Q&A WITH MARTY MANCA
Benny: How did you get your start?
Marty: Whilst I was at art school, I had a friend who knew someone that needed help with some set pieces for the ‘The Big Day Out’.. After that, I was painting the street course for the ‘Globe world cup’ skate competition for the same Art director. Events was where I started. That same friend who put me forward for the event work, was working as a runner in the Art Department on a Television series, but realised that he much preferred the carpenter's life, so I suggested that if he got another running job offer that he would turn down, to suggest that I do it instead. That is exactly how it happened.
BC: What is it that you love about your job?
MM: There are so many things I love about my job, so I’ll keep it brief. I love my colleagues, my mentors and all the colourful characters I meet like suppliers, collectors, experts and professionals. I love that everyday is different, be it locations, sets, tasks, challenges and overcoming those challenges. I love creating narratives with objects, I love that I am learning everyday. I love collaborating with creatives and exchanging ideas about styles, periods, moods, and all the things that make a picture. I could go on....
BC: Tell us about your set…what do you call it?
MM: I suppose you could call this set ‘My quintessential collaborative self portrait.’ All the objects are from my home. Each item tells a short story and everything has been considered. Although it is heavily staged, and somewhat exaggerated, I wanted to make something personal or introspective, but also something I would be happy with myself.
BC: What’s yours and what’s not?
MM: It’s all mine, except for the cigar. I am a smoker, and I do enjoy a cigar when the occasion arises, however this is one exaggeration. The rum was supplied. Thanks Benny.
BC: You have 3 taxidermy pieces in your set… can you tell us about each of these?
MM: I am fascinated by taxidermy. I have a small collection, but these are my favourites. The faun and the cockatoo were purchased from ‘Dracula’s’ theatre restaurant when it closed its doors a few years ago. The rat was purchased at the end of a production where it was used as a prop.
BC: How heavily influenced is your film and tv work by your own personal aesthetic?
MM: For me the two don’t really cross over. My approach to Film and Television work is about how we interpret the pictures in someone else’s head, and guide them with language and references they perhaps hadn’t considered. This could either be the writer, director or both. My own personal aesthetic is mine, and whether it sneaks into sets I’m involved with, is debatable.
BC: What are you working on now?
MM: Jack Irish series 3
BC: Anything to add?
MM: Thank you for making a portrait I’m happy with. Without your photographer’s intuition and skills, it would look very different indeed. Also, thank you for keeping me involved in the process, there were many things I would not have considered without your collaboration.
