Interview with Director/Writer Josh Zammit

Artist, Director & Writer, Josh Zammit, sits down to talk to the Unreliable Narrator about his newest film, Ascendant. Since Ascendant conception in 2014, the short, set on a Greyhound Track, has hit more than its fair share of production hurdles, but by the look of it, it’s going to be a real winner. The Ascendant trailer has just been released and it’s already gaining traction. Words by Felicity Pickering. 

The trailer looks fabulous! Can you tell us a little about Ascendant and what led you to make it?

Thanks! Ascendant is the story of a man who breaks into an abandoned greyhound racing track in a bleak future, in his ventures he finds a greyhound that was left behind and from there begins to find out the dark truths behind the track. I wrote the film with Samuel Loveridge back in 2013 after just finishing Post Production on a film I wrote and produced called ‘Observance’ and was looking do something I could direct. I wanted to make something Black and white and to be more like an atmospheric mood piece rather than the punch line short film.

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What was your development process?

The idea for Ascendant came from a character Sam (Co-writer/Producer) and I had written in another script called Seeder. We wanted to explore the characters past and ended up finding him in this abandoned Greyhound track. After that the ideas started rolling in. We do a lot of talking about the tone and the world before we start writing the story usually, then when we have that all figured out we’ll write an outline and move onto the script.

Ascendant is shot on an ambitious location, a greyhound track. Why did you feel you had to shoot there? Were there any obstacles?

When we started writing we had already locked a location for the greyhound track and weren’t really worried at all. The difficulty at first was actually scouting the interior locations, we found it very difficult to find any hall locations that fit the style of the film and we were hunting for almost a year to find the right place. In the end we found something and then the out of nowhere the Greyhound Industry was banned in NSW. This basically put the project on halt, as the Greyhound Track location was no longer willing to have us due to all the controversy in the media. After a while the ban was lifted and we were able to figure something out with the track but it came with a lot of compromises and intense scheduling limitations. 

How long have you been working on this film?

It took us nearly 4 years of attempts to get this thing off the ground. We first tried to get Ascendant off the ground as far back as 2013 but got knocked back due to budget limitations and logistical issues. When we realised the scale of the production we had to get to work on funding sources and that took a long while. We had two round of crowd funding campaigns and I ended up putting a lot of my own money into it too.

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You’ve got a very talented cast and crew aboard Ascendant. How did you assemble your team?

Yes, I’m very proud of the cast and crew, many are longtime friends and others we found through online call outs and or recommended by friends. All amazing hard working people. Sam, Co-writer and Producer, and I went to TAFE together and have been collaborating for years, he was was massive part of this project and was there every step of the way, battling through the endless struggles. The Cinematographer, Carl Robertson has been a close friend of mine since I first started in the industry back when I was a 17 year old kid. We’ve been talking about collaborating for years and were finally able to do something with Ascendant, I learned so much from him on this project. The lead actor Harry is actually a dear friend of my cousin, and we met through her. This project was written with him specifically in mind and I had been having conversations with him about it before we finished the script. 

Ascendant is almost a silent film. What led you to this choice?

Silent in terms of dialogue, yes. It wasn’t a conscious decision, we kind of only realised this after we wrote the thing and it’s just what the story called for. I find that characters I write are usually very passive or silent anyway, probably because I’m a massive introvert.

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Ascendant is shot in black and white, what led to this choice? Were you inspired by any particular films to do this?

I love the world of black and white, it’s a dreamier, darker and more mysterious place to play in. Ascendant is set in a 50’s alternate reality, so it works beautifully with the tone and the mood that we were trying to create, also this being a crowd sourced/self funded film, I knew it might be my only opportunity to shoot in Black and White.

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What do you say to the age old adage, ‘never work with children or animals’? Agree or disagree? How was your canine talent?

I’d agree, though when you get it right it’s certainly worth the risk. We were very unlucky at the start, the first dog we had booked ended up dying of cancer just before our first attempt at shooting, but later on we got a replacement and ended with amazing results BUT it’s a was a huge risk.

Was there a particular event or time that you recognized that filmmaking was not just a hobby, but that it would be your life and your living?

I was pretty determined at a young age, I left school at 16 and enrolled into a screen and Media course at TAFE. During that I started working on sets in Art department. I was pretty certain from then that I’d be working in film for a long while or a least I hoped. After Observance, the disease had taken over and there was no turning back. Plus I don’t really know how to do anything else. 

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What makes a film great for you? Are there certain qualities that make a film better for you?

Anything that challenges you as an audience member, something that takes you into a world or makes you think or question reality and doesn’t take the easy way out. 

P9180083What films have been the most inspiring or influential to you and why?

The films of David Lynch have been a massive influence on my style. Eraserhead was a big game changer for me, when I first saw that film I had realisation and confidence that there was an audience out the for the kind of stories I wanted to tell. Director’s like Michael Haneke, David Cronenberg, Roman Polanski, Luis Bunuel, Ingmar Bergman and Andrei Tarkovsky also have had a huge influence on me. Like everyone else.

Do we see these influences in Ascendant?

Visually, I think a few may have slipped in, perhaps a bit of Tarkovsky and Lynch. Not to compare this to anything on their level! No way!

Is there something you try to subvert or avoid or rebel against in your work?

I hope to rebel against most of the conventions of story telling and to leave the audience with questions and something to wonder about when the film is over.

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Any parting advice to other filmmakers starting out in the industry?

They all say it, but yes, go make a film. I’d suggest try you’re hardest to make something completely unique and that’s meaningful to you. There is so much suffering and pain involved when making a film, so be sure whatever you’re making is meaningful to you.

Ascendant is just starting out on it’s film festival run. For updates on the film, like Ascendants Facebook page here.  Find out more about Josh Zammit’s work here.

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An Interview with artist Susan Pickering

Sue Pickering is a Hobart based artist and musician. While visiting Tasmania I talked to her about her inspirations, living in Hobart and her upcoming exhibition ‘Light Lines’.

Sue Pickering in her studio.

Susan Pickering in her studio.

When formulating new work what is your process for generating new ideas? Do you look at work by your favourite artists? Do you take inspiration from the natural environment or do the ideas just come?

A little bit of all of those. A lot of my work started out being inspired by music. But over the years it’s fed on itself a little bit. Often a new work will come out of an idea from an old work, a visual idea. But certainly the natural environment in Tasmania is inspirational.

While my work is bordering on abstract, somewhere between abstract and figurative, there’s a musical quality to them. They are not so much descriptive of things, as of ideas.

You’re a highly accomplished musician. Do you feel that your musical talents feed into your art making or are they separated in your mind?

The music itself, not my music but other people’s music that I have experienced as a musician or a listener, feeds into my art making.

You have a beautiful studio. Thank you for letting me see it. What attracted you to this studio?

This studio is here by the generosity of Veronica Stein, who lives in the house upstairs. When she was at art school she had enough time, being a part time student, to think about what to do after art school. She was going to build a tin shed in her backyard and discovered that it was going to cost a lot of money. It was better to put that money towards an extension of the house, that she and her partner Mike live in, and put a studio underneath the living area of the house.

Then she instigated a few other people to come together and share facilities. We went around to second hand shops and bought shelves. She made the sinks. I applied for a group grant to buy a big etching press and we were successful. We got most of the money for that, Veronica and I contributed the rest. So officially that press is owned by six people, but in effect I am the main one using it now. The others just use it when they need to produce big work.

Veronica and I jointly bought this great big old Albion style relief press, which would have been a letter press, or something that they printed wanted posters with. We bought it second hand from somebody who brought it back from the United States.

View from the Studio where Sue works.

View from the Studio.

Some of the equipment in Sue's studio.

The Albion style relief press that originated in America.

Is there any thing you particularly enjoy about the studio?

The natural environment of the studio is wonderful. Just the fact that I have the studio and the equipment.

On September 5th you have an exhibition coming up at 146 Artspace. What can we expect from this exhibition? Will it be very different from your other work or a continuation of a similar theme or style?

It be will be a development out of the other work. It’s moving more to the figurative with a couple of prints that look more like landscape then the previous ones have.

Sue's studio.

Susan’s studio.

The original plan for this work was that it was going to have an exploration using colour. I’m hoping there will be a little bit more of that [exploration of using colour] that is not extremely subtle. But given the time constraints, since I haven’t been well for the last nine months, I’ve just had to go for it and get some work done initially anyway. The colour will develop after the exhibition. The purpose of life is not just to produce art for an exhibition, it’s to produce art.

Do you feel like the Hobart landscape has influenced your work?

Not Hobart, but the Tasmanian landscape. This exhibition was inspired very much by a residency last year at Lake St Claire in the mountains. And that was a follow on from a previous residency in 2005.

 

I’ll even include one work that, though completed much more recently, was inspired by the 2005 residency.

Any advice for artists starting out?

Make sure you’re making art because you want to make art. If you are not making it because it is important to you and you’re not making things that are meaningful for you and the activity isn’t meaningful for you, then there is not much point doing it.

A work to be featured as part of Sue's exhibition 'Light Lines'

A work to be featured as part of Susan’s exhibition ‘Light Lines’

Susan’s exhibition Light Lines will be opened by Raymond Arnold at 5:30 pm Friday, the 6th of September, at the 146 Artspace, Hobart. It will remain open until the 3rd of October. The residency and work was funded by Arts Tasmania.