THE BOOK OF REVELATION

DIRECTOR'S STATEMENT
Making The Book of Revelation has been enormously challenging and exciting. In adapting a brilliant contemporary novel, I wanted to create a film that was true to its spirit, its essence. The story fascinated me because of the reversal at the heart of it. Man as victim, women as perpetrators. This simple reversal invites us to look at the situation through new eyes. How to speak of trauma? How to face one's own complicity and the feelings of rage and shame, of love and hate, that follow? I have no doubt that audiences will respond strongly to the film. It is provocative, disturbing, beautiful and challenging. It has a powerful emotional effect that is not easily categorised and defined. Part mystery, part thriller, erotic, dream-like, The Book of Revelation allows the space for audiences to find their own answers.
CAST Daniel Isabel Olsen Bridget Julie Renate Astrid Maude Margot Bernadette Sally Jeanette Deborah THE FILMMAKERS Director Producer Writers ANA KOKKINOS AL CLARK ANA KOKKINOS ANDREW BOVELL Based on the novel by RUPERT THOMSON TOM LONG GRETA SCACCHI COLIN FRIELS ANNA TORV DEBORAH MAILMAN ZOE COYLE ZOE NAYLOR ODETTE JOANNIDIS NADINE GARNER OLIVIA PIGEOT ANA MARIA BELO BELINDA McCLORY SYBYLLA BUDD

Executive Producers

JAMIE CARMICHAEL GRAHAM BEGG

Line Producer Cinematographer Composer Choreographer Film Editor Sound Designer Production Designer Costume Designer Casting Production Company International Sales Australian Distributor Financing

BARBARA GIBBS TRISTAN MILANI ACS CEZARY SKUBISZEWSKI MERYL TANKARD MARTIN CONNOR PAUL PIROLA PAUL HEATH ANNA BORGHESI CHRISTINE KING WILDHEART CONTENTFILM INTERNATIONAL PALACE FILMS AUSTRALIAN FILM FINANCE CONTENTFILM NSW FILM & TELEVISION OFFICE FILM VICTORIA PALACE FILMS ROYAL BANK OF SCOTLAND

Running Time Gauge Screen Ratio Sound Stock Country of Production

117 MINUTES 35 MM 1.85:1 DOLBY DIGITAL KODAK AUSTRALIA

SYNOPSES
Loglines A dancer is abducted and abused, then released. His search for the female captors becomes a journey into his lost self. A story about power and sex, the entanglement of victim and perpetrator, and the healing power of love. Short synopsis A dancer at the peak of his powers is abducted by three women, abused then thrown back into the world twelve days later, a broken man. A psychological mystery about a man's struggle to regain his lost self. Long synopsis Daniel (TOM LONG) and his girlfriend, Bridget (ANNA TORV) are the principal dancers in choreographer Isabel's (GRETA SCACCHI) renowned company. In the lead up to a new show Daniel goes out to buy cigarettes for Bridget during a break in rehearsals - and doesn't return. For almost two weeks. Frantic efforts are made to find him, but no one knows where to look. Bridget is devastated by her boyfriend's sudden disappearance and humiliated by the implication that Daniel was fleeing a loveless relationship. Twelve days after his capture Daniel is dumped, blindfolded, on the outskirts of the city. He returns home a shattered, almost mute, man. Unable to confide in Bridget or Isabel, he packs his bags and flees. In the weeks that follow, the events perpetrated on him by his abductors three hooded women - begin to be revealed. Too ashamed to seek help, Daniel embarks on a search to discover their identity. With a few tantalising physical clues to go by his journey turns into a sexual odyssey fuelled by the memory of his bizarre imprisonment. His mentor Isabel, who has been diagnosed with a life-threatening illness, enlists the help of her former husband Olsen (COLIN FRIELS), a detective in the police special victims unit. Although he manages to bring Daniel back into contact with Isabel and the dance world, Olsen cannot bring the younger man to reveal the cause of his suffering. It's only when Daniel meets Julie (DEBORAH MAILMAN), a university student whose black skin rules her out as a suspect, that he begins to trust women again. The gentle love that blossoms between them is abruptly shattered when Daniel sees one of the abductors. Or so he believes. The violent confrontation produces a course of action that is both devastating and revelatory.

An erotic horror story that journeys through the darkness within men and women.

Background
Director Ana Kokkinos first read the novel "The Book of Revelation" not long after it was published in 1999. The British author, Rupert Thomson, was inundated with film offers when The New York Times Book Review hailed it as "a premise made terrifyingly real by a hugely talented writer." Kokkinos, who was working on a children's television show at the time, recalls reading the novel in one sitting. "My first response was that it was such a wild idea and a real page-turner." Despite the intense international competition, Thomson had admired Kokkinos' first feature Head On and after a four-page letter, several phone conversations and a meeting with the author at an Australian writers' festival, he was convinced that his novel was safe in her hands and that of producer, Al Clark. Says Clark, "He could see in us an absolute determination to make the film rather than, as had become customary for him, to go into development forever." The Book of Revelation is the first of Thomson's novels to be released as a film. then approached writer Andrew Bovell, with whom she co-wrote (with Mira Robertson) Head On, also an adaptation. The two had been looking for another project to work on for some time and when Bovell read the novel his immediate thought was, "This is likely to stir strong reactions, particularly towards the lead character. It's not simply a question of whose side are you on." Adapting the Novel Ana Kokkinos' overriding principle in approaching the adaptation was not to reduce its complexity to a simple set of events. "Like all contemporary novels it's very much about ideas. What I didn't want to do was create a film that would deny those ideas." The novel has many entry points: a great mystery; power relationships between men and women; a psychological journey; sensuality and eroticism; dance. The key was finding a simple narrative that would allow these complexities to be revealed. And what hooked co-writer Bovell in from the beginning was very simple: a man goes out to buy his girlfriend a packet of cigarettes and never comes back. Why? As Bovell comments, " The Book of Revelation is a study of masculinity out of control, but at the same time it's a mystery. And that, for me, was fascinating." An obvious change from novel to screen is its setting from Amsterdam to Melbourne. Initially Kokkinos and Bovell were going to retain the original setting and wrote two drafts of the script before making the decision to relocate to Melbourne. Along with the practical disincentives of shooting in Amsterdam - a labyrinthine financing scenario and much higher costs - it became apparent that

not only was the film more makeable in Australia but Melbourne actually suited the story. "Melbourne, in its slightly raffish and bohemian self image, plus its abundance of water, made it a very good counterpart for Amsterdam," comments Al Clark. And Ana Kokkinos - who shot her first feature Head On in Melbourne really wanted to shoot the film in a city she had a deep connection with. As she says, "I find Melbourne very beautiful aesthetically and it has a level of sophistication that is important to the film." Although the author Rupert Thomson was initially reluctant about the switch, Kokkinos convinced him the setting in Melbourne would have as much particularity as the original in Amsterdam. "He then started to get excited about the idea when he realised both cities have trams!" Cast & Characters Having a central character who is both a professional dancer and someone who undergoes a journey of immense physical and psychological stress was always going to be a challenge to cast. Not only was it a question of who could possibly play the role of Daniel, but who was going to take it on? The decision early on was that it had to be an actor that could dance, not the other way around. Ana Kokkinos explains why Tom Long convinced her right from the start: "He has a body you believe and an interesting male/female thing going on which many dancers have." Long describes his first reaction to reading the script: "I wanted at times to throw it across the room. Not because it was bad but because it provoked such strong feelings in me. But that's also the reason I enjoyed it so much." The role of choreographer Isabel was expanded in the screenplay to become a more active presence in the story. Played by Greta Scacchi, the relationship with her dancer Daniel is so strong that when he goes missing it affects her deeply. Kokkinos says of this character, "She is the one that holds the faith." Kokkinos had admired Greta Scacchi from afar for a long time and sensed she was looking for a film that was going to challenge her. She was right, but what clinched it was the dance connection. Scacchi trained and grew up surrounded by dance. Her mother was a professional dancer who then went on to teach throughout Scacchi's childhood. "It was wonderful preparation for being an actor to have a mother who's very disciplined. Dance was not just my fitness but a very spiritual part of my life," says the actor. Colin Friels plays Olsen, a cop who rekindles his relationship with former wife Isabel. Friels responded quickly to the offer to play the role. "It was a fascinating script and I couldn't put it down," he says. Kokkinos is a director who does like to rehearse thoroughly, so she was apprehensive about Friels' famed dislike of doing so for films. Nevertheless he dutifully did his bit. Says Kokkinos, "Actually, we got on like a house on fire. Colin absolutely captured the sense of wisdom and patience that was so intrinsic to the character. He's also a lot of fun

on set." The film reunited Friels and Scacchi, who had spent many months together in the country filming "The Farm", a mini-series for ABC several years prior. It meant there was an established familiarity on set. And for Kokkinos it was simply, "a joy to work with actors of this calibre." The role of Julie, played by Deborah Mailman, was reconfigured during the novel's adaptation to screen. "In an Australian context her aboriginality became very important for me and I wrote the role with Deborah in mind," comments Kokkinos. Julie is a character that responds to Daniel's distress in a very honest way and through that a relationship blossoms. "My character allows Daniel to start opening up again and learn to trust women. For that reason alone it was quite a beautiful character to play," says Mailman. Bridget is the complete opposite of Julie. Quintessentially of the dance world, Bridget is self-centred and self-absorbed; able to express passion through dance but unable to do so in life. Comments Kokkinos, "There were very few actors that could have pulled off Bridget. Anna Torv gave her that kind of repressed and suppressed emotion that I was looking for." the most challenging aspect of the film was casting the three women whose faces we never see, whose identities remain hidden, and yet to whom an audience must respond as they would to any other character. If acting is about tearing down the mask, then these actors had to find a way to tear it down symbolically," says Kokkinos. In choosing the actors, Kokkinos saw in each of them the capacity to reveal a different character through gesture, movement and voice. the White Room was invigorating, as director and actors constantly explored the challenges that the work presented to them. It was like making a film within a film, creating a world unto itself. All these actors went to a place of honesty and revelation. Your responsibility as a director to the actors really kicks in when you tackle this kind of material," says Kokkinos. But everyone knew that they were there to serve the bigger picture, to tell a unique story, and to chart some new terrain. fact that Anna Torv plays one of the women, as well as playing Bridget, is not designed in any way to make some story connection between the two. It was simply a casting decision made by Kokkinos because she felt it was right. I cast Anna Torv as one of the women because I sensed she could bring something essential to the role. I knew she would dig below the surface and give me something completely fresh, without clich. Power and authority coming from deep within. She can convey so much in a look. It's a testament to Torv's acting abilities that she is able to play two of the most difficult characters in the film and yet give each one a distinctive and powerful presence. Dance Meryl Tankard, the renowned Australian choreographer with an

international career, joined the creative team at the invitation of director Ana Kokkinos, a huge fan of her work. "Meryl's aesthetic and sensibility felt just right for the character of Isabel, so it just made sense to model Isabel and her company on Meryl and hers." With dance and acting rehearsals taking place alongside each other the creativity blossomed, resulting in an increased dance content in the film. As producer Al Clark observed, "this film that had a few dance sequences threatened at one point to become a dance movie!" Tankard was able to bring together dancers with whom she had worked before to create an authentic "company" in the film. "I felt that it was important to have that energy of a group of people that have really been working together for a while." She was also concerned initially that the actors playing Daniel and Bridget be credible as dancers. After Tom Long and Anna Torv spent three months training with Meryl and her associates, she was convinced. "Tom is a wonderful, open spirit and really believes in what he's doing. So if I gave him an action or emotion to work with, he so believed it from the inside that it worked. Over the months it was wonderful to see him and his body change." Anna Torv had been to a few dance classes as a girl, but even Tankard was surprised at how well she took to the harness work that was choreographed. "I hate films where there are doubles, but Anna did it all; she took to it straight away. Amazing." Greta Scacchi sat in on many of the dance rehearsals, intently observing the way Tankard interacted with her dancers. Commented Scacchi, "Meryl Tankard is a very innovative, very original dancer and choreographer whose spirit and work really inspires me." And Tankard herself appreciated the fact that a choreographer had a meaty role in a film rather than merely a physical presence. Because she was so focused on rehearsals, she didn't realise how intently Scacchi was observing her. "One of the dancers said "he's watching everything you do", but she was really wonderful and a lovely presence in the rehearsal room," recalls Tankard. Choreographing for film has been an interesting experience for Tankard, especially collaborating with a director who respects that dance can contribute to the drama. "Ana has been absolutely fantastic to work with because she doesn't just see dance as this cute bit of colour and movement." Shoot The Book of Revelation was shot on location in Melbourne, mostly over a seven-week period in March/April 2005. Overall the production used 42 locations around Melbourne (at the same time as the Hollywood blockbuster Ghost Rider was shooting), often moving several times in a day. The effect was both gruelling and bonding for the crew, many of who had worked with Kokkinos previously. One week before completion, lead actor Tom Long broke his ankle in a

freak accident that occurred during a take. Once everyone had got over the shock of what happened, and the schedule had been re-arranged, the benefits of the enforced break emerged. It not only gave everyone a rest, but also for Kokkinos provided the rare opportunity to step back from the film and look at what she had got in the quiet of the editing room. Time to mull. The eighth and final week's shoot took place over four months later after Long's ankle had fully healed. The choice of locations were selected from an aesthetic rather than literal perspective. Setting up the different "worlds" that lead character Daniel travels through was a fascinating process for Kokkinos and her team: the dance world, the "White room", the world of searching for the women, and the safe haven world of Julie. In terms of the look of the film, Kokkinos explains her intentions: "I wanted the film to have a kind of beauty to it; very moody and very contrasty because the film plays with the idea of darkness and light." Where the body and skin tones were concerned a rich, warm lighting was designed. The actors without exception found the experience of working with Ana very rewarding. As Greta Scacchi comments, "She's got strong views about what she wants, but she's very sensitive about the actor's approach and how to enrich the experience rather than be an obstacle. That is incredibly rare and very welcome." For Deborah Mailman who had worked with Kokkinos before (on "The Secret Life of Us") it's about the rigour of seeking the truth: "The detail that she gives to the work is so exciting for an actor; she doesn't let you get away with anything. That's what I love about her process." Sex on Film Ana Kokkinos realises that she is one of the few Australian directors prepared to tackle this kind of material. "The key thing for me was that the sex had to be there for a reason. It wasn't t just sex as illustration. I spent a lot of time angsting about the sex - how much, how explicit, how do you take an audience through a sexual odyssey without it become tiresome or gratuitous?" Kokkinos also believes strongly that actors must not be abused in the process. "As long as there's motivation and understanding of what the meaning of it is then actors will explore that with you." She also firmly believes it is important to stay within the boundaries - that is, simulated not actual sex. Audiences will have different reactions to the sexual content, but for Kokkinos it's always interesting. "There's something beautiful about an exploration of sexual activity on screen if it's done well. There's a frisson about it and it should be beautiful, but it should also explore deeper questions." The Title The Book of Revelation as a title will evoke religious connotations with

anyone remotely familiar with the Bible. However, neither the author nor the filmmakers give it that connection. Although it's enigmatic, Kokkinos believed that keeping the title was part of remaining true to the book. It also informed the two writers as they went about the adaptation, because it's a story where things are gradually revealed and nothing is delivered easily. "There are a series of revelations for Daniel throughout the film and hopefully for the audience as well," says Kokkinos. Summary The filmmakers all acknowledge that The Book of Revelation is likely to divide audiences. The issues it raises are confronting and have no easy conclusions. Director Ana Kokkinos is sure that people will leave the film with questions running through their minds and she fully expects men and women will respond differently because of the reversal in the story; women as perpetrators, the man as victim. But she believes the answers are there in the film. "You can read this film as men's inability to have an outlet to speak about their feelings. I think women have something to offer men on this question, because if anyone knows about powerlessness, it's women. By reversing that I think it's a timely film." Producer Al Clark hopes audiences will allow the mystery to take them into the film. "Once you surrender to it, it will keep you there."

CAST BIOGRAPHIES
TOM LONG is Daniel A 1994 NIDA graduate, Tom Long is one of Australia's most distinctive young actors. For television audiences he is fondly remembered as Angus, the laid back legal clerk in ABC's top rating series "SeaChange " (1997 - 2000). He made his feature film debut in A Country Life (1994) dir. Michael Blakemore and went on to perform roles in Doing Time for Patsy Cline (1997) dir. Chris Kennedy and two Australian box office hits, Two Hands (1999) dir. Gregor Jordan and The Dish (2000) dir. Rob Sitch. Other film credits include the children's film Hildegarde (2001) dir. Di Drew, Risk (2000) dir. Alan White and Strange Planet (1999) dir. Emma-Kate Croghan. GRETA SCACCHI is Isabel Emmy-award winning Italian-born Greta Scacchi has had a truly international career working in theatre, film and television in Europe, the US and Australia for almost 25 years. She burst ravishingly onto the screen in Merchant Ivory's iconic Heat and Dust (1982), her third feature film. The Book of Revelation is her 39th film role. Her illustrious body of work includes two other Merchant Ivory productions, Jefferson in Paris (1994) and Cotton Mary (1999), Emma (1996) dir. Douglas McGrath, The Browning Version (1994) dir. Mike Figgis, The Player (1992) dir. Robert Altman and Presumed Innocent (1990) dir. Alan J Pakula. She has returned throughout this time to Australia appearing in Looking for Alibrandi (1998) dir. Kate Woods, A Country Life (1994) dir. Michael Blakemore, Turtle Beach (1992) dir. Stephen Wallace, and for television "Waterfront" (1993) opposite Jack Thompson (for which she won Best Actress Penguin and Logie Awards) and "The Farm" (2000) with Colin Friels. Greta won an Emmy Award in 1996 for Outstanding Supporting Actress in a Miniseries for her role in "Rasputin". She has been a Jury Member for the Venice and Istanbul Film Festivals and been honoured with Italy's Visconti Award for contributions to European Film and Theatre. COLIN FRIELS is Mark Olsen Colin is one of Australia's best-known and most versatile actors. He first came to international attention as the lead in Nadia Tass' much loved feature Malcolm, a role for which he was named Best Actor at the 1986 AFI Awards. His films credits since then have been numerous and include 2004's Tom White dir. Alkinos Tsilimidos for which he won the IF Award for Best Actor, Alex Proyas' scifi thriller Dark City (1998), Bruce Beresford's A Good Man in Africa (1994), Rolf de Heer's Dingo (1991), Michael Apted's Class Action (1990), Sam Raimi's Dark Man (1990) and Gillian Armstrong's High Tide (1988). Colin has

performed leading roles for all the major theatre companies since graduating from NIDA in 1976. Recent productions include the Sydney Theatre Company's landmark "Macbeth" in 1999, "Copenhagen" in 2002 and last year's "Victory", directed by his wife Judy Davis. Colin's television credits are extensive and include five years as the lead in "Water Rats", for which he won a number of awards, ABC's mini-series "The Farm" alongside Greta Scacchi , "Halifax fp" and the Ben Elton mini-series "Stark". ANNA TORV is Bridget Anna Torv graduated from NIDA in 2001 and has since worked on the stage for Bell Shakespeare Company (Ophelia in Hamlet) and on television in The Secret Life of Us (regular Nikki, Series 4), Young Lions (semi-regular Irina) and McLeod's Daughters (guest role). Her first feature film role was in Kathryn Millard's Travelling Light (2003). DEBORAH MAILMAN is Julie Since graduating from Queensland Technology's Academy of Arts in 1992, Deborah Mailman has been in constant demand. She is probably best known to Australian audiences for her lead role as Kelly over four seasons of Network Ten's "The Secret Life of Us". The role won her Logie Awards in 2002 and 2004 for Most Outstanding Actress in a Drama Series. She made her feature film debut in Radiance (1998) dir. Rachel Perkins, winning Best Actress awards from the AFI and Film Critics Circle of Australia. Her other film roles have been in Phillip Noyce's Rabbit-Proof Fence (2002) and Samantha Lang's The Monkey's Mask (2000). Deborah is also well known in Australia for her stage work. She has appeared in numerous productions including Neil Armfield's "Small Poppies" (with Geoffrey Rush), Barrie Kosky's landmark "King Lear" and most recently the musical drama "The Sapphires" directed by Wesley Enoch. She was named a member of the Sydney Theatre Company's inaugural Actors' Company in September 2005.

CREW BIOGRAPHIES
ANA KOKKINOS - Director, Co-writer After working as a lawyer for seven years, Ana Kokkinos completed a post-graduate diploma from the VCA School of Film & Television in 1991. Her film debut was the short feature Only The Brave (1994) which she co-wrote and directed. It was invited to numerous festivals, including Venice, New Directors New Film in New York and Toronto. Amongst its many awards are AFIs for Best Short Fiction, Best Screenplay and Best Performance, Grand Prix for Best Film at the Melbourne International Film Festival and Best Film - Fiction - at the Sydney Film Festival's Dendy Awards. Kokkinos' first feature length film was the

searing Head On (1998) starring Alex Dimitriades, co-written with Andrew Bovell and Mira Robertson and produced by Jane Scott. It premiered in Directors Fortnight at the Cannes International Film Festival in 1998, won Best First Feature, Director at the San Francisco International Lesbian & Gay Film Festival, the International Film Award at the Los Angeles Outfest Film Festival, and an AWGIE for Best Adapted Screenplay and Best Actor and Supporting Actor from the Australian Film Critics Circle Awards. Ana Kokkinos has also directed for television. Her credits include "The Secret Life of Us", "Young Lions" and "Eugenie Sandler". AL CLARK - Producer Al Clark began his working life as a journalist on the London magazine Time Out before joining the UK-based Virgin group, first as a publicity director for the record company, then as the founder and editor of The Film Yearbook, and finally as head of production for the film division. His UK film credits as coproducer are Michael Radford's Nineteen Eighty-Four (1984) and Aria (1987), directed by, among others, Robert Altman, Jean-Luc Godard and Nicolas Roeg; as executive producer, Zelda Barron's Secret Places (1984), Julien Temple's Absolute Beginners (1985), Paul Mayersberg's Captive (1986) and Ken Russell's Gothic (1986). Moving to Sydney, he was appointed to the board of the Australian Film Commission from 1989 until 1992. He has since produced two films starring Russell Crowe - George Ogilvie's The Crossing (1990) and Craig Lahiff's Heaven's Burning (1997) - and two directed by Stephan Elliott - Eye of the Beholder (1999) and The Adventures of Priscilla, Queen of the Desert (1994), which won an Oscar for best costume design and remains one of the most successful Australian films of all time both locally and internationally. He is also the producer of John Polson's Siam Sunset (1999), the executive producer of Andrew Dominik's Chopper (2000) which catapulted Eric Bana to fame, the producer of The Hard Word (2002) starring Guy Pearce and Rachel Griffiths, and executive producer of Thunderstruck (2004). Clark is the author of two books: Raymond Chandler in Hollywood (Silman-James Press 1996) and The Lavender Bus (Currency Press 1999), a revised edition of Making Priscilla (Penguin 1994). ANDREW BOVELL - Co-writer Andrew Bovell is one of Australia's most celebrated writers with an impressive body of work across film, theatre, television and radio. His first feature credit was for Baz Luhrmann's Strictly Ballroom (1992) as co-writer of the original draft. Following that he co-wrote, with Ana Kokkinos and Mira Robertson, Head On (1998), winning an AWGIE award for Best Adapted Screenplay. But it was his third film, Lantana (2001) dir. Ray Lawrence, which put him in the

national and international spotlight. The film was a box office hit in Australia and acclaimed at film festivals around the world. It won seven AFI Awards including Best Screenplay from an Adapted Source (Bovell's own play "Holy Day"), Best Film, and Best Director. It also garnered for Bovell Best Adapted Screenplay from the Film Critics Circle of Australia and Best Screenplay at the 2003 London Critics Circle Film Awards. Andrew Bovell has written or co-written numerous plays that have been produced around Australia and overseas. They include "Holy Day" which won the 2002 AWGIE for Stage Writing, "Who's Afraid of the Working Class" (co-writer) which won a Gold AWGIE in 1999 and "Speaking in Tongues", winner of Best Original Screenplay AWGIE in 1997 and which has been produced in the UK, USA and across Europe. Television credits include "Seven Deadly Sins" and "Naked" for ABC and "Dogwoman" for Nine Network. RUPERT THOMSON - Writer of novel British writer Rupert Thomson published his first novel "Dreams of Leaving" in 1987. The Times called it "extraordinarily elegant, evocative and funny". Since then he has written six more highly acclaimed novels: "The Five Gates of Hell" (1991), "Air and Fire" (1993), "The Insult" (1996), "Soft "(1998), "The Book of Revelation" (1999) and "Divided Kingdom" (2005). The San Francisco Chronicle has described him as a "twisted British fabulist". Thomson has lived all over the world, including Sydney, and currently resides in Barcelona. TRISTAN MILANI - Cinematographer Tristan Milani's first feature film as cinematographer was The Boys (1998) directed by Rowan Woods and nominated for nine AFI Awards, including Best Cinematography. Since then his credits have included the features Angst (2000), The Bank (2001), Travelling Light (2003) which received another Best Cinematography nomination from the AFI, and Three Dollars (2005). CEZARY SKUBISZEWSKI - Composer Polish-born Cezary Skubiszewski migrated in 1975 to Australia, where he continued piano studies at the University of Melbourne. He is now regarded as one of Australia's most versatile and outstanding composers for film. His first feature score was Lilian's Story (1995) dir. Jerzy Domaradzki, for which he won an APRA award for Best Film Score. He has since won a number of other awards for his feature work, including two AFI Best Original Music awards: for Gregor Jordan's Two Hands (1999) and La Spagnola (2001) dir. Steve Jacobs. Other feature credits include The Rage in Placid Lake (2003) dir. Tony McNamara and The Sound of One Hand Clapping (1998) dir. Richard Flanagan. In 2003 Skubiszewski received the Centenary Medal for services to

Australian society and film production. MERYL TANKARD - Choreographer Meryl Tankard began her career as a dancer with The Australian Ballet in 1975. In 1978 she joined Pina Bausch's famed Wuppertaler Tanztheater in Germany, where she remained as a soloist for 10 years. Returning to Australia, she began choreographing her own work and launched her own company in Canberra. In 1993 she was appointed Artistic Director of the Meryl Tankard Australian Dance Theatre and created a rich repertoire of full-length works that toured extensively throughout Europe, the USA, Asia and Australia. During this period she also created works for The Australian Ballet and Opera Australia. Since 1999 Tankard has been freelance. She has choreographed Andrew Lloyd Webber's "The Beautiful Game", for which she received an Olivier Award nomination; she conceived, choreographed and directed "Deep Sea Dreaming" for the Opening Ceremony of the Sydney 2000 Olympic Games; created "Merryland", a full-length work for NDT3; "Wild Swans" for The Australian Ballet; "@North" for the Berlin Ballet Komische Oper; and "Petrushka" for Netherlands Dance Theatre 1. In 2002 Tankard received a Lifetime Achievement Award from the Australian Dance Awards and in 2003 its Centenary Medal. MARTIN CONNOR - Film Editor Martin Connor won an AFI Best Film Editing Award for Looking for Alibrandi (2000) and was nominated for an IF Award for both The Hard Word (2002) and Angst (2000). His most recent credits are Thunderstruck and ManThing, both of which were released in 2004. Connor has edited a number of award-winning short films, including Gate, Delivery Day and What's the Deal. He was assistant editor on the features Children of the Revolution (1996) dir Peter Duncan and Gillian Armstrong's Little Women (1994). PAUL HEATH - Production Designer Paul Heath was Art Director on Ana Kokkinos' Head On (1998), his first feature credit. He went on to be Art Director on Soft Fruit (1999) dir. Christina Andreef, Assistant Art Director on the Warner Bros. sci-fi thriller Red Planet (2000) dir. Antony Hoffman and Production Designer for Love's Brother (2004) dir. Jan Sardi. Heath has also extensive television experience on series such as "Stiff", "Marshall Law" and "MDA". ANNA BORGHESI - Costume Designer Anna Borghesi has been nominated for Best Costume Design at the AFI Awards six times for: Romper Stomper (1992), Body Melt (1994), Metal Skin (1994), Love Serenade (1996), The Well (1997) and Head On (1998). She

finally won the award for Ned Kelly in 2003. Anna's television credits include "SeaChange", "Naked" and "Eugenie Sandler". She has also designed the costumes for numerous theatre productions, principally for director Neil Armfield of Company B, Belvoir Street Theatre.

END CREDITS
CAST Daniel Isabel Olsen Bridget Julie Renate Margot Bernadette Sally Jeanette Deborah Barmaid Vivian James Justin Paul Shopkeeper Charging Officer Policemen Doctor Street Performer Dancers TOM LONG GRETA SCACCHI COLIN FRIELS ANNA TORV DEBORAH MAILMAN ZOE COYLE NADINE GARNER OLIVIA PIGEOT ANA MARIA BELO BELINDA McCLORY SIBYLLA BUDD GENEVIEVE PICOT NINA LIU BRIAN LIPSON GAVIN WEBBER SHAUN PARKER DAMIEN FOTIOU MARTY FIELDS KEN RADLEY ANTHONY WALLACE ROBERT MORGAN MATT WILSON MICHAEL CARTER RYAN LOWE FIONA MALONE MIA MASON CARLEE MELLOW SHAUN PARKER JAN PINKERTON GAVIN WEBBER The Women Gertrude Astrid ANNA TORV ZOE NAYLOR

Maude Crew production manager first assistant director script editor assistant to the producer production co-ordinator production secretary production driver cast driver production accounting services production accountant assistant accountant script supervisor assistant director third assistant director location manager location assistants unit manager unit assistants

ODETTE JOANNIDIS

BARBARA GIBBS PHIL JONES MIRA ROBERTSON RACHEL HIGGINS JO WARREN JESS VAN ROOSENDAAL JUSTIN RODSKI MAL MILNER MONEYPENNY SERVICES TRISH DAVIDSON KYM DU BOIS ANNIE WENT GREG SPILLER KHAM SOUKSEUN ALEX McCROSSIN DAVID HART CAMERON WOOD RICK KORNAAT BRENDAN SLY RICHARD YOUNG DON BATTEN LIZ ARMSTRONG

camera operator focus puller clapper loader steadicam operator production sound mixer boom operator key grip second grip third grip fourth grip gaffer best boy electrics

ANDR FLEUREN ACS KEVIN CAMPBELL SKY DAVIES HARRY PANAGIOTIDIS JOHN WILKINSON PERRY DWYER PETER STOCKLEY ED BARLOW JASON HANSFORD NICK FERNANDEZ LAURIE FISH ANDREW JEPSEN PAUL MOUSSALLI

assistant electrics fifth electrics make-up & hair supervisor make-up & hair make-up & hair assistant wigs by costume supervisor stand-by wardrobe assistant stand-by costume assistant art director art department co-ordinator set decorator set dresser second buyer/dresser stand-by props art department runner prop maker construction additional construction dance rigging safety officer stunt co-ordinator stunt performers

JAMES MANSFIELD TIM CAITLIN CHRISTINE MILLER ZELJKA STANNIN JO BUSWELL VICKIE MORRIS NIK DORNING MAKE UP STUDIO 114 JOANNE WILSON BRONWYN CAMERON JULIE NIXON ERIN ROCHE SIMON McCUTCHEON NIKKI MENZIES MURRAY KELLY KIM REED DI BIRIS MICHAEL O'SULLIVAN ASHLEY FRASER DAVID BELL AM-SET CONSTRUCTION CRAWFORD PRODUCTIONS ROB THE RIGGER IRWIN ADRIAN KORTUS ZEV ELEFTHERIOU LANCE ANDERSON KELLY BUCHANAN-TUILOMA GRAHAM JAHNE NICOLE MORO WARWICK SADLER DAVIN TAYLOR

stand-ins

RICK GOVIC JOHN KIRBY ANDREA ORBACH

stills photographer assistants to choreographer

LISA TOMASETTI MICHELE RYAN GAVIN WEBBER

unit nurse caterer unit publicist production notes casting associate extras casting dramaturg attachments supported by film victoria attachments supported by VCA traffic control & location security rushes facility

CLARE JONES FOOD FOR FILM - KEITH FISH EDITABLE FOOD - REO MURRAY FRAN LANIGAN SUE O'NEILL TRISH McASKILL CHRISTINE KING CASTING KELLY O'SHEA NICO LATHOURIS LARRY LAWSON MARK MORRIS GENEVIEVE BEVAN-JOHN MATTHEW KNEALE DIESEL THE JOINERY TIM LEWIS

additional crew first assistant director production accountant pre-production production assistant assistant director art finisher wardrobe unit assistants graphics MARK BOSKELL SUE COLLINS secretaryJACQUIE DONALDSON RUTH CHADWICK CAT NAGLE ADRIENNE CHISOLM JAMES RYAN MICHAEL DUNBAR JO BLAND JANE RESIGER CATHERINE DONALDSON camera operator first assistant cameraman 2nd camera focus puller assistant grip stand by props electrician make-up/hairdressers art department casual HARRY PANAGIOTIDIS LAURENCE BALMER MARIN JOHNSON DAVE STRINGER SANDY GRANT JARED FISH HELENE GLOVER ALICIA POXRUCKER FLYNN KAVANAUGH

dance trainer catering production supervisor first assistant editor sound post production sound fx editors dialogue editor foley sound mixer facilities manager dolby consultant music licensing music composed, arranged and produced by performed by violin Vocals

RYAN LOWE SWEET SEDUCTION MICHELLE GIBSON GORDON MacPHAIL MILENA ROMANIN SOUNDFIRM AUSTRALIA GLENN NEWNHAM ROB MACKENZIE LIVIA RUZIC NATALIE CHOO (VELIK) BLAIR SLATER PAUL PIROLA HELEN FIELD BRUCE EMERY CHRISTINE WOODRUFF CEZARY SKUBISZEWSKI The Sisters MONICA CURRO SARAH CURRO JULIE O'HARA CARMEN HENDRICKS AYSU F COGUR

drums viola cello harp guitar bass woodwind and brass

PETER JONES ISABEL MORSE SARAH MORSE NATALIE MANN SHANE O'MARA STEPHEN HADLEY ADAM SIMMONS TONY HICKS PIP AVENT

end titles music performed by string quartet orchestration recorded and mixed by string quartet recorded by score recorded at

JOE CINDAMO piano ROB JOHN MICHAEL LETHO ROSS COCKLE Sing Sing Studios, Melbourne

score 2006 by Wildheart Zizani published by Orient Pacific Music

ABBAON FAT TRACKS composed by Mark Jason Saunders & Adrian Thaws Island Music Ltd - Universal Music Publishing Pty Ltd Warner-Tamerlane Publishing Corp (BMI), Love Shack Publishing (PRS) and Tricky Track Music Inc (BMI) all rights on behalf of itself and Love Shack Publishing administered by WarnerTamerlane Publishing Corp all rights reserved performed by Tricky under license from Universal-Island Records Ltd (United Kingdom) licensed courtesy of Universal Music Australia Pty Limited

MUSIC FOR DANCE PERFORMANCE composed by Carl Vine performed by The Trackdown Nonet conducted by Carl Vine 2006 C Vine

THE SECRET GARDEN composed and performed by Vassilis Tsabropoulos 2003 ECM Records

SOLIDARITY composed and performed by Jan Skubiszewski 2006 Control

camera equipment film stock production laboratory laboratory liaison film colourist rushes transfers film laboratory/digital opticals digital producer digital supervisor digital liaison senior compositor

CAMERAQUIP KODAK CINEVEX IAN ANDERSON IAN LETCHER COMPLETE POST ATLAB ANTHOS SIMON ROBERT SANDEMAN JONATHAN DIXON REBECCA DUNN

compositors

MICHELLE HUNT JAMIE HEDIGER TAKAHIRO SUZUKI

lab liaison editing facilities video mastering video grader studio facilities travel motorolas lighting generator legal services

GREG SHORT ISLAND FILMS - SIMON DIBBS THE LAB - PHIL WATTS DWAINE HYDE CASCADE FILMS STAGE & SCREEN MULTICOM COMMUNICATIONS ROY PRITCHETT NINA STEVENSON & ASSOCIATES NINA STEVENSON HAMISH WATSON

insurance completion guarantor world receipts collected and distributed by gap financing provided by

HW WOOD AUSTRALIA TONY GIBBS FILM FINANCES INC ANNI BROWNING FINTAGE HOUSE LTD ROYAL BANK OF SCOTLAND plc

without whom Andrena Finlay

thank you Kate Richter, Roslyn Glickfeld, Brian Rosen, Chris Oliver, Tait Brady, Jane Smith, Sally Browning, Sandra Sdraulig, Ros Tatarka, Antonio Zeccola, Benjamin Zeccola, Kim Dalton, Julia Overton, Judith Baugin, Nicholas Cole, Hugh Short, Joanne Court, Anna Reeves, Russell Allen, Gareth Jones, Sam Tatton-Brown, Heather Mansfield, Pauline Burt, Andy Pryor, Kirsty Robertson, Simon Bosanquet, Dominique Green, Monique Van Welzen, Megumi Fukasawa, Rod Hall, Charlotte Mann, Eddie Baroo, Brett Climo, Paul Collins, Louise Crawford, Victoria Eagger, Toni Joel, Andy McPhee, Alex Menglet, Joseph Newton-Keogh, Tony Nikolakopoulos, Simon Phelan, Tamara Searle, Louise Siversen, Ivy Ching and Agatha Nikolas, David McAllister, The Australian Ballet, Dr Michael Jefford, Peter MacCallum Cancer Centre, Baryshnikov Dance Foundation, Photograph of Baryshnikov Cloud in Trousers (1996) by Steven Caras, choreographed bv Kevin O'Day, Tin Pot Caf, City of Port Phillip, City of Yarra, City of Maribyrnong, VicUrban, Parks Victoria, Melbourne Parks and Recreation, Connex, Yarra Trams, Queen Victoria Market, St Vincent's Hospital, ACCA, Melbourne Cricket Ground, Decent Exposure Studio, Alumbra, Bond Bar, Deep Dish Caf, The State Coroners Court, The National Theatre, Athenaeum Theatre, Jackman Gallery, Katrina & Jonathan Raymond, RMIT, Lumiere, Heavenly Queen Temple Society, X Change Hotel, The Buckingham Hotel, Blond Venus, Charles Edward, Windsor Men's Hair Salon,

Yamoto, Apple Computer Australia, Inc, Bang and Olufsen, Penguin Group Australia Postcards from Surfers by Helen Garner (1985), Sunbaker (1937) by Max Dupain courtesy of the Art Gallery of NSW, Bodum (Australia) Pty Ltd, Boheme Art + Design, Capel Vale Wine, Caroma Industries, Household Linens, JVC, Kikki K, McGraw-Hill Australia: Statistics:Making Business Decisions by John S Croucher (2002), Mitsubishi Electric Australia, MOR Cosmetics, Orrefors Kosta Boda, Sisley Paris, Tish McMahon

Arricam camera and lenses AM-SET

CAMERAQUIP DOLBY DIGITAL

International Sales by ContentFilm International Distributed Zealand by Palace Films Filmed in Melbourne, Victoria

in

Australia

and

New

Developed with the assistance of Palace Films Developed in association with the Australian Film Commission Produced with the assistance of Film Victoria Produced with the assistance of New South Wales Film and Television Office Principal Investor: Australian Film Finance Corporation The characters and events depicted in this motion picture are fictional. Any similarity to actual persons living or dead is purely coincidental. 2006 Film Finance Corporation Australia Limited, New South Wales Film & Television Office, Film Victoria and Wildheart Zizani Pty Limited. All rights reserved.