DOCSLIB.ORG

Filmmaker Biographies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Filmmaker Biographies Filmmaker Biographies Warwick Thornton is an award-winning Indigenous These accolades opened doors and allowed director, screenwriter and cinematographer. Warwick to begin work on his next feature The Funded by Tourism Australia and Austrade, Darkside, which became Warwick’s third film Warwick’s latest project has seen him collaborate invited to premiere at the 2013 Berlin International with critically acclaimed Australian director Brendan Film Festival. Most recently he directed and shot Fletcher on a film promoting Australia’s Indigenous the opening segment of Tim Winton’s The Turning tourism experiences to international visitors. and premiered his latest film, Words with God, at Venice in 2014. Born and raised in Alice Springs, Northern Territory, Warwick spent his teens working at a Warwick has also created dynamic television Warwick Thornton local radio station before pursuing his passion for work, his series Art + Soul focused on presenting Director/screenwriter/ film and studying cinematography at AFTRS film an insider’s view of Aboriginal and Torres Strait Islander art and artists. The series created a cinematographer school in Sydney. deeper understanding of the spiritual and cultural Warwick quickly established a strong presence in significance Indigenous art still has in twenty-first the industry creating a series of short films, focusing century Australia. on contemporary Indigenous stories. His films Nana and Greenbush premiered at the Berlin International Alongside the reputation Warwick has established Film Festival in 2008. With Nana winning the award as a director and screenwriter, he is also widely for Best Short Film, Warwick has been established as regarded for his work as a cinematographer, an important voice in Australian cinema. beginning his career working on films such as 1998’s Radiance and the critically successful SBS Following the success of these films, Warwick documentary series First Australians. In 2012 he began work on Samson and Delilah, a confronting was the cinematographer on director Wayne Blair’s look at the relationship between two young hit film The Sapphires, once again highlighting Aboriginal teenagers in Alice Springs. The film Warwick’s ability to present diverse and exciting premiered at the prestigious Cannes Film Festival Indigenous stories. in 2009, winning the Golden Camera award. Samson and Delilah collected numerous awards including Best Film at the AFI awards, Asia Pacific Screen awards and the Film Critics Circle awards. Filmmaker Biographies Brendan Fletcher is one of Australia’s most versatile and John Butler) in partnership with acclaimed and dynamic filmmakers. Aboriginal musician Kev Carmody. The show Funded by Tourism Australia and Austrade, was invited to the Sydney Festival in 2009 and Brendan’s latest project has seen him collaborate Queensland Music Festival in 2010. with critically acclaimed Australian director/ Brendan’s work with embattled inner-city residents cinematographer Warwick Thornton on a film from the Northcott Housing estate on ABC TV’s promoting Australia’s Indigenous tourism social documentary 900 Neighbours won him the experiences to international visitors. ATOM Award for Best Social/Political Documentary, a Film Critics nomination for Best Documentary Brendan Fletcher Brendan’s debut film Mad Bastards about an Aboriginal father’s attempt to reconnect with his and a Writers Guild nomination for Best Script. Director son, was the culmination of 12 years working with Brendan’s collaboration with two-time Archibald- the Indigenous communities of the Kimberly region. winning artist Del Kathryn Barton on the animated Mad Bastards was selected for the 2011 Sundance adaptation of Oscar Wilde’s The Nightingale and Film Festival and nominated for the Grand Jury The Rose that premiered at the Berlin International Prize in the World Dramatic Cinema Competition. Film Festival 2015 was fully funded by Screen It won the Independent Spirit Award at the 2011 IF Australia and stars Mia Wasikowska and Geoffrey Awards; received five AACTA Award nominations; Rush. The score was written and performed by won Best Film at the Deadly Awards and garnered multi- award winning musician Sarah Blasko. In both Film Critics and Director’s Guild nominations 2011, Brendan directed the ABC TV comedy-doc for Best Director. series Judith Lucy’s Spiritual Journey (nominated for an AACTA Award and a Logie Award) and previous Brendan’s experience working on Indigenous to that he directed Andrew Denton’s ABC TV projects also includes co-directing Black Chicks biographical interview show The Elders. Talking with Leah Purcell, which screened at Tribeca Film Festival in New York and won the Audience Brendan co-directed two documentaries with Awards at the Sydney and Brisbane Film Festivals Academy Award winner Russell Crowe – and the IF Award for Best Documentary. Texas and The Men Who Couldn’t Finish Things, which screened at Sundance, Berlin and Sydney He also co-wrote and directed the live show Cannot Film Festivals. Buy My Soul (starring Paul Kelly, Missy Higgins .
Load more

Recommended publications
  • STUDY GUIDE by Marguerite O’Hara, Jonathan Jones and Amanda Peacock
    A personal journey into the world of Aboriginal art A STUDY GUIDE by MArguerite o’hArA, jonAthAn jones And amandA PeAcock http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins Front cover: (top) Detail From GinGer riley munDuwalawala, Ngak Ngak aNd the RuiNed City, 1998, synthetic polyer paint on canvas, 193 x 249.3cm, art Gallery oF new south wales. © GinGer riley munDuwalawala, courtesy alcaston Gallery; (Bottom) Kintore ranGe, 2009, warwicK thornton; (inset) hetti perKins, 2010, susie haGon this paGe: (top) Detail From naata nunGurrayi, uNtitled, 1999, synthetic polymer paint on canvas, 2 122 x 151 cm, mollie GowinG acquisition FunD For contemporary aBoriGinal art 2000, art Gallery oF new south wales. © naata nunGurrayi, aBoriGinal artists aGency ltD; (centre) nGutjul, 2009, hiBiscus Films; (Bottom) ivy pareroultja, rrutjumpa (mt sonDer), 2009, hiBiscus Films Introduction GulumBu yunupinGu, yirrKala, 2009, hiBiscus Films DVD anD WEbsitE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series.
    [Show full text]
  • Anthropology of Indigenous Australia
    Anthropology of Indigenous Australia Class code ANTH-UA 9037 Instructor Details Petronella Vaarzon-Morel [email protected] 0428633216 (mobile) Office Hour: Tuesday 5-6pm Class Details Anthropology of Indigenous Australia Tuesdays, 2-5pm September 3 to December 10 Room 3.04 NYU Sydney Academic Centre Science House: 157 Gloucester Street, The Rocks Prerequisites None Class Description This course offers an introduction to some of the classical and current issues in the anthropology of Indigenous Australia. The role of anthropology in the representation and governance of Indigenous life is itself an important subject for anthropological inquiry, considering that Indigenous people of Australia have long been the objects of interest and imagination by outsiders for their cultural formulations of kinship, ritual, art, gender, and politics. These representations—in feature films about them (such as Rabbit-Proof Fence and Australia), New Age Literature (such as Mutant Message Down Under), or museum exhibitions (such as in the Museum of Sydney or the Australian Museum)—are now also in dialogue with Indigenous forms of cultural production, in genres as diverse as film, television, drama, dance, and archiving. The course will explore how Aboriginal people have struggled to reproduce themselves and their traditions on their own terms, asserting their right to forms of cultural autonomy and self-determination. Through the examination of ethnographic texts, historical accounts, films, live performances, and an autobiography, we will consider the ways in which Aboriginalities are being challenged and constructed in contemporary Australia. The course will consist of lectures interspersed with discussions, student presentations, and films/other media; we may also have guest presenters.
    [Show full text]
  • Stephen Page on Nyapanyapa
    — OUR land people stories, 2017 — WE ARE BANGARRA We are an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for our powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national currently in our 28th year. Our dance technique tour of a world premiere work, performed in is forged from over 40,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra, and represent the pinnacle of Australian dance. Each an international tour to maintain our global has a proud Aboriginal and/or Torres Strait reputation for excellence. Islander background, from various locations across the country. Complementing this touring roster are education programs, workshops and special performances Our relationships with Aboriginal and Torres and projects, planting the seeds for the next Strait Islander communities are the heart generation of performers and storytellers. of Bangarra, with our repertoire created on Country and stories gathered from respected Authentic storytelling, outstanding technique community Elders. and deeply moving performances are Bangarra’s unique signature. It’s this inherent connection to our land and people that makes us unique and enjoyed by audiences from remote Australian regional centres to New York. A MESSAGE from Artistic Director Stephen Page & Executive Director Philippe Magid Thank you for joining us for Bangarra’s We’re incredibly proud of our role as cultural international season of OUR land people stories.
    [Show full text]
  • David Stratton's Stories of Australian Cinema
    David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor
    [Show full text]
  • Commercial Driver's License (CDL) Manual
    Connecticut Commercial Driver License Manual Ned Lamont Sibongile Magubane Governor Commissioner State of Connecticut Department of Motor Vehicles 60 State Street Wethersfield, CT 06161 ct.gov/dmv R-295 Rev. 03/2020 This material is based upon work supported by the Federal Motor Carrier Safety Administration under Cooperative Agreement No. DTFH61-97-X-00017. Any opinions, findings, conclusions or recommendations expressed in this publication are those of the Author(s) and do not necessarily reflect the view of the Federal Motor Carrier Safety Administration. COPYRIGHT © 2005 AAMVA. All rights reserved This material has been created for and provided to State Driver License Agencies (SDLAs) by AAMVA for the purpose of educating Driver License applicants (Commercial or Non-Commercial). Permission to reproduce, use, distribute or sell this material has been granted to SDLAs only. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without express written permission from the author / publisher. Any unauthorized reprint, use, distribution or sale of this material is prohibited. In January 2015, an RV pulled into a truck stop in Virginia. Observant professional truck driver Kevin Kimmel recognized suspicious activity around that RV, which had pulled back by the truck line, and decided something was off. Instead of turning a blind eye, he made a call that brought law enforcement out to the scene within a few minutes. After interviewing the occupants of the vehicle, they discovered that a young woman, 20 years old, had been kidnapped from Iowa two weeks prior.
    [Show full text]
  • Sweet Country Justice Itself Is Put on Trial
    IN co,o,m,oN ) <., ��-,,'"""""--,.,, - HAMILTON BRYAN MORRIS BROWN A FILM BY WARWICK THORNTON {SAMSON & DELILAH} SWEET COUNTRY JUSTICE ITSELF IS PUT ON TRIAL INSPIRED BY TRUE EVENTS ::u1J11,r:JUIII\' ,:Hll'li,i1::,11J, .,, ,·,,·:111'\'il. 1:1· U :11,11111,· H II; 1:111111:: · 1-L<'O •lilll j iF:1:r:•·r "II 'l!Hi f'lillill '•illi\' ,::: r>:; II" 1·.':' ''" :1::1.:-111·:1, III +.;;1"i:ll'\:11111.i:i:IJ •111:ilil:. •�•.·-:ir11· ':XLI 'i:=• ·.:11'.:II: ,�JFIH::·-: iS:-.r•:=1,_ ,:: ':'.:W :C:I\soU\ :''li li· ,"::l'.llii:I,��l"I :, ··li(I �: 111.1\'I\ �:•,illl; ;;c·,i 1+1: :-1 ;·\11:,i::, T,::i:,1::- 11;;\ j_L) : i. ·':I ;p· , i ·11:1 ,:,,·: il" :··111]J ••,:1,: ill;: u: :·:1:\h'" "' w � •cc.liiil <l"-'==- e•- •i<'"1:r111i11:.11;:, :11;u·-0rn 'E"""" l!I"·"' ::::o:-----::-, * Ein Film von Warwick Thornton Australien - Format: Scope - Ton: 5.1 - Dauer 112 Min. AB DEM 7. JUNI IM KINO VERLEIH PRESSE Praesens-Film AG Olivier Goetschi Münchhaldenstrasse 10 Pro Film GmbH 8008 Zürich [email protected] [email protected] +41 44 325 35 24 +41 44 422 38 32 Pressematerial unter www.praesens.com SYNOPSIS SWEET COUNTRY beruht auf wahren Begebenheiten und spielt 1929 im tiefsten australischen Outback. Der Aborigine Sam Kelly bestellt das Land für Fred Smith, einen wohlwollenden Prediger, bei dem er in gegenseitigem Respekt lebt. Nachdem der Trunkenbold Harry March neu in die Gegend kommt und eine Farm bezieht, die ihm für geleisteten Kriegsdienste überlassen wird, greift er Sam im Alkoholrausch an, der ihn aus Notwehr tötet.
    [Show full text]
  • Reconciliationnews Issue No 30 // September 2014
    ReconciliationNews ISSUE NO 30 // September 2014 Rebecca Richards, Rhodes Scholar Top marks for a Coota boy The culture of mathematics 2 ISSUE NO 30 // September 2014 CONTENTS CEO’s message 3 From student to teacher 4 Two cool for schools This is likely to be my final message in Reconciliation News as I will soon be stepping down as CEO of Reconciliation Australia. I have absolutely enjoyed working here for the past four years and 7 Lourdes Hill shares the spirit it has been a privilege to share that time with a Board and staff so committed to the work we do. 8 Rebecca Richards, When I first took up my role, I said how honoured I was to be heading up an organisation that Rhodes Scholar matched my own values, and that is just as true today as it was then. The pathway to recognition and reconciliation is now engaging more Australians than ever before 10 The magic of mentoring and I am proud to have been a part of our key achievements over the past few years. We are now more dynamic and disciplined, our policy and people processes are more reflective of a 12 Top marks for a Coota boy social business and our programs including Reconciliation Action Plans, National Reconciliation Week and the Indigenous Governance Awards have all increased their reach and impact. 15 Students hit the right note We have significantly increased our profile and engagement across all sectors of society— 16 Walking the talk on Kokoda government, corporate, schools, Aboriginal and Torres Strait Islander leaders and communities and non-Indigenous organisations.
    [Show full text]
  • Reconciliationnews Issue No 28 // December 2013
    ReconciliationNews ISSUE NO 28 // December 2013 Michael Hohnen and Mark Grose and their passion for Indigenous music Rachel Perkins discusses her love of filmmaking Alison Page, bringing people together through the Freshwater Saltwater Arts Alliance 2 ISSUE NO 28 // December 2013 CONTENTS 3 Black Diggers – CEO message the untold story 4 Rachel Perkins: in the frame How quickly this year has flown! All of a sudden we’re talking about Christmas, thinking about a welcome break 7 A tale of two talents by a beach somewhere and looking forward to all that fun 8 Coming home to and food with family and friends. Noongar country 10 Making music with Skinnyfish For most of us, taking a break will probably include music, movies and books, perhaps even a visit to a gallery or a festival. The arts enrich our lives every day and in much the same way 12 Riding the black cockatoo as sport encourages respect and admiration for athletic talent, the arts can provide a real appreciation and understanding of culture. 16 Saltwater Freshwater: bringing people together We’ve devoted this edition of Reconciliation News to the arts and I hope you’ll enjoy the various stories that together illustrate that reconciliation comes in many forms. 19 Bangarra turns 25! The thoughtful voice of film director Rachel Perkins whose work includes First Australians, Mabo and Redfern Now comes through clearly as she reveals her passion for filmmaking. Her quietly 19 Aboriginal artists shine powerful films have helped demystify our hidden history and have fostered better understanding between Aboriginal and Torres Strait Islander people and other Australians.
    [Show full text]
  • Theatre Costume, Celebrity Persona, and the Archive
    Persona Studies 2019, vol. 5, no. 2 THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE EMILY COLLETT ABSTRACT This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actress and the problematisation of persona in terms of the archived object. Can a costume generate its own persona in relation to the actress? And what are the power dynamics involved in persona construction when an archived costume presents a charged narrative which is very different to the actress’s current construction of her persona? KEY WORDS Costume; Archive; Deborah Mailman; Indigenous; Memory; Shakespeare COSTUME IN THE ARCHIVE: A CHARGED OBJECT In this essay I consider the archived theatre costume in relation to persona studies and what the materiality of costume might reveal or conceal about the celebrity performer’s persona(s). Can an archived costume have its own persona? What complexities arise when the charged historical narrative of an archived costume is at odds with a current persona? And in the following case study of Deborah Mailman, what happens when the framing of a living Indigenous actress’s costume constructs a persona that is quite different to the one that the actress currently constructs for herself? A costume worn by a performer live on stage is remembered in particular ways – and many in the audience might focus more on the performer’s stance, physicality, and verbal prowess than what they are wearing.
    [Show full text]
  • Leah Purcell DROVER’S WIFE
    THE Leah Purcell DROVER’S WIFE Currency Press, Sydney Writer’s Note Like many Australians, I’ve grown up with this story and love it. My mother would read or recite it to me, but before she got to that famous last line, I would stop her and say, “Mother, I won’t ever go a drovin’.” I always wanted to do something with this story with me in it as the drover’s wife. There were two forms of inspiration that motivated me to write this play. First came the film idea in 2006, which I wanted to shoot in the Snowy Mountains. That inspiration came when I was filming the feature film Jindabyne, directed by Ray Lawrence. Secondly, I was in a writing workshop. I was there as a director, but got frustrated. So I went home and said it was time to write my next play. I looked at my bookshelf and there it was: my little red tattered book of Henry Lawson’s short stories. The red cover had now fallen off, its spine thread fraying and my drawings inside as a five-year-old fading. In the original story, the drover’s wife sits at the table waiting for a snake to come out of her bedroom, having gotten in via the wood heap, which a ‘blackfella’ stacked hollow. While she waits for the snake, she thinks about her life and its hardships. Her oldest son joins her and she shares her story with him. This is not my version of The Drover’s Wife.
    [Show full text]
  • First Nation Filmmakers from Around the World 10
    MEDIA RELEASE EMBARGOED UNTIL 11.00am WEDNESDAY 10 MAY 2017 FIRST NATION FILMMAKERS FROM AROUND THE WORLD The 64th Sydney Film Festival (7–18 June) in partnership with Screen Australia’s Indigenous Department proudly continues support for First Nation storytelling from Australia and around the world. Leading First Nation Australian directors will premiere their new works at the Festival, including Warwick Thornton’s Opening Night film and Official Competition contender We Don’t Need a Map, and Wayne Blair and Leah Purcell’s highly anticipated second series of Cleverman. “Sydney Film Festival is committed to showcasing First Nation filmmakers and storytelling,” said Festival Director Nashen Moodley. “Throughout the Festival audiences will find examples of outstanding Indigenous cinema, from the red sands of Western Australia to the snowy landscapes of the Arctic Circle. These films promise to surprise, provoke and push boundaries.” “We're proud to continue our partnership with Sydney Film Festival to showcase these powerful documentaries from the world's leading Indigenous filmmakers, as well as premiere the innovative work of emerging new talent from around the country,” said Penny Smallacombe, Head of Indigenous at Screen Australia. “We are very pleased to see five films commissioned by NITV take their place alongside such prestigious works from across the world,” said Tanya Orman, NITV Channel Manager. Two important Australian First Nation documentaries will also have their premieres at the Festival. Connection to Country, directed by Tyson Mowarin, about the Indigenous people of the Pilbara’s battle to preserve Australia’s 40,000-year-old cultural heritage from the ravages of mining, and filmmaker Erica Glynn’s raw, heartfelt and funny journey of adult Aboriginal students and their teachers as they discover the transformative power of reading and writing for the first time (In My Own Words).
    [Show full text]
  • Darkemu-Program.Pdf
    1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers.
    [Show full text]