Watch the film FLATHEAD, currently streaming on IndiePix Unlimited, and let me know what you think. It took home awards from the International Film Festival Rotterdam, among others, because it's like nothing you've seen before. It tells the intimate tale of Cass and Andrew making their way in working class Australia.
In my discussion with director Jaydon Martin, we delve into what is truly fiction in a documentary; his work at moving furniture to support his vision; and his advice for indie filmmakers embarking on their first feature.
It's astonishing filmmaking from the Australian, and I cannot wait to watch what's next.
In this episode, Jaydon and I discuss:
- the North American premiere for FLATHEAD and why he decided to make such an intimate film about his characters;
- how an award for the film at the Melbourne International Film Festival allowed him to stop moving furniture at night;
- finding his filmmaking system that works for him;
- how his career prepared him for FLATHEAD and his views on the concept of fictionalization in documentary;
- the unique docufiction nature of the film -- it's like nothing you've seen before;
- the dilemma about truth and how the film would be different if he had gone to film school;
- film v. digital;
- whether he'd use AI or not;
- the importance to him of the International Film Festival Rotterdam and how he views Australia's place in the world;
- whether the Australian government can do more;
- how indie filmmakers should view their careers;
- what's next for him and his advice from the festival run of FLATHEAD.
Jaydon's Indie Film Highlight: SONG OF ALL ENDS (2024) dir. by Giovanni C. Lorusso
Memorable Quotes:
"A lot of working class cinema or just media in general, it's always from a distance."
"That was all just, talking through and establishing trust and establishing a relationship where, you go, all right, we want to do an intimate scene. And Cass was like, yeah, just, come in boys in the morning, I'll be stark naked."
"That award has set me up. I'm working on two features right now."
"I think sometimes you get into a trap if you try to work for industry jobs, you get burnt out. If you sat in an edit room four days a week, it's hard to jump into your own edit."
"Mindless work is great because it's you can think about anything. You can dream away while you're moving a desk, moving furniture."
"That's how you capture intimacy because if there's three people, two people there, the camera just fades away eventually after a while."
"I've got a version of myself which is different to my partner's version of me or my friend's version of me or someone I work with. I've got different versions of myself in this world. Which is the most truthful version of yourself?"
"I'm a big believer in trying to create an aesthetic of now rather than an aesthetic of nostalgia."
"People get wrapped up about...this nostalgia about the tools."
"And realistically, I can't pitch an idea, go, all right, can you gimme money? And two years later I'll have something to show you."
"For any young filmmakers, I think EPs (executive producers) help a lot as well. Getting good eps that can get your film in front of programmers."
Links:
Watch FLATHEAD On IndiePix Unlimited
Follow Jaydon On Instagram
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