(gentle music)
[Narrator] Some people suggested
I should do a voice over for the film.
I don't really personally like voiceovers in most films,
but let's try it.
[Speaker] Okay, camera recording.
[Narrator] So look at that board.
You can't really even read it, so what's the point?
"The Lies We Tell Ourselves", the support group.
Shot one, take two, second camera.
(board banging)
[Narrator] I do hope you're not expecting
something that makes sense
'cause you'll be duly disappointed.
(footsteps walking)
[Speaker] Action.
Hi everyone.
Thank you for coming.
My name is Orgy and I'm an orgasm.
[Group] Hi Orgy.
I've been an orgasm for 35 years.
(gentle music)
[Narrator] Oh my God, look at the production values here.
They would be amazing if it wasn't for those couple
of shots with the shitty unclean lens.
Oh yes, a bit of random nudity, why not?
Not too sure what the point of showing interviews is
when you don't hear them,
but then again, might be better that way.
(people clapping)
(people chattering)
(gentle music)
♪ The machines of broken dreams ♪
♪ Don't let them win ♪
And interviewing great people
and discussing film in general.
So I think it's just gonna be a really good opportunity
to really discuss your work.
So what do you want me to say then?
Well, just being yourself, just ask the questions.
Just be yourself for fuck sake.
And a bit of enthusiasm would be nice
because that will, you know?
Yep, cool.
Three minutes to go.
Just be yourself.
So welcome to the group of two.
We're joined today by Carmen and Saara.
Thank you.
Is that how I say it, Saara?
Yeah, that's pretty good actually.
Sara? Zara? Sarah?
Saara.
I always tell that people can call me Ben
if they want.
It's Saara.
(gentle music)
[Narrator] I feel like I need some excuses for this scene,
but I don't really have any.
(gentle music)
(bottles clinking)
Oh, good, cute pets.
That should definitely, definitely add value.
I would just like to point out that I have actually
had some very successful human relationships too.
One of them lasted over a decade.
Yeah, this one didn't.
(dramatic music)
We'll leave that there.
(gentle music)
(dramatic music)
I do love my work.
Sometimes I say I'm married to my work,
but I do miss humans more than I miss my work, or do I?
(gentle music)
[Speaker 2] The film is about a young filmmaker
whose star is on the rise
and what starts off as a dream becomes twisted
and slightly contorted by the influence
of the industry and the powers that be.
[Speaker 3] There's a force behind these things that shape
and change her, which is the patriarchy,
which is the industry which is commercialism,
which is the way that these stories and these people,
people such as this young filmmaker,
are used as chattel by the industry.
They're basically taken,
they attempt to imprint what they can
onto this creative impulse to try and monetize it.
And then they try and absorb her into the industry.
But somebody as spiky and as unusual
as her isn't able to be synthesized quite so easily
into this industry.
So this puts her like as an outsider, as a loner,
as somebody who is driven still to make art,
but then has to make it within these different dimensions
and under these different sorts of forces.
And through this journey,
she meets a lot of interesting people
who try to become part of it.
They're trying to egotistically move their way in
so they can follow in the wake of this filmmaker
as they are making their films and trying to sell them
and sometimes they try and dominate her.
So I think there's actually a whole bunch
of gender theory readings you can do with this.
There's a lot of other people
have tried to tell these sorts of stories in the past,
but not particularly in this day and age I don't think,
that's what I would think is unusual about this film.
[Speaker 2] Yeah, somehow manages to remain zeroed in
on its focus in terms of telling a narrative story
that is quite meta,
but then somehow remaining an observer
of the events, an aware, a self-aware observer.
And it's interesting this thing about people
who come into her wake and try and join her,
I feel like she, as this filmmaker,
she's magnetic,
she draws people who are very similar to her,
who aren't easily synthesized into a particular industry
or into a particular way.
And as a result, what happens is what they make make
is quite unique and fascinating
and original possibly.
[Speaker 3] A lot of this
has been written as it's been made.
So I think there is a lot of tricking going on.
So I think when people say,
oh this person is a director and writer and filmmaker
and actor, yeah that may be true, but actually,
that's basically an illusion
because cinema is a massive trick anyway.
We all like know that we're being tricked
when we go and see a story, we suspend disbelief
and in this case I think we're suspending disbelief
in real time almost because it's such a raw creation.
(gentle music)
Hello Saara.
So pleased to meet you, now I understand
you are applying for funding for your future film?
Yeah.
We have a number of programs here
that are open to early career practitioners.
So let's take a look at things.
It's my second film so I'm not sure if it's early career,
but yeah.
So Saara Lambert, screenwriter.
Lamberg.
I've heard of that name.
Probably because of my first film, yeah.
So you want to move into feature films now.
So I've already made a feature film "Innuendo."
You did get invited to the premiere, but that's okay.
Sarah Lambert.
Lamberg.
G? Oh, wow.
We don't get many German applications.
Finnish.
For funding here.
Yeah, Finnish.
I was in Copenhagen recently, beautiful city.
Bit hot this last summer though.
Different country, Denmark, but yeah.
So let's have a look at your project.
Does your project have elements
that reflect gender equality?
So I was thinking,
'cause obviously I look like a female,
like I don't like putting myself in a box,
but I guess you would say I'm female.
So there's not so many female practitioners
out there getting funded.
Okay.
What about diversity?
Well, we like to have meaningful collaborations
with indigenous practitioners, for example.
So what category do you fall into, Saara?
Oh, well I am 100% Finnish, so if that's?
What about LGBTQ representation?
Yes, definitely.
Many of my crew members are gay.
Disability sector with mental, physical, intellectual?
I get therapy, does that count?
So what about your production budget?
Yeah.
'Cause your production budget
dictates the amount of funding which you apply for.
Yeah, so that's why I'm here basically
'cause I would like to start paying people.
You don't pay people?
I want to.
Well, what did you pay them in the past?
We just didn't have any money,
so people were volunteering.
You have to pay people.
What did you pay your DOP, for example?
We couldn't pay anything.
Like, we just didn't have the money and that's why I'm here.
So in the future I could pay my people.
You have to pay people.
(dramatic music)
Okay.
Right.
So I told you we'll be doing a bit more comedy
with this film.
You prepared something for it?
[Speaker 4] Yeah, yeah, I did.
I take it.
A clown character I've been developing.
[Narrator] Okay.
Freda Carmichael is her name.
So 25 years ago I was the head literary critic
at The Age newspaper.
And I went to see Waiting For,
Nathan Townsend, sir,
illustrious performance as a director.
And I found it reprehensible.
It was a vile, disgusting, uncivilized piece of work
I've ever seen in a long time.
And my review rightly reflected the disgusting fact.
(dramatic music)
Cool.
(person laughing)
Yeah, I can totally see how you would be able
to bring you into this performance
and your whole creativity and I like to know my actors.
[Speaker 4] Yeah.
'Cause if that's something that would interest you, then.
Yeah, yeah, yeah, yeah, absolutely.
I'm so interested, yeah, whatever it takes, Saara, really.
It's gonna be Hands on,
I like hands on directing.
[Speaker 4] Okay.
Hands in all the pies.
Okay, yeah, great.
Hands everywhere, no problem.
Yeah, let's get handsy.
Yeah, put all, yeah, yeah.
Let's all the hands.
No problem, yeah, I admire that.
(person sighing)
Wow.
(gentle music)
(person laughing)
And how about that really good relationship
I was in that I ruined by getting restless.
Fix it.
And if you have a good relationship, fix it.
Is open relationship ll not for me,
A solution? ll ..I feel too deep ll into my guilt I sink.
Too deep ll into my guilt ll a solution ll fix it.
If you have a good relationship, fix it.
(gentle music)
Sometimes love just doesn't end.
Love just doesn't end, love just doesn't end,
love just doesn't end.
Not even if both of you want it to end,
it might just linger.
Should I just start or?
And now I'm like just so scared of this next one.
What if the audience are gonna hate it?
Critics are gonna hate it.
What was the real mum and what was the sick mum?
You know how you get bored in your relationships
and you wanna screw around with other people
and oh yeah, and I became homeless in that process.
So yeah, I guess that didn't really help.
What's left there to live for really?
So there's a few things I wanted to try today.
Look, firstly, I think
something that would probably help
would be silly as it sounds
actually just wearing more red,
red's a really strong color.
It's really good for our mood.
It really gives us a sense of our identity.
It increases our attraction to partners.
It actually is a great mood lifter.
So something as simple as actually wearing a red dress,
for example.
Explore, look at that.
Do you have a red dress?
(dramatic music)
Just pop your feet up there.
Yep, just as if you're putting, yep, that's it.
One over the other, that's it.
Perfect, perfect.
It's comfy, that's all right?
Yep, okay, so now what I want you to do
is just stretch those legs out and go like this.
That's it.
And just look out there and just hold that pose.
And how does that feel?
You probably feel a little bit stronger.
Open your mouth, that's it.
And now as simple as, this is a bit weird I know.
So just bear with me, and now just bite down on the pen.
That's it, now you'll notice that will make you smile a bit.
So try and smile a bit.
That's it, how does that feel?
(person laughing)
That's lovely, nice.
You've got a beautiful smile.
Okay, now hold that.
Just hold that in there and keep that smile.
Now the one last thing is gratitude.
It's what we call practicing gratitude.
And so what I want you to do is just think about,
just pause, just relax.
Have a good think about something
that you're really grateful for in your life.
Something really positive,
that you're really grateful.
And keep the smile, keep the bite, that's it.
And when you've got that,
hold it and then say slowly, I'm grateful.
(person mumbling)
And again.
I'm grate fool.
One more time.
I'm grateful.
(person laughing)
Okay, just open your mouth.
Right, how's that?
Good.
And I think one more thing.
You know, at the end of the day,
you really can't beat at a good bang.
(gentle music)
(upbeat music)
[Narrator] You know those people that say
that they're not escaping anywhere by traveling.
I'm not one of them.
I'm definitely escaping... Mum's illness,
family ll escaping ll trying to be happier.
Yes, some of this travel is ll somewhere else.
Most definitely ll not having opportunities to make films
from where I grew up, not really getting, anywhere,
Is travel? ll escaping ll grew up.
You know those people that say
Yeah ll they're not escaping anywhere by traveling.
I think when it's holiday, it's just escaping,
That it's just for fun. I definitely wanted to escape.
I disagree ll it's sad not having the opportunities
my growing up environment ll I absolutely I wanted to escape
and it was the best thing to do ll heartbreaking
when people judge// not all of us have situations
where we want to stay and where we're,
happy and healthy to be able to but ll to be free
You know those people ll Not all of us do.
Escaping can be by surviving.
I'm not one of them.
Some of this travel is ll It's sad,
situations ll where we can stay and be happy.
You know those people that say, they're not escaping.
Not all of us do ll by traveling
Escaping can be...
Surviving ll I'm definitely escaping.
[Speaker 2] Absolutely, I think it's art.
It is art.
That's a straightforward one for me.
I think it is absolutely.
There's a lot of things that are called art
that may not be considered art, but they are.
And all of life is art.
I think I'm giving a generally vague response here, but.
[Speaker 3] There is so much that goes against it.
Like if you were to make a film
and you would think I'm gonna make art,
then you would start getting,
you could easily get very specific about colors
and about light and about performances
that sort of stuff.
Whereas this is more like renegade film making.
So I think if it's art, it's art by accident.
Well what I find really interesting
is that it's a film without a script.
So it's so much a part of capturing life.
It's almost in a way that a film like Boyhood
or something like that.
Or a partly improvised film where they don't quite know
where it's going.
Usually in the case of improvisation,
you've got like a point to a scene or something here.
But with this I feel like you're like,
you've got a big ball of chewing gum
and you're just rolling it through life
and picking things up along the way
and then things get stuck
to it and some things will stay and some things won't.
And so in this way I think it's really, really interesting.
'Cause there aren't very many films that are made like this.
Or at least there might be a lot of films
that are started like that, but they don't hold.
Whereas this one is being held.
(people laughing)
What about Bitcoin?
[Narrator] Excuse me?
Bitcoin.
[Narrator] What's that, sorry?
Pay people in Bitcoin.
[Narrator] Is that real money?
I didn't say that.
(dramatic music)
(birds chirping)
Great to see you.
Cheers.
And how are you?
Yeah, really good.
Just going to festivals, shooting this new film,
lots of interviews, press, that kind of thing.
It's really good.
Really good?
Yeah, it's good, shit yeah.
But you don't look good.
I'm sorry, as a friend I can say that.
Who says that?
Thanks, I guess.
Yeah, but you want to be successful and everything,
but think about your reputation, I think you..
I am successful, thank you very much.
Yeah, that's what the person says is if it's not successful,
but as a friend, I'm listening to you
and I want that you are happy.
I'm happy, no, I'm not happy.
But who the fuck cares?
Happiness is fucking overrated anyway,
I just need some attention.
Okay, I need some attention.
What's wrong with that?
You have my attention now, why do you need the guys?
Are you gonna suck my dick?
Also, I wanted to say
that I see so many nude pictures of you recently.
It's work.
I'm making a film called "The Lies We Tell Ourselves",
which is about self-deception.
It's about being authentic to yourself.
And I don't see how one could be any more authentic
than by being nude, right?
But do you see that this is work and this is life?
Of course put both together, but.
I'm an artist.
It's hand in hand like what's work, what's life?
It's... What does it matter anyway?
But think about your reputation.
What fucking reputation?
Partying, boys.
Because I'm sure there are boys.
Girls also.
Girls also, don't forget about the girls.
(person laughing)
I'm just not sleeping with you 'cause I don't fancy you.
That's all.
Come on.
Cheers.
You just want me to fuck you.
Is that what it is?
You're just jealous 'cause I'm not fucking you.
No.
No, she goes no.
So you wanna be in my film?
Is that what it is?
If we don't fuck, if I'm not have to be naked.
I'm not gonna fuck you in my film.
And not outside.
(gentle music)
[Narrator] Grandma was a drunk.
Granddad on the other side was a drunk.
Both more or less drank themselves to death.
I was small and I visited grandma
and she was always talking.
I would sit on that comfy chair
and listen to her complain,
then the next time I'd go in and she'd be totally drunk.
It was very confusing.
Grandma was very confusing, very confusing.
And there was that time that my mom has told me about
when she was asleep and granddad had a blood clot
in the middle of the night and couldn't be saved.
And her mom still thinks it's somehow her fault
because as a teenager,
she didn't wake up to call an ambulance.
It's all very fucked.
(person laughing)
[Speaker 2] Yeah, I think it has pretensions,
but I think it, again,
it puts those pretensions out there.
So it's pretentious
but it's also deeply unpretentious at the same time
because it basically constructs these pretensions
and this woman who is so deeply involved
in her own story and wanting to broadcast
this story for whatever reasons that yes,
there is this pretentiousness.
But I think any idea that pretentiousness
as a criticism is kind of undercut.
It is a pretentious film.
And yet some of the pretenses
may not be necessarily alienating for most people.
I think there is some aspect of this filmmaker's journey
that could be appropriated for a lot of what goes on
in terms of the female experience.
The corruption of intention
of power and pretentiousness is necessary
in order to build a case
against the destruction of the self.
(audience clapping)
(people chattering)
(people laughing)
Whenever I masturbate, I actually imagine being a male,
being a man, the male with a penis ll I visualize myself
and thrusting myself into a female vagina.
Being a man ll thrusting himself ll is that penis envy?
Like that must feel amazing.
Then I can sort of understand if it feels that amazing,
that the guy would not understand that the penetration,
act penetration itself ll not every woman
might not feel that amazing to the female,
much more ll clitoris being touched.
Because I need ll not just like ll clitoris being touched
hump, hump, hump ll you know,
clitoris being touched ll clitoral pressure ll being on top
That's why it just doesn't happen in an intercourse
The act of the penis being inside my vagina.
Don't do that much for me.
Is this too much sharing?
(gentle music)
Hey, how you doing?
Good.
How's the sales?
Sales are going pretty good.
Yeah, have any meetings?
A lot of meetings.
Yeah.
Yep, and things are going good, things are going good.
But you know, I have a question for you.
Yeah.
I know you're doing a new film.
Okay, you know, I'm just more than just a sales agent.
I don't know if you know this, but I'm an actor
and I just brought my head shot.
All right, cool.
Yeah, that's like what 50 years ago?
I haven't changed.
Wait, look, look, look, look.
Have I changed?
Yeah, I mean that's not exactly a recent, but like, yeah.
What do you mean, it's not recent?
So you've been in a few films or?
No, but I got a headshot.
Yeah, yeah.
No, like, I love the headshot.
Can we have it as a poster maybe
behind one of the scenes?
Like that would be nice there like.
Yeah, I think, you know.
Yeah.
And I can act.
Oh, you wanna be in it?
Of course, do you know I starred in two high school plays.
Yeah, what were they?
I don't remember, but I remember
I starred. It was so long ago.
I'm thinking you could, you kind of look a little like...
Oh, I did "Fiddler on the Roof".
Sure.
Amateur Theater, I did that.
I played Motel the tailor, you know?
I could sing, I can dance.
Like, I'm just thinking like,
this is a bit off the cuff here, but like,
you do look a little bit like my dad.
So if there's a character of my character that needs a dad,
I could.
I don't think I play a dad.
Don't you have a lead character?
Yeah, there's the leading male obviously.
Well, look, look.
Yeah, but like.
With a little makeup, come on.
It's Hollywood.
Okay, so leading character
is basically like a love lead.
Like there's like a boy meets girl kind of thing.
Yeah, yeah, yeah, yeah, yeah.
I can meet a girl.
You wanna do that?
Yeah.
Is it a lot of dialogue?
Yeah, it's a leading character.
Do you use cue cards and stuff like that?
He is like in most of the scenes of course.
But like, I need someone who's in their twenties ideally.
Makeup, makeup.
Yeah.
I should audition.
You wanna audition?
Yeah.
Okay.
(gentle music)
That means action, I go in.
[Narrator] Yeah.
Oh Jesus, how are you?
Not supposed to do that?
I don't know.
[Narrator] Yeah, let's maybe do it again.
All right, from the beginning.
So yeah, get up again.
So that's maybe a little bit too fast.
Like you wouldn't do that on the first date straight away.
Would you like, you wanna go into a little bit
of talking like, hello,
my name is, that kind of thing.
All right, so, and action.
(gentle music)
Actually, have you thought about working for us?
[Narrator] What do you mean?
We have an admin job available downstairs.
Okay.
Are you good on the telephone?
I have to make quite a lot of production calls.
So does that mean that then I have kind of my foot
in the door and I can kind of apply for funding easier?
Is that what you're saying?
No, no.
I mean I have to report to people
and then people report to me.
So no, that can't be done.
I mean, I do have to report to people.
I do have to report to people, I mean,
I have to report to people
and I have people reporting to me.
So would you like to apply for the admin job position?
I'd like to apply for some film funding please.
(gentle music)
Gonna probably need a mirror at some point,
just to see what you're doing.
Of course.
Yep, would you like a hand?
You have a little...
Hey, how's it going?
Hi Saara, nice to see you.
Good to go in about five minutes, yeah.
Yeah, sure.
Excellent, good.
All right, so I had a look.
I definitely need more makeup.
Oh my God.
Oh actually quite natural 'cause they're gonna be naked.
So yeah, I just had a look at the garden.
It looks great for it.
I thought, I don't know why
I thought we were gonna film in here, so comfortable.
Yeah, no 'cause the scene
is written for exterior in the garden.
Oh yeah, yeah, yeah, of course, yeah, right.
Come here baby girl, come here.
What I imagined for the scene.
So that's good.
She has to stay here, this is her side.
Yes.
Excellent, let's do a line run.
Okay, so.
The first scene.
- Exterior. - Right.
- Garden. - Right.
Day, two ladies are seated in a lush garden,
with a pot of tea, two cups in front of them.
They're both wearing mirrors, but nothing else.
[Speaker 5] Right.
And that's when we go to your line.
There's Saara, I love you, I think you're incredible,
but there's absolutely no way
that I'm gonna be naked outside, I'm sorry.
I think you can understand that.
And I mean, most films, I just wanna say one thing.
Most films when they say things like that,
they don't really mean them.
So I just assumed that you were, it was just a suggestion.
I mean, I obviously didn't think that's what you meant.
Do you know?
I'm very iconic, my character.
I can't be nude, I've never been nude in my life, naked.
You are happy to do it naked, right?
Yeah, yeah.
She's happy to do it.
She's a.. She's a non...
An up and coming, hardly done anything actress, really.
Jane, I really appreciate that you're doing this.
Like this is obviously a great opportunity
for me to have you in my film.
But we did send you the screenplay like two weeks ago.
Did we not?
I know, but I mean, Saara, come on.
So it's a no, is it?
It's... Yes, it's a no.
Sorry. Honey, can I get some water?
(gentle music)
[Narrator] There's some parts of this film
that are absolutely beautiful
and I feel like maybe I should just completely botch it
and get rid of anything that isn't as pristine
as this section.
I'm also thinking,
well that's not life and that's not real for me.
Like some of it is shit.
So maybe I just need to leave the shit in.
(water whirring)
(person sighing)
[Speaker 2] That she has this dream
that she wants people to understand her
and perhaps to understand herself better.
So she's made these films that she's pursuing
these sorts of psychological trains of thought
or these streams of consciousness or these,
she's letting chance and fate
determine how some of these stories are told.
And as they come together,
she has such faith in her own abilities as a filmmaker.
And she has such faith that she's made something
that other people can hear.
[Speaker 3] You think maybe she's just faithless
and she's just making it up
as she goes along and then all of a sudden
she has a film and then for some reason,
some reason that has success.
But I think part of the lie is that this industry,
which she chases around the world,
is gonna give her what she wants.
(gentle music)
(cars whirring)
I'll get you those.
I think we really need to reschedule that meeting actually.
(object whirring)
Hold on, I think I'm gonna have to call you back, sorry.
Larry!
Larry, it's really nice to meet you.
I've always wanted to meet you.
I really admire your work
and I'm this independent filmmaker,
would you be able to like read my scripts
or could we have a meeting or can I give you my card?
I'm...
A little bit Jewish!
I'm a little bit Jewish.
What the fuck?
I'm a little bit Jewish, oh fuck.
Yeah, no, never mind.
(gentle music)
Another way to raise funds for your film
is create a visualization, using mind power.
Mind power can actually change your environment.
It can cause events to happen.
It can manifest your desired outcomes.
So all you've got to do is concentrate on the goal,
visualize yourself receiving the money.
You're funded, you've made the film,
you've wowed the audience, you've received the accolades.
But you are gonna give me some actual physical money.
Right?
Would you like to attend my workshop?
You too could see the money.
(person laughing)
(gentle music)
So you wanna borrow something or?
[Speaker 6] Yeah, just a cup of sugar if that's all right?
[Speaker 7] Yeah, okay.
[Speaker 6] I'm baking cake.
Yeah, so you friends with Steve who lives here?
Yeah, I mean I moved in across the hall
about two years ago and we usually just,
we just borrow stuff from each other.
It's this kind of thing.
So Steve told me you're some kind of filmmaker.
I am, yeah, yeah, yeah.
So how's that work out for you?
Oh look, it's a difficult career.
Like there's always, how much do you need?
Like, half a cup would be great.
Yeah, like making any money of it is really hard.
But like I just enjoy doing it.
Yeah.
[Speaker 7] You're an engineer did you say?
[Speaker 6] Yeah, I'm an engineer and then I also
do a bit of nursing on the side.
Just, I just like to help the kids, you know?
What the fuck man?
Yeah, I mean Steve showed me your last movie
and I thought it was pretty cool
and I heard you were making a new one.
I was just like thought maybe I could be in it.
And why are you naked?
Well, I mean, what's wrong with this?
I'm not casting for anything like that at the moment,
but I mean I saw some of the acting in your last movie.
It wasn't that, I just mean like,
what is it called like background or extras?
I can do that.
Look, I'll let you know
if there's anything like that available.
I'll get my assistant to get your details and...
[Speaker 7] Okay, thanks.
So yeah, thanks for the sugar.
[Speaker 6] Yeah, no worries.
[Speaker 7] And it was nice to meet you.
How long are you in town for?
I'll be going very soon.
Very, very soon.
[Speaker 7] Yeah?
Yeah.
Oh well in that case it was very nice to meet you.
That's a bit awkward.
Oh yeah, yeah, yeah, yeah.
[Speaker 7] Thanks for the sugar.
Yeah, you enjoy that.
I'll see you around, yeah.
[Speaker 6] And assistant, details.
Yeah, we'll call you if we need you, yeah?
All right.
Thank you.
[Speaker 7] See you soon.
Thank you, can you close the door, yeah?
Fuck sake.
(person sighing)
(intrusive music)
[Speaker 2] I feel like with a story like this
there is so much personal drive
that the actual sense of satisfaction
could come from so many different places.
It could come from adoration, from money, from respect,
from winning a prize, from selling out a cinema.
I mean there's so many little ways,
little steps along the way.
Maybe it could result in one like on Facebook.
I don't know.
There's all sorts of different things it could be.
[Speaker 3] I agree.
I think ultimately it has to come from within, the success
and the resolution for anyone or anything.
The great satisfaction,
the peace of mind has to come from within.
[Speaker 2] I think the end is the lie
that we tell ourselves
turns out to be true.
[Speaker 3] Absolutely.
It's my big break.
(people laughing)
(gentle music)
[Narrator] Hi.
Oh hi Sarah.
Saara, yeah.
So I've gone out, I've been a bit proactive.
Hopefully that's all right, I just wanted to provide,
'cause I know you didn't get a chance
to see my first film, which is fine.
Okay.
But like, so I did like proof of concept.
So then it will be easier for the agents
to give me some funding when you see what it actually is.
So there we go.
So I've been filming this
while I've been in different festivals.
So New Caledonia,
I've been in Berlin filming it, in UK.
[Speaker 8] Australian landscape,
any Australian landscape?
Yes, definitely.
There's definitely bits in Melbourne as well.
And Cannes, Cannes film festival.
So that was great 'cause we got some names on board there.
Like who, like who?
I know you wanted names.
So Judi Beecher from Taken.
Never heard of her.
Okay, well you'll like this one!
Jane Badler.
She's my biggest name in it.
Did you watch her?
In what?
V?
Did she do the V commercial for the drink?
No, the the the TV series
like she was a really good, like a really big cult name.
Never heard of her.
That's my biggest name.
There are a few others.
Do you like that bit?
I mean it's a bit art house.
Oh sorry, that's my phone Saara.
Oh sorry Saara, I've gotta take this call.
But you might want to enjoy
our latest indigenous investment, beautiful carpet.
(gentle music)
[Speaker 2] It's about self involvement,
that's one of the themes.
And why not let that be explored?
[Speaker 3] But here I think it's so front and center
like you were saying that I think
what will happen is that it will become self-analysis
and the story will kind of make itself.
[Speaker 2] I think
as you were saying that self involvement
is something that is necessary or is something that,
I mean it naturally expresses itself
in film making or when you create something.
I think when it's self involvement
that's concerned about the opinion of others
and the judgment of others is limiting.
But when self involvement is concerned about others,
if that is the concern of the self,
then perhaps it's not necessarily
a bad thing to be self-involved.
If that means it's for others.
[Narrator] How do I explain to people
that I'm lonely and sad
when it looks like I'm happy and I'm doing things,
but that's my coping mechanism.
(ominous music)
If I stay home, I'm likely to get so depressed
I wanna kill myself.
So of course I go out, but it's...
Desperate
(gentle music)
(upbeat music)
But you know what I hate the most,
I hate the way people recognize me and they like swarm me.
I hate it.
Matthew has totally let himself go.
Look.
Jonathan, honey, could you bring me some more?
[Narrator] Have you thought about the role
that we talked about?
What role is that?
[Narrator] For my next film that I want you to be in?
Oh, you're a filmmaker, oh.
Yeah, I that's how I know you, like...
Okay.
(gentle music)
Hey, Cold blue Productions.
Yes, Saara, hi, Saara.
Nice to meet you.
Thanks for asking me to come in.
Thank you very much.
Particularly with a view
to highlighting female directed stories.
This is very important to us
and important to a lot of viewers out there.
They wanna see themselves.
Yeah, so did you guys want me to pitch my projects or?
I'm just not quite understanding like the genre,
storytelling great, but like what?
I don't know, I find genre a kind of limiting term.
So we are very open.
I couldn't agree with you more.
Exactly.
See, so are very open to this, right?
So what we highlight is sensual communication.
Sensual communication?
We wanna bypass language altogether if possible.
You are the sort of person
we think should be on the front line.
So it's basically porn.
Erotica.
Erotic films.
So why did you ask me to come, for this meeting?
Like why me?
We're looking for authenticity.
This is something that I noticed
you have a lot of in your films.
You're all very much about capturing that moment,
the moment of realization,
the actual being able to see reactions in people's faces.
(water whirring)
(gentle music)
(upbeat music)
You should come out, I've got a boat just across,
see the one, that big one just by the one going by,
it's got a lovely little bedroom.
Nice cozy music, people love sex.
They always will, despite all this Me too shit,
it's what people want.
They might go along and say, yeah, me too.
Times up, when they're at home they're jerking off,
they're watching PornHub, they want sex, you know?
Yeah.
Regardless of what they say.
Yeah... So, what-
It's how it works here.
It oils the wheels, you know what I'm saying?
Yeah.
But yeah, I've got investors lined up.
People I can get.
(gentle music)
(person sighing)
(upbeat music)
[Announcer] In other news,
the film maker Saara Lamberg has fallen again.
(gentle music)
[Narrator] Okay, now we are gonna have about two minutes
of pretty pictures
with some lovely music. And also feel free to
get your phone out because this is your opportunity
to have your phone break
'cause I know you have been wanting to look at it
or have a toilet break.
But if you get your phone out, do it now.
Scan this picture and tell someone about this film please.
Pretty, pretty, pretty please.
(upbeat music)
♪ Hey, hey yeah ♪
♪ Throw out all the fakers ♪
♪ Falling at your door ♪
♪ Hang up all the hammocks ♪
♪ On the dressing floor ♪
♪ Why are all the get ups ♪
♪ More is what you need ♪
♪ Wake up all the low lives ♪
♪ Enjoy every breed ♪
♪ When you are famous you'll be begging the homeless ♪
♪ For something ♪
♪ When you are famous ♪
♪ You'll be begging the homeless for something ♪
♪ When you are famous ♪
♪ You'll be begging the homeless for something ♪
♪ When you are famous ♪
♪ You'll be begging the homeless for something ♪
♪ When you are famous ♪
♪ And I am the walrus ♪
♪ Send telegrams to the ones with a fortress ♪
♪ We'll give all the gnomes in the garden a phone call ♪
(door bell ringing)
(person breathing)
[Narrator] Hello, Saara,
this is your future self calling you.
(gentle music)
Enjoy the making of this film.
'Cause right now, right now shooting this,
you are having the best time that you ever will have.
This is the fun part.
It's all about the journey, and then the destination.
But, the stuff in the middle is gonna be gruesome.
The editing, the sound mix, all the post-production,
you are going to be fed up with it.
So now, enjoy this part.
(gentle music)
Oh, Saara, welcome.
You called me in.
Have a drink, just in time.
Do you have some good news?
Have a drink, have a drink.
Am I getting some funding?
Cheers! Market research, indigenous funding,
rural community, funding, jobs, community funding,
funding the gap, community involvement, film content,
taxpayer's money, funding the gap.
Rural community, jobs, community, responsibility.
Ethical responsibility
Content, market research
Rural funding, funding the gap
It's a winner, it's a WINNER
So...
No funding?
(lauhter)
(people barking)
(people cheering)
Who am I without memory?
Let it out.
(people sighing)
(people cheering)
(gentle music)
[Narrator] If you ask me what the meaning
of any of this is,
it's very difficult to explain verbally.
And I guess that's why I make films
and that's the whole purpose of art
is that if something could be explained with words only.
[Speaker 2] I'm not sure what you mean.
I'm not sure what you mean by that question.
[Narrator] This is a film about film making
and it's best described as a mocumentary.
So it's like sort of fiction and sort of factual.
And to be honest, I'd rather you not know
which parts are fiction and which parts are faction.
Faction, is that a word?
Don't think so.
But it sounds good, faction.
(gentle music)
[Speaker 8] Hi, yes, your application.
Thank you, so sorry, not been successful.
Oh.
[Speaker 8] Yes, you applied as a writer,
director, producer.
Just not possible for one person to take on all those roles.
I already made a film doing just that.
I had 200 people help me make the first film.
It's not that I operate alone,
it's just that I carry the responsibility.
[Speaker 8] Yeah.
But they are all minor roles you claim
to take on all the major ones.
Writing, directing, producing.
There's only one person in this country that can do that.
What's the difference between me and him?
[Speaker 8] Oh sorry, gotta go, another call.
You know, thank you so much
for your application and good luck.
[Narrator] When my first feature film was ready,
it got invited to lots of festivals around the world
and I thought, I'm gonna make my next film whilst I'm there.
The crew was just me and actors,
whoever happened to be in those destinations.
So Saara, what did you enjoy about making this film?
I did enjoy all the shooting, but to be honest,
I absolutely hated the post-production.
It took me years to do.
I got very ill then there was pandemic
and my other film couldn't release because of the pandemic.
So I had no motivation to do this one.
And it's the first feature film that I'm editing.
It didn't have a script, it's been a nightmare to edit.
I hated, hated editing this film.
I cannot wait for the journey to be over
and for the destination of the film being ready
to already be here.
(gentle music)
[Speaker 2] That's a poetic
and dark way for this film to end.
And I suppose it's an incredibly clever marketing tactic
and I hope it doesn't eventuate.
[Speaker 3] That's an idea I did consider,
but I also thought that it would have to be done
in such an interesting way.
Like that would have to be both art and investment
in that art and it would have to be like poetic
and literal, make literal sense.
If she did die at the end
it would be either captured on film
or it would be part of, it would happen at a festival
or it would happen in some sort of way
where it would become much more than just the act of death.
It would become this symbolic,
beautiful poetic thing as well.
So it would have to be horrific
and beautiful at the same time, I think.
[Speaker 2] Yeah, perhaps when she's accepting an award
for best film and she's making the speech
and that's when she has a moment
of serenity wash across her face and she slowly drifts off
into a peaceful slumber
in front of millions of people live on TV.
[Speaker 3] Yeah.
Where she were let's say die on the red carpet
at a film festival,
from having taken drugs or being poisoned
or something beforehand, that could be quite poetic.
Well, I don't know, cancer is a hard thing to have
without there being some sort of time given.
Like if in a film she's told,
oh you've got three months to leave or something like that,
then that maybe would give an impetus to the story.
If it was something that was hanging around
in the background and she was actually kind of okay
for a while, then that would give it less,
I think, yeah, it could work.
Yeah, I think that would be quite a dramatic turn.
And it'd also give context for the film
because it would establish the need
for a revisitation or a rewatch
because perhaps she's making this film
as a Swan song, knowing her condition
and knowing the end is in sight and there's a hidden
and deeper message embedded within
once you realize the truth.
[Speaker 2] Do you think that message might be,
cancer gives you lies, lies gives you cancer?
[Speaker 3] Absolutely, and if they're not dealt with,
then they can spread and yeah,
the film is, is, is, is, is, the, is the the airborne virus
or the spread of that disease.
I mean film is a way to infect people with ideas
and with emotions and with all those sort of things.
So perhaps it's also a metaphor for cancer.
(machine whirring)
(brush whirring)
[Narrator] So the cancer stuff, that's real,
I'm recovering, people say, oh, is it gone? Well...
Is it ever fully gone, like it grew pretty fast.
So who's to say it's not gonna grow again?
But then again, if I only get cancer
and not early onset dementia like my mom,
then I consider myself lucky.
(gentle music)
It's kind of really interesting.
I'm not even famous but people already think that I am
the characters that I play,
even when they know me quite well, they still think
that whatever's on screen is real life
and I can't argue it cause like,
who am I to say it is or it isn't?
(upbeat music)
I find it really difficult to say a lot
about some of the Me Too campaigns
when it comes to male stars
and like, should we still watch their work
even if personally they've done these things
and people are like, well,
work is work and personality is personality.
No it isn't.
I know for myself that this work is my personality.
So yeah, it's a mind fuck.
(gentle music)
So this is the problem with art, isn't it?
That I just can't actually explain it
and you might feel frustrated watching it
or you might have all these questions
in your mind and you might get bored and that's fine.
But then you know you will get bored in your life anyway.
Art is subconscious
and it's exploring -
what anything else fails to explore.
And that's the value of art.
(gentle music)
Balle Balle Shava Shava
(people cheering)
(gentle music)
I decided not to do a section about the pandemic
because I imagine all the films in the next 10 years
will be about the pandemic and hey,
here's something different, yay.
I suppose I should really provide some kind of an ending
to the film, conclusion if you like.
And given there is a voice over,
that's probably to be expected,
so that you can go back to your life,
walk out of the cinema, walk back into your bedroom,
or simply just fall asleep in your bed
where you have been watching this streaming.
Happy with yourself to have achieved something
by watching this.
That's what I really, really feel like
I owe to you in this situation.
But I've got no clue what to say.
Now, that's the honest truth.
I have no idea.
So thank you from the bottom of my heart for watching.
It really does mean a lot.
And yeah, have a good day,
have a good night, have a good life.
(ominous music)