WILDNESS - ABC



WILDNESS

Written and directed by

Scott Millwood

Produced by

Michael McMahon

Film Australia Executive Producer

Franco di Chiera

Post Production Executive Producer

Penny Robins

A Film Australia National Interest Program in association with Big and Little Films. Developed with the assistance of the Australian Film Commission. Produced with the assistance of Film Victoria, Screen Tasmania and the Australian Broadcasting Corporation.

Film Australia © 2003

.au

[pic]

[pic] [pic] [pic]

WILDNESS

Wildness examines the legacy of Olegas Truchanas and

Peter Dombrovskis, two of Australia’s greatest

wilderness photographers.

SYNOPSIS

Olegas Truchanas and Peter Dombrovskis were two of Australia's greatest wilderness photographers. Their work became synonymous with campaigns to protect Tasmania's natural heritage.

From the 1950s to the 1980s, Olegas and then Peter used photography to galvanise public opinion as the Hydro Electric Commission cut swathes through the wilderness in the name of progress. Olegas is renowned for his slide presentations which, over 20 years, brought ever-increasing attention to the island's unique landscape. In particular, he captured on film the pink quartz beach and tea-coloured water of Lake Pedder before it was drowned by a fiercely protested hydro-electric scheme.

Ten years later, Peter's magnificent photographs of the Franklin River were used to spearhead the successful national campaign to save it from a similar fate. His photograph of the Franklin’s Rock Island Bend became a national icon, establishing him as one of the country’s most influential photographers.

Olegas and Peter shared many things, including a bond that was more like father and son. Both migrated to Tasmania from Baltic Europe. And both died alone doing what they loved - on photographic expeditions in the wild. They left behind a legacy of extraordinary images - contributing not only to photography but to an emerging environmental consciousness in Australia.

Their philosophy was simple and remarkably effective - if people could see the beauty of Australia's wild places then they may be moved to protect them. They may also be encouraged to understand the true value of the world around them.

Wildness brings together over 300 of their photographs with archival film and stunning contemporary footage in an epic story of two men whose passion for nature became a crusade to save an environment under threat.

WILDNESS

DIRECTOR’S NOTES

This is an edited extract from writer/director Scott Millwood’s article “The Making of Wildness”

"When you go out there you don't get away from it all, you get back to it all. You come home to what's important. You come home to yourself." Peter Dombrovskis

Wildness – the story of Tasmanian wilderness photographers Olegas Truchanas and Peter Dombrovskis – is one that I have known all my life. In Tasmania, the story of these men is part of our local folklore.

I was born the year after Olegas drowned on the Gordon River during the bitter and tragic battle to save Lake Pedder from inundation by the Hydro Electric Commission. I remember my mother kept Max Angus’ book The World of Olegas Truchanas on her bedside table. With its mystical, cloud-shrouded mountain cover, it was sometime before I realized that the words “Olegas Truchanas” across the front were the name of a man. Instead, I imagined that it was the name of this secret, Narnia land that existed in the abyss of the world beyond my Launceston home. At some point, perhaps I was about 10 years old, I understood that the images in this book were of my land, my home.

Through my adolescence I too began following the example of Olegas and Peter, exploring the south-west wilderness of Tasmania and developing my own connection with these places. During the 1980s and 1990s I witnessed not only the rise of Peter Dombrovskis as wilderness photographer and the saving of the Franklin River from Hydro development, but a continuing battle to protect Tasmania’s wild places. I recognized that the Tasmanian community was deeply divided in its relationship with wilderness; and that the conflict over these issues was not resolved by Pedder or the Franklin campaigns, but had rather become inherent to our island culture.

Through the story of Olegas and Peter I came to understand that this is what it means to be Tasmanian. Though surrounded by an ancient and liberating beauty, we are haunted by a destructiveness that is directly connected to the landscape. I wanted to lament the loss of unique places that were drowned before I was born, and to celebrate the triumph of community. The lives of Olegas and Peter, their photographs and their wilderness philosophies speak to these ideas in a manner that is not only Tasmanian, but universal.

In making this documentary film we wanted to take Olegas’ and Peter’s photography beyond Tasmania – to celebrate it with a broader Australian and international audience. Their story has a natural elegance and resonance that has the capacity to stir the imagination and lift the spirit – we wanted to create a film that could give this expression.

Collaborating

Producer Michael McMahon and I flew to Hobart to meet the wives of Olegas and Peter and discuss our ideas for a film that we had pitched to them by letter. Melva Truchanas and Liz Dombrovskis are not only the copyright holders of both photographers’ work, they have in their own way carried on the legacy of each man. We recognized that they were the custodians of their husbands’ stories and that their involvement and consent to the film was crucial.

The key to Melva and Liz agreeing was a recognition that Wildness should not be just about “two dead men”, but should contribute to contemporary environmental debate and pass on to the future the attachment to wilderness that Olegas and Peter shared.

I did not want the film to lecture. Rather, I intended to adopt the same approach to the film that Olegas and Peter took to sharing their feelings about wilderness: it needed to be gentle, noble, elegant and, above all, beautiful. If people are moved by their stories, then we are passing their ethic on to a new generation.

Over the next year Michael and I actively shared with Liz and Melva how we intended to approach the film. There was an informed and negotiated consent that endured throughout the whole process. This trust between us allowed Melva and Liz to be central storytellers in Wildness and to share very personal experiences, including their husband’s deaths.

In many ways the inspiration of Olegas and Peter—the way in which they rose to enormous personal challenges—guided us all through the making of Wildness.

Writing

The story of Olegas and Peter quite naturally possessed all the elements of a dramatic epic – two men, two generations apart, spend their lives protecting wilderness through their photography, but are ultimately destroyed by it. So the challenge for us was how to weave their two stories together and, on a structural level, how to integrate both photographer’s work with our footage.

After completing the first draft with development funding from the Australian Film Commission, Film Australia’s Executive Producer in Melbourne, Franco di Chiera proposed that it be produced under the company’s National Interest Program. Although the first draft had posited Melva and Liz as the only storytellers in the film, Franco asked that we push the story further and include other interviewees who would assist in providing a more dramatic artistic, political and social commentary.

Still holding to the criteria that the story be told by people who had known Olegas and Peter personally, I carefully “cast” new interviewees in order to address particular issues. Writers Richard Flanagan (Death of a River Guide; The Sound of One Hand Clapping; Gould’s Book of Fish) and Tim Bonyhady (The Colonial Earth) provided a critical and social commentary of the men’s work.

Australian Greens Senator Bob Brown was included to assist in the details of the Franklin River campaign and how Peter’s photos, especially the iconic photo of Rock Island Bend, were used.

Celebrated Tasmanian painter and writer Max Angus and conservationist Helen Gee were included as friends of Olegas and commentators on the way in which they, and Peter, would carry on Olegas’ challenges.

Wilderness photographer Chris Bell, a close friend of Peter’s, provided some technical understanding of each photographer’s work, while Peter’s first wife, Gabrielle Teakle, was introduced to bridge the gaps in the telling of Peter’s life.

Pitching

In pitching the film we also had to pitch the importance of Olegas and Peter as Australian artists – Michael and I faced the challenge of explaining their work to potential investors.

Peter’s photography and philosophy were distinguished from Olegas’. To us, his photography was about his relationship with the land, whereas Olegas spoke of a relationship between place and community. In this way, Peter’s work felt deeply personal. Man was visually absent, but the relationship between man and wilderness could be measured between image and photographer.

This was in keeping with the manner in which Peter expressed his ideas in words. He didn’t speak publicly of how the community needed to value the land in the same way Olegas did. Instead he included in his books and calendars, insights into his feelings about wilderness, in a manner that resonated with North America’s John Muir and Henry Thoreau. We argued further that these photographers were to Australia what Ansell Adams and Eliot Porter were to North America.

Fortune also played its cards and we were propelled forward as we learned that in 2003 Peter would be admitted into the International Photography Hall of Fame in Oklahoma, USA. He would be the first Australian photographer to be recognized in this way.

Shooting

We proposed two shoots in order to create a sense of seasonal change. We planned to take our crew into the wilderness, including down the Franklin River, filming from a raft in order to emulate the river journeys that I had written into the script. The two shoots – almost three weeks in August and September 2002, and another ten days in November – were highly demanding. It was a credit to Michael and production managers, Chris Gallagher and Martin Thiele, that every logistic had been thought through with such thoroughness.

I had relied on cinematographer Bob Humphreys during the interview shoot so it was great to finally get out into the field. In the late winter’s snow and rain and sleet, Bob and I shot the homage to Octopus Tree on Mt Wellington, cutaways of Melva and Liz on the mountain, aerials over the south-west, log trucks careering abusively into Hobart, reconstructions of Olegas’ town hall presentations and Peter in hospital, beach scenes, cable logged areas in the Styx Valley and arguably the world’s longest dolly shot – a 140 metre vertical rise up the Gordon Dam wall.

Bob and I had planned the aesthetics of this shoot very carefully. During pre-production I had worked with story-boarder, Maria Peda, to plan the look and feel of the film – the ten rolls of Super 16mm stock were going to be used carefully.

By the time the second shoot came around, editor Bill Murphy (Romper Stomper, Metal Skin, Exile in Sarajevo) and I had been working for six weeks, and had a clear vision of exactly what shots were required.

For this shoot, cinematographer Wade Fairley (Macquarie Island) came on board. Wade had recently moved to Tasmania, had extensive wilderness experience and had been a river guide on the Franklin during his early twenties.

It was a huge challenge to film on the Franklin River. It is truly wild and dangerous country. The cost and risk were high. No-one had filmed on the Franklin River in twenty years – let alone filmed from a raft as it embarked on its journey.

With guides Josh Firth and Tim Trevaskis and camera assistant and river enthusiast, Matt Newton, Wade and I set off from the Mt McCall entry point by raft with waterproofed film and camera gear, tripod, jib-arm and gear and food for four days.

Filming from the raft as we travelled downstream, we reached the Cascades that night, establishing a base for the next three days. The dramatic overhanging cliffs negated the need for tents and we slept under the stars. The next day we would shoot Rock Island Bend. We were expecting rain and planned to start early. It would be all hands on deck, with guides Josh and Tim also operating as camera assistants.

The rain began in the middle of the night and didn’t stop. Tim, Josh and I pulled the raft by its rope, still in the water, upstream against the current. I wanted to use the raft as a “river-dolly” in order to allow us to shoot moving footage as we approached Rock Island Bend – the idea being that in the film the viewer would see Peter’s photo and then dissolve through it into moving footage, that all of a sudden the rock that had changed Australian history would loom up and the audience would be there.

Bob Brown and Richard Flanagan had warned us that it was very difficult to photograph or film Rock Island Bend. As the rain continued, we worked against a rapidly rising river – the high gorge walls forced the huge catchment’s water to rise up.

Each take of us approaching Rock Island Bend would require almost half-an-hour – one minute of umbrella-protected shooting required about twenty minutes of paddling to return the raft to our start point upstream. This environment demands physical endurance at the best of times; working tediously in the torrential rain demanded even greater psychological stamina.

At the end of a long, hard day, we turned back to our base downstream. Wade and Matt clambered overland to protect the camera gear from the wild river we now faced. I was too exhausted to walk, taking my chances in the raft with Tim and Josh. Part of me was incredibly intimidated. The gentle tea had turned into churning black. The roar overcame everything.

As we came over our final rapid, I was sitting in the back with Josh, Tim at the front. The raft rose to flip, tossing Josh and I into the dark river. Underneath the surface I was swept amongst the boils – at one point feeling the raft above me, then gone. I was certain I was dying.

Then I surfaced. An out-stretched paddle hooked me and I was hoisted by my lifejacket back into the raft. These moments taught me new respect for the river.

Meanwhile, back in Melbourne, Bill Murphy had continued editing and with the second shoot completed, had the last of the palate to work with. The combination of Olegas and Peter’s photographs, archival footage and photos, interview material and our wilderness footage was creating a rich film, particularly with the addition of the music by Emmy Award winning composer Evelyn Glennie.

Bill, like most of the Wildness team, is an enthusiastic bushwalker. He was keen to push the sense of the unseen industrial antagonist – the then Hydro Electric Commission – as part of the dramatic structure of the film. Three split-screen sequences explore this relationship through a simultaneous dichotomy: the aesthetic of destruction is pitted against the aesthetic of wilderness.

We also used the split screen to represent the relationship between the Franklin River and Peter’s photographs from Wild Rivers. On the left of screen our wilderness footage unfolds, while on the right Peter’s photographs are represented with a powerful connection to place.

It is 20 years since the Franklin River was saved. We launch Wildness as an act of celebration during times when Olegas and Peter’s story has much to teach us: the importance of wilderness; the triumph of the outsider, the refugee; the uniqueness of life lived according to particular values – perhaps their story is more important now than ever.

WILDNESS

BIOGRAPHIES

Scott Millwood – Writer/Director

Scott Millwood is a Tasmanian independent writer and director for documentary and new media, working between Melbourne and Hobart.

In 1997 Scott attended New York University where he produced Showdown, a collaborative 15-minute short drama exploring American involvement in the Gulf War. In 1998, he co-founded and directed the REAL: Life on Film Festival. In 1999 he was the writer/director/DOP/producer of a one-hour award-winning documentary Proximity, produced with the assistance of Open Channel and the Australian Film Commission, and in the same year established a legal practice providing IT and telecommunications legal consulting. In 2001, he was commissioned by the Australian Centre for the Moving Image (ACMI) to produce Gather, a new media installation which is currently being exhibited.

Scott has written and directed Wildness, a one-hour documentary produced in 2002/2003 for Film Australia and ABC-TV.

Michael McMahon – Producer

Michael McMahon is a Melbourne-based film producer, arts management consultant and lawyer. He was Director of the Arts Law Centre of Australia from 1989 to 1993, and Director of the National Indigenous Arts Advocacy Association from 1993 to 1995. He is on the board of a number of arts and cultural organisations.

In 1988 he co-produced Cruel Youth, a 30-minute drama funded by the Film Victoria Independent Film Fund. Since 1991 McMahon has been a company director of Big and Little Films Pty Ltd and has produced Mrs Craddock’s Complaint (1997), a 12-minute drama for the ABC-TV series Shortwaves; Sadness (1999) a documentary for Film Australia and SBS-TV based on the William Yang stage play; Thomson of Arnhem Land (1999), a documentary for Film Australia about anthropologist Donald Thomson, and Cosenza Vecchia, a half-hour documentary for SBS-TV’s Hybrid Life series.

Michael is currently developing four one-hour documentaries on contemporary social theory in Australia - Civil Tongues; a documentary written by Matthew Leonard – Pretending, and an 80-minute drama for SBS Independent - Call Me 'Mum'. He is also producing two feature films to be directed by Tony Ayres -The Home Song Stories and Semi-Detached.

WILDNESS

CREDITS

Written and Directed by

SCOTT MILLWOOD

Producer

MICHAEL McMAHON

Directors of Photography

ROBERT HUMPHREYS

WADE FAIRLEY

Editor

BILL MURPHY

Voice of Olegas Truchanas

ALEX MENGLET

Voice of Peter Dombrovskis

BRETT CLIMO

Narrator

NINA LANDIS

Script Editor

MIRA ROBERTSON

Production Manager - Hobart

CHRIS GALLAGHER

Production Manager - Melbourne

MARTIN THIELE

Producer's Attachment

SUSAN McGRATH

Sound Recordist

JEFF JACKSON

Camera Assistants

MARK TOMLINSON

MATTHEW NEWTON

Audio Visual Operator

NICK SAWYER

Wilderness Logistics Consultant

GREG HODGE

Support Unit

TED MEAD

GLEN KOWALIK

Franklin River Guides

TIM TREVASKIS

JOSH FIRTH

Additional Archival Research

MARTIN THIELE

CHRIS GALLAGHER

SUSAN McGRATH

Runners

KATHERINE MARTIN

TIM McPHEE

TIM TREVASKIS

Catering

SUSAN KENNEDY

Editor's Assistant

JEFF DANIELS

Sound Post Production

SOUNDWAVES

PETER WALKER

TRISTAN MEREDITH

Production Accountant

TONY NAGLE

MONEYPENNY SERVICES

Transcripts

ANNE MARIE ALLAN

Storyboard Artist

MARIA PENA

Stills Photography

MATTHEW NEWTON

Digital Pictures Melbourne

Head of Post Production

PAMELA HAMMOND

Post Production Coordinator

EMILY KLOOSTER

On Line Editors

GEORGE AWBURN

GUY MACKINDER

Supervising Telecine Colourist

STANLEY LOPUSZANSKI

Quality Assurance

PETER PERIC

Film Australia Production Unit

Business Affairs Manager

SALLY REGAN

Production Liaison

KAREN SKEA

ISABEL PEREZ

Production Secretary

LUCY SALT

Production Assistant

SALLY CREAGH

Production Accountant

LISA CALDER

Peter Dombrovskis' photographs

courtesy of Liz Dombrovskis and West Wind Press

Olegas Truchanas' photographs

courtesy of the Truchanas Family collection

ARCHIVAL FILM REPRODUCED COURTESY OF:

Tim and Susanne Haydon

Michael Cordell

Robert Heazlewood

Screen Sound Australia

Film Australia Ltd

Australian Broadcasting Corporation

Special Broadcasting Service Corporation

WIN TV Hobart

Archives Office of Tasmania

Peter Tyler, Peter Sims and Bruce Davies

OTHER ARCHIVAL SOURCES:

The Frank Bolt Collection, Queen Victoria Museum & Art Gallery Launceston

Jeff Lea

Mike Emery

Johnson Dean

The Mercury, Hobart

Ralph Hope-Johnstone Collection

Elspeth Hope-Johnstone

Norman Laird Collection

Peter Jackson

The Wilderness Society

The Bob Brown Collection, National Museum of Australia

Interview Background

'Under sleep, where all the writers meet'

Artwork by SUSAN PICKERING

Map images reproduced courtesy of TASMAP

SPECIAL THANKS TO

The Truchanas and Dombrovskis Families

Di Williams and Jeanette Heyland

The people who attended the

re-enactment of Olegas Truchanas' slide presentation

Carole McCourtie, Parks and Wildlife Service, Tasmania

Hydro Tasmania

Rob Cruikshank, ABC Studios Hobart

Steve Sellers, Geodata Services TASMAP

Grant Musgrave and the staff of St John's Hospital, Hobart

Bill Taylor, Archives Office of Tasmania

Zsuzsi Szucs, Screen Sound Australia

Winston Henry, Winning Post Digital

ABT Railway, Queenstown

Joanne Bach, National Museum of Australia

Grant Mitchell, Rafting Tasmania

Salamanca Arts Centre, Linden Art Gallery,

Jill McCulloch, Wilderness Society

THANKS TO

Tony Ayres, Gina Best, Delia Browne, Stephenie Calahan, Augustus Dulgaro, Richard Franklin, Roald & Liz Fullerton,

Jane Fullerton, Sheriden Green, Niki Hantzis, Dror Hazy, Tom Ikin, Lawrence Johnson, Ana Kokkinos, Michael Krien,

David Marcus, Nick Medland, John Nicoll, Lorraine Nikitenko

Axel Osborne, Margaret Ricks, Rod Poole, Cristina Pozzan, Mattie Sempert, Maha Sidaoui, Val Styles, Lucy Taylor,

Steve Warne, Lisa Warrener, Simon Wearne, Donald Williams.

The filmmakers acknowledge that

Wildness was filmed on the lands of the

Palawa and Lia-Pootah, the Aboriginal people of Tasmania.

MUSIC

'Symphony No. 5 in E flat Op. 82' by Jean Sibelius Performed by MELBOURNE SYMPHONY ORCHESTRA

Conducted by Hiroyuki Iwaki

Copyright Wilhelm Hansen

Used with permission of G Schirmer (Australia) Pty Ltd

Recording Courtesy of Australian Broadcasting Corporation

- EVELYN GLENNIE and MICHAEL BAUER -

Selected tracks from album 'Shadow Behind the Iron Sun',

'Wind Horses', 'Attack of the Glow Worm' 'Battle Cry', 'Icefall',

'Shadows Behind the Iron Sun', 'Last Contact', 'Land of Vendon'

Composed and performed by

EVELYN GLENNIE

Copyright Rights Worldwide Limited

Recordings courtesy of RCA Victor Group and BMG Special Products Inc.

Developed in association with

THE AUSTRALIAN FILM COMMISSION

Produced with the assistance of

THE AUSTRALIAN BROADCASTING CORPORATION

Executive Producer, ABC Arts

RICHARD MOORE

Produced with the assistance of

FILM VICTORIA

Produced with the assistance of

SCREEN TASMANIA

A Film Australia production

in association with

BIG & LITTLE FILMS

Executive Producer

FRANCO DI CHIERA

A NATIONAL INTEREST PROGRAM

FILM AUSTRALIA LTD

© MMIII

.au

................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download