You can edit the text in this area, and change where the contact form on the right submits to, by entering edit mode using the modes on the bottom right.
123 Street Avenue, City Town, 99999
(123) 555-6789
email@address.com
You can set your address, phone number, email and site description in the settings tab. Link to read me page with more information.
Just had a great week in Toronto. It's a cool city to visit and the festival itself is amazing, well organised, friendly and very passionate about cinema.
Last Ride screened three times to packed theaters (with the first screening Sold Out). For me it was great to screen the film to an audience that had no preconceptions of it as an 'Aussie film', and could just view it as 'A FILM'. The response was fantastic, and I had great feedback and conversations from punters directly after each screening.
I haven't discussed 'reviews' on this blog and I have generally avoided reading them, but it's been interesting reading some of the very positive international critiques coming off the Toronto screenings. Here are three that have been sent to me Movie Line, Twitch and Row Three.
Also some video clips of the Sunday Q & A. It's dark but the audio is clear...
The whole experience was great as I continued to learn more about this crazy yet amazing industry. I'm sure I have said this before, but I have learnt more about film making since I actually finished making the film...
On a totally geeky front with the help from my new friend Elisa and old friends Jane and Nick we tracked down a very important Toronto street from my childhood!
I had a great time last night recording the commentary for the DVD with two close and very dear friends. Greig Fraser (DOP) and Jack Hutchings (Editor). It was great Greig could be there as he is now based in LA. Just by chance he flew in yesterday and was able to make it. One of those great spontaneous meetings. If we had planned it for months, it wouldn't have happened this way. Very cool.
I hope we gave good commentary. It was more like a conversation than a shot by shot commentary. We watched the film with the sound down and I realized towards the end that we probably only had 15 minutes of film left and we hadn't really discussed the things I thought we would. But it was a good experience, and I hope the people who take the time to listen when its released will get something out of it. I did lay awake last night going over all the things I could have, should have, would like to have said if we did it again...
In prep for the session, my buddy Jolyon put me onto this great podcast about the 'Art of Commentaries' at Hollywood Salloon. It's nearly 3 hours long! But these guys go into great detail and play sections of really interesting and great DVD commentaries, as well as some really terrible ones (Arnold Schwarzenegger "... and here I am... erm, riding a horse...") . The Podcast is really comprehensive, entertaining and well worth the time.
I have had my head down finishing a batch of commercials and working on all the bits and pieces for the release of the Last Ride DVD (released November). Strange that it is still in cinemas around the place but we are working on the DVD. I always thought this kind of thing happend much later, but the lead time is very long for production and distribution.
It's going to be a really sweet 'Filmmakers Edition' package. 2 discs, featuring amongst many things, a great 50 minute behind the scenes docco made by my friends Jono and Tim, deleted scenes, my short films Cracker Bag and The Desert, oh yeah and the film!
Also in the pack will be a 50 page book which I'm almost finished designing (see front cover above) with photographs, a great conversation between screenwriter Mac Gudgeon and novelist Denise Young and some ramblings by me.
I'm off to the Toronto Film Festival next week, where Last Ride will have it's international premiere! Very excited to say the least.
I recently bought a Canon 5D mkII. For those that know even a little bit about this camera and it's abilities, it will come as no surprise that I am totally blown away by it's potential and what it promises filmmakers looking for cheap and totally accessible technology.
I love film. I have shot most of my projects over the last 8 years on 35mm, regardless of budget, I have always found a way to make it work, because I love the look and the feel of film and nothing has ever come close to replacing it aesthetically or creatively. I'll hang on to using it for as long as my white knuckle grip can can hold. But five minutes with 5DmkII, I was so impressed with it that I knew there and then that I have probably shot my last film, on film.
Regardless of it's (current) technical restrictions of file format and shooting at 30 fps etc. For me the real value of this new technology is in the immediacy and the intimacy it provides with an actor or character.
The image it produces is incredibly beautiful, almost painterly in the right conditions. In low light it excels like nothing else I've seen, it leaves film and every other HD video format I have played with (mainly RED, HDV and GENESIS) for dead. It has changed the game, and this is only it's first incarnation. Who knows where this will take us in the next couple of years.
Below is the very first footage I shot with the camera. It's my 2 year old Rosebud early one morning. There was very little light in the room, I was amazed MkII could see anything at all. It's rough and ready, but with this footage a whole new approach to making films became excitingly possible.
There is no way I could of captured Rosie at such ease if I had a bigger camera and or other 'crew' with me. This footage stands up on a HD monitor, or 'the big screen' no problems.
It excites me for so many reasons. Without a doubt, with the proliferation of low cost, high end image making tools like this, the kinds of films we make and the way we make them will change forever and for for the better.
I've been doing alot of tests with the 5D. The other night we went out and did some side by side tests with the RED, similar lenses, lighting etc. It's surprising how close they came up, and again in low light the 5D just soaked up anything resembling light and used it to produce a startling and rich picture, totally blowing the RED away. I might post some of the tests up here a little later, if anyone is interested.
But in the mean time, there is a really great RED vs 5D vs LUMIX comparison here.
When I was fifteen years old I found a discarded cassette tape on a train station bench.
It was black and scratched, like it had been stepped on, and all there was to identify it, was a hand scrawled ‘SPK’ on the label. At home I slipped the tape into my walkman and my head was filled with the rhythmic buzzing and electric screams of nightmares. I liked it. It took me some place else, even though I had no idea where that place was.
The moment after seeing the film Candy I walked into a record store and bought the soundtrack. I love that film and how the soundtrack played an essential role in telling the story of those desperate souls coming together and then apart again. The music took me to another place, but this time I felt I had been there before.
Some of the first ideas I had for Last Ride were music. For years I collected tracks and made compilations to inspire or possibly use in the film. I had planned to use pieces of music, rather than have music composed. I really resisted it. But towards the end of editing the film, I realised the film wanted and needed an original soundtrack.
Paul Charlier composed the music for Candy and was the only person I had a strong desire to work with. When he sent me his bio and music reel I was surprised to see in his dark past he was in a band called SPK! There was more than one reason why I had been drawn to work with Paul.
From the time Paul saw a cut of the film, to where we were sitting in the mix, was just over four weeks. This is an amazing feat from any musician considering the sheer amount of work that is required. Especially, as Paul and I had never met and therefore, we hadn’t had all those thousands of conversations that you usually have with regular collaborators, in order to develop our own language and atheistic.
I encouraged Paul to find ways of making the music sound ‘broken’ and incomplete, to leave the hum of guitar amps and organic imperfections that come with the writing and recording process. The work then was to find perfection in the imperfection.
Paul’s music brought a new and different life to the film. The music is like the film’s breath, or the blood pumping through it’s heart, or the sound of that heart breaking. The sound of all those things that you don’t know what they sound like until you hear them. A huge thanks Paul.
Werner Herzog is more than a filmmaker to me. He's more like a father. And this book is full of all the fatherly advice (about filmmaking and life, of which the two for him are forever intertwined) and sage like wisdom you could ever expect, need or want. Just looking at the cover gets me excited.
I'm not a huge fan of all of his films. But I'm a huge fan of this book. It's one of the most educational and down to earth documents of a filmmakers approach and process. It kills me that someone can communicate ideas and experiences with such apparent ease and simplicity.
The chapter on his experience of making his firsty American studio film is one of the most soberingly honest accounts of Hollywood I've ever read.
Are you serious? Depending on where you live, you can buy this 1 cent?
Robert Bresson's pocket sized book of cinematic meditations is full of film secrets and revelation. When in doubt a simple flick to a random page can focus, inspire, and suggest a fresh approach to the job at hand.
No other book has given me so much. When on set I keep it in my pocket and consult it regularly. It's of and about a particular cinematic sensibility but I highly recommend it to any filmmaker.
"My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water." - Robert Bresson
THE PHOTO ON THE LEFT is the first photo I took of Tom at his screen test in Adelaide in May 08. We had seen quite a few kids around the country but the moment Tom walked into the room I knew there was something different about him. He gave an 'OK' screen test, but it was who he was on either side of the test that really stood out for me. He was and still is just such a regular kid. But through the lens something else happens. He takes on a different life, like there is something going on behind his eyes, like he has seen a lot of things.
THE PHOTO ON THE RIGHT was taken on the last day of shooting about 3 months after the first one. I'm still amazed at how different Tom looks. So much more hard and steely eyed. There is a fair bit of hair and make-up going on in that shot but essentially it's the character Chook well and truly on his way...
I have cast alot of kids and worked closely with the same casting director, Fiona Dann for many years. But there is still no hard and fast rules on how to do it well. I think I even googled "How to cast children in feature films" at one stage during pre, just to see if there was any help out there but I didn't find anything useful. In the end it comes down to a gut feeling.
However, a few of the things we took into consideration with Tom were...
1. Even though he had no film experience, he had recently been in the Adelaide production of Les Miserables, so he new what it meant to go through a production process, work hard and late etc.
2. Tom's parents are very grounded and supportive. When you cast kids you also cast their parents, and we were very lucky with Kate and Wally C.
3. Tom is the youngest of 4 kids. He has three older sisters, ranging in age from 16 to 26. So he spends alot of time with, and is very comfortable around people older than him. This was really important, as he essentially spent seven weeks on the road without a bunch of adults and no other kids.
4. He is a really, really regular and normal kid, who is confident both on and off camera. Even though he really wants to be an actor / performer, he doesn't seem to place any real pressure on himself to do so.
The shot above is of Tom a few weeks ago. His head is shaved because has just finished his second feature film playing a kid who has leukemia. I saw him and his folks when we over in Adelaide for a screening and they all came back to watch At The Movies in the hotel room afterwards.
Tom was pretty excited to see himself on TV, but I think he was much more excited about being up late so he could watch Family Guy once At The Movies was over.
Last Ride is released into the cinemas today. I never thought I would ever say this but I think the film is ready to be out there. I feel we have done everything possible to try and make the film, and it's release as good as it can be.
As much as I have fussed and fretted over every detail over the last year and half it's now time to cut the apron strings and ease the film out into the world. I think it's strong enough to look after itself.
It's a weird feeling, I can feel myself detaching from it, not that I care any less, I just know there is little more I or anyone else can do. It now just needs to be out there in cinemas so people can go and see and discuss and love or hate or what ever it is they want to do with it.
Regardless of success or failure from critics or the box office, personally I am so proud of the film and everyone who helped make it.
The last 5 years of development and in particular the last year or so where I have been on the film full time has been the most exciting, anxious, creative, stressful, inspiring, exhausting, humbling, terrifying, satisfying and ultimately the most privileged time of my life.
Every minute of it (even the really bad ones) has been a dream come true.
I’ve had some great road trips in my life, and making the film sent me on a few more. The idea that that Last Ride was a ‘road movie’ never really kicked in until I began the long search for locations throughout the deserts of South Australia. During pre-production I clocked up over 20,000 kms just sitting in the passenger seat watching the most inspiring landscape pass before me. And then of course we approached the making of our ‘road movie’ as a road trip ourselves, taking the cast and crew on an epic 5000 km journey through that same inspiring landscape.
In celebration of the road trip I have made a list of what I reckon could be the 7 MOST EPIC ROAD TRIPS. EVER.
So whether you are planning a road trip, by car, motorcycle, bicycle or hitching, the most important thing to remember, as we all know, is that it’s the journey, not the destination that makes a great road trip. 1. The Alaskan Highway (2,237 KM)
The Alaskan Highway, stretches from Dawson Creek to Delta Junction, Alaska and Yukon. It was built during World War II and is one of the most well known roads in the world. You can read the full history about the road on wiki. This road trip is epic for two reasons. Weather conditions & long distance between each town. Prepare for cold weather and a lot of driving. So unless you feel like eating road kill you should stock up on some substantial snacks for the long and beautiful drive. Along the trip you can expect a lot of forest views and with a slight detour you can check out Liard Hot Springs and take a quick dip the temperature is around 42°-52°C (107°-126°F). Next up is Sign Forest at Watson Lake with over 45,000 sign posts that you can check out.
You can also expect to see a lot of wildlife like elk, grizzly bears, marmots and moose alongside the road. And if want to see some reindeer then make a quick stop in Yukon. Check out the free GPS Maps Photo Source
2. Route 66: Chicago to California (3,945 KM)
The mother of all roads, Route 66 is not for the faint hearted. It’s a long, long drive so do it in comfort not style. Route 66 was built in 1925 and starts in Chicago and heads through, Illinois, Missouri, Kansas, Oklahoma, Texas, New Mexico, Arizona, California and ends in Las Angeles. This is as epic as it gets.
Although the road was decommissioned in 1985 for the Interstate 40, this road is the ultimate road trip. There’s seriously a lot to see and do in 3945 KM so here’s a summary of some places to stop at.
• Dixie Truckers Home (McClean, Illinios) – The oldest truck stop on Route 66 around 70 years old.
• Devil’s Elbow (Missouri)
• Oklahoma City and a few numerous towns (Oklahoma)
• Cadillac Ranch (Amarillo, Texas)
• Blue Swallow Motel (Tucumcari, New Mexico) – The oldest motel on the Route 66
• Grand Canyon (Flagstaff, Arizona) – It’s the Grand Canyon!
• Sitgreaves Pass (Arizona) – Windy and dangerous roads with magnificent views
Not one of the longest drives but the scenery you get to see is simply amazing. You should take at least 7 days to complete the south island drive, or long enough to soak up its truly magnificent views. The road starts in Milford Sound and takes you south then back north ending at Wanaka. With plenty to see, touch and do from the jagged Fiordland mountains, rugged southern coast and sandy beaches. There are plenty of rolling green pastures and forestry, including mountain ranges with spectacular views that might remind you of Frodo’s epic journey in Lord of The Rings. New Zealand’s has some of the most exotic wild plants and birds in the world along with some of the best national parks, marine life, and natural blowholes. The best thing about this trip is that you can see almost every scene from inside your. But stop often and get out amongst it.
I did this road trip in a campervan a few years back, but I would love to go back and do it by bike.
4. The Great Ocean Road: Geelong to Warnambool, Australia (300KM)
Possibly one of the world’s most spectacular scenic routes in the world with amazing coastal views, towering rock edges, plenty of surfing hotspots, lush forests and long beaches. The route starts in Torquay and ends at Allansford. You could finish the trip in one day however take a few days to enjoy some of the more notable attractions.
• Twelve Apostles – Famous rock formations
• London Arch Port Campbell National Park
• The Great Otway National Park –Bushing walking & wildlife
• The Great Ocean Walk, Apollo Bay
• Bells Beach – Patrolled beaches for swimming and surfing
The Ring Road of Iceland looks nothing short of amazing. With 1330KM between start and finish this road trip will truly satisfy anyone looking for a truly epic drive. Iceland is filled with wide range of natural phenomenon. Some of the most notable attractions include:
• The Blue lagoon – Geothermal heated waters
• Pingvellir National Park
• Gullfoss – Waterfall
• Haukadalur – Biggest gaysers Strokkur and Geysir
• Reykjavik – Laugerdaslaug Pool, thermal baths and pools
Also known as the world’s longest wine route (Garden Route) it is one heck of a drive especially tailored to the wine drinker. Bring it! Cape Route 62 is also known for its Mountain routes with twisty roads spanning for hours on end. Some of the main attractions on this route includes:
• Bloukrans Bridge, Plettenberg Bay
• Local Wineries – 69 wine farms, 11 brandy cellers, 20 port selling estates
Italy is my favourite country in the world and this is one of the shortest but most beautiful road trips to take. The Amalfi Coast also the scene of many movies including James Bond, consists of beautiful and narrow coastal roads with an endless array of cliff hugging highways overlooking the blue Mediterranean sea. In the city itself there are many historical buildings, churches and amazing cuisine.
Australia has already contributed to this list with the Great Ocean Road. But the Flinders Ranges deserve a special mention all of their own. Last year I clocked up around 25 000 km’s around this part of South Australia making the film. It truly is an inspiring place and I seriously cant wait to get back there again.
It proved to be the ultimate stage for our road movie to play out on, with so much variation and accessibility. We could be shooting in lush towering forest in the morning and be surrounded by treeless mountains in the afternoon.
The really special thing about the Finders is that it’s not really on the way to anywhere, you have to go their specifically. The real beauty starts just outside Port Augusta (about 3 hours north of Adelaide) and then you can choose your own adventure. I would recommend heading up through Quorn and into Wilpena Pound. From here there are countless roads and dirt tracks to explore. Heading through the middle of the range, cut through one of the stunning Gorges to Parachilna and up as far up as Leigh Creek gets you right out into the deserts and beyond, big mountains, big skies. There is no place like it on earth like it.
Hans Heysen is one of Australias most well known painters. When he first visited the Flinders Ranges in the 40's -50's his whole style and approach to painting was effected. He felt a deep love for the ranges and you can see it in his paintings from that period.
I can relate to that in many ways. It's really cool how geographic locations can have strong emotional and physical effects on you.
Have you got a road trip to suggest? I want to consider it!
