SOMEONE ELSE’S DREAM
SHORT FILM
WRITER / DIRECTOR / PRODUCER / DESIGN
My objective when setting out to make a short film was to create something visually delicious and not completely unwatchable. Straddling precariously between a surrealist work that was still engaging for people, not in either the art or film world.
Budget was my own bank account, so I opted to shoot the majority on set in the White Lab. Colour was a vital role for this film in getting the atmosphere across as we had the same set backdrop repeated throughout most of the film. The storyline is that our protagonist character Dreamer accidentally gets lost in Bobby’s dream world. Both characters are grappling with the feelings of being lost with Bobby also navigating their own version of loss.
The personal mindset going into this was to try to remain unstressed throughout, whilst trying to enjoy the ride of it all. Pre-planning was the key to this project, though ideally, I would have loved to have a producer on this it that role ended up being myself. Organisation is not my strongest suit, but this forced me into making it work; making the set, styling costumes, equipment and space bookings, arranging cast and crew’s availability, setting up test runs with crew, hair, and makeup, etc. I had been watching out for the people whose work ethic I felt matched my own and whose personalities complemented each other, throughout the previous two terms on different projects and the result was a reliable and incredibly positive crew and cast.
Kc was Co-Writer – After seeing part of her show in the Studio, I reached out immediately about co-writing SED with me, and it morphed into two scenes. Kc was also my lead, Dreamer.
Ben was my Art Director – we met up over Spring break. Taking inspiration from my friend Jack Appleyard’s practice, who collaborates often with Tim Walker, in using cardboard as set pieces. The idea was to lean into the no-budget as a design choice and the limitations that it holds. I wanted a lot of texture in the film, to feel the traces of people throughout the design of it which also linked in with the storyline as Woman was loosely based on my Mum, who was a costume designer and tailor, so there were great bolts of fabric as the backdrop, leaning into by childhood as well as bringing in a nautical sail boat feel, also related to my upbringing in Auckland, Aotearoa. Ben’s pragmatic way of working was intrinsic in getting all the pre-work done.
Amelia was my Gaffer – though they had not done film lighting before, their knowledge of the White Lab’s setup was so useful and complemented all the extra hired out lights we got from the Loan Store. We had two practice sessions together to play around with the lighting before shooting and I had complete trust in them in understanding what I wanted and creating the atmosphere that each scene called for. Both Ben and Amelia have been credited as co-producers because of the amount of pre-planning, sourcing, and problem-solving work they did with me, without which, much of the film would not have happened.
P:DP alum, Céline was my DOP – accompanied by their assistant Patrycja. Having a femme identifying person in the role of DOP was important for me, the work is about something very personal, and matriarchy based, and I wanted to start my film work how I mean to go on in the future.
Charlyne came on as my Head of Costume – I wanted to minimise the work on the film wherever I could, so there were no original costumes in the film, it was styling led for this film. Though I had a sharp vision of what I was after for the most part, Charlyne brought some fantastic looks, even letting us use an outfit from her and Amber’s final collection for Susie to wear. It was these sorts of details from her that I think really elevated those scenes.
The cast was made up of friends outside and within P:DP and BA / MA. Many of them became runners on set and all their help was greatly appreciated on set - tasks such as making the waves move in the boat scene or being a pair of legs last minute for under the table.
Of all the projects this year, SED has been the most expansive in my growth, from the first concept meeting to shooting was just over five weeks and another three to edit, grade and score for submission on the 31st of May, with a crew of nine and cast of eighteen. SOMONE ELSE’S DREAM will be submitted to film festivals as a short film over the coming months.
