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Nowadays, you need to be pretty thick-skinned to release an Australian film. It's been a merciless environment for the last decade or so, killing off the hopes of films even before their judgement day. But every now and then a film evokes the emotions and ignites the confidence of Australian filmgoers and backers everywhere. Somersault did it a few years back, and further still, Lantana proved there was still quality among the unfortunate and undersized quantity of Oz film productions. The Caterpillar Wish is this year's shining hopeful.
Set in a coastal fishing town, The Caterpillar Wish explores the intricate relationships between the residents and the incontestable power of change. Emily (Victoria Thaine) is a 17-year-old - positive and hopeful of what life and love can offer - while her mother Susan (Susie Porter) has since lost that glowing optimism after a falling out with her parents over Emily's conception. As Emily searches for the identity of her father, she learns secrets of the townsfolk and that courage is all it takes to transform your own life.
If you've got to be thick-skinned to release an Aussie film in the current climate, Sandra Sciberras must be sporting a plate of armour. The writer and director of The Caterpillar Wish has also got the additional obstacles of being a woman in a male dominated industry. But that hasn't stopped her from making one of the years most powerful and intricate dramas of the last few years.
Star of The Caterpillar Wish, Victoria Thaine is a 27-year-old self-confessed ‘emerging' actress. For her first starring role in a feature film, Thaine is entirely captivating and exerts the exuberance that makes Emily convincing and comfortable for audiences. If this performance is anything to go by, it won't be long before Thaine is heading the Aussie A-List in Hollywood.
I chatted with Sandra and Victoria on life, love, first jobs and their own caterpillar wishes.
Cassie Hansen: Congratulations guys on a beautiful film with such a wonderfully complex plot. Before we talk about the film, did you, Victoria, always know you wanted to be an actor?
Victoria Thaine: Ummm, yes, which is a terribly boring answer. I can't remember a defining moment where I decided this is what I wanted it's just something that I did. I guess that's something I can thank mum and dad for – getting me involved in drama. It was just something I really enjoyed doing.
CH: What was your first day job?
VT: I worked as a personal assistant to a corporate bank manager at ANZ, which is the most opposite of what I'm doing now. But they were so nice there, they let me work part time and juggle my hours around auditions. I was the sole artsy person around the office and I think they really liked having me there.
CH: Have you stayed in touch with them?
VT: I stay in touch with them, and a couple of them always come and see shows I'm in and I catch up with my old boss.
CH: And how about you Sandra, what was your first job?
Sandra Sciberras: Let me think. I think it was waitressing. It must have been waitressing. I sold shoes for ages, and then I worked as a waitress. And then I worked at a gorgeous little hotel as a housekeeper, which got me through film school, and I've never had a normal job since. I worked for myself for a little while actually, as a pattern designer. Yes, I did, I made clothes. I think back now and think, ‘What on Earth was I doing in fashion?'
CH: How did the idea for this film come about?
SS: It was time to write a new script. I'd written a few at that point but I went back over my old notes that have images and ideas, which go onto other films. And this was stemmed from an image of a young girl taking photographs and there was another image of a police car driving through a school. And that sort of instigated a map of what the film was about. Ideas of certain things. It was kind of how you go, ‘What is she taking a photo of?' and that evoked the idea that she was looking for her father and so forth and so forth.
CH: And Victoria, did you audition for this role?
VT: Yes, I did. Sandra kindly asked me to audition for this role and I did, and then I was asked for the role. And I really loved that Emily was a different kind of teenage character to others that I'd read, so that really excited me when I first read the script. And particularly the relationship between the mother and daughter. And Emily's mother and her grandmother. I grew up with both parents so I didn't have the experience of growing up with just a single parent but one of my best friends in high school lived with her mum and they had a kind of similar relationship to Emily and Susan's, it was kind of, they were almost best friends, and very close, and the kind of line between parent and child was very blurred. I thought it was a very beautiful relationship to experience.
CH: It's a film that's directed and written by a female in a male dominated industry. How do you think a female director differs from a male director, Victoria?
VT: Funnily enough, I think I've worked with more female directors than male directors, which is funny in a male-dominated industry. I think in general female directors kind of have to be stronger, because there's a lot of blokes on the crew, it's quite a tough environment. It's not like you're at a tea party. And women really kind of have to assert themselves a lot more in that environment. So I think what's been great for me, is that all the female directors that I've worked with, when they're on set, do know what they want and are clear about it. I don't consider myself a raging feminist or anything, but I realise I'm quite a bit of a champion for female writers and directors and I love so much being on set with a female director.
CH: Sandra, why do you think it is, especially overseas that there isn't as many female directors, and we haven't had that wave of female directors come through yet?
SS: I don't know. Look, I think it's very complicated. When I think of the amount of female writers and directors I feel like there's quite a few. Like every time I turn around there seems to be a woman. Certainly in producing there are so many women. But then again, when I think about all the films that were released last year, and films this year there were a lot of male directors.
CH: In the film, you've got Susie Porter's character Susan Woodbridge who's forgotten or refuses to believe in love, whereas you have Emily who has clearly got so much optimism for it. Sandra, as a 17 year old, do you think you were as optimistic about love as you are now?
SS: Yeah. Definitely. Always have been. I'm an optimist, so it's in my nature. I love the idea of ‘love', it's just something I believe in.
VT: I'm a born optimist, and idealist. I'll always look on the positive side when it comes to love.
CH: Speaking of love, you've got some love scenes with Khan Chittendon, who plays Joel, and you have such a believable chemistry. How do you prepare for scenes that are just so powerful?
SS: She really is great in that. When I first saw that love scene I was blown away by what chemistry you'd created.
VT: Part of that is luck. I don't think you can fake chemistry on screen; it doesn't necessarily have to be sexual chemistry but just some kind of chemistry between two people. Khan and I didn't auditioned together so we didn't actually meet until we were on location. Khan and I were living in the same building together on location, so when he arrived it was kind of our own rehearsal in a way, with the long walks and the talking about character, getting to know each other, and getting along really well. And we helped each other out a lot during the shoot. It was a tough challenging shoot, and it was really important that Sandra was always there, but it was also very important that we did our own work as well and took care of each other…You're in each other's personal space, and it's a matter of being respectful of each other as well.
CH: What do you think the number one message is to be taken away from this film?
SS: No one's asked that one yet. Let me see. There's probably several, because there's so many different aspects to it, but I love the idea of people having the ability to change, of getting it together. Don't wish for change, just do it. Try it. That kind of thing is the number one message for me. And then there's all the individual character ones.
VT: I think for all the characters they are all at these turning points in their lives and to get through them it takes courage, and I suppose if there's a message, its that you can make change in your life and you can do that on your own. And it is hard and it does take immense conviction but it usually leads to something. There's a line in the film where Stephen says to Elizabeth, “Things aren't falling apart. They're just shifting,” and I think that's a really nice summation of what the film kind of says.
CH: It's called The Caterpillar Wish, how's this for a segue – number one wish right now?
SS: Oh! Oh no, it's going to be materialistic, and I don't want to say that after my big speech about love and change. (Laughs) I won't say a ‘world peace' one, because everyone wants that, but it'd have to be a personal one, but it is materialistic, but I'd pay off my house so I can make more films. I mean, that's the reality of it.
CH: But that's not bad, that's to keep following your dreams…
SS: I just want to keep making films.
VT: It probably sounds really corny, but I think I would just want everybody in my life, my family, my close friends to kind of just have all their basic needs met, and any stress they have in their lives, kind of taken away. That would be really nice.
CH: Beautiful answers.
SS: That's world peace. Just on a smaller scale.
CH: Best thing about your job, Victoria?
VT: This is a slightly voyeuristic answer but I suppose it's the opportunity to step into someone else's shoes and I think that's – not in the kind of perverse way – but being really interested in having empathy for other people. And wanting to experience that. And getting to work with so many different people and meet new people.
CH: Worst thing?
VT: I want to say something really stupid like not getting dessert at lunchtimes, but we always get desserts at lunchtimes. But the worst thing is when you feel like you haven't been able to do the best job you can because of obstacles. Like the weather, when you only want to do the best you can.
CH: Sandra, do you want to follow the writing/directing partnership, or just the writing, or just the directing?
SS: I've always seen myself as I would write for other directors any day of the week. And I'd love to direct other people's work any day of the week. I write and direct because I haven't had a choice yet, because no one wants to direct my work and it's been like that and because I'm a writer/director. I'd really, really like to create in Australia that sense that you don't have to be the total auteur. I'd love to be able to work with other people and vice versa but everyone seems to want to direct their own scripts and I'm like ‘C'mon, direct my script, and it'll be fun'. It'd be nice if it were more open like that. But I'll make a few phone calls.
CH: I think after this film you'll have a few people knocking at your door.
SS: You can't tell. It's not a boy's film. Boys' films do really well overseas. But it would be nice. But it would be great to work like that. And in America they seem to do it all the time, but in this country I think it's because it's so hard to get a film up and you tend to have to be the writer/director.
CH: Finally, I want to play a game with you ladies. It's Word Association. I'm going to say something and you have to say the first thing that pops into your head.
SS: I'm so bad at word association. Mine are always swear words. (Laughs.)
CH: Okay. First: Susie Porter.
VT: …sorry I didn't play that game very well. I thought about it for ages. ‘Laughter' was my absolute first thing that came into my head.
SS: Mine was ‘rich'…so it must just be her acting ability. Certainly not her wealth. (Laughs.)
CH: Victoria Thaine.
SS: Gorgeous!
VT: That's lovely.
CH: Sandra Sciberras.
VT: Giggly!
CH: Love.
SS: Ooo. What can you say? Hate?
VT: Oh, um. My mind was completely blank.
CH: Maybe that's a good thing. Saturday night.
SS: Kids. Partying on with the kids on a Saturday night.
VT: Fighting?
CH: Favourite film?
VT: Badlands was the first one that popped into my head.
SS: Mine's always Picnic at Hanging Rock. Always.
CH: Regrets?
SS: Should have gone to film school earlier, so I could have backtracked my career five years.
CH: Don't wish that. You wouldn't be here now. You don't know what could have happened if you'd followed that path.
SS: (laughs) Could have been shocking. I could have ended up making teen films about incest.
VT: No regrets. That's for sure.
