august 2010THEBOOMERaNg

austRaLIaNs IN FILM

click for cONtENts aNIMaL KINgDOM | David Michod

MaO’s Last DaNcER | Bruce Beresford IaN saNDs DiES JUlY 30LachLaN BuchaNaN oN NEW ABc SHoWstEvE tRENBIRth TroUBlE DoWN UNDEr

PIcs | christmas in july salt

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THEMONth

cONtENtsFrom the President

News

Animal Kingdom

Mao’s Last Dancer

Pics | Christmas in July

Pics | SALT

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Aif EvENts |

august 17Mao’s Last Dancer at Raleigh Studios

sEPtEMBER 7Brand Nue Dae at Harmony Gold

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The BoomeraNg

editorsSusie Dobson Sophie Scarf editor@australiansinfilm.org DesignerSam Kramer

Coveranimal Kingdom | Jacki Weaver, Guy Pearce, Ben Mendelsohn, Joel Edgerton andJames FrechevillePhotographs from SONY Pictures

News SubmissionsPlease email the Editor with any Australian or member film-related news or announcements. australians in Film |2800 28th St, Suite 320, Santa Monica CA 90405 Tel: 310 452-5939 | Fax: 323 446-8724 www.australiansinfilm.org | administrator@australiansinfilm.org

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THEPREsIDENt

Dear Members and Friends,

Another fun month with AiF started with a sold out screening of SALT at the Writers Guild Theatre. An incredibly busy and exhausted Phillip Noyce, graciously attended the screening of his film, participating in an insightful Q&A moderated by Jenny Cooney Carillo. Phil’s 2 year old son, Luvuyo, also had a few words to say on stage!

Christmas in July made for a fun and relaxed Sunday afternoon. It really is much more fun celebrating Christmas, aussie style, in the sun! Our generous Consul General, Chris de Cure and his family, opened their home to AiF members for what was an enjoyable Sunday session of drinks and catch up. It was fabulous to see many new, fresh faces, as this organization continues to grow. Our next screening will be Bran Nue Dae, starring Geoffrey Rush, to be held September 7 at Harmony Gold. I look forward to seeing you all there and

hope you are all having a relaxing and fun summer.

I would also like to welcome Tracey Viera to our Board of Directors. Tracey is Ausfilm’s LA based Film Commissioner and is a long standing AIF member, sponsor and supporter. I am thrilled to have Tracey join our management team as she brings great depth of experience and knowledge in fostering relationships between Hollywood and Australia and will be a terrific asset to us in forging new associations and partnerships in executing our mission. I am sure many of you already know Tracey, but if you don’t make sure to say hi to her at the next screening!

Warmest wishes,

Paula PaizesPresidentaustralians in Film

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Aussie actor Lachlan Buchanan has landed a recurring on the new ABC series No Ordinary Family.

Steve Trenbirth, the Aussie who directed Disney’s direct to video sequels “The Lion King II” and “Jungle Book II,” has signed to direct the $25 million indie CGI feature “Trouble Down Under,” based on a story by fellow Aussie Tony Findlay, who will also produce.

The $25 million animated feature, to be made in Sydney, Australia, will be produced by Fastlane Entertainment of Santa Monica, whose founder/CEO Frank Miniaci will be co-exec producer. Voice cast includes Rove McManus, who is co-host of Valerie Bertinelli’s

Dustin Clare, a virtual unknown in the U.S., but a popular TV actor in his native Australia, has landed the lead in Spartacus: Gods of the Arena, Starz’s six-part prequel to hit series Spartacus: Blood and Sand.

NEws

Dustin Clare

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NEWMEMBERsNicola DunnRuth SaundersNicholas MurrellsEmily RickardKristina HarazimShane AbbessJustus Zimmerman

Lachlan Buchanan

upcoming CBS talk show; Cameron Daddo (“24”), Andrew Daddo, Ernie Dingo (“Crocodile Dundee”) and Tony Bonner.

NBC has recast a key role in the upcoming fall comedy Outsourced. Aussie actress Pippa Black has secured the role of Tonya in the half-hour NBC series.

Actress Sarah Wayne Callies’ adapted screenplay, “Elena’s Serenade,” has been optioned by Australian producer Cameron Lamb (“Daydream Nation”) and the Film Farm (“Adoration”). Adapted from Campbell Geeslin’s award-winning children’s book, “Serenade” centers on a girl who crosses the Mexican desert to become

Pippa BlackSteve Trenbirth

Sarah Wayne Callies

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NEws

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a glass blower. Infused with music, magical realism and dreams, the story unfolds as a hero’s journey of innocence blooming into experience.

oBITUarYIan Sands, the highly regarded Australian distribution and exhibition executive, died on July 30 from complications following a heart transplant. He was 56.

Sands was Managing Director of Roadshow Film Pty Ltd in the mid-90s, and was named Chairman in 2000. In 2003 he became General Manager Special Projects for Village Roadshow Limited. In 2004 he was appointed Director of Operations at Reading Entertainment Australia. In 2005 he was elected as the Australian Cinema Pioneers’ 64th National President. He leaves his wife, Pam (pictured), daughter Nicole and son Daniel.

Ian and Pam Sands

oN scrEEn IN august |

august 6

sharni VinsOn stars in stEP uP 3D |directed by jon chu

callum mcaullifE stars in fliPPED |directed by rob reiner

jacinta BarrEtt as Diana in miDDlEmEn |directed by George Gallo

august 13

animal KinGDOm | directed by DAVID MICHOD

DAVID LYONS in Eat Pray Love |directed by Ryan Murphy

august 20

MAOS LAST DANCER |directed by BRUCE BERESFORD

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ron gilbert So here you are in Chicago, Al Capone’s old stomping grounds which is such an appropriate setting for us. So tell me how did you come up with the film title “Animal Kingdom”?

David michodWell I knew I wanted to make a film that was a sprawling representation of a whole lot of different kinds of

ANiMAlKINgDOM

characters in a kind of world which in a sense is a big tapestry of a world of people and on an obvious level there is a kind of metaphor where there is a jungle of characters that have a form of antagonism with others and some which are completely oblivious to what is just around the corner?

ronSo you create different kind of family film which reminded me of the old gangster films with James Cagney and his mom and in your film, Jacki Weaver as the mom character resonated that for me.

DavidI always had in mind that Jacki’s character would be very unusual but I didn’t want a grizzled old criminal matriarch but someone who is a beguiling, deceptively benign and complex enough so that it would creep upon you and I always wanted Jacki to play this part because she is talented and delightful and very knowing in a way so she could give the character the weight.

David Michod roams into the Animal KingdomBy Ron Gilbert

ronWell you created a very memorable character who was still this loving mother but off center then bringing in Ben Mendelsohn who is also a very well respected actor in Australia but not well known here.

DavidWell I think he is one of greatest actors in the world and it is surprising to me that isn’t as well known as he should be and it excited for me to have him in the film in a meaty role that he could really chew on since he has a very personal touch and a very quiet kind of charisma and can be really quiet. I know it is sort of a cliché but he shows so much without saying anything

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some sort of pious reverence and very dangerous which is a little off the mark with what is bubbling inside with his incredibly volatile dangerous

ronExactly, because he was so different from the other characters with his quietness and he is the most violent of all.

DavidNot so much a bad guy but he is just an incredibly damaged guy who makes bad decisions.

ronThen you cast Guy Pearce whose role as this good cop with a soul trying the save the James Frecheville character from going that same road as the rest of the family.

DavidThat is on of the challenges that we face like building a character like the one Guy plays this detective who wears his clothes and body language like a disguise which is all about not revealing your inner life and finding an actor who in his way can find this exterior and richness of detail and to find those particular moment when that armor that they wear and Guy is great at that being so quietly powerful and he such a gifted actor who is very capable of playing high status and lower status.

ronHe is not your typical Joe Pesce kind of gangster like we see in these NYC mob films How did you come up with his name Pope?

DavidWell I like the confusion that Ben as that character carried with him more often than not manifests an uncomfortable silence and then somebody is not necessarily an erudite person at some point associated his name with taciturnity his quietness with

ronHe is truly a classical actor in the truest sense, handsome and talented and then on top of this cast you find James Frecheville who also has that ability without saying anything but showing deep feelings inside.

DavidHe had a difficult job but I wanted an actor who could play emotional shut down and damage and not just generally awkward and inexpressive as 17 year old boys often are, yet he was in a sense, guiding us through the film and there needed to be a level of details which would also communicate that he had a rich inner life. His audition was awesome in presenting these details and we tested him in that big interrogation scene between him and

Guy Pearce where there was a lot going and he filled the moments which was remarkable for a kid his age.

ronWas the his character always going to be the central focus or did it just evolve that way?

DavidWay from an early stage I knew that I wanted a young man guiding us through the world and I liked the idea of hitting at some point on a kind of cinematic way the film would work The forming of a moral spine in a completely morally treacherous world and in that sense it felt completely logical that you would have a young man of about 15 at that point in his life where you are kind of working out

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ANiMAlKINgDOM

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ANiMAlKINgDOMwho you are and what you believe in and what the difference between right and wrong and to have that character guiding us through a world which is fraught.

ronSo when his character makes that choice at the end of the end of this film you are taken off guard with the way you shot it.

DavidYes a cinematic choice.

ronIn my opinion your film moved us out of a comfort level like the other films where they put the comedy bit is and yours exposed us to the gritty world in Melbourne. I mean you spent time there and infiltrated that city for a few years and came up with this story, what was their reaction after putting Melbourne on the map as this unsafe city?

DavidWell it has been suggested that haven’t made huge friend with The Melbourne Tourism Commission but my response is I beg to differ. My experience of American cinema when I was a kid watching crime films which looked like very dangerous cities and all I want to do was to go to those cities. I wanted to go to Miami after seeing Scarface

and New York after seeing Taxi Driver because they big and interesting and complex and exciting. I knew when I started out I if I was going to contribute to the genre I wanted to do something different and what I wanted Animal Kingdom to be a film that would be characterized by its’ breeding menace

which is not only serious but had within a strange and unsettling tension that might mean on some levels it feels like a horror film.

ronSo here we are 9 years later which is the time it took to get this script to screen, you started with your brother and then Liz Watts, this incredible producer who is blown away with your short film and says I am on your team and we will make this film.

DavidI think that in many ways that is how all good producers should be able to operate and have a fluid move into the upper echelons or which ever kind of part of the industry that they are working in and being able to identify new talent.

ronWere you blown away at Sundance when you won the big one?

DavidYes I was but I was already blown away from the reception the film had already received... We went there feeling good

about the film but we had no idea that it would explode the way it did and we were already dizzy.

ronI really felt that you as a director/writer made all the right decisions regarding casting and locations and I commend you for that. Well as the say in Hollywood, see you at the Oscars.

Sony Pictures Classics USA release date is August 13, 2010

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MAo’S lASTDaNcER

I had already read Li Cunxin’s autobiography Mao’s Last Dancer when Jane Scott and Jan Sardi first approached me with the idea of making a feature film. The story, a rise from rags to riches, is of such epic proportions that it makes all other examples of the genre seem trivial. Li grew up in poverty-stricken rural China, under the dictatorial regime of Mao Tse-Tung – perhaps the greatest eccentric in history; a man who thought nothing of killing an estimated 50 million of the population who were not politically acceptable, of passing such bizarre laws as forcing the populace to kill all the sparrows, banning people from gathering in groups of more than four – and so on. One of a handful, selected from among literally millions of children, young Li was taken from his parents at the age of eleven, and trained at the prestigious Beijing Dance Academy. At 19, he outwitted a bureaucracy and went to Texas - the Houston Ballet. Once in America and confronted by the freedom of the U.S., a country where, he had been told, death stalked the streets and the sun literally never shone - he defected.

Beresford brings us the amazing story, so far, of Li CunxinBy Bruce Beresford

I read Jan Sardi’s skillful and touching adaptation of Li’s book but pointed out there were two major impediments to making the film. First off, would we ever be given permission to film in China? Secondly, where would we find a gifted young Chinese ballet dancer, fluent in both English and Mandarin and able to act a complicated, demanding leading role? Did such a person exist? If so, where?

Although hardly a ballet aficionado (a situation that changed in the course of filming), I couldn’t think of

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MAo’S lASTDaNcER

born actress, ideal to play Li’s mother in the film. The San Francisco Ballet company, one of the best in the world, had in fact a young Chinese woman as their principal dancer – but no Chinese men. The situation vis-a-vis a leading man seemed grim. A call came from Li, now retired from dancing but still with many contacts in the ballet world, to say there was a Chinese born dancer with the Birmingham Royal

during the shooting or re-editing the finished film - the creative skills of the gifted directors in their employ. Frankly, I amww sure this is often the case, but I’ve also been lucky to have worked with producers of the integrity and caliber of Richard Zanuck, Sue Milliken, Joan Long, Richard Rothschild, Dino De Laurentis – and Jane Scott. Jane and I started off by flying to Hong Kong, having been told of some young dancers in the ballet company. There were indeed four handsome young Chinese boys, skilled dancers, but all had the drawback of rudimentary

English. Next stop was Los Angeles, where we found a beautiful young female dancer, Amanda Schull, who was ideal to play the role of the American ballerina Li wanted to marry – much to the horror of the Chinese apparatchiks. We also signed up the actors Bruce Greenwood and Kyle Maclachlan for key roles as a choreographer and lawyer, respectively.

In San Francisco, we met Joan Chen, the immensely accomplished Chinese-

a single male Chinese ballet dancer anywhere in the world.

Both these factors may have inhibited a producer with less determination than Jane Scott. Luckily for me, it is almost invariably directors who are given the most credit for films. Irving Thalberg, the legendary production head of MGM in the 1930s, considered writers the most important element in any film, although he pointed out he was not anxious for this news to get around or they would demand bigger fees and credits. Few have spoken up on behalf of producers, who are invariably

painted as a bunch of ignorant low-lifes intent on destroying - by undermining

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MAo’S lASTDaNcERand the Australian ballerina Camilla Vergotis, had no complaints whatever. They said that compared to the rigors of ballet training, a bit of dancing in sub-zero temperatures was a pushover. Back in Beijing, where the bulk of the Chinese sequences were shot, the main problem was recreating 1982 (the year in which Li left for America) in a modern city of skyscrapers and freeways. Peter James, the cameraman, had visited during the Mao era and recognized absolutely nothing. In the late 1970s, he said, he never saw a single car. The entire population, all dressed identically, were either walking or on bicycles. Now, everyone seemed to be in the latest western fashions (traditional dress worn only at weddings and funerals) and the traffic was permanently gridlocked. With the aid of our local art department, we found an abandoned factory for the exterior of the ballet school and an abandoned high school for the interiors. The high school even had a large theatre, which was cleverly restored (with special attention being paid to the electrical wiring that was evidently on the verge of incinerating all of us), along with a number of classrooms, corridors and dormitories. The Chinese casting director brought in numerous actors for key roles, among

dynamic society?

What now? The script would be in shambles with these changes. However, Jane maintained an Easter Island statue - like calm. “We are not going to quit now,” she said, memorably, “just because we’re told it’s impossible.” Our first week of filming was 100 miles outside Beijing, in a surprisingly remote mountain area near a crumbled section of the Great Wall. Our designer, Herbert Pinter, rebuilt an abandoned village to serve as Li’s home town. On our fourth day of shooting, in a temperature well below zero and with gale force winds, we shot the final scene of the film. The villagers, all local farmers and their families, were dressed in summer clothes and wrapped in blankets between takes. They remained remarkably good humored. The dancers, Chi Chao

that revealed his total command of English. The next obstacle – China – seemed to me more formidable. Soon after our arrival, Jane and I met with ministry officials. They courteously told us that criticisms of Mao were not welcome, that any representation of Madame Mao was strictly forbidden as she is now a disgraced non-person, erased from the history of China. Further, could we add a coda to the film explaining that China is now a progressive and

Ballet. A few rapid phone calls and we were en route to Sunderland (near Newcastle in the north of England) where the ballet company was performing. Sunderland on a Saturday night was riotous. Thousands of people, mostly young, flooded the streets and clustered by the hundreds around the pubs and wine bars. When I commented on the scene to our taxi driver he misunderstood me and laconically observed that for some reason, yes, the night seemed unusually quiet. Evidently, he expected to see and hear even more chaos. Once inside, the beautifully restored Edwardian theatre, the atmosphere changed. The more sedate and cultured members of the town were there for the ballet. No drinking, no yelling, an oasis of refinement - an escape from the Saturday night hell of Sunderland. The ballet was in modern dress, the choreography inventive, the dancers young and attractive. The minute Chi Chao appeared, I knew we had our leading man. Elegant, lithe and handsome – he instantly struck me as a Chinese Errol Flynn. The next morning we met again and he read some scenes from the script with an assured delivery and an understanding

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MAo’S lASTDaNcERthem a number of young boys, all with some dance training. One of them had to play Li up to the age of 12. (Another young dancer, Chen Wu, this time with the Australian ballet – played him in his middle teens). Throughout the Chinese sequences, I had to direct complicated scenes in a language I didn’t speak – a trap for directors. Even with considerable knowledge of the language nuances tend to be abandoned, through ignorance. Acutely aware of this, I watched the Chinese actors intently, if comically, through binoculars, knowing their magnified image would alert me to a loss of concentration, an instant of indecision, a lack of involvement in the scene. A couple of times, I surprised them by calling “cut” after being aware a word was mispronounced or omitted. It was not that I understood the language, only that a reaction had told me a mistake had been made. A key element in the film, perhaps THE key element is the numerous ballet sequences. We were fortunate in having the involvement of the acclaimed choreographers Graeme Murphy and Janet Vernon. For various reasons, perhaps ministerial pressure, the Beijing ballet schools were strangely uncooperative - although unfailingly polite - in the traditional Chinese manner. Having supplied absolutely none of the young dancers

we needed, I began to think we would have to go to Taiwan or Singapore to shoot dance sequences. Graeme and Janet, unfazed, simply brought in young dancers from provincial cities and worked with them rigorously to bring them up to the necessary standard. I went to a few rehearsals and was delighted and thrilled by Graeme’s charm and enthusiasm, always positive and encouraging, he showed the dancers what it was he wanted them to do. Backstage, in the production office, I had no idea what was happening. I heard rumors that officials were threatening to close us down, to deport us. During one raid, I was advised that the secretaries were told to hide in the lavatories with the computers holding all the production information. Somehow Jane staved off all threats. On the day we filmed a huge scene with Madame Mao arriving at the ballet school among thousands of students waving red banners, I was expecting car loads of police to arrive and to find myself within a few days in some outlying province weeding a potato farm. But, nothing happened. There was no interference at all. Madame Mao is on screen, at last, in MAO’S LAST DANCER – played by a talented lookalike. Further dance sequences were filmed

in the Royal Theatre in Sydney, standing in for various theatres in America. Through the magic of totally undetectable computer imagery, the Sydney footage is blended with footage shot in Houston. China, Australia, U.S., - actors and crew from all three countries have, I believe, added up to a memorable film – the amazing story of the life, so far, of Li Cunxin, the boy from rural China who rose to become one of the world’s great dancers.

Bruce Beresford

IN TheaTerS aUgUST 20

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CST Tax Advisors are proud sponsors of Australians in film and specialize in providing strategic tax advisory and accounting services to expatriate Australians living in the US, Asia and the UK. With offices in Los Angeles, Sydney, Singapore and Hong Kong their global reach across multiple time zones provides them with the flexibility to provide clients with seamless and timely advice.

Last month Peter Harper was appointed Director of CST Tax Advisors, North America. Peter is a tax lawyer admitted to practice in Australia and holders a Masters of Taxation from the Australian School of Taxation (ATAX) at the University of New South Wales.

Peter is supported in the US tax practice by CST’s founding director John Marcarian who is based in Asia.

John is a frequent traveller to the US and together with Peter is able to ensure clients continue to receive solutions tailored to their needs.

CST tax tips:

Did you know that:

1. On moving from Australia to the US some of your Australian capital assets will be subject to capital gains tax unless you make a choice to defer the tax liability; and

2. As a holder of a greencard that has lived in the US for eight years or more all of your assets may be subject to an exit tax should ever return to Australia.

Whether you are relocating to the US or returning to Australia it is critical that you obtain advice on the tax consequences of that move.

John marcarian

Peter harper

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picS | cHriSTMAS iN juLy

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Peter Davey, adele Schober & Trent Blacket

Wendy Krueger & Vanessa Freeman

Sam Kramer, Sophie Scarf, & greg Cook

Chris de Cure, Peter hopper & ed Wilkinson

Carl Baker

graeme Fay & Family

rupert Thorpe & michelle Day

Fiona goodwin and Sarah Kearney with Jett

Leilani Wyatt, Johnny murison, rufus Williams, Justus Zimmerman, morgan roy, Kyle Portbury, Skip Dacanay & mary Showstark

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picS | saLtPhilip Noyce

Phil Noyce & son Luvuyo

Kim Wildenberg, rhett giles, Jimmy Castello, friend, Derin Seale

Lisa, Peter and Claire de Cure Peter & gillian harper

Kasey Diba, Kasra & Farid Shidfar

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BAckPagEaiF ambassadorsgillian armstrong Simon Baker eric Bana Cate Blanchett Bryan Brown Rose Byrne Toni Collette Abbie Cornish russell Crowe Roger Donaldson Deborra Lee Furness Melissa George mel gibson Rachel Griffiths Scott hicks Barry Humphries hugh Jackman Nicole Kidman anthony Lapaglia Baz Luhrmann robert Luketic Jacqueline McKenzie Julian mcmahon George Miller Kylie minogue Radha Mitchell Poppy montgomery Olivia Newton-John Phillip Noyce Frances O’Connor miranda otto Guy Pearce richard roxburgh Geoffrey Rush Fred Schepisi Naomi Watts hugo Weaving David Wenham Sarah Wynter

aiF Board of advisorsKym Barrett Stuart Beattie greg Coote Bruce Davey richard Francis-Bruce Dean Semler

aiF Sponsors We greatly appreciate the involvement and support of our sponsors.

You or your organization can become a sponsor of Australians in Film. We’d be happy to talk to you to see we can tailor AiF to best benefit your company. Contact Executive Director Sophie Scarf for more information.

email | sscarf@australiansinfilm.org phone | 310 452 5939.

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