2025 - The Year That Was

What a year 2025 turned out to be!

Not one but TWO proof of concept short films shot and completed from scripts I'd written to support corresponding feature projects. One, a fictional whistleblower story starring Myles Pollard and Caroline Brazier in the style and tone of the feature screenplay based on Andrew Wilkie's book Axis of Deceit. Both the feature and the short are called Truth To Power. 

The second, a self contained short utilising a story strand from my high concept horror screenplay Doomscroller, starring newcomers Mackenzie Reynolds and Jayk Thomas. This one is called #doomscroller.

The feature Doomscroller would go on to be very well received at the 37⁰South film market in Melbourne. I'll be working on a new draft based on market feedback as a priority in 2026. 

Between those two shoots I was accepted into Screenwest's revived Feature Navigator initiative with a third feature project, The Agenda. What an inspiring and informative four days discussing the project with industry professionals. 

Speaking of The Agenda, it was one of two feature scripts read on separate nights at Scripts and Sips. The other one being the thriller Turbulence. Thank you to Ryan Woosnam for organising such terrific evenings and all the actors who read on those nights and gave such perceptive feedback afterwards. 

I received periodic updates on the werewolf feature Bull with the script still in circulation and a possible co-production in the offing.

The second half of the year saw two separate instances of actors approaching me after having been given my name by actors I respect. One has led to a new short film script called Undercurrent which I'm excited about. The other could possibly lead to developing a synopsis into a psychological thriller that is right in my wheelhouse. 

I even started writing a play which, in my fashion, is based on a scenario not too tangential to the fictional Truth To Power short. 

New collaborators, new projects, a renewed sense of enthusiasm and optimism as 2026 unfolds. I re-joined the Australian Writers’ Guild on Christmas Eve and also found an excellent intellectual property lawyer to bounce things off.

Highlights include:

Being on set when Myles and Caroline were going at it in a pivotal scene from the Truth To Power short. What a joy to see your words brought to life by such excellent actors. 

Again, from TTP… the casting of recently graduated WAAPA student Deep Sroa who went head to head with Myles. 

Meeting the Cairnes Brothers of Late Night With The Devil fame and discussing Doomscroller with them at Feature Navigator. 

Reconnecting with editor Lawrie Silvestrin who edited my first produced short film (Slice)… over twenty years ago! 

Working the ol’ socials to ensure we met the crowdfunding target for the #doomscroller shoot and, indeed, exceeded it. 

Reaching out to a student film-maker to give feedback on her short film script because the subject matter resonated deeply. 

And perhaps most of all, the goodwill from people who donated to the crowdfunding campaign and/or asked about my film projects, especially in theatre circles where I'm better known as a reviewer. The support and interest throughout the year has been truly amazing!

So thank you to all the people who believe in me and my work.

Let's see what 2026 brings…

Turbulence Update or We will, we will rock you!

A lot has happened in a very short period of time. Namely this:

Director: I hate the title. Why can’t you come up with a better title? We really need to change the title! Have you changed the title yet?

Me: I actually quite like it.

Director: It sucks. It’s terrible. I hate it. Have you SEEN the Ray Liotta film of the same name?

Me: We’re not remaking that film.

Director: It makes it sound like the whole thing is set on a plane.

Me: Well, it starts on a plane…

Director: Yes, yes, I know. But does it end on a plane? Well, does it?

Me: It’s a thematic title. Our main character’s world is rocked. Get it… rocked. Like in turbulence (does shimmy action to demonstrate the point).

Director: Did I mention… I. HATE. IT?!!!!!!

Me: Do you want me to get the feedback sheets from the reading and tell you what the audience thought?

Director: We need a new title!

Me: Sixty one percent liked it. If this were a Federal election every single seat would be won by the Opposition. It’s a landslide!!!

Director: Oh, so now it’s set on a mountain, is it?

Okay, in fairness to Tim the conversation didn’t quite go like that and yes, for the record, the Ray Liotta film sucks.

However, in the space of one week, we now have producers on board and they will be taking the project to market as part of the Melbourne International Film Festival next week. How did this all happen?

Dissolve to flashback:

There I was sitting in a music room at Leederville TAFE having been browbeaten by Tim to attend a ScreenWest industry briefing… on FAQs and website navigation.

Me (Voice-over): Why am I sitting in a music room listening to people talk about FAQs? What even is an FAQ? I should look that up. I wonder if there’s a website?

A revamped funding initiative – Feature Navigator – was fast approaching and we were looking for a producer. Determined not to drink free booze and eat free food paid by our taxpayer’s money, Tim insisted we flee instead to deepest, darkest Oxford Street to discuss projects and strategy. A list of prospective producers was made, most of whom were drinking free booze and eating free food while I munched on my decidedly not free Chicken and Cashews at Hans Café.

Yes, for the purposes of this post, Tim is the villain while I will be your hero and amiable narrator. I expect I will pay for this is no small measure later in proceedings. Insert smiley emoticon J to denote humour and general plea for clemency.

The very next day (a Thursday) I had coffee with a previous collaborator Chris Richards-Scully to touch base and sound him out about Feature Navigator. Chris and his producing partner, Michael Facey (who I’ve also worked with), formed Archangel Pictures back in 2009.

Chris immediately expressed an interest in Turbulence so the discussion was twofold: Tim and I teaming up with Archangel Pictures to submit feature film projects for the Feature Navigator (FN) round; and the possibility of Archangel producing Turbulence.

Chris sounded out Michael; I spoke to Tim, and a meeting was set for Saturday lunchtime. Something kept nagging me about this day but everything was set. Then I remembered… it was my birthday!

The meeting took place (hey, I’m a professional) but Chris was unfortunately unable to attend. We agreed to discuss projects for FN and to send Michael and Chris the reading draft of Turbulence. The script was sent out later that day, early afternoon-ish, and I went off to get spoilt by mum’s home cooking.

I get a call the next day, not more than 24 hours later, and Chris and Michael have both read the script, love it, and want to option it!

Options and agreements and lawyers notes ensue. The following Thursday evening the four of us meet, clarifications are sought and made, and we reach an in principle agreement that Archangel Pictures will produce Turbulence and pitch it at market in Melbourne. The final paperwork is to be signed but this is a promising step. We also agree on the three projects we will submit for the FN round.

Everything is in place… except for this:

Producer: So, about this title…?

Me: Arrrrggghhhhhhhhhhhhhhhhhh!!!

Script Consultant for The Red Bride – Michael Hauge

One of the benefits of successfully going through ScreenWest’s Feature Navigator initiative is the allocation of funds for further script development. The producers have now confirmed that US story and script consultant Michael Hauge will be working with me on the next draft of the supernatural thriller, The Red Bride. This will be over Skype and the initial meeting is scheduled in less than three weeks time. An exciting prospect!

Michael is the best selling author of Selling Your Story in 60 Seconds: The Guaranteed Way to Get Your Screenplay or Novel Read and of Writing Screenplays That Sell. From his biography, “Michael… works extensively with Hollywood executives, producers, agents and managers, helping them sharpen their story and development skills, and improving their companies’ abilities to recognize powerful material, employ advanced principles of structure, character arc and theme, skilfully communicate a story’s strengths and weaknesses, and work effectively with writers to achieve a commercially successful screenplay.”

I haven’t read either of his books but found a 3 hour audiobook on iTunes called Screenwriting for Hollywood which includes selections from his “award winning workshops”. So guess what I’ll be listening to as I walk along the South Perth foreshore?!

I will be very interested to hear his views on the current draft and eager to get a sense of his process. I have had some notes back - from ScreenWest and one of the FN consultants - but haven’t formed any concrete views as yet to how I want to approach the next draft.

I’m really looking forward to our first meeting and submerging myself back into the world of hungry ghosts and demons!

Breakthrough

I was delighted to discover today that my script The Red Bride was one of two projects from ScreenWest's Feature Navigator programme to receive funding. The feedback on the screenplay was excellent and I am equally delighted for my director, Chris Richards-Scully and producers, Jocelyn Quioc and David Revill, who have supported and encouraged me at every step throughout the rewrite process.

We have been working on this project for quite some time but Feature Navigator was the catalyst needed to kick it up a notch. Not only from the quality of the feedback (thank you Sue, Elissa, Jonathan and Simon) but for a real sense of momentum with only a three month window to deliver a complete page one rewrite.

There is still much work to be done but this gives us the resources to shape the script into a fully market-ready product. The goal now is nothing less than to get into production by the end of the year.

Congratulations also to the Playthings team. It was interesting to see two genre scripts selected.

This is a great start to the year and I am excited as to what 2011 may bring. I would also add, if you have the opportunity to be involved in workshops like Feature Navigator, grab it with both hands. An expression of mine my collaborators would be familiar with is "getting in the room" - sometimes that is half the battle because once you're there, amazing and talented people will help make you a better writer and improve your project no end.

And yes, Simon, it truly is a ghost story now! :-)

The Big Mo

There I was, resting on my laurels, latest draft of the script delivered, thinking I would have some down time. It would take a while for the local funding body to set up a panel, read the Feature Navigator scripts, make a decision on who to award the two grants to.

Until I read my email late last night. Gasp! My producers have presented a timeline for the next few months which calls for a new draft... in less than a month! Holy RSI, Batman! Well that certainly got my attention.

What I love about it is this - the producers are getting excited because the script is close, hopefully real close. They want to push ahead regardless of the result of the funding round to get a market ready script. Momentum, I love it!

The submission of the script was accompanied with development notes including my thoughts on changes to be made in the next draft. I'm comfortable we have finally cracked the story and now it's a question of execution, particularly given the genre and the twists within. The latest draft was a page one rewrite. Future drafts will require a scalpel and no longer a cudgel.

So shortly I will have to saddle up and get my brain back into gear to tackle the script again. I had put it away, literally and mentally, because I was too close to it after working furiously to meet the deadline. You need time to get perspective after such an intensive rewrite period.

I look forward to reading the script with the benefit of that time (albeit shorter than I thought!) and re-entering our ghostly world of The Red Bride.

The Red Bride Update

Since Feature Navigator back in mid-October where we received expert feedback from a range of consultants, I have been working on a page one rewrite of my feature script The Red Bride. That was delivered to my producers and director on 17 December. Today was time for feedback and notes at a marathon 8 hour script session.

Oh okay, there was a little break for a barbecue luncheon but other than that it was a full on, scene by scene examination of the draft.

I co-opted my parents' place down in Cottesloe with its lovely courtyard for said proceedings and we were royally spoilt for food and drink on a perfect Perth day.

The draft is in pretty good shape but copious notes were taken, certain scenes haggled over, arguments won and lost, characters assassinated and revived as these things often go.

Right now I am mentally exhausted but it was a great day and I'd like to thank my TRB colleagues Chris Richards-Scully, Jocelyn Quioc and David Revill (... with a surprise cameo performance from Wayne Nicholson) for the rigorous discourse. Special thanks to Mum and Dad for the hospitality.

Next stage, filtering through all the feedback and doing another pass. Deadline for final submission, 17 January.

Feature Navigator, Part 3

A post from fellow screenwriter Ceinwen Langley re Feature Navigator on her blog Feed the Writer. Topics include excitement, structure and things that make (some) writers cry aka rewrites*. Oh, and something about avocados...

Read it here!

*Personally, the willingness to accept feedback, be collaborative and do proper rewrites (not tinker around the edges) is one major thing that distinguishes people who are serious writers from those who think they are.

Feature Navigator, Part 2

As advertised, the remaining sessions provided more robust discussion and the occasional two-by-four applied to the forehead. This was purely for medicinal purposes whenever my utterances on the script could be mistaken for the delusional ranting of a mad man.

All too soon it was time to wrap things up, head for the pub and unwind. But that will prove to be a brief respite as there is much work to be done. Notes to be typed up, discussed, mulled over and applied. A new draft to be supplied by mid January. Momentum to maintain.

The greatest gift to take away from the week? A sense of genuine excitement over the potential of the project and of the team. This provides us with an energy and belief that is invaluable.

I was also inspired seeing the passion of the other teams and diversity of stories.

In conclusion, I think The Red Bride team acquitted itself well. The project stands up. Our instincts are right. Now it's time to use all this feedback and take it to the next level. That's a great challenge and one I look forward to with renewed confidence and anticipation.

To all those involved, thank you.

For those who offered further counsel and assistance, thank you.

For the final parting words at said pub, thank you. You know who you are.

Feature Navigator

Six teams of film-makers shuffle nervously in their seats. Eyes dart. Throats clear. Fingers drum.

Interspersed throughout the room are representatives from Screen Australia, ScreenWest, the Australian Writers' Guild... and the three consultants who will generously offer their expertise, counsel and good humour over the coming days.

Introductions are made. Expectations set. Projects announced...

So begins Feature Navigator, a week long development workshop for feature film projects. And what a diverse group of films they are - horror, psychological thriller, a Bollywood style comedy, children's adventure, period drama, and our own supernatural mystery.

I know some of the people around the table but there are a lot of new and unknown faces. We are all colleagues but also competitors - only two teams will receive development money based on the next draft delivered in three months time. A draft that will be immeasurably enhanced by the sessions we're about to go through.

We meet the Head of Development at Screen Australia, Martha Coleman, who later that day (Monday) gives an engaging and informative session, described here. The following day The Red Bride team have a thirty minute 'meet and greet' with Martha - the project is discussed, who we are, what we've done, what we hope to do.

Then it's down to business. First up - Sue Murray who was an Executive Producer on Dr. Plonk, Ten Canoes, Tom White and co-produced Alexandra's Project with Rolf de Heer. The script is discussed at length and I am delighted with Sue's insight and rigour. This is exactly how it should be and I feel comfortable with the back and forth. There are some very perceptive observations I had not considered (or heard) before and this is like gold. Chris (director) and David (*co-producer) are also engaged in the creative conversation and Sue's comments about the team and Chris' directing style are very positive. Then it's on to marketing, casting and other matters. A thoroughly positive and valuable consultation done with great grace and precision.

Tomorrow, I am really pleased to be back in the company of Messrs. Rawlinson and van der Borgh whose workshop earlier in the year I was most impressed with. Then Elissa Down (The Black Balloon) - who I know from her Perth days - on Friday. Elissa has spent the last two years in Los Angeles developing a slate of projects and it will be fascinating to hear more of that process.

I am feeling good about the future of the script and embracing the momentum this sort of intense scrutiny delivers. More reports as events unfold...

Special mentions to Alan Payne from the WA Branch of the Australian Writer's Guild and Rikki Lea Bestall from ScreenWest for making Feature Navigator possible and for the quality of consultants engaged.

* My other co-producer, Jocelyn Quioc, would love to be with us but is unfortunately unable to attend due to work commitments.

The secret to screenwriting is...

Coffee.

Yep, novelists can have their red wine; poets their absinthe; rock stars their vodka, beer, battery fluid, more vodka, bourbon et al...

For the screenwriter is has to be coffee. Why?

I have spent the last three days in cafes drinking more damn coffee whilst discussing scripts than I have in the last 6 months. I don't even like coffee! Even worse when it's with soy milk which surely was the invention of a bullied kid who went on to become a naturopath and sought revenge in the words: "gluten and dairy free diet". The things they must have done to that kid in school brings a tear to my eye. Revenge is a mug best served with cold soy.

Why all the cafe related activity you ask? [Okay, I'm theorising that you would be even slightly interested in the cause of my caffeine intake]...

Well today marked the start of a week long feature development workshop where somewhere in the schedule the word "pitch" was mentioned. For most writers - even the ones who take their coffee with full cream milk - this word has the peculiar effect of causing severe panic, internal bleeding and loss of cognitive function. At least it feels that way!

Of course, it's always worse when you imagine the train wreck in your head that is trying to explain your baby to a room full of (semi-) strangers. But you survive. Especially when the powers that be make the producer do it [yay!]... then said producer throws to your for additional comments [huh? damn, I was just regaining the feeling in my left side]. But we all live to pitch another day (... Friday as it turns out *gulp*).

The real secret to screenwriting is development. Which is exactly what the week is about - putting 6 creative teams in a room to discuss their feature projects with various consultants from Australia and overseas. This is from all angles including script, marketing, the strength of the team etc in order to develop the project to the next stage. That being, hopefully, closer to the holy grail of financing and production.

Today was the introduction session. Tomorrow the real work for The Red Bride team begins. Should be fun and very useful in moving the project forward.

Just, enough with the coffee already, okay?