Aussie talent has been making international waves for decades

Mad Max’s design aesthetic came from a process of ‘eclectic scavenging’. NFSA

Read more: Our enduring love of Mad Max's Australian outback: an anarchic wasteland of sado-masochistic punk villains and ocker clowns^[1]

The juxtaposition of this work with her design of Paul Hogan’s vest, hat and knife from Crocodile Dundee (1986) is a reminder of her influence over some of Australia’s most iconic and enduring cinematic imagery.

A variety of digitally rendered concept books and storyboards are dispersed throughout the exhibition space. The storyboards for Mad Max and Crocodile Dundee are joined by several stunning concept books put together under Catherine Martin’s design leadership for Bazmark productions, for films like Romeo + Juliet (1996) and Moulin Rouge (2001).

Through these early design works, we get the opportunity to explore a variety of approaches different creative teams bring to this process, from scruffy hand-drawn sketches to extensive collages envisioning individual shots as well as whole cinematic universes.

Read more: Baz Luhrmann's Romeo + Juliet at 25: is this the best Shakespeare screen adaptation?^[2]

Ambition

I found the emphasis on the concept of ambition quite intriguing, particularly in terms of how this notion manifests in the section on the production company Blue-Tongue Films and their 2010 hit Animal Kingdom.

Animal Kingdom helped launch the Hollywood careers of filmmaker David Michôd and actors Ben Mendelsohn and Jacki Weaver.

Interviews are peppered through the space. NFSA

A quote on the wall from Mendelsohn declares that, if he had been able to tell his younger self he woudld one day be in a Star Wars movie, he could have saved himself a lot of angst. In an audio interview, we hear of his undignified couch surfing days in Los Angeles.

An interview with Nicole Kidman in another corner of the exhibition dwells on similar stories about her early days slumming it in LA, surviving on the generosity of fellow Aussies.

Ambition, as this exhibition tells it, is frequently associated with resilience, grit and mateship.

Talent

While the Blue-Tongue and Bazmark sections emphasise collaboration, the focus of the exhibition is primarily on individuals, cleverly utilised as a tool through which facets of the industry are brought to the fore.

The emphasis on celebrating Australian talent and success is brought to life most explicitly in relation to the Academy Awards.

The work of Baz Luhrmann’s production company, Bazmark, takes centre stage. NFSA

Producer Emile Sherman’s Oscar for best film, awarded to The King’s Speech (2010) is there, encased in glass. And there are numerous curated clips of interviews and thank you speeches from Australian actors and filmmakers in red carpet attire clutching trophies.

We’re left in no doubt about the recognition Hollywood has given Australian talent since the 1970s. Photographs peppered throughout the exhibition showcase the Hollywood careers of filmmakers like Miller, Phillip Noyce, Peter Weir, Sherman and Cate Shortland as well as actors like Cate Blanchett, Kidman, Bana and Weaver.

Read more: Marvel's Black Widow has been handed to a small independent Aussie director. And she's the perfect fit^[3]

The missing stories

It is certainly a challenge to attempt to tackle the variety and complexity of the Australian industry’s relations with Hollywood, especially within this small, single exhibition space. And there is no doubt that this exhibition packs in an engaging variety of interesting objects and resources.

But while it looks at Australian talent being exported to Hollywood, it attends more briefly to the phenomenon of Hollywood productions on Australian soil.

Costumes from Sapphires, an international co-production telling an Aboriginal story. NFSA

There is some on-set photography from some of these productions including a number of Miller and Bazmark films as well as Thor: Ragnarok (2017), but there is little focus on the production studios and post-production facilities and teams that have contributed to these kinds of films over the decades^[4].

Similarly, the exhibition showcases the success of Australia’s First Nations practitioners like Warwick Thornton and Rachel Perkins, but only briefly references the weaving of Indigenous culture^[5] into the Hollywood blockbuster Thor: Ragnarok.Certainly, there is much to enjoy. We get multiple opportunities to peer behind-the-scenes, whether it’s getting up close and personal with iconic costumes and props or listening to actors reflect on their artistic and personal journeys. It is a delightful and engaging representation of our rich and diverse audiovisual heritage.

Australians & Hollywood is at the National Film and Sound Archive, Canberra, until July 17.

Read more https://theconversation.com/australians-and-hollywood-at-the-nfsa-aussie-talent-has-been-making-international-waves-for-decades-175643

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