**Opening crawl:
A WingNut Films Production
Co-produced with Fontana Film Production GmbH in association with the New Zealand Film Commission.
for Jim
**Opening Titles and credits:
================== Heavenly Creatures ==================
Sarah Peirse Diana Kent Clive Merrison Simon O'Connor
and introducing: Kate Winslet as Juliet and introducing: Melanie Lynskey as Pauline
Executive Producer Hanno Huth
Co-producer Peter Jackson
UK Casting John and Ros Hubbard NZ Casting Liz Mullane
Costume Designer Ngila Dickson
Prosthetic Effects Richard Taylor Digital Effects George Port
Production Designer Grant Major
Editor Jamie Selkirk
Original Music Peter Dasent
Cinematographer Alun Bollinger
Screenplay Frances Walsh & Peter Jackson
Producer Jim Booth Executive Producer Hanno Huth
Director Peter Jackson
**Closing credits crawl:
As it appeared in the NAm version of the film, with a few additions and annotations. [jp]
CAST (Credits Order)
Pauline Parker. . . . . . . . . . . . . Melanie Lynskey Juliet Hulme. . . . . . . . . . . . . . Kate Winslet Honora Parker . . . . . . . . . . . . . Sarah Peirse Hilda Hulme . . . . . . . . . . . . . . Diana Kent Henry Hulme . . . . . . . . . . . . . . Clive Merrison Herbert Rieper. . . . . . . . . . . . . Simon O'Connor John/Nicholas . . . . . . . . . . . . . Jed Brophy Bill Perry. . . . . . . . . . . . . . . Peter Elliott Doctor Bennett. . . . . . . . . . . . . Gilbert Goldie Rev Norris. . . . . . . . . . . . . . . Geoffrey Heath Wendy Rieper. . . . . . . . . . . . . . Kirsti Ferry Jonathon Hulme. . . . . . . . . . . . . Ben Skjellerup Miss Stewart (Headmistress) . . . . . . Darien Takle Miss Waller (French teacher). . . . . . Elizabeth Moody Mrs Collins (Art teacher) . . . . . . . Liz Mullane Mrs Stevens (English teacher) . . . . . Moreen Eason Mrs Zwortz. . . . . . . . . . . . . . . Pearl Carpenter Grandma (Nana) Parker . . . . . . . . . Lou Dobson Laurie (boarder). . . . . . . . . . . . Jesse Griffin Steve Bayliss (boarder) . . . . . . . . Glen Drake Boarders. . . . . . . . . . . . . . . . Nick Farra . . . . . . . . . . . . . . . . . Chris Clarkson Professor . . . . . . . . . . . . . . . Ray Henwood Professor . . . . . . . . . . . . . . . John Nicoll Professor . . . . . . . . . . . . . . . Mike Maxwell Laura . . . . . . . . . . . . . . . . . Raewyn Pelham Agnes Ritchie (tearoom owner) . . . . . Toni Jones Miss Digby. . . . . . . . . . . . . . . Glenys Lloyd-Smith Mrs Bennett . . . . . . . . . . . . . . Wendy Watson Orson Welles. . . . . . . . . . . . . . E. Jean Guerin Mario Lanza . . . . . . . . . . . . . . Stephen Reilly Diello. . . . . . . . . . . . . . . . . Andrea Saunders Charles . . . . . . . . . . . . . . . . Ben Fransham Pauline aged 5. . . . . . . . . . . . . Jessica Bradley Juliet aged 5 . . . . . . . . . . . . . Alex Shirtcliffe-Scott Farmer/Policeman. . . . . . . . . . . . Barry Thomson Pauline stunt doubles . . . . . . . . . Michael Wilson . . . . . . . . . . . . . . . . . Nicky McCarthy [Joan (not listed in film credits). . . Melanie Lindstrom]
Special thanks to the brave Borovnian extras.
Line Producer . . . . . . . . . . . . . Bridget Bourke
Production Manager. . . . . . . . . . . Honor Byrne Production Assistant. . . . . . . . . . Linda Klein-Nixon Location Manager. . . . . . . . . . . . Martin Long Unit Manager. . . . . . . . . . . . . . Graham Thompson Production Co-ordinator . . . . . . . . Jaqui Wood Production Assistant. . . . . . . . . . Anna Hutchinson Production Runner . . . . . . . . . . . Lisa Chatfield
First Assistant Director. . . . . . . . Carolynne Cunningham Second Assistant Director . . . . . . . Phee Phanshall Third Assistant Director. . . . . . . . Emma Johns Assistant Director Trainee. . . . . . . Andrew Hampson
Continuity. . . . . . . . . . . . . . . Lynn-Maree Dansey Continuity Trainee. . . . . . . . . . . Merrim Ruck
Wardrobe Supervisor . . . . . . . . . . Pauline Laws Standby Wardrobe. . . . . . . . . . . . Gavin McLean Standby Assistant . . . . . . . . . . . Cushin Paley Wardrobe Assistant (Auckland) . . . . . Jamie MacEwan Wardrobe Assistant. . . . . . . . . . . Lee-Ann Mercer
Machinists. . . . . . . . . . . . . . . Geraldine Ward . . . . . . . . . . . . . . . . . Beryl Hampson
Art Director. . . . . . . . . . . . . . Jill Cormack Props Buyer/Set Dresser . . . . . . . . Meryl Cronin Assistant Art Director. . . . . . . . . David Turner Stand-by Props. . . . . . . . . . . . . Ben Hinchey Art Department Runner . . . . . . . . . Joyce Palmer
Storyboards . . . . . . . . . . . . . . Christian Rivers
Construction Manager. . . . . . . . . . Ken Turner Stand-by Carpenter. . . . . . . . . . . Nigel Thomas Kerr Carpenters. . . . . . . . . . . . . . . Ron Turner . . . . . . . . . . . . . . . . . Mac McDonald
Scenic Artist . . . . . . . . . . . . . Ian McDonald Sculptors . . . . . . . . . . . . . . . Maurice Quinn . . . . . . . . . . . . . . . . . Bobbi Vincent . . . . . . . . . . . . . . . . . Rob Gordon . . . . . . . . . . . . . . . . . James Johnston Set Painters. . . . . . . . . . . . . . Mark McEntyre . . . . . . . . . . . . . . . . . Brendan Devlin
Make-Up/Hair Supervisor . . . . . . . . Margorie Hamlin Hair/Make-Up. . . . . . . . . . . . . . Debbie Watson Wig Maker . . . . . . . . . . . . . . . Cheryl Newton Assistants. . . . . . . . . . . . . . . Sue Franks . . . . . . . . . . . . . . . . . Jovnuka Karm . . . . . . . . . . . . . . . . . Jaqueline Gavin . . . . . . . . . . . . . . . . . Erena Kennedy
Additional Cinematography . . . . . . . Allen Guilford . . . . . . . . . . . . . . . . . John Mahaffie Camera Assistant. . . . . . . . . . . . Gerry Vasbenter Clapper/Loader. . . . . . . . . . . . . Sharon Hawke Steadicam . . . . . . . . . . . . . . . John Mahaffie Additional Steadicam. . . . . . . . . . Rick Allender Video Split . . . . . . . . . . . . . . Tim Haigh Camera Trainee. . . . . . . . . . . . . Adam Clark Video Diary . . . . . . . . . . . . . . Amanda Jenkins . . . . . . . . . . . . . . . . . Nigel Black Rushes Projectionist. . . . . . . . . . Barry Scott
Stills Photography. . . . . . . . . . . Pierre Vinet Publicity . . . . . . . . . . . . . . . Graphitti
Sound Recordist . . . . . . . . . . . . Hammond Peak Boom Operator . . . . . . . . . . . . . Alex Paton
Gaffer. . . . . . . . . . . . . . . . . T.K. Bickford Electrics . . . . . . . . . . . . . . . Brendan Shadbolt . . . . . . . . . . . . . . . . . Brett Mills . . . . . . . . . . . . . . . . . Solomon Bollinger . . . . . . . . . . . . . . . . . Joe Bollinger . . . . . . . . . . . . . . . . . Roger Norton
MINIATURES Supervisor. . . . . . . . . . . . . . . Richard Taylor Technicians . . . . . . . . . . . . . . Grant Wallis . . . . . . . . . . . . . . . . . Andrew Beattie . . . . . . . . . . . . . . . . . The Thorinmeister . . . . . . . . . . . . . . . . . Mandy Kingsbury
MINIATURE SHOOT Camera. . . . . . . . . . . . . . . . . Alun Bollinger Camera Assistant. . . . . . . . . . . . Gerry Vasbenter Gaffer. . . . . . . . . . . . . . . . . Warwick Peace Grip/Assistant. . . . . . . . . . . . . Ian McCarroll Video/Assistant . . . . . . . . . . . . Tim Haigh
Post Production Supervisor. . . . . . . Jamie Selkirk
Assistant Editor. . . . . . . . . . . . Emma Haughton
Negative Cutting. . . . . . . . . . . . Upper Deck Film Services
Sound Editors . . . . . . . . . . . . . Michael Hopkins . . . . . . . . . . . . . . . . . Greg Bell
Sound Assistants. . . . . . . . . . . . Craig Tomlinson . . . . . . . . . . . . . . . . . Hamiora Williams
Sound Mixer . . . . . . . . . . . . . . Michael Hedges
Assistant Mixer . . . . . . . . . . . . John Boswell
ADR/Foley Recordist . . . . . . . . . . Michael Jones
Sound Post Production . . . . . . . . . Pacific Sound Facilities. . . . . . . . . . . . . . . Village Sound Recorders Ltd. Sound Mixing Studios. . . . . . . . . . The Film Unit
Colour Grading. . . . . . . . . . . . . Lynn Seaman Opticals. . . . . . . . . . . . . . . . Brian Scudden Camera. . . . . . . . . . . . . . . . . Reimer Schoenbremm
Laboratory. . . . . . . . . . . . . . . The Film Unit
Titles. . . . . . . . . . . . . . . . . Sue Rogers
Music Supervisor. . . . . . . . . . . . Chris Gough/Mana Music
Original Music Composed and Produced by. . . . . . . . Peter Dasent Orchestrations. . . . . . . . . . . . . Bob Young
Orchestral Score Performed by . . . . . . . . . . . . . Auckland Philharmonic Orchestra Conductor . . . . . . . . . . . . . . . Peter Scholen Recorded at . . . . . . . . . . . . . . York Street Studios, Auckland
Additional Music Performed by. . . . . . . . . . . . . . Peter Dasent Recorded at . . . . . . . . . . . . . . The Film Unit, Wellington Recorded and Mixed by . . . . . . . . . John Neill
Music [note: see 5.6]
Christchurch historical footage courtesy of National Archives of New Zealand.
The Third Man extract courtesy Lumiere Pictures Ltd.
Fran and Peter thank all those who were so generous with their memories during the research for this film.
Filmed entirely on location in Canterbury, New Zealand.
With the particular assistance of:
Christchurch City Council The Arts Centre of Christchurch Trust Ferrymead Historic Park Trust Lyttelton Port Company and Jane and Shane Lodge Richard Coop Barbara and Charles Sweetman Kathleen Bennett Canterbury Embroiderers Guild Banks Peninsula District Council Tutchuarewa Manor, Port Levy Theatre Royal Petajon S. The Photographer Canterbury Regional Council University of Canterbury Queen Mary Hospital Centennial Hal, Spreydon "Otabuna" Homestead Hagley Community College Sanitarium Health Food Company Marmoleum Resilient Flooring furnished by Skellerup
Additional Lighting . . . . . . . . . . Gordon Fawcett . . . . . . . . . . . . . . . . . Graham Hall
Grip . . . . . . . . . . . . . . . . . Hamish McIntyre Assistant Grip. . . . . . . . . . . . . Linda Halfe Crane Operators . . . . . . . . . . . . Bary McGuinn . . . . . . . . . . . . . . . . . Steve White Additional Grip . . . . . . . . . . . . James Creery Grip Trainee. . . . . . . . . . . . . . Jeremy Tomkins
Casting Assistance. . . . . . . . . . . Bryce Campbell
Acting Coaches. . . . . . . . . . . . . Sarah Peirse . . . . . . . . . . . . . . . . . Jennifer Ward-Lealand
Catering. . . . . . . . . . . . . . . . Colin Sutherland . . . . . . . . . . . . . . . . . Flying Trestles
Visual Effects By W.E.T.A. Ltd.
Digital Effects Operator. . . . . . . . . . . . . . . . George Port
Borovnian Prosthetics and Suit Effects Designer. . . . . . . . . . . . . . . . Richard Taylor Co-ordinator/Foam Technician. . . . . . Tamia Rodger Technicians . . . . . . . . . . . . . . Bill Thomson . . . . . . . . . . . . . . . . . Sean Foot . . . . . . . . . . . . . . . . . Grant Wallis . . . . . . . . . . . . . . . . . Maurice Quin Additional Assistants . . . . . . . . . Hugh Thomson . . . . . . . . . . . . . . . . . James Bell . . . . . . . . . . . . . . . . . Maida . . . . . . . . . . . . . . . . . Joe Kreyl . . . . . . . . . . . . . . . . . Peter Hutchinson . . . . . . . . . . . . . . . . . Nicola Rodger . . . . . . . . . . . . . . . . . Chantal Taylor
Thanks to:
Students of New Zealand Film and TV School Wayne Birmingham Joan Earl Barry Thomson Harry Sinclair Tom Robins Hugh Young Wormald New Zealand Ltd Fire Protection and Security New Zealand Police Rosie Bolton, Act Now Alan McConnell Talent Studio Tramway Historical Society Vintage Car Club of Canterbury St. Andrews College Radio New Zealand Sound Archives
Completion Bond . . . . . . . . . . . . First Australian Completion Bond Co.
Legal Services, Los Angeles . . . . . . Peter Martin Nelson . . . . . . . . . . . . . . . . . Nelson, Guggenheim & Felker Legal Services, Wellington. . . . . . . Rudd, Watts & Stone
Insurance . . . . . . . . . . . . . . . Willis Corroon Ltd.
Arriflex cameras and lenses supplied by Film Facilities Ltd.
Filmed on Eastman Colour Negative
Dolby Stereo
(c) 1994 WingNut Films Ltd.
Peter Jackson (Writer-Director) has won many awards and received worldwide attention for his first three films, "Bad Taste," "Meet the Feebles" and "Dead Alive" (aka "Braindead"). "Bad Taste," a science-fiction comedy that was started as a short and finished as a feature, premiered at the 1988 Cannes Film Festival and went on to become an international cult classic. His next film, "Meet the Feebles," a unique and offbeat adult puppet spectacular, garnered enthusiastic critical and audience acclaim. "Dead Alive" (aka "Braindead"), Jackson's first and only "zombie" movie, won 16 awards at film festivals around the world, casting Jackson into the international spotlight. Born in Wellington, New Zealand on Halloween Day in 1961, Jackson's interest in filmmaking started when he was a child. At age eight, armed with his parents Super-8 home movie camera, young Peter began making a series of mini-epics using his neighborhood pals as cast and crew. In later years, after acquiring a 16mm camera, Jackson began work on "Bad Taste," financed fully from his weekly wages as a photo engraver for a local newspaper, the Wellington Evening Post. After seeing the first 75 minutes of the film, the New Zealand Film Commission gave Jackson funding to complete the picture and ultimately set him on his path as a writer-director. The actors were Jackson's fellow photoengravers. Jackson's offbeat take on life stems from a strong childhood diet of television and other early influences, such as "Monty Python's Flying Circus," Gerry Anderson's "Thunderbirds," the 1933 "King Kong" and the films of Buster Keaton. "Heavenly Creatures," Jackson's most recent production is his fourth film. He is currently working on two projects, "Jack Brown, Genius," a film by New Zealand director Tony Hiles on which Jackson is co-producer, special effects supervisor, and 2nd unit director, as well as "The Frighteners," a feature length screenplay that he is writing for acclaimed Hollywood director Robert Zemeckis. Jackson also recently secured a first-look production deal with Miramax Films. Jackson's current project is "The Frighteners," with Michael J. Fox. Filming is taking place in Christchurch in June 1995. [mk]
Filmography as Producer: Bad Taste (1987) Meet the Feebles (1989) Heavenly Creatures (1994) (co-producer)
Filmography as Director: Bad Taste (1987) Meet the Feebles (1989) Braindead (1992) (aka Dead Alive (1992)) Heavenly Creatures (1994)
Filmography as Writer: Bad Taste (1987) Meet the Feebles (1989) Braindead (1992) (aka Dead Alive (1992)) Heavenly Creatures (1994)
The following article and 1992 interview with Peter Jackson was kindly supplied by Jim McLennan of "Trash City." Jackson was just about to embark on "Heavenly Creatures." For more information about "Trash City" contact: editor@trashcity.org [jp].
Very few low-budget film directors have ever make it to the rarefied atmosphere of a Reuters news bulletin, a medium more accustomed to reporting foreign exchange news and political comment. With the appearance of th[at] story, Peter Jackson can safely be said to have "made it" beyond the world of fandom.
His debut, 'Bad Taste' was ensured of a place in the genre hall of fame as soon as it was seized by Customs immediately on it's arrival in Britain, and his latest movie, 'Braindead', seems set to acquire even greater fame/notoriety. Yet Jackson's eye for combining splatter with humour leaves the viewer helpless with laughter most of the time, rather than throwing up. TC had a chat with this unique film-maker in Nuremberg, at the public premiere of 'Braindead':
TC - The speed of the film was incredible... PJ - Yeah, I don't like boring movies! When I see 'Bad Taste' now, I don't like all that stuff at the beginning when they're talking and I think, "God, get on with it - why did I put all this stuff in, why don't we get on with the action?". On 'Braindead' I was determined not to have too much dialogue, just enough to set the stories and the characters, and then just let it rip. TC - What's the aim behind the high level of comedy in your films? PJ - I have a fairly large sense of humour, one of my idols is Buster Keaton, and you look at some stuff in 'Braindead', it's Buster Keaton with blood. I don't take stuff seriously - I saw 'Hellraiser 3' the other day at Cannes; it's OK, it's a good film, I didn't hate it or anything - I thought it was quite good - but it was all just so serious. Some guy walking round with pins sticking out of his face. I just can't sit there and think "This is really scary". If I made a Hellraiser film, I'd like Pinhead to be whacked against a wall and have all the pins flattened into his face. I immediately start thinking of funny things and gags - that's just the way I am. I doubt I could ever control myself sufficiently to make a serious horror film. TC - How does it feel for a film fan who began as an amateur film-maker, to be[come recognized world-wide]. PJ - It's good. I'm no different from any other fans. I like going to watch movies; I'm looking forward to 'Evil Dead III' as much as you guys. I'm just lucky, I guess, that I've had the opportunity to be able to make movies as well. I know that often fans make movies and some of them are very good, but I've managed to make them on 16mm and do it professionally. I guess I'm actually lucky to be living in New Zealand, because the New Zealand government are quite supportive of what I'm doing, and they've given me several million dollars to make these sorts of movies. Not many other fans around the world have got the chance to spend that sort of money! TC - Is being a film director your dream career? PJ - It'll be my dream career when I've got total freedom to do what I want without having to worry about the budget. At the moment I'm always worried about what I'm going to do next, and whether I'm going to be able to get the money. 'Braindead' cost $3 million New Zealand dollars - that's about the limit that I can make a film for as it's almost impossible for me to get any more money there. And some of the ideas I've got are for bigger budget - I've got an idea for a $10 million movie, but at this stage I've no idea when or how I'm gonna make it. So it's a dream come true but I still don't feel as if I've got total freedom to do what I want. It's always a struggle. TC - What were the budgets for your three movies to date? PJ - In US dollars, 'Bad Taste' was about $150,000, 'Meet the Feebles' was about $450,000 and 'Braindead' was 1.8 million so it's quite a leap up from the other films, but we had to use actors which cost an enormous amount of money. Puppets were much cheaper! TC - Have you ever considered moving to the US and filming in Hollywood, or would you prefer to stay in New Zealand? PJ - I wouldn't got to the United States unless I had a firm offer. I couldn't just go over there and say "Hey guys, here I am in town, give me some work." It would depend on what the script was - if it was one of my scripts, and I needed a lot more money to make it, and the opportunity was there in Hollywood, or it was someone else's script that I really liked. I'd like to do it one day just to get the experience. To have a broad experience of film-making you've got to make a film in America, just to find out what it's all about. What I have in New Zealand, and 'Braindead' is a direct result of this, is total freedom. The Film Commission never came up and told me what to do, they turned up about once just to have a look, they were there for about an hour looking around, then they went off again. They never came to the rushes, they basically give me the money, then six months later, I screen the movie for them and it's finished. They can't do anything about it and they don't try to. It's a great way to be - don't care about censorship, don't care what the investors think, don't care about what anyone thinks, I just do my own stuff. If I was in Los Angeles, as you will be fully aware, it would be a very different story. I'd be having to make a film for somebody else, I would be employed by someone to make their movie. They would have authority over what I was doing, and I wouldn't like that situation, I'd find it very hard to deal with. TC - Had you any problems convincing the Film Commission to give you money for your films? PJ - The Film Commission didn't give me money for 3 years for 'Bad Taste', they turned me down a lot. And we tried to make 'Braindead' in 1989, the Film Commission wouldn't put all the money up then, though the amount of money we were asking for was the same, ultimately, as what they did put up in 1991. No, there's no real problem, see I work on the scripts with other writers - Steven Sinclair and Fran Walsh wrote 'Braindead' with me - and we just work on the scripts and make sure that they are of a certain standard. The Film Commission get given a lot of scripts to read, by filmmakers wanting money and they can only afford to finance 3 or 4 a year, so what you've got to do is make sure that your script is one of the three or four best scripts that they're going to read. It really comes down to doing the work on the script and making sure that it's good enough before you give it to them to read. TC - Had they any problems with the gore? PJ - They never had much experience of these films before 'Bad Taste'. In New Zealand, over the last 10 or 12 years, there's been fifty or sixty movies made and only about three or four of them have made a profit. 'Bad Taste' was one of them, so they thought "Hey, you put blood and gore in a movie and it can make money for us". And they get money back so they can invest it in someone else's film the next year. so it's a good thing to do. Plus they know the fan reactions round the world, I sometimes give them copies of odd magazines and articles that have been written about the film so they realise that a lot of people round the world like that type of movie. I don't think they'd be quite so keen if they were serious horror movies, like 'Texas Chainsaw Massacre' or something, but my movies are basically comedies, they've a lot of humour in them. The two top people at the Film Commission were in Cannes and they came along to 'Braindead', and it was a really good screening, there was a lot of laughing and clapping. They're not going to see any other New Zealand movie which has that sort of reaction at all, so I think they realise that these films aren't so bad. TC - What have been the things that turned out much more difficult, and what was easier? PJ - I was a bit worried about working with actors in 'Braindead' for the first time, because I'd never worked with professional actors, but that was easier than I thought. You've just got to basically explain to them what you want to do. 'Braindead' was a much easier movie to make from my point than 'Meet the Feebles', which was the hardest thing I've ever done in my life. That was a real nightmare, from beginning to end - it was a very, very difficult film to make in all sorts of ways. We managed to finish it and get it out and I was exhausted by the end of that, and I thought "God, that was like going through hell" so I had a bit of trepidation with 'Braindead' because it's a much bigger film in many respects, with more complications. But 'Braindead' was very simple, actually, in the end I found it a very easy film to make. It looks very complicated when you see it, but we planned all the effects, it was very thoroughly story-boarded, we had 12 weeks to shoot it and we basically went through on a fairly good schedule. We weren't too rushed most of the time, and it was very straightforward in terms of production. Working with puppets was a nightmare, it was really horrible, very, very difficult, working with actors is much easier. TC - Have you had any reaction from the Hensons to 'Meet the Feebles'? PJ - The only thing I heard is that there was a screening in Los Angeles of 'Meet the Feebles', for Universal. I wasn't there, I wasn't even in the country, but Universal wanted to have a look at the film and Lisa Henson - Jim Henson's daughter, she's an executive at Universal - saw it and apparently enjoyed it. She was quite shocked when she saw Kermit nailed on a cross! TC - 'Braindead' is, I think, the goriest movie I've ever seen. Is this the direction you're going to keep going in? PJ - I'm not going to continue making films like 'Braindead' all my life, but on the other hand I don't want to have a career where I leave that kind of film behind and never go back to doing a splatter film. The next film I make will probably be one called 'Heavenly Creatures.' It's a true story about a New Zealand murder case that happened in 1954. That's something different as well, it's a psychological drama with a bit of comedy. Then after that, I don't know; one day we might do a 'Bad Taste 2' which I guess would have to be more gory than 'Braindead'. You get into a situation where you have to top yourself every time, do better than the film before, and I don't want to spend my life making films that have more gore than the last one, there'd be no end to it. I don't know - maybe I'll never make another film as gory as BD. I don't have a plan. Who knows what's going to happen - you might get married or divorced or go to another country, you just don't know. All I know is that I'm like you guys, I'm a fan of these sorts of movies and I'll probably keep on making them in one form or another. TC - Do you have any advice for film-makers wanting to follow in your footsteps? PJ - I just think you should go ahead and do it. If anyone wants to make movies badly enough, and are prepared to sacrifice a lot, then they'll make it. Ultimately, if you want to make movies, a lot of it depends on how much of yourself - or how much money - you're prepared to sacrifice. I did 'Bad Taste' over four years, that took an enormous amount of effort to keep going, and I spent $17,000 of my own money. I was working at a job I hated doing, in a newspaper, but I did it because it was paying for my film stock, and paying for my processing, and I spent 17 grand over three years. And anybody can do that. Anybody can keep on going, keep spending their own money, and make a really good movie. If you believe in yourself, you will ultimately make a good film and that will impress people. People are always looking out for new talent, for new young filmmakers. It's not impossible to start making movies if you've never had the experience, everyone's got to make their first movie sometime. So if you have something you made that is of a good enough standard, someone in Los Angeles - John Landis or Joe Dante or Sam Raimi - might look at one of your films and say, "Hey, this guy's great" and give you a call. You just never know what's going to happen so go for it and don't give up, one day it'll pay off. TC - Any final message? PJ - I'm very happy that anyone likes the films that I'm making. As I said, I'm just a fan myself, I'm no-one more special, I've just been lucky to be able to make the films. The films that I'm making are very reflective of my sense of humour, and the types of movies that I like watching, and in a sense if I know that there are a lot of other people out there that basically share the same sort of tastes as I do, I'm really pleased. Then I feel I'm not alone in liking these films.
The late Jim Booth (Producer) produced director Peter Jackson's last three motion pictures, "Heavenly Creatures", "Dead Alive," and "Meet the Feebles." Booth and Jackson met in 1987 when Jackson was looking for a producer for "Meet the Feebles." The successful collaboration continued with Jackson's next two pictures, the multi- award winning "Dead Alive" and the recent "Heavenly Creatures". The producer began his film career by founding and serving as Executive Director of the New Zealand Film Commission where he was responsible for sweeping changes within the New Zealand film industry, as well as the shepherding of 27 feature film productions between the 1983 and 1988. Holding a Diploma in Public Administration from Victoria University in Christchurch, Booth had a multi-faceted career in public arts administration before entering the film industry. As Deputy Director of the Queen Elizabeth II Arts Council, he oversaw a wide range of cultural and community arts programs, and was responsible for a five-fold budgetary increase in public arts funding. During his tenure as Executive Officer in the Department of Internal Affairs, Booth founded the Children's Writers Bursary, a literary award set up by the New Zealand Literary Fund to encourage children to read and write. His experiences with the children's fund led to his keen interest in seeing the true-life story of teenagers Pauline Parker and Juliet Hulme brought to the silver screen in "Heavenly Creatures". Sadly, Jim Booth passed away in early 1994 after a long illness. Peter Jackson comments, ""Heavenly Creatures" is the greatest film experience I have ever had, and I hope it is a great tribute to my friend Jim Booth. His sense of fun and excitement, and his tremendous courage were an inspiration to everyone who worked on the film."
**The following is an obituary of Jim Booth quoted from "Cinema Papers" 97/8, April 1994, p. 30. [sb]
The New Zealand film industry mourns the loss of Jim Booth, one of its most successful film producers, after a valiant struggle against cancer. A former executive director of the New Zealand Film Commission (NZFC), Jim Booth spent 20 years working in the field of the arts and culture, both as an administrator and a practitioner. Over the past five years, Booth produced three films directed by Peter Jackson: "Meet the Feebles," "Braindead" and the yet-to-be-released "Heavenly Creatures." These films have achieved international commercial and creative success, with strong box-office returns and many awards to their credit. "Jim's commitment to New Zealand cinema was total," said Peter Jackson. "He was first and foremost a friend, and was wonderful to work with. The movies we made helped a lot of people wake up to the fact that New Zealand is producing original, uncompromising and highly-professional entertainment." Booth was highly regarded by his peers and colleagues, and tributes to his work and character have poured into his office in Wellington, where post-production on "Heavenly Creatures" continues. "Jim was a remarkable man, full of quick, lively ideas, always alert to what might be possible," said David Gasgoine, former Chairman of the NZFC. "He was an encourager, carrying people forward on a wave of enthusiasm and good humour." Executive Director of NZ on Air, Ruth Harley, said, "His energy, integrity, vision and subversive sense of fun made him a pleasure to work with and a delightful friend." "Jim Booth's work in the film industry was the culmination of a long career in the arts field. In 1977, he was one of the people instrumental in setting up the Film Commission, and was its first interim Director. Booth then took up the position of Deputy Director of the Arts Council, where he was responsible for the development of community Arts programmes. In 1983, he was appointed Executive Director of the NZFC, a position he held till 1988. During this time, some 27 feature films were produced in New Zealand and sweeping changes were made to both the production and financial environment in which the film industry operated. The Short Film Fund was established, including the programme of Bonzai epics. Training schemes, the PODS development programme, script and project development were introduced. In 1987, Booth by-passed the cautious NZFC beaurocracy and ensured that a young filmmaker, Peter Jackson, was given financial support to complete his first film, "Bad Taste." Booth's risk paid off when the film went to Cannes, created a stir, and made a profit within three days of Cannes sales. The following year Booth left the NZFC and began the partnership with Peter Jackson that created the controversial cult films "Meet the Feebles" and "Braindead." Their latest collaboration is "Heavenly Creatures," due to be released in New Zealand in July. It is already a commercial success, having been acquired for international distribution by the major U.S. company, Miramax. "Jim and I have created an internationally well-known filmmaking team, which will continue to benefit the New Zealand film industry for many years to come," comments Jackson. "As a producer, Jim was in his element as a kind of beaurocratic pirate, working eithin the system, but always prepared to take risks and subvert it. His influence on me was so great, i know that for the rest of my life, every professional decision I make will be prefaced with the thought, 'What would Jim do now?'" Jim spent his last days at the Mary Potter Hospice, attended by his partner, Sue Rogers, his sons Nick and Simon, Sue's children and close friends.
Filmography as Producer: Meet the Feebles (1989) Dead Alive (1992) (aka Braindead (1992)) Heavenly Creatures (1994)
Filmography as Producer: Stalingrad (1993) Schneider - Jagd auf Nihil Baxter (1994) [TV] Heavenly Creatures (1994) (executive) Felidae (1994)
Frances Walsh (Co-screenwriter) has collaborated on two other Peter Jackson pictures, "Dead Alive" and "Meet the Feebles," in addition to the current "Heavenly Creatures," Walsh's screenwriting credits include several episodes of the New Zealand television series, "Worzel Gummidge Down Under," as well as the New Zealand period television drama, "A Woman of Good Character." She is currently writing "Braindead, The Musical," a splatter fest for the stage, and a new feature film script for Miramax Films. Born in Wellington, Walsh's interest in writing dates back to her years at primary school where she was a prolific writer. Walsh's extracurricular activities included watching a lot of 1960's television -- the independent character played by Diana Rigg on "The Avengers" [the leather jumpsuit-clad Mrs Emma Peel] became her childhood hero. During the time Walsh was a university student, she explored her musical talents by playing bass in two Wellington-based bands, "Naked Spots Dance" and the "Wallsockets".
Filmography as Writer: Meet the Feebles (1989) Dead Alive (1992) (aka Braindead (1992)) Heavenly Creatures (1994)
Alun Bollinger (Cinematographer) is one of New Zealand's most highly respected and experienced cinematographers. Bollinger has worked with many of New Zealand's top directors including Larry Parr ("A Soldier's Tale"), John Laing ("Beyond Reasonable Doubt"), Ian Mune ("Came A Hot Friday," "The End of the Golden Weather"), Geoff Murphy ("Good-bye Pork Pie") John Reid ("Middle Age Spread"), Gaylene Preston ("Mr. Wrong"), Paul Maunder ("Song for the Return Home") and Vincent Ward ("Vigil").
Filmography as Cinematographer: Middle Age Spread (1979) Beyond Reasonable Doubt (1980) Vigil (1984) For Love Alone (1985) Heavenly Creatures (1994)
Grant Major (Production Designer) has been involved in production design for film and television since 1977, working on such feature films as John Laing's "Other Halves," Ian Mune's "The Grasscutter," and Jane Campion's "An Angel At My Table." He has also been involved in the production design of three New Zealand Expo exhibitions -- EXPO '88 in Brisbane, Australia, TRAVELLING EXPO 1990 in New Zealand, and the NEW ZEALAND PAVILION at WORLD EXPO 1992 in Seville, Spain.
Filmography as Production Designer: Heavenly Creatures (1994)
Melanie Lynskey (Pauline Parker) was discovered by the filmmakers after an exhaustive nationwide search in which they looked for a young actress who closely resembled the real-life Pauline. She makes her motion picture debut in "Heavenly Creatures." Lynskey brings to her role, in addition to her charm and intelligence, a strong commitment to an acting career. Fifteen-year-old [in mid-'93] Lynskey, a native of New Plymouth, New Zealand, has been involved in school drama for several years and eagerly anticipates the moment she will be before the cameras again. By far the most challenging and difficult role to cast was that of Pauline Parker. In casting the roles of Pauline and Juliet, Peter was adamant that he did not want twenty-year-old actresses playing sixteen-year-olds. The actresses he was looking for had to be between fifteen and seventeen years of age--and able to act. Casting director Liz Mullane began a nationwide search traveling the length and breadth of New Zealand scouring drama clubs, talent agencies and secondary schools, auditioning a total of five hundred girls. Finally, after narrowing it down to two girls, Jackson was still not happy. With production starting in just four weeks, Jackson asked for the search for Pauline to continue. Liz Mullane went to Auckland to continue the search, and sent an associate, Bryce Campbell, to northern New Zealand with Fran Walsh. While exploring lower North Island secondary schools, the pair struck gold when they found fifteen-year-old ingenue Melanie Lynskey. They immediately contacted Jackson who recalls "I remember Fran ringing me up one night when I was in Christchurch well into pre-production on the film to say they'd found someone very interesting, that I ought to meet her right away." Lynskey came to her role in "Heavenly Creatures" as a complete unknown without any prior acting experience from her hometown of New Plymouth, New Zealand. Before filming began, Lynskey and Winslet had an intensive two-week rehearsal period with Jackson, much of which was spent exploring character development and experimenting with scenes. "It was vital that the two actresses should like each other off-screen as well as on. Fortunately, Kate and Mel clicked straight away, and their off- screen friendship really strengthened their performances," comments Jackson.
Seventeen-year-old [in mid-'93] English actress Kate Winslet (Juliet Hulme) grew up in a family of actors and has been performing since she was thirteen years old. She has considerable experience in the theater including the lead roles of Pandora in the musical "Adrian Mole," Wendy in "Peter Pan," and Sarah in "A Game of Soldiers." She made her television debut in the British television drama "Shrinks" and has appeared in "Anglo-Saxon Attitudes," "Dark Season," and "Casualty." She currently has a recurring role in the ongoing series, "Get Back" and lives in London. In a desire to remain as close to the facts as possible in the telling of this story, Jackson insisted on casting the Hulme family out of England. Producer Jim Booth contacted English casting agents John and Ros Hubbard who rounded up 175 young women to audition for the part of Juliet Hulme. Only one stood out. Kate Winslet, a young seventeen-year-old actress from Reading, bears an uncanny resemblance to the real Juliet, and Jackson decided she was perfect for the part. "Kate impressed me straight away as an actress with enormous range. She threw herself into the role with an energy and enthusiasm and spent many hours researching Juliet's character," says Jackson. Kate's next project is Jane Austen's "Sense and Sensibility," a story of "two sisters, love and nineteenth- century mores" according to Lindsay Doran, who is producing the film. Emma Thompson and Hugh Grant are starring, and this is to be Ms. Thompson's maiden voyage at the helm, as well.
Sarah Peirse (Honora Rieper), an award-winning New Zealand actress, has a broad range of experience both as an actress and as a director. She was the winner of the Best Actress Award in 1983 for her work in the period television drama "A Woman of Good Character," and Best Supporting Actress in 1988 for her performance in the motion picture "The Navigator." She has also appeared in the television series "The Champion." Peirse has also performed extensively with the Melbourne Theater Company, appearing in lead roles in "Three Sisters," "Cabaret," "The Secret Rapture," "South Pacific," "A Streetcar Named Desire," and "The Rose Tattoo." She attended The Drama School and spent many years at both Theater Corporate and the Mercury Theater, where she became Associate Director. Peirse has also directed at the Adelaide State Theater. She currently lives in Australia. Sarah Peirse also acted as drama coach for Melanie Lynskey. For Jackson, there was only one choice for the part of Pauline's mother, Honora Parker. Jackson had fallen in love with Sarah Peirse's acting when she starred in the New Zealand period drama, "A Woman of Good Character." "I regard Sarah's performance in "Heavenly Creatures" as a real triumph--the strength of her performance turns the story into a true tragedy. It was very important to Sarah that she honor the memory of Pauline's mother, and I think that this is evident in her compassionate and intelligent reading of the character," states Jackson.
Filmography as Actress: Sylvia (1985) [Vivian Wallop] Mesmerized (1986) (aka Shocked (1986)) [Victoria's Mother] Navigator: A Medieval Odyssey, The (1987) [Linnet] (aka Navigator, The (1987)) Heavenly Creatures (1994) [Honora Parker]
Simon O'Connor (Herbert Rieper) is a veteran New Zealand stage actor who has been performing for over twenty years. He has also appeared on many New Zealand television shows including "The Wreck of General Grant," "Goldie," "Close to Home," "Country GP," and "Jocko". His feature film credits include "Should I Be Good" and "Dangerous Orphans" prior to his work on "Heavenly Creatures". Pauline's father, Herbert Rieper, did not prove so easy to find. Bert Rieper was sixteen years older than Honora, and a slightly built man with a kindly face and a jokey sense of humor. "A lot of the actors that auditioned were simply too tall, too humorless, or physically wrong for the part. I was looking for someone sympathetic who could bring a certain amount of dramatic depth to the role," comments Jackson. Two weeks before the start of production, Peter was starting to panic when Simon O'Connor walked into the studio. Within half an hour, Bert Rieper was cast.
Diana Kent (Hilda Hulme) is a highly-respected English stage actress and came to "Heavenly Creatures" directly from a leading role in the award-winning production of "An Inspector Calls" at the Royal National Theater in London. Other stage roles include Heloise in "Abelard and Heloise," Titania in "A Midsummer Night's Dream," Madame de Sade in "Madame de Sade," and the Marquise in the Royal Shakespeare Company's production of "Les Liaisons Dangereuses." She has also appeared in the British television programs "Palmer," "Poirot" and "Bergerac." Jackson followed his instincts and cast as Juliet's mother, Hilda Hulme, seasoned English stage and television actress Diana Kent. Jackson comments, "I knew as soon as I met Diana that she was right to play Hilda. I was looking for someone who could play the sub-text of the disintegrating Hulme marriage whilst maintaining the public facade of the happy wife and mother."
Filmography as Actress: Frankie and Johnny (1991) [Nick's Wife] Heavenly Creatures (1994) [Hilda Hulme]
Clive Merrison (Professor Henry Hulme), has an extensive background in British theater and was a member of Lawrence Olivier's National Theater of Great Britain. He is currently an associate artist with the Royal Shakespeare Company at Stratford- upon-Avon. Merrison has appeared in Clint Eastwood's "Firefox," John Huston's "Victory," and numerous television productions including the Emmy-nominated HBO movie "Stalin," "Miss Marple," "Reilly: Ace of Spies," "The Glittering Prizes," "A Very British Coup," "Bergerac," "Dr Who," "Chancer," "Shine on Harvey Moon" and "The Kit Curran Show." When Clive Merrison, fresh from playing Sherlock Holmes in a West End production, came in to audition for the role of Henry Hulme, Jackson nearly fell off his chair. In every aspect except his height, Clive could pass for Henry's double. During a scene in the film Jackson placed Merrison next to a portrait of the real Henry Hulme, and the two men all but looked identical. "It was very weird. I asked Clive if he wore glasses. He pulled out a pair of round spectacles and put them on, and the transformation of Clive into Henry was complete," says Jackson.
Filmography as Actor: Firefox (1982) [Major Lanyev] Sign of Four, The (1983) (TV) Pocketful of Rye, A (1984) [Percival Fortescue] Stalin (1992) (TV) [Molotov] Heavenly Creatures (1994) [Henry Hulme] Awfully Big Adventure, An (1995) [Desmond Fairchild]
Filmography as Actor: Village of Daughters (1962) [Ludovici] Battle Beneath the Earth (1967) [Kengh Lee] Cool it Carol! (1970) Gorillas in the Mist (1988) [Mime Artist] Missing Link (1988) [Man-ape] "First Born" (1989) (mini) Heavenly Creatures (1994) [Bill Perry]
Brophy, Jed Braindead (1992) (aka Dead Alive (1992)) [Void] Chunuk Bair (1992) [Pvt. Fred South] Heavenly Creatures (1994) [John/Nicholas]
Goldie, Gilbert Jack Be Nimble (1993) [Mr. Birch] Hercules and the Lost Kingdom (1994) (TV) [Nevus] Heavenly Creatures (1994) [Doctor Bennett]
Henwood, Ray Hot Target (1985) [Douglas Maxwell] Heavenly Creatures (1994) [Professor]
Moody, Elizabeth Braindead (1992) (aka Dead Alive (1992)) [Mum (Vera Cosgrove)] Heavenly Creatures (1994) [Miss Waller]
Thomson, Barry Head Office (1986) [Security Guard] Heavenly Creatures (1994) [Farmer/Policeman]
"Heavenly Creatures" is based on a true story and as such, Jackson felt it important to shoot the movie on location in Christchurch, New Zealand where the actual events took place. Christchurch is located a little more than halfway up the larger South Island of New Zealand, at Pegasus Bay on its east coast. The city is built on a plain, just north of an outcrop of hills (Banks Peninsula) which jut into the sea, with countless inlets, harbours and estuaries. In Christchurch, main roads radiate from central Cathedral Square, with minor roads forming a web inbetween, in a manner reminiscent of old British market towns such as Oxford. The Avon River cuts the town in half as it meanders eastward to the sea. There are countless streams and rivers in the area. Christchurch is flat, very conducive to biking and biking was a common way to get around at that time. "Christchurch has always regarded itself as the most English city outside England. The city's founding in the 19th century by the offspring of English gentry was an attempt to recreate a little bit of England in the Southern Hemisphere. There is a River Avon, a cathedral facing the square and English-style architecture in whose shelter the traditions and rituals of upper-middle-class English life were (and to some extent are) maintained." G. O'Brien, NY Times, Nov. 13, 1994. p. H15.
Filming was performed at the Ilam Homestead where the Hulme family had lived, as well as making extensive use of the Ilam gardens, where the real Pauline and Juliet had play-acted their fantasies forty years earlier. As the filmmakers discovered from Pauline's diary, she loved staying at Ilam. From her descriptions of their idyllic times together, they realized the gardens in particular were the backdrop to the private world inhabited by the two girls. Ilam was located in the upscale residential suburb of Upper Riccarton; it is now in the Ilam area of Christchurch. It was named after Ilam Hall, the English home of the Watts-Russell family who settled the area in the 1850s. The site of the homestead had once been one of the main social centres of early Christchurch society. The present homestead was built in 1914 after fire destroyed the first two buildings. The Ilam gardens are locally renowned and are a popular tourist attraction. Ilam was sold to the University in 1950, the year the Hulmes moved to take up residence there. Ilam was a residence for the Rector, owned by Canterbury University College, also used for College social functions. The balcony, location for several critical scenes in "Heavenly Creatures," had been glassed in since the mid 1950s, so was reconstructed on a set and digitally added to Ilam as necessary. Ilam is located on the south-west side of the spacious grounds of the present campus of the University of Canterbury, beside the Avon River where it has a meandering confluence. Now, there are student residential dormitories nearby, just south of Homestead road. Some are visible to the left side of the house, over trees, in "Heavenly Creatures". At the time shown in "Heavenly Creatures" the Ilam homestead was on the outskirts of Christchurch in a sparsely-populated part of town. There were paddocks for horses nearby on the College property, and the School of Fine Arts was the only College department on the Ilam site. The homestead is set back from Ilam Road, to the west, with a long, curving, tree-lined drive. The front of the home, with its stately white portcullis and columns, faces east and is lit from the north-east by the morning sun. The lawn and gardens at the rear of the home are lit by the afternoon sun, in the north- west.
The house itself has been changed quite significantly from the time it was a residence as it now has a bar and, upstairs, a restaurant. There is a long drive and the house is hidden from the road by a stand of trees and a large clear area. The front door is in the middle of the front under a portcullis and up three shallow steps. There is a large double door which opens into a square hallway with a large staircase at the rear and left. At the front right there is a large sitting room with a fireplace on the straight inside wall and a large, flat window at one end; to the right is a bay window. To the left of the hall, beside the stairs, there is now a bar, with two smallish rooms leading off one another. Looking from the front door, straight ahead is a glass rear door to a patio. The staircase is off to the left, and proceeds up with a small landing on which you need to make an about turn to continue up to the top. It is at the top of the stairs that the biggest changes have been made. At least three rooms have been combined into one for the dining room and, I should think, at least two others form the kitchen. [ad]
So, it sounds as if some significant interior redecorating was necessary to reconstruct the Ilam upstairs, including Juliet's, Hilda's and Mr Perry's bedrooms for "Heavenly Creatures." To get to Ilam, Pauline would probably have bicycled west from her home, cutting through North Hagley Park, then following the #21 bus line all the way. (Taking the bus from Cathedral Square was also a possibility). She would travel straight westward on Riccarton Road to Ilam Road, then right (northward) up Ilam Road, past Ilam School on her right (Juliet's elementary School) and then a left turn into the long drive of the Ilam homestead. All told, it is about 5 km (about 3 miles), door to door, over perfectly flat terrain, from 31 Gloucester St. to Ilam, so it would have taken Pauline something like 45 minutes to bike from her home to Juliet's.
The old buildings that previously housed the Christchurch Girls' High School in Cranmer Square still remain, and are now owned by the Christchurch City Council. The council was more than happy to oblige the production, so that all the school scenes could be filmed in the original buildings. Pauline and Juliet's original home room is now occupied by the Canterbury Woman's Embroidery Guild, who were also happy to accommodate the filmmakers by moving out for a week while they shot. The present-day principal, Dawn Lamb, denied permission to shoot at the present-day school, saying "why couldn't [the filmmakers] make a film about pupils of whom we are proud?"
The only original site that proved to be a disappointment was that of the Rieper House at 31 Gloucester Street which was no longer standing. However, based on photographs and memories of family and friends, Jackson was able to recreate the interior layout and decor of the home on a sound stage.
Not surprisingly, there is just an empty lot there now, with a sign announcing the imminent building of town houses on the site. (It's ironic that the house - boarders, lower class and all - which symbolized so much of what PYP wanted to escape from, was in what is now one of the most sought-after areas of Christchurch). What surprised me (although I don't know why it should have) is that 31 Gloucester St. *does* back onto CGHS just as the film portrays it. Another example of Walsh and Jackson's thorough homework. [mk]
The shadowy, cloistered stone buildings that once housed "Canterbury College" where Dr Hulme was rector was an original location. The new site of the University is located on the upper Avon River in the western part of the city, farthest inland. It is about 5 km (3 mi) from the town center, in the Ilam/Fendalton region of Christchurch. There are golf courses and racecourses nearby, and the International Airport is a few km to the northwest.
Another wee quirk I discovered was that the building where Henry Hulme' office was located during his time at Canterbury College now houses the Christchurch Family Planning Association. I'm not sure why that strikes me as ironic, but the implication of "family planning" seems antithetical to Henry and Hilda's way of doing things. If there'd been a bit more 'planning' in their 'family' Juliet might have had a happier and less murderous childhood. [mk]
The seaside village of Port Levy where the Hulmes took Pauline for an Easter holiday was an original location. The terrain is hilly down to the sea, and there is a small island in the inlet, referred to by Pauline in her diary entries. Port Levy is just 20 km (12 mi) south of Christchurch city center as the crow flies, but by road it would be at least twice that distance (described as '35 miles from Christchurch' in Court testimony) because of the intervening hilly terrain and Lytelton Harbour. The shortest and most pleasant drive from Christchurch to Port Levy would be up Dyers Pass Road, through the Cashmere Hills, past Victoria Park, and around Lyttelton Harbour. Thus, it's likely that the Hulmes would have driven past what would become the site of the murder travelling to and from Port Levy. It is obvious from Pauline Parker's diaries that her time at Port Levy had been extremely special to her. Hilda Hulme retreated to Port Levy after the trial with WAB Perry, for some peace. She had been evicted from Ilam by that time. Glamuzina & Laurie report that the Hulmes bought a small house (a beach cottage) at Port Levy. They go on to say that the house had disappeared from Maori ownership upon the death of the legal owner in 1943 and had been sold to a non-Maori business by the Maori Trustee without consulting the surviving family, who regarded the transaction as an injustice. Glamuzina & Laurie also report that the Port Levy (Puaui) area was one of particular spiritual significance to the Maori and they offer, in their book (see 7.7.6), a Maori interpretation of Pauline and Juliet's "Port Levy Revelation" and the murder. They also comment that Pauline later studied Maori while in prison, and they feel this is significant.
Location shooting also took place in the tea rooms sitting at the top of Victoria Park, which were virtually unchanged from that bright winter day when Pauline, Juliet and Honora had tea and cakes before taking their fateful afternoon walk. Remarkably, the tea rooms have been torn down since the film was made. Victoria Park lies about 7 km south of the city center, near the summit (500 m) of the Cashmere hills, which form the southern border of Christchurch. "Heavenly Creatures" shows Honora and the two girls taking the #2 Cashmere bus on June 22, 1954, up to the Dyers Pass Road terminus. From there they had to walk about 1 km up Victoria Park Road to the lookout and Tearooms of the Park. All of these details are accurate; the #2 Cashmere still runs this route, starting from Cathedral Square, four blocks from the Rieper's home, running straight south along Columbo St., to Cashmere Rd and Hackthorne Rd.
The incredible special effects in the film were handled by WETA Limited, the most comprehensive special effects house in the southern hemisphere. The "Borovnian" characters sequences were supervised by Richard Taylor while the digital effects were supervised by George Port. Richard and his team constructed over seventy full-sized, latex costumes to represent the "Borovnian" crowds--plasticine figures that inhabit Pauline and Juliet's magical fantasy world. "Heavenly Creatures" contains over thirty shots that were digitally manipulated ranging from the morphing garden of the "Fourth World," to castles in fields, to the "Orson Welles" sequences.
Jackson contacted a previous collaborator, music composer Peter Dasent, a Sydney-based New Zealander to compose the musical score for "Heavenly Creatures." Dasent had scored two of Jackson's prior films, "Dead Alive" and "Meet the Feebles". He composed a lush, beautiful and haunting orchestral score and supervised its recording with the Auckland Philharmonic Orchestra, as conducted by Peter Scholes. The choral performance of "Just A Closer Walk With Thee" used in the film was an arrangement by Rosemary Turnball, and featured the choirs of Burnside High School, Cashmere High School, Hagley Community College and Villa Maria College, all 'local' talent. Unfortunately, it is the only piece featured in the film that is not on the soundtrack.
European release:
Mana Music Production Pty Ltd Manufactured and Marketed in Europe by Editions Milan Music Made in France 74321 25350 2 BMG - Distributed by BMG A Bertelmann Music Group Company F: BM 650 E: TAU
1 - The Princess of Ilam (Dasent) 2 - Meet the Riepers (Dasent) 3 - Be My Love (Broddky/Cahn) performed by Mario Lanza 4 - The Shrine (Dasent) 5 - "Two Dutiful Daughters" (Dasent) 6 - The Donkey Serenade (Friml/Stothart/Wright/Forrest) performed by M. Lanza 7 - The Fourth World (Dasent) 8 - Bad Chests and Bone Diseases (Dasent) 9 - Funiculi, Funicula (Traditional) performed by M. Lanza 10 - Life in Bornovnia (Dasent) 11 - To Hollywood (Dasent) 12 - Divorce (Dasent) 13 - Pauline & Juliet (Dasent) [not in film] 14 - E Lucevan le Stelle (Puccini) performed by Pete Dvorsky 15 - For the Good of Your Health (Dasent) 16 - The Most Hideous Man Alive (Dasent) 17 - Juliet's Aria (Sono Andati by Puccini) performed by Kate Winslet 18 - A Night with the Saints (Dasent) 19 - The Loveliest Night of the Year (Aaron/Webster) performed by M. Lanza 20 - The Pursuit of Happiness (Dasent) 21 - The Humming Chorus (Puccini) performed by the Hungarian State Opera 22 - You'll Never Walk Alone (Rogers/Hammerstein) performed by M. Lanza
Total Time 50:07
Composed and Produced by Peter Dasent unless otherwise noted. Executive Producer Chris Gough. Auckland Philharmonic Orchestra conducted by Peter Scholes.
(note: "Just A Closer Walk With Thee" is not included on the soundtrack CD.)
Australian release:
Mana Music Productions Marketed in Australia by ariola (connected with EMI) BMG 74321 23939 2 BMG - Distributed by BMG A Bertelmann Music Group Company F: BM 650 E: TAU
To play the CD's tracks in movie order, program your player this way: 3, 8, 1, 6, 4, 2, 7, 10, 9, 5, 14, 11, 12, 15, 19, 16, 18, 20, 17, 21, 22 (13). [aa]
When writer Frances Walsh suggested to director Peter Jackson that they do a film about the notorious Parker-Hulme affair, he immediately fell in love with the idea. Jackson took it to his long-time collaborator, producer Jim Booth, who also agreed that they had to tell this unusual tale. The three filmmakers unanimously decided that the film should tell the story of the incredible friendship between the two girls rather than focus on the end result. "The friendship was for the most part a rich and rewarding one, and we tried to honour that in the film. It was our intention to make a film about a friendship that went terribly wrong," says Peter Jackson. Screenwriter Walsh had been interested in the case since childhood. "I first came across it in the late sixties when I was ten years old. The Sunday "Times" devoted two whole pages to the story with an accompanying illustration of the two girls. I was struck by the description of the dark and mysterious friendship that existed between them - by the uniquenes of the world the two girls had created for themselves." Jackson and Walsh began researching the story by reading the contemporary newspaper acounts of the trial. They quickly realized that the lurid tabloid articles contained little useful information. The sensational aspects of the case that so titillated readers in 1954 were far removed from the story that Jackson and Walsh wished to tell. "In the 1950's, Pauline Parker and Juliet Hulme were branded as possibly the most evil people on earth. What they had done seemed without rational explanation, and people could only assume that there was something terribly wrong with their minds," states Jackson. In order to achieve a more humane and truthful version of events, it was necessary to undertake a nationwide search for people who had close involvement with Pauline Parker and Juliet Hulme forty years ago. This included tracing and interviewing seventeen of their former classmates and teachers from Christchurch Girls' High School. In addition, Jackson and Walsh spoke with neighbors, family friends, work colleagues, policemen, lawyers and psychologists, all of whom were able to shed light on the friendship and family circumstances of the two girls. More of the pieces of this fascinating story quickly came together when Jackson and Walsh began to explore Pauline's diary in which she made daily entries faithfully documenting her friendship with Juliet Hulme. From the diary entries, it became apparent that Pauline and Juliet were two extremely intelligent, imaginative young women who possessed a wicked and somewhat irreverent sense of humor, qualities which Jackson and Walsh took care to preserve in their on-screen characterizations.
AS. New Zealand Film, 52, 2-3 (1994). [jb] "Major prize at Venice for Jackson's fourth feature" Looks at the success of 'Heavenly Creatures' by Peter Jackson at the Venice and Toronto Film Festivals, and previews its NZ release.
Atkinson, Michael. Film Comment, v31 n3 May-June 1995, p. 31. [mk,jp] "Earthly Creatures." Profile of Peter Jackson.
Brainard, Dulcy. Publisher's Weekly, v242, n13, March 27, 1995, p. 64. [jp] "Anne Perry: 'A structure in which to grow'." Discusses Perry, NAm book tour and impact of her association with "Heavenly Creatures" on her writing.
Bruzzi, Stella. Sight and Sound, v5, n2, Feb. 1995, p. 45. [jp] "Heavenly Creatures" (review)
Calder, Peter. New Zealand Herald, Oct. 14, 1994. p. 2. [jb] "Heaven sent" Discusses 'Heavenly Creatures' with the director.
Conway, Matt. Sunday Star Times, June 19, 1994, p. C10. [jb] "Infamous 'moider' in movie spotlight" Backgrounds the P.J. film "Heavenly Creatures' about the Parker-Hulme murder.
Corliss, Richard. Time, Nov. 21, 1994. v144, n21, p. 110. [jp] "Heavenly Creatures" (review)
Cubey, Mark. Listener, 145(2844), p. 43 (1994). [jb] "Fantastic life." Reviews 'Heavenly Creatures' by Peter Jackson.
Doole, Kerry. Onfilm, 11(9), 6 (1994). [jb] "Kiwi flix flex pecs for Yanks" Looks at the success of 'Once were warriors' and 'Heavenly Creatures' at film festivals in Canada.
Grant, Barry. New Zealand J. of Media Studies, 1(2), 28-30 (1994). [jb] "Heavenly Creatures" Reviews 'Heavenly Creatures' directed by Peter Jackson. Mentions recent success of NZ films in North America.
Groves, Don. Variety, v358, n1, Feb 6, 1995, p. 11. [jp] "Kiwi pix grab H'wood's eye."
Hruska, Bronwen. Los Angeles Times, Sat. Feb. 18, 1995. F4, col.1. [lfr] "'Creatures' Protagonist Denies Criticizing Film."
Johnson, Brian D. Maclean's, Jan. 30, 1995. v108, n5, p. 86. [jp] "Heavenly Creatures" (review)
Johnson, Stephanie. Quote Unquote, 16, 34 (1994). [jb] "Barking dogs" Reviews 'Heavenly Creatures'.
Kennedy, Harlan. Film Comment, v30, n6, Nov-Dec 1994, p. 64. [jp] "Venice." (Venice Film Festival) Reviews Venice F.F. and impact of "Heavenly Creatures."
Levy, Emanuel. Advocate, Nov. 29, 1994. n669 p. 72. [jp] "Heavenly Creatures" (review)
Maslin, Janet. New York Times, Wed. Nov. 16, 1994. v144 B3(N), C17(L), col.3. "Fantasies and a Forbidden Love That Turned 2 Girls Into Murderers" [jp]
Morris, Roderick Conway. Times Literary Supplement, n4772, Sept. 16, 1994, p. 17 [jp] "Psychos and holy fools (Venice Film Festival)"
Murray, Ron. Onfilm, 11(7), 13 (1994). [jb] "Arcane arts of the WETA" Decribes the work of Wingnut Effects & Technical Allusions Ltd., or WETA, designing special effects for film. Looks at their work on the Peter Jackson feature 'Heavenly Creatures'.
O'Brien, Geraldine. New York Times, Sun. Nov. 13, 1994. v144 H15(N), H15(L), col.1. "From New Zealand, Heavenly Murderous Creatures." [jp]
Petrovic, Hans. The Press, Oct. 15, 1994. p. 25. [jb] "Curtain of uncertainty" Backgrounds 'Heavenly Creatures', directed by Peter Jackson.
Philp, Matt. Evening Post, Oct. 13, 1994. p. 25 [jb] "Deadly Delusions" Talks to Peter Jackson about his film "Heavenly Creatures," in which the girls' riotous imaginations and the fantasy world they built up are emphasized as significant factors leading to the murder of Pauline's mother.
Powers, John. Vogue, Dec. 1994. v184, n12, p. 176. [jp] "Heavenly Creatures" (review)
Pryor, Ian. Listener, 145(2844), 38-39 (1994). [jb] "Truly devoted" Talks to the lead actors (Winslet, Kate [London]; Lynskey, Melanie [New Plymouth]) about their roles in 'Heavenly Creatures'.
Rafferty, Terrence. New Yorker, Nov. 21, 1994. v70, n38, p. 131. [jp] "Heavenly Creatures" (review)
Reid, Nicholas. North and South, 103, 152 (1994). [jb] "Heavenly Jackson" (review)
Ribeiro, Luisa F. Film Quarterly, Fall 1995 (in press). [lfr] "Angels Sinned First: Reaching for the Sublime in Heavenly Creatures" Scholarly analysis of themes in the film, emphasizing the role of the soundtrack, and discussing the unconventional portrayal of feminine characters by Jackson and Walsh.
Romney, Jonathan. New Statesman and Society, Feb. 10, 1995, v8, n339, p. 39. [jp] "Heavenly Creatures" (review)
Salamon, Julie. Wall Street Journal, Thur. Dec. 8, 1994. A14(W), A16(E), col.3. "Heavenly Creatures" (review) [jp]
Smith, Charmian. Otago Daily Times, October 27, 1994, p. 23. [jb] "Girls' imaginative world film's focus." Actor Simon O'Connor talks about his role in 'Heavenly Creatures'.
Sterritt, David. Christian Science Monitor, Tue. Nov. 29, 1994. v87 14, col.2. "Heavenly Creatures" (review) [jp]
Swain, Pauline. Dominion, Sept. 21, 1994, p. 11. [jb] "In on the act of murder" Talks to the actors Melanie Lynskey and Sarah Pierse (sic) about their roles in 'Heavenly Creatures'.
Travers, Peter. Rolling Stone, Nov. 3, 1994. n694 p. 104-6. [jp] "Heavenly Creatures" (review)
Wakefield, Philip. Evening Post, June 25, 1994, p. 11. [jb] "Heavenly coup for Capital festival" Presents some of the highlights, including the world premiere of Peter Jackson's 'Heavenly Creatures', from the 23rd Wellington Film Festival to be held in July.
Watson, Chris. New Zealand J. of Media Studies, 1(2), 14-27 (1994). [jb] "If Michel Foucault had seen Peter Jackson's 'Heavenly Creatures'." Analyses 'Heavenly Creatures' directed by Peter Jackson in terms of the theories of Michel Foucault. Looks at how the film portrays power exercised through the control of sexuality by the middle classes. Focusses on control of female sexuality through medicalisation and characterisation of madness. [I would really like to get a copy of this one. jp]
Weintraub, Bernard. New York Times, Thur. Nov. 24, 1994. v144 B1(N), C11(L), col.4. "Making a film from the horror of a mother's brutal murder." [jp]