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MARCH 2010
THEBOOMERANGAUSTRALIANS IN FILM
MARCH 2010
Alice in Wonderland: Behind the scenes with Mia
Four Aussie Oscar Nominees
Member Profiles
“Blessed” & “The Pacific” Pics
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Dear Members and Friends,
As you all know AIF is a not for profit organization, founded on membership and supported by sponsorship. With the exception of our Executive Director, all management and personnel running AIF are member volunteers.
My address this month is devoted to those AIF members, who all graciously donate countless hours per month to ensure that this organization consistently delivers to you the quality programming that you so enjoy.
The management structure of AIF consists of a Board of Directors of 8 people, who most of you have come to know. Under that umbrella is a structure comprised of committees relating to Governance, Programming, Sponsorship, Marketing, and the Heath Ledger Scholarship.
Committee members meet once a month to conduct the work of each committee and all committees report to the Board.
Within these committees there is an opportunity for AIF
members to participate, along side Board members, in its operations. For example, Bill Admans and Sal Morgan sit on the Sponsorship Committee and Micheal Kelleher, Steve Newman and Alan Pilkington sit on Marketing. Danielle Cooper contributes to the HLS Committee. Stephen Jenner and Paul Hoegh-Guldberg help with this amazing newsletter.
We are always interested in finding new committee volunteers, so if you think you have a suited skills set and can make a contribution, then please let us know.
I would also like to acknowledge our screening volunteers who always turn up with a smile and are so incredibly important to us - Greg Cook, Courtney Prince, Shorty Brown, Gary and Suzanne Iselt, Scott Sorrenson, Mark Baird, John Freeman, Arturo Vasquez, Melissa Bickerton and Jennifer Sorensen.
With Oscars coming up in March we also want to pay tribute to those Australians that have been nominated this year - Janet Patterson for Costume Design for "Bright Star", Luke Doolan & Drew Bailey for Best Live Action Short Film, for "Miracle Fish" and Carolynne Cunningham (Producer) for Best Motion Picture for "District 9”. Good luck to them all on the big night!
Warmest wishes,
Paula PaizesPresidentAustralians in Film
Who’s Who at AiFPresidentPaula PaizesVice PresidentDavid PrattChairman of the BoardSusie DobsonTreasurer & SecretaryRob MarsalaBoard MembersJenny Cooney Carillo, Michelle Day, Andrew Warne, Megan WorthyExecutive DirectorSophie Scarf
The Boomerang
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 | [email protected]
From The President
AiF Events Calendar
Date Event Features!
MAR 6th
Alice In Wonderland Screening
Stars Aussie actor Mia Wasikowska
MAY13th
Breakthrough and Heath Ledger Scholarship Awards
HLS & BTA Winners announced
EditorsSusie DobsonSophie [email protected]
CoverAlice in WonderlandCourtesy of Walt Disney Productions
DesignSophie Scarf
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News
Sam Worthington has signed to star in THE FIELDS.The AVATAR star will play a Texas homicide detective who joins with a New York detective to investigate unsolved murders in the Texas bayous.
Hugh Jackman is starring in REAL STEEL directed by Shawn Levy for Dreamworks.
Joel Edgerton will star in THE THING, Universal's latest take on the shape-shifting alien who terrorizes a groupof people in a remote facility.
A&E is loading up on SUGARLOAF. The network has picked up the drama pilot starring Aussie actor Matthew Passmore with a 13-episode order from Fox TV Studios.
Qatari media group Alnoor Holdings has tapped Dune Entertainment chairman and chief exec Greg Coote, Aif Board Advisor, to its board as a non-exec director.
Poppy Montgomery has been cast in the ABC pilot TRUE BLUE.
Australian Cinematographer Peter James is shooting YOGI BEAR in New Zealand. His last project was MAO’S LAST DANCER.
Ben Lawson has been cast opposite Scrubs star Sarah Chalke in the ABC comedy pilot FRESHMEN to be executive produced by Arianna Huffington.
Sony Pictures Classics has acquired U.S. and Latin American rights to David Michod's debut Aussie feature ANIMAL KINGDOM, which world premiered at the Sundance Film Festival last month.
Sullivan Stapelton has been cast in the lead in the CBS pilot THE ODDS with producer Joel Silver.
Mia Wasikowska has been cast as the title character in JANE EYRE, directed by Cary Fukunaga.
Callan McAuliffe plays lead role in Quick Lamb as a young teen in CLOUDSTREET.
David Lyons has been cast in the title role in the NBC pilot THE CAPE.
Ben Lawson
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Oscar Nominees
Humble about the recognition, she said to AAP last month, "It's just really nice to be acknowledged amongst peers. After that it doesn't matter."
Gillian Armstrong’s Last Days of Chez Nous in 1992.
Janet’s primary collaboration is with director Jane Campion starting with the TV movie, Two Friends in 1986. She is also the production designer of Bright Star.
Sydney based costume designer Janet Patterson is a veteran Oscar nominee. Bright Star marks her fourth nod for an Academy Award, having been previously singled out for her work on Oscar & Lucinda (1997), The Portrait of a Lady (1996) and The Piano (1993). In Bright Star she has vividly brought to life the Regency-era world of fashionista Fanny Brawn.
Her stunning costume designs have led to numerous prestigious awards. She was nominated for a BAAFTA for Bright Star, an award she won in 2003 for The Piano and has been honored at the AFI Awards - winning twice; for Oscar & Lucinda & The Piano and was nominated for
And the Oscar® goes to….
Aussie Hopefuls on March 7th
MARCH 2010
Todd Rhys-Roosevelt interviews two of the four Australian Oscar Nominees: Carolynne Cunningham and Drew Bailey.
Ms. Cunningham, you went from production assistant, to production secretary, to production coordinator, to production manager, to first assistant director, to producer/first assistant director (King Kong), to producer (Crossing the Line {short}), to producer on both The Lovely Bones and District 9.
Was that you're plan all along, to obtain experience in the fields mentioned so that when the opportunity presented itself, you would have the option of what you wanted to excel in?
“Not exactly. I just wanted to work in film, and I took every opportunity to learn as much as I could. Luckily for me, I have had some wonderful opportunities on offer, and it’s due to those that I am where I am… and A LOT of hard work,” she says.
What attracted you to District 9?
“The Director, Neill Blomkamp, was already in New Zealand working with us on a project that sadly did not happen. Peter and Fran wanted to do something with him when that happened, and he has his own project, which was to become District 9. It wasn’t really a matter of ‘attraction’, it was more a matter of the situation we found ourselves in, and then also liking what Neill had to offer.”
I follow Mr. Bailey’s eyes over his shoulder in the direction of Janet and Luke. I keep thinking; “Bring him in. Bring him in. They both need to know that I did my homework.” Again, I preface;
Mr. Bailey, in telly, all of your experience has been as a assistant director; (Spellbinder: Land of the Dragon Lord). And in film, the majority of your work has been as a assistant director (save for Midnight Screening) another short that you produced in 2006.
Both exchange a look- giving birth to a impressed, yet devilish grin... which forces me to smile. “Mr. Bailey, my question for you is in three parts”;
1 a) What in the material (Miracle Fish) attracted you to it?
“I thought the story was great. I had known Luke for quite a few years, and knew of his obsession for being the last person left alive, so when he brought the script to me, I knew it was something he would be passionate about. I also knew that we could make it relatively cheaply. Most of the film is one child in one location...”
b) Do you have aspirations to produce features, or will you remain in shorts?
“I don’t think any producer in their right mind would want to make shorts forever. It is not usually a viable business, and this film was no different. I would love to produce a feature film, and hopefully will get to make a few!”
c) Who is your influence as a producer?
“I really admire a lot of Australian Producers. Andrew
Mason is an inspiration, Topher Dow (although strictly not an Australian) has always had a lot of time to help me out and answer my questions – even after he fired me. Other people that I have never actually met that have still always been nice to me on the phone, like Jane Scott and Carolynne Cunningham (although I hope to meet her at the Oscars). Finally, people I have worked really closely with like Carol Hughes and Stephen Jones.”
Ms. Cunningham? – the same “C” question, please.
“Peter Jackson.” she says without missing a beat.
What attracts you to material? What makes you say; "I want to, and I AM going to produce this or that."
“I don’t make those decisions. I work for Peter Jackson. He decides what we do or don’t do,” she says confidently.
Will you direct? “No,” she replies.
My mum wanted me to ask you this next question.
What were some of the obstacles that you faced, do you feel that you faced them because of your gender, what strength did you call on to get you through?
“I have to say, I have been very fortunate to not really have had to deal with any obstacles. I have never experienced gender preference or had any bias shown for any reason,” she says.
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These last four questions are for you both. As Oprah would say; what was your "aha" moment when you decided to become a producer?
“I didn’t decide. Peter asked me… lucky me,” says Carolynne.
Mr. Bailey?
“When I was a teenager I thought I wanted to be a pilot in the Air force. I joined the air cadets and realised it wasn’t for me. Then I wanted to be a stockbroker. I did work experience at a stock broking firm and hated it. I then realised that I had watched Top Gun and Wall street too many times, and what I really wanted to do was inspire and motivate people like those films had made me. I changed high schools to go to a performing arts school and spent every moment since trying to work on bigger and better things in the industry.”
What will an Oscar win enable you to do that you haven't done?
Hopefully produce a feature, says Mr. Bailey.
It will probably not make any difference at all, says Cunningham.
What was more exciting, you're first official job as a producer, or your Oscar nomination?
“Oscar Nomination,” says Bailey.
Ms. Cunningham?
“They are both exciting for entirely different reasons. When Peter & Fran first asked me to produce for them, I was flattered and excited, as it meant more involvement &
responsibility for everything we do here. That was exactly what I was looking for.
The Oscar nomination is a completely different thrill. It is a recognition and appreciation from your peers, which for me is something that is humbling and most unexpected. I just want to do good work, and enjoy what we do while we are doing that work - in all honesty, I’m just very happy with that. The Oscar nomination is exciting nonetheless & very glamorous. This kind of thing will probably only happen once in my lifetime.
Mr. Bailey, any advice for fledgling film producers?
“Aim really high, and just get out there and do it. Keep
trying. It can take a long timeto be a success in the film industry!”
Ms. Cunningham, same question?
“Mm. I don’t like to give advice, because everyone does everything differently and most people have to get where they are going in their own way. But, I will say; hard work, being versatile, being able to listen, trusting your own decisions, and believing in yourself are incredibly important. I also believe in working collaboratively. If you can’t do that, I think you’re in trouble. Of course, I could suppose that it might depend who you are working with. Nothing is ever set in stone,” she says.
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The Australian Oscar®-Nominated Short Filmscreeningthisweek:
MIRACLE FISHDirector/Writer: Luke Doolan
Producer: Drew BaileyCast: Karl Beattie, Brendan Donoghue
Official website: http://www.shortshd.com/theoscarshorts/
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MIA WASIKOWSKABy Jenny Cooney Carrillo
Canberra resident Mia Wasikowska got her first big break in Hollywood in 2008 with her critically acclaimed role as Sophie in the HBO Golden Globe-nominated drama series In Treatment, prompting Australians in Film to honor her with our Breakthrough Award. Now the 20-year-old actress has lived up to that promise starring in the title role in the Tim Burton movie Alice in Wonderland, also starring Johnny Depp as the Mad Hatter, as well as three other films to be released in the next year.
What did you know about the character of Alice?
I read the books as a young girl but I also mostly knew her from the Czech film Alice (1988) by Jan Svankmajer. It was a wonderful stop motion movie and my mom used to show me and my siblings that film when we were kids and it was incredibly intriguing and disturbing. But then I also read the books again before we started filming and I saw a whole different side as an adult.
How tough was it to get the role?
It was a long process and I never actually expected to get the role because I am not the person who usually gets these kinds of roles! So I was
really excited just to audition for it because it was completely out of the world that I come from to do a big film like this.
What did you learn from working with Tim Burton and Johnny Depp?
I learned how they completely take ownership over what they do and especially with Johnny, how he completely gets into character and makes very brave decisions and is very unapologetic about them. I think that’s an important thing to remember, that the most interesting actors are the ones who take risks and do something that could potentially fail but they’re doing something new and exciting, so that’s what I took away from it.
Cover Story
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What was the most surreal moment you had on the film?
It definitely wasn’t normal! Probably the first day I walked on to the set and Tim Burton was there and Johnny Depp was there and just to see these people whose work I really admired was very surreal. I feel like Johnny was very much disguised for me because he was just the Mad Hatter when we were together and it was always more of a shock when I saw him out of his costume because I’d sometimes forget who was behind it all!
Can you tell us about your next three films?
The Kids Are All Right is an independent film that I did about a family that everyone can relate to. Then I did a Gus Van Sant film, Restless, which handles adolescence in a very intelligent way because Gus gives young people a lot of credit for being complex beings, so it was exciting to be part of a project that felt very true for young people and also working with Gus Van Sant.
And I’m excited to start work next month on Jane Eyre, which is very much a period piece and faithful to the (Charlotte Bronte) book but I think Cary Fukunaga (director of the critically acclaimed Sin Nombre) is such a wonderful choice as director, I know he’ll bring some exciting and new energy to it.
Australians in Film Screening of Alice in Wonderland is on Saturday, March 6, 2010 at Disney Studio Theatre.
Cover Story
MARCH 2010
Where were you born and raised?
My childhood was a pretty classic Aussie one spent surviving sunstroke and bluebottle stings on the beaches, fighting off leeches, mosquitoes, jellyfish and snakes in the rivers and various camping spots on the East coast of Australia.
This rural idyll was rudely interrupted by my Dad’s death when I was eight. Mum wisely helped us escape the horror of communal civic sympathy by taking my sister Kate and I on a six-month journey around the world via the Australian Woman’s Weekly World Discovery Tour on the P&O ship, Himalaya. The world opened and the travel bug bit harder than any mozzie. The rest of my childhood and teen years in Port Macquarie were inexplicably shaded by the knowledge that foreign wonders and intriguing people lay beyond the bucolic Hasting Valley.
What made you come to Los Angeles?
Prior to relocating to America I’d lived and worked in Sydney, Melbourne and in South East Asia – achieving a comfortable (moot) point in my career. Success with short films, documentaries and fifteen years directing a plethora of high-end TVCs had been challenging and fun, but I’d finally embarked on writing feature scripts –with an eye to direct. Luckily the AFC and NSW FTO supported this ambition through their wonderful development funding schemes, such as Aurora. Still I knew I wanted a bigger playing field and thus submitted my one and only entry into the US
Diversity Visa lottery - and won!
On the day of my ‘green card’ lottery visa interview a young American consulate staffer queried why I wanted to come to the US. My reply was simply that “I’m a filmmaker and the US is Mecca“. Non, je ne regrette rien.
Who has been instrumental in your life?
I completely blame my parents for the wanderlust and love of reading that dogs my life. Never will I be happy to stay ‘put’ or ever stop telling stories.
In Art College, whilst happily pursuing the life of a photographer a young, charismatic and incredibly tall feature director came to give a talk and inextricably altered my career goals forever. From that day forward filmmaking became my raison d'être. So I happily blame Phil Noyce.
Throughout my years at AFTRS (Australian Film Television and Radio School) the brilliant and prolific Australian Producer Tony Buckley acted as mentor and,
due to his wonderfully wicked sense of humour he subsequently taught me to laugh while struggling with the adversity and conflict which always occur on productions. Tony remains a trusted and beloved friend.
As I developed my craft in the Australian TV commercial industry I was lucky enough to work with amazing plethora of Antipodean talents; from our excellent casting agents, brilliant actors, and DPs such as Andrew Lesnie, Geoffrey Simpson, Anna Howard and Steve Windon, as well as ADs such as Emma Schofield, Keith Heygate, Nikki Long and the recently departed Mark Turnbull all who indelibly
shaped my work style. I do miss the laconic humour of these beloved compadres.
In the Walt Disney Company Executive Vice President and Managing Director of Disney Online, Paul Yanover (a Canadian by birth) became an inspirational guide through the my early days in the US corporate world with his intelligent, wry and witty take on all things Disney.
What advice would you give someone who wants to follow in your footsteps?
When you move to the US expect the first six months to be frustrating and challenging, but do persist. Don’t go home because it gets hard, or you miss your family and friends. They will still be there when you return for a visit and Facebook will get you through.
Know this - American culture is actually an alternative universe – it’s like ‘Vanilla Sky’, - just as confusing sometimes too. The locals may speak the same language but don’t think their values and expectations are
Member ProfileTH
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MARCH 2010
identical. For one, they don’t cut-down ‘tall poppies’. So develop a sense of honest enthusiasm and energy. I promise they won’t think you’re conceited.
However they may perceive you as lacklustre, and perhaps bereft of talent if you are unable to openly express a confident belief in yourself. Americans innately expect you to be proud of your life’s achievements and potential. Shake off the Aussie reserve during meetings and just go for it.
On entering the corporate US film companies such as Disney - be willing to take one step back in order to ultimately advance. Be dogged in your pursuit of opportunities as inspired persistence is admired and rewarded.
If you’re in my game - write and direct those clips, commercials and films by any means possible. Try to find a good producing partner – they’re critical to career success for a writer/director. I know because I’m still looking for one in America on my independent projects.
I would also encourage engaging in some type of community/volunteer work – altruism is food for the soul. It’s cathartic to step away from your personal hopes and fears for a moment to help others and thus put everything in perspective.
In my first year in the US I established the Share Your Voice Foundation with my American business partner, performer Jennifer Julian. We provide performance workshops for at-risk teens in California and Montana. Knowing we’re helping
the next generation is very satisfying: http://shareyourvoicefoundation.webs.com/
Finally, it’s essential to be in touch with other Aussie expats, if only so you don’t lose your sense of humour. Organizations such as Australians in Film, Australians in LA, the American Australian Association and Advance provide a much-needed breather from the relentless pace of the LA lifestyle, while concurrently celebrating the talent from our homeland.
Where do you call home?
Born in Niagara Falls, New York but now live in Los Angeles.
What brought you to Los Angeles?
I was accepted into the School of Cinematic Arts at the University of Southern California in the early 80s.
How have you achieved your dream career?
My goal was always to be a university professor teaching film history. I loved viewing films as well as reading about film history and technology. I wanted to share my knowledge with students. I received my Ph.D. from USC in the late 80s, and was subsequently offered a full time teaching position in the School of Film and Television at Loyola Marymount University. I have always worked hard, networked and been a good listener. I also keep up on all current film releases.
Who has been pivotal in helping you achieve your career goals?
The encouragement given to me by the excellent professors at USC: Dr. Marsha Kinder, Dr. Richard Jewell, Dr. Drew Casper.
If you could teach someone one skill you possess, what would it be?
I would want to teach this person a passion for learning and a desire to watch and enjoy all kinds of films. I try to set a good example for my students and colleagues through my enthusiasm for viewing films.
I also want to add that I have been an avid fan of Australian film since the early 70s when Walkabout and Wake in Fright were released. I was dazzled by both films, and wanted to learn more about the country and the culture. This time frame marked the beginning of the Australian Film Revival, so I was thrilled when films such as Picnic at Hanging Rock, My Brilliant Career, Gallipoli and The Chant of Jimmie Blacksmith were released. I have taught courses in Australian Cinema many times and just finished writing a book on the Australian Film Revival.
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Susan Barber
MARCH 2010
Blessed Screening & Q&ATH
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Clockwise: Frances O’Connor, Nic Bishop & Rove McManus, Rob Marsala & Frances, Fran & Tasma Walton.
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The Pacific Screening & Q&A
Tony To, Bruce C. McKenna, Jenny Cooney, Jeremy Podeswa, Gary Sweet & Stephen Windon
Clockwise: Gary Sweet, Tracey Vieira & Claire van der Boom;Gary Sweet & Stephen Windon;Gary Sweet, Jeremy Podeswa, Tony To, Paloma Felisberto & David Bilson.
Special thanks to:Mara Mikialian at HBO, Film Victoria and Iloura.
MARCH 2010
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Australians in Film
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Rear Window
Gillian 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 Winter
AiF Ambassadors
AiF Board of Advisors
Kym Barrett Stuart Beattie Greg Coote Bruce Davey Richard Francis-Bruce Dean Semler
AiF SponsorsWe 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 [email protected] or phone 310 452 5939.
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