Tropfest - The Birth
Home births can be a risky business, particularly if your partner is a bloke on a mission.
Interview with Writer/Director Sarah Hatherley
Watch The Birth here:
Congratulations! Why did you make your film?
Having just come back from Sitges, Spain, and the premiere of another short I made in 2016, I wanted to demonstrate my ability to handle a different subject matter, different genre, different tone and different audience, equally well. Lost Soul was a dark, complex, psychological thriller and so I felt moved to make a funny, dramatic, finely timed short. I love the craft of filmmaking, and having the challenge of a 7 minute time limit as well as the requirement to include a ‘signature item’ – in this case a pineapple – appealed to my sense of the absurd. Having 6 weeks from script to festival deadline necessitated me editing the film. Another challenge that I relished.
To make a high quality film under the circumstances I have outlined takes a certain amount of grunt, and a little bit of mongrel. The initial, “Hey, that’d be a funny film to make” enthusiasm will almost immediately be replaced with uncertainties and challenges that could potentially derail the project. The thing that kept me going, doggedly pursuing my vision for the film, was the ember of rage that was fanned in Spain by the lack of representation of women among the feature films selected in competition.
The Birth allowed me to express the absurdity of men earnestly describing the process of filmmaking as ‘just like giving birth’, and yet excluding the ferociously strong, capable women adept at giving birth from making their films. Wrapping that somewhat bitter pill in a funny, accessible, uplifting piece of entertainment, well, that for me was an exquisite experience. It’s also what propelled this film and lifted it up over the finish line with relative ease.
Imagine I’m a member of the audience. Why should I watch this film?
It’s funny.
How do personal and universal themes work in your film?
I love the essential humour in having the world view of four people in conflict. I asked my actors to ignore the potential humour of a home birth gone wrong, and work with building the credibility of their character’s perspective of the event.
The personal aspect, of a husband supporting his wife during a home birth, became universal as we realized that he was more intent on documenting the birth than experiencing it. His desperation to capture the moment not only resonates in our selfie-obsessed culture. It also touches on the growing belief that fame and fortune are just one viral video away.
The strength and equanimity of the birthing mother, reminds us of the incredible capacity of women. Her power is on full display in the birth. It is almost frightening for some to witness. My message: do not underestimate this woman.
How have the script and film evolved over the course of their development and production?
I wrote the first draft of the script on the 4th November, by the 14th I had a shooting script. My first draft had a different ending, it was a more overt expression of the idea. Which on reflection was going to be technically challenging. I discussed the ending with producer, Tony Rogers, and we thought it risked making the film into a one trick pony, which wouldn’t encourage repeat views. At the same time, I was intent on pushing the father’s quest further. It felt appropriate for his quest to completely overtake the actual birth.
What type of feedback have you received so far?
The public screening at Tropfest gave me the most valuable feedback. There was a lot of laughter throughout the screening.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
Short films usually have a very limited audience for the first couple of years of their life. In order to satisfy festival eligibility criteria it can’t be screened publicly. Having screened on national television and currently available online via Red Bull TV for Tropfest, I am keen to have the film seen as broadly as possible in order to leverage its success into my next project. I am also heartened by the gender balance at the core of We are Moving Stories.
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 and journalists who are keen to showcase female directors. Buyers and distributors who recognise the opportunity that we female filmmakers have in bringing a fresh audience, hungry for entertainment made by them and for them.
What type of impact and/or reception would you like this film to have?
I want to make entertainment, my world view will always inform the universal themes that I explore, but at the end of the day to elicit laughter based on recognition of the self is my aim with this film.
What’s a key question that will help spark a debate or begin a conversation about this film?
If making a feature film is just like giving birth, don’t you think there should be a few more women given the opportunity to make their features?
Would you like to add anything else?
Thank you for the opportunity to amplify the film’s message.
What are the key creatives developing or working on now?
I am actively working towards increasing the percentage of Australian female feature film directors from historic lows of around 13%.
Interview: February 2017
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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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The Birth
Home births can be a risky business, particularly if your partner is a bloke on a mission.
Length: 7 minutes
Director: Sarah Hatherley
Producer: Sarah Hatherley and Tony Rogers
Writer: Sarah Hatherley
About the writer, director and producer: Sarah Hatherley
Sarah is the quintessential creative entrepreneur; independent filmmaker, children’s book publisher, brand builder. Writer of 3 feature screenplays. Award winner Just Do It (2001) Lost Soul (2016).
Producer Tony Rogers
Writer/director/producer known for his deadpan comedy. Co-creator/director Wilfred (2007 & 2011) Rats and Cats (2007), web-series How to Talk Australians (2014), and Bruce (2016).
Key cast: Dana Miltins, Glenn Maynard, Marg Downey, Amelia Bishop
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): All of the above, including film festival directors who are interested in showcasing the work of female directors.
Funders: self funded by Hatherley
Where can I see it in the next month? Currently online at Red Bull TV.
https://www.redbull.tv/video/AP-1QRHBQ67H2111/the-birth?playlist=AP-1QNNHD2VN1W11:clip