original musicGraeme Revell

Music Orchestrated and ConductedbyWilliam Motzing

Didgeridoo PlayersCharlie McMahonMark SaundersJohn Moore

Voice Bob Maza

SONGS

"Talking To A Stranger"Words by Mark Seymour, Music by Hunters & CollectorsPublished by Human Frailty/Mushroom MusicRecorded by Hunters & Collectors from the album"Collected Works" 9339 Mushroom Records

"Jessie Don't Go To The Rodeo"Words and Music by Rick Ireland & Esben StormRecorded by Michael Norton, Esben Storm & Les McLaren

"Took The Children Away"Words & Music by Archie Roach, Published by Mushroom MusicRecorded by Archie Roach from the album"Charcoal Lane" 30388 Mushroom Records

"Broken Down Man"Words by J. Albert, Music by J. Albert, A.P & S. Pigram & M. TAyPublished by Warner Chappell MusicRecorded by Scrap Metal from the album"Broken Down Man" AS-JOO1 Jigil Records

"Wama Wanti"Words & Music by Ronald Jabanagka WatsonPublished by CAAMA Music Alice Springs NTRecorded by the Arreyonga Desert Tigers from the album"Wama Wanti" 124 CAAMA Music Records & Cassettes

"Original Sin"Words & Music by Andrew Farris & Michael Hutchence,Published by MCA Music Publicity Inc.Recorded by INXS from the album "The Swing" 250389 WEA Records,Polygram International & Atlantic Recording Corporation

"Justice Will Be Done"Words & Music by Les Shillingsworth & James BoneyRecorded by Les ShillingsworthA version of this song appears on the album"Building Bridges" 848715 ABC Records

"Beds Are Burning"Words & Music by Midnight Oil, Published by Warner Chappell MusicRecorded by Midnight Oil from the album"Diesel and Dust" 480005 Sony Music Australia

Head and Tail credits:

A didgeridoo plays through the opening titles, until a set piece shoot out erupts around the Opera House, at which point a modern underscore takes over.

After the shoot-out, which sees cop Sgt.Tony Bourke shoot and kill a junkie through the body of a punk, and the coroner absolving Bourke of responsibility for the girl’s death, a few lines from Hunters & Collectors’ “Talking to a Stranger” is heard as the director’s credit comes up over an anguished Bourke listening through earphones while contemplating Bondi Beach …

The music that runs over the tail credits features a mournful saxophone. This gives way to music with a didgeridoo motif and with some chanted lyrics in Aboriginal language. The chanting continues to the end of the credit roller, at which point the voice shouts a conclusion.

Though it features the work of credentialed composer Graeme Revell, the film’s score doesn’t seem to have been released on CD.

The didgeridoo busker at the start of the show is identified in the tail credits as James Baban (though he is not one of the three credited as the didgeridoo players), while the singer at the funeral is identified as Les Shillingsworth.

(Below: the live action music in the film, which features a long track along the length of a didgeridoo carrying detailed decorative Aboriginal motifs).

Graeme Revell:

Composer Graeme Revell is too well known to detail at length here.

He has a relatively detailed wiki here, and his management, here provided this short CV for his career:

Since his first appearance on the film scene with the chilling score to Dead Calm, Graeme Revell has gone on to score films for such high-profile directors as John Woo, Wim Wenders, Robert Rodriguez, Ted Demme, and Michael Mann. He has scored such films as The Experiment, Unthinkable, Days of Wrath, andPineapple Express. He also composed the music for the political documentary Darfur Now. Revell’s work can be heard in the popular film adaptation of the graphic novel series, Sin City, as well as in Blow, Grindhouse, The Chronicles of Riddick, Daredevil, Lara Croft: Tomb Raider, The Insider, The Siege, The Negotiator, From Dusk Till Dawn, The Crow, and The Hand That Rocks The Cradle. Proving that his sound can successfully cross both genres and platforms, Revell scored the first season of the television series CSI: Miami. Most recently Revell completed his first film trilogy with the box office hit Riddick directed by David Twohy and starring Vin Diesel. Graeme’s most recent work can be heard in the the Australian TV series Old School and the critically acclaimed Fox TV series Gotham.A native of New Zealand, Revell received classical training in piano and French horn, but it was in an Australian mental hospital where his career as a composer began. He incorporated recordings of the sounds and rhythms of patients at the hospital (where he worked as an orderly) into the songs of his band SPK, whose music in turn landed him his first film scoring gig on Dead Calm. Since then he’s written scores for over 100 projects, earning an ASCAP award and 7 BMI Film Music Awards. He was also honored by BMI with the Richard Kirk Award for Outstanding Career Achievement.

(Below: Graeme Revell)

William Motzing:

William Motzing did the orchestrations and conducting of the score.

Motzing died in 2014 and the University of Sydney here prepared a tribute to him:

On Friday, 31 January 2014 a former, highly-esteemed colleague and great friend of the Con, William (Bill) Motzing, passed away in New York. A formidable, international musician and teacher, Bill’s contribution to the Sydney Conservatorium of Music over several decades cannot be overstated. His influence over generations of Con jazz students and the wider jazz community is well recognised today.Craig Scott, Senior Lecturer in Jazz Studies and Chair of Jazz Unit, Sydney Conservatorium of Music said: “I do not believe that I have met any

other musician whose expertise ranged over so many areas, from trombone playing, arranging and composing to education and conducting. He was even sound man and arranger for Blood Sweat & Tears and did the sound for the Miles Davis Band, who was the support band for Blood Sweat & Tears on that occasion. His loss to the music community and his friends and colleagues is a profound one.”Bill undertook several roles at the Con during his long and diverse career, teaching theory, arranging, modern jazz history, improvisation and ensembles. It was a world tour from 1968 to 1970 as sound designer for the contemporary jazz-rock band Blood Sweat & Tears, which first brought Bill to Australia. After the tour he decided to relocate to Australia and took up his first role as jazz lecturer at the Con until 1980.In 1981 he returned to the Con to again take up a position of jazz lecturer until 1990, during which time he was also briefly Chair of Jazz studies prior to Don Burrows assuming that role. Then in 1998 he returned to fill a vacancy in the jazz unit and stayed until the end of the 2012.Whilst in Australia he conducted major symphony orchestras including the Australian Chamber Orchestra and the Australian Opera and Ballet Orchestras. His conducting roles also extended to several key European orchestras including the BBC Radio Orchestra, the Irish Radio/Television Concert Orchestra, the Czech Philharmonic, the Budapest Opera Orchestra and the Babelsberg Film Studio Orchestra in Berlin.He was a great composer, arranger, producer and conductor of several stage productions including the Academy Award presentations and over 100 albums and CDs in the USA, Australia and Europe. As composer/arranger, his film credits include The Quiet American, Soul Food and The Simpsons, in addition to Australian film scores and television series Mother and Son, Come in Spinner, Brides of Christ and Young Einstein.A professional trombonist, Bill also performed with Kai Winding Septet, Jon Eardley Quintet, Gerry Mulligan Big Band, Bill Russo Big Band, Sal Salvador Big Band, Eastman-Rochester Symphony and the Pittsburgh Symphony.William Motzing was born in the USA. He graduated with a Bachelor of Music from Eastman School of Music in Rochester, New York, and continued his studies earning a Masters Degree from Manhattan School of Music. He went on to study conducting with Ernest Matteo, Nicholas Flagello, Ionel Perlea and Olga von Geczy; composition with Ludmila Ulehla and John Mayer at Birmingham Conservatoire (UK) and arranging with Rayburn Wright.Bill Motzing is survived by his son Bill Motzing Junior, daughter Carrie and

their families.As a composer, William Motzing was on something of a roll in the early 1980s in terms of scoring feature films. In short order, he composed the score for the cult film The Return of Captain Invincible, the admittedly woeful comedy Stanley - Every Home Should Have One, the under-appreciated story of Berlei bras in Australia, Undercover, John Duigan's One Night Stand, Silver City, and The Coca-Cola Kid, though in the latter case he shared duties with Tim Finn, who did the end titles song and a few other bits, including a Coca-Cola advertising ditty seen in the body of the film.

Cappuccino would be Motzing’s last feature film score (he subsequently only did the telemovie Police State and the 1990 miniseries Birds of Christ) and thereafter he worked in the music department as orchestrator, conductor or musical director.

William Motzing's site, Spare Parts Productions, active as of July 2017, provided this short CV:

William Motzing (BMus, MMus) was born in the USA. He graduated with a Bachelor of Music from Eastman School of Music in Rochester, New York and continued his studies earning a Masters Degree from Manhattan School of Music.He went on to study conducting with Ernest Matteo, Nicholas Flagello, Ionel Perlea and Olga von Geczy; composition with Ludmila Ulehla and John Mayer at Birmingham Conservatoire(UK) and arranging with Rayburn Wright.

During his career as a professional trombonist Bill performed with Kai Winding Septet, Jon Eardley Quintet, Gerry Mulligan Big Band,Bill Russo Big Band, Sal Salvador Big Band, Eastman-Rochester Symphony and the Pittsburgh Symphony. His diverse career has also included being the sound designer for Blood,Sweat and Tears for three years.

In the classical arena Bill has conducted major symphony orchestras including the Australian Chamber Orchestra and the Australian Opera and Ballet Orchestras. In Europe he has conducted the BBC Radio Orchestra,the Irish Radio/Television Concert Orchestra, the Czech Philharmonic, the Budapest Opera Orchestra and the Babelsberg Film Studio Orchestra in Berlin.

Bill has composed, arranged, produced and conducted stage productions including Academy Award presentations and over 100 albums and CDs in the USA, Australia and Europe. As a composer/arranger his film credits include The Quiet American, Soul Food and the Simpsons. In Australia he

is well represented via film scores and television series including Mother and Son, Come in Spinner, Brides of Christ and Young Einstein.

He currently teaches theory, arranging, modern jazz history, improvisation and ensembles at the Sydney Conservatorium of Music. Bill continues to perform his works regularly in Sydney and inspires all musicians he comes in contact with.

Motzing died January, 2014. He has a wiki here.

(Below: William Motzing)

(Below: William Motzing on the right, here conducting the music for the Australian feature film Kokoda at Studios 301, with composer John Gray on the left).