| Title |
Ray Lawrence, Jindabyne |
| Released |
2006 |
| Production Year |
2006 |
| Comments |
An Interview with Ray Lawrence. The Interview delves in depth with specific protocols and methods he went about to execute the film, how he has complete control of the creativity of the film and roles of his characters and what he aims to do in film in the future. His answers demonstrate how he has succeeded with Jindabyne for he portrays the Australian wilderness with detailed history, imagery and ersonality for audiences around the world, though he keeps the themes and dilemmas universal so people can learn and understand the cultural aspects of the film whilst maintaining a level playing field throughout.
http://www.filmmakermagazine.com/news/2007/04/ray-lawrence-jindabyne/
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| Synopsis |
Filmmaker: You had a huge success in 1985 with your first film, Bliss, but then did not make another film for 16 years. Was this a conscious decision on your part?
Lawrence: Not at all. I was working on a lot of other projects but unfortunately none of them managed to get financed. There were a quite number over the years: Tracks, which was based on the book by Robyn Davison; Sweetlip, which was set it the tropical north of Australia, a murder mystery; and Machete, set on the west coast in a desert town. This story was the start of my interest in the male, female differences. They all made it to final draft.
Filmmaker: Were you only willing to make films on your own terms?
Lawrence: Yes, itâs the only way I can do it. If I am the one that instigates the idea. Itâs probably a different matter if I was interested in a project that was brought to me.
Filmmaker: With the success of your recent films, do you regret the years you were inactive in filmmaking?
Lawrence: Of course.
Filmmaker: Were there many projects that you are sad you couldnât get made?
Lawrence: Yes, it doesnât make me happy to work on something for four years and then it doesnât get up.
Filmmaker: When did you first read âSo Much Water So Close to Homeâ?
Lawrence: âSo Much Waterâ was a story I found straight after Bliss. The book was given to me by Paul Kelly (he did the music for Lantana and Jindabyne).
Filmmaker: Why did you transpose the film to Australia?
Lawrence: Simply because I live here and know the place better than any other.
Filmmaker: Were you deterred by Robert Altman having covered the same story as part of Short Cuts?
Lawrence: Only in the sense I didnât think I would ever be able to do it seeing he had used the story. But in another way I thought it was still possible.
Filmmaker: Can you explain the reasons behind the drowned town being in your film, and any deeper significance it has?
Lawrence: One of the things Jindabyne is, is that it is a ghost story, in the sense that itâs about things that haunt us from our past. The drowned town was a perfect metaphor of this.
Filmmaker: How much did the success of Lantana affect you professionally? Did it make this film a lot easier to make?
Lawrence: It helped a little, but not enough to make it easier or quicker between films.
Filmmaker: Gabriel Byrne and Laura Linneyâs characters in the film feel as if they were specially created for them. Was the script written, or altered, to accommodate them?
Lawrence: No, but they made the characters their own, as did all the other actors.
Filmmaker: Was there a specific look or storytelling style which you had in mind for the film?
Lawrence: I just want it to look like it is.
Filmmaker: There is a warning at the start of the film to certain Aboriginal tribes. Did you have to be careful what you put in the film because of them?
Lawrence: That warning should be on all media that involves Aboriginal people. They donât necessarily want to see the image of a dead relative. It gives them the opportunity not to watch it or listen to whatever it is. I spent two years going through the protocols with the different tribes to get their cooperation and trust.
Filmmaker: Your films are very rooted in Australian-ness and a sense of their own community, although their issues and themes are universal. Are you ever tempted by offers to make movies in Hollywood, or will you continue to have Hollywood actors come to Australia for you?
Lawrence: I receive scripts from all over, not just Hollywood. Iâm open to any good story as long as I can tell it in my own way. I donât have any regrets in regards not taken any of the scripts that were offered. If they had been of interest, I would have been on board.
Filmmaker: Who are your strongest influences, both cinematic and otherwise?
Lawrence: Life itself is a pretty strong influence, but Ken Loach has always been a favorite of mine.
Filmmaker: What phrase best describes your philosophy on life? And your philosophy on film?
Lawrence: Treat others as you would have them treat you.
Filmmaker: Whatâs your best piece of advice for aspiring filmmakers?
Lawrence: Keep at it, thatâs the test.
Filmmaker: Whatâs the biggest compliment you ever received?
Lawrence: A critic said that she felt that Jindabyne was my âsorry film.â
Filmmaker: And finally, should a director always take risks?
Lawrence: Of course
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tags: jindabyne film response
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