After premiering at Toronto International Film Festival in September 2019 and moving onto Glasgow Film Festival in February 2020, True History of the Kelly Gang was finally released in the US on April 24, 2020 (exactly a year ago). Unfortunately this release was on VOD (apart from a few drive-in showings) and despite it becoming my favourite film of the year, I have yet to see it on a big screen – something that the stunning cinematography really deserves.

I have made it my mission to evangelise about this film and urge people to see it. Director Justin Kurzel has taken a complex novel (by Peter Carey), told through a highly subjective point-of-view and adapted it into a searingly visceral film that presents Australia’s most famous historical figure in a new light. Of course the writing, direction and performances by George MacKay, Essie Davis (especially), Russell Crowe, Nicholas Hoult, Thomasin McKenzie and Charlie Hunnam are a huge part of why it’s so good. But there are three main areas that make True History of the Kelly Gang stand out as something truly special – the costume design by Alice Babidge, the score by Jed Kurzel (Justin’s brother) and the cinematography by Ari Wegner.

Over the last two months, I have tracked down these three key contributors and spoken with them about making the film. I want this to serve several functions – a celebration of the one year anniversary of the film’s US release, a chronicle of how the film was made and a DVD-commentary style discussion of several key scenes, with contributions from Wegner, Babidge and Kurzel.

Come with me on this journey into True History of the Kelly Gang.


“I’ve come to learn, secrets shackle one tighter than any chain and lies fester long after their invention.”

Ari Wegner (DP): The location (where the Kelly Shack was built) has these dead trees and not much else, so it was perfect for what we were looking for, which was something quite barren, but kind of a bit haunted. The opening overhead shot of Ned’s father “galloping across Horan’s paddock in a lovely red frock” is some really amazing drone work by an Australian group called HeliGuy (drone camera operator – Ewan Donnachie, drone pilots – Guy Alexander and Alistair Smith). It required finding a location that could work for the horses and the drone and the landscape. I’m really pleased with how that worked out, I still get goosebumps when I see that shot. It was something that Justin (Kurzel, director) had imagined from very early on in the piece. That it would start with this drone shot. It takes a huge amount of skill from the drone operators to achieve that, they make it look effortless, but it’s really pushing the limits of what’s possible and what’s safe when working with horses, travelling at speed through obstacles and I’m really pleased with the outcome. It’s a high risk, high reward pursuit, but with something high risk you can also end up not getting something that’s good enough to start a film. We didn’t really have another opening, so we were relying on that working, but luckily it did, with a lot of angst!

[3 mins – BOY]

There is a tracking shot from Young Ned’s (Orlando Schwerdt) point-of-view (establishing the subjective nature of this story) as he approaches the Kelly Shack, with him ending up spying on his mother Ellen (Essie Davis) and O’Neil (Charlie Hunnam) through a narrow window.

Ari Wegner (DP): You probably noticed that there’s a theme of a slit aperture, which is a pretty direct reference to Ned’s helmet (when he becomes the Ironclad Monitor at the end) that you see come in from the very get-go. That location heavily features those long windows to look out of. So that was a big influence on a lot of the design features. The idea that it’s protection but it’s also a bit of a prison, peeping out of a little hole – you are protected in a way and you’re safe, but you also have it for a reason because there’s something you’re trying to protect yourself from – there’s a strength and weakness in that concept. That’s the Kelly house, in a nutshell.

Ellen washes the blood off Young Ned after he butchers a cow

[8mins 30secs – THE BUTCHER]

When Young Ned’s drunken father ‘fails to provide,’ he takes it upon himself to kill a cow and drags a leg home, covered in blood. This cements him in his mother’s eyes as “the man of the house.”

Jed Kurzel (composer): The Butcher was kinda playful, because I knew the score would get quite heavy, it would be good if there was a certain playful element to it. I guess with Ned being younger and particularly in that section of the film, it felt like I could inject something that had a heightened element in there. That track was preceding the entry of Russell Crowe’s character as well, so there was a certain cartoonish element to it that I really liked, that I wanted to infuse in there subtly like a Hanna-Barbera/Warner Brothers – those sort of early cartoons, which I really liked.

Ari Wegner (DP): From some of our early conversations, Justin and I, we really wanted to make a world that felt a bit broken, in general and everything is makeshift. At the time Australia was a British colony but was not terribly well taken care of, there wasn’t a huge amount of effort put into it. It had the crappiest and dodgiest police and everyone got sent down to give it a go and see if it works – that was the idea we were going with. That it was a place that was already in a state of neglect from the get-go.

Ari Wegner ctd: We wanted to have light that was improvised, from a story point-of-view. We worked with Karen Murphy, the designer and some of our props people to create these trays with a burning fat substance in them with a wick that wasn’t like a candle, it was more like burning animal fat. And then there were any kind of fires or lanterns. We really didn’t want any candles in the film, because it felt too romantic or something, too civilised, something that wouldn’t have been within their reach at the end of the so-called civilised world. We didn’t want any conventional period lighting, we wanted everything to feel handmade, kind of broken.

So, it was a combination of those actual things that the art department made and then a lot of hidden lights, mostly LED tubes and panels and things because to shoot a film you need more light than the eye needs, so we enhanced with hidden film lights. We built the Kelly Shack on the location, so it wasn’t a studio environment where you have lights from above that you don’t see. It had a low ceiling, it required some crafty hiding of lights.

Joe Byrne with Adult Ned (in his red shirt)

[42mins – HOME]

“I had done my best to remain far from my family’s selection, to pretend I were more than just a Kelly. But my kin were never far from my mind. My mother’s call always in my ear. The longer I stayed away, the louder it became.”

“Until one day, I were home.”

The now adult Ned (George MacKay) returns home after a long period of absence, with his best friend Joe Byrne (Sean Keenan), to find that his mother has taken a young Californian lover George King (Marlon Williams). He also discovers that his brother Dan Kelly (Earl Cave) and his friend Steve Hart (Louis Hewison) are in a dress-wearing, horse-stealing gang – The Sons of Sieve. Ned, Joe, Dan and Steve will go onto become the four core members of the Kelly Gang.

After adult Ned’s initial character introduction – as a bare-chested bare-knuckle boxer, he is seen wearing a red shirt that he will remain in for almost the entire rest of the film.

Alice Babidge (costumes): I put palettes together for projects subconsciously, I don’t necessarily have a sense of where the palette should go, the colours just sort of find their way together and form this little collective that I work from to build out a world. On Kelly Gang that happened very easily and it sat within the landscape, and it bled into these pastel tones that were used in the dresses. Red didn’t feature very much, it featured in the rusty coloured dress that his father wears in the opening sequence but it didn’t really feature anywhere else except for the blood that was shed through the story.

So as Justin (Kurzel, director) and I started working, we stumbled upon this idea of going high-contrast with Ned’s clothing at the beginning and declaring him as this person. Randomly in a fitting one day, I had found this 1970s red wool hunting shirt and I tried it on George with these cream moleskin trousers and something about the boldness of the gesture felt like it landed on that actor in that moment in that room. So we went about crafting our own version of it, so there were like ten red shirts and like twenty pairs of trousers and it became such a signifier for him, even more so than the leather jacket he wears that you think would become the main event in terms of understanding who the character is. The red shirt became ‘the thing’ which is why, when we got to the hanging, we decided that it would be nice for him to have just torn a piece of his shirt (around his neck) to keep with him through those final moments.

Jed Kurzel (composer): For the track Home I used strings that are layered up and re-pitched, then I had a quartet play over them. I guess the more minimal players you have together, you tend to get more individual characteristics from each player, rather than if you have a bigger section of strings, it starts to sound like one more homogenous thing. With a few individuals playing you get the really nice character of each individual’s playing.

The tone and the sound of it reflects that environment. I’d been living away from Australia for about five years, I’d been living in the UK, so I was reflecting on that landscape from afar in some ways. Which is really interesting to do, if you can get to do that with your country. So you tend to pick out bigger details and memories and things like that, so the whole score had a little bit of that to it. So I guess that infused into Ned’s feeling of home as well, my feeling of home too.

Marlon Williams being directed by Justin Kurzel

[58 mins – George King’s song “I Don’t Know if I’m Dreaming Anymore” – written and performed by Marlon Williams]

There is a fancy dress party at a dancehall. Ned introduces his new beau Mary (Thomasin McKenzie) to his mother and George. But it turns out Mary and George already know one another – awkward! Despite this being a complex crowd scene, it’s absolutely gorgeously lit and the costumes are brilliantly fun, despite only appearing fleetingly onscreen.

Ari Wegner (DP): We wanted always to have the light coming up from the ground, never down from the top because it feels like there’s something desperate and wrong about it. A lot of people consider uplighting (from below, coming up) is traditionally not a flattering light and most people wouldn’t recommend that you light upwards. But I actually really love it, as a direction, because I think it can feel very natural. It just felt right for that time and that place, there’s a desperation there and I think the uplight works well.

For this scene we had a lot of lights low on the ground, most of them I think were these little lanterns that were built that again felt kind of scrappy. In a crowd scene, it can be tricky to light everyone, but then also you’ve got a lot of people that you can use to block and hide things. Having lights low on the ground also makes it quicker to move them around, if they’re up high, there’s more rigging and a lot more safety stuff involved, so it meant we could move stuff around easier. It’s a similar concept to the house, some on-camera sources and some other film lights hiding.

Ari Wegner ctd: The main thing about that scene is that we only had one night to shoot everything in that location, so it was a kind of wild night, that was not unlike the party onscreen. The madness of heaps of people, hustling to get things happening and multiple cameras and stuff. I really like the madness of that scene, I think it works for the energy, which feels kind of scary for some reason, maybe the masks, there’s something kind of unhinged about it.

Alice Babidge (costumes): Justin and I were really keen to not have that party scene be sort of trussed up society, because they weren’t really the people that we were interested in meeting. So we thought we would make it like a bad-taste federation kind of party, so there’s cricketers in whites, there’s convicts and we tried to play out a faux sense of society, down to things like Joe Byrne (Sean Keenan) dressed as an emu. Research-wise, I looked at the arrival of the first fleet and there were women in hoop-skirts and redcoats, so I went back and looked at all of that. And it’s in incredibly bad taste and that was the intention – these white people standing around celebrating this horrible thing that they’ve done years before, but having a party for it.

Alice Babidge ctd: We had a whole town of people as extras and I spent a day dressing them, there were no fittings, just had to dress them all in a day, it was absolutely bonkers. We spent two weeks making weird papier-mache heads. I wanted it to feel incredibly of the period, but also like it was a Venetian ball of the 16th century thrown in there. The whole thing is an invented landscape, the whole sartorial world of the film is an invented landscape, based in historical research, but it flits all around the period, as I’m sure you know. So I figured, why not go back even further for elements of the party.

[1hr 4mins – MAGPIES]

“Everything in this fucking country’s trying to kill us.”

A fraught daylit scene in the Kelly Shack. Constable Fitzpatrick’s (Nicholas Hoult) face is bleeding from a rogue magpie attack. There are revelations a plenty – Fitzpatrick is trying to woo Ned’s sister Kate Kelly (Josephine Blazier) with a new dress, he reveals who Mary’s baby’s father is (George King) and the fact that Dan will be heading to prison for four months. Ned shoots Fitzpatrick in the hand, but can’t finish him off, leading Ellen to cry “are there no men of substance in this Godforsaken country?!”

Jed Kurzel (composer): I record rough ideas first and then I start building things from there, picking out elements and bits and pieces that I really like, then focusing on those and developing those ideas in a rough sort of way. Then I’ll bring in, like I did with Home, I’ll bring in a quintet or something like that and get them to play over the top so you get this really nice mix of something that’s been put together in a really rough, raw, chopped up kind of way and then you have musicians play over that. So you get a nice dynamic between the two, where you don’t know what’s being played and what’s been processed and put together or cut up. That’s how I built Magpies. I remember writing that around the time when I was thinking of the film having a bit more colour to it than previous ones I’d done with Justin, a playful element in there, even though that music is coming at the end of a pretty intense scene. Magpies was actually my favourite piece in the whole film – we just threw it around and it started to tell us where it wanted to sit.

Ari Wegner (DP): Justin was really intent on having a set that was on location, so you could see the location from inside and it always felt like you were really there, because we were really there. So Karen Murphy designed this set that was deliberately porous, there were holes everywhere, even the floor – the floorboards had gaps in them and everything felt like it was a flimsy shelter and that the outside was always there. But then there’s also an eccentric flair to it, with the coloured bottles in the wall, the warm nest feeling that Ellen Kelly (Essie Davis) manages to create with the material and it’s still a warm home where everyone’s welcome. Also to build something in an environment, without completely ruining that environment. I think they built most of it (the shack) in a warehouse and then transported it and tried to install it in a very low impact way, to preserve as much as possible the beautiful grass and the landscape around it.

[1hr 12mins – RIDING ON]

“You’re not the man you pretend to be. Nor the man your mother wished you were. You’re a boy. A boy looking for a captain to tell him what to do. I’ll tell you what to do Ned. Run. Run as fast as you can.”

My personal favourite scene. Ned pays a visit to Fitzpatrick and his new girlfriend. Ned sees the diagram of the warship – the Ironclad Monitor – on Fitzpatrick’s wall, which will inspire his armour at Glenrowan. Fitzpatrick attempts to eat a sumptuous banquet of shellfish while Ned points his gun at him. Fitzpatrick tells Ned that he’s a boy trying to play at being a man (one of the central themes of the film) while the haunting woodwind of Jed Kurzel’s Riding On comes in and there is a sudden cut to a stunning overhead shot of the Kelly Gang riding out to Bullet Creek, in the snow. At Bullet Creek, around a campfire, Dan Kelly explains more about the Sons of Sieve and why they wear dresses – “nothing scares a man like crazy.”

Jed Kurzel (composer): Riding On just came out of writing one day and making stuff up. You trick yourself into thinking you’re writing a longer theme or a whole piece. What actually happens is that you do something for the day and then leave it and a week later or so come back and have a listen. It came out of a really small section that I’d written and it’s a really weird loop in some ways. I took that and started building on that and for some reason I put the woodwind in there. I put it over the track and it whistled through that whole environment really beautifully and created a ghostly feel. I think in that landscape particularly, Australia does tend to, with its history, it always feels like it has a lot of ghosts attached to that landscape, so it called to that. And it called back to some sense of family and belonging, a kind of sadness as well of feeling apart from the world that you live in, feeling detached.

Ari Wegner (DP): The shot through the drawing of the ship to Ned was one of Justin’s very early ideas, to somehow be inside or through the thing that he’s obsessed by and see his reaction at the same time. Something slightly magical, or possessed about it. I can’t remember why we ended up having them eating seafood – it was strange and luxurious and a bit silly. There’s something involved with eating, there’s work you have to do before you can eat, rather than just eating. We shot that in a building that’s in Melbourne, that’s actually a really old building that may have even been transported over to Australia from England. Or existed somewhere and then was brought over. Originally this scene came after the Stringybark shoot-out and Ned presented the ear (that he cuts off the cop that he kills) to Fitzpatrick.

The sudden cut to the snow was something that we wanted – seeing the snow would be an intense and bright experience. It also worked well that when we went up to a place called Lake Mountain, which is where we did the stuff in the snow, about ten years ago there was a big, tragic bush fire in that area and the trees haven’t grown back entirely. So there’s a dead tree theme that follows Ned and haunts the characters, which we liked. I think it worked to make a connection between two places that are very far apart, thematically.

It’s interesting you say that’s your favourite scene, because there’s quite a lot going on. It’s a strangely complex concept, to tell elegantly, that Ned was inspired by this warship without making it too on-the-nose. And there’s this power dynamic going on…It’s a funny old scene, I remember it being very tricky to shoot because of trying to figure out how it all fits together.

[1hr 17mins – STRINGYBARK]

Daylight in a lush green forest. Ned turns from reluctant thief into full-blown cop killer. A detail I noticed on my most recent watch – you can hear the kookaburras laughing after Ned kills the coppers. In the aftermath, Joe Byrne attempts to lure Ned to America with the promise of donuts – “it’s like biting into a fuckin’ cloud, they reckon mate.”

Ari Wegner (DP): We always wanted to do something interesting with that scene because it could be quite a cliched scene. We never wanted to shoot scenes that we felt like had been done before and that one was definitely in the danger zone of something you’d seen before. Bushrangers find police…shootout…everyone runs…people get shot.

We wanted it to be strongly from Ned’s point-of-view. Originally we conceived, if there was a way of doing it in one shot. We did a one-shot version, where our fantastic Steadicam operator Tim Walsh just ended up hand-holding the camera and running with it very fast and almost not really looking where he was pointing it, not looking at a viewfinder. We wanted it to feel scary and confusing and like it hopefully would for Ned. Suddenly you’re in a shootout and unlike in a movie, you don’t know everything that’s happening, you don’t know where everyone is, you don’t know who’s OK and who’s not, you don’t know where you should go, it’s not a well-planned attack.

He don’t give a fuck about no donuts.

Ari Wegner ctd: We did that one-shot idea and then we did a body-mounted camera for Ned. We wanted something quite intense and nauseating, just to really be with him. To find a way of experiencing it as he’s experiencing it and it’s a strange, weirdly low-angle. We ended up using a combination of both of those angles. But each take was the whole scene, so there wasn’t coverage as such. The fear and the imperfection of it and the messiness of it – we really wanted an unconventionally messy period film, full of imperfections, not as choreographed and perfect as some of the stuff that we’ve seen in period films before.

[1hr 27mins – HELMETS]

“Are we gonna take the future and make it ours?! Are we gonna rewrite our own history?!”

On the top of a mountain, in a blizzard (in Alice Babidge’s words). A shirtless Ned whips up a crowd of boys in dresses and tells them his plan with no drawbacks. A train full of coppers will be derailed, distracting the Melbourne police so he can bust Ellen out of jail.

Jed Kurzel (composer): I just decided one day to come in and make a track that sounded like it was made out of things to build the helmet. I just thought “I’ll see if I can do that” and that’s kinda what came out. I sent it to Justin just with the title Helmets. I told him where it came from, what was the spirit behind it and I think he just kinda went with it. He sent me that scene and I developed it some more and it worked really well.

Alice Babidge (costumes): The boys, the core gang, obviously all had their dresses, we made them all and they had multiples of everything, because of the amount of wear and tear that happened to their clothes. Some of the wider gang, casting brought some of them in, but some were friends of the boys (who played the core gang of Ned, Dan, Joe and Steve) and they just came into this studio we were working at, in Melbourne for fittings. I had such a great time working with these young men, aged from about 17 to 25, coming in because they wanted to be an extra in this film. But also knowing full well that all I was going to do was put a dress on them. It was such a wonderful thing. And from the beginning, of working just with our core gang, the way I started with them was just by putting dresses on, any dress that I had around and they rehearsed in them and they wore them around the place. It was about making an article of clothing lose its usual signifiers – like a dress is for a woman – and making the dress as much of a piece of armour as the armour itself was. And that’s what all of these boys took on, in an incredibly natural and beautiful way.

So preparing for that scene was a total joy, because for me it was about the ease of putting thirty boys in dresses was there, all I had to worry about was landing a palette that I felt was consistent. Making sure that nothing felt too 70s and finding a volume of period clothes for that kind of period is a tricky enough undertaking and then you sit around, dyeing them, hoping that they don’t fall apart in a dye bath. It was incredibly overwhelming at the beginning but ended up being really fun. And the shoot day was just ridiculous, trying to keep all these boys warm in the snow, in a blizzard on a mountain, George there trying to give his speech, it was amazing.

Ari Wegner (DP): We didn’t have long for that scene. Shooting in the snow in Australia, in Melbourne, it doesn’t have the infrastructure that a lot of other parts of the world do. It’s a lot more back country, cross country skiing, there aren’t big well-resourced resorts and ways to get around that are easy. We made the choice that if we wanted to have snow in the film, which we really did, we were going to have to sacrifice some time. It’s so time-consuming, just to get around and keep everyone safe, the transport, keeping people warm, stopping when the weather was really bad or stormy. As a result, we didn’t have a huge amount of time for any of the scenes we had up there. It was super fast, but that is also good when you’ve got people standing around in dresses in the snow (laughs).

There is a certain amount of storytelling, which is actually quite difficult – to convey what they were attempting to do. Because, in reality, it makes no sense, their plan is terrible. They’re drunk teenagers who have got a really unwise idea about what they’re planning to do. They think they’re somehow gonna outsmart all of the police in Melbourne but their conviction has to be so strong that people actually believe it.

Ari Wegner ctd: George was also amazing, you could really feel his passion during the takes, it was really adrenalising and so cold. But when you see someone with his energy and not feeling the cold, it really rallies everyone to come through and deliver. He lost a huge amount of weight and got incredibly fit for that role, to look this sinewy…Justin wanted him to look like an AFL player (Australian rules football), which is very athletic, there’s a lot of jumping, there are lean, fast players that leap up on top of each other and it’s quite brutal as well. So that was kind of the energy – almost a kind of mid-match gee-up to get everyone going, that’s kind of the origin of that scene.

Even though we had limited time, I’m so glad that we pushed to do it for real. I think you can feel this wild desperation and optimism and fear and high stakes. It’s one of those days when you get home and you’re absolutely exhausted but you know you’ve been working for every one of those hours that you were on set. For me, that’s a lot more fun than the really slow days, where you’ve actually got a lot of time to do not that much.

[1hr 42mins – GLENROWAN]

“My army of boys fled in fear, leaving the Kelly Gang behind.”

Alice Babidge (costumes): I started by giving all of the boys a style of dress, so Dan Kelly (Earl Cave) always wore lace, he was always edging towards being a bride, Steve Hart (Louis Hewison) always wanted a flower. There was something about only having one moment with Ned in a dress – Justin and I talked a lot about wanting it to feel like underwear and wanting it to feel incredibly feminine. So I looked at a lot of 20s and 30s women’s nightwear and negligees and started designing from there. I built the black sheer dress on George’s body, we made the basic form out of tulle and lace and then I’d sit down and cut out motifs and then just place them on George’s body. I tried to find a way to make such a delicate fabric feel like a shell, feel like armour.

Ari Wegner (DP): From very early on, this Glenrowan scene, for Australians is a very iconic scene from history which has become part of the Australian identity and psyche. It’s been commercialised and represented in so many ways – you can go to Glenrowan and buy a Glenrowan keyring and a Glenrowan pencil case – it’s really a bit gross. You can go to the Ned Kelly smoke and fire reenactment show. It’s a scene where most Australians feel like they know what happened. There’s been ten Ned Kelly movies made before our one.

So obviously that’s a scene that has to be in the film. It’s a completely nonsensical thing that they’re attempting. Again, we wanted the experience to be Ned’s experience. What it might be like to convince a big group of people, including some of your closest friends that it was really important that you do this thing, that you would lead them through it, that it would work. And then in the middle of it, realise that actually this was a terrible idea, that your friends and family are gonna die, you’re probably going to die as well – what were you thinking? But at that point it’s too late to do anything other than follow through with what you’ve set in motion.

Ari Wegner ctd: So we wanted to create something that was incredibly overwhelming and disorientating and strange. Overwhelming to the point where it should feel quite nauseating and awful. We came upon the idea of using the strobe effect to be essentially the gunshots, which is a very stylised approach. My hope is that it would take it out of the period realism into something more experiential. There’s something about strobe lighting that when you’re watching it, it’s a full body experience, it’s a sensory overload. You’re seeing the world in a way that you don’t usually see it. It’s awful and you want it to end, but it’s also magnetically fascinating at the same time. There’s no way to ignore it. Even if you close your eyes, there’s no way to escape strobe – you can still see the remnants of it flashing.

Ari Wegner ctd: We also had the idea that the police wouldn’t be identifiable, there’s just police and there’s a lot of them. Which is terrifying, because they’re just a unified mass of faceless…almost like insects, a swarm of people who are all going to do the same thing, there’s no humanity or individuals amongst them, they think as one. So we used a reflective material to make a terrifying shape, which was almost not human – it’s just a thing that’s coming for you and there’s no way to reason with it or stop what’s happening. Seeing that shape against the blackness of the night felt different, interesting. The last thing we wanted was to have close ups of some featured extras wearing the same old hired period cop costume that’s probably been in every period Australian film since 1995 – it’s literally the same uniform from the same place. So we really wanted to avoid the cliché of things that had been done before. Alice and I worked together, she proposed a shape with the hood, we did a bunch of lighting tests.

We loved the idea that it would be very dark, except when they’re shooting, it would go bright and then dark. We worked with the special effects guys to create walls that had little explosions (squibs) in them to make the bullet-holes appear, which is quite a complex thing because we didn’t have the time or money to replace the walls every take. So it was all hands on deck, all cameras on to get a particular angle and then go to another angle because we couldn’t re-do the walls with the resources that we had. So it was quite a few pretty intense nights.

Ari Wegner ctd: Then we had the sequence with Ned, once the shooting stopped where he’s crawling around with a little lighter, basically, where you start to see the aftermath. We wanted that to feel very overwhelming, he’s trying to hold it together, trying to be brave but everything he discovers is his worst nightmare. He’s trying to tell everyone it’s going to be OK and tell himself that it’s going to be OK, but it’s actually not. It’s pretty sad, really, I guess, when you think about it. Teenagers that were really under the impression that they could have people listen to what they had to say, but unfortunately that wasn’t realistic. Their solutions, what they decided to do when no one would listen to what they were saying was probably never gonna work.

Funny old Australian history, the way we’ve fixated on this one particular event.

Thank you to Jed Kurzel, Alice Babidge and Ari Wegner for contributing to this tour through The True History of the Kelly Gang.

We also spoke to Alice Babidge about another film, released earlier this year on Netflix – The Dig – Click Here.

To find out more about George MacKay’s other roles, take a look at this piece, which takes you through 20 of them! – Click Here