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Oct 19 / Cameron's Creative

Glitch Season 1 Now Streaming On Netflix

glitch-850The entire series of Glitch, the six-part drama directed by Emma Freeman and written by clients Kris Mrksa and Giula Sandler (with showrunner Louise Fox), is now streaming on Netflix. Series 2 will begin filming early 2017.

Oct 18 / Cameron's

Cameron’s Winners at the 2016 AWGIES


Congratulations to the Cameron’s Winners at the 2016 AWGIES

Television: Miniseries – Adaptation

BarracudaBlake Ayshford and Belinda Chayko

Television: Series

Rake: Season 4, Episode 407 – Andrew Knight

Comedy: Situation or Narrative

Please Like Me: Season 3, ‘Pancakes with Faces’ – Josh Thomas and Liz Doran

Feature Film – Original

Ali’s Wedding – Andrew Knight and Osamah Sami

Australian Writer’s Guild Lifetime Achievement Award – Craig Pearce


Oct 11 / Cameron's

Jesse Blackadder selected for The Athena Project


Our client Jesse Blackadder, author and emerging screenwriter, has just been selected as one of twelve talented participants in The Athena Project, a Screenworks intensive residential program for female filmmakers that will take place in November, funded by Screen Australia through the Gender Matters: Brilliant Careers program. Details of the program are in the attached link:

Jesse is currently adapting one of her junior novels, Paruku the Desert Brumby, into a feature film with Bangalow Pictures, and has recently done writers’ room placements with Matchbox Pictures and Every Cloud Productions.

The Cameron Creswell Agency has Jesse’s latest literary adult novel This Doesn’t Happen to Us out on submission with publishers. Please contact Jesse’s agent, Jo Butler, with any queries:

Oct 7 / Cameron's

Abe Forsythe’s Down Under wins at Fantastic Fest, Austin


Congratulations to Abe Forsythe, writer and director of Down Under, on his recent accolades from Fantastic Fest in Austin, Texas.

In the comedy features category, Down Under won best picture and Abe won best director.

Down Under is a provocative black comedy set during the aftermath of the Cronulla riots, it focuses on two groups of hotheads from both sides of the fight who are destined to collide. It continues on the festival train, stopping next in London for the BFI London Film Festival. For more information, click here.

Oct 6 / Cameron's

Noni Hazelhurst’s one women show Mother


Noni Hazlehurst is currently on a regional tour of her much acclaimed one woman show “Mother”.
One of the most recent reviews in The Age on the 28th September, written by Peter Wilkins stated ‘Hazlehurst is magnificent in the role’.
In the play she portrays Christie, and elderly homeless woman, living in the back lanes of Melbourne.

She will perform in various locations in NSW and Queensland until the end of October.

Oct 4 / Cameron's

Katherine Johnson: author of new novel The Better Son


Congratulations to our client Katherine Johnson on the publication this month of her second novel, The Better Son, a richly imaginative and universal story about the danger of secrets, the beauty in forgiveness and the enthralling power of Tasmania’s unique natural landscape. Over the weekend, an article called ‘Wild Medicine’ by Katherine appeared in The Good Weekend, which also demonstrates her incredible skill in evoking the wilderness of landscapes and characters’ emotions.

The Better Son will be launched at Fullers Bookshop in Hobart on 14 October and is available in bookshops and online now.

Sep 23 / Cameron's Creative

Del Kathryn Barton’s new short film Red


Article from SMH by Andrew Taylor, 22 September 2016

She is venomous, eats her partner after sex and weaves a tangled web.

With such a reputation, it is little wonder the Australian redback spider has inspired two of Australia’s greatest artists – Cate Blanchett and Del Kathryn Barton – to create a short film that will premiere at the Art Gallery of South Australia as part of the 2017 Adelaide Festival.
RED is billed as a surreal, savage tale of female power inspired by the mating rituals of the redback spider, which stars Blanchett, actor Alex Russell and the Sydney Dance Company’s Charmene Yap.

“In essence, the narrative in RED illuminates the unusual mating rituals of the Australian red-back spider,” Barton said. “Here, our brave little male after copulating with the monumental female gently somersaults into her mouth, offering himself as a meal postcoital. If she is not hungry she will store his bound, dying body on her web for later consumption.”

In a Q&A with the gallery, Barton said the mating habits evoked what she described as “the poetics of female power as an inherent and indeed, elemental force in the universe”.

“By intercutting human protagonists with extraordinary macro footage, RED has evolved into what I now consider to be an uncompromising celebration of female power.”

The dual-screen work delve into themes of passion, sex and death, drawing on the symbolism of the female redback spider. Barton’s portrait of Blanchett and her children, Mother (a portrait of Cate), was a finalist in the 2011 Archibald Prize.

Blanchett, a two-time Academy Award winner, can currently be seen in German artist Julian Rosefeldt art film Manifesto at the Art Gallery of NSW. The versatile actor will also make her debut on Broadway in December in the Sydney Theatre Company production ‘The Present’, Andrew Upton’s adaptation of Anton Chekhov’s ‘Platonov’, which also stars Richard Roxburgh.

Barton said she screamed out loud when Blanchett agreed to appear in the short film.

“On shoot day, she nailed the long cutting performance on the first take,” she said. “Her energy exploded off the monitor. We were all blown away. Cate is mother. At that point I knew that the stakes on RED had just gone to another level. I was actually shitting myself just a little bit.”

Barton embarked on the film after winning a $50,000 creative fellowship from the Australian Film Television and Radio School in 2015. A two-time Archibald Prize winner, Barton’s art often examines fertility and the psychology of relationships. Her previous films include the human dress (2012) and last year’s The Nightingale and the Rose.

The short film will be screened at AGSA and become part of the gallery’s collection. AGSA director Nick Mitzevich said the short film would take Barton’s “career to a new level and to new audiences”.

RED runs from January 26 to April 30 at the Art Gallery of South Australia.

Sep 13 / Cameron's Creative

Cinematographer Marden Dean’s latest film in ‘Variety’

bitt-promo-still-corey-romany-at-cemeteryAustralia’s Nicholas Verso Talks U.S. Influences on His ‘Boys in the Trees’ and Yoko Ono Song Rights

Australian writer/director Nicholas Verso’s  gender-bending Boys in the Trees world-premiered late last week in the Venice Film Festival’s Horizons section, which is dedicated to cutting-edge fare, before segueing to Toronto. Verso talked to Variety about the influence of American movies on his first work and also how he managed to secure rights to its impressive ’90s song list.

“Boys” is a supernatural coming-of-age film set in suburbia on Halloween with skater culture, steeped in a ’90s soundtrack. It all seems pretty unusual for Australian cinema. What’s it born from?

In Australia we grow up watching a lot of American movies. I spent the 1980s and ’90s watching Spielberg, Joe Dante, and things like [Andrew Fleming’s] “The Craft.” What happens when you reach the end of your adolescence in Australia is you kind of look back and it feels a bit hollow because it’s nothing at all like the experience you grew up seeing on screen. So I just found there was a lack of films celebrating the Australian teen experience, and what that magic is like in our suburbia. It’s true, we [Australians] tend not to do that; we tend to make movies realistically. But I’ve always had an overactive imagination. I’ve read a lot of Ray Bradbury and Neil Gaiman; they are my favorite writers, besides the directors I already mentioned. So when I was growing up I would always look at things through that lens, and wonder why I couldn’t find an Australian film that showed them that way.

Why did you set it in 1997? 

When I started writing the film, it was set in modern day, but all the modern technology kept getting in the way. YouTube and mobile phones and Instagram. I just found them very undramatic; so I went back in my head to when the last time would be that teenagers could really be alone in the night, without contrivance.

The film has a distinctive nighttime look and plenty of visual panache. What was it like working with your cinematographer, Marden Dean?

We didn’t have a lot of time, it was actually a very fast shoot, so Marden and I went to each location and just thought very practically about how we could create that look of magic suburbia that you are now seeing in things like [Netflix sci-fi series] “Stranger Things.” We wanted it to look like a film; we didn’t want it to look too realistic. We wanted it to be stylized and heightened. Bill Henson, the Australian photographer, is a huge influence, and also Gregory Crewdson.

The impressive song list on the soundtrack includes Marilyn Manson’s  “The Beautiful People” and Yoko Ono’s  “Death of Samantha.” Was getting those rights tough?

I have a very personal connection to every song in the film. Luckily [the film’s producer] Mushroom Pictures has a big music arm. The attraction they had to the script was that I was embracing the music. I think if I was with any other producer in Australia I would not have had those songs. Still, there were certain nuts that were tough to crack. I had to write a long personal letter to Marilyn Manson begging him for his song. The one I was most worried about was Yoko Ono but she was very supportive, which was amazing. Until she said yes I was very nervous because I didn’t know how else to finish the film. For all the other songs I had other options. But for that one I had no backup plan.

Sep 9 / Cameron's

Cameron’s Clients’ work on stage in 2017

Congratulations to the Cameron’s Clients that will have their work or appear on stage next year!

Belvoir St Theatre

Mark Colvin’s Kidney by Tommy Murphy

Darlinghurst Theatre Company

Hysteria designed by Anna Gardiner

I Love You Now directed by Kim Hardwick

Ensemble Theatre

Odd Man Out by David Williamson and designed by Anna Gardiner

The Rasputin Affair by Kate Mulvany

Lip Service designed by Anna Gardiner

Taking Steps designed by Anna Gardiner

Griffin Theatre Company

A Strategic Plan by Ross Mueller

SydneyTheatre Company

Testament of Mary composed and sound designed by Max Lyandvert

Black is the New White starring Anthony Taufa

Dinner composed and sound designed by Max Lyandvert


Sep 8 / Cameron's

Melissa Bubnic’s Boys Will Be Boys opens tonight at Auckland’s Silo Theatre


From a Sydney Theatre Company commission, Melissa Bubnic has written a no-holds-barred, biting satire on what it takes to get ahead. With an all-female cast, in-your-face dialogue and a healthy bump of cabaret, Boys Will Be Boys is a ferocious and unapologetic look at misogyny and who’s got the power.

First performed at the Sydney Theatre Company in 2015, Boys Will Be Boys has since travelled to The Bush Theatre, London and now arrives to Auckland’s Silo Theatre until September 24. For more information and how to book, click here.