NAIDOC Week: Tristan Houghton on Stories and Culture

If you haven’t already heard of or worked with him, there’s a good chance you're familiar with his work. From humble beginnings on the West Coast of Australia, Tristan’s passion for filmmaking began when he started making rollerblading films with friends. Snap forward in time, and Tristan is now a seasoned commercial director, formally represented by Taxi Film Production and Oombarra Taxi under the umbrella of the rapidly-growing The Taxi Group.

With years of experience in the commercial industry, Tristan has developed a unique visual style that resonates with a large audience. His recent documentary project, Yindjibarndi Stories, showcases his connection to his culture as a First Nations filmmaker and a commitment to preserving First Nations' knowledge. 

LBB> Can you tell us a little about your background and how you got started in the film industry?

Tristan> Sure thing, started off making rollerblading films in Western Australia with mates. A few of them were sponsored by an international skate company which meant we could travel nationally and internationally to film. This provided a great training ground to play and experiment with directing, camera work and editing.

This lasted a few years, and a time came to try and make a serious career out of filmmaking. I moved to QLD from WA and landed a job at a camera store, where I met a few commercial directors who opened my eyes to the world of commercial advertising.

I was offered an opportunity to do some work experience on set and never looked back! I absorbed as much information as possible working with a number of directors. I worked on castings, location scouts and behind-the-scenes films while running the unit on set and offering to help any and all departments for further experience.

All that experience allowed me to jump straight into directing commercials when the time came.

LBB> What inspired you to become a director, and how did you develop your unique style and approach to filmmaking?

Tristan> I constantly aspired to better my work through spec projects where I had a lot more creative freedom to experiment and develop my own style. From every spec project, I would gain more and more experience while strengthening my style and process.

Getting married and having a family has been the other largest influence. Learning to listen, the importance of clear communication, and help guide my children has had a huge impact on not just what I put on screen but how I go about it with my crew and creative collaborators.

LBB> Being a proud Yindjibarndi man, First Nations storytelling and representation in film is something you can speak first-hand about. An interesting piece that you directed and shot was the Yindjibarndi stories project. Can you tell us more about this project and your involvement in it?

Tristan> I have aspired to work more and more with First Nation peoples to better understand my culture. Growing up Indigenous back in WA through the '90s was challenging and far from being celebrated, so I missed out on a huge opportunity to learn from family before moving east. 

Recently returning to WA to work with my mob was amazing. Learning about country through the lens was a dream come true. I’m committed to working more in this space as it is a field I’m deeply passionate about.

LBB> What was the most challenging aspect of working on the Yindjibarndi Stories project, and how did you overcome it?

Tristan> The most challenging part of working on country was staying focused on the stories I was there to tell. I often found myself getting caught up in enjoying the moment and often emotional when connecting with members that told stories of my late father. 

LBB> Can you share any specific moments or experiences from your work on the Yindjibarndi Stories project that stood out to you?

Tristan> Both interviews with Michael Woodley and Lorraine Coplin floored me. Their connection with country was inspiring. They talked about country in a way that highlighted how important it is to listen to the country you are from. It is always speaking to you, you just need to know how to listen. Their passion for preserving our history and optimism for the future was reassuring.

LBB> How important do you think it is to tell stories that showcase Indigenous cultures and perspectives, and what role do you believe filmmakers have in this process?

Tristan> Filmmakers have a huge role in preserving knowledge, but we must ask ourselves if we are preserving it in a way that makes it digestible. I think we can gain even more interest in our culture if we present it in a way that the next generation wants to learn from. Is it shareable, does it connect with our audience, does it hold up against other First Nations content? 

LBB> When you are not working on documentary pieces like this, your primary job role is directing commercials. Can you talk us through some of your other notable projects and what you learned from them?

Tristan> From my commercial work, I would say that I have been able to create a unique visual style that resonates with a large audience. Creating visuals that make people stop and watch. 

Working on Vanuatu Tourism really helped me understand more about other cultures, and find the beauty in tradition.

Working with international clients such as Corona, IBM, and Lindt taught me how to play on the international stage. Navigating large boardrooms with multiple layers of approval improved my ideas and how they’re communicated to ensure a smooth process from pre production through to delivery.

LBB> How do you approach the process of working with clients or collaborators on a project, and what do you think makes for a successful creative partnership?

Tristan> The biggest thing for working successfully with collaborators is transparency, clear lines of communication and having a safe environment to question and respectfully challenge. 

LBB> In your opinion, what are some of the most important skills and qualities that a director needs to have in order to succeed in this field?

Tristan> A director must have excellent organisational skills, the ability to clearly communicate and a great vision with the conviction to follow through.

LBB> What advice would you give to aspiring filmmakers or directors who are just starting out in their careers?

Tristan> Play play play!  Shoot as much as you can and develop your reference library with work you aspire to create. Spec ads should be a developmental focus, but just keep in mind not to overly complicate the production or the idea to ensure you can actually execute well-crafted ads.

LBB> How do you stay up to date with the latest trends and technologies in the film industry and incorporate them into your work?

Tristan> I’m constantly exploring Tiktok and Instagram for fresh ideas and approaches. Often looking to filmmakers that inspire me to push my craft. Feature films are also a huge source of inspiration, and outside of that, it’s people watching and observing the world around me. Everywhere you look can be a thought prompt, and then it’s about making a note that you can refer back to when that next treatment request lands!

LBB> How do you approach the process of casting actors or non-actors for your projects, and what qualities do you look for in performers?

Tristan> I love working with real people because I find their performances so unique and often unexpected. My role in the process is to understand how their own personality applies to the role I'm casting them for. Once I understand who they are and what they bring to the character they're casting for, I can then help shape their performance in the direction we need for the film. I applaud individuality and love being inspired during this process.

To view Tristan’s reel, please visit here.

Tristan Houghton is represented nationally by Taxi Film Production and Oombarra Taxi, the latter being a formally recognised First Nations owned entity, recognised on a national level by Supply Nation and ICN Gateway for Black Business Finder.