SYNOPSIS
In each episode, the Bush Mechanics from the remote Warlpiri community of Yuendumu are presented with a new set of challenges - catching a car thief, getting a nephew out of jail, racing to an outback rock concert and travelling thousands of miles to gather pearl shells for a rainmaking ceremony. As they travel through the desert in their clapped-out vehicles, they solve multiple car problems with wacky and inventive bush repair techniques.
Featured characters include Jack Jakamarra, an Aboriginal elder who introduces the episodes with recollections of his first strange encounters with white people and their ways, and Jupurrula, the magic mechanic who appears out of nowhere to help the Bush Mechanics when they get into real car trouble.
A blend of documentary and drama with anecdotes of life in the bush, each of the four episodes illuminates a particular aspect of Warlpiri life from gathering bush tucker and living in a humpy to football and rock and roll.
Combining adventure, mystical realism and a distinctive brand of indigenous humour, the series provides a unique insight into both contemporary and traditional Aboriginal culture.
BUSH MECHANICS PREMIERED ON ABC IN 2001Production Story.
The production of a new four-part series of Bush Mechanics produced in association with Warlpiri Media Association, commenced in July 2000 in the Aboriginal community of Yuendumu, 300kms north west of Alice Springs. Combining wacky adventures and car repair techniques with a distinctive brand of humour, the series provides a unique insight into both contemporary and traditional Aboriginal culture. It is based on an original half-hour program that was broadcast on the ABC in 1999, and has received awards and critical acclaim both here and overseas.
For almost six months director David Batty and I lived in the remote Warlpiri community of Yuendumu, home of co-director Francis Jupurrula Kelly and the Bush Mechanics mob. Life in a remote desert community can be challenging in itself, and a new set of challenges appeared when trying to produce and direct a four-part TV series within another culture and language. David Batty’s long standing creative partnership with Francis Kelly, plus our strong relationships within the Warlpiri community were essential to the success of the production. The series required a high level of trust and support from the entire community and a great deal of hard work from everyone involved.
From the outset, we tried to maintain a totally open door policy towards the production. At times we fed approximately 15 people three times a day - all out of the small house we occupied for the duration of the production, affectionately known as "Bush Mechanic Headquarters". The nightly screening of rushes with a big feed regularly attracted over 20 people. Living in a remote location like Yuendumu requires complete self-sufficiency, and basics like food, water and cash can't be taken for granted. Shopping requires a 600km round trip to Alice Springs and there are no banks or ATMs, so accessing cash is a complicated process. However, the biggest issue was the state of the water supply. Unfortunately for the general population of Yuendumu, the water supply is appalling, and during our first week there, every person in the crew - bar one (the hardy producer!) - contracted a violent stomach bug. We soon installed our own mini water filtration system to ensure a decent water supply. Needless to say, this made the Bush Mechanics Headquarters the most popular house in town.
The production office also had a steady stream of visitors - at times up to 30 or 40 people, including an assortment of kids and dogs. Production manager Kath Shelper had her hands full co-ordinating an ever-changing production schedule that accommodated everything from hunting trips and football commitments to the more serious responsibility of men’s business, women’s business and the all-too-frequent funerals.
We decided to commence the first stage of post-production on location to allow for dialogue translation, community consultation, cultural protocol and general community involvement. David Batty has always found this to be an integral part of making films in Yuendumu, adding to the energy, charm and ingenuity that pervades the series.
A non-linear edit suite was transported to Yuendumu and set up in a room recently vacated by the petrol sniffing program. Editor David Nixon often shared his edit suite with up to 25 animated onlookers who would drop in to view the latest cut. Although David doesn’t know the language that well, he quickly learned to recognise which cuts worked according to the reaction of the audience.
We decided to produce the soundtrack for the series in Yuendumu as we really wanted to capture the unique, grungy desert Warlpiri sound. This meant locating and transporting a PA, amplifiers, guitars, microphones, mixers, keyboards, drum kit and digital recording technology over huge distances and setting up an entire recording studio. This was followed by jam sessions, which would last well into the small hours of the morning. Music director Bill Davis and music producer and engineer Michael den Elzen often had to power down the operation just to get the multi-talented Warlpiri musicians to have a break. It was well worth the effort, as all the music used in the series originates from this month long session in Yuendumu.
In all, during our time there - among floods, fires, men’s business, stomach bugs, dust storms, lightening strikes, extreme heat and sorry business - we managed to shoot all four episodes of the series, translate around 40 hours of material and compose and record the entire soundtrack. It's been a long haul, with the project being both exhausting and exhilarating.
The post-production was carried out in the leafy environs of Film Australia, Sydney which seems a long way from the vibrancy of community life and the red dusty roads of the Tanami desert.Jeni McMahon
Producer
