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<<<< One of his colleagues, Esben Storm was a huge influence. "In 1972, we all shared the AFI's 'Best Film of the Year' for Esben's feature film 27A, for which I was the Director of Photography. Our next feature film In Search Of Anna, received 25th Asian Film Festival Award – 'Best Cinematography' and a Logie for 'Cinematographer of the Year'." In between, he'd been On the Road with Circus Oz ('82, DP 2nd unit) and Directed/DP The Voyage of Bounty's Child, a Look/BBC production, in '83.

He worked in Africa for Time-Life (series DP The Africans), Canada (share DP Solzhenitsyn; Children are Making Lots of Noise in Paris) and Europe, on Nosferatu, the Werner Herzog remake of the classic. Edols and Herzog came back to Australia together, to work on Where the Green Ants Dream.

He returned to his role as DP working on the TV series Winners (TEN) and in '89 he DP'ed a feature in Greece for Paul Cox, after having worked on one of the Winners episodes with him. Island went on to receive seven AFI nominations. During this period, he produced, wrote, directed, photographed and edited his first major TV documentary series, the 13-part Under Southern Skies, for SBS.

Between the mid to late '80s, he was involved in a further three productions with an Aboriginal theme; cinematographer of Eora Corrobberee, produced by Mike Lemoigan; Director/DP of When the Snake Bites the Sun (Prod/Tom Haydon, and DPed Tudwali, Line Produced by Julia Overton.

He rounded off the '80s shooting commercials for clients from Disney to Mojo, MDA, The Campaign Palace, Marmalade Films, Western Images, Quill and Taimac SBS.

In the early 1990s, he remained an active Director/Cinematographer, to the commercial and corporate worlds at Beyond Communications. In early '96 he returned to the campaign advertising/commercial marketplace under the flag of Sprowles Films, as a Director/DP.

In 1998, he took up an assignment as 'teacher' with the Vancouver Film School. With experience of having to express the science of cinematography and so much that had become organic to his knowledge of film language, he had rediscovered his love of a story well told. "I had rediscovered my love of a story well told," he says. "But more than this I wanted to exercise my experience as a cinematographer and work with young blood." That opportunity came with Ordeals of Love and Stingers, both Indi-Canadian features, followed - as did the TV documentary, The Irrepressible Life of Roy Kiyooka.

By the end of 2000, he had shared credits on the Australian features The Finder and Games Of The 'I' and was Director/DP for a US/Hong Kong 'Discovery' co-production for the series Asian Enigma. More recently, he has been focusing on TVCs for the launch of Southwark Bitter beer.

In 2001, Edols has come full circle. He's ten again, running around the streets of Melbourne with his box brownie.

"No, I'm not, I'm 58! I am still doing the work I want to do, whatever the genre. And it still comes with its essential ingredients; it must be interesting; it must have an element of creative or commercial challenge; it must involve interesting people, who make tangible contributions to the project. And I like to think we are all in this together or not at all. It's something the Dusans taught me in Borneo. Look into the distance and then back to the microcosm. You'll learn something about the distance."




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