Melbourne Documentary Film Festival 2019 – Homefront: A new kind of war memorial
What happens when you destroy a war memorial and what do you put in its place?
Interview with Writer/Director Michael Wilkins
Congratulations! Why did you make your film?
The genesis of the project for me was filming a ceremonial fire to farewell some water-damaged war memorial sculptures that had stood in a local park for the last 12 years or so. The sculptures had been carved from cyprus pine by legendary local chainsaw artist Leigh Conkie.
What started as a small job to document the replacement sculptures over 10mins eventually evolved into a 48min documentary. When the enormity of the task, including the sensitive consultation and engagement with Veterans, Aboriginal Elders, and community members, revealed itself I felt it was a story that needed to be told with sensitivity, and given the right amount of time to tell properly.
Imagine I’m a member of the audience. Why should I watch this film?
Apart from witnessing the truly inspired carving of International chainsaw artist Hikaru Kodama, you'll see the remarkable blacksmithing of Roland Dannenhauer. The two, alongside local chainsaw artist Leigh Conkie, create some exceptional work.
Homefront is much more than this though. It really centres on the inclusive public art philosophy of Amanda Gibson, and how, in collaboration with local arts officer and project initiator, Colin James they engage the community in a way rarely seen. As a project, the Homefront sculptures are a true paragon for anyone creating public art.
How do personal and universal themes work in your film?
Whether it's reflecting on family members who have served their country or those at home waiting for them, the Homefront sculptures either draw you into personal reflection or tap into those universal themes about the cost of serving your country. They pose the questions, what is the price of war, and what happens to those left behind?
How have the script and film evolved over the course of their development?
In many ways, the creation of the documentary Homefront has been film-making by serendipity. What began as a seemingly straightforward short-form documentation of a sculpture project, became a 48min exploration of the meaning behind public art and what has become the epitome of community engagement.
What type of feedback have you received so far?
We have had overwhelmingly positive responses from veterans and their families at the way their stories have been told.
Has the feedback surprised or challenged your point of view?
I was surprised that some chainsaw artists and blacksmiths found it useful that they were able to see their own work in a broader community context, and also learnt something by seeing their techniques in a new light.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I feel that the stories captured in this documentary are important to share with a wider audience. It may change some people's perspectives on the purpose and importance of public art and community engagement.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Sales agents, buyers, distributors, film festival directors, journalists
What type of impact and/or reception would you like this film to have?
I hope that people are moved by the generous sharing of veterans' stories and have their perspectives changed on the importance, and healing potential of public art.
What’s a key question that will help spark a debate or begin a conversation about this film?
Why is public art so often undervalued?
What other projects are the key creatives developing or working on now?
We're developing a global TV series on big public art, it's meaning and the techniques of the artists creating it.
Interview: June 2019
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. 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
Homefront: A new kind of war memorial
What happens when you destroy a war memorial and what do you put in its place?
Length: 48:08
Director: Michael Wilkins
Producer: Amanda Gibson
Writer: Michael Wilkins
About the writer, director and producer:
MICHAEL WILKINS is a filmmaker whose company 2 Road Films has either produced, shot and/or edited over 800 videos since 2005. This includes TVCs, short films, marketing and corporate videos. Some highlights include work for Tourism Australia, filming the Melbourne component of short documentaries for Al Gore’s Climate Reality Project, and directing a series of National commercials for the Department of the Environment. Homefront is his first feature-length documentary as director.
AMANDA GIBSON is a designer, Creative Director and now documentary producer. She has worked as the Project Manager of the Black Saturday Tree Project bringing together blacksmiths on three continents to produce a spectacular metal gum tree in response to the Black Saturday bushfires. Amanda was the designer of the Homefront sculptures and brings her philosophy of public art to the screen in the documentary of the same name.
Key cast: Amanda Gibson (Producer - Creative Director), Hikaru Kodama (Chainsaw carver), Leigh Conkie (Chainsaw carver)
Looking for: distributors, film festival directors, buyers
Facebook: Homefront
Instagram: @2roadfilms
Hashtags used: #HOMEFRONTdoco
Other: IMDb
Made in association with: Banyule City Council, Melbourne, Australia
Funders: 2 Raod Films (self-funded), Rare Metal Design, Banyule City Council
Where can I watch it next and in the coming month? Melbourne Documentary Film Festival/Melbourne, Australia - July 20th 2019; SBS-TV national free-to-air broadcast Australia-wide - Nov 11th 2019 3pm.