My resume is a circuitous route as I think everyone’s is – it’s a slow build over a lifetime that defines the skills each person has collected on their journey to where they are now. And a Resume is also about all the people who they have worked with and who’s path they have crossed during their life.
I have learnt nearly everything on the job, I never went to film school – and therefore I’m grateful to everyone I’ve worked with for sharing their skills, and for their generosity and support.
When I left school, I went to the South Australian College of Art for four years specialising in Printmaking, and came to Sydney to live the following year. I had caught the film making bug at art school.
My first assistant’s job was advertised in the Saturday SMH Jobs Section (it was another world then). I worked for a small production company (Pilgrim Films). This was a fantastic practical introduction to every aspect of film making and editing. I got to do a bit of everything because they did everything. As well as editing, I was exposed to animation, title-making, photography, neg matching as well as making a variety of films – it was a great eye-opening experience. I also began studying at North Sydney TAFE which had a practical film editing course where the tutors actually wore lab coats to the classes. (Another world - again)
Through that, I got my next job at the ABC at Gore Hill, which was another great place for acquiring editing skills. I worked on Arts programs (Sunday Spectrum), Education (BTN) and Rural programs (Big Country) and TV dramas (Intimate Strangers) and worked with editors like Paul Healy and Mike Honey. Working at the ABC gave me a background in TV doco series, TV drama series and a variety of magazine format programs. It was a time when assistants could sit in the suite with the editor and director and learn through watching them working creatively in the edit suite together – the very best way to learn about the dynamics of that relationship.
The ABC ran training courses for their assistant editors, and the assistants were mentored by their editors who also gave them opportunities to cut and track lay programs. The best training experience was editing projects that went to air immediately – and all driven by a broadcast deadline. There was so much content needed each week to feed the on-air-content-machine and the ABC made so many programs itself at that time, that there were always magazine style stories to edit.
During the 80’s the feature film industry became busier, and I left the ABC after a few years. I began working with the legendary John Scott and Frans Vandenberg as their second assistant which was a fantastic opportunity to be working on feature films with such experienced and talented people who had already made their mark on the industry. I was part of their team on Dusan Makavejev’s Coca Cola Kid and John Duigan’s One Night Stand.
I also worked in dialogue editing with the talented and lovely Helen Brown and learnt much from her technically and importantly about how to work with everyone. I worked on many features and TV dramas with her firstly as assistant, then dialogue editor and ADR editor (Trouble in Paradise, Fields of Fire, Police Crop).
I assisted international editors like Peter Przygodda on Wim Wenders’ Until the World of the World.
I edited various docos and TV series for Juniper Films and SBS (First Citizen & Tales from Oceania) and edited Bill Bemister’s Warriors of the Deep. I edited artist and film maker Tracy Moffatt’s first two films Nice Coloured Girls and Night Cries, and edited Michael Riley’s doco Boomalli.
Amongst the editing jobs, I also co-directed a short film – Darkroom - with Lynette Wallsworth for the SBS Still Moving series, to mark the centenary of the invention of photography.
In the 90’s, I stepped aside from the industry a little, to return to studying. I went to Sydney College of the Arts to study Glassmaking (yes really) and then the College of Fine Arts to study Photography. And during this time, I started teaching video and photography at Eora in Redfern and Tranby in Glebe, and teaching editing at Metro Screen in Paddington. And I found I really enjoyed it.
When a lecturing position was advertised at AFTRS I applied and surprisingly got the job – and have been there for the last 20 years in a variety of different positions within the Editing department.
At AFTRS I’ve taught undergraduate students in the One Year Foundation course, and taught into the BA Screen course, but I’ve spent most of my time teaching into the Grad Cert, Grad Dip and MA Editing courses - and I know I am very privileged to do this.
And I’ve been lucky to work with an impressive list of Heads of Departments including Bill Russo, Mark Warner and Roland Gallois. And of course, Milena Romanin who has been our guiding postproduction supervisor for much of this time, and I couldn’t do my job without her considerable expertise. And Karen Pearlman’s ideas and energy have always been a big influence for me.
I am truly blessed with these wonderful colleagues and of course our talented students who are working out there in the industry now. It is really the best job.
The school is constantly re-inventing itself, and this is its enduring strength, and why it’s such a constantly interesting place work.
I love the mix of creativity, theory and practice, and especially the never-ending variety of films we support the students to make each year. I also love the various creative intersections that the students and all of us discover at the school. I am very lucky.
My ‘thank you’
When Danielle spoke to me about the Lifetime Membership of the ASE I was completely taken aback – it was so unexpected – and also deeply appreciative. I am honoured.
Thank you Danielle and the ASE. Thank you for all your kind words and thank you to my AFTRS colleagues, and dear friends in the editing community.
Phillippa Harvey Life Member contributions:
"Phillippa worked as both a picture and sound assistant, and editor for many years. We worked on several films and TV series together switching roles depending on the job. Sometimes we were assisting each other, sometimes working for or alongside other editors.
She has always been the same, and to this day, always delighted to see you, sporting some fashionable attire and smiling. A keen sense of humour, an eye for artistry and performance, rhythm and pace, and an innate sensibility for storytelling.
A true collaborator and remarkable filmmaker in every sense of the word. A consummate professional and inspirational educator and collaborator. Phillippa is ever cheerful with only the most occasional of sideways glances.
Congratulations on a most remarkable career!!
Oh, and PS if you didn’t know…she is also a glass artist! What a woman! "
- Dani Weissman
"It doesn’t seem possible, but it’s just over 40 years ago that we first worked together and here you are - about to receive a well-deserved recognition for your talent and devotion to the art of editing and the ongoing education of this amazing editing craft we share.
We all worked very hard and long hours in those days. There was a lot of steam to be let off and we did!
I remember in 84, at a club on Oxford Street very late one evening with Phillippa and fellow editor/partner Paul Healy, being collectively terrified and thrilled by a menacing and very in your face performance from The Birthday Party featuring a very different Nick Cave from the somewhat benign and preacher-like gentleman we know today.
Even in that maelstrom, Phillippa remained the epitome of cool, calm and style – which she retains to this day.
Congratulations Phillippa!"
- Franz Vandenburg ASE
“Over the years I’ve worked with Phillipa and experienced her devotion to film on many occasions. In 1985 I was working on Dusan Makaveyev’s “The Coca Cola Kid”, with her and Frans Vandenburg alongside me as my assistants.
One afternoon after completing their mornings work they both cheekily sneaked out to the Sydney Film Festival to watch a film, leaving me alone in the cutting room to cut some scenes. At first, I felt deserted, but when they returned I was able to show them my work and receive their valuable feedback realising that they had both enhanced their appreciation of cinema by attending the Festival.
From one recipient to another, I am delighted to congratulate Phillipa on receiving the ASE “Lifetime Achievement Award” and I thank her for sharing her considerable knowledge of film with me.”
- John Scott ASE
"I became a student of Phillippa’s at AFTRS whilst I was doing my Masters. Phillippa became an important figure in my learning journey and encouraged my all my editing aspirations.
Looking back, I can see that Phillippa was one of the main people who inspired me to specialise in editing.
I have always been in awe of the constant enthusiasm and energy she brought to her various roles through the years. Her knowledge of the creative side of editing is extensive and she also has a great holistic approach to the craft.
Philippa’s sense of commitment to nurture and encourage generations of editors is to be commended. I know so many of you here tonight can agree that she is extremely deserving of this honour. Congratulations Phillippa!"
- Adrian Rostirolla ASE
"During the 9 years I was Head of Editing at AFTRS, Phillippa was the rock and soul that held the editing department together during my absences off editing or attending one of the interminable meetings that seem to be a compulsory part of driving the steam train that is AFTRS.
I was the big brushstrokes, the rough sketches, the architect of the crazy ideas that may or may not fly. Phillippa was the detail, the scrutineer, the glue, the councillor, the first person students would go to when they needed a chat.
No matter how much hit the fan, Phillippa was always there with her beaming smile ready to settle it all back into place.
Congratulations Phillippa you really deserve this honour. "
-Bill Russo ASE
"When I first took my position at AFTRS in 2013, I entered the school befuddled and bewildered as to how to get started and where to turn. Phillippa graciously took my hand and guided me through the intricacies of the school and gave me wise support and encouragement during my time there. I am humbly in her debt for that kindness.
But what truly impressed me was how Phillippa interacted with the students. Putting their education and experience above all else at AFTRS. Giving her attention and encouragement selflessly to them. She enhanced their experience far beyond what I could have given them without her by my side.
Thank you Phillippa. I am so happy to see you receive this recognition.
You certainly deserve it. Congratulations!"
- Mark Warner ASE
"Phillippa Harvey has been a force for good in the film industry for decades and I am delighted to see this recognition being given to her - I cannot imagine anyone more deserving. Although she edited what became of the most significant works of film in Australian history, Night Cries, Phillippa turned her considerable talents to helping others, which was both a selfless thing to do, and a huge win for training of editors.
Philippa was one of my lecturers when I was an AFTRS student, and we connected warmly over our shared backgrounds in dance. She helped me to translate my knowledge of movement phrasing and qualities into my editing, and like soooo many students who have come after me, I am grateful for her insight, warmth, tough love, and diplomacy in my training, and way beyond.
At AFTRS, Philippa isn't just a force for good for students, she is, to my knowledge, the longest serving member of the academic staff there, and speaking from experience, a stalwart, kind, responsive, intelligent and responsible colleague for all teachers there - a force for good wherever she goes!
- Karen Pearlman
Final word to
"Phillippa makes the cut. With her great sense of timing of sound and image. She understands that cinema ‘drifts and dreams’
A big hello and congratulations to Phillippa!
- Tracey Moffat Artist / Director of NIGHT CRIES