1. What was one of the most challenging moments you faced while making Cactus? Did this ‘setback’ change the direction of the final story?

We didn’t have any huge challenges, but the biggest was when our original DOP, Jack Saltmiras, got covid the night before our first day. He rang around and we were incredibly lucky that Gregoire Liere was available to step in and he did a beautiful job! We actually met for the first time at a cafe around the corner from our first location the morning of the first day, where we had just enough time to run over the previous DOP’s shot list. We were lucky to have the list, but it also forced us to be very instinctive and free during the shoot, which I think was a blessing. Unfortunately our designer Mel Page had three of her assistants also come down with covid before the shoot week, so basically had to do it all herself - her design was just wonderful!

2. What was the biggest inspiration behind Cactus?

The film is based on the real life relationship I developed with my elderly Portuguese neighbour Mr. Rodrigues, when I lived in Marrickville in the Inner Western suburbs of Sydney. My partner, Harry Greenwood, and myself wrote the script a few years back and sat on it for a while. Then, post covid we got it out again as we felt that stories about connecting to the immediate community felt more important than ever.

3. What message do you want the audience to take away from Cactus?

I want the audience to take what they wish from the film. But, if anything, my hope is that it may encourage people to consider reaching out to their neighbours more often. When we lived in Marrickville we had a wide net of neighbours around us that we built a strong community with. It was the nicest place we’ve lived in our history of renting because of this connection. It’s something I really value and miss since moving away from the area.

4. How did you create or build the chemistry between the actors, Tiarnie and Antonio? Were any techniques used, or did the two actors hit it off from day one?

We were very lucky to have Tiarnie Coupland as our Grace, an incredibly generous and experienced actor, and Antonio Gonçalves as Mr. Rondrigues. It was Tony’s first acting job but he was totally unfazed and slipped into things seamlessly due to his background as a musician (he has an amazing voice). With short films, you never have a lot of time, but we did manage to schedule one day of rehearsal. Seeing them meet for the first time and get to know each other organically is the essence of the film. The three of us talked a lot about the script and then on the day I gave subtle direction and allowed for the actors to find things between the lines and play. The schedule ended up being very kind, in that it allowed for that relationship to grow and shift over the week. By the time it came to shooting the last scene of the film, it was in fact our last scene of the shoot. Seeing the ease and comfort they now had with each other was a beautiful thing to watch and had us all in tears.