Xmas 09

Home town Tamworth

Chicken Boy

Natalie watching sunset

Tired fairy

Shooting...

Recce

Some photos taken over the last couple of weeks while searching for locations...

Currently in the thick of pre-production for one of the biggest commercials I've done. A ton of locations spread far and wide across the state (and the world! heading to China to shoot part of the campaign on Jan 1st : ) need to be found.

One of the things I love most about making any kind of production, whether it be a film, clip or commercial is the search for locations. The perfect room, the perfect house, the perfect field, mountain, road. The perfect whatever.

Infact, I have always found it one of the greatest privileges of being a filmmaker. To be invited into a strangers home, to be offered a cup of tea and a tour. To be taken to and given access to beautiful, ugly, broken and old, shiny and new, important or forgotten, even secret places. To have doors and gates opened that would normally be closed. To be given little windows into other peoples worlds.

Chook Chook

As my 6 old son Ollie doesn't have a blog (yet!). He has asked me to post
his film debut here. It was made as part of the Future Shots
Sustainability film comp.

UPDATE: Ollie won his age section! Award winning filmmaker at 6!?!

Music by the amazing Charlie Parr! Thanks Charlie!

Cherry Bomb

I have been working on the 2nd draft of my script Cherry Bomb, a film I was working on before Last Ride was sent to me. Cherry Bomb is about a bunch of teenagers who rob a bank in Brisbane, Australia, in 1978. It's based on a true story.

I first heard the story on talk back radio 5 years. The headline news story at the time was about some prisoners who had recently escaped from a Perth jail and the radio host was asking callers if they had ever been 'on the run'. A caller named 'Pat' rang up and told his story about what it was like to be on the run from the police when he was 16 after robbing a bank. I was so taken by the story, I was driving at the time and I had to pull over and just sit and listen to his story. Over the next week or so, I tracked Pat down and flew to meet him in Brisbane. My producer for this project Jane Liscombe and I optioned his story soon after.

The photo above is of 'Pat' aged 15, (That's Alice Cooper make-up he's wearing!) one year before he and his 15 year old girlfriend and two other friends robbed a bank and (almost) got away with over $40 000. The photo below is from the same time. I find these images, and a bunch more I photographed from Pats childhood photo album amazing. If I can get a sniff of the atmosphere and the energy of these random polaroids in the script, I think I'll be on the right track.

Cherry Bomb has taken along time to come together, partly as I was swept away with Last Ride. I find it really difficult to work on more than one thing at time, something I need to get much better at. Progress is slow, but I'm really happy with the direction this script is heading in.

Pitching...

Last Ride DVD 'Unboxing'

I'm really happy with the final packaging (and the content) of the DVD release of Last Ride. Madman said yes to all my wishes, and with this release you can see them all come true.

I've always wanted to create a DVD that is not only has cool and what I hope are interesting extra features but also a really cool physical package.

I'm very pleased with the book that fits inside the case. It's 48 pages of photos taken through out the entire process of the film, from initial location scouting, through to a few of my favorite stills from the film. There is also a conversation between Mac Gudgeon and Denis Young about adapting the film from the book, as well as a printed version of my online journal of the 6 week shoot that started this blog over a year ago.

The films commentary was done by me, Cinematographer Greig Fraser and Editor Jack Hutchings. I've posted about that here.

There is also Cracker Bag which one the Palme d'Or for short film at Cannes in 2003, another short of mine called The Desert which was nominated for an AFI, I was able to do a commentary on this, as it's a strange little film that in many way was a test for the shooting of Last Ride. There are 'Deleted Scenes', 'Rehearsal footage' and whole bunch of other cool stuff.

The 2nd Disc also features Along For The Ride a 55 minute 'making of' made by my friends Jono and Tim. I think it's a really interesting film, but it's hard for me to look at it, as it's focused on me most of the time. The only direction I gave the boys while making the film was to not even think about making it a 'puff piece'. I find the majority of 'making of's' so full of puff and ego, with people sitting around patting each other on the back. This film is kind of the awkward opposite of that. I actually considered at a few points ditching it from the release, as sometimes I think it might not paint the best picture of me or the way I made the film, but it's not for me to say. Maybe I'm just being overly conscience as I really hate seeing myself on camera, let alone trying to string a sentence together. I'm far more comfortable behind the camera.

A friend saw it the other day and said it was one of the most truthful and revealing films about 'making a film'. I'm not sure it's all that, but as I said I find it hard to have an opinion on it. I hope people like it though. Jono and Tim worked really hard for along time for no money and I really appreciate all their time and effort.

So along with the film, which I think looks better in this digital transfer than the print, I hope we have created something that people will consider value for money and worth purchasing.

It should be available now in most (Australian) shops like JB Hi-Fi, Readings, KMart etc. And for rent in Video Ezy, Blockbuster etc, if it's not, ask for it. Or you can buy it online via Madman.

If it wasn't mine, I know I would be really keen to get my hands on it : )

The Black Pearl and Abbas Kiarostami

I guess the highlight of my trip to Abu Dhabi and the Middle East Film Festival was winning the BLACK PEARL for 'Best New Narrative Director'. It was a huge honor to accept the award not only because it came with a nice bit of metal, with a large black pearl mounted in the middle of it, plus a sizable and very generous cash prize, but mainly because it was awarded by a jury that was headed by one of the few true masters of cinema and hero of mine, the legendary Abbas Kiarostami.

Abbas Kiarostami (AK) has been a direct influence on me for many years. All his films (that I have seen) are like book marks in my continuing education as a filmmaker. I can recall each of them as a precise and life changing moment.

Needless to say that when I learnt that AK was to head the Jury at the Middle East Film Festival I was excited at the mere chance of meeting and perhaps shaking his hand. I never considered winning a prize or anything.

It was a cool experience just sitting in on the competition screening of Last Ride knowing that Abbas and the rest of the jury was watching the film in the audience with me. It could have been quite nerve wracking, but I felt regardless if AK liked the film or not, I could see parts of the film that he and his films had a direct influence on. It was a great feeling. I walked away from that screening feeling that if nothing else, it was very cool to have sat in the same audience with AK and watch my film together (even if we were on opposite sides of the dark cinema).

Any of AK's films are worth seeing, but the film of his that has had the most direct and personal influence on me was actually an extra feature on the DVD for his film Ten. The film is simply called Ten on Ten and it is essentially AK's 10 point guide to filmmaking, using the film Ten as an example, but I dont think you have to have seen the film for it to be valuable, but it would help, as Ten is an amazing film that I highly recommend! He filmed Ten on Ten himself with a camera mounted on the dashboard of his car as he drives through the hills surrounding his home town of Tehran. It's like riding shotgun, on a Sunday drive with one of the most incredible film makers, having them discuss their thoughts on technique, process and philosophy. Each section covers a different aspect of filmmaking: Camera, Music, Actors, Locations, Story etc..

As a fan, and as a filmmaker, it is a gift. All ten parts are on YouTube and if your a film student or interested in learning about filmmaking from a totally different perspective then it's the best hour or so you could spend. It's everything they don't teach you in film school. And if you buy into the rhythm, style and the content, the final two minutes of part 10 'The Final Lesson' is one of the most cinematic, profound and poetic moments I have experienced.

But it only really works if you spend the time working through the 10 steps. You have to spend the time for the payoff to be effective. And in this way its very much like all of his films. I hope I'm not building it up to much... it's actually a very, very small but in so many ways an illuminating conclusion, for me anyway.

I could go on and on about AK and the ways in which he has inspired me over the years, and not just as a director, but also as a photographer and as a writer. If you are really keen to learn some more, I recently found this great interview, featured on Facebook of all places.

I had the chance to have a good conversation with AK after the awards ceremony about Last Ride and bunch of other stuff. It was very cool to say the least. I'm not one for having fanboy photo's taken with people of whom I'm fans of, but this was one meeting I just couldn't resist.

One of the happiest moments of my life.

I've been lucky enough to travel to many film festivals all around the world, but I would have to say that the Middle Eastern Film Festival would be one of the best. It has been able to strike that great balance between shall we say 'hospitality' and cinema. It's what a great film festival should be. (And I must ad I was feeling this way before I won anything!)

We were made to feel most welcome and there was alot of interest in the film and in Australia in general. The nightly parties were spectacular but most importantly the selection of films were amazing. Such a high level of talent. So again I was as honored to receive any prize, as to just have Last Ride in competition was reward enough.

Random Abu Dhabi (pt2)

Fire Works in Abu Dhabi

Just arrived home from Abu Dhabi and The Middle Eastern Film Festival. What a blast! More soon...

ps: I'm so over eBlogger, and it's constraints. Newer and more betterer site coming soon - stay tuned.

5Dmk2 crazy war footage update.

I'm not sure about the objectivity of this film and the music is a little OTT. But there is no denying the incredible camera work of imbedded journo Danfung Dennis (cool name!). This teaser trailer for his upcoming PBS docco appears revealing, intimate and engaging on so many levels. It also looks stunning and again it's all shot on the very small, very cheap and very accessible Canon 5Dmk2. I'm so inspired by this kind of thing at the moment, not just the energy of the production but the evidence that the technology is providing a different kind of access and opportunity for filmmakers at all levels.

Battle for Hearts and Minds Trailer from Danfung Dennis on Vimeo.

Insane.

Via Planet 5D where there is more info and less superlatives...

Random Abu Dhabi (pt1)

Last Ride in the Middle East.

I'm currently in Abu Dhabi at The Middle Eastern Film Festival as part of my tour of duty for the Last Ride festival run. Crazy and fun.

I wish I could read this newspaper article.

More 5D love...

A few people have asked if I am being paid by Canon to be spreading so much gratuitous love about the recent release of their Canon 5Dmk2. Unfortunately I'm not, but I do want to continue the love by putting up to recent examples I have come across of the camera and it's users producing outstanding work. What makes this work stand out for me is that these productions would not have existed in the same way, had the 5Dmk2 not been created.

By that I mean, the two examples below could only have been created using that particular camera. Film cameras, or the much larger HD cameras either couldn't have done the job, or would have produced a very different and perhaps more compromised end result. This is what excites me most about the 5Dmk2 (and the new 7D!, check a comparison here), it just hasn't given filmmakers a new camera, it's a camera that creates whole new opportunities to create.

The first is a commercial directed by my friend and fellow Exit director Garth Davis. He recently shot this U.S Cellular commercial using only available city light, in Wellington in New Zealand. He really wanted to shoot the whole spot 'in camera' ie no post production. He shot tests on 35mm and various HD cameras, but nothing performed as well in the low light as the 5Dmk2. To shoot the same job traditionally on 35mm or RED for example, would have meant immense lighting set-ups. Something that budget nor time would allow. The 5Dmk2 went where no other camera could. It's beautifully shot by 'Eternal Sunshine for the Spotless Mind' DOP Ellen Kuras.

The next clip is an amazing piece of embedded journalism. Photo-jounalist Danfung Dennis

spent some time with some frontline marines in Afghanistan. The opening sequence was all

shot on the 5D and it's unlike anything else I have seen from such a small one person set up.

Filmic and rich, it feels like watching a real life Full Metal Jacket.

Here is a quick extract from a longer interview with Dennis.

How did you manage to film in this situation?

You just stay quite low and focus on working the camera. … I am using a new camera called

the Cannon [EOS] 5D Mark II, shoots full HD video. I’ve custom built it so I can rig it onto a

steady cam-like device, so that when I am running it will shoot a very smooth, steady picture.

It’s a bit tricky because [the Marines are] running, you’re running, you’re wearing huge

amount of equipment, and at the same time you’re trying to stay very level and very steady.

So it took a lot of practice. I believe I am the first to be using this set up in this situation.

I think more and more docs will be filmed like this because all you need is this camera, your

own laptop and some editing skills, and you can put together your own documentary.”

I find it very hard to believe that these two very different clips, were shot on a $3000 DSLR.

And neither would have been possible a year ago.

LA LA Land

Back home after a week of 'meetings' in LA. I now have a U.S agent and a head full of possibilities (not dreams). I have never had much interest in working in the U.S and in particular LA, but now, particularly after having made my first film, the idea of working in and/or via the U.S is a really exciting and much more defined opportunity.

Made some new friends as well as a chance to meet up with some old ones, including my good friend Mike (above) who was passing through at the same time I was there so we spent the weekend cruising around. Random shots below...

Strangely beautiful and a very particular quality of light in LA. Perhaps its all that pollution that hangs thick in the air that gives the hard sunlight a permanent diffusion. Although the shots above were mainly shot near Venice and down in Orange County where the sea mist was real thick. Very cool.

I've heard some pretty bad things about L.A, ad although I found it pretty hard to access at first but I think it's a city that slowly reveals reveals itself the more time you spend digging, I barely even scratched the surface. It has definatly wet my appetite for more.