I am pretty much fused to my desk these days, and my to-read pile has languished. But I hope to rectify that before too long.
In the meantime, early-morning walks with Ric keep me sane. And what a fantastic start to the day—ibis and mudlarks, wagtails and magpies, the plaintive keee-lah of red-tailed cockatoos, the occasional appearance of mama ducks and their duckling broods.
And then there are the glories…
A new post from Ric about a film so tense that I had to remind myself to breathe…
Hounds of Love, now playing in cinemas across Australia, was written and directed by Ben Young and is his first feature film. After premiering at the Venice Film Festival, the film has propelled Ben’s career onto the world stage, and he is already directing big-budget American movie Extinction.
The film has had great reviews all over the world, including 4 out of 5 stars from Australia’s leading film critic, David Stratton. This is not a film for everyone but, as one critic said, ‘brave audiences will be rewarded’.
My role on the film was the sound design and mix. As the subject matter is very confronting, the film was a great sound challenge. Much of the action is implied rather than on the screen., and the film relies on the soundtrack to tell the story.
For the house backgrounds, I used all natural sounds—cars, birds, etc.—so that…
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I was in early adolescence when Gough Whitlam became Prime Minister in 1972. I’m afraid to say that I was not a politically minded adolescent. I had other things on my mind—important things like problem hair, who was coming to the Perth Entertainment Centre, and how I was going to get out of dissecting a frog in Biology.
Spare a thought for my long-suffering grandfather, whom I made drive around Perth following the Radio 6PM van so I could win this T-shirt
And yes, I’m a bit of a hoarder…
But recently I came across this quote by Whitlam:
A healthy artistic climate does not depend solely on the work of a handful of supremely gifted individuals. It demands the cultivation of talent and ability at all levels. It demands that everyday work, run-of-the-mill work, esoteric and unpopular work should be given a chance; not so much in the hope that genius may one day spring from it, but because, for those who make the arts their life and work, even modest accomplishment is an end in itself and a value worth encouraging. The pursuit of excellence is a proper goal, but it is not the race itself…
I look at our current politicians, and those of recent times, and can find no trace of this civilised and civilising attitude towards the arts and their place in our cultural life.
Here’s another instalment from that quiet guy I know, who has been a bit busy lately…
I am glad to report that both recently completed TV series, Railroad Australia on Discovery and Outback Pilots on 7 mate, are rating well. Fingers crossed for a new series of both.
The feature documentary Whiteley has been playing to great reviews. Margaret Pomeranz gave the film her first ever 5-star review on Foxtel Arts.
Whiteley was directed by James Bogle and edited by Lawrie Silvestrin. The documentary does not have a narrator; instead the story is told through archival footage and re-enactments. We recorded actors reading contemporary newspaper articles and then played the voices coming out of radios, matching the quality to archival sound—something of a challenge.
See the trailer.
Ash Gibson Greig composed the music for the documentary, weaving his music around the music of the time. The soundtrack was complicated, so Ash moved his music suite into my studio for the days of the final…
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Perth writer Lee Battersby has published three novels (including MAGRIT, recently shortlisted for the NSW Premier’s Award for Children’s Fiction), two collections of stories, and more than 80 individual stories in the sci-fi, fantasy and horror genres—a publication record I find as enviable as it is impressive! He also has a fabulous blog series called ‘Precious things’, and I was delighted when he invited me to contribute. Take a look at other contributions while you’re there…
Amanda Curtin has always been one of those authors I’ve found slightly intimidating, as well as an aspirational benchmark. It seems like she’s been on the stage at every Perth Writers Festival I’ve ever attended, always speaking with an encyclopaedic understanding of the industry; her name is always attached to every study I see produced about the state of WA writing; she appears to be associated with every literary market in WA I can’t get within kilometres of getting published by…. men stand aside as she walks by, women swoon, horses stamp their hooves nervously……
Having finally met her this year, she is, of course, utterly lovely. She still dresses up as a bat and fights crime at night, but gently, with a soft-spoken voice and an interest in how the criminal is getting on. She’s also published two novels, Elemental and The Sinkings, and a short story collection, Inherited
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This is from a talented guy I know, who doesn’t post very often… 🙂
In the next two weeks I have a feature film, a feature documentary and two TV series being released.
Bad Girl is a feature film that was shot in Perth. After being edited in Sydney by Simon Njoo, the rest of the post production was done in Perth, with Sandbox creating the visual effects and grading the pictures and Curtin Productions doing the sound.
One of the big challenges on the film was the music. We were fortunate to have Warren Ellis, of Bad Seeds fame, as composer. Rather than compose to the picture cut, he created themes that the director, Fin Edquist, and I would then manipulate, remixing the stems and editing the music around to fit the picture. It was a fun challenge, and in meeting it I relied heavily on my many years of experience as a music engineer.
I was the dialogue editor as well…
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