Australian director Olivia Altavilla caught up with LBB to talk about her latest craft obsession: her family
Olivia Altavilla's Italian and Venezuelan background ensures her work is high on emotion, stories, passion, honesty, and zest for life. If authenticity is a buzz word in communication today, Olivia’s work is just buzzing with it.
Watch her reel with that in mind and you’ll notice something about how she deals with talent. Kids act like they’re being themselves. Actors emote like the relationships they’re portraying depend on it. The hugs of mothers aren’t just for the camera either, they come from the heart. Meanwhile, behind the camera, Olivia approaches shots the same way she approaches life, with both eyes open to the creative possibilities. And all of this comes together so the audience can live authentically through the stories on the screen.
Olivia has a short film titled Taboo that’s gone to the Vancouver International Film Festival, The Human Rights Arts and Film Festival and was short listed at Sundance for the Horizon Award. That’s an apt name for an award, ‘horizon’. Because that’s where the possibilities are. And that’s what Olivia loves to uncover in her own authentic way.
LBB> What is your niche craft obsession?
This might sound strange, but my family is my niche craft obsession. I come from a big, diverse family, who are my little community, and I somehow always incorporate them into my process. Whether my teen dancer cousin is choreographing a dance for Vegemite, I’m calling my car nerd aunt for help to find the perfect car for a scene, or I’m asking the Gen Zers if this is “still cool”, I’m forever annoying them for help.
LBB> How did you first come across this thing as an obsession?
I was twelve. I got my hands on a point-and-shoot camera and discovered the video setting. From there, my family have been roped into everything. From acting in all my backyard music videos to borrowing houses, they have been part of my process from the start.
LBB> Was it an obsession straight away or something that has evolved over the years?
I mean, I kind of just need them. They’re my constant source of inspiration and also my safety net. I guess it has evolved; they no longer need to be my actors, but in some way, shape or form, they’re present in everything I make.
LBB> What are the most interesting debates or conversations you are having around this obsession?
Maybe to some, it seems like I ask for a lot from my family, but we’re just a very tight unit who are never afraid to ask each other for help. I’m not even sure this is a niche craft obsession, but it’s the most integral part of my process as a director. People say, “When you hire Oly, you hire her whole family.”
LBB> How widespread do you think this obsession is with your peers?
I’m sure every director has a circle of people they go to for support and advice, I’m just obsessed with mine, and it’s a huge part of my voice as a filmmaker.
LBB> Can you share any examples of work where that obsession really came to the fore and elevated the final production?
The most recent example that comes to mind is this spot for Vegemite. I truly took my family along for the ride. My cousins Georgia and Maddy choreographed the dance together. I sat down with my Nanna to watch the 10,000 casting submissions. I sent countless messages to my younger cousin snap chat group (A.K.A Red Cordial) to learn what activities and games kids play today. They’re my human version of chat GPT.
LBB> For anyone just getting into your field, what advice would you share to help them get their head around this particular thing?
Filmmaking is a collaborative process, it’s not your job to have all the answers and solutions on your own; it’s ok to have a network of people you can call on for help and inspiration. Be confident in an approach that works for you.
