The hand drawn film is based on the poem by Matthew Arnold.
Composing the score to the animated film Sohrab and Rustum by Animator Lee Whitmore.
The hand drawn film is based on the poem by Matthew Arnold.
Signed on to score the 2 part TV mini-series Underbelly Files: Chopper
Nine has announced the full cast on Underbelly Files: Chopper with Aaron Jeffery currently filming the title role in Melbourne.
Joining Jeffery as Mark Brandon Read, are Michael Caton his father, Keith, Todd Lasance as Chopper’s nemesis Syd Collins, and Ella Scott Lynch as his second wife, Margaret.
Also featuring are Zoe Ventoura as Chopper’s first wife Mary Ann, plus Jane Allsop, Reef Ireland, Alex Tsitsopoulos and Anna Bamford, with original Underbelly stars Vince Colosimo and Kevin Harrington returning as Alphonse Gangitano and Lewis Moran, plus Debra Byrne reprising her 2014 portrayal of Judy Moran.
Nine Drama execs Andy Ryan and Jo Rooney said: “As a hardened gangster and loving family man, ‘Chopper’ Read was one of Australia’s most complex and compelling crooks. Prepare to be shocked and entertained as Aaron Jeffery brings a whole new dimension to the Chopper legend, supported by many of Australia’s finest actors.”
Screentime CEO Bob Campbell said, “With this new take on the Mark ‘Chopper’ Read story Screentime is delighted to be reuniting our ‘A team’ for a mesmerising mini-series which will bring the fourth instalment of Underbelly: Files to Nine for 2018, in classic style,”
Signed on to score the new 4 Part SBS TV Mini-Series Sunshine.
SBS has announced key cast for its upcoming new drama, Sunshine, a crime thriller set in Melbourne’s South Sudanese community.
Anthony LaPaglia (Balibo, Lantana, Without a Trace) and NZ actress Melanie Lynskey (Two and a Half Men, Togetherness, Heavenly Creatures) will be joined by Kim Gyngell (Rake, Jack Irish), Tiarnie Coupland (Love Child), Vince Colosimo (Jack Irish, Janet King, Underbelly), Leah Vandenberg (The Wrong Girl), Paul Ireland (Jack Irish, Never Tear Us Apart: The INXS Story, Underbelly) and Trudy Hellier (Winners and Losers, The Doctor Blake Mysteries, The Time of Our Lives).
They will be joined by “fresh and exciting new faces, including an outstanding South Sudanese Australian cast being seen for the very first time on Australian TV.”
Sunshine follows the life of an aspiring South Sudanese-Australian basketball player who is on the cusp of being picked up by US scouts for the US College league, but who is caught up in a police investigation involving a teenage girl from one of Melbourne’s affluent suburbs.
Anthony LaPaglia will play a basketball coach whilst Melanie Lynskey plays a lawyer.
Written by Matt Cameron (Jack Irish, Secret City) and Elise McCredie (Nowhere Boys), the Essential Media (The Principal, Rake, Jack Irish) production will be directed by Daina Reid (The Secret River, The Wrong Girl, Never Tear Us Apart: The INXS Story).
SBS Director of Television and Online Content, Marshall Heald said: “Sunshine is set to be a powerful, bold, and uniquely SBS drama, with a crime mystery at its heart. SBS has a strong history of delivering exceptional drama with impactful storytelling. Our recent success with The Principal, The Family Law and Deep Water demonstrates our continued commitment to telling stories with purpose. We’re also pleased to be working with Essential Media yet again, after great success with The Principal.
“I’m thrilled the show has attracted internationally acclaimed talent like Anthony LaPaglia and Melanie Lynskey, and I’m especially proud that the drama will showcase young, fresh and diverse local talent, something SBS is incredibly passionate about.”
Essential’s Ian Collie and Carver’s Anna McLeish and Sarah Shaw said: “After producing The Principal for SBS, we are thrilled to be returning with another exciting drama, which has attracted a compelling mix of local and international talent alongside newcomers from the South Sudanese community in Australia, highlighting the opportunities as well as challenges for this relatively new migrant group to the Land of Sunshine.”
Signed on to score the Chinese/Australian co-production feature film The Longest Shot (Working Title: Dogfight).
Paul Currie's Lightstream Pictures has partnered with Chinese Producers Homber Yin and Alicia Yao Bing for Saints Entertainment's The Longest Shot - an intriguing tale of gangsters, business leaders and Government officials vying for power and control over the French Concession territory.
Set in 1930s Shanghai amid an era of decadence and corruption, The Longest Shot is an intriguing tale which sees gangsters, business leaders and Government officials vying for power and control over the French Concession territory.
Iconic Melbourne locations including Parliament House, the Block Arcade, Regent Theatre, Melbourne Comedy Theatre, Montsalvat, Ripponlea, The Old Sunbury Hospital and Melbourne city streets were utilised to replicate the deco style architecture of Shanghai's infamous French Concession with Melbourne proving to be the perfect visual backdrop.
Director Xu Shunli, who cowrote the screenplay with Qiu Xinyu, spent more than a year meticulously planning the costumes, design and locations so that elements of both countries would blend flawlessly, to deliver a lush, dramatic and visually stunning film.
Filmed in Mandarin, English, French and Russian for Chinese speaking audiences, the cast includes the highly acclaimed Chinese actor Wang Zhiwen alongside an ensemble of Chinese and International talent including Yu Nan, Zu Yajun, Lee Li-Chun and Kao Kuo-Hsin, along with Sabien Lucciarini, Christopher Downs and Koniukhov Konstantin.
Wolf Creek International reviews:
what'sontv: Peter Fuller, August 27, 2016
Beautifully shot, with a phenomenal soundtrack, and a standout performance from Fry as the hunted who becomes the hunter, this is one to watch.
Starburst Magazine: Andrew Pollard, September 28, 2016
In this mini-series, we’ve been given something that is truly stunning to view; the desolate, vacuous feel of the outback being a pleasure to take in, with the delightful cinematography and direction likely to leave you feeling as if you’re actually coming down with heatstroke. Added to this, the score from Burkhard Dallwitz only furthers the feeling of desperation and desolation that drips over Wolf Creek like a dirty, sweaty rag. But at its core, Wolf Creek is about the storytelling and the performances.
MyMBUZZ: Iain Hepburn, September 6, 2016
Burkhard Dallwitz’s score is sparse, but when it is used, it’s hugely effective.
All North and Latin American rights to Stan’s Wolf Creek have been licensed to Lionsgate.
The announcement follows last month's news that Fox UK had picked up the British rights to the original six-part series, based on the 2005 movie of the same name.
Stan CEO Mike Sneesby said Wolf Creek was a “premium Australian drama made for a global audience”.
“The Lionsgate deal is one of the biggest international distribution deals for an Australian show. By generating significant licensing revenues for our Stan Original Series we are able to reinvest into the local production industry,” said Sneesby.
Wolf Creek has been Stan’s most successful premiere so far, with the series exceeding 500,000 views within days of its launch.
Stan’s chief content officer Nick Forward told IF last month that international interest in Wolf Creek was initially piqued when distributor Banijay Group took it in April to MIPTV, the television buyers' market in Cannes.
Wolf Creek is a Screentime (a Banijay Group company) production in association with Emu Creek Pictures.
International sales are being handled by Zodiak Rights, the distribution arm of Banijay Group, with the Lionsgate deal brokered by Zodiak Rights’ Andreas Lemos, VP of sales and acquisitions
THE MUSIC TRUST
THE SECRET RIVER. FILM MUSIC BY BURKHARD DALLWITZ
Erkki Veltheim, Lizzy Welsh, Ceridwen Davies, Charlotte Jacke, Jon Heilbron, Yinuo Mu, John Barrett, Rebecca Simpson, David Herzog, Burkhard Dallwitz, The City of Prague Philharmonic Orchestra conducted by Jan Chalupecky. TV miniseries of the novel by Kate Grenville
ABC Classics 481 1824
Reviewed by Mandy Stefanakis, September 1st, 2015
The Secret River is a two-part television series based on the novel of the same name by Australian author Kate Grenville. It provides a devastating account of the brutality of life for first white settlers in Sydney and along the Hawkesbury River, and for the Aboriginal people whose land was overrun and whose people were killed in the process of this emphatic desire for land ownership. Indeed the difference between cultures portrayed is much about the difference between living with one’s natural surrounds and fighting against them, a lesson we still often fail to grasp.
Australian composer, Burkhard Dallwitz is used to the ‘fighting against’ scenario in his screen scoring having written the soundtrack for Underbelly. He also wrote the music for the menacing Truman Show collaborating with Philip Glass and picking up a swag of awards including a Golden Globe. Dallwitz is used to writing edgy, highly rhythmic scores. His approach to The Secret River is quite different.
Here the music is often sparse and still. However in the overture ‘Our Hawkesbury’, the melody and lush strings with Irish flute and bodhrán-like drumming capture the Celtic stamp of ownership the new arrivals desire. It is appropriately majestic and expansive, in many ways suggesting the ending in addition to the beginning. The final scene is of the new settler couple we have followed throughout surveying their English-like property with its clipped grass, ornamental fountain and circular driveway. It is such an incongruous image given the beauty of the surrounding eucalypts and scrub and the horror of the carnage we have witnessed that has made this stately home a possibility. And then one thinks of one’s home in the burbs.
It is with the protagonists’ interactions with the Aboriginal people who dwell around the Hawkesbury that the music changes. Dallwitz uses steely harmonics and sonorities with short melodic riffs to great effect. He employs piano, violin and cellos drawing on natural harmonics and drones in the music’s vertical organisation. The music is both warm and unsettling and perfectly captures the ambivalent relationship between original and new inhabitants who initially try hard to coexist.
Dallwitz loves new tone colours and his ‘The Promise’, reflecting an assurance given by the husband to his wife that they will return to England in five years if things don’t work out, uses an old Tom Waitsesque piano to highlight the wife’s unrealistic longing for ‘home’. He brings back this sound quite frequently. In the gathering held at the couple’s initially scant setting, the pipes, piano, military drum, bodhrán and violin keep the new families warm as they dance around the campfire.
There are times when Dallwitz combines the busyness of the new settlers planting crops, setting up home against long, metallic drones of the surrounding environment and this is most effective.
In the build-up to the climactic massacre, in, for example, ‘My Place’, Dallwitz develops an unsettled feel again through held metallic harmonics, clashing strings and a deep, deep drone. The harmonic sustenance rises into the surrounding space. It permeates everywhere. ‘The Massacre’ is an exaggeration of all these themes, everything moves slowly, resolutely and the piano provides a feeling of utter grief edging up from a major melodic third to the fifth against its minor tonality in the left hand.
Since the ‘hero’ has, at times, shown warmth and caring to the Aboriginal people, it is greed, ultimately, the need for more and for it to be ‘mine’ that is irreconcilable. The son is an observer of the aftermath, the carrier of his father’s ‘secret’ and he will never forget or forgive. And so in ‘I See you Dickie’, Dallwitz indicates the length of time that he and his father will carry this burden. Again, it is pure mourning, pure loss.
How does Archie Roach and Shane Howard’s final duet in A Secret River help ameliorate this tragedy? It doesn’t. But they write and make music together as they have done for a lifetime now. And here Howard is the husband, wishing he could turn back time, while Roach watches nature allow more flowers to bloom in the aftermath of the slaughter of Aboriginal people.