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| "The idea for the film ~ or the themes in it - come
from a number of sources - but mainly my own experiences in trying to
deal with other people's beliefs, when I hold mine quite strongly
myself - and in the end it's just a matter of accepting other people's
beliefs and their right to them, even if you don't agree with them
yourself - which is I guess the main thing that the film is about. And
that accepting them and their right to their beliefs is more important
than getting them to think the way you do. The thing that tipped it in
the direction of New Guinea is a documentary I saw in which a
missionary in Papua New Guinea said it was not his message, but God's
message that he was giving them ~ but to me the fact that it's coming
from him makes it his message. So this immediately made me think about
setting it in New Guinea; whereas before I was interested in doing it
somewhere in Australia in the context of European/Aboriginal beliefs
and relations. I've always been interested in colonial periods so that
was still maintained in New Guinea, and of course the extraordinary
thing about this period is that it was in the 1930's that these
highlanders were discovered to the outside world - and there was even
photographs and movie footage taken of them as they saw white man for
the first time - and there has since been interviews done with some of
the people many years later, recording what they thought about it all
when it happened. It's extraordinary stuff - and something I'd
generally thought of as happening centuries ago. Another interesting
thing I found as I was researching it was now the colonisers were
Australian, and it makes for a very interesting in look in to your own
culture ~ or a part of it's history." - Scot McPhie The format the film will be shot in is Super 8. This is for two combined reasons - economy and quality. The film has a very low budget which makes Super 8 preferable to other film gauges, but because we want to maintain as high a picture quality as possible we're not going to be shooting on video, even though that would be cheaper still than Super 8. Super 8 has higher resolution and better colour saturation than even the highest quality digital video, and by using the best quality camera, telecine process and lighting that we can, we hope to maintain this standard through to the finished product. The finishing format will be digital video, this is because of the difficulty with sound striping Super 8 now, and the limited distribution options that projected Super 8 has. We aim to make the end product a high quality video, and if we do everything well there's no reason why it can't be as good as anything else released on video. Our approach to making the film is essentially to be as independant and as self-sufficient as possible - film making can be a very expensive business, and the competition for funding is extremely high, so we want to be as self-empowering as possible and keep the ball in our own court as much as we can. This film is truly an independent/geurilla production, and although some of the "rules" of film making will be broken as we make it - by maintaining high production values and keeping a solid work ethic we should come up with a film which is as good as any produced under mainstream circumstances. |
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Peter Berkahn Associate Producer Peter has worked on a number of short films and documentaries, and is currently writing a dance/theatre piece he hopes to have featured at the Powerhouse Performing Arts Complex later this year. |
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Brendan Daley Assistant Sound Recordist Whilst only being involved in the Professional Audio industry for six years, Brendan has worked and gained extensive experience in virtually all forms and formats of audio technology, as well as working in many positions in the Audio/Sound Engineering industry. This experience includes: Live Audio as a resident or “in house” Sound engineer for over 200 bands as well as forums and rallies (including the well publisised “Anti Pauline Hanson” rally of 1998) - the sound crew for large events (including Cirque Du Soleil, Neil Diamond, Beastie Boys and the Livid Festival) - Resident Sound Engineer for several bands (including Transfear, Merry Go Down and Phlaccid) - Sound recording for music (2 albums, with another album as an audio consultant), and more recently working with Audio fomatting and sound design with PC aided programming. He was previously the resident Stage/Production Manager for the Australian Acting Academy, and “In My Image” is Brendan’s first adventure into the realms of Audio for film, and he is suitably excited! |
| Lana Calnan Make-up Artist and Hair Stylist Lana is qualified in make-up for film,TV,stage, photographic including spfx, period, character & fantasy. Her true passion is in screen work but she happily works freelance for any project from weddings to film clips. Some projects worked on include the Powderfinger film clip "Like a Dog" featuring spfx on Anthony Mundine, OB's for Ch 7 Brisbane, an episode of Flipper 4, Indy feature "To Become One", corporate videos, QUT and TAFTA show reels and countless short films. Lana has a strong interest in travel and indigenous culture and before becoming a m/up artist lived at Lombadina, an Aboriginal Community in the far north west of W.A. for 1 yr '93/'94 and spent 10 mths in eastern Africa '95/'96. |
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| Damien Fegin Props Consultant Damien has been involved in theatre and living history for over twenty years and is currently President of the Queensland Living History Federation. He has provided props for Mission Impossible, The Phantom, Beastmaster, Roar and Lost World, as well as fight direction and/or costumes for La Boite, Grin and Tonic and Mogroith theatre companies, amongst others. He describes himself as "a perpetual undergraduate who is passionate about a range of subjects ranging from early Iron Age Siberian art, fifteenth century fighting masters, Eurasian nomad textiles and many other burning social issues" |
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| Emanuele Gelsi Boom Operator He has a Masters Degree in Social Planning and Development from the University of Queensland, and has recently returned from East Timor where he carried out aid work. His favourite films are BladeRunner, Brazil, The Blues Brothers and Blue Velvet |
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| Adrian Gibb Script Editor Adrian graduated from a Bachelor of Arts degree with a double-major in Classics and Ancient History in 1993. Following this he spent two years doing post-graduate studies in this field. Since 1998 he has been studying towards a Law degree at QUT. Adrian has spent time as a Freelance editor with Jacaranda Wiley and also has performed many voluntary editing tasks for independent writers and publishing houses. He has participated in many advocacy based programs including the Intensive Advocacy Weekend held by the Bar Practice Course and for the first six months of 1999 was a participant in the Barrister Mentor Programme. Adrian’s ambition is to become a Barrister and hopefully combine his legal and publishing experience in some way. Adrian has been advising the writer of this script in both an editorial and Court room procedures capacity. |
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John Hansen Actor Johns interest and love of acting began with a few 'in house' productions at High School.Since then John has acted in short films, participated in theatre sports and performed on stage in local Brisbane theatre. Most recently John played 'Roy' in the New Farm Nash Theatres production of 'The Odd Couple'.'In My Image' is Johns full feature film debut. |
| Andrew Jackson Digital Artist Andrew is a Scholarship Student at Silicon Studio's world first accredited Dilpoma in Visual IT (Software Development). Among other things, this provides training for 3D modelling, texturing, and animation using 3D Studio Max and Photoshop. Andrew is also very interested in compositing. In addition to this, he has a Degree in Mining Engineering (honors). |
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Scot McPhie Writer/Director/Actor His main acting credits include John Proctor in The Crucible and Johnny Pope in A Hatful of Rain. His plays which have been performed include One'n'All, Some Obscure Comedy Show, and Tale of Two Men. He has also done the lighting design for fifteen theatrical productions. In My Image is his first film although he has worked on a number of smaller film and video projects previously. He is a graduate from the Theatre Programme at the University of Southern Queensland, and has completed a number of short courses on various aspects of acting and film production through NIDA, The Australian Film, Television and Radio School, The Actors Centre and QPIX. |
| Nick Smart Production Assistant Nick has worked on a number of Short films before. He co-wrote and worked as a 1st AD on a shortfilm which won the '2000 BUFTA Awards.' He has also worked as a Key Grip and Boom Operator on a film which received a 'highly commended' award in the 'Warner Roadshow Queensland 14th New Filmmakers awards.' |
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Jo Thomas Actor Jo’s film and television credits include guest roles on Medivac and Neighbours, various short films and TV commercials, an Alex Lloyd film clip and the feature film Talk which was shown in Cannes. Theatrically, Jo’s recent roles include Michelle in the Queensland Premiere of The Boys and Alienate Your Teapot for Commotion Theatre Company. Jo is co-Artistic Director of SOUP Theatre Company, and also currently works for Rock ‘n’ Roll Circus. She is a graduate of the University of Southern Queensland and the Queensland University of Technology. |
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