This year AFTRS partnered with the Sydney Film Festival to present the panel – This Industry Is Not For Me: How Training Can Kick Down the Door, to share insights into the inner-workings of the screen industry and how emerging talent can find their footing.
This conversation, moderated by filmmaker Skye Leon, featured panelists Ellen Hodgson, Jayden Rathsam Hua, and Sofya Gollan, who brought a range of screen industry backgrounds and lived experience to this lively discussion on how to handle barriers to entry.
Skye Leon is a Lardil Yangkaal and Worimi filmmaker with a youth and community worker background. She interned with the ABC’s Children’s Department (AFTRS Graduate Program 2021) and spent a year as a staff writer for Jungle Entertainment (2022 SBS Emerging Writer’s Incubator).
Ellen Hodgson is an Anishinaabe / Apsaalooke filmmaker who grew up in Ngunnawal Country and resides in Wurundjeri Country. She is a producer and the Community Outreach Engagement Manager within the First Nations and Outreach team at AFTRS.
Jayden Rathsam Hua is a Chinese-Australian director, writer, and producer. He co-founded the Australian genre-focused production company Cosmic Scream and his horror short Sushi Noh, has won multiple awards, including ‘Best Screenplay for an Australian Short’ at Flickerfest 2023.
Sofya Gollan is a multifaceted AACTA-nominated filmmaker, actor, and playwright. She is known for her work on Play School, advocacy for diversity and disability inclusion, and support of Deaf/Disabled and Neurodivergent (DDN) creatives.
They shared advice on what they wish they had known starting out, what opportunities exist for under-represented groups, and what it’s like transitioning into the screen industry from another career. These are seven takeaways from the conversation.
OPPORTUNITIES FOR UNDERREPRESENTED GROUPS
Ellen explained that she entered the industry through a non-linear path. She worked for Marvel and HBO and now supports equity in screen through outreach work with the AFTRS First Nations and Outreach team.
“Everyone has these values [inclusion and diversity] in their policies – that all Australian stories need to be told. There is a commitment for our stories to exist. The trick is finding these opportunities,” she explained.
“There is no central source of truth. You have to do some research and spend time looking for things – go to universities, go to funding bodies, find which films are being funded and screened, email people and ask questions. How do I apply? How do I ensure my application is good?”
Sofya added,
“Everyone has opportunity, but there is a hierarchy of opportunity depending on who you are, what you look like, and what you sound like—understanding that is essential to finding your way in.”
She pointed out that after graduating from AFTRS in the late 90s, her opportunities looked different from those of her peers, and the culture had to change before she was considered competitive. “Learn new things and find a way to make your path into the industry. The same door for two different people will take them in different directions – if you must compare, do it with the aim to take inspiration rather than beat yourself up.”
Jayden explained how there is a tendency to expect a linear progression, but the creative and collaborative nature of the screen industry works differently.
“The projects you work on are a constellation of stars; each project will lead to other opportunities.”
“At the end of the day, it is about knowing where you want to go. You need to be articulate about it, take ownership of the opportunities you are afforded, and ask yourself, ‘Who can I talk to?’ Seek opportunities and mentors who take you in the right direction.”
OVERCOMING BARRIERS WITH TRAINING
“There is nothing like being with other nerds that love the same thing as you”, Skye noted.
“[Training] Is a commitment to working in the industry…”, continued Sofya. Training gives direct access to working professionals, like-minded people with whom you can work together throughout the rest of your career.”
Ellen noted the need for technical training in particular roles. For her, “The training was a great inspiration and the process of discovering that I could do it. I commit time to this. I’m passionate about it.”
“Coming together to train and connect with like-minded people and renewing the creative energy are the main reasons that make it worth it.“
TRANSITIONING CAREERS
With a background working as a travel agent in Canberra, Ellen found transferrable skills between her previous job and producing for screen. Facing up to the challenge of transitioning careers and moving cities gave her the strength to succeed in the screen industry.
“My experiences as a professional elsewhere allowed me to move quickly trough the junior roles and progress faster,” she added that managing high pressures and challenges was fundamental.
“Considering personal experience is as important as professional experience in the creative discovery of one’s career path.”
Jayden echoed Ellen’s sentiment, the more time he spends in the industry, the more he realises that “real-life experience is the actual juice for storytelling. You must live your life—go out and do stuff that is unrelated to film.” He pointed out that for those considering pivoting their careers, it is important to take pressure off and acknowledge that they have already been doing essential work, as their previous life experiences constitute valuable storytelling material.
He explained how his legal background preceded him, with peers in the screen industry pointing out how valuable that knowledge must be in the industry. He found his background was useful in “absorbing an overload of information and synthesizing the important thing that needs to be taken on board,” a process fundamental to the iterative creative process.
Sofya felt she needed to be normal to fit in when she graduated. She added that it’s great to see a culture change enabling diverse representation on screen.
“If you’re from an underrepresented group, we need your stories”.
“Now culture is so much more diverse – get the training, graduate and get to the industry – find what the audience wants, discover what’s the appetite so that you can find your way in.“
THE DANGER OF COMPARISON
Ellen explained the importance of allowing yourself space and the opportunity to meet people along the way.
“Opportunities come from other people – really care about people and your community of filmmakers, bring people together,”
“Create a writers’ room, operate as a community. Then you have a connection, and your efforts support everyone in the community,” continued Ellen, noting the importance of acknowledging the contribution your family members and friends make to your filmmaking journey.
“Be proud when your work sucks a little!” Jayden pointed to the importance of acknowledging progression. The biggest hurdle is creating something in the first place, it means you’ve got something to improve on. Not being afraid of error is the first step to overcoming your fears and getting over that perfectionist outlook. “That gap between where you want to be and what you’re capable of is a constant fight.”
“It is intimidating to start anything – it might suck a little but commit to doing it.“
DESIGN YOUR PATH
As the panel discussion ended, the audience asked if Jayden had experienced “climbing the wrong ladder,” and how to persist in finding a direction.
Jayden explained he was fortunate to work at Industrial Light and Magic after graduating from AFTRS; it was a great job, but ultimately, it pointed him in the wrong direction as he was not looking to develop a career as a VFX producer. “In the beginning, all opportunities are good, but when the role is ongoing, start thinking about where you want to go—don’t get complacent.” He explained that this prompted him to move to TV development, eventually leading him to open his own production company.
Sofya added that there are no wrong decisions, “Hypothesizing about a possible other life is just pointless – just make the best of what you have.”
The audience asked Sofya for advice for someone with a day job who wants to start in the industry. She recommended keeping the creative light on, even if it’s just a single project on which you only work part of the time. As an example, she mentioned how she had worked for 5 years on a documentary, juggling simultaneous other work and family commitments. “Do what you can – it is really up to each person how to divide the time – the day job gives you access to stories and people that are not in the industry, which is a rich contribution.”
Jayden added that films take a long time to make, and it’s good to get comfortable with delayed gratification. “It is intimidating to think about a five-year plan to put up a project together when you actually don’t even know if it’s going to work out.” He suggested overcoming the initial barriers by creating in short spurts, starting by creating something that takes one weekend, then a month, and eventually years. Always remember that,
“The first thing you work on doesn’t have to be your magnum opus.“
Skye added that releasing pressure is essential when dealing with creative energy.
“Creativity is an energy with in us that can be channeled into our craft, but also into our jobs, family, relationships. So if you find yourself less productive than you would like to be creatively, remember that that doesn’t mean your creative potential isn’t there, it’s just being refocused.”
The conversation neared its end with a member of the audience asking for words of encouragement for independent filmmakers who want to tell different stories.
“Currently, there is aesthetic fatigue in the industry – so the industry does really need us and our stories and our authenticity,” said Ellen, “As human beings, we connect to story to understand the world we live in. Much of the classic films are from renegade filmmakers, so keep going.”
When a member of the audience asked which subjects they should choose in high school to tailor their education towards a career in the film industry, Jayden suggested they should select their favorite subjects.
“The best thing you can do is select the subjects that are most interesting to you – don’t worry about technicalities in year 10, just follow your interest; as a filmmaker, you are in the business of showing interesting things.”
After all, this what makes stories unique: they bring different angles and perspectives on something we thought we were familiar with, or they reveal something we did not know before.
The engaging discussion carried on well after the panel ended, with filmmakers and the audience mingling and swapping insights and lessons learned, Once again, the Sydney Film Festival proved not just a powerful platform for local filmmakers – no fewer than 22 films made by AFTRS students and alumni were in selection this year – but also fertile ground for conversations about career pathways and access to the screen industry.
