Don Featherstone EP Executive Producers: Andrew Ogilvie, Andrea Quesnelle, Phil Craig BGM Executive Producers: Julie Bristow, Marlo Miazga

2 x 50 min series Series Director: Don Featherstone EP Executive Producers: Andrew Ogilvie, Andrea Quesnelle, Phil Craig BGM Executive Producers: Julie Bristow, Marlo Miazga

Electric Pictures Pty Ltd 33 Canning Highway East Fremantle Western Australia 6158 Tel: 08 9339 1133

Bristow Global Media Inc. Berkeley Castle 2 Berkeley Street, Suite 208 Toronto ON M5A 4J5 CANADA Tel: +1 416 306 6455

PRESS KIT

SERIES SYNOPSES

ONE LINE SERIES SYNOPSIS

The extraordinary story of how the Allies turned the tide in the final months of 1918, to win the

Great War.

The formidable Allied Generals of WWI. From left to right: General Henry Horne, General Julian Byng, Field Marshal Douglas Haig, General Sir John Monash, General Sir Arthur Currie, Marshal Ferdinand Foch and General Henry Rawlinson.

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Field Marshal Douglas Haig played by Malcolm Taylor feels the pressure to turn the tide in the War.

SHORT SERIES SYNOPSIS

Through cinematic recreations, interviews with top historians and state-of-the-art CGI, 100 Days

to Victory is a gripping account of the last 100 Days of the First World War, telling the story of

how the Allied generals worked together in new ways to win the war.

Four of history’s most visionary leaders Marshal Ferdinand Foch (France), Field Marshal

Douglas Haig (Britain), General John Monash (Australia) and General Arthur Currie (Canada)

came together to defeat the enemy with unprecedented teamwork and innovation. Exciting and

dramatic, this docudrama from Electric Pictures and Bristow Global Media Inc. brings the men

and women behind WWI’s finest multinational feat of arms vividly to life.

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A German soldier aims his gun at a Scottish soldier in the trenches during Operation Michael.

FULL SERIES SYNOPSIS

The extraordinary story of how the Allies turned the tide in the final months of 1918, to win the

Great War.

From command headquarters to the frontlines, this inspiring drama documentary from Electric

Pictures and Bristow Global Media Inc. vividly tells the story behind WWI’s finest multinational

feat of arms. Told in an accessible, popular style, the series reveals how visionary Allied

leadership, revolutionary tactics and the indomitable bravery and skill of the Australian,

Canadian, British and French, Armies, turned the tide to win the Great War. In early 1918, the

Allies had their backs to the wall as a great German offensive swept westward in a final bid to win the bloodiest war of all. Yet, little more than six months later, Germany was forced to accept

bitter, final defeat.

This two-part series offers a fresh and appealing approach: one that is focuses upon victory

against the odds, a victory only made possible through great feats of courage, determination

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and ingenuity. This version of the events of 1918 will remind audiences of a genre they are

familiar with from the movies: the super-hero movie. Faced with overwhelming jeopardy, our heroes must rise above past disasters, overcome their own personal demons and, in the face of

appalling circumstances, find a way to triumph. They do so by experimenting with new ideas

and learning to trust each other.

The Allied generals’ tactics are innovative. The battles of 1918 embody what came to be known

25 years later as ‘total war’ - fought out of the trenches, in towns, across bridges and canals, scaling hillsides, using covert penetration at night, ‘bite and hold’ tactics, and - for the first time –

carefully co-ordinated massed artillery, tanks, aircraft and infantry. Based on vivid personal

testimonies, we bring the generals’ battle plans and the searing experience of our front-line

fighters powerfully to life.

Through cinematic recreations, interviews with top historians and state-of-the-art CGI, 100 Days

to Victory is a gripping account of the last 100 Days of the First World War.

General Sir Arthur Currie, played by Bruce Turner, oversees the movement of Canadian troops to Amiens, undetected by the Germans, in the dead of night.

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EPISODE SYNOPSES

Flanked by his officers and French PM Clemenceau, French Marshal Ferdinand Foch played by Denis Lamonde listens intently.

EPISODE ONE

PART ONE: THE SPRING OFFENSIVE

ONE LINE SYNOPSIS

After a crushing German advance in early 1918, the Allies develop revolutionary tactics and new technology to turn the tide and find a way to win the Great War.

SHORT SYNOPSIS

In early 1918, the Germans launch a mighty attack advancing more than 60 kilometres in only three days. The onslaught triggers a command crisis: British Field Marshal Haig and French

Marshal Foch want Australia’s General Monash and Canada’s General Currie to apply their minds to perfecting a new way of waging war – one that will deliver ultimate victory. The generals arrive at the same conclusion: the path to victory lays with the use of the latest communication equipment to carefully co-ordinate artillery, tanks, aircraft and infantry. It’s not only the beginning of ‘total war’, but the birth of modern warfare. By August, they’re ready … for what will become a major turning point in the War: the battle of Amiens.

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A Scottish Piper from the 51st Highland Division leads the troops into battle.

LONG SYNOPSIS

We meet the commanders and men in early 1918, at the moment of maximum jeopardy. In the original ‘shock and awe’, the Germans launch a mighty attack advancing more than 60 kilometres in only three days. Standing in their path are British, Australian, Canadian and French forces, while the Americans are arriving to join the fight.

The onslaught triggers a command crisis: Field Marshal Haig and Marshal Foch want Australia’s

General Monash and Canada’s General Currie, to apply their minds to perfecting a new way of waging war – one that will deliver ultimate victory.

The generals arrive at the same conclusion: the path to victory lays with the use of the latest communication equipment to carefully co-ordinate artillery, tanks, aircraft and infantry. It’s not only the beginning of ‘total war’, but the birth of modern warfare. By August, they’re ready…for what will become a major turning point in the War: the battle of Amiens.

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The Allied Generals converge to discuss their next obstacle: the Hindenburg Line. From left to right: General Henry Horne (Gord Mackenzie), Field Marshal Douglas Haig (Malcolm Taylor), General John Monash (Ben Mortley), General Arthur Currie (Bruce Turner), General Henry Rawlinson (Brian Scott Carleton).

EPISODE TWO

PART TWO: THE FIGHTBACK

ONE LINE SYNOPSIS

After defeating the Germans at Amiens, the Allies need to find a way to smash through the

Hindenburg Line, the most formidable defensive line in military history.

SHORT SYNOPSIS

The Allies win a great victory at Amiens. The tide is turning but there are no illusions: the German

Army remains a daunting fighting force … and it has an ace up its sleeve: the Hindenburg Line - the most formidable defensive system in military history. The generals formulate an ambitious plan incorporating the newly minted ‘combined arms’ tactics on a massive scale and lead their forces in a series of battles to break the line. The Canadians get close, the French get close; then on 29th September a combined Australian, British and American force breaks through the

‘impregnable’ Hindenburg Line. The Germans have no answer to this onslaught and soon seek peace negotiations.

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General Sir John Monash and General Sir Arthur Currie survey the ruins.

LONG SYNOPSIS

The Allies win a great victory at Amiens. The tide is turning but there are no illusions: the German

Army remains a daunting fighting force … and it has an ace up its sleeve: the Hindenburg Line - the most formidable defensive system in military history. If the Allies have any hope for victory, they’ll need to find a way to punch through Germany’s wall of steel.

The generals formulate an ambitious plan incorporating the newly minted ‘combined arms’ tactics on a massive scale. They’ll commit artillery, tanks, aircraft and troops in careful concert, to attack the German line in the centre, the north and south. It becomes clear that only the combined might of the Allies on the Western Front can defeat Germany.

The generals lead their forces in a series of battles to break the line. The Canadians get close, the French get close; then on 29th September a combined Australian, British and American force breaks through the ‘impregnable’ Hindenburg Line. The Germans have no answer to this onslaught and soon seek peace negotiations.

Today, we widely remember Gallipoli, the Somme and Passchendaele. All were failures. And yet the extraordinary achievements by the Allied armies, on the fields of France in the final months of the Great War, also deserve to be commemorated. At Amiens and the Hindenburg Line the Allies, led by the Australians, Canadians and British, forced a crushing defeat upon Germany to win the war. For the Allies, in terms of scale and skill, the 100 Days to Victory has been called the finest hour of the 20th Century.

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51st Highland Division Scottish soldiers enjoy a rare moment of relaxation.

DON FEATHERSTONE S E R I E S DIRECTOR ’ S STATEMENT

BATTLE DRAMA

Shooting in Canada in the Spring enabled us to absolutely capture the atmospherics of France in

1918. The landscape provided the authentic backdrop for the soldiers’ visceral experience in the battlefield and the nurses who patched up the wounded in the casualty clearing stations. Our battle drama is dynamic, intense - full of the desperate energy of youth. We wanted to resurrect a sense of shock missing from familiar forms of dramatisation. Our mission was to engage with a contemporary audience, bringing the battles into 21st-Century living rooms using immersive multiple hand-held cameras with often shaky pictures and a dynamic field of vision. We were with them in the trenches, running beside them in open warfare, inside the smoky, smelly, dangerous tanks known as ‘tin coffins’, airborne in flimsy, thrilling, vulnerable bi-planes and beside thundering artillery pieces. We shot the battle drama in a way that has allowed the audience to be with them to experience the fear, anger, frustration and pain of war, and to capture the aftershock of conflict where soldiers are numbed by relief, remorse and grief.

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FIRST PERSON PERSPECTIVES

The battles of 1918 embody what came to be known 25 years later as ‘total war’ - fought out of the trenches, in towns, across bridges and canals, scaling hillsides, using covert penetration at night, ‘bite and hold’ tactics, and - for the first time – carefully co-ordinated massed artillery, tanks, aircraft and infantry. Based on carefully researched diary accounts and rare personal testimonies, we drew on these powerful accounts incorporated as ‘voice over’ or transformed into vivid dialogue exchanges bringing the searing experience of our front-line fighters powerfully to life.

THE GENERALS BEHIND THE LINES

We contrasted the soldiers’ and nurses’ intense battlefield experiences with the generals’ constrained ‘behind the lines’ world. Shooting in some of Canada’s finest historical buildings, we captured an authentic feeling of the French chateaux commandeered by all the armies. We seized the creative opportunities to explore the difference between 'observing' and 'experiencing'. Our generals rarely visit the trenches. Instead, they exist in a world of planning and negotiation, making decisions that will impact on the lives of hundreds of thousands of combatants. We captured their behind-the-lines world with a style that is tight and controlled, creating a sense of unbearable tension in their HQs, as they plan the battles or listen to distant gunfire while their men carry out their orders. We concentrate on Haig, Foch, Currie and Monash, sensing the isolation they feel at key moments.

HISTORIANS

We wanted to keep the entire film set in 1918 so the historians were shot in historic period locations rather than modern offices. There is almost a sense of them being in the next room alongside the generals’ headquarters as they comment insightfully on the unfolding drama of the last 100 days.

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SOUND DESIGN

In the HQ’s where the frame is dominated by our Generals’ faces, sound carries the sense of what is around them, adding to the viewers’ sense of 'experiencing' rather than ‘observing’ what is on screen. In the battlefield and casualty clearing stations, gone are the well-known WW1 ballads and re-versioned classical strains. Accompanying our modern film language, we’ve incorporated a modern score in a 1918/2018 mash-up.

PRODUCTION DESIGN, SFX AND CGI

We built a Mk 5 tank especially for the series and shot sequences on actual WW1 aircraft. We employed remarkably convincing state-of-the-art computer generated imagery ranging from animated 3D maps, to novel perspectives such as following shells to their targets, and photo realistic battle scenes with tanks, artillery, aircraft and masses of infantry.

ARCHIVE

We drew on the great archive of the 1918 campaigns to keep us in the moment. Our multinational treatment allowed us to incorporate British, French, Canadian, American, German and Australian archive sources, creating a fresh all-encompassing perspective of the remarkable battles fought in the 100 Days.

A German soldier ruthlessly takes aim down into the trenches.

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ANDREW OGILVIE ELECTRIC PICTURES EXECUTIVE PRODUCER STATEMENT

My journey with 100 Days to Victory started in 2014 when Electric Pictures produced a dramatised documentary mini-series called The War That Changed Us to commemorate the beginning of WWI. It was a critical success, and having immersed ourselves in the history of the War, it wasn’t long before we started to research stories we could tell to mark the centenary of the end of the War, in 2018.

We soon decided that the events on the battlefields over the last hundred days of WWI provided an opportunity to talk about the end of the War in a more upbeat way than is usual. During this period, the Allies worked together more effectively than before to perfect strategies that, after four years of devastating conflict, finally helped to turn the tide and defeat the German Army in just a few months.

The close collaboration between Australian General John Monash and Canadian General Arthur Currie was central to the Allies’ success. When all else had failed, the leaders of the British and French armies allowed these younger generals to develop the more ambitious plan of employing combined forces en masse to push back the German Army. This culminated in the Battle of Amiens, in August

1918, and marked the beginning of what has been called “the hundred days campaign”. It is an exciting story and a high point in both Australia’s and Canada’s military history. As such, it is also perfect subject material for a co-production between our countries and I was very pleased when Canadian prod-co

Bristow Global Media agreed to join with Electric Pictures to make the program.

The production of 100 Days to Victory is supported by Foxtel in Australia, Corus Entertainment in

Canada and BBC Scotland in the UK. Funding has also been made available by Screen Australia,

Screenwest, Canada Media Fund and our distributor Kew Media. We are very grateful for the substantial backing that these organisations have provided us. It has made it possible to produce this mini-series to a very high standard.

I’d like to especially thank our partners at BGM, Julie Bristow and Marlo Miazga - also my co-execs at

Electric Pictures, Andrea Quesnelle and Phil Craig. It has been a great team effort and the end result is a fitting tribute to the creative power of the collaboration between our countries and our companies. JULIE BRISTOW and MARLO MIAZGA B G M EXECUTIVE PRODUCERS ’

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STATEMENT

Anniversary dates are the perfect opportunity to capture the imagination of the audience on an important story. This November 11th, the 100th Anniversary of the end of WW1, makes this a special anniversary.

It only takes a moment to change the course of history. Our moment was the battle of Amiens – the beginning of the 100 Days Offensive. This watershed moment in history is a remarkable story of unprecedented teamwork. A powerful alliance of Allied Generals fought together to challenge the military status quo and in doing so created new ways to defeat the enemy.

The personal motivations and experiences of this group of Allied leaders who came together to do the impossible is what drew me to this story. This story of leadership set against the personal stories of the men and women on the front lines makes this an emotional story.

As we were shooting and editing this story, I couldn’t help but think of my British born grandfather who fought for Canada and survived both wars. Horace George Bristow enlisted on September

24th, 1914. He was a decorated soldier in the 3rd brigade of the Canadian Field Artillery Unit. He was an artillery spotter. We still have the helmet of the first German soldier he killed by bayonet.

When I listen to the diaries of the men who were in those trenches, I know he was among them.

He and so many men and women were at the mercy of their leadership. Every decision was paid for in lives.

It is fitting this drama documentary was a co-production between Australia and Canada. Two countries that came of age during the First World War. Two colonial powers fighting side by side.

We were thrilled when Phil Craig and Andrew Ogilvie and Andrea Quesnelle of Electric Pictures approached us about producing this story.

Electric Pictures has an outstanding reputation for producing first rate history content. The combination of our Australian and Canadian teams made this a powerhouse production. Shot in

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Canada and edited in Australia, we worked on a continual time zone to complete this production.

We were supported by both the Australian and Canadian funding agencies and our consortium of channels in Australia, Canada and the UK.

In addition to a wonderful international team of producers, we have a powerhouse distribution team at Kew Media Distribution who will ensure this important story is seen around the world for years to come.

Canadian soldiers prepare for battle alongside a tank.

A NDREA QUESNELLE ELECTRIC PICTURES EXECUTIVE PRODUCER STATEMENT

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Upon reading the very earliest drafts of the 100 Days to Victory outline written by Series Director

Don Featherstone, I was immediately fascinated by this story of collaboration and clever thinking that ultimately turned the tide of WWI. Despite having learned about WWI my entire life, it was still a new story to me. That made it a project I absolutely wanted Electric Pictures to make - and

I knew that the key to its success would be in finding a co-production partner that shared our enthusiasm and love for this project.

Lucky for us, we met Julie Bristow and Marlo Miazga from Bristow Global Media! From the first time I entered BGM’s offices, I knew they would be a great fit – a feeling that was affirmed once I met Producer Tara Elwood and later, Drama Director Tim Wolochatiuk.

While most international co-productions (of which Electric Pictures has done many) can be tricky in terms of time zones and distance, this co-production offered little of these challenges despite the fact Toronto, Canada and Perth, Australia are geographically about as far away from each other as it’s possible to get. The beauty of this relationship was that, as Electric Pictures’ Executive

Producer based in Toronto, I was literally just down the road from our international partner. This allowed us to meet face-to-face, pick up the phone at any point during the workday and make decisions without having to wait for morning on the other side of the world.

Being in Toronto also meant I had the privilege of being on set throughout the drama shoot where

I could observe first-hand the incredibly talented crew that BGM had assembled to shoot the re- enactments. They took me in and made me feel as much a part of “Team BGM” as I am “Team

Electric Pics”.

The close co-production relationship has helped to shape this two-part anniversary special into something that truly is special. 100 Days to Victory is a powerful story of historical importance, shot cinematically and offering a perspective that sets it apart from many other WWI films. It’s

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Allied soldiers prepare for battle in the trenches.

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HISTORIAN BIOGRAPHIES

DR TIM COOK HISTORIAN, CANADIAN WAR MUSEUM

Tim Cook is a historian at the Canadian War Museum (CWM),

an Adjunct Research Professor at Carleton University, and a

former director for Canada’s History Society. He was the

curator for the First World War permanent gallery at the CWM,

and has curated additional temporary, traveling, and digital

exhibitions. He is the author of over 40 refereed articles and dozens of additional pieces. He is also the author of seven books, many of them award-winning.

In 2012, he was awarded the Queen’s Diamond Jubilee Medal for his contributions to Canadian history, and in 2013 he received the Governor General’s History Award for Popular Media: The

Pierre Burton Award. He is a member of the Order of Canada.

SHANE SCHREIBER RETIRED LT COLONEL AND HISTORIAN

Shane Schreiber served in the Canadian forces for 28 years as part of the Princess Patricia’s Canadian Light Infantry

(PPCLI). He spent the bulk of his career in command appointments in field units, including tours with the PPCLI

Parachute Company and eventually commanding the

Second Battalion PPCLI. He completed operational tours in

Cyprus, Bosnia, and two tours in Afghanistan (2002, 2006), for which he received the Canadian and NATO Meritorious Service and the US Army Bronze Star medals. Retired today from military service, Mr Schreiber still dedicates himself to military history and is a critically acclaimed historian and author. His academic background includes an undergraduate and two Master’s degrees from the Royal Military College of Canada, from which he received several awards as well. His book Shock Army of the British Empire: The Canadian Corps in the Last 100 Days of the Great

War, is highly regarded by military historians, and he has appeared in numerous television documentaries on the Great War.

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MAT MCLACHLAN BATTLEFIELD HISTORIAN

Mat McLachlan is one of Australia's leading war historians and battlefield guides, and has spent almost two decades following in the footsteps of Australian troops on battlefields around the world. His 2007 book, Walking with

Anzacs, is considered the definitive guide to Australian battlefields on the Western Front. It was reprinted in 2008,

2009 and 2011. Mr McLachlan also produced and appears in the First World War documentary

Lost in Flanders, which aired on the ABC in April 2009. His second book, Gallipoli: The Battlefields

Guide, was published in 2010 and is the most comprehensive guide to the Australian battlefields of Gallipoli yet published. He brings a deep knowledge of Australian battlefields of WW1, especially the events of the last 100 days.

PATRICK WATT, CURATOR NATIONAL MUSEUM OF SCOTLAND

Patrick Watt is an Edinburgh-based military historian and

the curator of Modern History and Military Collections at the

National Museum of Scotland. Having previously worked at

the National Archives of Scotland for six years (now called

the National Records of Scotland), Mr Watt left to embark

on an academic career and recently completed his

doctorate studies. His research focuses on World War One, particularly the role of the Scottish forces, Scottish military tradition, and the relationship between

Scottish manpower and the British State. He has published widely on these matters and his work can be found in notable journals such as the International Review of Scottish Studies, History

Scotland, and the Journal of the Society of Army Historical Research. His first book, Steel and

Tartan: The 4th Cameron Highlanders in the Great War was published by Spellmount in 2012.

Thanks to his in-depth research, Mr Watt brings an insightful knowledge of the Scottish experience during the 100 Days Offensive.

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SIR HEW STRACHAN, HISTORIAN UNIVERSITY OF ST. ANDREWS

Sir Hew Strachan is the Professor of International Relations,

University of St Andrews. One of the UK’s most eminent military historians, Sir Hew has a particular interest in the First

World War and the history of the British Army. He is currently on the UK and Scottish national advisory committees for the centenary of the First World War. His books include The First

World War: A New Illustrated History, The First World War, Vol 1: To Arms and the Oxford

Illustrated History of the First World War. Sir Hew offers us deep insights into the personalities, politics and relationships between our senior Allied commanders during the 100 Days campaign.

PROFESSOR ELAINE MCFARLAND GREAT WAR HISTORIAN

Elaine McFarland is an emeritus professor of history at

Glasgow Caledonia University and throughout her career,

has also been a member of the Fellow of the Royal

Historical Society and the Society of Antiquaries (Scotland).

Her research interests include Scottish military tradition,

wounded veterans in inter-war Scotland, and examining the

relationship between war and commemoration. Her co- authored book Scotland and the Great War helped draw attention to the experience of Scottish civilians during World War One, looking deeply at topics such as conscientious objection, voluntary recruitment, press coverage, gender and the war, and the Scottish Highlands and the war. Her more recent book ‘A Slashing Man of Action’: The Life of Lieutenant-General Sir Aylmer

Hunter-Weston MP’, also highlights Scotland’s role in World War One, investigating specifically

British Army general and Scottish Unionist Member of Parliament, Sir Aylmer Hunter-Weston.

Through her well-rounded research Professor McFarland brings a wealth of knowledge on wartime Scotland to the last battles of World War One.

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PROFESSOR BRUCE SCATES HISTORIAN AUSTRALIAN NATIONAL UNIVERSITY

Bruce Scates is professor at the ANU School of History. He is

the lead author of Anzac Journeys (published by Cambridge

University Press and short listed in the Ernest Scott Prize for

2014) and a contributor to the The Cambridge History of the

First World War. Professor Scates is an expert on the

ANZACS, Gallipoli, and the soldiers’ experience of war. Given this emphasis, he offers insightful commentary and analysis on the experiences of the soldiers, airmen and others who emerge as characters in 100 Days to Victory. His most recent book, World War One: A History in 100 Stories

(with Rebecca Wheatley and Laura James) pioneers new ways of presenting the past. He brings an emotional insight to the experience of front line soldiers in the last 100 days.

PROFESSOR PETER STANLEY HISTORIAN, UNIVERSITY OF NSW CANBERRA

Peter Stanley is Research Professor in the Australian

Centre for the Study of Armed Conflict and Society,

University of New South Wales. He is one of Australia's most active military-social historians and authors.

Professor Stanley worked at the Australian War

Memorial from 1980 to 2007, where he was its senior historian from 1987, and there curated or contributed to many exhibitions, such as Gallipoli, Soldiers of the Queen, Echoes of the Guns and the Second World War galleries. In 2007, he became the inaugural head of the Centre for

Historical Research at the National Museum of Australia. Professor Stanley is an adroit performer and has been part of many television histories, including appearing in several documentaries, together with other programs such as Australians at War, Monash the forgotten Anzac, and In

Their Footsteps. He has a knack of being able to speak with authority and expert insight across the board - from grand strategy, to tactical battle scenarios, and the individual experience of combatants.

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PROFESSOR MARGARET MACMILLAN HISTORIAN, OXFORD UNIVERSITY

Margaret MacMillan is the Warden of St Antony’s College

and a Professor of International History at the University

of Oxford. Her books include Women of the Raj; Paris

1919: Six Months that Changed the World (for which she

was the first woman to win the Samuel Johnson Prize);

Nixon in China: Six Days that Changed the World; The

Uses and Abuses of History; and Extraordinary Canadians: Stephen Leacock. Her most recent book is The War that Ended Peace. She is a Fellow of the Royal Society of Literature; a Senior

Fellow of Massey College, University of Toronto; Honorary Fellow of Trinity College, University of

Toronto, and of St Hilda’s College, University of Oxford. She sits on the boards of the Mosaic

Institute, and the Reuters Institute for the Study of Journalism, and the editorial boards of

International History and First World War Studies. She also sits on the Advisory Board Institute for Historical Justice and Reconciliation, and is a Trustee of the Rhodes Trust. She has honorary degrees from the University of King’s College, the Royal Military College, The University of

Western Ontario, Ryerson University, Toronto and Huron University College of the University of

Western Ontario. In 2006 Professor MacMillan was invested as an Officer of the Order of Canada.

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HISTORICAL FIGURES BIOGRAPHIES

GENERAL SIR JOHN MONASH

Played by Ben Mortley

Sir John Monash, Australia’s most celebrated soldier, was born in Melbourne in 1865 into a

German Jewish family. An incredibly bright child, he went on to join the militia in 1884 and quickly moved up the ranks. By 1912, he was a colonel commanding the 13th Australian Infantry Brigade and when the Great War broke out in 1914, he immediately became a full-time army officer.

Throughout the war, Monash would carve a reputation not only as an innovative general, but as one who deeply cared for his men too. He helped organise the first ANZAC Day, a memorial day to remember those fallen at Gallipoli, and carefully coordinated troops and support staff to ensure fast medical collection and hot meals after battlefield successes.

Monash’s innovative tactics played an integral role in the opening battle of the Hundred Days

Offensive: Amiens. Here, he revolutionised battlefield communication by having observation planes fly extremely low – just 150m – above the fighting, in order to provide movement reports on the advance. These notes were then dropped where Australian cyclists could collect and race them to Monash’s staff – a process which took just 10mins, a significant improvement from all

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As the war concluded, Monash was appointed Australian Director-General of Repatriation and

Demobilisation, responsible for organizing the return home of Australia’s heroes. In 1931, Monash passed away, and his life and enormous contribution to Australia were celebrated with a state funeral and over 300,000 attendees – the largest ever held in the country at that time.

GENERAL SIR ARTHUR CURRIE

Played by Bruce Turner

Arthur Currie was born into a modest, farming family in Adelaide Township, Ontario, Canada in

1875. After school Currie secured a teaching certificate, working as a teacher between 1894-

1899, before switching careers and moving into insurance. Across both his teaching and insurance work Currie was enlisted too, in the local militia artillery unit. Originally a gunner – the artillery equivalent of private – he was a lieutenant colonel and commanding officer of the regiment by 1909; a meteoric rise by any stretch. Unfortunately, throughout his careers, Currie struggled with money, falling into severe debt and stealing $10,000 from his regiment.

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Once overseas and in action in World War One, Currie was quick to climb the ladder again. Initially serving as the commander of the First Contingent’s 2nd Infantry Brigade, he was promoted in

1915 to major general and commanding officer of the 1st Canadian Division, and in 1917 was both knighted and promoted to lieutenant general and commanding officer of the Canadian Corps.

Currie’s battlefield philosophies included meticulous preparation, close cooperation between the infantry and the artillery and that ground was to be gained at the expense of artillery shells rather than lives.

During the 100 Days Offensive, Currie continued to command the Canadian Corps, where he successfully kept the Canadian troops together despite strong requests to split and restructure them. The Corps were an indisputable force to be reckoned with and led many of the influential battles towards the end of the war, including the Battle of Amiens, the breaking of the Drocourt-

Quéant Line, the Battle of Cambrai and the Pursuit to Mons. At the conclusion of the war, Currie returned to his education roots and became the Principal of McGill University. Currie died of a stroke in 1933 at just 57 years of age and his funeral attracted over 200,000 mourners.

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FIELD MARSHAL DOUGLAS HAIG

Played by Malcolm Taylor

Douglas Haig, the would-be commander for all British and Empire Forces in the First World War, was born into great wealth in Edinburgh, Scotland in 1861. In 1884, he was accepted for officer training at the Royal Military College where he excelled, graduating first in his class and shortly after, was commissioned a lieutenant in the 7th Hussars. He fought in both the Sudan and the

South African wars and by the outbreak of the World War One in August 1914, he was commanding the I Corps in England. After successful results (despite tremendous casualties) at the 1st Battle of Ypres, Haig was promoted to general and commander of the first British Army in

November and eventually replaced his commanding officer, French, as the Commander-in-Chief of the BEF in December 1915.

Haig was tenacious and ever optimistic, sometimes at great expense – this was most notable at the Battle of Somme. What had been expected to be a great, British-led assault to secure victory actually saw tremendous loss of life, including 60,000 troops held up by barbed wire and cut down by German machine gun fire. The Somme is now synonymous with the futility of the Great War, and Haig, to many, is a “butcher.” By the final 100 Days Offensive, Haig appeared to have softened – agreeing, in the face of adversity, to rest troops during the Amiens attack. After the end of the war, Haig devoted himself to lobbying for veterans rights, setting up several organisations that remain in place today. Haig passed away in 1928.

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MARSHAL FERDINAND FOCH

Played by Denis Lamonde

Born in 1851 in Tarbes, France, Ferdinand Foch would go on to become the Supreme Allied

Commander towards the end of World War One. Foch first became interested in the military upon hearing stories from his Grandfather, who had been an officer in the French Revolutionary and

Napoleonic wars. After leaving school, he joined the army in 1871 and served in the Franco-

Prussian war. In the following years he was promoted to major general and then lieutenant general, putting him in charge of the XX Corps. It was during this time that World War One broke and Foch was deployed to Lorraine to fight in the right flank.

During the war, Foch’s tenacity impressed and he was promoted to chief of the war minister’s general staff. His most important role, however, would come on March 26th, 1918, when he was appointed Supreme Allied Commander. This came at a crucial time, as it followed the events of the German Spring Offensive, where the Allies had been pushed back to their 1914 lines. Now, moving forward, the Allies would be united under a single strategic commander: Foch. Following his appointment, Foch would go on to be honoured as a marshal of France and would bring a leadership that was instrumental to the success at the Battle of Amiens – and of the 100 Days

Offensive at large. Finally, after Germany called for armistice, it was Foch who dictated the conditions on behalf of the Allies. At the conclusion of the war, Foch was bestowed with more honours still; he became a marshal of Poland and Great Britain too. Foch died in 1929 aged 77, and was buried in Paris.

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W E B F A C T S

 The ‘100 Days Offensive’ describes the last battles fought on the Western Front during World War One, between August 8th and November 11th, 1918.

 The Battle of Amiens kick-started the offensive. A huge operation for the Allies, they deployed every tank available to the British Army at the time… more than 500.

 On the first day of the battle, Australian and Canadian forces made the largest single-day Allied advance of the War: 12km. The German chief-of-staff, General Erich von Ludendorff, called August 8th “the black day of the German Army.”

 The Allies advance at Amiens liberated 116 French villages and towns.

 By the end of the battle of Amiens, almost 30,000 German soldiers had surrendered and 50,000 captured and taken prisoner.

 An attack at Mont St Quentin on September 1st saw a relatively small Australian force take the German Army by surprise. Troops were told to ‘yell like a lot of bushrangers’ to disguise their limited numbers.

 The German troops at Mont St Quentin were so surprised by the Allied attack, many fled immediately, leaving their machine guns on the ground. They were forced back to the Hindenburg Line.

 The Hindenburg Line was the German Army’s last, and most powerful, defensive network. The Allies named this defensive zone after the German commander, Field

Marshal Paul von Hindenburg. The Germans named parts of the line after the heroes of

Teutonic sagas, Siegfried, Wotan and Hunding.

 Between August 26th and September 2nd, the Canadian Corps spearheaded a series of attacks on a heavily fortified section of the forward Hindenburg Line called the

Drocourt-Queant Line. During intense fighting, the Canadians suffered 11,400 casualties, but they breached this strategically crucial point in the Line, forcing the

Germans to retreat to their next line of defence. Commanding the Canadians, General

Currie considered this success ‘one of the finest feats in our history’.

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 During an attack on outposts of the Hindenburg Line on September 18th,

Australian and British forces used only eight operational, and 10 ‘dummy’ or decoy tanks.

Made from wood and cloth, these dummy tanks were dragged and strategically placed to distract the German Army. Supported by a huge artillery bombardment, the attack succeeded in breaking through the German positions and taking 4,300 prisoners.

 The assault on the main Hindenburg Line took place on the 29th of September.

With no chance of surprise, the Allied attack was supported by an immense 3-day artillery barrage. At its most intense where the Germans least expected it – along the St Quentin

Canal – advancing infantry were supported by 50,000 artillery shells for every 500 yards of front. By the end of the day, German defences had been outflanked, forcing a general withdrawal. The Hindenburg Line had been defeated.

 German Kaiser Wilhelm abdicated on November 9th and the armistice was signed that same day. Finally, at 11am on the 11th day of the 11th month, the Armistice ceasefire came into effect, bringing the War to an end.

 The 100 Days Offensive saw the Allies claim victory over Germany, but at great cost. Allied casualties were around 700,000, with German casualties higher still at

760,000.

General Sir John Monash played by Ben Mortley finds serenity at his piano.

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BIOGRAPHIES OF KEY PRODUCTION PERSONNEL

DON FEATHERSTONE SERIES DIRECTOR/WRITER Don Featherstone has written and directed over forty full-

length documentaries across a range of genres. His films

include; 100 Days to Victory, The War That Changed Us,

Kokoda, An Imaginary Life (David Malouf), The Edge of the

World (Tim Winton), Difficult Pleasure (Brett Whiteley) and the seminal TV Drama Babakiueria.

His films have been screened worldwide and he has won many major international awards including; Best Documentary Hot Docs, a Banff Rockie, a Chicago Gold Hugo, a Chicago Gold

Plaque, Best Arts Documentary San Francisco, Special Jury Prize San Francisco, a U.N. Media

Peace Prize and three New York Silver Awards. Don has been nominated for a BAFTA award, an International Emmy and five AFI awards.

Don, who is a graduate of the Swinburne Film & TV School, has also made films on staff for the

BBC's documentaries department, London Weekend Television’s current affairs department and the prestigious arts series 'The South Bank Show'.

TIM WOLOCHATIUK DRAMA DIRECTOR

Tim Wolochatiuk is an award-winning director and producer specializing in high-end episodic and feature-length projects for the international television market. Tim has filmed around the world for broadcasters including BBC, CNN Presents, CBC,

Global, CTV, National Geographic, History Channel (US and

Canada), Discovery Channel, Sky TV, A&E, Channel 5 (UK)

SABC and dozens of other international broadcasters. Tim has both Executive Produced and/or

Directed several feature length projects dealing with highly sensitive subject matter including

Jonestown: Paradise Lost, Storming Juno and We Were Children.

Wolochatiuk is currently in development on his first scripted feature. Tim is based out of Toronto

Canada, where he resides with his wife and two daughters.

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ANDREW OGILVIE EXECUTIVE PRODUCER (ELECTRIC PICTURES)

Andrew Ogilvie has worked in the Australian film and television industry for over 25 years, earning a reputation as one of Australia’s leading independent producers of award winning factual programming. He established independent production company, Electric Pictures, in

1992 and has produced programs for many of the world’s major broadcasters. Andrew is an experienced co-producer having worked with French, Italian and UK production companies. He is a former Chair of the Australian International Documentary Conference and former Councillor for the Screen Producers Association of Australia.

ANDREA QUESNELLE EXECUTIVE PRODUCER (ELECTRIC PICTURES)

Andrea Quesnelle has over 20 years’ experience in

the television industry and has produced and/or

executive produced numerous documentary series

and one-offs during that time. She joined the Electric

Pictures team in 2005, first as a producer and then

later becoming the company’s Head of

Production. She now serves as Electric Pictures’ executive producer based in Canada, where she plays a key role in advancing projects in the

North American market. Andrea has worked with a number of international broadcasters and is highly experienced at international co-productions. Her credits encompass a range of genres, from blue-chip science to dramatised history to character-driven factual entertainment.

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JULIE BRISTOW EXECUTIVE PRODUCER (BGM)

Julie Bristow has been influencing how people watch

television for the past 20 years. She has created over

1500 hours of original content, built entire entertainment

divisions from the ground up, innovated new and exciting

ways to reach audiences, and garnered multiple industry

and business awards for her contributions and

leadership.

Specializing in multiplatform content across all genres, Julie and her team at Bristow Global Media have produced a roster of linear and non-linear content across the globe, including the recently announced docudrama series 100 Days to Victory (Corus Entertainment, Foxtel, BBC Scotland) and

It’s My Party, an original kids format for TVO. Additional series include NHL Revealed: A Season Like

No Other (CBC, NBCSN, Rogers), Pressure Cooker (W Network), Hockey Wives (W Network),

Canada: The Story of Us (CBC), Canadian Country Music Association’s CCMA Awards (CBC and

CMT), Pardon My French (YouTube), The Zone (YTV, YouTube) and Corus’ brand-driven kids’ content and programming specials (YTV, TELETOON, Nickelodeon Canada).

Prior to founding BGM in 2013, Julie was the Executive Director of Studio & Unscripted Content at

CBC Television (Hockey Night in Canada, 2014 Winter Olympics in Sochi, 2016 Summer Olympics in

Rio) where she helped create many of CBC`s most successful and original programs including

Dragons’ Den, Battle of the Blades, and George Stroumboulopoulos Tonight. She revitalized CBC’s digital platform, successfully bridged social media with traditional media, and relentlessly challenged the status quo to bring new and exciting changes to how we consume media. Julie excelled at making business decisions that added tens of millions in revenue for the public broadcaster, and forged international partnerships with the likes of the New York Times, PBS Frontline and Discovery Times

Channel. Recognized globally as a fresh and influential voice in the industry, Julie speaks at events around the globe, from Banff to Cannes. Julie sits on the Board of influential domestic and international associations, including the Canadian Academy of Cinema and Television, the Kew Media Board and the Canadian Centre for Ethics in Sport. She volunteers her time to charitable organizations focused on addiction and mental health.

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MARLO MIAZGA EXECUTIVE PRODUCER (BGM)

Marlo Miazga joined Bristow Global Media Inc.

(BGM) as Vice President of Content in 2016. She

has been collaborating with some of the leading

voices in Canadian television for 25 years and has

built a reputation for creating and producing

television that draws on her deep roots in factual and

drama.

Prior to joining the company, Marlo served as the co-executive producer for BGM on the CBC docudrama series, Canada: The Story of Us and is currently executive producing 100 Days to

Victory for HISTORY channel (Canada, Australia and New Zealand) and BBC (Scotland); kids’ factual series, It’s My Party for TVO (Canada); and a slate of drama series in development with

Attraction Media.

From 2011 to 2015, Marlo was co-president of Newroad Media, producing popular series such as

Close Encounters (2013) for Discovery Channel and Science U.S, Curious and Unusual Deaths for Discovery Channel Canada and A&E UK, as well as My Wild Affair for PBS, Animal Planet

Canada and Discovery West. Before launching Newroad Media, Marlo worked as an editor, series producer and creator of both dramatic and factual television. Additional credits include: multiple award-winning feature, Cinema Verite: Defining the Moment, psychological feature thriller, The

Dark Hours; CBC five-part series, Tuning In and Gemini award winner, Too Colourful For the

League.

Marlo launched her career as a film editor after graduating from McGill University and the

Canadian Film Centre, where she has been a resident mentor for the last decade.

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GREG BEER WRITER

Greg Beer has been working in Canadian and international television for over ten years, writing for a wide range of documentary and dramatic series. In addition to 100 Days to Victory, recent credits include The Dictator’s Playbook, a six part documentary series for PBS; Canada: The Story of Us for the CBC; multiple episodes of Air Crash Investigation for National Geographic; and Madiba, a six-hour miniseries on the life of Nelson Mandela, starring Laurence Fishburne and David Harewood for BET.

TARA ELWOOD PRODUCER (BGM)

Originally from the feature film world on Canada’s east coast, Tara moved to Toronto in 2000 and entered the global market of Factual Television. Immediately, she began leading and delivering ratings hits such as Air

Aces, Zero Hour, Final 24, See No Evil, Trapped and

Mayday. Recently her series, American Dynasties: The

Kennedy’s with Executive Producers Martin Sheen,

CNN & RAW debuted to record breaking audience across North America. Tara is well known for the theatrically released Film Three Identical Strangers and History Television’s critically acclaimed feature documentary Manson. More recently, Tara joined forces with CBC to produce their premium factual 10 part-series Canada; The Story of Us which broadcast for CBC’s 150th programming slate in 2017. Tara is currently working on American Dynasties: The Bushes for

CNN’s Original Programming and 2x2 hour features entitled Presidents at War debuting on

History US.

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MARCUS ELLIOTT DRAMA DIRECTOR OF PHOTOGRAPHY

Toronto, Canada born Marcus Elliott began his career after 4 years of Film School, working as a camera assistant before transitioning to Cinematographer in the music video field. He has gone on to shoot commercials, features, and docu-drama specials and series, winning several awards for his work.

TORSTEIN DYRTING ACS DOCUMENTARY DIRECTOR OF PHOTOGRAPHY

Torstein Dyrting ACS is an Australian Director of Photography known for his unique drama, documentary and commercial cinematography. Over 15 years in the industry he has refined his unique style and artistic feel, creating powerful pictures for which he has received critical acclaim, including 6 coveted Australian Cinematographers Society Golden Tripods, 2 consecutive AACTA nominations and twice won the ACS Milton Ingerson Judges Award for Best Entry Overall.

In 2008 Torstein received the honour of becoming an accredited member of the Australian Cinematographers Society. Torstein works within Australia and internationally on a variety of projects.

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LAWRIE SILVESTRIN ASE EDITOR, EPISODE 1

Lawrie has worked as a drama and documentary picture and sound editor for more than thirty years.

During that time he has been nominated for nine

AFI/AACTA Awards winning two for Best Editing and two for Best Sound.

His documentary credits include: the feature documentaries Dying To Live, Hotel Coolgardie and Whiteley (Winner of four 2017 AACTA Awards including Best Editing and Best Sound) and the TV documentaries: Desert War – Tobruk (Winner of Best Editing 2014 AACTA Awards),

Jandamarra’s War (Winner of Best Documentary 2011 AACTA Awards), The Man Who Jumped

(Nominated for Best Documentary 2012 AACTA Awards), Singapore 1942 (Nominated for Best

Doco Series 2012 AACTA Awards), Leaky Boat (Nominated for Best Documentary and Best

Editing 2011 AACTA Awards), The Black Road (Winner of Best Documentary and Best Film of

Festival 2006 Mumbai International Film Festival and Nominated for Best Editing 2006 AACTA

Awards), Playing The Game (Nominated for Best Documentary 2001 AFI Awards), Paying For

The Piper (Nominated for Best Documentary and Best Editing 1998 AFI Awards).

DAVID FOSDICK ASE EDITOR, EPISODE 2

David commenced work in film post-

production in 1970 with the ABC in

Melbourne. Now based in Perth, David has

worked as a freelance editor of television

documentaries and drama series since

1985.

In his spare time David likes to defy gravity in his solar powered flying machine.

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VISUAL EFFECTS L A S T P I X E L

Last Pixel has been producing high quality animation and visual effects across a range of industries since its inception in 2003. Based in Perth, Western Australia, Last Pixel’s long held international reputation has been built on its ability to consistently deliver outstanding projects.

Most acclaimed for its cinematic animations of large scale 3D masterplans, Last Pixel has continued to push the envelope with its film and television work across documentaries, television commercials and feature films.

As well as being able to create stunning visuals Last Pixel has always prided itself on understanding and being able to work with and translate a diverse range of highly technical source material.

Across countless animation projects Last Pixel have applied their skills to a variety of challenges.

From visualising some of the world’s largest structures, subsea environments and creating Fluid simulations and particle effects, they've excelled at delivering great results.

Owner & Managing Director

Rick Grigsby

Tel: +61 8 6466 7555

[email protected]

Owner & Creative Director

David McDonnell

Tel: +61 8 6466 7555

[email protected]

www.lastpixel.com.au

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BGM COMPANY PROFILE

Bristow Global Media Inc. (BGM) is a Toronto-based content creation company, specializing in creating multiplatform content across all genres. BGM is headed by leading broadcast executive and producer Julie Bristow. Her 20-year career at the CBC included the creation of award-winning entertainment divisions, the launch of national digital media platforms and the stewardship of iconic sports brands.

BGM boasts a successful roster of linear and non-linear content, including: NHL Revealed: A

Season Like No Other (CBC, NBCSN, Rogers), Pressure Cooker (W Network), Hockey Wives (W

Network), Canada: The Story of Us (CBC), Canadian Country Music Association’s CCMA Awards

(CBC and CMT), Pardon My French (YouTube), The Zone (YTV, YouTube), Corus’ brand-driven kids’ content and programming specials (YTV, TELETOON, Nickelodeon Canada), It’s My Party

(TVO) and Haunted Hospitals (T&E Canada).

Bristow Global Media Inc. Berkeley Castle 2 Berkeley Street, Suite 208 Toronto ON M5A 4J5 CANADA Tel: +1 416 306 6455

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ELECTRIC PICTURES COMPANY PROFILE

Electric Pictures is one of Australia’s most respected producers of high-end factual programming for the international market. Productions range from quality series to one off specials in most genres including History, Science, Travel and Adventure, the Arts and Current Affairs. We have extensive experience with co-productions and have established relationships with UK, French, and Italian Independents.

Over the past 25 years Andrew Ogilvie, founder and CEO, has built the company reputation worldwide, working with respected broadcasters including: ABC, ARTE, AVRO, BBC, Channel 4,

Discovery Channel, History Channel, ITV, NHK, National Geographic, NDR, PBS, RTE, S4C,

SBS, Sky, and ZDF. The Electric Pictures group is based in Perth, Western Australia and includes a high definition post-production facility ColourBox and a distribution company, EP Independent.

Electric Pictures also has an office in Toronto, Canada.

In 2009 and 2010 Electric Pictures was voted one of the Real Screen Global 100 – a list that celebrates the companies making the best work in non-fiction film and television. Their productions have been watched by hundreds of millions of people around the world and attracted high ratings for broadcasters. They have won many nominations and awards at major film and television festivals.

CEO/Executive Producer Publicity Contact

Andrew Ogilvie Judith Cockburn-Campbell

Tel +61 8 9339 1133 Tel +61 8 9339 1133 [email protected] [email protected] www.electricpictures.com.au

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TECH SPECS

Total Program Time 50 minutes with breaks

Number of Episodes 2

Format Foxtel: HD 1920 x 1080 50i

Ratio 16:9 (title safe)

Codec Foxtel: OP-1A File

Audio 5.1 Surround Sound Stereo

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 40 OF 50 PRESS KIT

FOXTEL CREDITS

E P I S O D E 1

PRESENTATION CREDITS

SCREEN AUSTRALIA and CANADA MEDIA FUND

FOXTEL BBC SCOTLAND and CORUS ENTERTAINMENT

in association with SCREENWEST AND LOTTERYWEST Present

an ELECTRIC PICTURES and BRISTOW GLOBAL MEDIA co-production

100 Days to Victory Part One: The Spring Offensive

END CREDITS

Series Director and Writer DON FEATHERSTONE

Writer GREG BEER

Drama Director TIM WOLOCHATIUK

Narrator ROBERT MENZIES

Original Music by GREG JOHNSTON

Editor LAWRIE SILVESTRIN ASE

Senior Researchers GREG COLGAN ANDREW THEOBALD

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 41 OF 50 PRESS KIT

Directors of Photography TORSTEIN DYRTING ACS - Documentary MARCUS ELLIOTT - Drama

B Camera Operator - Drama ANDREW CURR

Production Designer ADRIAN GREENLAW

Visual Effects LAST PIXEL

1st Assistant Director DAVE TEBBY 2nd Assistant Director LAUREN COWLEY Costume Designer DAWN THOMPSON Gaffer MIKE O’NEIL Key Grips BRETT HUGHES SIMON STUNT Art Director BRITTANY MORRISON Key Hair and Make-up JENNIFER O’CONNOR Special Effects MAX FX Stunt Coordinator CRAIG CYR Location Manager SCOTT WOOD Casting Directors GAIL CARR CDC BRENDA CARR

Associate Producer AIDAN DENISON

Production Managers MATT WATIER – Drama ELLA WRIGHT - Documentary Production Coordinator KATE DUNN – Drama Post Production Supervisor ROZ SILVESTRIN Archive Researcher CAM HILL

Additional Research ROB MCGLYNN THERESA CHALON

Historical Consultant PETER TWIST

Sound Mixer RIC CURTIN ASSG Sound Effects Editor XOE BAIRD Sound Recordists LAURIE CHLANDA - Documentary ADRIAN TUCKER – Drama Assembly Editor SAMANTHA STORER Online Editor TERRY TAPLIN Edit Assistant VINCENT MACELROY Colourist CAITLAN O’CONNOR Additional Colourist BEN HOWDEN Graphics SANTOSH ISAAC ADAM LUDD Picture Post Production COLOURBOX VIDEO

Production Accountants JANET WOOD-JOYCE MICHELLE SCHUSTER JIM STERNBERG

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 42 OF 50 PRESS KIT

Accounts Assistant (Australia) HARRY WOOD

Legals (Australia) JOAN PETERS LUCI SILVESTRIN BEACH STREET LAWYERS Business & Legal Affairs (Canada) KARA RUSSELL

Cast (in order of appearance) Field Marshal Douglas Haig MALCOLM TAYLOR General Arthur Currie BRUCE TURNER Marshal Ferdinand Foch DENIS LAMONDE General John Monash BEN MORTLEY

Archive courtesy of AUSTRALIAN WAR MEMORIAL CRITICAL PAST CUTESTOCKFOOTAGE.COM FOOTAGE FARM GERMAN FEDERAL ARCHIVES, FILM COLLECTION/TRANSIT FILM GMBH GETTY IMAGES IMPERIAL WAR MUSEUM LIBRARY AND ARCHIVES CANADA NATIONAL FILM BOARD OF CANADA POND5 SHUTTERSTOCK THE FOOTAGE COMPANY AUSTRALIA / BRITISH MOVIETONE THE NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA’S FILM AUSTRALIA COLLECTION US NATIONAL ARCHIVES

Stock music provided by THEFMCO/ POND5

For Foxtel

Executive Producer RICHARD STOMPS

Group General Manager, Factual JIM BUCHAN

Director of Production DUANE HATHERLY

For Foxtel

Executive Director of Television BRIAN WALSH

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 43 OF 50 PRESS KIT

Produced in association with CORUS ENTERTAINMENT and CANADA MEDIA FUND

Produced with the Participation of the GOVERNMENT OF CANADA

Produced in Association with BBC SCOTLAND

Post Produced in Western Australia

Produced with the Assistance of SCREENWEST and LOTTERYWEST

Produced with the Support of SCREEN AUSTRALIA

Produced by BRISTOW GLOBAL MEDIA

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 44 OF 50 PRESS KIT

Executive Producers JULIE BRISTOW MARLO MIAZGA

Producer TARA ELWOOD

Produced by ELECTRIC PICTURES

Executive Producers ANDREW OGILVIE ANDREA QUESNELLE PHIL CRAIG

Producer INGRID LONGLEY

AN AUSTRALIAN-CANADIAN CO-PRODUCTION

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 45 OF 50 PRESS KIT

E P I S O D E 2

PRESENTATION CREDITS

SCREEN AUSTRALIA and CANADA MEDIA FUND

FOXTEL BBC SCOTLAND and CORUS ENTERTAINMENT

in association with SCREENWEST AND LOTTERYWEST Present

an ELECTRIC PICTURES and BRISTOW GLOBAL MEDIA co-production

100 Days to Victory Part Two: The Fightback

END CREDITS

Series Director and Writer DON FEATHERSTONE

Writer GREG BEER

Drama Director TIM WOLOCHATIUK

Narrator ROBERT MENZIES

Original Music by GREG JOHNSTON

Editor DAVID FOSDICK ASE

Senior Researchers GREG COLGAN ANDREW THEOBALD

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 46 OF 50 PRESS KIT

Directors of Photography TORSTEIN DYRTING ACS - Documentary MARCUS ELLIOTT - Drama

B Camera Operator - Drama ANDREW CURR

Production Designer ADRIAN GREENLAW

Visual Effects LAST PIXEL

Associate Producer AIDAN DENISON

Production Managers MATT WATIER – Drama ELLA WRIGHT - Documentary Production Coordinator KATE DUNN – Drama Post Production Supervisor ROZ SILVESTRIN Archive Researcher CAM HILL

Additional Research ROB MCGLYNN THERESA CHALON

Historical Consultant PETER TWIST

Production Accountants JANET WOOD-JOYCE MICHELLE SCHUSTER JIM STERNBERG

Accounts Assistant (Australia) HARRY WOOD

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 47 OF 50 PRESS KIT

Legals (Australia) JOAN PETERS LUCI SILVESTRIN BEACH STREET LAWYERS Business & Legal Affairs (Canada) KARA RUSSELL

Cast (in order of appearance) General John Monash BEN MORTLEY Marshal Ferdinand Foch DENIS LAMONDE Field Marshal Douglas Haig MALCOLM TAYLOR General Arthur Currie BRUCE TURNER General Henry Rawlinson BRIAN SCOTT CARLETON General Henry Horne GORD MACKENZIE General Julian Byng RALPH MACLEOD

Archive courtesy of AUSTRALIAN WAR MEMORIAL BRITISH PATHÉ / REUTERS CRITICAL PAST CUTESTOCKFOOTAGE.COM FOOTAGE FARM GERMAN FEDERAL ARCHIVES, FILM COLLECTION/TRANSIT FILM GMBH GETTY IMAGES IMPERIAL WAR MUSEUM LIBRARY AND ARCHIVES CANADA NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA NATIONAL FILM BOARD OF CANADA NFSA’S FILM AUSTRALIA COLLECTION POND5 RIGHTSMITH SHUTTERSTOCK THE FOOTAGE COMPANY AUSTRALIA / BRITISH MOVIETONE US NATIONAL ARCHIVES

Stock music provided by STEPHAN SCHUTZE/ THE FOUNDATION LIBRARY/ PSE

For Foxtel

Executive Producer RICHARD STOMPS

Group General Manager, Factual JIM BUCHAN

Director of Production DUANE HATHERLY

For Foxtel

Executive Director of Television BRIAN WALSH

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 48 OF 50 PRESS KIT

Produced in association with CORUS ENTERTAINMENT and CANADA MEDIA FUND

Produced with the Participation of the GOVERNMENT OF CANADA

Produced in Association with BBC SCOTLAND

Post Produced in Western Australia

Produced with the Assistance of SCREENWEST and LOTTERYWEST

Produced with the Support of SCREEN AUSTRALIA

Produced by BRISTOW GLOBAL MEDIA

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 49 OF 50 PRESS KIT

Executive Producers JULIE BRISTOW MARLO MIAZGA

Producer TARA ELWOOD

Produced by ELECTRIC PICTURES

Executive Producers ANDREW OGILVIE ANDREA QUESNELLE PHIL CRAIG

Producer INGRID LONGLEY

AN AUSTRALIAN-CANADIAN CO-PRODUCTION

100 DAYS TO VICTORY – FOXTEL PRESS KIT – PAGE 50 OF 50