![]() ![]() Q: I assume the critical acclaim for The Other Lamb and being showcased at TIFF, BFI London, San Sebastian, Fantastic Fest and other festivals raised your profile? Has that paid off with offers or approaches from other producers?Ī: The response from festivals has been absolutely fantastic, well beyond what I’d ever imagined. However, we’re now starting to see stories being told through different lenses, and those films and shows are often doing very well, which means it will hopefully continue to progress. This bias applies doubly for women of colour writing in this area – I think it’s part of the shift from genre being something where the default is white, straight and male. Especially when I was just starting to go on general meetings, there was sometimes an assumption from development executives that The Other Lamb was me dabbling in horror for the first time, whereas in reality, I’ve been writing sci-fi and horror short stories and scripts for years. That implies a male bias?Ī: I think it’s getting better for women and gender diverse writers working in the genre space, but there’s still a long way to go. Q: You also suggested it is tougher for females to be recognised in this genre. However, in a bigger international market like the US, there are enough shows being made or produced that it’s possible to be that specific in what you write. ![]() The double-edged sword of me being so specific in what I want to write, is that I don’t tend to get people asking me to come and write on say, a medical drama. Can you elaborate on that?Ī: Genre TV shows and films are stronger in Australia than they’ve ever been – shows like Glitch, The Kettering Incident, Bloom and The Commons, and teens shows like The Unlisted and Nowhere Boys do really well both here and overseas.īut we’re are a small market and it’s hard for anyone that views themselves as solely a genre writer to support themselves on just that – at the most, you’d only be able to work in a few development rooms a year. Q: In the recent Australians in Film webinar with Zak Hilditch, Ben Young and Natalie Erika James, you said it’s impossible for a genre screenwriter to make a viable living in Australia. The English-language debut of Polish director Małgorzata Szumowska, the horror movie follows a group of girls and women who live in a mysterious secluded compound with a man they call “Shepherd,” hailed by critics as combining elements of The Witch, The Handmaid’s Tale, Rosemary’s Baby and Carrie. McMullen addresses the challenges of making a living in the genre space in Australia and for females to be recognised in the profession.Ī former production freelancer, she wrote an episode of the second season of Playmaker Media/Stan’s Bloom, two episodes of Fremantle’s Wentworth VR and Princess Pictures’ digital series Parked before her international breakthrough, scripting The Other Lamb. McMullen with ‘The Other Lamb’ producer Stephanie Wilcox and director Małgorzata Szumowska (Photo credit: Stephanie Wilcox). ![]()
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