Tag Archives: Mystery Road

Strangerland Trailer Debuts, Endgame’s Final Week, RIP Andrew Lesnie

Apologies for not updating sooner; my schedule has been chaotic for a few weeks now. Here are the major Hugo Weaving News Updates from the pasty couple of weeks. (As always, I update in a more timely manner on my Twitter account, but it’s been hard to grab a chunk of time long enough for the context and nuance that composing a Hugonuts update requires… I still consider this format preferable to the more abbreviated, trendy social networking sites, but Twitter at least allows me to post the raw materials of future entries as they appear.)

But enough delaying…

Strangerland: Official Trailer and Festival Screenings

Strangerland finally has an official trailer, via its American distributor Alchemy. (There was an unofficial, subtler teaser online several months ago, but it was quickly pulled from circulation, apparently considered an unofficial leak. For the record, I liked it as much as the new one, and it gave away less of the film’s plot.) The new trailer is longer and more intense, though Hugo has about the same amount of screentime. There are a few too many spoliers for my taste, but that’s generally true of the format. At least in this case the film’s ambiguous nature prevents the sort of over-sharing that plagues trailers for more conventional thrillers. All three lead actors look to be in solid form. Here’s the trailer plus the officxial poster (which is excellent) a few of my screencaps of Hugo’s scenes.

Alchemy via YouTube

The official film poster

(Above four images) My screencaps from the official trailer

Strangerland is released on 10 July in the US and 11 June in Australia, with the rest of its global distribution TBD. The US marketing hints strongly at a VOD-centric launch plus “select” cinematic screenings (likely a limited arthouse release.) The Australian release strategy will probably be similar, though the film is being treated with more class there, in a series of Sydney Film Festival Presents -themed screenings at the Palace Cinemas chain. (More about that in Inside Film). You can read the intel on the US release at Deadline, IndieWire, I’mWithGeek, The Film Stage and IMDb… all have very similar reports including the synopsis and trailer.

Prior to its international wide release, Strangerland will have screenings at the Sydney Film Festival— its Australian premiere 5 June and three additional screenings 6 June. Unfortunately, Hugo’s London stage role in STC’s Waiting For Godot (alongside Richard Roxburgh) will probably prevent Hugo from attending the film’s Sydney premiere… which is probably fine with him, though he has a longstanding love for the SFF apart from red-carpet duties. 😉 The film will also be showcased at the Seattle International Film Festival on May 17 and June 2. Tickets are still available for both festivals (follow the links above) but the SFF premiere is selling fast.

STC Endgame

Sydney Theatre Co’s production of Samuel Beckett’s Endgame completed its final week of performances on Saturday; positive notices kept appearing til the end. In fact, I don’t recall seeing a single negative review for the entire run of the production, which may be a first. Here are review excerpts posted since my prior entry, along with some great fans photos.

Fiona Prior, Henry Thornton: “To experience Andrew Upton and Hugo Weaving’s vision of Endgame as an audience member goes way beyond empathy and imagination into a real-time experiential connection. I frequently felt I was suffering as much from the onstage angst as were the performers who were waiting for the end –  and, like the performers it was only their repetitive dialogue about futility that kept me there for its wickedly funny insights…

Hugo Weaving owns the role of the tyrannical Hamm whose heart is not really into his dictatorial role any more but, confined to his chair, sees little alternative;  Tom Budge as the long-suffering Clov is an adept physical clown and the most down-trodden and sweetest of  victims. Add dust-covered and ashen Nell (Sarah Peirse)  and Nago (Bruce Spence) who live – if that is an appropriate word for their existence –  in old metal barrels on stage and  you have the whole extended family. Nell and Nago exhibit a loving connection in the play through the sharing of a biscuit and of memory. This glimmer of love, however, is treated as routinely as the exchanges of Hamm and Clov and this handling makes it all the more tragic..

I don’t adhere to the existential vision embedded in Endgame but I’m astonished that it can be delivered with such compelling humour. It is also a timely reminder to live creatively and not be a slave to what has come before. ”

Photo: Sharon Johal via Instagram

Frank Barnes, Education/NSWTF: “Along with the full house I sat mesmerised by this production, marvelling at Weaving’s mastery as he uses only his voice and arms, the powerful clowning performance of Tom Budge who has not acted on stage for 10 years, and the rarely-seen Bruce Spence and the extraordinary Sarah Peirse whose appearance is way too brief… Somehow there is always lots of humour to be found in these bleak scenarios of Beckett’s worlds…

The production is engrossing. Let’s hope that Upton, who is leaving for the US with his family, comes back occasionally to team up with Weaving again.”

Tanydd Jacquet, cheekytaster: “From the moment Hugo Weaving is unveiled onstage, you could hear a pin drop at the Roslyn Packer Theatre..

As the endless drops drip from the stage wall like the agonising infinity of seconds passing through in their world, the audience cannot help but to respond to their helplessness with laughter…

The greatest conflict in the play is the one you find yourself in when you leave the theatre. Both quizzical and inspired – you resolve to leave the room you have been so comfortable in, and take a chance on exploring what could be outside…

Sydney Theatre Company’s production of Endgame is a dark comedy that leaves it’s audience talking more than what happens onstage.”

Photo: aabbeymensforth via Instagram

theatrematters.com.au: “Despite the play being a little challenging to follow, the performances were, unsurprisingly, outstanding. Hugo Weaving was captivating as the tyrannical, unforgiving Hamm. At first I was concerned about not being able to see his eyes, hidden behind clouded glasses. How would I connect with him? But he was so beautifully expressive with his languorous hands (echoes of Gambon) and utilised the entirety of his vocal range to such a great effect that I needn’t have worried. Weaving is an enviably clever actor, and his use of language is utterly inspiring. His voice is like chocolate, and the way he effortlessly squeezes meaning out of each syllable, whether it be from modern or classic text, is a gift. Bugde made the perfect companion, making great comedic and physical choices, and letting Clov’s strength shine through just enough to give us hope for him in the end. Both actors were playing within the confines of the script, and found comedy in very difficult and unexpected places…

Nick Schlieper’s set and lighting design was delightfully bleak and foreboding, and provided the perfect basement home for the unlikely family, doomed to be forever alone until something breaks the monotony – death or departure.”

Photo: bncarynlds via Instagram

The Buzz From Sydney: “At the risk of sounding effusive, a production like the Andrew Upton directed Endgame is the reason why people go to the theatre: spellbinding performances and meticulous direction has made Endgame one of the theatre events of the year, which may sound premature, but trust me, is not…

Tom Budge delivered a virtuoso performance as Clov: he executes his duties in exacting , yet forgetful fashion, with intense concentration on space, as he moves Hamm around the stage. Hugo Weaving as Hamm was absolutely brilliant. His monologues create a landscape that is rich in simple drama, while his unseeing eyes held the audience in their grip. Hamm is after all, trying to stave off the end with a few last minute manipulations that are pointless but for him necessary…

Andrew Upton presents Endgame as a more sophisticated companion piece to Waiting For Godot, and fans of Beckett who are after a detailed and faithful rendering will not be disappointed by this production.”

Photo: millsy_k via Instagram

Alex Rieneck, AE36: “Suffice to say the characters are “Hamm” (Hugo Weaving) who spends the play ensconced in a comfortable armchair (which may be seen as a throne) (or not) and who orders everyone  about. He describes himself as senile, so he may be seen as a king. His especial servant is “Clov” (Tom Budge) who runs hither and yon about the stage at every beck and call and being far more mobile than the rest of the cast, is responsible for the physical comedy. Its a big job, Mr Budge is on the move for the entire play scuttling from one side of the stage to the other. His main prop is a twenty foot ladder and I lost track of the number of times that he climbed it, all the way to the top; after carrying it across the stage from one side to the other. No housepainter works so hard; I pitied him and wondered that at the end of the play he seemed to still be word perfect, even as he glistened with sweat. Actors delight me…

Hamm is a less likeable character; he sprawls backwards in his chair bossing Clov, bellowing when he thinks it will achieve his purpose; bribing Nagg with sugar plums when shouting fails. In short Hamm is every inch a king, but not the phantasy monarch of king William and Kate – he is more the nasty reality of King Rupert (Murdoch) himself the unvarnished face of power itself…

The  performances (particularly Hugo Weaving’s as Hamm and Tom Budge as Clov) are flawless, and Bruce Spence beaming up at the world out of a garbage can is not something I will soon forget – nor will I try to.  Sarah Perse does rather better than can be expected with the little that is available to the character of Nell.”

Fan video(!) by Sharon Johal/Instagram

And here are a couple of treats from STC: a behind the scenes look at the production’s teaser trailer, and a neat animated promo for the souvenir programme. (Yes, I have a copy, and yes, there will be scans when I have more time.) 😉

STC via YouTube

Hugo will have a brief respite from Samuel Beckett before traveling with STC’s production of Waiting For Godot to London’s Barbican in June. Stage Whipers has a preview.

RIP Andrew Lesnie, Cinematographer

Many of us were shocked and saddened to hear of the sudden death of Andrew Lesnie, who won an Oscar for his cinematography for Peter Jackson’s Lord of The Rings and lent his considerable skills to several other notable Hugo Weaving films and TV projects, including The Hobbit Trilogy, Babe and its sequel, Bodyline, Melba and Healing. Lesnie also worked on King Kong and The Lovely Bones for Jackson, the recent Planet of the Apes reboot ; his final film was The Water Diviner starring Russell Crowe. Here is director Craig Monahan’s tribute to his collaborator and friend, via Healing’s Facebook page:

Healing director Craig Monahan, with Andrew Lesnie (2013)

“I am devastated at the loss of my friend of 35 years. I first met Andrew at film school : he was finishing and I was starting.

Our initial connection believe it or not was our love of Groucho Marx. I can still see him walking around saying ‘I shot an elephant in my pyjamas. How he got in my pyjamas I’ll never know.’

There was no-one like Andrew. He was very intelligent, very funny and full of energy. As a cinematographer he was brilliant…”Lighting schmiting”, he would say. ‘What’s it about? What is this scene about? Everything came from that.

Much love to Marcie and to his boys Sam,Jack and Alex. R.I.P. my friend” – Craig

Lesnie (center) with his wife Marcie on the set of Healing (2013)  Photos: Healing Facebook

Hugo Weaving and Lesnie during the filming of Healing (2013)

You can read tributes and more about Lesnie’s career at Variety, The Guardian, The New York Times, TheOneRing.net and (of course) Peter Jackson’s Facebook page, which includes an extended tribute and photos from the sets of their many collaborations.

“Dearest Andrew, you never sought nor wanted praise – you never needed to hear how good you were, you only ever cared about doing great work and respecting the work of others. But on behalf of all those who were lucky enough to collaborate with you, love you and in turn, respect your mastery of story, of light and of cinema magic – you are one of the great cinematographers of our time.” — Peter Jackson, via Facebook

With Ian McKellen on The Hobbit set  (Photo: Screen Rant)

In Other Hugo Weaving News

Ivan Sen and his Mystery Road leading man Aaron Pedersen are filming the much-anticipated sequel/follow-up to their 2013 masterpiece. Alas, for obvious resons (to anyone who’s seen Mystery Road) Hugo Weaving and Ryan Kwanten won’t be able to participate this time around. The new film, entitled Goldstone, sees Pedersen’s Jay Swan investigating a new case in another town; though none of the Mystery Road supporting cast is on hand, the new film looks unmissable with the additions of Jacki Weaver, David Gulpilil and David Wenham to the cast. You can follow the film via the Mystery Road Facebook page (now officially named for BOTH films), and read more at Inside Film, Variety, The Sydney Morning Herald, The Australian and SBS.  Filming is now underway in the Winton, QLD area.

Last-Minute Endgame Previews, Incl New Hugo Weaving Interview & Nicholas Harding Sketches

Bruce Spence, Hugo Weaving and Sarah Peirse in rehearsals for STC’s Endgame.  Photo: Bob Barker/The Daily Telegraph online

STC Endgame

Sydney Theatre Company’s production of Endgame, starring Hugo Weaving, Tom Budge, Sarah Peirse and Bruce Spence, opens later today in Sydney. While we await the first reviews and production photos, here are the latest preview articles and other promos released in the past few days.

The most interesting of these is The Daily Telegraph’s interview with Weaving, Peirse and Spence. The online and print versions of the piece, written by Chris Hook, both feature the same text and a new photo by Bob Barker (above); the print version (from Best Weekend’s 27 March edition, scans below) adds a nice cover photo of the three and a few additional rehearsal pics by Lisa Tomasetti. Not a lengthy interview but it features perceptive comments and stays pleasingly on-topic.

Fans of last year’s Drawing Godot exhibit, featuring Nicholas Harding’s sketches, etchings and watercolors of STC’s Waiting For Godot (2013) will be happy to note that Harding (a longtime friend of Hugo’s) has returned to perform a similar task for the current Beckett play. STCs Facebook page recently featured a selection of the new sketches, and more will appear in the programme sold at performances. Those not lucky enough to make it to Sydney can read a few highlights of the programme content (including rehearsal photos, biographical notes and commentary on the play’s themes and characters) in this STC Magazine feature. Here are a few of Harding’s drawings featuring Hugo Weaving as Hamm:

Hugo Weaving as Hamm, Tom Budge as Clov in STC’s Endgame.   Drawing by Nicholas Harding, via STC Facebook

Andrew Upton spoke to The Big Smoke about his take on the play and his role directing the new production. Rebecca Gibney briefly mentions the film in a recent TV interview. And Sarah Peirse was interviewed by themusic.com.au about her role as Nell, and why she’s luckier than Bruce Spence as far as trying to squeeze into those trash bins goes. 😉 Gay News Network posted a detailed preview of the production.

The Dressmaker

As Jocelyn Moorhouse’s new film nears the end of post-production, a handful of preview screenings have been held or are planned at various locations in Australia. There was brief but enthusiastic commentary about one such screening in Melbourne on IMDb and Twitter, but not a lot of information about the film.

New production photos have appeared on Twitter courtesy of Monty Fan, including images of the sets and costumes, and this lovely cast and crew photo featuring Hugo Weaving and director Moorhouse:

Photo: Monty Fan via Twitter


Though no news of an official US release has yet surfaced, Healing did make a splash in its recent Sedona Film Festival screening, winning the Best Foreign Film prize. More details at the festival’s webpage.

In Other Hugo Weaving News

Hugo was recently spotted and photographed at a Sydney Art Month event at The National Arts School Gallery, behind a Red Sturts Desert Pea. 😉

Photo: Dick Quan via Twitter/Instagram

Impulse Gamer interviewed Harry Greenwood about his role in the acclaimed miniseries Gallipoli (directed by Last Ride’s Glendyn Ivin)

The Guardian‘s Luke Buckmaster posted a tribute to one of Hugo Weaving’s most gripping (and “criminally underseen”) films: The Interview, directed by Craig Monahan (who subsequently reteamed with Hugo on Peaches and Healing.) This remains among Hugo’s top five performances by most serious fans’ estimations; those who still only know his career from its occasional franchise excursions would find it a revelation if they checked it out.

Mystery Road continues to draw positive attention via Netflix and BBC streaming; you can read new reviews at Everything Noir and Cleveland Movie Blog.

Watch this space for additional updates as Endgame’s preview performances unfold!

Sundance Videos Interviews Feat. Hugo Weaving (Including ‘Missing Bits’ from The Wrap Interview), New Pics

Before I update I want to apologise for the recent technical difficulties experienced by the Hugonuts blog at both locations, but particularly LiveJournal. Some recent photos have failed to load or erroneously displayed “This photo has been moved or deleted” graphics. I have NOT moved any photos, and am not such an idiot I can’t figure out that moving photos severs the links to blog posts. But I’ve had a host of problems with both LJ and PhotoBucket with this error. I’ve used PB for ten years with no issues until this past couple of weeks, but it’s now a recurring headache. I have fixed all the links (though again, no pics were EVER moved; PB just had errors connecting to the correct photos). And none of my pre-January entries seem affected, though please notify me if this changes. I have experimented with disabling AdBlock, which can disrupt PhotoBucket, though it’s otherwise essential for computer use without being driven insane by an ad-barrage. (In the future I may have to disable it when using PB, but re-enable it afterward… if this fails to correct the problem, I may have to consider moving my photo collection elsewhere.) Support requests to PB have thusfar been ignored. So far as I can tell, all photos are now displaying correctly after several days or painstakingly re-inserting each link and other trouble-shooting, but please notify me if the problem recurs. Obviously there’s no point doing this if I can’t share photos reliably. 😉

Strangerland at Sundance: New Videos

In my last entry I mentioned that Hugo Weaving and Joseph Fiennes gave video entries to three different entertainment media sites: IMDb/Amazon Instant Video (which I posted in the prior entry and features the deploying Hugo’s inimitable “Donald Duck voice” to dodge the inevitable “movie trivia” questions.) 😉 A few days later, possibly after pestering by myself and other fans, The Wrap posted their interview… well.. MOST of it. The full segment on Strangerland remains, but several minutes at the end were edited out, so I’ll transcribe that from the audio I recorded live.

The Wrap

Somewhat irritatingly, only Joseph Fiennes was noted in the headline and tags for the clip, so some Hugo fans might not’ve spotted it on cursory searches. I was monitoring The Wrap’s full Sundance feed and it eventually appeared there several days after the live airing. I am thrilled they finally shared the high-quality video, been in truncated form.  I suspect the edits were due to Hugo’s usual reluctance to play along with Hollywood trivia questions, which now seem de rigeur even at festivals allegedly about independent films. 😉 They might also have been trying to avoid divulging some slight plot spoilers, thorough it’s now an open secret that the film isn’t “about” the solution of its central mystery. So, those warnings in mind…

Here’s my transcript of the rest of the interview (immediately following end of video’s final question/answer) :

The Wrap: Did you do a lot of takes or did you get it right away?

Joseph Fiennes: No, it was one or two takes and pretty straightforward and quick… but then on ALL the scenes it was one or two takes and pretty straightforward and quick. (laughs.)

TW: What were the biggest challenges for both of you on this [film]? Hugo, you said there was limited time? Was it that [limitation] or was it psychological… what was the toughest part of this movie?

HW:  Um… yeah. I don’t know. That’s a good question. I mean, the time constraints are always there so I wouldn’t include that, or hoping that you get certain scenes. Probably for me, on this one, trying to increasingly find a breathing space for a human being that you’re putting onto film, trying to embody someone who’s as complex and dimensional as he can possibly be, even when the framework within which you’re working is relatively minor.  This man has a past, has troubles, has secrets, but he presents as a kind of sensitive, calm, capable cop most of the time, and for me that was kind of an interesting framework for me to exist within, and occasionally reveal something about the deeper side of his nature. so.. finding that right tone, I suppose.

TW: Joseph, for you what was the toughest part?

JF: I echo Hugo. On any independent movie, it’s a miracle we’re even there filming, but then there are enormous constraints. I think we had quite a few scenes that we just couldn’t complete, because we didn’t have the money or the time, and that’s hugely disappointing. But, that aside, which is just part of what we have to handle, I think the hardest for me just doing enough work [on] the backstory… It takes place over a very short period of time. as well. I kind of felt that… at the end it’s got to.. not necessarily have to be redemptive from his point of view, but some tiny, tiny [glimmer] of hope that there may be, ironically, within the horror of the disappearance.  a glimmer of potential light that this relationship might just survive… and going and taking it to the real max of the breakdown and with Nicole, and seeing that and his restraint and needing to control because of his inertia and shame. He’s a man that has a public persona and finds it very difficult to sort of let that fall, so it’s taking that to the max and then trying to find his humanity again, and the potential of that relationship, which just could pull through.

TW: Your characters are very much at odds for most of the movie. I mean, did you stay away from each other on the set, or were you palling around… ?

[Joseph Fiennes hugs Hugo]

HW: (laughs) We did lots of stuff together! We went ballooning…

JF: (overlapping) Ballooning was the highlight!

HW: We had a great balloon trip one morning. We got up before the dawn, and  went, met in town, jumped in a car and drove out to this field… We practically blew up the balloon ourselves…

LF: Well, we DID!

HW… And we sailed away for about an hour and a half and then had breakfast. So we did. Yeah, we did lots of good things.

JF:  And we drove out to the Blue Mountains together…

HW: Big drive…

JF: Big tour

HW: A few trips

TW: Well now we’re going to do our rapid-fire round here, [in which] we’re asking all [our interviewees] these same questions… Pick one film from your body of work that best represents you. I know this is a very tough question for you guys, but let’s…

HW: (interrupting, immediately) Little Fish.

TW: Pardon me?

HW: Little Fish.

TW: (surprised) Little Fish? (Hugo nods) Joseph?

JF: BIG Fish! Oh, sorry. I thought this was word association. Um… I don’t know… As Montaigne once said, a wonderful French Philosopher, that the serious in art is of no avail, that joy is the only guide… so apart from working with Hugo, which was immensely joyous, on this–which was a gnarly piece– but the most joy I’ve had is Shakespeare in Love. So I pick that one.

TW:  If North Korea hacked your computer, who would your first call be to apologise?

HW: I’m such a computer idiot that I probably wouldn’t even know that they’d hacked my computer. (laughs)

TW: Joseph?

JF: I’m sorry, Hugo (mock melodrama) I’m so sorry!  (laughs)

TW: I don’t know how closely you follow the Oscars, but do you have a “biggest snub” for this year’s Oscars, and who are you rooting for the most?

HW:  I honestly do not follow the Oscars. I have absolutely no idea who is  up for any Oscar at all, what film, what actors, anything. Know nothing about it, so I apologise.

TW: You’re no help at all!

JF: I wouldn’t snub, but, because it was Sundance, Boyhood. I would love to see that succeed.

TW: The producer of Boyhood was sitting in front of me when I saw your movie.

JF: Oh, okay

TW: I know this is an impossible question, but name an actor, director or producer– just one– that you haven’t worked with yet that you want to work with.

HW: (Long pause)… Werner Herzog… Oh no!  Nuri Bilge Ceylan, a Turkish film director. Definitely. Him. I don’t speak Turkish, but please, Nuri, put me in one of your films.

TW: Joseph?

JF: Um…God, there’s a whole host… I’m gonna leave here going, ‘Why didn’t i say THAT person?’, Um… right now I’m blanking, but I think I would have to go for a foreign director where I could be subtitled. And look immensely intelligent. (Laughs)

TW: OK, last question: If you could crowd-fund one passion project, what would it be?

HW: Um… Maybe something to do with reforestation.

TW: Joseph?

JF: God, I want to talk about projects that I HAVE… but (Hugo whispers in his ear)…Yeah! Okay, yes yes yes. Thank you. He didn’t help me on this one! (Laughs) Um… Bees. A project on bees. We need more bees. And we’re into bees and honey, so that’s what we spend a lot of time talking about, organic cold-pressing olive oil, honey and bees. So bees, yeah. Fundraising for bees.

TW: Well, thank you both for coming, and congratulations on the film.

HW, JF: (Simultaneously) Thank you.


Here’s the IMDb “Duck” interview again, for anyone who missed it. (And coz I wanted to watch it again) 😉

IMDb/Amazon Instant Video

THIS JUST IN: Hugo Weaving and Joseph Fiennes discuss the theme of “walkabout” and their favorite walks in this brief but GREAT new AP interview, which also includes footage from the film premiere 23 January:

AP via YouTube

AP also has a longer clip of the premiere with interviews of Nicole Kidman and Joseph Fiennes, though none of Hugo. (It’s possible he didn’t speak to reporters on the red carpet, as absolutely no interview footage of him from that night has surfaced, and he seems to step into cast photos only at the last minute.) The Daily Mail posted an abbreviated version of this footage with their coverage of the premiere. I’d love to see any additional footage AP recorded of the “walkabout” interview, as they clearly asked more creative questions than some others. I will on the whole give all the Sundance interviewers credit for going into depth about Strangerland and staying on topic. I’m still looking for HuffPost Live’s ten-minute interview of Weaving and Fiennes. Transcribing that would be a bear (and not as pleasing as watching the video), so I hope they humor us and post their footage SOON.


I’m fairly certain Hugo Weaving has gone home, due to the lack of recent photos (though he could just be lying low and enjoying films as a viewer). He was definitely there through 25 January and several new photos have surfaced of both the premiere and other events, including some great new fan photos. A lot of these events included convoluted names citing corporate sponsorship… since no one is paying ME, and I’m pretty sure Hugo wasn’t there for that reason, I’m not going to use those names.

Photo: MastaCord via Twitter, 25 Jan

The Strangerland cast (minus Nicole Kidman) 23 January
L to R top: Meyne Wyatt, Joseph Fiennes, Hugo Weaving; bottom: Lisa Flanagan, Sean Keenan, Maddison Brown

Both above photos: Victoria Will/Invision/AP

Photo: adeline_sky via Instagram

Hugo Weaving out & about in Park City, 25 Jan

All four above photos:  Ray Tamarra/GC Images/Getty Images

Hugo Weaving with onscreen paramour Lisa Flanagan at a dinner event at Sundance Film Festival, 25 Jan

Letting the paparazzi know they’re services will no longer be required 😉 Both photos: Tiffany Rose/Getty Images

Photo: Kyungmin Rachel Lee via Instagram

Hugo Weaving at a Sundance event, 25 Jan 2015. Photo: Todd Williamson/Invision for TAO Group/AP Images

The Strangerland cast at the Grey Goose Lounge pre-screening party 23 Jan

Hugo Weaving with talent manager Paul Clifford Escoll
Both above photos: Liz Kelly via Examiner.com

Nicole Kidman, Joseph Fiennes and Hugo Weaving onstage at the film’s 23 Jan Sundance premiere.  Photo: clotureclub.com

Fan photo: Lisa Herrera, via  St Louis Post-Dispatch

The cast at the 23 Jan Sundane premiere. L to R: Kim Farrant, Hugo Weaving, Joseph Fiennes, Maddison Brown, Meyne Wyatt, Nicole Kidman, Lisa Flanagan, Sean Keenan

Both above photos: Carla Boecklin/Salt Lake Magazine

True privilege meeting #HugoWeaving at #Sundance after the #PartisanMovie premiere. What else do we have in common? He was born in #Nigeria. #Livinglegend #Matrix #AgentSmith #LordoftheRings #Hobbit #Sundance2015 #Strangerland #SeedlessMovie” temiojo via Instagram

And EW Online posted a huge enlarged version of the now-notorious Weaving-Fiennes smooch in their coverage of the premiere.


We finally do have some positive or leaning-positive reviews of Strangerland, which I’ll excerpt below (do check out the original sites for full reviews.) I’ll start off with CineFix’s video review because it includes some good quality footage from the film itself, and delves into why the glib hipsters at Sundance didn’t get into the movie:

Cinefix via YouTube

Bears Fonte, AMFM Magazine: “STRANGERLAND works because all the parts seem selected to have the greatest impact. The depth of the relationship between Fiennes and Kidman gives then plenty of great moments, and when Weaving makes it a triangle, the film soars. It is a true honor to watch such phenomenal actors work their craft and the film is filled with more buried drama than a Sam Shepard play…

If that wasn’t enough, the setting provides a landscape of despair to torture the characters… It is so effective then to see it in a contemporary piece, where it can represent the apocalypse of all hope.The town plays as a border town, one last stop before entering the unknown, as the children disappear into the empty beyond… The cinematography is great, but always in service of telling the story, even when the vistas get overwhelming.

Each performance shines, and it especially nice to see a film that could have just been a simple end of a marriage kitchen sink drama layered with a mystery and some great action moments. In fact, it is the most complete film I’ve seen at Sundance so far.”

Culture Collide: “Set in the dusty outback (way outback) of Australia, the story follows a family whose two teenage children disappear into the desert. But rather than concentrate the drama on the unfolding missing-persons’ investigation, Farrant pays special attention to her characters and how they act out in times of crisis, and their primal compulsions both sexual and violent. Strangerland pushes its boundaries and its actors: Kidman’s character bares more (way more) than her soul, and the entire cast stays committed throughout. Though the film itself never ends up being as committed as its actors are, it absolutely opens a glimpse into the suffocating heartache of a grieving parent.”

Heath Jones, The Film Stage: “Kidman gives one of her best performances in recent years. Displaying a vulnerability and depth that has not been seen since her appearance in The Paperboy, Kidman’s Catherine is engaging and heartbreaking as she begins to unravel at the loss of her children. Fiennes’ Matthew is just as broken as his wife, displaying equal parts of affection and cruelty… Weaving does an expert job at playing one of the few truly honorable men in Strangerland’s fictional town of Nathgari. Rae simply wishes to follow the leads and get the children back home safe…

While the plot can feel over-extended at points, often suffering from melodrama that seems to go from zero to one hundred in a second, it is Kidman and Fiennes’ expert balance of their characters’ noble and deplorable acts that keep the viewer wanting more. Strangerland is made complete by an eerie score from Keefus Ciancia (True Detective) and cinematography from P.J. Dillon (Game of Thrones, Vikings), making suitable use out of its vast landscape. While many moments of Strangerland can be hard to watch, one certainly does not want to look away.”

Other Strangerland Press

Liz quoted several cast members in her summary of the Strangerland premiere for The Examiner, which included the two photos embedded in the Photos section.

AJPlus posted a brief Joseph Fiennes tutorial (taped at the premiere) on how to master the Australian accent.

Inside Film and Variety reported on Strangerland’s now-confirmed distribution deal with Alchemy. Alas, no release date has yet been announced.

In Other Hugo Weaving News

Mystery Road received a sold-out showcase at a film festival in Pyongyang, North Korea, of all places. Director Ivan Sen attended the screening and gives his thoughts about the experience and describes the audience’s hunger for a variety of films in SBS.

Positive reviews for the Blu-Ray release of The Mule keep appearing; you can read the latest in Nuke the Fridge.

Long-Overdue Update, Hugo Weaving 2015 Calendar, Strangerland To Debut At Sundance 23 Jan

I know this blog is long overdue for an update… So I’ll start off with profuse apologies and hopes that everyone enjoyed their holidays, and that they’ve had good fortune thusfar in 2015. I’ve been sidelined with various illnesses (mine and my cat Carmelita, whom many of you know from my Twitter feed– she’s still being treated for lymphoma, but has successfully fought off a pair of opportunistic bugs) and seasonal maintenance as well as work commitments.

Strangerland At Sundance

Fortunately I haven’t missed a ton of new material because Hugo Weaving has also been on an extended break since The Dressmaker wrapped filming in mid-December. He hasn’t made a public appearance since, but might pop up later this week at the Sundance Film Festival if we’re lucky, as his new film Strangerland (also starring Nicole Kidman and Joseph Fiennes) is scheduled to premiere this Friday, Jan 23 at 6.15 pm (MST, one presumes, ie 8.15pm EST, 11.15 GMT). Oddly, tickets aren’t yet available via the film’s Sundance website page, though one assumes most tickets for the premiere have already been snapped up by industry insiders. 😉 (It’s also common practice for festival ticket package-holders to have a lengthy period to buy their allotment of tickets before single per-screening tickets are made available.)

There has been no official announcement as as to whether Hugo or his costars are scheduled to attend, though this website hints they might be expected. Hugo has no announced work conflicts and is usually on hand for world premieres on independent films, but he’s also unpredictable. It’s hard to guess whether Sundance’s mix of independent film tradition and increasing celebrity/commercial focus will attract or repel him… but my guess is he’ll be there if he has no prior commitments.  Strangerland will screen a total of six times over the course of the festival, with post-premiere screenings at different venues in Park City on January 24, 25, 26, 28 and 31. (again, check Sundance’s website for specific time and ticketing info.) There is still no official trailer or teaser for the film, though the ‘unofficial’ teaser keeps popping up and as quickly being taken down; my guess is that it will be the eventual teaser, as it’s nearly perfect as-is. A longer trailer will probably follow once the film’s distribution is announced and its wide release is approaching. So far there’s no news on that front, and no official website or social media presence for the film (Facebook, Twitter, etc) though that’s sure to change. At the moment, there’ds merely a sub-page on the film’s distributor’s website, Worldview Entertainment.   The film has scored decent programming slots at one of the most prestigious early festivals of the year, so let’s hope this translates into generous worldwide distribution.

The Dressmaker

In my last entry I mentioned that Hugo’s other major film to open this year, The Dressmaker, wrapped production in early December. The film’s Facebook page noted that Jocelyn Moorhouse and editor Jill Bilcock began working on post-production about a week ago.  With an announced official release date– for Australia, at least– of 1 October 2015 it should be an eventful year of updates via the film’s website, Facebook, Twitter and Pinterest pages. You can also subscribe to their occasional newsletter via the website if you haven’t already.

Then there was this fan photo posted to Instagram by a crew member shortly after production wrapped. In some ways I think this is spoiler content, and wish Sgt Farrat’s off-duty look had been kept in the bag until the film is released, but it’s an irresistible photo. Also, that particular plot “secret” was disclosed when Hugo signed on, and I can’t imagine it won’t be all over the trailers and pre-release stills, given how reluctant marketers are to leave any plot twists undisclosed in promotion. 😉

Here is me with Kate winslet and Hugo Weaving on the wrap day. Again an amazing cast, were extremely nice and talented people. #katewinslet #hugoweaving #setlife #livingthedream #lookingcreepy #namedrophooper”  Tom Hooper, via Instagram

A few fans have commented to the effect that Hugo’s costume seems a bit… er… dowdy for the former Mitzi del Bra. 😉 But this is a film set in the 1950s and Kate Winslet has been photographed in some striking outfits on set, so I’m optimistic.  Also optimistic that the high star-wattage of this cast will guarantee global distribution. Jocelyn Moorhouse is more than overdue for a comeback in cinemas.

Hugo Weaving 2015 Calendar

Yes, I know this is late… to be fair, I have posted the link several times on Twitter, and did have it up before the new year began. But I’ve been remiss not posting the pages here. Since there are no high-res stills yet available showing Hugo’s characters in either Strangerland or The Dressmaker, I elected showcase Hugo’s expansive 30+ year theatrical career in this year’s calendar. (This will a theatre-heavy year for Hugo, who will star in Endgame for the STC in March before reprising Waiting for Godot with Richard Roxburgh at London’s Barbican in June.) Here is each monthly page plus info on the productions the stills capture. I do print these out every year. I’ll post the largest-sized photos here: they’ll be under the cut at LJ and available via right-click-Open Image In A New Tab via WordPress.

With Robyn Nevin in David Williamson’s The Perfectionist at Sydney Theatre Co, 1982

With Geoffrey Rush in Ben Jonson’s The Alchemist at Belvoir Theatre, 1996

With Angie Milliken in John Webster’s The White Devil at Sydney Theatre Co, 2000

With Angie Milliken in Tom Stoppard’s The Real Thing at STC, 2003

With Cate Blanchett in Ibsen’s Hedda Gabler at STC (2004) and New York’s Brooklyn Academy of Music (2006)

With playwright Andrew Upton, costars Jeremy Sims and Ewen Leslie and director Philip Seymour Hoffman in Riflemind at STC, 2007

With Natasha Herbert in Yasmina Reza’s God of Carnage at Melbourne Theatre Co, 2009

With Hayley McElhinney in Checkhov’s Uncle Vanya at STC (2010) Washington DC’s Kennedy Center (2011) and NYC’s Lincoln Center (2012)

With Geraldine Hakewell in Christopher Hampton’s Les Liaisons Dangereuses, at STC 2012

With Richard Roxburgh in Samuel Beckett’s Waiting For Godot at STC, 2013

As Shakespeare’s Macbeth at STC 2014

Promo artwork for STC’s Engame, to begin performances this March 31. Hugo will portray Hamm in Samuel Beckett’s play

Sorry I couldn’t finfd high-res images for some productions, but all pages print crisply to standard letter-sized paper. You can see the full set at the Hugonuts Photobucket Archive too.

Tim Winton’s The Turning To Open In UK

More than a year after its Australian theatrical release, Tim Winton’s The Turning will finally be be distributed in the UK, with a 6 February opening date. The British distributer debuted a recut trailer earlier this week emphasizing the compilation’s overarching theme. While the footage seen is similar to what was in prior trailers, this version is particularly lovely:

SodaPictures via YouTube

Yes, I do own the Aussie DVD, but I haven’t watched it yet because I cling to the masochistic hope that this film might still be PROPERLY released– ie to cinemas– in the US, though there are no plans for that as of yet. (The film does have a US distributor, Main Street Films; they have a nice page for the film with photos and descriptions of all 18 segments, but only list a tentative “coming in 2015” release date.)   More on the UK release at Film School Rejects, Digital Spy and IndieWire.

And there are many lovely high-res photos from The Turning available on producer Robert Connolly’s Flickr account, including these three of Hugo:

Hugo Weaving and Josh McConville in “Commission”, directed by David Wenham

Larger versions of these images, plus high-res pics of the directors and stills from all the the short films in The Turning, can be viewed here.

The Mule Out on Blu-Ray in US

One piece of good news for Hugo’s US fans, though… The Mule is released on Blu-Ray this week. If you ordered the bargain-priced Amazon pre-order, they should be informing you it’s en route shortly if they haven’t already. You can read detailed reviews of the US home release at WhySoBlu?, Alien Bee, Keep It Classic, and The Examiner. The Examiner also reposted their excellent Hugo Weaving interview promoting the film.

In Other Hugo Weaving News

Healing had its British TV debut on Sky Movies January 16; screenings will continue for a month or so; the film is also available for on-demand viewing to their subscribers.

STC has announced the Pre-Season Briefing dates for their full 2015 slate, including Engame on March 23. Seats are available for ticket-holders, but STC suggests you RSVP them quickly, as they’ll go fast.

Ivan Sen has announced that Aaron Pedersen will reprise his already-iconic Jay Swan character for a sequel/spin-off to Mystery Road. Unfortunately, plot developments in the original film make it unlikely we’ll see Hugo Weaving reprise his Johnno character, unless it’s a flashback/ghost-mentor thing along the lines of what Matt Frewer did on the Cinemax series The Knick. 😉 The Age has more info. The new project will find Swan taking on a new case in a different town.

And this very strange bit of Hugo Weaving Early Career Ephemera popped up on YouTube via Craig Anderson on YouTube last month. It’s Hugo’s four-minute role as a very clumsy but enthusiastc scientist studying mangrove forests. This segment was part of a one-hour 1987 film called Fish ‘N Tips, apparently a comedic take on fishing, though I couldn’t dig up much other info. The project is so obscure it’s not listed on IMDb or any film database or website covering Hugo’s career; it took me and many other long-term fans by surprise. Apparently the only home video release was an Australian VHS in the late 1980s; the film was directed by Michael Horrocks. It’s always exciting when hitherto unknown bits of Hugo’s back catalog pop up like this, but I’m afraid this is very much at the Sky Pirates end of the quality spectrum rather than, say, the Everything Goes end.  At best it’s slightly reminiscent of John Lurie’s often-hilarious parody fishing show Fishing With John from the early 1990s, though much less sophisticated. Still, Hugo wasn’t phoning anything in even then, and some fans might find the mud-striptease angle titillating. 😉

The Dressmaker Wraps Production (incl Hugo Weaving set photos); BOFA Promo Material; #TheMuleLive

Apologies for the gap between entries… as you know, this is a very busy time of year.

The Battle of the Five Armies

I did attend a marathon screening of all three Hobbit films on 15 December but will withhold my full review until the end of the moth, as there are still a few regions whee The Battle of the Five Armies hasn’t opened (including Australia), and many reviewers have already been too loose with the spoilers. I will say that yes, these films don’t hold a candle to Lord of The Rings. But I had a fun time seeing tis trilogy and– some early technical difficulties aside– it was an effortlessly fun way to spend a day. I was never bored. And I’ll dare say that these three films go down easier seen at at once than with a year in between. (Peter Jackson’s reliance on cliffhangers this time around is legitimate grounds for criticism; the Lord of the Rings films each ended on a decisive note with one story element completed as the overall arc continued.) Interestingly, An Unexpected Journey improves with a second viewng while The Desolation of Smaug deteriorates a bit– not only due to the distinct lack of Hugo Weaving in the second film.)

Yes, the material probably would’ve fit just fine in two films rather than three. But I’m reminded of the Beatles’ White Album conundrum: most fans say it could have easily been edited down to one great album instead of two “merely” good ones, but I’ve yet to see two Beatles fans agree completely on WHAT they’d cut. Similarly, reviews critical of BOFA (and The Hobbit trilogy in general) seem divided on whether the extravagant action sequences are in need of trimming or the plotting nuances between. I’m in the former camp. In fact, I’d have enjoyed a longer BOFA if the some character-based material was added to make the transitions between action setpieces a bit less jarring. My favorite parts of the film– and the trilogy– are the small character moments. And the immense talent of most of the actors on hand makes even the underwritten material (and too-swift transitions) work.

Hugo Weaving and Peter Jackson prep for the Dol Guldur rescue scene in BOFA. HD version of this photo here.

If you’re only watching these films to see Hugo Weaving (or Cate Blanchett, or Christopher Lee) you might be disappointed. Their sequence battling Nazgul at Dol Guldur (to resolve the Gandalf’s capture cliffhanger in DOS) comes early in the film and is over within minutes. Much of Hugo’s footage appears to be a stunt double or CG, and he only has about three lines. He has little to do- less than the other White Council members– once he makes the grand entrance seen in all the trailers and TV ads. I would argue the scene is necessary and gives the titular battle greater stakes than the novel as originally written, as it ties this conflict to the larger one in LOTR. While Tolkien might not have staged this specific scene per se, he did explicitly attempt to link The Hobbit and Lord of the Rings through supplemental material, and at one point toyed with the notion of rewriting The Hobbit as a darker tale more in tune with LOTR. While his work is more lyrical and less action-driven than Peter Jackson’s take, I would argue no great liberties are taken. Jackson fills in gaps left undefined rather than violating the spirit of Tolkien’s work. I’m not an overly devout fan of either the director or the writer– both have provided great entertainment at various times in my life, and both have flaws.

I’ll say no more about plot specifics until the film is open everywhere, as I can’t get too far into describing what worked (or didn’t) about the film without spoilers.  As far as recommending the film, I would wholeheartedly to anyone who likes what they’ve seen so far. If you hated the first two parts, though, or simply aren’t into these sorts of films, BOFA won’t magically change your mind. It’s completely of a piece with the first two. I actually understand (and in some cases, agree with) various criticism of the film and trilogy. But I have enough affection for the films and characters that even glaring flaws don’t matter as much as they might in films featuring less talented actors and filmmakers.

Here are some of the promo videos for The Battle of the Five Armies that have appeared since my last entry:

The Hobbit trilogy B-Roll footage (Hugo at 1.50) ; Screen Slam via YouTube

Memories of Middle Earth behind-the-scenes featurette w/actor interviews; Hugo Weaving interview snippet at 1.22 Warner Bros via YouTube

Completing Middle Earth (six film overview) featurette; Warner Bros via YouTube

17 Years in the Making Hobbit/LOTR overview; Hugo footage at 1.39, 2.00, 2.49, and 5.40; Warner Bros via YouTube

I’m not even going to attempt to compile all the reviews of the film; many are very cynical. But some of the more balanced, well-written ones appear at Empire Online, Entertainment Focus, Victoria Advocate, The Radio Times, Flickering Myth (1), The Boston Globe, The Scotsman, TIME, Flickering Myth (2), ABS/CBN, Examiner.com, The Daily News Online and MoviePilot.

Additional feature stories about Battle of the Five Armies and The Hobbit trilogy have appeared at The Guardian, Films on Wax (Howard Shore interview about the film’s score), Digital Spy, The New York Daily News,

You can watch Evangeline Lilly’s gonzo promo interview on Conan at TeamCoco.com and see a behind-the-scenes glimpse of uber-fan Stephen Colbert having the ultimate cosplay fun prepping for his Entertainment Weekly Hobbit cover story at EW Online. (Yes, I have the print magazine (Bilbo cover) and will try to have scans up at Flickr soon.) There’s an Ian McKellen photo quiz at TwitchFilm.  And a Cate Blanchett interview which notes The Hobbit in passing at The Daily Telegraph.

…And I’ve added three Hobbit-themed print articles from The Independent, The Daily Telegraph and The Daily Express to my Flickr Archive. No Hugo Weaving interviews per se in these, but a two feature images of him.

The Mule

I hope some of you were able to participate in #TheMuleLive event back on December 7. (I know several of my Twitter pals were along for the ride).  I rented a copy of the film and tweeted along, and found it an indecent amount of fun.  Though it would be impossible to share everything contributed by the fans, filmmakers (Angus Sampson, Leigh Whannell and several film crew members) and actors (John Noble, Sampson and Whannell, Georgina Haig, Ewen Leslie and Chris Pang), here are some highlights, including wonderful behind-the-scenes images and script pages:

Hugo Weaving, Angus Sampson, Leigh Whannell, Ewen Leslie during pre-production   Photo: Stefan Duscio (The Mule’s cinematographer) via Twitter

The cast at an early table-read of the script (Hugo is far down on the left)   Photo: Stefan Duscio (The Mule’s cinematographer) via Twitter

Angus Sampson. Hugo Weaving, Ewen Leslie,   on set   Photo: Stefan Duscio (The Mule’s cinematographer) via Twitter

Hugo Weaving on set Photo: Stefan Duscio (The Mule’s cinematographer) via Twitter

Here are script pages from some of Hugo’s (Det Croft’s) funniest scenes, as shared by Angus Sampson. Original screenplay by Angus Sampson, Leigh Whannell and Jaime Browne.

“There are tongs for that!” (Croft vs Ziggy)

THAT scene…

“Bit more choke and that would’ve started”

The Infamous Balloon Scene

The Perils of Australian Lamb

Some other great production images:

Fiona Rees-Jones’ make-up kit for the #HugoWeaving #TheMuleLive” The Mule Movie via Twitter

The film’s storyboards  Photo: Stefan Duscio via Twitter

Assembling scenes in the editing room   Photo: Stefan Duscio via Twitter

You can read interviews with Angus Sampson and info about the Live Tweet event at The Sydney Morning Herald, Subculture Entertainment, The West Australian, FilmInk, Quickflix (places The Mule in the Top 10 Australian Films of 2014),

The latest reviews of The Mule (which remain largey positive) can be read at Better Than IMDb, How To Win Game Shows, International Syndicate of Cult Film Critics, Eureka Street, Thy Reviewer, Broadsheet

And if you missed any earlier promo videos or video interviews for The Mule, Angus Sampson has assembled a Playlist (which includes a few of his and Hugo Weaving’s press interviews) on YouTube.

The Dressmaker

Of course, Hugo Weaving was unable to participate in #TheMuleLive and in most of the Battle of the Five Armies promotion because he’s been busy filming The Dressmaker for director Jocelyn Moorhouse at locations in Victoria. Production formally wrapped a few days ago (December 14), but not before several more photos of Hugo Weaving and other cast members (Kate Winslet and Liam Hemsworth chief among them) appeared online via Instagram and several online papers in the Wimmera area, where the last block of filming took place.

The production team announced filming completion via producer Sue Maslin’s second eNews announcement. Click on the link for the full text; here are a few highlights:

“On Friday the 17th of October 2014, we rolled cameras on The Dressmaker at Docklands Studios Melbourne. Eight weeks later we called “Cut!” for the very last time finishing up in Horsham, Victoria. ..

Kate Winslet has been our ideal ‘Tilly’: beautiful, strong, quick-witted, and even quicker with her period Singer sewing machine. The mother-daughter relationship between our ‘Molly’, Judy Davis, and Tilly is authentic, moving and a joy to watch. To see these two great actresses working together on the screen has been electric and often hilarious… Liam Hemsworth brings loads of natural charm and warmth to ‘Teddy’ and it’s no wonder Tilly falls for this likeable and devastatingly handsome rogue. And Hugo Weaving is perfect as our debonair ‘Sergeant Farrat’. Add to this Sacha Horler as the formidable ‘Una’ who attempts to rival Tilly and Sarah Snook, a revelation as ‘Gertrude’ who bowls everyone over in her exquisite gowns designed by Marion Boyce. We are indebted to our entire cast, of which there are so many, who have added such depth and character to the townspeople of Dungatar.”

The Wimmera Mail-Times featured several great photos of cast members (including Hugo) enjoying down-time at local haunt The Exchange Hotel , posing with fans. (Captions are from original news article).

“Nathalie Henry and Sharon McDonald meet stars Gyton Grantley and Hugo Weaving at the Exchange Hotel in Horsham on Tuesday night [9 December].”

“Annie Brack meets Hugo Weaving on Tuesday night.”

“Katherine Coorey and friends get to meet some of The Dressmaker stars at the Exchange.”

“The Dressmaker extra Paige Schmidt, left, and Horsham’s Loucas Vettos, right, with Caroline Goodall, Hugo Weaving, Kerry Fox, Sarah Snook and Shane Jacobson outside The Exchange on Wednesday night.”

All four above photos: The Wimmera Mail-Times; they have additional photos of the set and other cast members in their online gallery.

Here are some additional fan photos (with original captions) that have appeared on Instagram:

So I met Hugo Weaving on the set of ‘The Dressmaker’ the other day. You always think that whenever or if-ever you’ll meet your absolute idol then you’ll have an intelligent conversation, but take it from me, you end up looking like a bumbling idiot asking for an autograph when the opportunity arises. #hugoweaving #agentsmith #lordelrond #thedressmaker #onset #metgodtoday”
Photo: Charles Thompson via Instagram

My beautiful mum met Hugo Weaving, @gytongrantley and other cast members of The Dressmaker on Wednesday night! So lucky. After spending the arvo on set and then meeting these guys that evening – I certainly am jealous! #thedressmaker #hugoweaving #horsham”  Photo: Schmenz via Instagram

“Got to meet one of the best Australian actors ever!! #HugoWeaving” Ella Schorback via Instagram

JustJared posted a number of photos of cast members between scenes on set; most are of Kate Winslet, Liam Hemsworth and Winslet’s husband Ned Rocknroll, but there was one great pic of Hugo with Kate Winslet. (Featuring his infamous fire-carbonized glasses– yes, apparently Hugo needs bifocals now. Guess we’re all gettin’ old together.) 😉

Hugo Weaving, Kate Winslet and a Dressmaker crew member on the film’s Melbourne set   Photo: JustJared; no specific photographer credit given; enlargement here

An additional JustJared gallery doesn’t feature Hugo, but shares some amazing shots of Kate Winslet in a dazzling red dress and Liam Hemsworth in rugby gear.

The Wimmera Mail-Times posted several related stories (and loads of set pics featuring Winslet, Hemsworth and many costumes extras). You can find the links to all here. Hugo Weaving is mentioned but there are no interviews or photos in these pieces.

The film’s production-wrap announcement was covered by Variety, Screen Daily, The Courier-Mail, The Daily Mail, Inside Film, Weekly Times Now and Digital Spy. All featured the film’s first official stil, featuring Kate Winslet (below). Jocelyn Moorhouse is quoted as calling the film “’Unforgiven’ with a sewing machine” and adds “Working with Kate, Judy, Liam and Hugo was wonderful. A great crew, brilliant supporting cast and beautiful locations, costume and design helped make the shoot a delight.”  The Lowdown Under included a number of set photos, including some from the film’s Facebook page.

Kate Winslet as Tilly in The Dressmaker   Film still via Empire on Twitter

In Other Hugo Weaving News

You can now stream Mystery Road on Netflix (in the US) and Healing on QuickFlix (Australia.) Healing is also available on DVD in Australia (region 4) only as of December 3; a US release and European release are tentatively scheduled for next year, but no specifics have been announced, nor any info on whether this would be a cinema run or direct-to-video/streaming/DVD/Blu-Ray. I assume that Starz/Encore will eventually broadcast the film on cable in the US.