Show Me the Magic The Adventures of Don McAlpine
© ATOM 2013 A STUDY GUIDE by Anne Chesher and Russell Burton
http://www.metromagazine.com.au
ISBN: 978-1-74295-300-7 http://www.theeducationshop.com.au and the Arts for secondary school students in Years 9–12.
The combined Show Me the Magic film and ATOM study guide has two educational applications:
All cinema is deception – 1. As a vehicle to learn about the life and work of one of Australia’s a beautiful deception. most awarded and accomplished – Don McAlpine cinematographers, and 2. As an opportunity for analysis and INTRODUCTION appraisal of an Australian feature film documentary. Show Me the Magic (Cathy Henkel, first film … the only other director I’ll 2012) takes us on an enthralling jour- mention is Paul Mazursky. His mantra, The resource includes various ele- ney into the life and work of legend- “Show me the magic!”, has been my ments for inspiring classroom and ary Australian cinematographer Don guiding force all my career.’ self-guided learning. For example: McAlpine. A tender portrait of a life in film, Show Me the Magic weaves Director Baz Lurhmann on Don • Notes on the Show Me the Magic together footage from Don’s personal McAlpine: production and direction provide archive, his filmography, and on-set insight into the vision and execu- observation of his work. Including He’s been the absolute heartbeat tion of the film as well as the extent interviews with filmmakers Baz of cinematography in this country. and body of Don McAlpine’s work. Luhrmann, Bruce Beresford, Gavin From those that have been hugely • An essay provides a discourse Hood, PJ Hogan, Gillian Armstrong recognised, from those that have won on the art of cinematography and and Paul Mazursky, and actor/produc- Oscars – ask them – from first-time Don’s philosophy on life and work. er Hugh Jackman, Show Me the Magic directors – ask them – he has not only • Learning tasks for students in the will engage and entrance anyone who been their mentor, their supporter, Arts and Media address the craft has ever been touched by the magic but he’s really been the godfather and and technique of cinematography. of movies. grandfather of cinema in this country. • Evaluation and enquiry questions
for English students develop skills SCREEN EDUCATION © ATOM 2013 Upon accepting the 2009 American This study guide is designed to com- in visual literacy and interpretation. Society of Cinematographers award plement the viewing and enhance the for Cinematographer of the Year, Don learning experience of the feature film First and foremost, a true appreciation McAlpine summed up his working life: documentary Show Me the Magic, of Show Me the Magic and cinema- ‘I’ve completed fifty feature films. I’ve directed by Cathy Henkel. The film and tographer Don McAlpine can only be worked with thirty-two different direc- its appraisal has Australian Curriculum achieved by a recognition of the man tors. Bruce Beresford offered me my relevance to the subjects of English and his work. 2 films with Baz Luhrmann, Don re- working with directors to realise their CINEMATOGRAPHER ceived a BAFTA nomination (Romeo + visions has resulted in an incredibly Don McAlpine Juliet, 1996), and Oscar® and BAFTA diverse filmography. From Oscar- nominations for Best Cinematography winners to first-timers, they all applaud Don McAlpine was born in 1934 in the (Moulin Rouge!, 2001). In 2009 Don Don’s sensitivity and simpatico, as isolated outback village of Quandialla, was honoured as the ASC (American well as his humility and fortitude. NSW, and grew up in nearby Temora. Society of Cinematographers) He was working as a physical educa- Cinematographer of the Year, and in As he approaches his eightieth year, tion teacher in Parkes when he boldly 2011 he was granted the first award to Don shows little interest in slowing talked the Australian Broadcasting be bestowed by the newly-established down. He and his wife Jeanette still Corporation into giving him a shot as Australian Academy of Cinema and travel the world, shooting on location a newsreel stringer. His achievements Television Arts (AACTA): the Raymond from Dolphin Heads to Durham. Don in the 1960s filming regional stories Longford Award, which recognises a is adapting to new digital cameras and led to a full-time job at the national person who has made a truly out- continues to embrace cutting-edge broadcaster. From there he moved to standing contribution to the enrich- technology, shooting his first digital the Commonwealth Film Unit, where ment of Australia’s screen environment film, Mental (2012), with PJ Hogan. he was assigned the job of travelling and culture. to exotic places to shoot ethnographic Don’s personal history in film is a his- pieces on colour 35mm film. In 1972, Throughout his career, Don has earned tory of the medium itself; he devel- Don took leave from this position a reputation as a brilliant craftsman, oped as an artist in parallel to the to shoot his first feature film, Bruce fast and flexible, with a knack for growth of the Australian film industry, Beresford’s The Adventures of Barry innovative solutions to tricky on-set winning the respect of his peers and McKenzie (1972). problems. His mercurial adaptability in great international acclaim. Show
And so began a career spanning six decades and over fifty-three films, from the iconic Australian clas- sics Don’s Party (Beresford, 1976), ‘Breaker’ Morant (1980) and My Brilliant Career (Gillian Armstrong,
1979) to international box-office hits SCREEN EDUCATION © ATOM 2013 like Parenthood (Ron Howard, 1989), Mrs. Doubtfire (Chris Columbus, 1993), Patriot Games (Phillip Noyce, 1992), Predator (John McTiernan, 1987) and The Chronicles of Narnia: The Lion, The Witch and the Wardrobe (Andrew Adamson, 2005). For his 3 Me the Magic is a tender portrait of a life in film, weaving together foot- age from Don’s personal archive, his filmography and on-set observation. The film includes fellow filmmak- ers Baz Luhrmann, Bruce Beresford, Gavin Hood, PJ Hogan and Gillian Armstrong, and actor/producer Hugh Jackman.
DIRECTOR Jeanette that I wanted to know Cathy Henkel more. That is how we began the seven-year process of making this film. During filming, I was able to speak I first met Don in 2005 when I was film- to director Gavin Hood, actor and ing a documentary about the legend- My goal was to take the audience on a producer Hugh Jackman and gaffer ary British comedian Spike Milligan. journey into Don’s life and work using Steve Mathis, who all shed light on Don had met Spike during the filming on-set observational footage, Don’s Don’s unique qualities and what it’s of his first feature, The Adventures recollections, and his extensive archive like working on a big-budget movie. of Barry McKenzie. At this meeting, collection. We agreed from the start This footage provides the core to the Don showed me his behind-the- that Don’s professional life would be ‘A’ story of the film: Don’s working life scenes scenes footage from Romeo best revealed by observing him on the and his role as cinematographer. What + Juliet, which was fascinating, and set of a movie and watching what he emerged, apart from the fascination of I became curious about this unrec- does, rather than having him talk about watching a movie of this scale being ognised Australian who had such a it. This was to be show me the magic, made, was Don’s charm, humour, rich and extensive working life. His not tell me the magic. I also set out to authority, vast knowledge, and the career includes such seminal films as relate the story with no narration, and respect he commands from his peers. Patriot Games, Predator, Peter Pan am proud of the fact that I achieved (PJ Hogan, 2003), Moulin Rouge! and this. It was also clear to me from the In 2008, producer Trish Lake joined The Chronicles of Narnia: The Lion, start that Don’s wife, Jeanette, was me on Show Me the Magic, and we the Witch and the Wardrobe. At that integral to his story and an interesting set about the long and arduous task meeting, I asked Don why no-one had character in her own right. of raising the money to make the film. ever made a film about him, and he This was not an easy film to finance, answered ‘no-one has ever asked’. When we met, Don’s next project mainly because no-one had heard of SCREEN EDUCATION © ATOM 2013 So began our collaboration to tell was his fiftieth film: X-Men Origins: Don (although they knew his work), or Don’s story – not only of his impres- Wolverine (Gavin Hood, 2009) with if they had, they were not convinced sive and stellar career, but his per- Hugh Jackman. I managed to secure his story was worth telling. The more sonal story, from a small ‘one-horse’ rarely-granted access to the usually I came to know Don, the more we town in outback NSW to the heights closed, behind-the-scenes world that discovered about his personal style of Hollywood. There was something Don inhabits, and filmed him at work and backstory and the values and so unassuming – yet charming and in New Zealand, on Cockatoo Island qualities that have guided him through intriguing – about Don and his wife in Sydney Harbour, and in Vancouver. life, the more convinced we became 4 find out more of his personal life, what drives him and how he came to be one of the leading cinematographers of his time. My hope is that this story will be of interest not only to cinema lovers and students of film, but also to the general public, who will be inspired by the love story of two people who that the naysayers were wrong. So, decided to make a life together in the despite many rejections, Trish and I country pubs or around the camp fire, surreal and stressful world of high end found ways to finance the film and Don and Jeanette shared the stories film-making… and then escaping to keep going. of their early life and the events and remote places to just be together. experiences that shaped them. This In 2011, we secured access to the footage, and some excellent archive As I spent more time with Don and set of Mental, a new Australian footage we were able to uncover, his equally enigmatic wife Jeanette, film directed by PJ Hogan (Muriel’s became the core of the ‘B’ story: Don I became curious about their re- Wedding, 1994; My Best Friend’s and Jeanette’s personal history out- lationship and how their marriage Wedding, 1997; Peter Pan). This was side the film industry. endured the pressures and demands to be Don’s fifty-second film, his first of Hollywood life and lasted all these digital feature, and the first time he’d This film is targeted primarily at those years. I also wonder why it is that so worked on a purely Australian film in who are interested in how movies are many directors want to keep working twenty-five years. made and who love going behind the with Don, over and over again, and scenes to observe the movie-making they continue to seek him out even When he is not working, Don and process in action, as I do. I also want- though he is now in his late seventies. Jeanette like to travel to remote places ed to examine the role of the cinema- What is the secret to his longevity in in inland Australia and get as far tographer in creating movie magic and this industry, his notable success, the SCREEN EDUCATION © ATOM 2013 away from civilisation as possible. In the relationships he has with the direc- inspired choices he makes, and the November 2011, I took a small crew tor, lead actors and other members respect he commands from those who and we travelled with them to loca- of the crew. I began with the assump- have worked with him? tions in western NSW where Don grew tion that most people know very little up and where he and Jeanette worked about Don, or what a cinematographer The person behind the camera and as schoolteachers and started their actually does. As they get to know him asking the questions is me – a docu- family. During this trip, at picturesque through his work, I hoped that, like mentary filmmaker with a history of lookouts and waterholes, in small me, their curiosity would be sparked to telling stories, often about unknown 5 film that is testament to the dogged determination of its director, Cathy Henkel. From a producing point of view, without the dedication and com- mitment from Cathy and every one of the filmmaking team, as well as the supporters, investors, and sponsors, the film would never have been com- pleted. This is a story about a man at the top of his game in one of the most competitive industries on earth.
It’s the story of Don McAlpine – now in his late seventies – who has created a breathtaking body of work and has inspired enormous respect and admi- ration from his peers. Yet for most of his career, he has remained relatively invisible to the outside world. The film deception’. Show Me the Magic reveals Don’s world behind the camera people who have inspired and fasci- reveals some of the ‘deception’ neces- and behind the scenes in the movie- nated me. The subjects of my films sary in creating movie magic. It reveals making business. The documentary include a timid environmental protest- the dedication, artistry, long hours, also takes us to Don McAlpine’s other er who steps out of her comfort zone collaborative effort and skill required world in outback Australia where he (Walking Through a Minefield, 1999), a to create every moment that we see escapes the pressure of filmmaking woman who confronted grief head-on on the screen. In telling this story, I with his wife Jeanette. following the death of her baby (Losing always looked for what was surprising, Layla, 2001), a well-known comedian playful and unexpected in Don’s work- The documentary is a remarkably who suffered from bipolar disorder ing life and personal history, whilst personal film, which – because of the and whose private life was a mystery (I making sure I captured his very unique huge body of work and career of its Told You I Was Ill: The Life and Legacy sense of humour. Don’s wry and central character – I believe will stand of Spike Milligan, 2005), a young envi- sometimes cutting wit has been one the test of time. It’s also very personal ronmental entrepreneur who set out to of the great joys of this journey for me. because of the strong bond that its di- save the forests (The Burning Season, Despite the brutal hours and sheer rector, Cathy Henkel, formed with Don 2008), and my own mother, who was hard work, Don has never forgotten and Jeanette very early in the piece. raped and wanted justice (The Man the fact that making movies is fun. The idea for the film came from Cathy Who Stole My Mother’s Face, 2003). Which is why, at seventy-eight, he has who met Don almost by accident when no plans to quit. she was making her film about Spike A common thread in all these stories is Milligan. She was amazed that no-one the focus on the personal lives and in- THE PRODUCTION had made a biography of Don given the SCREEN EDUCATION © ATOM 2013 ner worlds of people who take us into Trish Lake, Producer huge number of films he’d made back places we don’t usually inhabit, and in 2005 – already over fifty features. who engage, enlighten and ultimately Show Me the Magic has required huge inspire us. commitment from everyone who has Naturally, Cathy was already very worked on the feature documentary, close to Don and Jeanette when I A premise for the film is something as well as support from an incredible came aboard. They’d started the jour- Don said to me very early on: ‘All array of Australian and international ney together after Cathy approached cinema is deception, a beautiful film industry professionals. It is also a them to open the family archives to 6 before the first technicolour film was released. There wasn’t even a cinema in Quandialla. Don helped his mother her, and with the assistance of the in Hollywood, and finished with the support their family from the age of entire McAlpine family, in particular independent Australian feature Mental, fourteen, when his father was stricken their daughter Robin, she began piec- PJ Hogan’s latest comedy. by tuberculosis. His part-time job at ing together Don’s story. It was clear the Temora chemist as a darkroom to me from the start that Don’s legacy Don’s story provides a fascinating photo developer struck a chord in was one that had to be shared with insight into the new Australian film in- young Don’s soul. Soon, a school per- others – not just filmmakers but with dustry that emerged in the 1970s, and formance of The Mikado ignited in him the wider cinema-going public, indeed how the pioneers of that era, many the desire to entertain an audience. anyone who loved movies. of whom are still at the top of their fields, battled with limited resources to His fascination with the magical im- From the start, Screen Queensland create some iconic films that still have ages emerging from his darkroom has been a strong supporter of the resonance today. Those films include set him on the winding path that film. We secured a broadcast pre- ‘Breaker’ Morant and My Brilliant would eventually lead to the glittering sale with Studio, Australia’s arts and Career. Don’s story also reveals lights of Hollywood, where, in 2009, entertainment channel, and sup- itself as a chronicle of technological he received the American Society port from Screen Australia. A major advancement through the twentieth of Cinematographers’ ‘International breakthrough came when Films Transit century, reflecting how Don and the Cinematographer of the Year’ Award in International (based in Montreal & industry have experimented with and front of the foremost luminaries of the New York) signed up the interna- shaped the styles, tools and technol- American film industry. tional TV rights, and both Deluxe and ogy used in telling cinematic stories. Panavision agreed to support the film. That same year, Don shot his fiftieth The post-production team at Deluxe SYNOPSIS film, X-Men Origins: Wolverine, a big- have delivered a beautiful sound budget, effects-driven action movie and vision quality to the completed Show Me the Magic takes us on an directed by Oscar-winner Gavin Hood film. We have produced a 72-minute enthralling and joyful journey into the and starring Hugh Jackman. Show Me feature-length version and a 52-minute life and work of the legendary and the Magic takes us on-set and behind SCREEN EDUCATION © ATOM 2013 TV version. world-renowned Australian cinema- the scenes of that film. In 2011, Don tographer Don McAlpine. posted another landmark: Mental, The film has taken five years to a low-budget movie directed by PJ complete. We began with Don’s work A country kid from the small wheat- Hogan. Mental was Don’s first digi- on Wolverine in Sydney, Dunedin belt town of Quandialla in isolated tal film and his first Australian film in and Vancouver – a DP role consist- south-western New South Wales, twenty-five years. ent with Don’s stature and reputation McAlpine was born in 1934 – the year 7 As we travel with Don back into his past, and into the Australian outback landscape that he loves so much, we DIRECTOR’S VISION that shaped his life and character. experience the extremes of movie- Don’s personal story could itself be a making: embedded alongside him on Show Me the Magic consists of three classic movie script: ‘Young boy from the contrasting sets of Wolverine and story strands woven together to create small country town makes good in Mental, we peel back the layers of a strong dramatic narrative, carrying Hollywood’. The film crew travelled what Don calls ‘the beautiful decep- the audience on an enthralling behind- with Don and Jeanette to the remote tion’ of cinema to illuminate the world the-scenes journey into the making towns and locations where Don grew behind the screen. of movies. The first story strand is of up, and on the road, Don reveals Don working alongside director Gavin the moments and places that influ- Joined by celebrated Australian Hood and star actor Hugh Jackman enced his early years. These scenes directors Bruce Beresford and Gillian to create the blockbuster Wolverine. also shed light on the technological Armstrong, we explore the herit- These scenes are constructed around changes of the twentieth century and age of the remarkable Australian the high drama and tensions associat- how they influenced young Don and films that Don photographed. In Los ed with a film of this scale. The focus the world of cinema. Don’s story also Angeles, Don reconnects with Paul will be on Don and his team confront- offers new insights into the revival of Mazursky, who gave him his big break ing the cinematic demands of the film Australian cinema in the 1970s. in Hollywood with Tempest (1982) and their search for creative solutions. and followed up with Down and Audiences will experience the trials The third strand of the story is con- Out in Beverly Hills (1986). And two of life on set and will find out how structed around Don’s film career, Australians of a later generation – Baz the problems are resolved. They will giving audiences a window into his Luhrmann and Catherine Martin – discover the camaraderie, warmth and work over the past thirty-five years. take us behind the scenes on Don’s infectious humour of experienced pro- These include some of the the nine spectacular creative achievements – fessionals at the top of their fields, and Bruce Beresford films, his two films SCREEN EDUCATION © ATOM 2013 Romeo + Juliet and Moulin Rouge! see how the scenes in question end with Baz Luhrmann and his work with up looking in the final film. The secrets Paul Mazursky, Gillian Armstrong, At once the story of a remarkable man of the magician will be revealed. PJ Hogan and Gavin Hood. Don’s and an exploration of filmmaking at personal archive of his work, includ- the highest level, Show Me the Magic As Wolverine reveals the origin story of ing fascinating behind-the-scenes will engage and entrance anyone who the X-Men character, so Show Me the footage of Romeo + Juliet and Moulin has ever been touched by the magic Magic takes us back to Don’s personal Rouge, are revealed for the first time of movies. history and the landmark moments and intercut with the scenes as they 8 If a film lacks visual content and is re- ally dense with story and plot then the cinematographer needs to find ways to make it cinematic.
Students often ask me whose job it appear in the finished films. The film is to create the pictures in a film. The includes engaging and playful scenes answer will depend on the director but of Don with directors he has worked ultimately the director has to com- with, including Bruce Beresford, municate what they want to the DOP Phillip Noyce, Gillian Armstrong, Paul who in turn has to make it happen. Mazursky, Andrew Adamson and Baz I suspect one of the reasons Don Luhrmann. McAlpine has been so successful is his ability to listen and contribute in a AN ANALYSIS OF non-confrontational fashion, allowing CINEMATOGRAPHY the director to do his/her job and feel through the eyes of secure on set. Don McAlpine there is no one way to work. The secret to becoming a good cinema- In the documentary Show Me the Don McAlpine is regarded as one of tographer is to treat every opportunity Magic, many directors praise Don the great cinematographers. He has as a fresh start. Don believes you for his ability to work with very little. made over fifty films and has worked have to be a non-conformist. Every Gillian Armstrong perhaps sums it up all around the world. He is seventy- time Don works on a film he is starting best when she talks about his ability nine and is still working today. from scratch. to think laterally. ‘If the budget doesn’t allow for certain luxuries Don will find So how does he do it? How does The greatest asset any cinematog- a way to make the shot regardless.’ someone work virtually non-stop in rapher can have is the ability to find such a fickle industry? Exceptional the story that is locked away in the Throughout his career, Don has earned talent, incredible stamina and perhaps director’s head. Doing the same thing a reputation as a brilliant craftsman, just the right amount of ego. over and over again will never work. fast and flexible, with a knack for My approach is to try something differ- innovative solutions to tricky on-set Many people have a great desire to ent every time or as often as possible. problems. His mercurial adaptability in work in film and television. Lets face Always look for new ways to shoot working with directors to realise their it, it’s a great creative industry and and light, even the simplest of shots, a visions has resulted in an incredibly there are so many roles on a film set. close up should be treated differently diverse filmography. From Oscar- You could become a writer, director or every time. – Don McAlpine winners to first-timers, they all applaud designer, or if you’re really organised Don’s sensitivity and simpatico, as you could become a producer. Some The relationship with the director is well as his humility and fortitude. make it; many don’t. So what is the tantamount to the film’s success. secret? How do you get into this field Not all directors have a great visual There is an intangible quality to film, a SCREEN EDUCATION © ATOM 2013 and what does the role actually entail? narrative. Some come form a writing magic that seems to transcend many background and as such may struggle art forms. The magic can come from The intention of this essay is not to visualising the film. This is when Don’s the writing, it can appear in a perfor- say, ‘This is how you must do it’. job becomes so much more crucial to mance or it can be seen in a land- There are no rules in film; even cross- find ways of filming and lighting the scape. It can come from a face, happy ing the line is a rule that can be bro- script. Finding ways to communicate or sad, knowing or unknowing. The ken. After spending some time talking and work cohesively creating mysti- use of light in creating this is so impor- with Don it soon became apparent cism is imperative. tant. In all these situations the placing 9 on film, heard Don’s comments in his Raymond Longford Award acceptance speech, he said, ‘if this great master Jedi is so excited about digital formats, then we should all make the jump’.
Whilst there may be an argument that the role of the DOP is diminishing with new technologies, there will always be the need for great leaders on a film set. Don McAlpine is a great leader. Don finished our conversation with an interesting comment: ‘There’s no justice in the world, thank goodness.’
By Russell Burton MA, Digital Media (Middlesex, UK), Department Coordinator, Film, SAE Institute – Qantm College
DON McALPINE of the subject in relation to the light, Don McAlpine has never once quit. shot at a certain angle at a certain This speaks volumes about his tenac- Don is totally ‘can do’, and not in a time of day or night, can transport an ity. ‘If you’re going to succeed in the sense of ‘whatever you want’ but ‘can audience into the scene, into the film. film industry you need to be prepared do’ in the sense of ‘we can solve that When all the energies come together, to work hard.’ You will work in incred- problem’ … it is no longer a script acted out and ibly diverse locations, from searing filmed but an experience that an audi- hot deserts to freezing mountaintops It’s that kind of pragmatic, low-tech ence may never forget. Achieving this to studios with only a green screen. solution that he was extremely good is the goal of the writer, the director, You need to have a great sense of with. Coming from the ‘having to make the designer, the sound recordist and adventure and always try to create do’ that comes from being a news the actor – and of course the cinema- something from nothing. There are reporter, having to shoot in Australia, tographer. It is when all these people many ways to light a scene and there and all of that. do their jobs without ego, when they is a plethora of information in text- ~ Baz Lurhmann, all work as one and all have the same books and of course on the internet. Director, Romeo + Juliet objective in mind that film can really There are established formulas to speak to us. lighting, three-point lighting will teach A good relationship between a you a lot, understanding the properties cinematographer and a production This is the mysticism, the magic that of light, understanding depth of field designer is fundamental to creating Don talks about in the documentary and learning how to use a light meter good images. He made me see how Show Me the Magic. Trying not to of course. All of these things can be unforgiving film can really be; you do the same thing that you did in the taught but the true crafting of this know, if you don’t have it in focus, if last film or the last scene. Listening knowledge into an art form is the dis- it’s not correctly exposed, then every- to a director and trying to help him/ tinction of a talented cinematographer. body else’s job is a waste of time. her achieve their goals is what a good cinematographer does. Working as a Don is a strong advocate for digital That ability to admit you’re wrong team, sculpting a film from a script. over film, describing it as a more flex- and just say ‘yep, I take that, that’s ible and precise tool, a more environ- my responsibility’ is an enormously If you read the blurb, you’ll realise mentally friendly technology and far endearing quality and I think it allows I’ve completed fifty feature films. I’ve more liberating as a creative medium: you to take more risks because you’re worked with thirty-two different direc- less scared of failure. tors. Bruce Beresford offered me my Shooting with digital cameras is really ~ Catherine Martin, first film … the only other director I’ll more creative than film. I don’t change Production Designer, Romeo + Juliet mention is Paul Mazursky. His mantra, the way I light. The beauty of digital SCREEN EDUCATION © ATOM 2013 ‘Show me the magic!’, has been my technologies is the director can see One of the hallmarks in Don’s career guiding force all my career. I’ve seen what they are getting; there is no wait- is that he’s shot so many movies and many corners of this world; I’ve worked ing and spending hours at the end of people have often said ‘what is your with the most beautiful people. I’ve had very day watching rushes. style, Don?’ and I think what’s so inter- a chance to see some fantastically cre- esting about Don is he will say that his ative minds at work … I am lucky and And his opinion carries weight; when style absolutely depends on the movie thankful that my darling wife of fifty-two producer Jonathan Shiff, after dec- that he’s working on, and that his first years seems to relish the gypsy life. ades of producing children’s shows job is to try and get to understand 10 what it is both story-wise and emo- tionally that the director’s trying to DON McALPINE: 27 Predator (1987) get out of the film and then figure out FILMOGRAPHY 28 Orphans (1987) the style that best suits that particular 29 Moving (1988) project. 1 Gentle Strangers (1972) 30 Moon Over Parador (1988) ~ Gavin Hood, Director, X-Men 2 The Adventures of Barry 31 See You in the Morning (1989) Origins: Wolverine McKenzie (1972) 32 Parenthood (1989) 3 Barry McKenzie Holds His 33 Stanley & Iris (1990) It’s my job to take Don’s vision for the Own (1974) 34 The Hard Way (1991) lighting and the look and translate that 4 Don’s Party (1976) 35 Career Opportunities (1991), into actuality without him having to 5 Surrender in Paradise (1976) AKA One Wild Night worry about it so he has time to actu- 6 The Getting of Wisdom (1978) 36 Medicine Man (1992), AKA The ally shoot the movie. 7 Patrick (1978) Last Days of Eden 8 Money Movers (1978) 37 Patriot Games (1992) When you go in the theatre and the 9 The Journalist (1979) 38 The Man Without a Face lights are off, that’s when there’s some 10 The Odd Angry Shot (1979) (1993) magic to it, when everything comes 11 My Brilliant Career (1979) 39 Mrs. Doubtfire (1993) together; not just the cinematogra- 12 ‘Breaker’ Morant (1980) 40 Clear and Present Danger phy but the directing, the acting, the 13 The Earthling (1980) (1994) writing, everything. When you see 14 The Club (1980), AKA Players 41 Nine Months (1995) it all come together, all these iconic 15 The Children of An Lac (1980) 42 Romeo + Juliet (1996) moments, you just think ‘this is really (TV) 43 The Edge (1997) cool’ and that’s why you do it. 16 Puberty Blues (1981) 44 Stepmom (1998) ~ Steve Mathis, Gaffer, 17 Tempest (1982) 45 Moulin Rouge! (2001) X-Men Origins: Wolverine 18 Don’t Cry, It’s Only Thunder 46 The Time Machine (2002) (1982), AKA Vietnam: Hell or 47 Anger Management (2003) As a producer it’s really important to Glory 48 Peter Pan (2003) have a cinematographer who not only 19 Blue Skies Again (1983) 49 The Chronicles of Narnia: has a great eye, but also to be able to 20 Now and Forever (1983) The Lion, the Witch and the do it in a reasonable amount of time 21 Harry & Son (1984) Wardrobe (2005) because you’re always playing with a 22 Moscow on the Hudson (1984) 50 X Men Origins: Wolverine finite number of dollars. And Don kind 23 King David (1985) (2009) of has it all, which is why I think he’s 24 My Man Adam (1985) 51 Main Street (2010) worked so much; look at his career and 25 Down and Out in Beverly 52 Mental (2012) all the movies he’s made. It’s amazing. Hills (1986) 53 Enders Game (2013) ~ Jerry Zucker, Producer, Mental 26 The Fringe Dwellers (1986)
What I loved about Don was he could light the scene so fast that I’d think ‘is this actually going to look any He was obviously a very, very bright you the script. As soon as you get it, good? Or is it going to look like a Rock fellow and of course his credential read it and call me back.’ He hung up Hudson movie?’ But it always looked was The Getting of Wisdom (Bruce and I’m sure he then called people to beautiful and of course the thing Beresford, 1978), as far as I’m con- say, ‘who is this crazy guy?’. Anyway, that’s great for a director is it gives cerned. Of course, he did a lot more a day or two later he called me, spoke me more time to work with the actors. than that, but that had the look that I a little slower – still had trouble under- Sometimes I’d walk on and rehearse it wanted so I admired him and boy, was standing him – and he liked the script. once with the actors and say ‘how long I pleased … I know that his solutions Who knows if he read it? You know, before you’ve lit it?’ and he’d say ‘it’s contributed hugely to that film. It’s not he’s a cameraman, they don’t always lit!’. I said, ‘it’s lit? Already?!’ but it was! called ‘the pictures’ for nothing. The read the scripts! And I said, ‘you’re ~ Bruce Beresford, Director, visual effects he got there were just hired’. I hired him on the telephone. The Adventures of Barry McKenzie outstanding. I did, I’m very proud of that. We met ~ Margaret Fink, Producer, about two weeks later in Greece This is new territory of me because My Brilliant Career where we shot most of Tempest. And it’s my first film with a digital camera, that was my first experience with Don. SCREEN EDUCATION © ATOM 2013 and Don’s. You know, I really needed I saw a movie called ‘Breaker’ It was thrilling. We made Tempest, somebody I could trust because I Morant and the cameraman was Don it was a wonderful success for me, didn’t know my way around digital. We McAlpine, so I immediately dialled – I one of my favourite pictures. You have a shorthand now because we did didn’t realise it was 3am in the morn- know, ‘show me the magic!’, and Don Peter Pan together. I really trust Don, ing in Australia – and a voice answered showed me his magic. and now what I do is just say how I and … he was speaking Australian. ~ Paul Mazurski, Director, Tempest want it to feel and I’ll leave it to Don. I had no idea what he was talking ~ P.J. Hogan, Director, Mental about. I said, ‘look, I’m going to send 11 THE ARTS: MEDIA STUDIES 2. Vermeer -- Portrait – always about the posi- tion of the key light THE ART AND Johannes Vermeer, born in 1632, was -- Butterfly – beauty lighting TECHNIQUE OF a Dutch artist who is remembered for -- Rembrandt – three-quarter key CINEMATOGRAPHY his great attention to colour, tone and lighting shades of gray. His paintings of do- -- Window – side key TASK 1 mestic middle-class life are depicted -- Hatchet – side key no eyes in palette tones of brown and gray and -- Notan – general unmotivated, light Today’s film lighting is regarded as then overlaid with transparent glazes everywhere having three major artistic influences of reds, yellows and blues. -- Silhouette – backlight from the last century. -- Chiaroscuro – light and dark, shadow play, pools of light Historical Influences Match any film or television show you know to each of these styles.
TASK 3
Quantity of Light
The type of story/film you want to Turner: Flint Castle Source: WIKI Commons make should dictate how much light you use. A thriller uses completely dif- ferent lighting techniques to a roman- 3. Turner tic comedy – less light for a thriller, more light for the comedy. Don always Joseph Mallord William Turner was adapts the lighting style to the story born in England in 1775. He is com- the director wants to tell. monly known as the ‘painter of light’ for his romantic tones in his oil paint- • X-Men is a classic genre flick ing and especially in his watercolours. and, as such, Don uses Hatchet, Caravaggio: Self-Portrait During his artistic life he was often Silhouette and Chiaroscuro to Source: WIKI Commons considered controversial but today he achieve the desired look. 1. Caravaggio is regarded as one of the great mas- • In Moulin Rouge! Don used lots ters of British landscape painting. of unmotivated lighting intercut Michelangelo Merisi da Caravaggio with motivated. This can be seen was born in Italy in 1571 and became Think about these three lighting histori- in the dance sequences where a highly influential painter in Rome cal influences and the shadows and light comes from everywhere but and Milan during the late 1500s and angles of light they portray. Name three nowhere specific and then on the early 1600s. He was fascinated with of Don’s films which appear to utilise rooftop scenes where the light ap- naturalism and realism and this is each of these historical influences. pears to come from the moon. Don depicted in his paintings. He is consid- always lit Nicole Kidman in a very ered to be the first great representative 1. Caravaggio flattering way known as butterfly of the Baroque School, which created 2. Vermeer lighting. drama, tension and theatrical exuber- 3. Turner • Narnia is predominantly in the ant style in all forms of art. Rembrandt style of lighting as the Vermeer: The Milkmaid TASK 2 light tends to come from the soft Source: WIKI Commons sun, which tends to be three- Lighting Style quarter key.
Mood, tension and tone is created in With reference to one of Don a story through the lighting style. Don McAlpine’s films, write a paragraph
always works very closely with the describing the quantity and technique SCREEN EDUCATION © ATOM 2013 director to ensure that the style is tell- of lighting Don has created in the film ing the story the director intends. He to support and enhance the storyline adapts the lighting style to the emo- for the audience’s enjoyment and tion the director wants the audience to viewing experience. feel. Some examples of lighting styles:
12 TASK 4 12. Ender’s Game (Hood, 2013) cinematographer, also known as the Director of Photography, uses known Direction of Light TASK 6 techniques with his/her personal skills to craft the audience’s viewing The direction of the light is very impor- Camera Angle experience. tant in telling your story. The light is either motivated or unmotivated. If it is Like the art of lighting, the angle at In the essay above, ‘An analysis of motivated it needs to come from the which a camera captures a scene cinematography through the eyes of direction of the source and over time it influences the storytelling in a film Don McAlpine’, writer Russell Burton will change or move as the sun does. and audience response to the shot. states ‘there are no rules in film’. With unmotivated you don’t know Cinematographers use certain names or see the source. This is the case to determine the angle of the camera. Select a quote from a director (above) in most romcoms and some dramas whose comment about Don McAlpine’s where there is light but it is notappar- Research these camera angles and philosophy on filmmaking supports ent where it comes from. The studio explain them in your own words. this comment. Use this comment and lights do not mimic a source – such as examples of Don McAlpine’s work to a lamp or the sun for example. • Close-up explain why there are no rules in film. • Mid-shot To demonstrate that you understand • Long shot ENGLISH: MEDIA STUDIES the importance of telling your story • Low angle through the direction of light, use your • Bird’s-eye FILM ANALYSIS, camera or mobile device to shoot at • Point-of-view INTERPRETATION AND least two images of both motivated VISUAL LITERACY and unmotivated light. TASK 7 TASK 1 TASK 5 Camera Movement The title of the documentary has Time of Day The cinematographer is also respon- special significance for Don McAlpine. sible for deciding how a camera might Watch the film and note the accept- Light in a film also needs to depict a move in order to capture the direc- ance speech Don makes in 2011 when time of day. Looking at light in a film tor’s storytelling intention. The crew receiving his ‘Cinematographer of the tells you the story in terms of time, assists in setting up and executing the Year’ award from the American Society day or night. A scene shot at 6:00am shot. The gaffer, or head electrician, of Cinematographers. will look very different to a scene shot best boy and team are responsible for at midday. The angle and position of positioning the lights. The key grip is What information does Don share in the light must be consistent to tell the the head of the crew team that builds this speech that suggests why this story. the rigging to support and move the documentary is called Show Me the camera. Magic? Find the trailer on YouTube of one of Don’s twelve most recent films. Select Research these camera movements TASK 2 a scene in the trailer and do a screen and explain them in your own words. grab of a frame. State the time of Director Cathy Henkel writes ‘Show day in the shot and suggest how Don • Unmotivated pan Me the Magic consists of three story created that time of day through the • Motivated pan strands woven together to create a lighting. • Tilt strong dramatic narrative, carrying the • Crane shot audience on an enthralling behind- 1. Romeo + Juliet (1996) • Dolly shot the-scenes journey into the making of 2. The Edge (Lee Tamahori, 1997) • Tracking shot movies.’ 3. Stepmom (Columbus, 1998) 4. Moulin Rouge! (2001) TASK 8 Name and describe the three story 5. The Time Machine (Simon Wells, strands Cathy to referring to. Explain 2002) Cinematography how these three strands are ‘woven’
6. Anger Management (Peter Segal, together in the film. SCREEN EDUCATION © ATOM 2013 2003) The combination of lighting and cam- 7. Peter Pan (2003) era is cinematography. Understanding TASK 3 8. The Chronicles of Narnia: The Lion, the properties of light, three-point the Witch and the Wardrobe (2005) lighting, a light meter reading and In the film we learn that after Don and 9. X-Men Origins: Wolverine (2009) depth of field all help, but the art his wife Jeanette married they moved 10. Main Street (John Doyle, 2010) of cinematography comes with the to regional New South Wales to work 11. Mental (2012) ability to use these to tell a story. The as teachers. They soon settled into the 13 country town and before long they had 4. Don’s Party (1976) the story. Don says, ‘if you’re going to their children. 5. Surrender in Paradise (Peter Cox, succeed in the film industry you need 1976) to be prepared to work hard’. Describe how Don and Jeanette met 6. The Getting of Wisdom (1978) and the events that happened in the 7. Patrick (Richard Franklin, 1978) Watch the film Show Me the Magic early years of establishing their young 8. Money Movers (Beresford, 1978) where Don is working on the set. family. In your description include 9. The Journalist (Michael Thornhill, Select either the closing scene in evidence that Don was beginning 1979) X-Men Origins: Wolverine or the to shape his love of filming and 10. The Odd Angry Shot (1979) shoot-up scene in Romeo + Juliet. cinematography. 11. My Brilliant Career (1979) Describe how the story is told through the cinematography. TASK 4 Go to YouTube and watch the trailers for these 1970s films. What makes TASK 8 In the essay above by Russell Burton these films look and feel ‘Australian’? it states that Don ‘was working as a How do the subjects of these films Several directors are quoted above physical education teacher in a small reflect the Australian film industry and paying testimony to the talent, ingenu- town nearby when he boldly talked the national identity of the era? ity and dedication of Don McAlpine. Australian Broadcasting Corporation Each director shares their personal into giving him a shot as a newsreel TASK 6 and professional experience in work- stringer’. ing with Don and explains how Don In Show Me The Magic several of Don was able to elevate the visual suc- Explain why the ABC engaged Don as McAlpine’s recent and most famous cess of the film way beyond their own a newsreel stringer. What type of foot- films are featured. Each film calls expectations. age would he send them and why? on Don’s skill, resourcefulness and problem-solving capacity to depict the Choose one director’s comment and, TASK 5 story. in relation to the film/s Don worked on with this director, explain the style and The first feature films Don worked on Name the films and their directors on art Don’s cinematography was able as cinematographer were all shot in which Don was cinematographer that to bring to the particular film. Finally, Australia. are featured in Show Me The Magic. list the Australian and International Awards Don has received for his work 1. Gentle Strangers (Cecil Holmes, TASK 7 as a cinematographer. 1972) 2. The Adventures of Barry McKenzie Throughout the documentary we see (1972) several sequences where Don is work- 3. Barry McKenzie Holds His Own ing on the set of various films. Each (Beresford, 1974) film calls for Don’s talents to depict
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