Queer Screen Mardi Gras Film Festival 2020 – Without A Tracey
When newly retired ex-cop Tracey Kimmel discovers the body of a teenage boy on her morning run, her razor-sharp instincts tell her this was no accident. As she delves deeper into the case she uncovers a secret that threatens her family, her community, and her own life.
Interview with Writer/Director Alex Culliver and Producer Chelsea Thistlewaite
Congratulations! Why did you make your film?
CHELSEA: We wanted to make a show reminiscent of the crime procedurals we saw growing up: Law and Order, The X Files, + Twin Peaks. We realised there was a new way to tell these stories, and both being queer filmmakers, wanted to see our community represented in this genre.
ALEX: We felt creatively charged by the Australian Marriage Law Postal Survey which was taking place at the time of writing Without A Tracey. I was more determined than ever to make our stories seen and heard and to validate our community during such a tense, sad time.
Imagine I’m a member of the audience. Why should I watch this film?
If you love a juicy whodunit tale, combined with secret teenage romance set against the stunning backdrop of the Blue Mountains NSW, this is the show for you.
How do personal and universal themes work in your film?
CHELSEA: We wanted to do a few things with the project. To increase queer visibility by showcasing a loving, stable, complicated queer family. While also highlighting the issues that our community still faces at large: discrimination, conservatism in small towns, violence, and bigotry. It was important to us to highlight the complicated nature of being queer in 2020, that these two worlds could exist and intersect at the same time.
How have the script and film evolved over the course of their development?
CHELSEA: Without a Tracey was originally conceived as an 8-10 minute short film. We felt we had an idea that could show a world and convey the tone in a succinct and snappy way. Then as the idea gestated and we had ongoing discussions with other creatives, we realised that we had an opportunity to tell a much larger story that would really lend itself to an episodic story structure. The crime procedural genre is also traditionally episodic - we felt that we were able to easily tap into those genre conventions while actively subverting it through the material.
ALEX: When I started writing Without a Tracey, it was a slapstick, downright short comedy. Tracey was intended to be played by a young woman in a wig, very ‘Kath & Kim’ -esque. The longer I spent developing Tracey’s family and the community around her, I felt intensely dramatic themes and circumstances push their way to the surface. I looked up one day and now this devastatingly sad story was being experienced by my original comedic characters - and it felt so real. This juxtaposition was so exciting that we pushed it into a series.
What type of feedback have you received so far?
CHELSEA: We’ve had some fairly polarizing reactions to the final product, the tone being the most common denominator. People are either really on board and understand what we’re trying to do and believe we’ve been successful, or they don’t get it and it’s been confusing for them. Nevertheless, it’s been something new for them and they’ve found it refreshing. It’s been so interesting hearing people’s feedback after seeing it the first time- most people have been quite upset about the cliffhanger ending! They want to see more and that was our aim - we wanted a reaction that would make people talk about it.
ALEX: Viewers have had many different ideas of what genre this show is. Everyone laughs in different spots, is shocked at different times - that in itself is really interesting feedback as it makes me believe we have found a tone that is refreshing and exciting.
Has the feedback surprised or challenged your point of view?
CHELSEA: We weren’t surprised with the overall feedback - we were very focused on striking the right tonal and narrative balance throughout the series and audience’s reactions have led us to believe we achieved it. There have been moments of comedy that audiences have really connected with that we didn’t expect, which has been very positive and surprising.
ALEX: I’ve definitely felt challenged by the confusion around tone/genre. Initially, I would try to explain it or defend the ambiguity, but I’ve realised that this is exactly what we wanted to achieve! Something fresh and thought-provoking. I’ve stopped giving the tone and genre a name - each person should be able to have their own understanding of this story and where it sits in the world for them.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We're all about queer visibility and audience reach- there could be a small-town kid who sees this and is hopeful or a lesbian detective who finally feels seen!
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We'd love the series to reach as many people as possible, but for us to have a truly international audience, we need sales agents, distributors, film festival directors and journalists to see the series.
What type of impact and/or reception would you like this film to have?
We'd love for the series to become a beloved addition to the canon of queer cinema, while also expanding what queer stories can do.
What’s a key question that will help spark a debate or begin a conversation about this film?
Are we at a stage socially where a queer series with themes that include fear and safety can be tackled with an element of light-heartedness?
Would you like to add anything else?
We want to hear what people have to say about the series! We want to start a conversation! Please talk and reach out to us and each other! More than anything we hope you like it, we hope this makes you feel seen, and we hope you feel less alone.
What other projects are the key creatives developing or working on now?
We’re currently developing an 8x10 series about a queer couple as they attempt to start a family while reckoning with gender, disability and family. It’s very different to Without a Tracey, but we don’t love it any less.
Interview: January 2020
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
Without A Tracey
When newly retired ex-cop Tracey Kimmel discovers the body of a teenage boy on her morning run, her razor-sharp instincts tell her this was no accident. As she delves deeper into the case she uncovers a secret that threatens her family, her community, and her own life.
Director: Alex Culliver
Producer: Chelsea Thistlewaite
Writer: Alex Culliver
About the writer, director and producer:
ALEX CULLIVER is a Sydney based Writer and Director. Having studied at the Australian, Film, Television and Radio School, Alex went on to work on many independent productions, including Suburban Wildlife as Production and Costume Designer. Without A Tracey is Alex's debut directorial work. She is passionate about diverse and inclusive storytelling.
CHELSEA THISTLEWAITE is a producer based in Sydney, Australia. She has worked in development within internationally renowned production companies and has produced across multiple platforms and mediums to highlight queer and inclusive storytelling.
Key cast: Tahnee Stroet (Tracey Kimmel), Thomas Filer (Mikey Kimmel), Patrick Jhanur (Petey Nichols), Jared Jekyll (Robbo)
Looking for: sales agents, distributors, journalists, film festival directors, buyers
Facebook: Without A Tracey
Instagram: @withoutatraceytv
Hashtags used: #queer, #webseries, #femalefilmmaker, #australian, #thriller, #comedy, #lowbudget, #independantfilmmaker
Website: www.withoutatracey.com
Other: IMDb
Made in association with: Pretty Good Films
Funders: Self-funded
Where can I watch it next and in the coming month? Queer Screen Mardi Gras Film Festival / Sydney - February 19th 2020