I am looking for someone to work with with me to put a presentation together with the view to getting funds and interest from various parties. For a producer to be paid, the funds have to be in the bank or in escrow.
Aboriginal Land Rights, Mabo, Mining Royalties, Loyalties, Love, Work - and Money!
Does reconciliation have any meaning or is it as dead as a bandicoot on a Friday night freeway after the pub closes? Does Mabo hold any hope of healing some wounds? Violence and racism in Australia, the land of Neighbours and Home and Away -- How could it be?
This is in no way meant to be a white knight narrative, where the hero arrives on his white charger to make everything right. Rather it is a journey of discovery by all parties to discover a path where change is possible. It will be a journey with some successes along the way, but also some casualties and damage to those at the coal face.
MICHAEL KAVANAGH, a lawyer, has been looking for a new direction. Drawn to native title legislation; rural lease holders, local councils and mining conglomerates combine to negotiate with the various native title owners. Michael has been offered the job of mediator.
Michael meets the Koori team - Tom Garland and his chief negotiator, Liv Niland. Michael and Liv start warily but before long banter is going on between them.
The main theme is: "Love is the undiscovered country." Michael and Liv are aware of their differences and that they are expected to stay away from each other. They are also both contrary enough to go against what others expect of them.
For Michael, Liv has the strong maverick humour which he has always been looking for. Liv is struck by his Irish sense of humour and his penetrating look. He sees into the heart of things without fear. But she senses a vulnerability which comes from being a loner.
The real irony is that Michael, despite all his goodwill and intentions, doesn't have all that much of an idea of what he can achieve or the best way to achieve it.
Michael sees himself as enlightened and up to the task. What he doesn’t understand is how the past has burned and blackened the relationship between black and white. It isn’t just that the black man has been subjected to unfair abuse – physical and verbal. It is that he has been placed at a disadvantage and then blamed for it. There are stories - lots of stories poisoning the past and the present. There is little trust between black and white - and less understanding.
Aboriginal nursery rhyme: Old Mother Hubbard went to the cupboard to get her poor dog a bone When she got there the cupboard was bare - so the dog ate Poor Mother Hubbard.
Liv realises that Michael does not have her background - an Aunt dying in a hospice after a life of violence and abuse - two cousins in trouble with the police - a tribe full of love, fear and brutality. And he doesn't understand the why of it all. But maybe she can help him understand a little. Just maybe.
The main story follows Olivia and 'Kav' in setting up the tribunal. They are on opposite sides of the negotiating table and involved in building a relationship. Will this cause problems/conflicts? Of course! The question is: Can they be overcome! As Liv says:
I can't make it easy -- give in. We need it too much. If we get to a
point where we are reaching agreement, then you're going to want
us to sign -- and I won't. Not unless I’m sure.
We can always reach a part agreement. Make progress. But we have
to catch up. We're not just behind the eight ball. We aren't even in
the game. We want to sit at the top table. Be in control - at least in
what we do. In our own little world. Do you understand?
Michael - do you understand me?
Yes. Yes. Yes. I understand. Why do you have to make it so..?
Complicated? It's not. It's simple. Just give me - what I want.
Audition / Rehearsal / Production datesOpen to discussion.
Unpaid – this is a collaboration opportunity
Collaborations should create mutual benefit and are usually amateur, student or 'Time for Print' projects.
Producer White Man's Burden Television series
The establishment (White Australian) over the years has made much in the way noise and promises but have sadly failed to deliver on most levels. This is largely reflected in the lack of action taken by the political establishment to give the Aboriginal community real power to control and govern their own destinies. I would be interested in having the full involvement of Abroriginal writers/players and producers to explore their stories and show where things stand at the present time.
Anyone, aged 18 and over
Applications closed 14 January 2021.