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 three, with more to come later this week! Read part one and part two.
Our Rising Talent 2023 list was brought to you by our major sponsor, AFTRS.
Cinematographers
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Kate Cornish
What have you been working on the last 12 months?
I was a recipient of Credit Maker, for which I had the opportunity to be mentored on a TV series [Erotic Stories] by the leading DOP (Tania Lambert), after which I shot a full episode of the show. In addition, I’ve recently been signed by RGM and they’re helping me to get the ball rolling on future film projects.
Why did you initially decide you wanted to be a cinematographer?
I wanted to be a cinematographer because I’m passionate about visual storytelling. I love that the role inhabits both creative and technical aspects, which I feel plays to my strengths.
What’s the advice you wish you’d gotten when you were starting out?
To believe in myself.
What’s the biggest issue facing DOPs who are trying to cut their teeth in the Australian industry
Accessibility. It sometimes can be a game of simply ‘right place, right time’, but also knowing the right people.
Your best gig so far and why?
Erotic Stories. I am super proud of what I achieved and I had an incredible mentor in Tania Lambert guiding my every step.
Any people who have championed your career you want to give a shout out to?
I’d like to shout out DOPs Matt Toll, Tyson Perkins, Alex Cardy and Jack Saltmiras who have given me opportunities to work under them as either 2nd unit or B cam operators. They have been integral to my career path. Also, and most importantly, my mum and dad.
Last film/TV show that inspired you?
The Bear.
Who would you love to work with in the future?
The creators of Deadloch – Kate McCartney and Kate McLennan.
Costume Designers
Victoria Perry
What have you been working on the last 12 months?
Through my work in costume on feature films and series this year, I’ve been most fortunate set up my own costume studio while being able to work across Australia – including in the Northern Territory, New South Wales and South Australia. Which has been a dream come true!
Why did you initially decide you wanted to be a costume designer?
I’m curious about people. I briefly started my career as a portrait photographer, but once I found a love of costume making and saw the glow of a character come to life on screen, it was a natural progression. I believe that clothing is more than just what we wear and I’m interested in how the language of fashion and textiles can open up windows to many worlds waiting to be explored.
What’s the advice you wish you’d gotten when you were starting out?
You don’t have to be perfect at everything the first time you do it.
What’s the biggest issue facing costume designers who are trying to cut their teeth in the Australian screen industry?
Funding for experimental and early career projects; often we take on jobs purely for the love of it or the eagerness to step up in our careers, which comes with a personal or financial sacrifice.
Your best gig so far and why?
Co-costume designing Salt Along The Tongue this year with designer and friend, Tess Torrisi. This film, written and directed by Parish Malfitano, was one of the most collaborative and affirming projects. A lot of the content felt personal and was a reminder as to why I’ve connected with this form of story telling.
Any people who have championed your career you want to give a shout out to?
Annette Ribbons. Sadly we lost Annette in August this year but her contribution and impact as an incredible artisan, mentor, teacher and colleague is felt throughout costume departments both in Australia and internationally. Annette was a huge advocate for new generations of costume designers and makers entering the industry and to have been trained by her is a privilege I hold incredibly close to my heart.
Last film/TV show that inspired you?
Past Lives was the last film to inspire me, it was a comforting reminder of the power of film and how screen can articulate emotions that are hard to put simply into words.
Who would you love to work with in the future?
I would love to continue collaborating with like minded artists – who are passionate about exploring the in depth worlds and characters we can create, especially through costume.
Directors
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Matt Vesely
What have you been working on the last 12 months?
Almost 12 months ago to the day our debut feature Monolith premiered at the Adelaide Film Festival. Over the last year we have taken it to festivals all over the world and I’ve been lucky to travel to SXSW in Austin Texas, BIFAN in South Korea, and Sitges Fantastic Film Festival in Spain. It’s been a wild ride, and now Monolith is out in Australian cinemas! David Stratton reviewed our movie, which is a total life-long dream achieved! I’ve also been working with Garth Davis and See Saw films on an adaptation of French graphic novel The Immersion Program for television as a writer.
Why did you initially decide you wanted to be a director?
As a kid I wanted to be an actor and did a lot of theatre. I was cast in a few short films as a 12 year old, where the crew let me do the clapper and showed me how the camera worked, and from there I wanted to make films. Some of the crew of those films – Matthew Bate, Sophie Hyde and Bryan Mason – I still work with today (25 years later) at Closer Productions.
What’s the advice you wish you’d gotten when you were starting out?
There’s no rush. You don’t have to feel like everything has to happen right now – taking your time is okay, and staying in the moment – instead of looking to the future – is vital.
What’s the biggest issue facing directors who are trying to cut their teeth in the Australian industry?
Just getting time on set is really hard. I spent my time working in writers rooms and shadowing other filmmakers as a way to bolster my storytelling skills, but beyond doing a short every few years, I found it hard to actually do some directing. Getting that first shot – which we were lucky to do with Monolith via the South Australian Film Corporation and Adelaide Film Festival’s Film Lab New Voices Program – is everything, and we’re very grateful.
Your best gig so far and why?
Directing Monolith for sure. Had a moment as we set up for the final shot on set where I stepped back and realised I had lived out my childhood dream of directing a feature. I also love science fiction/ horror/ weird stuff so getting to be weird was an absolute blast. The team we had was also such a dream, I love them all so much. Felt good to be a part of that, and I hope they are proud of their amazing work.
Any people who have championed your career you want to give a shout out to?
My heroes at Closer Productions, particularly the founders Sophie Hyde, Bryan Mason, Rebecca Summerton and Matthew Bate (with a loving shout out to other Closerites like Matthew Cormack and Raynor Pettge who have been there since I started). They’re my second family and they taught me everything I know about being a good filmmaker and being a good human.
I’d also shout out the late Quentin Kenihan, who was a big supporter of mine when I was emerging, and gave me my first ever development funding at the SAFC, and my first shot at meeting TV producers around the country. I miss him dearly.
Last film/TV show that inspired you?
At Stiges I saw a film called Les Chambres Rouge (Red Rooms) which was a French-Canadian thriller about the dark recesses of the internet, and it blew me away. Strange and terrifying and relevant.
Who would you love to work with in the future?
If anyone has Adam Driver’s phone number please let me know.
Anything else you’d like to mention?
Fear is the mind-killer!
Producers
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Jessica Magro
What have you been working on the last 12 months?
The last 12 months has seen Purple Carrot Entertainment go from strength to strength after receiving support from ABC and Screen Australia’s ‘Fresh Blood’ initiative for Bad Ancestors, a Black-led comedy series created by Wendy Mocke coming early 2024, and successfully gaining an international placement with Grant Torre at Stampede Ventures via Screen Australia’s Enterprise program, another step closer to sharing Australian-Pasifika stories with the world!
Why did you initially decide you wanted to be a producer?
The power of stories on screen! I discovered how beautiful it is to be a part of a team working towards the same end goal; bringing important, authentic – sometimes misrepresented or underrepresented stories – to life and giving them the spotlight they deserve. There is no more satisfying feeling than making work for community, by community.
What’s the advice you wish you’d gotten when you were starting out?
TV is where the work is!
What’s the biggest issue facing producers who are trying to cut their teeth in the Australian industry?
It’s a highly competitive field when you are constantly going up against well-established producers and companies for the same opportunities – but don’t forget what that means, you are in the running just as much as they are! Don’t let that stop you from aiming high and dreaming big.
Your best gig so far and why?
Besides getting to make Pasifika works at Purple Carrot Entertainment, I’ve been so lucky to work at Ludo for almost 4 years now on Bluey, with some of the best producers in so-called Australia: Daley Pearson, Charlie Aspinwall and Sam Moor.
Any people who have championed your career you want to give a shout out to?
MANY! I’ve been so blessed with many staunch and clever women who have guided me through my career and continue to do so – so here are just a few. Sam Moor gave me my first TV job and is now my boss working on Bluey 10 years later! Veronica Fury who elevated my career over 5 years at WildBear Entertainment promoting and upskilling me to the point I was able to produce my first independent film for the ABC. And Karina Holden who so generously independently EP’ed my latest documentary The Alexander Ball, pushing me as a producer and director to make work that I am so endlessly proud of. These women have been so selfless in lifting me up at every chance they get and constantly believing in me – thank you!
Last film/TV show that inspired you?
TV: Gold Diggers created by Jack Yabsley and written by some of my faves including my sisters Wendy Mocke and Shontell Ketchell who absolutely killed it!
Short Film: Hafekasi by Annelise Hickey – this film is magic, I can’t wait to see what’s next for Annelise.
Feature: Love Is In The Air – who wants to make a rom com with me?!
Who would you love to work with in the future?
There are so many kick ass BIPOC women making legendary work, I hope I get to cross paths with all of you!
Anything else you’d like to mention?
Final piece of advice: this industry is tough for women and especially for women of colour – never forget there is an entire community who has your back, you’re never alone!
Production designers
Emma Bourke
What have you been working on the last 12 months?
I’ve been working on a few smaller projects, one of which premiered at this year’s Sydney Film Festival, as well as working in the art department on Apples Never Fall, prior to the strike shutting many of us down.
Why did you initially decide you wanted to work in production design?
It was quite a journey to get to production design, although I always knew I wanted to work in film in some capacity. Having a background in fine arts and photography, when given the opportunity to design friends music videos back in my uni days, it felt very natural and was incredibly enjoyable. From then on, I knew that is exactly what I needed to continue doing.
What’s the advice you wish you’d gotten when you were starting out?
Learn how to draw! I still continue to work on it, but definitely a key skill to have!
What’s the biggest issue facing production designers who are trying to cut their teeth in the Australian screen industry?
Finding the right opportunities to move up through the art department with enough experience and knowledge.
Your best gig so far and why?
The experience of working on Elvis has definitely been my biggest highlight and learning experience.
Any people who have championed your career you want to give a shout out to?
Igor Nay, head of production design during my time at AFTRS. A great mentor and friend whom enabled me to trust my skills and project me into the industry.
Last film/TV show that inspired you?
I recently finished the next season of The Great. Great design, great costumes – a really enjoyable show that looks incredible.
Sound
Marisa Marisonis
What have you been working on the last 12 months?
I’ve been busy! I did season 2 of Wolf Like Me as well as a series for Disney, a feature film and I’m currently on another feature still under NDA.
Why did you initially decide you wanted to work in sound?
It was a natural progression from being interested in music. I wanted to learn more about music production, realised I was rubbish at it, and then discovered the world of post production at university. I’ve never looked back.
What’s the advice you wish you’d gotten when you were starting out?
In sound you have to be able to do everything- sound effects, dialogue, foley and mixing. It’s great to have a focused skill set but sometimes you have to do it all yourself. Also, there’s no sugar coating it – it’s a tough industry to navigate and it’s probably a good idea to have another skill up your sleeve for in between jobs.
What’s the biggest issue facing people in sound who are trying to cut their teeth in the Australian screen industry?
It’s a very small industry and there is a lot of inconsistency in the work. It would be great to see more investment in productions so that there are more jobs available.
Your best gig so far and why?
I’ve been very lucky to work on many incredible productions but it’s hard to look past working on Baz Luhrmann’s Elvis. The sound team was nominated for an Oscar and that’s a pretty fantastic bucket list item ticked off (even if it didn’t win).
Any people who have championed your career you want to give a shout out to?
I am eternally grateful to Abigail Sie, Will Ward and Yulia Akerholt for being mentors to me in my career so far. I also want to give a shoutout to Cat Armstrong at Spectrum Films for supporting my successful grant application for an upcoming mid career mentorship funded by the Natalie Miller Fellowship.
Last film/TV show that inspired you?
I love the detail in Roma (Alfonso Cuarón). It is one of my favourite soundtracks and I constantly refer back to it for inspiration.
Who would you love to work with in the future?
Not so much ‘who’ but I’m very eager to work on an animation. There is a wide scope for creativity in animation and I get very excited by the level of admin and file management that would be involved.
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