Top 100 Australian & New Zealand Actors

Oscar Asche was born on 26 January 1871 in Geelong, Australia. He was an actor and writer, known for Scrooge (1935), Chu Chin Chow (1934) and Don Quixote (1933). He was married to Lily Brayton. He died on 23 March 1936 in Marlow, Buckinghamshire, England, UK.

Errol Flynn was born to adventuress Marrelle Young and respected biologist Theodore Flynn. Young Flynn was a rambunctious child who was always sure to find trouble, and he managed to get himself ejected from every school in which he was enrolled. In his late teens he set out to find gold, but instead found only a series of short-lived odd jobs.

Information is sketchy, however the positions of police constable, sanitation engineer, treasure hunter, sheep castrator, ship-master for hire, fisherman, and soldier seem to be among his more reputable career choices. The necessity to stay at least one jump ahead of the law--and jealous husbands--forced Flynn to flee to England, where he took up acting, into which he had previous stumbled when he was asked to play (ironically) Fletcher Christian in a film called In the Wake of the Bounty (1933). Flynn's natural athletic talent and good looks attracted the attention of Warner Brothers and soon he was off to America. His luck held when he replaced Robert Donat in the title role of Captain Blood (1935). He quickly rocketed to stardom as the undisputed king of adventure films, a title inherited from Douglas Fairbanks, though which remains his to this day. Onscreen, he was the freedom loving rebel, a man of action who fought against injustice and won the hearts of damsels in the process. His off-screen passions; drinking, fighting, boating and sex, made his film escapades seem pale. His love life brought him considerable fame, three statutory rape trials, and a lasting memorial in the expression "In like Flynn". Serious roles eluded him, and as his lifestyle eroded his youthful good looks, his career declined. Trouble with lawsuits and the IRS plagued him at this time, eroding what little money he had saved. A few good roles did come his way late in life, however, these were usually that of aging alcoholic, almost mirror images of Flynn. Despite any perceived similarity, he was making a name as a serious actor before his death.

Grant Taylor was born on 6 December 1917 in London, England, UK. He was an actor, known for 40,000 Horsemen (1940), On the Beach (1959) and Four Desperate Men (1959). He was married to Jean Ebsworth Bullen and Margaret Josephine Haslett. He died in 1971 in London, England, UK.

Although he sounded very British, Leo McKern was an Australian. By the time he was 15 years old, he had endured an accident that left him without his left eye. A glass eye replaced it - one might conjecture for the better, as far as making McKern a one-day actor of singular focus (no pun intended; his face had that extremely focused look). He failed to complete Sydney Technical High School, though his interest in engineering prompted him to transfer into the role of engineering apprentice (1935 to 1937). He expanded his horizons in a different direction with a two-year stint (1937-1940) at a commercial art college. By then World War II was escalating toward Australia, and he volunteered for service with the Engineering Corp of the Australian Army (1940 to 1942). But yet one more career move was needed, and that while the war moved northward away from Australia when America joined the fight. He studied acting and debuted on stage in 1944. He also met an Australian stage actress (Jane Holland), and mutual attraction took its course. In 1946 she had acting opportunities in England, and McKern decided that, along with the wish to propose to her, his own future as an actor lay there also.

McKern was short and stout with a great bulbous nose upon an impish face--all the ingredients for great character. His voice was a sharp and vociferous grind upon the back teeth--also perfect for character. After some touring (which included a trip to post-war Germany), he began to appear with regularity on London's premiere stages, particularly the Old Vic (1949-52 and then again 1962-63). These roles meshed with classic English work when he moved on to the Royal Shakespeare Company (RSC) at Stratford-upon-Avon and the Shakespeare Memorial Theater (later reconstituted as the now Royal Shakespeare Theater) from 1952 to 1954. He also spent a season at the New Nottingham Playhouse. He had weaned himself off his Australian accent long before this with his bid for film roles, the first being as one of the four murderous barons in the Thomas a' Becket story Murder in the Cathedral (1951). And he kept his medieval tights on for his next screen appearances (though the small screen of TV) in some roles for the popular Richard Greene series The Adventures of Robin Hood in 1955, while he continued stage work.

From then on, McKern had roles in two to three movies a year--busy but not too busy--gradually mixing progressively more and more TV work in the 1950s, 1960s, and 1970s. The films were as varied as a good stage actor could justify moving into a popular medium. Though he was usually police officials, doctors, and authoritative figures, he always made these early parts stand out. Drama comes in various packages; he was not averse to the rise of sci-fi as a vehicle for it. He graced two British sci-fi classics: X the Unknown (1956) and the better The Day the Earth Caught Fire (1961). And there was also TV fantasy work, one of the best known examples being multiple outings as interrogator and chain-yanker Number Two in The Prisoner series. In the late '70s, he condescended to add some weight to two of the Omen movies, as did Gregory Peck and William Holden, putting him in good company. Great drama was McKern's meat. And doing some historically significant on a great scale was an opportunity for a Shakespearean not to miss. He was cast in the screen version of the Robert Bolt hit play A Man for All Seasons (1966). And his visage was perhaps part of the allure. Cast as ruthless political climber and fated chancellor of England Thomas Cromwell, McKern looked like the Hans Holbein court painting of the man who rather nefariously succeeded to Sir Thomas More's position. More was played by McKern's fellow RSC resident Paul Scofield. McKern gave flesh to the commoner Cromwell, making him loud and abrasive with a delightful verve. Later he and Scofield shared another film role, in the sense that the latter turned down the part of Thomas Ryan in the David Lean epic of Ireland Ryan's Daughter (1970), while McKern accepted it and made the role work. (Scofield would have been a miscast, something he probably wisely foresaw.)

McKern, from his early screen roles, could do comedy. He had a fair share of outrageous characters, and he could play them with a glint in his eye and a bit of extra cheek in his performance to show that he must have had fun in the role. In this regard, he showed his stuff supporting Peter Sellers in the endearing The Mouse That Roared (1959) and had the lead in the outlandish They All Died Laughing (1964) as a college professor who decides to snuff out humanity with poison laughing gas. He was a broad country fellow with a Shakespearean twist as Squint in The Amorous Adventures of Moll Flanders (1965). In one of his later comedies, he is rather overlooked because of its clever script; in fact, it is an over-the-top tour de force for McKern. As the infamous nemesis Professor Moriarty in The Adventure of Sherlock Holmes' Smarter Brother (1975), McKern manages to steal the show from funny man and director/writer Gene Wilder along with Marty Feldman and Roy Kinnear. McKern's Moriarty is devilish but tongue-in-cheek with a vengeance, especially with his nervous tic of suddenly, at any time and out of nowhere, yelling, "YAAA, YAAA!"

Yet McKern's chief legacy has been and probably will continue to be his long-running TV role in more mystery (he had done his fair share in film and TV already) as Horace Rumpole in "Rumpole of the Bailey" (1978-1992), a role originally introduced by him in the teleplay "Rumpole of the Bailey" in 1975. The role had been specifically created for him by writer John Mortimer, and though every actor can appreciate the security of a long-running role, McKern feared that it was subsuming his more than considerable body of work. Along with that, McKern became increasingly self-conscious of his acting, and mixed in was the idea that his physical appearance was not appealing to the public. As a result, he had to deal with a progressively increasing stage fright. He need not have worried; he was working in diverse TV and movie roles nearly to the time of his passing, and he was beloved by movie and TV fans alike. Along with receiving the award of Officer of the Order of Australia from his home country, in 1983 McKern's memoir "Just Resting" was published.

Suave and handsome Australian actor arrived in Hollywood in the 1950s, and built himself up from a supporting actor into taking the lead in several well-remembered movies. Arguably his most fondly remembered role was that as George (Herbert George Wells), the inventor, in George Pal's spectacular The Time Machine (1960). As the movie finished with George, and his best friend Filby Alan Young seemingly parting forever, both actors were brought back together in 1993 to film a 30-minute epilogue to the original movie! Taylor's virile, matinée idol looks also assisted him in scoring the lead of Mitch Brenner in Alfred Hitchcock's creepy thriller The Birds (1963), the role of Jane Fonda's love interest in Sunday in New York (1963), the title role in John Ford's biopic of Irish playwright Sean O'Casey in Young Cassidy (1965), and a co-starring role in The Train Robbers (1973) with John Wayne. Taylor also appeared as Bette Davis future son-in-law in the well-received film The Catered Affair (1956). He also gave a sterling performance as the German-American Nazi Major trying to fool James Garner in 36 Hours (1964). Later, Taylor made many westerns and action movies during the 1960s and 1970s; however, none of these were much better than "B" pictures and failed to push his star to the next level. Additionally, Taylor was cast as the lead in several TV series including Bearcats! (1971), Masquerade (1983), and Outlaws (1986); however, none of them truly ignited viewer interest, and they were cancelled after only one or two seasons. Most fans would agree that Rod Taylor's last great role was in the wonderful Australian film The Picture Show Man (1977), about a travelling sideshow bringing "moving pictures" to remote towns in the Australian outback.

Tough-looking New Zealander, with a long string of credits as an actor in Australian films and theatre. He was also prolific on radio as actor, announcer and compère. In August 1952, Doleman won a £300 prize for his performance in an Actor's Choice half-hourly play, entitled "The Coward". He used this as a travelling fund for a trip to Hollywood and was duly cast in a supporting role in the adventure film His Majesty O'Keefe (1954). That was followed by an uncredited bit in Alfred Hitchcock's Dial M for Murder (1954). More substantial roles, however, failed to materialise. Doleman consequently returned to Australia, where he found regular work on radio and on stage in Sydney, Melbourne and Adelaide, between 1957 and 1960.

Doleman had his best spell in Britain in the 1960's: fondly remembered as SPECTRE operative Count Lippe in the James Bond movie Thunderball (1965), and as the hard-edged spook Colonel Ross in the Harry Palmer trilogy, beginning with The Ipcress File (1965). In a similar vein, he also made a worthy antagonist for Patrick McGoohan as the first 'Number 2' in The Prisoner (1967). Doleman eventually settled in Los Angeles, where he died of lung cancer in January 1996.

George Robert Lazenby was born September 5, 1939 in Goulburn, New South Wales, Australia, to Sheila Joan (Bodel) and George Edward Lazenby. He moved to London, England in 1964, after serving in the Australian Army. Before becoming an actor, he worked as an auto mechanic, used car salesman, prestige car salesman, and as a male model, in London, England. In 1968, Lazenby was cast as "James Bond", despite his only previous acting experience being in commercials, and his only film appearance being a bit-part in a 1965 Italian-made Bond spoof. Lazenby won the role based on a screen-test fight scene, the strength of his interviews, fight skills and audition footage. A chance encounter with Bond series producer Albert R. Broccoli in a hair salon in 1966, in London, had given Lazenby his first shot at getting the role. Broccoli had made a mental note to remember Lazenby as a possible candidate at the time when he thought Lazenby looked like a Bond. The lengths Lazenby went to to get the role included spending his last pounds on acquiring a tailor-made suit from Sean Connery's tailor, which was originally made for Connery, along with purchasing a very Bondish-looking Rolex watch.

Lazenby quit the role of Bond right before the premiere of his only film, On Her Majesty's Secret Service (1969), citing he would get other acting roles, and that his Bond contract, which was fourteen pages thick, was too demanding on him.

In his post-Bond career, Lazenby has acted in TV movies, commercials, various recurring roles in TV series, the film series "Emmanuelle", several Bond movie spoofs, TV guest appearances, provided voice for several animated movies and series, and several Hong Kong action films, using his martial arts expertise.

Years before Jack Thompson arrived on the scene, Chips Rafferty was regarded by many as the personification of the stereotypically rugged, straightforward and laconic Aussie male. Tall and thin, though not particularly striking in appearance, Rafferty was a tailor-made star for the austere, modestly-budgeted dramas made 'down under' in the 1940s and 50s. His most individual aspect was in not being remotely reminiscent of any other leading contemporary British or American actor. In his youth, Chips had learned boxing and the art of horsemanship. He also displayed an affinity for painting watercolours. By the time he entered the film industry as an extra with Cinesound Studios in 1939, John William Pilbean Goffage (nicknamed 'Chips' since schooldays) had already seen a great deal of life as a sheep-shearer, drover, roo hunter, gold prospector and cellarman in a wine bar. One of his more exotic activities also included that of a 'false teeth packer'. On the side, he also wrote poems and short stories which he sold to several Sydney publications. His first stint on the stage was as assistant and comic foil to a magician.

After his inauspicious screen debut in 1939, Chips came to the attention of film maker Charles Chauvel who assigned him a rather more roguish-sounding surname and proceeded to cast him as a heroic 'digger' in his patriotic wartime drama 40,000 Horsemen (1940). The resulting box-office success, both at home and abroad, led Chauvel to repeat the exercise with The Rats of Tobruk (1944). After wartime duties with the RAAF, Chips managed to persuade British director Harry Watt to star him in the pivotal role of tough cattle drover Dan McAlpine in The Overlanders (1946). This defined the Rafferty screen personae to such an extent, that he continued to play variations on the theme pretty much throughout the remainder of his career.

Under contract to Ealing, Chips had a brief sojourn in England opposite Googie Withers in The Loves of Joanna Godden (1947), followed by an integral part in Eureka Stockade (1949). In the early 50s, he co-founded - and invested much of his own money in - a short-lived production company, Southern International (in conjunction with the director Lee Robinson). They turned out a few unambitious adventure films like Return of the Plainsman (1953) and King of the Coral Sea (1954). Chips appeared in these as the nominal star. For the most part however, lucrative film work was to be found only in Hollywood: in feature films, like Kangaroo (1952), Mutiny on the Bounty (1962) and The Sundowners (1960); or as guest star in television episodes, ranging from Gunsmoke (1955) to Tarzan (1966). He remained for many years Australia's most popular and quintessential actor, an archetypal anti-establishmentarian, irreverent in humour, honest and uncomplicated. His penultimate performance as an outback cop in Wake in Fright (1971) is often cited as one of his best.

Australian stage, screen and TV actor Lewis Fiander was educated at Trinity Grammar School and made his acting debut at the National Theatre in Melbourne in 1954. At the age of 18 he moved to Sydney to broaden his skills as a radio actor and in due course perfected a varied gallery of dialects and accents. On the stage, he specialized in Shakespearean comedy, including "Twelfth Night" and "The Merchant of Venice", though in later years taking on diverse roles in musical plays, works by Ibsen and O'Neill, even as Professor Higgins in a Victorian Arts Centre production of "My Fair Lady".

Fiander moved to London with the Elizabethan Theatre Trust in the early 60's and spent the next two decades in the U.K., often side by side with some of the giants of his profession, including Laurence Olivier and John Gielgud. In 1966, he toured New Zealand with the Royal Shakespeare Company. The following year he landed the prized role of Mr. Darcy in a BBC production of Pride and Prejudice (1967). A break in his stage and TV work permitted him to act on the big screen in two back-to-back horror films: Dr Jekyll & Sister Hyde (1971) and as one of the victims in Dr. Phibes Rises Again (1972). He is also remembered by fans of Doctor Who (1963) as the drug smuggling scientist Professor Tryst in the notorious Tom Baker serial Nightmare of Eden: Part One (1979). Tryst's strange Germanic accent (Fiander's own idea) - combined with the square spectacles and histrionics - seems somehow reminiscent of Peter Sellers's Dr. Strangelove. Either that or something from Monty Python's Flying Circus (1969).

Back on the stage, Fiander enjoyed perhaps his greatest success starring as John Adams in the 1970 London New Theatre production of "1776", a play with music about the signing of the American Declaration of Independence. He had another palpable hit as actor-singer in 1986, teaming up with Patricia Hodge for "Noël and Gertie", a compilation of musical numbers originally written by Noël Coward and performed in tandem with Gertrude Lawrence. In the late 80's, Fiander returned to Australia and appeared several times on television, notably in the mini-series Tanamera - Lion of Singapore (1989) and Bangkok Hilton (1989).

A grand, well-respected character lead and support of stage, film and television, most people mistakenly think New Zealander Clive Revill is British. A delightfully comic eccentric praised for his sterling work on the musical stage, the blue-eyed, curly, red-haired gent is also highly regarded for his formidable dramatic work in Shakespearean roles.

Clive Selsby Revill was born on April 18, 1930, in Wellington, New Zealand, and educated at Rongotai College and Victoria University (Wellington). Once trained for a career as an accountant, he abruptly switched gears and made his stage debut in Auckland, New Zealand playing Sebastian in "Twelfth Night" in 1950. He then moved to England to study with the Old Vic School in London. While there he appeared at Stratford-on-Avon in mid-1950s presentations of "Hamlet", "Love's Labour's Lost", "The Merchant of Venice", "Julius Caesar" and "The Tempest", among others.

Having made his Broadway debut back in 1952 with "Mr. Pickwick", the man of many skills took a juicy chunk out of the Big Apple upon returning to New York in the 1960s with his critically lauded, Tony Award-nominated work in "Irma La Douce" and as "Fagin" in "Oliver!" He has amused audiences for years with his larger-than-life musical roles, particularly in such Gilbert and Sullivan operettas as "The Mikado" and "The Pirates of Penzance". Others have included "Sherry", "Lolita" and "The Mystery of Edwin Drood" -- replacing the late George Rose in the last mentioned after that actor's untimely death in 1988.

Making an inauspicious debut in an unbilled role in 1956, his more pronounced movie work includes Kaleidoscope (1966), The Assassination Bureau (1969), The Private Life of Sherlock Holmes (1970), Avanti! (1972), for which he received a Golden Globe nomination, The Legend of Hell House (1973) (a rare lead), Mack the Knife (1989), Robin Hood: Men in Tights (1993) and Dracula: Dead and Loving It (1995). Quite proficient at ethnic roles (playing everything from Chinese to Russian), Clive's acute sense of comic timing and uncanny use of body language is parallel to none, often engaging audiences as delightfully pompous, even "hissable" gents.

From the 1990s into the millennium, Clive has pretty much settled in the States. His distinctive voice has been greatly utilized in animated features and video games (Dr. Doom, Darth Gravus, Jetfire), plus a few films including Intrepid (2000), Crime and Punishment (2002), Gentlemen Broncos (2009) and The Queen of Spain (2016). Twice divorced, Revill has one daughter, Kate Selsby (aka Kate Selsby Revill), by his second marriage to Suzi Schor-Revill. He makes his home in Los Angeles.

Despite being one of the finest actors of his generation, Peter Finch will be remembered as much for his reputation as a hard-drinking, hell-raising womanizer as for his performances on the screen. He was born in London in 1916 and went to live in Sydney, Australia, at the age of ten. There, he worked in a series of dead-end jobs before taking up acting, his film debut being in the mediocre comedy The Farmer Goes to Town (1938). He made his stage debut as a comedian's stooge in 1939. Laurence Olivier spotted him and persuaded him to return to Britain to perform classic roles on the stage. Finch then had an affair with Olivier's wife, Vivien Leigh. Despite being married three times, Finch also had highly-publicized affairs with actresses Kay Kendall and Mai Zetterling. Finch soon switched to film after suffering appalling stage fright. As a screen actor, he won five BAFTA awards and his talent was beyond doubt. Two of his finest roles, the only two for which he also received Oscar nominations, were as the homosexual Jewish doctor in Sunday Bloody Sunday (1971) and as the "mad prophet of the air-waves" in Network (1976). He died a couple of months before being awarded the Oscar for Best Performance by an Actor in a Leading Role in Network (1976) and was the first actor to have won the award posthumously.

Born in Cheltenham, England, Richard Smith's family moved to Tauranga, New Zealand, in 1951 when his father, an accountant, decided to become a sheep farmer. Watching horror and science-fiction double features in nearby Hamilton, Smith added an interest in acting to his love of rock and roll. He moved back to England in 1964, tried singing, then became a movie stuntman and fringe theater actor. He changed his name to O'Brien (his beloved maternal grandmother's name) one day while on the phone to British Actors Equity, to avoid confusion with another Richard Smith. He met director Jim Sharman in 1972, when Sharman cast him in the dual roles of Apostle and Leper for the London stage production (transferred from Sharman's native Australia) of "Jesus Christ Superstar". Working again with Sharman on a production of Sam Shepard's "The Unseen Hand", O'Brien mentioned a new rock musical he'd been writing called "Rock Horror." The play went into rehearsals as "They Came from Denton High," and at Sharman's suggestion, was retitled "The Rocky Horror Picture Show" before opening in June 1973.

David Gulpilil is a legendary Yolngu actor, a First Nations person of Northern Australia, born around 1953. The local missionaries gave him his birthdate of July 1, 1953, just as they gave him his Christian name David, although he admits he liked that name from the start. His last name, Gulpilil, was a totem, the kingfisher. He'd never seen a white person until he was 8 when he visited the mission school, but he never really allowed them to teach him anything.

In 1969, the British film director Nicolas Roeg, scouting locations in the Outback, appeared at a mission in the north and asked if anyone knew a boy who can throw a spear, who can hunt, and who can dance, and everyone pointed at David.

David's easy smile made him a natural, and it quickly became obvious that he was unlike anyone the white man had met in the outback. He was not reserved or suspicious of strangers, and carried song on his lips and rhythm in his legs. David Gulpilil was fearless.

Looking back over his career, he tells us in the documentary, My Name is Gulpilil (2021), filmed while dying of terminal lung cancer, that he never acted, that acting wasn't something he had to do because it was natural. "I know how to walk across the land in front of a camera, because I belong there," Standing on stage, before a camera, or before the Queen of England, David felt comfortable in his own skin whether it was barely dressed in a loin cloth, or stuffed into the white man's dinner jacket.

Roeg quickly cast the charismatic Gulpilil in Walkabout (1971), a film based upon Donald G Payne's 1959 novel about a boy who cheerfully leads children to safety. Without really knowing it, Roeg broke new ground in Australian cinema, and redefined the way that Indigenous people were represented in Australian cinema. The film was an international success everywhere but in Australia, where First Nation peoples had been previously portrayed only by white people wearing blackface. And to top it off, the film broke cultural barriers, presenting on the wide screen a sexually attractive young Black man.

David Gulpilli was, overnight, hurled in to high society as an instant, international celebrity and presented before Queen Elizabeth, who found him quite charming and humorous. She in turn introduced David to John Lennon and that was just the beginning. Before long he was soon shaking hands with Muhammad Ali, Marlon Brando, Bruce Lee, Jimi Hendrix, and Bob Marley, who would help contribute to David's downfall. David taught Bob Marley to play the didgeridoo. Marley taught David to smoke ganja. But it was while filming Mad Dog Morgan (1976) that he got his crash course in hellraising by Dennis Hopper. Later in his one-man stage show he'd say, "If you're working with people like Dennis Hopper and [John] Meillon, well, you gotta learn all about drinking and drugs."

David enjoyed being in front of the camera, and he well knew the importance of his work because it was history and it would "remember to generation to generation," shining a spotlight on his people who had been murdered, exploited, and corralled into camps. The collective history of his people meant everything to him and these films, he claimed, "Won't rub it out."

He was a dancer, a singer, an artist, and a story teller, and fell lovingly into the role of ambassador of his culture to the white man's world, which ironically would eventually divorce him from his culture, as he took to drink and drugs and wound up in trouble with the law, racking up four drink-driving arrests, and one drunken escapade that landed him in jail again, but this time for assaulting his wife. As he admitted in his biopic, "Left side, my country. Right side, white man's world. This one tiptoe in caviar and champagne, this one in the dirt of my Dreamtime."

When he'd been discovered, he spoke no English, though he knew a few dialects of the First People's language, and he was such a quick learner. He began picking up English while just listening during the making of the film, Walkabout, and afterwards as he travelled about the world.

In his one man show, "Gulpilli," he tells the story of trying to use a knife and fork while sitting next to the queen. He cut and cut but couldn't get any meat as he just moved the plate around the table. He gave up and finally picked it up with his hands. Whether true or not, he tells how the Royal Family joined in, eating their meat as he did.

After his sudden fame in Walkabout, David found his way onto Australian television in episodes of Boney (1972), Homicide (1964), Rush (1974), The Timeless Land (1980), and more, and even got a bit part in The Right Stuff (1983).

He was quickly recognized as the most renowned tribal dancer in Australia, and he choreographed the traditional First People's dance in Crocodile Dundee (1986). His love of dance inspired him to organize dancing troupes and musicians that won the Darwin Australia Day Eisteddfod dance competition four times.

His breakthrough role came in the mid-seventies with Storm Boy (1976), one of David's personal favorites, followed up by a lead role in The Last Wave (1977). In fact, his last appearance as an actor was in the remake of Storm Boy (2019), playing the father of Fingerbone Bill, the character he'd played in the original version.

Despite his fame, his earnings were never substantial and he was subjected to racism from agents and film crews. He was often homeless, sleeping in parks. He wound up living in a corrugated iron hut in the community of Raminginig that had no electricity or running water, where he hunted kangaroos, cooking bush meat over an open fire. "I was brought up in a tin shed. I wandered all over the world - Paris, New York - now I'm back in a tin shed," Gulpilil said.

Rabbit-Proof Fence (2002) is the story of Australia's Lost Generations, in which mixed race First Nation children were removed from their families and placed in church-run missions in order to breed the "black" out of them and integrate them into society. Many of the children ran away from these camps and trackers were sent out after them. David Gulpilil played the formidable tracker in Rabbit-Proof Fence, and that led to a leading role in The Tracker (2002), directed by Rolf de Heer. David referred to this role as the best performance in his career. He won best actor at the Australian Film Institute Awards, the Inside Film Awards, and the Film Critics' Circle Awards.

He teamed up with Rolf de Herr a few more times, but their most unique production was the first film scripted entirely in the Yolngu language, called Ten Canoes (2006). Gulpilil narrated the film and it won a Special Jury Prize at the Cannes Film Festival. It was after this time that David's life took a downhill turn and landed him in prison because of his drinking and assaulting his then partner Miriam Ashley. After his release he went into treatment and got sober.

Clean and sober he went to work again with Rolf de Herr and co-wrote the film Charlie's Country (2013), the true to life story of an ageing man who yearned to return to his cultural roots. Gulpilil gave the performance of his career, winning four best actor awards, including best actor at the Cannes Film Festival. At the Australian Film Critics Association Awards, he shared with Rolf de Heer the best screenplay award.

Released six months before his passing, My Name is Gulpilil (2021) is, as David put it, the story of his story. Though very ill, David gives us insight into his charismatic life and charm as we witness the full spectrum of his talents. We see him dancing, singing, celebrating, and even painting. One of his paintings, "King brown snake with blue tongue lizard at Gulparil waterhole" hangs in The Art Gallery Of South Australia. He spins wool from his hair, something his ancestors handed down that his father taught him. He takes us for a walk through his land, along the rivers, in the shadows of the mountains, and knowing he's dying, he admits he really doesn't yet grasp it, but tells us, "I'm walking like across the desert of the country, a long, long way. Until the time comes . . . for me."

Frederick Parslow was born on 14 August 1932. He was an actor, known for The Last Wave (1977), Neighbours (1985) and Mission Top Secret (1993). He died on 26 January 2017 in Caulfield, Melbourne, Victoria, Australia.

Tom E. Lewis was born and raised in South Eastern Arnhem Land, Northern Territory amongst the Murrungun tribe where today their lands are federally protected. For much of his early life he worked as a bricklayer and stockman in order to make ends meet. However this was only a front for his real drive and ambition to pursue a life of artistic merit. Most notably, Tom has shown his talents in both the musical and theatrical arena.

He has worked with many renowned theatrical companies such as Playbox and Melbourne Theatre Company and has produced internationally recognised work. But the real success story for Tom was his transition from theatre into film earning his first breakthrough role as the title character in the film "Chant Of Jimmie Blacksmith" (1978); a film which won itself a Palme d'Or nomination no less at the 1978 Cannes Film Festival. Tom's film career has been as broad as at has been long with him playing a multitude of complex, realistic and mostly recognisable indigenous characters. One of his most noticeable characters included Two Bob, an outlaw in the commercially and critically successful "The Proposition" (2005) and Jimmy Conway in the film "Red Hill" (2010) in which he played the main antagonist, an escaped and extremely vengeful convict.

Tom E. Lewis' acting abilities have slowly over the years begun to shine more and more on the international film circuit. With the release of his new film "Red Hill" (2010), which is being hailed as the next No Country for Old Men, it seems that Tom's day in the sunlight is just around the corner and perhaps even bigger character roles for him to sink his teeth into?

Robert Murray Helpmann was born in Mount Gambier, Australia, as the eldest of three children born to stock and station agent James Murray Helpman and Mary Gardiner.

After the family moved to Adelaide in 1914, Helpmann was educated at Prince Alfred's College, but he soon left school at the age of 14 to focus on dance, specifically ballet. He was taught ballet by Nora Stewart. Helpmann first danced solo at the Theatre Royal in Adelaide in "The Ugly Duckling" in 1922. In 1926, he was trained by Alexis Dolinoff, the leading male dancer for Anna Pavlova, whom Helpmann soon became an apprentice for. The next year, in 1927, he joined J. C. Williamson Ltd. as their star dancer.

Helpmann went on to become the principal dancer at Sadlers Wells Ballet from 1933 to 1950. World renowned as a dancer and choreographer, amongst his other achievements he was the director of the Australian Ballet Company. He directed the world tour of Margot Fonteyn in 1963.

Towards the end of his life, Helpmann was living in Balmoral, a suburb of Mosman, in Sydney, Australia. On September 28, 1986, Helpmann died in the Royal North Shore Hospital in Sydney, at the age of 77, from emphysema, having been a lifelong smoker.

Popular Australian actor born in New South Wales, whose earlier film work typified the "Aussie larrikin" stereotype with his lively and animated acting style, blonde hair and lairish grin. Bisley broke into film alongside fellow NIDA graduate Mel Gibson in the surfie flick Summer City (1977), followed by a minor role in Newsfront (1978), Next up, Bisley appeared as quick-tempered police officer "Jim Goose", again with Mel Gibson in the action thriller Mad Max (1979), and then as a wildcat miner in the gritty outback tale of The Last of the Knucklemen (1979).

The likeable Bisley found himself in regular demand in both Australian cinema and TV, and over the next few years he showed up in a variety of fine productions including "A Town like Alice" (1981), The Highest Honor" (1982), Squizzy Taylor (1982) and Silver City (1984).

Bisley then appeared in the highly popular TV series _"The Flying Doctors" (1985), in the period piece "Emma: Queen of the South Seas" (1988) and the ABC TV series G.P. (1989). His next role was as a slick-talking and shonky car salesman in the delightful The Big Steal (1990). However, Bisley was back on the side of good in the prime rating TV series "Police Rescue" (1990). Bisley continued to keep busy in the 1990s with great performances in many TV productions such as "Halifax f.p: Sweet Dreams" (1996), Breaking News (1994) and four years as tough detective "Jack Christey" in Water Rats (1996).

A key actor in the growth of Australian cinema and TV for nearly three decades.

Robert Grubb was born on 31 January 1950 in Hobart, Tasmania, Australia. He is an actor, known for Mad Max Beyond Thunderdome (1985), Gallipoli (1981) and My Brilliant Career (1979).

Sam Neill was born in Omagh, Co. Tyrone, Northern Ireland, to army parents, an English-born mother, Priscilla Beatrice (Ingham), and a New Zealand-born father, Dermot Neill. His family moved to the South Island of New Zealand in 1954. He went to boarding schools and then attended the universities at Canterbury and Victoria. The 6-foot tall star has a BA in English Literature. Following his graduation, he worked with the New Zealand Players and other theater groups. He also was a film director, editor and scriptwriter for the New Zealand National Film Unit for 6 years.

Sam Neill is internationally recognised for his contribution to film and television. He is well known for his roles in Steven Spielberg's Jurassic Park (1993) and Jane Campion's Academy Award Winning film The Piano (1993). Other film roles include The Daughter (2015), Backtrack (2015) opposite Adrien Brody, MindGamers (2015), United Passions (2014), A Long Way Down (2014), Escape Plan (2013), The Hunter (2011) with Willem Dafoe, Daybreakers (2009), Legend of the Guardians: The Owls of Ga'Hoole (2010), Little Fish (2005) opposite Cate Blanchett, Skin (2008), Dean Spanley (2008), Wimbledon (2004), Yes (2004), Perfect Strangers (2003), Dirty Deeds (2002), The Zookeeper (2001), Bicentennial Man (1999) opposite Robin Williams, The Horse Whisperer (1998) alongside Kristin Scott Thomas, Sleeping Dogs (1977), and My Brilliant Career (1979).

He received Emmy and Golden Globe nominations for the NBC miniseries Merlin (1998). He also received a Golden Globe nomination for One Against the Wind (1991), and for Reilly: Ace of Spies (1983). The British Academy of Film and Television honoured Sam's work in Reilly by naming him Best Actor. Sam received an AFI Award for Best Actor for his role in Jessica (2004).

Other television includes House of Hancock (2015), Rake (2010), Doctor Zhivago (2002), To the Ends of the Earth (2005), The Tudors (2007) with Jonathan Rhys Meyers, Crusoe (2008), Alcatraz (2012) and recently in Old School (2014) opposite Bryan Brown, Peaky Blinders (2013) alongside Cillian Murphy and The Dovekeepers (2015) for CBS Studios.

Bill Hunter was one of Australia's acting legends, having worked with almost every notable Australian director and actor of the last thirty years - evidence of his genuine popularity among the public and acting fraternity alike.

He started out in Australian television in the '60s (a hotbed of well written and directed drama), and rapidly became a favorite of directors during the boom in the Australian movie industry in the '70s. He has often played the strong, opinionated, stereotypically gruff Australian who ultimately betrays a softer heart.

Some of his notable movie roles include the Australian officer Major Barton, who will only ask his troops to do as he would, in Gallipoli (1981), Peter Weir's groundbreaking movie starring the young Mel Gibson; the meddling Barry Fife in Strictly Ballroom (1992), Baz Luhrmann's first international hit; scheming politician and failure as a father and husband Bill Heslop in Muriel's Wedding (1994), P.J. Hogan's first international hit; the lovable country battler in the international megahit The Adventures of Priscilla, Queen of the Desert (1994), starring Terence Stamp, Guy Pearce, and Hugo Weaving.

In the 1950s, Bill Kerr was one of Tony Hancock's regular sidekicks in the popular radio series 'Hancock's Half Hour'. In the first series he was smarter than Tony, but as the series progressed he became more and more stupid and childlike, regularly calling Tony 'Tubb'. Despite remaining on the radio series throughout its six year run, when the TV series began he was not required.

Mark Lee was born in 1958 in Sydney, New South Wales, Australia. He is an actor and director, known for Gallipoli (1981), The Bet (2006) and Paper Giants: Magazine Wars (2013).

New Zealand born actor David Warbeck made his feature film debut in My Lover, My Son (1970). Warbeck went pro following studies at London's Royal Academy of Dramatic Arts and during the 1970s became a popular European star of low-budget genre pictures made in Italy, the U.S. and England. His notable films include Antonio Margheriti's Treasure Island in Outer Space (1987) and Lucio Fulci's The Beyond (1981). Warbeck made his final film appearance in Jake West's Razor Blade Smile (1998). He died of cancer on July 23, 1997 in London, aged just 55 years-old.

Harold Hopkins was born on 6 March 1944 in Toowoomba, Queensland, Australia. He was an actor, known for Gallipoli (1981), The Club (1980) and Moby Dick (1998). He died on 11 December 2011 in Sydney, New South Wales, Australia.

Max Phipps was born on 18 November 1939 in Parkes, New South Wales, Australia. He was an actor, known for The Road Warrior (1981), Nate and Hayes (1983) and The Dismissal (1983). He died on 6 August 2000 in Sydney, New South Wales, Australia.