Forces of Nature: An Interview with Deborra-Lee Furness and Jacqueline McKenzie

Photo: Roadshow Films

It cannot be overstated how much of a triumph The Dry was. The Australian thriller adapted from Jane Harper's debut novel and starring Eric Bana was a critical darling that also provided a significant boost to the local industry. So it should be little surprise that a sequel is about to make its way to the multiplex. Harper's follow-up, Force of Nature, has now received the cinematic treatment and sees the return of Federal Agent Aaron Falk. But this sophomore adventure comes with some notable differences from its forebear, too, such as a new setting, new investigation, and perhaps most significantly, a new cast.

Instead of the heat and humidity of the first film, Force of Nature takes place in the Victorian mountain ranges. Five women venture deep into the bushland for a corporate hiking retreat, but when only four return, Bana's Falk unravels a melange of secrets. The film features a powerhouse ensemble of new performers, two of whom are Australian acting royalty. The first is Jacqueline McKenzie, best remembered for her role as the girlfriend of Russell Crowe's neo-nazi in the controversial Romper Stomper. She plays fellow agent and Falk's partner, Carmen Cooper. The other is Deborra-Lee Furness, who marks her return to the big screen after a nearly decade-long absence. Both serve as winsome additions to the series and nicely contribute to this film's particular personality.

In my continued coverage of the film, I had the chance to speak with Furness and McKenzie. During our interview, both told me about working in the mountains, if joining the sequel came with ease or pressure, and the shifts they've seen in Australian cinema over their careers. This conversation has been edited and condensed for clarity.

CONNOR DALTON: Deborra, I'd like to start with you. This is your first role after nearly eight years away from the screen. How did you become a part of Force of Nature?

DEBORRA-LEE FURNESS: Let me tell you, it is scary coming back to it when you haven't worked in any industry. I've been at home being mum and doing all sorts of things. But I was drawn to this because Eric Bana is a friend, and he asked me to do it. I know Robert Connolly, so that's always very comforting for me when I trust the director. And I was drawn by a strong female-driven cast ensemble, so I thought, 'Yeah, I want to come play!' 

DALTON: What about you, Jacqueline?

JACQUELINE MCKENZIE: I got an email out of the blue. I was just sitting at home thinking, 'Gosh, what am I going to do now? What's going on?' I was starting to get a bit depressed, and then I got this beautiful email from Robert Connolly, who was at NIDA with me. But he was working the front of house and used to operate the bar. I was never good at schmoozing, so after all those functions when there were agents in the foyer schmoozing and all the actors were making beelines, I'd just go to Robert, and he was such a beautiful, soft place to land even then. He was funny as, and I've long wanted to work with him. I think we did a short way back then, but then it's just never lined up. And he asked me to join him, and, of course, the words 'Debora-Lee Furness is attached' just did it. I was like, 'Oh, my god! I've been dying to work with Deborra again.'

FURNESS: We've done about three films together. 

MCKENZIE: Yeah, and it was a really integral role to have someone knock it out of the park, and because she's such a fabulous boss and leader, you also need someone with heart to play that role, or it's really not going to work. 

FURNESS: And they can make you laugh on set (laughs).

MCKENZIE: And on screen! You had it all, and thank God they had you because you just radiate. 

FURNESS: Thank you, darling.

MCKENZIE: She's a leader in this. She's got to lead how many chicks into the wilderness? Not many people would go!

FURNESS: I don't know how well she led. It kind of ended up a bit of a mess (laughs). We did the best we could.

DALTON: When you join a sequel and weren't a part of the original, do those circumstances bring ease because you've seen it work before, or does that bring a sense of extra pressure to succeed? 

MCKENZIE: That's a really good question.

FURNESS: Compare and despair, I think, the saying is. No, I saw this totally as a standalone piece, but it does help to know that the prequel killed it at the box office and did extremely well with the creative team. So, obviously, that gives you a bit of confidence. But this is a standalone; it's a whole different experience and a film unto itself. 

MCKENZIE: I loved the performances in that first one, particularly the guy who played Eric's offsider cop [Keir O’Donnell]. I remember just going, 'Wow! I can see how the actors thrive under this direction.' And I got to see that on this, which was awesome. Robert is particularly wonderful with actors.

FURNESS: He's an actor's director.

MCKENZIE: He's also a producer and a wonderful one at that. He's really quite wonderful, isn't he? I watched him direct the young kids on this, and I saw from take to take — and not just Sisi [Stringer] and Lucy [Ansell], but the ones playing Margot [Ingrid Torelli] and the other younger characters — the generosity he has with these young actors. He doesn't ever patronise; he puts them straight in the story. Talking to the young Aaron [Archie Thomson], he was just saying, 'I think this is probably the moment when you decide that you might want to be a police officer,' and this kid's face just goes … (looks shocked). Then the next take is entirely different and beautiful and nuanced. A generous, beautiful soul Robert is. It was absolutely blissful to work with him.

DALTON: When you got a script titled Force of Nature: The Dry 2, were you surprised by how radically different the setting was from the previous film?

MCKENZIE: We didn't have The Dry 2 on that script, did we? 

FURNESS: No, it was just Force of Nature.

MCKENZIE: And it said, 'Deborra-Lee Furness, Force of Nature'. I was like, 'Well, that's sort of a tautology' (laughs).

FURNESS: You just look at it for what it is — its own being. 

MCKENZIE: And really, no matter how they described it on the page, nothing could prepare us for when we were out there in the most magnificent way and in the most horrific way. 

FURNESS: It was probably one of the most challenging physical films I've ever done because we were literally climbing up those mountains. It was pouring with rain; we were falling in holes; there were leeches. It was full-on. I still have nightmares about the portaloo. It was not easy.

MCKENZIE: And all the time, Eric was right in there. He wasn't off in his trailer or anything; he was right in there. 

FURNESS: Everyone was! Everyone showed up and went, 'Let's get it in the can. Let's go to work.' 

DALTON: Did you relish working in that environment, or were there some points where you started to ponder how you ended up in your position?

FURNESS: I don't know if relished is quite the word, probably the second (laughs).

MCKENZIE: I reckon as long as I'm comfortable. I remember the first time I went hiking with friends, I overheard one of my besties saying, 'As long as I've got good shoes, I know where I'm going, there's good food, and maybe a vino at the end, I'll be fine.' It's a bit the same with this. If I know who I'm with and what I'm in, you can do anything with us as actors. You just want to know that you, as a human being, will come out unscathed physically, mentally, and emotionally, and we absolutely did. 

FURNESS: And it's good to have a different experience. 

MCKENZIE: Such a departure! And that's what the audience will get, too. This is like nothing else I've ever seen out of Australia.

FURNESS: You see the beauty of Australia. The shots of the Australian landscape are magnificent. 

MCKENZIE: I don't know what the budget is on this, but it looks immense. I can only say this is absolutely competitive with the films that I've seen like this overseas.

FURNESS: The industry is great. Even working with our smaller budgets, we make them look bigger. I think that is what Australia can do really well. 

DALTON: You've both been a part of some iconic Australian films. Romper Stomper and Shame are a couple that come to mind. And I believe this film is destined to be a contemporary hit like its predecessor. But if we were to compare the two eras, what are some of the shifts you've seen in our local industry? 

FURNESS: I think, as Australians, we're so down to Earth, no matter the conditions. Even Shame, I was in the outback in Western Australia, and they were rough conditions, too. Australians have that thing of like, 'This is the deal. Let's just roll up our sleeves.' We go to work, and we all muck in together; there's no hierarchy like you do see in Hollywood. But no — it's an interesting answer — I don't see a big difference, and there's a big gap in between those films.

MCKENZIE: Less people smoke in the makeup trailer. There are obvious signs like that. I mean, a lot of people would just leave the pub and come to set in the old days. That doesn't stand up anymore. 

FURNESS: Yeah, but it still feels the same to me.

MCKENZIE: At the end of the day, there's the camera, there's the story, there's the actors, and there's the director, and we just love it.

This article was originally published by FilmInk