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Presents
BREATH
AfilmbySimonBaker
Starring
SimonBaker,SamsonCoulter,BenSpence,ElizabethDebicki
BasedontheNovelByTimWinton
OpensinNewYorkJune1,LosAngelesandselectcitiesJune8
Nationalrollouttofollow
116minutes–NotRated
PressContact:StephenRaphael&DeniseSinelov
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SHORTSYNOPSISBREATHfollowstwoteenageboys,hungryfordiscovery,inmid-70scoastalAustralia,whoformanunlikelyfriendshipwithanenigmaticmanandhiswife,whopushthemtotakerisksthatwillhavealastingandprofoundimpactontheirlives.OFFICIALSYNOPSISBasedontheaward-winning,internationalbest-sellingnovelbyTimWinton,SimonBaker’sdirectorialdebutBREATHfollowstwoteenageboys,PikeletandLoonie(newcomersSamsonCoulterandBenSpenceinbreakthroughperformances),growingupinaremotecorneroftheWesternAustraliancoast.Hungryfordiscovery,thepairformanunlikelyfriendshipwithSando(SimonBaker),amysteriousoldersurferandadventurerwhopushestheboystotakerisksthatwillhavealastingandprofoundimpactontheirlives.AlsostarringElizabethDebickiandRichardRoxburgh,BREATHisanauthenticcoming-of-agedramasetinanidyllic1970scoastalAustralia.LONGSYNOPSISMid70’s,inaremotecorneroftheWesternAustraliancoast.Pikelet(SamsonCoulter)andLoonie(BenSpence)standpoisedontheedgeofyoungadulthood.Thetwoareconstantcompanionsandfellowadventurers,buttheirhomelivesandpersonalitiesdifferincrucialways.MrandMrsPike(RichardRoxburghandRachaelBlake)aresolidanddependable—Pikeletisanonlychild,athoughtfulsoul,andthePikehomeisawarmyetslightlymonotonoussanctuary.Loonieisfiercelycompetitiveandbrittle,andlivesbyhiswits.HisfatherKarlLoon(JacekKoman)isaviolentmanandLoonie’shomelifeoffersnotendernessorprotection.Nevertheless,theboysbondoverbikesanddaredevilstunts,buttheirdreamsbegintofocusontheocean.Pikeletcanonlylookatitlonginglyfromhisfather’sfishingboatontheriver;thejourneyacrossthesandbartotheopenseaisofflimits.ForLoonie,thecompulsioniswhatitalwaysis—danger.SnowyMuirdrownedoutthere.Thiscoastisbeautifulbutbrutal.Oneday,thepullistoomuchandtheboyscycleoutsideoftheircomfortzonedowntoSawyerPoint.TheretheyencountertheenigmaticSando(SimonBaker),aformerprofessionalsurfer,whoseeffortlessgraceonthewavesandstudieddetachmentonlandcompelstheboys.PikeletandLooniebegintolearntosurf,startingoutonstubby,Styrofoamboards.Astheirskillsincrease,Pikeletshiftsemotionally,bydegrees,awayfromhisparents.Bywinter,thepairarefitterandtaller,buttheystillwatchSandofromafar.Theyneedtograduatetoproperfibreglassboards,earningmoneydoingmanualworktoaffordthem.Thetrickworks–thefirsttimetheytaketheirnewboardsout,Sandonoticesthem,offerstostoretheirboardsunderhishouse,andthementorshipbegins.ThechallengequicklybecomestosurfOldSmokey,adangerousbreakakilometreouttosea.PikeletandLoonie’slivesincreasinglycentrearoundSando,hisKombi,hishouse,andmostimportantly,hisroleasguru.PartofSando’sallureandenigmaisthathedisappearsthenreappears,butEva(ElizabethDebicki),Sando’senigmaticwife,isalwaysatthehouse.AformerchampionfreestyleskierfromUtah,Eva’scareerwascuttragicallycutshortbyakneeinjuryfromwhichshe’sneverrecoveredphysicallyoremotionally.ThefeelingofbeingfullyalivebybeingclosetomortaldangerwasanarcoticforEva,anditstillisforSando,andincreasinglyforLoonie.
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Sando’sforcefulness,Eva’sallure,Loonie’scompetitivenessandthespectreofOldSmokeywillallforcePikelettomakecrucialdecisions—togiveintotheexpectationsofthosearoundhim,ortobecomehisownperson.
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BACKGROUNDTOTHEFILMThejourneytothefilmbeganwithacopyofTimWinton’sbookBreathbeingsenttoveteranHollywoodproducerMarkJohnson’sGranViaProductionsinLosAngeles.BreathhadwonAustralia’sprestigiousMilesFranklinawardin2009,butwaslessknownintheUnitedStates.TomWilliams,VPoffeaturedevelopmentatGranViaProductionsandthefilm’sexecutiveproducerrecalls:“ThenovelwassenttousbyanagentwhosetasteIparticularlytrust.Wesharebookswitheachotherandsay,‘Here’ssomethingyouhavetoread,whetherornotitcouldbecomeafilm.’Breathwassenttousunderthatguise.”WilliamswasimmediatelyfascinatedanddrawnintotheworldWintonhadcrafted.“Breathhasanemotionaldepthyetisalsoaveryaccessiblestory,writteninavernacularthatisbothexoticandfamiliar.IsentittoMarkJohnson,myboss,andsaid‘You’vegottoreadthis,Ithinktheremightbesomethinghere.”Johnson,aproduceronRAINMAN,THENOTEBOOKandtheNARNIAtrilogy,hadinthepastworkedwiththeAustralianactorSimonBakerhadworkedwithAustralianactorSimonBakerinthepast.Whenhereadthebook,hewasequallycompelledandbeyondtheAustralianconnectionsomethingintuitivelydrewJohnsontocallBaker,whoknewTimWinton’sworkbuthadn’tyetreadBreath.“Marksaid,‘I’msendingyouacopyofthebook,thisissomethingthatperhapswecoulddotogether,’”recallsBaker.“Ithadanimmediatelyprofoundeffectonme.HavinggrownupinacoastaltowninAustralia,andknowingthecharactersinthebook,Iwasdrawnin.IcalledMarkimmediatelyonfinishingitandsaid‘Yes’.”AlthoughthebookfeltincertainwaysautobiographicalforBaker,itwastheuniversalityofWinton’sdepictionofthedefiningmomentofsteppingacrossthelinefromchildhoodtoadulthoodthathefoundsomovingandaccurate.“WhatenhancedtheconnectionwasthatatthetimeIfirstreaditmytwosonswere,likePikeletandLoonie,onthecuspofbecomingyoungteenagers.Kidsgenerallyhavethisincredibleunconditionallovetowardstheirparents,butthereisthatmomentwhenyourkidlooksatyoulessadoringlyandmoretotryandunderstandthepersonyouare.Ihavealwaysbeenfascinatedbystoriesthatcapturetheunspokenaspectsofpersonaldevelopment,thefoundationsofone’sidentity.”MarkJohnsoncontactedTimWintonaboutsecuringtherightstomakethefilm.TheyplannedtomeetwhenJohnsonwasshootinginAustralia,butwereneverabletobeinthesameplaceatthesametime.“Intheend,wefinallymetinPortland,Oregon,”saysWinton.“IwasarrivingforaUSbooktour,butmyplanewasdelayedandMarkwasstucksittinginadinerinPortlandforafewhourswaitingformetoshowup.Intheend,itwasagreatmeeting;Iwasflatteredthathewasinterestedandsurprisedbyhowintensehisinterestwas.Itwasn’tjustabouttheexoticforMark,thatitwassetinadifferenthemisphere.Hesawthatthestorywasuniversal.IcouldtellhewasaftertheheartofthematterandIknewfromthenthathewasgoingtomakethefilm.”FindingalocalAustralianproducertocollaboratewithfromearlyonintheprocesswouldbekey.In2009,MarkJohnsonwasinAustraliashootingtwofilmsandhecalledproducerJamieHiltonandinvitedhimonset.AfterasubsequentmeetingwithSimonBakerinSydney,JohnsonandBakerinvitedHiltontocomeonboardwithhisproductioncompanySeePictures.
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“IthinkthefactthatMarkJohnson,suchaprolificHollywoodproducer,readTim'snovelanddecidedhewantedtomakethemovieistestamenttothestory'suniversalappeal,”saysHilton.“Ourleadcharacterpushesboundariesweallface-ourmortality,oursexuality-andwhilethefilmhasexcitingspectacle,atitsheartit'saveryintimateandfamiliarjourney".“Whenwefirstoptionedthebook,MarkandImetwithsomereallygreatdirectors,”recallsBaker.“EveryonewasinterestedbecauseofTim’sstatureasawriter,butafteroneparticularmeeting,Markleantoverandaskedme‘hasitoccurredtoyouthatmaybeyoushoulddirectthisfilm?’Isaid,ofcourseithas,butIwasnevergoingtobesoboldastoputmyselfforwardunlesssomeonerecommendedme.Byaskingthatquestion,hemoreorlessrecommendedme.”“TherewasnowayIwouldbeabletoshootBREATHduringahiatusofTHEMENTALIST,becauseIwouldonlygetthreemonthsoffandthisneededalotmoreenergythanIcouldgiveitwhileIwasdoingtheshow.IknewIwasonlygoingtobedoingsevenyearsoftheshow,soforthelastyearandahalfIwasgearinguptofinishTHEMENTALISTandthendirectBREATH.”WintonwouldconsultwithBakerremotelyduringtheinitialscreenwritingphase.“IspoketoSimononthephoneacoupleoftimesaboutscriptideaswhilehewasonthesetofTHEMENTALIST—wewouldhavediscussionsbetweentakesandthenwemetayearorsobeforetheshootbeganinPerth,anditwasagoodmeeting.Werealisedthatwewereonthesamepageandunderstoodeachotherinstinctivelyandtheworkwassomethingincommonbetweenus.”Fortheauthor,itwasanunusualbutpleasurableprocesstogobacktothenoveltorepurposeitasafilm.“Ihadtore-enterthestoryandfindthepartsofthestorythatyoucouldn’tdowithout.Therestofitwasafeatofcompressionandelision,movingthingsaroundtomakethemfit.Forotherbooksthere’ssomuchinformationthatthecompressionbecomesaformofbutchery,butforBREATH,itwasalreadytheresoitwasleavingsomethingsoutofthesuitcase.”ForBaker,itwasvitalthatWintontrustedhim.GerardLee(TopoftheLake)cameontoworkonthescreenplaywithBaker“Gerardbroughtafreshandunencumberedvoicetoit.Wewereveryluckytohaveascreenwriterofhiscalibreinvolved,”saidBaker.“Timwasincrediblygraciousandsupportive.Heletmeplaywiththematerialinmyownway.Ineededtoknowthathewouldbeokaywiththat.Hesaidsomethingtomethatwasverysimplebutprofound;‘WhenIfinishwritingabook,it’snolongermine,itbelongstowhomeverreadsit’.Thatstatementissomethingthatwillalwaysstickwithme.”ThechallengeofdirectingaswellasactingwasanexperiencenotforeigntoBaker,ashehaddirectedandactedsimultaneouslyinepisodesofTHEMENTALISTandTHEGUARDIAN.Ofthedualrole,Bakersays:“It’snoteasyandwould’tworkformanyroles;inthiscaseSandoisacharacterthatIknow,andhaveknownforsometime.Iimaginethatgavemesomekindofadvantage.“TomWilliamsseestwoconnectingthreadsthroughallthefilmandtelevisionprojectsthatMarkJohnsonandGranViaProductionsproduce—theideaofafamilyandwhowechoosetosurroundourselveswithforbetterorworse,andtheideaofcomingofage.“InNARNIA,there’safamilythatentersalandwhichtheycannotfathom,andtheyhavetofigureoutwhothegoodguysare,andwhoarethebadguys,andrelyontheirownjudgmenttodothat.BREAKINGBADisaboutamanwhofindshimselfdisillusionedandpowerlessinhislifeandmakessomebaddecisions,anddevelopsafamilyaroundhimthatsitstothesideofhisbiologicalfamily.”
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“BREATHexploresthesamethemes,inadifferentbutverymovingway.ComingofagecanhappenearlyinlifeasitdoesinBREATH,orlaterinlifeasitdoesinBREAKINGBAD.Everyhumanbeingisalwaysevolving.We’returningthelensonapartofthatjourney,dramatisingit.Whetherit’sabigmovieoralittlemovie,we’retryingtosaysomethingaboutlifeonearth.”
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CASTINGANDCHARACTERS BREATHisframedasacomingofagefilmforPikelet,chartingtheforgingofhisidentity,buttheensembleofcharactersarevitalnotjustasfoilstoPikelet’sjourney,butbecauseeachoneexperiencestheirownriteofpassage.ForSimonBaker,thesemultipletrajectoriesarevital.“Atwhatpointdoyousay‘Iamanadult’?Youcansayitallyouwant,butyouractionsarewhatdefineyou.Everyoneinthestoryisgoingthroughsomesortofcrisisofidentity.”Oftheirorigins,authorTimWintonsays:“ThecharactersareallthekindsofpeoplethatIknewasayoungman,butthey'renotbasedonparticularpeople.Igrewupinsmallcommunitieslikethecommunityinthebook,andI'mstilllivinginthosekindsofplaces.FrombeforeIwasinpubertyIwasmeetingthesekindsofpeople,andI'mstillmeetingthem,soIcouldpickpeoplefromanydecadeofmylifeandcastthemasSandoandLoonieandPikelet.”CASTINGThefilmcalledforachallengingphysicalelementthatinformedtheapproachtocastingthetwoyoungleadroles.Theactorswouldhavetobeabletosurf.ThatnecessitywassomethingSimonBakerfeltcomfortablewith.“It’sprobablyeasiertolearntoactthanitistolearntosurf,”heexplains.“Ithinkyoujustneedpermissiontolearntoact.”Bakeralsowantedtocastnon-actorsasLoonieandPikeletbecausehefeltthattherawnatureofthecharacters—twoboyslivinginaremotecorneroftheworldinthe1970s—couldbedifficultfortrainedactorstoaccessinanauthentic,uncomplicatedway.Anationalcampaignviasocialmediaaswellastraditionalchannelscommenced,ledbycastingdirectorNikkiBarrett.ThehighleveloftalentinvolvedwithBREATH,pairedwiththefactthatthebookwaswidelylovedinAustralia,ledtoanenormousresponse.Castingwouldtakeayear.“IhadanexpectationofwhatIwantedtoachieveasfarasalevelofauthenticity,”Bakerexplains,“sothebarwashighandIknewthatcastingwasgoingtobecomplicatedandtimeconsuming,anditwas.”BakerandNikkiBarrettweremovedandimpressedbythelevelofcommitmentfromeachofthecandidates,whosubmittedintroductoryvideos.“Itwasprofoundlyenergisingandmotivatingtoseehowmanyyoungpeoplewereinterestedinputtingthemselvesoutthere.Kidswouldrecordthemselves,orsisterswouldrecordtheirbrothers,itwasfantasticandwehadamassiveresponse.Weslowlywentthroughthemallandnarrowedthemdownintolists.”Oncethetworoleswerecast,BakerengageddramacoachNicoLathouris,whohehadworkedwithmanyyearspreviously,tohelpintherehearsalprocessandgivetheboystheirownstrengthandfoundation.ThedualroleofactinganddirectingthenoviceperformersenergisedBaker.“Iwasrighttherewiththem.IfIwasnotinthescene,Iwasrighttheredirecting,andifIwasinthesceneIwasrightthereactinganddirecting,soitwasaveryefficientwaytoapproachthings.”Fromtheoutsetofthesixweekshoot,Bakerdeterminedtosetuparelaxedatmosphereonsetforthetwoyoungleads.
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“Ididn’twanttheboystofeelanytension,anyofthatuptightrigourthatcanmanifestonafilmset,”heexplains.“Itwasveryimportantformethatitwaslooseandorganic.Theyweresowillingandsofreethatitbroughtoutthatjoyfulexcitementoutineveryone.Theseyoungboyswereupforanything,theywerephenomenal,andIamsoproudoftheirwork.”ExecutiveproducerTomWilliamssaysofthetwoyoungactors:“Wegottowatchthemrealisewhatthecraftisabout.Iremembermeetingthemforthefirsttimeandtheywerecracklingwithenergyanditwasclearthateachofthemhadanelementofthecharacteronthepagewithinthem.ItreallywasaboutwatchingSimonpullthatoutandshapeitintowhatneededtobethereonthescreen.”Intheend,TimWinton,whohadfirstcreatedthecharacters,hadthehighestpraisefortheentirecast.“Thecastingwasmasterfulforthisensemblepiece.Watchingthemallatworkboreoutthejudgementofthepeoplewhomadethosecastingdecisions.Theyfoundterrificactors.”PIKELET–PORTRAYEDBYSAMSONCOULTERPikelethasgrownupinalovingandsafefamilyenvironment,buthe’sonthecuspofanagewherehebeginstocravethingsotherthansafetyandfamiliarity.SimonBakersays:“Whenyou’retwelveyourhorizonisnotthatwide,butitseemsenormous.Fromthatperiodon,allyoudoisstretchyourhorizonoutfurtherandfurther.Ifyou’daskedmewhenIwasfifteenwhatIwantedtodowithmylife,IwouldhavesaidIwanttodoanythingbutbethesameasmyparents.Ijustwantedtobedifferent.It’sanaturalrebellionandonethatdefineswhoyouare.”PikeletisportrayedbynewcomerSamsonCoulter,whogrewuponManlyBeach,justnorthofSydneyHarbour.Coulterwasalertedtocastingnoticesbyhisparentsandbyateacherathisschool.Coultersays:“Ihaddonedramaatschool,butI’dneverreallyimaginedactinginafilm.Whenthepartcameup,Ithoughtitwasinterestingbecauseit’srarethatthere’sapartwheresurfingandactingmergetogether,soitappealedtomestraightaway.”Asfatewouldhaveit,CoulterhadreadBluebackbyTimWintonandwasjustabouttoreadtheauthor’s2015memoir,IslandHome.Coultersentinaninitialauditionvideo.Anauditionandcallbacksfollowed,andfinallyaworkshopwithSimonBaker,NikkiBarrettandafewothershortlistedboys.AftertheworkshoptherewasatimegapandCoulteralmostforgotaboutthefilminthemaelstromofschoolworkandsurfing.“Inthesummerholidayswewereupnorth,outofSydney,andmumtrickedmeandsaidthatshe’dgotacallfromthecastingpeopleandsaidinasadvoice,‘IspoketotheBREATHpeople…’andIthought,Iprobablydidn’tgetthepart.Thenshesaid,‘YougotPikelet!’Icouldn’tbelieveit.Simoncalledmethatafternoontocongratulateme.”ThelureofthewaterthatdrawsPikeletwassomethingCoulterhadfelthimself—hissurfingprowesswouldprovenotonlyatechnicaladvantagebutanemotionaladvantageforplayingthenrole.“I’vebeenasurferforever,foraslongasIcanremember,”explainsCoulter.“Pikeletisacomplexcharacterandhasadeeplovefortheocean.”Astheshootcommenced,CoulterhadtoacclimatisetothecolderwatersofthesouthcoastofWesternAustralia.HedevelopedaroutineofsurfingwithBenSpence,whoplayedLoonie,whennotshooting,
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whichwouldhelptheboystobondandrefinetheiractingskillshelpedtheboysbondmorecloselyandrefinedtheiractingskills.“Simonoftensaidtomeonset,‘Justdon’tact’,whichisafunnyonebecauseyou'reactingandhewastellingmetostopacting.Ihadtothinkaboutthatforawhile,tolistentowhatwasunderneaththosewords.”BytheendofBREATH,Pikelet’sfutureseemsassured,atleastintermsofthepersonhewillbecome.Hisstoryislearningthatcourageismorethanphysicalbravery,thatit’sembracingwhoyouareandtakingresponsibilityforyourlife.ExecutiveproducerTomWilliamssays:“SimontalkedaboutBREATHasafilminwhichtheherodoestheheroicthingbynotslayingthedragon.Sometimesthecourageousthingistowalkawayfromafight.Inthismovieitisavictorythatheisabletostandonhistwofeet.Pikeletisacharacterwho’sgoingtobesolid.”LOONIE–PORTRAYEDBYBENSPENCEInPikeletandLoonie,TimWintonimaginedtwocharactersthatwereverydifferentbutdrawntoeachotherforspecificreasons.“Pikelet'sacarefulboy—he'sconsidered,responsibleandwhatattractshimtoLoonieiswildness.Loonieisadamagedboy;he'sungovernableandcompletelyunableandunwillingtobecontainedbysocialproprieties,byanykindoflimits.He’sthiswildsparkwhointroducesPikelettoamoreadventurouswayofbeingintheworld.”PikeletseesthatLoonie’svibrancyisalsoself-destructive,drivenbyhisdirefamilycircumstances.Looniewilldoanythingbecausehedoesn'tcareifhelivesordies;Pikeletcomestorealisethatlifeissacred.SimonBakerfeels“enormousempathyforLoonie,becauseIhadmanyfriendswhowerelikehim.ThereweretimesthatIwaslikehim,soIunderstandexactlywhereLoonieiscomingfrom.Hewantsto,likeallkidsdo,knowthathehassomewheretobelongandthathe’sofvalueinsomeway.Hewantstoknowthatsomeonecaresabouthimandthatsomeonefeelsforwhoheis.Loonieistryingtofigureoutwhoheis,buthasatotallydifferentsetofcircumstancestoPikelet.”LoonieisportrayedbyBenSpence,whoatthetimeoffilmingwasa15year-oldsurferfromtheMargaretRiverregionofWesternAustralia.“IfirstheardaboutthefilmwhenSurfingAustraliasentoutacallaboutafilmthatwaslookingforasurferkidtobeinit,”recallsSpence.“MyMumsentinaphototoNikkiBarrettandIauditionedforher.Afterthat,IgotsenttoSydneyforaworkshopwithSimonBakerandthenIgotthejob.”Ofthecomparisonsbetweenactorandcharacter,Spencefeelsthat“Loonieisadaredevilwhowantstodoeverythingat100%.Loonie’slifeissimilartomineintermsofwantingtosurf,doingpranks,buthe’sdifferentinthathe’srecklesstothepointthathe’dkillhimselfdoingsomethingtoshowoff.”Oftheactingexperience,Spencesays:“Itwasweirdatthestart,gettingmakeupandthatsortofthing,butitwascoolgettingabuffeteverymorning.Itwasinteresting,tiringandhardwork,butitwasfunandworthit.Simoncallsit‘professionalbullshitting,’youpretend,butyouputyourselfinthatsituation,youbelievethatyouarethecharacter.WhenIhadthefirstsceneoutofthewayIfeltprettycomfortable.”
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Spenceexecutedhisownstuntofridingabikeandgrabbingholdofautilityvehicle.“Iwouldn’tcallitastunt.Well,itprobablyisforthemovie,butIfeltprettycomfortablebecausetherewasapolethereaswell.Idothatstuffathome,soitwasfairlysimple.”SpenceandCoulterdrewfromtheircommonexperiencesworkingwitheachother—surfingandbeingfirsttimeactors.“BecauseIwaswithSamsoninworkshopsandthenaswestartedtheshoot,Iwascomfortablewithhim,”saysSpence.“He’safunnykid,similartomyfriendsathomesoprettycooltohang.”CoulterseesSpenceas“alegend.Itwasgoodtobewithsomeonewhoisinthesamesituation,whohadn’tactedbefore,becauseyou'rebothaskingthesamequestionsandwonderingthesamethings.Hewasgreattobearound,helovesalaughandhe’stheperfectLoonie,Ireckon.”SANDO–PORTRAYEDBYSIMONBAKERSandohasexperiencedgreataccoladesintheworldofinternationalcompetitivesurfing,butisnowlivingoffthegridwithhiselusivewife,Eva,inaremotecoastalhouse.PikeletandLooniearedrawntohisgoldenhuedaura,andhe,atfirstnoncommittally,adoptsaroleasmentortotheboys.OfthepullthatPikeletfeelsforSando,SimonBaker,whoportrayshim,says:“MrandMrsPikehaveonechildandthatchildispullingawayfromthem,wantingtobecomehisownperson.ThePikehouseholdisrestrained,respectful,andthereisacontrastingdynamicatSando’shouse.Theyactuallyyellateachotherandhaveargumentsandsmokepotanddoalltheseexcitingthings.”Pikeletisatfirstseducedbythepossibilitiesoffreedomandself-expressionthatSando’sworldevokes,butashegrowsup,theperspectiveofthefilmtowardsSandomatures,revealingthefissuresandthecracksinhisworld.Bakerseemedfatedtoplaytherole;whenTimWintonmetwithSimonBaker,theauthorsaid:“YouweretheguyIhadinmyheadtoplaySando.”“Sandoissomeonewho’sattractivetotheseboysbecausehe’sgotamysticalwarriorpersonathattheycan’tgetenoughof,”saysWinton.“Sandoisaskilledandthoughtfulperson,buthe’strappedinhisownboyhood,hehasn’tbeenabletorelinquishhisowngoldenyouth.He’sextendinghisyouththroughLoonieandPikelet.”Asthefilm’sjourneyplaysout,itbecomesevidentthatSandoisgettingmoreoutoftherelationshipthanPikeletis.“Pikelet,andLoonie,getoutofhimwhattheycanandeventuallytheyseethroughhim,”Wintoncontinues.“IseeSandoasakindofatragicfigurereally.Aninterestingmanbutaguywhosettledforaversionofhimselfandhe'snotbraveenoughtomakeanotherstepintoadifferentphaseofhislife.”EVA–PORTRAYEDBYELIZABETHDEBICKIEva,Sando’swife,isaformercompetitiveskierwhosecareerwascutshortbyatraumaticanddebilitatingkneeinjury,fromwhichshestillsufferspainandreducedmobility.SandoandEvaliveinamicrocosminwhichSandoisstilllivingadimlylitversionofhisdream,butEva’sidentityhasbeenviolentlywrenchedfromher.Thetwoweredrawntogetherbythemutualloveofthe
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rushofadrenalin,bythepowerofrisk,whichissomethingshecannolongerexperience.Thecoreoftheirrelationshiphasbeenfractured.Sando,heronlyconnectiontotheoutsideworld,isincreasinglydistractedbyhistwoacolytes.EvaisportrayedbyyoungAustralianactressElizabethDebicki,whowasdrawntotheroleitself,aswellastothesourcematerial.Shewasthefinalactorcast.“EvaisAmerican,sowe’dbeenlookinginthatdirection,”saysproducerJamieHilton.“Threeweeksbeforetheshootbegan,IwastalkingtoElizabeth’sagentaboutanotherfilmandheragentsaid,‘HaveyouthoughtaboutElizabeth?’andIsaid,‘LetmetalktoSimonabouther.’”Bakersaid“ElizabethDebickicarriesherselfwithgreatpoise.Shehasemotionalandintellectualconfidence.IfelttheideaofseeingsomeonesocapablestrugglewithEva’scircumstanceswouldbedramaticallyinteresting.”“IwasfascinatedbyEva,”Debickiexplains.“She’sacomplexamalgamationofpainandfrustration.She’swarmandlovingbutshe’sstrugglingprofoundlybecauseheridentitywassowrappedupinherprofessionasanathlete.She’slikeacagedanimal;she’sincrediblyvulnerablebecauseshedoesn’thavecontroloverherlifeanymore.She’satthemercyofSandoandhislifedecisions.”Eva’sboredomandherdesiretohavesomeagencyinherownlifeleadstoadarkjourneyforPikelet,whoisbewitchedbyher.“IwasintriguedbytherelationshipwithPikeletandwhatthatmeansandwhysheentersintoit,”saysDebicki.“TherearealotofunansweredquestionsaboutEvaandthat’swhyIlovedher.”ThewaythatSandoandEvaliveevokesthesocialmovementofthetimeof‘livingoffthegrid’.ThetruthofthecharacterstruckTerriLamera,thefilm’scostumedesigner,whohadlivedincoastalWesternAustraliaduringtheseventies,andwasconnectedtothetypesofpeoplethefilmportrays.“Forsurfers,lifeisaboutsurfing,”Lameraexplains.“Ifyouwanttocomealongfortheride,comealongfortheride.Forawhile,Irememberfeelingcomfortedandcomfortableinthatlifestylebecausethereweresofewexpectations.Therealityoflivingwithoutelectricityandlightingafirewhenyouwantanythingheated,goingoutintotheforesttohaveashowerwhenit’sfreezingcold,isnotasromanticasitseems.Iknowalotofwomenwhobathedtheirchildreninthesinkbecausetheydidn’thaveabath,andlivedinashedbecausethehousethatwasbeingbuiltnevergotfinished,itwasarepetitivestory.Addedtothat,theisolationoflivinginthoseplacesbyyourselfwhentheguy’sawaysurfingforwhoknowshowlong–alotofthoserelationshipsfelltopieces.”Bakersays,“Elizabethhasarigorousapproachtoherwork,sheworksveryhardandshetakesitveryseriously.Ittookheradayorsotounderstandthetoneonset,thatitwassafetotakerisks.Shedidawonderfuljobinoneofthemostdifficultrolesinthefilm.”MRPIKE–PORTRAYEDBYRICHARDROXBURGHAustralianactorRichardRoxburgh,whoplaysPikelet’sfather,hasalongconnectiontoTimWinton’swork.Theactorexplains:“IreadThatEye,TheSkyintheearly1990sandthoughtitwouldmakeafantasticpieceoftheatre.So,amateandIcreatedapieceforthetheatrecompanythatwehadthen.Itwasaveryspecialtime,andTim’sworktranslatesuniquelyandincrediblywelltothestage.”
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Inmorerecentyears,RoxburghwasengagedtoreadthenovelBreathasatalkingbookfortheBBC,aswellasactinginmanyscreenadaptationsofWinton’swork.“Ilovethe‘frequentflyer’pointsthatIhaveintheworldofTimWinton,”saysRoxburgh.“Theremaynotbeanyotheractorswho’vedonemoreWintonwork.BREATHismythirdTimWintonfilm,sothat’sgettingupthere,Ishouldgetpoints.”RoxburghandSimonBakerkneweachotherdistantlywhentheactorwasapproachedaboutthefilmandtherole.“IwasattractedtoworkingwithSimonbecauseI’vealwaysthoughthewasalovelybloke,aterrificactorandIthoughthewouldworkreallywellwiththeyoungactorsplayingPikeletandLoonie.Simonisaverysubtleactorandyouneededsomebodywhocouldworkverydelicatelywiththeboysinthoseroles.”MrPikeisatinkerer,apotterer—amanwhospendsmostofhissparetimeinhisshedfixingthings,asRoxburgh’sownfatherhad.Notjustthecharacter,butalsothecontextevokedstrongfeelingsforRoxburgh.“Therewasagreatbeautyandnostalgiaformeinthefilm.IwalkedintothePikefamilyhousecreatedforthefilmanditwasincrediblymoving.TherewereprintpatternsintheloungeroomthatIhadn’tseensinceIwasaboy—ourhousewasinfestedwiththembecausewewerenothugelywelloff.Theparaphernaliaoftheseventieswithinthefilm,that’swhereIgrewup.”RoxburghseesWintonasawriterwhospeaksinaveryparticularwaytoAustralians.“Heringsabell,certainlywithmychildhoodandtranslatesitbeautifullytothepage.HisthemesoccupyaspecialplaceintheAustralianimaginationbecausehetalksbeautifullyaboutlandscape,aboutwater,andaboutthisstrangeplacethatweoccupyinthelandscape,pastedaroundtheperipheryofit.”MRSPIKE–PORTRAYEDBYRACHAELBLAKEWhenactressRachaelBlakewasPikelet’sage,she’djustmovedtoAustraliafromEnglandwithherfamily.“Iwasinacompletelyalienenvironment,itwashotatChristmaswhichwasbizarre,andIwastheposhgirlatschool.Iwasrelentlesslyteased.Iwasabitlostandincrediblyshy.WeusedtohaveajokeinthefamilythatIusedto‘hidebehindthecouch’whenanyonevisited—aninvisiblecouchthatIusedtodragoutinconversationsandhidebehind.”BlakewaslivinginLondonwhenshefirstencounteredBreath.AnAustralianfriendwhohadbeenahouseguestlefthertherecentlyreleasedhardbackasaleavinggift.“ItwasbeautifulbecausereadingitwasalittlesliceofAustraliaunderthegreyLondonskies.ThewayTimWintonwriteshasanelegancetoit,andIdon’tmeanstylistically,Imeanamathematicalelegance.Hetellsastoryinthesimplestpossibleform,therearenocomplicationstohiswriting.Ifinditincrediblyaccessibleandvisual.”BlakeseesMrsPikeasawarm,supportiveparentwhodoesn’tquiteknowwhatherchildisgoingthrough,butwhoallowsPikelet’srebelliontohappenwhilesupportinghim.“Ithinkit’sanincrediblyevolvedthingtodo.She’swatchinghersonpushawayfromherbutit’snotawar,it’ssomethingthatsheallowstohappen.It’sunconditionallove.Inthebook,Wintondescribesthe
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relationshipastendernesswithoutintimacy.Icanseethat,becauseonehandispushingawayandtheotherhandisholdingon,butit’salsoaverysweetinclusivewayofbeingthattheyhavewitheachother.”ForBlake,theparticularityofthesettinghasarelevancetothewaytherelationshipbetweenmotherandsonplaysoutinBREATH.“Perhapsbackintheseventiesthesewereproblemsthatwesolvedourselves,whereasnowMrsPikemightbeonlinelookingforpointersabouthowtotalktoherson,shemighthavefoundatherapist,shemightbeonaFacebookgroupforwaywardkids,there’dbemoreinfrastructurearoundit.Inthisinformationdrenchedworld,Ican’timaginethatthemicrocosmthey’vecreatedthatexistsonlyaroundthemwouldbethere.”MrandMrsPikehavealongestablishedrelationship,tothepointwheretheydon’tdirectlyspeaktoeachotherthroughthecourseofthescript.Rather,theycommunicatetoeachotherthroughtheirchild.WorkingtogetherforBlakeandRichardRoxburghwasnotanewexperienceforthetwoactors,norwasplayingamarriedcouple.“RachaelandIplayedBobandHazelHawketogetherinoneincarnation,”recallsRoxburgh.“ShewasalsorecentlyinmyshowRAKE.It’salwaysgreatworkingwithher,she’sanatural,she’sterrific.”ForBlake:“IlovethatRichardandItaketheworkseriouslybutwedon’ttakeourselvesseriously.WhenRoxison,he’scompletelyon,andthenwhenwe’reoffsetwecanlaughandrelax.Iadoreworkingwithhim.”TheproductiondesignofthePike’shouse,asitdidforRoxburgh,evokedstrongmemoriesforBlake.“It’sthattendernessoftheseventies.Thebeach,thedenimshorts,thewaves.Summercameintoyourhousethen.Therewasnoairconditioning,nomobilephones.Ifyouwantedanote,youhadtowriteit.Therewasanimmediacythatlifeforcedyoutohave.”
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THEPRODUCTIONFINDINGTHELOCATIONSDespitetheuniversalityofthebook’sthemes,thespecificityofthelandscapewouldbevitaltocreatingthevisualandemotionalworldofthefilm.ForTimWinton,thesouthcoastofWesternAustraliahasasignificantimpactonhiswork—mostofhisbooksandshortstoriesaresetinortouchonthisregion.“Ithinkit'sthestrangest,mostenigmaticandbeautifulpartoftheworld,”hesays.“Iwentthereasanexileat12yearsoldandhatedit,partlybecauseitwasalwaysraining,butwhenIleftIfeltthatithadgotundermyskinanditwaspartofmeforever.”InBREATH,thelandscapeshapesthecharacters-theirbehaviourandaspirationsarestronglyinfluencedbytheparticularpersonalityoftheenvironment.“Australiansarelikethat,Ithinkmorethanmanyplaces,”Wintoncontinues.“We’retheproductofourgeography.Sointhesensethatthefilmshowshowoverpoweringthelandscapeandthecoastis,thatmakesitquintessentiallyWestAustralian.”Despitethis,WintonhimselfinitiallyencouragedSimonandMarktomakethefilmelsewhere.“IsuggestedthattheycouldmakethefilminCaliforniaanditwouldbefinebyme,butSimonandMarkwereverykeentomakeitinWesternAustralia.Tobehonest,Iwasalittleanxious,itwasliketheworldwasgoingtocometomylittlesecretplace,butIknewdeepdownthatitwastherightplacetomakeit.Theirinstinctswereright.Iwasbeingselfish,IwasdressingitupasaltruismthatIdidn’twanttodisturbthelocalcommunity,butreallyIjustdidn’twanttosharethesecret.”Duringthewritingprocess,Bakerconductedlocationresearch,flyingtoPerth,drivingdowntoAlbanyandthenbackuptoPerthalongthecoast,lookingfortheperfectplacethatfeltlikeithadthevariousaspectsthatwerenecessaryforthewayinwhichhewantedtotellthestory.Thedirectorexplains:“InBREATH,thebeachandthecoastlineareimportant,asisthecoastlineinrelationtothetownandwhatthetownrepresents.Eventhoughyoudon’tgettoseethetownmuchinthefilm,yougetagoodsenseofthejourneyfromthetowntothecoastandtheestuary,andhowtheestuaryconnectstoPikelet’slife.Allthosethingsareintrinsictothewaythestorystacksupemotion.”Findingthisideallocationwas,intheend,fortuitousandspeedy.“Attheendofthefirstday,wearrivedatalittletowncalledDenmark,”recallsBaker.“Wedrovetowardsthebeach,itwasaround4pmandthelightwasgorgeous.WewentuptoalookoutandfromtherewecouldseethesweepofOceanBeachandtheNullakiPeninsulalitupinthedistance.Itlookedsomajesticbutalsoinvitingandnurturing.Thebeachwasn’tverydeveloped,andincrediblyrugged,andIthoughtthisisgeographicallyexactlywhatthetownfeelsliketomeinthebook.”“IsaidtothelocationmanagerandtoJamieHilton,‘Thisistheplace’.Wetookphotographsthen,andmanyareverysimilartoshotsinthefilm.IhaveaphotographofthebackofthePikehousethatweusedinDenmark;itwasthefirsthousewewentto.Welookedatotherhousesandwentthroughawholeprocessbutendedupcomingbacktothathouse.”WhentheteamreturnedtoPerth,thatDenmarkwastheideallocationwasinpartendorsedbyTimWintonhimself.
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“TimaskedifI’dfoundanywhereIwantedtofilm,”Bakercontinues.“WhenImentionedDenmark,hesaid‘Oh,that’sinteresting’andleftitatthat.Legendhasit,thereisahouseinDenmarkthathelivedinwhenhewrotethebook,somethingwhichTimhasneitherconfirmednordenied.”WiththehelpofgovernmentfilmfundingagenciesScreenAustraliaandScreenWest,andgovernmenteconomicandsocialdevelopmentagencyGreatSouthernDevelopmentCommission,filminginandaroundDenmarkbecamefeasible,intermsofbudgetandlogistics.ExecutiveproducerTomWilliamssays:“ThedreamhadbeentofilmBREATHinWesternAustralia.Wethoughtwe’dprobablyhavetoshootitsomewhereelsebutwhenitbecameareality,itreallyexcitedus.WewereincrediblywellsupportedbyScreenAustralia,ScreenWestandtheGreatSouthernDevelopmentCommission.Theygaveusnotonlythefinancialsupportbutalsoincredibleadvice.Theyrecommendedthebestwindowoftimetoshootthefilmin,intermsofidealweatherconditions,andtheysupportedeverydecisionthatwemade.Itwasaveryharmoniousrelationship.”Winton’shesitationsaboutthelocalcommunitybeingdisturbedwereintheendnotnecessary.Theproductionwouldbeapositiveforthearea,employinglocalsinavarietyofrolesandinjectingmoneyintothecommunity.PRODUCTIONDESIGNProductiondesignerStephenJones-EvanshadreadBreathbeforebeingsentthescriptandwasfamiliarwithWinton’swork.“WhatreallyattractedmetotheprojectwasthefactthatIwasPikelet’sagein1975andIlivedthroughtheworlddepictedinthebookandthefilm,”saysJones-Evans.“Mybrotherwasahugesurferintheearly1970s—thoughIwasn’tasurfermyself,Iunderstoodthatculture.”Jones-EvanswasalsodrawntoBaker’sprofoundconnectiontothestory.“BecausethisstoryisreallyaboutSimon’supbringingaswell,whenwediscussedtheapproachintheinitialstages,wewerealwaystalkingaboutitfromaplaceofauthenticity.YoufeltthatSimonhadlivedthis.”ThefirstparametersoftheproductiondesignthatBakerandJones-Evanssetwasthattheydidn’twantovertlyiconicimagesfromthe1970s.Theyeschewedadrippyseventiesperiodapproachinfavourofastrippedbackaesthetic.“Becausethe1970shasbeentreatedsoiconicallyinanumberoffilms,wewantedtogobacktoamonochromatic,raw,unfilteredlookattheperiod,”explainsJones-Evans.“Welookedatalotofreferences,particularlytheworkofJohnWitzigwhowasoneofthemajorAustraliansurfphotographersoftheperiod.Hispicturesbecameakindofabibleonwhichwebasedourimages.”BakerandJones-Evanswenttogreatlengthstoensureauthenticity.SandoandEva’shouse,theplacewherePikeletandLoonieincreasinglyspendtheirtimeonland,wouldeventuallybemadefromthegroundupwhentherighthousecouldn’tbefoundasanexistingstructure.“ThesortofhouseweneededwasverycommonwhenIwasakidontheNorthCoastofNewSouthWales,”saysBaker.“Ihadthisromanticnotionthatthosehousesstillexistedandtheydotoadegree,buttherewasacertainpointwhenthoselivinganalternatelifestylediscoveredpowertoolsandalotofthefinishesstartedtochange.Theyaren’tashandmadeanymore.”Theteamlookedat45housesbuiltinthe1970s,butmanyhadbeenpartiallymodernisedorhadgardensthatweretoowellestablished.Sando’shouseisaplaceinwhichmanydifferentstorylinesmeetand
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requiredspecificphysicalelementstoenabletheseintersectionstotakeplace.Tobeabletoconnecttheinsidetotheoutside,Jones-Evansandhisteamusedagreatdealofglassandtookadvantageofreflectionstobringnatureintoeachframe.TheoverallimpactimpressedBaker.“ItwasexactlyhowI’dimaginedit.Stephendidawonderfuljob.Whenyoulookatthehouseonscreen,youcanfeelwhatitwouldbeliketorubyourhandonthewalls,youcansmellwhatit’sliketobeinthehouse.Stephen’sattentiontodetailissoprecisethatthosesensesaretriggered.”Aspartoftheproducers’emphasisonemployinglocaltalent,thehousewasconstructedbyabuilderfromtheDenmarkregion.Otherlocalprofessionalsprovidedinnovativesolutionsthatworkedwithinthefilm’sbudget.“Wehadanumberofscenesthatcalledforrain,”saysJonesEvans,“butwecouldn’taffordtobringaspecialeffectstechnicianplusalltheirequipmentfromtheeasternstates.WefoundanirrigationspecialistcalledSimonShepard,gavehimabudgetandheboughtplumbingpipeandhoses,didanumberoftestsand,withfewadjustments,hecreatedtwofantasticwatertowersthatcreatedourrain.”OneofthefirstpeopleJones-EvansemployedintheArtDepartmentwasJodieCooper,aformerpro-surfer,whowasengagedtosupervisetheconstructionofthesurfingparaphernalia,which,again,neededtobecompletelyauthentictotheperiod.“JodiehadworkedintheArtDepartmentonanumberofotherfilmsthatI’dworkedon,soIknewIneededtogetheronboard,becauseitrequiredthatlevelofauthenticity.BecausesurfingwassuchabigpartofSimon’supbringing,Iknewhe’dbeverydetailfocusedonthoseaspectsofthedesign.JodieisfromthepartofWesternAustraliawewerefilmingin,sheknewallthesurfspotsandknewthecharacters.Igotheronearlytostartresearchingandmakingalltheboards.”BenSpence,whoportraysLoonie,wasstruckbythedifferencesbetweenthefilm’sboardstothoseheusestoday.“Thesurfboardsweredifferentinalotofways,theyhadasinglefin,theyhadn’tdiscoveredthethruster,andtheywerealotthickerandlonger.Theywereverydifferenttorideinthefilm,hardertoturnandhardertospeedon.”AkeypartofJones-Evans’setwasthelandscape,socrucialtoWinton’sworldwhichplaysacrucialpartinWinton’sworld.“TheregionwefilmedinhassomeofthebestcoastlineI’veseeninAustraliaandwasreflectiveofhowwetreatedtheperiod,”heexplains.“Itfeelsveryraw,andhasthisbeautifulflawinthewaythatthepeppermintscrubrollsdowntomeetthewhitesand,whichmeetstheaquabluesea.You’vegotnothinginfrontofyouexcepttheAntarctic,soyou’vegotthosewildsouthernoceanspushinginonthisincrediblelandscape.”COSTUMEDESIGNandHAIRANDMAKEUPCostumedesignerTerriLamerawasnostrangertofilmandtelevisionadaptationsofTimWinton’sbooks,havingworkedonthemini-seriesadaptationofCLOUDSTREETin2011.LamerafeltparticularlydrawntoBREATH,becauseshe’dlivedinWesternAustraliainthe1970s,emulatingasimilarlifestyletothatofSandoandEva.“AlotoftheguysthatIhungoutwithsurfed,”sherecalls,“alotofpeoplewerebuildingtheirownhousesoutinthebush,tryingtofindabetter,non-materialisticlifestyle.IknewalotofSandos,andIthinktherearestillalotofSandoshidinginthehillsbehindDenmark,whichisoneofthethingsthatgivestheplaceitscharm.”
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Lameracompiledavisionbookofcostumeconceptsanddesigns,whichcombinedJohnWitzig’sphotographsalongwithpersonalphotographstakenbyLameraandfriends,someofwhomstilllivethatlifestyle.Aswiththeproductiondesign,BakerandLamera’saimwastopareback,tokeepthecostumesassimpleandauthenticaspossible,andtointegratethemwithandtakeinspirationfromtheenvironment.“Simon,StevenJones-EvansandIcreatedapalettethatdrewonDenmark’suniquecolours,whicharequitedifferenttotherestofWesternAustralia.Wedyedalotoftheclothingandagedthepieces,tocreaterealism.Simonwaskeenforustousealotoftextureintheclothingsoweproducedalotofbeautifulhandknits.WehadalocalladywhoknittedsomebeaniesforLoonieandwesourcedantiquehandspunwoolsfromMelbournethatweknittedintojumpers.”PikeletandLooniearekidsintheearlyscenesofBREATH,soLameradressedthemingenericold-fashionedswimshortsandT-shirts,dyedtothecoloursoftheirsurroundings,andinPlimsolls.Whenthepairbegintouseproperboards,theirlookbeginstoimitateSando’s.OfSando’scostuming,Lamerasays:“Simonisasurferandhegrewupasurfersohelookslikehebelongsinwhatwedressedhimin,andinfactoneofthethingshewearsinthefilmisajumperthathismumknittedforhim,whichlookstotallyrightfortheperiod.”LameraworkedcloselywithhairandmakeupdesignerShaneThomas,whoshe’dlastworkedtogetherwithyearsearlier.“Ihadn’treadthebookwhenIwascontactedbySimontomeethimandtalkabouttheproject,”Thomasremembers.“OncewestartedchattingandIcouldseehowexcitedhewas,andhowinterestingthesubjectwas,Iwasonboard.Whatexcitedmeweretheintricaciesofagingthesetwoboys,from13to16,withoutmakingitlookhokeyorcontrived,butcreatingafreeflowingcomingofage.”ForLoonieandPikelet,Thomasreferencedvariousphotographsfromtheperiod,inwhichyoungsurfershadoftencuttheirfringesoffsothattheirhairdidn’tfallintheireyeswhentheysurfed.Hehadtheaddedchallengeofagingthetwoyoungactors.“Ithoughtthatthebestwaytoapproachitoverallwouldbethroughskintoneandslightlychangingtheirhairlengthandcolours,”Thomassays.“Whenthey’reyounger,theyhaven’tbeenasexposedtothesunsoIkeptthempaler.Astheygrowup,they’remoreexposedtothesun,soIgraduallydarkenedtheirskintones.”“IdidatrickwithLooniewhereIgavehimafringeandunderneaththatfringethere’sashorterfringe.ForsceneswherehewasyoungerIpushedthosebitstothesidesoyou’dseeashorterfringe,andthenwhenhe’solderIbroughtitheavieratthefront.”ForElizabethDebicki,playingEva,Thomassays:“TheimagerythatkeptcomingupwasJoniMitchellandIthoughtthatwasareallygoodwaytogo.JoniMitchellwastheperfecticonicseventieswoman,andbeautiful,asElizabethis,sothat’swherewestartedintermsofhairstyle,lengthandcolourforEva.”Oftheinterplaybetweenthetwodepartments,Lamerasays:“There’snopointincreatingacostumethatlooksauthenticifthehairandmakeuparen’tauthentic,you’vewastedyourtime.ItwassuchajoytoworkwithShaneandseeitallcometogether.IbroughtShaneintothecostumeareatoshowhimwhatIwasdoing;wewentthroughWitzig’sworktogetherandlookedatdifferenthaircutsfromtheperiod.FromthemomentthetwoboyswentintoShane’strailerandcameoutwiththeirhaircuts,itcompletelychangedthelookandhadahugeimpact.”
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BothLameraandThomasfelt,fordifferentreasons,powerfullymovedbyhowworkingonthisstoryinterplayedwiththeirownexperiencesasyoungpeople.“Iwasintearsmanytimesonthisjob,”Lameraconfesses,“athowrealitfelttomeandhowmuchitremindedmeoftimeswhenIwasyoung,wheneverythingwasfullofpromiseandlifewassimple.”“IcanrelatebecausetherewasalotofangstformewhenIwas15,”saysThomas.“Igrewupinthecountry,andIdidn’tknowwhatagaypersonwaswhenIstartedfeelingthings.Ithinkthere’sacorrelationwithPikelet.Pikelet’sdecisionsendupbecomingethicalandmoral,he’sreallythoughtfulabouthisdecisions.Don’tfeelpressuredtodosomethingthatyoudon’treallywanttodoifyouthinkitisright.Thedecisionshehastomakearesomaturefora16yearold.It’sreallybeautiful.”AphotoofhimselfasaneightyearoldbecameThomas’inspirationforPikelet’shair.“WhenweweretryingtoworkoutwhattodowithSamson’shair,IfoundaphotoofmeasakidinmyiPadcase—I’mnotsurewhyitwasinthere—andIsaid‘IthinkIjustfoundthesolution.’Duringtheshoot,thephotowasstuckonmymirrorasareferenceforthecharacter’shair,butalsotolookintomyeyesasaneightyearoldandfeelthosefeelingsofbeingindestructible,beforeyou'reconditionedbyadultsandbysociety.”THESHOOTFilminginWesternAustraliawasidealforSimonBakerandtheotherproducers,notjustintermsofauthenticitytoWinton’ssetting,buttokeepintegrityindeeperways.“OneofthethingsthatwetalkedaboutfromthebeginningwithBREATHisthatthisbemadeasAustralianaspossible,”explainsEPTomWilliams.“Wedidn’twantthefingerprintsofHollywoodonthismoviesowealwayshad,inourminds,designedthistobeanAustralianfilm.”AustralianproducerJamieHiltonknewthattheteamcouldtakeadvantageoftheparticularincentivesofferedbythestate,includingarecentlyannounced$16millionWesternAustralianRegionalFilmFund,aswellastheexperienceandskilloflocalcrews."WhenpeoplethinkofWesternAustralia,theythinkofminingoragiantdesert.Notmanypeopleknowthattheyhaveoneofthebestfundedandsupportivescreenagenciesinthecountry,andasaresultmuchofAustralia'sfilmproductionhappensthere.Thecrewarehardworking,experiencedandhavegreatequipment,andthelocationsareverydiverseandunderexposed.OurcompanyproducedthreefilmsinWAin2016/2017,afuturisticsci-fi,aPerthsetdramaandBREATH,whichshowcasesthespectacularGreatSouthernregionanditsdramaticcoastline.I'msureWA'snewregionalfilmfundwillgeneratefurtherproductionandgivemorecommunitiestheexperienceofhavingafilmcometotown".Thefilmpresentedaspecificchallengethathaslongfacedfilmmakers—shootinginthewater.“MotherNaturecontrolssomuchwhenyouareshootingafilmondryland,butassoonasyougetoutintotheoceaneveryproblemismagnifiedonethousandfold,”saysSimonBaker.“Youcan’temploythesamerangeofequipmentyoucanuseonland,it’shardtocommunicateonthewater,youhavemorecomplexsafetyissuesandmanyfactorscanchangeinamatterofseconds.”Theproducersassembledahighlyexperiencedwatercameradepartmentwhichwassmallinnumber,toallownimbleness.
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RickRifici,whowouldshootallthesurfingscenesaswellastheunderwaterscenes,broughtwithhimtheaddedbenefitsoforiginatingfromWesternAustralia.Rificihadfilmedawiderangeofsurfingscenes,forTVcommercialsaswellasdrama.“Withmyjob,I’vebeenluckyenoughtotraveltheworld,”Rificiexplains.“Inormallyhittheroadforsixtoninemonthsayear.Dependingontheweatherconditions,wetravelfromFijitoTahititoHawaiithenWesternAustralia.Wefollowthesun,orfollowtheswellrather.”Whereasthemainunitdirectorofphotographyonland,oronaboat,hasasupportcrew,Rificiwasoftenalone,evenforthedialoguescenes.“I’musuallyaone-manbandonceIhitthewater,dealingwithtechnicalaspectsofthecameraandgear,dealingwithMotherNatureinsomeawkwardpositionsattimes.ThesurfingscenesonBREATHweremostlysmooth,andwehadareallygoodsafetyteam.Wefilmedsomepointofviewshotsfromthetinnyoneday,withSimonandSamson,andexperiencedwhat’scalledaghostbommiewherewesuddenlywentoverquitealargewave,buttheskipperhandleditextremelywell,everyonewassafe.Everybodywashighlyexperiencedinwhattheyweredoing.”Baker’sdecisiontocastboyswhocouldalreadysurf,aswellashisownsurfingprowess,greatlybenefitedRifici’sjob.“NormallyIhavetodealwithactorsthatcan’tsurf.Tryingto‘sell’thatthey’resurfers,evenifit’sjustpaddling,letalonegettingtotheirfeetorcatchingawave,isreallyhard,whereasSimonisareallygoodsurferandboththeboysarereallygoodwatermen,soitmadeeverythingauthentic.”Bakerwasimpressedwiththeteam,andwasdeeplythankfulforandawedwiththefinalresults.“Wehadagreatteam.Attimesitrainedandthewindsturnedonshoreandwehadstormsthatbatteredus,butitwasallinornothingandintheend,wegotreallylucky,solucky.WhenIlookatthefilmnowIstillpinchmyselfandcannotbelievethatwewereabletogetwhatweneededtogettotellthestory.”THEFINISHEDPRODUCTEditingBREATHwasasignificantundertaking,giventheamountofnotjustonwaterfootage,butadditionallandfootagethatBakercaptured.“Ihavealwayshadadeeprespectforeditors,butIhaveaparticularlyenormousrespectforDanyCooper,whoeditedBREATH,forherattentiontodetailaswellashercompassion.Sheunderstood,duringtheprocess,thatthestorywasverypersonalforme.”“Themoodwhilewewereeditingwasincrediblycollaborativeandextremelyfocused,”saysCooper.“Simonisaremarkabledirector.Hewasintentatalltimesontellingthestoryinthemostnuancedwaypossibleandtocreateafilmthatfeltveryreal.Hisenthusiasmandloveoftheprojectwasinfectious.”ThemoststrikingchallengeforCooperwhileeditingBREATHwasthewatermaterial.“Choosingtherightpiecestotellthestorywasparamount.AsIhadnotreallysurfed,IreliedonSimontotellmewhatwas‘good’surfingasopposedto‘notsogood’.Somedayswewouldspendadayassessingasinglesetofwaves.Wewouldlinethemupinrows,workoutwhichwasthebestwaveforthatparticularmomentinthestory,thenstarttheworkofmakingsureitfittedintothescene.ThewaveswereshotonaRedcameraat6kresolution,sowecouldcreateframesoutofframes,whichwasagreatbenefit.”
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Thefilm’scomposer,HarryGregson-Williams,isbestknownforlargescaleHollywoodfilmsliketheSHREKfranchise,X-MENORIGINS:WOLVERINE,andTHEMARTIAN.Gregson-Williamsjoinedthefilm’steamonseeinganearlyeditofthefilm,drawntotheperformancesandtoBaker’shandlingofthematerial.“IwasstruckbythesubtleperformancesSimonwasabletocapturefromthetwoyoungboysplayingPikeletandLoonie.Simon,asadirectorandanactor,ismasterfullyconnectedtothestoryanditsintricacies,anditwashiswelcomingcollaborativeapproachthatmademetakeahead-firstdiveintothefilm.”BakerwantedtoensurethatGregson-Williams’musiccommunicatedasenseofsubtlety,spaceandbreath.Becausethefilmtakesplaceinthe1970s,Gregson-Williams’scorebecameprimarilyguitar-driven,andtheharmonicstructureandstylewereinfluencedbythemusicoftheera.Ofworkingonanintimate,small-scaledfilmlikeBREATH,Gregson-Williamssays:“Ihadtobecarefulnotto‘over-score’certainmoments,asmanyoftheemotionalbeatsandrelationshipsweresodelicatelyactedandcrafted.Inthatsense,itwasactuallymuchmorechallengingwritingthescoreforBREATH,becauseasacomposeryoucan’trelyonyourcompositionalinstinctsorfallbackoncertaintricksyou’veacquired.There’snohidingormaskinganythinginsuchanexposedandrawfilmlikethis.Itwasarefreshingandchallengingprocess,whichItrulyenjoyed.”Attheendoftheprocess,theproducerswereawareoftheuniquenessofthefilmtheyhadbeenabletocraft.“It’srarethatyouhavetheopportunitytomakeapicturelikethis,”admitsJamieHilton.“CulturalfundingfortheartsallowsustotellourownstoriesandTimWintonarticulatestheAustralianexperienceinsuchabeautifulanduniqueway.ItwasarealprivilegetoworkwithSimonandMarktobringBREATHtothescreenatthescalewhichthestorydemanded.Australianaudiencesandfilmmakersarefortunatetohavescreenagencies,distributorsandcinemasthataresupportiveoflocalstoriesandtalent."
WORKINGWITHSIMONBAKERSamsonCoulter:“SimontaughtmeeverythingIknow.Itwasamazingtoseesomeonehandlethepressureofmakingafilmlikehedid.Itwasawesometoseesomeonewhowassoinlovewiththestorythathewastelling.”TimWinton:“Icouldn’tthinkofanyonebettertodirectBREATH.ItwasabravethingforhimtodoandIthinkit’sgreattoseesomeoneextendthemselvesasanartist.I’mhappythathe’shavinghisfeaturedirectingdebutwithoneofmybooks,it’saprivilege.”TomWilliams:“Simonhasanincrediblecreativemindandit’sbeeninactingthatmostpeoplehaveexperiencedthat,buthe’sprovenhimselfwithBREATH.Hedirected,hewrote,hewasafantasticproducer,heworesomanyhats.Hisunderstandingandhisabilitytorealisethisvisionisreallyuncommon.”JamieHilton:“Simonisveryspecific,verydirect.Whatmakeshimsostrongasadirectoristhathe’safantasticcommunicator.Hespeakstopeopleintheirlanguageandhasagreatuniversalunderstandingoffilmmakingbecausehe’sgrownuponsets.IfSimon’sdirectingcareerburgeons-ifhe’sthedirectorthatIbelievethatheis-he’llgoontohaveabigfuture.It’sbeenreallyexcitingtobeapartofthebeginningofthat.”
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ElizabethDebicki:“SimonwasverypassionateaboutBREATH.Hedirecteditfromhisheart.Everychoicewasmadewithprecisionandtryingtoaccessthetruthofthemomentforeachcharacter.HedirectswithalotofdetailandspecificityandIlovedworkingwithhimbecauseofthat.”ShaneThomas:“SimonBakerhasaverycalmenergytobearound.He’sagreatdirector,amazingwiththecast,withtheyoungboyswhohadneveractedbeforeheguidedthemexpertly.Thecastingwasflawlessandhedidareallygoodjobwithcrew.Heassembledanincredibleteamofcreatives.”TerriLamera:“Simonissuchawarmandbeautifulhumanbeing.Hehasareallystrongvision,aclearpictureofhowhewantsthingstobe.He’sincrediblyvisualandhasafantasticeyeforbeauty.”RichardRoxburgh:“FromthefirstphoneconversationIhadwithSimon,Icouldtellthathewascompletelyembeddedinthisstory.He’sincrediblypassionateandsweatseverysingletinydetail.Hehasaneasewithactors,becausethat’stheterritorythathecomesfrom,andhe’ssuchagoodguy.”RachaelBlake:“Simonhasanincrediblepassionforthisstory.Whatwasinterestingformewasworkingwithanactorwho’snowdirecting,itwasinterestinggettinginsidehisworld,whichwasverysimple,veryparedback.Hewasalwaystryingtogetawayfromanysortofartifice.”WORKINGWITHSAMSONANDBENElizabethDebicki:“SamsonandBenaregorgeous,annoyinglywonderfulactorsandaresonatural.It’sunfairthattheycansurfsowellandactsowell.Theyseemedborntobeintheseroles,Ilovedwatchingthemwork.”RichardRoxburgh:“SamsonandBenarereallyprettyspecial.Itwasextraordinaryhowrelaxedtheywereactingonfilm,havingneverdoneitbefore.Thenaturaleasethattheyhadwasfantastic.Theybothmanagedtooccupythatterritoryreallybeautifully.”RachaelBlake:“Beniskindoftwitchy,he’sgotagreatqualityIhadn’tseenbeforeandSamsonhasaverysoftqualitytohim.Itwaslikeworkingwithsponges,theywerelearningonthego.Asatrainedactor,theyforcedmetobeveryhonestbecausetheydon’tknowhowtolieyet,whereasasprofessionalactorswelieallthetime.Onsetwhenyou'retellingthetruth,you'relyinginsomerespects.Thiswillbethefirstofmanyfilms,Iwouldsay,tocomeforbothofthem.”
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BIOGRAPHIES SIMONBAKER–Director,Producer,Writerand‘Sando’SimonBakerisaGoldenGlobe®,Emmy®andScreenActorsGuild-nominatedactoranddirector,honouredwithBestActornominationsfortheTVseries’THEMENTALISTandTHEGUARDIAN.HemostrecentlycompletedproductiononhisfeaturefilmdirectorialdebutBREATH,basedonTimWinton’siconicnovel.Aswellasdirecting,Simonalsoproduced,co-wroteandstarredalongsideElizabethDebickiandRichardRoxburgh.FirstgarneringinternationalattentionwhenhestarredintheAcademyAward®-winningfilmL.A.CONFIDENTIAL,Simonhasdevelopedavariedoeuvrethroughouthiscareer.NotablefilmshehasstarredinincludeMichaelWinterbottom’sthrillernoirTHEKILLERINSIDEME,oppositeCaseyAffleckandKateHudson;AngLee’scriticallyacclaimedRIDEWITHTHEDEVIL;laudedboxofficesuccessTHEDEVILWEARSPRADA,oppositeMerylStreepandAnneHathaway;andtheAcademyAward®nominatedandmultipleindependentaward-winningfeatureMARGINCALL,withKevinSpacey,StanleyTucci,JeremyIrons,DemiMooreandZacharyQuinto.From2001-2004,SimonstarredintheTVseriesTHEGUARDIAN,forwhichhereceivedaGoldenGlobenominationforBestActorinaDramaSeries.In2008,hebeganhisroleastheleadinthecriticallysuccessfulinternationalhitTHEMENTALIST.HisnominationsforthisincludedOutstandingLeadActoratthe2009PrimetimeEmmyAwards,BestPerformancebyanActoratthe2010GoldenGlobes,OutstandingPerformancebyaMaleActorinaDramaSeriesatthe2011ScreenActorsGuildAwards;andwastwicenominatedatThePeople’sChoiceAwardsin2011and2015.GerardLee-ScreenwriterGerardLeeisacelebratedAustraliannovelistandscreenwriter.HehaswrittenanddirectedthefilmALLMENARELIARSandwrittenextensivelywithJaneCampion.Theirfirstfeature,SWEETIEhasbeenreleasedbytheCriterionCollection.AlongwithCampion,hewrotetheacclaimedBBC/SundanceChannelseriesTOPOFTHELAKE,whichstarredElisabethMossandreceivedeightEmmynominations,anditssequel,TOPOFTHELAKE:CHINAGIRLstarringNicoleKidman.LeehadbeenafanofWinton’ssincehisfirstnovel,1984’s‘AnOpenSwimmer.’AfterreadingLee’sscriptforthe2014filmMYMISTRESSMarkJohnsonandSimonBakerapproachedLeeaboutadapting‘Breath'forthescreen.GerardiscurrentlyadaptingtheBookershort-listednovel‘Theft:ALoveStory’writtenbyPeterCarey.Hesurfsonaboogieboardandsometimesmanagestostanduponit.MARKJOHNSON-ProducerMarkJohnsonisbothanOscar-(RAINMAN)andEmmy-(BREAKINGBAD)winningproducer,witharesumethatincludesoverfortyfilmsandtelevisionseries.Hisfirstfilm,1982’sDINER,wasacriticalandcommercialhit,andmarkedthebeginningofhistwelve-yearpartnershipwithwriter-directorBarryLevinson.InadditiontoRAINMAN,theirdiverseandacclaimedslateoffeaturesincludesGOODMORNING,VIETNAM,THENATURAL,TINMEN,AVALONandBUGSY,nominatedfor10AcademyAwards,includingBestPictureandBestDirector.Hisrecentslateofmotion
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picturesincludestheCHRONICLESOFNARNIAfranchiseandDavidChase’sdirectorialdebutNOTFADEAWAY.HealsoproducedAlfonsoCuaron’sALITTLEPRINCESS;THENOTEBOOK,basedonNicholasSparks’bestsellingnovel;LanceHammer’sSundanceaward-winningfilmBALLAST;theTimAllenandSigourneyWeaversci-ficomedyGALAXYQUEST;THEROOKIEdirectedbyJohnLeeHancock;MikeNewell’sgangsterdramaDONNIEBRASCOstarringJohnnyDeppandAlPacino;andClintEastwood’sAPERFECTWORLDstarringKevinCostner.Heiscurrentlyinpost-productionontheAlexanderPaynefilmDOWNSIZING,starringMattDamonandtheStevenSoderberghmovieLOGANLUCKY,starringChanningTatumandDanielCraig.InAustralia,JohnsonhasproducedTHECHRONICLESOFNARNIA:THEVOYAGEOFTHEDAWNTREADER,andDON’TBEAFRAIDOFTHEDARK,presentedbyGuillermoDelToroandstarringKatieHolmesandGuyPearce.Beyondthebigscreen,JohnsonhasexecutiveproducedthePeabodyandEmmyAward-winningdramaBREAKINGBADandthePeabody-winningRECTIFY.HeisalsotheexecutiveproducerofSony/AMC’sBETTERCALLSAULandtheAMCoriginalseriesHALTANDCATCHFIRE.JohnsonisamemberoftheBoardofGovernorsoftheAcademyofMotionPictureArtsandSciencesandhasservedfor16yearsastheChairoftheAcademy’sForeignLanguageFilmSelectionCommittee. JamieHilton–ProducerJamieHiltonheadsproductionathisSydney-basedcompanySeePictures.HistheatricaldebutwasClaireMcCarthy’sTHEWAITINGCITY,shotinIndiain2009andstarringJoelEdgertonandRadhaMitchell.JamieexecutiveproducedJulieLeigh’sSLEEPINGBEAUTY,selectedforOfficialCompetitionatCannesin2011,andsellinginallmajorterritories.In2014,JamiefinancedandproducedthesupernaturalthrillerBACKTRACKfordirectorMichaelPetroni(NARNIA:DAWNTREADER,THERITE),THELITTLEDEATHforJoshLawsonandexecutiveproducedWYRMWOOD:ROADOFTHEDEADfortheRoache-TurnerBrothers.In2015,hefinancedandproducedOTHERLIFEforBenC.LucasandtheshortMARTHATHEMONSTERfordirectorChristopherWeekes(MUPPETMAN).DevelopmentprojectsincludeSIERRAfordirectorPierreMorel(TAKEN,THEGUNMAN),sci-fithrillerATOMICA,MattNable’scrimedramaTHE1%,GODFREYforWayneBlair(THESAPPHIRES)andFLAMMABLECHILDRENforStephanElliott(THEADVENTURESOFPRISCILLA,QUEENOFTHEDESERT).Hiltonhasproducedover100shorts,musicvideosandcommercials.HisfilmshavescreenedandwonawardsatCannes,Toronto,SxSW,Tribeca,Sydney,NewYork,Rome,ParisandLondon.Hewasnamedinthetop10peopletowatchbyInsideFilmmagazinein2010andvotedtopproduceratthe2012Melbourne37oSouthMarketbyattendinginternationalfinanciers.AtCannesin2013,JamiewastheonlyAustralianrepresentativefeaturedinScreenInternational’s‘FutureLeaders’showcase.In2015,SeePicturesreceivedEnterpriseGrowthfundingfromScreenAustraliaandIndustryEnhancementandSlateDevelopmentfundingfromScreenWest.SeePicturesandlow-budgetdivisionTickettoRidesetupofficesinPerthinearly2016.TomWilliams–ExecutiveProducerTomWilliamsbeganhisfilmcareerasanassistantatScottRudinProductions,and,aftergoingtoworkatImagineEntertainment,earnedhisfirstscreencreditonTHENUTTYPROFESSOR2:THEKLUMPSasassistanttoBrianGrazer.Soonafter,hebeganworkingforMarkJohnsonatGranViaProductionsandworkedonlocationonfilmssuchasTHENOTEBOOKandTHELION,THEWITCHANDTHEWARDROBE.
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Afterseveralyears,Williamsbeganoverseeingthecompany’sfeatureslate,wherehesuperviseddevelopmentandproductiononTHECHRONICLESOFNARNIA,THEHUNTINGPARTYandHOWTOEATFRIEDWORMS,amongothers.HeservedasexecutiveproducerontheMiramax/FilmDistrictfeatureDON’TBEAFRAIDOFTHEDARK,presentedbyGuillermoDelToroandstarringKatieHolmesandGuyPearce,andco-producerontheindieBLESSME,ULTIMA,directedbyCarlFranklin.HewasexecutiveproduceronTwentiethCenturyFox/WaldenMedia’sWON’TBACKDOWN,directedbyDanielBarnz,andstarringViolaDavisandMaggieGyllenhaal.In2014,heco-directedwithTomDolbythefeatureLASTWEEKEND,starringPatriciaClarksonandJosephCross,releasedbySundanceSelects.CASTElizabethDebicki–EvaElizabethDebickimadeherinternationalfilmdebutin2013,starringasJordanBakerinBazLuhrmann’sTHEGREATGATSBY,alongsideLeonardoDiCaprio,TobeyMaguire,CarrieMulliganandJoelEdgerton.Debicki’sperformanceearnedaBestSupportingActressAwardfromtheAustralianFilmInstitute,aswellasnominationsfromTheAustralianFilmCriticsAssociation,FilmCriticsCircleofAustraliaandtheUK’sEmpireAwards.HergrowinglistoffilmcreditsincludeastarringroleinGuyRitchie’sTHEMANFROMUNCLEwithAliciaVikanderandHenryCavill;JustinKurzel’sMACBETH,withMichaelFassbenderandMarionCotillard;andBaltasarKormakur’sEVEREST,withJakeGyllenhaal,KeiraKnightley,RobinWrightandJoshBrolin.2017releasesincludeGUARDIANSOFTHEGALAXYVOLUME2andtheJ.JAbramsaction-thrillerGODPARTICLE.Ontelevision,herperformanceintheAMC/BBCactionseriesTHENIGHTMANAGERdirectedbySusanneBierhasbeencriticallyapplaudedalongsideco-starsHughLawrieandTomHiddleston.Intheatre,shemadeherprofessionaldebutin2011,starringintheMelbourneTheatreCompany’sproductionofTHEGIFTand,in2013,shestarredalongsideCateBlanchettandIsabelleHuppertinTheSydneyTheatreCompany’sproductionofGenet’sTHEMAIDS,whichreceivedwidecriticalpraiseandwentontopremiereatTheLincolnCentreFestivalinNewYork.RichardRoxburgh–Mr.PikeAward-winningactorRichardRoxburghhasworkedonstageandscreenaroundtheworld.HisscreencreditsincludeMOULINROUGE!,DOINGTIMEFORPATSYCLINE,MISSIONIMPOSSIBLEII,OSCAR&LUCINDA,THANKGODHEMETLIZZIE,CHILDRENOFTHEREVOLUTION,THETURNING(Reunion),MATCHINGJACKandJamesCameron’sactionadventurefilmSANCTUM.Mostrecently,RoxburghappearedoppositeRadhaMitchellandOdessaYounginSueBrooks’LOOKINGFORGRACE.TelevisioncreditsincludetheABChitseriesRAKE,whichhealsoco-creates,producesandwhichrecentlyfilmeditsfourthseason.HisperformanceearnedhimaTVWEEKSilverLogieforMostOutstandingActorandthe2012AACTAAwardforBestActorinaTelevisionSeries.OthercreditsincludetheTVmovieHAWKE,themini-seriesBLUEMURDER,aswellasthedramaseriesTHESILENCEandEASTOFEVERYTHING.Roxburgh’sstagecreditsincludeChekhovadaptationTHEPRESENT(SydneyTheatreCompany),continuinghisassociationwithCateBlanchett,withwhomhealsoappearedasthetitlecharacterintheSTC’shugelysuccessfulproductionofChekhov’sUNCLEVANYA.TheplayhadrevivalsattheKennedyCenterinWashingtonD.C.andattheLincolnCentreinNewYork.AdditionalstagecreditsincludeWAITINGFORGODOT,TOYSYMPHONY,THESEAGULL,HAMLETandCLOSER.Asadirector,hisdebutfilm,ROMULUS,MYFATHER,starringEricBana,drewcriticalacclaimwhenitwasreleasedin2007.RachaelBlake–Mrs.PikeRachaelBlakewasmostrecentlyseenintheABCseriesRAKE,JamesVanderbilt’sfeatureTRUTH,alongsideCateBlanchettandRobertRedfordandAlexProyas’GODSOFEGYPT,alongsideNikolajCoster-
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WaldauandGerardButler.HerroleinMELODYwonhertheBestActressAwardatthe2014MontrealFilmFestival.OtherfeaturecreditsincludeStephenLance’sMYMISTRESS;JuliaLeigh’sSLEEPINGBEAUTY,whichscreenedincompetitionatthe2011CannesFilmFestival;CHERRYTREELANE;PINPRICK;SUMMER,oppositeRobertCarlyle;DERAILED,oppositeCliveOwen;AlkinosTsilimidos’TOMWHITE,whichearnedhernominationsfortheAFIAwardandFilmCriticsCircleofAustraliaAwardforBestSupportingActress,PERFECTSTRANGERS;RayLawrence’sLANTANA,forwhichshewasawardedAFIandIFAwardsandanominationforanFCCAAwardforBestActress,BLINDMAN’SBLUFF,PAWS;andWHISPERINGINTHEDARK.RachaelhaswonanAFIAwardandaSilverLogieforhertelevisionwork,whichincludesMISSFISHER’SMURDERMYSTERIES,WILDSIDE,WATERRATS,HOMEANDAWAY,HEARTBREAKHIGH,THESTRAITSandGRASSROOTS.OthertelevisioncreditsincludeTHEDIPLOMAT,BONVOYAGE,CORRIGAN,NOWHERETOLAND,AUFWIEDERSEHEN,PET,CLAPHAMJUNCTION,INSPECTORLEWIS,FALSEWITNESS,THEPRISONERandHAWKE.BlakewasawardedtheCentenaryMedalforherservicestotheAustralianFilmIndustryin2001.CREWStevenJones-Evans–ProductionDesignerStevenJones-EvansbeganhiscareerdesigningAustralianpopmusicvideosinthe1990s,whichquicklyledtoshortfilmsandeventuallyfeatures,beginningwithGeoffreyWright’sROMERSTOMPER,forwhichhewasnominatedforthe1993AFIAwardforBestProductionDesign.Featurefilmshe’sproductiondesignedincludeJonathanTeplitzky’sTHERAILWAYMAN,starringNicoleKidmanandColinFirth;DanielNettheim’sTHEHUNTER,starringWillemDafoe;THETREE,starringCharlotteGainsbourgandMartinCsokas;AnnaReeves’OYSTERFARMER,forwhichhewontheAFIAwardforBestProductionDesign;GregorJordan’sNEDKELLY,forwhichhewontheIFAwardforBestProductionDesign;andShirleyBarrett’sCamérad'Or-winningLOVESERENADE.Jones-Evanshasbeennominatedatotalof11timesforAFI/AACTAAwards,aswellasIFandAustralianProductionDesignGuildnominations.HislatestcollaborationswerewithdirectorSimonStoneonTHEDAUGHTERandArielKleinmanonPARTISAN,forwhichStevenwasnominatedfortheAACTAAwardforBestProductionDesign.DanyCooper–EditorDanyCooperASEhasanextensivelistofcreditsandawardsforbothAustralianandinternationalfilmsandtelevisionthatincludefourAustralianScreenEditorsAwards,twoAFI/AACTAAwardsandsixnominations,aFilmCriticsCircleofAustraliaAward,aswellasanIFNominationandanEmmyNomination.CooperwonherfirstAFIAwardin1994forMichaelRymer’sANGELBABY.ShewentontoeditSamanthaLang’sTHEWELL,whichscreenedinOfficialCompetitionattheCannesFilmFestival;NeilArmfield’sCANDY,starringHeathLedgerandAbbieCornish;JeremySim’sBENEATHHILL60,ORANGESANDSUNSHINE,directedbyJimLoachandstarringEmilyWatsonandHugoWeaving;andWayneBlair’sTHESAPPHIRES,whichscreenedatCannes.RecentfeaturefilmsincludeHOLDINGTHEMAN,directedbyNeilArmfield,forwhichshewonanASEawardandreceivedanAACTAnomination,andMEASUREOFAMAN,directedbyJimLoachandstarringDonaldSutherland.Cooperwasnominatedfora2004EmmyAwardforherworkontheUniversalPicturesTVminiseriesBATTLESTARGALACTICA.SheworkedonSeasons1and2ofthegroundbreakingIndigenousdramaseries
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fortheABC,REDFERNNOW,aswellasthemini-seriesDEADLINEGALLIPOLI,directedbyMichaelRymerforNBCUMatchbox.HarryGregson-Williams-ComposerHarryGregson-WilliamsisoneofHollywood’smostsoughtaftercomposers,whosescoresspanthespectrumfromactiontodramatoanimation.HewasthecomposeronallfourinstallmentsoftheSHREKfranchise,garneringaBAFTAnominationforthescoreofthefirstfilm;andreceivingGoldenGlobeandGrammyAwardnominationsforhisscoretoAndrewAdamson’sTHECHRONICLESOFNARNIA:THELION,THEWITCHANDTHEWARDROBE.HehasworkedmultipletimeswithhighprofiledirectorsincludingRidleyScottonPROMETHEUS,KINGDOMOFHEAVENandTHEMARTIAN;TonyScottonUNSTOPPABLE,THETAKINGOFPELHAM123,DÉJÀVU,DOMINO,MANONFIRE,SPYGAMEandENEMYOFTHESTATE;BenAffleckonTHETOWN,GONEBABYGONEandLIVEBYNIGHT;JoelSchumacheronTWELVE,THENUMBER23,VERONICAGUERINandPHONEBOOTH;BilleAugustonRETURNTOSENDERandSMILLA’SSENSEOFSNOW;andwithAntoineFuquaonTHEREPLACEMENTKILLERSandTHEEQUALIZER.OtherfilmsincludeX-MENORIGINS:WOLVERINE,THECHRONICLESOFNARNIA:PRINCECASPIAN,BRIDGETJONES:THEEDGEOFREASON,Aardman’sARTHURCHRISTMASandCHICKENRUN,andtheuniquedocumentaryLIFEINADAY.RecentscoresincludeMISSYOUALREADY,fordirectorCatherineHardwicke;THEZOOKEEPER’SWIFE,starringJessicaChastainanddirectedbyNikiCaro;andtheHBOseriesCONFIRMATION.MardenDean–DirectorofPhotographyMardenisayoungandtalentedaward-winningcinematographerworkingacrossdrama,documentary,musicvideosandcommercials.HehasjustcompletedworkonthefeaturefilmBREATH(dir.SimonBaker),recentlycompletedshootingthefeaturefilmBOYSINTHETREES(dir.MatthewMoore)forMushroomPicturesandtheshortfilmPROBLEMPLAY(dir.MatthewMoore)forPorchlightFilms.OtherrecentcreditsincludethefeaturefilmFELL(dir.KasimirBurgess)forFootprintFilmsandFelixMedia,forwhichheearnedanAACTAAwardnominationforBestCinematography.MardenshotthefeaturefilmTHEINFINITEMAN(dir.HughSullivan)forHedoneProductionswhichpremieredatSXSWFilmFestivalandhasbeendescribedbytime.comasoneofthe‘tenfilmsthatmadeSXSWspectacular’.MardenhascompletedaMastersinCinematographywiththeAustralianFilm,TelevisionandRadioSchoolandhasgoneontoenjoycollaborationswhichhavetakenhimacrossAustraliaandaroundtheglobe. RickRifici–WaterCinematographerRickRificiisanaward-winningAustraliandirectorofphotographywithover25years’experience.
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Drawingonskillsanddisciplinesfromhisrootsinbroadcasttelevision,Rickhasprogressedtobecomeoneoftheworld’smosthighlyregardedandsought-afterwatercinematographers,havingworkedonnumerousfeaturefilmsandinternationalTVCs,inadditiontohisongoingworkinactionsportsfilmsanddocumentaries.Althoughhehasshotcountlessproductionson16mmand35mmfilm,Rificiiswellrespectedintheindustryforhisadventurousandtrailblazingattitudetowardstriallingandembracingnewtechnologies.Rifici’sfeaturefilmcreditsincludeADORE,starringNaomiWattsandRobinWrightandDRIFT,starringSamWorthington,forwhichhewasnominatedfortheAACTAawardforBestCinematography.HisTVCandcorporateclienteleincludeinternationalbrandssuchasRedBull,Samsung,Quiksilver,Nike,Mastercard,AdidasandLandRover.TerriLamera–CostumeDesignerTerriLameraisanAustraliancostumedesignerwithover25years’experienceintheAustralianfilmindustrywhoseesthecreationofcharactersincostumeasanimportantpartoffilmmaking.Mostrecently,Lamerawasthecostumedesignerfor1%starringRyanCorrandAbbeyLee;BenElton’sTHREESUMMERS;andthecritically-acclaimedHOUNDSOFLOVE,whichscreenedatthe73rdeditionoftheVeniceFilmFestival.OtherpreviousprojectsincludeLOOKINGFORGRACE,SONOFAGUNandKILLMETHREETIMES.Intelevision,Lamera’smostnotableworkincludesdesigningthecostumesforANACCIDENTALSOLDIER,forwhichshewasnominatedforanAACTAAwardsforBestCostumeDesigninTelevision;andtheadaptationofTimWinton’sCLOUDSTREET.ShaneThomas–HairandMakeUpShaneThomasisoneofAustralia’sleadinghairandmakeupdesignersforfilmandtelevision,workinginAustraliaandinternationally.RecentcreditsincludetheAcademyAward-winningfilmHACKSAWRDGE,forwhichThomaswasnominatedforaBAFTAAwardandanAACTAAward;UNBROKEN,directedbyAngelinaJolie;personalmakeupartisttoEmmanuelleBéartonMYMISTRESS;THERAILWAYMAN,whichstarredColinFirthandNicoleKidman;ADORE,whichstarredNaomiWattsandRobinWright;andPJHogan’sMENTAL.HealsoworkedonSUPERMANRETURNS,STARWARS:EPISODEIII–REVENGEOFTHESITH,PETERPANandBABE:PIGINTHECITY.HisworkwillsoonbeseenintheErrolFlynnbiopic,INLIKEFLYNNandTHEKING’SDAUGHTERstarringPierceBrosnanandRachelGriffiths.Fortelevision,ThomashasworkedontheTVseriesRAKEandEASTWEST101.
FULLCREDITS
SCREENAUSTRALIAGREATSOUTHERNDEVELOPMENTCOMMISSION
SCREENWESTLOTTERYWEST
Present
inassociationwithAUTUMNPRODUCTIONS
DELUXEAUSTRALIAEMBANKMENTFILMS
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aGRANVIA,WINDALONGSEEPICTURESproduction
“BREATH”
SIMONBAKER
ELIZABETHDEBICKI
SAMSONCOULTER
BENSPENCE
andRICHARDROXBURGH
CastingbyNIKKIBARRETTCSA
CostumeDesignerTERRILAMERA
SoundDesigner
ROBERTMACKENZIE
WaterPhotographyRICKRIFICI
Musicby
HARRYGREGSON-WILLIAMS
ProductionDesignerSTEVENJONES-EVANSAPDG
Editedby
DANYCOOPERASE
CinematographerMARDENDEAN
Co-Producer
CHRISVEERHUIS
LineProducerBARBARAGIBBS
ExecutiveProducers
DAVEHANSENJOHNNYMACLAURARISTER
ExecutiveProducerTOMWILLIAMS
Basedonthenovelby
29
TIMWINTON
ScreenplaybyGERARDLEESIMONBAKERTIMWINTON
Producedby
MARKJOHNSONSIMONBAKERJAMIEHILTON
Directedby
SIMONBAKER
