Last three posts:
Corals here were extensively mined for lime as fertiliser for the cane industry back in the pre WW2 era. Subsequent to the war artificial fertiliser, Nitro-Phos became abundant and cheap, but as more land was given over to cane water quality became an issue that is still neglected.
… hardy pilgrims visit the scant remains of a reef that had thrived for possibly 6,000 years. No more; I saw mangroves taking root; in years to come it will be a mudflat with a line of trees; no one will ever believe that there was ever a reef there at all.
This gallery has many hands and feet of children, parts of it are faded and parts are weathered away which make me think it predates the 1870s, which was literally ‘The End’ of 40,000 years – the period of genocide.
Lizard and Beyond
3 minutes of highlights shot in December 2016 for the documentary Killing Coral. Footage covers Lizard Island, the Ribbon Reefs off Port Douglas, Daintree wetlands then south to Heron Island Research Station. Shot on the new small 4K cameras from DJI and Go Pro.
My main passion focusses on Killing Coral, an interrogation of factors causing long term decline of the world’s coral reefs. Low Isles; Following Yonge investigates the changes since the first scientific expedition to properly sample data on the Great Barrier Reef back in 1828. Enewetak; Dead and Alive is a mirror image; an atoll that was vaporised by nuclear bomb tests now has some of the world’s best coral.
During my time at AFTRS I set out to make an immigration documentary called Russia to Australia but I hit a wall of resistance. I’m hoping to resurrect this with Russia East West – investigating our preconceptions about Russia both physically and geo-politically. My father built four airstrips in Cape York during WW2.
Bombed on one occasion, I’m hoping that Horn Island, Iron Range will reveal something about which my father never spoke. The Carnarvons is also about how this rugged part of Central Queensland is intimately tied to my relationship with my father, who put a survey through in 1932.
It was at AFTRS that I had my first taste of film, working with Producer Andrew Dalziel and Writer/Director Aaron Schuppan (pictured above) on Shadow Valley, a film that gave a young James Fraser a career boost. Later, while doing an M.A. at Griffith I soldmy short script The Parisienne, which was in turn adapted into Away, shot with a cast and crew of fifty-four, using two Arri Alexas, and a budget pushing $100k. Now I intend to develop it into a feature length film.
Conversations in Courtship is an adaptation of 3,500 year old fragmentary remains of love poetry, but in a contemporary setting. The Cave is an original screenplay set in the harsh Carnarvon Ranges of Central Queensland; life, love and loss. The Jump is a WW2 film for which I’ve done an incredible amount of research, running to over a million words at present and fuelled by my Russian experience and documentary research; it’s the story of an American paratrooper who escaped from Stalag 2C in Poland, by heading East – to the slaughterhouse of the Russian Front.