writing

art, c4d, compositing, digital effects, graphics, video, writing

House of Stories



This year we’ve been working on a documentary about the history of Sydney Opera House for the public tours of the building. Thirteen editions, including the 18 minute full length story, French, German, Spanish, Korean, Mandarin and Japanese editions are finished and ready to start being seen by millions over the next seven years.

Crystalising the story of SOH in under eighteen minutes was a lyrical experience, packing down layers of substance and history into so few words. Hugo’s narration is pitch perfect and it’s been a good production – flying a drone around the concert hall, the JST, the foyers, animating and rotoscoping, learning to use Red Giant’s Looks, editing, etc… For rights reasons, I can’t show it, but here’s an excerpt. Go take a tour of the building to see the whole thing!

writing

The havenot


He began to think of death differently at what he took to be about half way through life. Waking in the morning, death was on his lips as he mouthed the meaning of dreams. Their images were in his mind, slowly vaporising in a swirling mist, revealing an ominous certainty like a changed landscape.

20140120-232215.jpgThe dreams had been about a series of houses and plots of land. The first house he still remembered was gothic, ornate, made from immutable materials, carved rock and stone. It felt unmovable. The part of the dream where he had been inside had already evaporated, but he had been inside. Now he was remembering a later scene, standing outside, attempting to climb the facade, but at the same time joining in a chorus of agreement that this house was haunted, and impenetrable, but if one did find a way in, that one would die. Of dread. They could hear the spirits inside, the sounds were of wailing and groaning and death by fear alone.
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Uncategorized, writing

Room 2014 is open


Old Parisian Door Knob (after Atget)If the new year were a room, it should be newly painted, undecorated, nascent, vast with high ceilings and bay windows. Panelled walls, textured like egg shell, hard wooden floors all ready for adornment, yet unset, undefined, discontinuous from previous times. For this room has entertained life for years, thoughts, ideas, dramas and realisations have occured in many guises within its walls. Sometimes its occupants looked at its floor, the walls, out through its windows, at the back of its door, and thought ‘these things will outlive me.’ This leather in hand, this fixture, these things that comfort and confine, gild and trap, lull and preserve. These things are dust, wrought by more dust, animated by some quintessence of what? This room hosts the pursuit of sublime protean answers to that endless riddle.

art, awards, journalism, writing

18,000 words worth – best writing for interactive media at the 2013 Australian Writers Guild Awards


After a good eights months researching the history of Sydney Opera House, I sat down in August 2012 for six weeks and wrote the script that became the main narrative for The Opera House Project. So it was a real thrill to be recognised for the work last Friday.
Here are six of my favourite chapters (find the text versions here):
Chapter Two: 1956, the Year of the Competition
Chapter Three: Jørn Utzon, the Great Eclectic
Chapter Nine: Stage One Begins
Chapter Twelve: 1962, The Yellow Book and the Final Roof Geometry
Chapter Sixteen: Perfection Lost
Chapter Twenty Two: The Return

A good night was had at the Plaza Ballroom, Melbourne
A good night was had at the Plaza Ballroom, Melbourne