From the makers of the multi-award winning documentary SALT

Transcription

1 From the makers of the multi-award winning documentary SALT WORLD PREMIERE SYDNEY FILM FESTIVAL 6.45pm Sunday 9 June ABC1 PREMIERE 10.30pm Sunday 23 June MEDIA KIT PUBLICITY Olivia Mayberry CLPR T: M: E: Olivia@clpr.com.au As at

2 How do you know your limits when there are no boundaries? Image of Fogbow and Dye-3 from Nothing On Earth. A Jerrycan Films production. Photo by Murray Fredericks. Sydney Film Festival World Premiere 6.45pm Sunday 9 June ABC pm Sunday 23 June Murray Fredericks is an award- winning artist renowned for his photographs of the vast empty space of Lake Eyre, South Australia. When he relocates his work to the Greenland Icecap - atop a melting glacier and under the solar storms of the Aurora Borealis - he finds himself alone in a landscape he's never been, in a place he doesn't understand, hoping this time he hasn't taken his quest too far. What begins as an artistic odyssey becomes an adventure of extremes in one of the most breathtaking environments on Earth. Share the NOTHING ON EARTH trailer Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 2

3 ABOUT THE PRODUCTION Following their internationally successful collaboration Salt, world-renowned photographic artist Murray Fredericks and Jerrycan Films director/producer Michael Angus reunite for their highly anticipated second film, NOTHING ON EARTH. Murray Fredericks behind the scenes of Nothing On Earth. A Jerrycan Films Production. Photo by Michael Angus. Award-winning photographer Murray Fredericks (Salt, Monsoon) reunites with Jerrycan Films director and producer Michael Angus (Salt, Ooldea, The Fight Game) following their first multi-award winning collaboration, Salt. Documenting Murray s previous project on the saltpans of Australia s Lake Eyre, the film was internationally lauded with awards including: Distinguished Documentary Short of the Year International Documentary Association 2009 Grand Prix Award for Cinematography Pluscamerimage Festival, Poland 2010 Creative Excellence Award Banff Mountain Film Festival 2010 Best Short Documentary Australian Films Critics Circle Following Murray as he battles the elements in his quest for original and breathtaking imagery, the one-hour film NOTHING ON EARTH will have its world premiere in competition for the FOXTEL Australian Documentary Prize at the 2013 Sydney Film Festival at 6.45pm Sunday 9 June and will premiere on Sunday Arts Up Late on ABC1 at 10.30pm Sunday 23 June Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 3

4 Set atop a melting glacier in the uninhabitable landscapes of Greenland, Murray Finds himself alone in a landscape he's never been, in a place he doesn't understand, hoping this time he hasn't taken his quest too far. Proving that nothing is beyond the bounds of determination or imagination, NOTHING ON EARTH gives an intimate insight into Fredericks death-defying journey to capture those rare moments where minimal landscape produces immense emotion. Michael Angus said To travel across the Greenland Icecap by dogsled and experience the Aurora Borealis was an extraordinary and humbling privilege. I m really looking forward to others being able to experience this through the eyes of such a dedicated and talented artist. Following its ABC1 premiere, NOTHING ON EARTH will be available on DVD in ABC stores and online at Murray Fredericks The Icecap Project will be presented in an exhibition at the ArcOne Gallery, Melbourne from 5 November December Murray Fredericks shooting for The Icecap Project in a scene from Nothing On Earth. A Jerrycans production. Photos courtesy of Jerrycan Films Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 4

5 SYNOPSIS As a landscape photographer, Murray Fredericks is well accustomed to spending long periods of time alone in isolated and extreme locations. But when he relocates his work from the hot dry salt flats of Lake Eyre in South Australia to the frozen tundra of the Greenland Icecap, he quickly learns that, despite being devoid of features, the two places are a world apart. Campsite from Murray Fredericks' September 2012 trip to the Greenland Icecap while filming for Nothing On Earth. A Jerrycan Films production. Photo by Murray Fredericks. So when two wandering polar bears, severe katabatic winds and the complexity of the task he has set himself, require Murray to break with his self-reliant traditions, he finds himself on the verge of failure for the first time in his celebrated career. Determined to see the project through, he returns to Greenland and with the support of an experienced guide and two local Inuit dog sled drivers, embarks on a 30-day odyssey of almost 700 km in one of the most challenging and desolate environments on Earth - Greenland's remote icecap. Crossing the Greenland Icecap by dogsled in Nothing On Earth. A Jerrycan Films production. Photo courtesy of Jerrycan Films Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 5

6 Murray s journey is not a quest for adventure or a call to the wild; it s an investigation of space. Immersed in an environment of endless horizons, he is seeking visual representations that move beyond the surface exotic and the pale of calendar images that have become synonymous with landscape photography. With the encroaching summertime solstice upon the team, the familiarity and monotony of Murray s surrounds is broken by the discovery of an old abandoned radar station built during the Cold War. This once mighty symbol of modern engineering and progress, now being consumed by the frozen conditions, provides a timely reminder of human interaction with our planet. When the unusually warm weather necessitates a return to the coast, the rapidly melting icecap and the dangers it presents to the travelling party, provide for a tension filled and action packed descent to safety. Part of the DEW (Distance Early Warning) Line, Dye-3 is a radar station built by the Americans at the beginning of the Cold War and abandoned in the early 1990s. Image courtesy of JJ Kizak. Utilising stunning cutting edge time-lapse cinematography, NOTHING ON EARTH provides a visual representation of the movement of the ice through geological time alongside Murray s own personal journey. As the Aurora Borealis dances overhead and the sounds of collapsing ice beckon from beneath, these naturally living systems, together with their inhabitants, are clearly established as neither static nor permanent Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 6

7 NOTHING ON EARTH is a simple and contemporary human story told alongside the ancient tale of the landscape itself. At a point where our past is fast catching up to our future, this incredible environment is given life and through the eye of an artist, serves as a reminder of the constant cycle of change and renewal and the indelible link between people and place. Murray Fredericks with Bellows camera in a scene from Nothing On Earth. A Jerrcan Films Production. Photo by Murray Fredericks. Aurora Borealis from Nothing On Earth. A Jerrycan Films production. Photo by Murray Fredericks Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 7

8 MURRAY FREDERICKS THE PHOTOGRAPHS Internationally proclaimed and multi-award winning photographer and filmmaker, Murray Fredericks, is intrepidly dedicated in his pursuit of the sublimation of the authentic essence of landscape. Murray Fredericks photographing for The Icecap Project in Nothing On Earth. A Jerrycan Films production. Photo courtesy of Jerrycan Films. Fredericks work strives towards self-contained minimalism; the pure space of an endless horizon, air at the limits of subjectivity, the vast emptiness of land and sky, the bizarre fragility of our human presence. Murray Fredericks photographing for The Icecap Project in Nothing On Earth. A Jerrycan Films production. Photo courtesy of Jerrycan Films. Within an enormous, remote emptiness, we are saturated by an entirety of experience extending far beyond the visual, and convinced of Fredericks own spiritual and mental endurance Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 8

9 CREW LIST Director and Producer Director of Photography Producer Editor Original Score Michael Angus Murray Fredericks Roxana McMallan Lindi Harrison Erik Friedlander Director of photography and subject Murray Fredericks and director/producer Michael Angus filming for Nothing On Earth. A Jerrycan Films production. Photo by Carl Alvey. From Left: Murray Fredericks photographing and one of the dogs behind the scenes of Nothing On Earth. A Jerrycan Films production. Photos courtesy of Jerrycan Films Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 9

10 MURRAY S TIMELINE The filming of NOTHING ON EARTH took place from April 2010 to September 2012 over five separate trips to Greenland. APRIL 2010 TRIP ONE SPRING Murray Fredericks first travelled alone to Greenland with the intention of camping alone on the Greenland Icecap for thirty-six days long enough to become immersed and attuned to the environment. Due to severe environmental conditions, which included katabatic winds, the threat of polar bears and the eventual deterioration of his generator, Murray was forced to abandon the trip early. SEPTEMBER 2010 TRIP TWO AUTUMN Murray returned, but again due to unfavourable weather conditions was unable to successfully charter a helicopter to the Icecap. Instead he travelled to the base of the Nuud Radmussen glacier, then onto Amunga Island a small rocky outcrop in the middle of the Sermilik Fjord and surrounded in all directions by mountains and descending glaciers from the Icecap. APRIL 2011 TRIP THREE SPRING Murray once again travelled back to the East Coast of Greenland but once again was thwarted in his attempt to get to the Icecap by weather. This time he spent the best part of a month inside the Red House hostel in Tasiilaq, alongside numerous other expeditioners who were also planning to ascend the glacier to complete ski crossings of the Icecap. On this trip he met Carl Alvey, an experienced guide, who had led crossings of the Greenland Icecap on numerous previous occasions. He suggested Murray go by dogsled, so as to maximise his time on the icecap and be less reliant on the helicopter and the unpredictability of the weather. APRIL/JUNE 2012 TRIP FOUR SPRING/SUMMER Murray returned to Greenland with Carl Alvey, filmmaker Michael Angus and together with local dogsled drivers Salo Oodegaard and Mikael Christensen, spent thirty days travelling by dogsled across the Greenland icecap. Being summer, it meant almost the entire journey was conducted in daylight and in melting conditions. SEPTEMBER 2012 TRIP FIVE AUTUMN Murray returned once again to Greenland with Carl Alvey and filmmaker Michael Angus. He ventured to the Icecap to experience the environment with the night skies. The changing light conditions apparent at the change of season also enabled him to capture stunning time-lapse footage of the Aurora Borealis Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 10

11 FIRST VISIT TO THE ICECAP A MEMOIR April 2010 was my first attempt at living on the icecap for The Icecap Project. Originally planning to complete a three-day snow survival course upon my arrival into Greenland, the flight from Iceland was delayed two days due to heavy snow on the runway, leaving only time for an overnight trip as preparation. Unwilling to sacrifice the journey due to this, I learnt what I could in the time available and then was choppered into the icecap, spectacularly unprepared a few days later. Landing in horrendous conditions, the helicopter crew, my guide, Matt Spencely and I, built a wall out of ice and set up the tent out of the wind. The chopper then departed, leaving me alone on the ice in a ground blizzard or Piteraq. Having a wall was effective in protecting the tent from the wind, but it also had the unintended effect of creating a vacuum as the wind howled over the top, sucking snow out the air and depositing it on, and around, the tent in an ever growing drift. To avoid being completely covered in and collapsing my tent and/or suffocating, I had to dig out the tent every few hours, day and night for the next week. Murray Fredericks digging out his tent on the Greenland Icecap in a scene from Nothing On Earth. A Jerrycan Films production. Photo by Murray Fredericks Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 11

12 By day ten, I was drained, physically and emotionally due to the constant digging and lack of sleep. But I was determined to stay for the planned thirtysix days to make the most out of the experience. Later on the that day, I received a visit from a chopper full of police (a rare thing 100km into the icecap) who had received reports of two polar bears stalking a party of expeditioners on an icecap crossing some distance to the south of my camp. While the police said they could not see any bears, my guide Matt Spencely (who I called on the satellite phone), said there had been a definite sighting of two bears and that they were headed towards my camp. I was instructed not to sleep, and to keep my rifle close and loaded, ready to shoot if attacked by the bears. That night, I was out digging again, holding the gun close, unable to hear or see anything due to dark blizzard, expecting to be grabbed by a bear at any moment. Murray Fredericks preparing his gun after receiving warning of two Polar Bears in his vicinity in a scene from Nothing On Earth. A Jerrycan Films production. Photo by Murray Fredericks. The bears did not materialise, and kept watch all the next day, looking for the slightest movement in any direction across the icecap. My adrenaline was high and I was exhausted. The night before had tipped me over the edge, and in desperate need of sleep and relief from the constant digging, I asked for the chopper to come in and take me out of the camp. It was four days before I could be airlifted as the only pilot in the area was over his hours for the week no doubt due to the bear search of the days before 2013 Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 12

13 So I waited and photographed and in a couple of days the weather improved and so did my mental state. Feeling better I began photographing everything I could and running a series of time-lapse cameras. Just as I was considering cancelling the chopper and staying on, my main battery failed and my generator filled with ice and froze I had no power! The trip was definitely over. I kept the booking for the chopper as planned. Murray Fredericks shooting for The Icecap Project in a scene from Nothing On Earth. A Jerrycan Films production. Photo courtesy of Jerrycan Films. The morning before the chopper booking, while making breakfast, I heard the snow move on the wall out of the tent, first to the left of me and then to the right It s the two bears I thought. My head became incredibly clear and my sense of time slowed right down. I grabbed the gun, filled my pockets with ammunition and in a split second mentally rehearsed stepping outside, shooting the first bear, reloading and shooing the second. I unzipped the tent, stepped outside with my finger on the trigger and there was a man standing there staring at me smiling. Two Canadian expeditioners were in need of a rescue, having lost all communications and without a way to get off the icecap. By chance they had seen my snow wall from a distance and come over to investigate. I almost shot them! Some months later, in a debriefing with my guide, we worked out that I had been mistaken for the bears by the expeditioners who had called in the police in the first place. Confused by the lack of visual scale on the icecap, they had seen me working off in the distance, and mistook me for a bear s nose that they assumed was very close. They had been firing warning shots at the bear with a shotgun and had almost run out of ammunition. It seems, that on my first trip at least, the main danger on the icecap was fearful humans with loaded guns. Murray Fredericks 2013 Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 13

14 THE ICECAP CROSSING A MEMOIR East Greenland really does have a true frontier feel to it. The mountains, snow, icebergs and sea ice dominate the surrounding landscapes. It s a testament to the resilience and adaptability of the local Inuit people that they have been able to prevail in such a harsh and demanding environment for thousands of years. The small remote village of Isortoq on the East Coast of Greenland. Photo courtesy of Jerrycan Films. Our journey was to take us approximately 700km across the Greenland Ice Sheet. From the small remote village of Isortoq on the East Coast we would travel approximately 80km up the Glacier by dogsled to an altitude of about 1800m, then turn approximately 90 degrees and travel South-west to our first destination - the abandoned Cold War radar station Dye-3. Carl Alvey, our expedition guide, estimated this first part of the journey would take between five and eight days. In turn this would allow us to spend about five days in static camp for photography and filming, before we would head another 180km across to Dye-2. However the weather wasn t co-operative. Warm conditions, wet snow and the weight of all our supplies meant the dog sleds were unable to travel quickly. The journey ended up taking thirteen days. On one of those days we didn t move from our camp at all Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 14

15 At Dye-3 we had to decide weather we would continue with the remaining section of the planned trip the journey from Dye-3 across the summit to Dye- 2 or return to Isortoq. We had enough dog food and supplies to cover the thirty-day journey (plus emergency supplies) but no more. Travelling by dogsled across the Greenland Icecap in Nothing On Earth. A Jerrycan Films production. Photo courtesy of Jerrycan films. Our expedition permit, which is a requirement for foreigners to access the icecap, was for thirty-five days. We were also required to deposit a $30000 assurance bond with the Greenland Government in the event that a rescue would be required. Over recent years a number of adventurers making a ski crossing across the icecap have experienced difficult conditions due to the increasing melt at the end of the Summer season. Large lakes and rivers cutting deep into the ice surface have made a successful descent impossible on occasion and a rescue chopper has been needed to transport the stranded adventurers to safety. At Dye-3 and close to the summit of the icecap, the snow was still melting. Both Carl and the Dogsled drivers, Salo and Mikael, were concerned. Usually the summit of the icecap remains frozen, so the surface is firm and travel is fast. On a good day on the icecap a dog sled can travel anywhere from 60km to 80km. So far we had only managed 40km on our best day. If conditions were melting at the summit, then the water would be running off towards the coast and the longer we left our return the greater the likelihood of us having to cross streams and rivers or swimming. What we didn t know at the time was that this was the first time in recorded history that the entire surface of the Greenland Icesheet had melted Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 15

16 We decided to take the gamble and head to Dye-2. The journey was clear and we arrived at our destination in less than four days. We filmed and photographed through most of the night before Carl made the call that it was too unsafe to delay our return any longer. Having arrived at Dye-2 in the afternoon, we left the following dawn. About a week later we arrived at the edge of the glacier. The descent from the glacier on the final day was a journey that took twenty-four hours and would take us from an altitude of approximately 1400m to sea level where we would be picked up by a waiting boat. Aurora Borealis in Nothing On Earth. A Jerrycan Films production. Photo courtesy of Jerrycan Films. We heard word that a Piteraq was on its way. A Piteraq is the local name given to the severe Katabatic (surface) wind that gathers pace as it descends from the cold at the summit to the warm conditions on the coast. These winds have been responsible for the deaths of expeditioners in the past. They build very quickly and reach cyclonic speeds making conditions extremely dangerous. The trip down took us across crevasse zones, besides small lakes and across running streams. At one stage Murray stepped off his sled and fell waist deep into a covered crevasse, whilst luckily still holding on to the sled. Once we reached the bottom of the glacier there was a notable but shortlived sense of release unfortunately, we still had to traverse for four hours across the melting sea ice before we were able to access the waiting boats. Michael Angus 2013 Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 16

17 Murray Fredericks Photographic Artist Director of Photography Murray Fredericks graduated with a degree in politics from the University of Sydney in The years that followed saw him spend large amounts of time, often alone, in the Himalaya and in the deserts of the Middle East. During these solo journeys (at first without a camera) he became aware of the profound effect that time spent in isolation, in powerful landscapes, can have on the mind and on one s sense of self. For over ten years, Fredericks has used the landscape to make representations of the experiences undergone by the self in isolation, in locations that are defined by their space and power. Although the subjects of Fredericks work involve the sublime, it is not the literal representations of the sublime (or romantic) phenomena that become the subject; the imagery conveys the mind's experience of being affected, of being present and immersed for long periods of time within the expansive landscape. Drawing on the techniques of minimalism, Fredericks approach has been to find locations that are devoid of features and (ideally) bounded by a 360deg, perfectly flat horizon. His first major project entitled Salt was produced in the middle of Lake Eyre, an extensive saltpan in South Australia s outback. Fredericks camped alone on the salt, in the middle of the dry lake for many weeks at a time. Between 2003 and 2010, he made sixteen visits to the saltpan of Lake Eyre and produced a major body of work, which included photographs, a documentary film and time-lapse shorts. The Salt series has had works exhibited widely in public institutions and sits in major public and private collections nationally and internationally, including the National Gallery of Victoria, Australian Parliament House, Artbank, the Sir Elton John Collection, Macquarie Bank and the Valentino Collection, to name a few Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 17

18 Murray first collaborated with Michael Angus on the multi-award winning half-hour documentary Salt, which in 2009 won the International Documentary Association s Distinguished Documentary Short of the Year, the Melbourne International Film Festival s Erwin Rado Award for Best Australian Short Film, the Film Critics Circle, Australia award for Best Short Documentary, the AFI Silverdocs Documentary Film Festival Special Jury Mention for Best Documentary Short, the Atlanta Film Festival Award for Best Documentary Short and was nominated for Best Documentary under one hour at the 2009 Australian Film Institute (AFI Awards). In 2010, the documentary won the Banff Mountain Film Festival Creative Excellence Award, the Trento Film Festival Special Jury Prize and the Bovec Outdoor Film Festival Grand Jury Prize for Best Film of the Festival. Some years into Fredericks artistic career, he completed a Master of Art, followed by a Master of Fine Arts at the College of Fine Arts, University of New South Wales. The subject of his MFA was the Salt Project, specifically examining the concepts of space and place within the context of landscape. NOTHING ON EARTH follows Fredericks on his latest major project on the Greenland Icecap. Now in its fourth year, the project is situated on the vast 'inland ice, and has included a double-crossing of the icecap by dogsled and a number of weeks spent living in a hole in the ice. Recently the project expanded to include the architecture of an abandoned cold war missile detection station, set alone in the seemingly infinite sea of ice. The photographic project is still on-going. At the same time as working on his Iceland project, Fredericks also completed a project titled Hector (affectionately named rhyming slang - 'Hector the Convector'), a series of photographs of the earth s largest thunderstorms, which occur daily during the tropical 'build-up' over the Tiwi Islands in Northern Australia. As with Fredericks other projects, the storms were captured over a flat, featureless horizon. The repetitiveness of the horizon line connects the intensely visual and dramatic thunderstorms to Fredericks other projects - which at first glance, sit in stark contrast to the minimal imagery of the salt flats and the icecap. Each thunderstorm is presented isolated from a traditional landscape scene, set within a serial framework that subtly moves the images beyond their literal subject matter. Fredericks work has been published widely, including a story on the Salt series, as an art project, in the National Geographic Magazine. In the filming of his documentary work, Fredericks has pushed technical boundaries in the realm of timelapse, motion control videography and is commissioned by clients such as the ABC and the BBC Natural History Unit to produce footage in remote locations. Upcoming commissions include the BBC series Monsoon and a major documentary series on Australian Indigenous art and history called First Footprints. Fredericks Photographic and Video works are represented by Hamiltons Gallery in London, ARC ONE Gallery in Melbourne, and Annandale Galleries in Sydney Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 18

19 Michael Angus Director Producer With a background in theatre, Michael has worked as both an actor and director, across several different storytelling mediums including film and TV. NOTHING ON EARTH marks Michael s second collaboration with Artist Murray Fredericks following their multi-award winning first film Salt. Filmed at Lake Eyre in South Australia, in 2009 the documentary won the International Documentary Association s Distinguished Documentary Short of the Year, the Melbourne International Film Festival s Erwin Rado Award for Best Australian Short Film, the Film Critics Circle, Australia award for Best Short Documentary, the AFI Silverdocs Documentary Film Festival Special Jury Mention for Best Documentary Short, the Atlanta Film Festival Award for Best Documentary Short and was nominated for Best Documentary under one hour at the 2009 Australian Film Institute (AFI Awards). In 2010, the documentary won the Banff Mountain Film Festival Creative Excellence Award, the Trento Film Festival Special Jury Prize and the Bovec Outdoor Film Festival Grand Jury Prize for Best Film of the Festival. Michael s documentary films are observational in nature and filmed over many years with a focus on compelling characters working at the extremes and edges of our society. His enquiry is centered on what drives people and how that relates to the world around us. Previous films include The Fight Game, which documented the rise of professional boxer Danny Green, in the seminal stages of his journey to become world champion and Ooldea, where he travelled with WASO composer Ian Grandage to Tjutjuntjarra in the Great Victoria Desert to film his musical and cultural collaboration with the Aboriginal Elders of Spinifiex Country. In addition to his own work, Michael has free-lanced for several national and international production companies as a producer/director working on TV series in a variety of different factual genres Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 19

20 Roxana McMallan Producer With a passion for storytelling, Roxana McMallan has worked as a producer across feature film, television documentary and television commercials. An executive producer on the award-winning children s feature film Hildegarde (2001), starring Richard E Grant and distributed by Buena Vista and Myriad Pictures (US), Roxana has produced high profile television campaigns for clients such as AOL (US), Toyota (US) and Cathay Pacific (Asia Pacific). She has travelled the globe working for internationally renowned companies such as Frantic Films Vancouver and Ambience Entertainment Sydney. In recent years Roxana established the boutique post-production facility The Post Effect in Brisbane. Her arts documentary producer and post-production credits include, Brink of Ambition (2001) about the landmark stage production of Howard Barker s Ecstatic Bible at Adelaide Festival in 2000, Clouds Have Stories (2011) on the Indigenous Art of the Torres Strait which premiered at the Brisbane International Film Festival, The Collection (2012) for Gallery of Modern Art (GOMA), and the ABC broadcast hit ABBA: Bang a Boomerang (2013). Roxana is an AFTRS trained producer and graduate of Sydney University; she has been a SPAA member in feature film since 2001 and is a current board member of Queensland Screen Industry Council Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 20

21 Lindi Harrison Editor Lindi is a highly acclaimed editor of award-winning documentary, drama and arts programmes for local and international broadcast and cinema release. She has edited a range of feature length documentaries including: 4, which celebrates how the seasons shape our lives, the importance of homeland and the eternal power of music; The Snowman, which tells the story of the director s quest to uncover the truth about her father s experience, training NASA astronauts in survival skills in Operation Deepfreeze, Antarctica and his descent into madness; On Borrowed Time, a celebration of Euro-flavoured, Australian based auteur Paul Cox, as he faces his own mortality, and Virtuosi about the passionate drive to be an artist and the particular nature of virtuosity in dance. She has recently completed a feature documentary titled I Am A Girl and is currently working on The Quartets, showcasing a selection of String Quartets composed and hosted by Peter Sculthorpe AO OBE. She has edited a range of programs for television broadcast including several one hour documentaries, Blank Canvas, The Healing of Bali, Eyes of the Tiger and episodes of Series On the Trail of Ghengis Khan which received the Peoples Choice Award at BANFF 2011, Tribal Life for the Discovery Channel and Creative Minds. In her non-broadcast work, Lindi has edited large-scale video installations for museums and art gallery exhibitions such as the Venice Biennale and In Memory of Nature by Janet Laurence. She has also vision switched live for the Dalai Lama. Lindi began working in the industry on feature films, assisting on productions as diverse as The Sum of Us, which starred Russell Crowe, and The Cup, directed by the revered Bhutanese lama, Khyentse Norbu Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 21

22 Australian Distributor: Fiona1Gilroy1 Content1Sales1&1Acquisi/ons1Director1 Telephone!!!+61!2!8065!4899! Mobile!!!+61!(0)407!468!508! Office 1Unit!2,!65!Whi8ng!Street,!Artarmon!NSW!2064,!Australia! Mail 1PO!Box!469,!Artarmon!NSW!1570,!Australia Jerrycan Films Pty Ltd, Screen Australia and Screen Queensland 22