INTERVIEW with Jennifer Treur
Originally training in theatre, television and advertising in NZ, Jennifer migrated to Australia as a permanent resident working as an art / creative director in agencies. Co-founding creative consultancy, JAM Directions she has written and directed TV commercials, campaigns and video for healthcare, fashion, fitness, government, music artists, festivals and production companies. Jennifer worked for several years with WOW Film Festival NSW until 2012 as a creative direction consultant. She also worked as a creative direction consultant on an international medical feature film for Asia Geographic. Since then she has been creating her own documentary and film productions, including the multi-award winning feature documentary, ‘Elena’s War Dance’. She holds an Advanced Diploma in Screen and Media and is passionate about continuing to study storytelling and filmmaking.
How long have you been doing movies? How did you decide to start making movies?
I made a fictional short in 2000 with close friends. In 2013 I received a creative direction assignment on an international medical documentary as part of a team. That experience awoke a desire to make a feature documentary about my mums experience as a young child in WW2.
I completed Elenas War Dance in 2019.
Why did you do this project?
This project, Codes of Life, Science Humanity was a passion to express my interest and respect for mankind’s technological achievements while raising questions about mankind’s failings with climate responsibility.
(If you can say). How much budget did you have to do this project?
The budget was under 10,000 USD.
Was it self-funded or did you get budget/producers/investors?
Yes, it was self funded.
How long did it take from the initial idea to being able to release?
The concept and initial motion graphics concepts started 10 years earlier, but I was busy on my first documentary production in between.
Are you happy with the result?
At the time of completion it felt complete and I was happy with what the film expressed. But I realised that further dramatic climate change issues would arise that I would wish could be in the film, such as the recent ice shelf breakaway the size of France.
What phase is this project in right now? Are you in the initial phase of sending it to festivals, middle phase or finishing the circuit?
I’m at the tail end of the festival circuit.
How has your experience been with the festivals so far? Where do you think they should improve?
I was delighted with the response of festivals to the work. The film received excellent recognition and awards.
Could you tell us which platforms you use to submit your entries to festivals?
Vimeo Pro is my go to for uploading and hosting the film.
Film freeway is my main platform for film submissions as it’s very easy to use.
Normally, filmmakers use many references, favorite directors, favorite movies, etc. Were you inspired by any director or film? If so, tell us your references.
Well I love the work of master directors such as Ridley Scott, Martin Scorsese and Jane Campion and many others.
For documentary I studied closely the works of Werner Herzog and Ken Burns.
Your favorite movie?
The Pianist by Roman Polanski, a World War 2 classic.
Favorite series?
La Piovra by Luigi Perelli, an Italian masterpiece.
Do you see yourself making movies in 5 years? Where do you see yourself?
Movie making is now my preferred means of creative expression, as you can craft a concept by writing the story and then directing and producing the result.
Do you have any other project in mind?
I certainly do. I have a historical art film concept in pre-production as well as a modern contemporary thriller series that I’m writing and creating Pilots for.
What do you ask for the future? (cinematographically speaking)
As a woman filmmaker, I ask to be seen and heard as a voice.
I’m so grateful to many festivals that have been supportive as each story teller has a distinct voice.
Thank you very much for this interview.
Your best experience in a movie theater?
Probably seeing my first short fiction James Bond style film on a giant festival screen in the USA.
Secondly, watching the Devil Wears Prada 2 in a luxury theatre with 80 good friends.
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Costa Brava Interview with Jennifer Treur
Writer/ Director/ Producer
Codes of Life Science Humanity