Oscar-nominated director Baz Luhrmann’s $130-million epic film “Australia” is due to make its world premiere in Sydney on Tuesday — but the director says he has not finished it yet.

Luhrmann, who was honored at The Museum of Modern Art’s Film Benefit in New York on Monday, is flying back to Sydney with a day to spare to complete the film he has spent four years working on.

“I’m going back to the mixing desk to finish it in 24 hours,” the Australian director told Reuters in an interview on Tuesday just before he left for the airport.

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“It’s right on the edge, we’re right up against it. I literally have to on Friday night push that button,” he said. “This is really dangerous, I hope there’s no problem with the plane going back.”

Luhrmann said a rough cut of the film, starring Australian actors Nicole Kidman and Hugh Jackman, had so far only been shown to U.S. talk show host Oprah Winfrey and her audience, and “Good Morning America” host Diane Sawyer.

Kidman and Jackman appeared on an episode of “The Oprah Winfrey Show” on Monday that was dedicated to the film and Winfrey praised the film, saying: “I have not been this excited about a movie since I don’t know when.”

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Five-time Oscar nominee Roger Deakins is grabbing a lot of attention these days, having served as director of photography on three recent high-profile features: Joel and Ethan Coen’s “No Country for Old Men,” Paul Haggis’ “In the Valley of Elah” and Andrew Dominik’s “The Assassination of Jesse James by the Coward Robert Ford.”

Like most studio features, all three films went through a digital intermediate, or DI, process — a method of digitally color timing and finishing a motion picture. But while DI has relatively quickly become the norm for finishing features in Hollywood, Deakins says that it still is very much misunderstood.

“It actually saves time and money on-set — I don’t think they realize that,” he says. “I also don’t think they realize why it’s so important that the cinematographer sees the project through. (The latter) is a really important point, and it hasn’t been argued enough by the different guilds and societies, and it’s not being discussed. I think it’s absolutely crucial. I will not go into a movie unless I know that I’m going to have some sort of input or control over seeing the image in the DI process.”

(Source: Hollywood Reporter)

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