MEDIA KIT CONTENTS

Page 2 Synopses

Page 4 Don’s Biography

Page 5 Don’s Filmography

Page 6 Quotes from Don’s Colleagues

Page 8 Company Profiles

Page 9 Director’s Notes: Cathy Henkel

Page 11 Producer’s Notes: Trish Lake

Page 13 Crew Profiles

Page 15 Credits

LINK TO THE TRAILER

www.showmethemagic.com.au

Actor/ producer Hugh Jackman and cinematographer Don McAlpine on the set of X-Men Origins: Wolverine in Sydney. Image: Cathy Henkel.

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The Adventures of Don McAlpine

SHORT SYNOPSIS LONG SYNOPSIS Show Me The Magic takes us on an enthralling journey into the life and Show Me The Magic takes us on an enthralling and joyful journey into the life work of legendary Australian cinematographer Don McAlpine. A tender and work of the legendary and world-renowned Australian cinematographer, portrait of a life in film, Show Me The Magic weaves together footage from Don McAlpine. Don’s personal archive, his filmography, and on-set observation of his work. Including interviews with filmmakers Baz Luhrmann, Bruce Beresford, Gavin A country kid from the small wheat-belt town of Quandialla in isolated south- Hood, P.J. Hogan, Gillian Armstrong, Paul Mazursky and Hugh Jackman, Show western New South Wales, McAlpine was born in 1934 - the year before the Me The Magic will engage and delight anyone who has ever been first technicolour film was released. There wasn’t even a cinema in Quandialla. touched by the magic of movies. Don helped his mother support their family from the age of 14, when his father was stricken by tuberculosis. His part-time job at the Temora chemist MEDIUM SYNOPSIS as a darkroom photo developer struck a chord in young Don’s soul. Soon, a Show Me The Magic takes us on an enthralling journey into the life and school performance of The Mikado ignited in him the desire to entertain an work of legendary Australian cinematographer Don McAlpine. The filmmaker, audience. Cathy Henkel, secured rare behind-the-scenes access to Don’s on-set world throughout his 50th film, X-Men Origins: Wolverine with Gavin Hood and His fascination with the magical images emerging from his darkroom set him Hugh Jackman, and to the set of Mental, directed by P.J. Hogan, (Peter Pan). on the winding path that would eventua lly lead to the glittering lights of Mental is Don’s 52nd film and his first digital feature. His career includes such Hollywood, where, in 2009, he received the American Society of seminal movies as Patriot Games, Predator, Peter Pan, Romeo + Juliet, Moulin Cinematographers’ “International Cinematographer of the Year” Award in Rouge! and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. front of the foremost luminaries of the American film industry.

Show Me The Magic tells the story of Don's journey from a one-horse That same year, Don shot his 50th film, X-Men Origins: Wolverine, a big-budget, town in outback NSW to the heights of Hollywood, weaving historical archive effects-driven action movie directed by Oscar-winner Gavin Hood and with Don's own personal collection and on-location footage. Directors Bruce starring Hugh Jackman. Show Me the Magic takes us on set and behind the Beresford and Gillian Armstrong recall highlights from Don’s remarkable scenes of that film. In 2011, Don posted another landmark: Mental, a low- Australian career, including the iconic Breaker Morant and My Brilliant Career. budget movie directed by PJ Hogan (Muriel’s Wedding, My Best Friend’s We meet Paul Mazursky, who enabled Don’s transition into Hollywood Wedding, Peter Pan). Mental was Don’s first digital film and his first Australian with Tempest and Down and Out in Beverly Hills. Baz Luhrmann and Catherine film in 25 years. Martin take us behind the scenes of their two iconic films with Don, Romeo + Juliet and Moulin Rouge! As we travel with Don back into his past, and into the Australian outback landscape that he loves so much, we experience the extremes of movie Show Me The Magic will engage and delight anyone who has ever been making: embedded alongside him on the contrasting sets of Wolverine and touched by the magic of movies. Mental, we peel back the layers of what Don calls ‘the beautiful deception' of cinema to illuminate the world behind the screen. [CONTINUES]

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Joined by celebrated Australian directors Bruce Beresford and Gillian Armstrong, we explore the heritage of the remarkable Australian films that Don photographed, including the iconic Breaker Morant and My Brilliant Career. In Los Angeles, Don reconnects with Paul Mazursky who gave him his big break in Hollywood with Tempest and followed up with Down and Out in Beverly Hills. And two Australians of a later generation - Baz Luhrmann and Catherine Martin - take us behind the scenes on Don’s spectacular creative achievements – Romeo + Juliet and Moulin Rouge!

At once the story of a remarkable man and an exploration of filmmaking at the highest level, Show Me The Magic will engage and delight anyone who has ever been touched by the magic of movies.

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PICTURED: Show Me The Magic producer / director Dr. Cathy Henkel with Don McAlpine, holding his AACTA Raymond Longford Award.

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DON McALPINE: BIOGRAPHY As he approaches his 80th year, Don shows little interest in slowing down. He Don McAlpine was born in the isolated outback village of Quandialla, NSW. and his lifelong partner Jeanette still travel the world, shooting on location He was working as a physical education teacher in a small town nearby when from Dolphin Heads to Durham. Don is adapting to new digital cameras and he boldly talked the Australian Broadcasting Corporation into giving him a continues to embrace cutting-edge technology, shooting his first digital film, shot as a newsreel stringer. His achievements in the ‘60s filming regional Mental, with P.J. Hogan. stories led to a full time job at the national broadcaster. From there he moved to the Commonwealth Film Unit, where he was assigned the job of travelling Don’s personal history in film is a history of the medium itself; he developed to exotic places to shoot ethnographic pieces on colour 35mm film. In 1972, as an artist in parallel to the growth of the Australian film industry, winning the Don took leave from this position to shoot his first feature film, Bruce respect of his peers and great international acclaim. Show Me The Magic is a Beresford’s The Adventures of Barry McKenzie. tender portrait of a life in film, weaving together footage from Don’s personal archive, his filmography and on-set observation. The film includes fellow And so began a career spanning six decades and over 53 films, from the iconic filmmakers Baz Luhrmann, Bruce Beresford, Gavin Hood, P.J. Hogan, Gillian Australian classics Don’s Party, ‘Breaker’ Morant, and My Brilliant Career to Armstrong and actor/producer Hugh Jackman. international box-office hits like Parenthood, Mrs Doubtfire, Patriot Games, Predator and The Lion, The Witch and the Wardrobe. For his films with Baz Luhrmann, Don received a BAFTA nomination (Romeo + Juliet), and Oscar® and BAFTA nominations for Best Cinematography (Moulin Rouge!). In 2009 Don was honoured as the ASC (American Society of Cinematographers) Cinematographer of the Year, and in 2011 he was granted the first award to be bestowed by the newly-established Australian Academy of Cinema and Television Arts (AACTA): the Raymond Longford Award, which recognises a person who has made a truly outstanding contribution to the enrichment of Australia's screen environment and culture.

Throughout his career, Don has earned a reputation as a brilliant craftsman, fast and flexible, with a knack for innovative solutions to tricky on-set problems. His mercurial adaptability in working with directors to realize their visions has resulted in an incredibly diverse filmography. From Oscar-winners to first-timers, they all applaud Don’s sensitivity and simpatico, as well as his humility and fortitude.

PICTURED: Don McAlpine on location for Mental. Photo: Cathy Henkel.

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DON McALPINE: FILMOGRAPHY 27. Predator (1987) 28. Orphans (1987) 1. Gentle Strangers (1972) 29. Moving (1988) 2. The Adventures of Barry McKenzie (1972) 30. Moon Over Parador (1988) 3. Barry McKenzie Holds His Own (1974) 31. See You in the Morning (1989) 4. Don's Party (1976) 32. Parenthood (1989) 5. Surrender in Paradise (1976) 33. Stanley & Iris (1990) 6. The Getting of Wisdom (1978) 34. The Hard Way (1991) 7. Patrick (1978) 35. Career Opportunities (1991), AKA One Wild Night 8. Money Movers (1978) 36. Medicine Man (1992), AKA The Last Days of Eden 9. The Journalist (1979) 37. Patriot Games (1992) 10. The Odd Angry Shot (1979) 38. The Man Without a Face (1993) 11. My Brilliant Career (1979) 39. Mrs. Doubtfire (1993) 12. 'Breaker' Morant (1980) 40. Clear and Present Danger (1994) 13. The Earthling (1980) 41. Nine Months (1995) 14. The Club (1980), AKA Players 42. Romeo + Juliet (1996) 15. The Children of An Lac (1980) (TV) 43. The Edge (1997) 16. Puberty Blues (1981) 44. Stepmom (1998) 17. Tempest (1982) 45. Moulin Rouge! (2001) 18. Don't Cry, It's Only Thunder (1982), AKA Vietnam: Hell or Glory 46. The Time Machine (2002) 19. Blue Skies Again (1983) 47. Anger Management (2003) 20. Now and Forever (1983) 48. Peter Pan (2003) 21. Harry & Son (1984) 49. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) 22. Moscow on the Hudson (1984) 50. X Men Origins: Wolverine (2009) 23. King David (1985) 51. Main Street (2010) 24. My Man Adam (1985) 52. Mental (2012) 25. Down and Out in Beverly Hills (1986) 53. Enders Game (2013) 26. The Fringe Dwellers (1986)

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Don is totally “can do”, and not in a sense of “whatever you want” but “can do” in the sense of “we can solve that problem”...

It’s that kind of pragmatic, low-tech solution that he was extremely good with. Coming from the ‘having to make do’ that comes from being a news reporter, having to shoot in Australia, and all of that.

He’s been the absolute heartbeat of cinematography in this country. From those that have been hugely recognised, from those that have won Oscars - ask them - from first-time directors - ask them - he has not only been their mentor, their supporter, but he’s really been the godfather and grandfather of cinema in this country.

~ Baz Lurhmann, Director, Romeo + Juliet

A good relationship between a cinematographer and a production designer is fundamental to creating good images. He made me see how unforgiving film can really be; you know, if you don’t have it in focus, if it’s not correctly exposed, then everybody else’s job is a waste of time.

QUOTES FROM SHOW ME THE MAGIC That ability to admit you’re wrong and just say “Yep, I take that, that’s my responsibility” is an enormously endearing quality and I think it allows you to If you read the blurb, you’ll realise I’ve completed 50 feature films. I’ve worked take more risks because you’re less scared of failure. with 32 different directors. Bruce Beresford offered me my first film... the only other director I’ll mention is Paul Mazursky. His mantra, “Show me the magic!” ~ Catherine Martin, Production Designer, Romeo + Juliet has been my guiding force all my career. I’ve seen many corners of this world; I’ve worked with the most beautiful people. I’ve had a chance to see some fantastically creative minds at work... I am lucky and thankful that my darling wife of 52 years seems to relish the gypsy life.

~ Don McAlpine, upon accepting the 2009 American Society of PICTURED: John and his wife Jeanette, 2011 AACTA Awards, Sydney. Cinematographers award for Cinematographer of the Year Photo: Cathy Henkel

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One of the hallmarks in Don’s career is that he’s shot so many movies and This is new territory of me because it’s my first film with a digital camera, and people have often said “What is your style, Don?” and I think what’s so Don’s. You know, I really needed somebody I could trust because I didn’t interesting about Don is he will say that his style absolutely depends on the know my way around digital. We have a shorthand now because we did Peter movie that he’s working on, and that his first job is to try and get to Pan together. I really trust Don, and now what I do is just say how I want it to understand what it is both story-wise and emotionally that the director’s trying feel and I’ll leave it to Don. ~ P.J. Hogan, Director, Mental to get out of the film and then figure out the style that best suits that particular project. ~ Gavin Hood, Director, X-Men Origins: Wolverine He was obviously a very, very bright fellow and of course his credential was The Getting of Wisdom, as far as I’m concerned. Of course, he did a lot more It’s my job to take Don’s vision for the lighting and the look, and translate that than that, but that had the look that I wanted so I admired him and boy, was I into actuality without him having to worry about it so he has time to actually pleased... I know that his solutions contributed hugely to that film. It’s not shoot the movie. called “the pictures” for nothing. The visual effects he got there were just outstanding. ~ Margaret Fink, Producer, My Brilliant Career When you go in the theatre and the lights are off, that’s when there’s some magic to it, when everything comes together; not just the cinematography but the directing, the acting, the writing, everything. When you see it all come I saw a movie called Breaker Morant and the cameraman was Don McAlpine, together, all these iconic moments, you just think “this is really cool” and that’s so I immediately dialled - I didn’t realise it was 3am in the morning in Australia why you do it. ~ Steve Mathis, Gaffer, X-Men Origins: Wolverine - and a voice answered and... he was speaking Australian. I had no idea what he was talking about. I said, “Look, I’m going to send you the script. As soon As a producer it’s really important to have a cinematographer who not only as you get it, read it and call me back”. He hung up and I’m sure he then has a great eye, but also to be able to do it in a reasonable amount of time called people to say, “Who is this crazy guy?”. Anyway, a day or two later he because you’re always playing with a finite number of dollars. And Don kind of called me, spoke a little slower - still had trouble understanding him - and he has it all, which is why I think he’s worked so much; look at his career and all liked the script. Who knows if he read it? You know, he’s a cameraman, they the movies he’s made. It’s amazing. ~ Jerry Zucker, Producer, Mental don’t always read the scripts! And I said, “You’re hired”. I hired him on the telephone. I did, I’m very proud of that. We met about two weeks later in What I loved about Don was he could light the scene so fast that I’d think “Is Greece where we shot most of Tempest. And that was my first experience this actually going to look any good? Or is it going to look like a Rock Hudson with Don. It was thrilling. We made Tempest, it was a wonderful success for movie?” But it always looked beautiful and of course the thing that’s great for me, one of my favourite pictures. You know, “Show me the magic!”, and Don a director is it gives me more time to work with the actors. Sometimes I’d showed me his magic. ~ Paul Mazurski, Director, Tempest walk on and rehearse it once with the actors and say “How long before you’ve lit it?” and he’d say “It’s lit!”. I said, “It’s lit? Already?!” but it was! ~ Bruce Beresford, Director, The Adventures of Barry McKenzie

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COMPANY PROFILE: FRESHWATER PICTURES COMPANY PROFILE: VIRGO PRODUCTIONS

In a career spanning three decades, independent producer and former ABC Virgo Productions is an award-winning, boutique screen industries company Television journalist Trish Lake has worked in the media, communications and founded by Cathy Henkel in 2009. The strength of the company lies in telling entertainment industries. inspiring, positive, global stories with cross-platform delivery and engaging audiences world-wide through cinema, television, online, mobile, DVD and Trish is principal of Freshwater Productions, which she established in 1991 to education release. The company is developing an innovative finance and pursue commercial and creative interests in film, TV and publishing. In 2001 marketing strategy that explores new pathways for Australian screen industry she established Freshwater Pictures to develop and produce feature films and development. television drama. Three years later, Trish won the prestigious SPAA Feature Film Producer of the Year Award for her first feature, Gettin’ Square. Under the banner of her former company, Hatchling Productions, Cathy produced, wrote and directed five documentaries for television, cinema and In 2008, Freshwater produced the award-winning feature documentary The online and over 20 educational, corporate and community titles and short Burning Season (dir/prod: Cathy Henkel, dist: Gil Scrine, Freshwater/Virgo), and films. She has won numerous awards for her work including two IF Awards for in 2009 released the feature film Subdivision (produced in Hervey Bay, Best Documentary and the prestigious Tribeca Film Festival Best Queensland, distributor: BVI/DIsney; Dir: Sue Brooks). Trish has also recently Documentary Award. Virgo Productions is producing two documentaries produced two half-hour documentaries – Roller Derby Dolls for ABC using alternative finance and distribution models: Show me the Magic, and Television / Film Australia, and Rare Chicken Rescue which won Sydney Film Rise of the Eco-Warriors, an action adventure feature documentary set in Festival’s Best Documentary Award (the Dendy Award) and the Best Short Borneo. Documentary Award at the 2009 Slamdance Festival. Cathy was awarded Documentary Producer of the Year by the Screen Trish is the Executive Producer of the cinema documentary ‘My America’ Producers Association of Australia in 2009. She completed a Doctor of (Distributor Rialto; International Sales, Horizon Motion Pictures; SBSi) which Philosophy Degree (PhD) in screen industries in 2010 at Queensland will have an Australian theatrical release in 2012. University of Technology.

Projects currently on Freshwater’s development slate include three dramatic www.virgoproductions.com.au features, Red Earth with writer/director Liselle Mei, The Eighth Sea with www.anactionmovie.com writer/director Chris Cudlipp, and Dance For Me with co-producer Cathy Henkel of Virgo Productions.

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DIRECTOR’S NOTES by Cathy Henkel Sydney Harbour, and in Vancouver. During filming, I was able to speak to director Gavin Hood, actor and producer Hugh Jackman and gaffer Steve “All cinema is deception - a beautiful deception.” Mathis who all shed light on Don’s unique qualities and what it’s like working ~ Don McAlpine on a big budget movie. This footage provides the core to the ‘A’ story of the film: Don’s working life and his role as cinematographer. What emerged, apart I first met Don in 2005 when I was filming a documentary from the fascination of watching a movie of this scale being made, was Don’s about the legendary British comedian Spike Milligan. Don charm, humour, authority, vast knowledge, and the respect he commands had met Spike during the filming of his first feature, The from his peers. Adventures of Barry McKenzie. At this meeting, Don showed me his behind- the-scenes scenes footage from Romeo + Juliet, which was fascinating, and I In 2008, producer Trish Lake joined me on Show Me The Magic, and we set became curious about this unknown Australian who had such a rich and about the long and arduous task of raising the money to make the film. This extensive working life. His career includes such seminal films as Patriot Games, was not an easy film to finance, mainly because no-one had heard of Don Predator, Peter Pan, Moulin Rouge! and The Chronicles of Narnia: The Lion, the (although they knew his work), or if they had, they were not convinced his Witch and the Wardrobe. At that meeting, I asked Don why no-one had ever story was worth telling. The more I came to know Don, the more we made a film about him, and he answered “No-one has ever asked”. So began discovered about his personal style and backstory and the values and qualities our collaboration to tell Don’s story - not only of his impressive and stellar that have guided him through life, the more convinced we became that the career, but his personal story, from a small ‘one-horse’ town in outback NSW naysayers were wrong. So, despite many rejections, Trish and I found ways to to the heights of Hollywood. There was something so unassuming - yet finance the film and keep going. charming and intriguing - about Don and his wife Jeanette that I wanted to know more. That is how we began the seven year process of making this film. In 2011, we secured access to the set of Mental, a new Australian film directed by P.J. Hogan, (Muriel’s Wedding, My Best Friend’s Wedding, Peter Pan). My goal was to take the audience on a journey into Don’s life and work using This was to be Don’s 52nd film, his first digital feature, and the first time he’d on-set observational footage, Don’s recollections, and his extensive archive worked on a purely Australian film in 25 years. collection. We agreed from the start that Don’s professional life would be best revealed by observing him on set of a movie and watching what he does, When he is not working, Don and Jeanette like to travel to remote places in rather than having him talk about it. This was to be show me the magic, inland Australia and get as far away from civilization as possible. In November not tell me the magic. I also set out to relate the story with no narration, and 2011, I took a small crew and we travelled with them to locations in western am proud of the fact that I achieved this. It was also clear to me from the start NSW where Don grew up and where he and Jeanette worked as school that Don’s wife of 56 years, Jeanette, was integral to his story and an teachers and started their family. During this trip, at picturesque lookouts and interesting character in her own right. waterholes, in small country pubs or around the camp fire, Don and Jeanette shared the stories of their early life and the events and experiences that When we met, Don’s next project was his 50th film: X-Men Origins: shaped them. This footage, and some excellent archive footage we were able Wolverine with Gavin Hood and Hugh Jackman. I managed to secure rarely- to uncover, became the core of the ‘B’ story: Don and Jeanette’s personal granted access to the usually closed, behind-the-scenes world that Don history outside the film industry. inhabits, and filmed him at work in New Zealand, on Cockatoo Island in 9 Show Me The Magic The Adventures of Don McAlpine

This film is targeted primarily at those who are interested in how movies are The common thread in all these stories is the focus on unknown or made and who love going behind the scenes to observe the movie-making unrecognised characters who take us into worlds we don’t usually inhabit, and process in action, as I do. I also wanted to examine the role of the who engage, enlighten and ultimately inspire us. My next film follows very cinematographer in creating movie magic and the relationships he has with the strongly in this tradition: Rise of the Eco-Warriors is the story of 11 young director, lead actors and other members of the crew. I began with the people who spend 100 days in the jungles of Borneo confronting assumption that most people know very little about Don, or what a deforestation. cinematographer actually does. As they get to know him through his work, I hoped that, like me, their curiosity would be sparked to find out more of his The story of Don McAlpine is both an extension of this curiosity, and an personal life, what drives him and how he came to be one of the leading obvious fascination for me. My own father, a gifted but flawed filmmaker cinematographers of his time. My hope is that this story will be of interest not working under the constraints of apartheid South Africa, played a major part only to cinema lovers and students of film, but also to the general public, who in my decision to become a filmmaker. In some ways, telling Don’s story felt will be inspired by the love story of two people who decided to make a life to me like a way of honouring my own father. The more I heard about the together in the surreal and stressful world of high end film-making... and then struggles, joys and sacrifices Don and Jeanette made to stay together in what escaping to remote places to just be together. can be a punishing, ruthless and highly stressful industry, the more I knew this film would ultimately be a love story. It is not only their love story, and Don’s As I spent more time with Don and his equally enigmatic wife Jeanette, I love for the industry that has shaped his life, but a love letter from me to the became curious about their relationship and how their marriage endured the subjects of the film and the world they inhabit. pressures and demands of Hollywood life and lasted all these years. I also wonder why it is that so many directors want to keep working with Don, over A premise for the film is something Don said to me very early on: “All cinema and over again, and they continue to seek him out even though he is now in is deception, a beautiful deception”. Show Me The Magic reveals some of the his mid 70s. What is the secret to his longevity in this industry, his notable ‘deception’ necessary in creating movie magic. It reveals the dedication, success, the inspired choices he makes, and the respect he commands from artistry, long hours, collaborative effort and skill required to create every those who have worked with him? moment that we see on the screen. In telling this story, I always looked for what was surprising, playful and unexpected in Don’s working life and personal The person behind the camera and asking the questions is me – a history, whilst making sure I captured his very unique sense of humour. Don’s documentary filmmaker with a history of telling stories, often about unknown wry and sometimes cutting wit has been one of the great joys of this journey people who have inspired and fascinated me. The subjects of my films include for me. Despite the brutal hours and sheer hard work, Don has never a timid environmental protester who steps out of her comfort zone (Walking forgotten the fact that making movies is fun. Which is why, at 78, he has no Through a Minefield), a woman who confronted grief head-on following the plans to quit. death of her baby (Losing Layla), a well-known comedian who suffered from bi-polar disorder and whose private life was a mystery (Spike Milligan), a young Cathy Henkel environmental entrepreneur who set out to save the forests (The Burning September, 2012. Season), and my own mother who was raped and wanted justice (The Man Who Stole My Mother’s Face).

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PRODUCER’S NOTES by Trish Lake The idea for the film came from Cathy who met Don almost by accident when she was making her film about Spike Milligan. She was amazed that no- Show Me The Magic has required huge commitment one had made a biography of Don given the huge number of films he’d made from everyone who has worked on the feature back in 2005 – already over 50 features. Later as Cathy and I were producing documentary, as well as support from an incredible array of another film, The Burning Season, she asked me to join her to be her producing Australian and international film industry professionals. It is partner on this film. also a film that is testament to the dogged determination of its director, Cathy Henkel. Naturally, Cathy was already very close to Don and Jeanette when I came aboard. They’d started the journey together after Cathy approached them to From a producing point of view, without the dedication and commitment open the family archives to her, and with the assistance of the entire McAlpine from Cathy and every one of the filmmaking team, as well as the supporters, family, in particular their daughter Robin, she began piecing together Don’s investors, and sponsors, the film would never have been completed. story. It was clear to me from the start that Don’s legacy was one that had to be shared with others – not just filmmakers but with the wider cinema-going This is a story about a man at the top of his game in one of the most public, indeed anyone who loved movies. competitive industries on earth. This was a very difficult film to make. There were many disappointments over It’s the story of Don McAlpine – now in his late seventies - who has created a the years. Sometimes, in chasing down various financing rabbit-holes often breathtaking body of work and has inspired enormous respect and admiration requiring extreme effort from the filmmaking team, all I could do was to offer from his peers. Yet for most of his career, he has remained relatively invisible moral support to Cathy in the face of failure. Sometimes it was enough to to the outside world. simply reassure Cathy after a long list of rejections from broadcasters, financiers and other “enablers” that we would make and finish the film “come The film reveals Don’s world behind the camera and behind the scenes in the what may”. movie making business. The documentary also takes us to Don McAlpine’s other world in outback Australia where he escapes the pressure of film- From the start, Screen Queensland has been a strong supporter of the film. making with his life partner Jeanette. We secured a broadcast pre-sale with Studio, Australia’s arts and entertainment channel, and support from Screen Australia. A major The documentary is a remarkably personal film, which – because of the huge breakthrough came when Jan Rofekamp, from the renowned sales agency body of work and career of its central character – I believe will stand the test Films Transit International (based in Montreal & New York), signed up the of time. international TV rights, and both Deluxe and Panavision agreed to support the film. The post-production team at Deluxe, and the very talented Michael It’s also very personal because of the strong bond that its director, Cathy Gissing, have delivered a beautiful sound and vision quality to the completed Henkel, formed with Don and Jeanette very early in the piece. film. We have produced a 72-minute feature length version and a 52-minute TV version.

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As a producer I am proud to say, aside from some early re-enactments that wonderful resource as well as being willing to be so open and honest as a key were dropped because of budget constraints, Cathy’s vision based on that character in the film. initial story has never wavered. Since the early days, the script hasn’t veered hugely from a concept that Cathy and writer Charlie de Salis originally wove We often hear how many Australians - particularly cinematographers and together. directors - do well in Hollywood, but it remains an enigma why this is so. Don’s story does shed some light on this question. During part of the editing phase Cathy was shooting another film in Borneo which allowed me to spend more time than usual in the edit with Scott At time of writing, all Australian licence holders of archive and movie footage Walton. I observed what a fine editor he is while Cathy fed into the process used in our film have agreed to zero-fee licence agreements in honour of Don on-line from the deep jungles of Borneo. It’s a testament to Cathy as a and his contribution to the Australian film industry. All the major Hollywood director in the editing process that she is so open and collaborative. Our studios whose footage we have used are also considering similar agreements, times together in the editing room (and indirectly for me) working with which once again is testament to the high esteem and respect that Don has Nicolette Boaz and Andrew Worboys on the music were personally very earned internationally. satisfying. “Don’s Theme” and the rest of the music score for this film is probably the best I’ve ever had the pleasure of hearing on a film I’ve His story also provides a fascinating insight into the new Australian film produced, and that’s a huge call. industry that emerged in the 1970’s, and how the pioneers of that era, many of whom are still at the top of their fields, battled with limited resources to The finished film is a testament to Cathy’s remarkable persistence in pursuing create some iconic films that still have resonance today. Those films include film industry notables such as Baz Luhrmann, Hugh Jackman, Gavin Hood, Breaker Morant and My Brilliant Career. Bruce Beresford, Margaret Fink, P.J. Hogan, Paul Mazursky, Catherine Martin, and Gillian Armstrong. Every person she asked to assist or be interviewed or Don’s story also reveals itself as a chronicle of technological advancement both, true to their commitment and her vision, has ended up in the final cut. through the 20th century, reflecting how Don and the industry have experimented with and shaped the styles, tools and technology used in telling The film has taken five years to complete. We began with Don’s work on cinematic stories. Wolverine in Sydney, Dunedin and Vancouver – a DP role consistent with Don’s stature and reputation in Hollywood, and finished with the independent Trish Lake Australian feature, Mental, P.J. Hogan’s latest comedy. September, 2012

A notable contribution to this film came from my long-standing friendships with two key people who I introduced to Cathy and the film – Alaric McAusland, now CEO of Deluxe, and Alan Finney, ex-Disney and now Chairman of AACTA. Both men already hugely valued Don and very quickly became champions of the project. And both have well and truly earned their Executive Producer status along with Jeanette McAlpine, who has been a

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CREW PROFILES Television at Bond University and taught screenwriting and documentary at the SAE film schools in Brisbane and Byron Bay. CHARLIE DE SALIS, Writer www.charliedesalis.com Charlie’s current projects include 3 factual series, a documentary, a major online/television cross-platform project, and two feature films. Charlie de Salis is an independent screenwriter, director, producer, script consultant and script editor. His screen credits include commercials, short films, documentaries, television drama and feature films. SCOTT WALTON, Editor Based in New Zealand from 1989 until his return to Australia in 2000, Charlie www.fiftyfifty.tv wrote and directed three New Zealand produced short films - ‘Secrets’, ‘A Moment Passing’, and ‘Flying’. ‘A Moment Passing’ has screened at numerous Scott is an accomplished editor with a committed focus on documentary. He international film festivals, including Venice, Cannes, and Melbourne, winning has edited several award winning documentaries and has been nominated for Jury Awards at Dresden and New York. Flying has screened at the Hawaii, an AFI Award for Best Editing in a Documentary. Auckland, Wellington, Christchurch International Film Festivals, at the Sydney Flickerfest and the Madrid Experimental Short Film Festival, and at the Giffoni, With a background in architecture, Scott found an affinity with the world of Montreal, and Hyperbad International Children’s Film Festivals. ‘Flying’ and ‘A filmmaking and was compelled to make the move. Initially he worked Moment Passing’ were Best Short Film category finalists in successive New creatively in video installation and theatre, and then started making music Zealand Film Awards. Both films have sold extensively to international videos. television and between them have screened at more than 26 international film festivals. As a co-founding member of production house 50/50 Films, director/editor Scott has received seven ARIA Award nominations for Best Australian Music Charlie worked as a writer/director on the award winning New Zealand Video and collaborated with artists such as actor Russell Crowe, director Ron drama series ‘True Life Stories’, and has written two television plays for New Howard, Australian rock band Powderfinger, World Champion Boxer Zealand television - ‘Highwater’ (sole story and screenplay credit) and ‘Money Anthony Mundine and AFL star Ben Cousins. Scott has nearly 30 years For Jam’ (co-writer and script editor). He has written and directed two creative experience and the last 14 years have been focussed on editing. documentaries for New Zealand television, ‘High Hopes’ and ‘A Load Of Rubbish’. His recent script consultancy and script editing credits include the Scott’s other screen credits include ‘The Curse of the Gothic Symphony’, feature films ‘Undertow’ and ‘Bad Karma’, and the ABC telefeature ‘Cliffy’. He nominated for a 2012 AACTA Award for best feature length documentary. is a script assessor for Screen Queensland and Screen Tasmania. ‘The Worm Hunters’ won the prestigious Jackson Hole Jury Prize and numerous other awards, whilst ‘Rare Chicken Rescue’ was nominated for four Charlie has worked extensively as a mentor for developing filmmakers, AFI Awards, winning Best Sound in a Documentary. including delivering 10 short films as a Supervising Producer for Queensland screen development agency QPIX. He has lectured at the Centre for Film and

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NICOLETTE BOAZ, Composer She also wrote the score for ‘The Burning Season’ narrated by Hugh Jackman www.nicoletteboaz.com which was pre-sold to BBC (UK), ABC (Aus), CBC (Canada) and PBS (USA) www.hypnopaedia.com.au and won numerous awards including the 2008 IF Award for Best Documentary. Australian based composer Nicolette Boaz has worked in the film industry for Music for Image is Nicolette’s specialty and passion. nearly 30 years. She has written compositions for documentary, feature films, theatre, advertising and music libraries.

Specializing in working with music from ethnic cultures, Nicolette has a double degree in Contemporary Music and Aboriginal Studies. She has written for every musical genre from grand soundtracks to contemporary hip- hop: from funk to award-winning relaxation music which has been featured on Qantas in-flight entertainment. Recently Nicolette completed an album ‘Hypnopaedia’ featuring artists from 10 diverse ethnic Australian backgrounds.

Having lectured in world music at the Australian Institute of Music at tertiary level and played in numerous bands playing Latin and African music, Nicolette has often composed for projects requiring an understanding of music from other cultures. She is a long time supporter of indigenous affairs and Aboriginal land rights.

Her screen credits include ‘Show me The Magic’, the story of legendary Australian cinematographer Don McAlpine, who filmed 53 features including ‘Wolverine’ , ‘Chronicles of Narnia’, ‘Romeo + Juliet’ as well as many early Australian classics such as ‘Breaker Morant’ and ‘The Adventures of Barry Mackenzie’. Nicolette has also composed music for 'Jabiluka' (David Bradbury’s film about the Aboriginal Mirrar people from Kakadu), 'Losing Layla' (Atom Award winning documentary), 'My Home The Block' (the on- going dispossession of Aboriginal people from Redfern), 'Eye on the Reef '(screened in 25 countries) and ‘Our Generation’, the story of the colonization of Australia and its effect on Aboriginal people.

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CREDITS Writer and Research Production Manager Musicians Charlie de Salis Rebecca McElroy Andrew Worboys, Piano Directed by Ben Fink, Guitars Cathy Henkel Tracklay and Sound Mixer Associate Producer Tim Oram, Tenor sax, clarinet, flute Michael Gissing Tara Wardrop Christian Marsh, Harmonica Produced by Tina Harris, Drums, bass, guitar Trish Lake & Cathy Henkel Offline Post Production Head of Production Fifty Fifty Films Kyla Bridge Music Mixing Executive Producer Bob Scott, Dodgy Sound Alan Finney Online & Sound Post Edit Assistant Production Marcus Wilson Music Engineering Executive Producer Efilm Australia Tamlin Tregonning Alaric McAusland New Zealand Blair Greenberg Additional camera Sequences Director Executive Producer Ismail (Ezther) Fahmi Lubis Sandra Cook Post Production Services Jeanette McAlpine Erika Addis Efilm Australia Peter Baker LA Production Manager Editor Austin Andrews Dan Lake Post Production Producer Scott Walton Paul Butler Helen Kok Tim Barnsley Archive Composer Boris Vymenets Naomi J Hall Post Production Supervisor Nicolette Boaz Rebecca McElroy Tara Wardrop Matthew T. Griffin Brooke Lagana Orchestrator Sound Robin McAlpine Colourists Andrew Worboys Cathy Henkel Jamie Hediger Douglas Ly Assistant to Producers Cinematographer Steve McDonald Felicity Blake Assistant Colourist Cathy Henkel Sam Lara Matthew T. Griffin Tara Beardmore

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Online Editor Martin Cayzer South Austral ian Film Corporation Disney Enterprises, Inc. and Kristian Whitlock Kim Dalton for excerpts from Walden Media, LLC for footage from Mix Engineer Marga ret Fink Breaker Morant The Chronicles of Narnia:

Sam Hayward Todd Fellman Marga ret Fink The Lion, the Witch and the Wardrobe Meredith Garlick for excerpts from Down and Out in Beverly Hills Data Management Peter Pan . PJ Hoga n My Brilli ant Career J ohn Durney Gavin Hood All Rights Reserved David Orman Hugh Jackman Phillip Adams Jenny Lalor for excerpts from S pecial thanks to: DCP Creation Th e Adventures of Barry McKenzie Baz Luhrmann ABC Library Sales Kirstin Cetinich Catherine Martin Cyrus Irani Ben Tant Th e Getting of Wisdom Marga ret Mathieson Catherine Mulhall

Steve Mathis Footage from Adam Taylor Production Accountancy J ocelyn Moorhouse X-Men Origins: W olverine, Ben McNeill, Paul and Betsy Mazursky South Australian Film Corporation James Baker Robin McAlpine William Shakespeare’s Richard Harris Marga ret Murphy Romeo + Juliet, Greg Marsh Website, Marketing Jack Thompson Moulin Rouge (2001) Sharon Cleary David James J erry and J anet Zucker and Kevin Hatswell Predator Legal Affairs Special thanks to all licence Courtesy of Twentieth The National Film and Sound J enny Lalor holders for their generous Century Fox. Archive of Australia Simon Drake support All Rights Reserved Special Thanks to: Bronwyn Coupe Peter Pan Phillip Adams Archival footage courtesy of Brendan Smith, Courtesy of NBC Universal Blanche Ambrose The National Film and Sound Kathrin Di Rocco, Gillian Armstrong Archive of Australia Patriot Games Amanda McCormack Bruce Beresford NFSA Film Australia Collection Courtesy of Paramount Pictures David Hoga n Martin Brown Tempest and Peter Pan Australian Broadcasting Corporation Library Sales Courtesy of Columbia Pictures

16 Naomi Wanner, Parkes High School AACTA/AFI Panavision FAC Research Librarian Michelle Kessey Damian Trewhella Paul J ackson Quandialla P&C Renato Rispoli Martin Cayzer 20th Century Fox Sharon Reardon Alan Finney David Dodson Sunder Kimatrai Patrick Nether y Marc Wooldridge Sue-Anne Matthews AFTRS STUDIO Australia’s arts and Ralph Winter Celina Harvie David Court entertainment channel J anice Tay Temora High School Lisa Olesen Executive Producer Deborah Marriott Bill Speirs Lyn Norfor Margaret Murphy Temora Regional Museum Samantha Lopez - Perey ra Universal Studios Temora Town Hall Peter Giles Developed and produced with Mike Baard QUT Creative Industries the assistance of Wayne Taylor Special thanks to SCREEN QUEENSLAND Paramount J osh Dawson The McAlpine family Mike Selwyn Developed and financed with Jeff Canin Dedicated to the memory the assistance of

The Walt Disney Company Australian Cinematographers of South African filmmaker SCREEN AUSTRALIA J ohn Cracknell Society (ACS) Peter Henkel Nick Capes Ron J ohanson 1924 - 1992 Copyright 2012 Screen Queensland Pty Ltd Thanks to: International Distribution Virgo Productions & American Society of Nina Angelo Cinematographers (ASC) Films Transit International Freshwater Pictures Gubby Allen Patty Armacost J an Rofekamp Murray Anderson EPK by Felicity Blake. J ules Munro, Simpsons Solicitors Deluxe Australia Alaric McAusland J anet & Dorothy Norton Angie Walton-Godwin Andrew Robinson Neryle Smurthwaite Sam Lara Patsy Hill

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