PRODUCTION NOTESwww.beneathhill60movie.com.au

ProducerBill Leimbach

DirectorJeremy Hartley Sims

WriterDavid RoachCo Producers

Jeremy Sims, David RoachExecutive Producers

Ross J Thomas, Greg Rains, John LeeDirector of Photography

Toby OliverComposer

Cezary SkubiszewskiEditor

Dany CooperProduction Designer

Clayton Jauncey

Principal and Supporting Cast (in alphabetical order)ACTOR CHARACTERANDY BRAMBLE WILF PIGGOTMARCUS COSTELLO ERNST WAGNERBRENDAN COWELL OLIVER WOODWARDALAN DUKES JIM SNEDDONLEON FORD ROBERT CLAYTONBOB FRANKLIN POTSYHARRISON GILBERTSON FRANK TIFFINTOM GREEN WARREN HUTCHINGSGYTON GRANTLEY NORMAN “PULL THROUGH”

MORRISANTHONY HAYES WILLIAM McBRIDECHRIS HAYWOOD COLONEL RUTLEDGEBELLA HEATHCOTE MARJORIE WADDELLGERALD LEPKOWSKI WILLIAM WADDELLJACQUELINE MCKENZIE EMMA WADDELLSTEVE LE MARQUAND BILL FRASERANTHONY RIGG STOATDAVID RITCHIE OTTO FUSSLEINMARK COLES SMITH BILLY “STREAKY” BACONKENNETH SPITERI KARL BABEKJOHN STANTON LAMBERTMARTIN THOMAS GINGER "MICK" O’DONNELLALEX THOMPSON WALTER SNEDDONADEN YOUNG BRADY NORTHDUNCAN YOUNG TOM DWYERWARWICK YOUNG PERCY MARSDEN

PRODUCTION FACTSTitle and Format: BENEATH HILL 60, Feature FilmLogline: “After Gallipoli, there was still a war to be won.”Production Company: The Silence ProductionsFilm Distributor: Paramount Pictures Australia

Transmission Films

Principal Cast (in alphabetical order)Andy BrambleMarcus CostelloBrendan CowellAlan DukesLeon FordBob FranklinHarrison GilbertsonTom GreenGyton GrantleyAnthony HayesChris HaywoodBella HeathcoteGerald LepkowskiJacqueline McKenzieSteve Le MarquandAnthony RingDavid RitchieMark Coles SmithKenneth SpiteriJohn StantonMartin ThomasAlex ThompsonAden YoungDuncan YoungWarwick Young

Director/Co-Producer Jeremy Hartley SimsProducer Bill LeimbachWriter/Co-Producer David RoachExecutive Producers Ross Thomas

Greg RainsJohn Lee

DOP Toby OliverLine Producer Michelle RussellProduction Manager Sandy StevensProduction Co-Ordinator Kelly VincentProduction Designer Clayton JaunceyArt Director Sam HobbsConstruction Manager Tony GiltrapSpecial Effects Supervisor Dan OliverCasting Director Kirsty McGregorCostume Designer Ian SparkeCivilian Costume Designer Wendy CorkLocation Manager Karen JonesMake Up & Hair Designer Shane ThomasStunt Co-Ordinator Glenn SuterArmourer Allan MowbrayEditor Dany CooperSound Designer Liam EganStills Photographer Wendy McDougallTownsville Liaison Col KennaFilming Locations Townsville, Queensland

DESCRIPTIONBENEATH HILL 60 is a feature film directed by Jeremy Sims and featuring

a stellar cast including (in alphabetical order): Brendan Cowell, Leon Ford, Bob Franklin, Harrison Gilbertson, Gyton Grantley, Anthony Hayes, Chris Haywood, Bella Heathcote, Steve Le Marquand, Gerald Lepkowski, Jacqueline McKenzie, John Stanton, Aden Young and Warwick Young.

Website: www.beneathhill60movie.com.au

Short synopsisThe extraordinary true story of Oliver Woodward and his platoon of ordinary

Australian miners who tunnelled beneath enemy lines and changed the course of the war on the Western Front.

The epic true story of the civilian Australian miners who changed the course of WW1.

Long SynopsisBy 1916 the Great War in Europe has reached a stalemate. The two massive

armies have fought themselves to a standstill. Millions of lives have already been lost. Mining engineer Oliver Woodward returns to Australia from Papua to join a secret Australian Tunnelling Company. Ordinary miners from all over the country are given just two weeks military training before being sent the Western Front. Their task is to undermine the German Lines.

For reasons he can’t really fathom, Woodward is made an officer and finds himself commanding a small platoon of tunnellers amidst the blood and carnage of the Western Front near Armentiéres, France. The Australian tunnellers are suspicious of newcomer Woodward.

There is resentment too from the British Infantry, who are convinced that the tunnellers will put them in even greater danger. But after leading a daring raid across No Man’s Land to destroy an enemy machine gun emplacement, Woodward begins to win the respect of his men and the infantry.

With the intensity of the war increasing, Woodward and his men are sent across the border to Belgium near Ypres. The Messines Ridge with its notorious Hill 60 is rumoured to be the bloodiest part of the Western Front. The tunnellers’ task is to defend a labyrinthine and leaking tunnel system that snakes beneath the enemy Lines. The tunnels hide a deadly secret. Directly beneath strategic sections of the German lines, the allies have crammed the largest amount of explosive ever collected in one place.

Woodward’s company must protect the tunnel system until he receives the order to blow the mines. But no one seems to know when the order will be given. With constant inundation of mud and water and the endless vibrations from heavy artillery, the tunnels are in imminent danger of collapse. Woodward decides on a risky strategy to save them. The Allied Commanders are suspicious of Woodward’s plan, but he convinces them it will succeed.

Disaster looms as the Germans discover the Australian’s underground activity and begin sinking a shaft towards the Hill 60 mine. The whole allied strategy is now in jeopardy. Back in Queensland, Marjorie has had no news for weeks. She fears the worst. While the bloody battle rages in the muddy fields of Flanders, a deadly cat-

and-mouse game is played out thirty metres below between the German and Australian tunnellers.

Woodward learns that being a leader in this dreadful war is not just about commanding and protecting his men, it’s also about being prepared to sacrifice them. And as zero hour approaches, he must make a terrible decision...

THE CHARACTERSOLIVER WOODWARD BRENDAN COWELLOliver Woodward is a young mining engineer from Tenterfield. He has been

managing a small copper mine in remote Papua when he hears that war has been declared. At first he is reluctant to go to war, but when he hears that they are looking for miners, he joins up. Woodward is made an officer. A bit of a loner, it takes his men a while to warm to him. But Woodward is smart and physically capable and soon wins their respect. He becomes increasingly numbed by the war and by the dreadful decisions he must make.

FRANK TIFFIN HARRISON GILBERTSONA soft-faced boy in a uniform, tunneller Tiffin is from Wollongong. He started

down the mines at 15. He tried to join up when he was 16 but they wouldn’t let him. When he heard about the tunnelling company he knew they were desperate for experienced miners. So he got in. His mother was distraught but his dad was encouraging. He told him it would be the adventure of a lifetime. Lonely and terrified at first, Tiffin finds his strength and later, astonishing courage. Tiffin dreams of becoming a carpenter like his dad and “getting out of them pits.”

BILL FRASER STEVE LE MARQUANDOutspoken and battle hardened, Lieutenant Fraser is a proper soldier. He

joined up two years before war broke out, after getting jack of the mining game out in Kalgoorlie. When the AIF began to build tunnelling corps they looked, first, for serving men with mining experience. Fraser was perfect. After the death of his sergeant, Fraser has real expectations of being fast tracked to officer status, or at least to Sergeant. So he is not impressed with the idea of being led by Woodward, a mine manager who has been made a Lieutenant with only 2 weeks of training and no battle experience. Suspicious and at times morose, Fraser has a heart but hides it well. He is capable of surprising tenderness.

NORMAN “PULL THROUGH” MORRIS GYTON GRANTLEYGangly, myopic tunneller Norm Morris is also known as “Pull Through”, (a

thin implement used to clean the barrel of a rifle.) He’s laconic but also has a temper. Morris is loyal, a team player but is quite prepared to switch to the strongest leader.

COLONEL RUTLEDGE CHRIS HAYWOODColonel Rutledge is the commanding officer of the three tunnelling

companies. He has never been a miner. He hides his secret claustrophobia, his fear of death and of people and of failure with arrogance. It’s a front. Privately doesn’t know how he ever ended up in this hellish place.

WALTER SNEDDON ALEX THOMPSONAt 18 years old, fresh-faced Walter Sneddon is big and strong but still a kid.

When his father found out that Walt had signed up to go to war, he joined up the following day. Walt is shy, softly spoken. He is inexperienced in the ways of the world. He is still living in his father’s orbit, which he gently tests from time to time.

JIM SNEDDON ALAN DUKES

Tunneller Jim Sneddon joined up to look after his son, Walter. Before they joined, Jim and Walter were coal miners at the West Wallsend colliery in the Hunter Valley. Ferociously protective of his son, Jim is a quiet but dogged country bloke. He puts his family before everything. Even himself.

BILLY “STREAKY” BACON MARK COLES SMITHSinewy, young Aboriginal tunneller Billy Bacon is nicknamed ‘Streaky’ by his

mates. Streaky is fast in both body and mind. He has picked up a bit of mining experience here and there and seems to fit in wherever he finds himself. He is funny, adept and capable of great courage.

PERCY MARSDEN WARWICK YOUNGTunneller Percy Marsden was a miner from Charters Towers, not far from

Townsville. As soon as the call for volunteers went out he signed up. He experienced the horrors and chaos of Gallipoli before being wounded and subsequently evacuated. He took up the offer of a tunnelling job because of what he had been exposed to above ground. But underground he finds new horrors. He’s a good soldier, but intense and psychologically damaged by the war. He tries a little too hard to please and ends up pleasing no one. Percy becomes increasingly isolated by the terrors inside his own head.

GINGER "MICK" O’DONNELL MARTIN THOMASGinger comes from a large, poor Irish family where he had to struggle to

survive. He’s a tough kid with a mean streak who tends to attach himself to power. If the war has taught him anything, it’s that if you look after the man beside you, he’ll look after you.

MARJORIE WADDELL BELLA HEATHCOTEMarjorie is 16 years old, feisty and beautiful. A capable country girl on the

cusp of womanhood. She is rebellious but not quite ready to let go of her childhood. Warm, romantic, unpredictable and sexy. She has only just found love and can’t quite believe that it has been taken from her. Marjorie knows even at 16, that Woodward is going to come back changed from the war and loves him in spite of that.

WILLIAM WADDELL GERALD LEPKOWSKIWilliam Waddell is a stern, hard-working Scotsman who has made something

of his life. He and Emma have been married for 26 years. He worked hard as Mine Manager to get the money to buy the family property. Retired now, but busier than ever running the farm, William is not a man who laughs easily. He is controlling. He demands attention and respect and gives protection in return. He is uncomfortable when deep feelings (his or others,) come to the surface. Although he rarely expresses it, he loves his family deeply. The news that his son has been killed in Gallipoli devastates him. He will never entirely recover.

WILLIAM MCBRIDE ANTHONY HAYESWilliam McBride has been in Armentiéres for three months. He and

Woodward trained together at the Queensland School of Mines in Charters Towers and then went their separate ways. McBride could never have imagined that the next time they would meet would be in a muddy dugout in France. McBride was a private school boy. He hides his vulnerability with an ironic grin and responds to smart people because he knows what he doesn’t know. He has great respect for Woodward’s skills. The chain of command works for him. He is capable of both subservience and leadership where necessary.

SUPPORTING CHARACTERSEMMA WADDELL JACQUELINE MCKENZIEEmma has made a full life for herself with William. She is a wise and funny

woman, loving, protective and capable of great tenderness. Emma is humane and observant. She is more in control than she lets on and runs more than her fair share of the family business. There is no doubt that Marjorie is her favourite, and she barely tries to hide it. Still, the idea of Marjorie marrying young and missing out on a chance to be something more than a housewife in this new world is one that troubles her.

TOM DWYER DUNCAN YOUNGDwyer was a schoolteacher in a previous life. He had worked down the mines

in the Hunter Valley as a kid, but quickly realized that it wasn’t the life for him, and managed to put himself through University by working nights. When he graduated his entire family came down to Sydney to see him get his ‘piece of paper’. He was the first in their family to get a degree but his teaching career was interrupted by the war. Dwyer wants to be just one of the boys but is always slightly the outsider. He compensates by showing off his knowledge. He dreams of being under a tree somewhere reading a book.

ROBERT CLAYTON LEON FORDClayton is a blue blood British officer in his 20s. The third son in a family that

has an aristocratic heritage in Lancashire going right back to the Norman invasions. He is expected to do his duty. Of his older brothers one is an officer in the Royal Navy and the other has already been killed at Loos. Clayton joined up immediately that war was declared and after a three-month office training course was sent to the Western Front and given a section to command. He is brave, yet reticent; careful to hide personal weakness, courageous, responsible and fiercely protective of the men under his command, but he is not a natural leader. Clayton finds strength in ritual, routine and a sense of the ‘proper’ order of things.

POTSY BOB FRANKLINBritish infantryman Potsy is cockney and proud of it. Street smart and smart-

arsed, he uses jokes to mask his insecurities and talks before he thinks. Attack is the best form of defence for Potsy.

WARREN HUTCHINGS TOM GREENAt 16, stretcher-bearer Private Hutchings is compassionate and capable. He is

straight talking and personable and survives by trying to make light of things. But even at his young age he has seen enough horror to last a lifetime.

(David Roach - Writer’s note on the character)My grandfather, stretcher-bearer Warren Hutchings, was just 16 when he

stepped ashore at Gallipoli. He survived that conflict only to be sent to the Western Front near Ypres where Beneath Hill 60 takes place. I wrote a small scene where he comes across Oliver Woodward in the trenches. I’m quite sure my grandfather never met Woodward so writing him into the film may seem like an indulgence on my part. But I see it not just a tribute to my grandfather, but a tribute to all the stretcher-bearers of the Great War who toiled in unimaginable conditions to bring back the wounded and dying. Young Tom Green plays him beautifully.

BRADY NORTH ADEN YOUNGParanoid and obsessive, Canadian Major North is worn out and vulnerable.

Possessive of “his” Hill 60 mine, North is teetering on the edge of madness.LAMBERT JOHN STANTON

For General Lambert the army is his life. A man in his 50s, Lambert is decisive, intelligent and a natural leader.

OTTO FUSSLEIN DAVID RITCHIEGerman officer in his 50s, Kommandeur Fusslein understands power and how

to use it. But this endless war is weighing very heavily on him and his responsibilities are becoming overwhelming.

KARL BABEK KENNETH SPITERIGerman Sergeant Babek, 28, is intense and disciplined. Intelligent and

focused, his deep feelings surprise him.ERNST WAGNER MARCUS COSTELLOA 19-year-old German soldier, Wagner is talkative and fatalistic. He takes

solace in the memories of home.

BRENDAN COWELL (Oliver Woodward)

Accomplished writer, director and actor, Brendan Cowell graduated from Charles Sturt University with a Bachelor of Communications (Theatre/Media) in 1997.

Well known to TV audiences and twice Logie-nominated for Most Outstanding Actor in a Drama, Brendan enjoyed success with his role as Tom in the critically acclaimed Foxtel series LOVE MY WAY. The show also earned Brendan a 2007 Silver Logie nomination for Most Popular Actor in a drama series, the first of its kind for an actor appearing in a pay television program.

Brendan also played the lead role of Jack in Australia's first interactive television series FAT COW MOTEL (2002) for ABC TV and spent two seasons as knockabout Todd the handyman for the SBS lifestyle-genre satire LIFE SUPPORT (2001/2002). His other television credits include a lead in the Stephen King remake of SALEM’S LOT (2003) for US network television and guest roles in the popular Australian television series WHITE COLLAR BLUE, YOUNG LIONS and WATER RATS.

An acclaimed stage performer, Brendan has appeared in numerous Sydney Theatre Company productions including DISSIDENT, GOES WITHOUT SAYING (2006) directed by Andrew Upton, FAR AWAY (2004) directed by Benedict Andrews and THE SHAPE OF THINGS (2003) directed by Jeremy Sims. 2008 saw Brendan take on the role of HAMLET in the critically acclaimed Bell Shakespeare production.

STC Blueprints commissioned and produced Brendan’s play MORPH and his adaptation of SENECAS THYESTES and SELF ESTEEM, which he wrote and directed. In 2006 Brendan won a Patrick White Award for his much acclaimed play BED, which he also directed.

A talented writer for film and television too, Brendan is responsible for episodes of the first two seasons of LOVE MY WAY as well as the show's third season. He has also co-written the feature film TEN EMPTY, in which he stars alongside Jack Thompson and Lucy Bell.

Brendan's role as director of the Sydney Theatre Company's Wharf 2 Loud program has enabled him to be involved in a more hands on way with his own play works and those of his peers. He has been instrumental in making contemporary theatre accessible for the future generation of theatre goers.

HARRISON GILBERTSON (Frank Tiffin)

When Harrison Gilbertson first went on stage at the age of 6 he was reported as “a young rising star.” He was playing the role of Sorrow in the Opera MADAME BUTTERFLY. Ten years later he has three leading roles in feature films under his belt and is now gaining attention in Los Angeles.

A year after his role of Sorrow Harrison played the role of Greggy in AUSTRALIAN RULES, directed by Paul Goldman. In 2008 he was again down to the last two. The other young actor came from the United States with a long list of credits to his name but the writer, producer and director showed faith in Harrison for the lead role in ACCIDENTS HAPPEN alongside Geena Davis. ACCIDENTS was produced by Anthony Anderson (SOMERSAULT) and directed by Andrew Lancaster with executive producer Heather Ogilvie.

During the last weeks of filming ACCIDENTS, Harrison was released to audition for a new Ana Kokkinos feature called BLESSED produced by Al Clark (Priscilla Queen of the Desert, Chopper). His star was truly rising.

In 2009 ACCIDENTS HAPPEN premiered at Robert De Niro’s Tribeca Film Festival in New York where Harrison walked the red carpet for the first time and later had its Australian Premiere at the Sydney Film Festival. Critics in the US were raving, “Newcomer Harrison Gilbertson. At just 14 years old, shows incredible depth of maturity and range as his character Billy deals with the ups and downs of life.” (IMDb)

Was it a challenge to work on screen with an Oscar winner such as Geena Davis? Harrison says, “Geena was so down to earth and very helpful. Never did she give of the impression of being the star she is. I learned a lot.” One critic from Tribeca reported, “Geena Davis shines as the screwball mother, Harrison Gilbertson is equally impressive as her troubled teen son.” and Jenny Halper from the New York Film Examiner wrote, “Harrison Gilbertson carries the movie with understated appeal” while Film Up wrote “Geena Davis and the young Harrison Gilbertson give us characters with infinite facets and with great intensity.”

BLESSED was a very different setting. The film has been described as “a missile of raw emotion hitting the target with considerable force.” (Variety). In an interview with Filmink, BLESSED Director Ana Kokkinos says of the childrens’ roles, “they were all quite sophisticated and demanding roles for young people, so I put them through a very rigorous audition process to be able to really be in the right head space.” Harrison says in an interview with Filmink “it affected me deeply. It’s a really important film about everyday people.”

STEVE LE MARQUAND (Bill Fraser)

Steve has appeared in such films as MEN’S GROUP, LAST TRAIN TO FREO (AFI & FCCA Best Lead Actor nominations), KOKODA, TWO HANDS, VERTICAL LIMIT and LOST THINGS.

On stage Steve has most recently been seen alongside Cate Blanchett in the Sydney Theatre Company’s production of THE WAR OF THE ROSES. He has also appeared in PAUL, THE SPOOK, BURIED CHILD and WAITING FOR GODOT for Company B Belvoir; GALLIPOLI, THE SERPENT’S TEETH, TALES FROM THE VIENNA WOODS, DON’S PARTY (for MTC also) and HOLY DAY for STC and SONGKET and BORDERLINES - THE RETURN for Griffin Theatre.

Steve co-wrote, produced, directed and starred in the hugely successful theatre production HE DIED WITH A FELAFEL IN HIS HAND which ran for several years around Australia before heading to New York and Edinburgh.

TV credits include ALL SAINTS, FARSCAPE, CRASH PALACE, YOUNG LIONS, SOUTH PACIFIC, BACKBERNER, BLUE HEELERS, WILDSIDE, GP, MURDER CALL, BIG SKY, WATER RATS, HOME AND AWAY and POLICE RESCUE.

GYTON GRANTLEY (Norman “Pull Through” Morris)

Since graduating from QUT Brisbane with a BA in Drama in 2001, Gyton Grantley has worked extensively in Theatre, TV, Film and voice-overs.

Best known for his portrayal of Carl Williams in the highly acclaimed series UNDERBELLY, Gyton recently played Gary Cunningham in the feature film BALIBO, based on the true story of the five journalists killed in 1975 in East Timor. Other film credits include PRIME MOVER, ALL MY FRIENDS ARE LEAVING BRISBANE, A MAN’S GOTTA DO, UNDER THE RADAR, DANNY DECKCHAIR, BLURRED and SWIMMING UPSTREAM. Gyton also appeared in the 2009 Tropfest finalist film ‘BEING CARL WILLIAMS’ and the shorts BEYOND WORDS and BLACK FURY.

This year Gyton completed filming two of the most highly anticipated television series: 30 SECONDS & BARGAIN COAST. Other credits include EAST WEST 101 SERIES 2, OUT OF THE BLUE, UNDERBELLY, ALL SAINTS, HEADLAND, SUPERNOVA, SMALL CLAIMS, HOME AND AWAY, THE COOKS, FAT COW MOTEL and the pilot MERMAIDS.

Gyton theatre credits include DOMESTIC BLISS for Old Fitzroy, VINCENT IN BRIXTON for Ensemble Theatre, THE REMOVALIST for La Boite Theatre, THE BLUE ROOF for Jigsaw Theatre Company and VERTIGO AND THE VIRGINIA for Tamarama Rock Surfers.

Gyton is the recipient of an AFI Award - Best Lead Actor in a Television Series for his portrayal of the gangland killer Carl Williams in the hit TV show UNDERBELLY. In 2009 he was awarded a Silver Logie for Most Outstanding Actor and a nomination for Most Popular Actor for UNDERBELLY.

CHRIS HAYWOOD (Colonel Rutledge)

Chris has amassed an impressive 72 film credits in his 30-year career, including the Australian classics THE REMOVALISTS, BREAKER MORANT, HEATWAVE, THE MAN FROM SNOWY RIVER, RAZORBACK, SHINE, MURIEL’S WEDDING, BLACKROCK, OSCAR AND LUCINDA and KISS OR KILL.

Chris also appeared in the first features of critically acclaimed Directors Peter Weir (THE CARS THAT ATE PARIS), Phillip Noyce (NEWSFRONT) and Scott Hicks (FREEDOM). His work in film and television has been rewarded with an impressive three Logies (for ESSINGTON, GOOD THING GOING and JANUS) and three AFI Awards (for A STREET TO DIE, EMERALD CITY and STINGERS).

Most recently Chris played the lead in Movie Extra’s Project Greenlight winning feature film THE VIEW FROM GREENHAVEN DRIVE. His other recent film credits include SALVATION, HOTEL VLADIVOSTOK, THE BRIDGE, THE WATER DIARY, SOLO, and the award-winning JINDABYNE and JEW BOY.

ALEX THOMPSON (Walter Sneddon)

Alex Thompson is a graduate of The Drama Company and was selected to participate in the Acting for Film intensive at the New York Film Academy. Having performed in various theatre productions, BENEATH HILL 60 is Alex’s first film.

MARTIN THOMAS (Ginger “Mick” O’Donnell)

Martin Thomas has appeared in many theatre productions and has appeared in numerous TV commercials for major brands. While studying Acting for Stage and Screen at Charles Sturt University, Martin starred in a number of CSU TV shows. BENEATH HILL 60 is Martin’s feature film debut.

MARK COLES SMITH (Billy “Streaky” Bacon)

Mark is a Broome-based indigenous performer. He has a Certificate in Aboriginal Theatre from WAAPA and a Bachelor in Indigenous Studies. He made his acting debut in 2003 in the children’s series OCEAN STAR, shot on location in Broome for BBH. Following this, he played the leading role in the short THE ARRIVAL, which premiered at the 15x15 Film Festival in 2004, where he took out the award for Best Male Actor.

Mark has done extensive theatre work for the Barking Gecko Theatre Company in Broome, touring WA in various productions. His TV credits include guest roles in BLUE HEELERS (Southern Star) and DIRT GAME (ABC) as well as the supporting role of Billie in series 1 and 2 of THE CIRCUIT for SBS TV.

Mark appeared in the short film WILLIAM, directed by Eron Sheean and starring Tom E Lewis. BENEATH HILL 60 is his feature film debut.

Mark has a gift for storytelling and in 2004 worked under the guidance of Gary Crew as part of the Indigenous Mentorship Program for the Australian Society of Authors. In 2007 he won the Yvonne Cohen Award from the VCA Wilin Centre for Indigenous Arts. In 2008 he took out a grant from ScreenWest for the short film LAYOORDOO, which he wrote, co-produced and directed, while also featuring in a supporting role. LAYOORDOO recently screened at the ImagiNATIVE film festival in Toronto.

WARWICK YOUNG (Percy Marsden)

Warwick Young studied Acting at the University of Southern Queensland and since then has enjoyed a full and diverse career. His film credits include WOLVERINE, SUPERMAN, STEALTH, and THE GREAT RAID as well as Australian productions; THE BATTLE OF LONG TAN, THE PACT, AFTER THE RAIN and THE BLACKWATER TRAIL.

He has appeared in many television dramas and telemovies such as ALL SAINTS, HOME AND AWAY, SMALL CLAIMS, WATER RATS, TALES OF THE SOUTH SEAS, BIG SKY and PACIFIC DRIVE with his most recent appearance being in SEA PATROL.

Warwick various stage credits include productions with theatre companies LA BOITE, QPAT, SEYMOUR PRODUCTIONS, MARION STREET, THEATRE SOUTH and THE SYDNEY FRINGE FESTIVAL. Warwick has previously worked with Jeremy Sims on the critically acclaimed Pork Chop production of BRILLIANT MONKEY, which was nominated for best Independent production in the Sydney Theatre Awards and had a successful national tour in 2009.

In BENEATH HILL 60, Warwick plays the role of Percy Marsden who, struggling with the realities of the war, uses humour to suppress his fears.

Warwick has also served in the Australia Defence Force and saw active service in Iraq in 2006.

Warwick was the Military Advisor for BENEATH HILL 60.

BELLA HEATHCOTE (Marjorie Waddell)

In 2007 Bella Heathcote made her feature debut in ACOLYTES, a thriller directed by John Hewitt and co-starring Joel Edgerton. In 2009 Bella appeared in the cult TV show NEIGHBOURS as Amanda Fowler and has just completed work on the feature GLEN OWN DODDS.

Theatre2009 What You Always Wanted: co-lead

Short & Sweet, Dir: Rachel Torrance2006 The Crucible: Sarah - Mordialloc Theatre Company

Hedge-mony (The Maze): Extra - Red Cabbage Collective Inc2005 42nd Street: Principle, Phyllis - Korowa AGS

Cat on a Hot Tin Roof: Lead, Margaret - Sacre CoeurThe Resistible Rise of Arturo Ui: Lead, Arturo Ui - Sacre Coeur

2004 Othello: Lead, Desdemona - Sacre Coeur2003 Fame: Principle, Miss Bell - Korowa AGS

TrainingDrama2007- Diploma of Arts (Acting) - National Theatre Drama School2006 Bachelor of Contemporary Arts - Drama, Deakin University, 1st Year2005 NIDA, Screen Acting short course

MTC monologue performance workshop2004 Received ATCL Associate Diploma in Speech & Drama2000-04 Speech & Drama Training - Trinity College London (correspondence)Dance2006 The Space - Hip Hop, street dancing1996-02 Johnny Young Talent School, Jazz & FunkSinging2000-04 Swing Choir, Choristers (Madrigal Choir) & Snr Choir - Korowa AGS1996-02 Johnny Young Talent SchoolOther

Fluent in German

GERALD LEPKOWSKI (William Waddell)

Graduating from WAAPA in 1991, Gerald has since appeared in a range of theatre productions and such movies as RIVER STREET, LAST OF THE RYANS, WITCH HUNT, DOCTOR SLEEP, 16 YEARS OF ALCOHOL, AMERICAN COUSINS, MANDANCIN’ and O HAPPY DAY. Gerald has also made appearances on a number of high rating and critically acclaimed Australian television shows including DIRT GAME, BLUE HEELERS, CORRELLI, NEIGHBOURS, HALIFAX FP, GOOD GUYS BAD GUYS and EAST WEST 101 SEASON 2. His experience also extends to the UK shows MONARCH OF THE GLEN, THE BILL, EASTENDERS and THE IT CROWD.

Gerald wrote and directed the play DARK - THE ADVENTURES OF DIANE ARBUS for the 1998 Melbourne Festival. It was nominated for best play, and then he adapted the play for ABC Radio National, a production he also directed.

JACQUELINE McKENZIE (Emma Waddell)

Jacqueline McKenzie is a graduate of Australia’s National Institute of Dramatic Art. She made her screen debut in ROMPER STOMPER, starring opposite Russell Crowe. Her portrayal of the troubled “Gabe” in the film was the first of many award-winning performances. Her other film credits include THE HUMAN TOUCH, FREAK WEATHER, PEACHES, THE DIVINE SECRETS OF THE YA YA SISTERHOOD, KISS KISS BANG BANG, FREAK WEATHER and EISENSTEIN. She also appeared with Samuel L Jackson in DEEP BLUE SEA, and starred in MR. RELIABLE, UNDER THE LIGHTHOUSE DANCING, and ANGEL BABY (for which she won “Best Actress” award in Australia as well as at numerous international film festivals).

On television, McKenzie starred alongside Holly Hunter in the ABC made-for-TV movie WHEN BILLIE BEAT BOBBIE. She played the lead role of ‘Rachel’

in the BBC miniseries STARK, based on Ben Elton’s book and starring Elton himself. Additional television credits include the role of “Dancy” in the Australian miniseries THE BATTLERS, “Catherine” in the miniseries KANGAROO PALACE, the Showtime movie ON THE BEACH with Rachel Ward, Bryan Brown and Armand Assante and UMNEY’S LAST CASE alongside William H Macy. Jacqueline completed three seasons of USA Network Original The 4400, staring as Diana Skouris and has just completed shooting the lead role of “Veronica Hayden-Jones“ in MENTAL for Fox.

On stage, McKenzie received rave reviews for her performances as “Catherine” in David Auburn’s PROOF at the Sydney Opera House and as “Rita” in the Williamstown Theatre Festival (USA) production of EDUCATING RITA, starring opposite Edward Hermann and directed by Bruce Paltrow. McKenzie also appeared in the highly regarded Sydney Theatre Company production of THE WHITE DEVIL at New York’s Brooklyn Academy of Music and starred as “Joan” in George Bernard Shaw’s SAINT JOAN, also at the Sydney Opera House. Her other stage work includes: Theatre de Complicite’s production of THE RESISTIBLE RISE OF ARTURO UI with Al Pacino, Steve Buscemi, John Goodman, Billy Crudup and Paul Giamatti; MASTER BUILDER; TWELFTH NIGHT; REBECCA; THE BARBER OF SEVILLE; and HAMLET with Geoffrey Rush.

ANTHONY HAYES (William McBride)

An actor since the age of nine, Anthony Hayes has appeared on film and television screens for over 20 years, with credits including, RABBIT PROOF FENCE, BOOTMEN, NED KELLY, HEROES MOUNTAIN, CHANGI and THE LAST BULLET. He co-starred in THE BOYS, earning him AFI and Film Critics Circle award nominations. Anthony also won AFI awards for his acting in acclaimed features LOOK BOTH WAYS (05), SUBURBAN MAYHEM (06). Anthony starred in THE SQUARE (09), which earned him yet another AFI and Film Critics nomination for best supporting actor. Anthony recently starred in PRIME MOVER (09) and in the Sundance Film Festival Winner ANIMAL KINGDOM.

Anthony wrote/directed NEW SKIN; a 56-minute film, which won the prestigious 2002 Dendy Award at the Sydney International Film Festival. He won an IF Award for best emerging director and a Gloria Payten/Gloria Dawn Foundation grant for young artists. His first short film SWEET DREAMS won most popular film, St Kilda International Film Festival 2003.

Anthony’s feature debut TEN EMPTY had its World Premiere at the Sydney International Film Festival (2008) and released through Icon films. It was Co-written/Directed/and co-produced by Anthony.

The screenplay was nominated for 2007 QLD and Victorian Premiers literary award 2008.

Anthony Hayes discovered just prior to the shoot for BENEATH HILL 60 that his grandfather knew the real Oliver Woodward.

DUNCAN YOUNG(Tom Dwyer)

Duncan Young graduated from The National Institute of Dramatic Art (NIDA) in 1995, and has since appeared in Sydney Theatre Company productions of MACBETH and THIRD WORLD BLUES. He has also performed in the Belvoir Downstairs Theatre productions of TRUE WEST and LONE STAR, as well as numerous other theatre productions.

Duncan has had roles in the features DANNY DECKCHAIR, MASK II, GHOST RIDER and FOOL’S GOLD and television shows WATER RATS, ALL SAINTS, BACKBERNER, FARSCAPE, WHITE COLLAR BLUE, EAST WEST 101, ROGUE NATION, FALSE WITNESS, and UNDERBELLY II.

BOB FRANKLIN (Potsy)

A well-known face in the Australian entertainment industry, Bob Franklin is a writer, performer, producer and comedian. Franklin has appeared in the features THREE BLIND MICE, THE LAST CONFESSIONS OF ALEXANDER PEARCE,

BOYTOWN, MACBETH, THE EXTRA, BAD EGGS, YOU CAN’T STOP THE MURDERS and The CRAIC (on which he was also script consultant).

On the small screen, Franklin has had roles in series including THE LIBRARIANS, STUPID STUPID MAN, TRIPPING OVER, THE HEARTBREAK TOUR, STORIES FROM THE GULF, CRASHBURN, AFTER THE DELUGE, KANGAROO PLACE and ADVENTURES OF LANO & WOODLEY. He was co-creator, writer and performer on INTRODUCING GARY PETTY and THE COOKING SHOW and wrote and performed in THE MICK MOLLOY SHOW, HOME AND HOSED, THE MICALLEF PROGRAM, SMALL TALES & TRUE, THE RUSSELL GILBERT SHOW, HESSIE’S SHED, JIMEOIN, ERIC and NIGHTHAWKS. He was also a writer for STRASSMAN and FULL FRONTAL and script editor and performer on EAGLE & EVANS.

On stage, Franklin was creator, writer and star of BOB AND MARTY ON ICE, UP AND AT ‘EM, AUSTRALIA, WHO’S THAT GUY WITH THE AXE?, ALBIE AND THE ARGONAUTS, and co-creator, writer and star of SLIPPERS I-IV and THE COOKING SHOW. He penned DAVE STRASSMAN LIVE, performed in THE OVERCOAT and wrote and performed in TALES OF UNEASE.

Franklin has two scripts in development with Film Victoria, Ruby Entertainment and Focus Features.

TOM GREEN (Warren Hutchings)Tom Green is one of Australia’s most exciting young new talents. Fresh out of

high school Tom starred in Rene Hernandez’s multi-award winning and Academy Award short-listed Short Film THE GROUND BENEATH, which earned him the Best Actor Award at both the Ourense Film Festival (Spain) and St Kilda Film Festival and also a nomination for the AFI Young Actor’s Award.

Tom is currently working on the forthcoming ABC TV drama DANCE ACADEMY as co-lead, Sammy. Tom’s other television’s credits include EMERALD FALLS and HOME AND AWAY.

Tom’s theatre credits include Wesley Enoch’s production of THE NARGUN AND THE STARS and Merrigong Theatre’s LOCKIE LEONARD.

ADEN YOUNG (Brady North)

Aden Young has amassed an impressive list of film, theatre and television credits since his screen debut as a 17th Century French missionary in Bruce Beresford's BLACK ROBE. This standout performance exhibited his intuitive approach to acting, and garnered notice and critical acclaim. He then followed this performance with the action thriller SNIPER alongside Tom Berenger.

His early credits also include LOVE IN LIMBO, SHOTGUN WEDDING and BROKEN HIGHWAY, which screened in Official Competition at the 1994 Cannes Film Festival. In 1994, he starred in Paul Cox’s EXILE, and the love quadrangle drama METAL SKIN for which Aden earned an AFI nomination for Best Actor. He also won the Australian Critics Circle Award for this role.

Other notable performances include: RIVER STREET, which earned him another AFI nomination for Best Actor, the acclaimed COSI, playing an impish and egotistical theatre director; HOTEL DE LOVE, starring as Rick Dunne; COUSIN BETTE, starring opposite Jessica Lange and Elizabeth Shue; COLLISION COURSE, THE WAR BRIDE with Anna Friel and Brenda Fricker; and Mark Lee’s directorial feature debut - THE BET.

In 2004 Aden was seen on stage with the Sydney Theatre Company’s sold out season of HEDDA GABLER, alongside Hugo Weaving and Cate Blanchett. He also toured with the company to New York in 2006. In 2007 Aden appeared in the US television series THE STARTER WIFE, alongside Judy Davis, Miranda Otto and Debra Messing. Most recently, Aden appeared in Bruce Beresford's MAO’S LAST DANCER and Kriv Stender’s LUCKY COUNTRY, both of which were released in 2009.

LEON FORD (Robert Clayton)

Leon Ford impressed audiences and critics with his portrayal of HAMLET in John Bell’s 2003 production. His performance earned him a Green Room nomination for Best Male Actor in a Leading Role as well as rave reviews (the Sun-Herald said: “an astonishing young actor…I wouldn't be surprised if he emerged as the next Geoffrey Rush”).

Leon has appeared in several other Bell Shakespeare productions including THE SOLDIER’S TALE (presented with the Australian Chamber Orchestra), HIPPOLYTUS, A MIDSUMMER NIGHT’S DREAM, HENRY V and HENRY IV PARTS I & II. He has worked with a number of other major theatre companies

including the Griffin Theatre Company (PRESENCE) and the Melbourne Theatre Company (MACBETH).

Leon's recent television credits include HBO’s Steven Spielberg and Tom Hanks mini-series THE PACIFIC and the Golden Globe nominated HBO mini-series TSUNAMI: THE AFTERMATH. He also recently appeared in the SBS drama EAST WEST 101, the Channel Ten telemovie EMERALD FALLS and played lead roles in the telemovie GO BIG and the Penny Chapman-produced series THE COOKS, also for Channel Ten. He starred in ABC TV’s critically acclaimed CHANGI series and has had guest roles in MCLEOD’S DAUGHTERS, ALL SAINTS, YOUNG LIONS and WATER RATS.

Leon made his feature film debut in the cult horror LOST THINGS, from respected Australian writer Stephen Sewell and first time director Martin Murphy.

Leon is also an emerging writer/director whose AFC-financed short film THE MECHANICALS was selected for Competition at the Venice Film Festival 2005, London Film Festival, Rotterdam Film Festival, and Palm Springs Film Festival and has won more than 8 awards worldwide. His half hour film, KATOOMBA won the Dendy Award at the Sydney Film Festival 2007, Best Film and Best Director at St Kilda Film Festival 2008 and has so far screened in competition at Clermont-Ferrand, Melbourne and Flickerfest Film Festivals.

Leon is currently working on the feature GRIFF THE INVISIBLE, which he wrote and is directing.

MARCUS COSTELLO (Ernst Wagner)

Marcus' television debut came as a teenager in the role of Richmond in Burberry's FERGUS MCPHAIL. Further TV credits followed with guest roles in CITY HOMICIDE, SATISFACTION and CANAL ROAD.

Marcus' feature film debut came in 2006 with LAKE MUNGO, directed by Joel Anderson. He spent a year on exchange in Germany and has just completed his Bachelor of Arts.

CREWDIRECTOR/CO-PRODUCER Jeremy Sims

Jeremy is a popular and well-known figure in Australian film, TV and theatre - as an actor and director. He received an AFI Award Best Actor nomination for the film IDIOT BOX. He has received several Logie and AFI Best Actor nominations for his television work, winning for AFTERSHOCKS in 1996.

On stage, he is one of Australia's greatest actors, playing roles like Cyrano De Bergerac and Hamlet to national acclaim. As a director, he regularly works for Australia's flagship theatre producer - The Sydney Theatre Company. With his own company, Pork Chop Productions, he has directed and produced acclaimed classical interpretations and original theatrical works all around the country.

Recently Jeremy has focused on new Australian works, enlisting the Sydney Opera House as a co-production partner. His production of LAST CAB TO DARWIN won many awards and toured nationally in 2004. His first feature film as a director, LAST TRAIN TO FREO, received three AFI nominations and secured Jeremy's position as one of the country's most promising.

“Generally we (Australians) make too many films that are not driven by big ideas, whether that idea is aesthetic or story based, but if it is aesthetic, it better be pretty amazing to look at, because story wins most of the time. A lot of our films are not incredible to watch, and they aren't always based around a truly amazing story. They tend often to be trying to tell small and personal stories that may not be that interesting to a broad spectrum of viewers, whose tastes deserve to be catered for…”

“We have done a lot of testing during the edit (of BENEATH HILL 60), because I think it's important to find out what your film is doing and saying to an audience. You cannot assume that it is having the effect you want it to have just because you are a genius. We have been surprised and enlightened by the three test screenings we have had, and recut material in response.”

Jeremy’s credit on BENEATH HILL 60 is Jeremy Hartley Sims. Hartley is a maternal family name (Jeremy’s daughters Frederique and Evelyn also use Hartley Sims).

WRITER/CO-PRODUCER David Roach

David Roach co-wrote, produced and edited YOUNG EINSTEIN for Village Roadshow/Warner Bros, listed 14th on the all-time box office successes in Australia. The film received an AFI nomination for best screenplay.

His other films include RECKLESS KELLY and MR ACCIDENT for Warner Bros and MGM/UA respectively. David wrote and co-directed WRITERS ON WRITING, which was nominated for an ATOM award. He wrote and co-produced SINGER - A DANGEROUS MIND about controversial philosopher Peter Singer for the ABC & BBC described as “...television dynamite” by the Sydney Morning Herald.

David has run screenwriting masterclasses at various universities, international Arts Festivals and conferences. He has two feature films and a novel currently in development.

EXECUTIVE PRODUCER Ross Thomas

Ross studied Engineering (School of Mining Eng) at the University of Queensland and Management at the University of Central Queensland.

He has been working in the mining industry since the 70s both internationally in areas such as Zambia and also nationally in Queensland. Ross has performed various roles such as Mining Engineer, Quarry Manager, Operations Manager, Health and Safety Consultant, Business Manager and Senior Executive.

From 1984-2002 Ross acted as Inspector of Mines for the Queensland Government and he has worked on and off as a contractor for BHP Billiton. He also published a variety of articles and papers relating to mining and penned THE CLASSIC ROBERT LOGAN JACK MAP COLLECTION (1999).

EXECUTIVE PRODUCER John Lee

John was a founding member of Ausfilm and was formally on the board for 2 years and a member of the policy committee for 2 years. His leadership in the industry, through Cutting Edge (CE) has been consistently focused on elevating Australia’s profile in the feature film and drama television industry.

John has made over 30 trips to LA during the last 10 years and has been heavily involved in lobbying for a number of productions that have come to Australia - many of which had little or no involvement with CE. John spent 10 years working in the film and television industry and since 1985 has been running his own company.

Today Cutting Edge employs over 140 people full time and at times up to another 300 people part time. Cutting Edge has won the Arts & Entertainment Exporter of the Year award twice in Queensland and once nationally in 2004.

PRODUCER Bill Leimbach

Bill has had over 25 years experience in action and adventure Film and Television as both Producer and Director.

After attending University in California he trained in FILM at London Film School and the BBC. He worked in the UK Film and TV industry for ten years before moving his production company to Australia in the 1980s from where he has produced over 25 films - for National Geographic, Discovery, PBS, BBC, ABC and SBS and Australian commercial channels 7, 9 and 10.

His programs have been seen around the world.He lives in Sydney where he currently has two features and two documentaries

in various stages of development. His most recently completed was a long form special for THE HISTORY CHANNEL and FAIRFAX, with Jack Thompson, to commemorate the 90th anniversary of Gallipoli in 2005.

His awards include:

Academy Award Nomination for Best Feature Length Documentary - RAONI.AFI Best Director & Best Documentary for MUSICAL MARINER. LOGIE

nomination for Best Director for FIRST FLEET: RIGHT OF PASSAGELOGIE nomination for best TV series (Producer/Director) 26 episodes of

OUTBACK ADVENTURES.

ASSOCIATE PRODUCER Greg Rains

Gregory John Rains was born on 27 November 1954 in Ayr, North Queensland. Gregory studied at Thornburgh College, Charters Towers and attended James Cook University graduating in Civil Engineering with Honours in 1980.

His early career involved engineering drafting and construction for Mount Isa Mines in Townsville and Mount Isa. In 1988 the company Nordev Pty Ltd was formed for engineering consultancy and construction activities. However in 1990 it specialized in mining, earthmoving and quarrying activities and has now been involved in the rock crushing industry for nearly 20 years. Nordev is based in Townsville and has completed projects in Queensland, Northern Territory and PNG.

In 2004, the company won the prestigious RW Hawkin Award for Engineering Excellence presented by the Institute of Engineers Australia for their crushing project in Porgera PNG.

Nordev is currently working on its biggest project ever at Hinze Dam on the Gold Coast. The company also has operations at Xstrata Mine in Mount Isa, Osborne Mine in Western Queensland, a permanent quarry operation in Cairns and gold mining activities in Indonesia.

In 2008, the Exchange Hotel in Townsville was added to the asset list, as well as investing in the “Beneath Hill 60” movie. Having been educated in Charters Towers, working in an engineering profession and having been active in the mining industry, David was drawn to being involved with the film. The synergy with the storyline is unmistakable..

Greg has 2 adult girls who both have 2 children living in Perth and London and his hobbies include travel, golf and sporting activities.

DIRECTOR OF PHOTOGRAPHY Toby Oliver ACS

Toby Oliver started his career in cinematography in 1986, shooting student films at Swinburne Film and TV School in Melbourne. In 1993 he shot his first feature film, the critically acclaimed black and white prison drama EVERYNIGHT... EVERYNIGHT. Directed by fellow Swinburne graduate Alkinos Tsilimidos, the powerful film went on to win an ACS Award for cinematography and participate at various Film Festivals including Venice and Montreal.

Based back in Sydney since 1995, Toby continued to expand his creative scope and refine his techniques with many varied projects, including the award-winning short film STITCHED (Gregor Jordan, 1996) and to date, nine more feature films. FRESH AIR (Neil Mansfield, 1998) was an inner-city comedy set in Sydney’s Newtown area, and Toby followed soon after with LOOKING FOR ALIBRANDI (Kate Woods, 2000). With Pia Miranda and international stars Anthony LaPaglia and Greta Scacchi, it has proven to be a huge hit with Australian audiences and critics alike. ALIBRANDI took out top honours at the AFI Awards for that year, winning five AFI’s, including Best Film.

Toby returned to his low budget roots with Alkinos Tsilimidos’ second feature, the gritty two-hander SILENT PARTNER that was shot in seven days with a crew of five in 1999. Starring David Field and Syd Brisbane, it went on to participate in the Toronto and Montreal Film Festivals in 2001. He then started a move into shooting television with LOVE IS A FOUR LETTER WORD for the ABC, a stimulating and creative 26-episode shoot with a tight schedule. In 2003 Toby worked again with his long-time collaborator, Director Alkinos Tsilimidos on the exciting Australian feature TOM WHITE starring Colin Friels. The film was released theatrically to extensive critical acclaim in 2004 and has participated in the Melbourne, Pusan, Montreal and Hof Film Festivals, and received a remarkable 13 nominations at the 2004 AFI Awards.

Later in 2003 Toby was invited, upon a recommendation from Andrew Lesnie ACS, to Beijing to shoot a Chinese feature film WAITING ALONE for first time Director Dayyan Eng. The chance to work with this talented young Chinese American writer/director in China was too good to miss and Toby spent 3 months in Beijing on a challenging but rewarding shoot. This highly anticipated film premiered at the 2004 Tokyo Film Festival and was released to high acclaim in China in September 2005.

Toby was recognised by his peers for his high standard of creative cinematography with the honour of ACS Accreditation in September 2004.

In October 2004 Toby received his second AFI nomination, for 'Best Achievement in Cinematography' for TOM WHITE. Toby also received his second IF Award Cinematography nomination, and a GOLD ACS Award, again for TOM

WHITE. At the subsequent ACS National Awards in 2005, TOM WHITE received the coveted Golden Tripod for Best Cinematography of the Year in a feature film.

In first half of 2005 Toby shot two lower budget feature films on digital HD. The hard- hitting EM 4 Jay was the fourth collaboration with maverick director Alkinos Tsilimidos, and is a gritty underground love story shot on a tight budget for theatrical release.

Toby soon followed with a trip to Perth to shoot LAST TRAIN TO FREO for actor turned first-time Director Jeremy Sims, a tense thriller set on a late night suburban train.

Early in 2006 Toby started work on his longest shoot to date, the 26-part children’s television drama LOCKIE LEONARD, set in Albany, WA.

Later that year Toby was invited by Director Anna Broinowski to collaborate on her compelling feature-length documentary FORBIDDEN LIES about charismatic con-artist Norma Khouri, a multiple prize winner including the AFI Award for Best Documentary.

Most recently Toby has completed shooting on the powerful Middle-Eastern gangland movie THE COMBINATION for first-time director David Field, one of the first feature films shot with the revolutionary Red digital camera system in Australia.

The People of TownsvilleThe community of Townsville was an essential part of the making of Beneath

Hill 60. Not only were they extras in the film, they also participated in almost all aspects of the production.

Elderly women wrote love letters in old-fashioned script for the actors to read. The women just wrote what they thought would be right and more than once the letters moved the actors to tears. Other women were busy knitting fingerless gloves, scarves and beanies that were used in the comfort packages that the tunnellers receive in the film.

A breeder of rats provided essential livestock for the tunnels. A breeder of canaries came up with just the right coloured birds for the tunnellers to use in their cages.

A local football team gave up their Sunday to fill some of the 10,000 sandbags needed for the trenches.

The production sent out a call for local amputees to play wounded soldiers. The men who volunteered were extraordinary. Some had lost limbs during much more recent wars. They all had their own stories. The costume department gave them tattered uniforms and the makeup department covered them in fake blood. They lay for hours in the mud and the rain. They filmed well into the early hours of the morning. The whole crew was inspired by these men. At the end of the night they were thanked by the crew. One of the men said, “It’s nothing compared to what the Anzacs went through. We’re just doing it for them.”

Turning sunny, dry Townsville into the muddy Western FrontA Townsville winter consists of month after month of clear, sunny skies and

warm days. So creating the gloomy Western Front was no easy task. After the kilometres of trenches were dug and 10,000 sandbags were filled there was still plenty of dust and sunshine.

The special FX department created a mobile “rain rig” that followed the actors (and the crew) around the trenches. It was capable of producing any sort of rain from

a soft mist to torrential downpour. Townsville City Council donated 1 million litres of water for the production to use. Multiple “cherry pickers” were used with giant scrims attached to block out the sun. Strategic mounds and craters were bulldozed to hide distant gum trees.

But there was nothing much anyone could do about the kookaburras, magpie geese and crickets that caused headaches for the sound department during shooting!

SELECT CAST GENERIC INTERVIEWSBRENDAN COWELL (OLIVER WOODWARD)

Q. How did you find playing a real life person compared to a fictional character?

I think it’s very different playing a real person, in a true story you are aware of the fact there is a responsibility to tell it correctly. After reading the diaries and then the script, I think David has slightly embellished the character, and then I’ve taken that another step and made it my own. It’s the first time I’ve played a real person.

Q. Was there any pressure in playing this character?I think that responsibility gives restrictions, but they are good, because I’m the

kind of actor where I have a lot of different ways I can do anything. I have too many ideas, so restrictions help me out. Having confines of a real person and period, and a tight structure and set of rules, I find really inspiring, and a great place to set off a performance…

Q. What kind of research did you do on your character?I spoke to Jeremy Sims about it, and he said just read as much as you can and

then try and get as much detail and complexity to your performance. That was the gig really, read as much literature as possible and listen to a little bit of early 1920s cricket commentary, because my main thing was I really wanted to get the voice and posture of the man. I looked at all the pictures and noticed he stands so tall, and I have terrible posture! Also, as I’m playing the hero I wanted to get some poise and present a real gentleman. He has so much integrity. I believe Woodward went through his life without ever telling a single lie, to the point that it was almost his undoing.

HARRISON GILBERTSON (FRANK TIFFIN)

Q. How did you find playing a real character?It’s a real honour playing a real character, especially a young person who went

to war. Being a young person myself, and putting myself in the position of what it would be like if I went to war is what I’m working off. It’s a really different role for me; it’s a bit of a challenge…

Q. What did you think when you first read the script?I normally get really excited about roles when it’s something that reads

truthful to me, and something I can sink my teeth into. When I read BENEATH HILL 60 I was very emotionally moved by it, because it’s a tremendous journey for all these people. I really felt for the Tiffin character…

Q. Who do you think might be interested in this film?I hope people, especially people my age, will come and see this movie,

because it’s something I’m saddened about, and our generation is very self-focused, and very much about the superficial things in life. I think this film shows hard work and the importance of mateship.

STEVE LE MARQUAND (BILL FRASER)

Q. What research did you do on your character?I tried to do as little research on the real Bill Fraser as possible, as I find it hard

to imitate someone, I just want it to be my own character. So this is my version of Bill Fraser. I think it’s loosely based on the real character, but it’s not like Brendan Cowell (Woodward) who probably had to do a fair bit of research into Woodward because he’s obviously a pretty well documented figure, and the main character…

Q. What was it like working in the trenches?The amount of detail that has gone into the telling of the story, the costume

and art department have done a superb job, it really takes you there. I think once you get in those trenches, you’ve got your weapon and all the boys lined up, you can really take yourself there. It’s very much how I pictured it to be…

Working at 2-3 am in the morning, in the cold mud, makes you stay in character. You get your energy from the adrenaline, so it actually makes acting easier.

GYTON GRANTLEY (NORMAN “PULL THROUGH” MORRIS)

Q. You’ve played a real character before, was this any different?I guess when you’re playing a real character it’s easier in a sense, your

obligations are already set. In this instance he’s not real, there’s never been a book written about him, but basically he’s one of the great soldiers of the First World War. We’ve all been reading some amazing books, and watching films, and the boot camp especially has been a great experience for developing our characters. I’ve learnt from this experience that Morris is a lot tougher than I thought he was, and a bit more of a runaway gun, as our corporal decided to call Morris. I think you’ll see a few more courageous things coming from Morris than you’d expect. I’d say in this situation, character development has occurred through experience…

Q. What did you think when reading the script?I think every boy has his little fantasy of being in war, all the honour and the

nightmares and the ludicrousness of it aside, every little boy likes to run around with a gun and say ‘bang, bang’. A lot of the actors and I have been talking about it, and just saying how exciting it is. It’s such an adventure, it’s just so real, and that’s the best thing about being an actor, and being in movies, is that we get to experience to a certain degree, certain different elements of life and history. In terms of this film, BENEATH HILL 60, this is another world, of years gone by, or something that is one of the most read about subjects in the world, so I’m thrilled to be a part of it.”

CHRIS HAYWOOD(COLONEL RUTLEDGE)

Q. What was interesting about your character?All actors draw on their own lives - that’s the best palette you’ve got. My

uncle, who I lived with for sometime, was a Commander in Chief of Wales, so equivalent to a one-star general. It’s really quite sad in some ways because that same separation there seemed to be between the Commander and people they’re commanding also existed within his family and becomes part of their persona.

It is the beginning of 20th Century where ideals and morals would be quite different and Australia was still heavily influenced by the English class system, and that’s a bit of Rutledge’s character too - there would be distinct separation between officers and men. We had an extensive collection of albums about WW1 at home, so had a lot of images to draw on.

Q. What affect/response do you think this will have on Australian people?

There is so much history in Australia that is not known, and yet is relevant today because it influences us as a country. This is a unique tale because it is the only Australian military story that I know of, where we win.”

ALEX THOMPSON (WALTER SNEDDON)

Q. This is your first role in a film; did you feel any pressure?There’s a lot of responsibility and weight on our shoulders to pay tribute to the

real people. When I first came into the film, I thought ‘wow, this is a really hard film’, but I thought this was what all films were like, because it’s my first. After talking to Steve (Le Marquand) though, he said this was one of the toughest he’s done too. I love that my first film is a tough one! Hopefully if I go on to do more films they’ll be a little easier. It’s been an amazing experience, and nice to know we’ve been doing really well.

Q. Were there any similarities in your relationship with your father?The relationship with Walter and his father is nothing like my relationship

with mine, to be honest. My father and I don’t talk much. That’s something that really appealed to me, how there’s moments in the film where Jim and Walter show how much they really love each other. That for me, who doesn’t really have a father figure in my life, it was really nice to see that.”

ALAN DUKES (JIM SNEDDON)

Q. You are a father; did this affect your understanding of this role?I couldn’t imagine what it would be like, as my children are only two, but the

sense of wanting to protect your children is overwhelming. I imagine Jim Sneddon wouldn’t have got much rest!

Q. What preparation did you do for this particular role?I read a lot of material Jeremy Sims gave which was great, and have been

reading lots of literature on the history of war. I’ve got a feeling of what these guys went through, not only in battle, but to be underground, to live so perilously, where

life could be ended any second of the day. To try and get in that headspace has been a challenge, it’s hard to imagine…

Q. What do you look for in a character? And what was it about this character/screenplay that appealed?

I loved David Roach’s script and desperately wanted to be in it. I look for humour in a character and a sense of empathy. I want to know what he wants from life, what he holds dear. That he has a son he has to try and protect in this kind of environment, really interested me in how he would go about that. I had chats with Jeremy and we came to an agreement on what this man is all about.”

MARK COLES SMITH (BILLY “STREAKY” BACON)

Q. What appealed to you about this film?I thought the fact that BENEATH HILL 60 is based on real events was really

cool, and one of the initial reasons I wanted to do this project, but then what was even cooler was that you had these characters that were based on real people as well. That pushed you even further in honouring the story you were telling…

Q. What was it like working with the other actors?The experience that I had working with the other cast members in that

situation really conjured up a very strong bond between us. One thing I learned was that mateship was key to survival and getting the job done. Warwick (Young) said it to me as well - when you’re out on the battlefield you don’t give a toss about your family or anything else - all that matters is the man stood beside you and we really got a sense of that, that night in particular.

WARWICK YOUNG (PERCY MARSDEN)

Q. Did you feel any pressure in playing your character?It’s a huge responsibility, playing a real character, because the sacrifice of

these people shaped the world that we live in today. As an actor it affects you because you have to make sure you get the details right, and ensure that everything you do is as accurate as it can be, because that then pays the respect they deserve.

Q. What did you learn from taking part in this film?I think this film typifies the Anzac legend. I like the fact that they were

frowned upon. All Australian soldiers, funnily enough, from a Commonwealth perspective were frowned upon. They were seen as ill-disciplined and unprofessional. By the end of the war though, because of their professionalism, and dedication to the task as opposed to protocol, they became infamous as great soldiers, and the tunnellers totally typified the Australian soldier and the task was never above them. They adapted themselves to what they were doing and in such arduous conditions they didn’t shirk the task.”

MARTIN THOMAS (GINGER ”MICK” O’DONNELL)

Q. What was it like playing a real life character?Its interesting because a lot of the characters I have played have been fictional

and to take on real life, especially something that is so special to all Australians, you feel a weight of responsibility, you want to do it right, especially with an untold story. There are plenty of WW1 stories, but to tell one that we haven’t heard before, it’s great, I feel very privileged. Working with Jeremy Sims gives the actor the chance to really hone in on their own skills and their own character.

BELLA HEATHCOTE (MARJORIE WADDELL)

Q. Were there any challenges in playing your role?In some ways it was very easy for me to play Marjorie because I can relate to

her a lot. My eldest brother passed away recently, so I guess that helped in some horrible way. It came naturally…

Q. Coming from a generation that didn’t experience war, did you find it difficult?

I didn’t know much about this time before I took the role, and that was probably one of the best things about it, was doing all the research. I don’t know anyone from my generation who knew about the tunnellers. The fact this is a real story made it all the more beautiful, and that the love that these two people had survived the war.

Q. What did you think of the script?When I read the script I thought it was amazing, it’s a beautiful story, and it’s

not often that I come across a script like this. It’s a love story set in the war, but unlike any other war story that’s been told. I’m very excited that I’ve been involved in it.

It’s a bit scary at first to think that you are playing a real character, but I’ve just done my take on this beautiful, strong person and have tried to do her and her family justice.

GERALD LEPKOWSKI (WILLIAM WADDELL)

Q. What did you think when you read the script?When I’m reading scripts I generally look for something that’s a really

interesting story. I don’t really focus on the character, which is great because when I read this script I read it independently, there was no character. I’d never heard of Hill 60, so it was informative from that point of view, but it was also a great read.

Q. Did you go down in the tunnels?Yes, it felt really claustrophobic, so I got a real sense of what those guys must

have gone through. I really gravitated towards the tunnellers and the world they’d created and especially when they were forced to go into the trenches in WW1…

I guess William Waddell’s purpose in the story is to give a real sense of how people back then never really knew what was happening, information was scarce. That brought about its own tension within the household, never knowing when you were going to hear any news. The actors I’ve been working with in these particular

scenes and I have certainly tried to mind that tension and bring it forward. Some of the scenes are really funny, and I guess slower paced that the frenetic nature of the trenches…

Q. What research did you do on your character?I’ve played a couple of real life characters before, and it really depends how

much time you’ve got to do research, but for the purposes of this film it was all kind of drawn in the script anyway, I didn’t really have to seek any additional information. In terms of playing it, I always try and play things close to myself, always ask the question ‘what if that was me?’ and ‘how would I react?’, so that’s my way with pretty much any character, but particularly a real life person.

PRODUCTION NOTESThe Pre-Production Process

Ross Thomas - Executive ProducerReading Woodward’s diary when doing my research into the tunnellers made

me realise what an important document it was, and its containment, not just of historical facts on Australian tunnelling on the Great Front, but also the romance and the humour. I believed it warranted talking about.

Previously to this project, I only had cursory knowledge of WW1 that I would have acquired from my school days. At that stage I was probably more interested in the 2nd WW because of my father’s involvement as a Lancaster pilot. It was only through my job as the Mines Inspector with the Queensland Government that I discovered this story and continued my research. It was only going into the archives that I eventually came across Captain Woodward who played a significant role in the firing of the Hill 60 and Caterpillar mines, and came across his diary.

Ian Sparke - CostumesI’ve spent most of my life involved in the Anzac legend in some form or

another, studying it since I was 6 years old believe it or not. It’s a very true to life script and story. The Western Front is the biggest loss we’ve ever suffered in a wartime, but it tends to be forgotten, although is being picked up a lot more. By my teenage years I understood how terrible war was, I wasn’t looking at it through rose coloured glasses, thinking how great it was to be in uniform. Hill 60 fits into the Anzac legend - it shows the true character of the Australian soldiers, their adaptability, and their keenness to do the right thing. I didn’t know as much about the tunnellers before this film. The most I knew about Messines Ridge was the 3 rd

Division, which incorporated my favourite battalion, which was the 34th Battalion AIF. I come from a city in Maitland, and that was known as Maitland’s Own Battalion…

I certainly do feel a great responsibility to get the story right as far as the costuming, making sure that they look absolutely authentic and true to life. What a lot of costumers do to make life easy is rent from a costume house. However, that doesn’t give you the correct look for an army or for a group of soldiers, no matter which nationality. So the best idea is to go right from scratch - it makes life harder, but just to make things correct, from making sure there’s leather laces as opposed to cotton

laces, to changing the liners on steel helmets, making sure they are correct for the Great War, rather than having World War 2 liners up there.

Clayton Jauncey - Production DesignerJeremy (Sims) called me at the beginning of the year and my first impression

was ‘I’ve always wanted to do a war movie - this gives me a great excuse to watch all those war films!’ It’s about not just thinking in lateral terms, but thinking what can we add to it in terms of giving it a sublevel or mood? What layers can we give it to give the film certain richness? Then you start thinking of the mechanics and what resources we’ll need.

You can’t have an unrelenting miserable vibe to the film; you need to bring in some lightness with Marjorie. My job is to help emphasize the beats of the story, and to work out what the director needs to physically tell the story. What you need to propel the characters through the film, and the physical length of time each scene should be. You have to build the scenes in layers, starting with the basic architecture, and then adding stuff that creates mood.

Wendy Cork - Civilian CostumesEveryone in the film has a real history and so I did a lot of research out of

books - about early Australia, and about fashion from all over the world at that time. I also referenced a lot of photographs that David Roach had of the actual family, and photographs of my family, pictures of my great-great-grandmother, and Jeremy (Sims) loved the photos so much that we actually copied the outfit for Marjorie. It also has a personal investment for me, because my history is now woven into this costume. My great-great-grandfather was in Gallipoli, so I referenced his clothes, and his friends’ clothes, from the few photographs we could actually get from my family.

Shane Thomas - Hair & Make-up DesignerI came on board after a meeting with Bill Leimbach and Jeremy Sims. I read

the script and loved it. I did a lot of research on the period, looking at army and war images. I then broke down the script, put a team of people together to work with me. I design what everyone wants to look like, and discuss with Jeremy what he wants. I show my team how to do certain things on actors that I designed. I surround myself with a team who I trust and who can replicate my words.

Set Building

Ross Thomas - Executive ProducerThe real tunnels on the Western Front were significantly smaller, especially

the attack tunnels which were a standard 3'6” high x 2'4” wide, so very claustrophobic conditions. However, what we see in our sets here, the way they’ve been constructed very much depicts what the tunnelling environments would have been like. They would have been very, very wet, under a lot of pressure and of course with the added fear that you could be blown by enemy fire at any time. But for all intents and purposes, the creation of the art department is fantastic, and I think will do the movie a great justice.

The actors all experienced Boot Camp to put them into the mood of what military life would have been like, before filming started. Once again, not being of the same size workings, I think Jeremy (Sims) has done a fantastic job of putting the fear

in the faces, hearts and minds of the actors. I think Jeremy has done a wonderful job of bringing those characters to light.

I think there will be acknowledgement of the fact the Aussies put the show on the road, they probably thought we’d never be able to do it, but with the quality of the cast and crew, we certainly have put Hill 60 on the map. Most importantly we’ve put our Aussie tunnellers up into the light, where they should have been acknowledged for their war effort 90 odd years back. They weren’t previously given the acknowledgement they deserved for a couple of reasons. Tunnelling was considered an ungentlemanly way of conducting warfare, it wasn’t considered honourable. The gentlemanly way to conduct warfare was to climb out of a trench, over a parapet and run towards enemy lines with a rifle. This was not the military way of doing things. Consequently, after the war, political and military amnesia descended on the role of the tunnellers. Another main reason would be that with an average age of 42, a lot of the tunnellers had dust on their lungs from their mining days. They were sick and dying men when they went to war. Consequently, after the hostilities they faded away very quickly, and very few even reached WW2. So they’re the main reasons they’ve sadly been forgotten in time. This movie, we are proud to say, should readdress that situation, and give the honour to the tunnellers that they rightly deserve.

Clayton Jauncey - Production DesignerThe principle exterior location, Kelso, started off as a paddock. We started by

mapping out the best horizon that suited the line of the sun, then calculated where we wanted the German trenches, and how far out the Allied trenches should be. We had to work out the engineering to excavate this area to suit all the needs the story required. The basic elements are all here: the geology is great, you’ve got the slight hill that Hill 60 was, the clay is good, and plenty of water, mud and misery!

The challenge of filming Europe in Townsville is the temperature differences. The hot temperatures make work a bit difficult, but fortunately the clay is a good colour, nice and dark and brown where we need it. The light as well is a problem, as it’s very high and bright blue sunshine, which wasn’t abundant in the Western Front. Where possible though we were able to add features to help screen the trenches, which also helped break up the length of the trench.

We’ve had fabulous support from the Townsville community, especially from the property owner, Shane Poole, who has provided us with an amazing amount of equipment and scaffolding etc. We’ve met some great local people who have been able to help operate the equipment. The local community is very keen on the film, it’s a local story and they’ve been immensely sympathetic and proactive in their help.

We’ve had all sorts of support from the local community. In 1917, there were a lot of home crafts, people made things themselves. Soldiers would get parcels from home, so we’ve had local people knitting things for us. Also a lot of the letters are handwritten, and so we’ve used people with old hand script to write some letters and help with the graphics to give that authenticity to the project.

I think every crewmember; volunteers from the local rugby club on Sunday mornings, and producers of all levels have had to help us out with bagging sand bags! They were a very distinct feature of World War 1 trenches. I think we’ve used approximately 10,000.

To create the tunnels we’ve had to start by basically mapping out the progress of the characters, geography to steer through story-wise. From there we estimated distances and lengths we’d like them to travel through in shot, and then had to draft them up and plan them out to be able to cover the action and be shootable. We wanted

to give the sense of a massive labyrinth of tunnels that they had under the Western Front. The shooting style is that you are very much in the tunnel with the character, you’re not in the side of the tunnel and watch them run past, you see them come up to the lens, so that dictates that you make long tunnels to give the sense that they are travelling long distances underground.

The original tunnels were constructed of very heavy pieces of timber that were set in place after you’d dug a couple of feet. You’d then have to dig another couple of feet and do the same thing. Our tunnels are made from solid timber that replicate those timbers, but are not as heavy. The outer skin around them is a mixture of plaster and builders foil and sometimes ply wood. Other areas we’ve compacted real dirt.

We have a very good special effects department, so we’ll construct a set and allow for the special effects, and then plumb them in or whatever is needed to make the roof for the tunnel drip, or rain dust on the characters, or ooze from the walls. We work hand in hand with them to make it a feasible proposition.

The fact that it’s a true story, you’ve obviously got to be as faithful to the research as possible, and do whatever you can to try and get, or replicate, the actual items. Invariably you have to remake items because they don’t exist anymore.

In order to replicate the feeling of awfulness and claustrophobia, we have made the tunnels as confined as possible in terms of shooting and physically moving for the actors. Everyone has bumped their heads at least 5 or 10 times, and got sore backs. To make them shootable they always seem to have a bend or curve, and that helps to compress the size of them. Also the ceiling pieces in the set are quite crucial because we’ve kept the ceilings low, so you get the sense that the cast have to duck all the time and they are very confined. We have quite a number of very tall people in the cast, so that makes the job a bit easier!

The beauty of this film is that I’d never really spent any time looking into and researching the Great War, and since starting this project we’ve done a huge amount of research. It’s amazing to think that so many were killed in the space of 4 years. So many countries lost huge percentages of their male population. Everyone who comes onto the set says ‘Oh my God, I’m so glad I wasn’t around at that time, and didn’t have to live through this’, because they get that sense of how horrible and disgusting it was.

The art department has a reasonable size team, and it’s a tight collaboration as we’re crossing over and doubling up on jobs because of the size of our budget. We work very closely with the art director Sam Hobbs, who’s an old friend, and who agreed to come and work with me on this. We have a fairly pragmatic approach in that we just get on with it, and get as much achieved as possible. We have a property master who makes sure all hand props are properly researched and sourced, and what we can’t source we make. We have a set decorator who sources and organizes the furniture and fittings and fixtures for the sets. We also have a construction team constructing sets and preparing tunnels.

I think the scale has worked well, I wouldn’t have done it any smaller. It’s given us a chance, on a workflow level, to prepare things while the unit is shooting in other areas. Generally there’s only so much you can replace looks wise before it does look the same. It’s as big as it needed to be. Even with more money I wouldn’t have made it bigger though, I just would have had more people working on it. The area we are using is about 2 ½ hectares and there’s between 400-500 metres of trenches, and about 20 cane toads.

Alan Dukes (plays Jim Sneddon)The mines were very claustrophobic. I went down the Deborah Mine in

Bendigo to see how I’d feel underground, as I wasn’t sure because I hadn’t been down a mine before. It didn’t work out too badly, so I felt slightly more comfortable in that closed environment on set. They were stifling, and dirty and very sweaty which all added to the claustrophobic sense of it. Working in the mud with the equipment, it wasn’t difficult to keep your feet - luckily I didn’t fall over too many times.

Brendan Cowell (plays Oliver Woodward)Working in the tunnels was really good, because for a lot of it no acting was

required, because I was genuinely claustrophobic. I was genuinely in physical discomfort. The sets were so brilliant and the weather was so full on up here as well, so that reality’s been constructed. It’s not as bad as they had it, but at the same time the tunnellers didn’t have a film crew down there too!! This is more about staying sane and winning a battle with your mind. There’s a level of courage above being a soldier that’s required to go underground for that period of time. I realised halfway through that I am claustrophobic, so it’s been the most brutal and draining thing I’ve worked on, but somehow close to the most enjoyable - I don’t know how that works.

Make-up and Costumes

Ian Sparke - Costume DesignerThe research we did for Hill 60 itself started back in August/September last

year. Of course we were always greatly into the Great War, but it meant that we went right into it in detail, especially about the tunnellers.

We have to make sure that, whether the audience notices or not, we have been as accurate as we can with the detail. This meant we needed to know which unit was actually there, what badges they were wearing, what colour patches they were wearing etc. And when we move location, we have to know which unit was there, rather than hazarding a guess.

We are detailing the Germans as well, right down to units. We can say that we’ve looked up the Bavarian miners, so we have the two different regiments in the two different locations, then a Saxon Infantry regiment actually in the trenches.

I’ve worked with the army now since The Return of the Unknown Soldier, back in 1993. With regards to the Western Front, our knowledge is very strong, we’ve spoken with the army and they are providing us with some extra details and helping us along that way. We are keeping eyes and ears open, and we have brought over 100 reference books with us from our own library…

Brendan naturally is our main character, but I’ve looked at it that he was an officer, and looked at Woodward’s personality. Basically I’m setting him up as an Australian officer in France, and he’ll have extra little bits of gear, then I’ll take bits off as he gets used to being on the Front Line. I’m looking at it through a costumier and a historian’s eyes at the same time.

Wendy Cork - Civilian Costume DesignerIt is a living history and I think that is important to get the costumes as

authentic as possible, although it’s very tough to get them, especially in the condition we’ve got them in - most of the things we are now using are about 100 years old. I have travelled to London, to a costume house called Angels, and I also used a costume

house in Australia called Vintage Clothing. It’s important they are authentic, because if they are then the audience will believe the story and it honours the integrity of the film and the people.

Shane Thomas - Hair & Make-up DesignerThis is my favourite kind of make up to do because it’s gritty and raw. These

guys that have been at war, in the trenches for years, obviously there is blood and wounds. You’re not making anyone look better - you want them to look real and bad and help tell the story about what these guys went through.

Pretty much every man had the same hair in 1914-1917. They all had short back and sides because the lice problem was so bad. The Germans differ slightly to the Australians; their hair was a bit shorter, a bit more dramatic. A lot of facial hair was popular at the time, moustaches were very common. We look after their facial hair, and do their haircuts. A lot of the actors have to have their hair cut once a week for continuity.

Mud - I have to talk to the art department and compare their mud to my mud, because obviously I can’t use the mud that’s on the ground, for hygiene reasons, so the two different muds need to match in colour. I use manufactured dirt, which you mix with water and add glycerine and match it to the real mud.

Blood - to do the blood in large amounts, we have a formula that we mix. Depending on the light depends how dark we make it, if it’s low light its probably better if the bloods a little brighter, if it is daylight it’s not so bright. I get a lot of blood made at Shepperton Studios in London and they ship it out here. Some of it can be expensive. The stuff that we make en masse is relatively inexpensive, because you’re using things like maple syrup, but for specific things like faces, open wounds, or a blood leak then you have to have special kinds of blood. We’ve used litres, and litres and litres.

There was a whole week before we get to the war, that’s shot on a homestead in the country and there were women in these scenes. Everyone was very clean and nice and beautiful. 1914 is a little bit post-Edwardian, and it’s Queensland, its not like it’s Paris, so its not high fashion, it’s a little bit low-key. I kept Jacqueline McKenzie a little more Edwardian as she’s an older woman, and then with Bella (Heathcote), you see her grown up a little bit from a young girl to a woman, who’s fallen in love with our leading man. You can do subtle things to show someone aging over a two-hour film, by doing different hairstyles, or other make up slightly differently.

In that time, people wore a lot of hats when not at home, we did one particular scene at Marjorie’s work and pretty much every man and woman wore a hat. They have big colossal hats down to smaller straw hats, depending on the age of the woman.

The Cast, Crew & Filming Process

Clayton Jauncey - Production DesignerIt’s a great process working with Jeremy (Sims) again; he’s more confident as

a director this time, and very prepared. He knows the material backwards and has defined his approach to his shooting style. We set parameters early on that we could all stick to, and that helped me prepare the sets, and know that Jeremy can work efficiently with them. He’s very open and has a great relationship with the cast, and has built the performance from the ground up with them. It’s been a really good collaboration - it’s great!

Shane Thomas - Hair & Make-up DesignerI’ve got to say, with what these actors have been put through, they are absolute

angels. They are out in wet costumes, then I’m putting cold mud down their necks, and pouring cold blood all over them - they’ve been absolute heroes, every single one of them.

Warwick YoungHarrison Gilbertson, as an actor, is really impressive. His wisdom is far

beyond his years and to watch him throw himself into the improvisation was amazing. He didn’t get carried away playing with guns, as most guys his age would have, he stayed Tiffin, and he was scared and clumsy. His dedication to it was very impressive. Everyone really threw themselves into enjoying the experience, but being their character. When you’re doing a scene where three of our brethren have to go over the bags, the fear is palpable, and there was also a relief amongst us that it wasn’t one of us chosen, and yet there was great fear that we might not see them again. To have the opportunity to recreate that fear was amazing, and the younger guys were just as committed as the rest of us.

Gyton Grantley is a great actor, he really threw himself into the boot camp, and relished the experience; as did Steve Le Marquand, as did Alan Dukes - we all threw ourselves into it. That was one of the beautiful aspects of it, I guess it would have only taken one person to not be committed and it would have ruined the fantasy of it. Everyone gave 110%.

Mark Coles SmithJeremy is terrific - he strikes me as a really sharp mind, he’s definitely a

visionary, he doesn’t give too much away though. He’s an interesting director to work with in that sense, because you’ll do a scene and he’ll go check the monitor and you’ll watch his face and he doesn’t give anything away. He keeps you on your toes in that sense. He’s very different to anyone else I’ve worked with.

Martin ThomasThis is my first film working with Jeremy (Sims) - he knows exactly what he

wants, he knows how to get it and he knows how to work with the actors, but at the same time he really lets you go, he lets you make choices and he’s straight down the line and will tell you if it’s not working. The journey Ginger goes on has been hard, just because of his position in the group, and he’s affected by their stories - which consequently makes it hard to prepare for the role when you don’t know what’s coming.

Steve Le MarquandBrendan (Cowell) is a treat! He’s a superb actor, and he’s very down to earth.

If you’re going to be spending a lot of time down in the trench, in such close quarters for eight weeks, he’s the bloke you want! Jeremy’s great at casting, not just getting a bunch of blokes who can act, but a bunch of blokes who can work in close quarters together, who can get on as mates as well as actors.

Bella HeathcoteIt was amazing working with an actor/director like Jeremy (Sims), because he

can see both sides and has an incredible knack of just saying one thing that can get you into that place, evoking that feeling that you need to feel.

I’ve been friends with Brendan Cowell for about a year now, so it’s really easy to be on set with him, and feel comfortable straight away. He’s a very generous actor.

Brendan CowellI’ve been a friend with Bella (Heathcote) for a year, and we get on famously

and have an incredible ease with each other off-screen, so I think on-screen that shows. Anthony Hayes is one of my best friends, and we’ve worked together on numerous projects and travelled Europe together and I think that one of the reasons Jeremy (Sims) wanted him in the movie. One: he’s one of the best actors in the country, and two: he knows Anthony (Hayes) and I have that connection in spades.

I’ve worked with Jeremy in the theatre before and we had a really good connection. I like working with him because he’s a true collaborator. I think a lot of the crew have been shocked because Jeremy wants feedback and ideas. It’s a magnificent quality; I’ve never seen any other film director that works like that. Being an actor himself, he knows how to relate to you and whispers gems in your ear. He wears his heart on his sleeve and you’ve got to be a little tough to work with him too because he can be a bit brutal, because he tells you how it is, and if he doesn’t believe it he’ll tell you, you can’t be too sensitive. But if you take it with a pinch of salt you’ll have an amazing time.

Chris HaywoodIt’s a unique situation to be working with Jeremy (Sims), because there are not

that many actor/directors in Australia, and it gives you a great confidence because you know he’s going to have your perspective. In the same way the gaffer is trimming the lights, he’s trimming the performance. It’s very confirming and a gives a great feeling of confidence, when you know he knows the process.

Gyton GrantleyWorking with Jeremy (Sims) has been incredible; I think it’s his strong

background in theatre. He is really an actor’s director. Especially in this film, where there are so many big bangs and explosions, he still has lots of time for us, to come over and discuss each line and offer his ideas, and still be open to ours. I feel very comfortable and safe with him as an actor, especially with so much going on around us, it’s comforting to know he’s got your back.

Harrison GilbertsonJeremy (Sims) is fantastic. He’s very hands on, and has got so much

knowledge; I’m learning lots of new things from him.

Gerald LepkowskiWorking with the cast on this film has been great. I think the casting is pretty

good. I think Bella Heathcote is absolutely amazing - she’s got a beautiful childlike quality about her, but is also on the cusp of womanhood. She just seems absolutely

perfect for this part, and what she’s done with it is great, very professional, and very precise.

When I work with a director, I kind of like them to let me be free and let me create something myself, up until the point where maybe I paint myself into a corner. I kind of approach characters quietly, I don’t make a big fanfare about them, and I’ll only ask questions when I feel like I’m stuck or I need a historical context, but Jeremy’s obviously been an actor himself, and is very in tune with the actors, which I expected him to be anyway. It’s been effortless in that regard. He’s made the set a really welcoming place to be.

IN HIS OWN WORDS - THE EXECUTIVE PRODUCER’S JOURNEY: ROSS J THOMAS

I discovered the story of the Aussie Tunnellers when reviewing old government mining journals about 18 years ago when I worked as an Inspector of Mines with the Queensland Government in Charters Towers. I was interested to read of 'mining' under the trenches of the Western Front during the Great War. Thinking the mining was for copper and lead to support the war effort, I was surprised to then read that it was rather ‘military mining’ where the intent was to tunnel under the enemy lines to place explosive charges.

More interest was generated when I further read that Captain Oliver Holmes Woodward, who threw the switch to detonate the vital Hill 60 and Caterpillar Mines (the subject of our BENEATH HILL 60 film) at the commencement of the Battle of Messines Ridge, was a mining engineering graduate from the Charters Towers School of Mines, immediately adjacent to my Inspectoral office in Charters Towers.

This led me to research this little known subject involving web surfing, hunts in libraries and approaching the Australian War Memorial for relevant material. Eventually, this lured me to the above-mentioned memorial and, in particular the Imperial War Museum in London.

My passion finally drew me to the Western Front to see physical evidence of the tunnelling. Having some past war interest with my father being a Lancaster bomber pilot during WW2 also fuelled this passion.

I wrote a number of papers including a PowerPoint presentation on the subject that I gave at many mining conferences and delivered at RSL Club Anzac Day talks. Also, being a mining engineer as was Woodward, I felt it important that the public be advised of the significant contribution the mining industry had made to the Great War effort.

One observation that came to my attention during my research was the lack of a memorial to these forgotten tunnellers in Australia. This prompted me to set up the Australian Mining Corps Memorial Campaign to raise funds to address this shortfall. The intention initially was to have a memorial located at the Australian War Memorial, but when support from Canberra was wanting, I elected to push for a memorial in Townsville. The proposed memorial will also have a tunnellers interpretative centre attached.

Funds for the memorial were, and still are; being acquired through the sale of half gallon SRD stoneware rum jars...each with the name of an Australian tunneller fired into the pottery. Both jar and rum contents match the jars distributed to the troops on the Great War battlefield as near as possible. Additional funds are also coming from the sale of the Hill 60 alcopop drink.

It was after the formation of the above-mentioned Association that I made contact with the Woodward family and subsequently discovered the Woodward diary

upon which our BENEATH HILL 60 script is based. The husband of the Association's past Secretary was directly related to the Woodward family. From him I was given the name of Barbara Woodward, the daughter of Oliver Holmes Woodward. Upon contacting Barbara to advise of my interest in the Aussie tunnelling story and the war contribution of her father, I was offered a copy of his diary (Volume II titled 'MY WAR STORY'’ - Barbara also offered other diaries written by her father...namely, Volumes I, III, IV and V).

After receiving and reading MY WAR STORY I was staggered at the writer's impressive war merits and little-known military history it contained and approached Barbara seeking copyright as I believed it was part of our Nation's heritage and needed to be protected. After the Woodward family granted this, I approached a number of Australian film bodies and television stations to do a documentary, but could not generate any interest. In the meantime I was continuing the memorial campaign.

Finally, after a search on the internet, I attracted the attention of a number of UK based syndicates to make a documentary on the Aussie Tunnellers, but was concerned that there was an interest to 'anglicize' the story and withdrew from the partnership. While the $50,000 I invested in the project was lost...considerable experience was gained in the film industry.

Eventually, through a mutual friend, I heard about Bill Leimbach...especially with his past Aussie war documentaries completed...and approached him about a documentary honouring the Aussie Tunnellers and based on Woodward's diary. After meeting Bill and discussions with David Roach, our Scriptwriter, it was decided to upgrade the project to a full feature film to give appropriate justice to the story.

Seeing the film coming to fruition was been a 'dream come true'. To know that we have produced a 'classic'...and it all started with me...has given me a personal feeling of pride. To climb down into our recreated trench and tunnelling environment created for the film was a very personal and emotional experience. Something every Aussie should experience. To see the excitement and exhilaration of our actors and extras dressed in their Anzac uniforms as they strutted around the film sets made one honoured to be an Aussie. Even to dress in costume myself, albeit as a Northumberland Fusilier officer holding up a scoreboard during a rugby match in the film was enough to set my ‘Anzac adrenalin’ racing.

Also, I felt proud that I was representing the mining industry in advising the nation of its forgotten war effort. But more importantly, the film (and not to omit the memorial) has achieved what it was intended to do...to finally honour our forgotten Aussie Tunnellers.

BEFORE BEGINNING THE SCREENPLAY: WRITER DAVID ROACHThe story was first brought to me by Bill Leimbach. Ross Thomas had

discovered the unpublished war diary of Oliver Woodward, a mining engineer from Northern Queensland and contacted Bill to see if he could make a documentary out of it. Bill thought the story was bigger than a documentary and wondered whether I thought it could be feature film material.

I must admit that I was sceptical at first. I’m not really a military history buff and I knew that the very idea of making a film set mostly in the tunnels and trenches of war torn Europe in 1916 would be fraught with difficulty both from a screenwriting and a production point of view.

Oliver Woodward’s diary turned out to be a very compelling read. It was a part of the war that even some of my history buff colleagues had never heard about.

Young Woodward was just one of 4,500 civilian miners recruited from little mining communities right across Australia, to join a secret Australian Tunnelling Company. They were given just two weeks military training and then sent to the bloodiest battlefields in history. Their task was to dig tiny tunnels out under No Man’s Land then try and blow the enemy up. Woodward’s story climaxes at Hill 60 in Belgium where he presses a plunger that sets off the biggest explosion the world had ever known. The blast was heard as far away as London and Dublin.

Digging tunnels in Flanders would have been dangerous even in peacetime. The majority of the area is boggy marshland well below sea level. Doing it in secret, under a constant barrage and knowing that at any time you may run into German tunnellers coming in the opposite direction must have been the stuff of nightmares. Even after two and a half years of working on this story, thinking about the extraordinary skill and courage of these tunnellers still leaves me breathless.

By chance I had just read Sebastian Faulks’ brilliant WW1 novel, “Birdsong” so I knew something of the nature of the tunnels and the conditions that these tunnellers worked in. I re-read the war poets like Wilfred Owen and Siegfried Sassoon. I re-read “All Quiet on the Western Front” and watched the original 1930 movie (still unsurpassed as a movie about men at war). I visited the Australian War Memorial in Canberra where I saw the actual plungers as well as the cut-down weapons and tools that the tunnellers had created for themselves to use in their tiny tunnels. I read the heartbreaking letters they wrote to their loves ones.

So I was inspired to get started on the screenplay but I still knew that a film set almost entirely underground could be a challenge to dramatise, (not to mention a very claustrophobic experience for an audience.) Luckily Woodward’s diary hinted briefly at a love story.

A few months before going to war, 26-year-old Woodward falls in love with 16-year-old Marjorie Waddell. She was a fresh-faced country girl with strong opinions of her own and she would eventually marry Woodward. I began to wonder what it must have been like for someone so young to have just discovered love only to have it taken away from her by the war. Did they hold hands? Did they kiss? What did her family think of this 26-year-old man who wanted to spend time with their daughter? Could Marjorie have possibly imagined how much the war would change Oliver? The diary doesn’t give these things away. But I knew I had another thread to my story.

I discussed with Bill Leimbach and Ross Thomas the kind of war film that I wasn’t interested in writing; a war film where the enemy is just evil shadows, a war film which is overtly jingoistic or nationalistic, a war film whose only theme is “war is hell”, a war film which has a simplistic anti-war or pro-war message.

Once I’d got all that off my chest we agreed that this should be a very human story with real, complex characters. We should get a sense that the German tunnellers had families as well. We would create an authentic, original world that would envelop our audience. Most importantly, we agreed that while the film I would write would be “based on” Woodward’s diary and would stick as closely as possible to the truth of his story, it would not be a documentary. I wanted to honour the memories of these tunnellers but to do that I knew that I would need the freedom to invent some minor characters and situations, to condense time and combine some events.

Finally, with the support and good wishes from the Woodward family, I was ready to begin...

The Book that Accompanies the FilmAs I was writing the screenplay of Beneath Hill 60 I was very aware of the

power of films to “become” history. Film is a mass medium and for many people this could be the first and only time they experience the stories of the Australian Tunnellers. And yet, a feature film can never be a definitive history.

As writer of drama my job was to restructure all the multiple threads of the real stories into a single strong narrative that would work for a 2 hour film. While I am confident that the final film honours the achievements of the original tunnellers, it could never tell their complete story even if our film was 20 hours long!

But most of the characters in Beneath Hill 60 are based on real people, with living relatives, so I felt it was important that people have access to their real stories. We made contact with Random House Australia and asked them whether they would be interested in publishing a book to accompany the film. They were very enthusiastic.

I had read a very powerful book about Australian Diggers in the First World War called “Somme Mud”, Private Edward Lynch’s vivid account of his years in the trenches on the Western Front. It was edited by my friend, historian and filmmaker, Will Davies. I contacted Will and asked him to read the script to see whether he would be interested in writing a book that could fill in all the details.

He agreed. Will worked closely with Ross Thomas, our executive producer and leading authority on Australian First World War Tunnelling companies. Will’s book is a fascinating and moving account of the First World War tunnellers. It is the complete and inspiring story behind the film.

BENEATH HILL 60: The Australian Miners’ Secret Warfare Beneath the Trenches of the Western Front by Will Davies

Vintage Books, Published by Random House Australia