Why I Adore… Tony Martin

On July 18th a very special anniversary came and went – special, that is, to virtually no one but a small, insular group of super-fans (some might say nerds) with an interest in an influential but ageing gem of Australian TV.

It was the 20th anniversary of July 18th, 1992, the Saturday night on which The Late Show first aired live on the ABC, a cause for celebration, reflection and appreciation for a show still well-remembered by its fans long after it finished playing on television.

For me, the anniversary was an opportunity to reflect on not just the show, which I discovered relatively late in life, but one of its writer/performers in particular: the incomparable Tony Martin, who is entering his fourth decade entertaining and influencing Australians with his singular blend of high- and low-brow comedy in stand-up, television, radio, literature, feature film, and now even web video.

Tony Martin posing with a list of radio executives who will still take his calls.

I could go on all day about his legendary radio show Get This or his two books, but for this remembrance I want to focus on two of his most high-profile credits: The Late Show, through which most Australians first became familiar with him, and his 2003 “low budget cop movie”, Bad Eggs.

On that date back in 1992 I was seven years old, and though my older brothers would religiously watch The Late Show it never occurred to me to join them and find out exactly what they were on about when they would discuss such strange concepts as “Bargearse” or “Pissweak World” (which they compared, with some accuracy, to the eastern suburbs institution and source of much of my childhood disappointment, Wobbies World – home of the world’s slowest monorail).

A lot of the humour would have gone way over my head, of course, but now as a 27-year-old who believes Tony Martin to be Australia’s greatest comedy writer, I can’t help but think that if only I’d stayed up on just one Saturday night in 1992, I could have enjoyed two decades of Martin’s work as he was creating it rather than attempting to go back and piece it together after the fact – a task made possible (but not easy) with the aid of YouTube and an active culture of fans recording his work.

“Influential” is certainly an understatement when used to describe The Late Show and the team responsible for it. The D-Generation were a new breed of young, irreverent and disrespectful Australian comedians and theatre performers who assembled, Thunderbirds-style, in the 1980s and with acts like the Doug Anthony All Stars ushered in the demise of the relatively safe, prosaic Australian comedy that was dominant through the 1970s and (with a few exceptions) had scarcely developed since the end of World War II.

The Late Show, by contrast, was anything but safe. Absurdism, topical satire, slapstick, political humour and fart jokes would sit side-by-side, the show blending sharply-edited, high-quality pre-recorded sketches with live, in-studio pieces which could, and often would, go entirely off the rails and cause at least one performer to corpse (a delightful term derived from the theatre meaning to break character, such as to laugh during a scene).

While his quick wit, experience with stand-up comedy and rapport with Mick Molloy saw him introduce each episode and act as a sort of M.C. between sketches, the pre-recorded skits are where Martin’s talents really shone.

Apart from maybe Ricky Gervais and Stephen Merchant there are few writers in the world more willing than Tony Martin to actively hide their own jokes in a scene.

Sketches gave Martin an avenue to showcase his ability to work in a range of styles and with a range of topics, equally brilliant whether expressed as short, single-idea sketches or elaborate, high-concept sequences stretching over 10 minutes. He would often throw oblique references to art or pop culture into his work which, while not significant enough to spoil a sketch if you didn’t understand the reference, would make it that much funnier if you did.

One of my favourite examples of this is in “The Last Aussie Auteur”, a spoof of one or more stereotypically tawdry Australian film producers of the 1970s and 80s, personified by Warren Perso:

Hidden in the background of the sketch, barely catching seconds of visibility, hang posters for two of Perso’s films: Evil Angels 2: Lindy’s Revenge (tagline: “DINGOS BEWARE, SHE’S BACK – AND SHE’S MAD AS HELL!”), and Wuthering Heights Down Under.

These jokes aren’t central to the sketch in any way, but the fact that Martin surreptitiously placed these two posters into Perso’s office for those who happen to notice them (and understand the comment they make on the Australian film industry’s colourful history), says a lot about how much work he puts into a joke regardless of how many people would be expected to see or even understand it.

For most people those two jokes would fly entirely under the radar, but for someone that does catch them, that feeling of being “in on the joke” improves the scene immensely. Apart from maybe Ricky Gervais and Stephen Merchant there are few writers in the world more willing to actively hide their own jokes in a scene, forcing people to work hard to get maximum enjoyment out of their work.

Tony Martin… Canberra: Martin as Peter Harvey on The Late Show.

Above all else The Late Show was unpredictable – a quality appreciable even when viewing it for the first time many years after it first aired, as I had to do.

It was made in an era before entrenched home video, never meant to be viewed 20 years later, and certainly not viewed for the first time 20 years later. But it’s a testament to the strength of the show’s writing and the chemistry of its performers that – save for a few references to relics of the 90s like Tanya Blanco – it’s as relatable, hilarious and daring today as it must have been at the time.

The fact that a sizeable portion of Australia’s comedic output over the last 20 years has come from this single group of a dozen or so comedy performers is a testament to both their enduring talent and the risk-averse attitudes that Australian content commissioners have had towards comedy in the years since The Late Show went off the air.

After the show ended, most of its performers and writers split into two major camps, with one (Tom Gleisner, Rob Sitch, Santo Cilauro and Jane Kennedy) forming Working Dog Productions and the other, Tony Martin and Mick Molloy, moving into commercial radio and eventually writing and/or directing films of their own.

Bad Eggs remains a film I desperately defend to my film-snob friends for one reason and one reason only: it’s funny.

While I did spend all of my high school years incessantly quoting The Castle with my small cadre of outcast friends – an easy shorthand by which the school’s female population could discount us as potential suitors – it is Martin’s Bad Eggs to which I continually return and which, if pressed, I would name as my favourite Australian comedy.

Note that I say it’s “my favourite” and not “the best” – an important distinction because, while it is a surprisingly effective comedy-thriller given its budget, on a technical level it clearly doesn’t have the production values of, say, The Dish or Kenny, which are positively slick compared to the slightly rough-around-the-edges Bad Eggs.

Victoria Police entry requirements were a little lax in the early 21st century.

Budgetary constraints are evident from the very first scene, where a long and presumably expensive tracking shot follows a car – its driver passed out from an apparent suicide attempt – rolling down a street and through a busy shopping centre. This impressive extended shot is undone almost immediately when the car crashes into a fountain and what is obviously a plastic mannequin flies through the windshield into a conveniently placed convertible.

The scene is ludicrously over-the-top, but then again, this is a film set in a world in which someone of Mick Molloy’s physique could make it as a “top cop”, so gritty David Simon-esque realism doesn’t seem to have been Martin’s goal.

But what it lacks in budget it certainly makes up for in its alchemical combination of hilarious visual humour; endlessly quotable dialogue; understated, laconic lead performances (especially from Bob Franklin); inventive set pieces (including one of the least-exciting security camera hacks in all of cinema); and a raft of irresistable cameos drawn from Martin’s long career in entertainment.

The result is a film which is justifiably panned for many legitimate reasons (with David Stratton giving it a particularly bad review on The Movie Show), but will remain a film I desperately defend to my film-snob friends for one reason and one reason only: it’s funny.

And that’s what I love about Tony Martin more than anything else: his absolute commitment to “the funny”, deliberately less focused on any factor which doesn’t directly make the sketch or scene more effective comedically.

The shame is that, despite his past successes in a range of creative media, the only time we get to see much of Martin on television these days is when he turns up on a light entertainment panel show, over which he has no control.

He has dipped his toes into the world of online content in collaboration with Wayne Hope and Robyn Butler, but I hope he finds his way to creating more film or television brilliance in the future, if only so that future generations aren’t forced to delve into decades of history or the bowels of the internet to discover the treasure trove that is his body of work.

The 20th anniversary of The Late Show has given me a chance to reflect on how much enjoyment Tony Martin has given me and many like me over his career, and it’s hard to think of anyone who has contributed more to Australian comedy over the past three decades than he has.

It’s a well-worn cliché to note that many of Australia’s favourite film and television performers are, in fact, not Australian, but do any of us really appreciate just how well we’ve done at the expense of our pacific neighbour?

For every Taika Waititi – who has stayed in New Zealand to make two of the sweetest and funniest films of the past 10 years (Eagle vs Shark and Boy) – there’s a handful of John Clarkes, Sam Neills or Jane Campions who crossed the Tasman and saw their adoptive country champion their successes and disavow their failures, as we Australians tend to do.

For me, even accounting for what others describe as “failures”, the New Zealander who has given Australia more successes than any other is Mr. Tony Martin.

Tony Martin can be found on Twitter at @mrtonymartin or on repeats of Spicks and Specks. Scarcely Relevant, an e-book collection of his columns for The Scriveners Fancy is available from Tony Martin Things for $6.00. I particularly recommend “Don’t Shoot Me, I’m Only the Laserdisc Player”, a reminiscence about an ancient device, and “Bing Crosby and Bob Hope in ‘The Road’ by Cormac McCarthy”, which is exactly what it sounds like.

Further Late Show clips that movie fans may enjoy:

About Bradley Dixon: Bradley J. Dixon is a web developer, writer and film lover who has been AFI | AACTA’s web coordinator since early 2012. You can find more of his film writings at his blog Cinema Quest or follow him on Twitter at @bradleyjdixon.

Read Previous ‘Why I Adore’ Posts:

Paul Anthony Nelson (the ‘Why I Adore’ godfather and founder) introduces the concept, and rhapsodises about Mad Max. AFI Membership Administrator Lia McCrae-Moore revisits the lyrical beauty of One Night the Moon and Clem Bastow reminisces about a childhood spent watching the television show Round the Twist. Or you can read Anthony Morris flirting with disaster in his adoration of Romper Stomper, Annie Stevens going bridal with Muriel’s Wedding, or Popzilla bowing down before the altar of literary screen adaptations. More recently, Lia McCrae-Moore showers affection on SBS’s high-octane police thriller, East West 101, Rochelle Simienowicz delves deeply into the ground-breaking television series, Love My Way, and Simon Elschlepp discovers a fondness for stylish and audacious futuristic noir, Dark City. Thomas Caldwell rhapsodises about Richard Lowenstein’s anarchic and playful 1986 film Dogs in Space, John Bailey remembers a strange fascination with Big Brother Up Late, Hila Shachar explains why Cate Shortland’s Somersault moves her so, and James Madden explains how Lantana won him over. Briony Kidd explains why she loves to be horrified by the Australian classic Picnic at Hanging Rock, Glenn Dunks reveals himself to be a Kidmaniac in his celebration of Nicole Kidman, and  David Evan Giles explains how Bliss changed his view of Australia. Most recently, British film critic and sportswriter Scott Jordan Harris defends Aussie soap opera Neighbours.

Contribute: We’re currently looking for more ‘Why I Adore’ articles devoted to Australian film and television. Send a one paragraph summary to editor[at] afi.org.au and we’ll get back to you with more details.

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AACTA Member Spotlight: Matthew Moore – Actor, Writer, Director

Matthew Moore

Actor, writer and director Matthew Moore

Matthew Moore caught the acting bug at the tender age of 11 when he reenacted Burke and Wills’ journey across Australia for his Year five class. Since then, he’s honed his craft by studying at WAAPA and scoring a supporting role in The Dish, thanks to his exceptional graduation performance. Over the years, Moore has worked across film, television and theatre, acting in everything from Home and Away, All Saints and Rake to The Dish and Burning Man. He claims his meatier rolls have come straight from the great bard himself, Shakespeare, but that the most fun he’s had was playing Jodee in Rob Carlton’s entertaining TV drama, Chandon Pictures.

Julian Poster

In what seems to have been a natural progression for Moore and his filmmaking talents, he has recently turned his hand towards writing and directing for the screen with his imaginative new short film, Julian. This shift to behind the camera appears to have paid off. Julian has recently earned Moore the Flickerfest Special Jury Prize for Best Short Film and the Crystal Bear Generation K+ at the 62nd Berlin International Film Festival in February. He claims the key to creative success is simply not being afraid to create, of taking a good idea and making it into something tangible. Moore thoroughly enjoyed the collaborative filmmaking process and was particularly taken with his young cast. He is now keen to pursue a career that is both in front of and behind the camera. Perhaps, once again, inspiration can be traced back to Australia’s great auteur, Peter Weir.

Matthew Moore is one of our newest AACTA members, and we’re proud to welcome such emerging filmmakers into the new Australian Academy. In coming months, we look forward to sharing more of these profiles with you as we turn the Member Spotlight onto more performers and practitioners – both those working at home and abroad.

AFI | AACTA: Where did you grow up?

Matthew Moore: I was born in Frankston, Victoria but my formative years were in Canberra. I left Canberra at age 18 for University.

AFI | AACTA: What first inspired you to become an actor?

Matthew Moore: I wanted to be an actor from a very young age. I think the inspiration came from just doing it, experiencing it. I remember having to act out Burke and Wills’ journey across Australia in Year five and thinking then that this could be my thing. I would go to the local library and flick through old acting books. I’d pore over black and white photos of Ralph Richardson or Laurence Olivier wearing an outrageous latex nose, and be blown away by their ability to transform from role to role. By early high school, I knew that I wanted to audition for drama school.  But I kept it to myself until I absolutely had to come clean to a careers advisor in Year 12. Up to that point, acting was something I had only ever explored in drama class and in annual school musicals so I was hyper-aware of how ridiculous saying I wanted to act professionally would sound. My family was ultimately very supportive of my decision.

AFI | AACTA: You studied at WAAPA and were recruited for the role of Keith Morrison in The Dish, after Jane Kennedy saw your graduation showcase performance in 1998. This must’ve been an outstanding final performance and a bit of a dream come true. Can you tell us a little bit about what it was like studying performing arts at WAAPA and then debuting in The Dish?

Matthew Moore: WAAPA was a special time for me and the work I did there still forms the foundations of my work. It prepared me for the industry. At that time, we had outstanding teachers at WAAPA such as Andrew LLoyd and Nick Enright. You’re working on your craft (voice, movement and acting) from 10am to 6pm, five days a week, and then performances on top of that, so it’s truly a vocational training. People either seem to love or hate drama school but I had a good balance of being challenged and nurtured.

Upon graduating, The Dish was my first professional gig. I had grown up listening to the D-Generation and watching The Late Show and Frontline. I was a huge fan of their (Working Dog’s) work. I remember in my first meeting with my agent, Lisa Mann, I said my dream would be to work with the guys from Working Dog. At the time, I didn’t know Jane Kennedy had seen my graduation show. A couple of weeks later, Working Dog asked me to fly down to Melbourne to meet them all and to discuss a role they had in mind for me. In hindsight, this may have set up somewhat unrealistic expectations for my next few meetings with Lisa Mann! Working on the film was as much fun as you’d expect. They are exceptional writers and have a great trust of actors.

AFI | AACTA: Since then, you have acted consistently across both film and television. Is there a significant difference to the way in which you approach these different formats? Do you prefer one to the other?

Matthew Moore: I really don’t have a preference. To be honest the majority of my work has been in the theatre. That’s where there is the most significant difference for the actor, the difference between the stage and any form of screen work. I think the joy is being able to work across stage, television and film. Each medium has different challenges and feeds you in a different way. The industry is likely to pull you in a particular direction but if you can find a balance it’s very rewarding.

AFI | AACTA: What is the meatiest role you’ve ever had?

Matthew Moore: Well the roles I would describe as ‘meaty’ would be the roles I have played in the theatre. That’s where I’ve had the opportunities to play some of the great roles in Shakespeare, Webster, Goldoni etc. In terms of film and television, I often think of what’s the most fun I’ve had. The most fun I’ve had in television was playing Jodee in Chandon Pictures, written and directed by Rob Carlton. I actually met Rob at the auditions for Chandon Pictures. I was the reader. We spent the day auditioning actors and just had a ball. He called me a week later and said he had written a role for me, playing Josh Lawson’s boss. Jodee was like a Wall Street Wolf. He was a finance man with a porche, a beautiful wife, a penchant for cocaine and happened to own a gay nightclub – only from the mind of Rob Carlton! When jobs are that fun, you just want the series to go on forever. Incidentally, it stopped at two series.

AFI | AACTA: Was turning away from acting towards writing, directing and producing your own short film a natural progression for you? How challenging and/or rewarding was this transition?

Matthew Moore: It was natural in that I’d always wanted to do it. When I was 16/17 years old I was equally interested in filmmaking and acting and made a couple of short films at the time. Then I just went down the acting path, training at WAAPA, spending years in the theatre and then on to working in film and television. By the time I looked up, more than ten years had gone by and I felt like it was time to start nurturing the filmmaking side of things again. I also felt it was important to create something myself. As an actor you are always helping to fulfill someone else’s creative vision. It’s a very healthy thing for an actor to do I think – to experience creativity from the other side and drive your own vision. I found it very empowering. It was great to work with all the different departments in a much more meaningful way. Film is so collaborative and by stepping behind the camera I really got to experience and appreciate the crew’s expertise much more.

Julian

Ed Oxenbould on the set of JULIAN

AFI |AACTA: Julian is your first short film. Where did the initial inspiration for this film come from? Was there anything in particular that you wanted to explore/capture in this film?

Matthew Moore: Before I had the idea for the film, I met Ed Oxenbould and Morgana Davies at an audition. They were both incredible little actors, both 10 years old, and I thought I’d love to make a short film with them one day, if I ever had the right idea. So, my initial inspiration was simply wanting to work with these two actors. About six months later, I had an idea for the first scene and the general conceit of the film. It was a good fit for the two of them. I won’t say what that general conceit was as there are some local festivals coming up and I’d love for people to experience the film afresh. The main idea I wanted to explore, however, was about a little boy who needs to speak his truth and identifying where that desire comes from. The original idea I’d come up with ended up becoming the icing on the cake.

AFI | AACTA: Is there a particular message that you are trying to communicate in this film or are you more interested in leaving it up to the individual to create his or her own meaning?

Matthew Moore: I think a level of ambiguity is always interesting and if you’ve managed to create discussion, I think you’ve had a win. The theme of speaking your truth is a clear one, I think, and the last line in the film gives a clue as to the side I personally lean towards. I certainly wanted the audience to follow and be with this little boy.

AFI|AACTA: Ed Oxenbould has been praised for his extremely convincing and disarming portrayal of the young Julian. Was this Ed’s first film performance?

Matthew Moore: Ed’s done some bits and pieces but he’s about to do a whole lot more. A friend of mine who is a writer saw the film, subsequently showed it to a very high profile producer and as a result Ed is about to make his debut in a new prime time TV show as a series regular. They cast him without an audition. I can’t say anymore than that at this stage. I believe it is being announced in the coming weeks. I’m thrilled for him.

Ed Oxenbould and Matthew Moore on the set of Julian

Ed Oxenbould and Matthew Moore on the set of JULIAN

AFI | AACTA: What was it like to be on the other side of the camera and to direct such a young person in this role?

Matthew Moore: Directing Ed and the other kids was really no different from directing adults. In some regards, it was easier. They are all very talented and professional. They had all been on sets before and knew the drill. They were open and available and took direction incredibly well. I think when working with kids it is important to have a very clear idea of what you want. We did have one rehearsal day, for an hour, where I got the three main kids together to run the main scene and I did have a moment that day, when I thought ‘Oh my god what was I thinking?’ The kids were sussing each other out and it was a little bit like spinning plates – one would get going and the others would lose focus. Sometimes I’d give direction and think ‘Nope, they’re not listening at all.’ But then we’d do a take and it would all be there. They were soaking everything up. Come shoot day, they were amazing. We had to move extremely quickly and they just bounced along. The best thing about Ed Oxenbould, Morgana Davies, Joseph Famularo and Will Cottle was that they are just such great people. They made the shoot fun.

AFI | AACTA: Julian has earned you the Special Jury Prize for Best Short Film at Flickerfest and more recently the Crystal Bear at the Berlin International Film Festival. How does it feel to have won these prestigious awards with your first foray into filmmaking?

Crystal Bear

Matthew Moore (centre) accepting his Crystal Bear Award at the Berlin International Film Festival with Festival Section Director Maryanne Redpath and Section Co-director Florian Weghorn

Matthew Moore: Flickerfest was the first time I saw the film on the big screen and in front of an audience. That was very rewarding in itself. Listening to people react and enjoy the film in a festival atmosphere. Flickerfest has showcased a lot of local filmmaking talent over the years, many of whom have gone on to make feature films. It was great to compete against some of those filmmakers, filmmakers I’ve admired for a long time.

The Berlin International Film Festival had always been a dream for me. In the back of my mind, I’d always wanted to have a film screen in competition there. For some reason, it was the festival, of the big four, that had captured my imagination. So, it was quite surreal to experience it. Berlin’s an incredible city for artists all year round but during the festival it’s incredible. There are so many creative types in one place: directors, producers, writers, actors, cinematographers all smashed into Potsdammer Platz together. You’ll see an amazing Dutch feature in the morning, an independent American film in the afternoon, perhaps catch a program of shorts and then meet all the creative teams that night at the bar. You’ve seen all their work and they’ve seen yours. It’s incredibly exciting. Just in the shorts section alone, I competed against films from 23 countries. It’s like the United Nations of filmmaking. Winning the Crystal Bear at the end of those 10 days was very special. The whole experience has been an eye opener, a great focuser and very inspiring.

Crystal Bear

Matthew Moore with his wife Genevieve Hegney and the Crystal Bear Award

AFI | AACTA: What have been some of the biggest challenges you’ve faced during your career? What have been the highlights? What are you most looking forward to?

Matthew Moore: There are just so many challenging aspects of the industry that you have to navigate, particularly as an actor. I think, as actors, we try to make sense of these challenging aspects when often there is no sense to be made. Personally, I find not getting the opportunity to audition for a role harder than not getting a job. If you’ve had an audition, at least you’ve been in the mix and had an opportunity to act that day. More than once, I’ve had to fight like crazy to get into a room and then ultimately won the role. In terms of other challenges, watch Fiery Hawk on YouTube. Most actors I know who’ve seen it, regardless of personal success, feel like it sums up the actors experience… and it’s funny.

When I think of what my highlights have been I think of the people I have been lucky enough to work with. The relationships I’ve forged. The friendships I’ve made. For me, it’s the people. And what am I looking forward to? Well I’m looking forward to writing and directing more. I’m really excited by this shift and exploring my own creativity. I’m looking forward to nurturing my own ideas more and balancing that with my acting career.

AFI | AACTA: If you had to name three mentors, who would they be?

Matthew Moore: I actually love the idea of having a mentor. Whilst I haven’t really had an official mentor, I have been lucky enough to have people champion me and I have very talented and supportive friends. So, I have to mention more than three. Two of my closest friends happen to be writer/directors, which has been very handy as I move into this area.

Michael Petroni wrote and directed Till Human Voices Wake Us and has been working as a writer in Hollywood for many years, having written such films as: The Rite, The Chronicles of Narnia: The Voyage of Dawn Treader and Queen of the Damned. Michael was the first person I pitched Julian too and he encouraged me to write it just as I had pitched it. As Michael is now spending more time in Australia, it’s been great to bounce ideas off him, read each other’s scripts and get his advice.

Tony McNamara, who wrote and directed The Rage in Placid Lake and has written a prolific amount of television including Tangle, Love My Way and The Secret Life of Us, has also been great to bounce ideas off. More importantly, he also makes a delightful roast lamb with baked vegetables.

Steven Soderbergh was great when I told him I was planning on writing and directing my first short film. He gave me a fantastic reading list along with a list of films to watch for their various filmmaking aspects. There were some for editing, writing, cinematography (colour and black and white) and of course for directing. So, I’ve been devouring all of that.

John Bell has certainly been the most supportive and nurturing in regards to my acting career. He has given me many opportunities to play some of the great character roles in Shakespeare.

Annie Swann is a wonderful acting coach for both stage and screen and has been great to work with over the years.

My wife, Genevieve Hegney, insists she is both my muse and mentor. She has certainly been incredibly supportive and is, of course, the first person I bounce ideas off.

Finally, I often think about the late Nick Enright, writer, director, actor and extraordinary teacher. I was lucky enough to work with Nick in my 2nd and 3rd year at WAAPA and to this day, I still carry his wisdom and generosity with me.

AFI | AACTA: What advice would you give upcoming Australian filmmakers wanting to break into the industry?

Matthew Moore: Create something. There really isn’t any excuse these days. The technology is just so accessible. Julian was made for $7000. We didn’t receive any funding. We raised the money through a quiz night and through the generosity of friends and colleagues who either contributed their time, expertise or money. During the festival run, we’ve been competing against some films with budgets of over $150,000 but the great thing about short filmmaking is that it’s all about the strength of an idea. If you’ve got an idea, grab a 5D camera and make it. Create something.

AFI | AACTA: What is your all time favourite Australian film? Why?

Matthew Moore: I have to mention a few…The first Australian film I remember really having an impact on me in my youth was Peter Weir’s Gallipoli. Gallipoli is clearly an important part of our history that continues to define us and somehow Peter tapped into that in a profound way. I remember someone making the observation that the film was just as beautiful as the letters and poetry that the diggers would send back to their loved ones. Peter Weir is one of the top filmmakers working in the world today. His body of work is incredible.

Proof is one of my all time favourite Australian films. I love a writer/director with a unique voice. Jocelyn Moorhouse created an intimate, funny and moving film about trust. What a great pitch line it must have been… “Well, there’s this blind photographer…”

I also clearly remember the first time I saw Romper Stomper, from writer/director Geoffrey Wright. I had never seen Australia portrayed like that before, it was like a slap in the face. What I remember most from this film is the energy with which it was made and the power of the three main performances. Daniel Pollock, Jacqueline McKenzie and Russell Crowe.

Honourable mentions go to the Ausploitation films Razorback and Patrick for freaking me out and haunting my 10-year-old mind.

AFI | AACTA: Thank you for sharing your time with us.