Each of these MeOhMy shorts are 1/6 of a set of experimental pieces testing a different component of film making.

This film is No. 5 of 6.

The goal of this piece was to experiment with production design.


A film about not giving a flying f*ck about what other people think. In the wake of this god-awful year, I hope the one thing we can all take away from it is to go after what we really wanna do in life. This is a very cheeky exploration of that.

Would like to give some special love to our leading lady Beth Hurrell, who played the part of our cheeky florist oh-so well, and had a blast doing it (huge shoot day, and she didn’t complain once). Nothing like having the love child of Brigitte Bardot x Lana Del Rey to make an imaginary flower shop truly magical.


THE SET BUILD

This new film is so f*cking crazy. We wanted Wes Anderson meets Alice in Wonderland, which doesn’t really exist here in Brisbane. I wanted pink and red on crack cocaine. I wanted extra. So we had to BUILD it from scratch.

It took seven mates many days (and some very late nights) to bring this set to life- plenty of building, sawing, wallpapering, painting and repainting (CHRIST). Not to mention oodles of cuts, bruises and cursing.

The night before the shoot, a few of us worked ‘til midnight to get it all done.
Every nail and paint sploosh was added with love (and maybe the odd ‘shit-mother-fcker-shit’).

We painted an entire bloody SHOP. Shout out to my local, Union St. Cafe, for kindly doing the most, and letting me take over their space to bring this little feature to life.

It’s not every day a cafe let’s you turn their business into a film set, so I’d like to say a special thank you to Ramzi, Carolyn, Em and Emmy for letting me do this. This kind family runs my local, and everyone in the neighbourhood adores them. When I tentatively asked Ramzi if he might consider letting me use his space for this, he said yes without hesitation. No fee, just ‘what can I do to help.’ So we turned his cottage into a cherry red + pink Gucci-style florist. We built pink walls and a counter, and filled the space with beautiful blooms from our friends at Maison Fleur.

SIGN WRITING

My somewhat ambitious French Florist set was also supposed to be from 1969 (cuz I’m extremely mature like that). So naturally we needed an extra *special* vintage touch to help take us back 50 years or so.

Enter the fabulous Liane of Brush and Pen Studio.

Liane is a traditional sign writer. This means she’s classically trained in the very intricate art of bringing words to life in very beautiful places. Sign writing is something her dad passed on to her. The skill has become somewhat of a lost art, so it’s getting harder and harder to find people like Liane who can weave this particular type of magic.

She reached out not too long ago and asked if I might like some help with some of my film work. Being a huge fan of Wes Anderson and all of the wonderful vintage types in his films, I jumped at the chance to have a touch of the real thing in mine.

I’m so grateful she came and bought this tiny shop to life with her magic (twice over- she came back and restarted it all from scratch, because she’s such a perfectionist and wanted it to be more ‘french’). No stencils or stickers- just good ol’ fashioned talent.

FLORALS

I absolutely could not have done this without Bart and his crew at Maison Fleur. Legit. This little adventure required an insane amount of very rare, very expensive blooms. As well as being a very good friend, Barty also happens to be the World No. 1 Champion for Floral Design. He was able to source some beautiful blooms for our imaginary florist to turn it into the perfect blend of Gucci opulence and Alice in Wonderland.

It took Bart and his team two days to do this install for us. I’d like to extend a very special thank you to Bart, Maddie Jayde and Jeff for their kindness. You can’t have a spectacular florist (even an imaginary one) without some very special real life florists, so thank you friends.

THE TEAM

Would like to give a special thanks to my legendary DOP Jake Koning who’s worked on all four of my last films, and made them oh-so beautiful by constantly raising the bar (and the budget). As well as the magical Caleb De Leon who’s coloured every one, and works with me on fine tuning the look and feel tirelessly in post-production. Would also like to give some love to the head of Brissie’s best Burlesque academy, Miss Lila Luxx, for her fab choreography (she helped turn Beth into a very believable night time dancer).

Finally, I want to thank my fabulous producer Madie Sturgess who helps me put these productions together, dries all the tears and finds wonderful solutions for impossible problems.

Who says you can’t make cool stuff outside of Hollywood hey?


xX