POST
PRODUCTION
SCRIPT
RECORDER
QUEEN
© 2020
POST PRODUCTION SCRIPT
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
1 |
7.24 |
FADE UP FROM BLACK INDIGENOUS |
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10 00 00 00 |
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WARNING IN WHITE OVER CENTRE OF |
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BLACK BACKGROUND |
MUSIC BEGINS ... 15 SEC |
10 00 07 15 |
WARNING READS
Aboriginal and Torres Strait Islander viewers are advised that the following film contains images and voices of people who have died.
>> SCENE 1. EXT DAY MELBOURNE
2 |
11.04 ANIMATED CLOUDS PART OVER |
ANNOUNCER (OFF SCREEN) |
10 00 07 24 |
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SUBURB BELOW AS BIRDS FLY PAST |
Good morning, ABC Classic listeners across |
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Australia. Let’s start today in the company of |
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TITLE BEGINS AT 10 00 09 05 |
recorder virtuoso, |
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Music Films presents
TITLE ENDS AT 10 00 13 13
SHOT MORPHS INTO REAL LIFE AS
CAMERA TRACKS DOWN THEN
DISSOLVE TO
>> SCENE 2. EXT DAY GENEVIEVE’S HOUSE
3 |
3.15 |
WMS EXTERIOR VIEW GENEVIEVE’S |
Genevieve Lacey. |
10 00 19 03 |
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HOUSE |
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MUSIC ENDS |
10 00 22 15 |
4 |
1.23 |
WMS RECORDER MOBILE TURNS |
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10 00 22 18 |
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SLOWLY PAST CAMERA |
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5 |
3.13 |
WS RECORDERS IN POT WITH |
GENEVIEVE (VOICEOVER) |
10 00 24 16 |
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SUCCULENTS |
It’s curious to fall in love with an instrument. |
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TITLE BEGINS AT 10 00 24 16
A film by
Sophie Raymond
TITLE ENDS AT 10 00 28 03
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
6 |
3.03 |
WS RECORDERS IN GARDEN WITH |
10 00 28 04 |
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PLANTS |
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>> SCENE 3. INT DAY GENEVIEVE’S HOUSE
7 |
2.14 |
MS PROFILE GENEVIEVE PLAYS |
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10 00 31 07 |
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RECORDER |
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MUSIC BEGINS ... 40 SEC |
10 00 33 20 |
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TITLE BEGINS AT 10 00 31 07 |
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with |
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Genevieve Lacey |
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TITLE ENDS AT 10 00 33 20 |
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8 |
5.14 |
LIGHTS MOVE OVER NOTES ON WMS |
GENEVIEVE (VOICEOVER) |
10 00 33 21 |
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SHEET MUSIC |
To still be enchanted after all these years is |
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even |
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9 |
5.09 |
MAIN TITLE APPEARS NEXT TO |
more curious. |
10 00 39 10 |
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PORTRAIT OF ELIZABETHAN VERSION |
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OF GENEVIEVE HOLDING RECORDER |
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TITLE BEGINS AT 10 00 39 10 |
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Recorder Queen |
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TITLE ENDS AT 10 00 44 18 |
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10 |
2.23 |
ANIMATED PORTRAIT OF GENEVIEVE |
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10 00 44 19 |
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WINKS AT CAMERA |
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11 |
2.05 |
WS RECORDERS LINED UP |
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10 00 47 17 |
12 |
1.19 |
HA MCU RECORDERS |
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10 00 49 22 |
13 |
2.02 |
WS BIRDS FEED IN BASKET IN FG AS |
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10 00 51 16 |
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GENEVIEVE WALKS THRU HOUSE IN |
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BG |
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14 |
8.03 |
PAN RIGHT OVER HA WMS |
GENEVIEVE (VOICEOVER) |
10 00 53 18 |
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
RECORDERS AS HANDS PICK UP AND PUT TOGETHER
I live with music, sleep on notes, and I'm often visited by
15 |
2.09 |
MS PROFILE GENEVIEVE PUTS |
sounds. |
10 01 01 21 |
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RECORDER DOWN THEN SITS |
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16 |
1.21 |
MCU GENEVIEVE LOOKS UP AND |
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10 01 04 05 |
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SMILES |
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17 |
2.12 |
WS BIRDS FEED AT BASKET |
GENEVIEVE (VOICEOVER) |
10 01 06 01 |
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They |
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18 |
2.05 |
WMS PROFILE GENEVIEVE STANDS |
settle in and quietly |
10 01 08 13 |
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AND PICKS RECORDER UP |
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19 |
4.00 |
WMS REV GENEVIEVE RUNS TO |
percolate in the back of my head. |
10 01 10 18 |
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FRONT DOOR THEN JOGS OUT OF |
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HOUSE |
MUSIC ENDS |
10 01 13 22 |
>> SCENE 4. EXT DAY MELBOURNE STREETS/PARK |
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20 |
2.08 |
WMS PROFILE GENEVIEVE RUNS LEFT |
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10 01 14 18 |
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WITH RECORDER |
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MUSIC BEGINS ... 49 SEC |
10 01 15 00 |
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21 |
2.08 |
WMS PROFILE DOG LOOKS AROUND |
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10 01 17 01 |
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AS GENEVIEVE JOGS PAST |
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22 |
2.02 |
WMS GENEVIEVE JOGS TOWARDS |
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10 01 19 09 |
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THEN PAST CAMERA |
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23 |
1.06 |
WS PROFILE FEET RUN LEFT |
GENEVIEVE (VOICEOVER) |
10 01 21 11 |
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Running? |
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RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
24 |
0.23 |
WS REV GENEVIEVE CROSSES |
GENEVIEVE (VOICEOVER) |
10 01 22 17 |
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STREET |
It helps me breathe. |
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25 |
1.15 |
WS PROFILE GENEVIEVE JOGS THRU |
GENEVIEVE (VOICEOVER) |
10 01 23 15 |
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PARK AS CITY SITS IN DISTANCE |
It’s part of my practice. |
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26 |
3.05 |
MS GENEVIEVE JOGS TOWARDS |
GENEVIEVE (VOICEOVER) |
10 01 25 05 |
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CAMERA |
And it steadies my hyperactive brain. |
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27 |
1.09 |
MS PROFILE GENEVIEVE RUNS LEFT |
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10 01 28 10 |
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UP HILL |
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28 |
1.18 |
WMS GENEVIEVE JOGS LEFT PAST |
GENEVIEVE (VOICEOVER) |
10 01 29 19 |
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CAMERA |
When my senses are |
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29 |
1.22 |
WS PROFILE GENEVIEVE JOGS RIGHT |
wide open, sometimes I catch |
10 01 31 12 |
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PAST WOMAN WALKING DOGS |
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30 |
1.07 |
WS REV GENEVIEVE JOGS ALONG |
a glimpse of a phrase |
10 01 33 09 |
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PATH |
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31 |
1.12 |
WMS GENEVIEVE JOGS TOWARDS |
unawares, out of the corner of my eye. |
10 01 34 16 |
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THEN PAST CAMERA |
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32 |
18.20 |
MONTAGE EDITS WMS PROFILE |
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10 01 36 0 |
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GENEVIEVE JOGS THRU SHOT AS |
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FLINDERS QUARTET ARE REVEALED
PLAYING PIECE
GENEVIEVE TURNS AND JOGS BACK
PAST GROUP AS THEY DISAPPEAR
BEFORE HEADING BACK ALONG
STREET
>> SCENE 5. EXT DAY MELBOURNE STREET/FLORIST
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
33 |
2.16 |
WMS REV GENEVIEVE JOGS TO A |
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10 01 54 23 |
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STOP AT BUCKETS OF FLOWERS |
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OUTSIDE FLORISTS |
MUSIC BEGINS ... 1 MIN 41 SEC |
10 01 56 18 |
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MISS GENEVIEVE’S NOCTURNE |
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34 |
1.04 |
LA TILT MS PROFILE GENEVIEVE |
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10 01 57 14 |
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TURNS AND LOOKS DOWN |
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35 |
2.02 |
HA MS GENEVIEVE EXITS PAST |
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10 01 58 18 |
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BUCKET OF FLOWERS THEN WHITE |
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FLASH TO |
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>> SCENE 6. INT DAY MELBOURNE CHURCH (FLASHBACK) |
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36 |
3.05 |
WMS BUNCH OF BEAUTIFUL |
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10 02 00 20 |
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FLOWERS |
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37 |
7.18 |
MS PROFILE TEENAGE GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 02 04 00 |
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ENTERS SHOT AS FLOWERS SIT ON |
When I was a teenager, I offered to play at my |
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COFFIN IN MS |
cousin’s funeral. |
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MUSIC ENDS |
10 02 04 12 |
38 |
6.09 |
WMS REV TEENAGE GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 02 11 18 |
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STANDS IN FRONT OF COFFIN AS |
He was 21. |
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MOURNERS SIT IN BG |
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39 |
3.13 |
WMS PROFILE TEENAGE GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 02 18 02 |
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MOVES FINGERS ON RECORDER |
My hands were freezing cold. |
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40 |
44.19 |
MONTAGE EDITS TEENAGE |
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10 02 21 15 |
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GENEVIEVE PLAYS RECORDER AS |
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COFFIN SITS BEHIND HER AND |
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MOURNERS LISTEN AS ANIMATED
MIST MOVES PAST
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
41 |
1.21 |
LA TILT WMS TEENAGE GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 03 06 09 |
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HOLDS RECORDER AS SHE STANDS |
I felt like |
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WITH CLOSED EYES |
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42 |
3.20 |
WMS REV TEENAGE GENEVIEVE |
a lightning rod, drawing emotion |
10 03 08 05 |
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PLAYS RECORDER AS MOURNERS SIT |
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IN BG |
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43 |
3.01 |
MCU YOUNG MAN SMILES SLIGHTLY |
and transforming it into music. |
10 03 12 00 |
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AS HE LOOKS PAST CAMERA |
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44 |
2.07 |
WMS YOUNG WOMAN GLANCES UP |
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10 03 15 01 |
45 |
9.14 |
MONTAGE EDITS TEENAGE |
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10 03 17 08 |
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GENEVIEVE FINISHES PIECE THEN |
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RESTS HAND ON CHEST THEN WHITE |
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FLASH TO |
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>> SCENE 7. EXT DAY MELBOURNE STREET |
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46 |
2.14 |
WS GENEVIEVE STANDS ON CORNER |
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10 03 26 22 |
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WITH HAND ON CHEST AND |
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HOLDING RECORDER |
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47 |
7.14 |
WS GENEVIEVE BLINKS TEARS |
GENEVIEVE (VOICEOVER) |
10 03 29 11 |
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I knew what had woken in me would be hard to |
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silence. |
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48 |
1.16 |
WS RED WALKING MAN SWITCHES |
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10 03 37 00 |
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TO GREEN |
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49 |
2.21 |
WMS GENEVIEVE JOGS TOWARDS |
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10 03 38 16 |
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CAMERA WITH RECORDER |
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MUSIC ENDS/MUSIC BEGINS ... 10 SEC |
10 03 39 17 |
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RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
50 |
2.02 |
OOF WIDE MLS REV GENEVIEVE |
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10 03 41 12 |
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RUNS ALONG STREET |
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51 |
3.23 |
LA WS GENEVIEVE ROUNDS CORNER |
GENEVIEVE (VOICEOVER) |
10 03 43 14 |
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THEN HOPSCOTCHES TOWARDS |
My recorder |
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CAMERA THEN WHITE FLASH TO |
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>> SCENE 8. INT EARLY MORNING BEDROOM/REST OF HOUSE
524.07 WS FINGERS MOVE ON RECORDER AS IT IS PLAYED
and I grew up in the country. |
10 03 47 12 |
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MUSIC ENDS |
10 03 49 14 |
53 |
3.16 |
WMS LITTLE GENEVIEVE PLAYS |
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10 03 51 19 |
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RECORDER AS SHE READS BOOK |
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54 |
3.20 |
VIEW THRU WINDOW AS ANIMATED |
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10 03 55 10 |
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BIRD MOVES ON TOP OF WALL |
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55 |
1.18 |
WS SHOES AND GUMBOOTS SIT ON |
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10 03 59 05 |
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PORCH AT DOOR |
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56 |
2.02 |
WS EMPTY MILO GLASS |
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10 04 00 23 |
57 |
3.12 |
CU PROFILE LITTLE GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 04 03 00 |
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PLAYS RECORDER |
My parents |
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58 |
2.23 |
MS GENEVIEVE’S MUM HOLDS |
were generous listeners. |
10 04 06 12 |
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FLOWERS AS HER HAND MOVES TO |
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MUSIC |
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59 |
1.23 |
WS HAND MOVES ON VIOLIN NECK |
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10 04 09 10 |
60 |
2.13 |
WS BOOKS ON SHELF |
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10 04 11 08 |
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
61 4.07 WS AUSTRALIAN BIRDS BOOK IN10 04 13 21 GENEVIEVE’S DAD’S HAND AS HIS
FINGERS TAP ON CHAIR ARM
>> SCENE 9. EXT MORNING GENEVIEVE’S CHILDHOOD HOME/GARDEN
62 |
6.03 |
ANIMATED BIRD ON TOP OF WALL |
GENEVIEVE (VOICEOVER) |
10 04 18 03 |
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THEN TILT DOWN TO GENEVIEVE’S |
My older brother played the recorder, so I did |
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BROTHER AS HE PLAYS RECORDER |
too. |
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63 |
4.04 |
WMS LITTLE GENEVIEVE RUNS TO FG |
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10 04 24 06 |
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AND BLOWS INTO RECORDER |
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64 |
1.08 |
WMS GENEVIEVE’S BROTHER TURNS |
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10 04 28 10 |
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AND EXITS SHOT |
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65 |
7.11 |
MONTAGE EDITS GENEVIEVE LOOKS |
GENEVIEVE (VOICEOVER) |
10 04 29 18 |
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AROUND AS HER BROTHER RUNS |
Adolescence was cruel |
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THRU GARDEN WITH RECORDER |
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66 |
1.09 |
WS GENEVIEVE’S BROTHER DROPS |
to him. |
10 04 37 04 |
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INTO HOLE IN GARDEN |
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67 |
2.21 |
LA TILT WMS LITTLE GENEVIEVE |
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10 04 38 13 |
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LOOKS PAST CAMERA |
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68 |
4.07 |
MS REV LITTLE GENEVIEVE WALKS |
GENEVIEVE (VOICEOVER) |
10 04 41 09 |
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TO HER BROTHER’S SHOE SITTING |
His mind became |
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ON GROUND |
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69 |
1.09 |
LA TILT WMS LITTLE GENEVIEVE |
unwell. |
10 04 45 16 |
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PICKS SHOE UP |
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70 |
3.01 |
HA MCU REV LITTLE GENEVIEVE |
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10 04 47 00 |
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NEAR OPENING IN GARDEN |
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RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
>> SCENE 10. INT DAY GARDEN TUNNEL
71 |
3.03 |
WMS PROFILE LITTLE GENEVIEVE |
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10 04 50 01 |
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CRAWLS ALONG TUNNEL |
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72 |
2.15 |
WS PROFILE LITTLE GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 04 53 04 |
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CRAWLS TO SECOND SHOE IN |
It was sudden |
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TUNNEL |
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73 |
1.12 |
WS SHOE SITS ON GROUND |
and disturbing. |
10 04 55 19 |
74 |
4.07 |
MCU LITTLE GENEVIEVE LOOKS |
GENEVIEVE (VOICEOVER) |
10 04 57 06 |
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AROUND |
I hoped the familiar sound |
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75 |
4.07 |
MS REV LITTLE GENEVIEVE IN |
of the recorder might quieten the troubling |
10 05 01 13 |
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TUNNEL |
voices in his head. |
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76 |
12.01 |
MCU PROFILE LITTLE GENEVIEVE |
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10 05 05 20 |
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RAISES RECORDER AND BEGINS |
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PLAYING |
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77 |
3.04 |
VIEW ALONG DARK TUNNEL |
GENEVIEVE (VOICEOVER) |
10 05 17 21 |
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In its way, it did. |
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78 |
2.15 |
WMS PROFILE LITTLE GENEVIEVE |
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10 05 21 00 |
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RAISES RECORDER |
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79 |
4.05 |
TILT DOWN OVER RECORDER AS |
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10 05 23 15 |
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LIGHT EMERGES FROM END |
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80 |
2.03 |
WMS REV LITTLE GENEVIEVE PLAYS |
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10 05 27 20 |
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RECORDER IN FG AS BALL OF LIGHT |
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MOVES ALONG TUNNEL |
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RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
81 |
1.17 |
WMS PROFILE LITTLE GENEVIEVE |
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10 05 29 23 |
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LOOKS PAST CAMERA |
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82 |
6.00 |
WS LIGHT MOVES THRU DARK |
GENEVIEVE (VOICEOVER) |
10 05 31 15 |
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TUNNEL THEN DISAPPEARS |
Music can sometimes reach places where words |
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cannot. |
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83 |
2.24 |
MCU LITTLE GENEVIEVE HOLDS |
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10 05 37 15 |
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RECORDER AS SHE LOOKS PAST |
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CAMERA |
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84 |
5.19 |
MS REV LITTLE GENEVIEVE IN FG AS |
GENEVIEVE (VOICEOVER) |
10 05 40 14 |
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COLUMNS OF LIGHT APPEAR IN |
I learnt early on that the recorder could be a |
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TUNNEL |
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MUSIC BEGINS ... 45 SEC |
10 05 45 22 |
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85 |
2.00 |
MCU LITTLE GENEVIEVE LOOKS UP |
way out of that dark tunnel |
10 05 46 08 |
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AS LIGHT APPEARS OVER HER |
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86 |
2.12 |
LA TILT WMS PROFILE LITTLE |
of the mind. |
10 05 48 08 |
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GENEVIEVE LOOKS UP AT ANIMATED |
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LIGHT THRU HOLE ABOVE |
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87 |
4.20 |
WS LIGHT AT END OF TUNNEL THEN |
GENEVIEVE (VOICEOVER) |
10 05 50 20 |
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BIRD APPEARS AND LOOKS AROUND |
My mind, too. |
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>> SCENE 11. EXT DAY CITY PARK |
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88 |
13.17 |
MONTAGE EDITS GENEVIEVE CLIMBS |
GENEVIEVE (VOICEOVER) |
10 05 55 15 |
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OUT OF GIANT RECORDER IN |
Music |
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PLAYGROUND THEN PICKS UP CASE |
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AND LEAPS OVER ANIMATED HOLE |
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89 |
5.04 |
WMS PROFILE GENEVIEVE WALKS |
is my way of staying this side of sanity. To |
10 06 09 07 |
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LEFT THRU PARK |
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RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
90 |
3.06 |
WS REV GENEVIEVE JOGS AROUND |
control sound, to master |
10 06 14 11 |
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CORNER TOWARDS TRAM |
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>> SCENE 12. EXT DAY MELBOURNE STREETS/INT TRAM
91 |
9.05 |
WS TRAM DOORS OPEN THEN |
an instrument. It’s appealingly measurable. It |
10 06 17 17 |
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GENEVIEVE ENTERS SHOT AND |
has an allure of safety. |
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CLIMBS ABOARD |
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92 |
4.08 |
MS PAUL KELLY POSTER SITS IN FG |
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10 06 26 22 |
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AS TRAM EXITS THRU SHOT IN BG |
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MUSIC ENDS |
10 06 31 00 |
93 |
5.08 |
WMS GENEVIEVE LOOKS THROUGH |
GENEVIEVE (VOICEOVER) |
10 06 31 05 |
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WINDOW AS SHE HOLDS RECORDER |
Through school and university, |
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CASE |
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94 |
7.02 |
TRACK LEFT OVER SHOPS AND |
the recorder and I were inseparable. At twenty- |
10 06 36 13 |
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TRAFFIC |
two, |
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95 |
3.21 |
WMS PROFILE GENEVIEVE LOOKS |
I left Australia for Europe, joining the pilgrimage |
10 06 43 15 |
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THROUGH WINDOW AS SHE SITS ON |
of |
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TRAM |
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96 |
2.16 |
TRACK THRU DARK TUNNEL WITH |
countless musicians before me, to be |
10 06 47 11 |
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LIGHTS AT LEFT |
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97 |
3.09 |
TRACK UNDER FLASHES OF WHITE |
educated at the birthplace of my instrument. |
10 06 50 02 |
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LIGHT |
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MUSIC BEGINS ... 22 SEC |
10 06 51 13 |
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MISS GENEVIEVE’S NOCTURNE |
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>> SCENE 13. EXT DAY EUROPE/TRAM LINE/INT TRAM
98 |
4.15 PULL BACK OVER TUNNEL AS SNOW |
10 06 53 11 |
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
FALLS
992.14 TRACK PAST TELEGRAPH LINES AND TREES
100 |
3.06 |
CU PROFILE GENEVIEVE LOOKS PAST |
GENEVIEVE (VOICEOVER) |
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CAMERA |
Leaving home was hard, |
101 |
1.24 |
WS GENEVIEVE’S HAND SITS ON |
but I thought, necessary. |
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CASE AS SHE HOLDS RECORDER IN |
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RIGHT HAND |
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1021.18 WMS PROFILE GENEVIEVE LOOKS THROUGH WINDOW AS TRAIN MOVES ALONG
103 |
7.19 |
HA MS REV GENEVIEVE STEPS OFF |
GENEVIEVE (VOICEOVER) |
|
|
TRAM |
I had my heart set |
MUSIC ENDS
INPOINT
10 06 58 01
10 07 00 15
10 07 03 21
10 07 05 20
10 07 07 13
10 07 13 16
>> SCENE 14. EXT AFTERNOON BEECH WOODS
1048.08 WS ANIMATED TRAM DRIVES OFF AS GENEVIEVE STEPS INTO BUSHES AT RIGHT
1052.00 ANIMATED BIRD FLIES NEAR GENEVIEVE AS SHE MOVES TOWARDS BUSHES
1065.08 WMS GENEVIEVE STEPS INTO BUSHES
1076.10 VIEW ALONG PATH THRU WOODS WITH
on becoming a virtuoso. But I had
MUSIC BEGINS ... 2 MIN 28 SEC ET DØGN
no idea just how much
I would have to leave behind.
10 07 15 07
10 07 20 12
10 07 23 15
10 07 25 15
10 07 30 23
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
IN TREES
108 |
4.00 |
WMS GENEVIEVE LOOKS AROUND AS |
|
10 07 37 08 |
|
|
ANIMATED BIRD LANDS ON BRANCH |
|
|
|
|
AT LEFT |
|
|
109 |
7.21 |
HA ANIMATED SUITCASES AND |
|
10 07 41 08 |
|
|
SHOES ON GROUND AS GENEVIEVE |
|
|
|
|
ENTERS SHOT AND KNEELS |
|
|
110 |
5.05 |
WMS GENEVIEVE LOOKS AROUND |
GENEVIEVE (VOICEOVER) |
10 07 49 04 |
|
|
|
I was alone on the wrong side of the world. |
|
111 |
10.15 |
VIEW PAST ANIMATED CASES AS |
|
10 07 54 09 |
|
|
BIRD LANDS IN FG AND GENEVIEVE |
|
|
|
|
WALKS OFF IN BG |
|
|
112 |
5.04 |
WMS REV GENEVIEVE WALKS PAST |
GENEVIEVE (VOICEOVER) |
10 08 04 24 |
|
|
TREE WITH |
In this cultivated, |
|
|
|
CUTOUT |
|
|
113 |
5.14 |
ANIMATED VIOLINS POKE OUT OF |
I felt uneasy. I sensed |
10 08 10 03 |
|
|
GROUND AS GENEVIEVE WALKS |
|
|
|
|
THRU SHOT |
|
|
114 |
2.22 |
WMS GENEVIEVE WALKS TOWARDS |
that growing up in Australia had shaped me |
10 08 15 17 |
|
|
CAMERA THEN BUTTONS DENIM |
somehow, |
|
|
|
JACKET UP |
|
|
115 |
2.18 |
LA TILT WMS |
as a musician. |
10 08 18 14 |
|
|
CUTOUT IN TREE |
|
|
116 |
2.09 |
WMS PROFILE GENEVIEVE PULLS |
|
10 08 21 07 |
|
|
SLEEVE OF JACKET DOWN AS SHE |
|
|
|
|
LOOKS AROUND |
|
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
>> SCENE 15. EXT AFTERNOON BEECH WOODS/MUSIC STAND CLEARING
117 |
3.04 |
MS SHEET MUSIC SITS IN FG AS |
|
10 08 23 16 |
|
|
GENEVIEVE APPROACHES FROM BG |
|
|
118 |
8.16 |
WMS SHEET MUSIC IN FG AS |
GENEVIEVE (VOICEOVER) |
10 08 26 20 |
|
|
GENEVIEVE ENTERS SHOT AND |
In this place, the written music |
|
|
|
TURNS AND OTHER MUSICIAN PLAYS |
|
|
|
|
IN DISTANCE |
|
|
119 |
5.15 |
WS MUSICIANS PLAY IN CLEARING |
was sacrosanct. The teaching was clear. |
10 08 35 11 |
|
|
OF WOODS |
|
|
120 |
1.18 |
WMS GENEVIEVE TURNS TO SHEET |
GENEVIEVE (VOICEOVER) |
10 08 41 01 |
|
|
MUSIC |
Personal interpretations |
|
121 |
2.15 |
WS SHEET MUSIC |
were not welcome. |
10 08 42 19 |
122 |
2.10 |
DETAIL OF SHEET MUSIC |
|
10 08 45 09 |
123 |
5.08 |
LA TILT WMS GENEVIEVE HOLDS |
GENEVIEVE (VOICEOVER) |
10 08 47 19 |
|
|
RECORDER TO HER MOUTH AND |
I felt like a wild seed in a tamed land. |
|
|
|
BEGINS PLAYING |
|
|
124 |
3.18 |
MS PROFILE RECORDER PLAYED IN |
|
10 08 53 02 |
|
|
FG AS OOF TREE SITS IN BG |
|
|
125 |
10.22 |
WMS PROFILE GENEVIEVE |
|
10 08 56 20 |
|
|
CONTINUES PLAYING AS LIGHT |
|
|
|
|
EMERGES THEN DROPS |
MUSIC BEGINS ... 08 SEC |
10 09 04 11 |
|
|
|
INNISFREE |
|
126 |
2.04 |
HA WS LIGHT FLICKERS THEN |
|
10 09 07 17 |
|
|
DISAPPEARS ON GROUND |
|
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
127 |
0.18 |
TIGHT MCU GENEVIEVE’S HEAD |
|
10 09 09 21 |
|
|
TILTS BACK |
|
|
128 |
16.07 |
MONTAGE EDITS GENEVIEVE LOOKS |
|
10 09 10 14 |
|
|
DOWN AT CORSET AND BUSTLE AS |
|
|
|
|
SHE STANDS AT SHEET MUSIC WITH |
MUSIC ENDS |
10 09 12 18 |
|
|
RECORDER |
|
|
|
|
|
GENEVIEVE (VOICEOVER) |
|
|
|
GENEVIEVE BEGINS PLAYING AGAIN |
I did not fit. |
|
|
|
AS CRACKS APPEAR IN GROUND |
|
|
|
|
|
MUSIC BEGINS ... 46 SEC |
10 09 23 24 |
|
|
|
MISS GENEVIEVE’S NOCTURNE |
|
129 |
5.22 |
HA WS BLACKNESS MOVES ACROSS |
GENEVIEVE (VOICEOVER) |
10 09 26 21 |
|
|
FOREST FLOOR AS GENEVIEVE |
Consumed by |
|
|
|
STOPS PLAYING |
|
|
130 |
2.02 |
LA TILT WMS PROFILE GENEVIEVE |
giving up. |
10 09 32 18 |
|
|
PLAYS RECORDER AS SHE TURNS |
|
|
131 |
15.17 |
MONTAGE EDITS GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 09 34 20 |
|
|
CONTINUES PLAYING IN FOREST AS |
But I stayed, because of the recorder. |
|
|
|
ANIMATED NIGHTINGALE APPEARS |
|
|
|
|
ON SHEET MUSIC STAND |
MUSIC ENDS |
10 09 48 21 |
132 |
2.24 |
LA TILT WMS GENEVIEVE LOOKS |
|
10 09 50 12 |
|
|
DOWN AT NIGHTINGALE |
|
|
133 |
3.02 |
WS NIGHTINGALE FLIES FROM SHEET |
GENEVIEVE (VOICEOVER) |
10 09 53 11 |
|
|
MUSIC STAND AS GENEVIEVE LOOKS |
Its birdlike purity |
|
|
|
AROUND |
|
|
134 |
1.01 |
HA WS GENEVIEVE LOOKS UP |
reawakened my instinct |
10 09 56 13 |
135 |
1.15 |
LA TILT WS ANIMATED BIRD IN TREE |
that music is |
10 09 57 14 |
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
136 |
1.13 |
HA WS GENEVIEVE LOOKS UP |
boundless. |
10 09 59 04 |
137 |
2.05 |
LA TILT WS NIGHTINGALE FLIES OFF |
GENEVIEVE (VOICEOVER) |
10 10 00 17 |
|
|
FROM TREES |
This was its home |
|
138 |
1.20 |
WMS PROFILE GENEVIEVE SMILES AS |
so I would surrender |
10 10 02 22 |
|
|
SHE LOOKS UP |
|
|
139 |
3.21 |
HA PULL BACK OVER GENEVIEVE AS |
in order to understand everything about it. |
10 10 04 17 |
|
|
ANIMATION APPEARS OVER THEN |
|
|
|
|
DISSOLVE TO |
MUSIC BEGINS ... 17 SEC |
|
|
|
|
TRE FONTANE |
10 10 05 15 |
>> SCENE 16. EXT DAY EUROPE (ANIMATION)
14054.09 WS ANIMATED BIRD FLIES AROUND AS DRAWING OF BUILDINGS AND TREES APPEAR
BIRDS FLY OFF THEN ANIMATION
CONTINUES WITH RUINS OF CASTLE
THEN COUPLE DANCING BEFORE
GONDOLA APPEARS
NIGHTINGALE APPEARS ON FRAME
THEN FLIES TOWARDS TREES AND
LAKE THEN DISSOLVE TO
|
10 10 08 13 |
MUSIC ENDS |
10 10 09 09 |
GENEVIEVE (VOICEOVER) |
|
Homesick but enthralled, I studied in exile. In its |
|
natural habitat, my recorder flourished, |
|
MUSIC ENDS/MUSIC BEGINS ... 07 SEC |
10 10 22 11 |
CUCKHOLD COME OUT OF THE AMREY |
|
sweeping me along with it. I learnt to speak |
|
MUSIC BEGINS ... 07 SEC |
10 10 28 10 |
HUNGARIAN RONDO |
|
MUSIC ENDS |
10 10 29 11 |
MUSIC ENDS/MUSIC BEGINS ... 14 SEC |
10 10 35 12 |
CONCERTO IN C FOR FLAUTINO AND STRINGS, |
|
2 LARGO, RV 444 |
|
MUSIC BEGINS ... 16 SEC |
10 10 48 24 |
TELEMANN F MAJ TRIO SONATA III |
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
MUSIC ENDS |
10 10 49 10 |
and dream in other languages, giving voice to old stories.
141 |
2.08 |
WS ANIMATED NIGHTINGALE FLIES |
|
10 11 02 22 |
|
|
TO BRANCH AND LANDS |
|
|
142 |
1.17 |
WMS PLANT IN FG AND OOF TREES |
|
10 11 05 05 |
|
|
IN BG |
|
|
|
|
|
MUSIC ENDS |
10 11 05 15 |
143 |
1.24 |
WS OOF TREES AND MS PROFILE |
|
10 11 06 22 |
|
|
PLANT |
|
|
144 |
2.08 |
ANIMATED BIRD SITS ON BOOTS |
|
10 11 08 21 |
|
|
WITH BACKPACK AT LEFT |
|
|
|
|
|
MUSIC BEGINS ... 25 SEC |
10 11 11 00 |
|
|
|
VAN EYCK’S NIGHTINGALE |
|
145 |
3.10 |
WS LIGHT FLOWS OUT OF RECORDER |
|
10 11 11 04 |
|
|
AS GENEVIEVE PLAYS |
|
|
146 |
7.19 |
HA WS LIGHT FLOWS FROM |
GENEVIEVE (VOICEOVER) |
10 11 14 14 |
|
|
GENEVIEVE’S RECORDER AS SHE |
Slowly, I became possessed. |
|
|
|
PLAYS |
|
|
147 |
3.19 |
ANIMATED NIGHTINGALE LANDS ON |
GENEVIEVE (VOICEOVER) |
10 11 22 08 |
|
|
SHEET MUSIC AS GENEVIEVE |
I wanted to show the world what my venerable |
|
|
|
CONTINUES PLAYING |
instrument |
|
148 |
4.00 |
CU PROFILE GENEVIEVE PLAYS |
was born to do. |
10 11 26 02 |
|
|
RECORDER |
|
|
149 |
6.11 |
WS PROFILE GENEVIEVE CONTINUES |
10 11 30 02 |
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
|
|
PLAYING AS LIGHT FLIES FROM END |
|
|
|
|
OF RECORDER |
MUSIC ENDS |
10 11 36 00 |
150 |
1.22 |
WS SUNRISE MOVES UP BEHIND |
|
10 11 36 13 |
|
|
TREES |
|
|
151 |
4.10 |
MCU PROFILE GENEVIEVE LOOKS |
|
10 11 38 10 |
|
|
PAST CAMERA THEN TURNS AND |
|
|
|
|
EXITS SHOT THEN FADE TO BLACK |
MUSIC BEGINS ... 28 SEC |
10 11 39 10 |
|
|
|
SONATA IN E MINOR BWV1023 PRELUDE |
|
>> SCENE 17. EXT DAY SHOE GARDEN |
|
|
||
152 |
8.20 |
MONTAGE EDITS GENEVIEVE ENTERS |
GENEVIEVE (VOICEOVER) |
10 11 42 20 |
|
|
ORNATE GARDEN AS ANIMATED |
I took on all the lofty ideals, |
|
|
|
SHOES SIT ON HEDGE |
|
|
153 |
2.13 |
WS ANIMATED SHOES SIT ON HEDGE |
zealously. |
10 11 51 15 |
154 |
4.11 |
WS REV GENEVIEVE WALKS TO |
|
10 11 54 03 |
|
|
TREES SITTING ON HEDGE AT LEFT |
|
|
155 |
6.14 |
HA WS FOOT MOVES INTO ANIMATED |
GENEVIEVE (VOICEOVER) |
10 11 58 14 |
|
|
SHOE |
I would fulfil all expectations, |
|
>> SCENE 18. INT EVENING BAROQUE DRESSING ROOM |
|
|||
156 |
6.12 |
PULL BACK OVER CU GENEVIEVE IN |
and exceed them. |
10 12 05 03 |
|
|
BAROQUE |
|
|
|
|
UP THEN DISSOLVE TO |
MUSIC ENDS |
10 12 07 10 |
|
|
|
MUSIC BEGINS ... 18 SEC |
10 12 08 16 |
|
|
|
VIVALDI RV 444 I - ALLEGRO NON MOLTO |
|
157 |
9.11 |
MONTAGE EDITS RECORDER IN |
GENEVIEVE (VOICEOVER) |
10 12 11 15 |
|
|
HANDS AND ORNATE COLLAR AS |
I became a formidably skilled, |
|
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
CAMERA PULLS BACK FROM
GENEVIEVE’S OUTFIT THEN
DISSOLVE TO
158 |
7.08 |
WS GENEVIEVE RAISES RECORDER |
steely, terrifying soloist. |
10 12 21 01 |
|
|
AS SHE STANDS IN MUSICAL DRESS |
|
|
|
|
THEN SHOT FREEZES AS IT |
MUSIC ENDS |
10 12 26 12 |
|
|
ANIMATES |
|
|
>> SCENE 19. INT EVENING CONCERT HALL (ANIMATION)
159 |
22.21 |
MONTAGE EDITS ANIMATED IMAGE |
GENEVIEVE (VOICEOVER) |
10 12 28 09 |
|
|
OF GENEVIEVE AS SHE PLAYS |
Virtuosity is all about making the impossible |
|
|
|
RECORDER AND WALKS ACROSS |
seem easy. |
|
|
|
TIGHTROPE |
|
|
|
|
|
MUSIC BEGINS ... 18 SEC |
10 12 34 15 |
|
|
|
VIVALDI RV 444 I - ALLEGRO NON MOLTO |
|
160 |
6.21 |
ANIMATED WS GENEVIEVE ON |
|
10 12 51 05 |
|
|
TIGHTROPE AS REVIEW TEXT |
|
|
|
|
APPEARS |
MUSIC ENDS |
10 12 51 23 |
|
|
OST BEGINS AT 01 12 51 15 |
|
|
|
|
Best of all was Genevieve Lacey ... |
|
|
|
|
... a combination of sensuality, wit |
|
|
|
|
and mindboggling flamboyance! |
|
|
|
|
Guardian - LONDON |
|
|
|
|
OST ENDS AT 01 12 58 00 |
|
|
161 |
1.09 |
ANIMATED HA CHEERING AUDIENCE |
GENEVIEVE (VOICEOVER) |
10 12 58 01 |
|
|
|
Success in that world was |
|
|
|
|
MUSIC BEGINS ... 2 MIN 24 SEC |
10 12 59 04 |
|
|
|
VIVALDI RV 444 I - ALLEGRO NON MOLTO |
|
>> SCENE 20. EXT DAY CITYSCAPES/INT CONCERT HALLS (ANIMATION) |
|
|||
162 |
5.15 |
ANIMATION GENEVIEVE PLAYS |
easily measured: a decade of Vivaldi concertos |
10 12 59 10 |
|
|
RECORDER AS SHE MOVES ACROSS |
played in halls across the globe |
|
|
|
TIGHTROPE STRUNG BETWEEN |
|
|
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
BUILDINGS
1634.00 ANIMATION SHOWS GENEVIEVE PLAYING RECORDER AS SHE MOVES ON TIGHTROPE ABOVE CONCERT HALL AUDIENCE
was proof of my accession. |
10 13 05 00 |
164 |
3.18 |
ANIMATED ORNATE BUILDINGS AND |
10 13 09 00 |
|
|
CHURCH AS REVIEW TEXT APPEARS |
|
|
|
OST BEGINS AT 01 13 09 06 |
|
|
|
Astonishing ... almost inhuman |
|
|
|
virtuosity |
|
|
|
Wiener Zeitung - VIENNA |
|
|
|
OST ENDS AT 01 13 12 16 |
|
165 |
3.09 |
ANIMATION SHOWS GENEVIEVE |
10 13 12 18 |
|
|
SOMERSAULTING ACROSS |
|
|
|
TIGHTROPE ABOVE CONCERT HALL |
|
|
|
AUDIENCE |
|
166 |
4.10 |
ANIMATION SHOWS ORNATE STATUE |
10 13 16 02 |
|
|
AND CITY BUILDINGS WITH EIFFEL |
|
TOWER IN DISTANCE AS REVIEW
TEXT APPEARS
OST BEGINS AT 01 13 16 08 Brilliant ... strikingly beautiful ...
superbly played Le Figaro - PARIS
OST ENDS AT 01 13 20 11
>> SCENE 21. INSIDE THE MUSIC
16722.05 ANIMATION SHOWS GENEVIEVE TUMBLING THRU GEOMETRIC PATTERNS AS SHE PLAYS RECORDER AND DISAPPEARS INTO SHAPES BEFORE REAPPEARING
GENEVIEVE (VOICEOVER) |
10 13 20 12 |
I do love this music. Being inside it, everything falls away, and I am held by sound. Euphoria
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
168 |
3.13 |
ANIMATION SHOWS GENEVIEVE |
was brief. |
10 13 42 17 |
|
|
MOVING ONTO PLATFORM AS |
|
|
|
|
FLOODLIGHTS APPEAR ON HER |
|
|
169 |
1.07 |
ANIMATION SHOWS GENEVIEVE ON |
|
10 13 46 05 |
|
|
PLATFORM HIGH ABOVE ITALY |
|
|
170 |
3.12 |
ANIMATION SHOWS GENEVIEVE AT |
GENEVIEVE (VOICEOVER) |
10 13 47 12 |
|
|
TOP OF VERY HIGH PLATFORM |
I absolutely could not look down. |
|
|
|
BEFORE SLIDING DOWN PAST |
|
|
|
|
CAMERA |
|
|
171 |
5.04 |
ANIMATION SHOWS GENEVIEVE’S |
|
10 13 50 24 |
|
|
SHOES BURNING AS SHE SLIDES |
|
|
|
|
ALONG TIGHTROPE AND PLAYS |
|
|
|
|
RECORDER |
|
|
172 |
1.23 |
ANIMATION SHOWS GENEVIEVE |
|
10 13 56 03 |
|
|
FLYING OVER PLATFORM THEN |
|
|
|
|
DIVING DOWN |
|
|
173 |
6.12 |
ANIMATION SHOWS GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 13 58 01 |
|
|
MOVING QUICKLY ACROSS |
The searing pressure of pace and perfection |
|
|
|
TIGHTROPES ABOVE CITY BEFORE |
became an addiction. |
|
|
|
HAND APPEARS THEN SCREEN FX TO |
|
|
>> SCENE 22. INT VARIOUS LOCATIONS |
|
|
||
174 |
4.08 |
WS HAND TAPS ON PASSPORT AS IT |
GENEVIEVE (VOICEOVER) |
10 14 04 13 |
|
|
MOVES ONTO COUNTER |
Life was reduced to drumming a vast quantity of |
|
175 |
3.05 |
WS GENEVIEVE’S FINGERS TAP ON |
notes into my body. |
10 14 08 21 |
|
|
HER KNEES |
|
|
176 |
2.11 |
WS GENEVIEVE’S FINGERS TAP ON |
|
10 14 12 01 |
|
|
PENCIL |
|
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
177 |
2.17 |
WS GENEVIEVE’S FINGERS TAP FORK |
GENEVIEVE (VOICEOVER) |
10 14 14 12 |
|
|
AS IT SITS ABOVE CROISSANT |
I had become a note machine. |
|
178 |
2.21 |
HA WS |
GENEVIEVE (VOICEOVER) |
10 14 17 04 |
|
|
GROUND |
An athlete, not an artist. |
|
179 |
0.15 |
BLACK |
GENEVIEVE (VOICEOVER) |
10 14 20 00 |
|
|
|
And there was |
|
180 |
7.02 |
WMS GENEVIEVE JOGS FAST AS |
a reckoning. |
10 14 20 15 |
|
|
MONTAGE OF BUILDINGS SIT |
|
|
|
|
BEHIND HER |
|
|
>> SCENE 23. INT NIGHT HOTEL ROOM |
|
|
||
181 |
3.15 |
CU GENEVIEVE LOOKS PAST CAMERA |
GENEVIEVE (VOICEOVER) |
10 14 27 17 |
|
|
AS SHE LAYS IN BED |
Immersing myself so entirely in the rigors of |
|
|
|
|
another culture, |
|
182 |
1.12 |
WMS ORNATE COSTUME AND PEARL |
I lost the sound |
10 14 31 07 |
|
|
NECKLACE ON DUMMY |
|
|
183 |
1.17 |
HA WS ORNATE COLLAR |
of my own voice. |
10 14 32 19 |
184 |
2.08 |
MHA WS GENEVIEVE LAYS ON HOTEL |
|
10 14 34 11 |
|
|
BED SURROUNDED BY RECORDERS |
|
|
185 |
1.16 |
HA WS METRONOME SITS ON SHEET |
|
10 14 36 19 |
|
|
MUSIC |
|
|
186 |
2.11 |
HA WS EMPTY MILO GLASSES |
GENEVIEVE (VOICEOVER) |
10 14 38 10 |
|
|
|
And anyway, whose story was I telling? |
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
187 |
2.00 |
WS SHEET MUSIC |
GENEVIEVE (VOICEOVER) |
10 14 40 21 |
|
|
|
It wasn't |
|
188 |
5.05 |
PULL BACK OVER HA WS GENEVIEVE |
enough to take on someone else’s voice. |
10 14 42 21 |
|
|
LAYING ON BED SURROUNDED BY |
|
|
|
|
RECORDERS THEN DISSOLVE TO |
|
|
189 |
5.19 |
OUTLINE OF GENEVIEVE MORPHS |
GENEVIEVE (VOICEOVER) |
10 14 48 01 |
|
|
INTO BIRD AS IT FLIES LEFT THEN |
I needed to find my own. |
|
|
|
LANDS ON WIRE |
|
|
190 |
15.04 |
MONTAGE EDITS ANIMATION SHOWS |
GENEVIEVE (VOICEOVER) |
10 14 53 20 |
|
|
GENEVIEVE PLAYING RECORDER AS |
Hurling myself down felt |
|
|
|
BIRD FLIES ABOUT THEN EXITS SHOT |
|
|
191 |
7.03 |
ANIMATION SHOWS GENEVIEVE |
treacherous. But it was liberating, |
10 15 08 24 |
|
|
FALLING OUT OF SHOT |
|
|
192 |
3.13 |
ANIMATED BIRD FLAPS WINGS THEN |
believing I could remake myself |
10 15 16 02 |
|
|
DISSOLVE TO |
|
|
>> SCENE 24. EXT DAY AUSTRALIAN FOREST |
|
|
||
193 |
12.03 |
HA VIEW DOWN VERY TALL TREE TO |
as someone truer. |
10 15 19 15 |
|
|
GENEVIEVE LAYING BELOW AS |
|
|
|
|
CRINOLINE DRIFTS DOWN THEN |
MUSIC ENDS |
10 15 22 23 |
|
|
DISSOLVE TO |
|
|
194 |
7.23 |
HA WS GENEVIEVE LAYS ON FOREST |
|
10 15 31 18 |
|
|
FLOOR BELOW |
|
|
195 |
44.05 |
MONTAGE EDITS GENEVIEVE LAYS |
|
10 15 39 16 |
|
|
ON FOREST FLOOR THEN ANIMATED |
|
|
|
|
BIRD APPEARS AND GENEVIEVE |
MUSIC BEGINS ... 29 SEC |
10 16 06 21 |
|
|
SLOWLY OPENS EYES |
WOMAN TO MAN |
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
GENEVIEVE BLINKS THEN LOOKS UP
AT TREETOPS BEFORE SMILING AND
SITTING UP
GENEVIEVE WALKS TO BOOTS THEN
STEPS OVER METRONOME ON FALLEN
TREE
196 |
6.11 |
VIEW PAST TREES AS GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 16 23 21 |
|
|
ENTERS SHOT IN BG |
This is my place. |
|
197 |
4.13 |
WS GENEVIEVE WALKS PAST TREES |
GENEVIEVE (VOICEOVER) |
10 16 30 07 |
|
|
ON PLATEAU |
My awareness has been shaped by its light, |
|
198 |
9.08 |
TIME LAPSE LIGHT MOVES OVER WS |
tuned to its vibrations. |
10 16 34 20 |
|
|
TREES AS GENEVIEVE WALKS IN |
|
|
|
|
DISTANCE |
MUSIC ENDS |
10 16 35 24 |
199 |
4.03 |
ELEVATED WS DENSE FOREST |
|
10 16 44 03 |
|
|
VALLEY |
|
|
200 |
9.16 |
WS VALLEY TREES THEN NEW |
GENEVIEVE (VOICEOVER) |
10 16 48 06 |
|
|
GROWTH LEAVES MOVE INTO FOCUS |
Where I'm from, regrowth comes after bushfire. |
|
|
|
IN FG |
|
|
201 |
4.03 |
WMS FERNS AND PLANTS IN FG AND |
|
10 16 57 22 |
|
|
TREES IN BG |
|
|
202 |
3.21 |
WS UNDERGROWTH AND PLANTS IN |
|
10 17 02 00 |
|
|
BUSH |
|
|
203 |
6.17 |
WMS PLANT SITS IN FG WITH BURNT |
GENEVIEVE (VOICEOVER) |
10 17 05 21 |
|
|
FALLEN TREE AND OTHER TREES IN |
To thrive here |
|
|
|
BG AS VERY OOF GENEVIEVE WALKS |
|
|
|
|
IN DISTANCE |
MUSIC BEGINS ... 1 MIN 29 SEC |
10 17 11 09 |
|
|
|
WOMAN TO MAN |
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
204 8.07 WS PROFILE GENEVIEVE WALKS UP takes a different sort of virtuosity.10 17 12 13
SLOPE TO BURNT AND HOLLOWED- OUT TREE
>> SCENE 25. INT EVENING MELBOURNE RECITAL CENTRE
205 |
6.11 |
BLACK THEN LIGHTS COME ON IN |
|
10 17 20 20 |
|
|
EMPTY RECITAL CENTRE |
|
|
206 |
5.19 |
WMS PROFILE GENEVIEVE ENTERS |
|
10 17 27 06 |
|
|
HALL AND WALKS LEFT |
|
|
207 |
4.23 |
WIDE MLS PROFILE GENEVIEVE |
|
10 17 33 00 |
|
|
WALKS LEFT PAST RECITAL HALL |
|
|
|
|
SEATING |
|
|
208 |
7.08 |
WS EMPTY RECITAL HALL MORPHS |
|
10 17 37 23 |
|
|
INTO AUDIENCE SEATED BEFORE |
|
|
|
|
PERFORMANCE |
|
|
209 |
5.14 |
WS MUSICIANS STAND SILENTLY |
|
10 17 45 06 |
|
|
ONSTAGE AS GENEVIEVE BEGINS |
|
|
|
|
PLAYING |
|
|
210 |
43.20 |
MONTAGE EDITS GENEVIEVE PLAYS |
GENEVIEVE (VOICEOVER) |
10 17 50 20 |
|
|
RECORDER THEN OTHER MUSICIANS |
It’s not pristine and contained but stripped down |
|
|
|
AND PAUL KELLY JOIN IN THEN |
and vulnerable. Like us. |
|
|
|
DISSOLVE TO |
|
|
|
|
|
PAUL KELLY (SINGS) |
|
|
|
|
Hold me |
|
|
|
|
For I am afraid |
|
|
|
|
Hold me |
|
|
|
|
For I am afraid |
|
|
|
|
MUSIC BEGINS ... 1 MIN 52 SEC |
10 18 34 14 |
|
|
|
CROSSOVER DAYS |
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
211 |
7.08 |
TILT UP OVER CU REV GENEVIEVE TO |
GENEVIEVE (VOICEOVER) |
10 18 34 15 |
|
|
DARKNESS THEN DISSOLVE TO |
I'm in |
|
|
|
|
MUSIC ENDS |
10 18 40 00 |
>> SCENE 26. EXT DAY CENTRAL AUSTRALIA
212 |
8.12 |
PULL BACK OVER LOW AERIAL VIEW |
GENEVIEVE (VOICEOVER) |
10 18 41 23 |
|
|
OF DRY SCRUBBY BUSH THEN |
The expanse of the horizon could overwhelm |
|
|
|
DISSOLVE TO |
you. |
|
213 |
5.11 |
LA TILT WS PINK CLOUDS DRIFT |
|
10 18 50 10 |
|
|
ACROSS SKY THEN DISSOLVE TO |
|
|
>> SCENE 27. EXT NIGHT NTARIA COMMUNITY AUDIENCE/STAGE |
|
|||
214 |
2.10 |
LA TILT WS ORNATE CROSS SITS ON |
|
10 18 55 21 |
|
|
TOP OF BUILDING WITH MOON IN |
|
|
|
|
SKY ABOVE |
|
|
215 |
4.18 |
PAN RIGHT OVER AUDIENCE AND |
GENEVIEVE (VOICEOVER) |
10 18 58 06 |
|
|
FIRE THEN DISSOLVE TO |
Out here, it’s clear that my |
|
|
|
|
instruments are young. |
|
216 |
3.00 |
VIEW PAST AUDIENCE TO |
GENEVIEVE (VOICEOVER) |
10 19 02 24 |
|
|
PERFORMERS ON STAGE THEN |
And I become part of something |
|
|
|
DISSOLVE TO |
|
|
217 |
2.09 |
WMS TREVOR JAMIESON SITS |
much older and bigger than |
10 19 05 24 |
|
|
QUIETLY ON STAGE |
|
|
218 |
4.00 |
WMS PROFILE GENEVIEVE SITS IN |
I am. |
10 19 08 08 |
|
|
BG AS SINGERS PERFORM IN FG |
|
|
219 |
2.07 |
WMS REV ARTIST PAINTS ON |
|
10 19 12 08 |
|
|
VERTICAL CANVAS |
|
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
220 |
2.22 |
WS AUDIENCE SITS AROUND FIRE AS |
GENEVIEVE (VOICEOVER) |
10 19 14 15 |
|
|
THEY LISTEN |
In this company, music is story. |
|
221 |
2.20 |
WMS MAN SMOKES CIGARETTE AS |
GENEVIEVE (VOICEOVER) |
10 19 17 12 |
|
|
HE SITS AT FIRE |
Song is land. |
|
222 |
2.05 |
WMS FIRE BURNS THEN DISSOLVE |
GENEVIEVE (VOICEOVER) |
10 19 20 07 |
|
|
TO |
And |
|
223 |
5.04 |
WMS PROFILE INDIGENOUS KIDS |
listening is healing. |
10 19 22 12 |
|
|
LISTEN INTENTLY THEN DISSOLVE |
|
|
|
|
TO |
|
|
224 |
26.09 |
MONTAGE EDITS GENEVIEVE PLAYS |
GENEVIEVE (VOICEOVER) |
10 19 27 16 |
|
|
RECORDER ON STAGE AS |
My recorders have become |
|
|
|
PERFORMANCE CONTINUES AND |
|
|
|
|
KIDS LISTEN INTENTLY THEN |
|
|
|
|
DISSOLVE TO |
|
|
>> SCENE 28. EXT DAY CENTRAL AUSTRALIA |
|
|
||
225 |
4.09 |
LA TILT WS SILHOUETTE OF BIRDS |
elemental, piping the wind and water, |
10 19 54 00 |
|
|
IN TREE |
|
|
226 |
4.03 |
TIME LAPSE CLOUDS DRIFTS ACROSS |
whispering sand and rock. |
10 19 58 09 |
|
|
HILLS AND PLATEAU AT LEFT THEN |
|
|
|
|
DISSOLVE TO |
|
|
227 |
6.11 |
TIME LAPSE CLOUDS MOVE OVER |
GENEVIEVE (VOICEOVER) |
10 20 02 12 |
|
|
DRY BUSH LANDSCAPE |
I'm |
|
|
|
|
country. |
|
>> SCENE 29. INT DAY PLANE
228 |
3.11 POV THRU WINDOW AS PLANE TAKES |
10 20 08 23 |
|
OFF THEN DISSOLVE TO |
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
229 |
2.22 |
AERIAL VIEW ULURU IN DISTANCE |
GENEVIEVE (VOICEOVER) |
10 20 12 09 |
|
|
THEN DISSOLVE TO |
I learned to listen |
|
230 |
2.18 |
OOF LIGHTS MOVE TOWARDS |
differently again, |
10 20 15 06 |
|
|
CAMERA THEN DISSOLVE TO |
|
|
|
|
|
MUSIC BEGINS ... 3 MIN 05 SEC |
10 20 16 00 |
|
|
|
EN MASSE |
|
>> SCENE 30. EXT NIGHT MELBOURNE CITY STREET |
|
|||
231 |
7.16 |
and again. |
10 20 17 24 |
|
|
|
PEOPLE MOVE ALONG CITY STREET |
|
|
|
|
THEN DISSOLVE TO |
|
|
232 |
4.03 |
OOF HUMAN FIGURES MOVE PAST |
|
10 20 25 15 |
|
|
CAMERA THEN DISSOLVE TO |
|
|
|
|
|
MUSIC ENDS |
10 20 27 00 |
233 |
3.12 |
|
10 20 29 18 |
|
|
|
CROWD OF PEOPLE MOVES PAST |
|
|
|
|
CAMERA |
|
|
234 |
6.06 |
BLACK THEN FADE UP TO |
GENEVIEVE (VOICEOVER) |
10 20 33 05 |
|
|
TIME LAPSE PEOPLE SCURRYING |
I start to hear my own city, my own place, |
|
|
|
ABOUT ON CITY STREET THEN |
|
|
|
|
DISSOLVE TO |
|
|
>> SCENE 31. EXT/INT NIGHT MELBOURNE HALL |
|
|
||
235 |
2.00 |
with fresh ears. |
10 20 39 11 |
|
|
|
PAST CAMERA AS OTHERS ENTER |
|
|
|
|
BUILDING IN BG |
|
|
236 |
3.11 |
MS FLASHES OF PEOPLE MOVING |
|
10 20 41 11 |
|
|
PAST CAMERA |
|
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
237 |
6.14 |
MCU PROFILE YOUNG WOMAN RESTS |
GENEVIEVE (VOICEOVER) |
10 20 44 22 |
|
|
CHEEK ON CHIN |
Responding to its people and its rhythms, |
|
238 |
3.11 |
WMS PROFILE COUPLE LISTENS |
finding new music. |
10 20 51 11 |
239 |
1.04 |
SILHOUETTE OF GENEVIEVE AS SHE |
|
10 20 54 22 |
|
|
STEPS ONTO SMALL STAGE |
|
|
240 |
1.23 |
WMS YOUNG WOMAN PUSHES |
|
10 20 56 01 |
|
|
GLASSES UP AS GENEVIEVE STEPS |
|
|
|
|
THRU FG |
|
|
241 |
2.20 |
WS BARE FEET STEP LEFT THEN SIT |
|
10 20 57 24 |
242 |
12.09 |
SLOW TILT UP OVER WS PROFILE |
GENEVIEVE (VOICEOVER) |
10 21 00 19 |
|
|
GENEVIEVE AS SHE SITS ON FLOOR |
I'm completely unmasked now. |
|
|
|
AND LOOKS UP |
|
|
243 |
3.00 |
WS AUDIENCE LOOKS PAST CAMERA |
|
10 21 13 03 |
244 |
3.17 |
WS REV GENEVIEVE BENDS |
|
10 21 16 03 |
|
|
FORWARD AS SCREEN SHOWS BIRD |
|
|
|
|
FLYING THRU SHOT |
|
|
245 |
4.23 |
CU REV YOUNG WOMAN LOOKS |
GENEVIEVE (VOICEOVER) |
10 21 19 20 |
|
|
TOWARDS BACKGROUND AS BREEZE |
I follow no lines on a page. |
|
|
|
BLOWS THRU HAIR |
|
|
246 |
38.14 |
WMS GENEVIEVE SLOWLY RAISES |
GENEVIEVE (VOICEOVER) |
10 21 24 18 |
|
|
RECORDER TO LIPS AND BEGINS |
Ears, fingers and breath trust in the stillness. |
|
|
|
PLAYING |
|
|
247 |
5.19 |
WMS YOUNG MAN LOOKS INTENTLY |
|
10 22 03 07 |
|
|
PAST CAMERA |
|
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
248 |
11.08 |
WS GENEVIEVE SITS ON STAGE |
|
10 22 09 01 |
|
|
WITH RECORDER AS SCREEN SHOWS |
|
|
|
|
MURMURATION OF STARLINGS |
|
|
249 |
20.09 |
WS STARLING MURMURATION PLAYS |
|
10 22 20 09 |
|
|
ON SCREEN |
|
|
250 |
7.02 |
WMS PROFILE GENEVIEVE PLAYS |
|
10 22 40 18 |
|
|
OVERSIZED RECORDER |
|
|
251 |
2.10 |
VIEW PAST AUDIENCE TO |
|
10 22 47 20 |
|
|
SILHOUETTE OF GALE KELLY PLAYING |
|
|
|
|
IN FRONT OF SCREEN |
|
|
252 |
4.08 |
WMS PROFILE GENEVIEVE PLAYS |
|
10 22 50 05 |
|
|
OVERSIZED RECORDER AS SCREEN |
|
|
|
|
SHOWS MURMURATION IN BG |
|
|
253 |
3.05 |
MS PROFILE COUPLE LOOKS |
|
10 22 54 13 |
|
|
INTENTLY PAST CAMERA |
|
|
254 |
3.21 |
CU PROFILE WOMAN LOOKS |
|
10 22 57 18 |
|
|
INTENTLY PAST CAMERA |
|
|
255 |
12.19 |
MS SCREEN CONTINUES PLAYING |
GENEVIEVE (VOICEOVER) |
10 23 01 14 |
|
|
STARLING MURMURATION THEN |
It’s a painful surrender, letting go of the idea of |
|
|
|
DISSOLVE TO |
perfection. Fragmenting, |
|
>> SCENE 32. EXT DAY SYDNEY HARBOUR/COASTAL HEADLAND |
|
|||
256 |
5.21 |
ELEVATED WS MOONLIGHT ON |
reforming, rising again. |
10 23 14 08 |
|
|
OCEAN AS SMALL BOAT MOVES THRU |
|
|
|
|
MS |
MUSIC ENDS |
10 23 20 00 |
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
2574.06 PULL BACK OVER HEADLAND AS SYDNEY HARBOUR AND BRIDGE SIT IN BG
2582.05 GENEVIEVE UNWRAPS RECORDER BAG
2592.09 TIGHT MCU PROFILE GENEVIEVE
2602.14 WS GENEVIEVE’S HAND PUT RECORDER TOGETHER
2612.09 HA WS RECORDER PLACED DOWN NEXT TO OTHERS
2622.03
2633.23 TILT UP OVER RECORDER AS GENEVIEVE PLAYS
2642.09 WMS GENEVIEVE PLAYS RECORDER IN FG AS GROUP WALKS THRU SHOT IN BG
2652.00 WS PROFILE COUPLE WALKS LEFT OVER CONCRETE AS HARBOUR SITS IN BG
2666.23 TILT UP OVER ECU PROFILE GENEVIEVE
GENEVIEVE (VOICEOVER) |
10 23 20 04 |
Those long years on the highwire |
|
had their gifts. They taught me |
10 23 24 10 |
10 23 26 15 |
|
and I are the stronger for it. |
10 23 28 24 |
MUSIC BEGINS ... 13 SEC |
10 23 31 00 |
GENEVIEVE LACEY WARMING UP FOR |
|
TELEMAN |
|
|
10 23 31 13 |
|
10 23 33 22 |
|
10 23 36 00 |
|
10 23 39 23 |
|
10 23 42 07 |
MUSIC ENDS |
10 23 44 00 |
GENEVIEVE (VOICEOVER) |
10 23 44 07 |
In the fact of uncertainty, I remain open, |
|
exposed and still enthralled. |
|
RECORDER QUEEN
SHOT DUR VISIONDIALOGUEINPOINT
|
|
|
MUSIC BEGINS ... 33 SEC |
10 23 51 00 |
|
|
|
GENEVIEVE LACEY WARMING UP FOR ELENA |
|
|
|
|
KATS CHERNIN |
|
267 |
1.15 |
WS PROFILE COUPLE LOOK PAST |
|
10 23 51 05 |
|
|
CAMERA AS THEY WALK RIGHT |
|
|
268 |
1.19 |
WS RED BANNER FLIES IN WIND |
|
10 23 52 20 |
269 |
2.04 |
VIEW PAST BANNER AS MANLY FERRY |
|
10 23 54 14 |
|
|
MOVES RIGHT |
|
|
270 |
3.13 |
WS FINGERS MOVE ON RECORDER |
GENEVIEVE (VOICEOVER) |
10 23 56 18 |
|
|
|
And finally, |
|
271 |
2.14 |
MS PROFILE GENEVIEVE CARRIES |
when you and I meet, |
10 24 00 06 |
|
|
RECORDER BAG ALONG |
|
|
272 |
1.06 |
WS PROFILE PEOPLE WALK RIGHT |
audience |
10 24 02 20 |
|
|
OVER GRASS |
|
|
273 |
1.10 |
WMS MUSICIANS WALK TOWARDS |
and artist, |
10 24 04 01 |
|
|
CAMERA |
|
|
274 |
1.12 |
MCU PROFILE GENEVIEVE WALKS |
our stories converge. |
10 24 05 11 |
|
|
TOWARDS OTHERS IN BG |
|
|
275 |
1.19 |
WS PEOPLE SIT ON GRASS |
GENEVIEVE (VOICEOVER) |
10 24 06 23 |
|
|
|
Listening |
|
276 |
2.05 |
HA VIOLIN CASE OPENED |
spaces are formed. |
10 24 08 17 |
277 |
2.15 |
|
10 24 10 22 |
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
GATHERS ON HILLSIDE AS CLOUDS
MOVE OVERHEAD
2781.05 MS GENEVIEVE SMILES AND NODS
2791.11 WMS PROFILE CELLO CASE OPENED
2801.09 MS SHOULDER REST ATTACHED TO BACK OF VIOLIN
2811.07 MS VIOLIN BOW RUBBED AGAINST RESIN
2822.02 WS KIDS RUN PAST CAMERA AS PEOPLE SIT ON GRASS IN BG
28315.03 MCU PROFILE GENEVIEVE LOOKS AROUND THEN BEGINS PLAYING THEN TILT DOWN TO AS VIOLINISTS JOIN IN
10 24 13 12
10 24 14 17
GENEVIEVE (VOICEOVER)10 24 16 03 And when that
happens, |
10 24 17 12 |
when we create the opportunity to listen |
10 24 18 19 |
to one another, deeply ... we become wide |
10 24 20 21 |
awake. |
|
MUSIC ENDS |
10 24 24 00 |
MUSIC BEGINS ... 2 MIN 50 SEC |
10 24 25 00 |
|
|
RECORDER |
|
284 |
30.22 |
MONTAGE EDITS BIRDS FLY |
|
10 24 35 24 |
|
|
OVERHEAD AS GENEVIEVE AND |
|
|
|
|
QUARTET CONTINUE |
|
|
285 |
13.18 |
SLOW PAN LEFT OVER GENEVIEVE |
GENEVIEVE (VOICEOVER) |
10 25 06 21 |
|
|
AND QUARTER AS AUDIENCE |
Divining the untold stories emerging in this |
|
|
|
LISTENS IN BG |
time, this place. Our stories. Mine, |
|
286 |
43.04 |
ANIMATION SHOWS GENEVIEVE |
and yours. |
10 25 20 14 |
|
|
FLYING UP FROM HEADLAND AS |
|
|
|
|
BIRDS FLY WITH HER THEN OUT |
|
|
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
ONTO OPEN OCEAN THEN WHITE
FLASH TO
287 |
Director |
10 25 39 23 |
|
SOPHIE RAYMOND |
|
|
Producer |
|
|
CLARE SAWYER |
|
|
Writers |
|
|
SOPHIE RAYMOND |
|
|
& |
|
|
GENEVIEVE LACEY |
|
|
Executive Producers |
|
|
BOB CONNOLLY |
|
|
& |
|
|
HELEN PANCKHURST |
|
|
|
|
|
SOPHIE RAYMOND |
|
|
Script Consultants |
|
|
LYNETTE WALLWORTH |
01 26 03 18 |
|
BOB CONNOLLY |
|
Story Consultant
ROCHELLE OSHLACK
Editor
SOPHIE RAYMOND
Animators
SOPHIE RAYMOND
EMMA KELLY
Assistant Animators and Background Artists
NILUFAR SHAH
ERIN TOPHER
Camera
NICOLA DALEY ACS
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
HUGH MILLER ACS
PAUL COSTELLO ACS
JONNY RAYMOND
BOB CONNOLLY
TIM MUMMERY
WARWICK BURTON
SOPHIE RAYMOND
CORMAC LALLY
PATRICK JENNINGS
CHRISTIAAN BONI
GLADYS UY
First Assistant Directors
NADIA COSSICH
VERITY PATON
Production Assistants
JONNY RAYMOND
BEN JOSS
AMANDA HAWKEY
PATTI LUPARI
SALLY DULSON
ROSS COLEBATCH
JANE THOMSON
TRINA HOY
GRACE HUTTON
JANICE RAYMOND
Recorder Queen Hair and Makeup
DEB MULLER
Lighting & Gaffer
CHRIS PARKINSON
DAVID PARKINSON
Prop Assistants
PETER RAYMOND
CHARLIE CHLOE ANGEL
MADELIENE SOMERS
Costumes
ROSE CHONG
DEBORAH KELLY
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
Stills
JRAY PHOTOGRAPHY
Production Baby
PHOEBE CONNOLLY RAYMOND
Post Production Services
DEFINITION FILMS
Head of Post Production
DAVID GROSS
DI Supervisor
MARCUS FRIEDLANDER
Visual Effects
TAMATEA KOHU
SCOTT KOPPELHUBER
Online Editor
JOYCE ESCUADRO
Colourist
BRETT MANSON
Additional Colourist
MARCUS FRIEDLANDER
Sound Post Production House
MUSIC & EFFECTS
SOUND DESIGN, EDIT, AND MIX
Music & Effects
DORON KIPEN ASSG
JOSH WALKER
JENNIFER ALDRED
Music Films
GENEVIEVE LACEY
SOPHIE RAYMOND
En Masse
RECORDER QUEEN
SHOT |
DUR |
VISION |
DIALOGUE |
INPOINT |
JIM ATKIN
Sound Assistant
CLIFFORD MCBRIDE
Cast
GENEVIEVE LACEY
(AS HERSELF)
RADIO ANNOUNCER
CHRISTOPHER LAWRENCE
YOUNG GENEVIEVE
ROSIE VEAL
YOUNG GENEVIEVE’S BROTHER
SAM VEAL
Flinders Quartet
VIOLIN
SHANE CHEN
VIOLIN
NICHOLAS WATERS
VIOLA
HELEN IRELAND
Cello
ZOE KNIGHTON
Musicians in the Woods
NEAL PERES DA COSTA
TONY EYERS
SOPHIE FUNSTON
DEAN ROBERT GRAY
HEATH HENN
SALLY WALKER
DANNY YEADON
Extras
PASHA NEILSON, NOAH HUTTON, NEO DIAMOND, PETER RAYMOND, VIRGINIA ANTHONY,
ISABELLE HOWES, JOHN ANTHONY, FIONA SCHOULLAR, MATILDA SCHOULLAR, JESS
RECORDER QUEEN
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DUR |
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DIALOGUE |
INPOINT |
SCHOULLAR, VIOLET SCHOULLAR, AMANDA HAWKEY, WENDY FISHERLY, PETER
FISHERLEY, JAN RAYMOND, ELIZABETH LACEY, HUGO FOXWORTHY, DECLAN FOXWORTHY,
RICHARD FOXWORTHY, MIRANDA VEAL, SAM VEAL, ROSIE VEAL, PHILIPPA VEAL, EMILY
HOWES, HAMISH HOWES, GEORGIA WILLIAMS, LULU BOYD LUNGARD, PHILIPPA SAWYER,
GRETCHEN KESSOGLIDIS, SOPHIE KESOGLIDIS, AUDICEY TUVIK, BILL HERMAN,
ROSEMARY HERMAN, ROBERT HEPBURN, MARGO ROEST, MYRNA HEPBURN, BARBARA
WARGMEN, ALEXANDER BEALE, PETER FISHLEY, WENDY FISHLEY, LEOWN TARRANT,
ELIZABETH OLEY, CAM GRANT, ALICE GRANT, MARION
Conversations with Ghosts
COMMISSIONED BY THE AUSTRALIAN NATIONAL ACADEMY OF MUSIC PAUL KELLY,
JESSICA FOTINOS (HARP), THOMAS WILLIAMS (PIANO), EMILY SHEPPARD (VIOLIN 1),
MADELEINE JEVONS (VIOLIN 2), TOM HIGHAM (VIOLA), JAMES LARSEN (CELLO),
JONATHAN HEILBRON (DOUBLE BASS), GEORGIA
LINQUIST (HORN), LLOYD VAN’T HOFF (CLARINET), JAMES LEDGER (ELECTRONICS),
GENEVIEVE LACEY (RECORDER)
Namatjira Theatre Production
TREVOR JAMIESON AS NAMATJIRA, THE NTARIA LADIES CHOIR, MEMBERS OF THE
NAMATJIRA FAMILY, DERIK LYNCH; WRITTEN BY SCOTT RANKIN
Big hArt “Namatjira Project” Documentary Footage
Director & Camera
SERA DAVIES
Producer
SOPHIA MARINOS
Special thanks to David and Lily Roennfeldt and community members from Hermannsburg
(Ntaria) and outstations
Music
BY ELENA
PERFORMED BY GENEVIEVE LACEY & THE FLINDERS QUARTET
LICENSED BY BOOSEY & HAWKES / BOTE & BOCK GMBH
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
MISS GENEVIEVE’S NOCTURNE
BY BRETT DEAN AND BOB SCOTT
PERFORMED BY GENEVIEVE LACEY
RECORDER QUEEN
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INPOINT |
LICENSED BY BOOSEY & HAWKES / BOTE & BOCK GMBH
LICENSED BY BOB SCOTT
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
FANTASIA 1
BY GEORG PHILIPP TELEMANN
PERFORMED BY GENEVIEVE LACEY
THE LAKE OF INNISFREE
BY PAUL KELLY AND JAMES LEDGER
PERFORMED BY GENEVIEVE LACEY, PAUL KELLY, JAMES LEDGER AND AUSTRALIAN
NATIONAL ACADEMY OF MUSIC
LICENSED BY SONY/ATV MUSIC PUBLISHING (AUSTRALIA)
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
ET DØGN
BY STEVE STELIOS ADAM
PERFORMED BY GENEVIEVE LACEY
LICENSED BY STEVE STELIOS ADAM
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
ENGELS NACHTEGAELTJE
BY JACOB VAN EYCK
PERFORMED BY GENEVIEVE LACEY
TRE FONTANE
ANON. 14TH CENTURY ITALIAN
PERFORMED BY GENEVIEVE LACEY AND POUL HØXBRO
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
CUCKOLD COME OUT OF THE AMREY/STRUAN ROBERTSON'S RANT
TRADITIONAL SCOTTISH, ARRANGED BY JAMES CRABB
PERFORMED BY GENEVIEVE LACEY AND JAMES CRABB
LICENSED BY JAMES CRABB
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
HUNGARIAN RONDO
BY ERNST KRAHMER
PERFORMED BY GENEVIEVE LACEY AND KARIN SCHAUPP
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
RECORDER QUEEN
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DUR |
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COURTESY OF ABC CLASSICS
ALLEGRO NON MOLTO AND LARGO FROM CONCERTO IN C FOR FLAUTINO AND STRINGS
RV444
BY ANTONIO VIVALDI
PERFORMED BY GENEVIEVE LACEY AND THE AUSTRALIAN BRANDENBURG ORCHESTRA
DIR. PAUL DYER
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
ALLEGRO FROM TRIO FOR RECORDER, VIOLA DA GAMBA AND BASSO CONTINUO IN F
MAJOR TWV 42F3
BY GEORG PHILIPP TELEMANN
PERFORMED BY GENEVIEVE LACEY, NEAL PERES DA COSTA AND DANIEL YEADON
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
PRELUDE FROM SONATA IN E MINOR BWV1023
BY JOHANN SEBASTIAN BACH
PERFORMED BY GENEVIEVE LACEY AND LINDA KENT
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
WOMAN TO MAN
BY PAUL KELLY, JAMES LEDGER AND JUDITH WRIGHT
PERFORMED BY GENEVIEVE LACEY, PAUL KELLY, JAMES LEDGER AND AUSTRALIAN
NATIONAL ACADEMY OF MUSIC
LICENSED BY SONY/ATV MUSIC PUBLISHING (AUSTRALIA)
LICENSED BY HARPERCOLLINS PUBLISHERS AUSTRALIA
LICENSED BY AUSTRALIAN BROADCASTING CORPORATION
COURTESY OF ABC CLASSICS
CROSSOVER DAYS
BY GENEVIEVE LACEY
PERFORMED BY GENEVIEVE LACEY, TREVOR JAMISON, DEREK LYNCH, NTARIA LADIES
CHOIR
LICENSED BY GENEVIEVE LACEY
EN MASSE
CREATED BY GENEVIEVE LACEY AND MARC SILVER
PERFORMED BY GENEVIEVE LACEY
LICENSED BY GENEVIEVE LACEY
SEAN MARSHALL
RECORDER QUEEN
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POST PRODUCTION SCRIPT
REEZY MILLER
LEGAL SERVICES
SHAUN MILLER
SOCIAL PUBLICIST
SACHA WALTERS
ADDITIONAL VIDEO FOOTAGE COURTESY OF THE EARTH SCIENCE AND REMOTE SENSING
UNIT, NASA JOHNSON SPACE CENTER
(HTTP//EOL.JSC.NASA.GOV/BEYONDTHEPHOTOGRAPHY/CREWEARTHOBSERVATIONSVIDEOS/)
MADE WITH THE GENEROUS SUPPORT OF
THE WILLIAMS DOVEY CREATIVE SUPPORT FUND
FINANCED WITH THE ASSISTANCE OF DOCUMENTARY AUSTRALIA FOUNDATION
THANK YOU TO OUR CROWDFUNDERS!
ULRIKE KLEIN AARON
RECORDER QUEEN
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INPOINT |
MARGARET AND TERRY SAWYER
JANET BELL, LISA PIERONI, SOPHIA SCHEDING, JESS SMITHETT, NEIL FISHER, STEPHEN
SNELLEMAN, MAUREEN COONEY, DANIEL YEADON, ALISON,
ALAN STRETTON, MARILYN STRETTON
ANONYMOUS X 19, TIMOTHY BELL, DAVID BELLUGI, RICK BENSON, ANYA BEYERSDORF,
ROBERT BOUGHEN, SHEENA BOUGHEN, ANNE BOYD, MEG BREIDAHL, WARWICK BURTON,
JUSTIN BRICKLE, CATHIE BROUGHTON, LUCINDA CLUTTERBUCK, ROSS COLEBATCH, LIZ
CONOR, ANNE COOKE, MELANIE COOMBS, JOHN CORBET, JOSHUA COWIE, HARRIS
CREEK, ELOISE CURRY, CATHERINE DAVIES, LIZ DORAN, JULIE DOUGHTY, JO DYER,
ALEXANDRA EDMONSON, JACQUELINE ELFICK, S EMMERSON, BEN FERRIS, RIMMELLE
FREEDMAN, KATERINA GAITA, MARGARET GAITA, JOHN GARRAN, HELEN GIBBINS,
DEBORAH GRAHAME, COLIN GROVE, JUDE GUN, SIAN HALL, SUSAN HIRST, HELEN
HOGAN, SILJA RYTTER HOLM, ALISON J, LOUISE KING, CATE LEMANN, PIA LOMAN, PAUL
MASON, KIRSTY MCCAHON, MICHELLE MCCARTY, WALTER MCINTOSH, NICOLE
MCKINNON, MEL MOORE, R MORELY, ROBERT MORRISON, MULGAWIRE, LAMORNA
NIGHTINGALE, DIANNA NIXON, BERNADETTE O’LEARY, STEPHEN OLIVER, DIANE ORTON,
HELEN PANCKHURST, ANNIE PARNELL, JENNIFER PEEDOM, EMMA PHILIP, KIERSTIN PILZ,
PEGGY POLIAS, ROSALIEN Q, P RAMSAY, JESSE BOYD REID, VIRGINIA REID, STEVEN
RICHARDSON, ALAN RUMSEY, JUDY SAWYER, MARGARIDA
MELANIE SAWYER, PHILIPPA SAWYER, TONIA SCHANZ, BRAD SLATER, RACHEL SNEDDEN,
SOLLIS, LISA STEWART, AVRIL STEYL, ELIZABETH TADIC, A TAYLOR, SOPHIA
TURKIEWICZ, J TWIGGER, CATHERINE VARDY, ADRIANA VERGES, FIONA WALTERS, B
WARWICK, CLAIRE WATSON, SIMON WESTCOTT, GRAEME, KATE, PETER, SOPHIA,
KATHERINE DOVEY, JOHN ELFICK, ANN TREGEAR
FOR THE GENEROUS DONATION OF LOCATIONS, FACILITIES, EQUIPMENT,
A SPECIAL THANKS TO
WESLEY COLLEGE MELBOURNE, OTWAY FLY TREETOP ADVENTURES, HERMANNSBURG
NTARIA ABORIGINAL COMMUNITY, MELBOURNE RECITAL CENTRE, WHITE NIGHT
FESTIVAL MELBOURNE, MIDDLE HEAD NSW PARKS AND WILDLIFE, ART STEMS, FIONA
AND DAVE SCHOULLAR. SHERINE SALAMA, ANN LACEY, SUSAN RICHARDS AND ROGER
GRAEF (DORSET, ENGLAND), BEAUTIFULLY MAD, JOHN BRAWLEY, SIMON CURLIS,
WARWICK BURTON, TV PAINT DEVELOPMENT
THANKS TO
DAVID ELFICK, LUCAS SAWYER, MARC SILVER (EN MASSE), LYLE CHAN, ANDREW BYRNE,
DEBORAH KELLY, LIZ DORAN, JOHN MAYNARD, SUSAN SUKKAR, KAREN CAREY, FRANCINE
TANNER, LACEY FAMILY, BILL NICHOLSON, KATE SCOTT, MEL TYAS, STELLA ZAMMATRO,
LUIGI ACQUISTO, KATRINA SEDGWICK, MIKE RUBBO, LAURA MACDONALD, GEORGE
MERRYMAN
ALYSSA ORVIS |
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RECORDER QUEEN
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SCREEN AUSTRALIA
JESSICA DOUGLAS HENRY
ABC COMPASS
DAVID CARR
ABC COMMERCIAL
PRINCIPAL DEVELOPMENT AND PRODUCTION FUNDING FROM
IN ASSOCIATION WITH
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THE FILMMAKERS WOULD LIKE TO ACKNOWLEDGE THE TRADITIONAL CUSTODIANS OF |
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THE LANDS ON WHICH THIS FILM WAS PRODUCED. |
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© MUSIC FILMS PTY LTD 2020 |
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THEN FADE TO BLACK |
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MUSIC ENDS |
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