THE TALENT ISSUE WIZARDS OF OZ: AUSTRALIAN FILM CREATIVES MASTERS OF THEIR CRAFT plus AUSTRALIAN WRITERS IN THE SPOTLIGHT - Ausfilm
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October 2016 THE TALENT ISSUE WIZARDS OF OZ: AUSTRALIAN FILM CREATIVES MASTERS OF THEIR CRAFT plus AUSTRALIAN WRITERS IN THE SPOTLIGHT
CONTENTS
AUSFILM – SUPPORTING GLOBAL FILMMAKERS 2
A snapshot of the Australian government incentives and the role Ausfilm
plays in supporting global filmmakers to bring their stories to life.
S O U N D S TA G E S I N A U S T R A L I A 4
FEDERAL GOVERNMENT INCENTIVES & FUNDING 7
S TAT E & L O C A L G O V E R N M E N T I N C E N T I V E S & F U N D I N G 8
WIZARDS OF OZ 14
Australian Heads of Department share their most memorable stories
working on international and local films.
AUSTRALIAN WRITERS IN THE SPOTLIGHT 24
Screen Australia turns the spotlight on Aussie TV scripts that are
creating cult followings globally.
FA N TA S T I C F O X ! 26
Fox Studios Australia had a standout 12 months hosting Mel Gibson’s
Hacksaw Ridge and Sir Ridley Scott’s Alien: Covenant.
A N I M A L L O G I C P U L L S A R A B B I T O U T O F T H E H AT ! 28
How Animal Logic’s development arm Animal Logic Entertainment (ALE)
brings to life its slate of innovative, commercially viable and story driven
projects from their studio in Sydney.
U P C L O S E & P E R S O N A L W I T H I L O U R A ’ S TA L E N T E D T E A M 30
On the back of their Emmy® win for HBO’s Game of Thrones
“Battle of the Bastards” episode, this animation and VFX studio continues
to sweep up global awards and hearts and minds.
L U MA P IC T U RE S 32
Luma Pictures showcases a timeline of the history and evolution of VFX
and the role they’ve played in the process.
SWEET DREAMS ARE MADE OF THIS 34
Rising Sun Pictures creates another most talked about VFX sequence of
the year in Bryan Singer’s X-Men: Apocalypse.
THINKING LOCAL, ACTING GLOBAL 36
How Fox Production Services paves a seamless and efficient pathway
through local production requirements for filmmakers.
WORK WITH THE BEST –
AUSFILM MEMBER PRODUCTION DIRECTORY 38
Sound Stages 40
Production, Financial & Legal Services 42
Facilitation, Producing & Creative Partners 43
Equipment Suppliers & Rental 45
Travel & Freight 46
Post, Sound, Music & VFX Production 47
CONTRIBUTORS 55
2 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 1
40% PRODUCER OFFSET 3 0 % P O S T, D I G I TA L &
AUSFILM: SUPPORTING GLOBAL FILMMAKERS ( F E AT U R E ) VISUAL EFFECTS (PDV)
Provides a rebate of up to 40% OFFSET
MAKE IT IN
of QAPE. Significant Australian Rebate of 30% calculated on
Content (SAC) is required. qualifying post, digital and
Applies to feature films that have visual effects production (PDV)
a minimum production spend of expenditure. Applies to feature
AUD $500,000. films, telemovies or television
mini-series or series. The
20% PRODUCER OFFSET production must have a total
(TV) PDV related QAPE of at least
Provides a rebate of up to 20% of AUD$500,000. The production
QAPE. SAC is required. Applies to does not need to be filmed in
TV, documentary and short form Australia.
animation.
1 6 . 5 % L O C AT I O N O F F S E T
O F F I C I A L T R E AT Y Rebate of 16.5% calculated on
C0-PRODUCTIONS QAPE. Applies to feature films,
Do not need to meet the SAC test telemovies or television mini-
to access the Producer Offset. series or series. Feature films and
See page 7 for countries that television must have minimum
have co-production treaties with spend of AUD$15m of QAPE.
Australia. Television series also require an
average QAPE of AUD $1m per
hour. The production must be
filmed in Australia.
The Australian screen Ausfilm markets Australia’s Screen K E Y FA C T S O N A U S T R A L I A N S C R E E N
Production Incentive Scheme which PRODUCTION INCENTIVES
industry has made its mark includes the Location, PDV (post, digital These key facts provide an overview of
on the international stage. and visual effects) and Producer Offsets. Australia’s screen production incentives
for international productions and
From franchise and indie Ausfilm is unique as it is a partnership
productions qualifying as Australian.
organisation between private industry and
films to sci-fi television government. The partnership comprises These incentives are tax based and provide
series and animated family Australia’s federal and state governments, a cash rebate to the producer on Qualifying
the major studio complexes, production Australian Production Expenditure (QAPE).
films, Australian crews service providers and leading post, visual A producer may access only one
and screen businesses effects and sound studios. of the Australian government offsets
have proven themselves Ausfilm is supported by the Australian for each eligible project.
to be talented, creative, government through the Department of
KEY BENEFITS
Communications and the Arts.
passionate and ready to With offices in Sydney and Los – No cap or sunset clause on the
take on any challenge. Angeles, Ausfilm provides advice, incentives
And Ausfilm supports recommendations and guidance to – Cash rebate paid to the producer
international producers seeking to film – The federal incentives can be combined
filmmakers to find what in Australia. We do this through direct with state and territory government
they need in Australia to business meetings and by hosting a range incentives
of annual international events to promote
bring their stories to life. Australia’s incentives and capabilities.
– Payment is usually made in 4-8 weeks
from lodgement with the Australian
We hope that this year’s AUSFILM CLIENT SERVICES Taxation Office
edition of the Ausfilm If you are interested in filming your project – Productions which have been certified
in Australia, developing partnerships with as an official co-production are eligible
publication inspires you Australian talent or completing visual to claim the Producer Offset.
to work with Australia’s effects and post-production in Australia,
talented screen production Ausfilm should be your first port of call. A D M I N I S T R AT I O N
The Ausfilm team can provide information The Location and PDV Offsets are
industry. and referrals about Australia’s: administered by the Department of
Communications and the arts
– Screen production incentives
(www.arts.gov.au/film-tv).
– Official co-productions
The Producer Offset is administered
– Studio complexes, production services by Screen Australia
and equipment providers (www. screenaustralia.gov.au).
– Post-production, music, sound, visual For more detailed factsheets visit
effects capability and facilities, travel, AUSFILM AUSFILM USA
www.ausfilm.com. Los Angeles
freight and legal services Sydney
T +61 2 9383 4192 T +1 (310) 229 2362
– Immigration requirements.
info@ausfilm.com.au ausfilmUSA@ausfilm.com
2 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 3
1. 1. FOX STUDIOS AUSTRALIA
SYDNEY, NEW SOUTH WALES
www.foxstudiosaustralia.com
– 9 stages, including 2 MEGA stages,
ranging from approx 270 – 4,000m2
(3,000 – 42,000ft2) and an interior water
tank and external large scale tank 10 min
nearby
– 15,000m2 (160,000ft2) of offices,
workshops, makeup/dressing rooms
and screening theatres
– 13.2 hectare (33 acre) backlot on site and
nearby supplementary 30 hectare (75
acre) backlot
– Production services, lighting, textiles,
cameras, casting, props, VFX, picture
and sound post, travel and freight
2. VILLAGE ROADSHOW STUDIOS
GOLD COAST, QUEENSLAND
www.villageroadshowstudios.com.au
– 9 sound stages
– Total floor area of14,564.39 m2
(156,775 ft2) of stage space
– 3 water tanks. Outdoor tank largest
2a. 2b. in southern hemisphere 40m x 30m
(131.24 x 98.43 ft), deepest point 7m
(23ft) holds seven million litres of water,
DARWIN heated and filtered
– Lighting, freight, travel, casting,
cameras, post-production and
production services
NORTHERN TERRITORY
3. DOCKLANDS STUDIOS
MELBOURNE, VICTORIA
www.dsmelbourne.com
QUEENSLAND – 5 stages ranging from 743m2
(8,000 ft2) to 2,323m2 (25,000 ft2)
WESTERN AUSTRALIA – 6,968m2 (75,000 ft2) of warehouse/
workshop area
SOUTH AUSTRALIA
2 BRISBANE
GOLD COAST
– 1,505m2 (16,200 ft2) of production
office space
3.
NEW SOUTH WALES
PERTH 4. ADELAIDE STUDIOS
1 SYDNEY ADELAIDE, SOUTH AUSTRALIA
ADELAIDE
4 CANBERRA www.safilm.com.au
– 2 sound stages 1000m2/400m2
VICTORIA 3 MELBOURNE
(10,763 ft2 x 4,305 ft2)
– ADR /Foley Studio
4. – Dolby Premiere 7.1 accredited sound
mixing studio
– 100 seat screening theatre and
TASMANIA HOBART production offices with plug and play
4 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 5
FEDERAL GOVERNMENT INCENTIVES AND FUNDING
SCREEN CONTACT
www. screenaustralia.gov.au
AUSTRALIA
www. australiaonscreen.com
+61 2 8113 5800
TIM PHILLIPS
Head of Producer Offset and
Co-Production Unit
Screen Australia administers the Producer Offset tax incentive and pocu@screenaustralia.gov.au
Australia’s Official Co-Production Program. ONLINE TOOLS
It is the lead Australian Government agency charged with supporting - Doing Business with Australia
- Producer Offset Document Library
Australian screen development, production and promotion. - Co-production Program Document Library
Screen Australia develops Australian ELIGIBILITY CREDITS
voices, funding writers and filmmaking To be eligible for the Producer Offset, a P R O J E C T S W H I C H H AV E P U B L I C Y
teams to progress their ideas and scripts. film or program must: ACKNOWLEDGED RECEIVING THE
PRODUCER OFFSET
It provides production finance for - be completed
features, documentaries, television - Hacksaw Ridge
- have Significant Australian Content (SAC)
drama, children’s content and online - Mad Max: Fury Road
or be an Official Co-production
series. It has dedicated development - Gods of Egypt
and production funds for content by - be an eligible format
- The Great Gatsby
Indigenous Australian filmmakers. - have QAPE that meets or exceeds the
- Happy Feet 2
Once created, Screen Australia helps relevant threshold
- I, Frankenstein
stories find their audience with marketing - be made by an applicant company which
and promotion support. Screen Australia is an Australian company, or a foreign
company with an Australian permanent
P R O J E C T S W H I C H H AV E B E N E F I T E D
also provides authoritative and relevant
residency and an Australian Business
FROM AUSTRALIA’S OFFICIAL
data and research to both the industry
Number (ABN).
CO-PRODUCTION
and government.
- The Nest
THE PRODUCER OFFSET
SIGNIFICANT AUSTRALIAN CONTENT (SAC) - Cleverman
The Producer Offset is a cash rebate for
Screen Australia determines whether - Oranges and Sunshine
the producers of Australian feature films,
a film has SAC based on published - Lore
television programs and other content.
guidelines which have regard to: - Bright Star
It is a cultural incentive. Only Australian
- The subject matter of the film
films and series can receive the Producer
- The place where the film was made Ausfilm Member since 2009.
Offset. To be regarded as Australian,
the project must be one with Significant - The nationalities and places of residence
Australian Content (SAC) or be an Official of the people who took part in making it
Co-production. - The details of production expenditure
The Producer Offset is paid after a incurred, and
project is completed and Screen - Any other matters that Screen Australia
Australia has issued the producer with considers to be relevant.
a Final Certificate. The amount of the
Offset is determined as a percentage
of the Qualifying Australian Production OFFICIAL CO-PRODUCTIONS
Expenditure (QAPE). It is: Official Co-productions do not need to
- 40 per cent of QAPE incurred on feature meet the SAC test to access the Producer
films; and Offset. Australia currently has treaties
in force with Canada, China, Germany,
- 20 per cent of QAPE incurred on Korea, Ireland, Israel, Italy, Singapore,
other formats (for example,TV series, South Africa, the United Kingdom and
mini-series or telemovies, short-form Memoranda of Understanding with France
animations and non-feature single and New Zealand.
episode programs).
These arrangements set out the
Broadly speaking, QAPE is expenditure parameters for how two or more co-
incurred on goods and services provided producers can make an eligible co-
in Australia for the making of the film. production, including the minimum
financial and creative contributions. The
agreements are available from the Screen
Australia website.
HACKSHAW RIDGE © ICON FILMS DISTRIBUTION
6 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 7
S TAT E & L O C A L G O V E R N M E N T I N C E N T I V E S A N D F U N D I N G
FILM CONTACT
www.film.vic.gov.au SCREEN CONTACT
www.screen.nsw.gov.au
VICTORIA NSW
+61 3 9660 3200 +61 2 9995 0555
JOE BRINKMANN COURTNEY GIBSON
Incentives Manager Chief Executive
joe.brinkmann@film.vic.gov.au courtney.gibson@screen.nsw.gov.au
JENNI TOSI
Film Victoria is the Victorian State Government screen agency, based in CEO Screen NSW is the state government screen agency based in Sydney, M AT T C A R R O L L
Director, Production Attraction and Incentives
Melbourne. Film Victoria invests in screen talent, ideas and productions jenni.tosi@film.vic.gov.au New South Wales. matt.carroll@screen.nsw.gov.au
in Victoria and provides a full range of film commission services. ONLINE TOOLS Screen NSW offers incentives to attract “footloose” production and ONLINE TOOLS
- Funding & Incentives / Made in NSW
- Victorian talent and crew Industry Directory
post-production to NSW, and offers location and production liaison International Footloose Production Guidelines
SERVICES PROVIDED TO FILMMAKERS - Fiction: feature film, television - Victorian Locations Gallery & bespoke Image
Victoria is a world-class production (telemovie, mini-series, pilot or series) Lounge service
service to all productions considering locating in NSW. - Reel-Scout / Screen NSW Film Scout &
iPhone App
destination that offers filmmakers access or - Online Funding Incentives Application - Film Friendly NSW / Guidelines and Contacts
to diverse locations, creative talent and - Documentary: feature film, television
crew, outstanding studios, VFX and (one-off or series).
post-production facilities and state
Government funding incentives.
P I A F Minimum spend is AUD$3.5 million SERVICES PROVIDED TO FILMMAKERS - grow audiences; and L O C AT I O N S C O U T S A N D I N B O U N D P R O G R A M
in Victoria on approved elements. CREDITS NSW is Australia’s premier screen
Client Services include: - contribute to NSW’s reputation as the BENEFITS
R L A F Use regional Victorian locations for a - The Leftovers (Season 3) production hub, with more than half leading State in business and film. This program offers long-form footloose
- Introductions to filmmakers minimum of five (5) days during principal - Hunters of all Australian production and post- The incentive is in addition to the production scouting assistance for
- Information on federal and state-based photography, with majority crew/cast production businesses located there. location surveys for eligible projects and
- Ghostbusters (VFX) Australian federal government’s Location
production incentives accommodated near the regional filming It offers a remarkable combination of may include covering some of the costs
- Deadpool (VFX) Offset; Post, Digital,Visual Effects Offset
- Connections to crew, studios, post- location; and expenditure of AUD$100,000. creative talent, superior screen sector associated with on-ground travel including
- Avengers: Age of Ultron (VFX) and Producer Offset.
production and VFX houses Low budget international productions infrastructure and diverse locations, accommodation, domestic flights, vehicle
which do not meet the minimum spend making it the destination of choice for ELIGIBILITY hire and location manager services.
- Location assistance and scouting Ausfilm Member since 1999.
may be eligible for financial assistance some of the most creatively challenging Eligible projects are feature films, tele-
- Script breakdowns and surveys - There is no minimum spend
where the project’s benefits align with films in recent times. movies, mini-series, TV series, pilots or
- Advice on travelling and working in - Feature films, telemovies, animation, reality programs.
broader Victorian State Government The Screen NSW Production Attraction
Victoria mini-series, pilots and TV series
objectives. and Incentives team offers a complete
- Funding for eligible projects looking to service and expert advice about filming in - High-value added unaccompanied ELIGIBILITY
locate production or post-production PRODUCTION INCENTIVE ATTRACTION FUND - Sydney and around the state. post-production and/or VFX projects The program is open to projects prior
work in Victoria P O S T P R O D U C T I O N , D I G I TA L A N D V I S U A L which will be produced or post produced to commencement of pre-production
Talk to us about:
EFFECTS (PIAF PDV) in NSW and prior to or during financing. For
- Support for local industry through - Industry connections and introductions
project development and production BENEFITS - International/ Australian co-productions international inbound visits, Screen NSW
- Up to date information on federal and generally works with Ausfilm to facilitate a
investment funding, which may be P I A F P D V encourages offshore feature - Fully internationally financed feature
state incentives suitable itinerary; however, enquiries can
accessible to those who partner with a films, television series, mini-series, pilots, films and television projects from local
Victorian producer - Location scouting. also be made directly to the Screen NSW
telemovies and documentaries to use post, production companies
Production Attraction & Incentives team.
- Information on investment funding for digital and visual effects facilities in Victoria. - Projects that are genuinely footloose,
M A D E I N N S W – I N T E R N AT I O N A L
co-production or joint ventures. Incentives are negotiated on a project-by- that is, are not already locked into CREDITS
FOOTLOOSE PRODUCTION
project basis and are paid as a cash grant production in NSW and with
P R O D U C T I O N I N C E N T I V E AT T R A C T I O N BENEFITS - Alien: Covenant
on completion and audit. genuine production or VFX alternatives
F U N D ( P I A F ) A N D R E G I O N A L L O C AT I O N Made in NSW is a AUD$20million fund - Hacksaw Ridge
in another Australian state or
A S S I S TA N C E F U N D ( R L A F ) ELIGIBILITY over two years (2016/17 and 2017/18) international location - Bleeding Steel
to support the attraction to NSW of - Mad Max: Fury Road
BENEFITS Applicants must be a production - Projects that can demonstrate a
significant international feature film and - The LEGO® Movie
P I A F encourages offshore feature films, company or Special Purpose Vehicle significant spend in NSW. Screen
major international TV drama production.
television series, mini-series, pilots, (SPV) with a production project which is: NSW generally expects the majority
The program will create a pipeline of high- Ausfilm Member since 1999.
telemovies and documentaries to film in - Fiction: feature film, television of the project’s production and or post-
end screen production in NSW and build production activity to occur in NSW.
Victoria. (telemovie, mini-series, pilot or series)
on the success of previous investment.
R L A F supports projects needing to locate or The following are not eligible to apply:
The program will focus its investment in
production activity in regional Victoria. - Documentary: feature film, television new film and TV projects that: - Projects in receipt of or eligible to apply
Incentives are negotiated on a project-by- (one-off or series). for production finance from Screen NSW
- significantly contribute to the NSW
project basis and are paid as a cash grant Minimum spend of AUD$1million in are generally not eligible to apply for this
economy
on completion and audit. Victoria on approved post-production program
- create high value jobs
elements. - Applicants in default of any contractual
ELIGIBILITY - create new opportunities in western agreement with the NSW Government,
Low budget international productions
Applicants must be a production Sydney and regional NSW including Screen NSW.
which do not meet the minimum spend
company or Special Purpose Vehicle may be eligible for financial assistance - build the skills and capacity of
(SPV) with a production project which is: where the project’s benefits align with established and emerging practitioners
broader Victorian state Government
objectives.
8 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 9
S TAT E & L O C A L G O V E R N M E N T I N C E N T I V E S A N D F U N D I N G
SCREEN CONTACT
www.screenqld.com.au
CITY OF GOLD COAST CONTACT
www.film.moregoldcoast.com.au
QUEENSLAND
+61 7 3248 0500 +61 7 5581 7269
TRACEY VIEIRA CRAIG ROWSELL
Chief Executive Officer Business and Investment Attraction Officer
tvieira@screenqld.com.au crowsell@goldcoast.qld.gov.au
Queensland is the film friendly, production paradise of Australia GINA BLACK
Manager, Production Incentives and Attraction
The Council of the City of Gold Coast (Film Gold Coast) strongly
known for its stunning and diverse natural locations, attractive gblack@screenqld.com.au supports the film industry and has an established Film Attraction
financial incentives, facilities, post-production and visual effects Program to support production companies to film in the city. This
ONLINE TOOLS
studios and award-winning cast and crew. Queensland boasts the - Production Attraction Program
is unique for local government in Australia and is independent
largest sound stage (40,000 sq m) in the Southern Hemisphere and - SQ app - Screen Queensland Location, from the filming incentives provided through the federal and state
Crew & Facilities
purpose-built water tank in Australia both located at the Gold Coast’s - SQ Location Gallery & Crew Directory – governments.
Village Roadshow Studios. Reel-Scout
SERVICES PROVIDED TO FILMMAKERS ELIGIBILITY you about the benefits of working SERVICES PROVIDED TO FILMMAKERS INCENTIVES SNAPSHOT CREDITS
Screen Queensland is the state’s screen - Negotiable Production Attraction with Queensland producers including The program incorporates a suite of - Thor: Ragnarok
agency and has secured back-to-back Incentive – a grant provided to the advantage of both state and services, one component being a financial VALUE OF PRODUCTION ASSISTANCE CAP
- Pirates of the Caribbean: Dead Men Tell
productions including Thor: Ragnarok, producers based on the anticipated federal incentives (including the federal assistance package that may assist to UNDERTAKEN ON THE ($AUD)
No Tales
Kong: Skull Island, Nest, The Shallows, QPE, the engagement of bona fide government’s 40% Producer Offset). bring your production to the Gold Coast. GOLD COAST ($AUD)
- San Andreas
Jungle, Pirates of the Caribbean: Dead Queensland practitioners, and/or the Through our partnership with Screen $1.5-3 million $30,000
CREDITS - Unbroken
Men Tell No Tales, San Andreas, Angelina creation of infrastructure in Queensland. Queensland and Village Roadshow $3-5 million $40,000
- Thor: Ragnarok - The Chronicles of Narnia: The Voyage of
Jolie’s Unbroken and Modern Family. - Location and Scouting Assistance Studios, we are able to connect you with
$5-10 million $50,000 the Dawn Treader
Screen Queensland works with producers provided for projects considering - Nest relevant expertise in the city to ensure
to ensure their creative and financial - Kong: Skull Island your production is up and running as $10-15 million $60,000
Queensland locations, and provided Ausfilm Member since 2003.
needs are exceeded, offering: prior to commencement of pre- - The Shallows smoothly as possible. $15-25 million $80,000
production or during financing. - Pirates of the Caribbean: Dead Men Tell Over $25 million $100,000
- free advice on state and federal
The extent of support is based on
F I L M AT T R A C T I O N P R O G R A M
government incentives
No Tales
the anticipated QPE. BENEFITS
- professional script breakdowns Ausfilm Member since 1998. The incentive is agreed prior to the
- State Payroll Tax Rebate – available for
- bespoke location packages production being undertaken on the
those productions that have paid the
- liaison with councils and local Gold Coast.
4.75% Queensland Payroll Tax and with
government agencies a spend greater than AUD$3.5 million The incentive is paid post the production
- introductions to producers, writers QPE. being completed and supporting evidence
and other leading creative talent and supplied.
- Regional Statewide Incentive Grants – a
technical crew.
negotiable grant up to AUD$100,000 This is a cash incentive with no restrictions
based on regional spend and on how these funds must be utilised.
SCREEN QUEENSLAND PRODUCTION
employment opportunities.
AT T R A C T I O N P R O G R A M
- Post, Digital and Visual Effects Attraction ELIGIBILITY
BENEFITS Grant – a negotiable grant capped at - The approximate value of the production
- Production Attraction and Incentives AUD$250,000 for a minimum spend (minimum AUD$1.5 million spend on the
are open to all domestic and of AUD$500,000 in Queensland on post- Gold Coast)
international producers who are looking production elements. - Duration of the production and
to bring footloose film and television - The Revolving Film Financing Fund approximate percentage conducted on
projects that generally have a minimum (RFFF) – provides secured loans to the Gold Coast
AUD$3.5 million Queensland Production cash-flow the Producer Offset, - Approximate number of jobs and
Expenditure (QPE). distribution guarantees and pre-sales economic impact created on the Gold
- A range of lucrative incentives offered with a 7% loan fee charged on RFFF Coast during these periods
for both film and television producers loans making it an extremely
- Applications must be made prior to
that can be combined with the competitive option.
confirming a Gold Coast shoot.
Australian government’s Location - Development and Production
Offset, Producer Offset and Post,Digital, Investment Grant available where a
Visual Effects Offset. Queensland producer or writer
- Incentives are determined on the is attached.
economic and cultural benefits a
production will bring to
Queensland including spend, jobs,
technical and infrastructure legacies
plus cultural benefits.
- Screen Queensland also supports
10 AUSFILM | The Talent Issue
co-productions and is ready to talk to
AUSFILM | The Talent Issue 11
S TAT E & L O C A L G O V E R N M E N T I N C E N T I V E S A N D F U N D I N G
SCREENWEST CONTACT
www.screenwest.wa.gov.au
SOUTH AUSTRALIAN CONTACT
www.safilm.com.au
F I L M C O R P O R AT I O N
+61 8 8394 2000
ADAM SMITH MICHELLE KRUMM
Director Production Investment Head of Production, Development & Studios
adam.smith@screenwest.wa.gov.au michelle.krumm@safilm.com.au
+61 8 6552 7950
Screenwest is Western Australia’s screen funding and development The South Australian Film Corporation (SAFC) is South Australia’s SARAH LANCASTER
Production Attraction & Development Executive
R I K K I L E A B E S TA L L
agency, working with the screen industry to develop, support and Director Development lead agency for the development, support and promotion of the sarah.lancaster@safilm.com.au
promote film, television and digital media production. Western Rikkilea.bestall@screenwest.wa.gov.au screen production sector. The SAFC combines innovative funding ONLINE TOOLS
Australia’s unique and accessible locations will enhance the value +61 8 6552 7730
incentives and world-class studios with access to incredible - Reel Scout Location Library
of any production, complemented by minimal location fees, and a ONLINE TOOLS locations and is your first point of call for local co-producing - Crew & Services Directory
- Production Incentives application
- Reel Scout Location Library & App
number of resources, facilities and film friendly initiatives. - Production & Crew Directory partners, crew and some of the world’s best post and VFX facilities.
- Western Australian Regional Film Fund –
application
SERVICES PROVIDED TO FILMMAKERS Co-Production relationship with a BENEFITS SERVICES PROVIDED TO FILMMAKERS PAYROLL TAX EXEMPTION CREDITS
Screenwest can assist producers with: credited WA based Producer. The SAFC provides filmmakers with a BENEFITS - Wolf Creek (TV Series)
AUD$16 million has been made available
one-stop-shop; combining funding across Upfront exemption on payroll tax reducing - The Water Diviner
- information on Screenwest production - Up to a maximum of AUD$500,000 is to support high quality Australian and
production and post-production activities liability by 4.95%. - The Rover
incentives available to non-WA Producers where international feature films and high-end with the state-of-the-art Adelaide
they have strong WA creative elements television series and documentaries.The - The Babadook
- introduction to potential Western Studios facilities and an up-front Payroll ELIGIBILITY
in place, in particular writers and level of investment will be determined Tax Exemption. In addition, the SAFC
- Tracks
Australian partners Available on qualifying payroll to projects
directors. by the economic and cultural value the offers a highly competitive film financing
- advice on filming and working in which bring economic benefits to South Ausfilm Member since 1999.
project is considered likely to deliver facility, provides secured loans, as well as
Western Australia including locations, Australia.
to regional Western Australia. The locations services and recce (scouting)
crew and facilities ELIGIBILITY support.
investment is available in addition to any REVOLVING FILM FUND
Screenwest supports co-production - Credited Western Australian (WA)
other public funding received, including BENEFITS
Production Companies SCREEN PRODUCTION INVESTMENT
opportunities with Western Australian that from Screenwest’s production funding
BENEFITS Secured loans to finance long-form, stand-
(WA) production companies. Advantages - Credited non-WA Production programs. alone projects or series that are filmed in
of filming in Western Australia include: Companies in a Genuine Co- Production funding for long form drama
South Australia.
production Partnership (as defined and documentary projects.
- supportive government agency in ELIGIBILITY
Screenwest in the Screenwest Terms of Trade) or ELIGIBILITY
Fund investments are negotiated on the ELIGIBILITY
Official Treaty Co-production or other Production companies with a project
- huge variety of cinematic locations and best available commercial terms for the Funding is based on spend in South
acceptable co-production relationship which will undertake a significant amount
is also renowned for its clarity of light outcomes sought given the opportunity Australia.
with a credited WA production of production in South Australia.
and long periods of clear blue skies available. In most instances it’s anticipated
company. ADELAIDE STUDIOS INCENTIVE
- ability to double for other locations that the Fund’s investment will act as RECCE ASSISTANCE
Screenwest will also accept applications BENEFITS
- shares a time zone with Beijing, ‘free gap’ or pro rata pari passu with a BENEFITS
from credited non-WA Producers An uncapped rebate against costs spent
Shanghai, Kuala Lumpur and commercial gap lender. Regional areas Grant funding to support recce costs.
who represent a bona fide film or on the hire of Adelaide Studios.
Singapore. are those parts of regional Western
television production company with
Australia as defined in the Regional ELIGIBILITY
a demonstrated track record or ELIGIBILITY
Development Commissions Act 1993 (WA). Reserved for interstate and international
SCREENWEST DRAMA PRODUCTION whose principals have a strong track Available to productions that hire the
inbounds, based upon the project details
INVESTMENT FUND record in film, television and /or media SAFC’s Adelaide Studios Sound Stages and
and estimated South Australian spend.
The Drama Production Investment Fund production. In this case the project must CREDITS South Australian Heads of Department.
provides production financing for feature demonstrate strong WA economic and/ - Son of a Gun
POST-PRODUCTION GRANT
films and television drama with strong or creative outcomes, such as story, - Jasper Jones
market attachments, and narrative cross- writers and directors. BENEFITS
- Breath
media projects with significant third party Grant funds for projects undertaking
WESTERN AUSTRALIAN REGIONAL - Red Dog & Red Dog: True Blue substantial post-production activities in
funding and broad audience reach.
FILM FUND - Paper Planes South Australia.
The Western Australian Regional Film
BENEFITS Ausfilm Member since 1999. ELIGIBILITY
Fund is committed to making strategic
- Funding up to a maximum of investments that encourage regional A minimum of AUD$250,000 must be spent
AUD$800,000 is available for each film industry activity, build local capacity in South Australia on post-production
project to WA based Producers or activities.
and contribute to the livability and
interstate and internationally based vibrancy of regional Western Australian
Producers in a genuine, Official communities.
Treaty or other acceptable
12 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 13
PRODUCTION DESIGNER Colin Gibson director Ian Gracie as “an absolute master”.
is fond of recounting an incident on a film Shooting Alien: Covenant was “a
shoot on a remote Pacific Island some fantastic experience”, says Huffam. “We
years ago. A scene called for the lead found the skillset and the crew above and
WITH IMPRESSIVE SKILL SETS, actress to come out of the water onto the beyond what we expected. Australians
A N U N R I VA L L E D W O R K E T H I C , shore. The actress didn’t like the seabed work to live unlike we who live to work. They
A N D A PA S S I O N H O N E D O V E R she was forced to walk on and said she work hard and play very hard too. It’s been a
wouldn’t do the scene unless it was sandy. real eye-opener that they are so keen.”
30 YEARS WORKING ON LOCAL
So Gibson arranged for 11 barges of sand to Adds Truth director James Vanderbilt,
A N D I N T E R N AT I O N A L F I L M S , be floated across from the main island and who made the newsroom drama starring
AUSTRALIAN CREWS ARE NOW set down for the scene. Cate Blanchett and Robert Redford in
AMONG THE MOST IN-DEMAND The actress did one take and decided Sydney in 2014: “It’s the only place I’ve
IN THE WORLD. PIP BULBECK her double could do the remaining takes. filmed where people come back from
That would have been fine except for the lunch early. We’d call an hour lunch and the
S P O K E T O T E N C R E AT I V E
fact the double couldn’t swim. Gibson, gaffers would be back 40 minutes in setting
MASTERS OF THE AUSTRALIAN who this year won an Academy Award for up the next shot.”
S C R E E N I N D U S T R Y. Best Production Design for Mad Max: Fury Hacksaw Ridge producer Bill Mechanic
OZ
Road, stepped in as her swim instructor says of his experience shooting down
and the scene was saved. under, “there’s less a sense of entitlement
Incidents such as these may sound with crews in Australia than there is in
crazy to outsiders, but for those working the US and Europe. People are more
in the film industry they are simply part of committed to the film and the top crews are
the job. And it’s that work ethic, creative as good as anywhere else.”
problem solving, and passion for meeting Working with local heads of
the challenges of the job that have driven department on The King’s Daughter and
Gibson and other Australian heads of 2:22, filled Mechanic with confidence that
department (HOD) to the top of their Australia would be a good environment
professions. for Mel Gibson to direct his first feature
Between them, they have won Oscars, since Apocalypto. “When we scouted,
BAFTAs, Emmy and SAG Awards, as well lo and behold many, many HOD and
as innumerable Australian Film Institute, crew were still around. Mel’s capacity
AACTA and Guild awards. They are among for remembering names, faces and
the most in-demand heads of departments circumstances 30 years ago was amazing
in the world, having honed their craft in and it was all great fun.”
Australia and internationally over several Ultimately, Australians’ all-conquering
WIZARDS OF
decades. Certainly their success has not attitude is the result of the nation’s
been overnight, but they are now reaping geographical isolation. Says composer
the benefits of successful careers and David Hirschfelder: “Australians are very
bringing home, in some instances, pay passionate and committed to doing our
packets the size of independent film very best. Our separation … gives us extra TOP: JASON BAIRD ADDING
budgets. incentive to want to work with the rest of GHOUL MAKEUP FOR IN THE
VALLEY OF THE GHOULS, A
Special effects makeup supervisor, the world. Our geographical isolation has
PERSONAL PROJECT COLLAB-
Jason Baird helps explain his success: driven individualism, determination and a ORATION WITH LONG-TIME
“People who do what we do – we’re multicultural perspective which is unique COLLEAGUE SEAN GENDERS.
obsessed with it. When I’m not paying the and stays fresh. Australia’s geography and MIDDLE: LESLEY VANDERWALT
bills I’m working on my own creatures. I’m culture make it an inspiring place to live AND HER TEAM.
BOTTOM: IAN GRACIE AND THE
always pushing myself.” and work.”
ART DEPARTMENT FROM STAR
Adds Gibson: “Our jobs are about And for producers who are willing to WARS EPISODE II AND III
imagining and you never want to stop bridge that geographical isolation, the trip SHOT IN NEW SOUTH WALES.
doing that.” is always worth it. OPPOSITE: MURDOCH IS
Indeed, Alien: Covenant producer, Mark “I had an amazing time with the ANOTHER GHOUL MAKEUP
Australian crew,” says Truth producer Brad FROM IN THE VALLEY OF THE
Huffam, who spent six months of 2016 living
GHOULS.
in Sydney while shooting the Alien prequel, Fischer. “The weird thing is that everyone
says Australian crews and HOD have an else on set has more experience doing
incredible work ethic, professionalism and their job than you. They were there to
passion for the job. He lauds supervising art support the vision of the film.”
14 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 15
JASON BAIRD COLIN GIBSON
SPECIAL MAKEUP PRODUCTION DESIGNER
EFFECTS SUPERVISOR LAST FIVE INTERNATIONAL CREDITS: 24 Hours To WHEN I’M NOT WORKING I... realise
Live; The Great Wall; Mad Max: Fury Road; it was a mistake not getting
LAST FIVE INTERNATIONAL CREDITS: Thor: Nim’s Island; Noriega. an agent. Our jobs are about
Ragnarok; Kong: Skull Island; DESCRIBE YOUR JOB: It’s better than a real job. imagining and you never want
Pirates Of The Caribbean: I try to make the space for grace. Provide to stop doing that.
Dead Men Tell No Tales; The an environment that’s part evolution, part IF I WASN’T WORKING IN FILM AND
Shallows; The Water Diviner. chemistry; the primordial ooze from which TELEVISION I WOULD BE... A stand up
DESCRIBE YOUR JOB: It’s the art of something new emerges. comedian or an actor. And my
3D makeup involving anything TELL US ABOUT SOME OF THE MORE MEMORABLE PROJECTS children would be very hungry.
that happens to the actor’s YOU’VE BEEN INVOLVED IN: Mad Max: Fury Road; I’D LOVE TO WORK WITH… directors
body. We sculpt, mould, cast, it was a fantastic thing to imagine a world like Danny Boyle, Ang Lee or
turn into painting, metal work; going to hell in a hand basket and re- Park Chan-Wook. Anyone
we use any conceivable artistic contextualise the original. The marathon whose got a good story and an
detail to add the tiniest scratch of it all gave us a chance to keep examining oblique point of view.
CAPPI IRELAND in makeup, to adding a raised and adding detail. To have that much time I KNEW I WANTED TO WORK IN FILM
COSTUME DESIGNER swollen prosthetic and making to create what we did was a glorious thing. AND TELEVISION WHEN… Someone
a full creature suit. Serenades in the desert in Oz was a great offered me a job on the Love
LAST FIVE INTERNATIONAL CREDITS: Lion; I, with my kids, going to the beach, taking TELL US ABOUT SOME OF THE MORE at it and a 1000 cockroaches flew out of the experience and was where I got to do Boat as standby props. I
Frankenstein; Oranges and Sunshine; them to do their extra curricular activities. MEMORABLE PROJECTS YOU’VE BEEN head. In film, crazy becomes normal. You second unit. left university and I was too
Animal Kingdom; Home Song Stories. My daughter is in the Australian Girls Choir INVOLVED IN: If you’re having fun, can’t say no if a director or producer asks MOST CHALLENGING REQUEST ON AN INTERNATIONAL sarcastic to be a teacher.
DESCRIBE YOUR JOB: Equal parts designer, but I’ll discourage a career in performing as have a great crew, whether it’s you something, you just have to get in there FILM SHOOT: On a shoot that was filmed on WHAT IS YOUR WORK MOTTO OR
researcher, shopper, psychologist, mum, much as possible. a blockbuster or an indie film, and get it done. an island ringed by a coral lagoon, I had a PHILOSOPHY? Every job deserves a
sister. I run a department of between WHEN I’M NOT WORKING I... am very much a you have the same kind of FAVOURITE ACTIVITY IN AUSTRALIA: Scuba diving lead actress who refused to walk on coral new motto or philosophy. But
six and 40 (depending on the scale) in a mum and it’s hard trying to get the work life attitude. Are you spending time in North Queensland, I love the tropical or stones, so I had 11 barges of sand floated ultimately – “They’ll never take
workroom of cutters, sewers, finishing balance. I like a five-week break between with people whose company rainforest up there, otherwise, hanging with across from the main island. After one me alive.”
artists, buyers. jobs, especially when you are looking down you enjoy? Aquamarine was my daughter and the rest falls into place. take she was exhausted and said the
TELL US ABOUT SOME OF THE MORE MEMORABLE PROJECTS the barrel of six months of research and one of those and Star Wars: WHEN I’M NOT WORKING I... People who do what double could do the rest. But the double
YOU’VE BEEN INVOLVED IN: Home Song Stories shooting. Episode II was an amazing we do are obsessed with it. When I’m not couldn’t swim so I turned swimming
was my first big Australian film. I loved the WHAT ARE THE BIGGEST ADVANTAGES/BENEFITS TO WORKING time. And the Emmy Award paying the bills, I’m working on my own instructor as well.
period (1960s and 70s) and the Asian aspect. IN FILM AND TELEVISION IN AUSTRALIA? The biggest for The Pacific; it was one of creatures. I’ve got my own film project CRAZIEST MOMENT ON SET: Crazy is fun. Seeing
Writer-director Tony Ayres’ story was his advantage is our tight knit crews who those pinnacle moments. I was that I’ve been developing for four years an entire crew dressed in drag for the last
own story. The research was incredible support each other. They make you want to contacted by the producer, with vampires, werewolves and demons. two days of shooting on The Adventures
going through his family photos and it go to work each day. saying, “I’ve heard of you and I’m always pushing myself especially if the of Priscilla, Queen of the Desert was fun.
was the start of a long relationship with IF I WASN’T WORKING IN FILM AND TELEVISION I WOULD BE... want you to do the series.” From work doesn’t give you the ability to use new There were some not very pretty men
Tony and Michael McMahon at Matchbox in the arts as an academic or art curator. I then, to budgeting, putting my techniques or technologies. amongst them.
Pictures. Kill Bill was a real learning curve, studied art history and theatre studies. team together, production and I’D LOVE TO WORK WITH… Clint Eastwood. As a FAVOURITE ACTIVITY IN AUSTRALIA: Expanding my
working with Chinese, Japanese and US I’D LOVE TO WORK WITH… [Quentin] Tarantino then a year on we get an Emmy man, a director, on every level he impresses mind and my melanomas with naked
cultural elements. again as a costume designer. He’s just such an nomination. That would have me ... lots of industry artists, too many to reading.
MOST CHALLENGING REQUEST ON AN INTERNATIONAL FILM amazing director. It was like being in a cinema been enough but then we won! mention, Steve Johnson would be a stand FAVOURITE PART OF AUSTRALIA: I’m
SHOOT: On Lion, we shot in India first before studies class. He explains and educates you. It was an amazing time. out. Both of the Scott brothers as directors philosophically partial to the
shooting in Australia. Dev [Patel]’s final He’s very free flowing in his head. MOST CHALLENGING REQUEST ON have amazing looks to their films. desert...it’s my idea of
scene was shot there but we were trying to I KNEW I WANTED TO WORK IN FILM AND TELEVISION WHEN... AN INTERNATIONAL FILM SHOOT: I KNEW I WANTED TO WORK IN FILM AND TELEVISION WHEN… heaven, but I do make
make him as Australian as possible. And I My grandmother was a dressmaker and Sometimes it’s just the working I was 11 and saw An American Werewolf in it a point to have a swim
had not yet met him. We ended up using I did work experience at age 15 at the conditions. Day one of The London and Dark Crystal. I’d always loved wherever I go.
one of the Australian crews’ T-shirts to get Australian Broadcasting Corporation Island of Dr Moreau in tropical vampires and monsters and thought,
him in the right frame. working across all departments. It was their North Queensland there were “someone has to make this stuff, that’s
CRAZIEST MOMENT ON SET: Again in India for heyday of quality Australian dramas and no floors in the makeup tent. A what I’m doing”. After graduating from
Lion I was standing on a table in the slums iconic shows like Countdown, and it piqued tropical downpour meant we high school I started contacting everyone
of Kolkata trying to dress hundreds of my interest. were working in a muddy creek a I could here in Australia and then, at 19, I
extras in 80s costumes while calling out WHAT IS YOUR WORK MOTTO OR PHILOSOPHY? If you’re foot deep at 3 am. Good times… made my way to New York and LA to make
instructions to them in Hindi. Mad. not having fun, it’s time to reassess the CRAZIEST MOMENT ON SET: House of connections there.
FAVOURITE PART OF AUSTRALIA: Any beach. job. It has to be rewarding on every level. Wax; we’d made a head that WHAT IS YOUR WORK MOTTO OR PHILOSOPHY? Say yes
FAVOURITE ACTIVITY IN AUSTRALIA: Spending time Challenging as well, but no tears necessary. explodes after a shot gun firing to everything because we’ll get it done.
16 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 17GUY NORRIS
SUPERVISING STUNT CO-ORDINATOR
LAST FIVE INTERNATIONAL CREDITS: Ghost In The Shell; Suicide WHEN I’M NOT WORKING I... I’m working. I am so fortunate to
Squad; Black Sails; Mad Max: Fury Road. do something that I can always be thinking about and
DESCRIBE YOUR JOB: To realise the director’s vision in a it’s not a chore.
physical sense. WHAT ARE THE BIGGEST ADVANTAGES/BENEFITS TO WORKING IN FILM AND
TELL US ABOUT SOME OF THE MORE MEMORABLE PROJECTS YOU’VE BEEN TELEVISION IN AUSTRALIA? The crews and the make-up of WHEN I’M NOT WORKING I...
INVOLVED IN: It would have to be Mad Max: Fury Road; how we do things. As an island, we have had to, and have What I have developed is an
there are so many memorable moments from that. developed an incredible skill set. There’s no instruction appreciation for family. I love
And to come full circle, it was amazing to be part of book for how it’s done but those skill sets have been playing dad. And I support
the stunt team on Mad Max: Road Warrior. It was my borne out of hard work and passion. In Australia, it’s my wife in her rug-exporting
introduction to a film set and coincided with the start about the purity of filmmaking. In other territories, it’s business. I’m trying to give back
of an amazing period in Australian film. The crew were often just a seven-day-a-week job to earn the money. to her as much as I can.
icons of that era and I was 21 years old. The camaraderie, the openness and the assistance from IF I WASN’T WORKING IN FILM
MOST CHALLENGING REQUEST ON AN INTERNATIONAL FILM SHOOT: The all departments are what sets our crews apart. AND TELEVISION I WOULD BE...
scale of what we did on Fury Road. It was a magic job IF I WASN’T WORKING IN FILM AND TELEVISION I WOULD BE… GREIG FRASER Unemployed.
where the whole was worth way more than the sum of An astronaut. DIRECTOR OF I’D LOVE TO HAVE WORKED WITH...
its parts. All the technicians brought their A game. It I’D LOVE TO WORK WITH… I’ve been so fortunate to work with PHOTOGRAPHY Stanley Kubrik and to have
was a perfect storm. George Miller, Peter Jackson and Baz Luhrmann. Their witnessed the inner workings of
HOW DID YOU MEET THE CHALLENGE? Every project has its unique common denominator is that each looks at the world LAST FIVE INTERNATIONAL CREDITS: his brain. And I’m a huge fan of
challenges but Fury Road was up there because the in a very different way. Anyone who brings a vision or a Rogue One: A Star Wars Story; 70s filmmaking; it was so pure.
challenges existed every day. On a normal film you passion to what they do, I want to work with. Lion; Foxcatcher; The Gambler; I’m very lucky in that I had the
have to really come up with an out-of-the-box solution I KNEW I WANTED TO WORK IN FILM AND TELEVISION WHEN… I have a Zero Dark Thirty. two is the travel. Coming from peculiarities: a three-month chance to work with a lot of
a couple of times on a big shoot. Every day on Fury very strong memory from when I was about four. My DESCRIBE YOUR JOB: I’m a man with an island we want to explore shoot that encompasses five my film heroes: Wim Wenders
Road we were dancing on the edge of a building, so to parents had a citrus orchard in Bourke (regional NSW), a camera who tries to find the and conquer; what humans years and changes of seasons. emailed me to ask to work with
speak, and that’s when the way you conduct yourself which had an open air cinema. I remember sitting on a careful balance between the have wanted to do for millennia. Sometimes you find the him on a commercial; Jane
is important. We were making life and death decisions hessian bag and watching Elvis in Fun In Acapulco in full technical and the creative. Being able to do that for a job challenge is locking into the Campion is an amazing director
every day that pushed the envelope. What we were colour. That was a magical, transformative experience. The camera is the conduit for is incredible. Another highlight director’s vision. I worked with on Bright Star.
doing had never been done before – it was all about the For my stunt work, I answered an ad in the paper in film and there are so many is getting to work with the CRAZIEST MOMENT ON SET: What DoP wouldn’t jump at the
scale. the late 70s. I was a physical child into gymnastics and variables to getting the actors’ people I’ve worked with and Non-disclosure agreements chance to work with directors
CRAZIEST MOMENT ON SET: On Fury Road I was told by Steve motorbike riding. I went to see Frank Lennon who had performance on the screen. some of the prep on Zero Dark preclude me from revealing... like that?
Papazian (Warner Bros head of physical production) placed the ad, one week shy of my 18th birthday, and I need to run the gamut of Thirty. Being able to tap into the but there have been [many]! I KNEW I WANTED TO WORK IN FILM
not to kill anyone. The wow moment was on our very his office wall was plastered with photos of car crashes, being up-to-date technically, influential people close to that FAVOURITE ACTIVITY IN AUSTRALIA: AND TELEVISION WHEN… I trained
first shot when we have Max at the front, then with one motorbikes and fireballs. He said “I can teach you to do know about all the latest was walking through a defining Visiting family as I’ve lived in as a stills photographer
shot we pan around and see the vehicles and cast, all of this” – no more pitching was needed. cameras, lighting, accessories moment of a generation. While Los Angeles for six years now. and started working at
and it ends on the Doof Warrior. We had 75 unique WHAT IS YOUR WORK MOTTO OR PHILOSOPHY? Have perseverance. and equipment as well as prepping Rogue One, I got to FAVOURITE PART OF AUSTRALIA: I worked production company, Exit
vehicles and 150 stunt people in the middle of the Working in this industry is like going to war. You understanding the drama and go through the Star Wars as second unit director for Films, in Melbourne; I saw the
Namibian desert and it was surreal and awe-inspiring. have to be prepped to do the best you can story of the film. That drama archives and play with the Mandy Walker on Australia. collaborative nature of film
“Are we really watching these go across this incredible every day with the ultimate goal in sight. and story trumps all other props that I saw in the movies Kununurra (north Western and how the film team riffed
landscape?” I thought. things. I have to put together when I was five. Australia) and the landscape ideas off each other. I thought,
And personally, [the craziest moment] was the the most considered balance of MOST CHALLENGING REQUEST ON AN around there is the most “What could be better?” It was
opening crash of Max’s car before he gets captured. all those elements. INTERNATIONAL FILM SHOOT: Every spectacular place on earth. a natural progression for me as
I did the take-off and the crash and it was amazing to TELL US ABOUT SOME OF THE MORE day you get thrown a curve I love the outback. I love photography was too insular
be in the exact same car I was in 30 years after the MEMORABLE PROJECTS YOU’VE BEEN ball. That’s the challenge. With (hometown) Melbourne. I and individual.
original Mad Max. INVOLVED IN: There’s no real one cinematography no one day loved shooting there for Lion WHAT IS YOUR WORK MOTTO OR
FAVOURITE ACTIVITY IN AUSTRALIA: Spending time with family. memorable project or moment. is the same as the next. Sure and seeing my old crews and PHILOSOPHY? I have no real
FAVOURITE PART OF AUSTRALIA: The north coast of NSW and I’ve been very fortunate to work you get some similar elements; people I’ve known for 20 years. “motto”, it’s more of a holistic
southern Queensland. From Wooli Beach through to with some of the finest creatives like how to get exposure in Living and working in Fitzroy thing: approach every project
Byron Bay then up to the Gold Coast (where I live) is in the business and having very little light or using a was fantastic. And I love the with its own voice and don’t
just gorgeous. But you’re hard pressed to find a part of that opportunity is highlight night vision system. Films like beaches of Sydney, so Bondi, repeat yourself. Mix it up to
Australia that’s not. number one. Highlight number Foxcatcher have their own and Fitzroy would be my picks. keep it interesting.
18 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 19PJ (PETER JOHN) VOETEN
FIRST ASSISTANT DIRECTOR
LAST FIVE INTERNATIONAL CREDITS: Okja; The Great had 13 cameras, a helicopter and pretend
Wall; Hacksaw Ridge; Mad Max: Fury Road; snow; director Rob Cohen wanted to do it
Alex Cross. all for real.
DESCRIBE YOUR JOB: I’m there to allow the HOW DID YOU MEET THE CHALLENGE? It was all in
director their creative voice. I’m an the planning. We were in good hands with
organiser, communicator and facilitator Rob and director of photography Dean DAVID HIRSCHFELDER
talking to the crew to fulfil the director’s Semmler. It went off smoothly and it was COMPOSER
vision within the constraints of time and good to see we could do something that big
budget. I look after the nuts and bolts, here. You do it once and then it’s easy the
the logistics; the director looks after the next time. LAST FIVE INTERNATIONAL CREDITS: A Few Less Men;
creative side. CRAZIEST MOMENT ON SET: Crazy gives a sense A Street Cat Named Bob; The Dressmaker;
TELL US ABOUT SOME OF THE MORE MEMORABLE PROJECTS of out of control. My big “gosh”, or “wow” The Water Diviner; The Railway Man.
YOU’VE BEEN INVOLVED IN: The ones I look back on moment was on Mad Max: Fury Road. DESCRIBE YOUR JOB: I adore playing with my
the most fondly are films like The Year My I knew the storyboards inside out as I’d two favourite things: music and film. I
Voice Broke, Johns Duigan’s very personal been working on them for a decade. The watch the film without music and ingest
coming of age story. We shot in Braidwood opening scenes that established Max on the drama; I let it sink in and percolate
(rural NSW) and it felt like a great summer Max’s car then swings around in one shot down to the subconscious and a waft of
holiday where we made a great film. It’s very and ends up on the Doof Warrior. I’d seen ideas will come. Sometimes they’ll be fully
rare to have a great experience and make a that image for a decade or more but when formed and sometimes they become clear
great film at the same time. Working for (film you’re there I had to stop and take a breath. as I go. I experiment with my equipment
and TV production house) Kennedy Miller “We’re here in the African desert and and then craft the film. It’s a process of
Mitchell in the 80s on all their TV series was making this happen.” When we started experimentation as there are many ways to
like a family. Fury Road I didn’t have any kids and [by the emphasise the drama. It’s a form of writing
MOST CHALLENGING REQUEST ON AN INTERNATIONAL FILM time it ended] my 12-year-old son was one in a language that’s at the heart of emotion.
SHOOT: In Australia, one of my biggest was of the War Boys. The best is what flows unexpectedly and is
Stealth. We had to do a huge explosion and FAVOURITE ACTIVITY IN AUSTRALIA: It’s so rare more of a pure expression. But the paradox
that I’m home. Boogie boarding at is that it requires science and maths to
Murramarang on the NSW South Coast. crack the code.
There’s one thing I do at the end of every TELL US ABOUT SOME OF THE MORE MEMORABLE PROJECTS
job and that’s have a round of golf with a YOU’VE BEEN INVOLVED IN: There have been
mate at Northbridge or Chatswood. It’s a many fun projects. The early ones such as
signal to me that I’ve stopped working. And Strictly Ballroom, that was my first feature hypnotic description of the first scene and IF I WASN’T WORKING IN FILM AND TELEVISION I WOULD
I’ve had just three rounds in the last few and (director) Baz Luhrmann’s first feature his description was so evocative that I could BE... I think I’d have studied psychology or
years. so it was a one off and a huge learning hear the music immediately. I told him that the law.
FAVOURITE PART OF AUSTRALIA: South Coast, NSW. curve together. Shine, Elizabeth and more if I had a piano I could play it for him then I’D LOVE TO WORK WITH… I have a long list of people
WHEN I’M NOT WORKING… I’d like to be able to clear recently, The Dressmaker were ones that and there. We were in a crowded Soho cafe I’d love to work with but I’m too shy to admit
up under my house. were fun; and while it’s a hard process, the in London and he pointed to a piano in the to who and I wouldn’t know where to start.
I’D LOVE TO WORK WITH… Quentin Tarantino, Wes music almost writes itself and then the corner. And I played the idea of the score I’m open to whatever comes my way.
Anderson, the Coen brothers. They are fun of scoring begins. And “disaster” films, for him. I KNEW I WANTED TO WORK IN FILM AND TELEVISION WHEN…
all such assured filmmakers who film with like Sanctum, proved to be a lot of fun; [I FAVOURITE ACTIVITY IN AUSTRALIA: Drinking coffee I was six years old and watched classic
a distinct visual flair. Tarantino would be enjoyed] being a layer in the storytelling and eating. In (my hometown) Melbourne, movies like Ben Hur on TV on Saturday
amazing to talk with between set ups. His process. there are so many great places, lots of local afternoons. I remember watching and
knowledge is par none. MOST CHALLENGING REQUEST ON AN INTERNATIONAL FILM hangs. And I enjoy going to the movies and listening to Exodus and I picked up the
I KNEW I WANTED TO WORK IN FILM AND TELEVISION SHOOT: They are all challenging. Part of the watching live music. theme and played it on the piano; I
WHEN… I grew up in the 70s and was totally joy is the constraints of not having much FAVOURITE PART OF AUSTRALIA: I love Tasmania, remember thinking that I would love to
transfixed by the Irwin Allen disaster time. A part of me perversely enjoys that. the Barrossa Valley in South Australia, and create that when I grew up. I trained as a
movies like The Poseidon Adventure. I was HOW DID YOU MEET THE CHALLENGE? Film is an Gippsland and Daylesford in Victoria. If I classical, jazz and pop musician and played
totally hypnotised by the special effects industry that challenges everyone along could live anywhere I’d live between Bondi professionally, but I persevered and found
and read (behind-the-scenes trickery the line. You just embrace the pain and go and Bronte in Sydney. my feet as a film composer and I’m grateful
magazine) Movie Magic and thought that’s with it. WHEN I’M NOT WORKING I... keep fit with workouts that the opportunities are there.
where I’d like to be. CRAZIEST MOMENT ON SET: Not on set as such, at the gym, spending time with my family WHAT IS YOUR WORK MOTTO OR PHILOSOPHY? We can
WHAT IS YOUR WORK MOTTO OR PHILOSOPHY? To be but when I met Shekhar Kapur, the director and going for a drive. I’m a man of simple do it all in the right way, and with patience.
the best you can and treat everyone with of Elizabeth and he described the film to pleasures.
respect and dignity. me, which he hadn’t yet shot, he gave a
20 AUSFILM | The Talent Issue AUSFILM | The Talent Issue 21You can also read
