Doc­u­men­tary shows Bil­cock made the cut

The Courier-Mail - - NEWS -

AUS­TRALIAN film editor Jill Bil­cock has thrived as a woman among men.

She turned a $30 a week pro­duc­tion job in the 1980s into a glit­ter­ing 30-year ca­reer edit­ing the ma­jor­ity of Aus­tralia’s most suc­cess­ful films.

The Academy Award-nom­i­nated Moulin Rouge editor cred­its be­ing raised by a strong sin­gle mother for her abil­ity to cut through the male­dom­i­nated in­dus­try.

“I never felt (be­ing a woman) was a prob­lem be­cause I was brought up not know­ing that there was a dif­fer­ence. I did have a mother who was a first fe­male prin­ci­pal of a co-ed school,” she said. “I had quite a lot of con­fronta­tions (with direc­tors). I just made sure that I voiced my opinions and that they were heard.”

Bil­cock (pic­tured) will make her first trip to the Gold Coast to­mor­row, where a doc­u­men­tary about her life in film Jill Bil­cock: Dancing the In­vis­i­ble will screen as part of the Gold Coast Film Festival’s first #Fe­male­film­mak­er­fri­day.

Her cred­its in­clude Strictly Ball­room, Muriel’s Wed­ding, El­iz­a­beth, Romeo + Juliet and The Dress­maker.

Speak­ing about her many col­lab­o­ra­tions with di­rec­tor Baz Luhrmann, Bil­cock said: “We killed our­selves laugh­ing the whole time. He said noth­ing will ever be as good as Strictly Ball­room again be­cause no one cared what we were mak­ing.”

She de­scribed a young Leonardo Di Caprio as “a true nat­u­ral”.

She is cur­rently work­ing on a doc­u­men­tary about the late Michael Hutchence with film­maker Richard Lowen­stein.

“Michael was fa­mil­iar, we did a lot of clips, so it’s a bit of love pro­ject for Richard and me,” she said.

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