Top Knot Detective – Revelation Perth International Film Festival

Riotously funny, Top Knot Detective is what happens when you watch too much late-night SBS.

⭐ ⭐ ⭐ ⭐
Michael Philp 

It’s hard to describe Top Knot Detective to the uninitiated. Its list of influences includes Power Rangers, midnight SBS insanity and legendarily bad films like The Room. Imagine a mockumentary retrospective on Kung Fury, and you’ll have some grasp of what you’re in for. If those things don’t float your boat, the exit is to your right. For everyone else, Top Knot Detective is brilliant and it deserves to be on your must-see list.

Top Knot details the rise and fall of fictional 90’s Japanese TV show Ronin Suiri Tentai (Deductive Reasoning Ronin), zeroing in on the show’s creator/director/star/writer Takashi Tawagoto (Toshi Okuzaki), who is described as “Errol Flynn without the STD’s or the talent”. Through interviews with his co-stars and the show’s crew, the film builds a fascinating and hilarious portrait of a young man swept up in the creative process.

There are so many things to love about Top Knot. The number of jokes per minute is phenomenal, and just about each one lands perfectly. On top of that, the level of care on display is remarkable. From the acting to the background details, everything around the show is on-point. Even the tie-in advertisements and archive photos feel beautifully real, and you’ll often forget that everything you’re seeing has come directly from the minds of directors Aaron McCann and Dominic Pearce. Top Knot Detective isn’t just a send-up of cheap, over the top Japanese cinema, it’s McCann and Pearce’s love letter to the genre. Theirs is a world of giant penis monsters, talk shows with cats, and gloriously ridiculous (and ridiculously gory) action scenes. If that sentence interests you, Top Knot Detective cannot be recommended enough.

Top Knot Detective is screening at Revelation Film Festival (6-19 July)

Image courtesy of Special Broadcasting Service (SBS) and Revelation Film Festival 

Descent into the Maelstrom – Revelation Perth International Film Festival

Descent into the Malestrom is a high energy journey into the success, and failings, of 70’s Aussie rock’n’roll band Radio Birdman.

⭐ ⭐ ⭐
Elle Cahill 

In 1974 in Sydney, a young American man named Deniz Tek formed the band Radio Birdman with Rob Younger. Following the recruitment of four other members, Radio Birdman went on to cause a stir in the Australian music scene, with their unconventional take on rock’n’roll and their determination to stay true to their original brand of music. Whilst the band had a short run of success, with the members of the band choosing to part ways in 1978, they became the influence for many mainstream Australian bands.

The genius of Descent into the Maelstrom lies in director Jonathan Sequeira’s complete understanding of the band. There are so many elements at play that are carefully hidden behind the guise of a historical documentary as Sequeira explores the band’s rise to fame. But this documentary offers so much more, and much like the music of Radio Birdman, it refuses to stick to traditional documentary conventions.

The first half of the documentary is littered with wild tales as retold by the band members, now well into their 60’s, and discusses their struggle to be taken seriously in the music scene. There is an incredible archive of footage and photos from Radio Birdman’s performances, which makes up the majority of the visual content for the documentary, but it’s the clever use of storyboard animations that help to fill the gaps in the footage that adds a little extra something, and makes the documentary slightly unusual.

The second half of the documentary takes on a quiet, reflective state as the band are picked up by a label and begin touring internationally in 1977. The more they tour, the more the cracks in the group become irreparable, and this is supported with a definite change in mood in the present-day interviews as the band members become more solemn and disgruntled about how Radio Birdman ended.

Descent into the Maelstrom does well in immersing the audience into this world of rock’n’roll, but there’s also a certain amount of assumed knowledge that is expected of the audience. Knowledge of the state of the Australian music scene at this time is helpful, as well as knowing a bit about the punk scene, both on an international scale, and on a more local, Australian scale. There’s a lot of reminiscing about forgotten bands and pubs that no longer exist, which can leave you missing the significance of these details if you’re just that bit too young.

Descent into the Maelstrom, much like Radio Birdman’s music and band ethos, is raw, gritty and unorthodox, but it’s the honest portrayal of the highs and lows of Radio Birdman’s short rise to fame, and subsequent conflict within the band, that makes this documentary so interesting.

Descent into the Maelstrom is screening at Revelation Film Festival (6-19 July)

Image courtesy of Umbrella Entertainment & Revelation Film Festival

Watch The Sunset – Revelation Perth International Film Festival

Watch the Sunset is a remarkable achievement that maintains a gripping momentum… almost until the end.

⭐ ⭐ ⭐ ½
Michael Philp

The one-take genre of drama is small; its most oft-cited works being Victoria and Russian Ark. It’s a format that lends itself to intense realism, but is also hampered by logistical constraints. Watch the Sunset, filmed over the course of an afternoon in Kerang, Victoria, delivers the former in spades, but fails to overcome the trappings of its genre.

The film opens with a brief montage of documentary footage on the drug ice, giving context to the film’s first scene: a man, Danny (Tristan Barr), driving a devastated young woman, Charis (Zia Zantis-Vinycomb) to a motel and locking her in a room. From here, Danny abandons her to attempt to reconnect with his ex-wife and daughter. For good reasons, the former doesn’t want a bar of him, and her reservations are proven legitimate when things take a turn for the worst.

For the vast majority of the film, the camera sticks to Danny like a small child, allowing the audience a stomach-churning view of the proceedings. There is a remarkable level of authenticity on display: every actor nails the realism and depth necessary to breathe life into the single take, and the camera is there at every step to unflinchingly capture their performances. Better still, it manages to pull off the impressionistic angle just as well, with several clever uses of reflection elevating Damien E. Lipp’s cinematography.

Sadly, the film goes off the rails near the end. A brief monologue on “what separates us from the animals” comes off as egregiously empty philosophising, and the film never recovers enough to deliver the rousing finale you want. If this were a normal film, the editing bay might have caught that and cut the scene down, but the single-take genre allows no such leeway.

Watch the Sunset is a powerful film: its performances are devastatingly real, and its achievements are awe-inspiring. Every member of the crew deserves commendation; they have pulled off one of cinema’s most daring feats with aplomb, producing a film that will keep you on the edge of your seat almost until the very end.

Watch the Sunset is screening at Revelation Film Festival (6-19 July) 

Image courtesy of BarrLipp Productions and Revelation Film Festival 

Movie Review – Hotel Coolgardie

Between Perth and Kalgoorlie lurks a remote location that appears devoid of humanity; the outskirts of civilisation in Western Australia may be more formidable than we think.

⭐ ⭐ ⭐ ⭐
Corey Hogan 

Every three months, the Denver City Hotel in Coolgardie – a stopover country town frequented by miners and industrial workers to and from Kalgoorlie – hires new barmaids (or “fresh meat”) to serve the patrons of its bar. Two Finnish backpackers in their mid-twenties, Lina and Stephie, are the Hotel’s latest additions. Having been robbed on a vacation in Bali, they need jobs fast, and are sent by a Perth recruitment agency to this town far from civilisation. Little do they know that the next few months will become hell for these girls, as they find themselves the subject of farcical levels of abuse, objectification and harassment from their employers, the locals and the pub’s many visitors.

Every now and then, a documentary comes along that makes you truly wonder whether or not everyone involved was actually in on it and if it was all staged. Surely anyone would want to make themselves look better if they knew their words and actions were being caught on camera, right? Raw & Cooked Media’s Hotel Coolgardie is one of those rare films that manages to perfectly create a fly-on-the-wall feeling, almost as if there is no film crew present and we’re simply watching reality unfold before our eyes. In a volatile situation like this in particular, it must have taken a great deal of restraint for director Pete Gleeson and his team to not interfere and get involved with the (often traumatic) conflict going on at this hotel.

‘Responsible drinking’ seems to be a naff concept in this place; from their very first night on the job, Lina and Stephie are barked orders from their boss Pete as he drowns himself in alcohol alongside the rest of the bar’s patrons. The girls, given essentially no training, struggle to keep up with the constant orders, counting cash and pouring drinks while they are sworn at, insulted and humiliated by the drunken crowd surrounding them.

It only gets worse from here. They’re frequently advanced upon in shockingly crass ways by countless men, given misguided gifts from older blokes whose fancy they’ve taken, urged into arguments by drunks who are a little too open about their life problems, and even find themselves forcing people out of their rooms who have wandered in without invitation. They’re made to endure a camping trip that results in serious health ramifications and professional embarrassment. The girls remain good natured and deal with their situation well, despite how increasingly uncomfortable things become throughout their stay.

It’d be too streamlined to take this all as a deconstruction of “fragile masculinity”, especially considering that some of the residents that belittle and criticise the girls for their looks, physique and demeanour are women. This is more of a look at the way of life in these desolate places far from what we would perceive as a normal, sophisticated way of life. These people live their lonely lives on the road, only ever interacting with a small circle of other human beings and doing what they need to just to get by. Despite how unpleasant they can be, it’s difficult to not feel a little sorry for some of them, clearly so desperate for human interaction they’ll go about it the only way they know how (despite how awful that may seem to us).

Most amazing is how natural everyone seems to be, seemingly uncaring (or unaware) of what image they’ve made of themselves to appear on screen. It’s an incredible feat Raw & Cooked have accomplished in giving us an organic and exposed observation of everyday life just a few hundred kilometres away; it’s an incredible, if somewhat sinister, experience.

Hotel Coolgardie is available in Australian cinemas from June 15

Image courtesy of Raw & Cooked Media

Movie Review – Hounds of Love

If you can stomach it, the trip to hell that is Hounds of Love is another chilling entry in the Australian suburban nightmare, and an impressive calling card for local filmmaker Ben Young.

⭐ ⭐ ⭐ ⭐
Corey Hogan

In 1980’s Perth, suburbanites go about their lives blissfully unaware that teenage girls are being abducted, sexually abused and murdered by a deeply disturbed married couple, Evelyn (Emma Booth) and John White (Stephen Curry). 17-year-old Vicki (Ashleigh Cummings) is not coping well with her parents’ divorce, and one night sneaks out to head to a party. On the way she encounters the Whites, and in an innocent lapse in judgement is lured back to their, only to find herself chained to a bed and the next victim of the psychotic couple’s sick tradition.

Australian cinema tends to gravitate towards certain genres in which it finds expertise and innovation – primarily horror and familial melodrama. With local talent Ben Young’s thrilling directorial debut Hounds of Love, we’re about to become famed for another one – thrillers centred around kidnapping and hostage-holding. Being released so close to the similarly-themed Berlin Syndrome naturally draws immediate comparisons, but never to its detriment; Young’s film is unique enough and equally excellent in its own right.

Set quite literally in our own backyard, it’s chilling to think that a killer couple like this could be lurking right next door, and given their typical bogan demeanour, it’s highly believable too. Young ups the unpleasant levels to an uneasy extreme, and yet the film rarely feels gratuitous; much of the violence happens just out of frame, and we’re only given hints of the horrific sexual abuse, leaving it largely up to our imagination to conjure up the disturbing images. It’s effectively uncomfortable.

Unlike Teresa Palmer, who was given a more complex love-hate relationship with her tormentor in Berlin Syndrome, Ashleigh Cummings’ Vicki is a more straightforward captive, simply (and naturally) terrified to be held against her will. Fortunately, she’s an excellent scream queen, and is granted depth through her rocky relationship with her divorced parents, particularly her mother (a small but memorable part for Susie Porter).

A seedily-moustached Stephen Curry is detestably monstrous as John; his typically comedic acting sensibility turned on its ear in an intimidating turn as the chief perpetrator. Calm on the surface but capable of truly heinous things, he brings to mind Snowtown’s John Bunting. He’s the scene-stealer, but it’s Emma Booth in the most rewarding role as his madly-in-love but psychologically tormented and conflicted wife Evelyn. She’s massively layered, so crazy for John’s affection and desperate for children that she obeys his every twisted command, but simultaneously can’t escape her sympathy for Vicki, jealousy and contempt of John’s attraction to the younger girl. Booth is terrific at balancing all of this, and her arc is satisfying to watch unfold.

Granted, it can’t help but feel like it’s travelling along the lines of most movies about captors and captives at times, but Hounds of Love is among the genre’s most macabre. It’s frequently tense and unrelenting right up to (and especially in) its squirm-worthy finale. Ben Young knows how to make audiences dig their fingers into their armrests; Hollywood will no doubt know it soon too.

Hounds of Love is available in Australian cinemas from June 1st 

Image courtesy of Label Distribution

Movie Review – Bad Girl

A duo of impressive young performances elevates Bad Girl above your usual humdrum psychological thriller.

⭐ ⭐ ⭐
Rhys Graeme-Drury

Filmed right here in Perth, and winner of a 2016 WA Screen Award, Bad Girl is the feature length debut for filmmaker Fin Edquist: one of the creative minds and writers behind some of Australia’s best-loved TV series’ such as The Secret Daughter, House Husbands and McLeod’s Daughters as well as the recent Blinky Bill Movie.

The film follows tearaway teen Amy (Sara West), a sulky drug-addicted 17-year-old living with her adoptive parents, whose life is turned around after meeting new neighbour and all-round darling Chloe (Samara Weaving). The two strike up a dynamite friendship that at first seems wholly harmless – but secrets and lies start to etch away at their relationship and before long it’s clear that nothing is as innocent as it first appeared.

Having been moulded and fine-tuned by Edquist over a period of about a decade, Bad Girl offers raw and unrelenting insight into female friendship and sexuality, as well as commenting on the idea of belonging and family. The purposely-vague title should be your first clue as Edquist succeeds in penning and shooting a project that plays both sides and shapes a bold new twist on the classic cinematic femme fatale.

A lot this success stems from West and Weaving’s respective performances, which grow and develop naturally across the tight 87-minute runtime. West deftly traverses the tricky tightrope that is the sulky teen, both frustratingly self-destructive and sullen but also sympathetic. The film hinges on her performance navigating both extremes, and the actress successfully explores both with ease. Weaving shines too as the almost too-perfect girl-next-door with watery blue eyes that conceal her true intentions.

The cinematography (Gavin Head) and moody score (Warren Ellis) round off an impressive debut for Edquist, who is able to root himself in the minds of two girls and deliver a film that is honest, raw and often shocking. The third act feels a little protracted and the twists and turns a little convoluted at times, but on the whole this is an notable Australian production that offers a notch or two more than your average psychological thriller.

Bad Girl is available in Australian cinemas from April 27 

Image courtesy of Curious Films

Rising Australian Stars

Corey Hogan

If you’re a regular reader of Hooked on Film, then you certainly don’t need to be reminded that the Australian film industry has become a powerhouse in recent years. Australia has always been known for its endless stream of acting talent ready to export to the city of stars and beyond: Hugh Jackman, Nicole Kidman, Geoffrey Rush, Toni Collette… sometimes it feels like there’s more Aussies in Hollywood than Americans. Our invasion looks set to only grow from here, especially with so much up and coming talent.

Here are three local actors who you soon won’t be able to stop hearing about. And here’s the catch – none of them have reached their twenties yet. It’s enough to make anyone look back and think, “damn, what the hell have I done with my life?”

Odessa Young

2016 - 01 January - Looking For Grace
A quick glance at nineteen-year-old Odessa Young’s filmography might seem a tad underwhelming; there are just a handful of short films, guest roles on TV series and two features to her name. But this is what makes Young’s career so impressive. The few roles she’s had have made such a splash that the teenager has skyrocketed to one of Australia’s most promising up-and-comers. Her scene-stealing performances as the titular characters of both Looking for Grace and The Daughter have mesmerised; the latter of which earned her an AACTA award, ranking her alongside seasoned greats like Jacki Weaver and Cate Blanchett.

Young now has a whopping list of projects on her plate this year –  another two local short films, two TV series and a shift to Hollywood for high-profile thrillers Assassination Nation and Sweet Virginia.


Angourie Rice

04 April - Rising Aust Stars AR
Sixteen-year-old Angourie Rice kicked off her career in Perth with the aid of her director father (Jeremy Rice, Cloudstreet) and actress mother (Kate Rice, Ocean Star). Her fame has now surpassed them both; starting with a number of shorts and commercials, Rice attracted attention with her role in Zak Hilditch’s post-apocalyptic short film Transmission. So pleased with her work, Hilditch kept her on as the female lead in his similarly-themed feature film These Final Hours, which enjoyed such a healthy festival run that Rice was almost immediately exposed to (and swept away by) Hollywood.

After lending her voice to the animated Walking with Dinosaurs, Rice cracked the big time in a starring role next to Russell Crowe and Ryan Gosling in Shane Black’s The Nice Guys, and returned home again for another lead in this year’s Jasper Jones. Next up? Only Sofia Coppola’s new film The Beguiled, and an entrance to the unstoppable Marvel universe in Spider-Man: Homecoming.


Levi Miller

red-dog-true-blue
Another young actor appearing seemingly out of nowhere and skipping straight to stardom, Levi Miller has shown he holds the charisma and charm to carry entire films on his shoulders – pretty amazing for a fourteen-year-old. Leaping from a mere extra role, to guest starring on popular shows Terra Nova and Supergirl, to playing the one and only Peter Pan in Joe Wright’s reboot Pan, Miller has crossed that bridge to Hollywood and achieved in a couple of years what most actors take a lifetime to barely crack.

Granted, Pan was a critical and commercial failure, but it’s done nothing to stop Miller, who’s atoned for this by leading two Australian films in the last six months alone – the prequel Red Dog: True Blue and Jasper Jones. Miller’s back to Hollywood next, for Ava DuVernay’s adaptation of the classic science fiction novel A Wrinkle in Time.


Image courtesy of  Madman Entertainment, Palace Films & Roadshow Films 

2017 Alliance Francaise French Film Festival

Bonjour Perth! The 28th annual French Film Festival is in town for the next few weeks screening at Cinema Paradiso, Luna on SX and The Windsor. We sampled a few of the films on offer.

Tomorrow

Riding on a crest of environmental documentaries comes Tomorrow: a passionate, yet humble look at the positivity global contamination can bring.

⭐ ⭐ ⭐ ⭐ ½
Zachary Cruz-Tan

03 March - AFF Tomorrow
You know how the Western genre has become so saturated that, to stand out, it has to come with unique selling points? Like, look – it’s cowboys and aliens! The Environmental Documentary has more or less reached a similar crisis, with each new film threatening to re-tread what the other has said. It’s no longer enough to complain about fossil fuel emissions and global warming – a new angle is required.

Tomorrow provides that angle. Helmed by Mélanie Laurent and her filmmaking comrades, this immensely informative documentary shifts our attention from a dying Earth to a world that can be rightfully repaired and re-energised through solidarity, networking, and positive thinking. It’s great that more households are converting to solar power, but is that enough? Tomorrow posits broader change, change that is already happening in towns and cities throughout the globe. Urban families are micro-farming. Counties have introduced self-contained currencies to benefit small businesses. Schools in Finland place education ahead of status, and their children are better for it.

All this is meant to be encouraging instead of disheartening, and it is. Tomorrow makes me want to convert my backyard into a vegetable garden. It makes the microcosm I live in seem unclean and harmful, and that I should do something to purify it. Leo DiCaprio’s Before the Flood told us what the billionaires are doing. Tomorrow is a bit different – it’s about you and me, and the good we can do from the ground up.


Planetarium

Rebecca Zlotowski’s supernatural period drama offers a wonderful respite for insomniacs.

⭐ ⭐ ½
Rhys Graeme-Drury

03 March - AFF Planetarium
Planetarium follows two American sisters who are believed to possess the supernatural ability to communicate with ghosts. Laura (Natalie Portman) and Kate (Lily-Rose Depp) Barlow, cross paths with André Korben (Emmanuel Salinger), an eccentric French filmmaker, while performing their travelling séance roadshow in pre-WWII Paris. Captivated by their ethereal connections, Korben invites the girls to live with him while they produce a movie centred on their show, but his interest soon transforms into something a little stranger and disconcerting.

Much like the séances it depicts, Planetarium is a vague and obscure dreamlike ritual that disentangles itself from the anchor of time, stretching two hours into what feels like a bottomless eternity. Maybe this elongated, formless structure is intentional; it could mirror Laura and Kate’s ambling and directionless lives or – at a stretch – the lingering limbo of European geopolitics on the eve of war.

Whatever director Rebecca Zlotowski was aiming for with Planetarium, I don’t feel like much of it congealed into a cohesive whole. There is a collection of interesting ideas here; the middle act transforms into a strange pseudo-sexual experience with Korben supposedly navigating beyond the veil to meet with his deceased wife while using Kate as a vessel.

But a lot of these ideas hang in isolation, disconnected from other ideas that waft gently in and out of the film. It certainly doesn’t help that both Portman and Depp are so reserved in their performances; distanced from genuine warmth or deep emotion. We could have had something special on our hands, if only the rest of the film was as captivating as the production and costume design.


In Bed with Victoria

A quirky concept tackled in a completely mundane way.

⭐ ⭐ ½
Cody Fullbrook

03 March - AFF Victoria
Struggling to raise two daughters while being embroiled in two court cases, one of which involves exposing her own personal life, Victoria Spick (Virginie Efira) is attempting to juggle her personal and professional life.

What could have been a humorous and completely original film about an attempted murder case with the only witnesses being a dog and monkey – which actually does happen – In Bed With Victoria wastes too much time on romantic storylines, tarot readings and other things I’ve now instantly forgotten.

Like all films focusing on lawyers, the most interesting and intense moments are the court scenes, and although rarer than I would have liked, they show the same clinical function and form that I’ve come to appreciate.  Even when it’s just a friend of Victoria’s defending her in court against allegations of colluding with a witness, the delivery is passionate yet sensible. An appropriately slow scene with Victoria enduring the end of her case after overdosing on drugs shows exactly what In Bed With Victoria should have simply been about. A stressed woman handling a peculiar court case.  Nothing more.

Though tolerable with a few funny lines, In Bed With Victoria’s characters and storylines are far too basic and plodding for me to think about recommending it to anyone.


Images courtesy of the Alliance Francaise French Film Festival 

In Perth from March 15 to April 5: https://www.affrenchfilmfestival.org 

Interview: Chloe Hurst – A Few Less Men

Corey Hogan

It’s probably the oldest cliché in the book; chasing your dream in the city of stars itself, Los Angeles, and leaving your life behind to make it big on the silver screen. But it’s another thing entirely if you’re actually achieving that dream, like 26-year-old Perth girl Chloe Hurst is currently. Skipping the humble beginnings most up-and-comers are forced to endure, Chloe’s been on a consistent roll since relocating; kicking off in New York with Broadway smash hits, then landing film roles opposite massive stars like Ryan Gosling, Russell Crowe and Stephen Baldwin. In between her Hollywood acting, she’s taken a trip back home to appear in the sequel to the 2011 Aussie/British comedy A Few Best Men – now A Few Less Men. It’s safe to say Chloe’s blown that cliché out of the water.

I talked to Chloe about everyday life amongst the biggest names in film, the different experience of working at home on A Few Less Men (her very first Australian film) and her continuing dream run.

HOF: For starters, could you tell us a bit about yourself, and what got you onto the performance and filmmaking scene?

CH: Sure! I’ve been in performing arts since I was a kid, but mainly doing theatre, musical theatre and stage stuff actually until about two years ago, when I went on a trip to L.A. to visit for two weeks from New York; I’ve done I think nine films back to back ever since. It’s definitely been a journey, and I guess the transition from stage to screen is sort of what I’m going through at the moment, and I’m loving every second of it.

HOF: You’ve had an impressive run in theatre with massive productions like Into the Woods and A Chorus Line, how have you found the transition from acting for the stage to acting in film?

CH: The actual process for me – I’ve been working with a lot of incredible coaches who’ve helped along the way, but the biggest difference I’ve found is the transition from New York to L.A., not necessarily the work aspect of it. That shift was huge in terms of lifestyle, but in terms of the work… I’m just surrounded by incredible people that are doing incredible things, and I think when you’re in good hands it makes that transition so much easier because you’re sharing the experience with these pros who have done it for years. In that respect I just find that I’ve been really lucky that I’ve been thrown into the hands of incredible professionals that have ten times the amount of experience I do, and I’m just learning every day from them.

HOF: There’s obviously a huge difference between performance work in Australia and work in L.A., what makes it that way? How does the process differ?

CH: For me, my only experience of working in Australia is A Few Less Men; most of my work has been in America! So this is actually my first real, professional experience with Australian film, and I loved every second of it. Being in my home town and shooting the film was a dream come true, and obviously I’d love to do more and more and more of that. And just seeing how passionate the Aussies are about what they’re doing, their work ethic is incredible. I think often with these big Hollywood sets… they do this all the time; they follow a protocol, they have routine and rules to stick to, whereas I feel like in Australia the energy on set and the excitement to be doing what they’re doing every day is just contagious. Like I said I haven’t had much experience in Australia, so this was such an incredible first introduction to how Aussies work and the comradery that’s created on set is totally different; it’s much more of a family aspect rather than a business. I think we’re all super supportive of each other creating these awesome things and just getting the best out of people from a personal, artistic point of view.

HOF: How did you become involved in A Few Less Men? What latched you on to a production back in Australia?

CH: So I auditioned from L.A., I caught wind that there was this film shooting in my home town called A Few Less Men, and I’d heard about the first one but I hadn’t actually seen it before auditioning. I sort of knew the cast that was attached, and even just being given the scenes that I auditioned with, I could see the comedic aspects of it, and I just thought it was written so incredibly well that I was actually laughing when reading the script – I always think that’s a great sign for a comedy. So I actually put myself on tape out here, and funnily enough one of my best friends Saskia (Hampele) was also taping herself for it from out here, so she came into my audition to read with me, and it turned out the two of us actually booked Lisa and Angie, the two best friends that are travelling in the film together. I think a part of the audition process, having her in the room and reading with me and bantering off each other like that; I feel like sending that across is probably what got us both the roles, so we were both in it together from the very beginning.

HOF: You play Lisa, who is (sort of) a love interest for Tom (Kris Marshall). Tell us a bit about the character.

CH: She’s a fling. She’s not far from me in real life I’d like to think, except perhaps a little more forward and sexual [laughs]. I basically intercept the boys; I’m on this big road trip with Saskia’s Angie in the film and we come across the boys stuck in the middle of the desert, and we take them to this party that I think ultimately resembles a Burning Man type festival. It leads to… I guess you could call it love at first sight with Kris Marshall? I try to get involved with him and proposition him for a threesome and divert their journey; they’re on a mission and we prevent that from happening, we’re giving them an ulterior motive.

HOF: How did you find working opposite all these funny actors like Kris Marshall and Kevin Bishop? Is comedy your thing?

CH: My cheeks were sore every single day; I could not stop laughing with these boys. I can’t even explain to you… they are, I think, the funniest people I’ve ever been in a room with at the same time. And when you get to develop that while shooting seriously, it only gets funnier. They are the kindest, most genuine men, and they are just a scream… what you see in the film is just so similar to what you see on set. Comedy is not my strength at all; I’m working on it at the moment actually, I’m doing an intensive class out here in L.A. just to be as good as these boys at comedy.

I was certainly intimidated to begin with working with Kris; we met, and five seconds after saying “Hi I’m Chloe, nice to meet you,” we filmed the scene where we were making out and doing… you know… [laughs] all of a sudden our tongues were doing each other’s throats. So that was certainly my first experience of being thrown in the deep end, but if anything we got the awkwardness out of the way first, so that was great.

HOF: You were in Shane Black’s The Nice Guys last year, how was it acting with such a prolific director and huge stars like Ryan Gosling and Russell Crowe?

CH: I’m still speechless to this day. I think Shane’s casting and directing… he’s a genius, as a writer, as a director, as a mentor, he’s just so incredible. And to get to work with people like Ryan Gosling and Russell Crowe… that’s what I mean when I say I’m learning from the best of the best, they take you under their wing and guide you and it’s the reason they are so successful. They’re just the most humble people.

HOF: You had the starring role in the indie film Scarlett, could you tell us a bit about that?

CH: Yeah! Scarlett is a film with Stephen Baldwin and myself from last year which came out… I think it’s doing a state by state release in America at the moment, so it’s come out in Texas, and Colorado I believe so far. That was my first feature film ever, and to play the title role in a film with so little experience was certainly a big responsibility on my part. Of the one hundred page script I think I had about ninety of dialogue, so it was a big responsibility on my part, but I absolutely loved every second of it and would greet the challenge again with open arms. And obviously to work with Stephen Baldwin on your first film… so I was picking his brain for advice, and I got to take away so much from that that led to things like The Nice Guys and now A Few Less Men.

HOF: You’re a bit of a fashion icon too on top of your acting. What do you enjoy the most, or does it all sort of play off each other?

CH: You know, it does play off each other; I’m certainly much more of an actor than a model, I’ve been so blessed to be able to model as my side job all these years. I joke about how modelling is my waitressing, which most actors end up having to do at some point, and I’ve been very blessed that modelling has been that for me. In terms of being a fashion icon… wow. That’s like… that’s a big call. I was flown back last year to be the ambassador of the Perth Fashion Festival, and that was an incredible experience. I basically got to meet a lot of local Perth designers that I’m still in discussion with now, because obviously I want to support where I’m from and the fashion people that are coming up in the world from Perth. I just think there’s nothing better than being supportive of the people who are trying to do their best with what they’ve got or where they’re from; I will always be so supportive of Australian fashion.

HOF: You’re based in L.A. now of course, but would you take the opportunity if more roles in Australia presented themselves?

CH: Yup. Yup, hands down. I struggle everyday living so far away from the people I love the most, so any opportunity to be brought closer to them and still be able to do what I love is a dream for me. I also love what Australians are doing with scripts and films and companies like StudioCanal are obviously being really supportive of the film industry over there, and I want to be a part of that. Like I said A Few Less Men is my only experience so far in Australian film, and I would love to grow that over the next few years, and after that as well. Fingers crossed!

HOF: I guess that brings us to what’s next for you. Are you working on anything at the moment; are there any projects on the table?

CH: So this is actually a really interesting year for me, I got my green card for the US so that in itself has opened a lot of doors over here. It’s pilot season, so I’m currently on the hustle and grind auditioning back to back for TV shows; because I’ve never worked in TV that’s something that my team and I are working on together to try to achieve this year.

A Few Less Men is available in Australian cinemas from March 9 

Image courtesy of StudioCanal