OHA Stay Connected Podcast
OHA Stay Connected Podcast
Haileybury Voices - Monique Mulcahy (OH 2013)
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🎙️ Welcome to Haileybury Voices, the official podcast of the Old Haileyburian Association, where we go Beyond the Blazer.
In this episode, we sit down with Monique Mulcahy (OH 2013), an internationally recognised filmmaker whose work has captivated audiences around the world. From her early creative beginnings at Haileybury to award-winning success behind the camera, Monique shares her journey of finding her voice through film and the power of storytelling.
🎬 Melbourne-based Creative Producer
🏆 Internationally acclaimed filmmaker
🎥 Lifelong passion for storytelling
💡 Insights on creativity, resilience & artistic vision
This is an inspiring conversation for students, alumni and anyone carving out their own creative path.
Welcome back to Halibury Voices, the official podcast of the Old Halibans Association. I'm Pav. I'm Shankar. This is a show where we go beyond the blazer, sharing the experiences, lessons, and stories of the Halibury community.
SPEAKER_03Now, Pav, do we have a cracker of a guest, an award-winning filmmaker. She's been recognized internationally. She has her own production company and she's racked up millions of views on social media.
SPEAKER_02Shankar, she loves fantasy movies and she's an avid gamer, and I can't wait to get into this. Let's go. Let's go. So Monique Mulkai, welcome to Hellbury Voices.
SPEAKER_03Woo!
SPEAKER_02Welcome!
SPEAKER_00Hi, thanks for having me. It's so fun to be here. I'm so honoured to have been um asked to join you.
SPEAKER_02Your story is great. Me and Shanka were having a look at it um when we were preparing for this, and we were like, Creative space. So it's not that's something we don't really see many people dive into with the world that we're living in. Yeah. So let's dive straight into your story. Let's start from where it all began at Haylibry. What are the stories, the experiences, and what stands out that helped you shape who you are and how it got you into the creative space?
SPEAKER_00So I so I graduated from Hay Libri Keysborough in 2013. Um, but I but I started out at Haylibry Berwick um in year seven, so quite a few years before, where I was only there for a year um before I moved to a sports academy to play basketball. So there was a time where I really wanted to be a professional basketballer. Um but I had the creative calling, so I came back. Um but I did come back actually to Hailibury Keys Bar in year 10. So I was there for VCE and yeah, so glad I came back because um I was obsessed with um filmmaking. Um I took media way too seriously. I know it's it's kind of a people say it's a bit of a joke to take media, but I'm like, no, it's the best subject ever. Shush, everyone should love it as much as me. Um and I yeah, really threw myself into using it as an excuse to just watch lots of movies and also make movies. Um obviously, like we had our assessments to to make to make a like a short film or a media project. Um, so I made a little horror um short film called The White Dress, um, which you can find on YouTube if you are curious. It's um it's fine. Um, but I also was lucky enough um the media department, the teachers were so supportive and allowed me to borrow some of the equipment as well that Haylebury um had at the time. Um so there was a camera and lighting um and sound equipment, and I made another short film um for a film festival at the time called the um International Silent Film Festival, which was the first uh year it was running in Victoria, and um that film, Le Clown de la Mour, don't ask me why it's in French. I did not speak French. Um, there's no nothing about it that is. Everything sounds bad. It does, it does, yes. Um and it was about a clown who falls in love with a businesswoman and proceeds to sort of try and win her over. Um, it's probably a little bit problematic now because he does does not take no for an answer, but um it it was funny, it was, you know, and I got all my friends. Um I also did drama at school, and drama was my also my favorite subject because you got to also write um and tell stories um and perform. And so I got all my kind of drama friends together and we made this short film together, and then um, yeah, it was lucky enough to win the um Victoria Regionals. Um it screened at a big um you know event down at Kingston Arts Center, and then my film, and it also won, so it won a few awards, it won Best Film, Best Direction, Best Actor, and then Audience Choice Award, which is voted by um everyone. Um, and then it went on to compete at the International Awards, which was um from I guess uh regions all over the world um in Portland, Oregon. Um, and it came, I think it came second, which was um, you know, didn't get top prize, but uh was still still up there on the podium. So um at the time I was um yeah pretty blown away. Um and that was I guess a moment that I mean I'd always wanted to tell stories and make um movies, but I think like having experienced my work at the Silent Film Festival screen in front of a crowd of people I don't know, and people laughing at all the the jokes and like clapping and cheering and people coming up to me that I didn't know and and you know saying how you know um funny it was and and you know how much they enjoyed it was just like a moment that you realize like oh my gosh, like there's another part, like I just feel like before that I was just making stuff for myself, but you realize like oh if you make something you know you're also making something for an audience as well, which I think is always like really good to remember, like if you do want to be like a director or a writer or a producer that like whatever you're making, it's like you're making it for yourself, but you're also making it for people to watch and enjoy. So um you've got to also kind of yeah, that be conscious of that as well.
SPEAKER_02So I think Monique's leaving a very, very important uh part in this. How old were you when you did this?
SPEAKER_00I did it in year 12. Yeah, so that was when we made the film and it won the kind of Victoria Regionals, and then we went to the um the international awards in Portland the year later.
SPEAKER_02So I was so what were we doing when we were 19 years, mate?
SPEAKER_03I don't even know. Trying to figure it all out. But I guess for the audience that may not know you, what do you do now and how did you lead from doing all these amazing stuff during year 12 to what you do now?
SPEAKER_00Yeah, so I so my current um title is head of development. Um, so I work for a production company called Haven't You Done Well Productions. Um, we're based in Brunswick, and it's a company that was founded and is run by Auntie Donna, which they are a big sketch comedy group from Melbourne. Um so they originally started Haven't You Done Well, I guess, as a vehicle to produce their um TV shows. They've done two TV shows, um also live shows and podcasts. Um but um since I was brought on almost four years ago, it's sort of um grown the company to also be developing and producing a slate of film, TV, and online projects, um, collaborating with uh comedy writers and comedians from all across Australia. So we have um quite a big slate at the moment um of lots of different projects working with a lot of different people. Um we have actually our first feature film, which we're going into production in June this year. So that's an action comedy that I'll be producing. It'll be my first film, um, which I'm absolutely stoked about. Yeah, huge. And very scared as well. It's um yeah, huge. Um, you know, we've got a lot of support from um the industry as well, which is exciting. Um and we also have a TV show in development with ABC, um, and we have our ongoing um productions um for Grasshouse, which is our uh secondary YouTube channel, which we've built into a bit of a comedy network. Um so if you're you're interested in alternative, weird, wacky Australian comedy, um, Auntie Donna, go check him out, um, and also go check out Grasshouse, um, which showcases a variety of different comedians and comedy talent from all across Australia.
unknownVery nice.
SPEAKER_02So here in the OHA we've got a term once a Haylo Burian, always a Haylo Borean. How does that sense of connection stay with you as an artist?
SPEAKER_00Um, I think what's been really lovely, I mean, not only this, obviously the support I uh received from the school like when I was um going through year 12 um and earlier, um, but also just being kind of, I don't know, asked to come back and speak about my experience. Um, and you know, the obviously this podcast and and last year I um came to a sort of careers expo last year and got to speak about my experience there, um, which was also really it just was a nice opportunity to reflect on my career and because I still feel like I'm um, you know, emerging or you know, I'm definitely I I we I don't I don't know, I don't think I'd ever consider myself ever, even when I'm like 70 years old as experienced and senior, because I just feel like I've every project I do or every partnership I work in, like I'm always learning. So I think um Hale Bree like um inviting me to come back and speak about like the journey so far and try and impart some of that experience onto um the next generation or or people who uh you know want to break into the industry just makes me remember that oh yes, I have I have you know I I I deserve to be here as well, and you know, and get don't give up, keep going because it is there are days when you're like, why am I doing this? So yeah, that sense of community and and and wanting to give back has been really um yeah, it's it's I'm just yeah, really proud to be here.
SPEAKER_03Now you were recognized as an outstanding young alumni arts award winner, a sign of your talents early on, uh, which is a unique stride. Was that something that you always knew?
SPEAKER_00Um, well, it was yeah, I mean to be uh to win that award was also just completely out of the blue as well. Um and I think I received the award, it was after the the the um silent film, and I I think I must have been in second year uni at the time, and like I'm pretty sure I was still in uni, and that was just like a moment of like yeah, just so surreal because I was like, oh, it's really nice that people care about like my, you know, my achievements or like what I my or my career trajection, I guess. So that was really nice. Um and yeah, again, it's just those moments that makes you like really appreciate the journey you've been on and all the learning experiences along the way.
SPEAKER_02What teachers and and experiences in the classroom helped shape you?
SPEAKER_00Helped shape me. Um well I think I'll never forget um oh gosh, I'm gonna I can't remember her name. It is blanking me. But my media teacher in one too, she like looked uh looked me in the eye and she's like, you want to work in movies, you gotta watch movies. You should be watching like you should be watching like uh a movie a day, like basically to understand um, you know, the filmmaking craft and um you know uh and screenwriting and all that kind of stuff. So and then like not just watching it and absorbing it, but actually like um, I guess breaking down like what you like about it, what working, what's working, and to try and like inform your own taste and how you approach um storytelling and filmmaking. So that has always stuck to me and is something that I always like when someone's like, girl, give me some advice, what should I do? I'm like, you want to make movies, like go and watch movies. Um and I've I've sort of expanded that to, you know, I read a lot, I read a lot of books, um, I listen to a lot of podcasts um about craft, about storytelling, a lot of improv um comedy podcasts. I play a lot of video games. Um so yes, that was a really um yeah, formative experience for me, I think. And also um another one of my teachers at the time, um she worked in the I guess she was IT support or like tech support for media department. Um, she was also such a big champion um for me as well, and was the one who was like allowing me to borrow out equipment and really um being there as a kind of soundboard for any like creative questions and technical questions. Um, I believe she was also like a VCA um alumni as well. Um, so she was able to kind of so she understood like the pathway I wanted to go. She really helped to like um I remember at the time in year 12, I was like, I don't know which uni I should apply to. Um I've heard that Swimburn's great because they've got all the best gear, they've got the best cameras, um, and that VCA doesn't have good gear. And she was like to me, don't be stupid, VCA is the best, go for that. So I was like, okay, and so I got in and it was like the best experience. Um but um and she also like would review scripts for me and stuff. So it just felt like someone who like actually understood the um journey I was about to embark on and and the career um and like what was required to like become like to to kind of break in was like super valuable.
SPEAKER_03I guess always trying to pick a a pathway, especially after year 12 and knowing where to go, especially like VCA or Victorian College of the Arts or going to a different university. Um did you know that arts was always gonna be the thing that you were gonna do straight out of uni? Yeah or straight out of school.
SPEAKER_00Yeah, I absolutely like I growing up I like was always writing, like always wanted to to um tell stories. Like I remember like as soon as I could write words, I was writing um stories outside my mum's office. And um, you know, as soon as my mum got a digital camera, I was making videos. So I knew that like I wanted to be a director or a writer. Um and I guess at that like in high school you don't really understand, well I mean at least I didn't understand every single role on the you know a film production and like what that entailed. Um so particularly like I'm a producer now, and I probably never would have ever considered that as a career pathway that I would want to take because I was so like I want to be a writer, I want to be the director, but I just think a producer, um, and look to be honest, in Australia, a lot of producers also direct and also write, and like I like to say I'm a creative producer because I'm so heavily involved in like the creative vision. Um, I just like to be involved across the whole like project from end to end and like the strategy and like who's working on the project, who we're bringing in to to bring the vision to life. So I think I just find that very satisfying. I I knew coming back to Halo Bree, I was very excited after the Sports Academy because the Halo Bree had such a great media program and um and also like resources to to to actually go out and and make my own stuff as well while I was there. So so after Halo Bree, I knew I wanted to go to VCA because of its reputation as as the top film school um in the country alongside Afters, but Afters at the time didn't have a an undergrad, so um I wrote bachelor, so it was VCA and it was in Melbourne. Um and I knew that the directing course was because they also had a screenwriting course, but um the directing course I knew you'd actually be out and making stuff, whereas screenwriting you just write and you never make anything, or you didn't used to, so yeah. So I knew VCA from uh pretty early on in high school, that's where I wanted to go.
SPEAKER_03Yeah, nice. I guess when you talk about creative producer and being a producer, for people that don't know what that is and and how to actually get into that space, just give us a rundown of what that is and what that entails.
SPEAKER_00A lot of people don't understand what a producer is, and I will also admit my mum doesn't really understand. She's also she's always just like, she just thinks the director is like the bee's knees. And I'm like, Mum, the producer has all the control. Doesn't it yeah? I mean, unless you're like Christopher Nolan or or one of the big like auteurs, an auteur is someone who writes and directs. The director is often brought onto the project like quite late, I would say, like after the the um concept's already conceived, after it's already written. And don't get me wrong, the director is so like getting the right director is so integral to realising the um the story and actually translating it to screen. Um, but like the producer is there from day dot, they're the one who, you know, either conceives the idea and then builds a team around it, like they might bring on a screenwriter or um or a director, or they will bring on the director, um, but or they're very early on very early, early stages working with a writer to flesh out what the idea is. So um, you know, doing like mini writers' rooms, um, you know, finding the financing to pay for the process as well. So the way I like to work is I like to be involved very early. So if an idea is just a log line, so like a one-sentence idea, I'm like, great, this is where I want to get involved, because then we can shape it together and it's more of a collaboration. And making film and TV and and and is is just very collaborative and it's not made, like one person does not make it all happen. So I think that's something also to to to learn is that yeah, you're a part of a team and not just going out solo making a movie by yourself.
SPEAKER_02Yeah, for sure. So I've got a little bit of a statement here which will take us into your journey. Film like life is about perspective. Let's talk about yours. Uh what drew you to storytelling through film?
SPEAKER_00That's a good question. What um through film specifically, I think I just so when I was a kid, I yeah, I used to write short stories. Um, and then I started to make little comedy sketches with like our video camera at home. Um, and the first one was Queen Elizabeth versus Mark Scafe. Like Mark Scave was robbing a bank and Queen Elizabeth would come in and like meet him with a handbag. Makes no sense, but we had so much fun. Um and then that sort of evolved to doing like um crime crime procedural, like detective trying to like um solve a mystery, and it was like kind of Ace Ventura meets monk. Um it was just very strange. Um and I don't know, I just really loved, I think I just loved completing something. Whereas when I was writing, I would write a few short short stories, um, but then like couldn't really share them with anyone, or like I would start a novel at 10 and write like 10 pages and be like, well, I've got 200 to go, and and we would just never be finished. So there was something about like just picking up the camera and just making something and being like, here's a finished product I can now like show with my friend, show my friends or family or school. Um and then you know, I I don't think I I was probably too young for YouTube at the time, but like if I had been making the that now or slightly later, they would have probably gone on YouTube as well. So um so yeah, I think it was just something about like at the time being able to make something and finish it, which is really appealing. And then I just loved movies, I loved TV. Um, I was a big cartoon network and Nickelodeon girl, also ABC Kids as well, when my parents got rid of Foxtel. So I was always dreaming of um making my own shows or making my own movies or owning my own studio or some crazy story like that. So I think, yeah, I think I I still loved writing, but there was something about like directing as well that really like excited me.
SPEAKER_02So just on the directing and verse producing that we were talking about before, can you um walk us through the process of how a movie comes about? So you you say like the producer has all the power for or lack of a better word, but they've got the control. Yeah.
SPEAKER_00And then the director comes in and Yeah, I mean it it honestly can work anyway, and I think it's different probably in Australia than it is in the US. Like I think producers probably have a lot more control. Um, whereas in Australia, it's just a lot harder to get things up. Um, but in my own experience, um, on the last few projects, um, the director has been, it'll often be the creators coming to us. So, like the creators being the writers and sometimes the performers, because we work with a lot of comedians. Um, they'll come to us with an idea, like a pitch deck, basically, which is a document that outlines what the show is, who the characters are, what the story is, um, what the vision is, um, and then you know, we'll work with them to develop it. They might have an idea of who they want to direct or they might not. Um, if they don't have anyone in mind, then we'll, you know, we work with a lot of great directors, so we'll go out to them and kind of bring them on board. Um, but then there are other teams who come to us and it's a writer-director duo, um, and then we'll come on a bit later. Uh my a few of the projects I'm working on at the moment through my own company, Strange Mage, which has been a bit of a um side uh kind of project, um, but is now becoming very real. Um, we recently got some funding to produce a kids series for YouTube. Um, so for that one, it was um two creators, two writers who came to me with their idea. Um, and then we worked together to develop it, develop the pitch. Um, we got some funding and we did like a writer's room where we had the three of us and two other writers come together for a week and work out, okay, we've got like a bit of an idea of what the show is, like and the setting. Um, let's come up with some episode ideas because they're very short, they're like eight-minute episodes. And then for a week we just sat around and talked about jokes and um funny scenarios these characters could be in. Um, and then that sort of informed us uh into kind of fleshing out a series Bible, which is a more in-depth document about what a what a show is um and how it works, and also to write 10 scripts, so 10 episodes. Um, and uh only after that was when we went and got a director on board. So we had done a lot of work together to lay the foundations of the show before we brought the director in.
SPEAKER_03Yeah, right. For I guess if we um take it back for young people that are looking to get into this industry, and you we're talking about how you've delved into so many different types of projects. If someone just wants to get started into this space, how do they go about doing it?
SPEAKER_00It's a great question. I think film school is really helpful because you j you learn the basics. Okay. Um so I think all of the film schools in Melbourne are great. Um, I think some of them probably have more of a technical focus and will give you an opportunity to try lots of different things because you might not know like what you want to do.
SPEAKER_03Yeah.
SPEAKER_00Um, but I would say apart from that, just making stuff is really important. Um, I think the best thing I did was to make that short film when no one, it wasn't a school assignment, it wasn't someone someone was telling me to do it. I was just like, you know what, I'm gonna make this film because particularly for the writer, director, and producer, often the opportunity. Opportunities, like no one's knocking on your door to say, I need you to direct my film or I need you to write this or I need you to produce this. Like you need to go out and like make those opportunities when you're starting out. Like I think for my journey, when I graduated, I went sort of straight into working and sort of in production, which means like uh supporting um, you know, as a production assistant, so like supporting a team. Yeah. And if you go that way, it could sort of lead you towards more of the producing route, and which I have, you know, I really enjoy. But if I wanted to be a director or a writer, like, and I've seen a lot of people do this, is like you just because w working on uh other projects and or getting other jobs can just really be not a distraction, but you end up using up all of your energy and your time doing other jobs and not actually writing or directing on your own projects that you want to actually do.
SPEAKER_03Exactly.
SPEAKER_00So like an advice and it's really hard, you've got to be really like privileged privileged to be able to just be like, I'm not gonna work for a year because I'm just gonna write and direct and just make stuff. And you know, the stuff you might make in the beginning might not be very good, but like every project you make, you're gonna learn something and you're gonna get better. It's like anything. So I think, yeah, if I really wanted to give directing a go, I would just and I'm in a bit a different position now. I could um, you know, I've got the networks and could probably like you know get a team together to do it a bit faster. But I think like if you're just starting out, like go to film school, make the films at film school, but also make stuff outside as well, because you just the more you can make, the better you're gonna get, and the more idea you'll get of um your taste, your um style of filmmaking, um yeah, I think just making stuff, and I think directors often like emerging directors or even mid-directors don't get to direct enough because it's just not enough work for directors.
SPEAKER_03Yeah in the arts it's known for not being able to get funding right because you're always it's always like the chicken and the egg type situation you can create, but then you also need to fund yourself and what have you. When a person is looking to do that, how do they go about getting these fundings? Because you've been a recipient of Vic Screen and some other things. How does someone go about that?
SPEAKER_00Yeah, it's a good question. I think I get asked that question a lot from people who are in the industry like, how do you get funding? Um, because it's hard. Like we have we're so incredibly lucky in Australia to have government support actually funding development and production of the arts. Like we have incredible production um uh we have tax rebates in Australia. Um, we also have incredible like production funding. So Screen Australia will fund, you know, millions of dollars of your production if it's Australian. Um, and Vic Screen will fund like a percentage of your production budget if it's um, you know, um I think it's 10% of your Victoria spends. So that can be really great. Um, and there are channels to apply for that funding, like they do, I think four rounds a year or for four or five rounds a year. Um, but it's really hard to get accepted, I guess, because it's so competitive, there's not a huge amount of money, budget's already going up. So it's um, yeah, I would hate to be working at any of those agencies and have to choose from great and great. Um but I guess how to get on their radar, I think, you know, I think for probably, I mean, the people I'm probably speaking to now, um, you're probably looking at, you're probably at the start of your career or about to start, you know, at the start of your career. Um, so I would suggest um Screen Australia has a really great um program called um direct to audience funding. Um, and direct to audience used to be called online funding. So that would be for web series. Um and web series are considered a really great um, I guess, training ground or way to cut your teeth as a director or a writer. Um, because you're essentially self-distributing on YouTube or Instagram. Um, it's still very competitive to get, um, and I think a big focus on um the kind of criteria when they're assessing projects is uh what is your pathway to audience? So like you need to be able to speak to who is your audience, why is it appetite for your um project, um, and how are people gonna find it and and all that kind of stuff. Because if you're building a new YouTube channel, like you might get a hundred views. So um it's like yeah, how what how are you gonna how are you gonna like um package and present to your series? So so yeah, I think that that's a really great fund, and I think um the team at Screen Australia and even Vic Screen are always open to chatting to people as well and and and giving advice. So I would say like if you're at a point in your career where you are ready, you think you're ready to start applying for these funds, I think having a conversation with them because they just they wanna they want to fund you. It's just um you know, they want to fund everyone, but they sadly can't. So I think just um having conversations and getting them to know who you are, your face, your name, like you know, what stuff you want to make as well. So I think that's always important because yeah, again, they want to support you.
SPEAKER_02Yeah, nice. So pathways to audience. So the media industry is changing quite significantly all the time, it's consistently evolving. How has it gone from conventional screen to now streaming? How has that played a part in upcoming directors, producers like yourself, and choosing the right outlet?
SPEAKER_00Yeah, it's yeah, I mean it's changed so much since um since COVID. I mean, COVID definitely like exhilarated everything. Um you often like now going out and selling a show, you need to have names attached, um, people who are very recognizable or have inbuilt audiences. Um, for example, like Auntie Donna has like over half a million subscribers on um on YouTube and even more on um TikTok and Instagram. So that's quite a big inbuilt audience, but you know, that's a very like specific audience. Um, but you know, if we're pitching a show that is for like young men of the age of like 20 to 35, then that's like you know, we would point to our audience and be like, look at our audience, we can drive this. So um I think it's yeah, and again, like for for all funding, just because it is so competitive, you just really have to know who your audience is, whether or not they're you know, they could be online. Um, you know, kids are watching like their most used um, you know, streaming platform is YouTube. So one of the reasons why we are making a kids' show for YouTube is because we want to meet the audience where they're consuming content. Um, the problem with YouTube is um, you know, you kind of have to self-fund everything and try and find other ways to monetize what you're making. So um, so it is a longer route, but um, there has been like big success with um YouTube brands that have grown beyond just YouTube and now have merch lines and um books and um even like um live shows and and all that kind of stuff. So and that's a world we're kind of exploring at the moment for the kids show because we know that um, you know, we're not gonna make much money off YouTube ads, specific, like especially on YouTube Kids, which has very um uh specific um ad guidelines, obviously, to protect young um audiences. So, so yes, um a huge focus on who your audience is, huge focus on um younger audiences being chronically online and second screen watching and um consuming full-length like long-form media like on their phones. Um yeah, it's definitely something that plays into all of our thinking when taking on projects or working with creators.
SPEAKER_03When you're you you mentioned about you have to have the sort of the idea in mind and also the audience in mind, how do you come to that sort of ideation process when thinking of okay, this is something that I want to create, but because I know it may hit this market, that market, etc. etc. How do you come to that sort of formulation?
SPEAKER_00Yeah, well, I guess, yeah, it's it's it's hard. I feel like the classic like producer or like you know big executive would be thinking, we need it, we need, we need something for this demographic now, go and make something so it's kind of retro, so going backwards from there. But then most of the way that I have worked um and that I am working is is idea first. Because I think if an idea really resonates with me and a story resonates with me, then I think that there will be an audience out there. It's just um the way that you um look at it. And I think also like, you know, maybe there isn't an audience now or maybe there isn't a pathway now, but like in five years' time, maybe there will be, you know. So I think like if an idea is good, like you'll find a way to get it made. Um, but yeah, I I think it's just I mean, specifically for like something like an Artie Donna project or a Grouse House project or a Haven't You Done Well project, which is a very specific brand, like we know who our audience is, so we know like what they will, you know, what will resonate with them exactly. So um yeah, and now we were because because we have this inbuilt audience already, like it it makes it a bit easier for us to to, you know, if a project comes in and we're like that clearly isn't like our audience or our genre, like we know we're not gonna take that on. So that kind of makes it a bit easier. Um, but for my own brand, Strange Mage, which is um yeah, like I'm still trying to, I guess, define it's it's it's a little bit more broader than I would say than like the haven't you done well slate, where um I want to produce and develop like projects that are like bold, funny, and weird. So that seems that's quite that feels quite broad. Um, but essentially I would define that as um, you know, it needs to have a genre to it, um, it needs to be mixed media, um, uh, it needs to be funny, um, and it also needs to be surprising. So that's what I would say. Which again is probably just more buzzwords, but there you go.
SPEAKER_02So let's talk about resilience now. I'm sure there's been a lot of it in your journey in this uh industry. What lessons have you learned from staying true to your vision?
SPEAKER_00Um that's a great question. I think it's funny. So when I when I started out in the industry, out of film school, I worked um at a post-production house for advertising. Um and then I got a job at a production company that produced predominantly ads, but we did do like music videos and a few like short films and stuff. But like what I learned in ads is that there you're often like the way that ads work basically is that you're a production company, an agency or a client, it's a bit different now, will come to you with an idea already and they're like, here's the script, here's the idea, we just want you to execute it basically. But we want you to pitch to us how you do it in a way that is interesting. And usually those briefs are so rigid, you're basically regurgitating their own vision back to them. And what I found in ads is that everyone just wants a say in what this thing is, and it's a 30-second ad. So there's not a lot of like room to move really, but it ends up becoming this kind of Frankenstein end product because you have so many different people who just want to have their mark on this um piece of uh, you know, this ad. And you kind of have to be a bit resilient there because you're like if you're a director or a writer or or whatever on those projects, you kind of just have to be okay with the fact that you're not really fulfilling your own vision, you're feeling fulfilling their vision. Um I would say it's a bit different for um like film and television and online. I think um like you have to be really, I think you have to be very confident in your vision. Um, and because everyone, you know, needs to follow that vision as well, um, you have to be very brave and and know when to say no when someone pitches you an idea like, oh, what if we did this for the costuming, or what if you did this for a scene, or if or or if you get feedback, um, you know, if you've got investors and they give you feedback or notes, um, which can be really scary. But um I think you also have to know like know like what your vision is um and why it's unique to you and why only you can tell that story or make that um film in the way you're making it, and protect that and make sure that other people's influences don't change that as well, because then it will become this Frankenstein thing that's just had too many cooks in the kitchen trying to like um change it. Um, but I also will say um you also need to know where to compromise as well, because sometimes there are unfortunately compromises you need to make, whether it's for budget, whether it's for um stakeholders or whatnot, but still compromising in a way that is guided by like, okay, we can't do that, um, but we can do this and it'll still maintain um the essence of my vision. So it's not a compromise just to like change it all. But um, but yeah, I think it's it's resilience in the fact that you're gonna be working with a lot of people and there's gonna be a lot of different interests. Um, you need you hear everyone out. I think it's always good to hear everyone out, but whether or not you take on advice or um notes is is up to you and and trying to stay strong in your vision, I think.
SPEAKER_03I think also on that on that point of being resilient, sometimes I guess in this art space world, it's so there's so much ambiguity, right? Having to try and figure out your career pathway and go from there. And you know, the constant knockbacks, this and that. How did you be able to forge yourself just to keep going from that aspect?
SPEAKER_00I think it's it's not because you do, you get twice as many no's, if not ten times more as many no's as you get yeses. I think it's also about um not, I guess, having all of your eggs in one basket and making sure that you have constantly have multiple things on the go so that if you do get a no or like the market shifts and you're like, okay, no one's interested in that anymore, that's okay. I've got three other things over here that I can be running with. And like, you know, for for haven't you done well, we've got the feature film that is happening, but we've got a TV show in development. So once the film finishes, then we've got that TV show. But then we also have five other TV shows and five other films. Um we also have podcasts. It's it's I think it's just diversifying like your slate or like your skill set, just so you're not ever sitting idle or be like, okay, well, that no from Screen Australia now means that I, you know, I can't move forward at all because that's just not true. There's so many things you can be doing. There's so many like, you know, well, if I didn't get Screen Australia, well, before you go in for Screen Australia, if I don't get Screen Australia, how can I make this without them? How can I still tell this story? And I think I have so many projects on my slate where I'm like, I know that it's gonna be really hard to get this up because it's a really, it's a massive, um, you know, it'll probably be a big budget or like it's a big fantasy thing. So how can I still tell this story because I just need to tell this story? Okay, well, I'm gonna look at writing a book or I'm gonna look at doing like a radio show or like a graphic novel because I can't make this animated fantasy show, you know, not make this animated fantasy show yet. But if the podcast does really well, if the book does well, then I could do it later. So I think it's just being very like strategic about how you're operating and just diversify your slate and and skills.
SPEAKER_02So how do you balance that? You've got artistry on one side, craft on the other. How do you balance that?
SPEAKER_00Oh, it's so hard. I feel like I mean, artistry is also is obviously really important, but I feel like it needs to go hand in hand with strategy as well, because yeah, again, like you can't make a film by yourself or you can't make a TV show by yourself, like because there's so many people that need you need to bring on board, like whether it's financiers, collaborators, um, all of that kind of stuff. So I think you kind of artistry is important, but also like you need to have the strategy and the kind of scaffolding around it to actually make you help you realize it and get it out in front of an audience, I would say.
SPEAKER_03Um, and how does being part of a creative community, including Halebury Network, help you grow?
SPEAKER_00It's very important, I would say, being in front of being a part of a creative community or communities just in general, I think, because this community could be made up of collaborators, but also peers as well. Like um, you know, we have I have a few like producer um WhatsApp groups where we just exchange stories and experiences and ask for advice or just like you know, catch up at the pub to just blow off steam because it's like it can, it's hard, it's really hard. Like back to resilience. It's like, you know, if nothing's landing, like how do you like continue on? Um and then I think like you know, there's also communities in film schools, like the the you know, the students you meet, the other students, like your peers will will become your collaborators as well. So I think really, you know, and it can be hard, like I know like going through film school straight out of high school, you're just so focused on, you know, making your film the best and you know, um just being a director, but I think like looking up and just realizing what an incredible you know space it is to be working with all these other like-minded people who you know can be soundboards, can be collaborators, can be um you know, partners on all of your creative pursuits, I think is just so important. Um, and then you'll still be friends 10 years down the track, like you might be making a movie together, or you know, um, so and I and then again I think with like Hallibury as well, like looking around at your classmates and and thinking like, oh, you're also you love movies, like you want to make stuff, let's just get on the weekend and make something, you know? Like, um, yeah, I think it's it's just very important.
SPEAKER_03Um, with the distribution, well, I guess with the decentralization of the way that media is now and YouTube also becoming a massive platform. Do you think that that is a great place for people to start to get out there? And and what do you think that the benefits are?
SPEAKER_00Absolutely. I think I mean you've just got a access to the biggest audience in the world there. Obviously, um the algorithm is it rewards consistency um and volume. So it is harder now to go viral and to build audiences and gain subscribers on YouTube now than it was, you know, back in the early noughties or when it exactly 10 years ago. So so if you do want to go down that route, it's something you need to look at as more of a long-term venture rather than looking at it just I'm gonna make this short film and put it on my YouTube channel um because you might get 10 views. So I think looking at doing like a recurring web series, like if maybe you do like comedy sketches or you know, maybe you do like a short film horror anthology or something, um, and uh, you know, release that over a number of weeks or something. I know that YouTube Shorts translates um very well to subscriber numbers. So maybe you could do something that has YouTube Shorts and YouTube main like um incorporated in your strategy. But I I would just recommend like if you do want to do YouTube as like a strategy for for a project, go out and see what else is what what what else is on YouTube, like what other series have done well, why have they done well, have they built a new channel, or is it um you know an influencer or a um youtuber who already has a big channel? So I think just knowing what who your audience is, what they're watching, because also how YouTube works is that it the algorithm also, I guess, like analyzes your content that you're putting out and be like, okay, how am I gonna serve this to uh an audience member? Like what how do I know? Like, is it a horror? Okay, if it's a horror, um, they might, you know, I'm gonna serve it up to people who are watching other videos like this. So just because YouTube is so highly trend driven, it's knowing I guess incorporating that into your writing process and being like, okay, well, how can I make something that leans into some of the trends or like what works with YouTube so then it gets served to uh to the right audience, I guess. So it's um yeah, it's not as easy as just making a video and putting it on putting it on YouTube because if you just do that without any strategy, then it's probably yeah, probably not gonna do well.
SPEAKER_02Alright, Monique. You know what time it is. Good goal around. Oh my gosh. Quick fire, whatever comes into your mind. Okay. You ready? Yeah. Silent film or documentary?
SPEAKER_00Documentary.
SPEAKER_02Screenwriting or directing?
SPEAKER_00Directing.
SPEAKER_02Editing or shooting? Editing. Camera or sound? Camera. Melbourne or international festivals?
SPEAKER_00International festivals.
SPEAKER_02Mindset or skill? Mindset. Collaboration or solo work?
SPEAKER_00Collaboration.
SPEAKER_02Script or improv?
SPEAKER_00Script.
SPEAKER_02Audience reaction or critical acclaim?
SPEAKER_00Audience reaction.
SPEAKER_02One piece of advice.
SPEAKER_00Oh no, deer in headlight. Um, make things, make something.
SPEAKER_02Biggest creative influence.
SPEAKER_00Weirdly, I have a lot of like stylistic references from Lost that I just love to um get into all of the projects I direct. Like, I don't know, there's just something about like the early seasons of Lost, like the writing, the mystery, the direction, the music as well. I feel like that is like weirdly kind of seeped into my own like sensibilities.
SPEAKER_02So nice. Thank you very much. Uh Favourite Medium Film. Most memorable moment.
SPEAKER_00Was probably we did a screening for one of the web series I produced um a couple of years ago called Descent. Um, and it was such a huge, like we had no money, we had a bit of funding, but it was like we were building a basically a submarine set. Um so we really stretched the budget, and it took us like eight months to edit it and put it all together, and we finally did a big screening with um the cast crew and also fans, because it was meant to go out on Grousehouse and just finally hearing like watching. Watching it with an a live audience and hearing them like laughing and reacting and enjoying something that we made was just like it reminds you why you do this. It's like why you you know push so hard and and and pour yourself into to create creating um something is um just so people can experience it. It was was a really beautiful moment and yeah, I'm excited to do more of that with uh future projects.
SPEAKER_02The toughest lesson.
SPEAKER_00Yes. I think and I you know, I think I've gotten better at this, but like I think finding out that there was this quote from this filmmaking duo, this is an old quote, where they said um the cavalry isn't coming. And essentially what they were referring to is that if you're a writer, a director, or a producer, no one's coming to you to like give you the money you need to make, you know, your film or your, you know, or they're not gonna green light your your TV show. Like you just have to go out and make stuff because the cavalry's not coming, no one's gonna hand you an opportunity on a silver platter. So I think now I'm at a point in my career where I'm I've I've got more experience and credits under my belt. I I feel more confident going out and actually like building opportunities. Um, but like early on I was, you know, too scared to, I wasn't brave enough to go and direct a film on the weekend with friends in uni uh like after uni because I was like, it needs to be perfect, it needs to be good. But like I think now I'm like, oh, I just wish I had of done that or done more of that just to, you know, so I could be directing or writing more. But yeah, I think that was probably the biggest lesson is just like you can't rely on anyone else to like offer you the opportunity that you that you think you deserve. You just have to go out and make it for yourself.
SPEAKER_01Yep.
SPEAKER_02Best creative risk?
SPEAKER_00Um probably this year. So um I've talked a bit about the film, so we're shooting that in June, but I'm also producing the first project through my company, Strange Mage, in April. Um, and I'm also getting married in September. I've got three big projects happening this year, and I feel like it's a bit of a creative risk because I might burn out. Um, so don't do what I'm doing because I you uh you could have me back next year and be like, I work at a coffee shop now because it's just easier.
SPEAKER_02Favourite film genre?
SPEAKER_00I love fantasy so much. I don't think it's done well enough often. So I my dream is to to make a big epic fantasy.
SPEAKER_02One word to describe hailbury, supportive, one word to describe filmmaking, collaboration, one word to describe the OHA community.
SPEAKER_00I was gonna say community, but then you said community.
SPEAKER_02You can still say it. Okay, community and one word for your future aspirations.
SPEAKER_00I was I was gonna say Oscar, but that's pretty that's very ambitious. I'm coming for you, Adam Elliott. You're not gonna be the Here No, just some, just some no, uh awards don't matter, but um it would be nice. Yeah. It's a good flex.
SPEAKER_03Many that was amazing. Thank you very much.
SPEAKER_00Oh, thanks for having me, guys.
SPEAKER_02Fantastic, and we look forward to seeing you in the future and where you go.
SPEAKER_03Absolutely and what you create. I can't wait. Yeah, I can't wait. Oh, great. And everyone check out her movies. Yeah, check out her movies. Where can people connect with you?
SPEAKER_00So uh connect with me. Uh well, you can find me on Instagram. I've just started an Instagram for my company. Um, I think the handle is the Strange Mage. Um, or you can just find me on LinkedIn and add me and say hey.
SPEAKER_02Very nice. Thank you once again, Monique. It's been great. Thank you.
SPEAKER_03To all our listeners, thanks for staying connected.
SPEAKER_02Because once a Hale Burian, always a Hayliborian.
SPEAKER_03And remember, we go beyond the blazer because every Hale Burian has a story worth telling.