Four Successful Women Discuss Gender Bias

David Black chats to four successful women in the indie movie industry about the subject of gender bias.

Have you ever been happily trundling along, lost in a daze and feeling all is well in your own little world when suddenly ….. SPLODGE!!! You’ve stepped in it!  A sickly warm stench wafts up, assaults your nostrils and chokes you half to death while a swarm of angry blowflies appear out of the blue and circle around your head!

Well, ok, I haven’t had that quite happen to me on that scale.  It’s just the way I visualised a nasty situation that I recently found myself in.  It seems that one of the red hot issues in the Australian indie movie industry today is gender bias.

To put that into straight English, instead of the politically correct term of “gender bias” — some women feel that they are treated unfairly and not taken seriously due to being female.  They feel that they have lost out on opportunities they would have won otherwise if they were male.  It can even go further in that some feel that there is a casting couch, a glass ceiling in organisations and wage disparity.  Others feel that the roles that they are offered pander to stereotypes that are degrading to women.

So… how in hell did I manage to step into the stinky hot centre of such a distasteful issue?  Well, I had complaints that I haven’t given equal time to female film makers in my interviews, articles and movie reviews.  Also, on my recent Victorian Indie Movie Night, only one of the 11 film makers whose films were shown was female.  There is no refuting the numbers here, so I thought that to best explore the issue, I should just talk to some women in the industry and let them tell it in their own words.

Tonight, I will be chatting with Jackie Kerin, , Dia Taylor, Jessica Pearce and Raven Christina Corvus.

Jackie’s first IMDB entry has her appearing in Skyways back in 1979, but she started even earlier in 1976.  By comparison, Dia is pretty much the newcomer to the industry with 4 or 5 years industry experience.  Jessica is a producer and has worked on some large indie productions, such as Ben Hall. Between them, they can give us a good overview of the Aussie scene and how it has changed.

By comparison, Raven is from the USA.  She runs Fizzy TV and produces, directs and films White Noise Paranormal, Locked Into Darkness and Small Planet.  Raven’s answers should give us an idea if Australia really is just baby USA or if things are different here.


Jackie Kerin

DB – Hi everyone.  I appreciate you all being willing to talk about this subject. Can you each tell me a bit about your background?

Jackie – After growing up in Melbourne, I went straight from school to NIDA. It was 1973 and I graduated in 1975. I was young to be accepted. The focus at the Institute was theatre with a little radio and television training thrown in. In three years, we studied no Australian plays. I was aware that at least one Australian play had been written since ‘Summer of the Seventeenth Doll’ – ‘Don’s Party’. I didn’t imagine working in film, as there didn’t seem to be an Australian film industry.

Then in 1975,‘Picnic at Hanging Rock’ was made. Suddenly acting in films seemed like a possibility. I Worked for 7 years in theatre, and television and short films and then in 1982 I played the lead in a horror feature, ‘Next of Kin’ directed by Tony Williams.

Around this time, I was feeling hungry for more education. The NIDA diploma was a practical course, my life had been sheltered and I was tired of my naivety. I traveled around Europe for a year, and on returning, lived in Central Australia on a remote community. I moved to Adelaide and studied for a Bachelor of Education and briefly experimented with teaching but soon drifted back into TV, making training films (John Cleese had turned corporate training films into a comedic art form), children’s shows and a mini series – ‘River Kings’. I moved to Fremantle and worked in theatre and eventually returned to Melbourne. I was away for 20 years.

For a while I worked on ‘Blue Heelers’ (when required) as the principal of Mt Thomas and had a guest spot on ‘Neighbours’ and ‘Dirt Game’. But these days I do the occasional ad and my focus is on storytelling in its traditional form and writing for children. I’m the current president of Storytelling Australia Victoria.

Dia – I’m a freelance Filmmaker and Videographer based in Melbourne.  I’ve been making films for the past 10 or so years but have only started in the industry in the last four.  To date I have Directed a feature film and 14 shorts and videos.

Jessica – I came from a Sales background. Originally from Brisbane, I moved to Melbourne five years ago and loved it. Still in Sales at the time, I had lost my passion for it and was looking for something different. I began to explore the idea of moving into the arts. I had never really thought of myself as a creative person even though I spent my child hood doing plays and in a house filled with music. After only one month of exploring options I found myself working as a Production Manager on music videos and short films. The phrase that I have used before, which can sound cliche but is accurate, I dipped my toe in the water and the river took me. 

I have since gone on to work as a Producer with an amazing group of incredibly talented people and launched a production company Running Panda Films with my first feature film The Legend of Ben Hall, web-series Waiting on Sound as well as six short films which have gained recognition internationally at a range of festivals. We have also launched in to the commercial space with our Running Panda Productions team. It is by far one of the most terrifying, exciting and rewarding things I have ever done.

Raven – I started filming and directing a reality show for my paranormal team White Noise. Then a few years later me and two friends started Fizzy TV to help people like us in the independant film industry get more exposure. Fizzy is now a Video On Demand site that is also on Roku, Amazon Fire and Google Play. I have been also filming and directing for Small Planet, Locked Into Darkness and a new project that will be submitted to a major netwok in the U.S. For now they all can be seen on Fizzy TV.


Dia Taylor

DB – have you experienced gender bias in the film industry, and if so, how did you deal with it

Jackie – – I entered the industry shortly after the bar was lifted on married women working full time in the public service. Equality was a subject of conversation and debate. There was a shift in thought on what women could and couldn’t do. After graduation, I moved back to Melbourne and I worked a lot in TV. My memory is that women were thin on the ground. You’d find women working as make-up artists, wardrobe and on continuity. Men wrote, directed, produced and camera, sound, lighting etc. were all operated by men.

The roIes I was given and the narratives were revealing of the male imagination: I was asked to ride a stallion, bare back and topless, be stripped naked and tossed into a pool and I was rescued by police minutes before my jealous boyfriend tried to throw me over a balcony. I was rejected from a job because my breasts were too small I was dressed in jeans so tight I had to lie down to pull up the zip, and when I asked if I could wear something more comfortable, the director reminded me, ‘You are paid to wear what I tell you to wear’. And then there was the director who assured me that if he gave me a lift to the location he wouldn’t fuck me.

I was young and went with the flow. It had not yet occurred to me that things could be different and people, no matter what their gender, had a place in the story making industry, in front of and behind the camera. When I saw ‘Not Quite Hollywood: The Wild, Untold Story of Ozploitation!’ and watched the actresses talking light-heartedly about these films, I wondered for a moment, why I hadn’t been able to be so enthusiastic.

In Fair Game, the woman may get her revenge but I found it very hard to watch this all the same. In Next of Kin , I too, defeat my stalker, I blew off his head.  Still, sometimes when I’m watching film and TV, I mutter to myself ‘PBA’ (‘Poor Bloody Actress) when I see them being raped and murdered for the forensic teams to dig up and dissect. I remember walking on a kid’s show in the 70s and talking to a Chinese Australian journalist who was cast to play a role. Musing about the work on offer, she remarked dryly that I was still in front of the game, anyone of Asian appearance had little chance of being cast. In fact anyone that wasn’t white was maginalised. So how did I deal with it? I distanced myself, went away and did some growing up.

Dia – I have to admit I have experienced both sides actually.  I was once hired on a film simply for the fact that I was female because the director and Producer were male, they wanted a female AD to balance things.  I did once lose out on a producing job because they wanted a male producer – no explanation why.  The way I see it is if someone hires or fires you simply because of your gender and not because of your skill level or experience then they’re really not someone you want to work with again.

Saying that though, I was once hired on a film with a rather raunchy scene with an actress.  She requested an all female crew to make her feel more comfortable which I do understand, so there are of course some exceptions to the rule.

One thing that I have noticed though, more so with actors is a sort of gender bias or stereotyping of actresses.  There are so many films out there with weak female characters who honestly could be replaced by a sexy lamp.

And so many films out there fail to even pass the bachdale test.

Not only this, But I have been witness to actresses being over sexualised on set.  We have so many amazingly talented actresses in this city and in the world that can do so much more than just play the girlfriend or love interest.

I see films that have stunning female love interests next to average joe leading men.

Jessica – As a Producer, I have both experienced and witnessed Gender Bias in the industry. There have been some instances early on where I was told ‘ you are a young girl, you don’t have what it takes’ etc. At the time, they were upsetting and made me incredibly angry. I since have realised something that has made the management of these interactions a lot easier. I wish to be treated as a person like anybody else. I choose to not make these interactions about my sex or my gender. Even if someone seems to make a direct attack at my ability to redo my role due to my gender, I do not carry this.

Once I worked with a male production member who I was conflicting with. He was argumentative and dismissive from which I immediately assumed that it was due to my being a woman and his superior. After many weeks of working together, I stopped one day and gave him positive feedback for what he had done well. The facade crumbled and he slumped and said thank you. He explained that the low budget shoot had been incredibly grueling and he was feeling way over his head with the schedule. In this moment, I realised I had been interpreting his remarks and attitude as an offence to me as a woman but the reality was he was just struggling in his own world and as his boss he was feeling a lot of pressure within the role. This still did not excuse his behaviour but allowed me a light-bulb moment to how I can choose how I receive what people throw at me in the industry.

With all of that said – some people are just unhappy, male and female, and there is nothing you can do to change their world. The best thing you can do is not let them change your world perspective.

Raven – I have experienced the gender bias in the film industry more than I would like to admit. When I tell anyone, be it in person or online, you get pretty much ignored. I have noticed in forums when you mention you direct or film it seems like they always gravitate the questions to the men.

I even have to remind my friends and family that I direct and film shows.

I went to film locations and have been totally looked over and they will start asking the men on the crew questions and then they will have to tell them that I am the one in charge. You get the “sorry I just assumed” I don’t get mad, all you can do is laugh, and let your work speak for itself.

What is even funnier is when you tell someone you are working on a horror series that you are going to write and film and they just look at your dumbfounded. It is even more rare to have a woman in the horror genre filming and directing. We are just thought of making “chick flicks”


Jessica Pearce

DB – how has it affected the way you do things today?

Jackie – It affects what I choose to watch which means there is still a lot I avoid. In 1992 my daughter was born and as she grew, I started to really notice – like it was no longer a peripheral awareness it was now really in in my face – the lack of representation of women, their stories and stories of all genders, sexualities and cultures! We moved into the western suburbs of Melbourne and the people around us were from all over the world.

Nothing in film and television resembled Footscray or the lives of the people travelling the Werribee line! When we discovered ‘Buffy the Vampire Slayer’, I remember my daughter was hooked. Here at last was a hint of something different. And in her later teenage years we stumbled across stories with Queer themes and characters that explored women and sexuality in a deep way, like ‘The Secret Diaries of Miss Anne Lister’. And later NITV came along and now there is so much more to choose from on TV and in the cinema.

I attended a workshop some time ago, delivered by a young person who explained what it was like not to fit the gender binary we impose and strengthen with our storytelling and myth making. They described so articulately how it feels to be invisible in story. Like having no reflection, no artistic explorations or commentaries on how to be and live. This made a huge impact on me as I realised, it was not only women and people of colour and different sexualities but also people of non-binary gender who were missing from the narratives. It’s exciting to see changes, small though they may be happening in our story telling. I guess the 70s and 80s primed my brain to think about these things.

Dia – It has and it hasn’t.  I like working with a mix of people.  I have a tight little circle of people I like to work with often who are both male and female.  I don’t think either gender is better suited to a particular role.  It’s the person and not the gender that you should look for.  Though I have noticed a lot more male sound recordists and female make up artists, I think this as well just comes down to personal preference with what roles people want to go into though.

Raven – It doesn’t affect how I do things. It should never change how you conduct yourself or treat others in the industry. We have to remember for so long woman were though of being in front of the camera and not behind it. It wasn’t that long ago woman in America didn’t even have the right to vote.

Jessica – I find my role to be an important one for setting the tone of the interpersonal relationships and environment of a production. There have been other examples of what I would deem gender bias but I have often found that people respect what I am doing and the role I bring to the table. I make it clear from the outset how I like to work and the expectations I have of those I work with, not as a woman, as a film maker and professional. I find that this sets a tone and clear bench mark for what is expected and how the production will operate. It is not always easy but I have found that this helps me determine very quickly how well we will work together and if it is the right fit as well as weeding out anybody who is holding any gender bias.

Raven – It doesn’t affect how I do things. It should never change how you conduct yourself or treat others in the industry. We have to remember for so long woman were though of being in front of the camera and not behind it. It wasn’t that long ago woman in America didn’t even have the right to vote.


Raven Christina Corvus

DB – have you benefited from any of the women’s organisations or the media outlets created purely for women?

Jackie – – Not that I can remember, or perhaps not directly. Now on the rare occasion when I walk onto a film or TV set (I still make ads), I see women taking on all kinds of roles. Men still dominate behind the camera but I’ve worked with female camera directors, sound, directors, writers etc. and they are no doubt finding places in the industry because of the work that has been done for them by schools, individuals, organisations and women etc.  The sets I walk onto these days are more respectful of all crew and cast, children are better protected (I was involved in some TV when I was about 13 and looking older than my age.  There was no supervision of young people and the only advice I was given was to steer clear of ‘men with octopus arms’!) Respect on set is a nice thing, after all every job is needed to create each piece of the puzzle that is slowly gathered, take by take. Recently I was asked if my shoes were confortable. Seems like a small thing but it made me pause for a moment and I remembered those tight jeans. The last time I saw anyone humiliated and bullied (and it was a woman) on a set was 1991.

Dia – Not as of yet but that’s simply for the fact that I haven’t personally looked into them.  I think as well there should be male versions of such things too so as we can have true equality.

Jessica – I have been incredibly grateful and supported by both the female film making community and the women’s organisations. It is definitely worth noting though that the same obstacles apply in terms of funding and applications due to credits and connections. Personally, the idea that I would receive funding or an upper hand because I am a woman actually makes me very uncomfortable. I would like my project or team to be rewarded because of their hard work and merit of the project, not because of gender. HOWEVER, I understand how important the initiatives and organisations are in creating a social change on the perspective of female led stories and content. I hope that one day it no longer matters. I am completely aware how idealistic that sounds.

Raven – No but there are good programs out there. It helps even the field that is saturated with one gender. It is nothing to be ashamed of or thought of as biased. These programs help encourage woman to get into the field. It can be hard enough in the indy scene.


Dia Taylor

DB – Do you have any advice for women entering into the film industry?

Jackie  – I feel, as I am distanced from the industry these days, there is not much I can say. Acting requires resilience and most of us have to work on that every day. Stick with it; we need to hear stories made by and about all kinds of humans and all genders. Call out sexism and bullying when it happens – don’t be afraid. I was and so regret being silent. Young people, I believe are vulnerable and the work can muck with the head; a mentor is a good thing. Think about your boundaries. You don’t have to accept the job if what you will be asked to do is uncomfortable for you or gratuitous. I’m sounding like a Nana. Making film and TV is fun. Where else would you get to go to work alongside, artists, writers, electricians, sound experts, camera experts, designers, carpenters, business people, pilots, inventors, animal wranglers, historians, old people, young people … and they all on ACTION do their thing! Magic

Dia – Yes I do actually.  We are a rare breed; don’t let the world tell you that you can’t do what you love.  There are some absolutely amazing female filmmakers out there… Sofia Coppola, Julie Taymor, Catherine Bigalow, Catherine Hardwicke, and Floria Sigismondi are just some examples to look up to.

Less than 10% of directors in Hollywood are female and even less are producers and DOPs.  Be the change.  Don’t let the industry sexualise you or change you in any way

Jessica – A common mistake, and one I have made is trying to define myself to others and personally based on my gender. The more you define yourself as what type of person, film maker and artist you want to be regardless of gender it will help frame your relationships in the industry. Make content. Keep making stories that you find interesting. Hire that female crew.

Raven – Just keep doing what you’re doing and don’t let yourself grow a chip on your shoulder. Woman should be seen no differently than men in a perfect world, which it is not. It should be all about the finished product and not about your gender.


DB – Thanks everyone for chatting to me today.

Any links you have can go here:


Fair Game

Next of Kin trailor:

Storytelling Australia Victoria:







Unsung Heroes

The invisible people that make every shoot happen

David Black chats to four hard working crew members

Hi everyone. Most articles on movies cover the actors or directors. The audience certainly notices them when the credits roll, but buried deep at the very end, when people are leaving, whizzing past in a blur, are a myriad of strange crew positions such as best boy, gaffer, grip, dop etc. The first thing that struck me when I entered my first big set with Cult Girls wasn’t the director or the actors. It was the crew! All were busy scurrying around like ants, in deep concentration, surrounded by strange items of equipment of all shapes and sizes. It was like having landed on Moon Base Alpha!

As I got onto set after set, the first thing I’d see was that anonymous legion, slaving away in silence, making everything run smoothly.


Most directors will only be making one feature film a year, with maybe a few short films in between. Actors tend to appear on a few more sets but extras can be on a different set every day. It was as an extra that I started to notice all these crew and often saw the same faces on shoot after shoot. Without this dedicated, silent horde, the Indie Industry in Melbourne would be non existent. Often, these people are on the set hours before the actors and then are packing up long after most have left.

Today, I am going to speak to four of the people that I’ve worked with many times now and greatly admire. Glen Cook – gaffer, Dia Taylor – director/ writer/ producer/ dop/ actress/ 1st AD/ production manager …. basically a high class hamburger with the lot, Alex Zemtsov – Camera and Emma Rose – sfx mua (aka The Queen of Gore!)


Hi Glen, Dia, Alex and Emma Rose. I have 5 questions to ask you all. I need you to tell the truth, the whole truth and nothing but the truth. There shall be no evasion, equivocation or mental reservation. OK?


Glen  – photo by Stewart Fairweather

DB – What was it that got you into being involved with indie movies?

Glen – I don’t think I set out originally to make “Indie” movies as such, I just wanted to make films full stop. It started many years ago when I saw a film called Star Wars. It was one of those moments that changed my life and I knew that was what I wanted to do, without a doubt. Unfortunately life had other ideas for me, and so many years later when I came to having a career change, it was my first choice because the passion for it has never died. I did film school and then put myself out there as so many new film makers do. My past work experience had me doing producing and 1st AD often, and I wasn’t happy with that. Eventually I ended up on lighting which was fine. You get to work closely with camera and are creative in a way setting up lighting that plays a crucial role in the end result of a film, and while its all happening you can see how everyone else works on set as well. I started on some very grass roots level stuff before working on the largest indie film, and film generally to date, The Legend of Ben Hall, where I met up with veteran gaffer, Colin Williams, who has been in the game for the past 45 years. That accelerated my learning curve and path into this industry.

Dia – My Aunt I’d have to say. When I was a kid she used to get me on her indie sets as a runner or 2nd AD or even just to watch and I loved the atmosphere and the people so much I just knew that it was something I had to continue with and I did.

Alex – It’s pretty simple; I just wanted to make things. Doing things, making things, that’s the best way to learn and grow as a filmmaker, or any kind of artist, really. You also meet heaps of like-minded people, get involved in more projects, and everything snowballs from there.

Emma Rose – I’ve been a makeup artist for about five years always with the goal of working on films because I’m a geek. It was luck really, a friend who is also a big horror fan recommend me for a film and I’ve been working on indies since.



DB – What is your usual day like on set?

Glen – Every day is different, depending on the shoot and what the scene requires. Some of the smallest shoots, usually the grass roots ones where they use a DSLR, ask for, and make use of the smallest amount of lighting to get them by. I may be asked by a very inexperienced camera operator what could be done to make a scene look better. So in this situation maybe a little bit of bounce, or neg fill, or perhaps some rim lighting. This isn’t always the case though, sometimes a grass roots film may have someone with a great deal of experience, or it is a night shoot which can involve a lot of lighting work. The other extreme can be a much bigger film that requires only bounce and neg fill for their lighting, which adds a little bit but isn’t much work. So the variety is endless. Some days it is exceedingly busy and I will pull everything out to be used, strung from the ceiling, and other days I will use virtually nothing.

Dia – A- It pretty much depends on what my role is. Usually everything is already pre-planned – from shots to times and even where actors will stand. When I’m in charge of a set – usually as AD, Director, or Producer I like to have a little welcome to the crew – get them to know each other a little before fully jumping into it, because a crew is essentially a family during the shoot.

Alex – No way I can answer this one, because it’s different every day. Variety is one of the things I love most about this industry – one day, I could be filming parkour artists fighting in a forest, doing flips and shit, and the next, a pizza themed monster provocatively whispering “puh-puh-puh-pizza time” in someone’s ear.

Emma Rose – I usually wake up at some ungodly hour and travel to melbourne, I’m usually nervous and going over the script etc but once I get to set there are always some familiar faces I’ve worked with previously. I set up wherever I can (which is sometimes in a car or on the street or in the bush!) and then start working. There’s usually a lot of down time for me once I’ve done the makeup and just need to do touch ups or wait for makeup changes, I like to watch the filming usually if I can and attempt to help with anything else. A lot of the time I work through lunch and have mine after as the actors often need work in that time before starting again. It’s always a long day but so much fun and interesting watching how everyone works. I generally end the day with blood on my clothes honestly!



DB – What is your most amazing memory of working on a local indie movie?

Glen – There are so many, it’s hard to pick just one. The most recent shoot I was on we were in a 24th floor apartment with commanding views of the bay and the city of Melbourne. For the four days we were there, we had the most brilliant views as the sun set and all the colours of the city came out. It was just pure magic.

Another was when I was on the Legend of Ben Hall, and it was the first day of shooting and we were filming a few scenes that are actually at the end of the film. I have always known the story of Ben Hall, and I was on this shoot because I was excited to see his story told. So I was there and we were filming a scene with John Gillbert, and I looked up into the bush and there was Jack Martin, as the character Ben Hall. He was very much in character and he just came quietly down to see what was going on and parked himself under a tree. It seriously had the hair on the back of my neck stand on end, living history!

Another funny moment was when I shot a very small Indie film called “Dark Night of the Zomboogies. I had arrived at the venue busting for a pee, so it was my first point of call. Upon exiting to wash my hands, I was accosted by two women who looked and were dressed for a much better venue. One was an absolute stunner! Like who were these girls and why on earth were they there? I had a film screening there that night and that had its run, and while I was talking about the film, I noticed these girls still there. Clearly they were lost right? No they were there as extras for the small shoot that was going to happen.


Later I was asked by the Director to actually be in this little film. I have a face that was made for the other side of the camera, and so trying to get out of it, I said “sure no worries, find me someone to make out with!” I was dead certain I had gotten out of this. David the Director hurried off and a short time later, he returned with my kissing victim. Well needless to say, he not only found someone who was happy to kiss me, but turned out to be the hottest girl in the place that I had seen earlier as well. My bluff was called and thus it was captured on film. That certainly worked out well in my favour.

Dia – A- That’s a tough one honestly. I’ve met so many of my best friends on sets it’s hard to say. My fav memory of all time would have to be one in particular though.

Our lead actress had left a valuable prop at her home one day, a day that we needed it.

We didn’t realize we needed it until she was already here. Luckily another crew member lived very close to her and had not left yet so we asked him to break into her house (with her permission) to get it.

Anyway he broke into the wrong house hahahaha. No harm done though.

Alex– Once, we set off a smoke detector and accidentally evacuated a whole apartment building. We were running a haze machine the whole day, which the location owner had assured us would be fine. Turns out it was not. One of my favourite shots in the film was done with a member of the fire department standing JUST outside of frame having words with our producer.

At one point, before the firemen had shown up, we sent someone outside to fetch something at a nearby convenience store, unaware that the building was in lockdown. They did not return, so we sent someone else out to go find them. They did not return either. It was like something out of a horror film.

Emma Rose – Anything working with Black Forest Films, they’re my film family and we all just click. They are so welcoming and chill and just get shit done. Everyone helps with everything, everyone lugs gear around, everyone has input and ideas. Filming The Viper’s Hex in Japan was probably the best experience of my life.


DB – What is your assessment of the Australian indie movie industry today?

Glen – The Indie industry is pretty much the bulk of the industry in this country. Sure there are plenty of American productions that come over here, but there are countless films being made from the grass roots all the way up to small budget of 1 mil or so. I think this will always be the case in this country as there are very little funds going. We don’t have a big studio system like the US had or in India, so it is literally whatever you can do for yourself to make it happen and without that Studio system, its what makes it “Indie”

Dia – A- We have so much talent out there, so many new and great ideas just flowing. Sometimes I just feel like people need to focus more on story than production tricks and camera movements.

Alex– There certainly isn’t much money in film in Australia, but who ever decided they wanted to become a filmmaker just so they can make money?! Indie films, in not being dictated by an overarching need to make a profit, are some of the most creative around, and dozens are being made every week – from big, well publicized productions that everyone has heard about, to that one brilliant student film with 50 views on Vimeo that deserves a lot more. And sure, there’s a lot of bad stuff out there, but amongst that you can find some genuinely unique work that’s definitely worth seeing.

Emma Rose- Honestly, there’s so much talent but not enough of the films being made are actually seen or given the credit they deserve. It’s all passion and film makers putting their often very little money into their dreams. It’s so hard for these artists to break through. They don’t all want to make generically Australian films and shouldn’t have to to be recognised.


Emma Rose

DB – where do you feel our indie industry is heading?

Glen– I think the industry is still going to be here and still doing what it does for the time being. Unless funding and support for the arts changes and there is a bigger focus on how films are made and we start trying to compete with the rest of the world, there is always going to be an Indie industry. Actually having said that, There will always be an Indie industry because it is where we all start from

Dia – A- Honestly I can’t really say. It’s constantly shifting. The people I work with today I didn’t work with five years ago. I guess now with Netflix and many internet streaming sites out there filmmakers have many more ways of being viewed. The possibilities are endless. I just think the indie scene will keep growing.

Alex– Don’t think I can say. The great thing about indie films is that anyone can make anything. This means that they can go in any direction just about instantly, if sparked by a good enough idea.

Emma Rose– I’m not sure, I’d like to be optimistic and there’s definitely talent in it but a lot of work needs to be done I think.



Thanks everyone for chatting to me today. Normally its me running around being told what to do by you guys, so I hope I didn’t come across as being too bossy. Really. If I offended, I really didn’t mean to. OK?

You can see Dia Taylors movies here –

And Emma Rose’s make up page is here –  

And the wacky shit Alex Zemtsov makes with his friends –