MEET THE FILMMAKERS: ROBERT D'OTTAVI

Part 10 of The Sydney Science Fiction Film Festival IN CONVERSATION Series, hosted by Festival Director and Screen-Space Managing Editor, Simon Foster.

THE TRAVELER (Australia, Dir: Robert D’Ottavi; 7 mins) In the near future, an isolated man is tortured by his precious memories.

DIRECTOR'S STATEMENT: "During the COVID-19 era, I too found myself recollecting the days of old. As time went by, I felt that we as a civilisation stopped looking forward and only focused on behind. Like The Traveler’s lead character, I believe that we are stuck. The Traveler is about the necessity to move on. The past is a tide; it can suck you in, and if you are not careful, it will hold on to you forever, refusing to let go...”

Screening in The AUSTRALIAN SHORT FILM SHOWCASE on Saturday November 21 from 10.30am at Actors Centre Australia.

 

SIMON: What have been the science-fiction works – books, films, art of any kind – that have inspired your work and forged your love for the genre?

ROBERT: The science-fiction genre has always been incredibly close to my heart. Growing up as a fan of comic books and such, the genre was a natural fit for me. I first really fell in love with the genre on the page when I read Orwell’s 1984 and Bradbury’s The Illustrated Man in high school. Both texts taught me how to use the science-fiction genre to tackle political and psychological ideas and themes in really metaphoric and unique ways. Following my exposure to those novels, I saw Christopher Nolan’s 2014 epic, Interstellar. I was absolutely floored by the way Nolan tied together such a massive story with the relatively simple thesis that love can transcend time and space. It was just incredible and has stuck with me ever since. Of course, as I got older, my palette grew. Sooner rather than later, I was watching Russian films like Solaris, foreign flicks like High-Life and low-budget American films such as Under The Skin and Moon, all influences on The Traveler.

SIMON: How did the original concept for your film take shape? What aspects of your film’s narrative and your protagonist’s journey were most important to you? 

ROBERT: Funnily enough, I conceived the idea at the height of the COVID-19 lockdown in South Australia. I was incredibly alone and felt unbearably isolated from all those I love. I longed for the days of old, the times in which I could get a beer with some friends or go to the beach. Simply put, I missed the normal days. These thoughts and beliefs 100% influenced the struggle of The Traveler’s title character. The protagonist’s journey was a cautionary one. I wanted the audience to instantly relate to the character, and being in lockdown, it only made sense to jump right into a memory of the past, with friends drinking, and having fun. The film never divulges into a time-travel story. I felt that we as a culture cannot just go back to a time before COVID. But we can move on. We have to.

SIMON: Does the ‘science-fiction’ genre have deep roots in the art and cultural history of your homeland? Were the resources, facilities and talent pool required to bring your film to life easily sourced?

ROBERT: Being an incredibly low-budget sci-fi flick (total budget was $200 including GST), everything in the film was easily sourced. The Traveler’s costume was beautifully designed and created by Matthew Bagnara, my second cousin. The character’s beat-up, blue Mazda ute was my Grandfather’s (the taped-up steering wheel was included). The lead actor was one of my best friends. Everything in the film was personally sourced, and that was really the only way to do it. Making the film, I knew there was very little to spend, and instead of fearing that budget restraint, I embraced it.

SIMON: Describe for us the very best day you had in the life cycle of your film…

ROBERT: In all honesty, and I don’t mean this to sound superficial, the literal best day in the life cycle of this film was hearing it had been selected for this very festival. Knowing that other people felt something whilst watching The Traveler was so reassuring and inspiring. It really gave me as a young filmmaker the confidence to keep pushing and try new things.

SIMON: Having guided your film from idea to completion, what lessons and advice would you offer a young science-fiction filmmaker about to embark on a similar journey?

ROBERT: I will keep this answer really simple. My Dad used to tell me that worrying or stressing about something is quite often the worst part. If I could say anything to a young sci-fi filmmaker, I would just say this: Stop worrying, and just do it.