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Xavier Herbert Xavier Herbert Figure 1: Xavier and Sadie Herbert at the launch of Poor Fellow My Country , 1975. Wendy K. Rogers 2/22 Daventry St West End, Q 4101 Film and Television Creative Industries Faculty Queensland University of Technology Masters of Arts (Research) 2010 ii KEY WORDS Documentary Script Writing Biographical Documentary Creative Practice Australian Documentary Industry Australian Broadcasting Corporation Screen Australia Xavier Herbert Percy Trezise ABSTRACT As a biographical documentary concept develops, its intention and its form are impacted and may be transformed by market demands. The documentary idea about the life of Xavier Herbert has been in development through a number of iterations within the shifting landscape of the Australian documentary industry from the mid- 1990s to 2009. This study is, on the one hand, an endeavour to find a workable way to express and practise the multi-layered complexity of creative work, a long-form documentary script on Herbert, an Australian literary icon. On the other hand, this thesis represents a cumulative research exercise, whereby my own experiences in the documentary industry in Queensland, Australia and overseas are analysed in an effort to enlighten the broader documentary community about such a complex, even labyrinthine, process. iii Table of Contents Illustrations v. Abbreviations vi Statement of Original Authorship vi Acknowledgements vii Chapter One Introduction: the creative challenge 1 Outline of Chapters 3 Methodology, Significance and Limitations of the study 4 Contextual Review 7 The Documentary Field 10 Conclusion 13 Timeline of the development of the documentary idea about Xavier Herbert 14 Chapter Two Taking on ‘Old Horrible’: the documentary in development 16 Background to the Current Study 17 Vérité and the Documentary Industry under stress 20 ABC Documentary History 22 The Herbert Story in Development 23 The Form of the Documentary 25 Case Studies 25 Case Study 1: Mike Rubbo’s “All About Olive” (Rubbo 2005) 26 The Travelogue 27 The Investigator and Interactional Moments 28 The Tragedy 29 A New Producer 30 Narrative Approach and Form 31 The Style of Reconstruction 32 Case Study 2: “The Legend of Fred Paterson” (Laughren and Dawson 1996) 33 Film Industry Merger: Screen Australia 34 iv Approaching the Commissioning Editor 36 Interpretive Interactionism: The Interview and Scriptwriting 38 Case Study 3: Unfolding Florence: The Many Lives of Florence Broadhurst (Armstrong 2006) 40 Chapter Three Creating the script for a new age of documentary production 44 Wrapping the Creative Practice Script 47 Future Challenges 50 References 53 Filmography/Broadcast Programs 60 Bibliography 61 Films, Television and Radio Programs 69 Creative Component: Script Xavier Herbert: My Own Road 71 References 127 Filmography/Broadcast Programs 129 Appendix A 131 Appendix B 143 v Illustrations 1. Xavier and Sadie Herbert at the launch of Poor Fellow My Country (Herbert, 1975), 1975. i 2. Red Bluff at Jowalbinna, N.Q. – taken from video by the author, 1997. 1 3. Xavier Herbert at Narrabeen NSW, 1940, Fryer Library. 16 4. Xavier Herbert at 21 and Sadie Norden, Fryer Library. 20 5. Mike Rubbo and Olive Riley during the production of All About Olive, http://www.roninfilms.com.au/feature/645.html 26 6. Xavier Herbert 1980 in Darwin for the Kungarakun land claim hearing in 1980, Northern Territory Library. 27 7. The Legend of Fred Paterson poster http://www.roninfilms.com.au/feature/682.html 33 8. Mark Twain poster http://www.pbs.org/marktwain/ 38 9. Unfolding Florence: The Many Lives of Florence Broadhurst (Armstrong 2006) poster http://www.filmaust.com.au/unfoldingflorence/default.asp 40 10. Xavier Herbert and Percy Trezise visiting cave paintings Nth Qld, freeze- frame from Xavier Herbert Profile , 4 Corners ABCTV, Dec 3 1978, Director P. Ross. 44 11. Percy Trezise at Jowalbinna, taken from video interview by Wendy Rogers, 1997. 48 vi Abbreviations ABC Australian Broadcasting Corporation FFC Film Finance Corporation SBS Special Broadcasting Service Statement of Original Authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made. Signature Date vii Acknowledgements This MA (Research) was created with immense contributions from my supervisor, Associate Professor Geoffrey Portmann, and my associate supervisor, Helen Yeates. Associate Professor Geoffrey Portmann supervised the writing of the script, which is the practical component of this study. I am indebted to him for his professional yet light-hearted and supportive role during the process. His generosity added a broad, creative vision to the project. Helen Yeates has supervised the writing of the exegetical component of this study. Her approach to this task has always been receptive and warm and her valuable assistance crucial in the creation of a flowing document of quality and magnitude. From a practitioner’s point of view Helen added the much needed academic rigour to the exegetical component of the study. I am grateful for the assistance of my supervisors and for the opportunity to work within the walls of the Faculty of Creative Industries, QUT. It has truly been a transformative experience. This study is the culmination of my work on this particularly long-term documentary project on the life of Xavier Herbert. Since I commenced researching into Xavier Herbert in 1995, there have been many people who have offered support and assistance without which I may not have proceeded. My close friends, Carol Voigt and Michael Duffy, have long been greatly supportive in my shifting ideas and queries about Herbert’s life; have listened and given feedback. Kevin Guy, a great Herbert enthusiast, first came to me with the idea and collected key articles. As the idea of forming a documentary about Xavier Herbert progressed, many people working in film and television generously gave assistance and became involved. Dick Marks lent me his new digital camera for the interviews which I videoed in the mid-nineties. The former Film Queensland, now Screen Queensland, funded much of the early research and the interviews which are now so cherished. David Flatman has also contributed to the development of the Herbert documentary story, and, as executive producer, worked with me to present it as a documentary project idea to Film Australia in 1997. Gil Scrine, writer, was also a contributor to the 1997 attempt at raising broadcaster interest this documentary. I value and respect their professionalism. I would also like to thank my long-term friend and colleague, Mark viii Chapman, who presented this documentary idea to the ABC in 2006. Mark has been a leading light in the Queensland documentary production industry for many years and we would not be seeing the stories that we now do without his hard work and inspiration. Sue Clothier, then Head of TV Factual Production, Screenworld, and her colleague, executive producer, Mike Bluett, also saw the value of the Herbert story and became involved. This production team contributed their time and intellect to its development when presenting it to Film Australia in 2008. Mark Hamlyn of Film Australia became involved at this point, and took the project forward to the ABC. I appreciate the opportunity of having witnessed and drawn on the great abilities of this team. Robyn Pill, holder of the Herbert Estate, has also been a consistent support. Robyn has lent me many valuable materials over the years and has kindly permitted the use of copyright material for this study. Her professional approach has been mirrored by that of Fran Moore and Tim Curnow, literary agents with Curtis Brown (Aust), who have also been very helpful. It is a great responsibility to be the ‘keepers’ of such an important body of work and I appreciate their time and patience. The research that surrounds the documentary script in this study was possible through the co-operation of a number of key researchers who generously gave their time and information. I am particularly indebted to Dr Russell McDougall, for supplying me with integral information about Herbert. We have had numerous meetings, and Russell has always been open to sharing ideas especially during the first phase of research in the mid-1990s. Another eminent Herbert researcher (and friend of Xavier and Sadie Herbert), Professor Laurie Hergenhan, has been most forthcoming and has assisted this work through many conversations and a videoed interview. Professor Hergenhan’s great work in collecting and preserving materials belonging to Xavier and Sadie Herbert, and the numerous publications he has produced, represents the backbone of this great Australian writer’s heritage. Frances de Groen also kindly met with me to talk about her extensive research into the lives of Sadie and Xavier Herbert. Professor Harry Heseltine, whose work has also helped lay the foundation of our understanding of Xavier the man and artist, also took the time to speak with me about his personal memories of Xavier Herbert. I would also ix like to thank Eddie Acland for the copy of his unpublished article on Herbert’s family heritage. Many of the people who knew and loved Xavier and Sadie also contributed to this research project. The late Percy Trezise, welcomed me onto his fabled rural property, Jowalbinna , and kindly gave a long interview over the four days I was there. Percy’s son, Stephen, has also been interested in the project and has freely given information. John McHugh, long-term friend of the Herberts, also generously gave an interview, as did the late Joe McGinness. The opinions and recollections of other members of the McGinness family, particularly Mim Morley, have been integral in forming the portrait of Xavier Herbert, adding breath and life that only those present in his life could offer.
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