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CHOPPER
Standover man, underworld executioner and inventive raconteur,
Mark 'Chopper' Read is Australia's most infamous criminal. This is his story.
KEY CAST
Chopper ERIC BANA
Jimmy Loughnan SIMON LYNDON
Keith Read KENNY GRAHAM
Bluey DAN WYLLIE
Keithy George DAVID FIELD
Neville Bartos VINCE COLOSIMO
KEY CREW
Writer/Director ANDREW DOMINIK
Producer MICHELE BENNETT
Co-Producer MARTIN FABINYI
Executive Producers AL CLARK, MICHAEL GUDINSKI
Director of Photography (Shoot 1) KEVIN HAYWOOD
Director of Photography (Shoot 2) GEOFFREY HALL
Editor KEN SALLOWS
Production Designer PADDY REARDON
Costume Designer TERRY RYAN
SYNOPSIS
As a young standover man, Chopper Read dreams of being remembered as a legendary crime figure. A wisecracking failure, his journey is more inclined to absurdity.
To escape a domineering father and repay a debt to his best friend, Jimmy Loughnan, he attempts to kidnap a judge; ostensibly to effect Jimmy's release from H Division, the maximum security section of Melbourne's Pentridge Prison.
Receiving a stiff sentence for his bungled efforts, he asserts himself by re-igniting a power struggle for the Division. Justifying his erratic behavior with a series of lies, rationalizations and distortions, he is finally attacked by his own crew and stabbed by Jimmy.
Friendless and in fear of further retribution, he cuts off his ears to ensure a transfer out of H Division; another act in his long history of self-mutilation.
Ten years on, Chopper is released; a walking anachronism, driven by resentment and guilt, searching desperately for his hidden enemy, unable to differentiate between fact and fiction. Overcome by paranoia, he kills a minor criminal, but beats the charge by virtue of his now well-honed story-telling ability.
Charged for another offence, he returns to jail, where he writes an exaggerated account of his life and crimes. His book becomes a best seller and Chopper's original ambition is realized.
PRODUCTION NOTES
Why would anyone choose to make a film about an infamous criminal like Mark Brandon Read, or as he's more readily known, 'Chopper'? Why turn the spotlight on somebody who cheerfully admits to nineteen murders and possesses a talent with pliers that most would prefer not to dwell upon? Why waste time and money 'glorifying' such a man?
Before we proceed any further, let's get a few facts straight. Since when have films existed purely to portray the actions of 'nice' people and events? Surely one of film's main objectives is to intrigue and stimulate the viewer, yet how can this be achieved when certain subjects are perceived as 'off-limits' because of moral indignation and pre-conceived notions of what constitutes suitable viewing. Choosing to ignore something rarely makes it go away. Nor does it provide an explanation as to why an event may have happened or why a person may have acted in a certain way.
Sure, it's easy to dismiss people like Chopper by saying he's a 'cold-blooded killer' whose exploits have already been given unnecessary credence by extensive media coverage. Yet life is rarely black or white and the shades of grey which fall between are endless. And in the not too distant past there was a knockabout teen who became Chopper Read, Australia's most infamous criminal. What happened along the way?
THE JOURNEY
Writer/director, Andrew Dominik, first read Chopper Read's books seven years ago at the suggestion of a friend. "I love crime fiction, particularly anything on felony without motive," recalled Dominik, "and also found Chopper's books hysterically funny. But initially I felt they'd be impossible to film until a year later when a paragraph from the first book renewed my interest. It was the part where Chopper was talking, without any apparent regret, about having committed nineteen murders. He was very gung-ho about these acts and yet within just two paragraphs he was describing dreams where the faces of his victims appeared before him. One thing he was saying was diametrically opposed to the other and it occurred to me that he did indeed have bad feelings about certain actions. On closer reading of the first book, From the Inside, there were all these apologies to people peppered throughout, where he'd say, 'I did this, but I regret that,' and 'If you're out there, I'm sorry about your leg,' and this sort of thing, which I found completely fascinating. I thought it would be interesting to make a film about someone who whilst still very young had engaged in extremely violent behavior without really knowing what he was doing, until he finds, at a certain point, that he's become completely trapped and because of the bad debts he's accrued, can't escape."
For several years prior, Dominik had worked with producer Michele Bennett, gaining a reputation as an innovative director of world-class music videos and commercials. With little comment, he gave her Chopper's first book. "It was not the sort of subject matter that I would normally have been attracted to," she volunteered, "but in this instance, I was. It was absorbing for all the wrong reasons. I was laughing at something I felt I shouldn't have been laughing at and was fascinated by a person whom I felt I shouldn't have been fascinated by and then I realized that there is another side of life that becomes interesting because you don't understand it and it's an anathema to your way of life - to most people's lives."
Both Dominik and Bennett felt the subject matter, although sensitive had potential to be a commercially viable film. They also suffered no illusions that as first-time filmmakers they were would need even more than the usual level of determination required to mount an independent motion picture. However, neither were prepared for the degree of negativity that the mere mention of Chopper's name aroused in certain quarters, nor the hurdles that would have to be surmounted due to preconceptions about how they intended to present the film's protagonist.
"I was surprised to find it so difficult," observed Dominik. "I was just trying to make a film about human behavior that I thought people would find interesting, but we encountered a lot of resistance. His name created a picture in people's heads, but that picture had very little to do with the film. On one hand we've had to deal with moral indignation and on the other Chopper, who's bound to be disappointed by how he's been portrayed. He's certainly not going to consider himself glamorized, but then again, you have people who think that he has been just because he's the subject of a film, so you can't win." Bennett concurred. "There were some distributors and investors who wanted a far more sensational story, whilst others were just concerned with the ethics and morals raised by the subject matter. The first draft of the script was a bit of a romp through the crime world and certain distributors were very interested in pursuing that line, but at that stage we felt that we really needed to research the character, and his life, and go far beyond the information afforded by his books. What intrigued both Andrew and I was the sub-text in his writing. There was the sense that he was presenting an image of himself that wasn't necessarily true, and we wanted to learn what his life was really like and what he was really like. Once we did, the film took on a different tack and we lost the interest of certain distributors who had been attracted to elements of the first draft. By the end however, we had a script that was responsible in terms of understanding the character and in the way it approached violence."
As soon as the rights to the book had been secured, Dominik wrote to Chopper forewarning him that he should be prepared to dislike the film, as not only would it condense a substantial portion of his life to 90 minutes, but would also be largely inaccurate in a strictly historical sense. Nevertheless, they were keen to have his input. Chopper replied saying "he wasn't interested in his opinion of himself but would prefer to see what others thought and therefore felt no need to meet or collaborate." But three years later, during which time Dominik and Bennett had been immersed in researching their subject, he changed his mind and they traveled to Tasmania where Chopper was serving time at Risdon Prison.
"I was terrified when we first met," admitted Bennett, "but within fifteen minutes I'd forgotten all of my fears and became enthralled by his stories and his attitude towards us. We spent seven hours with him but it went very quickly. He did offer input and he was very clever in the way he presented things, but after we'd passed some time with him, we could see that he was waiting to gauge our reaction before he proceeded. He wanted to tell us about himself but we've never been able to determine what was true and what he wanted us to know that wasn't necessarily true. We did offer to show him the script, but he declined, remarking, 'Anything I say would be fiddling. I want to know what you think of me,' so we didn't pursue it. He pretends that he doesn't care how he's perceived by others, but I suspect he really does."
From their viewpoint, Chopper was an endless riddle. "I don't think that he formulated any opinion on us whatsoever," said Dominik. He was simply interested in what we thought of him. He was very entertaining, but meeting with him confirmed for me that I was on the right path with the script. He was eager to please but continually trying to determine what I wanted him to be so that he could become that. He's an incredibly flexible human being."
By this stage, the screenplay had evolved greatly from its first draft. It was never intended to be a straight biography, but rather a pathology of a complex and violent person. In terms of strict accuracy, liberties were taken; names changed and incidents restructured to fit within the confines of a dramatic piece. Truth was further complicated by Chopper himself, a raconteur of singular talent of whom it could be said, never let the truth get in the way of a good story. "There's not much that happens in the film that's not based on some real incident, but it's not absolutely factual," explained Dominik. "It has to feel true, but that doesn't necessarily mean accurate."
Four years down the track, the film still lacked an international sales agent. In the period prior, Mushroom Pictures, the newly formed film division of Australian music giant, Mushroom Records, had come on board. Given their music industry background, Bennett and Dominik had a pre-existing relationship with Mushroom. Mushroom immediately saw the possibilities and decided that rather than just investing, they wanted to be partners. Mushroom Pictures' CEO, Martin Fabinyi joined the team as co-producer, and when the project appeared in jeopardy, suggested they contact Al Clark.
Clark, a producer of international repute with features including Nineteen Eighty Four and The Adventures of Priscilla; Queen of the Desert to his credit, was keen to help. "In October '97, I received a call from Michele and Martin, asking if I would read CHOPPER," recalled Clark. "I knew Michele slightly and Martin quite well, but realized they must have a reason for wanting me to read it, and that reason was to see if I liked it sufficiently to help 'unstick' the project. So I read the script and thought it incredible. As a piece of film writing it was one of the most original variations on the criminal psychology that I'd ever encountered. I also felt that whilst America has produced many outstanding crime movies and England has produced at least several, it's one area in which Australian filmmaking, with a few exceptions, has never really flourished. And then, I met Andrew and was convinced he possessed the kind of rigor that was going to give CHOPPER a shot at being something quite extraordinary, and those are the only films that are worth doing because if a film isn't aspiring to that, what can it ever be?"
Given Clark's enthusiasm for CHOPPER, it seemed only logical that he participate in a more tangible way, so he joined as executive producer.
Matters were further complicated when a drunken Chopper, freshly released from Risdon Prison, made his now infamous appearance on Elle McFeast, a national chat-show, which aired on ABC television. Supplied with copious quantities of alcohol before stumbling onto the set (which the ABC later admitted was an 'error of judgement on the night'), his appearance sparked an avalanche of complaints and provided talk-back radio with juicy fodder for days after. The incident was also blamed for the show's eventual demise. Unfortunately, Chopper's brief foray into television merely served to heighten existing preconceptions of the project, confirming for many that 'such a person' did not deserve to be the subject of a film. By now accustomed to rolling with the punches, Dominik, Bennett and the rest of their team, persevered.
"I remember thinking of a pitch on my way to meet potential financiers," recalled Clark, "and it was a revelatory moment because I had to find a term that described the film, without making it sound like a routine crime biography. So I entered the meeting and my pitch was, 'It's about a guy who thinks he's in Goodfellas but he's really in the King of Comedy.' It's also about delusion. As portrayed in the film, it's about a man who lives his life on such a public stage, who so relishes the attention that goes with his status, that it takes him into another dimension. In some ways he's trapped in a violent game show. But I don't think that some of the people who were being approached understood that it wasn't a kind of dreary, realist attempt at recording events, but a film that if made really well, could transcend the genre; a highly charged cinematic view of a strange and fascinating subject. A film's primary function is to be dramatic, particularly if capturing essences rather than events. I think it has an obligation to take liberties, because otherwise it may as well be a documentary."
Eventually, after a six-year battle, they were ready to shoot and production commenced on May 3, 1999. In addition to assistance provided by Film Victoria for script development, the Australian Film Finance Corporation provided the majority of investment funds, with Mushroom Pictures also contributing. Mushroom Pictures are also co-producers and shareholders of the company formed to make CHOPPER with Palace Films handling local distribution. Beyond Films have the international sales rights and the soundtrack will be released through Mushroom Music and Mushroom Records.
CASTING
"I used to walk around and think, 'who's going to play Chopper,' knowing that the right person just had to be out there, but frustrated because I had no idea who that person was," mused Andrew Dominik. "Eric was actually Chopper's idea. One day he sent us a letter which said, 'what do you think about Eric Bana?'" So I watched one of Eric's shows on TV and thought Chopper was out of his mind. But, I mentioned it to our casting director and he tested Eric without telling us." Bennett continued the story. "We weren't really comfortable with anyone until we saw Eric's test and by the time we watched it, we'd almost forgotten about Chopper's suggestion, but Eric's talent and potential struck both of us. He renewed our enthusiasm."
One of Australia's most celebrated stand-up comics, the good-natured Bana did not at first seem the obvious choice to play Chopper Read and was nonplussed when his agent called, urging him to rush to Sydney for a screen-test. Having just embarked on his honeymoon, the screen test had to wait, but two weeks later he auditioned. Two months later, the part was his.
"I thought it a unique opportunity to approach a delicate and potentially controversial subject, in an intelligent and humane way," noted Bana. "I remember thinking that prior to being loaded with information, it was vital I be able to recall my first reaction to Chopper's name, as my initial perception would be indicative of the general public's when the film was released."
"Eric's a really healthy person, but basically, he can 'do' him," commented Dominik. "Chopper was a guy who grew-up in the western suburbs of Melbourne and so was Eric. There were some days with Eric when it was the easiest job in the world. I'd be watching him and it was as if he'd left his body and somebody else was there and those moments are amazing because you cease to be a director and become the audience. Eric has incredible eyes and he's one of those people who cannot hide what's going on within. He's also without vanity and in an actor, that's a real attribute." Bennett agreed. "Eric has a complete absence of fear. He lends humor and empathy to the role and we instinctively felt that he'd be able to handle the complexities of the character. We've been so impressed with his performance. He's had to sit in make-up for five hours from four in the morning and then put in really long, strenuous days for every single scene. I don't know how anyone else would have coped physically, let alone emotionally. Every day we were thankful and appreciative that we had him."
As it was never their intention to make a straight bio-pic, certain characters in CHOPPER are amalgamations of figures from his past. "Hardly anyone in the film is of consequence except for Chopper," explained Dominik. Their importance is only determined by how they effect Chopper and his feelings towards them."
One exception is Keith Read, Chopper's unrelenting father, played by Ken Graham. It could be argued that as a child, Chopper was not given the right set of rules to develop by, although in his books he refuses to lay the blame for his actions on Keith. In the film Keith is portrayed as the one person capable of reducing Chopper to nerves, as well as providing some of the film's more comical moments. In one scene, as Chopper takes leave of his father, Keith dances around him, ensuring his son has the right weapon for every occasion - a bit like a mother primping her daughter for prom night. Eventually, Sydney based actor/comedian Kenny Graham, was cast.
"For Chopper it was an important relationship," conceded Dominik. "In the film, Keith Read's pretty over-the-top. It's very hard to play a character like that, yet still be believable, but Kenny's fantastic." The fact that Bana and Graham were old friends from the comedy circuit was an added bonus.
Occasionally life is stranger than fiction, something Dominik confirmed as he recalled his first encounter with the Read family. "I actually met Keith when I was eight years old, although I have no personal recollection. My best friend used to live beneath Chopper and Keith, and apparently I would march upstairs and play with Keith's guns. This was in 1978, at about the time Chopper tried to kidnap Judge Martin, but I honestly can't remember and only learnt of it when I'd been working on the film for a couple of years!"
In the film, Chopper's best friend, and at times tragic adversary, is represented by the character, Jimmy Loughnan, played by Simon Lyndon. Lyndon describes their relationship as "quite emotional, in that each was probably the closest either had to a family." There was a real Jimmy Loughnan, who eventually died in the fires of Jika Jika Prison in Melbourne., but for dramatic expediency the on-screen Jimmy Loughnan was a composite of several people involved in the various incidents portrayed in the film.
Fulfilling a promise to help get his 'mate' out of jail, it was for Jimmy that Chopper staged his now infamous kidnapping attempt of Judge Martin of the County Court - with a shotgun that contained a blank - an episode that could be interpreted as symbolic of Chopper's commitment to keeping a promise, but telling in that he possibly never intended to achieve his stated aim, or seriously hurt the judge. In that instance, a grand gesture was made and Chopper returned to the familiar security of H Division within Melbourne's Pentridge Prison.
In the period following his return, Chopper and his ears departed company for reasons that are not exactly clear. The brutal deed - another footnote in Chopper's history of self-mutilation - might have been a desperate act to convince his opponents that he was insane or without fear - or a gesture of guilt over the unfortunate Judge Martin's subsequent heart attack. During that time, Chopper was also the victim of an attempted assassination; possibly by his old mate, Jimmy. Loughnan was certainly in the prison yard when the stabbing took place, and in the film is portrayed as the perpetrator, but the truth may never be known. Crime and punishment seem to loom large in Chopper's psyche, and it was perhaps for this reason that Chopper never pursued Jimmy, whom he claimed was his assailant.
This theme is echoed in the fictitious character of Neville Bartos, a drug-dealer who runs foul of Chopper in the first part of the film, only to be shot by him in the second - and is than driven to hospital by his 'eager to make amends' attacker. Played by popular actor, Vince Colosimo, Bartos, who was based on a number of people, is depicted as a likeable guy - with a penchant for Hugh Hefner-style velour tracksuits - who just doesn't listen when old Chopper comes calling.
ON THE INSIDE
Commencing in the early '70's when a fit, young Chopper was enjoying another stay at Pentridge, than switching to the mid '80's when scarred, heavier and older he returned to society, CHOPPER covers two distinct periods. To assist Eric Bana physically portray the older Chopper, it was decided to film in two parts so that Bana could gain weight during the break. This also suited the production, as it was Dominik's intention to starkly contrast the first half of the film with the second.
"We wanted the first half to be bare, with absolutely no distractions," he explained. "In some ways the H Division of Pentridge is like the polar bear cage at the zoo - painted white blue-stone - so there's nothing. Upon his release, we needed to completely contrast that by projecting a feeling of agoraphobia, so that everywhere one looked, there was an excess of visual information."
For historical purposes, Dominik was determined to film within Melbourne's Pentridge Prison, particularly as it was the jail most accustomed to welcoming Chopper. It was a decision that saw Bennett embark on an odyssey beset by red tape. She recalled, "I first approached them in 1995 whilst it was still an operating prison (Pentridge has since closed). At that stage, most of the prison governors were quite interested. In a way, they all seemed rather fond of Chopper. But, I soon learnt that the prison was to be sold so I started dealing with the Department of Treasury and Finance who were the owners. They indicated that once they had confirmed the date it was to be vacated, our request shouldn't be a problem. But all those dates changed. On top of that, our dates for securing finance were delayed. At one point, the Department advised that there was a window of one month for filming, but we hadn't been fully funded, so that window closed. Then we did receive funding, but were told we could no longer film there as a tendering process was underway and they had prospective owners going through. We looked at all sorts of prisons around N.S.W., as a substitute location but Andrew would not film anywhere else. So, we kept on until everyone in every division of Treasury and Finance, along with the new owners and Pentridge staff knew who I was and were sick to death of me. In the end, we just got through."
Rather than building studio sets, the decision was made to film within the cells of H Division. Permission was obtained to temporarily remove several brick walls to create sufficient space for maneuvering equipment. Shooting in Pentridge was no novelty to production designer, Paddy Reardon, who had previously worked there on two other projects.
"We wanted to show the sterility of prison and by doing_ to the prisoners' uniforms. Costume designer, Terry Ryan, researched the prisoners' garb of the period, with mixed results. "Nobody could agree. We weren't able to source information from the Department of Corrective Services so we paid a visit to one of Pentridge's former governors. He had one opinion, as did a warder who had been there at the same time, which, in turn didn't match the recollections of former inmates. But as we weren't making a documentary, absolute accuracy wasn't essential. In a way, we wanted the prison to feel like a private boy's school, with the prisoners neatly buttoned, which wasn't far from the truth. At that time in H Division, you received demerits if your shirt or jacket was undone. They were even reprimanded for not polishing their shoes, so we just took it one step further."
Bana took filming in Pentridge within in his stride. "People warned me that it would be dark, depressing and difficult, but funnily enough, it started to feel like a studio rather than a prison. At times the reality of the location escaped me because it was just a comfortable working environment. Obviously, I was privileged in that I could drive home each night to my wife, but at the same time, I could see how people can adapt to those situations very quickly."
One aspect of portraying Chopper that did erode Bana's inherent good humor was the subject of Chopper's ears - or rather - lack of them. "What are they going to do about your ears?" he was asked repeatedly. Finally, Bana told people that "he was having them medically removed and cryogenically frozen, so they could be stitched back at the end of production and that in case of mishap, an insurance policy had also been purchased to cover damages." Laughed Bana, "The number of people who actually believed me was incredible!"
For Michele Bennett, extensive research into Chopper's world became second nature. "When I started, I quickly learnt that people involved in this way of life - prison officers, criminals, police - think quite differently to the general public. They have their own definition of friendship and loyalty. They tend to be very philosophical about things we're not philosophical about and very judgmental about things that we let slip by. Those prison officers we interviewed, also admitted to a greater feeling of loyalty and bonding towards prisoners in H Division - even though they were under their authority - than they experienced with fellow officers in the body of the prison."
Observing the extras provided an intriguing insight for Bennett. "We wanted people with prison tattoos but didn't have the budget for endless hours in make-up, so in the end approached former inmates, as well as casting through tattoo associations and tattoo parlors. But, you could just tell the extras who had spent time. They had the prison body language, from the way they held a cigarette, to the way they slouched, to the way they did nothing. Having spent so long in prison, they were comfortable during all those times when you have to wait endlessly for a shot. You try and get an extra to do nothing and they're acting."
Andrew Dominik recalled an incident that brought home the reality of their subject. "At one casting session, we were testing a few criminals and noticed one was absent, so we phoned to find out where he was. His father answered and said, 'Oh, he feels really bad about missing the appointment, but he just got shot and he's in hospital, so he won't be coming.' Apparently some drug deal had gone awry. Then two weeks later, the same guy arrived for another casting session with two bullet holes - one in his neck and one in his arm. I kept shaking his hand, and he politely asked me to stop as it was hurting him, but I kept forgetting and he kept going, "Aaagh," so in the end, he just stopped correcting me. But I was so nervous. I kept looking at him, thinking, 'Christ, there are people actively trying to kill you as we speak, yet you look so relaxed.' For him, it was no big deal, but it had the effect of suddenly immersing us in the reality of what we were dealing with."
LIFE ON THE OUTSIDE
After a long period of incarceration, Chopper found that life on the outside had changed. For him, jail had been the blue-stone parent, a place where there were clearly defined rules. Now he was free, yet still a prisoner of his paranoia… and the ever-looming spectre of retribution for deeds past.
To instill a sense of agoraphobia, Dominik and his crew opted for 'visual overload'. Color temperatures were exaggerated and normal lighting conditions heightened to create a frightening, threatening world. A strict color palette was used, with Dominik selecting colors he felt worked emotionally. In some ways, the film was treated as though it was shot in black and white, with bold color used in blocks to create depth.
This was particularly evident in the set for the brothel visited by Chopper. Because of the psychological impact sought, Dominik studied many books on Japanese brothel interiors (renowned for their excessive decor), determined to achieve what he termed a 'visual spew' effect, which he obtained by using red with a range of textures.
Red also featured heavily in the interior of Bojangles, the nightspot visited by Chopper soon after his release. Shot in Melbourne's Dome Nightclub, the interior was transformed with red fluorescent lights and numerous strobes. The effect was sickeningly overpowering, and for someone wrought with paranoia, a living nightmare.
"To be honest, it's taken me ten years to realize that for cinema, you have to go all the way to make an impact," remarked production designer, Paddy Reardon. "You have to go further than you think is decently possible. Colors that initially looked strong can be diminished because everything becomes diluted by the editing, the soundtrack and other factors. You almost have to make everyone on-set feel sick to achieve some sort of punch with the final result."
"There's hardly what you could a real flesh tone in the film," opined Geoffrey Hall, the director of photography for part two of the film's shoot. "From Chopper's perspective, we wanted everything to look fairly distorted and heightened, especially after the grey, flat tones of prison. But for every frame, we needed a reference point of normality, generally white, because your brain can quickly adjust to visual excesses. Within a few minutes what initially appeared extraordinary can suddenly seem quite normal."
Kodak 250 D stock was used throughout the shoot, with Kodak Vision 500 and 200 used on exteriors. 250 D is a daylight stock and not generally used for interiors as it has the effect of making them appear overly warm. But given the heightened effect sought, this was a plus. Combined with the lighting and bold colors and because it wasn't correctly balanced for interiors, it had the happy effect of producing abnormal tones. But for the film's second half, mostly shot inside and at night, the stock needed to be faster, so it was *pushed from a 250 to a 500 ASA with great result. (* 'Pushing the stock' is a chemical process that takes place in the lab. The film is run through the machine more slowly, to allow for over-development. If under-exposed initially, it needs to develop for longer to enable a return to the correct exposure. However, this process changes the properties of the film in terms of color balance, grain structure and contrast.)
Reproducing the '70's and '80's wasn't difficult, but did pose one risk. "It's becoming harder to show elements of the period without having them appear too trendy," said Reardon. "I went out of my way to prevent the film looking like a period piece by not including too many recognizable icons of the era. We're trying to make a picture about this man's journey once he left jail - not retro-decor - so we concentrated on the lighting more than the set dressings; it certainly wasn't an Austin Powers approach. We were also representing people who existed by petty crime, not overly interested in the icons of the period, so took care not to over-dress their homes. I mean these people didn't go out and buy lava lamps. They may have stolen them, but they certainly didn't buy them!"
Police interviewed for research purposes were amused that a film was to be made on Chopper Read. Many professed to like him; even those who had encountered him on the wrong side of the law. This was a pattern repeated during interviews with fellow-crims and prison officers. As a body, there were certain things within the script of which the Victorian Police did not approve, but they were relatively co-operative throughout the production. As they had a 'pay for use' approach, it was possible to undertake considerable research, although they weren't in a position to officially support the project.
All aspects of Chopper's criminal activities were carefully studied, including court and committal transcripts, forensic materials and photos of weapons used. Former associates, friends and foes were interviewed, although most kept insisting that there own lives would make better films. Interestingly, they all told great stories and were very entertaining - just like Chopper - which brings us to his shooting of 'Sammy the Turk' (a crime for which he was eventually acquitted), in the car park of Bojangles Nightclub. Depicted three times, the crime evolves from a straightforward enactment of a cold-blooded murder, to a vaudeville-style parody.
"The idea behind the way we've portrayed the murder of Sammy the Turk," commented Dominik, "is to take something that's quite disgusting and transform it into a funny anecdote, which really, when analyzed, is quite disturbing. Most people's anecdotes are rooted in absolute humiliation or some terrible experience but eventually become incredibly trivialized, to the point where a murder scene can, years later, become a famous location for having your photo taken!"
One anecdote pertaining to the shoot gives a milder, but no less colorful example. Bennett and Dominik arrived for a casting session at the Melbourne Film Studio in Port Melbourne and started chatting to a couple of actors on the steps outside. Thirty seconds later, a police car arrived, followed by a police van, followed by more cars until about five vehicles bursting with police surrounded the building. Out jumped swat teams, fully decked in vests and guns, all running in different directions. Some approached the bewildered group on the steps and asked, "Have any of you seen a shooting incident?" and one actor said, "Yeah, that would have been us." Immediately Dominik and the actors were spread-eagled on the ground and frisked, whilst Bennett looked on in shock. It transpired that the actors had been rehearsing with a cap gun outside the building, a scenario that had prompted a concerned neighbor to call the police to report a shooting…!
Part one of the production ran from May 3 until May 26 with part two continuing from June 28 until July 21, ending six years of marathon effort on the part of Dominik and Bennett. "It's been really difficult," reflected Dominik. "This film wouldn't exist without Michele because I definitely would have given-up before now."
But maybe the last word should go to Al Clark who said, quite simply, "To make this film, Andrew and Michele have had to climb mountains and cross oceans. They've accomplished unimaginable acts of stamina and resilience and have refused to be beaten. The fact that CHOPPER has been made is a tribute to their tenacity and the courage of their investors, as nobody really understood what it was. It was thought to be some kind of grandstanding, dramatized documentary about a guy considered a drunken idiot who occasionally appeared on television boasting. But the film is, I think, going to be incredibly strange, soulful and surprising and finally, all of their effort will have been worthwhile."
ABOUT THE CAST
ERIC BANA (Mark "Chopper" Read)
Born in Melbourne to a German mother and a Croatian father, Bana is one of Australia's best known comedians.
His first major break came in 1993 when, after several years on the comedy circuit, he was invited to join the cast of the top-rating TV comedy show, FULL FRONTAL. With an uncanny ability to hilariously impersonate famous personalities from all walks of life, Bana soon became one of the program's most popular, and talked-about, performers.
In 1996 he wrote, co-produced and starred in his own comedy special which proved a ratings winner. This led to his own weekly comedy show that aired nationally from late 1997. That year, Bana was also voted 'Most Popular Comedy Performer' at the Logies - Australia's equivalent of America's Emmy Awards.
CHOPPER is Bana's second feature. He also starred as 'Con' in the hugely successful feature, THE CASTLE, (released internationally through Miramax).
SIMON LYNDON (Jimmy Loughnan)
Lyndon graduated from Western Australian Academy of Performing Arts in 1994 and has worked steadily in film, television and theatre ever since. Feature film credits include DUST OFF THE WINGS, THE WELL, FRESH AIR, SAMPLE PEOPLE and director Terence Mellick's acclaimed war drama, THE THIN RED LINE.
Following his stage role in BLACKROCK, Lyndon was cast in the play's big-screen adaptation which led to an Australian Film Institute (AFI) nomination for 'Best Supporting Actor'. Additional theatre credits include THAT EYE THE SKY, directed by Richard Roxburgh, LIVE ACTS ON STAGE and Neil Armfield's celebrated production of CLOUDSTREET.
Television appearances include roles in QUARANTEEN, SOLDIER, SOLDIER, POLICE RESCUE, HEARTBREAK HIGH, ROAR and WILDSIDE.
To get 'in the mood' for filming within Pentridge, Lyndon chose to spend a night in the prison, as did fellow cast member Dan Whylie. His verdict, "It was cold, but I suppose you'd get used to it!"
KENNY GRAHAM (Keith Read)
A familiar face on the Australian comedy circuit, Graham is also a respected actor.
Able to switch effortlessly between comedy and drama, Graham has appeared in stage productions of INSIDE THE ISLAND, A MIDSUMMER NIGHT'S DREAM, WOMEN OF TROY, STORK, WHAT IN CREATION, THE SENTIMENTAL BLOKE and BIG SISTER.
One of his first television roles was in the acclaimed ABC television drama, THE LEAVING OF LIVERPOOL, swiftly followed by performances in POLICE RESCUE, SOLDIER, SOLDIER V, HOME & AWAY, JUST KIDDING and WATER RATS.
CHOPPER marks Graham's first appearance in a motion picture.
DANIEL WHYLLIE (Bluey)
For a young actor, Wylie has already accumulated credits in some of Australia's most noted films of recent times, including SPOTSWOOD, director Geoffrey Wright's neo-nazi nightmare ROMPER STOMPER, MURIEL'S WEDDING (which launched the careers of Toni Collette and director P.J. Hogan), Bill Bennett's comedy SPIDER & ROSE plus COSI and THE THIN RED LINE.
Whyllie's theatrical resume lists lead roles in the Sydney / Melbourne tour of ALL STOPS OUT and Sydney Theatre Company's production of BLACKROCK. Additional theatre credits include BECOMING EMILY and THE ALCHEMIST, for Belvoir Street Theatre, CLOUDSTREET, directed by Neil Armfield and, most recently A-FRAMED.
On television he has appeared in the series' MURDER CALL, CODY, POLICE RESCUE and A COUNTRY PRACTICE.
DAVID FIELD (Keithy George)
This is not the first time Field has appeared in a film with a prison theme, having previously starred in GHOSTS OF THE CIVIL DEAD, directed by John Hillcoat and EVERY NIGHT, EVERY NIGHT, based on the play by Ray Mooney.
Over the years, Field has also starred in EARTHBOUND, SEEING RED, JUST DESSERTS, BROKEN HIGHWAY, EXILE, ON OUR SELECTION, THE SMALL MAN, STITCHED, A BLOW A KISS, BLACKROCK, TWO HANDS and the soon-to- be released features, THE ORDER, SAMPLE PEOPLE and the new comedy from director Yahoo Serious, MR. ACCIDENT.
Field has worked regularly with Belvoir Street Theatre, Sydney Theatre Company, and Griffin Theatre, with key roles in many productions; CONQUEST OF THE SOUTH POLE, MUNJONG, THE TEMPEST, OUR TOWN, THE BOYS, JONAH, THE TRACKERS OF OXYRHYNCUS, COSI, DEAD HEART, THE SWAN and PICASSO AT THE LAPIN AGILE amongst them. He also wrote and starred in the play DALI, staged at Melbourne's La Mama Theatre.
Television credits list POLICE RESCUE, BLUE HEELERS THE MAN FROM SNOWY RIVER, WATER RATS and the award winning ABC drama, WILDSIDE.
VINCE COLOSIMO (Neville Bartos)
Since graduating from Victorian College of the Arts in 1987, Colosimo has established himself as a sought-after actor. Whilst still a teenager, his talent was evident following star turns in the features STREET HERO and MOVING OUT. For the former, he received an AFI nomination for 'Best Actor' and for MOVING OUT was voted 'Best New Talent' by the Sydney Film Critics' Circle.
In the years since, he has amassed a lengthy list of theatrical and television credits and has also toured in the smash-hit productions, WOG-A-RAMA and WOG BOYS displaying his flair for comedy.
In addition to a stint as a cast-member on the television comedy, ALL THE WAY, Colosimo has appeared in LAW OF THE LAND, SINS-SLOTH, A COUNTRY PRACTICE, GOOD GUYS BAD GUYS and HALIFAX fp.
He has amassed a bevy of stage credits with roles in Melbourne Theatre Company productions of A STREETCAR NAMED DESIRE, SUMMER OF THE ALIENS, OTHELLO, A VIEW FROM THE BRIDGE and THE CLUB. Other theatre credits include ROMEO AND JULIET for director Glenn Elston, Aubrey Mellor's production of BURNING TIME, staged at Melbourne's Playbox Theatre and ROSE TATTOO for State Theatre Co. of South Australia.
Colosimo recently completed filming on the comedy feature, THE WOGBOY.
KATE BEAHAN (Tania)
Beahan's acting talents extend to film, television and theatre. She will soon be seen in STRANGE PLANET, the new movie from director Emma-Kate Croghan and recently completed filming A WRECK A TANGLE for director Scott Patterson. Other feature credits include HORN, THE GIFT and UNDER THE LIGHTHOUSE DANCING.
In this instance, Beahan plays the fictitious character of 'Tania', a working girl, who shares an uneasy relationship with Chopper. The part is in stark contrast to recent stage roles in ROMEO AND JULIET, HAMLET and THE TEMPEST in which Beahan respectively played 'Juliet', 'Ophelia' and 'Miranda'.
On television Beahan has appeared in the long-running series, HOME AND AWAY and has also starred in a host of tele-movies including IMELDA'S SHOES for Foxtel and THE CODOPPLE which aired on SBS.
THE FILMMAKERS
ANDREW DOMINIK (Writer/Director)
Born in Wellington, New Zealand, Dominik's family moved to Australia when he was two years old.
Since graduating from Swinburne Film School in 1988, he has gained a reputation as an innovative and talented director of music videos and commercials. Selected by advertising giant, McCann Erickson, to launch the American soft-drink 'Powerade' in Australia, Dominik's efforts exceeded expectations when the resultant commercial was chosen to promote the product throughout the US and launched at the Superbowl. It subsequently won America's most coveted advertising award - the 'Gold Mobius'.
He joined Cherub Pictures following graduation and has directed music videos for major Australian artists including CROWDED HOUSE, JENNY MORRIS, DIESEL, JAMES REYNE, CRUEL SEA and THE CHURCH, which in turn have been honored with MTV Awards and Aria nominations.
Film has always been Dominik's chief goal, but on leaving Swinburne he chose to hone his technical skills before tackling his first feature. "By nature, he's into everything," laughed director of photography, Geoffrey Hall. "As soon as he has an idea, he wants to try it. Technically, he's extremely clever and every project we've collaborated on has always been very challenging," a sentiment echoed by Michele Bennett, his producer and working partner of eight years. "He's the most inspiring director I've encountered - and that's not to the detriment of any one else," she remarked. "No matter what the task, Andrew will always introduce something that's incredibly innovative and creative. He's never complacent and manages to make every assignment totally absorbing and interesting."
MICHELE BENNETT (Producer)
Credited in many ways as being the driving force behind CHOPPER, Bennett was born in Geelong, Victoria and commenced her career as a photographer's agent. In the late eighties, she worked closely with filmmaker Richard Lowenstein and UK director, Nick Egan, producing music videos for artists such as Prince, U2, INXS and Jenny Morris.
Her 1990 documentary, 'Lovetown', on Irish band, U2, post-produced in Dublin, was shown worldwide. Throughout that same year she continued to work closely with Lowenstein and also with Ross Nichols Productions before deciding to form her own production house, Cherub Pictures.
Since that time, Cherub Pictures has deservedly become one of Australia's leading production companies, specializing in music videos, documentaries and television commercials which have successfully competed on an international level. Directors represented by Cherub Pictures over the last few years include Richard Lowenstein, Grant Matthews, Jeff Jaffers, Robby Douglas Turner, Angus Gordon, Rowan Woods and, of course, writer/director Andrew Dominik.
MARTIN FABINYI (Co-Producer)
Fabinyi has long been involved in film, music and multi-media as a writer, director and producer and is currently the CEO of Mushroom Pictures and executive producer of the company's film and television projects.
He has produced and directed independent films and has also written feature film scripts for directors Jim Sharman, Michael Thornhill and Phillip Noyce. A one-time board member of the Sydney Filmmakers' Co-operative, Fabinyi joined forces with film composer Cameron Allan in 1979 to form Regular Records. The company launched the careers of numerous Australian artists including Mental As Anything, Icehouse, I'm Talking, Kate Ceberano, Austen Tayshus and The Cockroaches and was the most influential independent record label during the early 1980's, selling several million albums both locally and internationally.
In 1994 Fabinyi and Michael Gudinski, the Chairman of the Mushroom Group of Companies, formed Mushroom Pictures. On behalf of Mushroom Pictures, Fabinyi produced the documentary on Australian indigenous group, Yothu Yindi, TRIBAL VOICE, in association with Southern Star Xanadu and the Australian Film Commission. The resulting documentary was screened on ABC-TV and the Discovery Channel.
Mushroom Pictures was also a member of the consortium that produced REAL WILD CHILD!, the CD-Rom on the history of Australian Rock and roll, funded by the Federal Government as part of their 'Australia-On-CD' program. REAL WILD CHILD! recently won 7 awards at the Australian Multimedia Awards, including the 'Gold Award for Best Product'.
With offices in Australia and the UK, Fabinyi and Mushroom Pictures are currently developing a slate of film and television projects, including the new feature film, CUT, a teen thriller starring Molly Ringwald and Kylie Minogue.
MICHAEL GUDINSKI (Executive Producer)
Gudinski is, unquestionably, the most successful entrepreneur in the Australian Music Industry. Mushroom Records and Mushroom Music, both founded by Gudinski, recently celebrated their 25th anniversaries. To date, there have been over 400 Australian artists signed and recorded by the Mushroom Group of Companies including pop diva, Kylie Minogue. Their releases have so far exceeded 8,000. Mushroom Music alone is the number one publisher of Australian music and most successful independent publishing company in the country.
The son of Russian immigrants, who came to Australia in 1948, Gudinski had his first taste of the music industry as a teenager at Melbourne High School, where he initiated booking bands for school dances. He came to prominence as manager of Australian rock legends Chain, and the infamous band, Skyhooks whose 'Living in the Seventies' album remained in local charts for a record-breaking 56 weeks.
In 1985 he founded Liberation Records, achieving great success with an extensive range of overseas artists including Joe Cocker, Coolio, The Bangles, Faith No More, Backstreet Boys and Britney Spears.
1993 saw the Murdoch Group, News Limited, join as a Mushroom shareholder, precipitating Gudinski's decision to open a Mushroom office in London. Their first UK success came with Peter Andre's #1 album, 'Natural', followed closely by their development of artists such as the Grammy nominated groups, Ash and Garbage.
Gudinski is also Managing Director of the Frontier Touring Company, Australia's leading concert promoter, twice voted the #1 International Touring Company in the world by Performance Magazine.
To coincide with Mushroom's 25th year, Gudinski chose to sell his remaining share in Mushroom Records to News Limited; a move that has enabled him to concentrate on his extensive slate of music and media interests, particularly Mushroom Pictures.
AL CLARK (Executive Producer)
Born and raised in southern Spain, Clark began his career as a journalist on the London magazine, Time Out. For thirteen years following, he worked with the UK based company, Virgin; firstly as publicity director for Virgin Records, then as founder and editor of the Film Yearbook and finally as head of production for their film division.
His British film credits as co-producer are Michael Radford's NINETEEN EIGHTY FOUR - the winner of several awards, including the Evening Standard Award for 'Best Film of the Year' - and ARIA, directed by, among others, Robert Altman, Jean-Luc Godard and Nicolas Roeg. As executive producer his credits include Zelda Barron's SECRET PLACES, Julien Temple's ABSOLUTE BEGINNERS, Paul Mayersberg's CAPTIVE and Ken Russell's GOTHIC.
Moving to Sydney, Clark served as a board member of the Australian Film Commission from 1989 and 1992. In 1993 he teamed with director Stephan Elliot to produce one of the biggest success stories of modern Australian cinema; THE ADVENTURES OF PRISCILLA: QUEEN OF THE DESERT. Other Australian credits include George Ogilvie's THE CROSSING (as executive producer), Craig Lahiff's HEAVEN'S BURNING (as producer), Stephan Elliott's EYE OF THE BEHOLDER (as co-producer) and most recently as producer of John Polson's SIAM SUNSET starring Linus Roache.
KEN SALLOWS (Editor)
With a resume featuring innumerable screen highlights and awards from Australia's film industry, Sallows commenced as a script assistant with Crawford Productions; the first step in a career that has seen him emerge as one of the industry's finest editors.
For Sallows, the greatest challenge afforded by CHOPPER was the intent to portray violence in a 'non-violent' way. After working on a string of romantic comedies, it was also a chance to apply his talents to a different genre.
Over the past decade, Sallows had edited MALCOLM, RIKKY AND PETE, CELIA, RETURN HOME, ISABELLE EBERHARDT, PROOF, THAT EYE THE SKY, LOVE AND OTHER CATASTROPHES, TRUE LOVE AND CHAOS, DOING TIME FOR PATSY CLINE, CRACKERS and the soon to be released features, STRANGE FITS OF PASSION, THE MISSING and STRANGE PLANET. His credits also include a broad range of documentaries, television series' and shorts.
KEVIN HAYWARD (Shoot 1 - Director of Photography)
With copious commercials, music videos, documentaries and features shot both in Australia and abroad to his credit, Hayward brings a wealth of experience to CHOPPER.
Raised in Auckland, his first entry into the industry was a stint at the New Zealand Broadcasting Corporation as a trainee film editor, prior to joining Endeavour Films as an assistant cameraman. Over the next few years he sharpened his skills via a number of industry related positions before deciding to freelance in the early eighties.
Since then, Hayward has never been short of an assignment and has applied his talents to many notable productions including the features BRIDGE TO NOWHERE, RECKLESS KELLY and the acclaimed drama, TRAPS.
GEOFFREY HALL (Shoot 2 - Director of Photography)
A graduate of the prestigious Film and Television course at the former Swinburne Institute, Hall entered the industry in the early eighties, working on music videos, commercials, documentaries and features. Over the next thirteen years, Hall's career led him to eleven countries and saw him work on over 800 commercials alone. Highlights from this period include maverick filmmaker Alby Mangels' feature, WORLD SAFARI 2 and the breathtaking documentary, WHEELS ACROSS THE HIMALAYA.
A 'gun for hire' since 1993, Hall's ability has been frequently honored by the Australian Cinematographers' Society and will again be in evidence on the upcoming Linda House/Jim Stark produced feature drama, THE MISSING.
PATRICK REARDON (Production Designer)
A consummate professional, Reardon has lent his visual flair and years of experience to more than a few major local features, including PROOF, THE BIG STEAL, HEARTBREAK KID, MURIEL'S WEDDING, RIVER STREET and MUGGERS.
CHOPPER was not Reardon's first encounter with Pentridge Prison, having previously filmed two TV productions within its bluestone walls; THE LAST OF THE RYANS, the tragic story of Ronald Ryan, the last man to be executed in Australia, and ONE WAY TICKET, also based on actual events.
TERRY RYAN (Costume Designer)
CHOPPER was at the opposite end of the spectrum to Ryan's previous assignment, PASSION, the costume drama that explored the life of eccentric pianist/composer, Percy Grainger.
To date, Ryan has enjoyed a varied career spanning film, theatre, opera and television. He is also the recipient of three AFI awards for 'Best Costume' for his work on the features, KANGAROO, BILLY'S HOLIDAY and CHILDREN OF THE REVOLUTION.
Other films to have benefited from his eye for detail include GALLIPOLI, THE YEAR OF LIVING DANGEROUSLY, HIGHTIDE, FORTRESS, THE CUSTODIAN, SIRENS, MURIEL'S WEDDING, DATING THE ENEMY and director Bruce Beresford's World War 2 epic, PARADISE ROAD.
Sunday, October 1, 2000 |