Filmgraphics Entertainment's David Denneen On Mentoring

Filmgraphics Entertainment's David Denneen On Mentoring


Australian production company Filmgraphics Entertainment has a remarkable trump card up its sleeve – company founder and legendary director David Denneen. A well-regarded and hugely influential figure in the commercial production world, Denneen not only spends his time creating award-winning work, but also focusses his attention on finding and developing talented newcomers in the directing field.

2013 has seen the company introduce three fresh-faced directors to its line-up - Ariel Martin, Gracie Otto and Alina Gozin'a. We managed to grab a few moments with David to ask him about the mentoring process, the type of directors emerging nowadays and what advice he'd impart on his younger self.

David Denneen (center) with Alina Gozin'a (left) and Gracie Otto (right)

Filmgraphics Entertainment has a slew of talented new directors about to start. Why do you think it's important to bolster your roster with up-and-comers?

Filmgraphics Entertainment has trained so many people in the industry over the years; directors, producers, editors, cinematographers and production managers. It is important that we don't lose the craft of filmmaking. Even though we have fully embraced the digital world, we still have to tell stories, understand lighting, editing and how to create the right look and tone for the subject matter. The art of filmmaking is in danger of being lost in the new world of technology, as anything goes.

Who's lined up to join you guys?

We have a great bunch of young new directors entering into the commercial field via FG Entertainment. Ariel Martin, Gracie Otto and Alina Gozin'a all come from different backgrounds and we feel that they have so much to offer our industry that we are prepared to invest in them.

You're actively involved in the mentoring of the newcomers. What does that entail?

We invest in their short films and any creative project with an idea or merit. I help them with their storyboards and give them advice throughout the whole production process. We also have a great support team under the supervision of our executive producer, Anna Fawcett so we all help them get their ideas up.

What pieces of advice would you give fledgling directors hoping to break through in commercials? Are spec spots as prevalent as they once were or is it now a case of having a killer short or well-watched music vid under your belt?

For commercials now, I think you need to specialise in a genre. When I started there weren't that many directors and we had to be classic all round filmmakers knowing how to create beautiful images, tell stories, get talent performances, effects whatever the scripts required. Nowadays if you are a good talker or pay someone to do your treatment you can win the job over a director who would ultimately do a better job. I think spec ads are detrimental to the business as clients then think "why should they pay for a commercial if we can get it for free". It actually devalues what we do for a living. I guess some of the magic has gone with so much accessibility to technology. I think a killer short film or music video still has more merit and benefits the director more.

Have you found that the affordability of filmmaking technology has improved the quality and/or quantity of aspiring auteurs? Does having access to pretty much everything instantly give their work greater scope or teach them bad habits?

Well if you take the advertising industry as an example, technology can certainly make for more thrills, but people still want stories and a human touch that they can relate to. And that means understanding how to tell a story. No amount of technology can make you a good filmmaker, you either have it or you don't. It's great that we have it, but how do you tell who is a good D.O.P if we alter the images in post? And sometimes technology means that ideas are no longer regarded as important.

How do you find agencies react to unproven talent? Is it a struggle to get them jobs?

If they are talented and they see something in their work, then I think they are very supportive. With the backing of a company with proven credentials like FG Entertainment and with my support, this gives agencies the level of support that they require to take the leap.

Do you think the Australian market treats new filmmakers differently to the rest of the world?

Not really, it's tough out there for everyone - new and established. There is so much competition from around the world for every job, even charity jobs that are done for free. Good ideas are hard to come by so every director wants to do them.

Do you think you would have done anything differently if you were starting out today?

Probably got into feature films, as I absolutely loved making my feature film 'Restraint' – but I was so busy making commercials and keeping my company going that time went by.

If you were mentoring your younger self, what advice would you impart?

Have more confidence and not be swayed by people's opinions. And I would tell myself to go with my gut instincts as when you go against that, you lose some of the power that makes you good at what you do.

What's on the slate for 2013?

The industry has changed and you either adapt or don't survive. We are developing an animated series 'Parrot Carrot', a few web series - one being 'Doomsday Diaries', two feature films 'A Fish Caught In Time' and 'Hollywood Boulevard', and a TV series 'The Track' and we continue to enjoy the main part of our business which is commercials and helping young directors get together a body of work they can be proud of.

Posted on 21st February 2013