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Dear Frank

I would like to extend my gratitude for your ongoing commitment to, and understanding of, what is

required to make a project a really great one. 

Macbeth has been our fourth film together and I remain impressed by your  skills and imagination in

ensuring that the sound is a major part of the dramatic experience.  The exceptional quality of your

sound design was often commented on during our recent test screenings in NSW and Victoria.

Your recommendation about mixing Macbeth at Soundwaves with Andrew McGrath was very much appreciated and I would certainly seek to work with Andrew again at the Soundwaves facility.

I have found in both of you a willingness to push the envelope in quality and application that I cannot find elsewhere in the entire country. 

Once again, thankyou

Yours faithfully

Geoffrey Wright

dir Macbeth

Andrew Dominik (Director “Chopper”) and Eric Bana


By Tim Robey
Published: 5:13PM GMT 18 Feb 2010

Tim Robey reports from Berlin Film Festival

Red Hill, the debut of talented Australian commercials director Patrick Hughes, which packs rookie cop Ryan Kwanten’s first day on a small-town beat with more incident than he was counting on for a year: if it weren’t enough that an escaped Aboriginal convict (Tommy Lewis) is out for revenge, there’s also a panther on the warpath. It’s a crackingly energetic modern western with killer sound design.

By Matt Shea @ the Brisbane International Film Festival

Nov 13th 2010

Excerpt from review

Shane and Jimmy’s first encounter is a good one, and the filmmakers must love it when they get to witness the audience reaction to a fantastic cold room scene. The visual effects and stunt departments deserve plenty of praise also, and every moment is sold almost entirely on some brilliant sound design, courtesy of Frank Lipson.

Red Hill has now been picked up by Sony and is receiving a fairly hefty marketing push. It should make its money back, and that’s always a good thing. If nothing else, it’s another fine example of the technical skill that exists in the Australian industry. Perhaps the biggest praise of all, however, should go to producer Al Clark: for the budget this is a brilliant looking film, and in all likelihood it was Clark’s begging, borrowing, scrounging and saving that delivered such a classy result.

See it for: This is a great looking film, but it’s Lewis and some exceptional sound design that really sell the final product.


"Frank you were an integral part of creating a cinematic world for the film SNOWTOWN. 

It would be very easy with a film like this to be drawn towards the cliche or obvious in terms of sound design but you always gravitated to the unique, providing a soundscape which was always telling the story, revealing character and most importantly transporting people into a world which was compelling and terrifying.

You have that rare gift of being technically brilliant while always creatively connected with whatever vision is in front of you. In short you are a true artist. 

It was a great wish of mine that you would say yes to doing the sound design for SNOWTOWN. You have a body of work behind you, which is unrivalled by any other sound designer in Australia. 

The actual experience of working with you was an incredible blessing and privilege. You are passionate, loyal, imaginative and dedicated in producing a soundscape which was fresh and unique like no other film. 


I am eternally grateful for your work on this film and cannot wait for the opportunity to work with you again, which I hope is soon.

Frank you are an absolute treasure and anyone considering working with you should stop thinking and just hire you immediately. Their film will benefit beyond belief.

You are world class mate, thanks a million."

Justin Kurzel

Director of the feature film  SNOWTOWN

Warp Films Australia  26/04/11

Justin Kurzel (Director “Snowtown”)

Geoffrey Wright (Director “Romper Stomper”, “Metal Skin”, “Macbeth”)


Kelly Dolen (Director  “John Doe Vigilante”)