Monthly Archives: October 2015

unINDIAN feature

A modern-day Aussie rom-com: unINDIAN

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Whether it’s welcoming Bollywood crews to Australia or casting fast-bowler Brett Lee as his leading man, director Anupam Sharma has always gotten a kick out of pushing boundaries. And with his latest flick unINDIAN, he may have hit a six. By Caris Bizzaca.

While Lee is the shining beacon for all cricket fans to swarm to, it’s the chemistry and message at the beating (and let’s face it, dancing) heart of unINDIAN that’s really grabbing the spotlight.

Already it’s drawn comparisons to My Big Fat Greek Wedding and Bend It Like Beckham as a cross-cultural romantic comedy. Except that it has something those films don’t: it’s uniquely Australian.

In unINDIAN, Lee takes on his first major film role as Will, an affable bloke who teaches Aussie slang to international students in Sydney (phrases like ‘he’s a tosser’ and the proper way to pronounce ‘maaaaaate’).

In one of the more original meet-cutes of late, he has coloured spice thrown over him by single working mother Meera (Tannishtha Chatterjee) during Holi festival and is almost immediately smitten. But a white man asking an Indian Australian woman out isn’t necessarily as easy as he thought.

Despite Australia’s multicultural make-up, producer Lisa Duff says there actually aren’t that many cross-cultural stories like unINDIAN in Australia.

“There’s still a predominance of stories depicting white Australia on screen,” she says. “We don’t look at that merging of cultures or the humour of what happens from that, especially.”

But it was something the filmmakers of unINDIAN really wanted to tap into.

“As a film professional and as someone who has Indian background… that was one of the driving forces, to show the diversity of 2015 of the streets of Sydney,” Sharma says. “We rarely see that.”

Following premiere screenings throughout the country, the cast and crew have been delighted to hear that unINDIAN is resonating not just with Indian Australians, but Greek Australians, Italian Australians and more.

Lee says: “We had a lot of (people) coming up to us and saying I can actually relate to this, this is what my family’s like.”

The opportunity to tell a cross-cultural story is actually one of the three main reasons Lee decided to take the leap into acting.

The second was that it wasn’t a Bollywood movie, but an Australian story that showed the Indian culture Lee is so passionate about (he’s toured there multiple times as a test cricketer).

And the third reason was that Lee knew he could trust Sharma, having worked with him on a few Bollywood cameos and television commercials.

Although he says he was well aware of his lack of experience on movie sets.

“Everytime I’ve gone onto the cricket field I’ve been as prepared as I possibly can… (and) I said I want exactly the same when we go to film,” Lee said.

So he took a crash course with a couple of “NIDA bigwigs”, as Sharma says, “just to tell Brett and I whether we will have egg on our face or it will happen” and got a big thumbs up.

Lee’s performance is now raising a few eyebrows, but for all the right reasons.

Sharma says it’s one of the things he is hearing most from journalists – how pleasantly surprised they were to see Lee holding his own on the big screen.

But the fast-bowler was always a no-brainer for Sharma. From a director’s perspective, he knew Lee could act and “lights up everything”.

Meanwhile from a financial point of view (Sharma is also a producer), he knew the kind of fan following Lee has.

“‘Brett Lee in his first lead role’ would also grab attention from people (and) you know how hard it is to stand out with all these films releasing every day.”

It’s perhaps not a surprising move from Sharma, who was part of the push to bring Bollywood crew into Australia in 1998, who did the first ad campaign for India by NSW, and who most recently, set up the Australian Indian Film Fund (unINDIAN is their first feature).

“My team and I always get a kick out of doing something new, not for the sake of it, but to enrich Australian film culture,” Sharma said.

“(So) I’m telling all the Indians and the ethnic minorities in Australia, to go and watch the film, and if you don’t, than don’t complain that you don’t see our stories on screen. If people support us then we can do more films like this.”

unINDIAN is in cinemas nationally from Thursday 15 October 2015.

Me-and-My-Mates-Vs-The-Zombie-Apocalypse-feature

ON LOCATION at Sitges International Fantastic Film Festival’s Zombie Walk

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Me and My Mates Vs. the Zombie Apocalypse was one of six Aussie films selected for the Sitges International Fantastic Film Festival (9 to 18 October 2015), the world’s leading fantasy and horror film festival. Screening after the festival’s Zombie Walk, Me and My Mates Vs. the Zombie Apocalypse producers Daniel Sanguineti and Christian Doran share a few photos from Sitges.

The Castle

The Castle: top 10 quotes

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It’s been nearly two decades since The Castle soared onto screens, but it’s still not unusual to find some of its iconic one-liners dropped into everyday conversation.

The beloved 1997 comedy introduced us not only to the blue-collar Kerrigans, but their profound words of wisdom, including “tell ’em to get stuffed” and “how’s the serenity?”.

Here are our top ten quotes from the movie.

1

“Tell him he’s dreamin'”

Translation: What to tell the bloke from the Trading Post asking way too much for jousting sticks or ergonomic chairs.

2

“We’re going to Bonnie Doon. We’re going to Bonnie Doon”

Translation: The repetitive song you should sing when driving to Bonnie Doon.

3

“How’s the serenity? So much serenity”

Translation: What to say when you’re feeling calm and content. Or you just like saying the word serenity.

4

“Dale dug a hole. Tell ’em Dale”

Translation: Dale dug a hole. His dad was pretty proud.

5

“Suffer in your jocks!”

Translation: A scornful phrase to tell another person after victory. E.g. Perfect for saying to the opposing counsel after winning a court case.

6

“It’s not a house. It’s a home”

Translation: When a property is built with more than bricks and mortar – it’s built with memories and love.

7

“It’s the vibe of it. It’s the Constitution. It’s Mabo. It’s justice. It’s law. It’s the vibe and ah, no that’s it. It’s the vibe. I rest my case.”

Translation: How not to win a court case.

8

“What do you call this?” “Chicken.”

Translation: The excited phrase to say at the start of every meal, regardless of what’s in front of you.

9

“Dad reckoned that fishing was 10% brain and 95% muscle. And the rest was just good luck”

Translation: Pretty self-explanatory. If you don’t get it, maybe you’re missing out on the 10% brains part.

10

“This is going straight to the pool room”

Translation: I’m so chuffed with this thoughtful present, I’m putting it on display for all to see.

Principal_feature

Social drama meets crime thriller: The Principal

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Initially inspired by his own kids’ experiences at the end of high school, producer Ian Collie chats to us about miniseries The Principal, which is a both a compelling look at issues faced in the school system and a gripping crime drama. By Emma Carroll.

The Principal is a four-part miniseries that follows Matt Bashir’s appointment as principal at notorious boys’ high school, Boxdale Boys High in south-western Sydney. Bashir’s tough new reforms just seem to be taking effect when a student is found dead on school grounds. Initially inspired by their teen children’s experiences at high school, producer Ian Collie, his colleague Rachael Turk, and screenwriter Kristen Dunphy started kicking around the idea of a high school drama.

“We were interested in exploring the changing role of masculinity in Australia,” Ian says. “And [we] thought that exploring this from a boys high school might be interesting: That dynamic of student/ teacher and father/ son,” he adds.

“And in the back of our minds, we thought, ‘if it works, we could take our principal into a girls school environment and explore topical issues for teen girls’,” Ian says.

In its initial stages, The Principal drew inspiration from former headmaster of Punchbowl High School, Jihab Dib, who’s now a state Labor MP. “We were inspired by the work [Dib] did with the boys from that school,” Ian says, “but it quickly evolved and developed from this initial starting point of the inspiring teacher: We wanted to subvert that trope somewhat.”

Writers Kristen and Alice Addison spoke to many teachers and principals from public schools in western and south-western Sydney to find out firsthand what challenges teachers in those regions faced. In addition, the creative team met with NSW Police representatives to inform the crime investigation narrative. These conversations informed The Principal’s narrative and some of the themes that the miniseries covers. “Some of the issues we canvas – bullying, drugs, gangs, radical Islam, etc. – are echoes of real life today,” Ian says.

Ian says that the miniseries will compel viewers because feels like the “real, suburban heart of multicultural Sydney”. “Something we haven’t seen in Australian drama for a while,” Ian adds. “It will elicit empathy for teachers, and the wider community, as they address some of the complex social, political and cultural issues that confront them.”

“What I love about this series is that it works on so many levels: [It’s] both a powerful social drama and an intriguing crime thriller,” Ian says, “Who killed Karim?”

Kriv Stenders and Geoff Hall’s direction, Roger Mason’s soundtrack, Nick Holmes’ editing and top shelf acting all-round, make The Principal a compelling and inspired drama.

The Principal starts on Wednesday 7 October on SBS at 8.30pm, continuing on Thursday 8 October. The four-part series concludes the following week, on Wednesday 14 and Thursday 15 October.

SPEAR_feature

SPEAR: Bangarra’s venture onto the silver screen

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When Robert Connolly picked Bangarra Artistic Director Stephen Page to direct Sand – one of the episodes of the film adaptation of Tim Winton’s The Turning – he brokered a marriage between an established dance talent and another medium. By Caroline Baum.

Now the two are reunited in Spear, a unique feature-length dance film generating considerable buzz beyond the dance world. The film screened at the Toronto International Film Festival in the Discovery Programme in September to great acclaim, ahead of its Australian premiere at the upcoming Adelaide Film Festival. Connolly is currently juggling special event screenings at art festivals and a limited art house release ahead of its ABC broadcast, all in 2016.

“We want to make this a special occasion experience,” he says. “It’s the kind of film that is wonderful to see on a summer night in the open air.’

The film features a slather of new screen talent including emerging Indigenous producer John Harvey, who worked closely with Rob Connelly.

“John is an exceptional producer,” says Connelly. “He brings terrific storytelling skills to his big picture approach to filmmaking. He joined Arenamedia under Screen Australia’s mentorship program and is now producing in his own right. Spear is his first feature and we’re also working together on the TV show The Athletes for the ABC.”

Based on a half hour work about men’s business originally created for Bangarra, the film is a sumptuously shot rites-of-passage story about a young man straddling two worlds – played  by Page’s son Hunter Page Lochard (who also stars in upcoming Indigenous drama Cleverman, directed by Wayne Blair). Developed through the HIVE – an interdisciplinary initiative to commission bold arts projects to premiere at the Adelaide Film Festival – Spear allows Page to work seamlessly across two media.

“The beauty of the HIVE laboratory is that it allows for an outside-the-box approach – a leap of faith, without the dogma of script.  I don’t think Spear could have been made any other way,” says Connolly.

“He did the application in two days,” laughs Page. “I provided a one page synopsis and a wide shot of the stage work on a USB stick. I was shocked when I heard we had been picked. Then I realised I did not have even have Spear in our program for the next season so when were we going to rehearse? I also knew I wanted everyone in Bangarra to be involved so they became producers.”

The result is so polished no one would ever guess this was Page’s feature film debut, perhaps because he has surrounded himself with familiar talent to guide him on this new journey.

Co-writer Justin Monjo (The Code) who was also his collaborator on Sand helped craft  what Page jokingly calls the thirty nine page scriptment (script/treatment) (“It’s a term I learned from Rolf de Heer” says Page) that forms the spine of Spear.

DOP Bonnie Elliott ( 2nd Unit on The Slap and Offspring and another of Page’s team on Sand) provided stunning visuals from a three week shoot on Cockatoo Island in Sydney Harbour and the remote outback bush and coastline of Arnhem Land near Yirrkala, cut together by Simon Njoo (editor of The Babadook).

“I’m used to working with irresponsible order,” says Page. “Bangarra spoils me by supporting that. I did find the shoot gruelling; Bonnie taught me to prioritise and helped me achieve the anti-theatre look I wanted from watching the kind of films that Europeans make.

“In just five weeks, Simon massaged the cinematography with movement. We had such laughs in the cutting room telling stories, that other guys would come to the editing room and say ‘ look, directors and editors are usually a bit more intense, they don’t have so much fun!’ That’s when I fell in love with the film making process for the second time.”

The film’s haunting original soundscape is by David Page, Stephen’s brother and Bangarra’s long time music director. Costumes are by the company’s regular designer Jennifer Irwin, using latex and fabric to create fish and lizard scale textures borrowed from nature for some of the spirits creatures who move alongside the male human cohort.

Spear’s cast features members of the Bangarra troupe with a stand-out performance by actor Aaron Pederson taking on the role of the Suicide Man that Wayne Blair performed in the stage production.

“I only had him for three days,” says Page “and he made me cry. He liked being given a role that was not his usual ‘quiet man’ part for a change. I just gave him a dilly bag of ideas rather than a script, but I think he loved the physicality of the character.”

Page is already thinking ahead to the next possible film he might direct.

“This experience has rejuvenated me” says Page, who turns 50 in December. “It was like being given a second beginning.”

Spear will screen in its Australian Premiere as part of the Adelaide Film Festival 6pm 18 October at Palace Nova. It will have theatrical release in Australia and be broadcast on ABC TV in 2016. For more details visit www.adelaidefilmfestival.org