MEAT
Behind the closed doors of an elite boarding school, Matthews and his friends are cruising through life—but when a weekend joyride ends in disaster, he has to deal with the guilt that consumes him.
Interview with Writer/Director Sunday Emerson Gullifer
Congratulations! Why did you make your film?
"MEAT" is based on a monologue I wrote through the Australian Theatre for Young People back in 2013. One of 20 young writers selected to take part in their National Studio, we were tasked with writing an eight-minute monologue for a young person aged 16-21, around the theme of food. This took me back to my years at boarding school where food was such a big part of daily life.
At the completion of the studio, they chose a selection to be staged as a production the following year. "MEAT" was not chosen, but I believed in the story I was telling and wanted the opportunity to share it with a wider audience. I wrote a screenplay adaptation and, together with my producer, submitted an application to Metro Screen's Breaks program, which supported emerging filmmakers with development and funding. We were fortunate enough to be selected, and spent the next year developing and making the film.
Imagine I’m a member of the audience. Why should I watch this film?
I remember seeing Sofia Coppola's film, "The Bling Ring", when it first came out in cinemas. I liked it a lot, but I know people who didn't; one friend, in particular, described it as "vacuous". I found this really surprising and remember thinking, "But I know these characters. I went to school with them."
I was fascinated by the isolation that can exist within places of great privilege and wealth, where toxic cultures of masculinity are often heavily embedded. I think it's easy to dismiss these sorts of stories (because of this very privilege), but as my cinematographer, Jack, and I discussed: these are the 1%, and the power these people yield—or go on to yield—is tremendous.
It reminds me of Christos Tsiolkas' recent review of "Joe Cinque's Consolation" in The Saturday Paper. He writes, "Though the academic class makes up the bulk of the art-house audience, the critical professions and the majority of the media and film industries, it is rare that this class turns its gaze on itself. We usually prefer the distance provided by looking upon a Snowtown or Prospect. We prefer to believe the monsters live there."
I'm interested in the monsters that live here.
How do personal and universal themes work in your film?
This is a film about privilege, guilt and masculinity. It also explores adolescence with something of a twisted nostalgia. We've all been that age once, and I think a lot of people are able to recognise themselves in these characters.
How have the script and film evolved over the course of their development and production?
I was lucky enough to participate in two incredible development programs for this project. The first, being ATYP's National Studio, allowed me to develop the monologue that later became the basis of the film. The monologue itself was very broken and rhythmic, almost poetry in form. So that became a key challenge in adapting it for screen.
The second was Metro Screen's Breaks program, which gave us four months of regular script development sessions and directing workshops. This program taught me a lot of what I know about being a filmmaker, and was instrumental in the film's success.
One of the key challenges was the progression from aural to visual storytelling. While early drafts of the screenplay retained a lot of voice over from the monologue, the final film has very little dialogue at all.
What type of feedback have you received so far?
The feedback has been really strong. It's a difficult film to classify in that it's a drama, but the narrative is so broken and rhythmic—I guess you'd call it an experiential approach to storytelling. For the most part, audiences seem to have really identified with that vivid sense of experience.
One of my favourite pieces of feedback was an email I received from a teenage girl who goes to boarding school. She wrote in great detail about how much the film spoke to her, and that one particular moment "ripped at something inside of me". I really couldn't ask for a better response.
Has the feedback surprised or challenged your point of view?
Yes and no. I test screened the film extensively prior to locking picture and sent viewers a really specific set of questions for feedback. I asked them to summarise the story, identify the key themes, talk about moments they connected to, and identify anything that wasn't working. I also tried to make sure I had a cross-section of people watch it: men and women, older and younger, other creatives and people working outside the arts entirely.
What is gratifying is that people often talk about very different moments as having affected them—this tells me that the film is speaking to people in different ways and on a number of levels, which is always the hope.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
An audience, always. With the film's festival life coming to an end, I'll be releasing it online in early December. I'd love for people to watch it and send me their thoughts.
For news of the film's online release and my other work, head on over and like my Facebook page at facebook.com/sundayfilms.au
What type of impact and/or reception would you like this film to have?
I hope it causes people to reflect on their own lives at that age, and perhaps think about how the decisions we make shape the people we become.
What’s a key question that will help spark a debate or begin a conversation about this film?
Where are all the adults—and why are these kids left so unchecked?
Would you like to add anything else?
"MEAT" wouldn't exist but for the support of Australian Theatre for Young People and Metro Screen. Both organisations have spent years creating opportunities for young and emerging artists, offering incredible services that are often undervalued and under resourced. That Metro Screen closed down in December 2015 due to funding cuts is a tragedy. Great art has the power to influence, but it isn't made in a vacuum. We need organisations like ATYP and Metro Screen fostering the next generation of filmmakers and theatre artists.
What are the key creatives developing or working on now?
I just completed my Master of Film and Television in Directing at the Victorian College of the Arts. While there, I wrote and directed "Tomorrow, and tomorrow, and tomorrow", a 24-minute drama about an actor playing Lady Macduff in an increasingly violent production of Shakespeare's "Macbeth".
The film is an examination of what it means to be woman in a world that celebrates male genius, and explores the personal sacrifices we make in pursuit of our art. It speaks a lot to current conversations being had in the industry about gender parity.
Happily, I was able to collaborate on it with a number of the key creatives from "MEAT", including cinematographer Jack McAvoy, editor Andrew Kristiaman, composer Kelly Ryall, re-recording mixer Thom Kellar and colourist Julien Chichignoud.
Coming out of the VCA, I'm now working on developing a feature, a couple of shorts and an anthology series.
Producer Lauren Eisinger has a short sci-fi drama in development with director Jessica Grace Smith and is pursuing professional development opportunities in the screen industry. She also works in theatre and live events and will be touring a one-woman cabaret show "Gender Spanner" across Australia and New Zealand in early 2017.
Interview: November 2016
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series and music video. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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MEAT
Behind the closed doors of an elite boarding school, Matthews and his friends are cruising through life—but when a weekend joyride ends in disaster, he has to deal with the guilt that consumes him.
Length: 9'20"
Director: Sunday Emerson Gullifer
Producer: Lauren Eisinger
Writer: Sunday Emerson Gullifer
About the writer, director and producer:
Sunday Emerson Gullifer is an award-winning filmmaker based in Australia. Her short film, "MEAT", was nominated for an Australian Directors Guild Award, won an Australian Cinematographers Society NSW/ACT Silver Award, and went on to screen at festivals across Australia and internationally. She recently graduated from the Victorian College of the Arts with a Master of Film & Television in Directing. Her graduating film, "Tomorrow, and tomorrow, and tomorrow", stars Matilda Ridgway, Mark Leonard Winter and Charlotte Nicdao.
Producer Lauren Eisinger works across film, theatre, circus and live events, and loves work that sparks imagination. She's produced three shorts, most recently "MEAT" by Sunday Emerson Gullifer.
Key cast: Sam Delich, John Turnbull, Rose Riley, Julian Maroun & Jon Prasida
Funders: Metro Screen & Screen NSW
Made in association with: Sunday Films & University of Technology, Sydney