Maddie is a young, talented and ambitious actor and film maker that has mastered the art of ‘having a go’. Having graduated from Acting School into a tough Covid ridden industry, Maddie decided to write, produce and co-direct her own movie ‘Maddie’s Red Hot’, generously casting herself as the lead role. Sherston’s advice is “DBB – don’t be boring” as she strives to make her future children nepo babies.
1. Was there a particular event or time that you recognized that filmmaking is your way of telling stories?
I love the way I am moved after a film, when the stories good I am often thinking about it for days after. I love the way cinema transforms a story, this inspired me and excited me enough to give it a go myself. And, truthfully, as a young, unknown actor, it became a very practical way to showcase my talent without waiting around for the phone to ring. I would go to the cinema every day if I could. I would be made up of 80% buttered popcorn. Dream.
2. Do you think it is essential to go to a film institute in order to become a successful filmmaker?
I would say there isn’t any set of rules when it comes to successful filmmaking. Film schools are great for connecting with people but there is so much learning during the film making itself. I say making ‘Maddie’s Red Hot’ was the best film school ever. I was lucky to have Jeremy Cumpston my co-director as a mentor. He showed me the ropes. I learnt so much from everyone in the crew and cast, they were all unreal.
3. Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?
Getting started for sure. I had no idea if I was going to be any good. I knew I wanted the end result, to be a lead in a film that I wrote and got off the ground sounded too cool to pass by. The idea that I got to control my own narrative in an industry where you have little control and need lots of patience was game changing.
4. What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?
I learnt that film making is really hard, really expensive but the best fun you will ever have. I also found myself learning that I am ‘good enough’ to do something this big and brave. I could really see my personal growth throughout the project and that was really exciting. The support I had from my partner Hal Cumpston helped me so much. When I’d start to doubt myself he would say “don’t forget – you’re Maddie fucking Sherston.” Whatever that means… but it would help!
5. What were the production realities from casting through editing that you had to accommodate? How did you navigate those compromises or surprises and still end up with a cohesive film?
The whole thing is problem solving. It definitely isn’t glamorous for the most part but it’s all character building. There is lots of collaborating and compromising. And asking people for money and favours. The final result is a cohesive because of all that collaborative teamwork.
6. What was the hardest artistic choice you made in the making of a film, at any stage in production?
This would be the edit in post production for sure. We shot so much. The first film we had was 25 minutes. It was too long. I can’t believe we cut 15 minutes out of it, it’s crazy how much you don’t need to get the story across. We stripped it back and focused on making it clear, tight and funny. It was hard as I felt attached to the whole thing. ‘Killing your darlings’ is what they call this and it’s true you may love something but it might not serve the story. The edit changes the film so much and pace is super important in a short. My editor, Jule Mouawad and I were on the same page – it also helped that he is a genius at doing his thing.
7. You are a collaborator. How have you discovered members of your team and how do you keep the relationship with them strong?
A lot of the team were my friends and family or soon became a close friend. I owe them all favours and would jump at the chance to help any of them. Everyone was an expert in their field so it was a case of listening to everyone’s ideas, trusting them and respecting them. Making sure they were fed and caffeinated…respected and caffeinated… but mostly caffeinated..
8. What do audiences want? And is it the filmmaker’s role to worry about that?
Audiences want to be entertained. In a comedy they want to laugh. A film maker should always have this in mind. I would write things down in my phone notes after good conversations or funny situations. The real awkward and funny stuff that happens in life makes for the best most realistic stories.
9. What role have film festivals played in your life so far? Why are they necessary? How do you get the most out of them?
Film festivals have made our little Aussie film into an international, I’ll say it, sensation. When I found out Maddie’s Red Hot won Best Comedy at Toronto International Women’s Film Festival I was like this is the coolest thing ever. Then it played at BARCIFF in Barcelona and they put Spanish subtitles on it which I thought was so funny. I had no idea if the comedy would translate in Spanish. I ended up getting some Spanish instagram followers and I was like what the heck!! So cool! And now, Short to the Point has given the film a fresh, new platform and I am really grateful. Festivals are where you get to show off your hard work!
10. Do you believe that a filmmaker should be original and fresh or he/she should stick to classic but safe cinema style?
Whatever makes them the most excited. That excitement and love will really translate into the work. Just give it a go, no matter how you do it.
