Vincent has such a unique and engaging story. What initially inspired you to create the film, and how did the concept develop from its early stages to the final screenplay? Were there any particular influences or experiences that shaped the narrative?

After quite a few years of making short films and learning the craft of filmmaking, I felt it was time to make my first feature, however Vincent was not really born from any lightbulb moment. I had written quite a few feature scripts and the couple of good ones amongst them were not really suitable to shoot, due to budget. So, I sat down with the intent of writing a feature script that could be shot with a very low budget, meaning minimal locations and no CGI, car chases, large production designs or sets etc. Once I got going, the ideas and concepts within began to flow quite organically, I really taped into my previous struggles with my health and also finding acceptance/identity within modern society and Vincent began to evolve.

With your background in fine arts and painting, how did those disciplines influence the way you approached the film visually and narratively? Did you find yourself approaching filmmaking differently because of your artistic background?

I learnt so many skills at art school that are precious gifts that will stay with me forever. One lesson that resonates, was to take an image and hold it under the photo copier and move it about while copying, the image that would then come out would be an extraordinary new image with its very own identity and complex series of patterns and shapes. This taught me the first image we see is just the starting point, there is so much more to be discovered, so much more living underneath the surface if that image gets disrupted or manipulated. Another learning that really stuck with me was to ‘always put myself in the work’ sounds so simple, but to actually do that I find a constant and daily challenge. Maybe as humans we have a natural tendency to run away from what lies within. However, I believe when you truly do that as an artist, the work has great potential to become quite unique, much like the individual in all of us. 

Can you take us through your writing process for Vincent? How did you develop the characters and themes, and were there any breakthrough moments or challenges while working on the screenplay?

The screenplay was originally written as half moving image and the other half as a series of still frames with narration over the top. So, although I was happy with the characters I had developed on the page, the big breakthroughs actually came when we were shooting the film. I decided to do a bit of improvisation starting with Bill Evans who played Gunther a couple of days into the shoot. It was just gold, there was a real sense that some magic was starting to happen, so instead of sticking to script and keeping the ratio of 50/50 moving image and still frame, I made the decision to keep these elements of improvisation included. I’m so glad I did in hindsight because, it was at that moment during the shoot, the film found its feet and these scenes make up some of the best in the film. I suppose its testament to always trusting your gut.

You wore multiple hats on Vincent—director, writer, and lead actor. How did you balance those roles, and what were some of the biggest challenges you faced while managing so much responsibility on a personal project like this?

I have been writing for over ten years now and is a medium I feel very comfortable with, your script is your map before you go on a hike in the wilderness, absolutely necessary and I felt comfortable we had a way out of the wild. The acting was extremely physical with this role, however of all the hats, this one is my second nature you could say, as I have been a professional actor for over thirty years. So that leaves the directing which was the biggest challenge, as this was my first feature film, and even though I had directed over six short fils a feature film is a different beast. This is where it comes down to the team around you especially your producer and cinematographer. I was blessed to have two extraordinary people filling those roles without whom I would have fallen flat on my face and failed! My wife Angela Ling producing the film with me, making sure all the moving pieces were always in place, so I could just focus on the creative side of directing and my cinematographer Michael Schoell who was a gun in the harsh conditions of the bush, taking care of all the visuals that I needed, so I could just focus on what was absolutely necessary.

The film’s editing stands out, especially with techniques like freeze frames and jump cuts. What was your vision behind these choices, and how did you ensure they helped maintain the pacing and emotional depth of the story?

I suppose it gets back to shaking the image on the photocopier and disrupting its reality. As mentioned earlier, the screenplay was half moving image and half still frame with narration. This was a big risk as its half a bloody feature film of just still frames! It’s not the first time this has been done however, Chris Marker’s 1962 Cannes winning French science fiction featurette La Jetée is a half hour film, about a time traveller, constructed entirely of black and white still frames and is utterly captivating. When I watched La Jetée, it gave me a such a sense of being in an altered state of reality and time. It got me thinking still frames could be a really interesting way to disrupt natural concepts of the flow of space and time within Vincent, driving the theme of the film’s ambiguity between reality and fantasy. The still frame ratio in the end was not 50/50 with Vincent as the actors did such an amazing job with the improvisation, it was paired back to more like 85/15, however I still felt there was enough stills in there to create a sense of an altered state of reality.

Colour plays a major role in creating the film’s atmosphere. How did you approach the colour grading process, and what role did colour play in supporting the mood and themes throughout Vincent?

I wanted the colour in Vincent to be almost too rich, overwhelming at times, I guess to match the character’s narrative arc. If there is one film that I could think of that is like this, it’s the original The Wizard Of Oz, I find the colour in that film really disturbing, quite horrific really, David lynch has often referenced this film and I can see why and I wanted to bring a similar palette and feel to Vincent. We were so fortunate to have one of the best colour graders in the business jump on board, Vincent Taylor, through one of the biggest production houses Harbor Picture company in North America. They colour graded our entire film for next to nothing, simply because they believed in what we were doing and the vision of the project. This coupled with Michael Schoell’s stunning cinematography made the visuals within Vincent come to life!

Filming Vincent in just 7 days must have been incredibly intense. How did you manage to pull off such an ambitious production in such a short time frame? What were the biggest challenges, and how did you overcome them?

Planning, planning and more planning. Angela (producer) and myself really did have to iron out every possible detail that we could to make it happen over a pre-production period of 5 -6 months. We were still very fortunate during the shoot, as there were rain belts all around when we shot in the country, however they seemed to avoid our little patch and Victoria was still on high Covid alert, so if a crew/cast member tested positive, that could have potentially cancelled the weeks shoot right there. We shot Dogme 95 style which is very small crew, lots of quick hand-held set ups, using the natural light were possible and using natural surroundings with minimal set/production design. It was still massively exhausting, as Angela and myself would get back to our hotel room and would need top data wrangle the precious footage from the hard drives for about 2 hours every night and so we were averaging about 4 hours sleep for the week, which sort of worked really well for me, because my character goes slowly insane, not so much for Angela. Shooting in 7 days is the sort of thing I would only ever do once, but I am extremely proud of what we achieved and when people watch the film that cannot believe we actually did it in that time.

The cast in Vincent includes both seasoned actors and first-timers, like Billy Evans, who played Gunther. How did you approach casting, and what was it like working with someone with no prior acting experience?

I really like working with a combination of seasoned professionals and first timers, there’s a unique chemistry that occurs when they come together. A good seasoned actor can play a part far removed from their personality really well and make it believable, like anything that is a product of learning the skill/trade for such a long time. Whereas with non-actors and first timers you are trying to tap into their natural personality and get them comfortable in front of the camera, so they can just be themselves. I was looking for a bushman for the character of Gunther and Bill Evans had such an amazing natural charisma and quality and looked like he had just walked out of the bush, I remember thinking, if I can just get him to be natural in front of the camera, I’ve got my Gunther! It was a risk, but Bill was absolutely amazing, and his scenes are a real highlight of the film. 

Vincent has done incredibly well at film festivals, winning numerous awards worldwide. How has the recognition at these festivals shaped the film’s journey, and what does it mean to you to see it resonate with such a broad audience?

Firstly, Vincent did not instantly hit the ground running, however I always draw huge inspiration from the fact that films such as 2001 A Space Odyssey, Fight Club and Blade Runner took quite some time to find their audiences. When word of mouth started to get around and Vincent did pick up some big festival awards that’s when the momentum started to build, which of course was what you want as a filmmaker, to find an audience and a highly satisfying reward for all the efforts from the whole team behind the film. That said we still have quite a way to go to spread the word and get eyes on the film, we had an amazing four-and-a-half-star review recently for ScreenHub in Australia, and the header was “Vincent – The Australian cult classic, you’ve yet to see”.

For anyone who hasn’t had a chance to see Vincent yet, where can they watch the film? Are there any upcoming screenings or streaming platforms where people can check it out?

Yes, the film is now available to rent / buy from $2.99 on Amazon Prime worldwide.

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What inspired you to create Read Between The Lines, and what does the title signify to you? 

It has long been a dream of mine to put together and release a book of my art. I love the idea of a physical product that people can sit with and enjoy. Something to hold on to and maybe display on your coffee table.

The title is a playful idea around the fact that a lot of my art has lines running through it in one way or another. And I like the idea that even though there are very few words in the book, people might want to read into the meaning of the pieces.

Was there a particular moment that made you say, “It’s time to make this book happen”?

Not sure if there was one particular moment, but I have wanted to show my art in a different form to just people scrolling past it on their phones. I have been creating art for a long time now and have an extensive catalogue of work. It felt like a good time to put together a collection.

How did you approach curating 150 pages of work? Was it more about showcasing your best work, or were you looking to tell a larger story with the sequencing and selection?

It wasn’t easy and has definitely taken longer than I thought it would. The overarching theme is my digital art that has lines as part of its makeup. Outside of that, I wanted the book to have a nice flow to it. You get to see a common thread, but I’d like to think that there’s a lot of variation in how it’s presented.

Your work has a distinct aesthetic. How would you describe your editing style, and how did it evolve over time? Were there any key influences—photographers, artists, or even music or film—that shaped the way you process and present your images?

I feel like I’ve developed a strong visual language. I think if your art can be identified without someone needing to see a title or caption, you’ve hit a pretty sweet mark on establishing your own style. It is definitely something that evolved over time. When I first started working in digital art, I was very much learning from others and trying to emulate what they were doing. As I got more confident in my skills, I really wanted to experiment with what I was doing and create something that I could call my own.

Having said that, I do have some key influences in my art journey. Stanley Donwood is a major one. He creates all the art (alongside Thom Yorke) for Radiohead. Stanley is a traditional artist that works in a number of mediums like printmaking, paint and pencil. He has an aesthetic that really appeals to me. I’m also drawn to the work of Storm Thorgerson. He (and his studio) work with photography in such a surreal way. He also creates album artwork for a large number of well know acts. A huge inspiration.

What’s your typical camera setup when shooting? Are you loyal to a specific camera and lens, or do you switch things up depending on the subject and setting?

I have quite a few toys… I’m not particularly loyal to any one camera or device. I tend to use whatever will get the job done. My main camera is a Canon 5d Mk 4. I use that most of the time, but I’m also a fan of iPhone photography and creating with whatever I have on hand.

A large portion of my art starts out as photos of land or sky and then gets manipulated into something completely differen

When it comes to post-production, what’s your workflow like? Are there any particular techniques or software tools you rely on to achieve your signature look?

I do a lot of creating in post. There are a number of programs and apps that I use to generate the assets I need to create my art. There was a time when I was beta testing iPhone photography and editing apps which gave me a real insight into what could be done with my phone. As a general rule though, all my art ends up going through the Adobe suite and put together in Photoshop.

Beyond photography, your work has a strong artistic element. Do you see yourself as a photographer first, or more broadly as an artist? And how do other artistic mediums influence your approach to photography?

I definitely see myself as an artist. I grew up with a strong interest in drawing. Through my teens and early adult life my focus switched to photography and I studied it and printmaking at University. I also had a strong interest in graphic design. When Instagram became a thing, I took an interest in digital art and design, but that all stemmed from photography too. As I have worked more as an artist full time, I’ve become more and more interested in just being creative through any medium I can get me hands on.

The book launch at @oshi_au isn’t just about the book—you’re also offering signed prints, merch, and creating an entire experience. What do you want people to feel when they step into the exhibition?

I’d like to think that people can step into my world for a little while. Art can be a great escape for both the artist and the viewer. I love the idea that someone can get drawn into my digital and surreal landscapes and they can go on a journey of sorts. Even if it’s just a little moment when their eyes do a little dance due to the digital lines. And hopefully there’s a sense of joy or wonder attached to it as well. I am aware that my art can give a feeling of isolation and maybe feel a little dark, but often if you check out the titles, that is countered with hope and opportunity.

You’ve spent a lot of time working on this book—when you finally held the finished copy in your hands, what was that moment like for you?

It was an amazing and surreal feeling. Holding the physical product and flicking through all that work. I’m really proud of it and super stoked with how the book has come together. The final product is as good as I’d dreamed it would be. Possibly better…

Looking back, what were the biggest challenges in bringing Read Between The Lines to life? If you were to do another book, would you approach it differently?

I knew going in that I would need help. If I had tried to do this on my own, it would never have got done. As a freelance, full time artist, you often have to put client work ahead of your own. So I enlisted the help of my graphic designer friend Paul of Vanda Graphics. It was the first time either of us had worked on a book, so there was defiantly a learning curve on getting everything right on the templates and working through how to piece it all together. 

I feel like the second time would be easier…

Now that Read Between The Lines is about to be out in the world, what’s next for you? Do you see yourself diving deeper into publishing, or are there other creative projects on the horizon?

I’ve always got 1000 projects on the go (either in real life or in my head). I’ve already got the concept sorted for my next book and can definitely see myself doing more physical products. Most of all, I just love the fact that I get to be creative for a living. Whatever that looks like at the time…

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Can you share some insights into the process of selecting the images for this exhibition, especially those that have never been seen before? Some images speak to you, resonate a feeling, and if it’s true to the event, then I think it should be part of the exhibit.

The Nine Inch Nails Self Destruct Tour spanned from 1994-97, capturing a pivotal era for the band. How do you believe these photographs encapsulate the essence of that period, and what made it such an iconic moment in music history? I knew Trent was doing something special. You could feel it in the air. The crowds were fanatic. All I had to do was point the camera in the right direction and capture it. I felt like I was witnessing something worthy of music history.

The exhibition not only features Nine Inch Nails but also includes images of David Bowie, Lou Reed, and moments from the Hollywood Palladium in 2018. How did these additional elements come together to enhance the overall narrative of the collection? The other artists selected were part of the tour. The shot of Lou Reed was chosen because it was taken in Australia. He was on a lineup with Nine Inch Nails. I think it was called the Big Day Out Festival in probably 1995. He came into the band’s dressing room and gushed at how much he was blown away by watching the performance. I happened to be right by the door as I was putting my video camera away, so all I had to do was just turn and point. A snippet of the moment is in the documentary “Closure”. It blew us away to have Lou Reed come into the dressing room and gush over the band. That did some real damage to any second-guessing. We all had so much respect for him. You knew you were doing something right, especially when David Bowie wanted to join the tour. What was going on? It was David Bowie. I wanted to make sure I had Bowie represented in the exhibit. His presence played such an impactful role for all of us on that tour. I remember David asked me if I would film him as he came off the stage and went into a room to decompress each night. Every night it was just he and I in this small, confined room. As I filmed him, he would talk about the performance. I thought, what am I doing here? It just felt surreal. I always had so much respect for him. We all did. The song “Under Pressure” spoke to me every night as he performed it. It helped me get through some personal things. The lyric “Watching some good friends scream, let me out” just spoke to me. “Why can’t we give love a second chance.” It seemed to offer something from such an intense long tour. The job of documenting artists at this caliber was such a gift, and I feel lucky to have had the chance. It all could be so emotional at times. Another example, I worked with Neil Young and watched him write a song from scratch right in front of me on an old beat-up piano, and it just hooked you in in the first 5 seconds. Unbelievable emotions evoked. Working with Trent was the same experience, and David Bowie. So thankful to be able to just experience it and then share it as a documentarian. This exhibit focuses on the Downward Spiral album and the Self Destruct tour, so I wanted to make sure the opening acts that spent the most time on the tour were represented. Those images are on display too. As for the 7 images selected from the Palladium shows with Nine Inch Nails, they are just my favorite that did not make it to the limited edition series. Trent wanted to have one selection from each night of playing the historic 6 nights at the Palladium. So if a couple of favorites fell on the same night, then I had to pick only one, and this exhibit is an opportunity to present some of the others. I think if you were a fan of the Palladium series, then you would find these additional images interesting.

With 45 images on display, could you highlight a few that hold special significance for you personally, and what makes them stand out in the context of the exhibition? If I can connect the dots to two events to help answer that question. Usually when I walk through a museum, I kind of purposefully move somewhat quick. I enjoy the overall first impression then I keep moving. I don’t know if that sounds odd or relatable, but usually there are so many paintings that even at a faster pace, you still can’t get through all of them. I think it was at the Getty Museum in Los Angeles. I sort of just stopped and stared at one particular painting from like the 1500s. I studied it and all its details and I tried to imagine the painter hundreds of years ago working on every brushstroke and how at the time it was just routine maybe even mundane. But to then have someone so far off in the future with very limited experience of that time by someone so far in the past and how it spoke to me and presented a feeling of what it was like back then I realized the power of the painting in that moment. It was capturing the human experience for all future generations to help make sense of it all. A photograph that captures an important moment can have the same effect. I had a request for one of my photographs at large-scale size. I got it back from the printer and opened it up on a table. It was the one of Trent smashing the keys with his foot on stage. It hit me that this was the one shot that summed up the entire Self Destruct tour in a single moment. This was what was important to remember. It felt larger than life. It didn’t feel like I took the photo, as odd as that might sound. Like someone else took it. I just happened to be a witness standing there. It was all the emotions of that experience wrapped up in one shot. The emotions that resonated so powerfully with an arena full of that generation. What was it all saying that connected so intensely between the artist and fan? And it did. That image captures something that felt authentic to the music, the message. The experience. It’s just a raw honest expression of what it was all about. I’m sure there are a thousand versions from a thousand people, but for me, that was the one having spent so much time on the tour. There are many in this selection that do the same for different reasons, some personal, but if I had to pick one, it would be the one of Trent smashing the keys on stage. It was as if the keyboard had a limitation and Trent just went beyond it.

As a photographer, you had the opportunity to witness and capture genuine moments in music history. Can you share a specific instance or memory from the Self Destruct Tour that you feel perfectly encapsulates the energy and essence of Nine Inch Nails during that time? We were all in our 20’s and there was a certain attitude that came along with that. That age seems to be the zone where music plays its most important role, and this was our moment. This was our expression to hold up with other generations moments and it felt larger than life. When you are in your 20’s everything is there for you and at the same time seeing how the world is so new and raw. Trent and I had a conversation before I came on the tour to do a documentary. We agreed to just kind of be a fly on the wall and capture whatever it is. He felt like he was doing something groundbreaking and different and worthy of capturing. It started out small in clubs then theaters then eventually arenas. He was right. It was something worthy of documenting. I had all this footage from years of touring and it is powerful, but to bring it back to the photography, one photo, an image, a moment, seemed to always pack more punch than all the footage. Why was that? What is it about a single image that can always outdo hours of footage? Incredibly powerful but maybe it’s how our brains work. We need it in a snapshot. Anton Corbijn, who is one of the greatest photographers there is, came out on the tour a couple of times to do a cover shot for a magazine of Trent, and it was Anton that said pay attention to the photography while you are documenting. It will surprise you how meaningful it will become in the processes of documenting, and he was so right on that. Photography of music culture seems to get it better than the footage. It’s that moment that can sum it all up that you strive for.

Given that this is the first time these photographs will be on display in a world-exclusive gallery exhibition, what do you hope viewers take away from the experience? Are there specific emotions or reactions you aim to evoke? I think for a fan who has never witnessed that performance live on that tour, hopefully, this exhibition can give an experience of what it was like. I tried to pick images that showed the dynamics of it all. There are images that hopefully showcase how at times it felt dangerous and unpredictable and at other times it felt vulnerable and sort of lost in a healthy way. Maybe if you had never seen the show on that tour my images could help explain those extremes. The dynamics of that tour were breathtaking, and hopefully, the images show that same range.

How did the collaboration with Behind The Gallery come about, and what drew you to entrust them with showcasing your collection for the Nine Inch Nails community in Australia? I had earlier approached a bunch of high-end rock photography galleries about wanting to exclusively showcase a set of images that I thought were important for a generation. I explained how for twenty some years they sat and have never seen the light of day. Plus, Trent was still very relevant some twenty years later, headlining all major festivals when so many bands from that time just sort of fell off, and I just thought what I had was exactly what a gallery would want. But I was met with, well, it’s not really the Rolling Stones or the Beatles. I tried to explain this was a new generation. This would speak to them etc. but they had no interest. So when Stephen called out of nowhere about this concept he had for a gallery and that my photographs were exactly what he was looking for I was listening to his philosophy and it was a no-brainer. He got it. He is doing the entire gallery experience on music just how I thought it should be done.

The exhibition coincides with the 30th anniversary of the iconic Nine Inch Nails album, “The Downward Spiral.” How did you approach capturing images that would pay homage to the album’s significance in music culture? I thought there was something dangerous and unpredictable going on on stage and I wanted to make sure I captured that but I also wanted to make sure I was capturing the vulnerable moments. Hopefully, the images show the dynamics of the experience.

Limited edition numbered prints signed by you are available for purchase. Can you speak to the significance of offering these prints to fans and collectors, and what it means to you to have your work appreciated in this tangible form? Music photography was elevated many decades back by a relationship between a music artist and a museum curator – gallery owner. The artist felt like some of the photography captured by rock photographers were like paintings and worthy of the attention a painting gets. The artist was Ronnie Wood from the Rolling Stones and the art gallery owner and shop were located in San Francisco or at least this was how the story was told to me. The fans wanted it. They wanted to collect it. Collectors wanted to own it; they wanted to socialize around it and celebrate it. And it is true. It is a lot of fun to go to an event like the one Stephen is putting on and meet others who have the same interest. I am always fascinated to hear why a person connects to an artist and hear all the details to why. It’s such a passionate event to go to and enjoy. What a great way to spend an evening. I hope that Stephen and I have put something together that can live up to those standards.

Opening night is on Wednesday, March 6th. What can attendees expect from the overall atmosphere and experience at the gallery? Are there any special elements or surprises planned for the event? I’m excited to meet fans of Nine Inch Nails always being a fan myself. Stephen wants to make sure it’s a celebration of the band and specifically the 30-year anniversary of the Downward Spiral album.

The exhibition includes an Artist Talk with you on Saturday, March 9th. What topics or anecdotes do you plan to share during this talk, and what do you hope attendees gain from the experience? I am up for sharing anything any fan wants to know. I get it. I feel lucky to have experienced it, and I think it will be fun to talk about what it was like to be there so intimately. As a photographer embedded with the band for years, it makes for a great conversation.

Having worked closely with Nine Inch Nails during the Self Destruct Tour, what was it like collaborating with such a groundbreaking and influential band, and how did the experience shape your perspective as a photographer? I can explain it this way. Usually after the show there is a hospitality room where artists and fans and friends meet up. Sometimes the rooms are small depending on the venue and especially depending on how many people have been invited. This one particular night, I walked in with my camera and it was just packed with people. Everyone was just chatting away and socializing. David Bowie spotted me from across the crowded room and he made his way over to me and said, “I am smart enough to know you just became the most important person in the room.” What he meant was the world and all future generations just walked through the door. That’s the power of a photographer.

Behind The Gallery Exhibition -NINE INCH NAILS, THE DOWNWARD SPIRAL- 6 – 10 March 2024

254 Flinders St, Melbourne

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