Winners and Losers, Stage 3
The red carpet was rolled out for the nation’s top production designers at a Docklands Studios-sponsored awards evening in Melbourne on December 3.
The Australian Production Design Guild ceremony at the Melba Spiegeltent in Collingwood awarded trophies in 23 design categories in live performance, screen, animation, interactive and web.
APDG President George Liddle acknowledged Docklands Studios Melbourne as the awards’ Principal Sponsor, and thanked studio CEO Rod Allan for being “a staunch supporter” since the annual competition began seven years ago.
Academy Award winning animator Adam Elliot hosted the popcorn-and-bubbly-fuelled ceremony, with Rod Allan presenting two Docklands-sponsored awards – for Set Decoration on a Feature Film (won by Nicki Gardiner for 2.22) and for Production Design on a Feature Film (won by George Liddle for The Osiris Child: Science Fiction Volume One).
Full list of winners here.
Docklands Studios Melbourne has shown yet again it’s a place where anything is possible, catering for screen projects of all shapes and sizes in 2017.
This is how production designers from four different films used Docklands Studios this year:
(Above) The set of Winchester: The House That Ghosts Built, starring Helen Mirren. Interiors of the haunted mansion were pieced together in Stage 4 to match scenes shot at the real Winchester mansion in San Jose. Produced by Tim McGahan and Brett Tomberlin, directed by Michael and Peter Spierig, production design by Matthew Putland, art direction by Janie Parker, set decoration by Vanessa Cerne. Release date February 22, 2018.
(Above) The set of the ‘hybrid’ documentary Guilty, produced by Maggie Miles, directed by Matthew Sleeth, production design by Nicki Gardiner. The filmmakers re-created the last days of convicted Bali Nine drug smuggler Myuran Sukumaran who was executed in Indonesia in 2015. The film screened at the Adelaide Film Festival in October 2017.
(Above) The main set of sci-fi thriller The Wheel, produced by Sunjive Studios. Cardboard sheets assembled with a hot glue gun were used as a cost-effective, environmentally-friendly addition to the main set built of steel. Liam McLachlan, 20-year-old son of the movie’s director Dee McLachlan, built the cardboard sets in around two weeks with a couple of friends, under the guidance of production designer Robert Webb. To be released in late 2018.
(Above) The Docklands Studios production office doubled as a movie set for the independently financed thriller Choir Girl. Other sets of a hotel and apartment were built in a nearby sound stage. Produced by Ivan Malekin of Nexus Production Group, production design by Fiona Delalande.
When Andrew Tran answered an advertisement for an IT job 13 years ago, he never imagined he’d be working behind the scenes on movie and TV productions. As IT Manager at Docklands Studios Melbourne, Andrew’s in charge of setting up the communications technology – phones, computers, internet, etc. – that keep productions rolling.
You are the only member of our operations team who’s been here since the start – what do you remember of the early days?
Things were very different when the complex opened back in 2004. We were called Central City Studios and we didn’t actually have an admin building. Our office was in a demountable shed and the car park was just gravel so when it rained there’d be puddles all over the place. We had to lay down wooden planks to cross the water so it was like being in the trenches! The first production we had here was Ghost Rider and that was huge – it took almost the entire lot.
Typically, what IT services do you provide to productions?
Usually it’s making sure they have Wi-Fi for email and the internet, and for sending recorded footage to the post-production house which might be interstate or overseas. For example when The Leftovers (HBO Series 3) was based here in 2016 they sent a lot of their footage to the United States and it was edited there in real time. Some productions also need a Network Area Storage where there’s a central storage for all the data, allowing each department to access it. For example an art department can share its drawings, so anyone can update them.
Productions rely on you to supply good bandwidth?
These days everything is sent via an internet link. Previously productions might store everything on hard disk drive or film whereas now it’s digital. They send footage to secure sites like VIMEO so approved people can look at draft versions. If we need to increase bandwidth we can call on our providers to scale up to 1 GB on demand. We currently have a 400 MB link and a 50 MB scalable link on standby, so a production can call me and say ‘I need a special 200 MB link because we’ll be sending videos to America’, and I can arrange that within a few days. That’s good to have when we have multiple productions on the lot.
Most crew need an extensive phone system?
People still use landlines because they want to be professional and it helps things run smoothly. With a phone system you can overflow to different phones and transfer calls, and with a crew list it’s easy for people to contact each other. The phone system is IP based so there’s virtually no limit – a big production might need 100 to 150 handsets, but we can fit up to 300.
How early in a new production do you get involved?
Before the crew arrives I liaise with the production manager about the IT and communications requirements and I send floor plans of the work areas that they’ll be occupying. They mark out where they require the phones, internet outlets and Wi-Fi access points and I provide a quote. The good thing about production crew from my point of view is they don’t come all at once. For example we have one at the moment with just the line producer, the coordinator and the location manger so this week there are only three people for that production. I can easily manage installations for batches of ten to twenty people but if I need help I can call in contractors. Then as the crew arrives, I train them on the phone handsets and the internet, I set up their printers, and so on.
Do gremlins sometimes interfere with things?
There can always be problems along the way. For example on one production I got a call from a particular department saying their computers kept getting disconnected. So I went over and looked at the network of that particular building to check each connection one by one. Then I noticed one particular computer had no anti-virus software and I discovered it had a virus. So I cleaned the computer, installed anti-virus software and put it back on the network. That took at least an hour to figure out. That sort of thing can happen because productions crews are mainly freelancers who bring their own laptops, although nowadays most new computers come with anti-virus software so it’s becoming less of a problem.
You also run all the IT systems for the studio admin?
I’m in charge of phones and computers in the admin building, and I help maintain the website. I also oversee technology like the CCTV cameras that monitor the external areas and feed data back to a server. And since we became state government owned in 2008 I have to make sure our I.T. systems comply with government standards.
Working behind the scenes, how much of the filmmaking process do you get to see?
Sometimes I get to see productions up close. For example with The Pacific mini-series (2010) we’d see soldiers practicing their marching in the car park. Another one I remember was Where The Wild Things Are (2009) – the costumes and the prosthetics for the monsters were amazing and the sets looked so real. From time to time I catch a glimpse of a big name actor – Kate Winslet (The Dressmaker, 2015) walking to get her costume fitted, or Helen Mirren (Winchester: The House That Ghosts Built, 2018) strolling to the canteen. One time I went to Guy Pearce’s ‘star van’ to help him connect his laptop. It’s great to see how filmmaking works and it makes me look at movies differently when a film’s been shot here.
You’ve seen big changes around here since you started?
In the past the Docklands area had lots of old sheds and it was pretty deserted. Now there’s so much activity and so many food outlets, and soon we’ll have a new supermarket and a cinema complex nearby. I can hardly believe it’s been 13 years since I started. There’s no project- whether it’s a film or TV series, a domestic or international project – that’s the same. I feel really fortunate to be able to see filmmaking as part of my day.
When it comes to car launches, Docklands Studios Melbourne has done some serious name dropping lately.
In December, Jeep unveiled its new range to a select audience in sound stage 2, with a touch of black-curtain glamour and excitement described by one guest as ‘Detroit goes to Hollywood’.
The show-and-tell by leading experiential marketers Dig and Fish included every new Jeep destined for the Australian and New Zealand market in 2018, including the Compass SUV.
Back in October in the same space, Ferrari Australia popped the cork at a black tie cocktail party to showcase its $12-million Aperta, dubbed ‘the most expensive limited edition supercar in the world’.
Melbourne-born, ‘Friend of Ferrari’ supermodel Jarrod Scott was behind the wheel of the Aperta as it roared into the cavernous space, one of a series of celebrations around the world marking Ferrari’s 70th anniversary.
The event was arranged by the local arm of international media production agency, Damn Good Productions.
Australia writer-director twins Michael and Peter Spierig spoke to IF Magazine about their latest film centred on a famous San Jose mansion.
Read More: IF Issue #179-Oct-Nov-2017
The Legend of Ben Hall production designer Das Patterson and property master Steph D’Alessi shared their secrets with students at Melbourne’s Victorian College of the Arts in August.
In a Master Class on production design on a micro-budget, Das and Steph explained how they recreated 1860’s bush huts, a general store and a hotel for the 2016 bushranger epic.
Dubbed a ‘genius’ by producer Russell Cunningham for his work on the film, Patterson explained the use of time-and-money-saving cheats such as a shipping container, miniature buildings, and rough beams salvaged from timber yards.
During two weeks in a sound stage at Docklands Studios Melbourne, Patterson and D’Alessi dressed 3 main sets into 13 different interiors.
The Master Class was hosted by Docklands Studios Melbourne and the VCA.
Docklands Studios Melbourne has cemented its reputation as THE place to shoot a car TVC – the latest is for Mazda.
Ad producer Studio Pancho chose Docklands Studios as it allowed them to have complete control of the light and illuminate the car like art in a gallery, reflecting the brief by creative agency Grant Day James.
Over 4 days in Sound Stage 3, Studio Pancho filmed several Mazda models under different lighting, while post-production added swooshes of colour and graphics to convey the car maker’s “Art of Value” philosophy.
Other cars ads filmed at Docklands Studios in recent years include Kia, Toyota, Hyundai, Porsche, Volvo, Jeep, BMW, and Ford.
Check out this amazing time-lapse video of the talented crew at Mediatec and Resolution X – you won’t believe how fast they can transform a space.
In just 48 hours they turned Sound Stage 4 into a breathtaking showcase of event technology.
Several hundred guests experienced the wall-to-wall, floor-to-ceiling visual display, complete with the latest in LED screen technology; broadcast, camera and vision control systems; hundreds of lighting fixtures and effects such as a mirror ball wall; and ‘Australia’s largest chandelier’. There was even a conveniently placed chill-out zone for those at risk of sensory overload!
It was the first showcase of its kind for both companies and Docklands Studios Melbourne was integral to its success.
Andrew Skim, Mediatec’s Business Development Manager, said: “The beauty of Docklands Studios is that it’s a vast blank canvas, where you can basically do whatever you like. We needed a large space that offered flexibility in building a production of this size, including easy access for our clients. Also, dealing with an on-site facilities team who are responsive and understand the requirements of productions made Docklands a perfect fit for us.”
Docklands Studios is hoping to host the showcase again next year. In the meantime you can see Mediatec and Resolution X work their magic at various major sporting events, festivals, music, theatre, community and corporate events.
Visitors to Docklands Studios will be familiar with the friendly face of Lisa Barnes. As the security gate attendant, Lisa has seen all types – from starry-eyed TV audiences, to bleary-eyed film crew, as well as a long list of famous actors and producers. Lisa spoke to Bel Tromp about her job.
How long have you worked at Docklands Studios?
I started almost 8 years ago, having worked in customer service in the retail sector. My first stint at Docklands was in the security office for a TV show that was filming here, Talkin’ ‘Bout Your Generation. Coincidentally that show is on the lot again right now, filming a whole new series, so it’s like déjà vu. Anyway, I love my job – working with the production crew and helping them out and being able to talk to them. I didn’t know much about Docklands Studios before I came here, but now many of my friends are film and TV crew I’ve met here over the years.
Take us through a typical day.
When we’ve got new productions on the lot, my day could start at 7am. I work closely with each production secretary, because they have to authorise to allow each person on site. Earlier this year we had multiple films including Stem and Winchester. I think Stem had 140 people and that’s just the main crew, not extras or actors. Then when Winchester was shooting as well, that was another 120 coming through the gates. With each new visitor I have to make sure they get to the right place on the lot, whether it’s production or costume or somewhere else. I also deal with couriers delivering things like props, costumes, production tapes, payroll forms. Again I direct packages to the right person so they don’t get lost, which can be tricky when a production is spread across several buildings. It’s all pretty full on. We also get a lot of production vehicles coming through the gates, including huge trucks that need to be parked here. But we can always find a way to fit them in as we’ve got plenty of space. I have great back up from Steve and Laz and Rodney* – we’re a good team.
*Steve Wyatt, Security; Laz Tsavdaridis, Facilities Co-ordinator; Rodney Brooks, Facilities Manager.
You must know most of the production secretaries in the industry pretty well?
Yes, and each one is different. For example, one will want to know the minute their talent arrives, and others are more relaxed. Some are a lot stricter about who can and can’t go on site, such as when a crew member brings along a family member. So, I’ve got to chop and change to deal with different styles. That’s why they like it here, because I already know what their style is and I know most of them by now. Every production that comes here has at least a couple of dozen people who’ve been here before.
People say you have a good memory for faces and names?
Yes, I can’t really explain it. Usually I can look at the face and remember the name, but sometimes I just look at the car rego and remember their name!
Another aspect of your job is welcoming members of the public who come to be in a TV audience?
Yes, we could have a couple of movies going while we’re also dealing with audience for shows like The Footy Show and Hot Seat Millionaire. We’ve got to work out who is crew and who is audience, who’s supposed to be there and who’s not, in case the audience try to wander away. I think Hot Seat has 160 and The Footy Show has over 200 and they could be arriving over a short period. On those days I barely get breakfast or lunch! Most people are very excited to be here, and they have no idea what’s going to happen and what they’re going to see. Some people turn up two hours early because they’re scared they’ll be late or stuck in traffic!
At the other end of the scale, you greet A-listers turning up for exclusive events such as car launches or fashion shows?
Yeah, a lot of visitors will come in a hire car, a limo, but for me it doesn’t matter, they’re all treated the same. And when a hire car arrives, I have to actually see who is inside for security reasons because anyone could hire a limo. Sometimes the drivers don’t like it, but it’s my job. I have to be a step ahead, especially when there’s a high-end celebrity on site. I’ve stopped so many people from trying to talk their way in – they try to trick you!
A long list of famous actors have worked here over the years? I know you don’t like to drop names, but you must have some favourites?
Well, when people come through the gates they’re just another crew member on the lot to me. I don’t care if they’re famous or not and I just treat them like anyone else. But one that springs to mind would be Hugh Jackman, who was here to rehearse a stage show, and he stopped every day to ask me how I was going. Another is Ethan Hawke who was shooting Predestination, and later sent his driver around with some cakes to say thank you. Then there’s Shane Jacobson, who always remembers my name, and Shaun Micallef who recently told me: “I was driving in today hoping that you would be here!” He hadn’t been here for a few years so it was good to be acknowledged in that way. Another nice one is Sam Newman from The Footy Show – he’ll run in front of me and open doors!
You’ve had the odd surprise visit?
Yeah, I was here early one morning and I saw a hot-air balloon come in low. I was waiting for it to go up and it never did, it just suddenly hit the ground hard. Luckily the pilot found the perfect landing spot in the car park. I ran over to see if everyone was ok, and I was about to call emergency services, but the people in the balloon were actually quite excited about where they had landed and started taking photos! The pilot told me he had landed in the Yarra River the week before.
Have you seen this part of Melbourne evolve over the years?
Yeah, it’s changed dramatically. When I first started working here at the end of Docklands Drive it was like being in the naughty corner! But now there’s so many buildings going up and there’s lots of greenery and the park nearby, and more people know that we’re here. Before, no one had a reason to be near the studios, whereas now they come past to have lunch in the park. It’s really vibrant and alive.
Inside Film’s Jackie Keast examines why Docklands Studios appeals to smaller productions.
Read More: IF Issue #177 Jun-Jul 2017
Staying true to its goal of supporting emerging filmmakers, Docklands Studios recently welcomed debut writer-director John Fraser and his independently financed Choir Girl.
Shot in black and white, Choir Girl is the story of a lonely photographer obsessed with a teenage prostitute being controlled by an underworld criminal. It stars Peter Flaherty (The Leftovers), Roger Ward (Mad Max), Krista Vendy (Neighbours), Andy McPhee (Ali’s Wedding), Kym Valentine (Neighbours), Jack Campbell (All Saints), and VCA graduate Sarah Timm.
With a budget of around $600,000, Choir Girl made the most of its month-long stint in Sound Stage 4, constructing two main sets of a hotel then converting these into an apartment. Even the overhead gantry and production offices featured in scenes, according to producer Ivan Malekin of Nexus Production Group. “If we were going out and trying to find all these locations we’d be constantly moving and that takes a lot of money and a lot of effort. So being at Docklands actually allowed us to save money. You wouldn’t think so with a massive studio but it made the production more efficient.”
Fraser completed the gritty urban look at various Melbourne landmarks including Pentridge Prison and St Kilda’s Oslo Hotel.
During their time at Docklands the cast and crew of Choir Girl rubbed shoulders with a number of larger productions, including the Spierig Brothers’ Winchester, starring Helen Mirren.
“It adds a certain level of legitimacy and excitement to the production when you’re rolling up to work at Docklands every morning – you get a good energy in the air,” said Malekin.
It’s a long way from a prison cell in Indonesia to Docklands Studios Melbourne. Yet here in a brightly lit sound stage a film crew has been recreating the final days of Myuran Sukumaran, an Australian drug trafficker executed in Indonesia on April 29, 2015.
In an intimate set dwarfed by the vast space, actor Adam McConvell channels a frenetic Sukumaran, painting his final artworks as he awaits the firing squad.
Around the set are tangible connections to Sukumaran – five of his paintings were loaned to the production by his family. Christie Buckingham, Sukumaran’s real life spiritual adviser, represents herself in these final scenes and debut director Matthew Sleeth befriended Sukumaran while running art classes in Bali’s Kerobokan Prison alongside Archibald Prize winner Ben Quilty.
These scenes inside the cells, filmed over five days, are what producer and co-writer Maggie Miles describes as “the soul of the piece”, adding “it was only a dream that we could film at Docklands Studios Melbourne. [CEO Rod Allan] was really supportive and we’re very grateful for his belief in the project”.
These creative scenes will be edited with archival footage of Sukumaran’s case and that of fellow Bali Nine prisoner Andrew Chan, interviews, and footage from a posthumous exhibition of Sukumaran’s work held as part of the Sydney Festival last January at Campbelltown Arts Centre.
The team behind this hybrid film, working title Guilty, hope to engage with people who believe the death penalty is an appropriate punishment. Miles says it comes with a great sense of responsibility. “We’re conscious of handling and managing a story which belongs to others and is incredibly sensitive in many ways.”
Guilty will debut at the Adelaide Film Festival in October.
The team from Guilty includes director and co-writer Matthew Sleeth, producer and co-writer Maggie Miles (The Turning), co-writer Matthew Bate (Shut Up Little Man) and script consultant Andrew Bovell (Lantana). The executive producers are Robert Connolly (Paper Planes) and Rebecca Summerton (Sam Klemke’s Time Machine).
Guilty has been supported by HIVE (a collaboration between Adelaide Film Festival, ABC Arts, Screen Australia, and Australia Council), Good Pitch, Film Victoria, and private investment.
It’s not every day The Fastest Man Alive appears in one of our sound stages.
On this occasion, Usain Bolt came by to shoot an ad campaign for Optus. With the Olympic champion on a tight schedule, the ad makers built a series of bespoke and green and blue screen sets, to move Bolt efficiently through takes.
The series of 5 to 45 second TVC’s by creative agency The Works and production company Emotive, were designed to showcase the Optus 4G Plus network.
With the slogan “Ever Wondered What Life is Like at the Speed of Bolt?”, the campaign taps into the fun side of Bolt’s personality, showing him sprinting as the ground explodes, watching soccer on his phone and dancing to music.
Shot entirely at Docklands Studios, the campaign builds on the telco’s relationship with Bolt who starred in the 2016 “Relentless” campaign.
An Australian film found a unique way to save time and money while shooting at Docklands Studios Melbourne – making some of the sets from cardboard.
Like most indie productions, the sci-fi action feature, The Wheel sought a big look on a limited budget. The challenge was to build a 15-metre-long concrete corridor for the story about a paraplegic inmate who becomes a ‘lab rat’ in a scientific experiment.
The corridor had to match the concrete interior of the Hoppers Crossing Pumping Station outside Melbourne, where other scenes were being filmed. The producers flinched at quotes for building the set with the usual materials such as plywood, steel or cement, and even considered omitting the corridor scenes.
Enter Liam McLachlan – the 20-year-old son of the movie’s Director Dee McLachlan – who knows a thing or two about cardboard. Since age 13, Liam has been obsessed with Boxwars, a hobby where people construct elaborate costumes and props for themed battles in public parks.
Having built armour, weapons and four-wheeled vehicles from cardboard, designing a corridor was all in a day’s fun for Liam. Under the direction of production designer Robert Webb, Liam used an open source computer program called Blender to create a 3D-model where he could place a virtual camera inside the world of the set.
“Everyone was incredibly sceptical that it would ever work. I think we slowly convinced them, and once we did a trial day, which showed them what it would look like, Rob, the designer was instantly sold. He loved it,” Mclachlan said.
The build took less than two weeks, with McLachlan working alongside close friends and fellow Boxwars enthusiasts, Will Burgin Stevenson and Noah Burdekin. A hot glue gun was used to put the panels together. “That stuff is amazing, it dries in about 30 seconds, and it’s cheap!” Scenic artists then came in to complete the concrete bunker effect.
The cardboard is recyclable and surprisingly strong, according to McLachlan. “If you put it vertically it holds a lot of weight as long as you have the correct angle. So every sheet of cardboard is one and a half metres wide and you have four triangle struts at right angles, and the roof sat on top of that.”
Naturally there are limits to the amount of pressure cardboard can withstand. Three other sets for the movie – a board room, a control room and a ‘steel’ room – were built from timber, steel and plywood or a combination of these materials.
The cost of cardboard is a fraction – Liam estimates around one tenth – of other commonly used building materials. Other cost savings were found by shooting at Docklands Studios, according to The Wheel producers Veronica Sive and Silvio Salom. “Regardless of the external conditions, in the stage we could shoot 10 hour days on the various sets. With two cameras rolling on one particular day we managed 88 set ups,” said Sive.
As for the cardboard sets, McLachlan might have just stumbled on a winning business idea. Completing a Bachelor of Science at Melbourne University majoring, not surprisingly, in physics, McLachlan has already been contacted by at least one other screen production, while the producers of The Wheel hope to use his skills in their next movie later this year.
McLachlan concedes The Wheel may not be the first time cardboard have appeared on screen – the long-running TV series Doctor Who comes to mind. But he adds, “some of those sets looked so cheap and obviously made out of cardboard. This is the first time it’s been done well!”
The Wheel is produced by Veronica Sive and Silvio Salom of SunJive Studios and directed by Dee McLachlan (Out of the Shadows, The Jammed). It stars David Arquette (Scream) alongside Jackson Gallagher (Patrick, Home and Away) and Kendal Rae (Out of the Shadows, The Shannara Chronicles).
It tells the story of a paraplegic inmate (Jackson’s Matt Mills) forced to take part in a scientific experiment that will give him use of his legs. Dr Emmett Snyder (Arquette) along with Dr Allison Turner (Rae) push Mills to breaking point, as he fights off a succession of assailants, mysteriously becoming stronger.
You can see more of Liam McLachlan’s work at: https://pictank.wixsite.com/mysite-1
“A little bit weird and a little bit different” is how showrunner Damon Lindelof describes Melbourne.
Fairfax film writer Karl Quinn talks to Berlin Syndrome director Cate Shortland about piecing together a film shot on opposites sides of the globe.
We’ve started the year on a high note, with all five sounds stages fully booked.
Among the productions is The Wheel, directed by Melbourne filmmaker Dee McLachlan (The Jammed) and featuring Hollywood actor David Arquette, who starred in the 1990’s Scream franchise.
Arquette joins Victorian actors Jackson Gallagher (Home and Away) and Kendal Rae (Out of the Shadows) in the independently financed feature set in the near future where prisoners are the subjects of scientific experiments.
Producer Silvio Salom said “The Wheel is the first of a slate of films that SunJive Studios is embarking on in a privately funded business model aimed at creating a sustainable flow of productions in Victoria. Docklands Studios has been extremely accommodating allowing us to create a film look that is many times the actual budget”.
Victoria’s Minister for Creative Industries, Martin Foley, visited the set of The Wheel on April 6, declaring that the production boom was “a sign of the strength, and diversity, of Victoria’s screen sector”.
Also on the lot, another local project, Choir Girl is underway. The low budget thriller, starring former Neighbours regulars Krista Vendy and Kym Valentine, tells the story of a lonely photographer who becomes obsessed with a 15 year old girl.
And a feature length documentary Guilty, has taken over a sound stage for a two week shoot. The film marks the directorial debut of Melbourne artist Matthew Sleeth and details the final 72 hours in the life of Myuran Sukamaran of the ‘Bali Nine’.
Other sound stages are occupied by Winchester and Channel Nine’s live audience programs, The AFL Footy Show and Millionaire Hot Seat.
Anthony Galloway, State Political Reporter for the Herald Sun joined Victoria’s Minister for Creative Industries, Martin Foley on a visit to our sound stages.
Victoria’s scenic landscapes and some Melbourne landmarks will flash across U.S. screens in April, when HBO launches the third season of The Leftovers.
With leading character Kevin Garvey (Justin Theroux) at large in Australia for this final series, the official trailer provides glimpses of Victoria’s vast open spaces, the red dirt roads of the outback, and Melbourne’s Port Phillip Bay with the iconic West Gate Bridge in the background.
The city’s trademark graffiti lane ways and 19th century State Library reading room are part of the backdrop as Garvey deals with impending doom foretold by the words “13 days to go” written in the sky.
The Leftovers, co-created by Damon Lindelof (Lost), tells of those left behind after the Sudden Disappearance of two per cent of the world’s population.
Series one and two were filmed in New York and Texas respectively, with the producers choosing Victoria for the final eight episodes which shift the story to Australia. The series used Docklands Studios sound stages, construction workshop and various production offices during a three month stay in 2016.
The Leftovers will screen on HBO on April 16 and Foxtel Australia on April 20.
Ahead of the release of director Cate Shortland’s stylish new psychological thriller, here’s a peek inside the Docklands Studios set of the Berlin apartment where much of the action takes place.
Berlin Syndrome movie poster (Source: Entertainment One Films ANZ)
A team led by production designer Melinda Doring created the apartment where Andi (Max Riemelt) keeps Clare (Teresa Palmer) captive over several months after they meet on the streets of Berlin.
The designers matched these interiors, as well as a specially built facade, with exteriors of a real Berlin apartment block that Doring and Shortland identified on an earlier visit to the German city. Filming was split between Berlin and Melbourne during 2015.
Doring’s team, which included Stephen Speth in Berlin and Janie Parker in Melbourne, captured the look and feel of a rundown East Berlin apartment block, right down to light fixtures brought in from Berlin and details on the small, double glazed windows that help keep Clare imprisoned.
Festival screenings at Sundance, Berlin and Glasgow indicate the film, produced by Polly Staniford, is set to be a hit with both audiences and critics.
The sets have already garnered one gong – the Docklands Studios Best Set Trophy for 2015!
Berlin Syndrome is scheduled for worldwide theatrical release in April.
(Photo credits: Ben King with kind permission from Aquarius Films)
We’re thrilled to have Helen Mirren working her Academy Award winning magic in our sound stages.
It was announced on March 15 that principal photography had commenced on the supernatural thriller Winchester, in which Mirren plays the starring role.
Mirren plays firearm heiress Sarah Winchester, who was convinced she was haunted by the souls killed at the hands of the Winchester repeating rifle.
Alongside Mirren, who won an Oscar for The Queen, the film stars Jason Clarke (Dawn of the Planet of the Apes, Zero Dark Thirty), Sarah Snook (The Dressmaker, The Glass Castle), and Angus Sampson (Insidious, Fargo).
Producer Tim McGahan (Blacklab Entertainment) and writer-director twins Michael and Peter Spierig are on a return visit to Docklands Studios Melbourne – they were here in 2013 making the Ethan Hawke thriller, Predestination.
Winchester will shoot later in the year on location at the Winchester Mystery House in San Jose, California.
You never know where a chance encounter will lead you in life – just ask Ross Murdoch. Back in 2000 he was a house carpenter having a quiet drink in a pub when he struck up a conversation with a stranger, who happened to be a set painter on a popular kids’ TV series, Saddle Club. Murdoch went away with the phone number of the series’ art director and within days found himself on set building horse stables.
Fast forward to 2017 and Murdoch is one of the busiest construction managers in Victoria’s film industry. He’s in charge of sets for the new sci-fi thriller Stem, by writer-director Leigh Whannell, who’s back home in Melbourne after a big splash in Hollywood with Insidious and Saw.
In the cavernous workshop at Docklands Studios – a former maintenance depot for the Port of Melbourne – Murdoch leads a 25-strong crew creating a world in the near future where technology controls almost everything. Stem is the story of a paralyzed technophobe using an experimental computer chip to avenge his wife’s murder.
As trucks rumble in with building materials and machinery, Murdoch pauses to reflect on a career spanning two dozen film and TV productions, building sets or heading construction. Highlights include an elaborate old London street scene for the Gold Coast shoot of Peter Pan (2003) and a dilapidated Mexican church for the Docklands shoot of Ghost Rider (2007). For the West Australian shoot of Red Dog: True Blue (2016), Murdoch created an underground cave filled with water. On a tight budget and a fast turnaround his team sculpted the cave from concrete in Perth and trucked it in sections to the filming location where it was sealed and filled with water.
Murdoch’s longest project was the $200 million blockbuster The Pacific (2007-08), at the time the most expensive mini-series ever made. As second in charge of construction, Murdoch spent six months in tropical far north Queensland crafting bloody battle scenes from World War Two. Then came five months based at Docklands Studios, including the re-creation of 1940’s Melbourne in the city’s CBD for the dramatic re-enactment of US troops arriving in town.
Along the way, he had a stint on the tiny Mediterranean island of Malta, running a fleet of 80 trucks transporting crew and equipment for the ambitious World War Z (2013) – a job he rates as his most stressful to date.
“Murdoch seems to thrive on tight timelines and budgets, along with the pattern of working feverishly for weeks on end.”
Over the years, Murdoch’s steady-as-a-rock persona has served him well in the high-pressure world of film – 12 to 13 hour days crafting sets, adding finishing touches as the cast and crew move in, while making every dollar count. “When we start a shoot, I’ll discuss ideas with the art department and they’ll get their people to start drawing things up. That’s when I start costing things, trying to justify each expense to the art director.”
These days Murdoch spends most of his time in his hometown Melbourne, and has been a familiar face at Docklands since it opened in 2004, on productions such as Where The Wild Things Are (2009), Predestination (2014) and Childhood’s End (2015). As sets take shape in the workshop, Murdoch has created a family atmosphere among the tight knit crew. His wife, Jess Rogers, coordinates travel and transport while their Blue Heeler, Zissou, greets visitors with a friendly lick.
Murdoch seems to thrive on tight timelines and budgets, along with the pattern of working feverishly for weeks on end interspersed with down time. With the Stem shoot close to wrapping up, he and Jess are looking to grab a quick break before the next project comes along. In April, he’ll be keeping an eye on the small screen for the launch of Season 3 of The Leftovers. Murdoch was construction manager on the acclaimed mini-series, shot at Docklands Studios and around Melbourne during 2016.
Bringing filmmakers’ visions to life is an unexpected career path for a bloke who used to knock together house frames. So, what about the guy he met in the pub all those years ago? Well, fate has brought them back together, making sets for Stem. “If it wasn’t for him, I’d probably still be building kitchens,” Murdoch laughs.
(Staff writer Belinda Tromp spoke to Ross Murdoch in March 2016)
Fairfax Media reports that the Australian film industry has started 2017 on a high.
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Oct 10, 2015 Journalist, Steve Dow for The Saturday Paper writes a long feature on acclaimed director Jocelyn Moorhouse’s return from the US because family was more important than the Hollywood machine. And how finally The Dressmaker came to fruition and was filmed in rural Victoria and at Docklands Studios.
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National Film Editor, Karl Quinn reports for The Age and The Sydney Morning Herald on the performance of Victoria”s screen sector being “Shaken, not stirred in the 2014-15”. He reports that Melbourne”s Docklands Studios had a “good year” and covers highlights of other Creative Victoria screen entity”s including ACMI and Film Victoria.
The International Business Times reports on the upcoming premiere of The Dressmaker shot at Docklands Studios Melbourne and on location in Victoria. Director, Jocelyn Moorhouse; producer, Sue Maslin and stars including Liam Hemsworth, Judy Davis and Hugo Weaving expected to attend.
National Film Editor, Karl Quinn reports for The Age and The Sydney Morning Herald on how the makers of the recently released and hugely popular family feature film, Oddball managed to make a successful movie featuring both animals and children. The scenes of fairy penguins and children on the beach at night were shot on a coastline and beach set at Docklands Studios Melbourne.
The Age features time lapse video of set construction at Docklands Studios Melbourne for Oddball.
View video: Time lapse video
Michael Bodey for The Australian’s Reel Time column reports on Director, Jocelyn Moorhouse’s adaptation of Rosalie Ham’s bestselling novel, The Dressmaker commencing filming at Docklands Studios. Kate Winslet, Judy Davis, Hugo Weaving and Judy Davis will star in the film.
Don Groves for If magazine writes about The Dressmaker, a tale of love revenge and haute couture shooting at Docklands Studios. The ensemble cast includes Kerry Fox, Sarah Snook, Shane Jacobsen, Rebecca Gibney, Shane Bourne, Caroline Goodall, Alison Whyte, Sacha Horler and Genevieve Lemon.
Jonathon Moran for The Daily Telegraph’s Sydney Confidential reports that Oscar-winning star Kate Winslet is in Australia for the filming of The Dressmaker at Docklands Studios Melbourne and on location in Victoria in the Wimmera. The film willalso star Liam Hemsworth, Judy Davis and Hugo Weaving.
Sarah Thomas, entertainment writer for the Sydney Morning Herald and The Age hints at explores some of the Sci-Fi themes sure to excite audiences of the newest production, Childhood’s End shooting at Docklands Studios during its 10th Anniversary year.
The Australian’s media and entertainment writer, Michael Bodey highlights in his column that US science fiction television miniseries based on the Arthur C. Clarke novel, Childhood’s End is filming at Docklands Studios Melbourne.
Don Groves for If magazine releases news that the 13-week shoot for Childhood’s End will take place at Docklands Studios and on location around Melbourne. The series will debut on the US Syfy network next year.
FilmInk publisher, Don Kornits explains from the film perspective why Melbourne is considered Australia”s cultural hub. He touches on the State Government”s support for the local industry, MIFF, Open Channel, Docklands Studios, Melbourne”s collegiate atmosphere and Victoria”s talent pool.
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IF magazine”s social pages capture guests who attended Docklands Studio”s 10th Anniversary including: local actor, Jane Turner; producer, Anthony Ginnane; the Hon. Minister Louise Asher; US-based director, Rod Hardy; producer, Paul Currie and visiting actors Ben Lioyd-Hughes and Kaya Scodelaro.
Emily Webb writing for the Leader community newspaper and Herald Sun online lists up 10 international films made in Melbourne including Ghost Rider, Knowing, Killer Elite and Where the Wild Things Are that were all filmed in part at Docklands Studios.
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Read more: The Australian, ‘Arts’ Reel Time article
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Confidential for Herald Sun and The Daily Telegraph reports on Docklands Studio’s 10th Anniversary featuring the Victorian Minister for Innovation, Services and Small Business, Louise Asher MP and actor/writer, Jane Turner, cutting the Studios’ birthday cake.
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Karl Quinn, National Film Editor for The Sydney Morning Herald and The Age goes on set with producers of The Moon and The Sun, Paul Currie and Bill Mechanic, to discover the mermaid’s grotto and recreated Versailles interiors now filming at Docklands Studios Melbourne.
Karl Quinn, National Film Editor for The Sydney Morning Herald and The Age covers Docklands Studios Melbourne’s 10-year anniversary.
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Read more: A Decade of “Action” article