Xavier Samuel

Love & Friendship is based on a novel by Jane Austen and is about to find its way into Australian cinemas.  I spoke with one of the film’s stars, Australian Xavier Samuel, about the project…

Matt:  I first remember seeing you in Peter Carstairs’ September which came out almost 10 years ago now.  What thoughts do you have looking back on your career at this point?  Did you think you’d have such an interesting resume under your belt after graduating from drama school?

Xavier:  I’ve been very lucky so that many different opportunities have come my way.  It’s been very cool.

Matt:  We see shows like Entourage that offer a look into Hollywood and how actors can make it big with a big movie franchise.  Is that something you’re looking for over the next few years or do you prefer lower-budget, independent movies like Love & Friendship?

Xavier:  There’s no grand plan to be involved in massive films.  I’d look at it on a case-by-case basis and hopefully the work is interesting and challenging as it was with Love & Friendship.  It’s based on the Jane Austen novella and writer Whit Stillman has given it an Oscar Wilde-like feel in adapting it for the screen.

Matt:  How did this script first come across your radar?

Xavier:  I met Whit Stillman in Los Angeles and read a couple of scenes with him.  That’s how it kicked off.

Matt:  A friend was chatting to writer-director Whit Stillman recently and he mentioned you almost pulled out of this to work on another Aussie film but he really wanted you and was able to work things out.  That’s a nice display of confidence from your director?

Xavier:  It is, especially considering he is an auteur.  I was very thankfully that he wanted to work with me.  It was an amazing experience to be part of an ensemble that included Kate Beckinsale, Chloë Sevigny, Stephen Fry and James Fleet. 

Matt:  Most of Jane Austen’s works have been adapted for the screen countless times but before I’d heard about this project, I’ve never heard of Lady Susan.  Was it a work you were familiar with?

Xavier:  I wasn’t familiar with it either.  It’s a weird novella in that it’s a series of letter.  Whit has interpreted and reimagined it and created something very funny.  Kate Beckinsale’s character is very manipulative but we end up cheering for her because he’s so charming.

Matt:  Taking on a role like this, do you read the novel to try to get an insight into the character or is best to avoid the source material and stick with the guidance provided by Whit?

Xavier:  You read anything you can get your hands on and be as informed of the world as you can be.  There were still a lot of conversations with Whit though about the direction he wanted to take it in.

Matt:  What was it like working with Whit?  I remember loving The Last Days of Disco which also had Kate Beckinsale and Chloë Sevigny but I haven’t heard much at all from him in recent years?

Xavier:  He’s a very collaborative director and he writes as he goes along.  He incorporated more scenes with Tom Bennett as we were going along because he was so funny.  He has a very particular sensibility that people will know from films like Metropolitan and The Last Days of Disco.  His characters love discussing ideas and talking about society. 

Matt:  You’ve had the chance previously in Anonymous but you’re working here again as part of a period piece film.  Does that genre throw up challenges that are different from other films you’ve worked on?  Is it harder to get the dialogue and timing precise?

Xavier:  It’s harder trying to find a frame of reference.  No one knows exactly how people spoke in Elizabethan times for example.  The helpful thing is that there is a lot of reading and research that is available.    

Matt:  Does a lot of work go into getting the dialogue precise?  I guess there’s no room for improvisation in a film like this.

Xavier:  Yeah (laughs).  It’d he hard to improvise using Jane Austen dialect.  There’s a musicality to the way Whit writes and it is fun to learn and work through.  All the scenes in the film are battles of wit and it’s really enjoyable to be a part of it.

Matt:  Are you a natural dancer or does that take a bit of work?

Xavier:  I don’t know if anyone is a natural when it comes to dancing the way they did back then.  It’s very formal and the whole courting process was hilarious to actually do.

Matt:  I always love the costumes in period piece films.  Does it take a long time to get fitted?

Xavier:  They put a lot of effort into that for Love & Friendship.  I had curlers in my hair and sideburns being applied every morning.  It was quite amusing.

Matt:  The key to any romantic film is about creating chemistry between the characters and here you a strong connection with both Kate Beckinsale and Morfydd Clark.  How easy is it to illustrate that chemistry on screen?

Xavier:  It’s a testament to Whit’s casting and the way that he’s brought people together.  Kate and Chloe worked together on The Last Days of Disco and they have a great rapport.  It’s not something that you have to necessarily work at if you trust the director.  One of the funny things in Love & Friendship is that the characters are on very different pages.  You may think two people are getting along well but one of them is actually being manipulated. 

Matt:  When are we going to see you on screen next?  I believe The Death and Life of Otto Bloom is opening the Melbourne Film Festival. 

Xavier:  Yeah, I’m going to watch that for the first time on opening night.  I also just finished a film in Adelaide called Bad Blood which is directed by David Pulbrook and is a psychological thriller.  I also just finished a 6-part series for the ABC called Seven Types of Ambiguity with Hugo Weaving, Leeanna Walsman and some other amazing actors.  It’s the first time I’ve properly done television which was a great thing to be a part of.

Ivan Sen

It was selected to open the Sydney Film Festival and it’s about to be released in Australian cinemas.  I caught up with Goldstone writer-director Ivan Sen to talk about the project…

Matt:  Australia has made some great films with indigenous characters at the centre like Ten Canoes, Samson & Delilah and The Sapphires but it seems to be that we don’t make a lot of them.  Would you say that’s the case?

Ivan:  Yeah.  It’s a small percentage but I think indigenous films punch well above their weight.  They seem to make a difference when they do come around.

Matt:  You’re someone who has now put together several feature films that have won and been nominated for awards.  Do you find it easier to secure funding for your productions or is the industry as tough as ever?

Ivan:  Every time you make a film you get a chance to learn stuff and I think people in control of the finance trust you a little bit more each time.  It therefore gets easier each time you go around.

Matt:  Someone was telling me that you wrote the script here in Brisbane in a coffee shop?  Is that true? 

Ivan:  Yeah, my local cinema is the Palace Barracks and I often go there and do a bit of writing.  It was great to write the film there and then have the Queensland premiere at the same place.  It was amazing.

Matt:  How long did it take to write the script?

Ivan:  It was a very quick write to start.  It initially only took a couple of weeks to get the first draft and then maybe about 3 months after that to get it finished and ready for finance.

Matt:  When you’re writing a script, how do you know you’re on the right track?  Is it gut instinct or do you have friends, or maybe even a muse, that you show it too and bounce ideas off?

Ivan:  It’s different every time.  I have a script that’s about 7 years old and I’m still going with it.  It’s a matter of following your gut and instinct in most cases.

Matt:  There are some quite sinister characters and subplots in this film.  Is it purely a work of fantasy or was there someone or something in your life that inspired it?

Ivan:  It’s hard to come up with any pure fantasy in this world.  You’re always getting bits and pieces from reality and this is no different.  It involves corruption on many different levels within the mining industry, the local government, and even the Aboriginal Land Council.  Similar tales have been heard in the news and that’s the beauty of film.  You can pick different parts from reality, put them all together, and package it up as entertainment.

Matt:  I don’t want to give too much away but there’s a scene early in the film where Jay (Aaron Pedersen) is fired upon with a barrage of bullets in a caravan.  It’s a dramatic, unexpected scene and I was curious to know how you settled on that as the film’s big action introduction.

Ivan:  It was important to set the film up as a thriller and so action and tension is a part of that.  It’s something that I wanted to make more of in this film compared to Mystery Road.  This is a bit of a spin off which is more laid back and more of an investigation story.

Matt:  Your last film, Mystery Road, was shot in and around Winton.  Where did the filming of Goldstone take place? 

Ivan:  I wrote this script and I then had to find a place to shoot the film.  I drove all over Queensland and I couldn’t find anything as strong as the land around Winton.  We went a few hours the other side of Winton this time and I think it’s the most spectacular landscape anywhere in Queensland.

Matt:  I can imagine it is hard shooting in such a remote location.  Was it a real challenge?

Ivan:  Yeah, it was very difficult to get out there and get set up.  There was no power, no water, no phone and no internet.  There was nothing at all really.  We had to bring in all our own accommodation and that chewed up most of the budget.  Once we were there, it became easier as we were out on location the whole time and there were no distractions.

Matt:  Did you need generators to power up the cameras?

Ivan:  Yeah.  We had massive generator trucks because we were out there for almost two months.  We also had to cook our own food which was trucked in from Longreach.

Matt:  There are some great flyover shots that provide a great perspective of some events.  Is that a drone that you used for those?  The camera looks so incredibly still.

Ivan:  Yeah.  Drones offer incredible technology these days.  Every time you do a film, the technology grows so much.  We had to use a helicopter in Mystery Road because drones weren’t available to us three years ago. 

Matt:  You’re working again with Aaron Pedersen after you combined so beautifully Mystery Road.  Did you write the roll with him in mind or was there a broader casting process?

Ivan:  I wrote the film Mystery Road for Aaron Pedersen and set up the character of this detective caught between worlds.  It made sense to do another one and I knew he had a lot more to offer.  He’s keen for me to write a third instalment or maybe even a TV series down the track.

Matt:  Perhaps the most interesting character in the film is played by Tommy Lewis – he’s caught trying to please so many groups of people that he seems to have lost all sense of right and wrong.  Did you see him that way when putting the screenplay together?

Ivan:  Definitely.  He’s a character we haven’t seen much in Australian cinema in that he’s an Aboriginal villain which is quite rare.  He plays someone with huge responsibilities in the indigenous community and shows that pressure from the outside can create unwanted temptations.

Matt:  And what was it like working with Jacki Weaver, a two-time Academy Award nominee?

Ivan:   It was amazing as I wrote the character specifically for her.  I felt like I couldn’t make the film without her.  To hear her say the lines that I’d written for her was great.  We only had her on local for a few days but she definitely packs a punch in the movie.

Matt:  You’ve been taking this film around the country with preview screenings in the lead up to its release this week.  I’d love to know what sort of responses you’ve been getting from audiences and in particular, indigenous Australians?

Ivan:  The feedback has been positive which is great.  We took the film to Winton for a premiere and indigenous audiences there were very interested in the representation of the Land Council and the connection with the mining companies.  Aside from that, they were wrapped up in the story and engaged by this thriller.

Matt:  I’ll finish up by asking what you’re working on at the moment?

Ivan:  I’m in talks with a couple of companies about two different films.  They’re both science fiction films which are quite big compared to Goldstone. 

Hunt for the Wilderpeople

Hunt for the Wilderpeople is a wonderful New Zealand movie that is about to be released in Australian cinemas.  I spoke to director Taika Waititi (Boy) about the film…

Matt:  I was talking to Anthony LaPaglia last week and he was saying that the lower the budget, the more ingenuity that is required on the part of the cast and crew to get the film made.  Was it like that here?  Was it easy in the case of Hunt for the Wilderpeople?

Taika:  Nope, not at all.  I had to come up with innovative way of getting the story out without blowing the budget.  There were plenty of obstacles and compromises that had to be made.  The weather was a big factor here as 80% was shot outdoors in winter in New Zealand that brought it with it rain, snow and wind.

Matt:  What part of New Zealand was it shot in?

Taika:  It was a bunch of different places on the North Island. 

Matt:  It’s an obvious question but I have to ask – where did you come across Julian Dennison?  It’s a great performance but what I think I’ll remember most is his assortment of puzzled facial expressions.

Taika:  I actually made a commercial with him a few years ago when he was about 10 years old.  Everyone was blown away by his comedic and acting talents but he’s also a very mature, sensitive kid who “disarms” you very easily when you meet him.  I wanted to put him in a film and I did it here without even auditioning him.  He’s a real star.

Matt:  And tell me about Sam Neill – “the scruffy white drifter who smells like methylated spirits”?  Was it easy getting him on board?

Taika:  It was.  The timing was perfect as he had a break in his schedule.  He had been in the UK for a long time and he wanted to come home, be close to his vineyard and do some work.  I think he also found the role interesting – playing a man of the land who is more grizzled and rough than he’d been accustomed to.

Matt:  Watching this play out, I was reminded a little of a Coen Brothers movie in that the supporting characters are so distinctive and memorable.  I’m thinking about Rima Te Wiata as Aunt Bella and Rachel House as Paula.  How easy it to get that casting right so that these supporting players stand out and don’t get lost in the background?

Taika:  I did concentrate a lot on those characters because it is easy to forget that they should be layered and deeper.  For example, the “villain” in the film is the social worker spearheading the manhunt… I didn’t want her to be a flat, one-note, efficient bureaucrat.  I told her during the shoot that she should model herself on Tommy Lee Jones in The Fugitive – he’s a relentless professional who will stop at nothing to do what he thinks is right.

Matt:  It’s a nice tough how you squeeze in references to films like The Terminator and The Lord of the Rings.  They got huge laughs at the preview I attended.  How did those end up in the final script?

Taika:  The Hobbit hiding behind the tree roots is an iconic image in The Lord of the Rings.  With the location scouting, I kept noting all these places that reminded me of that scene.  I’d already put a bunch of movie references into my films and since everyone knows this particular moment, I thought it was a perfect opportunity to make fun of it.

Matt:  The tone of the film is really interesting.  There are moments that are quite tragic but they’re blended with moments of humour.  A great example is your own cameo where you play a confused priest at a funeral.  Was behind the choice to add laughs to those darker moments?

Taika:  Believe it or not, that actually happened at a funeral I went to.  That was pretty much the same sermon.  I remember being at the funeral thinking this is a sad moment but at the same time, this is both ridiculous and hilarious.  I always wanted to explore having a funeral scene like that.  It’s nice to undercut some of the tragedy from time-to-time during the movie and keep audiences on their toes.

Matt:  Your good friend Rhys Darby makes a cameo appearance in the film.  Was that part written just for him because it seems to suit him perfectly?

Taika:  I wrote the part having no idea who would play it.  In the script, I wrote a bunch of those parts thinking that I’d use my friends but not knowing who in particular.  I knew I wanted a crazy old guy who had been living in the bush for years who represented what Ricky and Hector could become if they stayed on the run.  Rhys’ schedule freed up close to the shoot and he ended up being perfect for it.

Matt:  I don’t want to give too much away but there’s a death early in the film but we don’t get told the cause.  A deliberate decision?

Taika:  Yeah.  I didn’t think the information was important.  A lot of people have died that I’ve known and I actually have no idea how they died.  The fact that they’re dead is often enough without needing to know why or how.  You can make up whatever symptom or cause you like in this particular instance.

Matt:  I’m a big fan of film scores and this one stands out.  I’m not sure how to describe it but it has an electro-type feel.  How did it come about?

Taika:  A lot of the movie is influenced by Aussie films from the 1980s and so I wanted embrace that.  There were even a few Peter Weir-style shots with zooms and cross-fades.  We got in touch with Jean Michel Jarre at first because the Gallipoli score is amazing.  The story is over-the-top and in today’s age, that manhunt would be over pretty quick.  I wanted this to me more of a kid’s fantasy as to what happens when you go on the run and the whole country is after you.

Matt:  The film premiered at the Sundance Film Festival and it’s done a few other film festivals since.  How’s it been received by international audiences?  I know there’s a few jokes that maybe only Aussies and Kiwis will get such as reference to the All Blacks.

Taika:  They’ve loved it.  We had great reviews at Sundance and then recently at the Tribeca Film Festival.  People get it.  There are a few small jokes that are specific to Australasia but they’re connecting with the story and it’s great.

Matt:  Are there plans for a proper release in the United States?

Taika:  Yep, it opens on June 24.

Matt:  It’s a curious time for the film world at the moment.  We’re seeing more and more big action blockbusters and there seems to be less room for smaller films, at least here in Australia.  I can’t think of anyone more appropriate to comment since you made this tiny film and are following it with the next Thor movie.  What are your thoughts on the film industry at the moment?

Taika:  I agree.  There’s less room for the smaller films but I compare it to fashion.  There are trends in films.  People get tired of seeing the same thing and so will switch.  For instance, people became sick of blockbusters in the 1990s and we saw a resurgence of independent cinema and foreign language films.

A lot of it has to do with what’s going on economically.  I have this theory that when people are struggling financially, they don’t want to go see a movie about other people with no money.  They want to see superheroes and escape from this world for 3 hours in 3D.  With my small films, I try to make stuff that is more entertaining than depressing.

Matt:  To finish up, we know you’re working on the next Thor movie at the moment - Thor: Ragnarok.  How’s it coming along?

Taika:  It’s coming along great.  I’ve discovered that’s not all that different from the independent world except that you don’t hear the word “no” as often.  It’s a big learning thing for me.  I wanted to challenge myself and do something out of my comfort zone.  This was never really part of my life plan but I guess I’ve now changed that plan.

Anthony LaPaglia

The latest Australian film to reach cinemas is A Month Of Sundays and I recently caught up with star Anthony LaPaglia to talk about it…

Matt:  We know how tough it can be to get funding for Australian films and often you need to attract a big star on a project to really get the ball rolling.  How did this script come across your radar?

Anthony:  This project had a slightly different journey.  I’m friends with Matt Saville and I really like his work.  He’d been working on this project for a while and when it came time to get it off the ground, he sent me the script.  It filled two criteria – I liked it and I wanted to work with him so it happened fairly easily.

Matt:  You star in the film but you’re also credited as an executive producer.  What did that part of the role entail?

Anthony:  That’s garnishing I think. *laughs*  To be fair, I took that part seriously.  Matt and producer Nick Batzias included me in a lot of stuff to do with the film. 

Matt:  We all know about George Miller and Baz Lurhmann but Matthew Saville is quieting put together a very impressive resume (Felony, Noise, The Slap, Cloudstreet) and is becoming one of Australia’s more prolific directors.  What’s his secret?  What’s he like to work with?

Anthony:  Matt thinks outside the box.  He’s got a warped sense of humour that is in line with my own.  First and foremost, he’s very committed to his craft.  He likes actors and while that may sound unusual, there are times when you work with directors who don’t because they think actors are ruining their film.

Matt:  You grew up in South Australia but I was reading this was the first time you’d actually made a film in South Australia.  Was that the case?  What was it like?

Anthony:  In the 30 years prior I think I’d spent about 2 days in Adelaide.  That in itself was quite a surreal journey.  I caught up with old soccer mates and a bunch of extended family.   It’s funny because I failed to recognise a lot of Adelaide as so much has changed over that time.

Matt:  A Roy Morgan poll last year that just 8% of those surveyed felt that real estate acted with a high amount of ethics and honesty – ranking it the 3rd lowest profession behind car salesman and advertising people.  Was there a lot you learned having to play one in this film?

Anthony:  I’m now of an age where I’ve bought and sold a few properties and so I’ve had plenty of experience with real estate agents.  I drew on some of the not-so-positive experiences to put into the character.

Matt:  Who came up with all the blurbs about each property that we hear you narrating in the film?

Anthony:  That came from Matt as he wrote the script.  His father was in real estate and I think that background knowledge also helped.  Speaking the jargon felt like speaking Chinese to me.

Matt:  You play quite a forlorn, depressed character which can often be difficult to illustrate on screen as it’s something entirely within the mind.  What’s your approach?  How do you go about that?

Anthony:  I see film as a visual medium.  It’s not radio.  The less dialogue you have, the better.  When you look at it on screen, you can pick up on the subtlety of a raised eyebrow or a look sideways.  These things tell a story in themselves.  

Matt:  The plot device that brings you and Julia Blake together struck me as odd at first but then the connection that develops between you two really is the heart and soul of the movie.  Was it an easy connection to build?

Anthony:  When you’re working with fantastic actors, it makes you look so much better than you can be.  She’s so good as an actor but also as a human.  It was quite easy to develop that relationship with her.

Matt:  John Clarke offers the comic relief in the film where you’re playing the straight guy and he’s the one being sarcastically humorous.  I’m guessing those scenes were a lot fun?

Anthony:  He has the best comic timing of perhaps anyone I’ve ever worked with.  I messed up a lot of scenes with him because he’d make me laugh.  You could see the crew working hard not to laugh also.  You can’t teach that.

Matt:  You’ve been touring the film around Australia over the past week with some Q&A sessions.  What’s the reception been like?

Anthony:  It’s been fantastic.  You can always tell with Q&As.  The response has been enthusiastic and there have been a lot of questions.  A guy last night asked me about a transition from Julia’s character getting involved with John Clarke’s character’s father who was in an institution.  He didn’t see how that jump could possibly happen.  It shows that audiences are very astute.  My theory was that Matt Saville wants audiences to work as opposed to having the emotional content of a film spoon fed to you. 

Matt:  A lot is made about the state of the film industry in Australia.  Some are optimistic, some are pessimistic.  After a record year at the box-office in 2015 with films like Mad Max: Fury Road and The Dressmaker, what are your thoughts on the state of Australian cinema at the moment?

Anthony:  My views of Australian cinema are always positive.  We have a track record over the last 30 years of consistently churning out world class movies.  We have world class talent not just in front of the camera but also in behind the camera.  Because of the lack of finance, Australian storytellers have to be so much more creative in how they achieve what they want to achieve.  That energy generates ingenuity and that’s what makes Australian films unique.  I’ve always said that the mistake to make is to follow the American model.  It doesn’t work here because Australians have a different sensibility and a different sense of humour. 

Matt:  What are you working on at the moment?  When will we see you on screen next?

Anthony:  I’ve had a busy year working on 7 independent films.  The next thing coming out will be the second series of The Code.  That’s the first thing that’ll be coming out.