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RELEASE DATE
26th September, 2013
RUN TIME
180 mins
FOR FURTHER INFORMATION CONTACT
Michael Matrenza
Madman Entertainment
michaelm@madman.com.au
(03) 9261 9143
Olivia Gourlay
Nixco PR
olivia@nixco.com.au
(02) 8399 0626
/TheTurningMovie @TheTurningMovie
6 Synopsis
7 Introduction by Robert Connolly
8 Introduction by Tim Winton
9 The Turning overview
10 Ash Wednesday
11 Big World
12 Abbreviation
13 Aquifer
14 Damaged Goods
15 Small Mercies
16 On Her Knees
17 Cockleshell
18 The Turning
19 Sand
20 Family
21 Long, Clear View
22 Reunion
23 Commission
24 Fog
.'&!-&!)
25 Boner McPharlins Moll
26 Immunity
27 Defender
28 Recurring Characters
30 A Timeline Of The Lang Family
31 Cinematography
32 Robert Connolly Biography
33 Tim Winton Biography
34 Key Cast Biographies
43 Producer Statements
49 Credits
)3&'9)")
Tim Wintons THE TURNING is a unique cinema event. Seventeen talented Australian directors from diverse
artistic disciplines each create a chapter of the hauntingly beautiful novel by multi award-winning author
Tim Winton. The linking and overlapping stories explore the extraordinary turning points in ordinary
peoples lives in a stunning portrait of a small coastal community. As characters face second thoughts and
regret, relationships irretrievably alter, resolves are made or broken, and lives change direction forever.
This watershed lm reinterprets and re-imagines the work for the screen.
Tim Wintons The Turning is a unique book amongst
Tims wonderfully diverse body of work, a collection
of individual stories that combine in a rich and complex
portrait of a familiar and confronting world. It is an
innovative adrenalin rush of a read, a cryptic jigsaw
puzzle of a book that continues to reveal its heart-
breaking secrets with each read.
Embarking upon this cinematic adventure posed a unique
challenge as we explored ways to adapt The Turning for
the screen. We began by extending a personal invitation
to various people whose work we admired, to interpret
one chapter each with an open brief to respond in their
own style and form. Choosing to focus on these original
interpretations and responses to each chapter, we extended
the invitation not only to established lmmakers, but to
choreographers, photographers, actors, animators and
visual artists. We sent out copies of the book without
any broader creative brief, asking only if any of the
stories particularly spoke to the lmmaker, affecting
them in a way that compelled them to tell that story.
Like all great works of literature, The Turning offers up so
many permutations, interpretations and points of entry for
the reader. The responses to our invitation reected this,
each person nding something very different in The Turning,
with surprisingly no battles over individual chapters, each
lmmaker choosing their own story in the compendium
in an effortless selection.
We also chose not to enforce any style choices across
the chapters, avoided linking characters with common
cast, allowed different location choices that spoke
more specically of each response. The lmmakers
were subsequently liberated from any of the usual
expectations of both the short and feature lm form
and the creative limitations imposed by traditional
production methodologies.
Our plans for the theatrical release of The Turning
extend on this creative approach, presenting in the
cinema a similar experience to entering an art gallery,
allowing a personal response to the many unique
threads and connections without losing the value
of experiencing each individual work and the artist
behind it. The Turning presents a unique invitation to
an audience, to come into the cinema to experience
and investigate each of the works, to discuss them,
debate them and create their own meanings.
Our key image for the lm is an image from Tims
book, a group of friends around a bonre on a beach.
In many ways this is the campre we have gathered our
storytellers around, now inviting you, our audience, to
join us there to hear 17 uniquely Australian stories, told
by some of this countrys most talented storytellers.
As a collaboration between lmmakers, producers, writers,
cinematographers, designers and more, The Turning has
brought together a huge number of inspiring creative minds
to interpret Tims exceptional work. It has been an incredibly
exciting adventure for us all, and we look forward to your
thoughts, impressions and experiences of this unique work.
Robert Connolly
From Robert Connolly
Ten years ago I found myself falling into a nest of stories
about the smalltown milieu of my adolescence. I didnt plan
that project; it took shape by accident, by months and years
of trial and error during which it seemed that each new
story was snagged into another, reaching ahead, aside,
behind into other pieces as they arrived. It was like trying
to drag a bike from a dark and crowded shed. I set out with
the notion I was extracting the one set of wheels and
handlebars, but I was soon contending with a snarl of greasy
machines rattling way back into the shadows, each snagged
into the next. Somehow it was all or none. So I had to let go
any notion that this would be a book of discrete stories, and
that letting go took some time. I cant really account for
how all this happened, but it was a happy if bewildering
experience. The book found a wide readership here and
abroad and continues to prosper in ways I dont pretend
to understand.
So when Robert Connolly asked about making a lm as
a response to this book, pitching it as 17 lms, each with
its own director, writer and cast, it seemed churlish to stand
in his way. Because the idea was so daft it might actually
work. Anyone mad enough to try it deserved a crack. And
the result? Who can say? Not me. And why should my
impressions matter? Im still trying to make sense of the
damned book. I havent had nearly enough time to absorb
the hive of ideas and work that this project represents.
All I can say is that seeing it take shape has been an
experience almost as happy and bewildering as the
original labour. Robs lm is testament to the nerve and
brio of our lm culture, a showcase of talent, from those
we know and revere and newcomers set to make their mark.
When I rst saw this lm I was shaken, a little unnerved,
in fact. Each episode sent me back to the generating mood
of the stories which was a kind of bruised middle aged
puzzling, and collectively they had the uncanny effect of
returning me to the environment of my teens with all its
freedoms and anxieties, its open roads and sudden
conagrations. I guess I hadnt expected to be so roughed
up from so many different angles. Taken as a whole,
The Turning is a strange and wonderful creation. Its
daring, even reckless, in the passionate, headlong manner
of youth. And yet theres ruefulness in it, too, a tenderness
and melancholy that comes only from hard experience.
Its a privilege to have such gifted people collaborate in
the service of such a distinctive and eccentric project. Here
they are, having dragged my snarl of troublesome bikes
out into the open again in their own time, in their own
way, without fear or favour, defying all convention in a
time when lmmakers might be forgiven for simply
conforming. Hats off, comrades.
Tim Winton
From Tim Winton
The Turning
The Turning is Australias best-selling book of short stories.
All 17 stories interweave in their respective narratives,
creating an intriguing and twisting central plot-line that
often centres around the enigmatic character of Vic Lang,
a man consumed and obsessed by his past.
The Turning explores the impact of past on present, how
the seemingly random incidents that change and shape
us can never be escaped or let go of. All of the stories
are bound together by recurring themes; the passing
of time, regret, addiction and obsession.
the past is in us, and not behind us.
Things are never over. Aquifer
Guided by the words of the T.S. Eliot poem
that appears in The Turning, I wanted
to create the sense of someone not only
reecting back over a moment in their life,
but ultimately transcending a memory.
Marieka Walsh
Written, Directed and Animated by Marieka Walsh
Produced by Donna Chang
Narrated by Colin Friels
Based on the poem Ash Wednesday by T.S. Eliot
An animated interpretation of T.S. Eliots poem,
Ash Wednesday, that prefaces Tim Wintons story
collection, depicting the beach bonre party at
Massacre Point, the spearing of sharks and burning
kites, referenced in several chapters of The Turning.
About the Director
Marieka Walsh is an Australian director/ animator
whose AACTA/AFI award winning short lm
The Hunter has marked her out as a rising talent.
With a background in visual arts, Walshs work
demonstrates a unique visual style and meticulous
attention to detail that complements her emotionally
arresting storytelling. Although skilled in sand
animation, Walsh has also produced work that
spans across a broad spectrum of animation styles.
*)5 %-1&-)1*3
Written and Directed by Warwick Thornton
Produced by Kath Shelper
After unking their exams and nishing high school,
disillusioned best friends Lenny and Biggie ee up the
coast in an old Kombi to escape the drudgery of the
local meatworks. Their bonds of mateship are tested
when a female hitchhiker and free spliff are brought
into the equation.
About the Director
Warwick graduated from the Australian Film, Television
and Radio School in 1997 with a BA in Cinematography
and has an extensive body of work as a cinematographer
including feature lms Here I Am and The Sapphires.
Warwicks feature lm, Samson & Delilah, which he wrote,
directed and shot, won the Camera dOr for Best First
Feature Film at the 2009 Cannes Film Festival. Recently
Warwick has moved into the art world with Stranded, a
3D video installation with accompanying stills and recently
premiered a new work, Mother Courage, at dOCUMENTA
(13), the prestigious world art show in Kassel, Germany.
My turning point was when I realised I was
a train wreck, and I had to surround myself
with other train wrecks to be normal.
Warwick Thornton
2"8 %'041
Written and Directed by Jub Clerc
Produced by Liz Kearney
Vic Langs sexual awakening begins when a girl
with a missing ring nger gives him his rst kiss.
About the Director
Jub is a Nyul Nyul/Yawuru woman from the Beagle Bay
and Broome regions of the Kimberley in WA. Graduating
from Western Australian Academy of Performing Arts,
Jub spent many years as a theatre performer and is
currently writing her rst play, Dust. For lm and television
she has worked as casting director, extras casting coordinator,
dramaturge and associate producer on award-winning
productions including The Circuit 1 & 2, Bran Nue Dae,
Mad Bastards, Satellite Boy and Jandamarras War.
Most recently, Jub has been performing as a soprano
in the worlds rst Aboriginal Opera, Pecan Summer.
Abbreviation is a coming of age story about
how our most vivid memories are those that
are most painful. Love and broken hearts.
First kisses. Its about the cut-off of things.
Of time, of togetherness, of memory, of
feelings. Everything is abbreviated.
Jub Clerc
*220-/"*!"'&
Directed by Robert Connolly
Written by Justin Monjo
Produced by Maggie Miles and Tenille Kennedy
A High School music teacher hears a story on the
news that causes him to slip out of the house without
a word and drive all night to his hometown, to face
a secret from his past.
About the Director
Robert Connolly is a multi-AFI award winning writer
and director. He has written and directed three feature
lms The Bank, Three Dollars, Balibo and most recently,
the Channel 10 telemovie, Underground - The Julian
Assange Story. Together with John Maynard, he
produced the award-winning lms, The Boys and
Romulus, My Father. In 2011, Robert was one of
the featured directors on ABC mini series The Slap.
Robert received a Centenary Medal for services to
the Australian Film Industry in 2001 and is a former
board member of Screen Australia.
As a child I passed a remote lagoon and swampland
every day on my way to school, eventually gaining
the courage to explore within it, attempting to
unlock its many secrets and mysteries. Reading
Aquifer brought me back there immediately,
to half forgotten memories buried in my past
that have shaped the person I am today. Tims
exploration of the way the past sits hand in
glove with the present drew me immediately
to Aquifer.
Robert Connolly
*,+"<-0
Directed by Anthony Lucas
Written by Kris Mrksa
Produced by Anthony Lucas and Maggie Miles
Gail Lang tries to understand her husbands lingering
adolescent obsession with Strawberry Alison, a girl with
a large red birthmark on her face. Going through a box
of Vics memorabilia, Gail begins to wonder whether she
too was just some damaged goods that her husband
wanted to rescue.
About the Director
Anthony Lucas short lms have been in competition
at Cannes, BAFTA

, the Oscars

, and Annecy. With his

production company, 3D Films, he has animated and
directed numerous TV commercials and childrens television
shows. Anthonys The Mysterious Geographic Explorations
of Jasper Morello was nominated for an Oscar

and a
BAFTA

in 2005. Anthony recently created an installation,

housed in the special Cabinet of Anthony Lucas on
permanent exhibition at the Australian Centre for
the Moving Image, Melbourne.
This lm is a point of view story. Its a point
of view within a point of view within a point
of view. Its exploring the people in the story
to see whether they are damaged goods and
contemplating their perception of that title.
Anthony Lucas
1*#*8-1 8''1)
Written and Directed by Rhys Graham
Produced by Philippa Campey
After the death of his wife, Peter Dyson moves back
to his hometown of Angelus with his son, Ricky.
Trying to settle into his new life proves difcult when
his ex-girlfriend, a recovering addict, reaches out to
him, stirring up memories of their toxic relationship.
About the Director
Rhys Graham is a Melbourne-based lmmaker and writer
whose work traverses drama and documentary. His recent
credits include co-directing the feature length documentaries
Murundak - Songs of Freedom and Words from the City.
He is also the director of a number of short dramas and
documentaries that have achieved international success.
Rhys has just completed his debut dramatic feature Galore.
Rhys has worked across a number of moving image forms
and has had lm installations exhibited both nationally and
internationally. He also co-authored the book Short Site:
Recent Australian Short Film.
Small Mercies is a story about two quite damaged
individuals who meet each other again. Its about
the possibility of nding solace in another person
and the lightness in the possibility of a moment
of connection. Its about how people move on,
how they survive, and the kind of things people
cling to.
Rhys Graham
)#*44 #-0."-)
Written and Directed by Ashlee Page
Produced by Sonya Humphrey
Vic helps his mother Carol at work cleaning homes and
is shocked to discover she has been red and accused of
stealing, something Vic knows to be untrue. Vic struggles to
understand his mothers refusal to ght back and, even more
so, her insistence on nishing the work and refusing payment.
About the Director
Ashlee Page is an award winning writer and director.
Her short lm The Kiss has received several prestigious
awards including two AFI Awards, the Sydney Film Festival
Dendy Award for Best Short and the 2010 Melbourne
International Film Festival Award for Emerging Australian
Filmmaker. The Kiss has also screened widely internationally,
including at Pusan, Clermont-Ferrand, Palm Springs and
Tribeca. Ashlees previous credits include writer and director
of the award-winning comedy Layover, a self-funded short
lm that sold to cable TV in the US and screened widely
both nationally and internationally.
This story is about Vics rage at injustice.
Not just to do with the accusation of the
stolen earrings, but everything that has
happened in his past. Observing Carol ght
to maintain her dignity he comes to the
realisation that to gain respect in the world,
you dont need money, it comes from an
internal place that we can all access.
This is Vics turning.
Ashlee Page
'& 5-0 6&--)
Directed by Tony Ayres
Written by Marcel Dorney
Produced by Julie Eckersley
Brakey is in love with his neighbour, Agnes. He
watches her, following her on her nightly spear
shing trips, trying to understand her withdrawn
behaviour and troubled home life. He gets his rst
real insight into how deep Agnes pain runs on the
night of a terrifying incident.
About the Director
Tony Ayres is a principal and founding partner of Matchbox
Pictures and an accomplished writer, director and producer
for both lm and television. His feature lm, The Home
Song Stories, premiered at Berlin and won 23 Australian
and international awards including 8 AFI Awards. His
rst feature, Walking on Water, won the Teddy Award
at Berlin in 2002 and 5 AFI Awards. Tony was the showrunner
and one of the directors of the television series, The Slap.
Thematically, the lm touches upon the
idea of reinvention and uses the visual
motifs of re and water. Its a very tender
story about memory and rst love.
Tony Ayres
.'.64-)5-44
Written and Directed by Claire McCarthy
Produced by Maggie Miles and Sue Italiano
Rae lives in a trailer park with her husband Max and two
young daughters. When Sherry and Dan temporarily move
into the park, Sherry and Rae develop a friendship. When
Rae learns that they are born-again Christians, she begins
to wonder whether Jesus might be the answer to her
problems too.
About the Director
Writer, director, producer and visual artist Claire McCarthy
has been making internationally acclaimed short lms
and documentaries for over a decade. Her feature lm,
The Waiting City, premiered at the Toronto International
Film Festival and was nominated for three Film Critics Circle
Awards, an ADG award, won two IF Awards and has sold
to almost 40 territories around the world. Claires rst feature,
Cross Life, premiered at the Sydney Film Festival, screened at
Pusan in Korea and was nominated for an Independent Spirit
Award at the 2007 IF Awards. Her documentary, Sisters, was
broadcast on ABC Television and distributed internationally.
Tim Winton has a way of being able to
communicate what its like to be human.
These characters are not people that are
outside of our understanding. They are
people that we know. Yet he offers something
else on the edges of all that, something
transcendent. His stories take us beyond
the literal and into the heart of all the big
questions, without ever making us feel we
are not invited for the ride.
Claire McCarthy
!5- !+0&"&8
Directed by Stephen Page
Written by Justin Monjo
Produced by John Harvey
On a shing trip at the beach, brothers Frank
and Max are playing in the sand dunes. Sibling
rivalry turns nasty when Max plays a dangerous
trick on his brother.
About the Director
Stephen is a descendant of the Nunukul people and
the Munaldjali clan of the Yugambeh tribe from
southeast Queensland. Stephen began his dancing
career with Sydney Dance Company and in 1991 was
appointed Artistic Director of Bangarra Dance Theatre.
For The Australian Ballet, Stephen has choreographed
Rites to Stravinskys score and directed Indigenous sections
for the Sydney Olympics opening and closing ceremonies.
Stephens lm credits include choreography for the
feature lms Bran Nue Dae and The Sapphires.
Sand marks his cinematic directorial debut.
It was the essence in his descriptions
of the land, the spirit and the people
that attracted me to this story.
Stephen Page
)*&1
Directed by Shaun Gladwell
Written by Emily Ballou
Produced by Katherine Slattery
Footy legend Frank ees the media controversy over his
mid-game quitting of the sport. Returning to his hometown
of White Point, he nds his brother Max out in the surf.
Out on the waves together, the brothers nally address
the weight they have been carrying around their whole
lives, the weight that ended Franks footy career.
About the Director
Shaun Gladwell is an Australian-born, London-based artist
who works in a number of mediums, including painting and
photography, but he is best known for his video installations
concerning improvised and choreographed performances
of the body in motion, set against the backdrop of particular
sites ranging from architectural environments to the landscape.
He has exhibited widely in Europe, North and South America,
and in the Asia Pacic Region. Gladwells work is held in
numerous public and private collections internationally.
Family marks his directorial debut.
I love that this lm sees its two characters
hovering on the edge of land. This is where
they gain a new perspective, a new viewpoint.
Shaun Gladwell
<*#"43
Written and Directed by Mia Wasikowska
Produced by Kath Shelper
A portrait of Vic Langs younger years.
His peculiar habits, social anxieties and
xation on his fathers rie.
About the Director
In a short amount of time, Mia Wasikowska has
established herself as a rising star of the big screen.
Residing in Canberra, Mia is making her directorial
debut with Long, Clear View.
As an actress, Mia Wasikowska worked in Australian
television and lm before making her debut to US
audiences as a suicidal teen in the HBO series, In
Treatment. She has since starred in feature lms
Deance, Amelia, Alice in Wonderland, The Kids
Are All Right, Jane Eyre, Restless, Albert Nobbs and
Lawless. She has worked with some of the worlds
most inuential directors, and garnered critical
praise for her work.
I was interested in the perspective
of a young person and the way
their imagination can heighten
things and change the reality
of instances in our lives.
Mia Wasikowska
4'&8> .4-*0 /"-%
Directed by Simon Stone
Written by Andrew Upton
Produced by Jo Dyer
Carol Lang joins Vic and Gail for Christmas Day.
They are invited to their relatives for lunch and
end up at the wrong house in the wrong swimming
pool. The experience brings Gail and Carol together
after many years of strained relations.
About the Director
Simon Stone has established himself as one of the most
acclaimed theatre directors in the country. He has achieved
critical and commercial success and was selected as one of
Australias 10 emerging leaders in culture by The Weekend
Australian. Simon was the founder of The Hayloft Project and
his work for that company has been nominated for over 20
Green Room Awards. Simon was then appointed resident
director at Belvoir where he directed shows including Wild
Duck, Death of a Salesman and Neighbourhood Watch. He
has also directed Baal and Face to Face for Sydney Theatre
Company. Reunion marks his directorial debut in lm.
Its a story about personal responsibility
and taking responsibility for your social
interactions. Ultimately, you may be given
a hand by fate (i.e. the moment when you
accidentally fall into a pool). Its the moment
after that when you choose to be vulnerable
with another human being that changes
your relationship with them.
Simon Stone
0-+&"'&
Written and Directed by David Wenham
Produced by Maggie Miles
Co-Produced by Tenille Kennedy
Vic Lang journeys to nd his estranged father to tell
him that Carol, Vics mother, is dying. When he locates
his father in an old isolated shack in the outback, he is
struck by the love he still feels for him, and is nally able
to ask his father about his youth, when his father was
a policeman in Angelus, and about why he suddenly
disappeared from their lives.
About the Director
David Wenham is one of Australias most respected actors.
David has appeared in two of Peter Jacksons Lord of the
Rings instalments, Oranges and Sunshine, Baz Luhrmanns
Australia with Nicole Kidman and Hugh Jackman, Public
Enemies, alongside Johnny Depp, 300, Moulin Rouge, Cosi,
Gettin Square, The Proposition, The Bank and The Boys.
Davids recent television credits include Killing Time,
Dripping in Chocolate and Jane Campions Top of
the Lake. Commission marks Davids directorial debut.
Winton has the ability to strip anything
extraneous from his characters and stories.
His unique skill allows him in each instance
to simply and directly locate the kernel
of truth.
David Wenham
.'##"))"'&
Written and Directed by Jonathan auf der Heide
Produced by Maggie Miles
Co-Produced by Tenille Kennedy
Bob Lang has been drinking to deal with the stress of his new
job in the Angelus police force and the expectation on him to
turn a blind eye to the corruption within it. When he is called
out late to a job to locate a hiker who has gone missing in the
mountains, Bob nds himself trapped in the fog with a young
female cadet reporter and a desperate need to reveal the
intimidation and foul-play rife within the police force.
About the Director
Jonathan auf der Heide is a Victorian College of the Arts
graduate who wrote, directed and edited the short lm
Hells Gates which won Best Student Film and Best Emerging
Filmmaker at MIFF 2008. With co-writer Oscar Redding,
Jonathan adapted Hells Gates into Van Diemens Land,
his debut feature which has screened at numerous festivals
in Australia and internationally. Alongside Alethea Jones
and regular collaborator Oscar Redding, Jonathan directed
several episodes of the award winning web series, Cop Hard.
Like a cornered dog, Bob Lang is trapped
and doesnt know where to turn. The
landscape itself and the blinding fog
pushes him into a space where he
needs to confront his demons and
make a difcult moral decision. He
is lost in the wilderness, just as he
is lost in his own life.
Jonathan auf der Heide
<'8
Written and Directed by Justin Kurzel
Produced by Sarah Shaw and Anna McLeish
Boner McPharlins reputation has reached mythical
status in town. The subject of rumours and gossip,
he is the man everybody has heard the stories of,
but no one really knows.
About the Director
Justins background as one of Australias best theatrical
designers informs his strong visual storytelling as a
director. Justin graduated from the Victorian College of
the Arts directing course where he was awarded the Most
Outstanding Postgraduate Student. His work spans feature
lm, short lm, music clips and commercials, all of which
have achieved international success. Jusvtins rst feature
lm Snowtown premiered at the Adelaide Film Festival
in 2011, winning the Audience Award. It has been released
in the US, UK and most European countries, screening
in over 15 international festivals including Toronto and
International Critics Week in Cannes in 2012, being
awarded Special Distinction of the President.
We were really interested in how to bring to
life the idea of a myth, of Chinese whispers,
legends in small towns and how those stories
evolve into bigger things than they are. In
Tim Wintons work, there is something so
familiar in the characters, but also a kind
of truth and poetry to it that elevate it from
the domestic.
Justin Kurzel
2'&-0 #;95*04"&() #'44
Directed by Yaron Lifschitz
Written by Circa Contemporary Circus
Produced by Ben Knapton and Alex Barnes
A young girl with a crush on Vic Lang plucks
up the courage to sit next to him on the train.
About the Director
Director Yaron Lifschitz is a graduate of the University
of New South Wales, University of Queensland and
National Institute of Dramatic Arts. Since graduating,
Yaron has directed more than 60 productions including
large-scale events, opera, theatre and circus. His work
has been seen in 25 countries, across ve continents,
by over 500,000 people. He is currently Artistic Director
and CEO of Circa, where his work has been reviewed
as stunning, exquisite and the standard to which
all other circuses can aspire. His passion is creating
works of philosophical and poetic depth from the
traditional language of circus. Immunity marks his
directing debut in lm.
Weve taken what we do with circus,
which is to take bodies and stress and
stretch them so they become emotionally
resonant and powerful. For me this piece is
a study about regret and nostalgia, those
moments when you are connected across
time to other parts of your life. It asks,
Who am I, and how do I construct
the meaning of my life over time?
Yaron Lifschitz
"##+&"!3
Written and Directed by Ian Meadows
Produced by Rita Walsh
Co-Produced by Rose Grandile-Pizzi
Gail and Vic travel to see their friends in the country. In the car,
Gail admits to having had an affair and struggles with Vics lack
of reaction. When Fenn offers Vic a shotgun to shoot at clay
pigeons, something Vic has not done since he was a young
man, he is strangely freed from the ghosts of his past.
About the Director
Ian Meadows studied acting at the Western Australian
Academy of Performing Arts. His television writing credits
include Spirited, Offspring and Slide. Ian co-wrote and
acted in the short lm, Water, and co-wrote, directed
and produced the short lm A Parachute Falling in Siberia,
which screened in both national and international festivals,
won the AWGIE Award for best short lm script, and was
nominated for an AFI Award for best short screenplay. Ian
also wrote and performed in Between Two Waves at the
Grifn Theatre and starred in the JungleBoys/ABC1 TV
comedy A Moody Christmas.
Defender ties together all these things
from the book, all these images. Nostalgia,
race, identity, the future, the past, fatherhood.
All of Vics life comes together in this story.
The childhood that haunts him comes together
and impacts on his relationship with Gail in
very visceral ways.
Ian Meadows
1-<-&1-0
VIC LANG (Abbreviation, Damaged Goods, On Her Knees, Long, Clear View, Reunion, Commission, Immunity and Defender)
Played by: Joseph Pedley, Dougie Baldwin, Harrison Gilbertson, Matthew Shanley, Richard Roxburgh, Josh McConville,
Casey Douglas and Dan Wyllie
0-.+00"&8 .5*0*.!-0)
Vic Lang is the enigmatic central character in Tim Wintons
The Turning. At the age of 12, Vic moved with his parents to
the coastal town of Angelus. His childhood was consumed by
passionate obsessions, a pattern that continued into adulthood.
He grew xated on ideas of right and wrong, physical things
such as ries, and people, such as the girl with the missing
ring nger or the girl with a large red birthmark on her face.
As an adult, Vic became obsessed with revisiting moments
from his past. Much of Vics obsession with the past came
from his complicated history with his father, who abandoned
Vic and his mother without a word of explanation. After
high school, Vic moved back to the city with his mother and
studied industrial law, during which time he met Gail, whom
he married. His inability to let go of the past, saw his marriage
suffer, and, when his mother grew ill, sent him in search
of his father.
Gail married Vic when they met in Perth as young adults,
but slowly grew apart from her husband as she battled
to understand his distant behaviour. His constant refusal
to conde in her saw Gail take to investigating his past
herself, slowly piecing together the secrets that consumed
her husband. Adding to the marital problems, was the
strained relationship she had with Vics mother, Carol,
and her growing suspicion that her husband viewed
her as damaged goods that needed rescuing.
GAIL LANG (Damaged Goods, Reunion and Defender)
Played by: Libby Tanner, Cate Blanchett and Kate Mulvany
MAX (The Turning, Sand and Family)
Played by: Matt Nable, Jarli-Russell Blanco and Wayne Blair
Max grew up in White Point, near Angelus, after his mother
left him and his little brother, Frank, with their father. Like
many in White Point, Max drank a lot. He had a complicated
relationship with his successful footballer brother, and had
lost touch with him until Frank quit football and returned
to White Point. Max worked on shing boats and was
often violent and abusive towards his wife Rae.
CAROL LANG (On Her Knees, Long, Clear View and Reunion)
Played by: Susie Porter, Di Adams and Robyn Nevin
The long-suffering wife of Bob, and mother of Vic, Carol
was a proud woman who, despite the trials of her life, held
her head high. She was the victim of threats and intimidation
after moving to Angelus where her husband joined a corrupt
police force, and had to deal with his growing alcohol
problem. After her husband abandoned her, she moved back
to the city and took up a job as a cleaner whilst Vic studied
law. She worked hard and was committed to raising her son.
When Vic married, Carol had a difcult relationship with his
wife Gail, but remained a strong presence in their lives.
BOB LANG (Commission and Fog)
Played by: Hugo Weaving and Dean Daley-Jones
Husband to Carol and father to Vic, Bob moved from
Perth to Angelus with his family to take up a position
as a Senior Sergeant. However, he realised that corruption
was rife within the local police force and, distressed by
what hed seen, became disillusioned and turned to alcohol
for comfort. Bob kept silent about the things he saw in
exchange for his familys safety but was deeply conicted.
When the pressure became too much, Bob abandoned his
family without warning and took up residence
in Kalgoorlie where, ten years later, he sobered
up and moved into a remote bush shack. Bob led
a solitary life, making no contact with his family,
until his son Vic came looking for him to deliver
news of Carols illness.
FRANK (Sand and Family)
Played by: Jakory Blanco and Meyne Wyatt
Younger brother to Max, Frank was a naturally gifted
footballer who played professionally for two seasons.
He was a revelation for those two years but his career
came crashing down when he walked off the eld during
a game and quit the sport. Franks drive abandoned him
and when he retreated from the spotlight, he realised
much of his breakdown was due to unresolved issues with
his brother. Frank returned to White Point, where he was
reunited with his brother on the day of a horrifying incident.
Vic Lang takes a family holiday to White Point with his family for New Years Eve.
Whilst surng at the beach, he meets Melanie, the girl with a missing ring nger. (Abbreviation)
Vic has a troubled adolescence in Angelus and grows increasingly anxious.
During this time, Bob develops an alcohol problem. (Long, Clear View, Damaged Goods, Fog)
Whilst looking for a lost climber, Bob Lang gets lost in the bush with a cadet journalist. (Fog)
Vic Lang takes the train back from cadet camp and meets a girl. (Immunity)
Vic Lang falls for Strawberry Alison. (Damaged Goods)
Bob Lang disappears, abandoning his family. Vic and Carol struggle to cope alone. (On Her Knees, Commission)
Vic Lang graduates and a bonre party is held at Massacre Point that ends in tragedy. (Ash Wednesday, Damaged Goods)
Carol and Vic Lang are living in Perth where Vic is studying and Carol is working as a cleaner. (On Her Knees)
Carol and Gail bond over their ill-fated Christmas outing. (Reunion)
Carol grows very ill and so Vic tracks down Bob in the bush to bring him home. (Commission)
Gail and Vic are having marital problems and Gail tries to piece together the puzzle of Vics adolescence. (Damaged Goods)
Vic and Gail visit Fenn and Daisy and Gail tells Vic about her affair. (Defender)
* !"#-4"&- '< !5- 4*&8 <*#"43
Frank and Max are in White Point on holiday with their father. Max plays a nasty trick on Frank in the sand dunes. (Sand)
In a Caravan Park at White Point, Rae meets Sherry and Dan, whilst Max grows increasingly abusive. (The Turning)
Frank quits footy and travels to White Point where he is reunited with Max on the day of a horrifying incident. (Family)
* !"#-4"&- '< <0*&6 *&1 #*?
Settings and landscapes are prominent in The Turning
and link many of the stories together. Centered around
the coastal town of Angelus, the characters and their stories
are set against vast, looming and threatening landscapes.
Tim Winton often draws inspiration from landscape and
place. He is quoted in an article in the Sydney Morning
Herald, The place comes rst. If the place isnt interesting
to me then I cant feel it. I cant feel any people in it. I cant
feel what the people are on about or likely to get up to.
From these landscapes emerge the visual motifs of
water and re. The ocean, the river and swamps are
full of danger, pain and secrets, while the res that
burn at beach parties, that wreck cars, and that destroy
houses offer a new start, a rebirth, a resurrection.
The importance of the settings in The Turning, and
the many strong, recurring images, gave some of
Australias most accomplished cinematographers a
terric challenge. The Turning cinematographers are:
Warwick Thornton, Geoffrey Simpson ACS, Denson Baker ACS,
Jody Muston, Stefan Duscio, Miles Rowland,
Germain McMicking, Bonnie Elliott, Jeremy Rouse,
Andrew Lesnie ACS ASC, Andrew Commis ACS, Ellery Ryan ACS,
Robert Humphreys ACS and John Brawley.
Bonnie Elliott - Sand:
Stephens desire to tell Sand through physicality through
bodies, landscape, weather and space and not through
dialogue, was so liberating. There is nothing a cinemato-
grapher loves more than a lm told through images.
."&-#*!'80*953
Andrew Lesnie ACS ASC - Reunion:
Working on a performance-based project like Reunion
was exciting and challenging. We choreographed the
action to play out in three consecutive masters, offering
the cast the opportunity to bring each scene to life in
real time without any editing whatsoever.
Geoffrey Simpson ACS - Abbreviation:
Embrace the rain our Executive Producer instructed,
as we were lashed by monsoonal rains on day one of our
shoot. The rain did stop and when our young actors nally
kissed, the sun popped out behind them just to show us
what it could do. In the end, the soft overcast light of
our lm turned out to be a nice counter to what one
normally expects from Broome!
Andrew Commis ACS - Boner McPharlins Moll:
The Riverland area of South Australia is somewhere that
Justin and I know well. Shacks, footy ovals, empty roads,
scrubby bush, big skies and a light that always seems unique
to that part of the world. Places infused with stories and
characters, myths and legends, or ones you made up anyway.
Denson Baker ACS - Aquifer, The Turning:
For me the most appealing aspect of Tim Wintons storytelling
is the fabulous tone and atmosphere he creates, there is poetic
imagery and an emotional response that his words evoke. This is
the greatest and most exciting challenge for a cinematographer,
to do more than present visuals on a screen by creating a world
that has texture, smell and taste, an atmosphere and emotion
that an audience can feel, not just watch.
0'2-0! .'&&'443
2"'80*953
Robert Connolly is the writer and director of the
feature lms The Bank (2001), Three Dollars (2005),
Balibo (2009) and most recently the Matchbox NBCU
telemovie Underground: The Julian Assange Story.
He is the producer, together with John Maynard, of
the award-winning lms, The Boys (1998) and Romulus,
My Father (2007), starring Eric Bana.
In 2013 Robert will be releasing three feature lms
through CinemaPlus, his new distribution initiative:
The Turning, an innovative compendium of short stories
based on Tim Wintons novel, produced together with
Maggie Miles, and released in partnership with Madman
Entertainment; as well as These Final Hours and The Boy
Castaways which he Executive Produced.
In 2011, Robert was one of the featured directors
on ABC miniseries The Slap.
Robert has won three AFI awards for screenwriting
for The Bank, Three Dollars and Balibo, and in 2007
Romulus, My Father won four AFI Awards including
Best Film. As a director, he has screened his lms in
over thirty major international lm festivals including
the Toronto International Film Festival and San Sebastian
Film Festival.
Robert received a Centenary Medal for services
to the Australian Film Industry in 2001 and is a
former board member of Screen Australia.
!"# %"&!'&
2"'80*953
Tim Winton is the pre-eminent Australian novelist of
his generation. He has published twenty-ve books for
adults and children and his books have been translated
into twenty-eight languages.
Tims literary reputation was established early when his
rst novel, An Open Swimmer, won the 1981 Australian
Vogel Award; his second novel Shallows won the Miles
Franklin Award in 1984; and his third book, Scission,
a collection of short stories, won the West Australian
Council Literary Award in 1985.
Tims fth novel, Cloudstreet, is both a literary and
commercial success. A bestseller since its publication
in 1991 Cloudstreet is regularly voted the most popular
Australian novel. Literary awards include National Book
Council Banjo Award for Fiction, 1991; West Australian
Fiction Award 1991; Deo Gloria Award (UK), 1991; and
the 1992 Miles Franklin Award.
The Riders, published in 1995, was shortlisted
for the Booker Prize.
In 2001 Tims novel, Dirt Music, was published to
considerable critical acclaim. The book was shortlisted
for the 2002 Man Booker Prize and won the 2002 Miles
Franklin Award, the West Australian Fiction Award and
the Christina Stead Award for Fiction.
The Turning was published in 2004. It was shortlisted for
the prestigious international Frank OConnor Short Story
Award and in Australia won the Christina Stead Prize for
Fiction, the Queensland Fiction Book Award and the
Colin Roderick Award.
His 2009 novel Breath won the Miles Franklin Award,
making Tim the only Australian writer to have won
this award four times.
Tims plays include Rising Water (Black Swan State Theatre
Company and MTC) 2011, Signs Of Life (BBSTC and STC 2012)
and Shrine, which will open at Black Swan State Theatre in
August 2013.
A new novel, Eyrie, will be published by Hamish Hamilton
(Australia) in October 2013.
Tim Winton is patron of the Tim Winton Award for Young
Writers. Active in the environmental movement in Australia,
he is the Patron of the Australian Marine Conservation
Society and the Stop the Toad Foundation. He lives in
Western Australia.
Praise for Tim Winton
Winton, one of Australias most acclaimed novelists,
excels at conveying the shadowy side of his countrys
beauty, the way even the most ordinary landscape can exert
a paralyzing hold. Jennifer Schuessler, The New York Times
Unremarkable folk, leading less-than-pretty lives,
let a master storyteller work his magic.
Andrew Riemer, The Sydney Morning Herald
Characters and stories and emotions juxtaposing across
novels and short ction. His literary world is a small cast
of ordinary men and women and their struggle for survival.
It is the decisions made and their consequences. It is trust
and betrayal. Love and hate. The earth and the sea.
Matthew Condon, The Courier Mail
!"#$%&'
Callan Mulvey Callan began his television career in the late 90s on the
popular television series Heartbreak High. This was followed by the lead
role in the Australian feature lm, Thunderstruck. Following this, Callan
was cast in several leading Australian dramas including Sea Patrol,
Home and Away and McLeods Daughters. In 2007, Callan won the lead
roles in the rst Underbelly series that took Australia by storm, playing
the infamous Mark Moran. Following this Callan was cast in the role of
Josh in Channel Tens Rush. Callan starred in the series for three years.
During this time, Callan was nominated for three Silver Logie Awards for
Most Popular Actor along with an AFI nomination for Best Leading Actor
in a Drama Series for Underbelly. In 2012 Callan was cast as the character
of Snoddy, one of the leads in Channel Tens series Brothers in Arms.
2012 also saw Callan cast in the AFI nominated lm The Hunter, Kathryn
Bigelows Academy Award winning, Zero Dark Thirty, and the yet to be
released 300: Battle of Artemisia. Callan is currently shooting the role of
Rumlow in Captain America Two.
(!)!*&( *,,(-
Libby Tanner Libby Tanner is one of Australias most popular television
actors as evidenced by her long list of credits. From her rst ongoing
television role as the controversial Zoe in Pacic Drive to the much loved
Bronwyn Bron Craig in All Saints, Libby has received a string of Logie
nominations and awards including Most Outstanding Actress Logie
(nomination) in 2001, a Silver Logie Award for Most Outstanding Actress
in 2002 and Most Popular Actress Award in 2003. Libby has also appeared
as Michelle Letourneau in the Channel Nine series Rescue Special Ops, in
Fireies opposite John Waters and played the role of Grace Palmer in
Headland. Her numerous guest roles for television include The Man
From Snowy River, Blue Heelers, Stingers, Black Jack At The Gates,
Scorched and Rush. Libbys lm work includes lead roles in director
Polly Stanifords Little Wings, Annabel Murphys Scorcher and Lawrence
Johnstons Life. She appeared as Susie Mitchell in Fourare Films
production Hymn and most recently as Gail in Arenamedias Damaged
Goods, directed by Anthony Lucas, part of THE TURNING. A graduate of
Ballarat University (BA Performing Arts), Libbys theatre credits include
The Art of Penetration for Belvoir Street Theatre and David Williamsons
Emerald City for Queensland Theatre Company.
Dougie Baldwin Dougie has recently performed the part of Vic in
Arenamedias short lm Damaged Goods, part of THE TURNING. Dougie
attended Helen O Grady Drama Academy from 9 to 14 years of age,
performing in various plays such as, The Legend of William Tell, Fancy
That, Perfect Scandal, Not a Normal Soap, The Triumph of Trevor
Truelove and The School Reunion. In Year 9 drama at school, Dougies
class had to write and perform their own play, basing it on the life of
Macchour Chaouk entitled, Slipping through the Cracks. Dougie is in
Year 10 at high school undertaking Year 11 drama, which sees students
writing and performing in their own ensemble performance based on the
white settlement, titled, History is Always Told by the Victors. He is also
in the process of writing and performing his own solo performance based
on the life of one of the worlds greatest imposters, Frank Abagnale.
Upper Middle Bogan for the ABC playing Shawn Van Winkle was
Dougies professional television debut in 2012, which he thoroughly
enjoyed.Dougie was thrilled to then go straight into The Nowhere Boys
as Felix, a challenging and rewarding experience.

Taylor Ferguson Newcomer Taylor Ferguson has recently graduated
from the 16th Street Acting Programme and already has a string of
credits to her name. She has just completed shooting the lm THE
TURNING: Damaged Goods, part of a collection of short lms based on
stories written by Tim Winton set for release this year and Camp, a
television series for the US network NBC. Previous television credits
include Miss Fishers Murder Mysteries, Double Take and Peter Helliar
and Jonathan Broughs Its A Date. Taylor will make her debut at Belvoir
St Theatre later this year playing the title role in Miss Julie. Taylor is
thrilled to be part of the cast for Deadbeat Dads.
-)!.. )&'/$&-
Oscar Redding Oscar Redding is an actor, writer and director who has
worked in the industry for over twenty years. Film and Television credits
include Top of the Lake, Van Diemens Land, Galore, Snowblind,
Puberty Blues, Beaconseld, The Secret Life of Us, Sea Change and of
course Small Mercies, for the feature lm THE TURNING. He began acting
at the Australian Theatre for Young People, since then has worked for
many fringe and mainstream theatre companies including the Belvoir,
Sydney Theatre Company, Malthouse, Theatre is Moving, Liminal, A Poor
Theatre and Hoist and most recently in the Belvoir production Forget me Not.
6-3 .*)! 2"'80*95"-)
As a writer and director, he co-wrote the feature Van Diemens Land
wrote the web series Cop Hard, directing episodes, 6, 12, 13, 14 and
Trailer. In 2007 he adapted and directed The Tragedy of Hamlet Prince
of Denmark which screened at MIFF. He is a proud Equity member.
Mirrah Foulkes Mirrah graduated from the acting course at the
Western Australian Academy of Performing Arts (WAAPA) in 2003.
Having starred in the feature lms Dying Breed and Long Road to
Heaven, Mirrah received international acclaim for appearing in the
award-winning short lms Spider by Nash Edgerton and Crossbow and
Netherland Dwarf by David Michd. She also appeared in Michds
multi- award-winning debut feature, Animal Kingdom, and in Julia
Leighs feature lm Sleeping Beauty, which screened in competition at
the Cannes Film Festival in 2011.On television, Mirrah played Jo
Mathieson on the long-running medical drama All Saints for which she
received a Logie nomination for Best New Female Talent in 2010, and
has also appeared on series including Blue Heelers and Wild Boys,
both for the Seven Network. Mirrah was most recently seen in Jane
Campions 6-part television series Top of The Lake and the ABC
two-part tele-movie Devils Dust alongside Anthony Hayes and Don
Hany. Mirrahs theatre credits include Pericles, The Innocent Mistress,
Phaedra, Colour, The Devils Tunic, Midsummer Nights Dream, The
Three Sisters, Harlequinade and Love Child. In 2010 Mirrah also
appeared at the Sydney Opera House in Nora Ephrons Love, Loss and
What I Wore, directed by Wayne Harrison. Included in Mirrahs writing
and directing credits, in 2012 she wrote and directed her rst short lm
Dumpy Goes To the Big Smoke which premiered at the 2012 Sydney
Film festival as part of the Dendy Award nalists where she won the
Rouben Mamoulian Award for Best Director. In the same year the lm
also screened at the Melbourne International Film Festival, and received
a nomination for Best Short Fiction Film and Best Short Screenplay
at 2013 AACTA Awards.
,0 1&' 20&&-
Susie Porter Susie Porter has built a reputation as one of Australias
most outstanding actors. Her remarkable list of credits includes feature
lms Summer Coda, Bootmen, Better Than Sex, Mullet, Paradise
Road, Idiot Box, Two Hands, Feeling Sexy, Monkeys Mask, Teesh
and Trude, the award-winning Little Fish and The Caterpillar Wish.
This year she will be seen in THE TURNING: On Her Knees, a collection of
short stories by Tim Winton and next year will see the release of L.A.D.
On the small screen, Susie played the lead role in East West 101 (Series
1, 2 and 3), East of Everything, Ran, My Place, Love My Way, The
Secret Life of Us, The Jesters(Series 1 and 2), Sisters Of War and
Dangerous Remedy. Last year she was seen in Network Tens bikie
drama Brothers In Arms, the family series Puberty Blues, the comedy
Problems and the telemovie Dangerous Remedy. She will soon be
seen in Screentimes next instalment of Underbelly and Puberty Blues
(Series 2). Her most recent theatre credits include the critically acclaimed
Summer of the Seventeenth Doll and That Face. Susie has been widely
acknowledged by her peers and the public with multiple AFIs, IF
Awards, Logie Awards and AACTA and FCCA nominations for her work.

Harrison Gilbertson Harrison Gilbertson won the Best Young Actor
Award at the 2010 AFI Awards (Australias equivalent of the Oscars) for
his performance in Paramount Australias war drama, Beneath Hill 60.
In 2012, he appeared as the co-lead, opposite Jennifer Connelly and Ed
Harris, in Virginia, directed by Dustin Lance Black, and executive
produced by Gus Van Sant. Gilbertson most recently starred on the
Australian TV Series Conspiracy 365 adapted from the best-selling
novels by Australian author Gabrielle Lord. Conspiracy 365 follows a
year in the life of teenager Cal Ormond (Gilbertson), who is forced to
go on the run and become a fugitive as he searches for the truth behind
a deadly family secret. His other credits include Accidents Happen
opposite Geena Davis, which premiered at the 2009 Tribeca Film
Festival, and Blessed, opposite Deborra Lee Furness, Frances OConnor
and Miranda Otto. Gilbertson is currently set to star in four upcoming
projects, including a supporting role opposite Aaron Paul in
Dreamworks Need For Speed, the lead role in Haunt also starring
Oscar nominee Jacki Weaver and directed by Marc Carter; and two
Australian features, the lead role in My Mistress, written by Gerard Lee
(Jane Campions co-writer on her upcoming TV series Top Of The Lake)
which follows a beautiful and strangely innocent affair between a
vulnerable teenage romantic and a French S&M mistress which
ultimately turns dangerous; and Boys In The Trees.
/,/2.&-1&..
Toby Wallace Originally from the UK, Toby Wallace immigrated to
Australia as a child. He made his professional debut in 2008 in Kriv
Stenders feature lm Lucky Country (aka Dark Frontier). It was for this
role that he was honoured with an Australian Film Institute Award
Nomination for Best Young Actor at only 13 years old. Other credits
followed in quick succession including the feature Surviving Georgia,
the Underbelly telemovie The Man that Got Away and several months
on Australias longest running serial, Neighbours. His professional stage
debut was in Opera Australias production of Capuletti. More recently,
Toby appeared in a co-lead in Return to Nims Island opposite Bindi
Irwin, and will be seen in the forthcoming Galore directed by Rhys
Graham and co-starring Ashleigh Cummings, as well as THE TURNING:
Cockleshell directed by Tony Ayres. Toby is also regularly involved in
quality independent projects and gives an outstanding sinister twist to
Nick Versos The Last Time I Saw Richard, which was one of the Dendy
Short Film Finalists in 2013. He has a number of pending lm and
high-prole television projects lined up for the near future and is very
much one to watch.
Brenna Harding One of Australias most exciting young actors, Brenna
Harding is best known for her role in the hit television series Puberty
Blues alongside Australian acting veterans Claudia Karvan, Susie Porter
and Dan Wyllie. For her role as Sue Knight she was awarded the 2012
Logie for Most Popular New Female Talent. She was also nominated for
the Graham Kennedy Award for Most Outstanding New Talent and the
AACTA Award for Best Young Actor. Brennas other television credits
include the award-winning ABC TV childrens series My Place and
Packed to the Rafters. She will next feature Cockleshell, directed by Tony
Ayres. It will premiere at this years Melbourne International Film Festival
as part of the feature lm collaboration THE TURNING, based on the Tim
Winton short story collection of the same name.
31& 3#'0$0*
Rose Byrne Rose Byrne is one of Australias leading lm stars, winning
acclaim both locally and internationally. Rose has recently completed
lming Shawn Levys This is Where I Leave You, James Wans thriller
Insidious: Chapter 2, Nicholas Stollers Townies with Seth Rogen, and
THE TURNING, based on the collection of short stories by Tim Winton,
which will have its World Premiere at the 2013 Melbourne International
Film Festival.
In 2013, Rose starred in Dan Mazers I Give it a Year alongside Rafe Spall
and Simon Baker, Shawn Levys The Internship opposite Owen Wilson
and Vince Vaughn, and Derek Cianfrances feature The Place Beyond The
Pines with Ryan Gosling and Bradley Cooper.
Her other lm credits include Paul Feigs breakout comedy hit
Bridesmaids opposite Kristen Wiig; the psychological thriller Insidious
from the creators of Saw; Matthew Vaughns X-Men First Class with
James McAvoy and Michael Fassbender; Nicholas Stollers comedy Get
Him to the Greek starring Russell Brand and Jonah Hill; the romantic
dramedy Adam opposite Hugh Dancy; Alex Proyas supernatural thriller
Knowing, alongside Nicolas Cage; The Tender Hook with Hugo
Weaving; Danny Boyles sci- thriller Sunshine; Juan Carlo Fresnadillos
28 Weeks Later; Soa Coppolas Marie Antoinette; Karen Moncriefs
critically acclaimed drama The Dead Girl; Star Wars: Attack of the
Clones; Paul McGuigans thriller Wicker Park with Josh Hartnett; the
acclaimed I Capture The Castle; Danny Greens The Tenants with Dylan
McDermott; and Wolfgang Petersens epic Troy opposite Brad Pitt.
Roses lm career began in Australia with her standout role in the gritty
crime drama Two Hands, opposite Heath Ledger. She went on to star in
Clara Laws The Goddess of 1967 for which she was awarded Best Actress
at the Venice Film Festival. Rose starred in all ve seasons of the award
winning series Damages alongside Glenn Close. Her portrayal of Ellen
Parsons, the protg of a high stakes litigator, earned her Golden Globe
Award nominations in 2010 and 2008, Emmy Award nominations in 2009
and 2010 and an AFI International Award for Best Actress in 2007.
Rose is also a well-respected theatre actress, appearing in leading roles
for the Sydney Theatre Company in their productions of La Dispute
and The Three Sisters.
Miranda Otto Miranda Otto is one of Australias most celebrated actors,
her work on stage and screen is diverse and powerful. She is recognised
internationally as the Warrior Princess Eowyn from Peter Jacksons
acclaimed Lord of the Rings Trilogy. She is also known for her role in the
Steven Spielberg remake of War of The Worlds, in which she stars with
Tom Cruise and Tim Robbins.
It was at home in Australia that Miranda rst made her mark. Shortly
after graduating from the prestigious National Institute of Dramatic Art,
she starred in The Last Days of Cheznous directed by the highly
acclaimed Gillian Armstrong, Love Serenade which won the 1996
Camra dOr at Cannes and The Well which screened in competition in
the following year.
Mirandas Australian lm credits include Blessed by acclaimed Australian
director Ana Kokkinos, and South Solitary directed by Camera dOr
winning director Shirley Barrett. South Solitary premiered on Opening
Night of the 2010 Sydney International Film Festival. In 2011, Miranda
appeared in the Steven Spielberg produced pilot, Locke and Key, which
screened at the 2011 San Diego Comic-Con International.
Mirandas other credits include the critically acclaimed drama In My
Fathers Den, the action/adventure lm The Flight of the Phoenix
opposite Giovanni Ribisi, What Lies Beneath, The Thin Red Line, The
Nostradamus Kid, True Love and Chaos, Doing Time for Patsy Cline,
Dead Letter Ofce and In The Winter Dark. Miranda also teamed up
with her Human Nature co-star Rhys Ifans for the romantic comedy
Danny Deckchair. Miranda also played a scheming Frenchwoman in
Charlie Kaufmans Human Nature.
Her European credits include; the title role in Julie Walking Home from
renowned female Polish director Agnieszka Holland, the English thriller
Doctor Sleep opposite ERs Goran Visnjic, and Italian director Sandro
Dionisios La Volpe A Tre Zampe (The Three Legged Fox) in 2001.
Most recently Miranda completed lming The Homesman alongside
Tommy Lee Jones and Hilary Swank with Tommy Lee directing. She also
plays the lead role in the independent lm Art of Losing which is slated
for release in 2013. Miranda will next shoot the series Rake with Greg
Kinnear to be directed by Sam Raimi, director Ana Kokkinos, and South
Solitary directed by Camera dOr winning director Shirley Barrett. South
Solitary premiered on Opening Night of The 2010 Sydney International
Film Festival. In 2011, Miranda appeared in the Steven Spielberg
produced pilot, Locke & Key, which screened at the 2011 San Diego
Comic-Con International.
Matthew Nable Matt Nable is an Australian actor and writer.
Catapulted into the lm world in 2007 when Paramount Pictures
Australia made their rst Australian acquisition of the critically acclaimed
The Final Winter, Nable wrote the screenplay and played the lead. In
2008 he was the lead in Sonys $7M pilot for Spike called SIS. In 2009 his
rst novel We Dont Live Here Anymore was published by Penguin and
in 2011 he starred opposite Clive Owen in The Killer Elite, Guy Pearce in
33 Postcards, and was a lead in the third season of the international
award winning Australian drama, East West 101. That same year his
second novel Faces In The Clouds was published by Penguin. Last year he
has starred in the acclaimed Brothers In Arms mini-series for the Ten
Network in Australia, Nine Networks Underbelly: Badness as lead Gary
Jubelin and appears in the US lm K-11. His third novel, It Happened To
US, also by Penguin, is due for release shortly. This year youll see him as
the lead opposite Vin Diesel in the third installment of the Chronicles of
Riddick franchise and in Around The Block, alongside Christina Ricci. In
2014 he will be seen in the psychological thriller In Cold Light and in
Southern Light Films Son of a Gun.
-!0(
Waangenga Blanco Waangenga Blanco is a descendant of the Mer Island
people and of the Pajinka Wik, Cape York. After completing three years of
study at NAISDA, Waangenga was invited to join Bangarra. During that
year he toured internationally with Bush and nationally with
Boomerang. 2006 saw Waangenga perform for other choreographers
such as Vicky Van Hout in Wiradjourni and Meryl Tankard in Kaidan. He
was also a lead dancer for the Commonwealth Games Opening Ceremony.
Waangenga re-joined Bangarra in 2007, dancing in Clan and True
Stories nation-wide. In 2008 Waangenga performed in Mathinna
nationwide and toured to Europe, US and Canada with Rites and
Awakenings. In 2009 Waangenga toured to Europe with True Stories
and helped Bangarra celebrate its 20th Anniversary with Fire A
Retrospective. In 2010 he performed in Bangarras Mathinna and in the
acclaimed double bill of earth & sky touring throughout Australia. He
joined the company on their 2011 European tour of Spirit, performed in
the national tour of Belong and nished the year with the Mathinna
regional tour. Waangenga performed with Bangarra in 2012 in their
collaboration with the Australian Ballet for their 50th Anniversary
celebrations along with the of earth & sky regional tour of NSW and WA
and the national tour of Terrain. Waangenga toured to Mongolia with
Spirit and was nominated for a 2012 Helpmann Award and Greenroom
Award for Male Dancer of the Year. In 2013 Waangenga has performed in
Spirit on Bangarras tour to Vietnam and on the national tour in the new
work Blak.
%!)$.4
Meyne Wyatt Kalgoorlie bred Meyne Wyatt was just 18 when he was
accepted into the National Institute of Dramatic Art and has created for
himself a buzz in the industry with non-stop theatre productions and
lm work since graduating NIDA class of 2010. Starting with back to
back theatre productions at the Stables Theatre in 2011, Meyne rstly
delivered a truly powerful performance in The Brothers Size, showing
himself to be completely at home in contemporary American drama.
Meyne then followed this up with a stand out performance as alienated
Aboriginal teen Squid in Grifn Theatres Silent Disco, for which he was
named Best Newcomer in the 2011 Sydney Theatre Awards. From there,
he stepped onto Sydney Theatre Companys main stage in the Stephen
Page production of Bloodland (which also toured to the Adelaide
Festival and QPAC in 2012).
In early 2012, Meyne was seen in for Belvior Street/Urban Theatre Project/
Sydney Festival co-production of The Buried City. He followed this in the
second half of 2012, in the lead role of Horace in Bell Shakespeares
national tour of The School for Wives. In early 2013, Meyne starred in the
lead role of Ralph Meyers production of Peter Pan at Belvoir St Theatre.
He also starred in one of the short lms that comprise the feature lm THE
TURNING, based on Tim Wintons short story collection of the same name.
Meyne has also just wrapped a lead role in ABCs Logie winning series,
Redfern Now (series 2) and telemovie The Broken Shore also for ABC.
Meynes other theatre credits include NIDA productions of The Lord of
the Flies, The Hour We Know Nothing of Each Other, Accidental Death
of an Anarchist, The Threepenny Opera, Hamlet and Gift. Meyne also
found time to appear in Wayne Blairs feature The Sapphires, which
debuted at Cannes Film Festival. Prior to attending NIDA, Meyne also
gained a Certicate IV in Aboriginal Theatre from WAAPA. During his
time there, he acted in commissioned work Frankenstein, as Clerval and
in The Lion of Nemea by David Milroy. Meyne is also an accomplished
artist; his year 12 self-portrait was exhibited in the State Art Gallery as well
as in Japan.
Wayne Blair Wayne Blair is one of Australias most exciting acting,
writing and directing talents.
His directorial debut feature lm, The Sapphires, a musical comedy, had
its world premiere Out of Competition at the Cannes Film Festival in 2012
and has since opened at or played festivals including Telluride, Toronto,
Aspen, Zurich and Hamburg. The lm was the highest grossing Australian
lm of 2012 in Australia and it won eleven AACTA Awards including Best
Director and Best Film. To date The Sapphires has won six audience
choice awards at festivals across the US and had its theatrical release there
at the end of March.
As an actor his work includes the theatre productions True West directed
by Phillip Seymour Hoffman and Tot Mom directed by Steven Soderbergh,
The Sunshine Club, Inheritance and The Cherry Pickers for the Sydney
Theatre Company, Jesus Hopped The A Train, Stuff Happens, Run
Rabbit Run, Conversations With The Dead, The Sapphires, The
Dreamers, Stuff Happens, and Cloudstreet (International Tour) for
Belvoir. Other theatre credits include Othello and Romeo and Juliet for
the Bell Shakespeare Company, Skin with Bangarra Dance Theatre.
In television Wayne recently performed alongside Don Hany in the Rowan
Woods directed telemovie The Broken Shore, based on the Peter Temple
novel. He also performed, wrote and directed for Redfern Now in 2012.
Other television credits include Small Claims, Fireies, Backberner,
Water Rats, All Saints and Wildside.
Waynes lm credits include the AACTA Award winning Wish You Were
Here opposite Joel Edgerton and Teresa Palmer, X, The Last Time I saw
Michael, Gregg, Blessed with Miranda Otto and Mullet.
His other work as a director includes Redfern Now, The Gods Of Wheat
Street, The Elegant Gentlemans Guide To Knifeghting, Lockie
Leonard, Dirty Buttery and Brendan Cowells Ruben Guthrie for
Belvoir.
Wayne will next feature in Family, a short lm directed by Shaun Gladwell
which will screen as part of the feature lm project THE TURNING based
on the Tim Winton short story collection of the same name. It will
premiere at this years Melbourne International Film Festival; other
collaborators include Hugo Weaving, Cate Blanchett, Rose Byrne, David
Wenham, Miranda Otto, Richard Roxburgh and Mia Wasikowska.
.,0*5 /.&!' 6$&7
Matthew Shanley Young in age, but already a veteran in the
entertainment industry Matthew Shanley has certainly done it all, from
modelling, live theatre to lm and television. Matt made his television
debut at the tender age of four, with his rst commercial for NRMA and
has since featured in advertisements for the Environmental Campaign,
Coco Pops, Patties Party Pies, Mitsubishi Pajero, Jeans for Genes and
Allianz Insurance. Matt also appears in the Logie Award winning Puberty
Blues. He was lucky enough to snare a role in Andrew Lloyd Webbers
Love Never Dies and be part of a short lm Baby Baby. Matt thoroughly
enjoys the industry and this is clearly evident in the way he attacks each
project. Matt has a natural charm and a very mature manner. His cheeky
good looks and abundance of freckles are obviously a winner. When Matt
isnt busy acting, you will nd him at his Pops farm riding his KTM
motorbike or on the footy eld darting and weaving to that try line.
'&#0$,0
Cate Blanchett Cate Blanchett is a graduate of the National Institute of
Dramatic Art and holds Honorary Doctorates of Letters from the University
of New South Wales and the University of Sydney. From 2008 to 2012 she
was the Co-Artistic Director and Co-CEO of Sydney Theatre Company,
alongside Andrew Upton.
Cates recent stage roles include Hedda Gabler in Richard II the
celebrated STC production of The Wars of The Roses; Blanche Du Bois
in Tennessee Williams A Streetcar Named Desire; Yelena in Anton
Chekhovs Uncle Vanya; and Lotte in Botho Strauss Gross und Klein.
Cate was most recently on stage in the STCs production of Jean
Genets The Maids, directed by Benedict Andrews and co-adapted by
Andrew Upton and Benedict Andrews.
Cates lm work includes Queen Elizabeth in Elizabeth and The
Golden Age, Daisy in David Finchers The Curious Case of Benjamin
Button, Katherine Hepburn in Martin Scorseses The Aviator, Bob
Dylan in Im Not There, Sheba in Notes on a Scandal, alongside Judy
Dench, and Irina in Steven Spielbergs Indiana Jones and the Kingdom
of the Crystal Skull. She featured in Peter Jacksons Lord of the Rings
trilogy and most recently in Ridley Scotts Robin Hood and Joe
Wrights Hanna. In late 2013, Cate will star in Woody Allens Blue
Jasmine and George Clooneys The Monuments Men, and will appear
in Tim Wintons THE TURNING, an adaptation of 17 interconnecting
stories from the book of the same name.
Cate is a ve time Academy Award nominee and was awarded the
Academy Award for Best Supporting Actress for her role in The
Aviator. Other awards include two BAFTAs (Elizabeth, The Aviator),
three AFI Awards (The Golden Age, Little Fish, Thank God He Met
Lizzie), two SAG Awards (The Aviator, LOTR: The Return of the
King), two Golden Globe Awards (Elizabeth, Im Not There) and the
Venice Film Festivals Volpi Cup for Best Actress (Im Not There). Cate
has also been awarded the Centenary Medal for Service to Australian
Society through Acting and in 2007 she was named one of TIME
Magazines 100 Most Inuential People. In 2012, Cate was awarded
the Chevalier de lOrdre des Arts et des Lettres by the French Minister
for Culture, in recognition of her signicant contributions to the arts.
Cate has also received a star on the Hollywood Walk of Fame. Cate is a
Patron of the Sydney Film Festival and an Ambassador for the
Australian Conservation Foundation and the Australian Film Institute.
Cate is married, has three children and lives in Sydney.
Richard Roxburgh Award-winning actor Richard Roxburgh has
worked on stage and screen around the world. His screen credits
include Moulin Rouge, Van Helsing, Doing Time For Patsy Cline,
Stealth, Mission Impossible II, Oscar & Lucinda, Thank God He Met
Lizzie and Children Of The Revolution. He is also notable for his
appearances in Ice, Legend Of The Guardians: The Owls Of
Gahoole, Matching Jack and James Camerons action adventure lm
Sanctum.
Richards well known television credits include playing the leading
man in the ABC hit series Rake, which he co-created and produced.
His brilliant performance as eccentric barrister Cleaver Greene earned
him a TV Week Silver Logie for Most Outstanding Actor. The series
generated international attention and screened to US audiences on
DirectTV. Season three commences lming in June this year. His work
in the title role of Prime Minister Bob Hawke in Channel 10s
Tele-movie Hawke earned Richard critical acclaim along with his
award winning electrifying portrayal as the notorious Roger Rogerson
in the ABCs controversial mini-series Blue Murder. For the ABC he
also collaborated with Somersault director Cate Shortland on the two
part drama series The Silence and East of Everything where he
played the lead role of Art Watkins.
Richard is also an accomplished director. His debut lm, Romulus, My
Father, starring Eric Bana drew critical acclaim when it was released in
2007.
Recently Richard appeared on stage as the title character in Sydney
Theatre Companys phenomenally successful production of Chekovs
Uncle Vanya, directed by Tamas Ascher. Richard shared the stage with
some of Australias nest actors including Cate Blanchett, Hugo
Weaving, Jackie Weaver and John Bell. The play had a revival at the
Kennedy Centre in Washington in 2011, the New York Times describing
his performance as astonishing, Richard Roxburgh, who seems to
melt and re-form before your eyes. The play was remounted at
Lincoln Centre New York for Sydney Theatre Company in 2012.
Additional stage credits include Toy Symphony, The Seagull Hamlet
(Company B) and Closer (Sydney Theatre Company).
Richard won the 2012 AACTA Award for Best Actor in a Television
Series for his portrayal of Cleaver Greene in Rake Series 2.
He will next appear in the short lm Reunion opposite Cate Blanchett
and directed by Simon Stone. It will screen as part of the feature lm
collaboration THE TURNING, based on Tim Wintons short story
collection of the same name which will premiere at this years
Melbourne International Film Festival.

Robyn Nevin Robyn Nevin has been an actress for more than fty
years graduating from NIDA in 1960. She has also been a director for
stage and screen and a theatre producer, running two state theatre
companies as Artistic Director and CEO. Robyn has played leading roles
at all of Australias major theatre companies, in Londons West End and
the US, including Carnegie Hall in New York. Her many memorable roles
include Blanche in A Streetcar Named Desire, Miss Docker in Patrick
Whites A Cherry Soul, Maria Callas in Masterclass, Hecuba in Barrie
Koskys Women of Troy, Mary Tyrone in Long Days Journey Into The
Night (opposite William Hurt), Joan Didions one woman play, The year
of Magical Thinking, Neighbourhood Watch by Lally Katz, Summer Of
The Seventeenth Doll, Queen Lear in Queen Lear, and most recently
Other Desert Cities directed by Sam Strong for Melbourne Theatre
Company. She is currently performing in Angels In America for Company
B.Robyn and has appeared in many of Australias most important lms
and telelms, including The Eye Of The Storm with Geoffrey Rush,
Judy Davis and Charlotte Rampling, The Castle, Emerald City, Careful
He Might Hear You, The Chant Of Jimmy, Blacksmith and Caddie.
She also appeared in the highly successful Matrix lms, in several
seasons of Halifax and most recently in Jane Campions Top of the
Lake, co- starring with Elizabeth Moss and David Wenham. Robyn also
starred as Shasta in the award winning television series Water Under
the Bridge. She recently completed lming on the ABC series Upper
Middle Bogan, the next comedy instalment from producers Wayne
Hope and Robyn Butler. An award-winning director and producer
Robyn has been Artistic Director of the Queensland Theatre Company,
and Artistic Director of Sydney Theatre Company from 1999 to 2007,
where she established the critically acclaimed STC Actors Company. Her
directing credits for Sydney Theatre Company include the inaugural
Actors Company production of Mother Courage, and Hedda Gabler
which toured to New York City in 2006, introducing Cate Blanchett to
US theatre audiences. Her awards for Best Actress include the
Helpmann, Sydney Critics Awards, Green Room Awards, a Keating
Fellowship for contribution to the arts, the Sydney Myer Performing
Arts award, and a Sammy and a Logie for Water Under the Bridge. She
also received a Sydney Critics Circle award for Best Director for her lm
The More Things Change and was made a member of the Order of
Australia for her contribution to theatre in Australia. Robyn was invited
to co-create the Melbourne Theatre Company season of plays for 2012.
Robyn will next feature alongside Cate Blanchett and Richard Roxburgh
in the short lm Reunion directed by Simon Stone. It will screen as part
of the feature lm collaboration THE TURNING based on Tim Wintons
short story collection of the same name.
/,))$--$,0
Hugo Weaving Three-time Australian Film Institute (AFI) Award winner
Hugo Weaving is one of Australias most critically acclaimed actors. A
graduate of the National Institute for Dramatic Art (NIDA) Hugo received
his rst AFI Award for Best Actor in 1991 for his portrayal of a blind
photographer in Jocelyn Moorhouses breakthrough feature Proof.
This was followed with a nomination for Best Performance by an Actor
in a Leading Role at the 1994 AFI Awards for his drag queen Mitzi Del Bra
(a.k.a. Anthony Tick Belrose) in Stephan Elliotts The Adventures of
Priscilla, Queen of the Desert. Hugo also received the 1998 AFI Award for
Best Performance by an Actor in a Leading Role in the Australian feature
The Interview, written and directed by Craig Monahan. For the same
role, he received a nomination for Best Lead Actor at the 1999 Film Critics
Circle of Australia (FCCA) Awards, and the 1998 Best Actor Award at the
World Film Festival in Montreal. In 2005 Hugo was awarded the AFI award
for Best Actor for his outstanding performance opposite Sam Neill and
Cate Blanchett in Rowan Woods critically acclaimed Little Fish - Hugo
was also awarded the Inside Film (IF) Award for the same role. Hugo also
received the Australian Living Legend award IF award in 2008.
Hugo made his mark internationally with two blockbuster lm trilogies.
He plays Agent Smith in the Matrix trilogy directed by Andy and Lana
Wachowski, and the role of Elrond in Peter Jacksons epic The Lord of the
Rings trilogy. Hugo worked with the Wachowskis again in the lms V for
Vendetta, and Cloud Atlas alongside Tom Hanks, Halle Berry, Jim
Sturgess, Jim Broadbent and Susan Sarandon. His other lm credits include
Captain America, Oranges and Sunshine, Guardians of GaHoole, Wolf
Man, Last Ride, The Key Man, The Tender Hook and the voice of
Megatron in all three Transformer lms.
Hugos Australian lm credits include Russian Doll, The Magic Pudding,
Strange Planet, Babe, Babe: Pig in the City, True Love and Chaos,
Exile, The Custodian, Frauds, Reckless Kelly, Peaches and Rolf de
Heers The Old Man Who Read Love Stories and Happy feet.
Hugo also has a wealth of experience on stage. He has a long association
with the Sydney Theatre Company, having performed recently in Les
Liasons Dangereuses, Uncle Vanya in Sydney, Washington and New
York, Riemind, Hedda Gabler and The Real Thing. His work with the
prestigious Belvoir St Theatre in Sydney includes the Neil Armeld
directed The Alchemist. He has also performed for the Melbourne
Theatre Company, the State Theatre Company of South Australia,
Burning House Theatre Company and the Nimrod Theatre Company.
He will reunite with director Tamas Ascher this year in Waiting For
Godot for the Sydney Theatre Company alongside Richard Roxburgh.
He will next appear in the David Wenham directed short lm
Commission which will screen this year as part of the feature lm
project THE TURNING based on the Tim Winton short story collection of
the same name. Other collaborators include Cate Blanchett, Miranda
Otto, Mia Wasikowska, Rose Byrne, Richard Roxburgh and Robyn Nevin.
Hugo recently completed lming on back to back Australia lms; Craig
Monahans The Healing opposite Don Hany and Xavier Samuel and
The Mule alongside John Noble and Ewen Leslie.
Josh McConville Josh graduated from NIDA in 2008. Since graduating
he has worked extensively with Sydney Theatre Company and Grifn
Theatre Company. His theatre credits for STC include Loot, directed by
Richard Cottrell, In The Next Room directed by Pamela Rabe, and most
recently the much acclaimed Gross and Klein opposite Cate Blanchett
and directed by Benedict Andrews. After a successful season in Sydney
the show toured Europe to critical acclaim.
Josh played the lead role of Brett Sprague, the violent and psychopathic
brother in the Grifn Theatre Company production of The Boys (also
for the Sydney Festival) directed by Sam Strong in which he received the
Sydney Theatre Award for Best Actor in a Leading Role. Other
productions for Grifn include The Call, directed by Lee Lewis, and
Strange Attractor, directed by Nick Marchand - both of which he
received the Sydney Theatre Award for Best Newcomer. He also
performed in Dealing With Claire by Cristabel Sved.
Josh also toured nationally with Bell Shakespeares King Lear, directed
by Marion Potts and performed as Truffaldino in The Servant of Two
Masters, directed by Darren Gilshenan, at the Coogee Arts Festival.
Josh appeared on the Southern Star television production of Wild
Boys, Channel Nines multi-award winning drama Underbelly II: A Tale
of Two Cities, and also in the ABC multi-award winning series, Redfern
Now directed by Wayne Blair.
Josh recently nished lming on The Innite Man and THE TURNING:
Commission alongside Hugo Weaving and directed by David Wenham.
He also just completed Death Of A Salesman for Black Swan Theatre
Company playing Biff Loman.
%,*
Dean Daley-Jones Having trained in dance, theatre and drama at the
Jon Curtin School of performing Arts, West Australian Aboriginal actor
and Nyoongar tribe member, Dean Daley-Jones launched his feature
lm career playing the lead in the critically-acclaimed Mad Bastards
(dir. Brendan Fletcher), selected for the Sundance Film Festival 2011, and
the winner of the Deadly Awards Film of the Year 2011. Dean was also
nominated as Best Actor for this role in the inaugural AACTA Awards
(previously known as the AFI Awards) in 2012. On the back of this
success, Dean has also appeared in Ivan Sens Toomelah, selected for
Un Certain Regard 2011 at the Cannes Film Festival and the feature lm
Satellite Boy. Early on in his career Dean also appeared in lms such as
Shame directed by Steve Jodrell. Dean takes an active role in
mentoring other indigenous people with visits to community and
correctional centres Australia-wide. Dean hopes his words will help
inspire others to initiate changes and turn their lives around, just as he
has done. Dean was a Guest Speaker at Message Sticks 2012, the annual
festival celebrating Aboriginal and Torres Strait Islander artists at the
Sydney Opera House. Dean was recently seen in the ABC TV series
Redfern Now, directed by Leah Purcell, and has just wrapped on
another ABC series The Gods of Wheat Street, to be screened in 2013.
Eva Lazarro Eva is perhaps best known for the role of Gigi in three
series of Showtimes critically acclaimed Tangle alongside the likes of
Catherine McClements, Ben Mendelsohn and Justine Clarke. Her work
on Tangle has earned her a Logie nomination for Most Outstanding
New Talent, ASTRA nominations for Best Supporting Actress and Best
New Talent and an Inside Film Out of the Box Award nomination. Film
work includes Ana Kokkinos critically acclaimed feature lm Blessed,
opposite Frances OConnor, Miranda Otto and Deborah-Lee Furness and
Ray Lawrences Jindabyne opposite Gabriel Byrne and Laura Linney.
Other screen credits include the U.S series Nightmares and
Dreamscapes, JM Shiffs The Elephant Princess, guest roles in Blue
Heelers and Satisfaction, the hugely successful rst series of
Underbelly for the Nine Network, Miss Fishers Murder Mysteries and
the forthcoming Its A Date for the ABC.
Evas rst foray into directing and writing saw her short lm
Alices Baby included as a nalist in Tropfest 2012, making her the
youngest nalist ever.
Dan Wyllie Dans breakthrough role was in the 1990 lm Spotswood
alongside Anthony Hopkins. This was followed by notable lm
performances in Muriels Wedding, Romper Stomper, Holy Smoke,
The Thin Red Line, Peter Pan, Animal Kingdom and the James
Cameron produced Sanctum.
Dans television performances include a leading role in the award-
winning series Love My Way for which he won the TV Week Silver
Logie Award for Most Outstanding Actor in a Drama Series in 2006.
Other standout television performances
include roles in Bad Cop, Underbelly: Two Twisted and the ABC series
Bastard Boys and Curtin. He also played the lead role in ABC
mini-series The Shark Net, an adaptation of the Robert Drewe memoir.
Dan has had a long and close association with Sydneys Company B
Belvoir Theatre performing in The Lieutenant Of Inishmore, The
Alchemist, Suddenly Last Summer, Twelfth Night, Summer Of The
17th Doll, and most memorably the international theatre tour of Tim
Wintons Cloudstreet in which he played Fish Lamb.
In 2011 Dan appeared in several feature lms including The Hunter
opposite Willem Dafoe and Sam Neill, the Australian thrilled Bait, and
Rolf de Heers The King Is Dead. He also appeared in the critically
acclaimed Showcase series Tangle, and Network Tens Puberty Blues
for which he received an Australian Academy Cinema Television Arts
(AACTA) nomination for Best Supporting Actor in a Television Drama.
Dan continued his working relationship with the award winning
producers John Edwards and Imogen Banks in 2012 by returning to the
third series of Tangle and appearing in the critically acclaimed series
Puberty Blues for which he received an Australian Academy of Cinema
and Television Arts (ACCTA) nomination for Best Supporting Actor in a
Television Drama.
In 2013 Dan will be seen in Network Nines next installment of the
Underbelly franchise Underbelly: Squizzy, the second series of Puberty
Blues, and the ABC tele-movie The Broken Shore alongside Don Hany
and Claudia Karvan. He will also appear on Rolf de Heers upcoming
feature lm Charlies Country.
Kate Mulvany Kate Mulvany is a BA graduate from Curtin University,
Western Australia. As a writer, her plays include Blood & Bone (winner
of Naked Theatre Companys Write Now competition), Story Time,
Vaseline Lollies, Naked Ambition, and the musicals Embalmer!
(co-written with Pip Branson) and Somewhere (co-written with
award-winning comedian and musician Tim Minchin). Kates play The
Danger Age was shortlisted for the Sydney Theatre Company 2004
Patrick White Playwrights Award and she was the winner of the
Company B Belvoir Street Theatre 2004 Philip Parsons Young
Playwrights Award for which she was commissioned to write The Seed.
The Seed went on to win the Best Independent Production and was
nominated for Best New Australian Work at the 2007 Sydney Theatre
Critics Awards. It was also nominated in 2008 for an AWGIE for Best
New Work, as well as the Queensland Premiers Literary Award. It
received an Honourable Mention in the 2008 Asher Award. After two
sell-out seasons at Company B Belvoir, The Seed went on to tour
Australia to much acclaim and Kate is currently working on the
screenplay. In 2009, Kates play The Web was co-produced by Black
Swan Theatre Company and Hothouse Theatre Company. In 2010, her
play The Wreath was in development for Bell Shakespeares Minds
Eye initiative. In 2011, Kate will be the new writer-in residence at
Grifn Theatre Company and is also a mentor to several emerging
playwrights across Australia and in the UK. Kate has just been
nominated for a Helpmann Award for Madea.
As an actor, Kate has performed in The Seed in all of its seasons, in
Antigone for the Perth International Arts Festival, Buried Child, for
Company B, Blasted for B Sharp, Mr Baileys Minder for Grifn
Theatre Company, Rubys Last Dollar for Pork Chop Theatre Company,
Festen, Proof, A Man With Five Children, King Lear, The Crucible,
Rabbit for Sydney Theatre Company, Hansel and Gretel for Theatre
of Image, Stories From Suburban Road for Ensemble Theatre Company,
Amadeus, Social Climbers, Sweet Phoebe and Milk & Honey for
Perth Theatre Company and in Tracy Letts Killer Joe for Diana Bliss
Productions for which she was nominated for a Green Room award.
Kate has appeared on television in All Saints, Blue Heelers, The
Chasers War on Everything and the tele-movie The Underbelly Files
The Man Who Got Away. Feature lms include, The Final Winter,
Griff the Invisible and The Great Gatsby. Kate recently toured as
Cassius in Bell Shakespeares production of Julius Caesar. She also
performed in Bell Shakespeares Lady Macbeth as Lady Macbeth.
Kate is currently rehearsing for Grifn Theatres Beached. Later
this year she will perform in a Melbourne Theatre Company
production of The Beast.
90'1+.-0 )!*!-#-&!)
8$* 7,'.(
Big World happened in a urry. The shoot ended up being one of those
magical weeks in my life that I wont forget. The week before we shot we
had no script and no actors. Our lovely production manager Anthea had
found a Kombi and an abattoir and the hint of a salt lake close to
Adelaide. The week of the shoot we still had no script, but a beautiful
story of Tims and three wonderful actors. Along with them, we hit the
road with myself, Warwick, camera assistant Drew and we all had a ball.
After op-shopping for costumes, we drove north from Adelaide through
Port Pirie and up to Woomera, listening to an audio book of Big World
along the way until the words seeped into our beings. Staying in country
motels and eating bad food (Hawaiian chicken schnitzel anyone?)
shooting from the hip and watching endless You Tube videos that became
part of our vernacular aint nobody got time for that. Warwick and I are
like a pair of old shoes weve worked together so much, and the week just
developed its own beautiful synergy, with the old shoes arguing and
everyone laughing.
My favourite story is from Mathieu, the Swiss guy we borrowed the Kombi
from who was thrilled to meet Warwick. On his rst date with his
girlfriend they went to see Samson & Delilah and they are still together all
these years later and are expecting their rst child, which is why he is
selling the Kombi.
- Kath Shelper
!88'&6$!3$,0
Abbreviation is a cinematic poem inspired by the key moment in the
chapter where Vic meets Melanie - his life is changed forever after this
moment on the beach. Although the chapter of Abbreviation in the novel
is much longer and includes Vic and his family, Jub (the writer/director)
and I felt the essence of the story was Vic and his rst encounter with a
girl.
When thinking of beautiful imagery and a gorgeous beach location -
Broome was the obvious answer. We shot the lm at Gantheaume Point
just up from Cable Beach. Jub and I were adamant that Abbreviation had
to look and feel like Broome - there arent beaches like those in Broome
anywhere else in Australia. Broome has this amazing red dirt and vivid
blue water and we were keen to portray that in all its beauty. Being a
Yawuru woman from the Broome area, it was signicant for Jub to tell
this story in her own country.
Jub and I were lucky enough to attract Geoffrey Simpson to DOP the lm.
Geoffrey is the best! He is an incredibly lovely man and amazingly
talented. Having Geoffreys eye capturing Vic and Melanies rst
encounter on the Broome beach was a critical factor in creating this lm.
From the beginning Jub wrote the screenplay with Joseph Pedley in mind
for Vic. Jub had previously worked with Joseph on Satellite Boy (Casting
Director and Associate Producer) where she cast him to play one of the
two young leads. Casting Melanie was more difcult; Melanie needed to
be a memorable yet tragic character. Jub auditioned several girls and we
ultimately found our Melanie in newcomer Cheyanne Pearce.
We shot for two days in May - the perfect time to lm in Broome (and
leave cold and wet Perth). It was a great shoot.
- Liz Kearney
!"#$%&'
Growing up in Western Australia means that Tim Winton quickly becomes
a familiar name. It means youve read his books, watched the lms and
heard his name in passing regularly. So, as an emerging producer it was a
rare opportunity to collaborate with some of Australias best-known
lmmakers and actors, and bring another of his stories to the screen, right
here in Western Australia.
Across the feature, as we followed a series of seemingly unremarkable
characters on the verge of personal turning points in their life, I had my
own turning of sorts. My journey was a challenging, surprising and an
awakening experience, often faced in remote countryside on shoestring
budgets but never alone and always in good company.
For Aquifer we found a wilderness haven in Karrinyup Wetlands, an
extraordinarily evocative location, and trudged through wild country and
wetlands within range of the CBD. As a result, Aquifer truly is a powerful
screen adaptation, which is a genuine reection of the passion and
commitment from the team. I feel proud and privileged to have worked
along side not only some of the loveliest, but also some of the most
insightful, creative and professional practitioners in our industry.
- Tenille Kennedy
(!)!*&( *,,(-
This was an exciting segment to be involved with and a shoot that
embraced the limitations of available resources to pack the story into a
contained and multi-layered form.
The segment benets from fabulous work from the Production Designer
and Costume Designer to create a period setting of 1977 and we were
indebted to the amazing contribution of Elwood College and
Sandringham High School.
The writing process was fascinating, always coming back to the story, the
original work, what it offered, what it spoke of, what form seemed to
be suggested. And after a false start writing a script that took the focus
of Adult Vics perspective, we were drawn back again to the power of
Tim Wintons story taking us through multiple points of view. Hence the
split screen narrative.
To enhance Young Vics perspective, photography was used as a device
to accentuate Vics obsession with Strawberry Alison, an addition to the
detail in the novel.
The story is an impressionistic reection on the past with objects and
photographs as the connection between past and present, these
invisible connections we all have with our own pasts, through objects
around us, connections that only truly exist in the mind not in the
objects themselves.
- Anthony Lucas & Maggie Miles
-)!.. )&'/$&-
Small Mercies was the rst chapter lmed so it was a pretty thrilling start
for us. Once the script was locked off, Rhys and I gathered together a
team of close collaborators, most of whom we had worked with before.
Everybody contributed very generously to spend the week away with us
at Kilcunda, on the Victorian Bass Coast. The local community was really
welcoming of our crew and cast and we quickly made ourselves at
home. The weather in that week of August was fantastic visually for our
story, but was at times a real challenge for our actors and crew out in
the elements with sideways hail thundering down during the summer
ashbacks scenes!
The small team of just over 20 was a wonderful lm family and the
production itself has been a great success. Our edit period stretched over
a few months as we completed other projects, but overall the
post-production has also been a very rewarding process, in particular
working with Editor Natasha Gadd and Composers Flynn Wheeler and
Christopher OYoung to bring the nal work together.
- Philippa Campey
,0 1&' 20&&-
Ashlee and I have worked together before on The Kiss and so it was easy
for us to hit the ground running. Ashlees rst job was to adapt the
script and this was a challenge. Not a great deal happens in our story;
rather it is what remains unsaid that has meaning, so it was about
making the small things matter. Ashlee toyed with the idea of making
Vic a female character, but after discussions with Robert Connolly and
Maggie Miles we decided to keep Vic a male. From here Ashlee was
able to create dialogue that was energetic and revealed the bond
between mother and son.
Even though I now live in Sydney, lming in Adelaide was a natural
choice as we have many relationships and networks already built in
Adelaide for us to draw upon. We gathered together all our favourite
crew from Adelaide and so it felt more like a reunion than work. One of
our main actors, Harrison Gilbertson also lived in Adelaide.
Finding locations proved difcult, as we needed to nd a house that
looked a million dollars, but that we could afford on a modest
budget. Fortunately we found a very generous family who opened their
doors to their gorgeous house and let us take it over for lming. They
had second thoughts on the rst day of lming as they realised the
magnitude of having a full lm crew in their house, but we were as
respectful and careful as we could be, and when it was all over, they
admitted they had a good experience. Phew!
- Sonya Humphrey
/,/2.&-1&..
We shot Cockleshell in just three days. At rst we thought wed need to
travel out of town to nd the kind of quiet, sleepy location we had in
mind and we were astounded when our fabulous location scout Hugo
Cran came back to us with images of Avalon Beach, which is just 40
minutes from Melbourne. Apparently they are quite used to having
lms shot in the tiny town - Mad Max was shot there in the late 70s.
When it came to writers, Tony Ayres was really excited about working
with Marcel Dorney. Marcel has a strong history of writing for the
theatre. Tony felt the beautiful poetic quality of Marcels writing would
be a great t for Cockleshell. As it turned out, Marcel was a fantastic part
of the whole shoot. He came down and volunteered as a crew member as
he was keen to see the script come to life. It really was that sort of shoot
everyone got involved and helped out where they could.
The biggest day of the shoot was the day we burned the house down.
Most of this was done in post, but we did need to have ame bars and
smoke on set. It took hours of preparation to set up and it was the only
day of the shoot that there was rain! Once we were on set and actually
shooting, Tony Ayres, our director, was laughing saying it took half our
pre production to set up this shot, and its only going to be on screen for
15 seconds. Sometimes production is like that.
In terms of casting our leads it was so exciting when we found Brenna
Harding (Agnes) and Toby Wallace (Brakey). Tony Ayres was looking for
the fragility of the moment in time just as someone is becoming aware of
their sexuality. Brenna and Toby captured this perfectly. As they were both
interstate before the shoot we did not get to see them together until the
rst read. Thats always a risk when a lm is so reliant on chemistry
between two actors but they are such fabulous talent that they clicked
right away.
- Julie Eckersley
31& 3#'0$0*
What a runaway train! For a shoestring budget this chapter packed a lot
in. Amazingly, the incredible Rose Byrne had always wanted to play the
role of Rae in this, the title chapter of Tim Wintons vast novel. Having
been interested in this particular chapter for years, when Rose Byrne heard
about Robert Connollys brazen adaptation of the work, she was keen to
be involved. What a gift. Add to this the power and professional
dedication of Miranda Otto and Matt Nable and The Turning (chapter)
was set to pack a punch.
Claire McCarthy sensitively navigated a wealth of creative energy and
passion and hand-in-hand with DOP Denson Baker ACS, meticulously
prepared for what was a jam-packed shoot expertly run by Mark Boskell.
The crew were amazing and the cast tireless. In a demanding role and
through an unrelenting schedule Rose Byrne delivered a completely
immersed and wonderfully targeted performance. She was truly amazing.
The entire crew rose to the high standard of work the actors brought and
worked as a very cohesive unit in a very no-frills environment.
- Maggie Miles
-!0(
Many of Tim Wintons stories are about exploring relationships between
family and community. And certainly within the Aboriginal and Torres
Strait Islander community, when you meet someone a conversation usually
starts out with: who you are; where are you from; and, whos your family.
This conversation usually goes on until a connection is made either by you
both nding someone in common that you know, or as sometimes
happens, you nd out youre related!
During the production of Sand this happened with the two brothers
Jarli-Russell and Jakory - and the actor who played their father
Waangenga. As it turned out Waangenga was actually the cousin of the
two boys, and hadnt met them before. So during the shoot of Sand not
only did the boys get to meet their older cousin but they also spent the
week with him, hanging out between takes in the sand dunes of Cronulla.
Stephen often talks about the spirit of a story, and perhaps the spirit of
Sand is born from the spirit of this family connection being made once
more.
- John Harvey
%!)$.4
Five years ago I was Development Manager at Arenamedia when
we optioned Tim Wintons stunning novel, THE TURNING. What struck
then, and remains so powerful about Wintons work, is his ability to
capture both extraordinary and everyday moments that change lives.
Family embodies this throughline, and in the process of brainstorming
possible directors for the project, it seemed like the perfect t for one of
Australias most acclaimed visual artists, Shaun Gladwell.
I was familiar with Shauns seminal work, Storm Sequence, but also had a
more personal connection to him via my father in law, James Strong.
James who had come to know Shaun as an artist at the Venice Biennale
- spoke often about Shauns work and his passion for feats of physical
endurance. He sounded like the right director to sensitively render this
fraught and visceral story about the Leaper brothers. When
I arranged to meet Shaun for a coffee to discuss the lm, I was instantly
struck by his connection to Wintons work; that he regarded him as one of
the stars in the constellation of his inspirations sealed the deal.
With both Director Shaun and Writer Emily Ballou based in the UK, the
process of making Family was a complex one involving multiple script
Skype sessions, location recces done via endless emails and meetings with
crew members on the other side of the world. Emilys poetic interpretation
both complimented Shauns arresting visual style and created a fantastic
vehicle for two incredible actors. The addition of the supreme talents of
Wayne Blair as Max (who managed to t our shoot around some seriously
competing obligations for his feature lm The Sapphires) and Meyne
Wyatt as Frank (who also managed to t our shoot around some
Shakepearean theatre obligations) completed a sensational creative team.
Recreating night football matches with a 70,000 strong crowd, surng
sequences with inexperienced surfers, replicating a shark attack, some very
inclement weather, four different beach locations for one shot and very
early mornings were just a part of the experience of the ambitious shoot.
It is testament to the fantastic cast and crew that we were able to pull it
off in such stunning fashion. Sadly, my father in law passed away before
seeing the completed lm. He would have loved it. And so the lm is for
James - a very special part of our Family.
- Katherine Slattery
.,0*5 /.&!' 6$&7
I produced two chapters of THE TURNING and they couldnt have been
more different. Long, Clear View was a long labour of love that Mia and I
were talking about and collaborating on for what felt like years. It was
touch and go about whether she would have time to do it but I am so
glad we made it happen. I didnt know Mia at all, but we have formed a
strong bond and hope to work together again soon. Something about her
causes me to behave very badly and be very mischievous, which often gets
me into trouble. Amazeballs was a childish phrase we used constantly and
has now embarrassingly become part of my vernacular. We were very
lucky to have the most dedicated, chilled out crew. We decided to call it
our art project because calling it a lm made it sound too scary.
Whenever a situation was getting too serious we would cry, But its an art
project! It will be ne! It meant we didnt need to worry about
continuity. Mias mum and brother were on the shoot taking stills and
behind the scenes footage, my mum was an extra on one day (but sadly
she hit the cutting room oor) it was a family affair. We couldnt have
been luckier with our crew and cast. They were just amazeballs.
The sweetest story is about the house we lmed in. Kevin grew up in that
house and had recently put his mum in a nursing home and was preparing
the property for sale. It was the last bro shack on the street in a long line
of imposing McMansions. He was very happy we were lming there
documenting his childhood home. I hope we have done it proud, that
little bit of Sydney that will no doubt soon be history.
- Kath Shelper
'&#0$,0
Whilst not quite on the scale of Russian Ark, Reunion is notable because
each of the three scenes is shot in only one take. This approach from
director Simon Stone meant that each scene had to be carefully
choreographed and each frame precisely composed prior to shooting.
For this was a lm that could only be collated, not created, in the edit
suite.
The one-take approach meant the camera was engaged in a constant and
intimate dance with the actors. We were fortunate to have Andrew
Lesnie ACS as our DOP and he, his camera team and a cast of many grips
devised the paths and built the tracks, cranes and rigs that ultimately
allowed Simons vision to be realised.
This fundamental choice of style constrained others but the uidity of
the action that the one-take approach ensured compensated for this and
the fact that each scene took place in real time led to a hyperrealism in
the characters interaction.
The naked naturalism of the performance style was enhanced by the
actors familiarity with each other. Cate and Rox appeared together in
one of the earliest lms of both of their careers, Thank God He Met
Lizzie, and just prior to Reunions shoot had recently returned from a
triumphant season of Uncle Vanya in New York; Robyn had directed
Cate in her rst appearance on the New York stage with her memorable
turn as the eponymous Hedda Gabler prior to mentoring her into the
role of STC co-Artistic Director and Cate and Reunion adaptor Andrew
Upton had both individually directed Robyn in star turns in other STC
productions.
- Jo Dyer
/,))$--$,0
So for months wed known that Commission would be lmed 4.5 hours
north east of Perth on the vast, remote Mount Gibson Station. Tim
Winton had accompanied writer/director David Wenham on a location
survey out to Mount Gibson, introducing David to the team there and
immediately David knew that this was an ideal place to lm the chapter.
We knew that we had an amazing creative team, with a small cast led by
veteran Hugo Weaving and that in such an incredible visual landscape, to
be shot by Andrew Commis, it was pulling the logistics together that
would be our biggest challenge.
David Wenham chose six spots at which to lm, spread right across the
property which spans 130,500 ha, all dirt roads. It was to be a 70%
exterior shoot in the dust and the heat.
Months of planning went into establishing a set-up on Mount Gibson
that could support the crew. Ecologists run surveys on the property and
so there was a level of existing infrastructure that made this feasible,
but it wasnt enough to house us all.
Caravans werent an option so we supplemented the existing facilities
with tents.
This is an arid landscape and it doesnt rain in December. Not usually.
Driving up to Mount Gibson just a few days prior, I drove through
twenty minutes of rain, so torrential that I slowed to 20kms an hour for
about 20 minutes. Unseasonal the locals called it. I was mildly terried.
We were based half an hour into the property, along dirt roads, there
was no mobile phone coverage and the two-way-radios didnt reach
from one area to the next. Wi-Fi whats that? The night before the
shoot the catering truck and caterer didnt arrive broken down
halfway between Perth and Mount Gibson not that we knew this at
the time - so we raided the geologists supplies and sent out a search
party. After a make-shift dinner the main generator that powered the
station went down and on the way to x it my vehicle copped a at tyre
and the rain started falling.
The chaos continued the caterer was rescued and we embraced the
madness in challenging yet exciting conditions that galvanized the team
always knowing that at the centre of this logistical madness was a
dedicated director totally thriving on working with two great actors to
create a powerful human drama.
- Maggie Miles
%,*
We were in the early stages of planning for Fog. Set to lm in Western
Australia on a modest budget. I was hoping wed nd locations in and
around Perth. I guess I hadnt realised quite how much fog Director
Jonathan auf der Heide actually wanted or how huge a mountain. Not
being familiar with the WA environment we asked Tim Winton to
recommend a spot where wed get a mountainous landscape - with
fog. Tim Winton was generous with his knowledge of WA locations to
all the chapters of THE TURNING and gave us some terric advice. The
actual chapter in the book was set around Bluff Knoll in the Stirling
Ranges, about an hour inland from the coastal hub of Albany. Jonathan
visited Bluff Knoll with our 2nd Unit Camera to get some foggy
mountain shots before winter ended and was captivated. Before I knew
it, we were planning an away shoot, ve hours out of Perth, 100%
exteriors, in National Parks and with barely enough accommodation to
contain us. We found fog and also created our own, working closely
with the rangers from Parks and Wildlife who were able to let the locals
know that the smoke they could see coming from their stunning
mountain was not from a bush re! We received some heartfelt and
generous support for this lm from the local community and had a
great adventure lming Fog on what is commonly referred to as the
highest point in the West - it was amazing!
- Maggie Miles
8,0&' )9:1!'.$0;- ),..
With a two-page blue print, a skeleton crew, some of the last cans of
16mm to be processed in Australia and a dozen locals cast at the pub,
we set about creating the myth of Boner McPharlin on the banks of
the Murray River. Director Justin Kurzels vision for Tim Wintons
chapter was to create intertwining cinematic portraits of real people
recounting both true and ctionalised accounts of Boner. In the
townships of Blanchetown, Cobdogla and Waikerie we shot at far
ranging locations from a speedway to a boat on the Murray River, and
were supported by some fantastic Riverland locals who provided their
stories, faces and local knowledge to help bring the haunting legacy
of Boner McPharlin to life. The other hero in our chapter, Boners old
HT panel van, also proved to be one of the rollercoaster rides of the
shoot. Discovered during our recce at Tanunda Holden Day and driven
along the cliff lines overlooking Blanchetown, a bolt from the
alternator decided to y loose midway through our sunset hero shot
(of course!) making the vehicle undriveable. With the nearest
mechanic an hour and a half away, and all heads under the bonnet,
Grip Mike Smith saved the day with a makeshift bolt and was
rewarded with the much-coveted, mirrored-wall, deluxe suite at the
caravan park. Although a long way from its original setting of coastal
Western Australia, this unique pocket of South Australia and its cast of
locals have brought to life the world and legend of Boner McPharlin.
- Sarah Shaw
$))#0$34
Immunity was lmed at the Judith Wright Centre of Contemporary Arts
in Brisbane during January 2013. Directed by Circas Artistic Director
Yaron Lifschitz and performed by Circas ensemble of acrobats.
The challenge of combining Circas improvisation based acrobatics and
lm was dealt with by shooting with four cameras to gain as much
continuity and coverage as possible during a single take. The cameras
were positioned on dollies, which followed a custom built guide track
circling the performers for uid and evolving movement.
During takes various music was played to inspire the movement qualities
of the acrobats sometimes producing surprising results - one of the
shots in the nal cut has lead actress Kimberley Rossi with a cheeky smile
on her face as a reaction to the track you sexy thing being played as
she performed.
Working within such a unique environment meant for a very rewarding
shoot for all involved.
- Alex Barnes and Ben Knapton
(&%&0(&'
We shot Defender in and around Perth over New Years 2013. It was in the
middle of a record hot spell in WA, which meant it was almost impossible
to function properly. We did a recce out to a shooting range on New
Years Eve and it was about 46 degrees. Director Ian Meadows, our
Cinematographer John Brawley and I walked out into the scrub and
harsh sunlight for about four minutes and nearly lost our minds. It was
like a furnace. We put aside a chunk of our modest budget for provision
of icy-poles for cast and crew during the shoot.
Working with guns throughout Defender was another big challenge. We
were shooting both cameras and guns and couldnt mix up one with the
other! Co-Producer Rose Grandile-Pizzi tracked down local pro-shooter
Denise Page who generously allowed us to use a precious heritage
shotgun as Fenns family heirloom. Through Denises connections we also
got an old-fashioned clay target thrower for the scenes on the lawn. We
red 30 blanks over two days at that location in Guildford and I think the
neighbours were glad when we nished.
In the last few hours of the shoot we went to the Whiteman Park
Shooting Complex to try our luck on getting footage of live bullets and
clay targets connecting. Peter Pierre and a few other club members gave
Dan Wyllie a quick lesson on shooting at moving targets. We were losing
light and we really needed the shots to capture those key moments in the
script. We had two cameras running. The whole team was really
nervous. Dan was amazing though, staying in character and still hitting
about 60% of the targets. A great effort by the whole team and an
exhilarating way to nish the shoot.
- Rita Walsh
!-1 7&(0&-(!4
Ash Wednesday is a stop motion sand animation, directed/written and
animated by Marieka Walsh and inspired by the T.S. Eliot poem of the
same name.
An excerpt from Eliots piece appears at the beginning of the book and
our brief was to create a short lm using words from the original poem
combined with imagery that reected an essence of place and the stories
within The Turning.
Because I know that time is only time, and place is only and ever place.
Throughout THE TURNING, characters experience the same place, time,
and events very differently. With this in mind, we chose to focus on the
graduation bonre at Massacre Point; a crossover event in the novel
where each character experienced or reected on the night in profoundly
separate ways. Though separate, the characters share a strong sense of
loss, longing and loneliness. By contrasting the youth of the teenagers at
the bonre and age of the narrator we hoped to create the intangible
feeling of memory that is also very prominent within THE TURNING.
The process of creating a stop motion sand animation, even a very short
one, is extremely time-consuming and our production spanned two
months with Marieka working day and night. Stop motion sand
animation is created by moving sand on a glass light box and capturing
these frame by-frame movements on a stills camera. The sand is lit from
beneath using a light box and the tonal range of the image is controlled
by the density and layering of sand. Tiny paintbrushes and hand-made
tools are used to gently manipulate the image by pushing grains of sand
into formation.
The production was very privileged to have Colin Friels lend his voice to
the animation, his gravelly timbre giving weight and life to Eliots words.
As an actor Colin is extraordinarily powerful, and at the same time, very
humble and collaborative. We are also very grateful to our very talented,
generous, and hardworking crew, who were all a joy to work with.
- Donna Chang
CREATED BY
Robert Connolly
BASED ON THE BOOK
THE TURNING BY
Tim Winton
PRODUCERS
Robert Connolly
Maggie Miles
EXECUTIVE PRODUCERS
Andrew Myer
Paul Wiegard
CASTING CONSULTANT
Jane Norris CSA
Mullinars Casting
EDITOR
Andy Canny
TITLES DESIGN
Donna McCrum Plus Films
SOUND SUPERVISOR
Paul Pirola
SOUND MIX
Doron Kipen
PRODUCTION COORDINATOR
Chlo Brugal
TECHNICAL COORDINATOR
Fahim Ahad
PRODUCTION ACCOUNTANT
Kate Murphy
!-1 7&(0&-(!4
WRITER, DIRECTOR AND
ANIMATOR
Marieka Walsh
PRODUCER
Donna Chang
NARRATOR
Colin Friels
Based on the poem Ash
Wednesday by T.S. Eliot
Music composted, arranged and
recorded by Elliott Wheeler
Produced by
STUDIO BALLOON
8$* 7,'.(
WRITER AND DIRECTOR
Warwick Thornton
PRODUCER
Kath Shelper
DAVO
James Fraser
BIGGIE
Henri Phillips
MEG
Nikita Leigh-Pritchard
NARRATORS
James Fraser
Tim Winton
DIRECTOR OF PHOTOGRAPHY
Warwick Thornton
FIRST ASSISTANT CAMERA
Drew English
EDITOR
Roland Gallois ASE
COMPOSER
Andrew Lancaster
SOUND DESIGNER
AND MIX
Liam Egan
PRODUCTION MANAGER
Anthea Hodge
CASTING
Anousha Zarkesh
Produced by
SCARLETT PICTURES
!88'&6$!3$,0
WRITER AND DIRECTOR
Jub Clerc
PRODUCER
Liz Kearney
VIC LANG
Joseph Pedley
MELANIE
Cheyanne Pearce
DIRECTOR OF
PHOTOGRAPHY
Geoffrey Simpson ACS
PRODUCTION DESIGNER
Louise Brady
COSTUME DESIGNER
Marcia Ball
SOUND RECORDIST
Trevor Hope
EDITOR
Merlin Cornish
COMPOSER
Robert Woods
SOUND DESIGNER
AND MIX
Ric Curtin
1ST ASSISTANT DIRECTOR
Stuart Morrice
PRODUCTION MANAGER
Sue Italiano
STILLS PHOTOGRAPHER
Michael Torres
Produced by
8th IN LINE PRODUCTIONS
!"#$%&'
DIRECTOR
Robert Connolly
WRITER
Justin Monjo
PRODUCERS
Maggie Miles
Tenille Kennedy
DAVID WILSON
Callan Mulvey
YOUNG DAVID
Alex Bryans
ALAN MANNERING
Gwy McKenna
ALANS FRIENDS
Chad Smith
Brooklyn Bathurst
DAVIDS WIFE
Talei Howell-Price
DIRECTOR OF PHOTOGRAPHY
Denson Baker ACS
PRODUCTION DESIGNER
Clayton Jauncey
COSTUME DESIGNER
Danielle Miller
MAKE-UP ARTIST
Karen Sims
SOUND RECORDIST
Scott Montgomery
EDITOR
Andy Canny
COMPOSER
Stephen Rae
SOUND DESIGNER
Tom Heuzenroeder
SOUND MIX
Paul Pirola
1ST ASSISTANT
DIRECTOR
John Fairhead
PRODUCTION MANAGER
Tenille Kennedy
STILLS PHOTOGRAPHER
Jane Bennett
Produced by
ARENAMEDIA
(!)!*&( *,,(-
DIRECTOR
Anthony Lucas
WRITER
Kris Mrksa
PRODUCERS
Anthony Lucas
Maggie Miles
GAIL LANG
Libby Tanner
VIC LANG
Dougie Baldwin
STRAWBERRY ALISON
Taylor Ferguson
ROBERTA
Monique Fisher
JACK
Jake Fehily
LIBRARIAN
Matt Green
DIRECTOR OF PHOTOGRAPHY
Jody Muston
SECOND CAMERA OPERATOR
Sky Davies
PRODUCTION DESIGNER
Annette Ringrose
COSTUME DESIGNER
Oriana Merullo
MAKE-UP AND
HAIR DESIGNER
Olivia Still
SOUND RECORDIST
Aaron DArcy
EDITOR
Annabelle Johnson
COMPOSER
Cameron Patrick
SOUND DESIGNER
Peter Palankay
SOUND MIX
Doron Kipen
1ST ASSISTANT DIRECTOR
Josie Steele
STILLS PHOTOGRAPHER
Carl Warner
Produced by
ARENAMEDIA
-)!.. )&'/$&-
WRITER AND DIRECTOR
Rhys Graham
PRODUCER
Philippa Campey
PETER DYSON
Oscar Redding
FAY KEENAN
Mirrah Foulkes
RICKY DYSON
Finn Woodlock
MARJORIE
Carol Burns
DON
Dennis Coard
SKY
Francesca Magree
TEENAGE PETER
Harry Boland
TEENAGE FAY
Madeline Ferme
PETERS WIFE
Jasmine Knox
DIRECTOR OF PHOTOGRAPHY
Stefan Duscio
PRODUCTION AND COSTUME
DESIGNER
Zohie Castellano
MAKE-UP AND
HAIR ARTIST
Jos Prez
SOUND RECORDIST
Steven Bond
EDITOR
Natasha Gadd
SOUND DESIGNER
AND MIX
Robert Mackenzie
1ST ASSISTANT DIRECTOR
Greg Spiller
PRODUCTION MANAGER
Andrea Distefano
STILLS PHOTOGRAPHERS
Rhys Graham
Natasha Gadd
Original music written
and performed by
Christopher OYoung and Flynn
Wheeler
Produced by
FILM CAMP
,0 1&' 20&&-
WRITER AND DIRECTOR
Ashlee Page
PRODUCER
Sonya Humphrey
CAROL LANG
Susie Porter
VIC LANG
Harrison Gilbertson
DIRECTOR OF
PHOTOGRAPHY
Miles Rowland
PRODUCTION DESIGNER
Tony Cronin
COSTUME DESIGNER
Gigi DAngelo
MAKE-UP ARTIST
Jen Rossiter
SOUND RECORDIST
James Currie
EDITOR
Geoff Hitchins
COMPOSER
Michael Darren
SOUND DESIGN AND MIX
Tom Heuzenroeder
1ST ASSISTANT DIRECTOR
Vicki Sugars
STILLS PHOTOGRAPHER
Sam Oster
Produced by SACRED COW FILMS
/,/2.&-1&..
DIRECTOR
Tony Ayres
WRITER
Marcel Dorney
PRODUCER
Julie Eckersley
AGNES LARWOOD
Brenna Harding
BRAKEY
Toby Wallace
BRAKEYS MUM
Elise McCredie
MRS LARWOOD
Peta Brady
MR LARWOOD
Paul Ireland
DIRECTOR OF PHOTOGRAPHY
Germain McMicking
PRODUCTION DESIGNER
Leon Salom
COSTUME DESIGNER
Alison Ross
MAKE-UP ARTIST
Erica Wells
SOUND RECORDIST
Lynne Butler
EDITOR
Julie-Anne de Ruvo
COMPOSER
Iain Grandage
SOUND DESIGNER
Erin McKimm
SOUND MIX
Andrew McGrath
1ST ASSISTANT
DIRECTOR
John Magee
PRODUCTION MANAGER
Kate Thompson
STILLS PHOTOGRAPHER
Sarah Enticknap
Produced by
MATCHBOX PICTURES
31& 3#'0$0*
WRITER AND DIRECTOR
Claire McCarthy
PRODUCERS
Maggie Miles
Sue Italiano
RAE
Rose Byrne
SHERRY
Miranda Otto
MAX
Matt Nable
DAN
Myles Pollard
BRITTANY
Brittany Hibbert
LILY
Lily Parker
JESUS
Renato Fabretti
DIRECTOR OF PHOTOGRAPHY
Denson Baker ACS
PRODUCTION DESIGNER
Clayton Jauncey
COSTUME DESIGNER
Sarah Jameson
MAKE-UP AND
HAIR DESIGNER
Peta Hastings
SOUND RECORDIST
Scott Montgomery
EDITOR
Beckett Broda
COMPOSER
Michael Yezerski
SOUND DESINGER
Andrew Plain
SOUND MIX
Pete Purcell
1ST ASSISTANT DIRECTOR
Mark Boskell
STILLS PHOTOGRAPHER
David Dare Parker
Produced by SAVAGE FILMS
-!0(
DIRECTOR
Stephen Page
WRITER
Justin Monjo
PRODUCER
John Harvey
LINE PRODUCER
Belinda Mravicic
FRANK
Jakory Blanco
MAX
Jarli-Russell Blanco
DAD
Waangenga Blanco
DADS BROTHER
Kirk Page
DADS COUSIN BROTHER
Denis Thorne
ANOTHER BROTHER
Tyson Birtles
DIRECTOR OF PHOTOGRAPHY
Bonnie Elliott
PRODUCTION DESIGNER
Jacob Nash
COSTUME DESIGNER
Luke Ede
SOUND RECORDIST
Philip Myers
EDITOR
Rochelle Oshlack
COMPOSER & SOUND
DESIGNER
Guy Gross
ADDITIONAL SOUND
DESIGN AND MIX
Paul Pirola
1ST ASSISTANT DIRECTOR
Tom Read
STILLS PHOTOGRAPHER
Heidrun Lohr
Produced by
BROWN CAB PRODUCTIONS
In association with
BANGARRA DANCE THEATRE
%!)$.4
DIRECTOR
Shaun Gladwell
WRITER
Emily Ballou
PRODUCER
Katherine Slattery
FRANK
Meyne Wyatt
MAX
Wayne Blair
DIRECTOR OF PHOTOGRAPHY
Jeremy Rouse
PRODUCTION DESIGNER
Elizabeth Mary Moore
COSTUME DESIGNER
Wendy Cork
SOUND RECORDIST
Daniel Miau
EDITOR
Jesse Watt
COMPOSER
Kazumichi Grime
SOUND DESIGNER
Emma Bortignon
SOUND MIX
Simon Rosenberg
1ST ASSISTANT
DIRECTOR
Richard McGrath
PRODUCTION MANAGER
Cathy Flannery
STILLS PHOTOGRAPHER
Katie Kaars
Produced by
LITTLE WINDOW PICTURES
.,0*5 /.&!' 6$&7
WRITER AND
DIRECTOR
Mia Wasikowska
PRODUCER
Kath Shelper
VIC LANG
Matthew Shanley
NARRATOR
Julie Rigg
PREACHER
James Saunders
CAROL LANG
Di Adams
STRAWBERRY ALISON
Marika Teledzinska
ALISONS TENNIS
PARTNER
Amanda Bran
DIRECTOR OF PHOTOGRAPHY
Stefan Duscio
PRODUCTION DESIGNER
Annie Beauchamp
COSTUME DESIGNER
Shareen Beringer
SOUND RECORDIST
Paul Finlay
EDITOR
Mat Evans
1ST ASSISTANT DIRECTOR
Emma Schoeld
PRODUCTION MANAGER
Anthea Hodge
STILL PHOTOGRAPHERS
Marzena Wasikowska
Kai Wasikowski
CASTING
Anousha Zarkesh
Jazz Suite No.2 (Waltz No.2)
(Shostakovich) by Berlin Radio
Symphony, Steven Sloane
Boosey & Hawkes Music Publishers
Ltd, an Imagem company and
Capriccio ABC News Theme
(Armiger) (ABC Music/Mushroom
Music)
Produced by SCARLETT PICTURES
'&#0$,0
DIRECTOR
Simon Stone
WRITER
Andrew Upton
PRODUCER
Jo Dyer
GAIL LANG
Cate Blanchett
VIC LANG
Richard Roxburgh
CAROL LANG
Robyn Nevin
DIRECTOR OF PHOTOGRAPHY
Andrew Lesnie ACS ASC
PRODUCTION & COSTUME
DESIGNER
Alice Babidge
MAKE-UP AND
HAIR ARTIST
Lynne OBrien
SOUND RECORDIST
Tim Lloyd
EDITOR
Dany Cooper ASE
SOUND DESIGNER
Andrew Plain
SOUND MIX
Peter Purcell
1ST ASSISTANT DIRECTOR
Vicki Sugars
PRODUCTION MANAGER
Cathy Flannery
STILLS PHOTOGRAPHER
Lisa Tomasetti
Produced by DIRTY FILMS and SOFT
TREAD ENTERPRISES
/,))$--$,0
WRITER AND DIRECTOR
David Wenham
PRODUCER
Maggie Miles
CO-PRODUCER
Tenille Kennedy
PRODUCER INTERN
Margaret Buswell
BOB LANG
Hugo Weaving
VIC LANG
Josh McConville
DIRECTOR OF
PHOTOGRAPHY
Andrew Commis ACS
PRODUCTION
DESIGNER
Clayton Jauncey
COSTUME DESIGNER
Jennifer Irwin
MAKE-UP ARTIST
Karen Sims
SOUND RECORDIST
Jason North
EDITOR
Nick Meyers
COMPOSER
Steve Nieve
SOUND DESIGNER
Brooke Trezise
SOUND MIX
Andy Wright
1ST ASSISTANT DIRECTOR
John Fairhead
STILLS PHOTOGRAPHERS
David Dare Parker
Jane Bennett
Produced by
ARENAMEDIA
%,*
WRITER AND DIRECTOR
Jonathan auf der Heide
PRODUCER
Maggie Miles
CO-PRODUCER
Tenille Kennedy
BOB LANG
Dean Daley-Jones
MARIE
Eva Lazzaro
MACKLIN
Igor Sas
CORRUPT COP
Lee Jankowski
HIKER
Sam Turton
DIRECTOR OF
PHOTOGRAPHY
Ellery Ryan ACS
PRODUCTION DESIGNER
Murray Edwards
COSTUME DESIGNER AND PROPS
Brooke Silcox
MAKE-UP ARTIST
Karen Sims
SOUND RECORDIST
Jason North
EDITOR
Billy Browne
COMPOSER
Jethro Woodward
SOUND DESIGNER
Peter Palankay
SOUND MIX
Doron Kipen
1ST ASSISTANT DIRECTOR
John Fairhead
STILLS PHOTOGRAPHER
Jane Bennett
Produced by SAVAGE FILMS
8,0&' )9:1!'.$0;-
),..
WRITER AND DIRECTOR
Justin Kurzel
PRODUCERS
Sarah Shaw
Anna McLeish
FEATURING
Louise Harris, Corey Knoblauch,
Craig Nielsen, Angela McCann,
Paige Goldsack Gwynne, Rob
Wacka Stevens, Ian Neal, Sonya
Lawson, Hat Fitz
DIRECTOR OF PHOTOGRAPHY
Andrew Commis ACS
SOUND
RECORDIST
Will Sheridan
EDITOR
Michael J Lutman
ORIGINAL MUSIC
Hat Fitz
SOUND DESIGNER
Frank Lipson
SOUND MIX
Andrew McGrath
1ST ASSISTANT
DIRECTOR
Travis Kalendra
STILLS
PHOTOGRAPHER
Ben King
CASTING
Allison Meadows
Mullinars Casting
Produced by
WARP FILMS AUSTRALIA
$))#0$34
DIRECTOR
Yaron Lifschitz
WRITER
Circa Contemporary Circus
PRODUCERS
Ben Knapton
Alex Barnes
GIRL
Kimberley Rossi
VIC LANG
Casey Douglas
ENSEMBLE
Nathan Boyle, Jessica Connell,
Daniel Crisp, Robbie Curtis, Freyja
Edney, Scott Grove, Todd Kilby,
Alice Muntz, Brittannie Portelli
DIRECTOR OF
PHOTOGRAPHY
Robert Humphreys ACS
TECHNICAL DIRECTOR
Jason Organ
COSTUME DESIGNER
Libby McDonnell
MAKE-UP ARTIST
Vicki Sands
SOUND RECORDIST
Chris McCallum
EDITOR
Geoffrey Lamb
COMPOSER
Ryan Walsh
SOUND MIX
Ross Batten
1ST ASSISTANT
DIRECTOR
Darwin Brooks
PRODUCTION MANAGER
Justin Morrissey
STILLS PHOTOGRAPHER
Vince Valitutti
Produced by CIRCA
CONTEMPORARY CIRCUS
(&%&0(&'
WRITER AND DIRECTOR
Ian Meadows
PRODUCER
Rita Walsh
CO-PRODUCER
Rose Grandile-Pizzi
EXECUTIVE PRODUCERS
Sarah Shaw
Anna McLeish
VIC LANG
Dan Wyllie
GAIL LANG
Kate Mulvany
FENN
Gibson Nolte
DAISY
Renee Newman-Storen
EMMY
Maddison Byeld
DIRECTOR OF
PHOTOGRAPHY
John Brawley
PRODUCTION DESIGNER
Emma Fletcher
COSTUME DESIGNER
Brooke Silcox
MAKE-UP ARTIST AND
SFX MAKE-UP
Karen Sims
SOUND RECORDIST
Trevor Hope
EDITOR
Gabe Dowrick
ORIGINAL MUSIC BY
Steve Francis
after Leontovych
SOUND DESIGNER AND MIX
Chris Goodes
1ST ASSISTANT DIRECTOR
John Fairhead
STILLS PHOTOGRAPHER
Luke Martin
Produced by WARP FILMS
AUSTRALIA
31& 3#'0$0*
%&!3#'&
CASTING ASSOCIATE
Emma Dockery Mullinars Casting
PRODUCER INTERN
John Harvey
PRODUCTION ASSISTANTS
Rebecca Gallagher
Emily Mornane
CREATIVE WRITING SERVICES
Keir Wilkins
Indigenous Production Placement
supported by Film Victoria
Indigenous Producer Internship
supported by Screen Australia
POST PRODUCTION SCRIPT
Reezy Miller
POST-PRODUCTION ASSISTANT
Michelle Fernandes
SOUND EDITORS
Jamie Famularo
Cameron Grant
SOUND EDITING FACILITY
Boom Tracks
MIXING STUDIO
Music & Effects
DCP AND HD MASTERING
DDP Studios Melbourne
SENIOR POST PRODUCER
Rachel McKellar-Harding
SUPERVISING COLOURIST
Brett Manson
MASTERING
George Awburn
LEGALS
Caroline Verge
Verge Whitford & Co
AUDIT
Tamara Kay
Rosenfeld, Kant & Co
COMPLETION GUARANTOR
Corrie Soeterboek
FACB
INSURANCE
Dave McEwan
H W Wood Australia
FULCRUM MEDIA
FINANCE
Sharon Menzies
Mike Adams
WITH THANKS TO
Pan MacMillan Australia
Penguin Books Australia
Ash Wednesday by T.S. Eliot
by kind permission of Faber and
Faber Limited
END CREDITS MUSIC
COMPOSER
Stephen Rae
VIOLIN
Daniel Weltlinger
CELLO
Julian Thompson
KEYBOARDS
Stephen Rae
CROTALES
Phil South
DOUBLE BASE
Jonathan Zwartz
SYNTHESIZER
Matthew Chin
GUITAR
Jak Housden
BASS
CLARINET
Peter Jenkin
MUSIC MIX
Daniel Denholm
A very special THANK YOU to all
personnel and companies
who worked across these chapters.
We acknowledge the amazing
work and dedication of each
and every crew member and
encourage everyone to view
the full chapter credits at
theturningmovie.com.au
WITH THANKS TO
Margaret Buswell, Helen
Shervington, Benedict Andrews,
Bob Cousins, Marie Maroun,
Katherine Slattery, Sandy
Stewart, Carole Sklan, Andrew
Gregory, Ruth Harley,
Tim Phillips, Veronica Gleeson,
Sue Collins, Martha Coleman,
Mark Woods, Jenni Tosi, Sue
Edwards, Cristina Pozzan,
Julianne Deeb, Ian Booth,
Defrim Isai, Ryan Hodgson,
Vikki Barr, Kate Bailey, Debra
Miller, Melissa Kelly, Emma
Cheshire, Venessa Ahad, Tine
Klint, Erica Glynn
WITH THANKS TO
The Solid State, Walter Bienz,
Danny Lachevre, Fiona OConnell,
Luna Cinemas Perth, Lee Hunter,
Paul Tonta, Gabrielle Oldaker,
Marcus Cobbledick, Michael
Matrenza, Anthony Britten, Fiona
Nix, Olivia Gourlay, Michelle
Carey, Asha Holmes, Jennifer
Naughton, Lori Chadband, Rachel
Knowles, Anthea Fell
SPECIAL THANKS TO
Tim Winton and Jenny Darling
Eric Bana, Bianca Curwood & Pick
Up Truck Pictures