Paul Charlier

Sound Designer

Paul Charlier has composed the music and sound designed for over 200 productions across film, television, theatre, dance, physical theatre, radio and gallery installations in Australia and overseas.

Theatre scores include: Lee Lewis’ Prima Facie and Gaslight; Robyn Nevin’s And Then There Were None and Scenes from a Separation; Priscilla Jackman’s RBG: Of Many, One; Liv Ullman’s A Streetcar Named Desire; Tamas Ascher’s Uncle Vanya; Stephen Soderberg’s Tot Mom; Judy Davis’ Victory, Faith Healer and Dance of Death; Gale Edwards’ Buried Child; and Neil Armfield’s Hamlet, The Blind Giant Is Dancing, Suddenly Last Summer, The Lieutenant of Inishmore, The Judas Kiss and Summer of the Seventeenth Doll. He was Sound Designer for Michael Blakemore’s Copenhagen and Democracy in Australia and his Deuceon Broadway, and Composer for his Afterlife at the National Theatre, London.

Paul composed the scores for dance and physical theatre works including: Marrugeku’s Jurrungu Ngan-ga (Straight Talk); Nigel Jamieson and Legs On The Wall’s Honour Bound; Kate Champion’s Already Elsewhere; Stalker’s Blood Vessel; and Lloyd Newson’s DV8: The Cost of Living.

Paul scored the films The Pool, Candy, Last Ride, The Final Quarter, Suzy and the Simple Man and Rachel’s Farm.

He was Sound Designer for The Projectionist, Looking for Alibrandi and Paul Kelly: Stories of Me.

For radio, he wrote and produced the features A Plan for Eurydice, The Touring Machine(with MoMA, Los Angeles), The Telephone and A Fall.

Awards include: an Australian Screen Sound Guild Award for Paul Kelly: Stories of Me; Sydney Theatre Awards for Diary of a Madman, Summer of the Seventeenth Doll and Honour Bound; and a Helpmann Award for A Streetcar Named Desire.