It's been an odd eighteen months, we're sure we can all agree on that.
Despite the existential crisis created by the global malady (or perhaps because of it) we've been quite busy here at Opening Act Films. Well, not so much busy - "busy is the new stupid" after all - but engaged fully in trying to scrape some meaning during this potentially bleak period.
So, for the curious of heart about what we've been up to, here are the highlights (lowlights?) for a very strange 2020 at Opening Act Films:
* After the January Xmas break concluded, in February we started working on a new project called 'Najis' with the very talented writer/director Tony Radevski (Runtime Pictures). We moved into lighting tests, location scouting and auditions, blissfully naive to what lay ahead.
* In late February, we received fantastic news that our previous collaboration with Tony, 'Risen', had been selected for the Oscar and BAFTA accredited Slamdance Film Festival's 'Emergence'. Word of a scary new virus was growing, but at this point we were still looking forward to travelling to Los Angeles, and being at the historic Arclight cinema in Hollywood where 'Risen' would make its debut. The event was scheduled for the end of March.
* As we rolled into March, we kept working on the 'Najis' pre production, and also dived heavily into planning for the trip to Los Angeles for Slamdance.
Then, the world turned upside down.
* From the end of March onwards, international borders were officially closing down every few days. Domestic borders sprung up shortly afterwards. Plans were scratched. Bookings abandoned. Lockdowns enacted. Existential crises set in.
* Ironically, at the end of March, 'Risen' was also selected for the FIAPF-accredited 'Brussels International Fantastic Film Festival'. 'Risen' would have played in a festival programme featuring Pixar's latest film 'Onward'; Toronto FF, Stiges and FantastFest Austin's Netflix acquisition 'The Platform'; and the latest HBO series from the Wire's David Simon, 'The Plot Against America'. The actual festival itself was of course cancelled.
* In April, as the lockdowns entered full strength and film production came to a shuddering halt worldwide, we and our creative peers tried to pivot. Our founder Pete Ireland recorded a couple of podcasts with Tony Radevski and his co-host Shaun Macey. Also in April, Pete was invited to speak with another collaborator of ours - Tonnette Stanford - to creative studies University students on Zoom. It was one of our first Zoom experiences, so felt exceedingly odd, but little did we know it would be far from our last.
* The lockdown stretched on. Many people - ourselves included - barely left their houses. Trying to keep mentally occupied in May, we - along with writer/director Tony Radevski - started the finishing process for our slowly forming, animated short film 'Bogan Moths'. Oddly, May was also the start of meaningful conversations about completing a corporate video which had been in the works since 2018. Weird timing, even if the distraction was welcome.
* In June, we started the final Quality Assurance checks for our Screen Australia funded, short form episodic series 'Romp'. Just because we were all being overcome with cabin fever didn't mean we couldn't be productive.
* In early July, we released a teaser trailer for 'Bogan Moths', that seemed to bring a morsel of welcome levity, perhaps even some joy.
* During the months of lockdowns and cancelled events, the "online film festival" concept suddenly rose to prominence. We reaped some of the benefit in mid-July, by having our animated documentary ‘Chip’ chosen for an online showcase for LA ShortsFest International Film Festival's YouTube channel. Making hay while the sun shines...outside.
* The 'Chip' selection signaled an unexpected purple patch, because at the end of July we also received word that our short zombie-comedy script 'Ned' - written by our founder Pete Ireland - was selected as a Quarterfinalist in the esteemed Screencraft Comedy Screenplay competition. The script didn't make the semifinals, but it was nice news, none-the-less.
* In September, a new animated documentary concept we were working on with writer/director Tony Radevski called 'That Queer Feel' was selected for Queer Screen's 'Mardi Gras Film Festival PITCH OFF'. Tony and Pete pitched the project via Zoom, with Tony appearing as a cartoon person to sell the power of animation. We didn't win the cash to make the film, but the feedback was great, and Tony enjoyed his stint as 2D character, albeit short lived.
* In November, despite everything the world had endured by this point and the restrictions we still faced, we completed the shoot for that long gestating corporate video (years!); eventually delivering it to a satisfied business owner.
* And finally, in December, after post production delays and a five year journey to completion, we officially delivered the 'Romp' series to our post production financier, Screen Australia'. Finding an audience through the COVID maze would be the next challenge.
Then, despite at times feeling like it would last a decade, 2020 was over.
But it's worth noting, before we get too carried away with self congratulation, that there was one highlight more heartening than the rest, during these often bleak times.
The camaraderie of the filmmaking community.
Surviving those early dark days, when the fall seemed so fast, and we weren't sure where the bottom would be, the many warm conversations with peers, with strangers and with friends, were all part of how we got through it.
In truth, with so much latent trauma yet to be realised we're not even sure if we have gotten through it.
But watching people come together, in solidarity and in friendship, makes us more certain than ever that we will.
Our deepest wish is that you also found safety and support in whatever circle you call home.
Here's to a much better rest of 2021 and beyond.
