Now she has a new album out: The Fret and The Fray.

It’s better than ever:

http://lilanelson.bandcamp.com/album/the-fret-the-fray

But, in the meantime, it’s time for an update!  So if you haven’t seen our poster design, that Space Triangle in London did for us, this is it:

1. Sanne: Tawnya, I’ve known you for awhile now, and when we met in Melbourne one of our very first conversations was about your graduation film at the Uni Melbourne / Victorian College of the Arts. I asked you what you like most about your story and why you want to tell it. Can you answer this for “Girls Who Smoke”?

Tawnya: I was looking for a story to adapt into a short film when I heard Jen Hixson’s Moth story on This American Life. I was instantly on this journey with her, and seeing it and saying to myself ‘this would be a great film’. I did notice it as a story with many dips and turns, and I had been wanting to do a short with a super simple story arc – like just one shift – but this had so many elements I love and look for: female leads, it’s a road movie of sorts, totally slice of life…the location I loved: this dumpy, run of the mill beach town. I wanted to tell it for all those reasons. The lead, Jen’s character, it’s her story and I tapped into her so quickly. Jen has a great voice- a Lily Taylor kind of voice: spunk and street-wise, humor. I’d been wanting to do a short film that would have this realism, and simple moments done well, as some of my past stuff has been more melodramatic, or kitschy (as you’d say!) – so it was a mix of loving the story and loving the style and the world of the film.

2. Sanne: We worked together in Melbourne, Australia. How do you feel back in the US?

Tawnya: I love New York. It’s harder and yet there is more opportunity for me here. I loved the quality of my life in Melbourne: having a sense of well being, health insurance – loved Melbourne and bike riding and grad school…But, there are a lot less opportunities there- unless you become a resident, and it’s just so far away. I learned a lot about their media industry, and there are lots less Aussie opportunities, but so many talented folks (and that’s why so many Aussie actors, directors, etc. come here). New York is hard, but the artists who come out of here, and producers, companies etc. are my favorite that exist in the US.

3. Sanne: Was it hard to settle back in? Do you have an anecdote for us?

Tawnya: Yes it was hard! And I continually want to leave – well, not leave, but have a country home – in Northern Cali. I was just like every other film grad (except older): broke when I got out of school, struggling to shift from being one who studies to one who does. But no longer am I afraid of the rejections – if you press on past them, you start to see how little by little you’re growing- growing your community, and as an artist. Anecdote – hmm, well I used to wonder how it would pay off, going to school so far away. And my fellow Aussie classmates would always say, “don’t you have more opportunity back there?” My original idea in going, besides knowing I’d dig Australia (and not digging the US at the time of my exodus!) was to build up a world community. And now I’ve seen just how much Aussies travel (a lot!) and so many classmates have been to NYC, because everyone comes here – that, well I love it – I love that they travel and I do have this world community now. It’s so cool.

4.-5. Sanne: What are, for you, the main differences of film making in the US and Australia? And in film funding?

Tawnya: Hmm. Well, the obvious, that there are more opportunities in New York than in Australia. But, when you are doing something there (in Oz), you can be a big fish in a small pond and they really support these people – help them get to festivals and such, give travel stipends. But much more private funding exists here. I read that only about 11 films go to (either cinema or world release outside of Australia) a year. Either way it’s not many. How many have you seen this year? Maybe Animal Kingdom and that’s probably it, right? And we’ve colonized their TV, at least half of what plays over there is American…

6. Sanne: How has funding been going so far – Have there been any major surprises you didn’t expect?

Tawnya: Good, I think! You know we did this in Pre (through Indiegogo)- a company I like too. ☺ I’m counting on Kickstarter being even better at creating a sense of urgency, and our team is bigger now. And I’m looking into more ways to seek funding – such as asking businesses. Through Fractured Atlas we can do tax write offs for US folks, so that’s good. I got over my block of asking for money with this project (and learned how to beg!) Now it’s just the time that it takes to do it all. Surprises: it is interesting to see who gives and how much, and so touching. And I wish more people knew how grateful I am for every small sum – and what a big difference lots of small sums make. Lots of fellow filmmakers give (small sums because they all know so many people doing this) and lots of mothers and Jewish people give – those who understand artists need support! But I’m continually delightfully surprised.

7. Sanne: I read the script, spoke with you a lot during the shoot, and saw this world unfold. Can you tell us what you like most about the worlds you are showing in this film? (Or if it’s the clash of worlds… some background peak on the main focus you see in this film)

Tawnya: The film is told mostly through the eyes of Jenny, the main character. There are a few worlds shown or hinted at in the film. The two lead women come from the lower working class and the poverty class, and their worlds do collide a bit, and I love that. The general world of the film, that you hopefully get without being hit over the head with it, is that of domestic abuse, and I like how it’s there in the background, in a vague, broad, universal way! And you get the world of bad habits and addiction, and I do try to show the charms of that world, as I have known and understand them. And you get a has-been Americana beach town (which happens to be Asbury Park) without ever seeing the beach – and I love the grit and great architecture of this place, the Bruce Springsteen lore, all of it – that it had the outside locations we needed!

8. Sanne: How was it for you to collaborate with someone who wrote the original story? (Jen Hixson is what I am pointing to) Was it hard for you to find a personal access or do you share those experiences?

Tawnya: Jen was great. She said I could adapt and then she quickly read a draft and had a few small suggestions and requests, but I always felt complete freedom. (She works as a story producer at The Moth so there is so much she inherently gets about the process and struggles of artists, because she is one and works with them). I got screenwriter / playwright friend, Gordon Farrell, to adapt with me, and everything really inventive about how our screenplay differs from the original can be credited to him. I really enjoy the co-writing process… And, yes, I relate to this story. I relate to the escapist love for the cigarettes, and habit of smoking (as I smoked for many years) and I relate to not realizing you can do better for yourself, feeling stuck: in a town, in a socio-economic category…

9. Sanne: I am from Germany. People often talk about “Frauen-film” here. Does something like “female film making” or emancipatory film exist in the US?

Tawnya: I don’t know. I don’t think it really does. I think the closest thing is Independent film and the only way to really define that anymore is as non-studio produced. The Industry is changing so fast now – even those of us in it can’t keep up with knowing how things are! I mean there are still some categories at festivals – there are gay and lesbian festivals and a few women-made film festivals and film organizations, and I’m glad the organizations exist, and I’m looking into connecting to all of the relevant ones. A while ago, in one of my first “talk about film” classes, I thought briefly that I could tell by watching a film if a gay man directed it, or a woman, or a straight white man etc., but for a long time now I have changed my mind and I know I can’t tell that! Film is too collaborative and who has the most say is dependent on that particular production. But, my company is called The Auteur Tribe and I do love the Auteurs (directors and writers who make films with a distinct personal style). I always keep my eye on the female directors, and we are still a minority, and though we are now 50% of film schools we are still 10 % of the Industry (it is higher btw in Australia, as you may know .

10. Sanne: you are telling the very personal story of a woman – and her look in to the story of another woman. Two peaks in two typically female “careers”. So, is it a “Frauen-Film”?

Tawnya: Probably, if we had that – it would be by default ☺ It is me telling Jen’s story and trying to do it justice – as I think it’s originally very well told by Jen – in it’s live version. She is a storyteller, and I feel like – I don’t know if I’m good at being a story teller, but I know I want to be, and I have been remembering that that is at the core of making a good film – so I’m consciously working at the form.
I am drawn mostly to stories with female main characters, as are a few other directors I admire: Nicole Holofcener, Sophia Coppola, Sally Potter…), but that just is. ☺

11. Sanne: As you see on my questions…I studied documentary film making before moving in to cinematography … personally I found your approach to shooting this piece very documentary style, which I greatly liked and enjoyed. How did this idea of working develop in you?

Tawnya: Sanne, can I just say that I love that you shot my film! (again, as you shot the last one) Because I loved (love) working with you and because you rock. And you went through so much drama with zero complaints – thank you! And, I love that you have a strong documentary background – I knew it would help and it did so much. The short answer is: from poverty! But, seriously, like you, I think of myself more as a narrative person, who has had a lot of documentary influence: through work, mentors, professors, and I’ve also made documentaries. It’s very in vogue right now; the docu-drama, gritty realism look, and it is because it can be done for cheaper. I was looking for a film that would call for this style (though I couldn’t resist getting that shot of them crossing over to the wrong side of the tracks!) Also the film mostly takes place outside – so it was going to be about finding the right locations and using daylight – and in my opinion that is the best way to get high production value for low budget.
And can I also just say that because you’ve shot so many documentaries you really had my back and got so many cut aways I didn’t remember to ask for, and you were able to adjust the shooting plans at the last minute when necessary and pull zoom on the fly, etc., find locations last minute – all of that was so helpful. I do feel like the style fits the story though too.

12. Sanne: If someone gave you all the $4000. – What would you do with it?

Tawnya: Is this a trick question? Do you mean one person? Well, I’m trusting we’ll make our goal – especially because it is all or nothing. If I get $4000. or $8000. It will be the same (except with more I can also pay some people who worked for disgustingly low sums a little more), but I will use it to get the best quality work done in Post for the small amount I can pay. To hire editors, and a musician to score the film, and music rights, color grade, sound mix – all that. Post especially costs money, because it shows if you cut corners. And once you’ve had a sound mix – like I got in grad school – you realize you can’t ever not have one! Luckily there are a lot of people who do good work for less, it’s just hard because it sucks to continually ask people to work for way less than they are worth and they should – but one would not get a film made otherwise…

13. Sanne: …and if someone gave you one million and you were NOT allowed to put it in a movie?

Tawnya: hah! I would stop working my “rent jobs”. I would spend my days in development on projects and scripts and research (that’s allowed, right?!) I’d create a community where I could help my friends develop their work as well – and I would travel, and learn Spanish, and take belly dance, and buy a country home in Northern Cali and pay off some debts…

Sanne: 13 is a lucky number…so I wanna stop here

I hope many people will connect and get a deeper understanding- and click: “Back This Project” on the Kickstarter page.

Good Luck.

Tawnya: Thank You, Sanne!

L to R: Tawnya Foskett, Sanne Kurz

Kickstarter: http://kck.st/f2bKE6

Here you can view our new Teaser Trailer, and pledge any amount of 15.00 or more, AND you don’t pay until January 27th!

There’s no better way to say “Happy Holidays” to us.

Thanks,

Tawnya and all the Crew and Cast

“Girls Who Smoke”

Hope ya like it!  But if you don’t, too bad.  We are like the protective parents who won’t tell until the kid is born!

We’ve finalized music for the film trailer, and the edited “teaser trailer” will be up this week, along with a Kickstarter Post Production fundraiser.

Soon, T

This was a muck consisting of fighting colds, dealing with debt, and looking for a third job (found it – now I’m looking for a fourth!), and a little bit of a low after a high.  Even though I’ve always been clear, and never claimed that “production” is my favorite aspect of making a film (because it’s not, I’m too correctly aware of, however well it goes, that it will be a battle of sorts wherein plenty will go wrong.  I don’t think that’s cynical either.  I think it is realistic.  And I try not to battle those on my side but still there’s the time, the weather, the lack of resources.)  But though not my favorite part, I still find plenty of moments thrilling in production.

L to R: Loren Lockwood, Kristin Taylor, Irina Arnaut, Sanne Kurz, Tawnya Foskett

This production had the biggest highs for me I’ve experienced thus far.  This is because it’s the first “professional” (non-school) narrative film I’ve made, and I’m aiming higher than I have before.  And the thrills came from feeling like I was doing a lot more right than wrong.  And from recognizing that I had, indeed, put this incredibly supportive, capable, and talented team in place around me (some of this was serendipity!) and they were getting it made and making the sum whole greater than my contribution.  Highs as well from the luck of finding great locations on the fly, and from continually re-knowing that I’d chosen the right actors for the parts.  And from mostly giving the effort my best (there was 1 hour I got stressed and dictatorial, but I mostly kept my cool…!)  So, long story short, I think there’s a natural let down when you go back to your apartment, your cat, the city, and are no longer surrounded every day with twelve people all helping to create your vision.  Maybe this is a wee bit like having a child, and I just went through postpartum depression!

L to R: Sanne Kurz, Eric Schwager, Enrico Falconi, Tawnya Foskett

L to R: Tawnya Foskett, Sanne Kurz

But now I’ve dealt with the parts of setting myself up for the edit that I worried could be a techie struggle.  And I’ve transferred, and listened, and continue to watch- and my favorite part- begin to cut in my head.  Music and composer and editor suggestions have started to come my way.  Soon I’ll be advertising and ringing people up.  For the moment there’s a few dollars left to pay off (BTW have I mentioned one can donate- receiving a tax write-off- to our project via the arts non-profit, Fractured Atlas, by going HERE…well you can!)

But, syncing sound, organizing footage, making a rough cut, and my favorite: cutting an early trailer, I can do all this in the meantime.  And so back to it I go.

I have a friend who works in Sustainability and they’ve been throwing around the word savoring lately, as in savoring the resources one has, and I just love that.  It doesn’t replace conserving, but exists along side it, because we protect and work for what we value, right?  And there is a real abundance in appreciating and focusing on what we do have, what we can do.

I have some wonderful footage to make a film with, and enough resources to get started in post production.  Lucky me.

Kristin Taylor as "Jenny"

Today is day 4 of being back from the 3-day shoot in Asbury Park and I am just re-surfacing from the exhaustion.

Overall I am super happy with how the production went, though it was a “camp over” shoot with all of us crew in one house in Asbury Park, which we also shot in (a little, as 90 % of the film is out doors).  I really hope everyone I dragged through the mud with me is recovering too!  This is the hardest part for me to think about – surely it’s all worth it on my end – the exhaustion and rough circumstances, the way a production is when you are a skeleton crew with very very little funding.  I think we even forgot to give bathroom breaks to the actors!  They would ask me if they had time to run back to the house to pee and I would say: “no, but just go and go quickly”!  Being daylight dependent (the poor mans way to have good lighting!) I was racing the sunset each day.  My producer tried to be careful to remind me how sick of each other everyone would be by the return van ride back to NYC so I wouldn’t be shocked, and though I may be delulding myself – I do think everyone had a good experience – over all anyhow!

I feel like I was so blessed with the strong crew that I had (not to mention my fabulous actors – except I knew they would be fabulous!)  I was going on a model of less crew – “Kelly Reichardt Style” I called it, as she’s said before her favorite experiences are when she shoots with a crew of 5 – I came to a conclusion that 10 is about as low as I can go- and we did feel the effects of so few people (and even a couple times the effects of no walkies – but I hate them so they were banned from the get go!)- but we were all on the same page, and all necessary and engaged at all times.  Certainly nobody was doing this for the money so I did my best to remain gracious and create a relaxed and fun space to make a movie in as much as I could.  My actors were complete troupers and Thank God we rehearsed since there was so much less time on set to “direct” than I had hoped.

It feels lucky to be so happy with what I got in the can…

and soon onto the Post Production Stage.

Best,

Tawnya

Loren Lockwood and Kristin Taylor as "Becky & Jenny"

But today I go to set, on Sunday we will wrap.

Cast and Crew meeting last night and it seemed very obvious to me how lucky I am to have put this small, but talented group of people together.

Look for behind-the-scenes shots next week.

Cheers,

Tawnya

Loren and Kristin, rehearsal for "Where There's Smoke"

2 weeks to go till the shoot…

the ball is quickly rolling down the hill over here in Pre Production Land.

Very excited to have our Cast:

Kristin Taylor as JENNY

Loren Lockwood as BECKY

Jose Restrepo as JOE

Eric Gunther as KURT

check out our FACEBOOK page for more info and images or the NEW SHORT FILM page on my website.

Cheers,

Tawnya