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      A South African professor of romantic poetry is disgraced when he has
an affair with a student, and confronts a violent reality on his daughter‟s
remote farm.

        David Lurie, twice-divorced and dissatisfied with his job as an English
professor in post-apartheid South Africa, finds his life falling apart. When he
seduces one of his students, and in doing nothing to protect himself from the
consequences, he is dismissed from his teaching position, and takes refuge
on his daughter's farm in the Eastern Cape. For a time, his daughter's
influence and natural rhythms of the farm promise to harmonise his discordant
life. But the balance of power in the country is shifting. In the aftermath of a
vicious attack on the farm, he is forced to come to terms with more than his
disgrace alone.

       David Lurie, a divorced Professor of romantic poetry, visits Soraya, a
Malay call girl in post-apartheid South Africa. He leaves her a present, and
talks about the safety of his lesbian daughter Lucy, who lives on a remote
farm. Soraya is disturbed by this personal approach, and makes excuses not
to see him again.
       A privileged man, who fancies himself the owner of a mad heart, David
believes in the power of impulse. Lonely and bored, he abuses his academic
position to force his attentions on “coloured” student, Melanie Isaacs. He
teaches: “In the heat of the act there are no regrets”. He watches Melanie
rehearse a play, has dinner and sleeps with her, finally forging a pass mark
for the test she misses. Melanie‟s boyfriend, and her father, Mr Isaacs,
complain to the University. Following a witch-hunt inquiry, where he does not
defend himself, David is forced to resign. His stand comes from a sense of
superiority. He tells a student journalist he is enriched by the whole
       David retreats to Lucy‟s farm. He meets Petrus, a black farm hand,
who looks after the dogs at her boarding kennel. Petrus reassures David that
Lucy is safe “out here”. Lucy tells David Petrus recently received a land grant,
and bought some of her land. David helps Lucy and Petrus harvest and sell
the flowers at the local market. He meets Lucy‟s friend Bev, and agrees to
volunteer at her rural animal welfare clinic.
       Lucy and David walk the dogs when Petrus is absent. They return to
see three black strangers. One accompanies Lucy into the house, on the
pretext of making a call. David is unable to stop the second from following,

and is knocked out cold. David comes to in the toilet, where terrified, he hears
the men shoot the dogs outside, certain he will be next. Instead he is set
alight with methylated spirits. To quench the flames, the humiliated David
uses water in the toilet bowl. It is Lucy, who has been raped, who sets David
        David and Lucy stay with Bev while they recover. Lucy wants to return
to her land, and claims her rape is “a private matter”, partly justified by the
guilt they share, as whites in South Africa. David does not understand. He
finds solace as he buries dead dogs at the farm, and helps Bev at the animal
welfare clinic.
       Petrus returns to the farm with his pregnant new wife. He tells David
“everything is alright now”. At a party Petrus holds to celebrate his land grant,
Lucy sees one of the men who raped her. It is Pollux, the young, mentally
disturbed brother of Petrus‟ wife. Lucy will not let David call the police as it will
ruin Petrus‟ night.
       At the animal welfare clinic, when David complains about Lucy‟s
attitude to the attack, Bev admonishes him for not really being there to help
Lucy. David has a brief affair with Bev, who is more his equal in maturity than
Soraya or Melanie. Lucy refuses to talk to David about her rape. She thinks
“sex for men must be a bit like killing”. In a gesture of redemption, David visits
the Isaacs home and apologises to the family of his former student Melanie.
       David visits his ransacked house in Cape Town. Worried about Lucy,
David finds an excuse to return to the farm. Lucy tells David she is pregnant
from the rape, and will keep the baby. David agrees to stand by her,
regardless of her choice. Alone, he cries at his inept inability to protect her.
       Petrus receives a second grant and builds a house. As Pollux is too
young to marry the pregnant Lucy (a tribal law solution), Petrus offers himself.
David is horrified as Lucy counter-offers Petrus her land, in return for his
protection, if she retains the house.
       When David next visits his daughter, he parks his van a distance away,
observing the two houses side by side, under the new arrangement. Pregnant
Lucy plants seedlings. David greets her, finally accepting her commitment to
the land, and a new South Africa.

        We wanted our film to be faithful to Mr Coetzee‟s great novel.
Portraying South Africa, as a complex society wrestling with the aftermath of
Apartheid. These arguments are played out throughout the narrative but are
particularly focused in the intense relationship between David and his
daughter, Lucy. The intimacies of their personal drama reflect the often
conflicting reactions to the horrific event that is central to the film. Set amidst a
dramatic backdrop of mountains and valleys, our characters struggle with the
turmoil of continuing. The spectacular landscape becomes integral to their
personal journey. A journey that is both modern and old South Africa.
      The moral arguments in the film are shades of grey and the actors
were asked to reflect these nuances in the many dilemmas they face, leading
the audience into the unexpected via layers and subtexts.

      Yet despite this, this is still Africa and the physicalness of Africa
dominates the film, particularly the epic location of Lucy‟s farm. Portraying the
power and beauty of this natural world is, I believe, essential if we are to
understand why, despite everything, Lucy decides to stay. South Africans
every day have to make similar choices, we wanted to show in „DISGRACE‟
why they sometimes remain not just why they go.

       Adapted by Anna-Maria Monticelli from the Booker Prize Winning novel
by Nobel Laureate JM Coetzee, DISGRACE features Academy Award
nominee John Malkovich as Professor David Lurie. The ensemble cast
includes Jessica Haines (Lucy), Eriq Ebouaney (Petrus), Fiona Press (Bev
Shaw), and Antoinette Engel (Melanie).
      The film is directed by Steve Jacobs (La Spagnola) and is produced by
Anna-Maria Monticelli (La Spagnola), Emile Sherman (Candy) and Steve
      The film was financed by the Film Finance Corporation Australia,
Newbridge Film Capital, Whitest Pouring Films, the New South Wales Film
and Television Office and the South Australian Film Corporation.
      Julio DePietro, Michael J Werner and Wouter Barendrecht served as
executive producers.
      Behind the scenes, DISGRACE features an internationally acclaimed,
South African and Australian production team that includes: director of
photography Steve Arnold (La Spagnola, Terra Nova, Manthing); production
designers Mike Berg (Consequence, Promised Land, Boy Called Twist) and
Annie Beauchamp (Strange Planet); and the editing talents of Alexandre De
Franceschi (Little Fish, In the Cut).
       Shooting commenced in February 2007, located in Cape Town, South
Africa for two weeks, before moving to Cedarburg for three weeks, and back
to Cape Town for two more weeks, with a final week then in Sydney,
Australia. The film was shot entirely in South Africa and Australia, with a
South African and Australian cast and crew.

      In 1999, DISGRACE won the second Booker Prize for Nobel laureate
JM Coetzee. The novel, set in post-apartheid South Africa, struck a chord
around the world as a powerful work, dealing with complex characters,
emotions and sexual encounters.
        Writer-Producer Anna-Maria Monticelli sees the novel as
“extraordinary, brave and real”. Having been born in Morocco herself, Anna-
Maria always wanted to make a film in Africa, and read widely among African
writers. Her response to DISGRACE was “organic and immediate”. Director
Steve Jacobs enthuses “Anna-Maria felt this would make a powerful film, and
I agreed it was a fantastic novel, so we set about securing the option and

        Anna-Maria then gave herself the challenge of adapting DISGRACE
into a script, no small task, given the calibre of the original material.
“Obviously Mr Coetzee had to approve the script. I was fortunate in that he
liked the adaptation”.
       DISGRACE is Anna-Maria‟s second film with Steve Jacobs as director,
the two having previously made La Spagnola. She feels comfortable, following
the writing of a script to “hand the material over to him, I trust him, and we
make the same film. I am amazed at what he brings to it”.
      The two then became involved with South African born, Australian
producer Emile Sherman (Candy, Opal Dream, Oyster Farmer, Rabbit Proof
Fence, The Night We Called It A Day), a fan of the novel. “DISGRACE is a
most complex novel: everyone has different take on it.”
        Emile had independently gone to South Australia, where Mr Coetzee
now lives, to option the material, but the rights had already gone to an
Australian team - Anna Maria and Steve. “I contacted them and asked if we
could work together on the project. Their original plan, of working out of South
Africa, had not worked out, and I was a fan of Steve‟s work in La Spagnola.”
        Director Steve Jacobs found the book realistic, rather than bleak, “but
realist cinema is not so popular at the moment, it‟s basically escapist.” This
response explains his approach to the style of the film, “not what I would call a
modern interactive style. I want the audience to make judgements
themselves, so the camera stands back”. Steve feels the film, like the book,
will create a degree of controversy “in a productive way, not sensationalist. It
will press some buttons that are deep in all of us”.
       Cinematographer Steve Arnold, who had worked on La Spagnola
agreed to shoot DISGRACE for Steve Jacobs. “It‟s an intimate drama, but
Steve wanted a sense of scale, and the African landscape became a main
character with that. Keeping things symmetrical and keeping tableaux, like
Ryans Daughter, also an epic backdrop to a very intimate story”. He also
mentioned that “a number of specific shots were quite difficult in terms of deep
       Director Steve Jacobs approached the project from a design point of
view. “I went to South Africa, found the location, we built the farm. Some of
the music was thought of before we started shooting. With a tight schedule
you have to be prepared. You have to organise yourselves, so where there
are problems there are solutions”.
         Both Anna-Maria and Steve Jacobs had previously been award-
winning actors, so the casting was particularly important to them. Anna-Maria
felt “If you cast the film right, there is very little you have to do to your actor.
Choosing the right elements for the film makes all the difference”. And this
train of thought led them to approach John Malkovich, to star as Professor
David Lurie. Anna-Maria felt “John Malkovich is such an intelligent, intense
actor, with extraordinary range. He had the right age, look and scope. So few
actors are capable of such a complex, subtle role”.
      John was enthusiastic about the challenges presented by the lead role
in DISGRACE. He had been an admirer of Mr Coetzee‟s work for many years.
“Coeztee is a terrific writer, with challenging characters. And this is an

adaptation of a complex story.” John gives a fine tuned performance as the
intriguing central character, Professor Lurie. He feels that if Lurie finds
redemption, “this film ends before that happens”.
      An extensive search was undertaken in South Africa, Sydney, London
and Los Angeles for a young actress to play the part of Lucy Lurie. There was
pressure to cast an actress of note. Director Steve Jacobs kept coming back
to a luminous young South African actress, the relatively inexperienced
Jessica Haines. He eventually cast Jessica as Lucy Lurie, and first-timer
Antoinette Engel as Melanie Isaacs. A dramaturg was brought from Australia,
Bogdan Koca, to work with the actors for two weeks in pre-production.
       Steve had discussed with John Malkovich how the project would deal
with less experienced actors. The reality was “some are better on first take,
some better on the fifth take. There is no right or wrong way”. John agreed
that “Everyone that Steve cast was excellent”.
        Jessica Haines, who read several times for the role of Lucy, was
excited to hear a year later that she had been cast in the part. “Its about
conflict between her own struggle in her head and her heart. When David
invades her space, she‟s attacked and her perfect world has been tarnished.
She takes on a lot of responsibility and starts to change. She makes forward-
thinking choices that are so radical.”
       French film star Eriq Ebouaney, was cast after the director raved about
his exceptional performance in David Gleeson‟s Frontline, at a South African
film festival. Happily Eriq was there too, promoting the film. “He was so
handsome”, said Anna-Maria, “that Steve had to give him glasses and
blacken his teeth, to make him the right look for Petrus”. Eriq described
working with John Malkovich. “When you are a tennis player and you are
working with the best tennis player in the world, you do your best to return the
        Antoinette Engel was writing two essays on DISGRACE in the
computer lab at university, when her agent first told her about the role. In her
first part, Antoinette appreciated working with Steve Jacobs the director. “He
gave me a lot of support, because it was quite a difficult role. I took as much
out of the film as I could. This was a great story, important to South Africa”.
      Steve Jacobs reflects that his experience as an actor may have
impacted his style of direction. “I found it unusual that actors meet on set,
shoot and say goodbye. I think actors should read, talk about it and get to
know each other”. The resulting film reveals the rehearsal time spent in
consideration of themes and performance.
        Anna-Maria feels the film shows “a brutality and a truth very much
South African, yet it can translate to other countries. Lucy has hope, but it‟s
horrific what has happened there”. Steve thinks the themes of the film include
“grace, revenge, retribution, sex, authority and power”. Emile Sherman sees
the film as an “acceptance of reality, and what we can‟t control”. Jessica
Haines, who plays Lucy, would prefer the project to be seen as “about people
and how they overcome things in their lives”.
       However Eriq Ebouaney sees DISGRACE as a metaphor for Africa, the
land. “The fact that Lucy decides to keep the baby and to live with Petrus is a

metaphor for people living together. People should be humble and open-
minded. You should look forward and stop looking backward, because it is
finished now.”
       John Malkovich agrees that South Africa “is a beautiful country, all you
can do is have hope for it, that it continues to grow from its difficult history. But
I loved it there, Cape Town is very beautiful, and the western cape where we
shot.” Anna-Maria felt the film was always going to be shot in Africa. “This was
a romantic big vision and we did not think about the dollars. We wanted the
landscape that made the audience believe Lucy would want to live there
forever. Steve was driving along and said stop, this is where we will make the
       Jessica and Antoinette had nothing but praise for the generosity John
Malkovich showed them as an actor. Jessica said she did not watch any of his
previous work, prior to the shoot. “I was worried he was going to be the strong
one, but he wasn‟t, he was unbelievably soft” to work with. Antoinette felt John
gave her good advice and “everyone is in it to make a beautiful film”.

       JOHN MALKOVICH as Professor David Lurie
        John Malkovich is a leading figure of stage and screen. He has
intrigued filmgoers with his finely etched screen performances for nearly
twenty years. One of cinema‟s most in-demand actors, John frequently works
in both American and international productions.
       John has acted for many of cinema‟s leading directors, making
indelible impressions in such films as: Liliana Cavani‟s Ripley’s Game; Spike
Jones‟ Being John Malkovich; Jane Campion‟s The Portrait of a Lady;
Wolfgang Petersen‟s In the Line of Fire; Gary Sinise‟s Of Mice and Men;
Bernardo Bertulucci‟s The Sheltering Sky; Stephen Frear‟s Dangerous
Liaisons; Stephen Spielberg‟s Empire of the Sun; Paul Newman‟s The Glass
Menagerie; Roland Joffe‟s The Killing Fields; and Robert Benton‟s Places In
The Heart.
        He has twice been nominated for the Academy Award for Best
Supporting Actor, in 1985 for Places in the Heart, and in 1994 for In the Line
of Fire.
      His performance for Places in the Heart also earned him the Best
Supporting Actor Award from the National Society of Film Critics and the
National Board of Review. In 1999, he won the New York Film Critics Circle
Award for Best Supporting Actor for Being John Malkovich.
       John most recently appeared in Eragon, based on the bestselling
novel; Klimt, based on the life of the Austrian symbolist painter; and the
motion-capture film Beowulf, directed by Robert Zemekis. He has several
projects currently in production, including Clint Eastwood‟s The Changeling,
the Coen Brothers‟ film Burn After Reading, and Terry Zwigoff‟s Art School
       A longstanding member of the groundbreaking Steppenwolf Theatre

Company in Chicago, John joined the company on completing college.
Between 1976 and 1982 he acted in, directed or designed sets for more than
fifty Steppenwolf productions.
       John‟s debut on the New York Stage in the Steppenwolf production of
Sam Shepard‟s True West, earned him an Obie Award. Other notable plays
include Death of a Salesman; Slip of the Tongue; Sam Shepard‟s State of
Shock; and Langford Wilson‟s Burn This in New York, London and Los
Angeles. He has directed numerous plays at Steppenwolf, including the
celebrated Balm in Gilead in Chicago and off-Broadway; The Caretaker in
Chicago and on-Broadway; Hysteria; and Libra, which John adapted from
Dom DeLillo‟s novel.
        John has also acted in several acclaimed television productions, and
won an Emmy Award for his performance in the telefilm Death of a Salesman,
directed by Volker Schlondorff and co-starring Dustin Hoffman. Other
television credits including the recent mini-series Napoleon, and the
acclaimed HBO telefilm RKO 281, both garnering him Emmy Award
       John Malkovich is also an accomplished director and producer. In 1998
he joined producing partners Lianne Halfon and Russ Smith in forming the
production company Mr Mudd, whose first production was the celebrated film
Ghost World. His feature directorial debut, The Dancer Upstairs starring
Academy Award winner Javier Bardem, followed in 2003. His contribution to
stage and screen continues to inspire.

      JESSICA HAINES as Lucy
       DISGRACE presents Jessica in her luminous international film debut.
She has performed in numerous theatre productions, holds a degree in Social
Anthropology from the University of Cape Town, and has travelled throughout
Africa. Jessica is currently on set shooting “The Bang Bang Club” (based on
the book by Greg Marinovich) and starring alongside US star Ryan Phillippe.

      ERIQ EBOUANEY as Petrus
       Eriq Ebouaney has received international acclaim for his film acting
work in America, France, and Africa. He was born in France, but spent a
childhood in his parent‟s native country of Cameroon. Eric and his family
moved back to Paris when he was 14. Steve Jacobs cast Eric in DISGRACE
after watching his electrifying, charismatic performance in the Irish film The
      Eriq‟s extensive film credits include: Ridley Scott‟s Kingdom of Heaven;
Brian De Palma’s Femme Fatale; Catherine Hardwicke‟s Nativity; David
Gleeson‟s The Frontline; Eric Valli‟s The Trail; Sylvestre Amoussou‟s Africa
Paradis; Bruno Merle‟s Heros; Corinne et Gilles Bénizio‟s Cabaret Paradis;
Frédéric Auburtin‟s San Antonio; Mark Bamford‟s Cape of Good Hope;
Vincent Garenq‟s Baby Love; Eriq Bernard‟s Cash, Xavier Gens‟ Hitman,
Yvan Attal‟s Ma Femme Est Une Actrice, Bassek Ba Kobhio‟s La Silence
Dans La Forêt; and the lead in Raoul Peck‟s Lumumba.
      Eriq has appeared in a number of plays and television series. He joined

the theatre company, Companie La Baignoire, in the mid-90s and continued
to work on stage with several French theatre groups. He lives in Paris.

      FIONA PRESS as Bev Shaw
       AFI Award winning actress Fiona Press graduated from NIDA in 1983,
and has enjoyed a diverse career. Her feature film credits include Gillian
Armstrong‟s Oscar & Lucinda; David Caesar‟s Idiot Box; Peter Duncan‟s
Children of the Revolution; Jerzy Domaradzki‟s Lillian’s Story; and John
Duigan‟s Flirting.
      In 2000, Fiona was awarded Best Actress at the Festival International
Du Film Independent, Brussels for her role in The Spy Who Liked Me, and in
1991 won an AFI Award - Best Actress in a Supporting Role, for her
performance in Jackie McKimmie‟s Waiting. Her theatre credits include roles
for Sydney Theatre Company, Melbourne Theatre Company and the State
Theatre of South Australia. Fiona has appeared in television series including;
Home and Away, Always Greener, CNNNN and All Saints.

      ANTOINETTE ENGEL as Melanie
       Antoniette Engel has appeared in the film Luck at the End of the World,
and a number of theatre productions. She is completing her Bachelor of Arts
at the University of Cape Town.

      STEVE JACOBS - Director and Producer
       Steve is a graduate of Charles Sturt University where he wrote and
directed experimental films and theatre productions.
       On graduating he worked for a commercial television station in Sydney
while attending the Australian Film, Radio and Television School part time. He
continued writing and directing innovative shorts and performing as an actor.
     In 1979 Steve was accepted into the post graduate acting course at
E15 Acting School, London. On completing his studies he worked on the
London theatre fringe and directed a short film at the London Film Makers Co-
      In the 80s he returned to Sydney to continue his professional acting
career working extensively in film and television industry. In 1987 he won an
AFI award for best actor.
      During this time Steve continued his career behind the camera writing
and directing a political satire The Man You Know funded by the Australian
Film Commission and writing several feature scripts, which also received
development funding.
      In the 90s Steve formed the production company Wild Strawberries
with Anna-Maria Monticelli. In 2000 they completed their first feature La
Spagnola which Steve directed. La Spagnola, was nominated for 11 AFI
Awards, won the award for Best Film at three international film festivals and

was Australia‟s official entry for Foreign Language Film in the 2002 Academy
       Steve directed and produced DISGRACE.

       ANNA-MARIA MONTICELLI - Producer and Writer
       Born in Tangier, Morocco. Anna migrated with her family to Australia
from Rome in the early sixties. She later returned to Europe to study
languages at L‟Ecole D‟interprètes in Geneva and speaks fluent French,
Spanish, Italian and English. She used her language skills working for the UN
on the Latin American Program for refugees and displaced people.
      In the late 70s Anna returned to Australia and began a career in acting.
She appeared extensively in film and television. Anna won an AFI award for
Best Actress in 1984 for her role in the film Silver City.
       During this time Anna was also involved in writing two feature scripts
The Coming of Catherine and Black Mountain, both funded by government
film bodies. In the 90s Anna wrote a script based on her multicultural
experiences, La Spagnola, which she then produced into a feature film. Anna
received an AFI award nomination and a Critics Circle nomination for best
original screenplay for La Spagnola. Altogether, the film received 11 AFI
nominations and won Best Music. The film also represented Australia in the
Foreign Language Film Category at the 2002 Oscars. The film has been sold
throughout the world and has received three International Film Festival
Awards as Best Film.
       In 2003 Anna‟s company, Wild Strawberries obtained the option for the
Booker Prize winning novel, DISGRACE by JM Coetzee. She then adapted
the novel into a screenplay and began the process of producing the film. After
three years and several different producing partners, the money was finally
raised and the film was shot in South Africa in early 2007.

       EMILE SHERMAN - Producer
        Emile Sherman recently launched his new production company See-
Saw Films in partnership with UK producer Iain Canning. See-Saw has a first
look equity deal with Paramount Pictures International. He is also a director of
newly formed Australasian distribution company Transmission Films, which
has a joint venture agreement with Paramount Pictures International to
distribute films in Australasia.
       Through his company Sherman Pictures, Emile is finishing production
on $9.99, a stop motion animation feature film directed by Tatia Rosenthal
and based on internationally acclaimed Israeli writer Etgar Keret's short
stories. Etgar also won the Camera d‟Or for his film „Jellyfish‟. It is being sold
internationally by Fortissimo Films.
       Sherman Pictures produced Neil Armfield‟s Candy, starring Abbie
Cornish, Heath Ledger, and Geoffrey Rush. Candy was selected for Official
Competition at the Berlin International Film Festival 2006 and has been
released theatrically throughout the world. Emile also produced Opal Dream,
directed by Peter Cattaneo (The Full Monty). Opal Dream sold worldwide
including to Focus Features for North America. It was selected to open the

Kinderfilmfest at the 2006 Berlin Film Festival.
        Sherman Pictures executive produced and acted as Australian
distributor on Anna Reeves‟ Oyster Farmer, which grossed over AUD$2.4
million at the Australian box office in 2005.
        Emile was co-executive producer and his company co-distributor in
Australasia on Phillip Noyce‟s internationally acclaimed Rabbit-Proof Fence,
starring Kenneth Branagh. Rabbit-Proof Fence was released in the US by
Miramax Films and was sold by Hanway. Other films produced include Paul
Goldman‟s The Night We Called It a Day, starring Dennis Hopper and Melanie
Griffith; and Ted Emery‟s The Honourable Wally Norman , which opened the
Sydney Film Festival in 2003. Emile also produced Rod Freedman‟s multi
award-winning documentary Uncle Chatzkel.

       ANTONY PARTOS - Composer
       Antony Partos is an internationally awarded composer who specialises
in blending acoustic and electronic elements in his scores. He is also a
founding director of the music and sound design company Supersonic. His
credits include the feature films Crush which won Best Music at the New
Zealand Film and Television Awards, Walking On Water, Soft Fruit, The
Monkey’s Mask, Garage Days and The Home Song Stories.
       Television work includes writing the music for the series White Collar
Blue, All Saints and the acclaimed ABC telemovie The Silence as well as the
theme for the ABC review show At The Movies.
       His most recent scores were for the feature film Unfinished Sky where
he recorded with the Metropole Orchestra in Amsterdam, the ABC telemovie
Valentine’s Day and DISGRACE.

       GRAEME KOEHNE - Composer
       Graeme Koehne completed his undergraduate and postgraduate
studies at the Elder Conservatorium of Music, University of Adelaide, studying
composition with Richard Meale. He gained national attention at the 1982
Adelaide Festival when he was awarded the Young Composers Prize for his
orchestral work Rainforest.
       Around this time, Graeme commenced his long and fruitful
collaboration with choreographer Graeme Murphy, which included a children's
ballet based on Oscar Wilde's The Selfish Giant and the full-length work
Nearly Beloved. In 1984, Graeme was awarded the Harkness Fellowship to
work at the School of Music, Yale University. For two years of the fellowship
he took private lessons with Virgil Thomson in New York.
      Upon his return to Australia in 1986 he was appointed as Lecturer in
Composition at the Elder Conservatorium of Music, University of Adelaide.
Recent works include: the orchestral trilogy, Unchained Melody, Powerhouse,
and Elevator Music; the oboe concerto In-Flight Entertainment, rd String
Quartet No.3; and the music for the Sydney Dance Company/Australian Ballet
co-production Tivoli.
       Graeme is currently Head of Composition at the Elder Conservatorium

of Music at Adelaide University. Since 2003 he has also chaired the Music
Board of the Australia Council. In 2002 he was awarded the degree of Doctor
of Music (a higher doctorate), by the University of Adelaide, and in 2005 he
became a member of the professoriate through his appointment to a Personal
Chair in Musical Composition at the Elder Conservatorium.
        Graeme composed „„She walks in beauty‟‟, one of three songs he
composed based on the poems by Byron. The song is heard at the end of the
film, and is part of the opera David Lurie writes during the film.

      STEVE ARNOLD ACS - Director of Photography
        Steve Arnold is one of Australia‟s most experienced DOPs. Steve has
travelled extensively throughout his career shooting numerous films,
commercials and music videos for leading Australian and international
filmmakers. He has completed more than 30 feature length films for cinema
and television. Steve has won numerous Photographic awards for his art, and
has been nominated for both Australian Film Institute (AFI) and Emmy
      DISGRACE is his second film with Steve Jacobs: he was nominated for
an AFI award for Photography on their first collaboration, La Spagnola.
       Other notable credits include: Highlander: The Source; Feed; Manthing
- a Marvel comic feature; A Cold Summer; Wilful; Mr Accident; Terra Nova;
Turning April; All Men Are Liars; Ebb Tide; Cops and Robbers; Strangers;
Afraid to Dance; and Anna and the King (2nd Unit). Steve has also helmed
many high end television projects including the doco/comedy The Natural
History of the Chicken; the Television miniseries The Day of the Roses; the
mockumentary Malpractice and the acclaimed documentary Not 14 Again.

        Alexandre has enjoyed an extensive and varied career editing award
winning television commercials, music videos, documentaries and feature
films including: Praise and La Spagnola (both nominated for an AFI for Best
Editing); In the Cut; We Don’t Live Here Anymore; Little Fish (winner of the
AFI Award for Best Editing); and The Painted Veil.
       In 2004 Alexandre received The Australian Screen Editor‟s (ASE)
accreditation, in recognition of excellence in screen editing and outstanding
contribution to Australian screen culture.

      MIKE BERG - Production Designer, South Africa
       British born, South African based Art Director, Michael Berg has over
twenty years experience in film and television art direction and production
design. He has designed and art directed shorts, feature films and television
in the United Kingdom and South Africa. His feature film credits include, for
Production Design: Consequence, Promised Land, and Styx. Art Direction
credits include: 10,000 BC, Lord of War, and Boesman and Lena.

      ANNIE BEAUCHAMP - Production Designer, Australia
      Annie Beauchamp is one of Australia‟s most talented art directors and

designers for film and television. Annie originally studied Fine Arts at The
College of Fine Arts, and then went on to complete a Bachelor of Arts at the
Australian Film Television and Radio School, specializing in Production
        Annie‟s credits are numerous and cover the production design of
television series, and documentaries, as well as numerous short films and TV
commercials. Annie worked as Production Designer on Strange Planet. Her
Art Director credits include: The Quiet American, The Well (official selection of
the Cannes Film Festival 1998), and the internationally acclaimed Moulin
Rouge! for which Annie won the 2002 American Art Director‟s Guild Award for
excellence in art direction.


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