Filmmakers rejoice as Tropfest drops dead

retch not wretch

If you made it to the top 10 films………. the decent thing to do would be to give some of the money made from distribution back to the finalists. Instead they got to meet a few celb judges and a few free drinks. They were screwing kids for years.

The 2013 winner Bamboozled was particularly transphobic & homophobic; an embarrassment for the festival. Maybe something now will come good out of Tropfest’s closure.

Harsh… but fair.

You Sir, with such myopia, shall remain just that: A public Servant.

AT last someone speaks the truth about TropFest. It’s a joke that spawned its own lamentable short film genre – ” the Tropfest film” that rarely made any impression anywhere else. And Taylor forgot to mention the outrageous contracts that Tropfest used to exploit desperate filmmakers.

The writer is also an accomplished dating blogger I believe.

Ingmar – that typo has been amended.

Thanks David.. I really didn’t go into much detail. Much of my information has come from lengthy conversations over a beer with disaffected filmmakers at events such as MUFF and West Side Shorts (an event that supports talented filmmakers)

There is so much more to Tropfest than what I wrote. This was really just a rant that I typed up at work yesterday morning. I only hope some more people come out and criticise this event.

Interesting! Except I humbly propose that being transphobic is much worse and much more dangerous than just being not funny.

Wow, I had no idea participation in Tropfest was compulsory?

Sorry Michael, but your story is incredibly narrow-minded, insular and smacks of sour grapes. I’ve been on both sides of this journey, as a Tropfest winner, finalist but also as an entrant that had their work rejected numerous times, and all for good reason. Festivals are curated and programmed, meaning there’s a limited number of films that will be screened. A whole panel of film industry professionals pre-screen the films, then John Polson selects his 16… as he should, it’s his festival. Not getting programmed in the top 16 doesn’t instantly mean you’re a crap filmmaker, I’ve seen plenty of amazing films that couldn’t make the cut.

If you don’t like the festival or the format, the answer is simple – don’t enter. There’s thousands of other festival opportunities out there to submit your work to. But if you want to screen your work to the audience that Tropfest attracts, be big enough to wear the rejection if you don’t get in. It’s probably the healthiest lesson for any aspiring filmmaker – learning the resilience it takes to cut through the barriers. Does Tropfest only program high-production, big budget, low concept shorts? I won Tropfest NY in 2008 with an observational film about homelessness shot on a mobile for $57. Was it any good? Well I’d be the worst judge of that – that’s a question for the audience. Tropfest gave me that opportunity and I’m eternally thankful for it.

On closing, nice work kicking the festival when it’s down. What about the finalist filmmakers that don’t even get the opportunity to have their hard work seen? What about the volunteers? What about the staff who’ve poured blood, sweat and tears into keeping the festival going? Some common courtesy and manners wouldn’t go astray here. Put your boot back on. Today’s not the day for kicking other people’s dreams apart.

I this a real sentence someone wrote without realising what they sounded like?

“Despite this feeling of surprise, across most bars in Melbourne’s inner north, I would suspect that the words ‘good riddance’ were shared among writers and directors over a few pints of ‘2 Birds.”

I don’t know the inner workings of Tropfest but I’ve been to a lot of short film festivals and participated in Tropfest twice. The writer makes the assertion that the winning films are commercial pap as if there are hordes of more talented film makers holding back and not entering their artistic gems -Or at least not reaching the final list shown to the audience. I can guarantee you that most short film festivals are full of badly written, badly crafted cringeworthy junk with usually a few great pieces at the top. The main reason for this is because film making is HARD. If the craft isn’t there you notice.. If the acting isn’t there you notice. Writing. Music. Sound. Unless you’re very lucky and happen to know a bunch of genius crafts people willing to work free all of these things cost money (the writing bit takes time.) Tropfest basically gives a pretty good impression of the standard of beginner film makers. Sure it has a commercial bent because it’s a one night public festival but it’s arrogant to infer there are SO much better film makers out there. If the ‘professional’ Aus film industry can hardly ever get it right what do you expect of the beginners.

Being good enough to get selected makes you more likely to get selected. More at 11.

Maybe the standards need a lift. Maybe the rules aren’t pleasing. However it helps break down the viewing pattern for most Australians who live on the TV, streaming and Movie house diet of American stories. They come, they see, they hear Australia. Tall poppy lopping.

I think what everyone is missing here is that Michael is a total babe.

I’ve gone on this same rant but it was a lot less articulate. Thanks for a good read.

West Side Shorts is also an event whose organiser last year spammed his database of filmmaker contacts in an attempt to get them to pay for the production of his own Tropfest film.

And the last time I had a film at MUFF I was expected to pay a cover charge to see my own film.

As someone who has been a Tropfest finalist and been rejected by all three of these events over the years too, I know which one treated me better as filmmaker.

And I thought all the nasty bile was meant to be below the fold, in the comments.

This reads like the bitter rantings of someone who needs to learn how to deal with rejection, possibly whilst coming to terms with the concept that just because he doesn’t like something (styles of film, whatever) that doesn’t mean that they are devoid of worth.

As the commenter Jason points out there are so many injured parties in this story such mean-minded writings leave a foul taste; there are likely to be small suppliers left out of pocket, but that’s OK because Michael didn’t like the films that won a couple of years ago.

This piece should have been left as a conversation in a pub.

It trivialised filmmaking and most films were total and utter crap. Festival might have been good….in terms of a festival but what was on offer was utter rubbish, with the exception of about 2-3 over the years…bring it back but lift the standards

I think it’s a really sad day when we start celebrating the demise of one of the few strong platforms for short films in Australia. There are no other festivals in Australia where filmmakers can enjoy an audience the size that Tropfest attracts.

But by all means – enjoy your pint of 2 Birds by the sidelines as you poo-poo the efforts of filmmakers who actually want their films to be seen.

I think the important thing to acknowledge is that my piece has resonated with many people in the film and the broader arts community. It’s not a rant from a bitter crackpot (irrespective of whether or not I am a bitter crackpot).

There is a very real feeling in the community that Tropfest didn’t provide a good representation of the emerging talent in Australia and valued production values, celebrity and ‘quirky’ plots over decent storytelling.

Remember that this is an issue of ‘film’ and storytelling is at the centre of all of it. My opinion was that Tropfest didn’t prioritise original storytelling (with the exception of perhaps Animal Beatbox which was very original).

As far as ‘leaving this discussion to a pub,’ is concerned, I don’t feel that people should be silenced from expressing an opinion about a sacred cow like Tropfest.

Having said that, this discussion regularly takes place at a pub – the Doutta Gala in Flemington on Sunday afternoons after 2.

‘Animal Beatbox’ was quite famously and mercilessly accused of plagiarism too, dude. http://www.smh.com.au/entertai.....1b2j0.html

I can’t say I was aware of the ‘Animal Beatbox’ controversy. Disappointing, but not surprising.

He’s so right! And gutsey.

The first time I entered Tropfest I as rejected. My film went on to be the only short from Australia to be a finalist In Cannes. The secound film I worked on , the following year was rejected by Tropfest – and went on to finalist selection for Cannes and to win at Toronto.

I stopped entering Tropfest.

And the standard reaaly is low . I know someone who gets his crap in every year because he’s in with the Trofest people. Some years he gets 2 in.

But — what a great social event! People love going out on the night and to getting folks outdoors into parks is a wonderful thing.

Like most art, punters just want to look at the stuff and have an opinion amongst their friends. And if there’s a real life movie star on stage , even better.

See it for what it is Micheal mate, and you’ll be just fine.

.

A few years ago I went through the list to see how many winners of Tropfest went on to direct a feature.

Assuming that’s a level of significant success and the ultimate aim of many entrants.

Obviously some of the finalists may have made features and some of the winners may have had really good careers but here were the results:
2007 – No- 2008 – NO. 2009 – No 2010 – Yes – upcoming feature but had career before tropfest. 2011 – Yes Doco but had substantial career before. 2012 – No 2013 – No 2014 – No.

So I guess my question is. Did Tropfest really substantially help any of the winners get anywhere or open any doors? I’d be interested because it doesn’t really look like it superficially.

Michael stop the ambulance chasing and have a little respect. People’s lives have been ruined in this situation. Show a little courtesy for the people who are hurting and leave your spray for the pub where it belongs. I can’t believe Mumbrella gave you a platform for such a childish attack.

No one said you need to be a Tropfest fan. But you certainly needn’t take advantage of a horrible situation by making it worse.

You claim to be somewhat of an authority on all things Tropfest but then declare you were unaware of Damon Gameau’s battles with the public vote after winning with Animal Beatbox in 2011. I was runner-up that year and was also dragged into the debate. I guess you’ll happily denounce my film about my dad dying of cancer as an ‘unoriginal story’ or ‘Tropfest fluff’ too will you? As an apparent storyteller Michael, you should think a little deeper about what words you write. One day they’ll define your career and your character.

Jason, I absolutely feel for the filmmakers affected by the collapse of Tropfest and I don’t claim to be an authority on the situation. I’m merely offering an alternative opinion about the relevance and the integrity of a festival that heralded itself as a place to ‘launch careers.’ I’m on the side of filmmakers Jason. I’m not saying that all Tropfest entries are poorly written or ill-thought-out, I’m merely saying that most entries are poorly written and ill-thought-out.

I haven’t seen your film and so I won’t comment on it, but I’ll ensure that I check it out.

I’m not trying to score points and kick a festival when it’s down, I’m simply expressing a feeling of frustration that is shared by many independent filmmakers in Australia.

Well said, Michael. I’m bored of humdrum Tropfest-style films, which all seem to bizarrely mimic one another in a formulaic way. I look forward to seeing the incredible work of former Tropfest devotees screen at lesser known film festivals like MUFF.

Hey Billy C – just sticking my head up to say we were finalists last year and we’re currently filming our first feature. I personally felt that Tropfest was absolutely a helpful (and fun!) festival to be a part of, like many festivals are. But I don’t think one festival alone is going to “launch” your career (9 times out of 10) – it’s all part of a bigger picture and gradual exposure/experience. But certainly more people saw our Tropfest short than at any other festival (which is great!). Also, personally I don’t think making a feature film is the only gauge to measure a filmaker’s success (ie Alethea Jones won with Lemonade Stand and she lives in LA directing for TV now, and I’m sure there are others).
I also agree with the “Creative” commenter – filmmaking is hard, and short films are where filmmakers cut their teeth. We’re still learning and it’s bound to be a mixed bag. 🙂

Film maker/writer/public servant turned angry journalist. Everything starts with great intentions and ends with corruption or loss/no funds. The guy started up a festival and finished off after 25 years. Maybe his intentions wasn’t to rob people from their successes, it’s just how some systems work. I’m a musician and I complain about mainstream work, but somethings have their place. You got to ask yourself, as a filmmaker/writer (not a “C” grade journalist) – What have you done for yourself or for the filmmaking industry? What big ideas do you have to change the dynamic of filmmaking in Australia for the better? Some journalists talk about the negatives but can’t think of results or act upon ideas that might help their own work and passion for their community. Can I ask by the way, who are you and what have you done?

How can ANYONE write easily digestible comedy? I would think it actually takes considerable talent to write something that makes a wide range of people laugh.
I am not defending Tropfest; I just don’t think this point was particularly well-made.

It’s funny how many of the negative posters here are playing the man and not the ball. Tropfest had its place but in recent years despite thousands of entries the same faces keep showing up year after year. Michael is right – these days an unfunny idea with good execution and a C grade celebrity will get through while plenty of very decent shorts (that thankfully crop up elsewhere) miss out.

It’s alway held itself out as being the people’s festival, yet the likes of the Egerton brothers suspiciously seem to show up time and again. It’s not necessarily a poor reflection on the film makers that get through. Some clever films make it. It’s just that it’s not the people’s festival at all – it’s just a showcase for the same clique of semi professional film makers.

The fact it’s gone down because some firm hired to manage it blew the cash is an indictment – it’s become about the spectacle and the cash. It had $18k in entry fees plus God knows how much in sponsorship and now it mysteriously can’t go ahead? What were they spending it all on!?

To be honest, while MUFF and West Side etc show a mixed bag of shorts, at least some original ideas get through and they don’t pretend to be something they’re not.

He isn’t a public servant it’s just part of his cover. He is a fabulous actor and writer and one of two great dating bloggers. And he know what he is talking about. What’s wrong with public servants now that I think about it?

Great article mate. Nice to see someone has the balls to call it for how it is– an elitist circle jerk for hacks.

Tropfest was a piss up the films were secondary sorry. We can now possibly look forward to more locally made rubbish like Now Add Honey released in Cinemas. Short film makers should do a horror there is potentially more of a chance and more festivals for their work to be viewed. Tropfest is vapour.

@Alice – Congrats on your feature and good luck with it.

Couldn’t agree more. Finally someone speaks the truth, the Emperor has no clothes.

I’d love to see you enter next year… Only you have to have your story written by a 8 year old and include a C grade celebrity.

“Tropfest was also known to ‘look after’ its alumni and upon entering the industry filmmakers are told by their peers that having your film selected at Tropfest greatly increases the odds of your next film being selected.”

How is this different from the film industry in general?

I think Michael has made good points in his article & many of the responses support what he is saying – 2, 4, 6, 13, 24, 25, 29 & 32. Some commentators seem to be playing the man rather than addressing his arguments about quality of the films/winners, whether Tropfest really does “launch” professional careers & the restrictive contracts entrants are required to sign. This festival in particular – as well as the technological & digital platform revolution – I believe has lead to the demise of funding for short film production. Screen Australia & most State film funding bodies now provide hardly any $$ for early career filmmakers to work with experienced cast & crew (at minimum rates of pay) to develop their craft. Many established industry professionals want to help new directors/screenwriters – but not for nothing in an industry where most of us are unemployed most of the time! And the Nine Network gets a couple of hours of free programming with no licensing fees going to either the filmmakers or their crew & cast! I really want to know what happened to the money Tropfest did generate?? While the films were pretty mainstream, a good sized audience enjoyed the screenings & I know some finalists/winners (like Alethea) have benefited in their careers. I will be happy to pay for entry to the party – but only if I know Tropfest is resurrected as a festival which actually pays something back to its participants.

@Ric
It’s ironic that the people you call ‘negative’ posters are actually the positive people who aren’t tearing down something.

Here’s a point that was completely missed:

Short films get fudge all coverage in Australia. You and your purist friends may have felt that the commercialisation influenced quality, and you know what, maybe it did. But that doesn’t mean it wasn’t nice to have something notable to do with short film getting a big audience.

Go to any short film screening and the only people there are makers, hackers and the people they sleep with (and/or the people who gave birth to them).

Shorts are like arty TVCs- we watch for the cool factor. Not because it’s the medium we totes wanna get jiggy with in real life. Or am I missing the shorts section in Netflix, Stan and Video Ezy?

I guess what bugs me the most about the article is it’s the same complaint all the time. Yes, Australia is risk adverse. Yes, there’s no funding. Yes, everyone would rather pump money into safe bets like TropFest or reality TV than spend a turtle’s wink actually doing anything original.

Preaching to the choir on that one.

Let’s not continually observe the problems any more. It’s been tiring having the same damn conversation for 35 years. Instead, tell me your solution.

How do we fix a risk adverse industry that’s under-funded and full of the same boring people chewing on the same boring cud? This isn’t just TropFest. To pitch a TV show, you need a name actor and known showrunner. To get funding from AusCo, you need a name producer or actor. To get SDA funding or NSW FTO funding or whatever, ditto in spades.

Why does it always have to come down to “nah, nah, you’re dead and we don’t miss you!” whenever any of the schemes or festivals die instead of someone stepping away from their 2 Birds, parking their Saturday arvo cynicism and disrupting the model?

Or is it only the job of the artist to role out the bottom lip rather than take some responsibility for why things get hi-jacked or don’t work out the way they want?

While I feel the headline should’ve warranted at least one quote from a source representing filmakers rejoicing in the demise of Tropfest, big shouts to the fact that you fired some shots at Melbourne as part of setting up the article. Would read again.

Nailed it

Hello Michael. I read your post and thought you had some valid points, ones that even myself as an alumni have shared. But then I read a lot of the follow up comments and I felt I needed to come out and defend the festival and it’s participants in some way.

As a producer who has won tropfest and been a finalist four times – each time with a different director, I’d like to say that I see Tropfest as a fine way for a filmmakers to refine their skills in story telling and appealing to a particular audience. And I don’t think there is anything wrong with that. Personally, when I produce a tropfest film, I am producing a tropfest film. I know the audience I am appealing to and I know what they like. How is that any different to appealing to a commercial audience on TV and in cinema? It fact, it’s a more realistic training ground for what film makers are actually going to face out there in the real world.

I understand your sentiment and your gripes but the reason the films I have put in for the past few years have been finalists is because I know the audience, and I only produce a story that I know that audience will like. I don’t deny that celebrity plays a role, but with a festival that trades on celebrity judges, can you expect anything else? I guess what I am saying is, be at peace with the beast. If you want to make a film for Tropfest, make a film for Tropfest. If you want to make a film for Miff, make a film for Miff. If you want to make a film for MUFF, well, don’t bother. But that there is a personal opinion, as I am sure yours is Michael. But having an appreciation and strategy for who your audience is and how you are going to appeal to them is a key task of a filmmaker who wants to have a successful career and I strongly feel Tropfest provided some real life lessons in that field.

I for one hope it will come back, and not because I am often a finalist, but because I feel the film makers I work with (Alethea Jones being one) are bloody talented and deserve to have their films seen and there aren’t many festivals that can boast it’s films are seen by hundreds of thousands of people on the same night.

All the best.

Ding Dong the merry-oh, sing it high, sing it low, let them know, Tropfest is dead!

But imagine Michael’s anguish should it return…

There’s this other great international Fim Festival that changes careers reaches a global audience of millions and promotes & rewards quality filmmaking, it’s called Vimeo! Changed my career, costs about $60 per year to enter, links you into filmmakers world wide. Isn’t littered with Sydney Centric hacks and wankers more interested in their own clique than they are quality. Tropfest year in and year out rewards utter crap, as in poorly scripted poorly crafted dross. So what that it showcased short films the short films it showcased were utterly awful, it was a race to the bottom and good riddance!

My 9 hour re-imagining of “Death in Venice” in interpretative dance was rejected by that b*stard Poulson. I hope the sh*t and his crappy little festival are buried forever !