Production
The book was first published in 1967 and Patricia Lovell first read it in 1971 and thought it would make a great film. She did not originally think of producing it herself until Phil Adams suggested she try it and she optioned the film rights in 1973, paying $100 for three months. She hired Peter Weir to direct on the basis of Homesdale and Weir brought in Hal and Jim McElroy to help produce.
Screenwriter David Williamson was originally chosen to adapt the film, but was unavailable and recommended noted TV writer Cliff Green. Joan Lindsay had approval over who did the adaptation and she gave it to Green, whose first draft Lovell says was "excellent".
The finalised budget was A$440,000, coming from the Australian Film Development Corporation, British Empire Films and the South Australian Film Corporation. $3,000 came from private investors.
Filming began in February 1975 with principal photography taking six weeks. Locations included Hanging Rock in Victora, Martindale Hall near Mintaro, and at the studio of the South Australian Film Corporation in Adelaide.
Director of photography Russell Boyd stated in interview that he created the ethereal look of the picnic by placing simple bridal veil fabric over the camera lens.
Weir originally cast Ingrid Mason as Miranda, but realised after several weeks of rehearsals that it was "not working" and cast Anne-Louise Lambert. Mason was persuaded to remain in the role of a minor character by producer Patricia Lovell. The role of Mrs Appleyard was originally to have been taken by Vivien Merchant; Merchant fell ill and Rachel Roberts was cast at short notice. Several of the school girls' voices were dubbed in secrecy by professional voice actors. The voice actors were not credited, although actress Barbara Llewellyn revealed that she provided the voice for the role of Edith (Christine Schuler).
Read more about this topic: Picnic At Hanging Rock
Famous quotes containing the word production:
“The development of civilization and industry in general has always shown itself so active in the destruction of forests that everything that has been done for their conservation and production is completely insignificant in comparison.”
—Karl Marx (1818–1883)
“I really know nothing more criminal, more mean, and more ridiculous than lying. It is the production either of malice, cowardice, or vanity; and generally misses of its aim in every one of these views; for lies are always detected, sooner or later.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)