Roadshow Films

Presents

ANewTownFilmandANewDollProduction

AFILMBYRACHELWARD

STARRING

BENMENDELSOHN

BRYANBROWN

MAEVEDERMODY

AndRACHELGRIFFITHS

INTRODUCING

SOPHIELOWE

ReleaseDate:August6,2009

RunningTime:101minutes

Rating:MA15+

ONELINESYNOPSIS

NedKendallreturnstohisisolatedfamilyhometosaygoodbyetohisdyingfather,butmemoriesofhisbeautifultwinsisterawakenlongburiedsecretsfromthepast.

SHORTSYNOPSIS

BeautifulKateisthestoryofafamilywhosealltoohumanmistakesleadtotragedy,recrimination,guiltandfinallysalvation.Toldinparallelstrandsofpastandpresent,thefilmrecountsthesexualawakeningofthreesiblingsgrowingupinisolation,interwovenwiththeemotionaljourneyofreconciliationbetweenanestrangedfatherandson.

LONGSYNOPSIS

SetonahomesteadintheAustralianoutback,BeautifulKateisthestoryofNedKendall,hisrelationshipasateenagerwithhistwinsisterKate,andtheemotionalaftermathofaseriesoftragiceventswhichunfoldwhenheissixteen.

Toldinparallelnarrativesofpastandpresent,thestoryfollowsadultNed’sreturnhomeafteranabsenceoftwentyyears.TheimpetusforhisvisitisthathisfatherBruceisdyingandhasdemandedhisreturn.AlongfortheridewithNedishis21-yearoldfiancée,Toni,asexywaitress/wannabeactresswhoknowsnothingaboutNed’sfamilyandissurprisedtolearnoftheexistenceofhistwin.

WhenTonistumblesonNed'sdiary,whichrecountsthesexualawakeningofthethreesiblingsgrowingupinisolation,sheisastonishedbytherevelations.Unabletocopewiththeshock,Tonifleesbacktothecityleavingfatherandsonalonetogether.PasteventsbecomeclearertoNedandherealises,almosttoolate,thathehaswronglyheldhisfatherresponsibleforwhathappenedallthoseyearsago.SeeingthetruthforthefirsttimeNedisabletoletgoofhisobsessionforhisbelovedsisterandbegintheemotionaljourneyofreconciliationwithhisestrangedfather.

Credits

CAST

Ned(Adult)BENMENDELSOHN

Sally(Adult)RACHELGRIFFITHS

BruceBRYANBROWN

ToniMAEVEDERMODY

Kate(14/16)SOPHIELOWE

Ned(16)SCOTTO’DONNELL

Cliff(16/18)JOSHMcFARLANE

Ned(14)DANIELGILL

Kate(6)EVEBURNER

Cliff(8)DANIELBINKS

Sally(6/8)HELOISEBAKER

TamaraBRIONYKENT

FatherJOHNCLARK

Emily(Mum)SUSIEBOYACI

Kate(14)BodyDoubleERINPOTTER

LocalBand“BLINDDOGTAYLOR”

CREW

Director/ScreenplayRACHELWARD

ProducersBryanBrown

LEAHCHURCHILL-BROWN

DirectorofPhotographyANDREWCOMMIS

ProductionDesignerIANJOBSON

SoundDesignerANDREWNEIL

CostumeDesignerRUTHDELALANDE

EditorVERONIKAJENET

ComposerTEXPERKINS

MURRAYPATERSON

ProdManagerJANESULLIVAN

ProdCo-ordinatorSALLYCLARKE

ProdSecretaryKIRSTYMASTERS

Producer’sAssistantROSEBROWN

Producer’sAttachmentEVEFOREMAN

ProductionAccountantMELWEEKS

AssistantAccountant(PT)KERRIHUDSON

AssistantAccountant(PT)SUSIEBUCHECKER

ProductionAssistantJESSEGONINON

RunnerANDREWFRAZER

1stAsstDirectorCHRISWEBB

2ndAsstDirectorBRADLANYON

3rdAsstDirectorTRAVISKALENDRA

ContinuityMOJGANKHADEM

ContinuityAttachmentEVEFOREMAN

FocusPullerJEMRAYNER

ClapperLoaderBENPLANT

Video SplitKirstyStark

GafferGraemeShelton

Best BoyDaveSmith

3rd ElectricsJoshAxford

4th ElectricsDarcySullivan

Key GripRobbieMorgan

GripDanSandford

3rd GripDjangoNou

Sound RecordistDesKenneally

Boom OperatorMarcoArlotta

Art DirectorPhilMacPherson

Art Dept Co-ordinatorLaurenRichards

Set Dresser/ BuyerChrisJobson

Set Dresser/BuyerKaranHannaford

Assistant PropsWilliamMcLean

Vehicle Co-ordinatorPeterJobson

Vehicle Co-ordinatorJoshJaeger

Standby Props JamesParker

Art Dept RunnerSiehMchawala

Construction ManagerMattLandreth

ConstructionSteveCraig

ConstructionRickHuxholl

ConstructionSamLoy

Scenic ArtistKylieLawson

Animal WranglerDimityBjork

ArmourerJohnCoory

SFXSupervisorMarkHollowell

SFXAssistantMartyBracher

SFXAssistantBelindaLamrock

CostumeSupervisorBerniceDevereaux

StandbyWardrobeHeatherWallace

AsstS/byWardrobeRobynJones

HairMake-UpDesignTracyPhillpot

HairMake-upArtistMarionLee

AssistantHairMake-UpJenRossiter

SafetyOfficer/NurseJenBichard

AssistantSafetyKeithBichard

LocationManagerMasonCurtis

UnitManagerMickAitken

UnitAssistantMickKildare

UnitAssistantManfredHopprich

UnitAssistantSamDawson-Ryan

CatererSteveMarcus

CateringAssistantIanBickford

CastingDirectorAnoushaZarkesh

SACastingAngelaHeesom

PostProductionSupervisorJaneMaguire

AssistantEditorCeinwenBerry

OfflineEditFacilitiesSpectrumFilms

UnitPublicistFionaNix,NIXCo.

StillsPhotographerMattNettheim

THEPRODUCTION

Gettingitmade

SetintheAustralianoutback,andfilmedonlocationinSouthAustralia’sFlindersRangesandAdelaide,BeautifulKateisdescribedbywriteranddirectorRachelWard,as ‘agothiclovestory.’

BasedonthenovelbyAmericanauthorNewtonThornburg,Rachelfirstreadthebookmanyyearsago,butitwasn’tuntil3yearsagothatsherevisitedthenovel,andreacquaintedherselfwiththestory,“Ifiguredthatit’shardenoughtocomeupwithastoryletalonestructureascript,soifyou’regoingtobothermakingamovieandgodownthatroadwhichislongandfraughtwithobstacles,youbetterstartwithabloodygoodstory!”

TheworldofBeautifulKateinspiredherbecauseitwentbeyondtheoverlyreproducedRomeoandJulietlovestoryscenarios,toadifferentkindoftaboolove.AsRachelsays“howdoyoufindabelievablelovestorytodaywheretwopeoplearegenuinelypreventedfrombeingtogether?Thatkindofstoryishardtofindunlessyou’relivinginthedepthofacivilwarzone.”

OriginallyBeautifulKatewassetin1970Idaho,USA,withmuchofthenovelseenthroughflashbackssetinthe60s.RachelupdatedandmovedthenoveltoAustralia,setitinthemoderndaywithflashbackstothe80s.WhenwritingthescreenplayRachelenvisionedAustraliaasthesettingforthisstory“oneofthethemesisgoingthroughpubertyinisolationandwhatbetterplacethantheAustralianoutback,toexplorethattheme?”

RachelWardwaskeentoavoidmakinganurbangrittydramalikesomanycurrentAustralianfilms.ForRachelGriffiths,whoplaysSally,thiswaspartoftheappealofcomingonboardtheproject,“inthismoviethere’sthiselementthatthebushisnotwhatitwas.There’sbeennorain,it’sonhardtimes,it’spostclimatechange,it’snotridingthesheep’sbackintoglory.IfoundthatreallyinterestingtocomparethetwoAustralia’sofpastandpresent.Wegetasenseof30yearsago,wherewewereandhowwelivedonthelandandthatsenseofdyingcommunitiesandincreasingisolationofbushcommunities,Ithinkisolationisareallygreatcharacterinthis.”

Thescriptwas3yearsindevelopmentandwentthroughendlessdrafts.Afterthefirstyearswork,thescriptwasscrappedandRachelbeganworkagainwithanewscripteditor.Afterafurthertwoyears,Bryanfinallydeemeditwasreadytoseekinvestors.Bryanadmitsthat‘it’sabattleattimestotryandgetwhatyouwantonthepage.IknowforRachelitwasfrustrating,it’salsofrustratingattimesfrommypointofviewwhereIcanfeelit’snotnecessarilythereonthepageyet,andhavetotellherit’smorework,butthat’sallpartoftheprocess,especiallyifyougoingtoendupwithagoodscript.’

WhenRachelandBryanfelttheymightkilleachotheriftheydidn’tbringonathirdparty,Rachelapproachedco-producerLeahChurchill-Brown,havingseenandbeenimpressedwithherpreviousfeaturefilmSuburbanMayhem.Leahsays, ‘IreadthescriptandIlovedit.Iwascompletelyengagedbythewaythestoryunfolded.ItwasnothinglikeSuburbanMayhem,whichwasmuchdarker.BeautifulKateisafarmoreevocativeandromanticscript.’ OnceLeahboardedtheprojectittookherandBryan2yearstogetthefilmfinanced.LeahandRacheltooktheprojecttoSPAAmartwheretheymetwithRoadshow,theAustralianandNewZealanddistributors,andanotherfundingmarketinVictoria,37SouthwheretheyfoundtheirinternationalsalesagentTomStrudwickfromTheWorks.WiththosetwokeyelementsinplacetheFFCcameonboardwithaletterofintentandfundingfellintoplace.

Leahfoundtheexperienceofco-producingwithBryanaverycollaborativeone.‘It’sgreathavinganotherproducertoshareresponsibilitywithandBryanhasthemostamazingfinancialhead.Heisagreatfinancialproblemsolver.Iliketothinkofmyselfashavinganeasiertouchwithpeoplewhereasheisstraightdowntheline.Plushehassomuchmoreexperience-Ithinkwehavemadeagoodcombination.Iwouldworkwithanotherproduceragainasit’sverylonelyproducingonyourown.Tohavesomeonewhenyouarefeeling‘wearenevergoingtogetthere’,tobeabletalktosomeonewhounderstandscertainthingsandhaveacollaborativeexperience,that’sgreat.’

Casting

BeautifulKatespansdecadesandalotofthefilmistoldinflashback,thismeanthavingtwoactorsforeachkeyrole.FindingtherightcastwasalwaysgoingtobedifficulthowevercastingtheleadroleofNed,fordirectorRachelWardwasclear,‘BenMendelsohnjustISNedandinawaythechoicewassoobviousthatIwasscaredofit.’

BenMendelsohnrespondedimmediatelytothescriptandlikedthewaythatRachelhandledtheprovocativematerial,‘Nedisagreatcharacterbecauseheissomeonethatissignificantlyconflicted.RachisextremelysupportiveandIthinksheisabletohandlethismaterialwithadefttouch.It’saprettyfullonstoryandthat’spartofwhatissoattractiveaboutthewholething...butit’shandledandwritteninaverygoodmanner.’

RachelhadalwayswantedBryanBrowntoplaytheroleofBrucebutBryanfeltdifferentlyaboutit.‘ThefunnythingaboutthatisthatifIhadreadthescript,orithadcomebyme,myinitialreactionwouldhavebeenthatIwasn’toldenoughtoplayBruce.IthoughtitwasagoodrolebutIdidn’tnecessarilyseemeastheactortoplayBruce’,saysBryan.

Hecontinues,‘Ithinkthat’sbasicallybecausewhenwemeetBrucehe’scomingtotheendofhislife.He’scarryingalotof,Idon’tknowifbitternessistherightword,buthe’sgotafairamountofbaggage.ButRachelhaddeterminedthatIwasrightfortherole,sotherewereenoughargumentsaboutthescript,therewasnotimetostartarguingaboutmeplayingBrucesoIjustcoppedit.AsitsohappenedIreallyenjoyedplayingBruce,butittookmealongtimetocometotermswithbeingabletoplayhim.’

ForRachelGriffithstakingontheroleSallywasmixtureofRachelWard’spassionfortheproject,filmingintheFlindersRangesandtheopportunitytoworkwithBenMendelsohnagain.‘ThefirsttimeImetRachelshehadthisincrediblebookofimagesandtexturesandIcouldseeshewassoclearinhervisionofthemovieshewantedtomake.Ithinkthatgavemepermissiontonothavetoworryaboutthebigpicture;IcouldjustfocusonwhatIwasdoing.’

RachelGriffithsfoundtwoaspectsofhercharactershecouldreallyexplore.‘OnewasthatIreallylovetheFlinders,theland,andtheenvironment.IwasstayingonastationwhereImetagirlwhohadgrownupinthatplace,andshehadsuchastrongsenseofherland,andhersenseofplace,andshesaidthatwhenshe’sawayfromit,shejustcloseshereyesandgoesbacktothatsenseofplace.SoIreallywantedtoexplorethat,abouthowmuchplaceisacharacterforsomebody.AndsecondlyIreallylovemybrother,andthat’snothardtogettobecauseIloveBensomuch,soIknewthatwouldbereallyeasy.It’sthethirdtimeI’veworkedwithBenanditjustgetsmoreandmorefun’.

Withtheleadadultrolesfilled,Rachel,BryanandLeahhadthedifficulttaskofcastingtheyoungerleads.CastingayoungerNedwasagruellingprocessbecausehehadtolooklikeBenMendelsohn,soRachelcastNed’stwinsister,Kate,andtheolderbrother,Cliff,first.

BeautifulKateisSophieLowe’sfeaturefilmdebutasanactress.WhenSophie,whoplaysKate,walkedoutoftheauditionroomsheknewshemusthavedonesomethingrightassherecalls,‘myauditionwasweird,IjustrememberRachellookingatmereallyweirdlyandthenwhenIwalkedoutthedoorshewasalmostfollowingmeandIthoughtohcool,thatmustbeagoodthing,anditwas!”WhenSophiefoundoutshehadthepart“Iwentthroughabout7emotions-IstartedcryingandthenIwashappycryingandthensadcrying,Idon’treallyrememberwhatwentthroughmyhead,it’sjustsosurreal,it’sstillsurreal.’

SophiefoundtheroleofKatequiteachallenge,‘Kate’scrazyandconfidentandI’vealwayswantedtoplayarolelikethat.Katechangesintoawomaninthefilm.Shestartsherperiodandallthatstuffthateverygirlgoesthroughbutwithouthermotherit’sabitharder,shedoesn’thaveanyonetotalktoandnoonetotellherthatshe’salright,soshelatchesontoherbrothertohelpmakeherfeelnormal.’

JoshMcFarlanewhoplaysCliffwasdelightedtogettheroleasit’sacharacterthatheverymuchrelatesto,“IthinkIamquitesimilartoCliff,heisaprettylevelheadedguyandIthinkIamaprettylevelheadedguyaswell.IguesshehaslittlesensitivestreakswhichIcanalsoseeinmyself.’

AlthoughRachelauditionedabout60boysalongsideSophietofindtheperfectyoungerNed,shehadimmediatelywantedtocastScottO’Donnellwhenshesawaphotographofhim.SaysRachel,‘Ithoughttherewassomethingspecialabouthimrightawaybuthekeptmissinghisauditionsandthenwecouldn’tfindhim.AtthelastminuteIhadaphonecallfromhimandhesoundedgreat,soItookapuntandflewhimintoAdelaidetotesthimforthecharacterofyoungNed.’ScottO’Donnellrecallsthemomenthegotthepart,‘I’dfinishedmyauditionanddrovebacktotheairportandgotontheplane.IwasjustabouttogotosleepandsomeonegrabbedmyarmandIfreakedoutbecauseIthoughtIwasintrouble.Thisladygoes,‘ScottO’Donnell’,andIsaid‘yeah’andshesays,‘you’vegottogetofftheplane!’IgrabbedmystuffoutofthetoplockerandeveryonewaslookingatmelikeIwasaterroristorcriminal,andthentheladysaid‘youhavetocallBryanBrownimmediately’.ThenshewalkedmeuptotheterminalandleftmethereandIdidn’tknowwheretogo!IthengotpickedupfromtheairportandwastoldI’dgotthepart.Istartedfreakingoutreallybadly.Ionlyhadmyclothesonme,that’sallIhad.Afterthatwewentbacktotheoffice,Igotmyhairdone,theyrushedmeintowardrobe,theyweretakingphotosofme,Iwascallingpeople.Itwaschaos,butgreatchaos-probablythebestfeelingI’veeverhad’.

Withanenthusiasticyoungcastandawonderful,experiencedoldercastinplacethefinalpinnacleroletofillwasthatofNed’sgirlfriend,Toni,whichisplayedbytheverytalentedMaeveDermody.BryanBrownenthuses,‘she’sgotagreatcharacterinToni.Inalotofhandsthecharactercouldhavebeenannoyingorcheap,butMaevehasreallymadeheraveryimportantpartofthefilm,oftheoutsider,lookingatthesepeople,lookingatthisfamilyandatthemessthatit’sinandshe’sbeenabletobringacertainhumourtothat,totheirsituation.She’saterrificyoungtalent.’

AsdirectorRachelWardsays,‘Ijustfeltlikethestarswerealignedandsomethingwasonmysidebecausethoseguysjustfellintomylap.Ifjustoneofthemhadn’tbeenthereIdon’tthinkthestorywouldhaveworkedaswell”.

Makingthefilm

FindingtherightlocationforBeautifulKatewasachallenge.Itneededtobebothabreathtakingandforbiddinglocationatthesametime.RachelWardhadwrittenthestorywithapropertyintheNorthernterritoryinmind,butfilmingtherewasruledoutbecauseasco-producerLeahChurchill-Brownnotes,‘Iknewwecouldn’taffordtogotoAliceSprings,butalsowhileweweredevelopingthefilm,‘Australia’wasbeingshotandthatwasyourbigcattlestationintheKimberly’sfilmsoRachelrewrotethescripttomakeitworkasasheepstation’

HavingrecentlyfinishedfilmingaprojectfortheABCinSouthAustralia,RainShadow,Rachel’svisionmovedtotheFlindersbecause ‘Iwantedtomakearomanticmovie.Iwantedittobebeautiful.Ilovemoviesthatlurepeopletoexoticlocations.Idefinitelywantedaforbiddinglandscape,IdefinitelywantedsomethingthathadthatgothicelementtoitbutIdidn’tjustwantflatredearthandbluesky.FindingtheFlindersRangesandfindingWilpenaPoundwasexactlywhatIwaslookingfor.Ithadthatfeelofthecloudsracingacrossthismountainrange,almostlikeaPicnicAtHangingRockkindoffeel.Thesehugemountains,andthehousethatsitsbelowthesemountains-it’salmostasthoughthisfamilyissittingunderthishugeominousgiant-youfeelthattheywouldhavebeenaffectedenormouslybythislandscape.WhenNedcomesbackithasobviouslyformedsomuchofhischildhoodandhissensibilitylivinginthislandscape.’

Theyalsofoundaperfectfarmhousefortheiron-setlocation.Ithadtobealocationthatcouldspana20yearperiod,butLeahwastakenabackbyhowlittlereallydoeschangeoverthatamountoftime,‘thelocationscoutingopenedoureyestothetruthandtherealityofwhatit’slikeoutthereonthosefarms,despitethedroughtandthosehardshipsthepeoplearesoaustere,theyonlyneednecessaryitemsintheirhomes.Weknewthatourhousehadtocoveratwenty-yearperiodbutthehousethatwefilmedinhadn’tbeenchangedbytheownerintwentyyears.It’sthefunnythingsthatyounoticeaboutpeoplewiththeirmodernisinglikeamicrowaveoraleatherreclinerandasatellitedishandmaybearunningmachineorsomething,butit’sreallyveryfrugal,veryminimallifeinaway.’

ProductionDesignerIanJobsonwhohadrecentlyfinishedworkingonRainShadowwithRachel,foundtheFlindersRangesaninspiringlocationtoworkin,‘filminguptherewasbeautiful-theareaitselfhasareallystrongenergyandalthoughit’sharshitwasripeforwhatweweredoing.’Healsomadeaninterestingchoiceinthemodernisingofthefarmhouse,‘thefirstperiodwestartedinwastheearly70sandthenwewentbetweenthe70sand80sandflashbacksandthentocontemporary.SofromadesignpointofviewIcutoffwhenthemotherhadactuallydiedandthat’swhereeverythingcametoastandstillsotheonlythingsIbroughtinnewwerethingslikeelectricalappliancesorfridgesorkettles,whereaseverythinghadstayedthesame.Itwasalmostasthoughwhenthemotherdiedthehousediedaswell.”

Oneofthemostcomplicatedscenesthattheyhadtofilmonlocationwasthenightsceneinthedam.Notonlydidtheyhavetocreateadam,theyalsoneededtofindawaytoheatitbecauseitwasthemiddleofwinter.Co-producerLeahChurchill-Browncommented,‘wecouldn’thavefilmedinsummerbecausewe’dcomeuponthelocationscoutsandit’s42degreesandpeoplewouldhavefaded.Atleastinthewinterwhenwewerethereitwasfreezing-butwehadtoimmersekidsintoicycoldwaterandthere’dbeenadroughtsoitwasoneofthosethingsthatwehadsomanymeetingsoverandanguishedoversomuchthatwhenwedidachieveitandgetitdoneitwassobrilliant.’

Leahcontinues,‘theoriginalschedulewasthatwebuiltthedam,welinedthedam,wefilledthedam,wetriedtoheatthedamandthenwe’dshootitover2nights,butofcourseeverythingdidn’tworklikethat.We’dbuiltthedam,we’dbuiltthepontoon,Racheldidn’tlikethepositionbutthedamlinerhadgonein,sothentheymovedthepontoonposition,thedamlinerripped,wefilledthedam,thedamleaked,thenwehadtomakethedecisionthatokay,theheating’snotgoingtoworkbecausethedamwasleakingcontinuously,wecouldn’taffordtofillitcontinually,sowesaidalrightstopfillingit.Weleftittothedaybeforeweshot,filledit,heateditandcombineditintoonedayinsteadofover2nightsandthankgodwedid...bythenextmorningitwasemptyagainsowe’dgotitinthenickoftimeandthescenejustlooksfantastic.’

ThedamscenewasalsooneofthemostconfrontingandchallengingscenesforyoungactressSophieLowe,“IfeltvulnerablebecauseIwasrevealingmyselfabitmorethanIwouldusuallydo,butmycharacterKatewoulddothat.Rachelmademefeelcomfortablebyjustsayingstufflike‘you’rebeautiful,youhaveabeautifulbody’,justtomakemefeellikeIamdoingitforareason,andsheshowedmepicturesofhowthefilmisgoingsoIfeltlike,wow,Iamdoingthisforareason.’

AswellashavingtheimposingpresenceoftheFlindersRanges,stylisticallyBeautifulKatewascreatedthroughasolidcollaborationbetweenRachelandDOPAndrewCommisandtheyachievedwhattheywantedvisually.RachelputalotoffaithinAndrew,“ifI’mtocreditmyselfwithanygeniusatallinthemakingofthisfilmitwasfindingAndrewCommisandtakingthepuntonsomebodywhohaddonesomemagnificentshortsbutwhohadneverdoneafeaturebefore.BecauseI’dneverdirectedafeaturebeforeIknewthatwasgoingtobescaryforthepeoplewhowereconcernedaboutbringingthismovieinontimeandonbudget.’

Shecontinues,‘buttheminuteIsawhistwoshortsIjustknewhehadsuchabeautifultakeontheworldandIlovedhisframingandhissensibility-heisadarkromantic.Isaidtohim“Ihopeyoucanmakemelookasgoodasyoumadethedirectorslookonyourothertwoshortfilms.”Ijustloveeverysingleimagethathehasproduced.Soweworkedtogetherontheideaofmakingthememoryverysubjective,wewereinspiredbythefilmTheDivingBellAndTheButterflyalthoughIhavetosaythatwehadcometothatideabeforewesawthatfilm,butcertainlyseeingthatconfirmedthatitworks.Wehaddonealotofresearchonfilmsthathadusedexclusivesubjectivityintheendweusedashiftandtiltlensandtookapuntonthatsenseofmakingitverymuchamemory.Likedreams,you’renotreallyinyourmemories,youviewthemfromtheoutside.’

AndrewconcursthatworkingwithRachelwasastimulatingprocess,‘RachelhadsomeparticularideasgoingintothisandIcamewithmybunchofideasandtheywerereallynotthatdifferent.TheideasIcameupwithbeforeImether,Iwroteheralittletreatmentofmyconceptsintermsoflightingorframingandtheaestheticofit.Andtheywereprettymuchidenticaltohersalthoughshemightnotofthoughtaboutcertainthingsorhadn’tgottothatstageofthinkingaboutthingsinsuchdepth.Itwasquiteasymbiotickindofthingwhichfelltogetherquiteeasily.’

Andrewcontinues,‘IlovedworkingwithRachelassheisafearlessdirector,whichisthekindofdirectorthatyouhopetoworkwith.She’swrittenitandisdirectingit,butatthesametime,shehasadistinctvision.She’sdefinitelynotlockedintoaparticularthingandveryopentothewaythatthingsunfoldandtheideasthatcomefromotherpeople.’

MostunusuallyonBeautifulKatetheprocesshasbeenafamilyaffair.NotonlywasRachelworkingalongsideherpartner,producerandactor,BryanBrownbutamongstthecrewwerealsotheirtwodaughtersRosie,assistanttoBryanandLeah,andMatildawhocreatedtheEPKandBRollaswellastheirnephewWillwhoworkedintheartdepartment.

Bryanwasinitiallysceptical,‘Iwasnervousaboutit,becauseit’senoughtothinkaboutplayingthecharacterandgetthemovieproducedtothinkabout‘oharemykidsokay’,aretheydoingitwellenough,aretheyfeelinginsecureaboutit,dotheyfeeltheyhavetheirownidentitywithin,soyou’vegotallthosethingsgoingatalltimestoobutwe’vebeengoingonitforabout6weeksnowtogether,wellRosielonger,andit’sjust...firstofallit’sstrangewhenIlookoutthereandgoohmygodthat’soneofmydaughtersdoingthatorthat’smyotherdaughterdoingthatorthat’smynephew,cosyouonlyeverthinkofthemas3yroldsandtheyarenot,theyarefulfillingadultjobsanddoingitwellandIguessitjustgivesyoutheopportunitytoseetheminanadultenvironmentandfeelproudaboutit...eventhoughtheyallfindmeannoying!!’

RachellovedhavingherfamilyworkonBeautifulKate,“thatwasthebestbitofthewholething,itbeingafamilyaffair,workingwithmydaughtersandnephewandthefactthatBryanandIcoulddoittogetherwassofantasticforus.Tobemarriedfor25yearsandthentomakeafilmtogether,Ihighlyrecommendit.Tohaveyourdaughtersworkingonthefilmdoingsuchagreatjobandbeingsoproudofthem.Ihopetheyliketheprocess,Ihopethey’repartoftheindustrybecauseit’sagreatindustrytobeapartofwhenitgoeswellandwhenwe’vehadasmuchfunaswe’vehadonBeautifulKatewithasmuchhardwork,creativity,andlaughsyoucouldn’trecommendithighlyenough.We’vehadagreattimetogether.’

Music

ThescoreforthefilmwasdevelopedandrecordedbylegendaryAustralianmusicianTexPerkinsandco ‘DarkHorses’ memberMurrayPaterson.BeautifulKateistheirfirstfilmsoundtrack.

ThereweremanyreasonswhytheywerekeentoworkonthisprojectasTexsays;beinggoodfriendswithbothBenMendelsohnandBryanBrown(‘twofinegentlemen,twofineactors’),itbeingRachelWard’sfirstfilm,butprimarilybecause“Iabsolutelylovethisfilm...it’saveryinterestingthingtodo,asoundtrackbutIwassopleasedthatIreally,reallylikethefilm.”

RecordedinaworkshopinNorthernNSW,Booyong,theoldgeneralstore,whichisnowownedbyguitarandmandolinmakerLesDorothyandfromwhomtheyrentedasmallstudiowithsoundengineerRussellDunlop.

PriortoevenseeingthefilmTexandMurrayhadcomposedthemainthememusic“itwasreallyacombinationofgoodfortuneandlittlebitofintuition,weknewithadtobealittlebithauntinganddelicateandwealsoknewithadtohaveafemininequalitytoit,sowethrewallofthoseelementstogetherandRachelseemedtoverymuchlikethepiece,wethoughtitwasgoingtobeabreezebecausewekickedabiggoalfairlyearly,averyimportantone,”recallsTex.

Theyidentifiedprettyquicklywhatpaththeydidn’twanttogodownasMurrayexplains,‘WhenTexfirstmentionedtheideastomewehadsomethingwedidn’twanttodo,...forexampleweknewthattherewasaguywalkingthroughthelandscapeandwewantedtoavoidcertainubiquitousorclichédthemesthatsurroundthatsowesatdowninaroomwithacoupleofguitarsandstartedstrumming.’

Howeverthebiggestchallengeforthemwastheprocessofcomposingthesmallerpiecesneededforthefilmbutstillcreatinga‘wholesoundtrack’.‘Obviouslyit’sguitarbasedandwewantedtokeepitasorganicandnaturalsoundingaspossible,sothere’sguitars,there’sbassandthere’sacello,thosearethemaininstruments.Wewanttohaveacertainconsistencythroughthepiece,throughthewholethingsothateventhoughthere’sabout15differentpiecestheyallhaveaconnectingtoneandasimilaraesthetic,’saysTex.

Texfoundtheexperienceultimatelyrewarding‘Itwaschallengingbecause,one,thisisthefirsttimewe’vedoneasoundtrackbuttwo,becauseRachel(Ward)wasquitespecificaboutwhatshewanted.Eventhoughshe’dlikeapiecetherewasquiteabitofreworkingandtinkeringoneachpiecetoreallygetexactlywhatshewanted,whichisaverygoodthingreally.Itwaschallenging,itwasgreattoactuallyhavethattaskandgetthereintheend.’

RachelWard-Director’sTreatment

Somefilmmakerswanttomaketheiraudience’slaugh,somewanttoscarethem.Somewanttothrillthem.Iwanttomovethem.BeautifulKateisastoryofafamily.Afamilywho’salltoohumanmistakesleadstotragedy,recrimination,guiltandfinallysalvation.BeautifulKaterecountsthesexualawakeningofthreesiblingsgrowingupinisolationinterwovenwiththeemotionaljourneyofreconciliationbetweenanestrangedfatherandson.

Thisstorypaintsanextremeversionoffamilydysfunctionbutitspositionispositive.Reconciliationisavailabletousall,andpeaceandloveisalwayspossible.

Growingupinthe70s,themoviesthattransportedmeweretheepicromancesonagrandscale.FarFromTheMaddingCrowd,Ryan’sDaughter,DrZhivago,ButchCassidy.Ofcoursewehaveallcomeofagesincethen,audience’saremorecynicalanddemandingthanwewereinthe70sbut,givenoriginalobstaclestothwartourlovers(noteasyinourpermissiveworld)andgivencontemporarymoralquandaries,thereisnodoubtthataudience’sstillwanttoberomancedandstillwanttobetransportedtoexoticlocaleswithbeautiful,alluringcharacters.Hopefully,BeautifulKatedeliversonallthesecounts.

SowhatdoImeanbybeing‘romanced’?I’mnotsomuchtalkingaboutromanticplotlines,Imeanromancedinthewaythatfilmmakerslike

JaneCampionorPeterWeirdeliverromance.Theirfilms,particularly,PicnicatHangingRock,Gallipoli,ThePianoandAnAngelatmyTabletransportyoutobreathtakinglybeautifulworlds,worldsfilledwithpoeticimagesandaparticularroughhewnAustraliancharm,(glaringlyabsentinsomanyAustralianmoviesoflate)Thesefilm-makersknowhowtodoacertainAntipodeanromanceandbeautyandaudience’saroundtheworldrespondtothat.

WithBeautifulKateIattempttomakenotonlyaprovocative,sensualandultimatelymovinghumandramabutonethatexploitsthemythicalinteriorofAustralia.Thisfrontierlandofruggedcowboys,longhornedcattle,batteredAcubrasandsomewhatferalchildren,remainsourmostenduringaestheticexport.

Thelinebetweenheightenedromanceandbelievabilityisafineonetotread.Butit’soneIhavenavigatedsuccessfullyinbothmyshortfilms,TheBigHouseandMartha’sNewCoat,which,althoughunashamedlyromanticwerepraisedfortheirrealism.IintendtodolikewisewithBeautifulKate.

BeautifulKateworksasaparallelnarrative,thepastandthepresent.Thepresentstorylineisareconciliationdrama,thepastnarrative,aromantictragedy.Thetwonarrativeswilldiffergreatlyinpointofview.ThepresentwillbefilmedfromatraditionalomniscientPOVbutthepastgivesanopportunitytobeveryfreshandinnovative.

InthepastnarrativeweareparticipatinginNed'smemory,soIwouldfilmthesescenesentirelyfromNed'spointofview.AsaresultwewouldneverseetheyoungcharacterofNed,andothercharactersinthesesceneswouldtalktocameraasifconversingwithhim.Ifeelthatthishelpsenforcetheveryvisceralandsubjectivepowerofmemory.Fromapracticalstandpointthechoiceofasmall,handheldcamerawillgivemegreaterflexibilityinshootingthesescenes.IalsothinkitwillallowmetobeconsistentwiththecastingofNedinthatwewillonlyeverseeoneNed(thecontemporaryNED).

Giventhisapproachtheflashbackswillhavetobestagedverycarefullysothatpaceandtensionismaintained,andperhapsthesceneswillbecomemoreabstractwhereappropriate.Thisdevicehasnotbeenusedsincethe1950s.Itwasemployedinthefilm‘LadyintheLake’.Theentirefilmusedthisdeviceandalthoughstartlinglyoriginal,itwasn’tparticularlysuccessfulasanentirefilm.ThebeautyofusingitinBeautifulKateisthatmystorylendsitselftousingtwodistinctPOV’s.IcanmakeafilmthatemploysahighlyoriginalphotographicdeviceandenhancesBeautifulKate’sappeal,withoutitentirelydominating,asitdidinLadyIntheLake.

BeautifulKateisunabashedlysensual.LikeRain,InMyFather’sDen,SomewhereinAfrica,UndertheSkinandMySummerofLove,itisastorywheretheyoungfemalecharactersareyearningtofindandexpresstheirsexualidentities.

MyaestheticfortheflashbacknarrativeisinspiredbyBillHenson’swork.LikeBeautifulKateheinhabitsaworldofteenagealienationandsexuality.Aworldlitbypolelights,carheadlightsortorches.Ilikethewayherevealsonlysmallpoeticfragments,fragmentsofalabasterskin,ofsilhouettedbreasts,ofbruisedlips,theglintofatear.Hetootreadsthatfinelinebetweenbeauty/romanceanddesolation/realism.

Thereareanumberoffairlyexplicitsexualscenesthroughout.WhileIdonotintendtoenterLarryClarketerritory,Ihopenotbeprudish.Thisfilmissexuallyprovocative.Iwillnotshyfromthevisualappealofyouthandbeauty.

Theaestheticinpresentnarrative,particularlyinsidethefather’sbedroom,willalsobeshroudedinshadow,shadowscastbyshuttersandverandastoblockablisteringday.BruceKendall(thefather)is,likeColonelKurtzinApocalypseNow,anenigma;lessofhimwillbemore.Moreofhimwillberevealedashishumanityemerges.Insidethehouseeverythingisworn,faded,leachedoflifeandcolour.Outsidethough,thebrillianceofazureskies,redearthandwhite-limbedgumsstandinmarkedcontrast.

Iwillusealoose,oftenhandheldcameraandawide-angled,oftenslightlytiltedframe.KarinAdler’sUndertheSkinisagoodexampleofthis.Detailsareeverything.Thesoundscapealonewillconjureaworldofrattlingcorrugatediron,offlies,ofbellowingcattle,oftickingclocksoftinnyradios.

Iwanttouseasmuchnaturallightaspossibleandunderexpose.Lessbecomesmoreasweuseourimaginationstoconjureawhole.

Thislessismoreprincipleismypreferencewithperformancetoo.Tellanaudiencehowtheyshouldfeelwithoverblownemotionalperformancesandyoukillengagement.Better(especiallyworkingwithyoungperformers)toleadyouraudiencetothesituationandcutthemloose(fromcloseup)toempathise.Thebackofashouldershudderingwithemotionismoreeffectivethanin-your-faceblubbering.RebeccaSmarttracingthelineofateardownBryan’sfaceinTheShiralee(weneverseehisface)isanexquisiteexampleofwhatI’mtalkingabout.

Thelovestoryintheflashbacknarrativeisnotsimple.Theprotagonistsarefarfromtheinnocenceandmoralimpunityofour70sheroesandheroines.InBeautifulKatetheymaybeyoungandbeautiful,buttheyarenoangels.Theyenterpubertyinahothouseofneglect,isolationandmoralambiguityand,likeAdamandEve,theyfalltoearthwithamightycrash.

Ourhero,Ned,inthepresentnarrative,continuestostrugglewithdemonsfromhispast.Butnow,althoughdamagedandattimesunsympathetic,heengagesoursupportandevenourheartbecausehestrugglestoovercomethem.Iwillbeparticularlyattentivetomomentsthatrevealthecharacters’ warmthandvulnerability.Wemustbemovedwhenhefinallytriumphs,andfatherandsonarereconciled.Hisistheclassichumanstruggleforself-knowledgeandredemptionandBeautifulKate,likeallthebeststoriesis,essentially,amoralitytale.

CAST

BenMendelsohn - Ned

OneofAustralia’sleadingactors,Benhasworkedonanumberofproductionsacrossarangeofmediums.In1987hewonhisfirstaward,anAFIforBestActorinaSupportingRoleforthecriticallyacclaimedfilmTheYearMyVoiceBroke.SincethenhisfeaturefilmscreditsincludeSirens,Cosi,IdiotBox,Mullet,VerticalLimit,BlackandWhite,inwhichheplayedAustralianmediamogulRupertMurdochandTheNewWorld,directedbyTerrenceMalik.HistelevisioncreditsincludeLoveMyWay,TheSecretLifeofUs,SecretMen’sBusinessandTheManfromSnowyRiver.

BenhasrecentlycompletedfilmingonthreefeaturesincludingBazLuhrmann’sAustralia,withNicoleKidmanandHughJackman,AlexProyas’ KnowingstarringNicholasCageandRoseByrne,andPrimeMoverdirectedbyDavidCaesar.

In1989,1990,and2001hewasnominatedforanAFIawardforBestActorfor,respectively,TheBigSteal,SpotswoodandMullet,forwhichBenalsowonTheStTropezFilmFestivalAwardforBestActor.

RachelGriffiths-Sally

OneofAustralia’sbestknownactors,RachelGriffithsisanAcademyAwardNominatedandaward-winningactress.

AfterasuccessfulcareerontheAustralianstage,RachelGriffithsburstontotheinternationalscenein1994withPJ.Hogan’smuch-lovedMuriel’sWedding.HerperformanceoppositeToniColletteearnedherboththeAustralianFilmCriticsCircleAwardandtheAustralianFilmInstitute(AFI)AwardforBestSupportingActress.GriffithsfollowedthissuccesswithaverydifferentroleasArabellainMichaelWinterbottom's1996releaseJudebeforereturningtoAustraliatostarinCosi(againwithCollette)andChildrenoftheRevolution.In1997shewasreunitedwith PJ.HoganonthehitcomedyMyBestFriend’sWedding,whichalsostarredJuliaRobertsandCameronDiaz.Inthesameyear,sheappearedasaLondonprostituteindirectorUdayanPrasad’sMySontheFanatic.

Griffithshasearnedinternationalappreciationforherwork,particularlyforHilaryJackie(1998),oppositeEmilyWatson.RachelearnedanOscarnominationforherroleasoneofthevolatileDuPresisters.GriffithsalsoreceivedaScreenActorsGuildnominationfortheperformance.

In2002,Griffiths’portrayalofBrendainthecriticallyacclaimedHBO/AlanBalldramaSixFeetUndergarneredaTVCriticsAssociationnominationandtheGoldenGlobeAwardforBestSupportingActressinaTelevisionSeries.

Mostrecently,Rachelreceiveda2008EmmyAwardNominationforOutstandingSupportingActressinaDramaSeriesforBrothersSisters.

Griffithshasalsohadgreatsuccessasafilmmaker.HershortfilmsincludeTulip(1998),whichwonfestivalawardsatAspen,MelbourneandPalmSprings,andRoundabout(2001),whichreceivedtheBestAustralianShortFilmAwardatthe2002MelbourneInternationalFilmFestivalandnumerousAFInominationsincludingBestShortFiction.

BryanBrown-Bruce

BryanBrownbecamenotonlyanAustralianstarbutalsoaninternationalnamewiththesuccessesofBreakerMorantandtheTVseriesATownLikeAliceintheearlyeighties.OverthepasttwentyyearsastreamofwellknownAustralianhitsandHollywoodproductionsfollowed:TheThornBirds,GorillasintheMist,FX,Newsfront,TheShiralee,Cocktail,BloodOath,RiskandTwoHandsin1999,forwhichhewonhissecondAustralianFilmInstituteAwardforBestSupportingActor.In1999hestarredwithhiswifeRachelWardintheGoldenGlobenominatedtelemovieOnTheBeach,whichwonanAustralianFilmInstituteAward.2002sawhimstarintheOzBoxofficesuccessDirtyDeeds.In2004hestarred,alongsideCandiceBergeninFootstepsforCBS.2004alsosawthereleaseoftheBoxOfficesmashAlongCamePollyforUniversalinwhichBryanplayedamajorsupportingrole.In2006hestarredintheAustralia/UKCo-productionforChannel10oftheJoanneLeesstoryToCatchaKiller.In2007heplayedamajorsupportroleintheBazLuhrmannmovieAustraliaandstarredwithPeterO’Toole,SamNeillandJeremyNortherninMyTalkswithDeanSpanley.

IntheninetiesBryanalsobeganproducingfilmandtelevision,throughhiscompanyNewTownFilms.DeadHeart,anAboriginal-themedfilm,wasseenasaverypowerfulcontemporarydramawhilehis12partseriesTwistedTales,featuringsomeofAustralia’smosthighlyprofiledactorsandpromisingnewdirectors,hasbeenseeninover100countries.Withthesuccessofthefirstseries,in2005Channel9commissionedhimtoproduceasecondseriesof14talescalledTwoTwisted.HealsostarredinoneofthetalesandpresentedtheIntroductions.TheseriesairedinAugust2006.

In2002heproducedandstarredinDirtyDeedsdirectedbyDavidCaesarwhichwasreleasedthroughHoytsAustralia.In2007heexecutiveproducedthenewIndivisionfeatureCactusdirectedbyJasmineYuen-CarrcuanwhichwasreleasedbyHoytsin2008.

NewTownFilmsalsoproducedthethreeshortfilmsBlindman’sBluff,the2000AFIawardwinningTheBigHouse,bothwrittenanddirectedbyRachelWardandthe50minutedramaMartha’sNewCoatdirectedbyRachelWard.In2003Martha’sNewCoatwonAustralianFilmCritic’sCircleAwardforbestShortdrama.TheAnimatedLeunigtogetherwith50x1minuteanimationsbasedonthecartoonsofMichaelLeunig,werecompletedin2001.

MaeveDermody-Tony

Maevemadeherfeaturefilmdebutinthe1993featureBreathingUnderWater,directedbyhermotherSusanMurphyandhascontinuedtoshineonbothstageandscreen.

MostrecentlysheplayedtheleadroleintheAustraliancrocodilethrillerBlackWater(2007)whichwasdirectedbyAndrewTrauckiandMichaelRobertson.HerperformanceearnedheranInsideFilmandAustralianFilmInstitutenomination.

Maeve’stheatrecreditsincludeKilllerJoeforCompanyB,whichgarneredravereviewsaswellastheGriffinTheatreCompany’sThePeachSeason,directedbyDavidBerthold.

Maeve’stelevisioncreditsincluderolesontheAustraliadramasAllSaintsandWhiteCollarBlue.

MaevealsohasaYenYoungWomanoftheYearNominationforFilm,TelevisionandTheatre.

SophieLowe-Kate

BeautifulKateisSophieLowe’sfirstleadingroleinafeaturefilm-arolewhichisboundtolaunchhercareerandwhichwillintroducetheworldtohertalentsasanactor.

Previously,Sophiehasactedinanumberofshortfilmsandtelevisioncommercials.SophiehasalsobeencastintheAustralianfilmsBlesseddirectedbyAnnaKokinosandTheClinicdirectedbyJamesRabbitts.

ScottO’Donnell-YoungNed

BeautifulKateisScottO’Donnell’sfirstroleinafeaturefilm.

JoshMcFarlane - YoungCliff

BeautifulKateisJoshMcFarlane’sfeaturefilmdebutinamainroleasanactor.HehasspentthepastthreeyearsattendingtheAnnPetersSchoolOfActinginAdelaideandhadpreviouslyhadminorrolesinthefeaturefilmDecemberBoysandtelevisionseriesMcLeod’sDaughters.

CREW

RachelWard-Screenplay/Director

RachelWardhasstarredinnumerousInternationalfilmsandtelevisionseries’ ofthelast20years,includingAgainstAllOdds,DeadMenDon’tWearPlaid,AfterDark,MySweet,andTheUmbrellaWoman,tonameafew.ShehasbeentherecipientofseveralinternationaldramaawardsandnominationsincludingaGoldenGlobenominationfortheminiseriesOnTheBeach.

InOctober2007,theABCseriesRainShadow,inwhichshestars,premiered.In2000Rachelputherwealthofexperienceandknowledgeoftheartoffilmmakingintowritinganddirecting.

BeautifulKateisRachelWard’sfeaturefilmdirectorialdebut.Shehaspreviouslydirectedthreeaward-winningshortfilms,Blindman’sBluff,TheBigHouseandMartha’sNewCoat.

Producer-BryanBrown

Producer-LeahChurchill-Brown

LeahChurchill-Brownsetupcuttingedgefilmproductioncompany,Dollin1999,whichhassubsequentlyestablisheditselfasahighlyeffectiveproductionfacilitationserviceworkingwithUSandUKbasedproductioncompanies,aswellascontinuingtonurtureemergingAustralianfilmandadvertisingdirectors.

LeahproducedSuburbanMayhemwithdirectorPaulGoldman,writerAliceBellandExecutiveProducerJanChapmanin2005.ItwasChurchill-Brown’sfirstcreditedfeaturefilmasproducer.Thefilmwasinvitedtoscreenat2006CannesinCertaindeRegardandalsoscreenedattheTorontoFilmFestival2006.BackinAustralia,thefilmcollectedanumberofAFIIFawardsincludingBestActress,BestSupportingActor,BestSoundtrackandBestEditing.

Leahiscurrentlyfinishingpost-productiononBeautifulKate,whichsheco-producedwithBryanBrownandwhichwaswrittenanddirectedbyawardwinningactressRachelWard,alsostarringBryanBrownandRachelGriffiths.UpcomingprojectsonherslateinvaryingstagesofdevelopmentareGinTonic,adarklyfunnycomedywithwriter/directorAliceBellandco-producerAmandaHiggs,whichhasbeeninvitedtoparticipateinCinemart2009,TheCircus,withproducerLeanneTonkes,directorEmmaFreemanandwriterEmilyBallou.Churchill-BrownisalsoexecutiveproduceronafeaturelengthversionofLeonFordandNicoleO’Donohue’sawardwinningshort,TheMechanicals,withJanChapmanasscriptconsultant.

DirectorofPhotography-AndrewCommis

BeautifulKateisAndrewCommis’ firstfictionalfeatureascinematographer.In2007hefilmedthefeaturedocumentaryNakedOnTheInside,directedbyKimFarrant.

AndrewhasbeenDirectorofPhotographyonanumberofinternationallyacclaimedshortfilms,includingthe2006shortfilmNature’sWaywhichscreenedinOfficialCompetitionattheCannesFilmFestivalandwhichwasawardedBestCinematographyattheNZScreenAwards.Healsoshotthe2005shortfilmBlueTonguewhichwasawardedBestAustralianShortFilmattheMelbourneInternationalFilmFestivalandalsoscreenedatCannesaspartoftheCritic’sWeekCompetition.

AndrewhasfilmeddozensoftvcommercialsaswellasmusicvideoclipsforanarrayofhighprofileAustralianbandsincludingYouAmI,TheMessHall,AlexLloyd,TheBaggsmen,WickedBeatSoundSystem,DanielleSpencer,SomethingforKate,MidnightOilandEndorphin.

ProductionDesigner-IanJobson

IanJobson’slastfeaturefilmcreditasproductiondesignerwasRolfDeHeer’sAlexandra’sProjectin2002.Hethenspentthenextfiveyearsowningandoperatinghisowncafé.

RecentlyhewasproductiondesignerontheABC’sRainShadowandovertheyearshasworkedondozensoftelevisionprogramsandtelevisioncommercialsasaproductiondesigner.

SoundDesigner-AndrewNeil

Overthepasttenyears,AndrewNeilhasworkedonavarietyofAustralianfeaturefilmsandtelevisionseries.Mostrecently,NeilwasSoundDesignerontheBruceBeresfordfeatureMao’sLastDancerandCherieNowlan’sClubland.

NeilwastheSupervisingSoundEditoronTheBankJob,andSoundEffectsEditoroncrocodilethrillerBlackWater,withtelevisionsoundcreditsincludingminiseriesSalem’sLotandtelemovieAfterTheDeluge.

CostumeDesigner-RuthdeLaLande

RuthdelaLandehasworkedonanumberofAustralianfeaturefilmsasCostumeDesigner,includingLuckyMiles(2006)directedbyMichaelJamesRowland,OpalDreams(2004)directedbyPeterCattaneo,AustralianRules(2001)directedbyPaulGoldmanandRabbitProofFence(2000)directedbyPhilipNoyce.

HertelevisioncreditsincludetheABCminiseriesRainShadow,RoundTheTwist,McLeodsDaughtersandminiseriesTheRiverKings.

Editor-VeronikaJenetASE

VeronikaJenetcametoAustraliafromGermanyin1975anditwasherethatshefirstbeganfilmingandcuttingonSuper8mmwhilsttravellingaroundAustralia.

VeronikaisahighlyregardedfeaturefilmeditorhavingworkedwithmanyofAustralia’sleadingdirectorssuchasJaneCampion(withwhomshecollaboratedonfivefilms)andPhilNoyceonTHERABBITPROOFFENCE.ShehasalsocontributedtothecareersofanumberemergingfeaturedirectorsincludingElissaDownwithTHEBLACKBALLOON.

VeronikaistheeditorofTHEPIANO,forwhichshereceivedanOSCAR,BAFTA,andACEnominationsandshehasbeennominatedforanAFIawardfourtimesandhaswontwiceforTHEPIANOandthedocumentaryHEPZIBAH.

VeronikaJenetisamemberoftheUSAcademyofMotionPictureArtsandSciencesandwasaninauguralrecipientoftheAustralianScreenEditorsASEaccreditation.In2007shewasawardedanASEawardforthetelevisionmini-seriesBASTARDBOYS.

WhileVeronikacomesfromafanaticalsoccerfamilysheiscurrentlylearningtoappreciatethefinerpointsofAustralianRulesfootball!

Composer-TexPerkins

TexPerkinshasplayedakeyroleinAustralianmusiceversincehefirsttookthestagefrontingTexDeadlyTheDumDumsintheearly80s.However,it’sunderstandablydifficulttopulltogetheracoherentpictureofamanwhosecareerhastakenineverythingfromthegroundbreakingexperimentalpunktonicaofSydneymid-80snoiseniksThugtothelilting,darkcountryofhisrecentsolomaterial,whichiswhyTexisgoingtosumuphiscareerintenkeytracks,goingthroughhismemoriesandtalkingabouthowhewrotethesesongsthathavebecomepartoftheweftandweaveofAustralianmusic.

“Oh,amI?”

Yes.Let’sstartwiththehard-edgedpubrockofTheBeastsOfBourbon’s‘ChaseTheDragon’,asnarlingsliceoffilthypubrockthatopenedthe1991masterpieceTheLowRoad...

“Youknowwhat?Thisisgonnabetoohard.”

Notatall-we’retalkingaboutsomeofthemostwell-recognisedsongsinAustralia.It’seasyas.

“Nah,Idon’tthinkwe’regonnagetanywhere.”

ButhowabouttheevocativesoundscapesofTheCruelSea,whoseextraordinary1991single‘ThisIsNotTheWayHome’placedPerkins’world-wearygrowlinanewmusicalcontextandheraldedtheemergenceofanentirelyoriginalyetarchetypicallyAustraliansound,aswideandopenasthehighwaysthatthebandtouredendlesslyduringtheearly‘90s...?

“Nope.”

OKfine,let’stalkabouttheTex,DonCharliealbums,whichsawPerkinsjoiningforceswiththelegendaryDonWalker,ColdChisel’spianistandmastersongwriter,andCharlieOwen,previouslyAustralia’sbestkeptmusicalsecret,andwhose1993debutSadButTruesignaledthearrivalofauniquenewmusicalpartnership,oneperhapscapturedmostrepresentativelywiththeforlornsingle‘WhatIDoneToHer’...

“Honestly,no.”

AndthentherearethethreeTexPerkinssoloalbums,perhapsbestrepresentedbythehaunting‘SheSpeaksADifferentLanguage’,forwhichtheDarkHorsescongealedaroundhim;ortheTnTproject,whereheandcontemporaryTimRogerscelebratedtheirlong-termfriendshipwithMyBetterHalfalbumin2006,leadbythetongue-in-cheek‘EverybodyHatesYouWhenYou’rePopular’.Andthenthere’s...

“Look,thisisn’tworking.”

Look,I’mtryingtocomeupwithabiothatrepresentsthevoluminousworkandmusicaljourneyofamanthathassoundtrackedsomuchofthelastthreedecadesofAustralianmusic.

“Well,you’llhavetofindadifferentway.”