THEBOOMERANG AUSTRALIANS IN FILM
click for contents SALT | Phillip Noyce Directs OZ WAR STORY | Beattie’s Debut WILFRED OF FX WITH Elijah Wood airbender shot by Andrew Lesnie Callan McAuliffe IN I AM NUMBER 4 Starz to remake Underbelly Pics | BENeATH HILL 60 animal kingdom
JULY 2010
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AiF EVENTS |
The Boomerang
JUly 22 SALT screening at WGA
Editors Susie Dobson Sophie Scarf
JUly 25 Christmas in July | AiF members party
editor@australiansinfilm.org Designer Sam Kramer Cover Salt | Phillip Noyce and Angelina Jolie Photographs from SONY Pictures News Submissions Please email the Editor with any Australian or member film-related news or announcements. Australians in Film | 2800 28th St, Suite 320, Santa Monica CA 90405 Tel: 310 452-5939 | Fax: 323 446-8724 www.australiansinfilm.org | administrator@australiansinfilm.org
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THEMONTH
CONTENTS From the President
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News
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Phillip Noyce
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Christmas in July
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Emmy Nominations
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Stuart Beatie
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Member Profile
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Pics | “Beneath Hill 60“
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Pics | “Animal Kingdom“
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THEPRESIDENT
Dear Members and Friends, At AIF we always like to mix it up. In the last month we screened three strong and worthy home grown films – Beneath Hill 60 at the WGA, Animal Kingdom and the documentary Cane Toads: The Conquest, the latter two films screening downtown and in partnership with the Los Angeles Film Festival. The directors of all three films - Jeremy Sims, David Michod and Mark Lewis - flew over for the screenings as did actors, Brendan Cowell from Beneath Hill 60 and Jackie Weaver, James Frenchville and Sullivan Stapleton from Animal Kingdom. It is heartening to see Australian based filmmakers continuing to make powerful and inspiring films and that we can ensure that you get to see them! This month we go Hollywood again, with Phil Noyce’s much anticipated spy thriller, Salt, starring Angelina Jolie.
I am happy to announce that Ian Sutherland has joined the Board of Australians in Film, as an Australian based Board member. Ian was previously on the Board when he was based in Los Angeles and fully understands the strategic direction and positioning of the organization. He currently serves as Robert Luketic’s Australian producing partner. We believe having Ian as our representative on the ground in Sydney will provide AIF with the necessary presence and capability, inside Australia, to keep us closely connected to the Australian industry and to assist us in creating wider opportunities for continued cross fertilization across the Pacific. I am looking forward to seeing most of you on July 25th at our Christmas in July Party. Please note that you need to be a paid up member of AIF to attend, so sign up TODAY! Best wishes, Paula Paizes President Australians in Film
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news Bran Nue Dae
Elijah Wood has inked to star opposite Jason Gann in the FX comedy pilot “Wilfred,” which is based on an Australian series of the same title.
Elijah Wood
“Ugly Betty” and “True Blood” actor Grant Bowler was cast in three feature roles in June. Bowler will portray steel magnate Henry Reardon in the Paul Johansson-helmed “Atlas Shrugged,” based on Ayn Rand’s literary classic. He wiill aslo been seen in the action feature “The Killer Elite” and indie drama “The City of Gardens.” Rachel Perkins and Reg Cribb’s musical romp “Bran Nue Dae” has a deal with Freestyle Releasing for US theatrical distribution. Freestyle plans a select theater release for the film this September, followed by a nationwide rollout.
Grant Bowler
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US network Starz to remake “Underbelly”. As production begins on the first “Underbelly” telemovie, The New York Magazine reports that American pay TV network Starz has acquired the US rights to the crime series and is developing a remake, which is “a top priority” for them.
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news Sydney born Andrew Lesnie, is Cinematographer on “The Last Airbender” directed by M Night Shayamalan, opened July 1st.
Nicole Kidman has been cast as the lead in the Joel Schumacher helmed feature “Trespass” opposite Nicolas Cage. Shooting begins in August in Louisianna. Russell Crowe is attached to a film version of the 80s TV series “The Equalizer”, which is in development . He will next be seen in “The Next Three Days” directed by Paul Haggis, which opens in November.
Callan McAuliffe
Underbelly
Sundance Channel series called “Man Shops Globe,” the series goes on the road with Keith Johnson, the buyerat-large for the innovative specialty retailer Anthropologie. Keith travels six months out of the year to find fantastic and unusual decorative objects, furniture, and textiles, both antique and new.
Andrew Lesnie
Travis Fimmel stars as Heath, with Jessica Lange, in “The Big Valley” feature based on the hit TV series of the same name that starts shooting in July.
He heads to Sydney, Australia in search of new artists to feature in the show, and turns for advice to the woman who represents the best of contemporary Australian style: Sibella Court - interior designer, stylist and author. The episode premieres on July 14th at 10 pm et/pt.
Callan McAuliffe has been cast in a lead role in the Dreamworks feature “I AM NUMBER 4”. The Stephen Speilberg/Michael Bay Produced feature with DJ Caruso Directing. Keith Johnson and Sibella Court
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philLipnoyce Noyce helms the story of Evelyn Salt By Jenny Cooney Carrillo Australians in Film ambassador Phil Noyce is one of our most acclaimed directors. In 1978, he directed and wrote the classic film Newsfront, which won Best Film, Best Director and Best Original Screenplay at the Australian Film Awards. In 1982, he co-wrote and directed Heatwave, starring Judy Davis, and the film was chosen to screen at the Director’s Fortnight at the Cannes Film Festival. His 1989 film Dead Calm launched the international career of Nicole Kidman and in 1992 he scored his first big Hollywood hit with Patriot Games, starring Harrison Ford and the 1994 sequel Clear and Present Danger. In 1999, he first directed newcomer Angelina Jolie in the film The Bone Collector, also starring Denzel Washington, and more than a decade later, the pair have reunited on the action thriller Salt. Noyce - whose films also PRESS ESC TO EXIT
include; Rabbit-Proof Fence, The Quiet American and Catch a Fire - helms the story of Evelyn Salt, a CIA agent who is accused of being a Russian spy and is forced into elaborate disguises and a high stakes game of cat-and-mouse when she becomes a federal fugitive. Ironically just weeks before the release of the film, Russian sleeper spies were arrested in New York and the filmmaker had just heard the news when he sat down for our interview.
Was that the appeal of this movie? The appeal was simply when I read the story I thought, ‘oh this could happen’ and then two days later just googling on the Internet and looking at statements and books and things that had been written by KGB and CIA, I could see that it was happening.
What did you think when you heard about the new Russian spy arrest? I thought it was a fake story when I first heard! I think the only thing weird about it is how long it took for everyone to realize what’s so obvious. Of course if you’re a spy, you’re not going to go to your potential enemy and say, ‘look here give me some secrets.’ You’ll convince your enemy that you are one of them. So the fact that there are supposedly Russian moles in America, I think is just the tip of the iceberg. At the end of our movie the audience is left with the impression that Evelyn Salt’s mission is only just beginning, but I think this story in real life is also just beginning.
Were you already familiar with that world of the CIA after researching Patriot Games? Yes, and even with the Jack Ryan films, that technology of heat-seeking recognition from satellites and planes
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philLipnoyce and everything, we hadn’t seen the Gulf War when we made the first Jack Ryan film but my daughter, who was eleven at the time, saw that technology at the satellite imaging center in Washington. She was being babysat by a naval officer who happened to take her into a place and then later, when we were in the car, I said “what did you do” and she said, “well the lady showed me Cuba.” And I said “What do you mean Cuba, what’d you see?” She said, “well I saw all these tracks and figures and everything and it was all in white and they said it was from a satellite.” And I said, “that’s very interesting, we’ll put a scene in the movie like that.” Three months later we were all watching those very images on television every night! As soon as you scratch the surface of spying, as we see with this story that is unraveling, it’s more fantastic than anything we can invent. Is it common for spies to come up with facemasks and other disguises her character uses in the film? We spoke to so many people in the CIA about disguise and a simple disguise, like just changing your profile with a scarf, is the most common. But they have face masks they use too and let
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me tell you something else - there’s an actor in Los Angeles who wears a face mask to attend the previews of his own movies so he can sit amongst the audience!
Angelina Jolie, Chiwetel Ejiofor , Phillip Noyce
How was it working with Angelina the second time? When that film came out, she was just finding her way and was about to win an Oscar on her next film (Girl Interrupted). Even though it was the beginning of her brilliant career, she was just finding out how to really control that instrument that is her acting ability; she was a Stradivarius You didn’t have to suggest she could play every tune but now she can. She was also a relative unknown back then and could walk down the street without the paparazzi and that was very different on this film having to take into account the crowds and her safety while we were filming, but the person who came to set every day was still almost the same person as before in terms of her openness, except now she had even more to offer. How many of the stunts did Angelina do herself? She’s a wonderful collaborator and has worked with the same stuntman, Simon Crane, since Tomb Raider so she trusts
him with her life and there really is no limit to what she’ll try as long as he says it’s OK. Of course you hold your breath and turn away at times because there were a few things she did that I thought the insurance company would not let her do. For one scene, I took her up to the building she’s supposed to dangle off the side of and told her I’d shoot one shot and we’d do the rest in a studio with blue screen and she said, ‘oh no you don’t!’ and a few weeks later there she is - eleven stories up on the ledge of a building and you can’t talk her out of it!
Is it true your own father was a spy? Does that explain your fascination for these kinds of films? Yes, he was a military spy during the Second World War so I grew up on stories of trickery, chicanery and as a kid I would spy on people in my little country town. I’d see somebody that was walking down the street and I’d follow them at a distance and try and work out their secret lives! Mainly the stories instilled in me had a sense of the romance of the disguise and fighting through human cunning and the human being as a weapon, and you just don’t forget those kinds of stories.
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THOMPSONBEVERLY HILLS Thompson hosts 2010 AiF Breakthrough Awards
No stranger to the glow of the Los Angeles sun, or the shine of the stars of the silver screen, the rooftop poolside scene of Thompson Beverly Hills was recently host to the sixth annual Australians in Film Breakthrough Awards. With Australian luminaries Chris Hemsworth (Thor) and Ryan Kwanten (True Blood) each honored with a Golden Boomerang award for their achievements in Hollywood. In addition to the Golden Boomerang honorees, up-and-coming Melbourne actress Bella Heathcote (Beneath Hill 60) was also presented the AiF Heath Ledger Scholarship by close friend of Ledger’s, actor Colin Farrell.
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Over 200 guests were in attendance, including Radha Mitchell, Alex O’Loughlin, Liam Hemsworth, Nora Zehetner, singer Delta Goodrem, Jamie Durie, and Nash Edgerton. Heath Ledger’s mother Sally Bell and sister Kate Ledger flew in from Perth to represent his family, and Master of Ceremonies was Australia’s awardwinning talk show host Rove McManus. up-and-coming Melbourne actress Bella Heathcote (Beneath Hill 60) was also presented the AiF Heath Ledger Scholarship by close friend of Ledger’s, actor Colin Farrell.
Thompson Beverly Hills, a Thompson Hotel is located at 9360 Wilshire Blvd. Beverly Hills, CA. For more information on Thompson Hotels, please visit www.thompsonhotels.com. Check out the “Haute Spot” package on the next page.
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THOMPSONBEVERLY HILLS How to celebrate like the stars this summer in the heart of Beverly Hills Yearning to share in the Hollywood limelight? Thompson Beverly Hills announces a summer package to replicate the scene in total, complete with cocktails, shimmering water, and a private cabana to watch over the day’s attendees. The “Haute Spot” package includes: • an evening’s accommodations in a one-bedroom suite (to receive fan mail in the “90210” zip code) • a daytime private poolside cabana with wet bar and seating for 12, complete with plasma television (to study performances in the latest blockbusters) • access to the exclusive rooftop for a guest list of up to 12 (for your new-found entourage, and potential new agent) • an in-room amenity (truly a sign of VIP status) • a selection of appetizers and snacks, along with a delivery of cupcakes in the afternoon (a nod to the “suite” life) • signature cocktails (a toast to being discovered) The “Haute Spot” package starts from $1200, and can be purchased on its own, or added to any stay.
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Christmas in July Sunday July 25th 2010
5 - 8pm
At the residence of Mr & Mrs Chris De Cure. A confirmation email will be sent with address of venue. Garden Party Attire Members Only | Due to limited numbers RSVP by July 16th 2010 rsvp@australiansinfilm.org
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emmynominations More nominations for amazing Australians Toni Collette - United States of Tara Rose Byrne - Damages Kim Kilbey - Senior Producer, Dancing with the Stars
The Pacific | DOP - Steve Windon Art Department - Richard Hobbs, Scott Bird, Jim Millet, Rolland Pike, Lisa Thompson Casting - Christine King Makeup - Jason Baird, Sean Genders, Jac Charlton Sound Mixing - Andrew Ramage, Gary Wilkins
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stuartBeattie Beattie’s Oz War Story By Stephen Jenner Did you have an immediate vision for transforming the film from the book to the screen, and has that vision evolved over time?
Tomorrow When the War Began marks the directorial debut of Stuart Beattie, prolific screenwriter and known to Boomerang readers for his work on the Board of Advisors for Australians in Film. Significant screenplays include G.I. Joe: The Rise of the Cobra, Australia, Derailed, 30 Days of Night, Bra Boys, and contributions to three of the Pirates of the Caribbean movies. Tomorrow When the War Began is based on the first of seven books by acclaimed Australian writer John Marsden. The story follows teenager Ellie Linton and her friends who return from a weekend camping trip to find that Australia has been invaded by a foreign power and their families taken from their homes. Despite the danger and their youth, the teenagers chose to wage a guerrilla war on the invaders and face incredible challenges to reach their goal. Stephen Jenner spoke to Stuart Beattie, who also penned the film, on the eve of the movie’s Australian release, scheduled for 2 September this year.
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Yeah, I saw it come to life right away. Especially in the reading of the first book. The first book is structured very much the way you structure a movie, so you could easily tell where the Act breaks were, and you could tell how the film would progress. It’s always been a thing with me that when I write a script, I always have to see it in order to have to write it – so I immediately started to see the film and immediately started to write it. When did the thought of making this film come to you? Ambience came to me and said would you like to adapt this book. I read the book. I read all seven books over a period of about two weeks. What was your immediate impression of the books? Oh, I loved them. I thought they were terrific stories and characters and something that you don’t see very often.
There are some extremely vivid moments in the first part of the story aren’t there? Oh, there are great moments. I remember when reading the book that I started to draw pictures inside the book of images either described in the book or coming to me as I read the book, because it is one of those stories that evokes great imagery. The book is unique in the way that it allows teenagers to go through
an experience which is unusual, to go to war, to become guerrilla fighters in their own country. It’s an extraordinary concept wouldn’t you say? Yeah, that’s one of the things that I loved about it. In many ways, it’s a very simple coming of age story. It’s just set in the most extreme zone for kids of this age – which is the war zone. So you just come of age really quickly! You know the great thing about the war zone setting in terms of drama is that you get extremes really easily and really believably. So you get extremes of courage and extremes of cowardice, and people very quickly find out who they are, because they are tested to such extreme limits. You are pushed, pushed to the edge, and that is when you find out who you are very quickly in life or death situations like this. Are there any radical story departures from the story as it is represented in the novel? There aren’t any major departures from the book. I think you’ll find a very faithful adaptation. You know, no adaptation is simply going to be
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stuartBeattie the book on screen. Books are one medium; films are another medium altogether, so you have to find that adaptation. What I always try and reach is the essence of the book, the essence of the character, who they are, and what happens. And in this case I think the movie follows along very faithfully with the characters and what happens in the book. The one thing I miss in the book is the discovery of the hermit’s hut. I just didn’t have room really in the film to get into that. The main reason the Hermit is in the book is to get Lee and Ellie closer, essentially to get Ellie to drop her wall and allow Lee into her heart, so in a movie you can do that with a look. I found a much more economical way to achieve the same thing. I really concentrated on how each character has their own growth, their own arc, their own journey. How much did you consider the directing of this film as you were writing it? Yeah, that’s something I kind of do naturally as a writer. I find when you are writing a screenplay you’ve got to see the movie in your head, and then you are basically transcribing what you see in your head onto the page. That’s how I write. In this case I knew that I was going to direct it, so if anything I think I felt that there was a greater chance of what I was writing
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the film how it was coming out in my head. It was, how do you put it – more enjoyable in a way! You know I always want people to challenge me on things, question everything and all that, but I knew at the end of the day it was going to be my decision. So I knew what I was writing was going to end up in the movie one way or another. So that was just a wonderful wonderful feeling. What were the biggest challenges involved in filming on location? The biggest challenge on location is definitely mother-nature. It’s not so much whether it’s raining or sunny but whether it was cloudy. The day’s when the sun is drifting in and out of clouds, they are the worse days to shoot, because you can’t have the light change so suddenly within a scene. You have to sit and wait for a big enough gap in the clouds to shoot a take in. And then you have to wait again. Most days we were waiting for a gap in the clouds and we would race through a take. That was a very frustrating experience. You’ve also got external noise out there like planes going overhead. At one point there was a plane circling overhead probably looking down at the film crew going Oh look there’s a film going on. When we were shooting on location in “Hell?” there were
snakes, and tics and all sorts of critters running around and that made it pretty uncomfortable. My agent asked me, once I’d finished the shoot, is there any film you’d wished you’d directed? And the film I came back with was 300. Because it was all in a sound stage. Night shooting was another way in which your body gets completely screwed up. You become nocturnal and you don’t see the sun for a while. It’s weird and it gets to you. So shooting on a sound stage is very appealing to me right now! At the same time, there are so many locations that I could not have
made the movie without. Especially the Luskintyre Bridge where we shot the whole ending of the movie. Without that bridge being there I don’t know what we would have done. I suppose the landscape becomes another character in the story doesn’t it? Well it has to, doesn’t it, because that’s the character that is being invaded and violated. In danger to. So you’ve got to show in the first Act that the country is its own character. You feel for it later
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stuartBeattie when it’s covered in warships and enemy trucks and tanks; it’s scarred with explosions and bullets. What is the most important relationship on set to you as a director? Honestly they all were. I was surrounded by such a wonderfully talented and experienced bunch of people, you know, I was truly blessed. Ben Nott, my cinematographer was just absolutely phenomenal, my gaffer, my costumes’ department, props – they were all fantastic. My production design team, my art direction, they were all incredible, and on top of all that were the cast. They were all just so passionate and willing to go to those places and do things they’d never done before and trust me as a first time filmmaker, and so I hold deep respect for all of my cast and all of my crew. Probably the biggest joy of making the film was getting to work with all of those people, you know, and I can only hope that I get to do it again. Was there any one particular relationship that most surprised you, that went beyond your expectations? Yeah, I think my relationship with Ben
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Nott, my DP. You know I shudder to think what the movie would look like without him! Visually I think it would be boring; colour wise it would have been quite bland, so working with him was such a joy and honour, and I learned so much from him. He was so gracious about teaching me and guiding me through things, explaining things to me, and we got on really really closely. We travelled to set every morning in the car and talked about what we were going to do that day, and at the end of every day we’d get together and talk about what we’d do tomorrow. We were kind of stuck together like glue, at least for 44 days of shooting. I think his wife was starting to get a bit jealous. I think that relationship was crucial to me making the film. He was a fantastic support and a wealth of ideas. There was always a second camera being set up somewhere that I’d end up using. At the heart of the film is the fragility of teenage relationships – how did you go about negotiating these fascinating relationships for the screen? The main solution for that was to cast teenagers, and really seek their input. There were quite a few instances in the movie where the actors came up with their own dialogue. We’d play around in call backs and rehearsals, and I’d have them do improv. Of scenes that
occur in the movie and get them into their character and let them run and record things. And I see what they said, what they did, and how they felt about things.
what has happened to the others? You are left wondering for great sections of the book what happened to them. You don’t find out what happened to them until Ellie does.
And then you know I think if you asked them how often I asked them their opinions of things and including suggestions of theirs all the time. I spent many many hours with each of them alone going through the script, again and again going through their scenes identifying what was going on with their characters. There was no one better than actual teenagers to tell you how teenagers would react.
So how that forced perspective works was something that we could keep and really use for the film. It creates mystery and intrigue and suspense, rather then telling everything that happens as it happens. By keeping that forced perspective narrative technique, it allowed us to keep the budget down because we weren’t filming all these other scenes.
The story includes scenes of guerrilla warfare – how did you manage to realise these episodes in the film within a defined budget? Well fortunately one of the great things that the book did was that it is told from one of the character’s point of view. That, I thought was a wonderful narrative technique, because usually in films, when you have a bunch of different characters, you do the cutaway, and that is kind of an established norm for filmmaking. The book was different. It was simply following Ellie, and when the group splits up you don’t see what happens to the others, you just follow Ellie. So when they all convene, you don’t know
We were simply keeping with Ellie and telling Ellie’s story. At the same time it was all meticulously planned. All the action sequences, everything had been storyboarded. All the storyboards had been cut into animatics. We were highly choreographed so everybody knew what they were doing. What do you do to relax while making a film? We’d all sit around on the weekends playing video games. It was a really good way to wind down. I’d also start each day by going for a long walk.
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memberprofile sAMKRAMER
As a child, what was the biggest dream you wanted to achieve? When I was young I actually wanted to be a pilot, but later on those dreams turned to architecture and grapic design. Which are the careers I had before moving over to Los Angeles, my last job working as a multimedia designer for The Advertiser Newspapers in Adelaide. Volunteering to design and construct the latest Boomerang issues has got my itching mouse finger working again. Working for media companies for the last 9 years has been challenging but fun, and I’m not sure the film bug would have caught me, if I hadn’t worked on webisodes and numerous TVC’s for these companies.
I appoligise for the above photo. I know it seems staged, but I was actually setting up a shot for my thesis film, and it’s the only recent shot I have of myself without a beer in my hand.
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Who has been instrumental in helping you achieve your career goals? I know this may sound a bit cliché but the only people I can think of are my parents. Mum and dad have always encouraged me to do whatever I want, that I can do anything I put my mind to. My father was an art teacher so I’m sure I picked up something there.
Both my parents love to travel and experience new things, which was a gift and a bug I’ve never gotten rid of. I was lucky enough to travel the world as a child and then again by myself in my earlier 20s. When and why did you move from Australia to Los Angeles? I moved to LA in February 2009 to attend The Los Angeles Film School. It was another dream I felt I needed to follow. Funny enough, as you’ve probably gathered, I fell in love with film making. So I’m still here discovering more and more. I’m a designer at heart but I’m also pursuing my love of directing. I am extremely passionate about both areas in film and plan on dabbling in both in the foreseeable future.
What do you love most about Hollywood and what do you miss most about Australia? Strangely what I love most about Hollywood is how different it is from Australia. Well actually how different it is from the rest of the US. I believe when I return to Australia nothing will seem strange or out of place, not a stranger suddenly bursting into song or dance on the street, nor someone standing in a fountain in just his underwear. What I miss most about Australia is the food and the Australian sense of humour! And I ‘spose my family and friends (if I have to admit to that). What advice would you give to someone who wants to follow in your footsteps?
What are you up to right now? Currently I’m working as an Art Director on a indie feature. That’ll keep me busy until the begining of August but after that I’m still looking. I’m also writing a feature with a friend from Adelaide, and a short for myself.
Do it, why not!? What have you really got to lose?
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pics | beneath hill 60 Writer David Roach
Director Jeremy Simms
Brendan Cowell
Rod Hardy & Sophie Scarf
Elissa Down & Bella Heathcote
David Roach, Chris de Cure, Tulich, Kathryn & Angela Kirgo
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David Roach, Brendan Cowell, Jeremy Sims, Bella Heathcote & Gerald Lepkowski
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pics | animal kingdom
Post screening Q&A
Director David Michod
Liz Watts, James Frecheville, David Michod, Jacki Weaver, Sullivan Stapleton, Tom Bernard
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Ewan McGregor
Jacki Weaver
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backpAGE AiF Ambassadors
Don’t be left out in the cold...
Gillian Armstrong Simon Baker Eric Bana Cate Blanchett Bryan Brown Rose Byrne Toni Collette Abbie Cornish Russell Crowe Roger Donaldson Deborra Lee Furness Melissa George Mel Gibson Rachel Griffiths Scott Hicks Barry Humphries Hugh Jackman Nicole Kidman Anthony Lapaglia Baz Luhrmann Robert Luketic Jacqueline McKenzie Julian McMahon George Miller Kylie Minogue Radha Mitchell Poppy Montgomery Olivia Newton-John Phillip Noyce Frances O’Connor Miranda Otto Guy Pearce Richard Roxburgh Geoffrey Rush Fred Schepisi Naomi Watts Hugo Weaving David Wenham Sarah Winter
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AiF Board of Advisors Kym Barrett Stuart Beattie Greg Coote Bruce Davey Richard FrancisBruce Dean Semler
AiF Sponsors We greatly appreciate the involvement and support of our sponsors. You or your organization can become a sponsor of Australians in Film. We’d be happy to talk to you to see we can tailor AiF to best benefit your company. Contact Executive Director Sophie Scarf for more information. email | sscarf@australiansinfilm.org
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phone | 310 452 5939.
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