IF is currently compiling its Rising Talent list for 2024, our annual celebration of the industry’s next big things, both above and below-the-line. And as always, we encourage you to have your say. Don’t forget to send your recommendations for the list to risingstars@if.com.au before November 3.
In the meantime, we thought we’d catch up with some of those we featured on Rising Talent list for 2023. This is part two, with more to come later this week! Read part one here.
Our Rising Talent 2023 list was brought to you by our major sponsor, AFTRS.
Cinematographers
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Maxx Corkindale
What have you been working on the last 12 months?
It’s been one of those cool years where everything I’ve worked on is coming out. The Survival of Kindness came out earlier this year, and Speedway and You’ll Never Find Me have just premiered. I’m working on three documentaries concurrently at the moment.
Why did you initially decide you wanted to be a cinematographer?
I was in Year 10 Media at high school and we had a studio set. The first time I operated a camera I found I really really enjoyed it, and that’s really the beginning of it all.
What’s the advice you wish you’d gotten when you were starting out?
Be patient. Experience comes with time. There’s no need to feel down if things aren’t happening super quickly career-wise, it’s a slow process that really helps refine your work.
What’s the biggest issue facing DOPs who are trying to cut their teeth in the Australian industry?
Lack of local productions at a mid-level stage. There’s some great work coming from the younger generation, and the high-end projects are fully staffed by the top level DPs, but there’s this gap currently of local opportunities for the people trying to break into the real bones of the industry.
Your best gig so far and why?
My Name Is Gulpilil is the project I am most proud of, as it was a true honour of a lifetime to work with David over four years to tell his own story, and create what would be his final film.
Any people who have championed your career you want to give a shout out to?
Geoffrey Hall ACS gave me a real leg up and opportunity a few years ago that really legitimised my work. And I learned most of what I know today from Aaron Gully ACS and Russell Marrett, who took me under their wings very early on were very open with passing on their knowledge.
Last film/TV show that inspired you?
The Bear is so energetic and inventive, I love the way it’s shot.
Who would you love to work with in the future?
I’d love at some point in my career to work with director Emma Freeman. I love her work ethic and passion and the way she runs her sets. It really shows on screen and is a testament to great directing.
Costume designers
Eryn Burnett-Blue
What have you been working on the last 12 months?
Worked on several television shows including One Night (standby) and Heartbreak High season 2 (extras coordinator) and gearing up for another television series as standby.
Why did you initially decide you wanted to work in costume?
Always loved clothes and how you can express your individuality through fashion, but studying fashion itself never interested me. My mum found a costume construction course and reading the curriculum it felt like a light bulb moment. It was also watching Tim Burton’s Alice in Wonderland which sparked a great interest in theatrical costumes.
What’s the advice you wish you’d gotten when you were starting out?
This was actually the advice I received on my first film job which was “if you think you’ve learnt it all you’ve learnt nothing” which meant that you should be constantly learning and growing as you work through the industry. You’re not expected to know absolutely everything at all times. Keep learning new things and challenging yourself.
Any people who have championed your career you want to give a shout out to?
There is a long list who I’d feel awful if I forget anyone but all of the costume practitioners of Western Australia, from designers to supervisors and even lecturers, who gave me an opportunity and encouraged me to challenge myself beyond what I thought I was capable of.
Who would you love to work with in the future?
Working on any film by Colleen Atwood would be an absolute dream come true.
Directors
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Stef Smith
What have you been working on the last 12 months?
I’ve been lucky enough to be working with producers John Molloy and Richard Kelly on a Stan Original film starring Heather Mitchell and the most glorious ensemble of actors called Jones Family Christmas, out November 23. I’ve also been writing my next feature with playwright Maxine Mellor called Anna Robi and The House of Dogs, as well as development on a series I’ve created with eOne UK. I’m repped by Casarotto Ramsay in the UK, Photoplay for commercials, and until the next job comes along I am technically unemployed! I put it in italics to add some glamour!!
Why did you initially decide you wanted to be a director?
It took me a long time to realise directing was an option, but since I was 5-years-old I’ve wanted to make movies and have been chipping away at whatever skill I could to get there. I remember sitting with my Nan (who was also my speech and drama teacher and had the gift of directness) in Wagga Maccas and she asked what I wanted to be when I grew up. I said “make movies” and she fairly cautioned, “You’re a little girl from Wagga, that might not be realistic. Plus you’re stubborn and good at arguing, maybe you should be a lawyer instead!”. Obviously my 5-year-old memory is absolutely dogshit but that’s what I remember from it. Either way, I clearly held onto the stubborn part because it’s been 21 years of doing whatever I could in the industry and refusing to give up and 11 years since I started officially calling myself a director.
What’s the advice you wish you’d gotten when you were starting out?
Work begets work. Perfection doesn’t exist. Those who are working are just the ones who didn’t quit. If you quit, expect no one to pull you back in, so be sure. Most people have to create their own opportunities; it is rare to be handed a career on a platter. No one owes you anything, you have to earn it, so be prepared to work. It’s okay to rest, burnout is real. Constant rejection is mentally grueling, so have other things/people you love. Note: All oversimplifications of course, but sometimes worth remembering and these are the ones I remind myself of when I’m considering taking my Nan’s advice and looking at that back-up plan.
Last film/TV show that inspired you?
The production design and directing on Loki season two is friggin’ incredible. I know there’s a lot of Marvel fatigue, fair enough, but the craftsmanship on this show is fucking stunning.
What’s the biggest issue facing directors who are trying to cut their teeth in the Australian industry?
It might not be the biggest issue but it’s certainly one I can see and think would be important to address: In NSW there is a severe lack of funding for short film/low budget initiatives for people to cut their teeth on. There used to be a few short film rounds per year available through a combination of Screen NSW, MetroScreen and Screen Aus initiatives but those opportunities have been dwindling and are now very rare.
Who would you love to work with in the future?
If I could, I would like to make a mix of prestige indie work and fuck off huge blockbusters. Kelly McCormick is someone I greatly admire for her determination, kindness and skill. Plus she’s a kid from a rural town who just loves movies, like me, so Kelly would be tip-top of my blockbuster list.
Producers
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Tsu Shan Chambers
What have you been working on the last 12 months?
I’m currently in production of my latest feature film, My Eyes, a heartfelt family drama shooting in Melbourne and Mexico. I am a co-writer, producer and actor on this project. It is inspired by true events of my life when I volunteered at the Sydney Paralympic Games and fell in love with a judo athlete – not joking, it actually happened! Our main cast are Asian and LatinX led, including myself, Adam Garcia, Eduardo Avila Sanchez and Nia Rush. Directed by Angela How and producing alongside me is Judi Levine. Excited to see it come to life after so many years!
Why did you initially decide you wanted to be a producer?
I decided to produce a short film 9 years ago as it was about domestic violence and had important social impact messaging. Surprisingly, I enjoyed the role and started up my own production company, Wise Goat Productions – “Bringing stories to life about issues that matter.”
What’s the advice you wish you’d gotten when you were starting out?
Be very selective on working with the right people, trust your instincts and act earlier on them.
What’s the biggest issue facing producers who are trying to cut their teeth in the Australian industry?
Financial sustainability. With funding skewed to favour other key creatives first, emerging producers are often needing to reinvest their fees back into production or are paid last (if at all). Yet, producers take on all the responsibility and risk for the production and often work the hardest for the longest period of time on a project.
Your best gig so far and why?
It’s got to be my current project, My Eyes. We have an incredible team in front and behind the camera and is such a personal story for me to tell. The main cast are like family and the crew are the nicest bunch of people I’ve worked with. Everyone wanted to be there because they loved the story and the people they are working with.
Any people who have championed your career you want to give a shout out to?
It would definitely be all my executive producers. My mentors across the years and those people in my life who said “yes” to me in times of need. They know who they are. Most importantly, my family – they have made the most sacrifices so that I can do the work I love and have always been unconditionally supportive.
Last film/TV show that inspired you?
The TV series The Great, written and created by a fellow Australian screenwriter, Tony McNamara, starring Elle Fanning and Nicholas Hoult. One of the wittiest, most bold and hilarious shows with incredible performances by an wonderful cast ensemble. I just loved how they intertwined some aspects of real history into the show too. Absolutely brilliant.
Who would you love to work with in the future?
Those genuine collaborators who amplify Asian-led stories, other minority voices and who have a social impact heart in their storytelling.
VFX and Animation
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Alana Lennie (lead lighting technical director, Industrial Light & Magic Sydney)
What have you been working on the last 12 months?
In the last 12 months I was lucky enough to work on Indiana Jones and the Dial of Destiny and also attend the at the SFF premiere night. I’ve spent the rest of the year on a very exciting show which will be announced shortly
Why did you initially decide you wanted to work in VFX?
I started studying filmmaking and throughout that process fell in love with the technology used to tell stories rather than the more extroverted aspects of being on set. I put all my time while studying into film editing, which quickly became motion graphics and spiraled into teaching myself 3D software.
VFX was the perfect fit for someone who wants to tell stories through 3D software. The balance of creativity and technology is endlessly engaging to me.
What’s the advice you wish you’d gotten when you were starting out?
Try everything. The role of 3D generalist within VFX wasn’t available when I was starting out, so I specialised in lighting very quickly. I feel it is important to keep a generalist knowledge base for as long as possible as it will only serve you well having a full and detailed understanding of the entire VFX pipeline. It also gives you more time to find out what you would like to specialise in, or if you don’t want to specialise at all.
What’s the biggest issue facing people who are trying to cut their teeth in VFX in Australia?
Getting your foot in the door and finding a great mentor is the first and most important step to cutting your teeth in our industry. We now have a lot of great studios in Australia with the desire to foster new talent, and many senior level staff who are more than willing to share their knowledge to build up a new generation of artists.
Your best gig so far and why?
While at Industrial Light & Magic my favorite gig has been working on the The Lord of the Rings: The Rings of Power TV show. The work was incredibly varied and we all knew we were working on something that was going to be beautiful so everyone was really excited.
Any people who have championed your career you want to give a shout out to?
Two incredible, supportive artist managers during my time at ILM Sydney: Lexie Busby and Louise Estephan. Also all of the mentors I have had: Neeraj Pattani, Drew Wood-Davies, Claire Michaud and many more.
Last film/TV show that inspired you?
Everything Everywhere All at Once. The sheer creativity and wonder of this film, and the universal love for it has given me high hopes for the future of storytelling.
Writers
Jessica Tuckwell
What have you been working on the last 12 months?
I’m currently visiting London thanks to the Screen Australia Enterprise Program and recently finished writing two episodes for a Kindling Pictures production [Fake], so most of my year has been about my obsession with Anya Beyersdorf as a collaborator. Before that I was finishing off the edit for the two episodes I directed of Stan show Year Of, with the very chill editor Geoff Hitchins who I love working with.
Why did you initially decide you wanted to be a writer?
Being a writer was a slow incremental creep over 15-20 years from studying philosophy and directing theatre. I needed to start earning a decent living, and writing plays/short stories was a more practical creative outlet around a full-time job than directing was, so it started there, and I studied at AFTRS with Allen Palmer who is such an awesome teacher and I made a more conscious move to screenwriting. I do love observing, and interrogating why people do the things they do, so maybe writing was a long time coming.
What’s the advice you wish you’d gotten when you were starting out?
You don’t have to give over everything in your soul to be a valuable contributor or make a living – producers are not entitled to every part of you and they do not own you.
What’s the biggest issue facing writers who are trying to cut their teeth in the Australian screen industry?
Managing the psychological toll and not burning out. Particularly if they’re on projects where they’re representing particular demographics and their own lived experience.
Your best gig so far and why?
Year Of was a huge learning curve, and I love huge learning curves, I loved directing my own writing, and I got to know and work with Enoch Mailangi, who I want to work with for the rest of my life.
Any people who have championed your career you want to give a shout out to?
When I first moved from theatre into TV, Debra Oswald, who I’d known for a really long time, was incredibly generous. She came to see my play, she gave me feedback on my TV sample script and got me in for my first writers room job. I am very grateful for Deb’s insight, support and goodwill. Kate Gaul and Cathy Hunt, both theatre directors and producers, and Zoe Norton Lodge, were instrumental in the idea of writing being a realistic prospect for me in those early days.
Last film/TV show that inspired you?
Film: Past Lives.
TV: I saw the first ep of Alice & Jack at MIPCOM, and I’m excited to see the rest.
As mentioned, we’d love to hear your suggestions for 2024 across the following categories:
Actors
Casting Directors
Cinematographers
Composers
Costume Designers
Directors
Editors
Hair and Makeup
Producers
Production Designers
Sound
VFX and Animation
Writers
Email: risingstars@if.com.au before November 3 COB. In your submission, please tell us why the industry should sit up and pay attention to this person’s body of work.
The full Rising Talent list for 2023 was:
Actors: Julia Savage, Markella Kavenagh, Tuuli Narkle, Shantae Barnes-Cowan, the ensemble cast of Heartbreak High
Cinematographers: Tyson Perkins, Kate Cornish, Maxx Corkindale, Edward Goldner, Sissy Reyes
Composers: Angela Little, Evelyn Ida Morris, Salliana Seven Campbell, Daniel O’Brien, Dmitri Golovko
Costume Designers: Emma Lamp, Olivia Simpson, Victoria Perry, Eryn Burnett-Blue, Genevieve Graham
Directors: Imogen McCluskey, Neil Sharma, Matt Vesely, Stef Smith, Kane Senes and Hannah Barlow
Editors: Lily Davis, Daniel Oates, Michelle McGilvray, Rishi Shukla, Isaac Coen Lindsay
Hair and Makeup: Aoife Murray, Rebecca Burrato, Karen Gower, Rebecca Allen, Samara Gildea
Producers: Bethany Bruce, Liam Heyen, Jessica Magro, Tsu Shan Chambers, Sarah Freeman
Production Designers: Marni Kornhauser, Wei Guo, Aisha Phillips, Jonah Booth-Remmers, Emma Bourke
Sound: Weronika Raźna, Adam Dixon-Galea, Xoe Baird, Marisa Marsionis, Rose Mackenzie-Peterson
VFX and animation: Alana Lennie, Matt Crump, Tessa Bright, Jordan McInnes, John Bastian and Ben Ward
Writers: Huna Amweero, Hannah Carroll Chapman, Gretel Vella, Josh Sambono, Jessica Tuckwell