Yes, we know, we know, the Young Director Award is all about commercial work and music videos, but we think you should know about Paola Morabito whose stunning short film work has led to her being signed with Curious Film in Sydney. 
You’ve been involved in the film industry for over ten years including working as a costume designer and producer. Did you always want to direct or did the desire grow through these other roles?
I think that by working in the film industry, I spent a lot of time observing and absorbing the process of creating stories. I had a lot of fun as a stylist and as a producer, but I often felt as though I had more to offer. I think my instincts for directing are strong – when I first started out, there was a kind of inner-knowing that I had the ability to combine my eye for beautiful images with a feeling for honest performances.
Jane Campion seems to have had an eye for your talent, first inviting you to assist on her feature film In the Cut and recently as the 2nd unit director on her feature film Bright Star. What has her mentorship meant to you?
Trust has played a huge part in our relationship. I first worked with Jane in 2001, and over that time I hope she has enjoyed watching my development as a director as much as I have enjoyed working alongside her. Her mentorship over the past ten years has meant more to me than anything else I have done previously. When we met, I felt as though my blood cells tingled for days and somehow I knew that it would change me and I would begin to expand my perspective as a director through working with her. It feels like more of a sisterhood.
So whilst working on Bright Star I thought I would make a documentary to try and fulfill the question I am often asked ‘what is it like to work with Jane, hence I made a short documentary called ‘Working With Jane”.
Apart from learning on the job you graduated in 2007 from the Australian Film Television and Radio School? What did this bring to your development as a director?
It taught me to learn to work in adverse situations, and develop the muscles and tenacity needed to survive an industry than can be competitive under the illusion of community.
It also taught me that if you tell stories with a clear vision and an open heart, the right people will support those stories and want to serve them as much as you do.
And it gave me confidence to be playful whilst enduring the pressures of a deeply focused process. I learnt how to manage my creativity – to be a successful director, you need that delightful combination of having an instinct for things, communicating these ideas to other people, and then rigorously preparing everything needed to get that motor running!
Your films are intimately delicate yet compelling. Do you think women have a different way of telling stories? Any defining moments when you realised you had your own unique vision?
I don’t think men and women have different ways of telling stories. Storytelling for me is about being clear and engaging both visually and on an emotional level. Gender has no bearing.
What I do think is different though, is the male and female view of the world: the kinds of conversations women have in film vary because of their individual experiences. I think it’s how we experience things that affects the way men and women tell their stories.
As for defining moments, I remember feeling like an outsider as a child, when I would obsessively tell stories and play characters, and then be told to shut up. So I’d go in my room and set up my toys as the audience. That’s when I learned to have faith in my own stories.
What’s your favourite thing about the directing process? And your least favourite?
I love preparing for a shoot, and I really value my relationships with all collaborators – I respect the actors as well as the caterers because I’ve done a lot of cooking in my time!
My least favourite thing about directing is the last day of a shoot when the machine is running hot and I don’t want to turn it off. It tends to make me a bit sad.
When did you sign to Curious? And is this for commercial work?
I signed to Curious about six months ago for commercial work and they have been super supportive, engaging with me on other platforms beyond feature films.
You’re in development for your own feature film called Explosions Like Stars, which sounds poetically sensuous. Can you tell us a bit about it please?
Explosions Like Stars is a love story, it’s about two unlikely people coming together and coming apart, both changed forever.
What inspires you?
Art. And nature. I spend a lot of time alone in it, with good food and great music.
What do you do when you’re not making films?
I dance. I read. I spend time with friends and family. I also love a great game of ping pong – wearing nothing but a bathing suit and gum boots.
Any advice for aspiring new directors? Particularly of the girl kind.
The advice I would give to girls who want to create motion pictures is to trust your instincts. To never, ever give up. By my definition, being an artist and a leader means you need to be able to stand alone sometimes, and be open to change. And this requires great energy, focus and courage.
Contact:
www.curiousfilm.com
