Down Under Berlin Film Festival - Headlight
A vulnerable teen has a brush with a local hangout. A raw and intriguing fictional exploration of the behaviours and triggers of a young man with Asperger Syndrome.
Interview with Writer/Director Petrice Graham
*
Congratulations! Why did you make your film?
I wrote this script about eight years ago now when I was at university. I wrote it very quickly, then stepped back and thought ‘oh, I see. These characteristics have a label.’ And I’m still not entirely comfortable with labels but I understand why we have them.
After graduating I unintentionally took a break from filmmaking whilst establishing a television career as a production manager. Outside of this I did make an auteur style doco which meant I learnt how to edit, and also developed an outline of a feature, but that was it in terms of film stuff.
I needed to return to drama but it had been so long - I wanted to check I still had the passion for it, but what I felt I really needed was confidence, so when the Metro Screen / Screen NSW ‘Breaks’ program came around, which included significant workshops and small amount of funding, I applied with Headlight. I had a couple of other scripts but Headlight seemed the most suitable, and I had also spent years thinking about it and knew I needed to tell this story.
Imagine I’m a member of the audience. Why should I watch this film?
It depends who YOU are. I think the answer is different for everyone.
You’ll either enjoy it in that you’ll appreciate its intent, or you’ll be confronted and challenged by it whilst it broadens your thinking. Either way, you’ll be moved, shocked, and it might leave you thinking more about our treatment of those who are vulnerable, and it will stick around in your head.
How do personal and universal themes work in your film?
The film delves into ideas of oppression, abuse, bullying, parenting, love, lust – things everyone can relate to, including myself. There was no autobiographical intention or inspiration with this film.
How have the script and film evolved over the course of their development and production?
I just pulled up the original script (dated August 2008) and re-read. The dialogue improved, but on the whole the completed film is pretty much the same.
I find the biggest struggle when going from script to screen to be, which I’ve heard is the case for a lot of writer/directors, when you can’t find the exact location that you’ve written and got in your head – and why would you, it’s imaginary (and believe me, I looked all over Sydney). Of course you become flexible and shoot in the places that will best serve the film and you let what you have in your head go. But because of this, a different version of the film always exists in your mind - not necessarily better or worse, just different.
Sometimes when you have a sufficient budget you can design the set how you see it. And I suppose the same applies when we read a novel, too - no matter how much detail the author describes things in, you will always see it differently, even slight differences in colour, design, face shape. That’s the beauty of our imagination I suppose, it’s unique to each of us.
What type of feedback have you received so far?
Entirely mixed, as just like your dinner, films don’t suit everyone’s taste. Unless it’s a Richard Curtis film.
I have had people call me throughout this week that have seen it as part of Social Shorts who love it and need to discuss it further, and such conversation thrills me, one of the main reasons I chose this career. Some have found it too slow – sure, whilst others loved the considered set-up. I’m a Haneke fan, so. Then some were surprised a female directed it, it seemed ‘too dark’ for a woman (I know, right!).
And I am critical, too. I won’t say it here what I’m critical of, but there are parts, certainly. But on the whole I’d say the feedback has been very positive.
Has the feedback surprised or challenged your point of view?
Not my point of view, no. Although some film festival feedback has been interesting. Some festival selectors loved it and went into detail as to why, but it didn’t fit their programming theme. Another festival said “the story was too downbeat” and ‘the ending was too harsh’ (it is intended to be dark). One of their reviewers wrote “sk8ers”. Yeah - with the 8.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
To promote discussion. We Are Moving Stories is a great platform and it’s nice that you have some affirmative action in place for female filmmakers too.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Film festival directors, journalists.
What type of impact and/or reception would you like this film to have?
Impact: One that promotes discussion, which would lead to some type of social change. I can’t see the point in making films that aren’t about something that is of meaning to me. I don’t mean films need an agenda - it can simply be an exploration of a mood, a place, a scenario. A musing on life. Using genre to help people to engage in topics they may not normally identify with – comedy, for example, is a great platform for exploring an idea. It just needs to leave a mark. I value everyone’s time too much.
Reception: Singing praises! Wonderfully heralded! Get this woman some cash for her next project!
What’s a key question that will help spark a debate or begin a conversation about this film?
Just a few to get us started: How do we create acceptance without encouraging stigma? When does a sheltering parent constitute an emotional abuser? Mary’s sexual abuse was wrong – but when do we allow a person with special needs to explore their sexuality?
What are the key creatives developing or working on now?
I’m a mummy to a 10 month old so that’s my biggest job at the moment. On Saturday mornings I’m working on a web series and several short film projects.
Milena has just finished production managing a series at Beyond Productions that will premiere later this year.
_______________________________________________________________________________
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
_______________________________________________________________________________
Headlight
A vulnerable teen has a brush with a local hangout. A raw and intriguing fictional exploration of the behaviours and triggers of a young man with Asperger Syndrome.
Length: 13:11
Director: Petrice Graham
Producer: Milena Gozzo
Writer: Petrice Graham
Key cast: Daniel Kay, Veronica Neave, Abe Mitchell
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Producers.
Funders: Screen NSW, Metro Screen, Crowdfunding, Everyone who worked on it.
Made in association with: Henderson Films
Release date: 24 May 2016 – St Kilda Film Festival
Where can I watch it in the next month? At Down Under Berlin Film Festival!