Archive for radio

Podcast Ahoy!

Posted in Uncategorized with tags , , , on January 13, 2010 by babydylan

The slightly less productive and distracted half of babydylan has started up a podcast! After realising there was access to a recording studio and a whole plethora of filmnerds, CineCultania was born.

Check out the first episode over at:

Ben and Alex talk about our top 3 films for the year and the decade and a whole lot of other semi-useful facts. You want random tangents, you want a bit of swearing, you want us giggling at nothing in particular and revealing our embarrassing film loves? It’s all there. Tell us what you think.


Sarah Watt on new film, ‘My Year Without Sex’

Posted in Uncategorized with tags , , , on June 12, 2009 by babydylan

Airing between 3pm-4pm on Sunday the 14th of June, Alex (the radio girl of Babydylan) had a speical interview with Sarah Watt for the release of her new film. Feeling very nervous to be interviewing one of her idols, they had an enthused chat and hopefully didn’t babble too much. Posted here just for Babydylan readers is the transcript of the interivew. Hope you enjoy, Alex & Eugene.

Sarah Watt

Sarah Watt

ALEX: Good afternoon, you’re listening to Arts Mitten on SYN. And today we’re talking to Australian writer and director Sarah Watt about her latest film, My Year Without Sex. How are you today, Sarah?

SARAH: Good, thank you.

ALEX: Good, great to have you on the show.

SARAH: Thanks for having me.

ALEX: For those who haven’t seen the film, could you give us a brief introduction or overview of what it’s all about.

SARAH: So hard to say, trying to cram so much in. In its wholeness it’s a portrait of where a very average family was in 2006 when I wrote it. Also about consumerism and how we get through our days and what meaning we can derive from them. It’s also a kind of love story, but about a whole family of four people and how they reassess their lives after a major event.

ALEX: It’s a really interesting film. Everyone I’ve spoken to has really related to the family and seen themselves in it either through the parents or the children. You’ve captured that really well.

SARAH: That’s great!

ALEX: I was wondering how you came up with the idea? Was it something from your own life or from something you’ve observed?

SARAH: In the beginning I was more interested in society and how it felt so wrong and unsustainable. Through what we consume and what we didn’t care about. I had a particular beef about how everyone wanted a swimming pool in their own back yard rather than caring about the community. So it came out of ideas like that. But then the actual story of a way of looking at society came out of my own life but also a friend of mine who had a medical shock. So I kind of used both; my thinking of ‘what are we here for?’

ALEX: Just taking bits from things you’ve heard in your own life and other people?

SARAH: Yeah, I’m a bit of a magpie like that. (laughs)

ALEX: I think that’s interesting, as it feels very real and it’s come across quite well.

SARAH: You know it’s quite hard to do that. I think some people have looked at the film and thought, ‘Oh it’s just like you’ve walked into a house and grabbed this documentary style.’ When it’s actually a really constructed film and very tight and it kind of feels like it’s too real for some people.

ALEX: I really liked how real the dialogue felt because it’s nice to see an Australian film that’s not all about drugs and death. This was really warm, especially the ending of the film how it ended with hope. Because there is so much going on that is quite sad but it ends on such a positive note

SARAH: That’s the thrust of the film. Just because all these bad things can happen in the world doesn’t mean they are going to happen. So in the meantime you might as well live with the glass half full. I’m a real stickler for that real dialogue. I can’t watch any film where one character you don’t believe and you can see the acting. I fall out of believing it.

ALEX: I was wondering about that, with the casting of the film. I know you’ve worked with Sacha Horler before on Look Both Ways. When you were writing the film, did you have her in mind for the casting or did she come about through the audition process?

SARAH: Just through auditions. I find it difficult to write with people in mind. I think the audition process is really good. Australia has so many great actors, it’s really good to explore that. It’s the beginning of giving away the characters from the writers head to the directors head and so it’s a nice process to have to go through.

ALEX: I thought the whole family was amazingly cast, especially Ruby.

SARAH: Isn’t she great!? Her parents are going to find it hard to keep her off the street.

ALEX: She’s fantastic. There is one scene I love when they are sitting in the service station and the kids are bickering and she uses the menu to tease her brother. That’s such a wonderful moment you captured. Was that your direction or her own?

Films charming family

Film's charming family

SARAH: A lot of it was her. She’s a real bright spark and one of the most pleasant kids I’ve ever met which you think wouldn’t go with her character.

ALEX: The whole film seemed to hinge on the family being real and I found myself looking at the children and thinking ‘That was me!’ I was so obnoxious and annoying. It really made me sympathise with my parents and I feel I owe them an apology.

SARAH: (laughs) That’s gorgeous of you.

ALEX: I was also curious about the location of the film. Because it’s a really Melbourne film and it was really nice seeing Melbourne as it is, not disguised as something else. There’s been a lot of films out recently that have used Melbourne as something else, such as The Knowing or Ghost Rider. It’s interesting to see Melbourne as it is.

SARAH: Yeah, well I didn’t particularity want to set it in the Western suburbs, just because I live there and it’s an eaiser commute. It could have been set in anyone of those ring suburbs. I love Melbourne, I think it’s a great city and I would have loved to have made something that celebrated other aspects of it.

ALEX: I was really interested in how you’ve taken things that aren’t sterotypcially Melbourne, but if you live here you would know them. Places such as the Russell Street cinema. There is one shot you have used framing the roof and how it curves up. It’s such an interesting place to put the camera. I would never have thought you could make this old cinema look so beautiful. Did you just go to the location and decided there to do that?

SARAH: We just always loved that location. With cinemas it’s virtually impossible to get. We couldn’t get a location that was a big suburban megaplex. So we used the Russell Street cinema.

ALEX: I think it’s really familiar for all the people in the city.

SARAH: It had the feel of the big suburban cinema and you just couldn’t not photograph that roof!

ALEX: I’ve been there so many times, I never thought it could be shot like that. I saw My Year Without Sex in a packed cinema and the guy beside me saying, ‘That’s beautiful!’ And there was another scene I thought captured that quite well. The scene where Matt Day is sitting outside the house at Christmas time. This comes back to before, where you were talking about capitalism and consumerism. All the celebrations are meant to be such a joyous time and yet, they can’t be happy unless they have the latest ipod. And the image of him sitting outside, with the lights behind going off slowly, eating the carrot with the dog on his lap. It seemed to sum up everything he was feeling.

SARAH: I don’t know whether you noticed, but in the background you can hear the neighbours further away having a party. It’s the whole thing of Christmas Eve in Australia as a time to get totally written off (laughs).

ALEX: And he is sitting there with his wife inside, chewing the carrots pretending to be the reindeer…

SARAH: I love that moment.

ALEX: I was wondering how you found the house as it is such a character as well.

SARAH: I was looking before Christmas, looking to see if we could get some shots before we were financed of the Christmas decorations, otherwise we wouldn’t be able to afford to do it. So I was driving around, with my kids in the car driving around trying to find houses with lights. And my daughter saw an elephant! Something completely ridiculous to see when driving around Altona North. We’d actually stumbled across a film shoot of ‘Elephant Princess’ which I think is a TV series. And next door to this elephant house there were these fantastic Christmas decorations. And when I went across the road to take photos, I stood in the yard of this house and turned around and thought, ‘This is it. This is a great house.’ And it just turned out that that house was empty and the owners were going to renovate it to rent it out. So we rented it out and it was all perfect. A nice bit of serendipity.

ALEX: That’s a great story!

SARAH: And I was so close to saying, (patronizing voice) ‘Yes, dear!’ and driving off!

ALEX: Getting back to your earlier films, in Look Both Ways and your short film you use a lot of stop motion animation which it was quite famous for. Yet in this one you didn’t use it as much, more for the transition scenes between the months and the use of stock footage.

SARAH: I liked the artificial structure around the realism. In Look Both Ways it was an organic part of the story, needing to know what those characters were thinking, projecting something different than what they were really thinking. And there just wasn’t room for it in this one.

ALEX: I think with Look Both Ways, I think it fit well with those characters – her being an artist it was organic. But as you said, it might not have worked as well for this film. I’m sure you’ve thought about it a lot more than I have.

SARAH: Sometimes it just starts being an indulgence or you start adding more to make it interesting, but I feel it has to come out of the characters and what the film is actually trying to say.

ALEX: And that is where the transitions between scenes worked really well.

SARAH: I liked that, as I think a lot of the film I about what happens off screen as well as on screen.

ALEX: A lot of people have liked the unique way of changing scenes, not just a subtitle on the bottom, just something different.

SARAH: And it was meant to be, it has a reason outside of it. You’re inside this little family, in this little suburb and then you get to see they are part of a huge world, then back to the little world. To try and tie the big and little world together.

ALEX: Sadly we are going to have to leave it there today, I would love to chat for a lot longer. Thank you for coming on the show.

SARAH: Thank You.

ALEX: You’re listening to Arts Mitten on SYN.

Thanks for your time Sarah.

Thanks for your time Sarah.

We’re on the air!

Posted in Uncategorized with tags , on March 26, 2009 by babydylan
Alex (the smarter half of babydylan) has got herself a small gig on radio and is broadcasting her film love to Melbourne on 90.7 SYN FM. Every Sunday from 3pm Alex (or Lexie as she is known on air) is doing a 10-15 minute film slot talking about recent festivals, film genres and general filmy chitchat. It might not be all that insightful, but lend us your ears for an hour if you get the chance.