- THE THORN IN THE FLESH
- GUMSUCKER
- YACKANDANDAH
- GUMSUCKER
- YACKANDANDAH
All of us know, whether or not we are able to admit it,that mirrors can only lie, that death by drowning is all that awaits one there. It is for this reason that love is so despertely sought and so cunningly avoided. Love takes off the masks that we fear we cannot leave without and know we cannot live within.
(James Baldwin, The Fire Next Time)
(James Baldwin, The Fire Next Time)
TADPOLES 12’53” 2021
SYNOPSIS
Troubled by a newfound concept of death, and his frustrating sister, an 8 year old boy begins to feel very small and alone.
As his understanding of life grows so too does their sibling bond.
AWARDS
2022 Australian Director’s Guild Awards - Best Direction In A Student Film (Nominee)
FESTIVALS
2024 Reel Good Film Festival
2023 Heart of Gold International Film Festial
2022 Winterthur Kurzfilmtage
2021 Rhode Island International Film Festival
2021 Flickerfest International Short Film Festival
CAST + CREW
Will Cooke
Daniella Cooke
Writer/Director/Producer/Editor James Menelaus Rush
DOP Charles Alexander
Production Design Angelica Rush
Costume Alice Wilson
Sound Recordists Mig Artugue + Jan Wong
Sound Design + Mix Karl Fee
CAST + CREW
Will Cooke
Daniella Cooke
Writer/Director/Producer/Editor James Menelaus Rush
DOP Charles Alexander
Production Design Angelica Rush
Costume Alice Wilson
Sound Recordists Mig Artugue + Jan Wong
Sound Design + Mix Karl Fee
DIRECTOR’S STATEMENT
Down from next door’s paddock Will and Daniela screeched into my life.
Like two searing fireballs, each rotating around the other.
They reminded me of the relationship I had with my own sister at that age.
In this same, special place inundated by nature.
It was lockdown. We were all together.
I wanted to try and find a way for us to play, to connect and to remember.
So I began to explore my memories of childhood in the area.
Reflections deeply engrained with sentiments of two grandparents no longer present.
With sketches of words slowly forming an idea, I became aware of the fact that
recently their grandfather has passed too.
I explained to their father, Tony, my intentions. His last words being,
good luck getting them on board.
Also.
They are leaving in 7 days.
We spent the coming days just exploring and sharing stories, memories.
I showed them hidden streams and secret hideaways from my own childhood in the area.
We began to find a communal wavelength, one we could all move forward on together.
I didn’t want either of them to ever feel overburdened by anything the
film was quietly traversing. I knew it was already in them and that it
would be more a matter of directing their physical energies as
opposed to trying to force out any understanding or thoughts of
things. Finding ways to keep the journey fruitful and engaging, things like
archery competitions and treasure hunts, allowed for a depth in
seriousness when it was called upon. They were naturals in every sense of the word.
Them having never acted and me having never directed children - we all found ourselves in playfully uncharted territory.
Featuring a crew of just 4, the majority being family members, the team dived in headfirst to this incredibly organic process and experience.
In taking these steps into the unknown with Will and Lely the project offered an opportunity
for both myself and the children, each in our own ways, to explore
to share emotions and sentiments dear to us about the processing of lost ones
the benefits of honestly sharing and communicating grief with others.
Down from next door’s paddock Will and Daniela screeched into my life.
Like two searing fireballs, each rotating around the other.
They reminded me of the relationship I had with my own sister at that age.
In this same, special place inundated by nature.
It was lockdown. We were all together.
I wanted to try and find a way for us to play, to connect and to remember.
So I began to explore my memories of childhood in the area.
Reflections deeply engrained with sentiments of two grandparents no longer present.
With sketches of words slowly forming an idea, I became aware of the fact that
recently their grandfather has passed too.
I explained to their father, Tony, my intentions. His last words being,
good luck getting them on board.
Also.
They are leaving in 7 days.
We spent the coming days just exploring and sharing stories, memories.
I showed them hidden streams and secret hideaways from my own childhood in the area.
We began to find a communal wavelength, one we could all move forward on together.
I didn’t want either of them to ever feel overburdened by anything the
film was quietly traversing. I knew it was already in them and that it
would be more a matter of directing their physical energies as
opposed to trying to force out any understanding or thoughts of
things. Finding ways to keep the journey fruitful and engaging, things like
archery competitions and treasure hunts, allowed for a depth in
seriousness when it was called upon. They were naturals in every sense of the word.
Them having never acted and me having never directed children - we all found ourselves in playfully uncharted territory.
Featuring a crew of just 4, the majority being family members, the team dived in headfirst to this incredibly organic process and experience.
In taking these steps into the unknown with Will and Lely the project offered an opportunity
for both myself and the children, each in our own ways, to explore
to share emotions and sentiments dear to us about the processing of lost ones
the benefits of honestly sharing and communicating grief with others.