Interview by Roger Ward.
My career as an actor has been reasonably prolific and publicized. My novel and scriptwriting capability were not. However, since the introduction of the World Wide Web and its propensity to spread ones’ achievements, writing proposals now come from all over. Sometimes it is a request to edit or re-write a script, at others, an offer to create from a novel or a 'great idea.' Most are unacceptable, but sometimes, an excellent project appears.
Arndell Reach, written by young, Sydney writer, Daniel Ritchie, is one that made me sit up and take notice.
Daniel’s introductory letter was polite, to the point, and said. "With copious amounts of reality television thrown in our faces, and excesses of sex, violence, and unbelievable extremes from the rest, I feel it is time for a bit of old fashioned family TV." He went on to say. "Written to draw a wide and diverse audience, Arndell Reach offers something for everyone while promoting a more tolerant community without driving a wedge into the fabric of society."
(Daniel Ritchie)
And Daniel was right, Arndell Reach heralded the values of those great 80's shows like Country Practice, Blue Heelers, and some of the great English family dramas.
His letter finished with an offer to come on board in either directing, producing, acting, or writing capacities.
I explained I was only interested in acting and co-writing. "BUT," I added, "you have prepared a brilliant presentation, and any re-writes needed would be minimal. Perhaps we could expand some of the characters and add others, but I refuse to take away the expertise and hard work injected by claiming co-writing credit. Let us both produce."
This chat with Daniel will inform what has happened in the 12 months since we began to collaborate.
Roger: It seems strange, interviewing you, especially after the hours we have spent in quaint, Blue Mountain Cafés, kicking ideas around and complaining about the hardships of trying to raise funds in Australia, then, when things began to look up, Covid hit, and destroyed all potential garnered. How did that make you feel?
Daniel: It was a real kick in the guts. The COVID threat stopped the television industry hard and sent the project back to square one.
Roger: Yes, I can completely understand your reaction. Has the air left the balloon? Or are you prepared to fight on?
Daniel: No, there's plenty of air in this balloon, and plenty of good fight left, and there's a good reason. The more I talk with people, the more I am reassured that the audience is yearning for that secluded country escape, and with the current trend in programming choices made by television executives, it appears they have not only let their audience down but also the advertiser that puts money in their pockets. I'm learning more and more the audience needs this as much as I do.
(Roger Ward)
Roger: Have you experienced this much disappointment on any other projects you may have created?
Daniel: Not quite. I am very passionate about this project because it is something I hold close to my heart as I grew up in a once-quiet rural area, which is now just an extension of Sydney, and I feel strongly about the preservation of what's left of our rural farmlands and Arndell Reach offers a little fantasy of what once was.
Roger: Arndell Reach seemed to have hit the ground running. You contacted quite a few name actors in the beginning and received positive feedback. I think Max Cullen was your first point of call; what was his reception.
Daniel: Max was the first, outside of yourself, and within hours of sending him the script, he replied, telling me he was ready to pack his bags and bring his cheeky character, Bill Rogers, to life. Big-name actors' response has been overwhelming, particularly without a starting budget, and all have reinforced their support in ongoing, reassuring messages.
(Max Cullen)
Roger: That is lovely of them to do that; I knew Max would, he's a beautiful guy and a great actor, whom I've known forever, but I'm bloody pleased about the support of the others, including Harry Michaels, the Greek actor/entrepreneur, that is a definite feather in your writer's cap...
Daniel: The response from Harry Michaels was totally unexpected, he was over-whelmed and as excited as I was that I had offered him such an alluring script and quickly set-up a lunch meeting where he reinforced his intense desire for the role of Dr. Theo Georgiadis. If he wasn't already generous enough with his time, he also offered to supply a three-camera studio for the Pilot, at no charge.
(Harry Michaels)
Roger: Harry is well known for his gregarious nature, but what he has offered is incredible. I note; also, you have won the confidence of the great Brian Trenchard-Smith, who is prepared to come on board as director; this news must have given you a boost of confidence. Did you know Brian previously or just thought, "I'll have a go?"
Daniel: It was diving into the deep end when I couldn’t swim, and not knowing Brian before, surprising to even get a reply, let alone a warm and enthusiastic response. Brian was a big part of the '70s and '80s Australian movie scene, a legend who has won the affection of big Hollywood players like Quentin Tarantino, and to have him take the time to look at the script was mind-blowing.
(Brian Trenchard-Smith)
Roger: Yes, it was indeed a coup. So, you've got Max and Brian and Harry, experienced and classy personal, yet you had trouble casting the Aboriginal actors you needed?
Daniel: I found it incredibly frustrating that I didn't have a network that included Aboriginal actors. The biggest struggle was trying to contact these actors; it seemed their agencies weren't interested in passing details of my project across because there was no production budget, but I persevered and found my actors, Thibul Nettle, and Billy McPherson, through Facebook.
(Billy McPherson)
Roger: Trenchard-Smith liked the screenplay concept, an early eighties family show set in a country town, and producers you have offered the work to have loved the idea, but as Covid hit and sent a sense of fear amongst us, they began to drop by the wayside. Okay, initial fear may have caused them to think differently. But now that Australia is the safest place to film anywhere in the world, why are they not picking up their phones once more.
Daniel: This is what is bugging me. I don't know if COVID is the real reason or just an excuse not to challenge the television networks into commissioning a series that the everyday Australians wants and can relate to. It could be these producers, who are also writers, are aware of the challenges ahead as commercial TV has transitioned to low-budget REALITY TV, a watch once, throw away product.
(location shot)
Roger: Spot on, it seems, as even the ABC, who initially gave you a good report and were keen to read further development, have suddenly decided they won't be making drama anymore. And another Production House that I contacted refused to read the script. "No Point!" they said. How has this blatant disrespect and lack of professionalism affected you? Has it weakened your enthusiasm, your will to succeed?
Daniel: No way! If I give up now, I’m not only letting myself down, but also the cast and a potential new audience. It seems the ABC is on a journey to try something new and ‘out there’ while distancing themselves from family dramas, as with many production companies and networks, and it will only be a matter of time before they realise the ‘good old staple drama’ is what has been missing from their essential programming.
(Roger Ward, Harry Michaels and Daniel Ritchie)
Roger: I agree, this industry, under any discipline, is a challenging game, and I notice many young filmmaker/writers are now producing their own work.
Daniel: Yes, I admire that, but this is a series, a quality six-part series, that requires decent funding and I am personally unable to put into it.
Roger: You could do the Pilot, perhaps. After all, Harry Michael's has offered you his studio with a three-camera coverage.
Daniel: Sure, that would be lovely, but I have a committed, main cast of stellar actors. There is no way in the world I would lower their standards and my own by asking them to work for a piece of the action. Besides, can you imagine Trenchard-Smith flying over from America, where he now lives, at his own expense, find his accommodation and work for points on top of that?
(location shot)
Roger: Exactly, but why haven't the powers that be, those that give the grants, or else an enthusiastic producer, realized this could be another Country Practice, another Blue Heelers? It is a damned well-written montage of funny yet dramatic scenarios all based in a country town.
Daniel: I have done research and location surveys, and the ideal shooting location is beautiful and would be a classic selling point and importantly, offer a significant and much needed boost to local tourism. '
(Shaun A Robinson)
Roger: Perhaps there may be a benefit in approaching a touristic board; look at what Paul Hogan did with the, ‘Make it Australia promo.’
Daniel: Every angle seems to have been done to death. I even approached the Tasmanian Film Corporation as this series would fit like a glove with the beautiful scenery down there, and I thought this, combined with their tourist department, maybe the way to go. Still, the Tasmanian Film Corporation refused to read it unless I got a Tasmanian Producer on board. I did have a lovely lady producer who adored the script, but they said she wasn't experienced enough. Also, had they agreed to fund, I would have had to dismiss all of those wonderful actors who have decided to join us because Tasmanian Film insists on using Tasmanian actors.
(Jay Pillay)
Roger: So frustrating. I hope things change for the better, Daniel; it is deflating to beat your head against a brick wall like this. Especially with such a fine script, and for God's sake, what a cast. If this was America, and you had an equivalent cast and director, they would be clamoring over their desks to sign you.
Daniel: Maybe that's the answer, a USA country town. Even one of those fabulous English villages, but I'm Australian, the characters in the script are Australian; my cast is Australian, am I being too patriotic for my creative self? \
(location shot)
Roger: No, you're proving what you appeared to be in your first communication.
Daniel: Thank you, I really hope this interview stirs up some interest.