AACTA Member Spotlight: Matthew Moore – Actor, Writer, Director

Matthew Moore

Actor, writer and director Matthew Moore

Matthew Moore caught the acting bug at the tender age of 11 when he reenacted Burke and Wills’ journey across Australia for his Year five class. Since then, he’s honed his craft by studying at WAAPA and scoring a supporting role in The Dish, thanks to his exceptional graduation performance. Over the years, Moore has worked across film, television and theatre, acting in everything from Home and Away, All Saints and Rake to The Dish and Burning Man. He claims his meatier rolls have come straight from the great bard himself, Shakespeare, but that the most fun he’s had was playing Jodee in Rob Carlton’s entertaining TV drama, Chandon Pictures.

Julian Poster

In what seems to have been a natural progression for Moore and his filmmaking talents, he has recently turned his hand towards writing and directing for the screen with his imaginative new short film, Julian. This shift to behind the camera appears to have paid off. Julian has recently earned Moore the Flickerfest Special Jury Prize for Best Short Film and the Crystal Bear Generation K+ at the 62nd Berlin International Film Festival in February. He claims the key to creative success is simply not being afraid to create, of taking a good idea and making it into something tangible. Moore thoroughly enjoyed the collaborative filmmaking process and was particularly taken with his young cast. He is now keen to pursue a career that is both in front of and behind the camera. Perhaps, once again, inspiration can be traced back to Australia’s great auteur, Peter Weir.

Matthew Moore is one of our newest AACTA members, and we’re proud to welcome such emerging filmmakers into the new Australian Academy. In coming months, we look forward to sharing more of these profiles with you as we turn the Member Spotlight onto more performers and practitioners – both those working at home and abroad.

AFI | AACTA: Where did you grow up?

Matthew Moore: I was born in Frankston, Victoria but my formative years were in Canberra. I left Canberra at age 18 for University.

AFI | AACTA: What first inspired you to become an actor?

Matthew Moore: I wanted to be an actor from a very young age. I think the inspiration came from just doing it, experiencing it. I remember having to act out Burke and Wills’ journey across Australia in Year five and thinking then that this could be my thing. I would go to the local library and flick through old acting books. I’d pore over black and white photos of Ralph Richardson or Laurence Olivier wearing an outrageous latex nose, and be blown away by their ability to transform from role to role. By early high school, I knew that I wanted to audition for drama school.  But I kept it to myself until I absolutely had to come clean to a careers advisor in Year 12. Up to that point, acting was something I had only ever explored in drama class and in annual school musicals so I was hyper-aware of how ridiculous saying I wanted to act professionally would sound. My family was ultimately very supportive of my decision.

AFI | AACTA: You studied at WAAPA and were recruited for the role of Keith Morrison in The Dish, after Jane Kennedy saw your graduation showcase performance in 1998. This must’ve been an outstanding final performance and a bit of a dream come true. Can you tell us a little bit about what it was like studying performing arts at WAAPA and then debuting in The Dish?

Matthew Moore: WAAPA was a special time for me and the work I did there still forms the foundations of my work. It prepared me for the industry. At that time, we had outstanding teachers at WAAPA such as Andrew LLoyd and Nick Enright. You’re working on your craft (voice, movement and acting) from 10am to 6pm, five days a week, and then performances on top of that, so it’s truly a vocational training. People either seem to love or hate drama school but I had a good balance of being challenged and nurtured.

Upon graduating, The Dish was my first professional gig. I had grown up listening to the D-Generation and watching The Late Show and Frontline. I was a huge fan of their (Working Dog’s) work. I remember in my first meeting with my agent, Lisa Mann, I said my dream would be to work with the guys from Working Dog. At the time, I didn’t know Jane Kennedy had seen my graduation show. A couple of weeks later, Working Dog asked me to fly down to Melbourne to meet them all and to discuss a role they had in mind for me. In hindsight, this may have set up somewhat unrealistic expectations for my next few meetings with Lisa Mann! Working on the film was as much fun as you’d expect. They are exceptional writers and have a great trust of actors.

AFI | AACTA: Since then, you have acted consistently across both film and television. Is there a significant difference to the way in which you approach these different formats? Do you prefer one to the other?

Matthew Moore: I really don’t have a preference. To be honest the majority of my work has been in the theatre. That’s where there is the most significant difference for the actor, the difference between the stage and any form of screen work. I think the joy is being able to work across stage, television and film. Each medium has different challenges and feeds you in a different way. The industry is likely to pull you in a particular direction but if you can find a balance it’s very rewarding.

AFI | AACTA: What is the meatiest role you’ve ever had?

Matthew Moore: Well the roles I would describe as ‘meaty’ would be the roles I have played in the theatre. That’s where I’ve had the opportunities to play some of the great roles in Shakespeare, Webster, Goldoni etc. In terms of film and television, I often think of what’s the most fun I’ve had. The most fun I’ve had in television was playing Jodee in Chandon Pictures, written and directed by Rob Carlton. I actually met Rob at the auditions for Chandon Pictures. I was the reader. We spent the day auditioning actors and just had a ball. He called me a week later and said he had written a role for me, playing Josh Lawson’s boss. Jodee was like a Wall Street Wolf. He was a finance man with a porche, a beautiful wife, a penchant for cocaine and happened to own a gay nightclub – only from the mind of Rob Carlton! When jobs are that fun, you just want the series to go on forever. Incidentally, it stopped at two series.

AFI | AACTA: Was turning away from acting towards writing, directing and producing your own short film a natural progression for you? How challenging and/or rewarding was this transition?

Matthew Moore: It was natural in that I’d always wanted to do it. When I was 16/17 years old I was equally interested in filmmaking and acting and made a couple of short films at the time. Then I just went down the acting path, training at WAAPA, spending years in the theatre and then on to working in film and television. By the time I looked up, more than ten years had gone by and I felt like it was time to start nurturing the filmmaking side of things again. I also felt it was important to create something myself. As an actor you are always helping to fulfill someone else’s creative vision. It’s a very healthy thing for an actor to do I think – to experience creativity from the other side and drive your own vision. I found it very empowering. It was great to work with all the different departments in a much more meaningful way. Film is so collaborative and by stepping behind the camera I really got to experience and appreciate the crew’s expertise much more.

Julian

Ed Oxenbould on the set of JULIAN

AFI |AACTA: Julian is your first short film. Where did the initial inspiration for this film come from? Was there anything in particular that you wanted to explore/capture in this film?

Matthew Moore: Before I had the idea for the film, I met Ed Oxenbould and Morgana Davies at an audition. They were both incredible little actors, both 10 years old, and I thought I’d love to make a short film with them one day, if I ever had the right idea. So, my initial inspiration was simply wanting to work with these two actors. About six months later, I had an idea for the first scene and the general conceit of the film. It was a good fit for the two of them. I won’t say what that general conceit was as there are some local festivals coming up and I’d love for people to experience the film afresh. The main idea I wanted to explore, however, was about a little boy who needs to speak his truth and identifying where that desire comes from. The original idea I’d come up with ended up becoming the icing on the cake.

AFI | AACTA: Is there a particular message that you are trying to communicate in this film or are you more interested in leaving it up to the individual to create his or her own meaning?

Matthew Moore: I think a level of ambiguity is always interesting and if you’ve managed to create discussion, I think you’ve had a win. The theme of speaking your truth is a clear one, I think, and the last line in the film gives a clue as to the side I personally lean towards. I certainly wanted the audience to follow and be with this little boy.

AFI|AACTA: Ed Oxenbould has been praised for his extremely convincing and disarming portrayal of the young Julian. Was this Ed’s first film performance?

Matthew Moore: Ed’s done some bits and pieces but he’s about to do a whole lot more. A friend of mine who is a writer saw the film, subsequently showed it to a very high profile producer and as a result Ed is about to make his debut in a new prime time TV show as a series regular. They cast him without an audition. I can’t say anymore than that at this stage. I believe it is being announced in the coming weeks. I’m thrilled for him.

Ed Oxenbould and Matthew Moore on the set of Julian

Ed Oxenbould and Matthew Moore on the set of JULIAN

AFI | AACTA: What was it like to be on the other side of the camera and to direct such a young person in this role?

Matthew Moore: Directing Ed and the other kids was really no different from directing adults. In some regards, it was easier. They are all very talented and professional. They had all been on sets before and knew the drill. They were open and available and took direction incredibly well. I think when working with kids it is important to have a very clear idea of what you want. We did have one rehearsal day, for an hour, where I got the three main kids together to run the main scene and I did have a moment that day, when I thought ‘Oh my god what was I thinking?’ The kids were sussing each other out and it was a little bit like spinning plates – one would get going and the others would lose focus. Sometimes I’d give direction and think ‘Nope, they’re not listening at all.’ But then we’d do a take and it would all be there. They were soaking everything up. Come shoot day, they were amazing. We had to move extremely quickly and they just bounced along. The best thing about Ed Oxenbould, Morgana Davies, Joseph Famularo and Will Cottle was that they are just such great people. They made the shoot fun.

AFI | AACTA: Julian has earned you the Special Jury Prize for Best Short Film at Flickerfest and more recently the Crystal Bear at the Berlin International Film Festival. How does it feel to have won these prestigious awards with your first foray into filmmaking?

Crystal Bear

Matthew Moore (centre) accepting his Crystal Bear Award at the Berlin International Film Festival with Festival Section Director Maryanne Redpath and Section Co-director Florian Weghorn

Matthew Moore: Flickerfest was the first time I saw the film on the big screen and in front of an audience. That was very rewarding in itself. Listening to people react and enjoy the film in a festival atmosphere. Flickerfest has showcased a lot of local filmmaking talent over the years, many of whom have gone on to make feature films. It was great to compete against some of those filmmakers, filmmakers I’ve admired for a long time.

The Berlin International Film Festival had always been a dream for me. In the back of my mind, I’d always wanted to have a film screen in competition there. For some reason, it was the festival, of the big four, that had captured my imagination. So, it was quite surreal to experience it. Berlin’s an incredible city for artists all year round but during the festival it’s incredible. There are so many creative types in one place: directors, producers, writers, actors, cinematographers all smashed into Potsdammer Platz together. You’ll see an amazing Dutch feature in the morning, an independent American film in the afternoon, perhaps catch a program of shorts and then meet all the creative teams that night at the bar. You’ve seen all their work and they’ve seen yours. It’s incredibly exciting. Just in the shorts section alone, I competed against films from 23 countries. It’s like the United Nations of filmmaking. Winning the Crystal Bear at the end of those 10 days was very special. The whole experience has been an eye opener, a great focuser and very inspiring.

Crystal Bear

Matthew Moore with his wife Genevieve Hegney and the Crystal Bear Award

AFI | AACTA: What have been some of the biggest challenges you’ve faced during your career? What have been the highlights? What are you most looking forward to?

Matthew Moore: There are just so many challenging aspects of the industry that you have to navigate, particularly as an actor. I think, as actors, we try to make sense of these challenging aspects when often there is no sense to be made. Personally, I find not getting the opportunity to audition for a role harder than not getting a job. If you’ve had an audition, at least you’ve been in the mix and had an opportunity to act that day. More than once, I’ve had to fight like crazy to get into a room and then ultimately won the role. In terms of other challenges, watch Fiery Hawk on YouTube. Most actors I know who’ve seen it, regardless of personal success, feel like it sums up the actors experience… and it’s funny.

When I think of what my highlights have been I think of the people I have been lucky enough to work with. The relationships I’ve forged. The friendships I’ve made. For me, it’s the people. And what am I looking forward to? Well I’m looking forward to writing and directing more. I’m really excited by this shift and exploring my own creativity. I’m looking forward to nurturing my own ideas more and balancing that with my acting career.

AFI | AACTA: If you had to name three mentors, who would they be?

Matthew Moore: I actually love the idea of having a mentor. Whilst I haven’t really had an official mentor, I have been lucky enough to have people champion me and I have very talented and supportive friends. So, I have to mention more than three. Two of my closest friends happen to be writer/directors, which has been very handy as I move into this area.

Michael Petroni wrote and directed Till Human Voices Wake Us and has been working as a writer in Hollywood for many years, having written such films as: The Rite, The Chronicles of Narnia: The Voyage of Dawn Treader and Queen of the Damned. Michael was the first person I pitched Julian too and he encouraged me to write it just as I had pitched it. As Michael is now spending more time in Australia, it’s been great to bounce ideas off him, read each other’s scripts and get his advice.

Tony McNamara, who wrote and directed The Rage in Placid Lake and has written a prolific amount of television including Tangle, Love My Way and The Secret Life of Us, has also been great to bounce ideas off. More importantly, he also makes a delightful roast lamb with baked vegetables.

Steven Soderbergh was great when I told him I was planning on writing and directing my first short film. He gave me a fantastic reading list along with a list of films to watch for their various filmmaking aspects. There were some for editing, writing, cinematography (colour and black and white) and of course for directing. So, I’ve been devouring all of that.

John Bell has certainly been the most supportive and nurturing in regards to my acting career. He has given me many opportunities to play some of the great character roles in Shakespeare.

Annie Swann is a wonderful acting coach for both stage and screen and has been great to work with over the years.

My wife, Genevieve Hegney, insists she is both my muse and mentor. She has certainly been incredibly supportive and is, of course, the first person I bounce ideas off.

Finally, I often think about the late Nick Enright, writer, director, actor and extraordinary teacher. I was lucky enough to work with Nick in my 2nd and 3rd year at WAAPA and to this day, I still carry his wisdom and generosity with me.

AFI | AACTA: What advice would you give upcoming Australian filmmakers wanting to break into the industry?

Matthew Moore: Create something. There really isn’t any excuse these days. The technology is just so accessible. Julian was made for $7000. We didn’t receive any funding. We raised the money through a quiz night and through the generosity of friends and colleagues who either contributed their time, expertise or money. During the festival run, we’ve been competing against some films with budgets of over $150,000 but the great thing about short filmmaking is that it’s all about the strength of an idea. If you’ve got an idea, grab a 5D camera and make it. Create something.

AFI | AACTA: What is your all time favourite Australian film? Why?

Matthew Moore: I have to mention a few…The first Australian film I remember really having an impact on me in my youth was Peter Weir’s Gallipoli. Gallipoli is clearly an important part of our history that continues to define us and somehow Peter tapped into that in a profound way. I remember someone making the observation that the film was just as beautiful as the letters and poetry that the diggers would send back to their loved ones. Peter Weir is one of the top filmmakers working in the world today. His body of work is incredible.

Proof is one of my all time favourite Australian films. I love a writer/director with a unique voice. Jocelyn Moorhouse created an intimate, funny and moving film about trust. What a great pitch line it must have been… “Well, there’s this blind photographer…”

I also clearly remember the first time I saw Romper Stomper, from writer/director Geoffrey Wright. I had never seen Australia portrayed like that before, it was like a slap in the face. What I remember most from this film is the energy with which it was made and the power of the three main performances. Daniel Pollock, Jacqueline McKenzie and Russell Crowe.

Honourable mentions go to the Ausploitation films Razorback and Patrick for freaking me out and haunting my 10-year-old mind.

AFI | AACTA: Thank you for sharing your time with us.

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