Linguistics degree, Deb combined her love of visual arts with literature with her first job on Crawford Productions’ Skyways – a transition Deb found to be a refreshingly bizarre contrast to academia.
Deb’s prolific career has spanned many key projects. Her first authored screen project on Simone d’Beauvoir’s Babies made her realise she needed to step up to a producing role if she wanted to maintain creative follow-through. She sees The Gods of Wheat Street as a highly rewarding introduction to indigenous collaboration, mentoring Jon Bell on the writing front, while her 2017 show Newton’s Law is also listed among her significant projects.
Deb’s career highlights include SeaChange where she collaborated with Andrew Knight, writing its first three seasons and Miss Fisher’s Murder Mysteries, which started her partnership with Fiona Eagger, forming Every Cloud Productions. Both projects were similarly satisfying and enjoyable because they resonated with audiences in ways that made her realise what a privilege it is to be able to take stories to the world.
Deb’s creative partnership with provocative, funny and original writer/producer, Andrew Knight, encouraged her to hone and own her work and Alison Nisselle has been a great role model - as a woman who championed producing roles for writer/creators.
Deb’s advice to the aspiring women filmmakers is to collaborate as much as they can with whoever provokes them to be their best. And when success is gained, to help those who are still trying to make it.
Raised in a family involved in amateur theatre, storytelling was a big part of Fiona’s life from a young age – she always loved seeing how stories have the power to transport people into other worlds. Straight after her studies in media, she started making films and hasn’t stopped ever since.
Fiona’s prolific career saw many key projects, including Only the Brave, a strong and powerful featurette about two young women; Mallboy, a feature film screened in Directors Fortnight at 2000 Cannes film Festival; Mercury, a 13 part TV drama series starring Geoffrey Rush; Society Murders, a hugely successful telemovie for Channel 10; Gods of Wheat Street, created by Indigenous filmmaker Jon Bell and Newton’s Law. The hugely successful Miss Fisher’s Murder Mysteries Series 1-3, has been a real joy for Fiona from start to finish. It resonates in her career with its global reach and its passionate and loyal fan base.
Fiona has had role models along her journey in the industry, with Sue Masters taking the lead. A great and thoughtful storyteller, Sue is a great mentor for many women in the film industry. Paul Cox is also credited among Fiona’s role models who she worked with as a directors attachment early in her career. Paul was a great believer in film making as an art form and was a passionate and slightly mad in the best sense of the word.
To her fellow women film practitioners, Fiona’s advice it to tell their own stories, support other women and create kick arse female heroines.
Filing news film in the dungeons of Channel Seven Melbourne was how Yvonne got her start in the industry in the late 70’s.
She worked in several support departments of the TV station before Jenifer Hooks asked her to join Shirl’s Neighbourhood as a Production Assistant/Production Manager/Associate Producer in 1979. As a tiny production team with little to no production experience – the group still managed to produce five half hour shows per week. Yvonne thanks Jenifer for this start which grew from there to become her life and career.
Working in mainstream film production Yvonne recalls Margot McDonald as a wise and generous confidante and her “go to” person for advice about all manner of production matters.
Through Margot, Yvonne worked on her first feature film as Production Manager on Garbo.
Since then the credits have rolled for Yvonne who has been the Production Manager on titles including Angel Baby, Muggers, Predestination, My Brother Jack and After the Deluge.
As a Line Producer Yvonne has been involved in projects including Winchester, Jungle, Jack Irish, Mental and Chopper whilst as a Co-Producer Yvonne helped bring to life The Circuit, Stone Brothers and The King’s Daughter.
Producing multi award winning documentary Paper Dolls: Australian Pinups of WW2 was a love project for Yvonne who worked on the project over several years with talented Writer/Director and close friend Angela Buckingham. It also gave her the chance to meet the women who participated in the documentary - including Adelie Hurley, the daughter of Australia's second official First World War photographer Frank Hurley.
Angie was all set to study Journalism at University when her uncle, Bill Murphy (also an editor), rang to ask if she’d be interested in a trainee position as an assistant editor at Crawford Productions on a show called The Flying Doctors. Angie deferred school for a year to do it … and she’s still with it 28 years later.
From The Flying Doctors Angie had her first editing role at Halfway Across the Galaxy and Turn Left followed by editing roles on projects including Offspring, The Secret Life of Us and The Extra which was her first feature.
Angie lists a number of women who she’s learnt a lot from along the way. They include Sue Washington, Emma Freeman, Fiona Banks, Daina Reid, Sian Davies, Shirley Barrett, Imogen Banks, Amanda Higgs and many more. Sue Washington stands out to Angie as a great example of what she should and shouldn’t put up with in the workplace, and life in general.
Angie looks back affectionately on her time at Molly and credits the positive crew - led by Director Kevin Carlin and an incredible cast - led by the inspirational Samuel Johnson. She also credits the magnificent post team, working to the tunes of music from the 60’s to the 00’s. Meeting and working with the great legend himself Molly wasn’t too bad either.
For budding editors Angie recommends asking lots of questions. To this she advises they observe and learn from the strong women who have been in this industry, and survived it for many years.
Upcoming funding deadlines
Festival Travel - Toronto International Film Festival
Feature Film Development
Initial deadline for Feature projects (both documentary and fiction) for December decision. Assigned Production Investment - Film and Television
Business Travel - Asian Side of the Doc
Business Travel - Film London Production Market (PFM)
Business Travel - MIPCOM (may include MIP Jr)
Festival Travel - Sense of Wonder Night