The Proof of Concept

Over the long weekend a short film script I'd written was filmed. A fictional whistleblower story in the style of the feature script it would take its name from - Truth To Power. We'll get to those four days shortly but first, a little background.

Previously on...

The feature film script Truth To Power had been shortlisted for a major production funding round in 2023. Unfortunately, we didn't get the $1.25 million which would have put us on the way to making that film. 

A lot has changed since then including some things I can't discuss yet. The elements I can discuss are these:

A new Perth-based producer, Jaimee Peasley, has come onboard joining producer/director Tim Dean, myself, and our Melbourne-based producer Erinn Stevenson.  

A concise note from a person whose opinion I trust means there will be new passes of the feature script for the first time in quite a while. I'm excited about this as what I'm attempting is risky but will elevate the script from being very good to hopefully something quite special. 

We will be resubmitting the project to the funding body for the 2025 production funding round, now $1.5 million as Screen Australia matches Screenwest's $750k. 

The project has also been submitted for development funding which, amongst other things, would mean I get to work with script editor Shayne Armstrong again if we're successful. 

A key part of the submission strategy for the feature included filming a proof of concept short. This is something Tim and I began to consider in March of last year. With Jaimee joining the creative team in May, development of the screenplay began in earnest. 

Early on Tim and I knew that we could not tell the real life Andrew Wilkie story in short form. The decision was therefore made to write a fictional whistleblower tale. The earliest note on my phone is dated 6 March 2024 and the basic idea has remained the same ever since. What changed over many drafts ended up being the necessity to replicate the tone and dramatic conceit of the feature, namely the inclusion of imagined scenes. This proved to be quite the task as I didn't have the same real estate to establish that device and the transitions in and out of those moments had to be precise. 

I also had another problem. To create a compelling whistleblower story you need a secret of sufficient weight to give the protagonist a moment of pause as they consider the ramifications of their actions. The feature script deals with the misuse of intelligence to falsely justify Australia's involvement in the Iraq War so I went back to the military well and chose AUKUS as a likely source of government shenanigans. Only to find that actual revelations were outstripping my supposedly manufactured ones. I had to keep pushing the core secret while still having it be credible. It would not surprise me if what I've concocted actually comes to pass.  

Fourteen drafts later - with feedback from writers I have enormous respect for - we had a finished script. A script that is one of the most difficult I've ever written and one I'm enormously proud of. I did have an advantage though - we were going to self-finance this short so I could write it how I liked without worrying about the niceties of funding submissions. As always, Tim kept me on the straight and narrow when I became a little too polemical or ranted on the page. I need that anger to write about how these courageous individuals are disgracefully persecuted for telling the truth. Tim helps me focus and modulate that rage with well-considered and dispassionate notes.

Then it came time to make it all happen. Jaimee's involvement became critical, both in letting Tim concentrate on directing and in putting together a sensational cast and crew for not only a self-financed short but any short film. 

Which brings us to the long weekend.  

Yes, I was easily the oldest person on set. However, the crew could not have been more respectful to me and the script with a really good vibe established right from the get go. I loved their expertise, the banter, and willingness to work hard. Jaimee set the tone and everyone followed. What a delight to be there every day. 

Then there is the cast:

Myles Pollard, Caroline Brazier, Jennah Bannear, Maitland Schnaars, Deep Sroa, and Oliver Clare. 

What an absolute joy to have your words and scenes come to life at the hands of such talented actors! During a moment on the morning of the last day when Myles and Caroline were going toe to toe I had to force myself to stay calm. They were crushing it! As did everybody involved. 

I can't wait to see an edit. I can't wait to see the finished film at a cast and crew screening. I can't wait to include that proof of concept short as part of our funding submission to show what we can do as a creative team. 

While I couldn't tell you what any of those four days looked like outside, what I can tell you is that it was a very good long weekend!