With a mother and grandma who had worked in the industry, Priscilla Cameron followed her family into writing and filmmaking. Her award-winning shorts have screened around the world and, earlier this year, following an intense six months at the Binger Filmlab in Amsterdam, Priscilla’s debut feature, The Butterfly Tree, starring Melissa George, premiered at Melbourne International Film Festival.
IT TAKES A FORM OF EITHER ADDICTION OR MADNESS
to want to try and navigate this industry. For better or for worse, I’m an addict. I think filmmaking can incorporate as many art forms as you like, or as little as you like. Your range of what you can draw on is huge. And, as a creative person, that’s really exciting.
I HAVE LOTS OF PICTURES OF ME WITH A CHILD ON MY LAP
trying to re-read a draft [of The Butterfly Tree]. I’ve come up with very mean ways to save my time. I put my children to bed in their school uniforms, and if they have to eat spag bol six nights a week, that’s what happens. Whatever your situation, at the end of the day, you have to find the space to write those pages – whether it’s two or 10 pages – you just have to find a way.
I LEARNT PRETTY QUICKLY THAT BEING DEFENSIVE IS NOT HELPFUL TO YOU,
or the development of the project. You have to try and understand why someone is reacting a certain way, or what they’re not understanding in the script, rather than just be reactive to their comment.
In the stress of filmmaking we can sometimes forget we got into it because it’s a sh*tload of fun. I think David Lynch said that it should be about having fun, and I should reiterate that back to myself and other filmmakers – you’ve got to make it about having some fun along the way.