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| [...]ii3_En 113 ‘ 09' Hunt :66 °""“' A .sb19u,a.-in your :&:_, ’;_[...]eglectedpioneer buflfltement DI-(IO 0 ,5 Mxifl in . ofAustralian film and television. ‘:23, W’[...]S P d- ,A . _ I. can u, r our an-or Vu- CHILDREN OF THE 6 Cree." ,0 mm Séocmmm of "_ ,::t ‘"3 ' ' a... #3:. Australia gears up for its annual 'f' -A at "’~‘ "‘ .[...]an and bis debut feature, BY TIM HWTER H , : it * of it 1.9”‘ Summit 9 no- Children of the Revolution. " I Q ' ' ' °‘ “ ' ' ’ ‘ ' .[...]A HOPGOOD ‘ ‘“ ' " "“"" ‘ l0BA » My in no .3‘ nI.u..,.»« (OJ vlslltl-If--'[...]director rnaleing a Just when you thought 9 g:. In . ‘ . ,3, . .. ,. - - ' U ,‘ splasb on tbe in[...]' i A v -' " . - i ‘ "i ' Twenty-one years on, the making of BY JOHN B_ MURRAY : . at 39: V 04 4 u A’ ‘:1[...]nreview 51 . r it ' ; 58 A MICHAEL HELMS V1S1tS the set Censorship , . of Peter Jackson s btzarre Legal Ease 62 - horror fi[...]80 ' Martha Ansara is a filmmaker and convenor of the Filmmakers’ Oral History Group; Dominic Case is[...]ane Cook works part-time as a freelance Professor in the English Department at Monash University; Catharin[...]writer and at Cinemedia; Dena Gleason is a tutor in cinema studies at LaTrobe University; David A. Ha[...]ef censor from 1986-94, and presently consults to the communications and entertainment industry on cens[...]|bourne—based film historian currently involved in motion picture ship issues; Fred Harden writes on[...]storation; Ian Stocks is a filmmaker and lecturer in film and television at Queensland is a principal of Hart & Spira; Michael Helms is Editor of Fatal Visions: Tim Hunter is a Melbourne freelance writer; University of Technology; Raymond Younis is a lecturer at the University of Sydney. |
| [...]tival turned out to be a signifi— cant showcase of current Australian cinema, with a total of nine features including Lustand Revenge(Paul Coxl, Floating life (Clara Law), Idiot Box {David Caesar), The Quiet Room (Rolf de Heer), Dead Heart(Nrck Parsons} and love and Other Catastrophes (Emma—Kate Croghanl. In particular, three films were enthusiastically received by punters and critics alike: hit film of the fest was Scott Hicks’ Shine, which took out both the Air Canada People's Choice Award and the Metro Media Award, as voted by all accred- ited press.A separate category, known as FIFRESCI, the international film critics award, goes to the best film in the Discovery programme, usually consist ing of directorial debuts. The 1996 jury selected Lawrence Johnston's life. Best Canadian feature, with a prize of $CAN25,DDO, went to David Wellington, for his adaptation of Eugene O’Neill's Long Day's Journey into Night. The third Australian feature to gener- ate a buzz in Toronto was the world premiere of Craig Rosenberg's Hotel do love. After laughing so much they fre- quently drowned the post-joke dia- logue, B00 punters welcomed Rosenberg with 90 seconds of applause at the end of the screening. Rosenberg's question—and-answer ses- sion with the audience, and a flood of interviews with US. and Canadian press the following day, demonstrated not only the success of this particular product but American audiences‘[...]bi/z_z} you Jo.’ nation with Australian movies in gen- eral: how they are made and "why they're all[...]scheduled for February l4 (get it?). Toronto is the main Canadian festival where the stars come out to play, and Hollywood execs consider the festival an important test of their product before it hits the mass market. This was demonstrated by the litany of actor-turned—director features on show this year, and nearly every one of them a debut. The most heavily promoted — and closing night gala[...]an unashamedly nostalgic look at American society in the pre-Vietnam '80s. Hanks‘ script, about a young[...]re than a passing resemblance to a younger Hanks. The writer-director himself plays Mr White, the band's hard-nosed manager; and when he wasn't busy writing lines, or calling the shots, Hanks was even writing some of the songs. But it's the art department that steals the show, with its kitsch recreation of the Ambassador hotel and the family-run appliance store, complete with ‘the latest technology’ in Hoovers, washers and clock radios. Another star debut — Anjelica Huston’s Bastard Out of Carolina — may have a harder time getting a full theatrical release, thanks to Ted Turner's disliking of the finished prod- uct. Originally made for Turner Entertainment, Huston’s adaptation of was Dear Sir. F . i write in regard to an open letter to the AFI from film director Richard Lowenstein, published in your last edition of Cinema Papers [No. 112, October, p. 5]. Mr Lowenstein singles out the pre-selection of the four films nominated for Cinematography in this year's AFI Awards and questions the credibility ofjudges. I would point out that all the judges who participated in this event are members of the Australian Cinematographers Society and that six of the eight judges are accredited members, namely Brent[...]Jones ACS, Joel Peterson ACS and Yuri Sokol ACS. The remaining two judges, David Burr and Bridgid Costellofj. although not accredited, are members of the Society and experienced in the industry. (Barry Malseed and Louis Irving AC3 did not participate in this year's “ judging.) ‘ May I further poin[...]ographetto . , be granted accreditation and given the rightito use the letters ACS after theiriname‘ is considered to be the ultimate accolade in the society and is highly valued. To question people[...]y be considered naive and show little respect for the views otsuch people — the likes of whom have no doubt helped Mr Lowenstein's career. All ACS members who participate in thejudging do so with the professionalism, integrity and honesty that is ex[...]sident ' - . Australian Cinematographers Society. The following open letter arrived at Cinema Papers from the AFI's Ruth Jones: ' Richard Lowenstein's open letter to the AFI, :. published recently in the October edition of Cinema Papers, is big on rhetoric and low on logi[...]etinal nominations. He had ljrappilyg panicipated in the process to that point, before disf covering it was 'unrepresentative and undemocratic’. F Why? Because the films he favoured didn't get up? ‘ But that's what democracy is, Richard — you live with it, even when the numbers aren't with you. Let's make a few things[...]jurors voted for Best Film nominations — not _ the six or so Richard implies. - o He reckons it wasn't a good year for cinematogra- phy and says the decisions of the cinematography . jurors were wrong. Frankly, cine[...]better judge ofcinematographic quality than he. The names, only witha short list of their credits as DOP, 2nd Unit DOP, camera opera[...]d Boy Bobby, Babe, Dead Calm, Strictly Ballroom, The Russia House, Clear and Present Dangerand Evil Angels: David Burr, Wild America, The Phantom, Beyond Rangoon and [The] Mosquito Coast, Jaems Grant, The Needy and the Greedy, The Good Looker and Only the Brave, Marc Spicer, Hotel do love, Country Life and Hapa Nui, Brent Crockett, Metal Skin, Ocean Girl, The Feds and The Silver Strand (U.S. tele-feature); . Yuri Sokol, Lonely Hearts, My First Wife, Man of Flowers, Fran, Cactus and Warm Nights on a Slow Moving Trairr, Joel Peterson, Faces of War, The last Magician and Homelands: and Bridget Costello who was a contributing DOP on Bad Boy Buhby. Nor would the cinematography jurors appreciate his implied sugg[...]ittered" and "have axes to grind". What gives him the right to suggest this when he was not party to th[...]? ~— - , - To suggest jurors are normally out-of-work industty members is simply wrong. Read the full list of ‘jurors, . g ' “ printed in the Awards presentation programme and judge foryourse[...]formed assertion on their behalf. ,0 Think about the alternatives to prr-.»selection.The:1, American system, where you don't have to see the films in order to cast a nominating vote? The British system, where films are nominated on the basis of I‘ . how many write-in votes they accumulate? Prior to introducing pre-selection, as few as thirty 1 people voted in some of the specialist craft categories — this was the number that managed to see all the entered films. Now that is an unrepresentative[...]icult enough ensuring one hundred people view all the entered feature films. In 1996, in the non- ‘ fiction categories only, it would be necessary to see‘ more than 70 films in order to vote. lnxthis scenario everyone really w[...]loyed. ;, Nominations and pre-selection are part of any s democratic process and by utilizingthem we[...]ousands’, rather than hundreds, vote from [sicl the nominated fi|ms‘{;_ _ ; ’ ~ H , ~ The AFI does not have pre-selection in order to save‘ money. We had anexhaustiveconsu[...]arlier this year and, after extensive discussion, the Awards Advisory Committee was unanimous in its 4' -» .. T C‘ E , recommendations to the Board of the AFI that, on F _ 1-balance, the interests of the industry were best served by thecurrent pre-selection jury system. The note appended by Cinema Papers to Richard's _’ letterrnaming the cinematography jurors was incorrect. in future, feel free to check the facts with us before publishing. ' . j _ And, by the way, I was interested to read Cinema Papers’ comments to the effect that winning 7 AFI ‘ Awards had had no effect on Angel Baby's perforé mance at the box~office. I don't think the producers would agree — and with a 44% increase in box-office, on l 3 less screens, immediately following the AFl Awards telecast (figures courtesy of Motion Picture " Distributors Association of Australia). I don't either. Ruth Jones ‘ V ‘> Ch[...] |
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| [...]t-selling novel, about a girl's abusive childhood in South Carolina in the '50s, was consid— ered too violent and sold off to the Showtime network. While Turner allowed Bastard to go to Cannes, the same privilege was not extended to St Sebastian, and the film was only shown at Edinburgh on the condition there would be no press. Huston is dis— armingly calm about this treatment of her artistic product; when asked at a press conference whether she would win out in the end, she smiled serenely and replied, ''I'm not f[...]deed features some disturbing and shocking scenes of violence, but Huston's point — that this is not gratuitous violence for the pur~ pose of titillation — is clearly made: it's not the violence itself that's disturbing so much as the reality of it.Bastard features strong perfor— mances by[...], Emilio Estevez (directs ing father Martin Sheen in The War at Home), Matthew Broderick (lrrr‘r'nr'tyl,[...]th Stanley Tucci). llichard Lowenstein replies: The focus of my mention of the cinematographers' panel this year to select (or not select. as the case may be) the four top films in their section misses the point of my intended criticism. My gripe has nothing to do with the films I favoured; that is only’ my "opinion", as duly noted. One really must have one's head in the sand to miss the quite public and widespread criticism (ABC Radio National, SBS Movie Show amongst others) of the nominations of all sections of the AFI Awards this year. And as for democracy we ar[...]mocratic. [ast time I checked, democracy was "for the people by the people", not "for the people by a small panel hand-picked by bureaucrats". But, since cine matography is the focus of these letters, let me answer that. Are lngerson and Jones really saying that membership of the ACS is all that is necessary for a cinematographer to sit on the AFI jury panel and judge the most prestigious feature-film cinematog- rapher award in the land? My understanding of the AFI's procedure was that the jury members (of all categories) had to have a feature-film credit in the area of expertise they were judging. This is indeed what[...]approach me to sit on a panel. Is this not so for the cinematographers? Should this mean that membership of the Writers’ Guild or the Directors‘ Association is all that is necessary to be able to sit on the Screenplay and Director juries’! I don't wish[...]Jones’ credit list and I have no beef with any of the individuals concerned, but I thought we were talk[...]ot 2nd Unit DOPs, camera and Steadicam operators. The last time I spoke to my good friend Steve Vlfind[...], Country Life and Hapa Nui, not Marc Spicer. And the list goes on. I thought Andrew Lesnie had shot Ba[...]was thirty~ one! Are they all now able to sit on the jury panel? Let's follow this theory through to[...]editors, production co-ordinators able to sit on the jury panels next to the Jill Bilcocks, Jane Campions, Laura Joneses and P[...]ld a feature director submitting his/her movie to the AFI Awards honestly believe that someone who had only made a ten-minute short is the best person to judge their feature’! I think not. The director would rightly demand that he/she be judged by someone, if not of equal stature, at least in the same ballpark — that is what "peer assessment" means.‘ The AFI has often claimed its Awards are judged by i[...]r assessif 3 ment" has obviously been tossed out the window... But to focus on this is to miss my poi[...]ed" and "axes to grind", I T was not referring to the cinematographersf-'l. was referring to the whole nature of the jury system of pre-selection where a tiny group of industry professionals have a disproportionate ef[...]r by as many . : accredited members as possible. The erratic nature of the nominationsare there in the other categories as well (Best Film and Best Documentary, among others). My criticism is not with the ACS or the members ofa panel (it is their "opinion", after all), my criticism is with the jury system itself. A system where such a small panel has to speak for the whole industry is fraught with problems (as any u[...]will tell you). It was a system that was brought in during the turbulent days of the IOBA funding where between 3540 films were being made each year, with upwards of 25 of them being unwatchable (I know, I had to watch most of them). This situation does not exist any more. The amount of films made per year is nowaround 20. Surely, accredited AFI members from each section of the industry should be able to see all 20 films if they are going to vote democraticallyfor the one that is the best of the year in their area of expertise. Or are the panels of 6-8 always going to do the bulk of our thinking for us? I know from conversations with the AFI organiz- . ers (who have done a marvellous job given the judging system they have to work with) that low attendances at the screenings from accredited AFI members was a major problem with the old system. Since 16 out of 20 films submitted this year were screened twice[...]It may also give accredited AFI members currently in gainful employment a chance to be involved in the process of selecting their "Best" fourof the year. Maybe _then the" "nominations" would reflect the films with the most votes and not a panel's arbitrary decision. T If not, maybe we should rename the "Best Film Award" the "Best of the 4 Films We Have Been Allowed to Vote For Award".[...]wouldn't have a problem. ». ’ PS: Along with the two films mentioned in my_ — open letter to the AFI, the exclusion of Life from the cinematographer nominations also seems to be a gr[...]on. But, then again, this is only my "opinion". The Editor replies: . In her criticism of Cinema Papers Ruth Jones gets some facts wrong and misses the point‘ Jones complains Cinema Papers didn't check with the AFI first about who was on the pre-se|ec- tion panel. She is correct. The reason is that every year Cinema Papers has asked[...]nned 'it;=Perhaps she could reinforce this change of heart by ‘ publiclyerevealing the true cost ‘if the Awards. Naturally, Cinema Papers apologizes for the errors or its faulty detective work, and to the two DOPs wrongly listed. However. the fact remains that. of the eight DOPs on the jury, only four had shot a theatrically-released feature at the time of Jones goes to great lengths to ‘smudge’ this[...]or Steadicam operator’. -And this is done at the expense of people who should, and deserve to be, duly accord[...]crediting Fran to Yuri Sokol. Kenny not only was the DOP but was the camera operator. Soko|'s credit was for "Additional Photography" (not even one of Jones’ categories). To set the record straight, the DOPs who were actually responsible for the Australian features mentioned by Jones are footnoted below.‘ At the end of her letter, Jones writes: And, by the way, I was interested to read Cinema Papers’ comments to the effect that winning 7 AFI Awards had had no effect on Angel Baby's performance at the box office. These "comments" were published in May (issue ‘ I10) and have nothing whatsoever to do with Lowenstein's letter (published in October). Jones also gets confused, because the "lnbits'’ ; ' item to which she refers does not say what she claims. Hather, it reads: =; The AFI Awards seem to have had little bearing on local box-office performance in 1995. Angel 1 Baby, despite its swag of seven Awards l...) A ended the year with a domestic gross of $869,591. Babe [...] Thein Cinema Papers reported the following facts on the 1995 threatrical release of Australian films. Babe set an all-time record for an Australian film in domestic release, and was not entered in the Awards. Dad and Dave 0n 0ur Selection, with a sin[...]outgrossed Hotel Sorrento, with two Awards, which in turn outperfonned Angel Baby. Angel Baby, despite the Jones—perceived promo 1 tional muscle of 7 AFI Awards, ended the year with a domestic gross of less than $870,000. .n this evidence, AFI Awards did not correspond , ' with hit success at the domestic box-office in 1995. ‘ Cinema Papers was not suggesting the promotional opportunities of the Awards may not benefit the performance of any individual film — as. too, do weather and t[...]enuously insinuates. "was Cinema Papers deriding the claims of Angel Baby's producers. This year, the low-budget, 16mm love and Other Catastrophes, with no Awards nominations at time of release; has already grossed more than $2 mil- . glion. Shine, with no Awards nominations at the time of release, has grossed more than $5 million. E , ' And if the AFI Awards are such a massive boost to box-office, as Jones claims, why would ‘exhibitors reduce by 13 the number of cinemas , showing Angel Baby immediately after the Awards? If the Awards are a true goldmine, the number of cinemas would have been greatly increased, not the reverse. ‘ Bad Boy Bubby (Ian Jones, plus 30 c[...]Hearts (Yuri Sokol), Metal Skin (Ron Hagen), Man of Flowers (Yuri Sokol), Myl-"rrst Wife (Yuri[...] |
| [...]Antony Gihnane, Gillian Armstrong. Ken I3. Hall, The Cars that Alb Paris‘lilnniticr 2 Mimi ttml Ce[...]loeg, Sandy Horbutl. Film under Allende, Between the Wars, Arvin Purple DIIIIIIIIII 3 (July 1514)[...]padopulous, Willis O'Brien, Ifllliarn Friredkin, The True Story ol Eskimo Nell Monitor 4 lflienotbnr[...]erner Herzog, Between Wars, Petersen, A Salute to the Great MacAnhy Number I lMmt,i»Aprit mil Albie T[...]x Lemon. Miklos Jancso, Luchino Visconti, Caddie, The Devils Playground llumtnr In (Sconce: mt) Nagisa Oshimo, Philippe Moro, Krzysz[...]bb, Samuel 2. Arlioff, Roman Polanski, Soul Bass, The Picture Show Man rrumm (Mull rm) Ken Loactt, To[...]eling, Piero Tosi. John Dmkwoilh. John Scot, Days of Hope, The Genirrg of Vlfisdom Iflutohsr I! l.l:iIy1I17l Louis Malls[...]eanine Seawall, Peter Sykes, Bernardo Bartolucci, In Search olllnna lullhr II Illimtter IIITTI Phil N[...], Terry Jarzkrnan, John Huston. Luke's Kingdorn, The Last Wave, Elite fire Lady fliutiilnr It Iulon[...](Iowan. Trulfaut, John Faulkner, Stephen Wallace, the Tavlani brothers. Sri Lunkan mm, The Chant oi Jimmie Elaclrsrriith lumber II llptil-J[...]loin, John Duigen, Steven Spielberg, Tom Jeffrey, The Africa Project Swedish cinema, Dairvnl, Patrick[...]I-tuppert, Brian May, Polish cinema, Ivewslmnt, The Nightthe Prowler Iiimlcr Iltflittviiiitir will[...]Iunliu II‘ (‘Hm-slime IQHI Vietnam on Film, the Eantrills, French cinerria, Mad Max, Snapshot The 0ddAngry Shot Franklin on Hitchcock Huh! § {Jul[...]onalism. Japanese cinema, Peter Weir, Water Under the Bridge Dnlfiarfllhllrdfl; IDI Randal Kleiser,[...]I I I I I I I I I I I I I I A Guide to What’s in Stock hlirmlmal (hiring! moi Bob Godlrey, Diane[...]ke. Stephen Wallace, Philippine cinema, Cruising, The last Dutfaw ‘ ' Numbufl (Dec Ifislan-III) Sa[...]re[I10lll;III, Richard Lester, Canada supplement, The Chain Reaction, mood Money Illumbsr It IMIrcII»ApriI 15!) Bryan Brown, looking in on Dressed‘ to Kill, The Lest Outlaw, Fattlrfi/in, Vlfinduws lesbian as villain. the new generation Number 33 Illay-Jurlelflll Judy[...]winburne, Cuban cinema. Puttlic Enemy Number One, The Aitemative Nttlllm B (June-July IE1!) John Duigan, the new tax concessions, Robert Altrnanfloines Iitit[...]lublio, Blow Dirt, 'I?roalrer‘MeranL Body H991. The Morrfrfim 590W)! River Number 3? (April IQ] Ste[...]Wendy Hughes, Ray Barrett, My Dinner with Andre, The Return of Captain invincible Number A1 (Number iii) to‘[...]ader, Pater Tammer, uliana Cavam, Colin lllggina, The Yaar of Living Dangerously Number I! (Illrnh IHSI Mel Gi[...]Priingle, Agnes Varda, copyright, $tnlrelloi2Ild. The Man from Snowy River Number 13 Iflihiuiie 1%} Sydney Fella alt. Denny Lawrence, Iiraeme Clifford, The Dismissal, Sumner Incite Elliott's Careful He Mig[...]iwali, Jeremy Irons, Eureka Stockade, Waterfront, The Eayirt the Rush, A Woman Svflers. Street Hora Iiutnher 47[...]hael Pattinson, Jan Sordi, Voram Grass, Bodyline, The Slim Dusty Movie Ilunrhr II (December SUI) Alain[...]Eorurwceyk, Peter Schreck, Bill Cami, Brian May, The Lastfiostinri, Bliss Iluntber 9! (May Iflfil[...]Maliovejev, Ernoh fluo, Winners, Morris W031‘: The Naked Country, MadMe1x Beyond Thunderdome, Robber[...], Wills and Burke, 77:: Great Bookie flabttery, The Lancaster Miller Affair Ilomlm lilulirmiy Illll[...]ien Thompson, Paul Verhoeven. Derek Meddinqs, tie-in marketing, The flight Hand Man, Birdsville Mlllhr I ilhosh IQ?[...]herd~Sniith, John Hargreaves, Dead-endDrt've-irr, The More Things Change .,, Kangaroo, Tracy CINEMA PA[...]Woody AlIen,,HeiriIIard I-Iautl, Orson Wifllcs, the Cinéinathéque Francoise, The Fringe Dwellers, Great Expectations: The Untold Story, The Lasrfrantier Nurulinr fl liopmmr lfll Floben‘Altmun, Paul Cox, Lina Brocka, Agnes Vartla. the AH Awards, The Movers tluintteridlttweitibes in)‘ , Australian television, Franco Zetlirelli, '[...]an Polanski, Philippe Mora, Martin Arminger, film in South Australia, Dogs in Space, Howling ill ' Nunihrli (Munch I§1I ‘Scr[...]orilererice, prdducfion barometer, lilm finance. The Story ofttie Kelly Gang Ilumbnrfllflny 1!?) G[...]wood, Elmore Leonard, ' ‘Troy Kennedy Ma rtln, The Sac/dice,’ Landslides, Pee Wee’: Br'9Advontu[...]I, James Clayden, Video. 06 Laurontis, New World, The Navigator, Who's That Girl flimiherfi l.Ianimy[...]ge Miller, Jim Jermuisch, ‘Soviet cinema. women in him, 70mm, Tllmmaklng in Ghana, TheThe L‘/vilfleaid. feathers. Dceari, lilcean Iluit[...]ry 1%) VaIt0C.l Ste, nous, David Cronenbero. 1358 in retrospect, film sound Last Teriwt‘at1'¢1t‘J[...]a ones '85. Dead Calm Franco Nero, Jane Catnpion, The Prisoner of St Petersburg, Frank Pierson, Pay W Ilumlm 14 (J[...], Philippe Mora, Yuri Sokol, Twins, Ghosts ill 0! the Eivil Dead. Shame screenplay I », Iturnim 15 lieimiritur Ifl) Sally Eorigers, the teen movie, animated. Edens Lost Pet Semmry, Mart[...]le” Dundee overseas IIulnIier Ti (Mitch tifll The Emssirrg, Ray Argall, Return Name, Peter Ereenaway and The L‘oo.r.... Michel Ciinent. Bangkok Hilton, Barl[...]fellas, Presumed Innocent Iltlmlllr R (Much III) The Godfather Part III, Barber! Schroeder, Reversal of Fortune, Bla ck Robe. Raymond Hollis Loiiglord. Backslrdrrig "HEIDI?" (“if 1”" Australia at Cannes, Gillian Armstrong, The Last paysat Elm I/nus, The Silence ufthe Lambs, Flynn, Dead to the World, Anthony Hopkins, Spotswood I I I I I I I[...]tmZ../‘udgement Dan Dennis O'Rourke, Goad Woman of Bangkok, Susan Dermady, Breathing Under Water. Ca[...]FFC part? Number I Minoan I51) liumper Stamper, The Nosrra damus K in‘, Ereenlraeplng, Erglitball, Kathryn Bigelow. H[...]'cinama, Steven Spielberg. Hook, George Negus and The liedvnknnwn, Fllohard Lowenstein, Save Lime Praye[...]I! lllhyaluno Iml Strictly Ballroom, Hammers Over the Anvil, Daydream Believer, Wim Wender's Until The End at the World, Satyaiit Ray Ninnlerfl (August Ifil Can[...], teen movies debate Number I (October ‘IH2I V the Lastrasvs niche: Nous: niiliey Scott‘ 1492. Ste[...]io Manqiamele. Cultural Bitlerences and Ethnicity in Austraficn Cinema. John Fmnkenhelmers Year or the that Number 31 (January II!) Clint Eastwood and[...]Miller and Eros: MISCUHUUCL David Elliott's Love In Limbo, 0n the Beach, Australia's tirst films: part I Nurtilierlzllorii ism v Re[...]Miller and Lorenzo‘: (Ill, Megan Simpson, Alex, The Lover, women in Iiliit ond"leIevisien, Airstralizrs first iilms: part 2 Ilumber 63 (May 1893) Jane Campion and The Piano, Laurie Mclrinss and Broken tligtrway, Tracey Moffatt and Bedrzwl, Lightvvorks and Avid, AustraliaThe Hearwrcalr Kid, ‘Coming otAge' lilms, Australia's iirst films: pin 4 ' Number S Iflcwhcr Mil Lym'i«Marie Milburifs Memories & Dreams, Franklin on the science of previews, The Custodian, documentary supplement, Tom Zubricki, John Hughes, Australia's liist films: pan 5 Numberfi (Deceinhtr 1%) Queensland issue: overview of film in Queensland, early Queensland cinema, Jason Donovan and Donald Crumble, Rough Diamonds, Australia's first films: pan 6 Number I74 llprll IQII Zll[...]htning Jack. Richard Fmnlilin on leaving America. Australia's first Iilms: part 7 Iluiiiisril. (Jun Bill Krz[...]plement, Geoflrey Burton, Pauline Chan and Traps, Australia’: hrst films‘, Part a ‘ Iiliunlm ‘M (aug[...]SW supplement, ernardo Berioluccis Little Buddah, The Sum oflJs, Spider Er Hose, him and the digital world, Australia's Iirsl films: part 9 Nuiihit IDI -(Dublin ‘I[...]and Muriel's Wedding. Ben Lawin and Lucky Bree/<, Australia's first lilms: Port 9 Niuitlter ‘III? lbeeentber will , Once Were Warriors, tilms we love, Back of Beyond, Cecil Holmes, bndsey Anderson, Body Meir, AFC supplement, Spider & Rose, Australia’: Firs! Films: Part I0 tlunilm tfl llllmlt[...]tieotlroy Simpson, Heavenly Creatures, Eternity, Australia’; First films Illoiriltor I04 lam will ‘[...]by, Epsilon. Vacant Possession, Richard Franklin, Australia's First Films‘ Part 12 I I I I I I I I I I I I[...]asi, Jacqueline McKenzie, Slawomir Idziak, Cannes Review, Ciaumotit Retrospective, Marie Craven, Dad & Dav[...]and John Maynard on All Men Are Liars, Sam Neil, The Small Man, Under - the Gun. AFC low budget seminal Ilimt‘ber1o7lDIeum[...]ler and Chris Norman talx about Eabe, New trends in criticism, The rise of =boutique cinema Nurnhr 13 (February 13] Conyuring John Hughes’ WhatlHaye Written. Cthulu, The Top I00 Australian Film, Nicole Kidman in To Die For Plumber till (April lfil Rachel Gritiilhs runs the gamut, Toni Collette and Cast‘, Sundance Film Festival, Michael Tolkin, Morals and the Mutoscope ‘ Number ill: um twl Roll de I-leer[...]ave Serenade, Richard Franklin Number In (Mount IQ! Scott Hicks and Shine, Theof the Mavericks, Clueensland Sopplemenwart l,. Sighting the Unseen, Rirherd Lowenstein , , uiapto 0[...] |
| [...]and could not recommend anyone more highly to be in charge of my publicity campaign. It is the personal, caring, hands—on type of promotion that makes it so easy to sit back and be confident that the job will be done correctly. Highly recommended”[...]CTION - SCRIPTS - NATIONAL CINEMAS- BIOGRAPHIES OF DIRECTORS/ACTORS/PRODUCERS I COMMISSION - VIDEOS[...]Join our free mailing list for a quarterly update of new books and videos or over 20 years the AFC has proudly supported a dynamic Australian screen industry and culture, through the OPEN LATE: MON-SAT 9-9PM- SUN l2-30-6-30PM development, production and promotion of Australian programs to audiences everywhere. Cit[...]47 I230 L / Recognising originality and diversity of Australian programs through: development and production of film and television programs I multimedia initiat[...]clond.demon.co.uk or fax [08] 89 812045 WALK OUT OF ILAA WITH A SHOWREEL . Direction, cinematography[...]g. Video Production and Video Editing. Any or all of these can be on your showreel within the Diploma of Screen Arts programme at ILAA. Typically our stu[...]actising professionals AFTRS qualified INSTITUTE OF LENS ARTS THE VIABLE ALTERNATIVE PO BOX 177 KALORAMA VI[...] |
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| [...]ND MORE NEWS, ETC. AUSTRALIAN FILM RETROSPECTIVE IN SPAIN pain hosted a major retrospective of contemporary Australian cinema at the 41st Valladolid International Film Festival. Focus on Australian Cinema, present- ed by the Australian Film Commission in association with the Festival, also screened at the prestigious Filmoteca in Madrid. Focus on Australian Cinema com- prised 20 major feature films showcas- ing the past 20 years of Australian cinema, and included films by internat[...]s well as works from directors perhaps less known in Spain, such as John Hillcoat, Michael Rymer, Rolf de Heer, Nadia Tass and Scott Murray. A selection of short films was pro- grammed with the features, including Emma-Kate Croghan's Sexy Girl[...]Tracey Moffatt's Night Cries - 4 Rural Tragedy. In addition, several Australian films screened in the Festival: Love Serenade and The Quiet Room In competition, and a noncompetitive screening of Shine. From Sand To Celluloid, the package of six short films produced by the Australian Film Commissions Indigenous Drama Initiative, screened in the Festival's Punto de Encuentro (Meeting Point) section. COVER: Melissa Morrison (Saffron Burrows) in Craig Rosenberg’s Hotel de Love. NEW INCO[...]Producers, distributors and other rights owners in film and television have the opportunity to access new sources of income through the Audio- Visual Copyright Society (Al/CS), a non-profit copyright collecting society representing owners of copyright in film. Since 1990 AVCS has administered the educational copying scheme, which was introduced into the Copyright Act to allow educational institutions to copy television and radio programmes in return for paying a fee to copyright owners. AVCS[...]million to be distributed to rights owners since the inception of this scheme. AVCS is now establishing other sche[...]not intended to replace individual administration of rights in traditional markets. There is no fee for participa- tion in these schemes. The AVCS distributes all money collected after deduct[...]Four short dance films will screen on ABC-TV as the - culmination of Microdance, an initiative of the Australian Film 1 Commission, the Australia . Council and ABC—TV. The four projects — two from Victoria and two from[...]ciej Wszelaki; producer, Elisa Argenzio. 0 Floom in a View choreographer, Kate Champion; director, A[...]th St Kilda Film Festival, April 24th-27th 1997. The Festival showcases recently-made Australian short films, with awards to the value of $10,000. Preview tapes must be sub- mitted on VHS along with a handling fee of $10 per entry. For an entry form and more details[...]fest will take place on Sunday 23 February, 1997. In addition to Opening Night festivities will be Tropfest '97 General Screenings. All films entered in Tropfest '97 will be screened from Monday 24 February to Sunday 23 March, in approximately ten cafes along Victoria Street, Da[...]0 short films are expected to be submitted before the deadline of 17 January 1997. Fifteen will be selected by loca[...]stival. Garden Street Studios seeks short films, of any genre, 16 or 35mm, made within the last three years, that touch on the theme of Australia as a coastal culture/ surf culture/ beach culture. Deadline for entries is 22 November. A selection of films will be exhibited at WyIie's Ocean Baths, C[...].21 9318 2334. AUSTRALIAN MULTIMEDIA ENTERPRISE The AME Board has approved AME investments of: 0 $897,000 in a $2 million series of CD-ROMS for five-to-seven year-olds in 11 languages. ° $235,000 in a $530,000 health and physical education learning[...]ey-based Multimedia Learning Systems. ' $370,000 in a series of four English language listening and comprehen- sion CD—ROMs directed to the ELICOS markets (English Language Intensive Courses for Overseas Students), to be developed by The Facility Pty Ltd of Melbourne, with a budget of $750,000. ° $204,500 in a series of three CD- ROMS budgeted at $409,000 to be developed by Knowledge Books and Software of Brisbane, on physics. maths and chemistry, direc[...]ilm and television producers for its second round of the Children's Drama Initiative. The TVPF is seeking children's feature films and television projects which are primarily aimed at the B-13 year-old age group and which can be produced on budgets which require a contribution from the TVPF of $2 million or less. This year the TVPF is calling for children's telemovies and ser[...]dy have an Australian commercial network pre-sale in place for at least the minimum amount required by the TVPF for children's drama (i.e. $40,000 an hour).[...]not a prerequisite for a children's feature, but the film must be able to have its first Australian television screening on either the Seven, Nine or Ten network. A selection panel consisting of a writer, director and producer experi- enced in children's drama will be appointed by the TVPF to recommend projects for funding. A provisional ”C" classification from the Australia Broadcasting Authority [ABA] is not required at t[...]wever television projects selected for funding by the TVPF will need to meet the ABA's Australian "C" Drama criteria prior to final approval. Applications must be submitted by the producer of the project with a fully- developed script, a budget, proposed schedule and a director attached. The deadline for submission is 5pm Friday, 29th November 1996. Producers with suitable projects should contact the Project Assistant of the TVPF, Clare Sawyer, at the Melbourne office of the Australia Film Commission on (61.3) 9279 3418 or toll free 1800 634 205. In this issue The offices of Cinema Papers were burgled and ransacked during production of this issue. Unfortu- nately, many of the materials relating to Part II of the Oueens- land supplement were damaged or stolen, and could not be replaced in time for inclusion. We anticipate publishing those articles in the next issue, and apologize to readers for the delay. CINEMA PAPERS ' DECEMBER 1995 |
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| [...]en cultureliié 6 multimedia 6 0-it a vision of the past, present and future - anarthouse for the 21st century cinemedia - supporting organisat[...]j programswhich enhance Victoriaasa , centre‘ of excellence for screen culture ~ incorporating Film Victoria and State Film Centre of Victoria 3 Treasury Place, East Melbourne,[...] |
| [...]CANIC /\C'l‘IVl'l‘Y AND OTHER DIS/\S'|‘ERS, THEOFTHETHE ROAD CON’l‘AINl£l) A DAM/\(}l£l) HOUSE SET[...]SION or Kl/\’(} K ()A'(.'. How did The Frighteners begin? Every movie has a gestation s[...]y ideas and came up with a simple, novel twist to the ghost story. We were, at that time, interested in the idea of writing a cou- ple of scripts a year for Hollywood — spec scripts, not for me to direct. They’d just be a bit of work we could do in—between movies. So, we came up with this idea and wrote a two- page outline which we sent to our agent in Hollywood. He just keeps these things on file, an[...]s looking for story and script ideas for a series of Tales from the Crypt movies — big feature films. This was about three years ago. The plan was that the guys who developed the Tales from the Crypt show — Zemeckis, Richard Donner, etc. —[...]as about a year after we talked that we developed the first draft. We were writing it think- Stuart (J[...]and Cyrus (Chi McBride). Eventually, when he got the first draft, he called Peter J3Cl<S0f1'S The FF[hf€fl8FS- up and asked me if l’d ever thought of directing it? lt was actually the first time l’d ever thought 11 —_ '[...] |
| about it, which was kind of weird since we’d writ- ten the script.So, I said, “Yes I’d like to. If you want me to make it, how about doing it in New Zealand?” He said, “Okay, if you can make[...]ne with a camera around New Zealand taking photos of small towns and sending them back. Bob and Universal were happy we could do it, and then the whole thing came together rel- atively quickly. F[...]aking Heavenly Creatures through its final stages of post and into festivals. So, last year was taken up with that and getting The Frigbteners to the stage where, this year, we could start shooting it. Was Heavenly Creatures a test for the computer animation when you wrote the script? Yes, in a way it was. It was actually an excuse to buy the gear. Around the time we were writing Heavenly Crea- tures, I want[...]these rumours were going around about how amazing the dinosaurs were. I “AT THIS STAGE, I HAVE NOTH[...]ng. It’s quite inex- pensive but there was none of that gear in this part of the world. So, we deliberately wrote some sequences in Heav- enly Creatures that could only be achieved[...]ely wrote morphing and various other things into the script. The wish to get the computer was a definite factor, rather than the dramatic reason, really. We just got one computer, and the various canning and outputting things that you ne[...]res, we figured out how to do it. George Port was the only guy we had at that stage doing it. We had this big package of about $1,000,000 of machinery from the States. It came in a big cardboard box with one page of xeroxed instructions [big laugb]. After the stuff arrived, it took four to five months before[...]George had to figure out how it all worked. A lot of experimenting and testing went on. Computer technology is so new in terms of film that the sky’s the limit. It’s as much as your imagination can enc[...]ested with this film? We’re testing our limits in terms of the sheer number of shots that we’ve got. The bread-and- butter computer work on this film is ghosts. We usually have actors playing the ghosts; not always, but usually, actors shot against blue screens and then they’re composited into the shots that we’ve already done. What is the special ghost effect that you're going for, and h[...]efore Casper came out and so were very interested in seeing it. Ours is similar in that sense that they’re transpar- ent and have a bluey glow. The main difference is that ours were actors and Casper is a cartoon. The story is Very much the relationship between the guy that Michael Fox plays [Frank Bannis- ter] and a series of ghosts. We never thought ofthe ghosts in our story like a special effect. We don’t make[...]and shot as you would with any actors, only some of the characters in the scenes are ghosts and some aren’t, but they interact as just a bunch of guys together. It’s a classic Roger Rabbit scenario in a way. Our lead actor, Michael]. Fox, spends more than half the movie acting to nothing, in a room, getting into quite tight conversations with ghosts who are put in later. So, it’s been an arduous shoot in that sense. Every shot of that type is very time-con- suming, as you have t[...]ce: once with Michael, and sometimes months later the blue screen with ghosts. A crew member was saying your shooting ratio is 60:1. 43:1 at the moment. That’s the overall ratio throughout the movie. My other movies have been 15:1. This is the one movie where I’ve never had to worry about running out of film stock. Other movies, there’s been major panic if I’ve shot over the ratio, but this one has a budget where fil[...] |
| You've said the Blubberhead project is still hanging around. ls t[...]ogical pro- gression to get my hands on that sort of budget if I should want it in the future. The one thing I want to do is go back and do more low—budget movies in the future. They’re very different ani- mals. The big—budget films like this with a long shoot is one type of experience. They’re equally enjoyable. This is[...]have fun.You've still managed to keep your hand in with low-budget films like Jack Brown Genius. Ye[...]long. We shot that just before we started work on The Frig/vterzers. Shooting 30 set-ups a day with a small crew: that was great. I certainly love being in the middle of all this [The Frighteners], but the concept of doing a little film with a small crew has its appeal. Has thethe studio, John Garbett, who has been with us and very sup- portive and has come up with some good ideas for the script. Fran and I have re—written the script all the way through the shoot, which is the way we like to work. We see the rushes and see how the film is developing and we then re—write. just a[...]en inserting new pages. We just try to keep ahead of ourselves and keep improving it all the time. The guys at Universal say this is the first time this D mmers (J. ffrey Combs). The’Frighteners. hnny Bartlett ake Buseyl. has[...]write much because, if they finance a film, then, in a year’s time, that’s the film they want to see. But the folks at Uni- versal have been really pleased bec[...]been good. We’ve been getting great feedback on the rushes. They get the rushes on video and they’ve been happy all the time. They’ve never signalled any problems with the rushes to me. And, after six months, I certainly feel I’ve been left alone to make the film that I want to make. I don’t feel that at any point they have tried to influence me in any way at all. I’ve had total freedom. Ho[...]ects and they have a first look at them. That’s the sort of deal I like because I’m interested in scripts. I’m still not enthusiastic about shooting other people’s scripts. You've talked about the genesis of the film, but were the studios nervous in dealing with you? I’m sure that they have been[...]’t been made apparent to me. Bob [Zemeckis] saw the script and liked it before the studio ever knew anything about it. Bob had a development deal with Universal. In other words, the studio didn’t even know the pro- ject existed until they saw that script, by[...]iked it and wanted to proceed with it. I’m sure the studio reaction to the project probably would have been very different i[...]saying, “Read this and I want to make this film in New Zealand.” Were you granted creative freedom? I don’t have final cut on the film. but I knew that going in. Bob’s got final cut, so I have no qualms about that. The guy’s made some great movies, so I’m quite happy for him to have that sort of control. Bob’s been Very definite all the way through that I should make the sort of film I want to make. He wants me to make this because of my previous movies, and he doesn’t want anything, either from him or the studio, to intrude on that. Otherwise, it’s not[...]e alone. He has been very useful with suggestions of scheduling and budgets, and the nuts and bolts of getting the film made. He’s never attempted to have major c[...]roach? No, I haven’t. I’m very much shooting in the style I’ve shot my other films, although this has the encumbrance of motion-control cameras. If you’re ,. |
| Frank Banniste, Lynskey (Trini Alvara The Frighteners.not careful, you get nailed down a little bit by the technology. The film has been as much a battle against being controlled by the motion control as it has been about just being able to let tip with the style that I’m used to. It's not a straight ho[...]ack comedy. It has ghosts and some horrific stuff in it — some monsters and some psychos. It’s sort of a weird one. Michael]. Fox describes it as Truffaut meets The Mask [Charles Russell, 1994]. Bob Zemeckis was going on the other day with a description — a combination of Ghostbusters [Ivan Reitman, 1984] and Natural Bor[...]Hollywood always has to categorize you and to mix the films to try to explain it. That’s why I don’t know; it’s a pretty oddball movie. It has a lot of commercial elements because it is a commercial st[...]and written by Fran and I, we’ve retained a lot of that quirkiness and black humour that we had in our other movies. That, immediately I think, is g[...]bit more interesting than if it were a film made in America by Americans. It’s certainly going to have an edge. When did Michael J. Fox enter the project? Again, the studio has been very supportive in cast- ing and didn’t try to put anyone on the film. Fran and I obviously took the casting very seriously. If you get the script right and the casting right, it becomes very difficult to make a bad movie. We wanted to be sure we got the very best cast for the characters. The role that Michael plays is a difficult combi- nation of straight drama and comedy. We came up with names of Various comic performers because we could see tha[...]rson, not a goofy clown. When you start thinking in those terms, it’s hard to think of actors. There are not that many that you’d acce[...]ing, comic sensibility — who can play that kind of straight comedy, like the Lionel role in Braindead that Tim Baimc played. It’s a straight role in a sense, but the guy gets caught up in such ridiculous circumstances that he just has to acknowledge the humour, whilst not actually cre- ating it, not playing up to it. We thought of Michael and mentioned him to Bob. Bob has a relat[...]script and see what he says.” I met Michael at the Toronto Film Festival and he was willing to sign on and give it a go. What do you think of the American-edited versions of Heavenly Creatures and Braindead 1? I loved the R-rated version of Dead/Alive. They took about 17 to 18 minutes out of it and it’s really funny. A bunch of us sat down with a few beers and watched it and laughed every time it got cut. The lawnmower sequence is virtually gone: Lionel walks in the front door and then, the next minute, he’s standing among these piles of bodies. It’s just gone. I don’t take any of that stuff seriously. The whole rating system in America is totally stupid. The un- rated version is available to anyone who wants it. The fans who want to see that sort of film can get copies anywhere in the world, which is just great. So who cares if someone puts out the R-rated version? Heavenly Creatures is fine. We supervised a cut of Heavenly Creatures that was about 10 minutes shorter than the New Zealand version. We did about 3 to 4 versions after it was released in New Zealand. Miramax wanted it to be a bit shorter. I had final cut on the film in the States, so Fran and I tightened it. We actually prefer the American ver- sion to the New Zealand one now. Which version has Australia got? Australia has a hybrid. Because we were tailoring the 10-minute shorter version for the American mar- ket, we were very much aware that the Americans would not want to see the British tennis-party men- tality, so we tailored one that We thought would be okay in America. When we came to release it in places like England, Europe and Australia, I got them to stick back a couple of the scenes. The Eng- lish sense of humour is more attuned to those scenes, so we stuck them back in. New Zealand is the only country that has seen the longest version. America has the shortest version and the rest of the world had an in-between version, which was all done under my supe[...]ms like Heav- enly Creatures got any attention by the Oscar people and the Academy. That was good. ® See Scott Murray’s[...]ckson, Heavenly Creatures and computer technology in the New Zealand Supplement of Cinema Papers, No. 97-8, April 1984, pp. 2[...] |
| TRACKS AUSTRALIA SOUND Paooucnow PTY LTD 46 ALBANY STREET,[...] |
| ? § §Lee ROLinSOn is a unique figure in Aus- tralian cinema, having been variously a writer, director and producer of a stream of commercially-successful projects. He has written[...]ies, feature films and television series, and now in his retirement still deals with the ongoing business of his worldwide sales. In the early ’70s when the film community was polarized around the ‘Art vs Industry’ argument, Lee Robinson was condemned by some for his firm stance in the camp of commerce. He recalls “a school of thought” in that period which did not understand that “the main tool of picture—making is money” and which criticized[...]is View amongst those entrusted with establishing the new government—funded film indus- try that, as[...]and ex—Robinson employee Albie Thorns observed in 19711, they com- pletely passed over experienced[...]e Robinson — which was absurd. Robinson was one of a handful of filmmakers whose abilities had enabled them to survive in the difficult days before govern- ment support, in the days when most others went to the wall. 1958 is a case in point: in that year, lLlElE lP%,<O)lB%llNS©N —Z%§-[...]t/7 Lee Rofiilworz cmz9ucte3 by Gra/mm S/zir/ey (in Augzwt 1976) an? mydelf (October 1995 Grzzfiam a[...]era I Ural Hzlafory Group w/Jic/2 e/zcourageafl/In /ziafarzlzna to we aucb dourced. Acceaa IV Martha Ansara to irztervitwd can be 0//taint? t/zrougfi the oral Hatory afllcer of H25 National F [1/n 0’ Sou/z9Arc/ziue. New /nembem of [/72 Gnzup are alwaya welcwrur, :14 are u[...] |
| Robinson’s Southern International was the only Aus- tralian company actively producing feat[...]vernment intervention has led to some improvement in the prospects for Australian features — they now command between five and seven per- cent of our yearly box office # the film culture élite, in their nationalistic arrogance, still piss from a great height on the genre films which are today’s equiva- lent of the Lee Robinson action drama. Yet their moral strict[...], for example, Frank Shields, producer-direc- tor of the accomplished but decidedly B-grade thrillerCINE[...]Hostage: T/ae Christine Maresc/7 Story (1983). The industry recoiled in amazement when Shields’ The S2/z17’e'r (1988) was selected for the Quinzaine des Real- isateurs (Directors Fortnight) at Cannes, having themselves received the film with derision at the pre- vious year’s AFI judging screenings} Yet things do change and it is interesting that in 1992 it was Lee Robinson who received the AFl’s Raymond Longford Award. The sting of com- non-commercial alike, now seem naive, crude[...]ich still confront Australian filmmak- ers within the changed circumstances of today. 1996 marks the fiftieth year of Lee Robinson’s career, a career which spans half of the Australian century of cinema. There is much to learn from his accomplishments. mercialism now muted by a patina of nostalgia, perhaps it was time to regard Robinson[...]logical forces to produce a relatively small body of work; and it is true that some of these films, commercial and 1—— Clockwise from opposite: ON LOCA Tl()Nfor Namatjira the Painter, ./Way 1946. Lee ROM/140/1, ll./l-llfl a[...]kl ll e—lo/zg frle/1124 until t/Je lzzite/‘:1 recent ()ez1['/2. Rabi/1.10/I wad given a PI/it/rbe lrzl[...]/we crow? ace/ze afzzgetlfor t/Jefi/ml Jeque/Ice ofThe Phantom Stockman. Rufierl Tuaawall of Jeddafame lezzga zz wou/z3e3/zollce/ml/1,[...] |
| Lee Robinson was born in 1923, one of eleven children of a close-knit Mormon family, whose reli- gious taboos included 1novie—going. He tells the story of the kids persuading their mother to see her first film in the ’3 0s, a De Mille bible epic, The Sign of the Cross (1932). Twenty years later, when Robinson’s feature The Phantom Stoc/{man (19524) was at the local cinema, they talked her into going to see h[...]worse”, she said. This laconic style is a mark of the Australia in which Robinson grew up and did his major work. It was an Australia whose identity had been shaped by Federation, the Anzacs, and a masculine bush nationalism. It was an Australia which valorized egalitarianism, understate- ment,[...]llectualism. And, until relatively recently, this Australia repre- sented “the real Australia” to almost all of us — not the least of all to Lee Robinson.A military historian during[...], Robin- son wrote a large and detailed report on the Portuguese Timor Campaign. His View of the Anzac spirit of these Australian commandos continued to be expressed in an enduring interest in films of adven- ture, and directly in his last two features as producer, Attack Force Z (Tim Burstall, 1982) and Southern Cross (aka The Highest Honour: A True Story, Peter Maxwell and S[...]on- alized their exploits. On his discharge from the army in 1946, Robin- son learned that the newly—created National Film Board was setting up the Department of Information (DOI) Film Unit, later to become Film Australia. Under the influence of John Grierson and the docu- mentary movement, the DOI created a new kind of film by a new breed of writers and intellectuals, the creative interpretation of Australian nation-building: men at work. Often the ‘real’ Australia was located in the bush and the bush became Lee Robinson’s area of expertise. Robinson, a successful short—story w[...]artist Albert Namatjira, and then asked to direct the film. He recalls that when he told thethe difference.” Feature films were almost extinct and the cameramen who had, in actual fact, been direct- ing newsreel stories we[...]as Robinson has said, “There were no directors in Australia.” The DOI in those days was a cauldron of religious, political and xsthetic debate; and film became a sub- ject for intense study by the neophyte director. English director Harry Watt, a former documentarist who was in Australia making features for Ealing, was sup- portive of the new filmmakers. He explained to Robinson the mechanics of such things as overlap- ping action, and invited him to Pagewood Studios to watch the making of Eureka Stockade (1949)? Robinson and his cameraman, Alex Poignant, set off for central Australia where they spent months researching and filming Namatjira the Painter (1947). In those days at the DOI, filmmakers did their research, shot their fi[...]a creative whole. Watt had emphasized to Robinson the importance of the editing process, and it became an aspect of filmmaking which Robin- son was closely involved in — in the cutting-room — throughout his career. From his[...]irection to his real—life characters. Namatjira the Painter even includes flashbacks of Albert Namatjira played by a young hunter known as Nosepeg. (Nosepeg joined a handful of Aboriginal actors in contributing an air of mystery and local colour to Australian productions of the ’50s and ’60s.) This film remained in distribution for decades, with a revised version in 1974. mentary work, Robinson réeallsl pleasure and the luxury of li'iiviiig7, to research and think. Films were l[...], although wire recorders were occasionally used In speaking of his location’ docu--"T I"-d_escit'ingTf_liei s[...]vc l;%nt~l1. d lice 1 . , E I D . . \. . , time (in the absence of a larlge_ci=ew)3‘ ,_t1i’rc jiifiddctitun, fo[...]s were gener- ally dubbed later — a consequence of the unwieldy nature of sync cameras as well as of stylistic devel- opments. Filmmaking teams of two or three people camped out or took cheap acco[...]he and his cameraman, Frank Bagnall, spent weeks in Broome on another DOI documentary, The Pearlers (1949), just taking everything in. Then, when he’d devised his shooting script, they shot the film in a day. Later, in 1957, Robinson experienced a different kind of luxury, collaborating with the famous Amer- ican commentator Lowell Thomas on his High Adventure series shot around the world for American television. The budgets were lavish, the crews large and you could ask for anything you wa[...]n as “an expert on primitive peoples” because of his work in Aboriginal Australia and New Guinea. And, appar- ently, on this basis Thomas could have gotten him citizenship in the U.S. Robinson, however, had been working on the American series in order to finance his own projects and declined the offer. He recalls that he liked working with Thom[...]ion Australian, he was “so totally Aus- tralian in every shape and form that I couldn’t conceive of becoming a citizen of another country”. He saysin J;_etr,05p‘cCt th[...]were distinctly Aus- tralian and yet constructed in a way that could command an international[...] |
| [...]ther. And per- haps by that time you might get to the point where you made the picture that you wanted to make. Holmes, on the other hand, was determined to make the picture he wanted to make right from the start. In Lee Robinson’s view, this was why, for all his[...]s was more scathing about Robinson’s position.In 1952, when Robinson formed Platypus Pictures with[...]ln). l b on . L e by overse-as companies and some of the local films were so poor as to be unreleasable. Thus, the collective feature film experience of local actors, technicians, directors and produce[...]CINEMA PAPERS ' DECEMBEH1996 restrictions on the raising of capital for any but essential industries and film was not one of them. Chips Rafferty had been refused an exemptio[...]000 committed by local businessmen for production of a fea- ture about immigration problems and a thir[...]It was eventually sold to Ealing, where it became the basis for the Siege ofPinchgut (Harry Watt, 1959)). So, when Robinson, as writer—director, Rafferty, the actor, and George Heath, the cameraman, decided to poo their skills to make th[...]- ture with elements that would sell. This became The Phantom Stockman. By this time, Robinson had done a number of other documentaries for the DOI in the Northern Territory, including Outback Patrol (194[...]1949), while Rafferty had had experience shooting in the Centre with Ealing’s The O1/erlanders (Harry Watt, 1946). Robinson recalls that his work in the Territory had given him an abid- ing “fondness[...]ow seemed ideal to build a film around to exploit the novelty of a Central Australian back- drop. Within these par[...]pounds into a picture then, so there was no point in going mad with all sorts of exotic locations and production values and things[...]rd. And [...] we created this mythical character, The Sundowner, which was Chips, who became the Phantom Stock- man, who had this affinity with Aborigines [...] And, of course, we had to put a semblance of a love story or a female interest in it and had to have a bit of action, but basically Chips was going to solve the problem through using his knowledge of the Abo- riginal. That was the idea of it. The Phantom Stoclzman is a story of Kim Marsden (Ieanette Elphick), a young cattle station heiress who sends for The Sundowner and Dancer (Henry Mur- doch), his Aboriginal offsider, to track down cattle thieves. The rustlers turn out to be in league with Sta- pleton (Guy Doleman), the owner of a neighbouring station. When The Sundowner is captured, he uses mental telepathy to summon Dancer to the rescue. love story sees Kim delivered from the unwelcome attentions of Stapleton into the arms of a more wor- thy suitor. To this plot, Robinson, w[...]iginal, added a soewliiat irrel- evant appearance of Albert Namatjira as himself and, more interestingly, deliberately reproduced Namatji- ra’s compositions in shots of the same locations on the premise that one couldn’t better the master. Robinson began his drama career with a strong belief in the importance of screen presence in his l. _‘I()‘I.%‘;(:)n thacbasis, l’iEi%‘ho§e the Tiieanette li%pl1icl<i,foi(’t:he rcT)l;- ofl“[...]’s Supreme Sound Studio set up a loop; sys- tem of post—syncing, using the young June Salter as Kim’s voice — a little—known fact. In viewing The Phantom Stockman now, its exploitation of unknown and exciting settings, its sim- Clock[...]z/29 Lee Ra/Ii/z,/an an lacafimz at Ayera Rack on the High A’()ue/zture JEFLZJ. T/Jere ll/(ZJ no roar} ta Z/2e Rock [/1 /95 7. The and Im Viqatar Chm: /lr/n,/Ira/zg/011119 I/2e [zz[...]wo mile.) an [heir current /nzzpa. T /20/71./1./, the heat /cmzw/1 voice in America wad the "Father af Cinerama ". AN UNDER WA TER ace/zefram King of the Coral Sea, Bath C/Jipa Rafiferly zz/19 B119 Ting[...]r arm aameti/rzea 3:1/zgeraua zuzaerwater ace/zea the/nae/ve.1. Na Jazz/Jiea were 114:3. CHIPS RAFFERT[...]/‘L/zg 1’/)6 mzderwaterfll/n[n_q rgf ‘King of!/7e Coral Sea’. CHIPS RAI-‘FERTY, Paul E9/710[...]a-pm31zet[o/1 am! wit/2 Azwi/‘a[[1z a/I3 France in [956_/‘or 4‘/Jefi/In Walk in to Paradise. —i ple action plot, and its externalized characters appear to combine the documentary impulses of the era with the proclivities of Hollywood B features. The film was a financial success. Although crude and[...]t obtained both American and British releases and in its first year returned more than dou- ble its budget from overseas sales — in the B-picture market. It was also well received in Australia. The success of The Phantom Stoc/zman allowed Lee Robinson and Chips[...]onal, and to devise a more ambi- tious film, King of the Coral Sea (1954), drawing on Robinson’s knowledge of the pearling industry. Again, in the absence of name artists and experience on which to sell the picture, Robinson developed the project from a unique Australian background, and then found a suitable story through which to bring it to the screen. Once again, considerable thought went into the ques- tion of commercial viability. As he said later: The challenge really was to make pictures that were internationally acceptable. Because there was no way in the world that you could possibly get any- thing like a tenth of the budget back in this country and you had to get international distribution before you could stay in business. And that was a thing of not breaking too many rules in filmmaking. Just as there are certain standard rules for directors — you know, you don’t cross the line — there are rules regarding making pictures. To start with, We knew that We had a problem with the Australian accent, getting it accepted overseas. So We were forced to go to some extent to the Australian equivalent of a mid-Atlantic accent. And there was an old film-[...]rylirigeglf ’ve gqta newistoriyline, put it‘ in an 015' location 1:ha%faniiIIar to ‘people. Mak[...]k or Ens fingeies‘ or London. So we were aware of these rules and didn’t want to break them. Firstly, We had to work against the Australian accent. And, secondly, We were giving[...]on, so therefore We had to be fairly conventional in our storyline to be commercially viable at[...] |
| one film and never been heard of again. And it might have been a very, very good little film. But the idea was to try and build something as a base to work on over the years. The economics of it were a fact of life. You simply had to observe that that was a r[...], get their money back for them on this one. And, of course, that happened in the early stages, you know. We found that once you got people’s money back, they came in like a shot the next time. They were pre- pared to back you.King of the Coral Sea, more polished than The Phan- tom Stocleman, is again a simple action film. It involves an illegal immigrant racket and the kidnap- ping of the daughter of Ted King (Chips Rafferty), a Torres Strait pearler. Along with Rafferty, the cast includes Australian actors who were just beginning to build their world-class careers. The playboy owner of the pearling company was played by Bud Tingwell, who by then had appeared in several local features. The villain was played by Lloyd Berrell, a part-Maori actor who was one of Sydney’s most talented radio and stage performers until his premature death in 1957 —— en route to England. Reg Lye, a chara[...]tor Jah/2 Quin/1, Lowell T /5017241.; exa/nz/1e.r the dkull af'L(1.!r/eler. Fll/Iz[n_g are Kai!/7 Looln[...]Tlvamau frawrllell to IVa.;l2£1zg[o/1 to explain the cl/‘ctr/nattzrzcea to the /-luatzzlzkz/1 An:/111.1./adar am? the C/}(ZI'_q€«.l ll’El'€ WL-[‘baI'(llVI1. —i3-0-£1—_ a seedy villain in the first of the roles which Robin- son continued to write specifically for him. He, too, achieved international success. The role of Ted King’s American offsider was played by a sc[...]w himself into mastering screen technique 20 on the set, and rapidly learned how to get the most out of his appearances. Bud Tingwell took Taylor under h[...]out when you’re working with Chipsey.” Chips, of course, was six foot five. “When you’re work[...]y and get on a rise.” And I watched Rod through the camera, day after day after day, and he seemed to[...]play two-shot scenes with him. And I wondered how the hell he seemed to grow like that. And one day I f[...]ut two inches. He hardly had room to get his foot in but he’d woken up to that was the way to get himself a bit taller. Oh, he was smart, Rod. One of the most successful elements of the film was Ross Wood’s exquisite black—and-white photography of the sail-powered pearlers around the little-known Torres Straits. Wood, too, became Ro[...]avill. Cavill started as continuity, soon took on the role of production manager and eventually worked as a wri[...]her own features.S Initially, Raf- ferty had been the one who organized the film scheduling, marking cross—hatches on big sheets of paper. Robinson recalls — and others confirm the story 4 that Cavill soon became involved in that aspect of production and, with typical Australian inventiveness, developed the strip board scheduling system which — so indust[...]would have it — consequently spread throughout the industry and the world. In a period when most Australian features were not financially successful, overseas sales of King of the Coral Sea returned its £25,000 budget within three weeks of the film’s completion. The Australian box office was also good, laying the foundation for South- ern International’s expansion into co-production with the French. In retrospect, it appears that deviating from Southern International’s original strategy of pro- ducing low-budget Australian films was, in the long run, a miscalculation. While the first joint venture, Walla into Paradise (1956),[...]aul-Edmond Descharme when Walla into Paradise was in the final stages of pre-produc- tion, and successfully adapted the adventure script to accommodate two French stars.[...]o- vided a director for a French language version of the film along with 30 percent of the budget. In future, the two companies would alternate in providing the bulk of the finance and the choice of story and direc- tor. With a small crew, Robinson set off for a twelve-week shoot in the New Guinea Highlands. Again, the film emphasizes travel and action, as Dis- trict[...]y) and his New Guinean offsider lead a party into the interior to investigate jungle oil deposits. Foisted on the group is a French woman doctor conducting malaria research for the United Nations. The climax of the film comes when McAllister, ever knowledgeable about the ways of the natives, secures the co-opera- tion of initially hostile tribes in building an airfield in return for a promise to cure the chief’s sick children. Witch doctors cause trouble, the explorers are nearly massacred, but the children recover just in time. Shot under extremely difficult circumstances, the £65,000 film was the second feature to be shot in colour by an Australian crew — at a time when c[...]ing high light levels and perfect colour balance. The film was the first Australian feature to be shown at Cannes, where the work of cam- eraman Carl Kayser was highly commended. Lee Robinson was delighted when his American agent sold the film to Joseph E. Levine’s Embassy Films for $60,000. Retitled Walk into Hell, the film became one of the 100 top-earning box-office ‘ pictures of all time in America. Robinson recalls ; seeing Joe Levine in New York later: He took me around to the clubs and said, “Eat what you like, drink what you like. You’re my guest while you’re in New York.” He said, “I made millions of dollars out of you.” And I said, “Well, Joe, I didn’t do t[...]en me if I had lost.” You know, you don’t get the value out of what you make. Now, of course, I know that Joe would have probably gone[...]but I didn’t know then. But I also found later in life that our own agent was work- ing with Joe Levine to buy the picture, and Joe was giving a backhander to him t[...]ernational appeared to be maintaining production, the overall situation for Australian features was pretty grim. Since the ’20s, filmmakers had been trying to get legislation in sup- port of the Australian industry but to no avail. In the twenty years between 1946 and 1966, only 38 fea- tures of an hour or more in length were made, of which eighteen were produced by overseas compa- n[...]wholly-Australian films managed to get a release of more than a week in a commercial cinema. Robinson was well aware of the precari- ousness of his situation: Chips and I had done an analysis[...]t to Canberra to lobby Menzies — we saw Fadden, the Deputy Prime Minister, and I think we _‘ saw on[...]r. What we wanted ‘E- was a plan like they have in England, the p68 CINEMA PAPERS ° DECEMBER 1998 |
| [...]braham was sufficiently inspired to travel across the World to do a cameo role as Stalin.And the industry panels voting electorate were sufficiently impressed to nominate it in nine cate- gories in the Australian Film Institute Awards in probably the strongest and most diverse year ever. Whichever way you look at it, Peter Duncan’s imaginative debut, the black comic—tragedy Chil- dren of the Revolution, has made a strong impact. This story[...]arted out as an essay, a polemic I was writing on the concept of blind faith. Iwas inter- ested in how to prove to a Christian that God didn’t exi[...]eople cope when every- thing they put their faith in turns out to not exist? As a short story, it wasn’t working because you can’t offer the ultimate proof. Then I thought of human gods throughout the course of history, with some of the most dramatic examples in the 20th century being Stalin and Hitler, who flew off the agenda because I wanted it to be funny. That left[...]was a bank manager, was a card—carrying member of the Communist Party back in the 19405 and, through him, I found a vehicle to tell this story. I remem- ber how to the end of his life he adhered to his communist principles. That concept of blind faith really intrigued me and became the catalyst for lots of other ideas. The story became a combi- nation of these two things. Was the main character of the fervent communist, Joan Fraser [Judy Davis], base[...]ow a Joan, someone who’s virulent and impatient in terms of their world beliefs, who watches the news on televi- sion and gets so frustrated by what’s going on in the world. I guess at the heart of the film is the concept: How does a passionate, intelligent, rati[...]h good intentions and a good heart reconcile late in their life the fact that what they’ve been working for has been distorted in such a way that it wasn’t just ineffective, it[...]ter reviews his opinion? No, but I did see a lot of documentaries in prepa- ration for this, amongst them one in which kids talk about the impact of Stalin’s death as the worst event of their lives — 11- to 12-year—olds who in 1953 believed that all science, politics and literature had stemmed from him. The fervency of the beliefs is extraordinary and what’s fascinating now is that Stalin’s pictures are going back up in Moscow. People are rehabilitating him saying, “[...]ng else, we never had it so good as back then.” The post-Gorbachev exper- iment hasn’t worked and i[...]ct. It’s an interesting time to make this film. In 1989, when I started writing the script, the response, especially in Russia, would have been quite different. '\. We[...]with your producer Tristram Miall‘? We met at the AFTRS graduation screenings early in 1994 where my short, A Bit ofa Tiffwith the Lord, was shown. Tris liked it and suggested we get together. The scenario happened just as I hoped it would. I’d[...]a screenplay ready for graduation, though it was in a very unruly form of 203 pages of totally—unshootable material. Tris warned me h[...]ed it and things started rolling from there, with the NSW Film and Television Office coming in with development money to enable me to hone it into something vaguely shootable. Towards the end of 1994, Judy [Davis] read the script and really liked it. Once she was on board, we had a combination that was strong enough for the FFC in April 1995 to agree to back it. Did your short films have anything in common with Children of the Revolution? Black humour. As a writing student at film school, I also got to direct The Ohituary, about a man who is mistakenly believed[...]t too happy about their reactions. It’s a story in which I was very much concerned with turning points and structure to try to get the laughs coming at the right place. A Bit of £1 Tiff with the Lord is about a young mer- chant banking priest [Richard Roxburgh] from the Vatican who comes back for his mother’s funeral on a property in western NSW. His father [Ron Haddrick] is seeing angels, which faces the son with a crisis of how to deal with that — it’s a bit mad and ve[...]as a solicitor. It was very interesting work — the best in the field — which actually strengthened my resolve[...]isfying me. I knew I had to try some- thing else. The best fun I’d had at uni — much to my academic detriment — was doing revues, so ideally I wanted to go in that direction. At that stage, you could have veered towards theatre. How did you make the choice to become a filmmaker? I’d always been[...]Hemsley] I’d written a 60-page script called “The Discreet*Revolution” and sent that as part of my application to AFTRS. When I went for my inter[...]wanted to talk about, and Paul Thompson [now Head of Film and Television, then Head of Writing], who’s been a key support in this whole process, was wildly excited about it. Did you continue to work on the Revolution script at film school? Not really. For most of the time it sat in my drawer, but the ideas withstood a very important test: the test of time. The screenplay has been highly acclaimed. Can you elaborate on the writing process? I guess I did 10 to 12 drafts all up, but each one was a lot of work. I wasn’t disseminating. What I had when I first did the original script became pretty much the first half of Children of the Revolution: Judy’s character; her world in Balmain; her trip to Russia; fucking Stalin; his death as a result of that; return to Australia pregnant and the child’s growing up. The first part fell into place quite eas- ily.[...] |
| 24 ical. She’s strong, intelligent, dynamic, everyone in Sydney’s in love with her, so why not him? I didn’t have the tougher material of what hap- pens to the child once he grows up and how his metamorphosis[...]to Joe’s jour- ney early on and this is evident in the drafts. Many were concerned with the second half of the story. Joe took a number of journeys in the screenplay; he was an academic, in advertising, a politician, unem- ployed, ran for[...]I tried so many things until I finally settled on the trade union leader. It just felt right. It was important to connect the two journeys. They are two different people but a[...]ny parents, Joan has aspi- rations for her child. The film also shows the importance of the ‘baggage’ we carry; the mystery of what makes us what we are. So the forces of history create Joe but also doom his relationship[...]’re sullied by human inter- est and distortions of history. That’s Why the film is in that quasi—documentary format — to say we’r[...]lleged truth, but we all know it’s manipulated. The film makes the point that the blurring of fact and fiction can be quite dangerous. Joe [Ri[...]d lovers whose relationship is doomed by history. The forces of history conspire in such a way and so profoundly [Anna’s grand- par[...]ercome it. Anna's dream sequences — nightmares of Joe's relationship to Stalin — play a pivotal role in the plot and structure of this film. She is the first person to articulate what everyone else, in[...]ve her visions and to tell Joe about them, it’s the thin edge of the wedge; it’s the slippery slope to disas- ter from there on. It’s a key point. What prompted you to use the quasi-documentary framework? The format is important in terms of questioning the truth of history. It was a ‘gift’ in this complex, dia- logue-driven story to have the occasional interviews with ‘experts’, which c[...]h archival footage, still pho- tographs to enrich the story and create diversity. Joan is a vibrant ch[...]ory contains such strong material that keeping up the momen- tum in the second half of the film, where her son's story takes centre stage, m[...]y to that is not losing Joan’s char- acter from the film, because she is its heart. The film is really a metaphor of how I see communism. It starts with a lot of heart and heady optimism, lovely intelligent peop[...]It was important that Joan remains there and for the humour to be maintained. Some of the sequences between Rachel and Richard are quite funny, but there is no question that there is a change of tone as the story progresses; otherwise, the metaphor wouldn’t work. Thethe entire spectrum from slapstick to poignant tragedy? The material being covered was structured in such a way that it would reflect — on a metaphorical level — the history of communism, starting off with great humour, larger[...]up quite a bit older and sadder. To have done it in a way that didn’t reflect that breadth of tone would not have satisfied me or the story that I wanted to tell. Whether or not the film suffers from having those gear shifts is in the eyes of the individual filmgoer, but I wouldn’t have made the film differently. The gear shifts were always inherent in the story and we certainly discussed them. I always made it clear that the film was going to start and end in the way it does, and it was up to those people who we[...]his film whether they were going to accept that. The Russian sequences contain the most farcical ). Children. of “I wanted an icon to lay Stalin. rven ]udy’s stature, I thought it was important that the role was played by some- one familiar to the audience — to whom we travel to make a pilgrima[...]e you trying to achieve there? I made a decision in keeping with the tone of black comedy that Stalin would not be treated in the traditional way of being portrayed as a foreboding ogre. I chose to treat him in a humorous way. I also am aware from material l’ve read that anyone who visited the Kremlin at that time found it to be a larger-than-life experience. Therefore, it seemed to me, the intellectual logic of it was to push that into the realm of the bizarre, using as much dramatic licence as possible. I don’t think there’s anything in reality that’s more strange than Stalin singing and dancing at the end of a dinner party, because he did it at the end of every dinner party he had at the Kremlin. The fact that he sings a Cole Porter tune is certainly taking a lot of licence, but from the western point-of-view that has the resonances that are quite appropriate to history.[...]in. ” What I was try- ing to convey was a sense of larger-than-life in overt comic terms which wouldn’t have worked in other, everyday parts of the film. But there is so much powerful iconography attached to the period that people have an expec- tation and understanding of Stalin. So, when you travestize, it’s naturally going to be funny — as our first impression of him doing up his fly or reading Hollywood movie magazines. In the early drafts, on her arrival in Russia Joan was going to be appalled by the excesses, but that just didn’t work in the story. It was much better for her to be blown away by everything — psychologi- cally drunk — on the whole trip. Working against the grain is where the humour is. Did you think of Judy while you were writing it? The role required a person who could play from the ages of 27- 69 with a lot of long diatribes; in short, it required a brilliant actor and she is a[...]nt. I count my blessings every day that she liked the script. You'd already established a relationship with Richard Roxburgh in A Bit ofa Tiff with the Lord. Was that automatically extended to this project in casting him as Stalin's offspring? Absolutely. R[...]ting a co—op together to make it somehow. Given the scale the film has turned out to be, it would have been a catastrophic experience. Richard fired the enthusiasm of Anne Churchill-Brown at Shanahan’s Management and, as most of our leading actors — Judy, Sam Neill, Geoffrey Rush, a star on the ascen- dant as evident in his wonderful performance in Shinez — are represented by them3, it was a great asset to have this communication. F. Murray Abraham is the only non-Australian actor in the film. Did you intentionally want Stalin to be pla[...]Judy’s stature, I thought it was important that the role was played by someone familiar to the audience — to whom we travel to make a pilgrimage. There are probably a number of Australian actors who could have played him, but[...]al icon. Murray is an Oscar-winner, can look like the most evil son of a bitch on the planet, and yet he’s a charming and lovely human being. It was a blessing that he was available and loved the script. Geoffrey Rush’s performance as Joan's[...]iet under- statement — so different to his role in Shine. Were you using him as the antithesis for your larger-than- life characters? He’s the glue, the person untainted by the outer world. The inner—world of that family is everything to him, so he stretches himself in a herculean way to keep everyone together, despite the interest in the external world of Joan and Joe. That makes his very warm character one of the most accessible in the film, and I think Geoffrey just does a beauti- ful, beautiful job. I-Ie’s truly brilliant in Shine in terms of a truly vir- tuoso performance as an actor - as an actor it’s a bravura thing. In Children, it’s a far more under- stated[...] |
| [...]as Compressed Grade are used on most productions in Telecine at rushes stage offering producers a sup[...]ade using me Copernicus Colourgrading desk and or the da vinciRensaissance. With Omnicon’s experi[...]oductions can be onlined efliciently and quickly in our Abekas Suite, utilising DCT, D1, and Digital[...]ssional international release duplication service in NTSC, SECAM and PAL format. Ensuring your product[...]ision, L——~»Our People SPELLBINDER A Film Australia and Telewizja Polska co production. Produced by Grundy Television Pty Limited in association with NOR, TVE,SABC, RTE and Coral Eur[...]d by Australian Film Finance Corporation. SUN ON THE STUBBLE A Film Australia Production 1996. Made in association with the Australian Film Finance Corporation, the Australian Broadcasting Corporation, ZDF a[...] |
| 26 Did you intend him to be the character with whom the audience can best bond? At times, in dramatic terms, he acts as a sort of Greek chorus. That’s right. You don’t have that many options in this film in terms of characters that the audience can latch onto. Joan is a strident zealot — there aren’t that many of us out there — Nine [Sam Neill] is a spy, Joe i[...]bout her. You’re pretty much left with Welch as the audience’s personal touchstone, although we all know the other char- acters. That’s why, dramatically, I think it’s very interesting that in the end he suffers more than any- body. The person in the inner-world suffers more, despite the fact that Joan’s outer-world dreams aren’t realized emotionally, because ofof that passion into his family. He presents that home-spun, simple commonsense reflection of circumstances. How daunting was it to be working with such an experienced stellar cast — some of this country's and the world's best — as a first-time director straight out of film school? It was daunting working with them,[...]nting all right; leaving Judy, Sam and Murray out of the equation, Geof- frey, Richard and Rachel are such[...]experience was some- thing on which I could rely; the fact that I knew if I could effectively communi- cate my agenda for the whole film or a scene to Judy — or the others — I knew it would come to life, happen. That took a lot of pressure off. So I tried to shape, rather than force, performances. The most important part of my job became keeping the whole film in my head and trying to keep the nuance. I found that difficult because it’s such a big film and because we were shooting all over the place, juggling to fit in with the actors’ availability. Murray was only here for[...]for four weeks, Rachel had commitments to finish The Small Man4; there was no continuity in the shooting sequences « What was your biggest challenge? Getting the pace and rhythm right in terms of the whole picture. Earlier in the shoot I was less cog- nisant of pacing; I became more aware of its importance as I got further into the shoot. Did that mean much of the rhythm and pacing was shaped in the editing room? Absolutely. One of the concerns for funding approval was not only my inexperience but that of my editor, Simon Martin, who had worked as an ass[...]cript editor on Children and was an integral part of the team; in fact, his contribution to this film has been enor[...]makes sense. He wasn’t hard enough on me with the script editing and paid for it in the end. We were in pro- duction for seven months and I felt confiden[...]abuse at each other. I find that was so important in the editing process where you’re locked in a room with some- one for 12 hours a day, 6-7 days a week. The person has to have your sensibility and, while ot[...]ether anyone else could have been as sensitive to the material. Bringing in Simon at script stage meant that he had the distinct advantage of being acutely tuned to the tone. How did you plan the look of the film? I had lots of stylistic conversations with the direc- tor of photography, Martin McGrath, production designer Roger Ford and costume designer Terry Ryan. A lot of these related to following the tone of the metaphor. We started with warm reds and oranges, the colours of idealism and commitment. In Russia, cold blue and greys predominate, but as the story pro- —-Z Nine (Sam Neill) and Anna (Rachel Griffiths). Children of the Revolution. gresses, and the idealism crumbles, so too does the film lose warmth. I storyboarded about one-third, but Danny Bat- terham, one of the most senior [camera] operators in the country, and Martin were very flexible about coverage. Russian sequences were shot with a lot of camera movement to reflect Joan’s all-at-sea nature. How did you use the camera to show Joe [junior’s] increasing power? We tried to show that through re-reflecting the Kremlin segments. As his power—base expands, things become increasingly a metamorphosis of the Kremlin environment. It works on an exponential curve; it is impercep- tible at the beginning and gradually looking backwards to that fun part of the film but with a very different feel. Something’s gone horribly wrong along the way. So, in a sense, you revisited the Russian segments in the latter part of the film? Stalin’s office in design terms was the key to the sequences in the Kremlin and also in the Australian offices, because Stalin’s office becomes Joe’s office and accommodates the various stages of Joe’s life. How difficult was it shooting the Russian sequences in Australia, to recreate the Kremlin, for instance? It wasn’t at all difficult because we only had one exterior. That was probably the biggest night of our shoot: making the exterior of the Commemorative Pavilion at the Showground into the Kremlin steps. Roger Ford and Laurie Fahey, the art director, and I had long conversations and they were wonderful. The exterior was tough but I didn’t want it to be the ornate baroque palace full of gilt chandeliers as it is known. I wanted to play[...]y set-up with straight lines — and then to have the twist in the char- acters. I think that worked for the comedy. How important was subtext in connecting the personal and political worlds? It was very important to connect the kitchen-sink world of the film and the political power world because that’s the heart of the journey for the individual Zealot/1deologue’s relationship to the big- ger structures. For Joan, world revolution is the goal, but it starts at home with a kitchen-sink reality. One of the things that frustrates her is that no one’s qui[...]wants to have a revolution. Nine AFI nominations in probably the strongest, most diverse field ever is pretty impressive for a debut. I was absolutely thrilled. We went in with very mod- est expectations and I’m just de[...]dit- ing, because he was so integral, not only to the editing but to the whole process. What are the release plans for the film? We’re opening nationally on Boxing Day and Mira- max has picked it up for North and Latin America, the UK and Italy. A May Day opening is being planned for the U.S. ® 1 Recent feature credits as producer include Strictly Ball[...]’: Holiday (1995). 1 Shine (Scott Hicks, 1996). The major exception being Rachel Griffiths, wh[...] |
| BEYOND Congratulate the following S . ., AF} nominated feature films: 2 9 "‘::::'cHrLDREN or THE REVOLUTION fie: AND omen CATASTROPHES -R. LOV[...]ydney: 53-55 Brisbane Street Surry Hills NSW 20l0 Australia Tel: 61-:2-928l T266 Fax: 6l-2-928l 9220 ‘ Repr[...]-36 little a Street North Melbourne Victoria 305] Australia Tel: 6l-3-9348 9340 Fax: 61-3-9326 5493 U[...] |
| HE FOLLOWING DAY con- sisted of a daunting schedule ofLESS THAN HOURS AGO AT 5:30PM, GRAIG ROSENBERG[...]an press wAs w5:1..c'.o1vt£::v 32 so szc'.O1~TvS of KAPTUROUS f§i1.i:€i:V§:'i(:§ffi1,dnlVie:Zii.:::iii:ii:::§§sr§V:i§i APPLAUSE AT THE QONCLU3ION OI’ THE WORLD Festival organizers say they haven’t seenadébut so essmsss of H13 n1.R£:c.~::o31AL 1:21.36-r, 11‘o»m. :72:[...]:C:‘iVfk‘l:; V::‘i=h:“fi;:°jS’::f AT THE NTERNATIONAL ‘ rounding this latest Aussie crowd-pleaser. With the barrage of interviews you've just been through, what were the North American press most interested in talking about? They’re fascinated with why the[...]tralian film they see; they’re fascinated with the quality of the stories[which] they love; you know, they mention Priscilla, Muriel’s Wedding, Shine.’ The perception is that it’s amazing that Australia keeps turning out all these quality, low—budget[...]1LM f£s'r1vAL. A RoIvIA.N':r:Ic‘. COMEDY 32-: IN A c.o:..or.SRrLS:., '1:‘AcI<:’x‘ HONEY- 1v1[...]was WOIVLAJN There was a question from the audience last night about the funding for Hotel de Love. Yeah, the guy said I was a capitalist! They were interested[...]~Is — AND Do you see Hotel de Love as part of a particular .E,‘I-“‘E"C§$'I‘V£ C,OIVI?LI1VIE1‘ITS “ THE CROVJD. style or genre of Australian films that have enjoyed ‘-..[...] |
| [...]Priscilla and Muriel’s Wedding? I think it’s the most purely romantic comedy of all those films. Muriel’: Wedding vacillated between moments of comedy and moments of drama, while Priscilla was more a comedy than a r[...]their little idiosyncratic charms. What they have in common is that they’re Australian, they’re su[...], with great music. Hotel de Love shares all that in common. But the way each story is told is different. So, I wouldn’t lump them together. 1970s music is an integral part of your film, as it is in the three other films. Why was the '70s the decade for your soundtrack? First, we had the flashback scene, which was ten years ago, and in the mid-’80s they were playing all the 705 songs again. All the parties I went to redid those disco songs. So we used a lot of the songs for the piano player [Alan I-Iopgoodl in the movie. I just find it hysterical that this old hotel pianist would be singing these kind of songs, like “Howzat”. is it that those songs are the ultimate in kitsch romance? Yes, the piano player certainly. My father was a pianist a[...]se songs which people just love. They are staples of a certain kind of lounge lizard music. So, I stuck ’em in there. 3,! 'I[A] a writ!” _Y°'“- spend Siz¢ 1'11-°1'l.f-H-3 inThe film seems to walk a fine line between reality and a touch of surrealism, which again is reminiscent of Muriel’s Wedding and Priscilla. Do you consider that balance part of the romantic comedy genre? I think we probably had t[...]y Met Sally [Rob Reiner, 1989] is very realistic in the comedy and the dialogue. Our characters are real people in an almost unreal place. It is not an i[...]l hotel and people have to live and sleep there. The humour comes from a lot of the wilder aspects of it. In terms of the pro- duction design, even though these rooms were fantastically bizarre, they nonethe- less had a bed in them and were real rooms. We had to be very careful in terms of the acting, so that everyone stayed cen- tred and wer[...]a little broader and have a little more fun with the more peripheral characters, like with the newly-married couple, Bruce and janet Campbell [C[...]u have to keep them grounded and focused and have the more zany, wacky stuff on the periphery. A film like Four Weddings and a Funeral [Mike Newell, 1994] is very similar in that way, with grounded central characters and a broad, comic aspect on the periphery. The film does have a slightly dark undertone to it, p[...]e]. At times it is frighteningly real, especially the final confrontation between them. You need to have those kind of scenes if the movie isn’t going to be just light and frothy the whole time. I was interested in investigating what’s wrong with this marriage, what’s wrong with these people — not just focusing on the comic aspects of their relationship, but viewing them as people that are tragic. It’s a kind of tragedy what’s happened to them. All the relationships have some serious scenes, like when Rick’s on the rooftop with Melissa. All of these characters have their serious moments, |
| [...]e Love. which I think you really need, otherwise the com- edy will have no real inferences, no real meaning for people. Do you consider the outcome of the film is determined by the constraints of the romantic comedy genre? It’s an interesting question. It’s hard to talk about it without giving the ending away! My advantage is you never knew who is the real star of the movie, or I hope you don’t. It’s a weird ense[...]into something else. Because there’s a couple of permutations with an ensemble, the normal boy-meets—girl, boy-loses-girl, boy-gets-girl—in-the-end didn’t apply. We didn’t have two stars we[...]son, and Rick and Stephen argu- ing about it all. In that sense, it was advantageous in that, hopefully, the suspense of who’s going to end up with whom would go on longer than it nor- mally would in a romantic comedy. That seems to be an effective way of revising the genre, of giving it a bit more longevity. Yeah, it is and I don’t think they do that in Ameri- can movies. Studios don’t really make en[...]mpletely star- driven. It’s impossible to think of Hotel de Love with someone who’s a star because it would completely unbalance the ensemble: “Okay, this is the person I’m following and, because this person is the star, they’re gonna end up with this other person.” Are you perhaps just sneaking in there with Aden Young? He got some favourable comments from the audience last night. Probably yes, particularly in Australia. The film actually balances the two male leads very well; neither one outshines the other. But Aden Young does have the name. Right, yeah. But what can you do? Perhaps by giving him the less sympathetic character. On initial reading t[...]n I was casting it, I didn’t think, “Which is the bigger role? Who should I give the bigger role to?” My feeling is, when people ask, “Who’s it about?”, I say, “It’s about both of them. It’s about how both their romantic lives are a function of this strange rela- tionship thcy’ve had, ten ye[...]nce off to someone else?” So, it’s about both of them. I don’t see either of them being more or less important than the other. Prior to directing Hotel de Love, Rosenberg was a scriptwriter in Hollywood. I-Ie’d studied law at Monash University and published award-winning short fiction in various literary magazines before becoming involved in film. What was your fiction like? No jokes! All[...]then writing about relationships? Yeah, all kinds of strange love stories. What prompted the decision to try scriptwriting? I’d finished my[...]to write scripts, so I thought I’d give it a go in Los Angeles. It was a time when I was mortgage-l[...]t give it a go then, I might not be able to do it in ten years. So, I took off. I wrote my first script, “Eliot Loves Gabriela”, in about four months. I got an agent and within a da[...]off Paramount and it may be getting made towards the end of the year. John Cusack is attached to it. How did you get a foot in the door in LA, particularly without having gone to film school? That was the most difficult part, because you can sit in your room and write War and Peace, and write a le[...]e I knew who had any con- nection whatsoever with the film industry. Through doing that, I got about fi[...]oves, who also represents Ron Shelton [Tin Cup]. The next thing I was being offered scripts. I did one[...]y; I’m writing one for Twentieth Century Fox at the moment; and one for Disney. So, I was just busy,[...]hours. Did you always envisage Hotel de Love as the film you would direct? Yes. Now that yo[...] |
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| [...]and Melissa. Hotel de Love. What is it about the process you really don't like? Oh, God! Got a couple of hours? You know, it’s really difficult if you just want to be a writer in Hol- lywood, because you have to learn to give up[...]well, and I wasn’t very good at that. Have any of those scripts seen the light of day on film? They’re all at various stages of development. I don’t want to jinx things, but it looks like the Disney one may be going ahead, and one of the others. Are they all romantic comedies? No, no, they’re different. Two of them are roman- tic comedies, one’s a comedy but not romantic, and the other’s a bit more serious. 50, it’s been pre[...]ld you direct someone else’s script? If it was the right script, I would. IfI really loved it and felt some involvement with the script and that I could bring it to life, I would[...]and a studio exec who’s going to be supportive of you. You have to Search a bit, but they’re there, and you just have to be careful about the people you work with. What were some of the difficulties you encountered in the transition from writing to directing? The most apparent thing is that as a writer you spend six months in intense isolation, and then as a direc- tor you spend three months in intense exposure to people. Everyone’s coming u[...]” It’s about communicating what you want from the script to the people around you. The most difficult thing is probably the unforeseen things that come up every day, and having to deal with them. You know, like losing the permit for this location where you’re planning to shoot, and losing the sun behind a cloud ~ just those unforeseen phys- ical things that can happen on a movie set. But I think the only way to deal with that is to try and turn it to your advantage, and, instead of fighting it, work with it and say, “Okay, we d[...]tic that we can do elsewhere?” So, rather than the logistics of it getting in the way of your creativity, it actually makes you more creat[...]. It spurs you on to new and fresh ideas. To me, the real danger with directing is over- preparing, such that you don’t allow things to happen spontaneously in front of the camera. The whole enormous organization is designed to cap- ture some moment of truth, of real life, between people. I think you always have to allow for the opportunity to do that. You can’t be too structured in your thinking about how you want to shoot somethi[...]rector? I’m being offered a few studio jobs at the moment, so I may do one of those; or I may do another script of my own which I am currently writing. At the moment I’rn just reading and writing, and in a few months I’ll decide. Will you be heading[...]ie. My feeling is that it’s simply always about the script and the story. I’ll do a story wherever it’s set, if[...]I guess I will always write Aussie movies. ® 1 The Adventures of Priscilla, Queen of the Desert (Stephan Elliott, 1994), Muriel’:[...] |
| unday loo Fa_r May was one of the first_major_features to he_ made during the Australian feature film revival wholly with Austr[...]eam. As such, it marks a significant step forward in Australian film production and film storytelling[...]and cast, it was a so made entirely on location in a part of _Australi_a which had not witnessed feature film[...]ifteen years, since Fred Zinnemann s production of The Sundowners in 1960. CINEMA PAPERS - DECEMBER 1995 |
| [...]clgThompson). Ken Hannam’s Sunday Tao FarAway.THE MAKING OF SUNDAY TOO FAR AWAY resulted from a unique set of g0vernment—initiated circumstances. In the late 1960s, the Dunstan Labor Government had taken advice from co[...]hillip Adams and political analyst Barry Jones on the feasibility of funding film production through state incentives. The result of their researches was to lead to the setting up of the South Australian Film Corporation, a state initiative. In broad outline, the plan was to create a viable industry in the state by consolidating government short—film and documen- tary production to provide a pool of experienced film crews, and, at the same time, to lay down plans for feature film production using loan finance. Adams’ account of the process (in 1980) is succinct: “I devised the South Australian Film Corporation [SAFC] which C[...]c continues to survive [...] when Dun- stan found the money, the money found the talent.“ In this determined effort at state capitalism, described by Albert Moran in 1983, the SAFC was designed to “Reflect our way of life with truth and artistry [...] to provide opp[...]ftsmen to develop and express them- selves within the film medium.” The first feature from the SAFC was to be Sunday Too Far Away, but before this production could be launched there were to be a number of false starts to the plan to make feature films. The prospects of finan- cial success, for any feature project, we[...]t Gil Brealey and Matt Carroll have expressed to the author some reservations about this article appearing. . _ has taken note of these concerns, but has decided to publish as it believes the article is written without bias, and goes to great lengths to represent and fairly discuss the views of all the key players. Equally important, ' is one of the few true icons of Australian cinema. Whatever problems the filmmalvers had along the way, whatever couragus steps Brealey believed he had to take to rightly fulfil his role as a producer, the result is a classic that continues to gain in stature with the years. flnly in celebration of this beloved film is this article printed. 35 |
| And the d 36 Producer-in-Chief of the SAFC, felt that the main problem facing the Australian industry was its dis- continuity, because very few locally-produced feature films had been made in the country for more than thirty years? Australians had almost no useful expe- rience in the production of feamres, and those who did had gained their exper[...]were all learning a great deal, and we learnt it the hard way”, Brealey said.“ Also, there was no guarantee that the films would find a market, as the local industry had long been dominated by U8. and British distributors. Despite this, the SAF C projected a somewhat naive optimism that Au[...]ould find a viable market- place or at least suit the needs of local audiences. The board of the SAFC confidently announced, prior to the production of Sunday Too Far Away: It has now been established[...]ecover their production and distribution expenses in Australia.5 The producers lacked experience and were conscious of a formidable array of critics ready to pounce if they made a failure. And, to compound the issue, politi- cians were watching the enterprise with atypical interest. Film production had been encouraged by the previous Prime Minister, John Gorton. Peter Cole- man, a member of the Australian Council for the Arts in the late 1960s and early ’70s, recalls Gorton’s enthusiasms: “[he] made clear in many speeches that he wanted [...] to show the rest of the world.” Give us some films and be quick, he seemed to say.5 Cole- man also noted the “tendency to centralisation of decision making, so that fewer people are having a say in how it is spent”. He adds, “We wanted results[...]” Coleman recalled: “[There is] always a risk in Gov- ernment patronage. Governments want something to show for their money, something to show the pub- lic, and something to boast to foreigners about.”7 The prevailing optimism about local feature film production was further encouraged by the election of the first federal Labor government in almost three decades, under the leadership of Gough Whitlam. The Australia Council began to address itself to the promotion of Australian cultural values, however vaguely these Values were to be defined in practice. For the first few years of the Australiathe Australian Film Development Corporation (AFDC), which loaned money for commercial projects. For the first time in recent history, many Australians working in the arts, including theatre and film, saw the opportunity to create works which were popular, a[...]and began to develop projects which would reflect the general optimism and idealism of the Whitlam era. The activities of the SAF C were heavily influenced by Premier Don Dunstan, an ardent supporter of the arts. Through its groundbreaking development and production of Sunday Too Far Away, the SAP C was to establish itself as a prime producer of quality Aus- tralian film. Sunday stands as one of the first successful attempts at a period film, a “breakthrough with the public [...] at its best a superb evocation of 19503 out- back life”3. Sunday was one of the first locally-produced films since fedda, made by Charles Chauvel in the mid-19505, to make extensive use of the Australian landscape, and it set a benchmark for modestly-budgeted local production. The skills devel- oped in the production of Sunday were to serve the Australian industry in good stead, although some painful lessons had to be learnt, particularly about the process of project development. The problems faced by the producers stemmed mainly from the financial principles on which the SAP C had been founded. In 1973, Gil Brealey recounted details of his interview for the post of Director of the SAF C, and his alarm when he learned the arrangements for financing the Corporation’s activities: I said “Well how m[...]pend each year?” [T]here were smiles all around the table, and though nobody quite knew they thought there’d be about $400,000 a year. When I was appointed to the position I was told that it (the operating capital and expenses) were going to be[...]d out that I tfid have to worry about it — not the capital but the interest. We’d be up for about $200,000 over five years just on interest. Nobody had worked it out.9 One of the aims of the SAFC was to produce feature films, so Brealey beg[...]e- rial for its first feature. Brealey feels that the SAFC dependence on loan funds put additional pressures on the enterprise to find a viable feature project: The South Australian Film Corporation never oper- ated on a government grant of any nature, which is something people don’t gen[...]n it — we had to choose "SUNDAY T00 FAR AWAY" The Sundays ofthe life i own rléseltogntillose For me to care an[...]llolid cfiiil 80 long s my mind ges behind But the hi hts can et on down And things won't stay orgo[...]ture projects that we could go ahead with and one of those was Gallipoli. Gallipoli was an ambitious[...]s, a military expert and a producer at Crawfords, the large Melbourne television production house. Crawfords had trained a stable of experienced writ- ers and producers, and had deve[...]like Homicide. Jones had shown a strong interest in historical subjects, and had pre- viously been involved as writer-researcher on the British-financed Tony Richardson production of Ned Kelly (1970), which starred rock singer Mick[...]g with Jones, as they had shared many experiences in the Melbourne theatre world of the 19505 and ’60s. The implications of the deal with Crawfords quickly became apparent to Br[...]ious he was prepared to co—operate, but that if the project went ahead Hector was going to be very closely involved, and would in fact assume it was a Craw- fords production that happened to be made by the South Australian Film Corporation. Now, politi- cally that was of no value to us at that stage, because we had to get some sort of clout if we were to pursue this as producers in our own right. aluable time began to be lost in negotia- tions with Crawfords. Well—known writer John Dingwall was contracted, but the main obstacle to realizing the project was the attitude of Crawfords, which demanded a high degree of creative control over the pro- duction and major financial participation. At an early stage, Dingwall was asked to register the project at the Writer’s Guild as being Crawfords’ property. There were soon other unexpected political prob- lems. The film would require the staging of large battle scenes, and Brealey had contacted the Minis- ter for the Army. He was told by the Minister’s office that government support (required for the staging of large battle scenes) would only be forthcoming if thethe Minister: “When I said that we were thinking of working with Crawfords, he was not pleased and he circled the name Craw- fords and became very concerned about[...]itect-turned-producer, who had previously managed the Australia Council’s Film and Television Board, was made Head of Pro- duction (so Carroll recalls; Brealey says Carroll was, in fact, Production Co—ordinator), and became involved in the efforts to solve the Gallipoli prob- lems. The points of dispute seemed irreconcilable and the SAF C decided to relinquish the project. Carroll recalls that the break was acrimonious: It was a terrible bloody[...]rsation because Gil didn’t want Craw- fords, so the whole thing fell out of bed. All of a sudden, I had a contract with John to write a pro- ject, and Gil said, “Look, the only way to settle this is to not do it”, and I[...]“Will you go and sort it out?”1° This left the SAFC with Dingwall still on contract but no project to work on. Dingwall offered an original idea, based on the career of his brother-in-law, who had been a shearer involved in the great Queensland shearers’ strike of 195 6. Working briefly as a rouse- about in shearing sheds, Dingwall had listened to h[...] |
| brother—in-law’s stories about the life of itinerant shearers, and built these into a short[...]y asked him to have a meeting with Dingwall about the new project:So I went up to Sydney and sat down[...]idea. I’d like to do a script about my brother-in—law’s life as a shearer.” And I said, “I[...]do something on shearers”, and Gil said, being the good old urban Melbournian, “I don’t want to[...]Brealey says that he was immediately attracted by the potential of the story and setting, and particularly by its castin[...]pson [as Foley]. I had used Jack Thompson for one of his first film appearances back in the late ’60s at the Commonwealth Film Unit. I had a terrific admiration for his work. He was one of the few, in those days, with a gen- uinely butch maleness abo[...]ilm treatment usually defines scenes and segments in short outline form, but DingWall’s treatment read like a short story. Brealey recognized the qual- ity of the story, characters and setting, and became very en[...]t was about 20 pages long and was undoubtedly one of the most exciting things I have ever read in the Australian film industry.” 13 “Shearers” had been written with a definite social purpose in mind, and it had strong documentary ele- ments. Dingwall wanted to record a way of life which would soon disappear: I felt the magnificence of the story of men who would go into the middle of nowhere, and work at this incredible pace for a period of six or seven CINEMA PAPERS - DECEMBER 1996 weeks, just among themselves, for the title of being the gun shearer — the fastest shearer. And then they come into town wit[...]that they had bro- ken their backs on, and do it in a dice game or a card game, and then have to go back again. Dingwall’s treatment portrayed the adventures of Foley, a gun shearer who begins to lose his edge and, at the same time, becomes romantically involved with the daughter of a station owner, who has returned home after a divorce. Other key elements of the story are the camaraderie and competition between the men who formed the “shed”, conflict with the station owner (“the cocky”) and the growing threat of the shearers’ strike as scab labour is brought in to com- pete with the professional shearers’ wage demands. This early document outlines most of the events of the film, lists the kinds of incidents which would be shown, and moves towards[...]ed as gun shearer, and losing his money gambling. The shearers’ strike against reduced pay and conditions begins, and Foley finds himself lead- ing the men against police harassment and hired toughs pr[...]town, but returns to consummate his romance with the cocky’s daughter. The film was to be a historical piece, set in the recent past, depicting a labour struggle, as well as the lifestyle of thethe Australian spirit — ‘don’t give a stuff’, ‘do anything’, fight, drink, everything was contained in that story.” The film treatment also delineates some of the less-attractive class divisions which exist in Australian society, fore- grounding the workers against a less-than- sympathetically—portrayed “cocky”, who refers scathingly to the shearers as “scum.”13 Carroll asked Dingwall to fulfil his contract with the SAP C by writing a screenplay from this treatment, and found he had a strong personal commitment to the story: “Part of my honours thesis was the shear- ing sheds, as indigenous architecture [...] and so I knew all the history of the Australian Workers Union going right back.” Dingwall agreed, although in ret- rospect he was less than happy about the financial deal that was struck. Dingwall indicated his relatively low status and the humble aims of the project by ref- erence to the fees that were agreed to for his services: “They asked me to do the script for a pittance, which I did. I wrote the screenplay for $7,500, which even then was a pittance, on the basis that I would get 10 percent of the overseas profits. I have never seen another penny.” “Shearers” was announced in 1973 in a fulsome press release. Carroll was attracted by the setting and the visual qualities of the environment, and together he and Dingwall discussed the settings for the film: John then went off on a research trip. He went to Queensland to track down his brother—in-law. I also sent him up to where my brother lives in the bush and we did a whole research thing. Out ofin conversation with his brother—in—law, listening to the tales of shear- ers’ lives, and recording these in note form: I asked him to take me around to the old shearers in Brisbane. Old Garth was based on a guy whose son[...]ow dresser, and he couldn’t find him. He looked in all the windows in Sydney. he title of the film came from a piece of shearing folklore, which tells of the effects of hard work on the sexual life of the shearers, and especially the women’s response to this: “Friday night too t[...]ht too far away.”” Sunday Too Far Away became the title, as Dingwall recalls: “It was just a saying they had the shearers’ wives. So I called it Sunday Too FarAu/ay. Now that’s pure instinctive titling of the film.” Brealey intended to raise funding for the pro- ject through the AFDC, which would match the SAFC’s own funds. Just as the AFDC approved the project, Dingwall suddenly went back to Queensland, and Brealey feels that this created prob- lems in the development of the script: The AFDC liked it [the treatment] and they invested in the first draft. John Dingwall disappeared that afternoon. He got the sudden news that his son was ill or there was som[...]st draft. Brealey lost contact with Dingwall for the period of time he was writing the first draft, and his only con- tact was through Dingwall’s agent: It was disastrous from my point of view, because in about six weeks’ time it was supposed to be del[...]ou mean he’s writing too much, or is he writing the characters too large or what?” She said, “Both, actually.” The main problem in developing the screenplay arose from the many events contained in the treatment, which was too long for a 90-minute feature. The unusual form of the treatment created problems for Matt Carroll: The film was really only about half of that treat- ment. We then went into a screenplay and there were several drafts of it all — by largely me working 37 |
| [...]ector at this stage for a long, long time.While the script was in development, Dingwall spent another lengthy perio[...]d with Carroll looking for suitable locations for the film (or, more specifically, one suitable location, since it was intended that the film should be shot entirely on one location) and collected more anecdotes which entered the film script. It was decided that the film would be shot in the same shearing shed used for Fred Zinnemann’s production of Jon Cleary’s The Szmdowners. VY/ith more experience, the producers could have recognized the problems inherent in the treatment. The film story as presented by Dingwall is com- plex, with a number of sub—plots and themes. The storyline also contains a number of character inter- actions, but does not follow a c[...]which sets up an audience—satisfying resolution of the main character’s aims and needs. The needs of the Foley character are obscure, and, even though the characterization is strong and convincingly realized by Jack Thompson, the audience is no more in touch with Foley’s inner life at the end of the film than they were at the beginning. Foley is full of behavioural contradictions: he enjoys the camaraderie of the shearing shed but also longs for female contact; he works hard for the final pay he earns, but throws it away in a card game; he strongly supports the rights of shearers but only acts reluctantly to try and protect those rights against the scab labourers. Foley is really a cipher, a set of char- acteristics; none is really consistent with the others. But Foley is, above all, a worker and a part of an Aus- tralian bush mythology. In the growing Australian nationalism of the mid-1970s, Brealey was well aware that these elements in the film would give it a better chance of success: Not only was it the film we all wanted to make, as far as [being] a nationalistic film, but we knew that the feeling of the community was that way. We knew that we wanted this nationalistic film. So, it was not only a personal sort of want to make that sort of film, but it was also very carefully commer- cially calculated. Lmday, by relying on linked anecdotes and the appeal of the extended yarn, eschews all forms of causality in its plot. The texture of the film is rooted in an everyday reality, where trivial and often commonplace events take on a sense of heightened drama through the response of the characters, rather in the manner of heroic stereotypes.” Thus, the shearers are natu- rally competitive, and a simple task like washing clothes becomes a competition in speed. The shear- ers race to see who will finish first, heedless of the fact that their towels have fallen off and their bot- toms are bared. This may be an allusion to the underlying homosexuality which is always present in the myth of mateship, and the implications of this scene intrigued reviewer Noel Purdon. To Purdon, the scene illustrated the attitude: “We don’t care, we have no secrets or sense of shame in the company of our mates.”“ The search for a director began, and a few prospects were mentioned, including the British direc- tor Jack Lee. Brealey considered a[...]ustralian film. l’ve always been very conscious of the difference between English filmmakers and Austral[...]ible. Ken Hannam, with extensive credits at both the ABC and in the UK, was brought into the development negotiations, although Dingwall still had not deliv- ered a final script. Brealey sent the treatment to Hannam in London: “Ken came back to me and said it was ab[...]marvellous treatment and he would love to work on the film.” Brealey also made the deci- sion at this time to involve Hannam in the scriptwriting process, although now he has mixed feelings about this decision: “I think some of the deci- sions that we made at that level were in fact Ken’s mistakes.” Brealey went to London to discuss the project with Hannam, and the men were meeting when Dingwall’s first draft sc[...]it was won- derful to read, absolutely superb on the page, but about half-way through we had probably covered the first two pages of treatment. Ijust quickly flicked through the end and I just threw the script to the other side of the room. I was just so angry — I real- ized he had [only] written half the picture. Aside from the problems of running time, since the budget would only cover a 90-minute film, Brealey found that the script had major structural problems: There was no climax - it just fizzled out at the end — although the characterization was wonderful, the humour was magnificent, all the things we had looked for were there. So, I had a talk to Ken, showed him the script and he felt the same way. The other terrible thing was that it was almost the same as The Sundowzzers. Now I knew The SL01- downers very well and I got a copy of it out. A major plot in The Spmdoumers, not the major one, but a major sub—plot is in fact a shearing competition, and it seems so repetitious and it wasn’t that long since The Sundowners was made — so that again made a really big worry about it. Brealey returned from the UK and, in a meeting with Dingwall, attempted to renegotiate the down-beat ending: I said, “At least one of the things we have to have is a sort ofthe end of the screenplay, what hap- pened was that Foley went back to his room of his hotel and sat there looking like he was going to slash his wrists — that was the end of the film. I said, “At least we can get something of the drama of the scab shearers coming in. At least have a conflict with them so it leaves the audience kind of high and we can leave it at a high point and say that out of this comes so and so. At least it will be a drama[...]erstand that shearing destroys peoplell” Hardly the subject of a feature film. Time and budget constraints began to have an impact on the scope of the screenplay. The first real casualty of the writing and rewriting of the script was the sub- ject of the strike. The film treatment had as its finale a portrayal of Foley’s role in the shearers’ strike, against a court decision to make them accept lower wages. In development, the script changed to a char- acter profile of Foley and depiction of the shearers’ lifestyle. The group of main characters, men who could have faced the strike and been changed by it, were outlined in their working situation, and the film ended where the strike would begin. The ending seemed so arbitrary that Noel Purdon accused the producers of tacking it on.” Matt Carroll defends the decision to film this ver- sion, because it was the one that Dingwall chose to deliver: “We realized we couldn’t take it beyond the strike in terms of length. Basically, the screenplay that first came in ended at that point.” Dingwall says that the failure to include the strike was forced on him by the industrial conditions of Aus- tralian filmmaking: When I wrote the story, the real story is about the shearing shed. The strike should have been abbre- viated in part, but probably taken about twenty minutes of screen time. That would have taken the script to 115-120 minutes. At the time we didn’t do, and still don’t, 120-minut[...]much to say. I actually believe, if I had got to the draft further down the road, I would have written the strike in. CINEMA PAPERS ° DECEMBER 1996 |
| [...]when they were going into town, I realized that the movie was over at that point.Through an imperfect development of the screenplay from the treatment, the character of Foley had been diminished. Further drafts were needed to tighten up the film’s narrative while retaining major elements of the overall story. At the time, this arduous process of refinement, common in Hollywood product, was not fully understood in Australia. Technical problems in the handling of the narrative seemed endemic in the Australian industry of the time, a fact of which Gil Brealey is now well aware: The first draft had the elements of a great movie. It is what we now know as a first draft of perhaps ten. It had all the ideas there but none of the structured development. We knew that there had to be a series of drafts, but we didn’t know the levels to which they should go. Problems of development, lack of expertise in nego- tiating script changes and the inexorable pressures of having to work on minimal budgets had an effect on many films of the time. Peter Weir’s experimental The Cars that Ate Paris (1974) has an even more reces~ sive character, and, like so many films of the period, simply ends rather than building to a climax. Noel King, writing in 1980, saw the structure of Sunday as indicative of a whole trend in Australian movie storytelling: Sunday purports t[...]abour struggle at a particular historical moment, the events leading up to the 1955 [sic] shearer’s strike in North- ern Queensland. The fact that the representation of this labour struggle occupies only a gestural or[...]kes Sunday Too Far Away an instructive case study of the narrative mode arguably to be found in many other examples of the new Australian cinema. It is an historical real-[...][...] to a large extent Sunday seems a repository of the strategies of narrative displacement and character stereotyping found across much of the new Australian cinema.” However, as we already know, the motives for show- ing the strike were extremely important, and the changes were made only at a later stage of the film’s development. Other critics observed faults in Sunday, CINEMA PAPERS ' DECEMBER 1996 noticing particularly the hero’s lack of defined goals. Barry Jones wrote: Phillip Adams echoed my thesis that in many, per- haps most, of our films the central character is a recessive. [Foley] backs o[...]. Events impose themselves on him. He spends most of his screen time mucking about. The dramatic rivalry between the two “gun” shearers carefully set up at the beginning is simply thrown away at the end when it appears that Foley doesn’t care any more.” These character faults are not apparent in John Ding- wall’s original treatment, which sets up Foley as a man of conscience who possesses a rugged decency, but is also capable of extreme violence if provoked. In the original treatment, Foley is victimized by the police supporting the scab workers, and, in a fight with hired thugs, bashes one of them senseless. Foley is provoked again by the police, beaten up and, under a charge of resisting arrest, banned from the town for two weeks. Foley leads the shearers back to town to ‘ ‘f Foley, Old Gar[...]arAway. reclaim Ivy’s pub as their territory. In another scene, Arthur Black (Peter Cummins) has b[...]most lynched by Foley and his mates” — hardly the actions of a total recessive. Only the arrival of the scabs, protected by the police, and the pub fight appear in the final version of the film. In the course of the film, as completed, Foley sees that Old Garth (Re[...]near respectable funeral and is able to deal with the appalling cook. He holds the camaraderie of the shearing shed together, even as his own career as[...]is threatened and ultimately destroyed. Assessed in terms of Australian male behaviour of the time, Foley’s actions, mostly on behalf of his mates, could be seen as exemplary. Foley changes from a character who can c0nfi— dently state at the beginning of the film, “If I was there, I rung the shed’’“, to a drunken, bitter loser, who ha[...]his job. This ending seems to have been forced on the film by a number of factors. While the film attempts to docu- ment a pastoral tradition[...]participants dignity and identity, it is clear by the end of the film that this period is closed, and that Foley’s plight is an indicator of the issues which led to the strike of 195 6 and its outcome. On a broader scale, the film also hints at a new role and identity for A[...]require new strategies for survival. Severe cuts in the storyline reduced the possibility of a happy outcome for the Foley character. Another major problem in the narrative emerged when the potential love interest between Foley and Sheila Dawson (Lisa Peers), which led to the climax of the original story, was destroyed through casting decisions. Instead of a woman of Foley’s age, return- ing to the country after a divorce, the Sheila character was changed to a woman just out of her teens. To overcome the age difference, a love affaire was written in between her and the shed’s rouseabout. This sub—plot was shot, but later removed in the edit- ing process, as noted by David Stratton.“[...]ributes it to Ken Han- nam. Whatever its origins, the change has been identified as one of the film’s major faults, as it squan- ders the possibility of a happy ending. Brealey gives his account of the changes to the Sheila character, which he says came about through Ken Hannam’s input into the scriptwriting process: Ken spent about a fortnight with john. The major change that he made was that he turned the girl from a divorcee to a young girl [...] I much preferred it the other way. I think it is one of the weaknesses of the film. Dingwall’s version of how the changes were negotiated is quite different: Gil really wanted [the changes]. Ken wanted to cast a young woman, and G[...]was able to communicate with this woman [Sheila]. The woman had more maturity, she’d been through a divorce, there was more pain and suffering there. The most significant result of the change in Sheila’s age is that Foley does not return to claim her at the end of the film, as contained in the original treatment: He got out of thethe house to get some things.” iven the personal politics that come into play in the casting of major roles in feature films, there are a number of possible explanations for the casting of an ingénue in a key dra- matic role. Lisa Peers plays Sheila, and does a reasonably convincing job of depicting the cocky’s daughter, who insists on seeing the realities of life in the shearing shed. However, her exchanges with Foley, in which the possibility of unrealized sex- ual attraction was meant to be su[...]Gil Brealey acknowledges that he was too liberal in his approach to the film’s casting, except where Jack Thompson was concerned: I gave Ken a great deal of leeway. When it came to casting in the early stages, I said to him that it was written r[...]at one, and said it was definitely ]ack’s film. In fact, they got on like a house on fire and there[...]had his own way, he would have cast somebody else in the Thompson role. 39 |
| dence, but also to the problems caused by a lack of attention to the shooting of some of the scenes, which he felt were scantily covered. Brealey showed the long cut to Dingwall and Matt Carroll, and regist[...]n days, with sheep to shear, when we had to train the actors to shear the sheep. The sheep were bloody starving and dying on us, and i[...]no electricity or power out there.At one stage in the rewrites, the script was left with Hannam, who produced a further draft which included many changed lines and a change of empha- sis in a number of scenes. The results of Hannam’s efforts so appalled Dingwall that he successfully A Matt Carroll feels that the problems that ensued were argued that the d1rector’s lines be removed: 40 I finished my rewrites that took the girl down to an earlier age. Ken said to me, “Look, if you like, I’ll take the script now and type it up.” And in the typ- ing Ken started to do a bit of rewriting. He had the only copy, because in those days you didn’t have copies, you just had the one copy. [...] When Black Arthur beats Foley, and they’re in the pub and Foley loses his money and they’re standing in the bar and Ugly comes up to Foley and says, “What[...]as, “Go ask Black Arthur”, because he has won the game right. Ken had added in the line, “He’s your hero now.” When we got to[...]“You are right, I am wrong.” He went back to the original script which we had agreed on before he[...]g, and with considerable pressure on him to start the film, Brealey pre- sented Dingwall’s latest draft to the AFDC: The two assessors, who had both read the pre- vious treatment, were very disappointed. I s[...]ck and said, “No, that’s not a good idea. Get the writer to go back and write the second screenplay from his treatment that we were[...]prepared to do that, so I had to finally persuade the AFDC to let us go ahead, and in the end they did. Further doubts as to the value of the script came from Brealey’s ultimate superior, the Premier of South Australia. Brealey heard Dunstan’s com- ments: “Don Dunstan didn’t like the script, and asked did we really think this was the film that was going to make us. And I had to pers[...]th it as well, which he finally agreed to do. All the decisions were mine and the responsibility was mine.” John Dingwall was not present at the shoot and pressing production problems emerged. With the general lack of expertise came prob- lems with weather. The remote location, where cast and crew roughed it in makeshift accommodation, was rained out, and this delayed production. In the seven-week shoot, the actors suffered periods of low morale, and line producer Matt Carroll describes hav- ing to defuse an open revolt by the actors which exactly paralleled events in the script: Half way through the shoot there was this incredi- ble actors’ strike that had nothing to do with more than the fact they had become totally possessed by these bloody characters. A couple of the actors lived in their bloody wardrobe. They actually became these[...]Long hours and inexperience made heavy demands on the energies of all involved, but Carroll attributes the film’s artistic and critical success to the crew and cast’s enthusiasm. Even so, the production prob- lems led to many delays and the film looked like running over budget: We never had made a feature of that size before. We had no idea what we were in for. We were under- crewed but we all had incredi[...]lm made with great passion, because we all adored the script and there was this incredible belief in what we were doing. And there were just monu- mental problems to actually do it — to shoot in a due to the script’s excessive length: The script was long. It just wasn’t properly timed[...]shot as scripted originally. Brealey remained at the SAP C offices while Matt Car- roll managed the production. Due to the length of the script and Hannam’s shooting style, it soon became apparent that the film would run much longer than was first anticipated. This was a common enough problem with early films of the revival, but such overruns inevitably played havoc with budgets and the availability of key cre- ative people became a problem. At the end of the shoot, Hannam began work with the editor on an assembly of the film and, accord- ing to Brealey, only a few weeks passed before Han- nam dropped a major bombshell: I saw the first 30 minutes cut together and it worked reaso[...]would be probably successful, and I went away on the first holiday that I’d had for years. When I came back, I expected that the whole assembly would be finished. It had progress[...]ced that he had been offered a job directing some of the series that was being done here by a British com-[...]a phone call. He said, ‘Tm off. Can’t finish the cut. You will have to fin- ish it yourself.” He[...]ough money. We paid him $10,000 as a flat fee for the whole thing, presuming that was a year’s salary. Given Hannam’s experience at the ABC and BBC, he could perhaps be forgiven for assuming the film would be completed without the need for daily super- vision. Brealey saw his priority as completion of a version which would be accepted by the distribu- tors and also satisfy his political ove[...], it ran over two hours. Brealey objected to some of the technical defects still in evi- I think John thought it was all lovely and[...]going to have to come down extraordinarily to get the actual essence of what it is about.” Matt Carroll: We had tremendous problems in the editing stages because it was too long. It ran 150 minutes long, and this is where a lot of the controversy came: that the film was cut and there were two versions of it. Once again, the problems of the expense of commu- nication arose. Brealey flew to Sydney to[...]project — Sunday Taa ’ I Far,Away. episodes of the mini-series Lu/ze’s Kingdom” — which left him little time to concentrate on the problems of Sunday. Brealey was shocked when Hannam viewed the film without offering any concrete suggestions fo[...]with his wife and various friends, and we showed the full two-and-a-half hours of it. At the end of it, I said, “What do you want us to do with it?”, and he said, “Well, you could get it down a bit in length.” No notes, no comments or anything. Editor Rod Adamson and Brealey started to reduce the film in length, and this resulted in a two—hour ver- sion which was again shown to H[...]s other than advising Brealey to keep working on the film: “He said, ‘Just keep doing what 9:: y[...]. Matt Carroll states that he worked closely with the editor to bring the film down in length, after Brealey started to believe that the film was a failure: Gil, of course, hated it. He said, “This is going to be the end of the South Australian Film Corpora- tion” and things like that. I then got Rod Adamson, the editor, and said, “Look Rod, we will get[...] |
| 1996 is a time of flux for the Australian audio-visual produc- tion industry. It faces the possibility of broad—ranging changes to its funding base and i[...]yright and industrial—relations issues entailed in the expansion of delivery systems. On top of this comes continuous change in the marketplace. DIANE COOK talks to Michael Gordon—Smith, Executive Director of the Screen Producers’ Association of Australia (SPAA), and Association President Steve Vizard, about SPAA’s world View. peculation about the Australian audio-visual production industry’s f[...]ubsidy levels, is widespread. Many are alarmed at recent and proposed federal bud- get cuts, and strongly concerned about the future of government subsidy. Will federal government main- tain theof the Income Tax Assessment Act? How will the AFC fare? How will the ABC adjust to proposed cuts? On the eve of its eleventh national conference, however, SPAA t[...]view. “It’s a difficult and exciting time for the industry, but it has been for the past decade, and probably will be for a couple mo[...]chael Gordon-Smith. He is confident that SPAA’s recent representations to Can- berra have helped to temper the Howard government’s policies, and views the current state of play as better than anticipated prior to the past election. This is the crux of SPAA’s business — nego- tiation, political dialogue — and it is long-accustomed to the challenge. SPAA is the employer representative association for the audiovisual production industry. It is respon- sible for negotiating terms and conditions of employment within the industry; its activities include lobbying, the facilitation of information exchange and networking, and the development of business and cre- ative relationships. The Association also aims to encourage debate on industry issues, and to develop the industry’s profile and an awareness of its contri- bution to Australian life. From its earliest incarnation (1956), SPAA has expanded to represent the interests not only of feature film and television producers but those involved in documentary production, commercials, corpo[...] |
| [...]cted national Council with Divisions representing the con- stituent production sectors (although there is nomultimedia division as yet), with state chapters in View toria, NSW, Western Australia, South Australia_ a» Queensland. Council, as of October this year; c rn prises Steve Vizard as P[...]adds that SPAA seeks to encou age, e liaison with the Australian Film on School. He also mentions initiativ’ b 12 ‘ panies to sponsor the attendance ‘ew at SPAA’s annual Conference:[...]itors. I think it’s a good‘ dern stration of the industry’s interest in self—renewal. 1 V , Is it difficult to achieve[...]agendas? Gordon—Smith: It’s very frequently the case that there are differ- ent viewpoints in the industry, depending upon the changes proposed, and there’s a point where an[...]s those groups can’t be arguing for an increase in one which is only achieved at the expense of the other. But Gordon-Smith likens SPAA’s membership to that of the National Farmers’ Federation: There are obviou[...]that are impor- _ ,_ . , us], and it"sithe same in this ‘industry, 1 thin" , he fundamental thing[...]ent themselves well and to come up with some sort of consensual view, and advocate and argue it well,[...]an industries that don’t. If you leave it up to the government to be the arbiter, then you’re not solving any of their problems — and government likes it when you solve their problems. Steve Vizard adds: The points of difference are obvious. I think we have to dwell on the points of commonality. We’re about telling stories that we think are unique to Australia, and that is our starting-point. I’m a great be[...]ERS - DECEMBER 1996 - SPAA SUPPLEMENT 5 i = in going to grass roots to get a sense of direction; starting-point for all of the [current] inquiries ‘s: do we do what we do? The fundamental 4. thirrg_'is;;that members of SPAA are storytellers, and ,whiat,,'th’ey“want is the capacity to tell stories that “‘re_1ia:e' to[...]s. -_rnithfiidentifies effective lobbying as one of ~Sl’AA7s‘rnost\sig1iiificant achievements over the past fe,W~year' attributing a Coalition policy turnaround ‘S_PAA’s efforts. He says that the Associ- ion leaders to speak with the industry in the » Ii aid-up to the 1996 Federal election was strongly n uenitial in determination of 1996/97 Budget allocations: Over the past three or so years, there’s been a U- turn in the position being put to the industry by the Liberal-National Party Coalition. What was said prior to the ‘Fightback’ election at the SPAA Con- ference sent a chill up the spines of those who were listening. Three years later, the commitment that John Howard made at the Conference last year is probably largely responsible for the industry not suf- fering very savage cuts in the last Budget. We would have seen substantially big[...]points to an “even-handed, apolitical approach, in a sense”, as crucial to SPAA’s effectiveness:[...]urs to have strong relationships with governments of all com- plexions. I expect that our submissions in respect of the Gonski review and the Mansfield review and CER [and other issues] will be well he[...] |
| although we have good political connections, as we had with the previous government — and not because we’re involved with the media, but because we have well thought-out, well[...]eate business, and give people Australian stories in cinemas and on televi- sion. They’re very compe[...]xecutive directorship as instrumental. Explaining the need for SPAA’s Executive Director to deal simu[...]ommer- cial sectors, Vizard says:Michael is one of those rare creatures; he moves between three camp[...]ive ease, with poise, with dignity. I-Ie’s been the lynchpin in SPAA’s being able to attract an almost unanimous supporter base from almost all the film and television producers in the country, for it to be a successful mix, and [for SPAA] to achieve some real degree of success in changing the statutory and commercial environment in which we work. Among SPAA’s chief concerns now are the review of the ABC, the recent acceptance by Justice Davies in the Federal Court of lobby group Project Blue Sky’s arguments for po[...]product under Australian content regulations, and the current review of film financing (the Gonski review). SPAA attracted criticism for its submission to the ABC review, which suggested that the industry and the ABC might be better served if the ABC were to contract out production rather than produce in-house. Gordon-Smith acknowledges that this view could be seen as self-serving, but stands by the submission: Obviously, if you’re a representative of the inde- pendent production sector, you’re looking for ways of making more business, but I actually think in this case it makes a hell of a lot of economic and pol- icy sense. The reporting of the submission would lead you to think that we were in some ways argu- ing for cuts to or that we were opposing the ABC. Nothing could be further from the truth; we’re argu- ing very passionately for the retention of a strong and powerful public broadcasting system. We just think there are ways in which it could be better man- aged for more effective results. In a country of six million television households, it’s a mistake to look to examples of systems and .x structures that work in countries of 25 million tele- vision households on the edge of Europe, or in a place the size of the States. We think the ABC would be much more cost-effective, much better engaged with the creative life of Australia and better able to tap into the creative juices of the independent production sector if it was to contract out. On the debate over New Zealand product, Gor- don-Smith i[...]pts New Zealand product as ‘Australian’ under Australia and New Zealand’s 1988 Agreement on Closer Econ[...]hed to facilitate mutual trade benefits, and many in the Australian industry have argued that such a trade[...]ultural issue, and that to include screen product in its ambit would disad- vantage Australian product (which is subsidized on cultural grounds) in the domestic market. At the time of writing, SPAA was seeking to become a party to the ABA’s appeal of the case, due to go to court in October. Gordon—Smith: It’s a big issue in terms of the cultural precedent it sets, for the relationship between cultural policy and international trade deals. I think the campaign by the New Zealanders has very little going for it. I think from their point of view this is the first step in a campaign to have access to the full range of Aus- tralian assistance measures. Criticizing New Zealand’s lack of content policy to date, he says: When you have dialogue with these people who oppose the Australian standard GATT, believe there is no place for public broadcasting in their broad- casting environment, have no local content rules of their own and then seek to get access to the bene- fits of the Australian local content requirements, it seems to me to be an act of extraordinary hypocrisy. It’s so easy to be angry about it. Regarding the future of government subsidy, while SPAA has yet to co-ordinate its submission to the Gonski review, Gordon-Smith says there is general support for continuation of direct funding mecha- nisms, in particular the FFC: There’s no real interest in a radical re—shuffle that would see, for examp[...]ven model. There are many people, many companies, in SPAA that would like .'to_ see structures which m[...]ore secure footing, which would .make:tl'ief.life of independent producers a shade more viable. But I think there’s more recognition of - fthe:yaliije' of direct funding mechanisms and broad support for the existing institutions. Vi’/.a_rd claborateszz D"irt§et_funding_:by government is a critical part of supporting a viable film industry, but, more impor- .gg;7[tl[e_;ii‘fs':§i‘i::e.titical part of preserving and encouraging Australian culture. Th[...]~' uig-“can’t be complemented by other forms of discretionary private—sector funding, where, fo[...]and other concessions are attracted by investment in film and television. We rtrsee them as mutually-exclusive positions. One of SPAA’s most important forums for debating industry issues is its annual Conference, which has become one of the industry’s most popular events — \_._M as m[...]agenda. SPAA held its 1994 and 1995 Con- ferences in Melbourne in conjunction with the AFI Awards, and attracted record attendances — well over 500 each year. The 1996 Conference (13-15 Novem- ber) continues the association, with which Gordon-Smith says SPAA is very happy: I think there’s a great deal of value in an event hav- ing a Janus face looking in and looking out. It’s very valuable for the industry’s annual event to focus on issues which are important to the industry, to be a gathering of the industry, but also for it to be connected with a showcase and a marketing exercise — an exercise in drawing the attention of the general public to what’s made and to how fabulous it is. Citing other advantages for both SPAA and the AFI, such as increased interstate and foreign attendance at the Conference and the Awards, Gordon-Smith says SPAA hopes to continue the association: “I think there are useful synergies which we haven’t yet fully developed and exploited.” The agenda for this year’s Conference is domi- nated by the obvious big issues: Having said we wanted to get away from a policy- focused Conference, the industry’s in the grip of a review of the whole structure of industry assistance, and there’s the CER case and the ABC review. These topics will get a lot of attention. What we’re trying to do is to use [the Conference] to kick—start a policy-making process, to try to have the industry more involved in setting the agenda for government rather than responding to i[...]directed to answering policy questions. What’s the industry going to look like over the next ten years? How can Australia engage with the international industry? What are the financing structures we need in order to achieve that? We’ve divided it by str[...]’re trying to ensure they’ll continue [across the first two days] in a way that lets the debate and discussion develop, rather than being scattered across a series of ‘lucky dip’ issues. On the third day, we’d hope to attract some people who are there for the AH Awards, to look at more ‘creative’ issues:[...]violence and social engineering. There are a lot of questions about censorship, screen violence, influence on society, etc., which have been brewing[...], but which have probably been brought to a head [in Australia] by the Port Arthur tragedy. The industry probably needs to engage with these issues more than it has so far. Confirmed guests at the time of writing include: Maud Nadler and Richard Guardian[...]ictures; Mark Ordesky, Exec- utive Vice President of Acquisitions for New Line Cinema; Graeme Mason, Vice President of World Wide Acquisitions for Polygram International Ltd; Tom Rothman, President of Production at Twenti- eth Century Fox; and Lachla[...]attendance by Roger Corman and repre- sentatives of NBC, Warner Bros., and Samuel Goldwyn. ABC Chair Donald McDonald will present the Hector Crawford Memorial Lecture. ® CINE[...] |
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| 1.; j Bill Hunter. it is being said, is the strongest year for the Australian film ., s. industry yet. Again. It s[...]year for films — with some notable exceptions, of course — we were assured that the industry was powering ahead. It is true that this year’s films are remarkable in their diversity and maturity. This started with the success of Shine (Scott Hicks) at Sundance, Love Serenade (S[...]ove and Other Catastrophes (Emma—Kate Croghan). The Melbourne International Film Festival screened half of the features nominated for AF 1 Awards this year, as well as many of the documentaries and short films. And here is where[...]e, and controversial comments start to circulate: the AF I Awards. John Hargreaves and ,Miche|e Fawdon. ny examination of Australian film inevitably turns to the AFI Awards, and the controversy they always cause. This year’s nominations have put many noses out of joint. Why did L01/e Serenade only get nominated[...]tion Design and Best Costume Design after winning the Camera d’Or at Cannes? Why was Rats in the Ran/as (Bob Connolly, Robin Anderson) not nomi- nated for Best Documentary when it is clearly one of the best of recent times? And why was Rolf de I-leer’s The Quiet Room, which was in Competition at Cannes this year, totally overlooked? The AFI Awards are no stranger to controversy, whether it be over the pre—selection process, the nom- inations themselves, or the telecasting of the Awards night. But they are important, they are sought after within the industry, and they are instrumental in the Australian film industry’s growth, and have been for thirty—eight years. Beainnériss t all started in 1958 at the Melbourne Film Fes- U tival where the Director, Erwin Rado, presented the first Australian Film Awards, co-sponsored by Kodak. The aim of these Awards was “To direct pub- lic attention to Australian films and to encourage high standards in their production.” There were four cat- egories[...]special Experimental Film Award. Later that year, the Australian Film Institute was established, with the staging of the Australian Film Awards as one of its major objectives, and they have staged[...] |
| The Awards reflected the nature of Australia’s film industry at the time, which was commercially—based, and explain[...]old, Silver and Bronze medallions were awarded to the winning films in each category, and a Grand Prix could be awarded by the judges, but only if they thought the film had inter- national potential. It was the films themselves that were awarded the prizes, and not individuals, and they were judged by an invited jury made up of crit- ics and a few filmmakers.Further awards were introduced in 1962 — the Kodak Award for Best Black and White Photography, and Best Colour Photography — the first move towards craft-based awards, and recognition of the various elements of a film. 1963 saw the awarding of the first Grand Prix prize to Dusan Marek’s film Ad[...]for its “origi- nal and imaginative achievement in the use of symbolism in animation”, and proved for the judges that the Australian Film Awards were being successful in their aim to “stimulate and raise the standards of film production in Australia”, a view that was echoed by critic Colin Bennett the following year in an ABC talk show. He also stated that international film fes- tivals had asked to see the prizewinners, proving there was an international market for Australian film. A further award was introduced in 1967, the Film Editors’ Guild of Australia Award for Best Edited Film, and, in 1968, the Raymond Longford Award was first presented. This[...]o Australian film- making from an individual, and the first recipient was documentary filmmaker Ian Dunlop. By 1970, the Australian Film Awards were receiv- ing more than two hundred entries — quite an increase from the sixty it was receiving a decade earlier — and, for the first time, cash prizes were awarded to the three most creative entries from money endowed by the Myer Foundation. It seemed obvious that the Australian film industry was making a comeback, a[...]e. Individual filmmakers were recognized further in 1971 with the introduction of Best Performance and Best Direction Awards, won r[...]r V .,»é*’..,“; 4;. it .- o as hroughout the early ’70s, there was much debate about award categories and judging methods. John C. Murray commented in Lumiere: Entries are invited under five categori[...]n. Granting that these five had some utility when the awards were first established (and also granting that the judges can move entries from cat- egory to catego[...]), I don’t think they have very much to do with the varied natures of the films now being submitted} Bennett wrote in The Age2 about the judging process CINEMA PAPERS 0 DECEMBER 1996 ° SPAA SUPPLEMENT which at the time consisted of pre—selection panels and juries made up of professional filmmakers. Personally, I have always had grave doubts about the value of prizes picked ‘by the industry for the industry’. Such competitions assume that the best judges of quality are those who create it, not those for wh[...]ay and Best Original Music Score were established in the 1974-5 Awards, and I-Ionourable Mentions were given for Best Perfor- mances in Supporting Roles. Sixteen feature films were entered, forcing the Fiction category to split into Feature and Short Fiction, proving that earlier con- cerns about the eategories were pertinent and subsequently addres[...]e divided into Feature and Non-Feature Films, and the Best Film Award was presented for the first time, won by The Dez/il’s Play- ground (Fred Schepisi). The judging process underwent a major overhaul, and a model where pro- fessionals voted for the films in their area of expertise was adopted, with the help of various industry guilds and unions. Best Film was decided by the guilds and unions, together with members and associate members of the AFI. Other new awards included Best Supporting Actor and Actress, and Best Cinematog- raphy in a feature film. Hie Talscasts Begin 976 was also the first year the Awards were tele- cast nationally by the Nine Network. Criticism was not far away, and the telecast received an unfavourable pasting by Ken Quinnell in Filmneu/5.3 |
| 10 Colin Bennett and Michael Thornhill debated through The Age the merits of peer judgement, and whether the Awards criteria should be craft—based or art—based. Further craft awards were initiated in 1977: Best Achievement in Sound Editing, Art Direction and Costume Design. Concerns that the Awards Presen- tation, this time telecast on the ABC, was too glitzy and not relevant to the Australian film industry clashed with the belief that, if the industry was to receive the attention of the general public, such pre- sentations were necessary. The next year’s Awards were telecast from Perth by the 0-10 Network, and 1979’s Awards were not telecast at all due to an industrial dispute. This was also the year the current Awards trophy was first pre- sented. One of the largest contentions regarding the Aus- tralian Film Awards and television coverage was the use, as with the Logies, of international film per- sonalities as presenters. Theories were expounded about the contradictory nature of Australia’s confi- dence in it’s own film industry. Some said that inviting international stars to host the Awards was hypocrit- ical, and indicated to the general public that local personalities were not deemed good enough, or well- known enough. This undermined the whole aim of the Awards themselves, and therefore could not be taken seriously. The AFI signed up with the ABC in 1980 to tele- cast the Awards for the next four years, and, in 1982, a pre-selection group was introduced. This consisted of a core committee of twenty members recom- mended by the various industry guilds and associations, and professionally-accredited AF I mem- bers willing to attend the pre-selection screenings. This group was required[...]s entered that year, and to cast four nominations in their accredited categories. The nominated films were then screened to all members, who would decide the winners. This system was widely criticized as being unde- mocratic and too selective, and actually resulted in the number of entries dropping in 1983. The system was subsequently abandoned. New awards in the Non—Feature categories were introduced, encom- passing many craft awards, and, for the first time, the Awards were presented as the AFI Awards, and not just the Australian Film Awards. In 1984, the Byron Kennedy Award was founded, carrying both a[...]prize. Its purpose was to recognize and encourage the pursuit of excellence within the Australian film and televi- sion industry, and could be awarded to anyone within the industry. It was first awarded to Roger Savage. Television’s growing relevance was recognized in 1986, and awards including Best Telefeature, Best[...]r and Actress were decided on by an invited panel of industry representatives. The controversy of the year was the withdrawal of Crocodile Dundee (Peter Faiman) from competition, and Cinema Papers published an article in September 1986 that questioned the Awards’ relevance and dis- cussed the problems the AFI was facing that year. It is interesting that many of the issues raised then are still relevant today — the inclusion and exclusion of films, eligibility, the effects of the Awards on box office and television coverage. , . e Today s Beginnings n 1987, the pre-selection process was again revamped into the basic form still in operation now. Film entries were pre—selected[...]en judged by all accredited members - not just by the relevant mem- bers for the various categories. All AFI members voted for the AFI Members Prize, awarded for Excellence in a Feature Film, which has now evolved into all me[...]umentary, Best Short Fiction, and Best Animation. In 1991, the Young Actors Award for actors under the age of sixteen was initiated and, in 1992, the AFI Members Award for Best Foreign Film was first awarded. After a rocky time during the early ’90s, television cover- age was secured again by the ABC. The success of Australian film in recent years, both locally and overseas, has resulted in a spiral of recog- nition and credibility. Proof Gocelyn Moorhouse) and its success at Cannes in 1991 gave its AFI Awards, including Best Film, extra credibility, which in turn gave the film more recognition. Attendances for Proof jumped by 20 percent in the fortnight following the AF I Awards for that year, and it had already been run- ning for seven weeks. The spiral continued upward with Strictly Ballroom (Baz Luhrmann), The Piano (Jane Campion), Muriel’s Wedding (P. J. H[...]ttendances for Angel Baby increased by 44 percent in five days after it won six awards last year, including Best Film, and, while the telecasting of the Awards has been erratic during that time, the AFI Awards now have a consolidated place, not just within the film industry, but in the minds of the general public as well. Executive Director of the AFI Ruth Jones believes the AFI Awards are a very good promotional hook for Australian film: People are reassured by endorsements and the AFI Awards are a signal of quality for the general pub- lie, and a final seal of approval for the local film industry. Most people know what they a[...]s a broader audience watching. Jones talks about the growing commercial success of both Australian films and the AF I Awards. “Australian films are now screening in the multiplexes, and not just the arthouse cinemas”, she elaborates, adding: The Awards presentation has to be an event. It’s ter- ribly important, because it’s the key to the public image of Australian film. Frankly, it’s gotten bigger every year, but that needs to continue as the indus- try continues to grow. To this end, the AFI Awards this year are going on the Internet with a live Netcast - like the Oscars earlier this year - which will attract a m[...]ience, and will continue, Jones hopes, to develop in the future. Whatever the controversies - and it can be argued that controversy itself is an important element to the Awards’ success - the AFI Awards serve a vital role within the Australian film industry. ® 1 Lumiere, October 1973. 2 The Age, 8 December 1973. 3 Filmnews, August 1[...] |
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| promised re-introduction of tax- breaks will undoubtedly be the hot topic for the Australian film industry in the years ahead.The federal Coalition has already signalled a return to indirect subsidies — quite possibly something along the lines of the old 1OBA tax breaks, mere mention of which provokes mixed and heated feelings among Australian producers — and a phasing down of the Australian Film Finance Corporation (FFC), presently the principal source of funding for Australian feature films. With this article, Cinema Papers re—opens the topic of how best to apply subsidies to what has become a[...]s welcomes responses and views on what is clearly the most vital issue presently facing the local production industry} CATHARINE MUNRO sets the scene. he Howard government is returning to one of its old ideas — high tax—breaks for film investors — opening up the question of how best to subsidize the industry. The options boil down to two approaches. One is the indirect subsidy in the form of high tax-breaks, such as those that were offered under Section 1OBA of the Income Tax Assessment Act during the 1980s. The other is the present system of direct funding. Hopes that the government will adopt both seem fan- ciful given the current re'gime’s apparent preference for small[...]budgets? It is not about to give up large amounts of foregone tax rev- enue and increase spending on films at the same time. The Australian Film Finance Corporation (FFC) is the largest government body that subsidizes films, and many in the industry are highly sceptical about its success. But no one canvassed for this article would go on the record about the FFC, reflecting the power of an organization which has a virtual monop- oly over government subsidies to the feature-film industry. On the other hand, one of the great concerns within the film industry is that bigger taX—breaks will pr[...]ms because investors would not be concerned about the success of their film, only the tax write-off they would make. FF C Chairman Chr[...]DECEMBEH1996 - SPAA SUPPLEMENT ing to supporters of the pre—FFC days in the Corpo- ration’s 1994/95 annual report: Then fi[...]by tax and finan- cial considcrations resulting in a larger industry which produced demonstrably few[...]stralian cinemas and televi- sion screens. Whilst the present position of the industry is far from perfect it is vastly superior to the position in which the industry found itself in 1986 and 1987. But a glance at a list of films made before and after the establishment of the FFC suggests that Lovell’s assertion may be nothing more than an attempt to justify the present system of funding which costs the government much less than the high tax-breaks provided for before the FFC was set up. What if, in fact, the films made in the “bad old days” of 1OBA were, on average, better than those made using FF C subsidies? In 1992, former Australian Film Commission offi- cer Lynn Gailey compiled a list of the highest-grossing Australian films to 1992 in real terms. Only 11 of the 44 films on the list were financed after the FFC was established. Of course, since 1992 there have been hits, such as Strictly Ballroom (Baz Luhrmann, 1994) and The Adventures of Priscilla, Queen of the Desert (Stephan Elliott, 1994). But the number of hugely- successful films made under 1OBA belies Lovell’s warning. The 1OBA tax scheme started in 1981 when the Fraser Government decided to offer a 150 percent tax write-off for investment in films, with 50 percent of the net earnings tax exempt. According to the Department of Communication and the Arts, bud- gets for film features through division 1OBA rose from $57.93 million in 1980/81 to peak at $105.60 rnil— lion in 1985/86. While the number of films skyrocketed, many argue their quality plummeted because most investors had no interest in box-office revenue, only their tax write-off. Te[...]essful television series, produced a large number of low-budget feature films during the hey- 13 |
| j§ 5' e e e e 14 day of the 1980s tax scheme. He is now chief exec- utive of Southern Star. Ten years ago, Sullivan thought that the scheme worked because it would rid the industry of bureaucratic intervention. Now he thinks the scheme was an administrative disaster. He believes government subsidies in the form of tax breaks are inflationary and a blunt instrument for stimulating the industry: 10BA did throw vast amounts of money at the industry and it overheated and it was calamitous. The bad thing was that it caused a proliferation in production which couldn’t be sustained by the cre- ative community and put a big inflationary impact on costs. It’s not sustainable in terms of growing the business in an orderly way. Many producers love high tax-breaks because of the independence it gives them. For example, Jane Scott, who spent three years finding the money to make Shine (Scott Hicks, 1996), and got $3.5 million from the FFC, wants them back. “Any scheme that the government may be looking at is one that may attract that sort of investment from financial mar- kets”, Scott say[...]hn Morris argues there is no need for a diversity of government funds while there are “thousands” of sources out in the market- place. He says the FFC is willing to provide the cash if the film has a “marketplace at1:achment”. While f[...]foolhardy enough to say it openly, there are many in the industry who say that subjective and even personal choices are made by the FFC, especially when films are border—line cases as to the extent of their private financing. {.3 are at the great eeeeetae teittain ti‘: tiim Sttttfiifrf[...]e ' eeeie \ee eaeetaea abet; ttgeese of their §"iim, only the teat witeeti they wattle matte. In 1988, the Labor government abolished the scheme and reduced the tax breaks to 100 per cent, where they currently stand. It set up the FFC to dis- tribute federal funding. Labor promised to lock in $50 million a year in funding for three years starting in 1995/96. Morris argues the move has made the industry more market-driven while being cheaper for the taxpayer. The FFC earned $25.5 million in the 1994/95 financial year and this is ploughed back into the industry. By contrast, foregone government rev- enue in the form of tax breaks does not produce an immediate return. The cost to revenue of tax breaks under 10BA peaked in real terms at $180.9 million in 1984/85, with no direct returns to the government. But what Morris fails to point out is that the indi- rect returns are far-reaching. Firstly, the proceeds of a successful film are returned to the industry, with approximately four-fifths of a film’s budget taken up paying those who worked on the film. A rich film industry creates a bigger training ground for Aus- tralian filmmakers. Also, the FFC’s returns of $25 million may sound a lot compared to its annual bud- get, but they are the product of several years of spending. No one tries to argue that the film industry does not need subsidies. While succ[...]vernment finance, most projects are too risky for the profit-driven pri- vate investor to participate in from the word go. Consequently, the absence of government subsidies is rare, with Jane Campion’s The Piano (1994) being a commonly-cited exception. It was funded entirely by Ciby 2000, a subsidiary of French construction company Bouyges. But, in most cases, the high start- up costs of a project, where success depends on popularity, make investing in a film an unattractive option for those outside the industry. More com- monly, investment in films is left to those within the industry: the state and federal funding bodies, and a myriad of distribution agents and cinema chains. Apart fro[...]r advantage for having a centralized body such as the FFC is that it has encouraged more business deali[...]as Mjramax and Polygram, to establish themselves in Australia. For them, the FFC creates a gateway through which buyers can enter the Aus- tralian film industry. But FFC critics say these businesses would have found their way here any- way in an era when pay-television operators seem to be h[...]uc- tions as they can lay their hands on. Wliile the industry needs subsidies, and always will, private investment in the film industry appears to be popular. The fact that funds are raised for main- stream U.S. films is evidence that theThe latter’s prospectus is seeking about $100 milli[...]ng which produces income. But such interest from the private sector will not guarantee the making of culturally-important films. A crucial advantage of direct government subsidies is the support they can provide to such projects. This is the domain of the Australian Film Commission (AFC), which, among other objectives, aims to encourage the making of “experimental programs and programs of a high degree of creativeness and the making and appreciation of Australian programs and other pro- grams as an art form”. It received $19.8 million from the federal government in 1995. Unlike other areas, the film industry is not expected to feel the chill winds of the federal gov- ernment’s spending cuts immediately. John Morris said that the Coalition has promised him that it will honour La[...]films take at least a year to go into production, the expected changes are just around the corner. A tax-break seems more in tune with the Liberal Party’s ideology than is direct funding, because it encourages direct investment from the private sec- tor and moves away from a centralize[...]by then-Opposition leader John Howard who, during the 1996 election campaign, said arts policies should “reflect the core Liberal ideals of championing free enterprise and maximizing the choices available to individuals”. Howard also[...]mments may suggest support for higher tax-breaks, the system would be prone to cost blow-outs. Tax-breaks in any area face staunch oppo- sition within the bureaucracy and Treasurer Peter Costello’s distaste for them has already been revealed. In late July, he announced the end of the 150 percent deduction for syndicates who invested in compa- nies engaged in research and development, choosing to replace the scheme with direct grants. Costello said the system invited rorts and led to growth in costs by $100 million to $200 million each year. One of the authors of the discussion paper which led to the FFC’s inception is David Court, Movieco managing director. He believes tax breaks could come back in a different form: The option that I have heard floating around, but I[...]nything on paper, is an option where returns from the movies that were reinvested in new movies would attract concessions. That would[...]ell after investors who we think would reinvest. The government is also “exploring ways” of chang- ing requirements for issuing a prospectus in a process that is separate to the review of 10BA. The corpora- tions law requires a financier to prepar[...]s an impediment to film producers because issuing the document chews up about $80,000 to $90,000. The government is expected to introduce a “short-fo[...]to make it easier for 20 people or less to invest in a film budgeted at less than $500,000 is also being examined. Court does not believe the short- form option would work because investors have come to expect the amount of information contained in the long-form prospectus. Movieco is looking at more sophisticated ways of offering films to investors. “We are looking at seg- menting and spreading the risks so we can match the investors’ risk/reward preference”, Court said. The cautious investor would be promised a return of 20 percent and be the first to receive his or her share while the speculator’s investment would be leveraged and the returns much higher. “There’s an expecta- tio[...]s Dimsey, “Finding a Voice”, by Scott Murray, in Cinema Papers, No. 112, October 1996, pp. 22-4, 5[...]ducing 10BA. Z See “Productive Associations” in this issue’s supplement, pp. 2-4. CINEM[...] |
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| [...]oral rights legislation he draft legislation for the introduction and possible enactment of moral rights: which will accord artistic creators the right of attri- bution and protect the integrity of their works and reputation: seems unable to break free from the con- straints of the past; from the precedents set by France and the United Kingdom, and from the earlier consideration given to moral rights by Copyright Law Review Committees in Australia. There may well have been an effort by draftspersons in the Attorney—Gen— eral’s Department to get it right once and for all, but it does have a sense of political simplicity. Film has obviously been the challenge, one that should have ensured face-to-f[...]tters and practitioners. There have been a number of parlia- mentary committees set up recently, but n[...]at seems clear is that we are about to perpetuate the archaic frame- work and limited terminology of premises previously defined: i.e., that a creator is an ‘author’: with the recog- nition of film being more complex, resulting in the drafters further defin- ing ‘author’ as ‘the maker of the film’, and ‘maker’ as ‘the director or the pro- ducer of the film.’ The real essence of creatorship has not been grasped, nor has the proper stress been placed on principles as a first priority. ‘Author’ is too much tied to, and limited in connotation by, the world’s predominantly literary past. This con- ditioning does not naturally allow the broader comprehension needed to accommodate creativity in audio-visual technology. We need to replace the term ‘author’ to properly expand the community’s understanding of the cre- ative process. A dictionary definition of ‘author’ includes: “the originator, beginner, or creator of anything”. This is not quite adequate in relation to film, drama, painting , literature, etc., unless creator is fully understood. To help in this process and to provide a yardstick against which claims of authorship can be accurately measured, I have sug[...]one who con- ceptualizes, implements and governs the execution of his or her idea in a chosen medium or mediums, with or without the collaboration of another or others. In this definition, “governs the execu- tion” or, alternatively, “controls the execution” is essential. I suggest that it will become clear in the following text that it overcomes confusion. It facili- tates the assessment of who is worthy of moral rights in a work and who should be denied, for, particularly in film, the responsibility of determining the final form of a work is crucial. The better term to encapsulate the above qualities and attributes is creator, as shown in brackets. The following guideline, elements 1 to 4, can be appl[...]nd television, and it soon helps determine who is the creator of a particular work. There is no need to award perc[...]no need to say that all elements must be attained in order to qualify. It becomes CINEMA PAPERS - DECEMBER 1996 ° SPAA SUPPLEMENT clear when the weight of evidence is predominantly in a particular person or persons’ favour. I have suggested, in response to the draft legislation, that it be incorporated as a guideline. A creator is a person(s) who 1. conceives of an original idea and communicates the fact in a manner cognizable by others in spoken words, by musical sounds, a prelim- inary sketch, model or by physical action, or in written form such as a précis or draft; 2. predominantly determines the content, nature and style of the expression to be realized in physi- cal/material form; 3. controls the performance or execu- tion of the work; or 4. decides the final form of the work. Invariably, a painter, sculptor, writer, c[...]r an architect, for instance, would rate four out of four. It is also clear that a playwright is a cr[...]cted to surrender point 4 to a stage director and the play is to be considerably altered. For film it is easy to decide, by refer- ence to the guidelines, whether the director, the producer, the scenarist (or anyone else) should be attributed as creator, or if the right should be shared. A scenarist would clearly hold the first position, but the director might hold the following three, thus favouring the director. Alternatively, if a scenarist did I see the establishment of moral rights legislation, if properly created and promoted, particularly as a topic in schools, as having an important and much wider be[...]retain positions 1 to 4, it would be clear that the scenarist is the creator of the film and should be accorded moral rights. In the latter case, the scenarist would have been assisted by (to use the term gener- ically) a journeyman director who wou[...]t on some occasions as joirtt—creator Only. At the same time, it needs to be understood that if a creator is divorced from his/her work by forces outside the creator’s control, or force majeure, and does not execute or have power to exe- cute or supervise the final form of the work, and his/her essential Vision is real- ized by a replacement, then the former should still be acknowledged as creator. Jorn Utzon, for instance, is undeni- ably the creator of the Sydney Opera House, even though he was prevented from supervising his architectural vision during completion of the building. It is still apparent that he retains the pre- dominant right by referring to the 4-point guideline. One can see that he has had the major influence in categories 3 and 4, in addition to holding points 1 and Z. 17 |
| 18 Similar circumstances could affect the creator of any cinema or television programme, a painting, sculpture, dance, music or literary work including drama and the staging thereof. There is generally, and quite i[...]willingness, historically and now, to acknowledge the degree of creativity and conceptual worth of the writer/scenarist, although it is widely recognize[...]ly, that a screen- play is worth up to 75 percent of the finished film. As a simple example, take Paddin[...]nconceivable that moral rights not be accorded to the author, Michael Bond. He has created a complete character in Paddington: the way he looks, dresses, thinks, expresses himself: and what he eats (a passion for marmalade sandwiches), the nature of the situations in which he involves him- self, and Bond carefully defines the locations and ancillary characters. It would be[...]— and, even worse, to auto- matically do so as the draft legislation would have it. At most, a direc[...]ions and events were to be created for Paddington in consultation with Michael Bond. If portrayed by puppets, the puppeteer might also be considered a joint-creator. If a writer/scenarist conceives of an original narrative drama (or other film) and structures the work in a literary form, together with complete descrip- tions of characters, locations, style of realization including camera composi- tions, Iighting ambience, etc., and if that scenarist either has right of approval over the way in which his or her con- cept is realized - or deliv[...]ieved without major alteration — that writer is the creator of the film. The director would be engaged primarily as a craftspe[...]t simply denies this just recognition as a matter of course. We should not allow the collective myth that has grown out of France’s elevation of the film director to any longer obscure the truth of the situation. I acknowledge, however, that we owe much to French culture and its wonderful appreciation of artistic endeavour, which gave rise to the con- cept of moral rights. Its legislation, nevertheless, limited creatorship in film to the director. By establishing a more thorough means of discerning the true creator, and by legislating to protect the integrity of creators rather than ‘authors’, there is no need to specify the nature of the artist or of his/her discipline. This proposed method should bring insight and intelligent debate to the con- sideration of creativity. More light could be brought to bear by members of an ongoing tribunal I suggest should be set up t[...]a tribunal could be a more appropriate body than the Fed- eral Court nominated in the legislation to provide this forum for discussion[...]s, and probably more immedi- ately available than the Court with its direction hearings and then final adju- dication, and even though there is an increasing use of mediation processes. A tribunal would also develo[...]sential to guard against inaccu- rate precedents in this sensitive field. It would be better able to settle differ- ences about work—in—progress, or the "We must, first, clearly understand the inviolable principle of moral rights." John B. Murray, one of Australias most experienced producers, has firsthand knowledge of moral rights, having successfully taken a French[...]ithout permis- sion a feature he produced. terms of a commission, or about the original terms of an engagement not being met, or if someone should[...]ver, just what a creator is is not fully apparent in the legislation. Pro- ducers and directors are arbitrarily nominated as the creators (see ‘author’) in film, and therefore define creator rather than are defined by creator. If a definition of creator is made wholly appropriate, there would be no need to nominate any specific role or roles to fit the category. The term creator more readily embraces the sense of being in control of the performance and execution of, and the final form of, a work, and this is an essential and inescapable qualifi- cation for a creator, especially in a work realized in collaboration with others in a medium such as film. An understand- ing of this also overcomes the inability which presently exists in the community to discern a creator in the midst of con- tributors and collaborators. I am not objecting to a producer or a director being recognized as the cre- ator of a film; the director will rightly get the guernsey more times than not. I am objecting to the fact that the draft legislation does not know that one or the other is the creator. It has no prin- ciple to apply in order to find out. And it should not be a matter of whom it might suit others to call a creator. The proposed legislation has also ignored the fact that a journeyman director should not always be eligible for moral rights. It wants to nominate the journeyman director as creator purely because he[...]ducers. If breadth and clarity is not brought to the final wording, I see it leaving the door open to confusion and injustice in the future, and, given that no sound principle has be[...]creators to be classed as creators will confound the issue fur- ther. The confusion exists between the concept of moral rights pertaining to creatorship, and the proper recognition and acknowledgment of an artist’s tal- ents — the latter, to some, seeming to be denied. An individual contributor does not have authority over the whole work not over whether, or in what manner, his or her expertise may be applied and incor- porated in a work. That is the role of the director or creator, who would not be so titled without that responsibility. The nature of contributions is selected by the creator, and a work is not the sum of contributions of indi- vidual collaborators that have been left to[...]a person as creator unless he/she has originated the concept or cre- ated an adaptation of a work and its expression in another form, who has controlled the expression and realiza- tion of the work and determined its final form: i.e., has had the decision-making ability and must take responsibility for the final form. In film, the collaborative aspect comes into play as artists work together to realize the director’s (or creator’s) concept, and not as joint-creators of the work itself. But, I suggest, it would offer more protection for a clause to be included in contributors’ contracts which commits the producer of a film and his/her representative, the director, to make their best endeavour to uphold the integrity of that person’s work. Such a ‘best endeavour’[...]laborators are allowed enough time and assistance in budgets and schedules to deliver of their best to their satisfaction. All this is drawn from my responses to the Discussion Paper of June 1994, and the proposed legislation of January 1996. I was concerned that the word ‘compromise’ was used by the Attorney- General’s Department, and that it expressed the opinion that it cannot hope to satisfy everyone, reflecting, it would seem, a view that the legislators must steer a course midst competing interests. That some in film-related industries are aggressive in attempting to establish a position suited to their own self-interest seems apparent. Should the legislation be influenced by such attitudes — which are quite removed from the central issue - we will certainly lose our way. We must, first, clearly understand the inviolable prin- ciple of moral rights, then create a structure which will guide the commu- nity, including the industries which exploit the works of artists, in availing themselves of fair and reasonable access to the work. The essence of moral rights is a reflection of the Declaration of Human Rights; Article 27 (2): Everyone has the right to the protec- tion of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author. And, Article 29 (2): In the exercise of his rights and free- doms everyone shall be subje[...]h limitations as are determined by law solely for the purpose of securing due recognition and respect for the rights and freedoms of others and of meeting the just requirements of morality, public order and the general welfare in a democratic society. These are not tracts creat[...]which nations are expected to conform. Agents for the sale and dis- tribution of artistic works can be accommodated. I am not aware that the rest of the world is paranoid about the marketing of films from France, where moral rights have a very high profile. I see the establishment of moral rights legislation, if properly created and promoted, particularly as a topic in schools, as having an important and much wider be[...]fect on our national psyche. It will help develop in society generally a greater understand- ing and r[...]other as unique . individuals, and it will allow the free- dom and tolerance which we should r[...] |
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| [...]h his mncb—loz/ea’ column (now incorporating the Web, et al) weighs in at less than most of its rivals, even with Miller’s solid constructi[...]ion crane, handling camera payloads up to 5 Olbs. The release of the Projib Undermount has been similarly well received. It lets operators suspend their camera beneath the jib arm for even lower shooting angles. The Undermount, which attaches to the Projib bowl via a Hi-hat adapter, ensures the camera and fluid head remain balanced in the centre of the jib bowl. Miller say this increases system stability and it would certainly eliminate the stress which an offset bowl attach- ment causes. The Undermount and Projib are available as separate components, and also available in an ENG or studio sys- tem package with Miller’s[...]please contact: Brett Smith, Miller Fluid Heads (Australia). Tel: (61.2) 9439 6377, Fax: (61.2) 9438 2819. Angles ANGLES PACKS A LOT of sensitivity into its twenty—five pages of simple black—and— white layout. Subtitled “[...]CINEMA PAPERS 0 DECEMBER 1996 - SPAA SUPPLEMENT in film & video”, it’s solid information and ins[...]at works best for Amer- ican readers (a good list of U.S. grants, festivals and events) but it is chea[...]n (US$30 for 4 issues) that you can get your fill of the buzz. In the last issue I bought (from Xines/Desert Moon perio[...]there’s an interview with Sarah Green, producer of The Secret of Roan Inish, and with NY academic and filmmaker Ch[...]LEE, who has decided to always cut film by hand, the only problem with nonlinear editing is the time it takes to review, log, organize and input the footage for digitizing. Sure, all the biggie editing systems have a sim- ple off-line V[...]have a cable that goes to your portable and grabs the timecode on the set. But I want to walk around on set or location and do the same thing. No wires, no bulky portables. So, I want a Newton PDA and the new Shot Logger. Shot Logger transmits timecodes from a pager-sized 916.5 MHz transmitter attached to the timecode source of any camera, VCR, professional camcorder, Nagra or[...]de signal. It’s picked up by a PC Card receiver in the Apple Newton. While it’s accurately logging timecode “in” and “out” points for each take, you can ra[...]crip- tions, numbers and notes, and export a list of preferred shots for digitizing. The whole story is told in detail on the Production Magic web site, http://www.productionm[...]Magic, said he is now arranging for distribution in Australia, having made contact with a couple of companies. (He says he’s interested in opportunities for more new distributors.) So, if you want to buy one (there’s a current price deal of around US$2,000, you supply the PDA), or, if you want to sell lots of them, contact Mike@ProductionMagic.com. Te[...] |
| The idea was developed so that camera operators could watch head—up the video split while doing hand—held and Steadicam shots. It has found a list of other uses in sports shoots, animatronic and pup- pet manipulat[...]quiet for hours. Looking a bit like a VR helmet, the display is great for use in bright sunlight and the optics produce a virtual image 60 inches diagonally that appears metres in front of you, reducing eyestrain. The helmet is light—weight and flips up so that you[...]reecall.(Can’t you just imagine a studio full of PT-01-visored crew walking around bumping into each other, or, in a twist on the famous Leunig cartoon, going “Ooooh aaah” at the spectacular sun- set straight from the vidsplit.) Small, tiny, tltchy, etc. ALSO FROM VDA comes the news that their Microdolly from Microdolly Hol- lywood is rolling off the shelves and out the door. Earlier this year it picked up the pick-of—the—show award at NAB ’96 and it’s almost too nifty to call a pipe dolly. In a 10lbs kit (that’s, err umm, 4.5 kilos), you get a T-Bar dolly, 13 feet of track with foam track pads, 1 dozen track shims, 1 rachet tiedown and 1 wheel wrench tool, and it fits in your pocket (if you have a 30-inches long pocket) or a custom-soft case. There’s lots of extras you can get, such as a fold- ing handle to push thein, Film out, Film in PHILIPS BROADCAST TELEVISION SYSTEMS and Eastman Kodak Company have developed the World’s first real time multi—format, multi-s[...]More than just another telecine, they claim it is the worlds first “Datacinc.” The Philips BTS Spirit Datacine offers the same functions as a traditional telecine, and als[...]digital data for external graphics workstations. The Spirit can output to a variety of standard definition (SDTV) and high-definition (HDTV) television formats in real time and with image quality in film resolu- tions up to 2K (1920 pixels/line). I[...]film imaging head, designed by Eastman Kodak, and the microprocessor—controlled film transport handles frame rates, at the top resolu- tion, up to 6 fps. Eastman Kodak will also provide a version of the Spirit Datacine, called the Cineon Thunder telescanner, with an even higher—resolution data output option as part of their integrated Cineon system. Kodak is working with Philips BTS to develop the software to enable the data transfer between this telescan— ner and an[...]e computer. Colour correction will be per- formed in conventional fashion with a standard colour corrector; then the teles- canner will be switched to data transfer mode. The colourist then selects the res- olution (SDTV 4:4:4, HRTV 828:8, or 2K RGB data) and the software will con- trol the scanning process and data transfer to the computer. High—definition scanning is part of the high cost of digital post-production and faster systems such as the Spirit and the Thunder will change how we work with film. The telecine session could be one of the most important responsibili- ties for the cinematographer, defining the image for all the formats, current and future. Philips BTS[...] |
| [...]cts shots this year for . Paradise Road /i\CRl The Big Red Joey Fhpper Return to Jupiter Kline[...]t your planslfor AI997 L as 7 AUSTRALlA'S LEADER IN DRAMA |
| 24 new products DIGGING BACK into the PR releases bin (it’s scary but someone has to[...]television series and 47 U.S. features currently in production using Lightworks or Heavyworks to cut[...]Zero, but you’ve seen Network 10 skite about it in their ads already, so that’s not news. The best bit is the Ursa tie—in to the da Vinci Artisan Renaissance colour Corrector, which uses a SGI Indy computer to control and display the 828:8 digital options. Who wants 4:2:2? Not me; m[...]W they got all that smooth slow—motion video on the Grand Final broadcasts? Ages ago, TCN 9 bought an[...]that teams up with its Sony Super motion camera. The camera records three times faster than normal speed (75 fps). The EVS comes from Amber Broadcast. Say hello to Pete[...]ed Dveous twin—channel DVE has sold well around the country (may have been special deals on the 16 systems used at Atlanta?) and has completely confounded me with the press-release specs. I understand most acronyms a[...]sk intelligent ques- tions, but did you know that the Dveous “delivers the highest pic- ture quality of any DVE by using 23 x 12 point video filters and[...]nd it, I assume you don’t need one. I just like the clean effects and nifty drop shadows that they’re getting at places like Icon Post in Melbourne and Acme Digital in Sydney. Contact is Arthur Barnstable at GEC Broa[...](61.2) 9887 6222. Maybe they explain it better on the Web site at http://www.abekas .com. Movie Master WHILE YOU are on the Web, if you’re scriptwriting, download the demo ver- sion of Movie Master, 2.1 script/word processor that’s[...]they do not allow saving, exporting or print- ing of files. It’s enough to give you a taste and to c[...]u use. DOS? I remember DOS. OKAY, A FINAL MOMENT of new product whimsy to send you off to your shoot.[...]man’s Web pages, you’ll be able to experience the multimedia plea- sures of The Forman Camera Bicycle. Developed by Mark (who is a proud Member of The Society of Operating Carneramen), whose credits include those as producer and director of Bicycles on . eeme- leeam EXT. JOHNNY move[...]XT. TIMES SQUARE - NIGHT Snow, the story of Alaska’s Iditabike race was shown on the Discovery Channel and was winner of Best Film at the 1994 Interbike Film Festival (one of my favourites after Telluride). He was “director of bicycle photog- raphy” for the interactive feature film Ride for Your Life, for Sony—Interfilm, released in May 1995. Mark also con- sulted for and photograp[...]ra mounts. But his piece de (wind) resistance is the Forman Camera Bicycle (patent pending). Built to[...]nd vehicles at speeds up to thirty miles per hour in situations where motor- ized vehicles cannot be used because of safety or space limitations.” There’s a small Quicktime movie you can download on the site show- ing Mark using a boom on the rig, and he lists the various camera posi- tions the rig is capable of including, a front camera mount facing rear- ward toward the actor’s face as he rides the bike in traffic. A centre top mount uses a normal 100mm fluid head to follow riders between cars, and the camera mounted on the rear looking backward toward other riders at speed. The rig can also be used safely in a low front mount looking forward, rearward or si[...]sized film or video camera only a few inches from the pavement. The Forman Camera Bicycle is available for rent but sadly only in the U.S. It comes with remote view- ing system[...] |
| the Production Slllllll .24-26 February T996 Sydney Exhibition Centre Darling Harbour Organised in association wr The Screen Producers Association of Australia Exhibitors will include: Companies offering products and ser- .vices to the TV and film producer . Post-production facilities 0 Footage libraries Australia is the maior conference and trade Tvexhibition devoted exclusively to the W8. film Production Industry. Television has never been so exciting with the advent of new cable and satellite service, digital TV and deregu- lation, the demand for program content is enormous and ,i5in9_ . Prop suppliers The independent production community is at the centre . Special effects houses of these changes and will be responsible for an increas- . (mm and equipmem ing proportion of future programming. . ‘Mm pmdudion wmpunies V-5[...]0 Meet new companies and contacts 0 Network with the broadcast industry 0 Share knowledge and plan for the future 0 Studios The TV Australia conference organised in association with SPAA The Screen Producers Association of Australia will be an exciting event providing: 0 A forum for the production community to meet the broadcast and commissioning community. Discuss needs and ideas for future program content. . A platform for the broadcast industry to discuss the future of W in Australia and worldwide. 0 A forum for the advertising community to meet the com- mercial production industry. 0 An opportunity for the whole industry to recognise the enormous consequences of new technology on the future of content, creation and distribution. 0 TV Australia will take place alongside Digital Media World, Australia's premier creative design event for the broadcast industry. Who should attend? All those involved in content creation ofill, film, cor- porate video[...]ers 0 Editors 0 Researchers 0 TV Executives TV Australia will bring together Australia's production, broadcast and facilities communitie[...]ISTER FOR YOUR FREE TICKET AND SHOW PREVIEW TO TV AUSTRALIA 24-26 FEBRUARY 1997 Sydney Exhibition Centre, Da[...]entry badge, which gives you fast track entry to the event, please complete the form below and return it before 12 February 1997[...]ease bring this completed coupon with you to save the $20 entry fee. BY FAX: 02 9211 1137 BY POST: TV Australia, PO Box K550, Haymarket NSW 2000, Australia. You must complete ALL sections below before the form can be processed. For multiple registrations[...]s form. FIRST NAME SURNAME Please indicate which of the following areas are of interest to you. JOB T|T|_E ORGANISATION 1!:!Pro[...]n look at our Web site Ht‘tp:lIwww.dmw.com.au w Australia |
| FRAMEWORKS NOW OFFERS TRACK LAYING Continuing to lead the way in non-linear technology, Frameworks now provides full digital non—linear sound track laying. We are the first facility in Australia to offer the new 24 track Avid AudioNision. AudioNision is tot[...]ital non—linear picture. This allows us to take the audio and picture files directly from the picture cut. This avoids time consuming conformin[...]ed with other systems. Likewise, Audio/Vision is the only track laying system using non—linear picture giving the sound editor the same speed and flexibility of the Avid Film Composers. Ring Stephen F. Smith about[...]ewks@ozemail.com.au Film Special Effécfs: Film in >> FiIm_ out -= -1} 5 ’; 4:4. 4 FLAME > unsz[...]ay {kisgmihwaite St South Melbourne Victoria 3205 Australia |
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| technicalities lthe Fun of the Fair Dominic Case delights in the International Broadcasting Convention in Amsterdam rade exhibitions are getting bigger an[...]more frequent. This seems to be particularly true in the film industry, where, traditionally, equipment ha[...]l development has been at a calm and steady pace. In western Europe, for example, the main show always used to be Photokiria, staged every two years in Cologne, where professional motion picture equipment occupied one of twelve or thirteen halls, alongside every aspect of still photography from Pentax Cameras to wedding albums. Now, much of what filmmakers have come to use is to be found at IBC (the International Broad- casting Convention), which is an annual show — this year occupying eight halls, each the size of last year’s SMPTE show in Sydney — held in Amsterdam. lt’s one of three shows in Europe in the same month (Photokina’s still on). IBC exhibito[...]re flexible, and attempt a wider and wider range of functions: every editing system is also an effect[...]crophones and mice. And so it is quite difficult, in a fairly-rapid stride around the halls of IBC, to distinguish exactly what a lot of the toys on show are really for. By the same token, it becomes increasingly difficult, in a short space of time, to assess how well a given system does its job. An experienced sound mixer may, in a prolonged session at one stand, pick up on the strengths and weaknesses of a particular desk, and its suitability for a particular application. But not many others would. Few people in production or post-production have more than a passing acquaintance with what goes on in areas other than their own spe- ciality. How many readers, for example, could identify the exact function of an Evertz film footage encoder fitted on a telecine and compare it with the Aaton Keylink system? (Not that everyone needs to[...]ether what you don’t know matters or not.) All of which amounts to my refusal to do an overall survey of new toys on display. Suffice it to say that, wher[...]ion was that everyone was selling their own brand of non—lin- ear editing system, this year’s big products are virtual studios. Effectively, the virtual studio is a live-action, real time compositing system, working in te‘l'evisin’n resolution. 1'A 3D computer gra[...]r and other objects. A television presenter works in a matte-blue studio, with any necessary chalk marks on the blue to indicate the position of the virtual set objects. A com- puter — usually a Silicon Graphics Onyx — chromakeys the presenter into the stu- dio background. So far, so simple: but as the camera moves, so does the view of the 3D computer-generated set. Cam- era movements, and even focus distance and depth of field, are fed into the Onyx, which brings various layers of the virtual set into and out of focus, and tracks its view of the set in perfect line with the real camera movement. As the CINEMA PAPERS 0 DECEMBER 1995 ' SPAA SUPPLEMENT[...]rneath a virtual chair, so we see him step behind the chair, and the virtual camera tracks down to show the underside of the chair. Live-motion capture systems reverse this[...]es; a computer-generated cartoon character mimics the actor’s perfor- mance. The result is that the Pink Panther, on scr . with a studio an suited actor in front of a camera den from the audience. One disturbing effect of both these systems is that the image manipulation has a propagation delay of about 3 frames, and so sound on the PA system at the show must either be out of sync with the screen image, or with the live actor. Perhaps the great- est skill on display is that of the presenter, seeing and hearing himself on the monitor and speakers three frames later, and not[...]d. l’ve tried it: it’s easy to fall over. At the other end of the scale, three products stood out to me as astonishingly good, however simple. Third place-get- ter was the Hollywood Microdolly} A 4 kg bag contains a lightweight dolly and four metres of track, capable of sup- porting a camera up to 15 kg. Another bag of the same weight brings two more four—metre lengths of track. Made of air- craft—grade aluminium, it’s hard to imagine it working successfully in the rough terrain where the light weight Best of the show? [...] Running on a Windows PC or on a Mac linked to a video player, The Executive Producer builds a data- base for each shot in a video production. would be its greatest advantage, but, still, a dolly and twelve metres of track weigh- ing less than a slab of VB is pretty pressive. Second place, and even smaller, was brilliant idea seen on the Aaton stand. fir quite new, just clever. How do you a mark on a set that the actor can ut the camera can’t? The Synchro- rk3 is a simple laser torch, mounted a f[...]tter closed, it’s on. Shutter open, it’s off. The actor sees the mark, the operator sees the mark, the film doesn’t. And the spot of light was bright enough to be seen on a wall right across the exhibition hall — about 30 metres away. Best of the show? For me, the most impressive product was a simple logging syst[...]Windows PC or on a Mac linked to a video player, The Executive Producer builds a database for each shot in a video production. In- and out-timecodes, slate numbers, scene descript[...]ll numbers, anything and everything can be logged in a completely configurable data- base entr[...] |
| 30 technicalities exported in Avid format as well as a range of EDL styles — but sadly not in the industry standard FLeX format at this stage. As w[...]ul search- ing and sorting functions: to mark all the C/U shots, all those with a named char- acter men[...]those shorter than a certain duration and so on. The database can be edited with many word process- in[...]ecking, search and replace, for example. Instead of running a VTR, timecode can be captured from a timecode gener- ator on the set for location logging, or can be typed in manually. The easy and adaptable style of data entry alone would set this system high amon[...]crackers, and make TEP a real winner. One: when the PC is fitted with a video board, thumbnail size f[...]for each logged scene. These images are included in reports in a range of styles. Illustrated post-production scripts, edit[...]ts, or library management documents are just some of the possibilities that this feature presents. The second feature? By this time I was impressed. I h[...]at IBC looking at this product, trying to think of something it couldn’t do. It soon mrned out tha[...]e recognition, or auto mark- ing. While you leave the videotape playing and have a cup of coffee, the sys- tem recognizes any sudden changes in scene content and marks a scene change, grabbing[...]e. This feature can be trimmed to ignore flashes of lighming or other aber- rations, by Waiting for a consistent change over a set number of frames before confirming the scene change. This column doesn’t normally offer free sales pitches. But the third feature of The Executive Producer that took my breath away was the price. The entire software system can be yours for under $1,000. Add about the same again for a video capture card, and RS422 interface. For the cost of a local phone call, you can get a demonstration version (fully- functioning for up to ten scenes only) from the Internet, at wwW.imagine— products.com., or from Sydney-based agents Adimex on (02) 9332 4444. »—- In Australia, Techtel have supplied the first Eleomvirtual studio to Channel 7 Sydney. 2[...]Available from Lemac (03) 9427 9344. A Grain of Truth magazine in a waiting-room was full of superbly-detailed photographs of society weddings and fashion parades: in a full-length portrait of Ivanka Trump (the daughter), you could count every diamond. (Okay, they weren’t small.) But on the next page appeared some faint, blurry, immensely grainy photos of two other famous women: one towel- clad on a distant beach, the other, headscarfed, getting out of a car across a city square. Why was the technical quality so poor, and yet acceptable? Per- haps the captions explain it: Demi Moore — pregnant again? and Princess Caro- line — has she lost her hair? In McLuhan’s terms, the medium is the message. Here, we are being told, these women hav[...]o hide, but our photographer has caught them out! The long lens, the fast film and the extreme enlargement all emphasize the texture of the photograph itself. The camera does not lie: it captures docu- mentary evidence of the unannounced pregnancy, of the hidden alopecia. Grain is the essence of the photo- graphic image: like pixels on the computer screen, each grain is the small- est, indivisible part of a picture — but unlike pixels, the size and arrangement of grains is quite random. In conven- tional black-and-white film stocks, each grain is a separate granule of metallic sil- ver, corresponding to one crystal of silver bromide in the unexposed emul- sion. These crystals are sensitive to light: once half-a-dozen photons (wave-like particles of light) have landed on one crystal, it becomes capable of being developed to silver. Larger crystals have more chance of collecting photons, but still only need the same half-dozen. In a nutshell, this explains the connection between grainy films and sensitivity: fast films, in order to work in lower light lev- els, have larger grains, collect[...]rea. Actu- ally, most film emulsions have a range of grain sizes. The larger ones are exposed in shadow areas: in brighter areas of the image, there is more light to expose the smaller grains, filling in the gaps and making a denser, but more detailed, nega[...]Colour film still works with silver bromide, and the exposed crystals are still developed to silver grains, but the more complex processing also produces clouds of coloured dye around each sil- ver grain. When the silver image is bleached away, the dye clouds remain as a trace of the original silver image, and show the same grainy structure. Like sil- ver grains, the individual dye clouds are too small to be visible even in a projected image, but they tend to clump together in a random arrangement, and it is this random, clumpy arrangment that appears “grainy”. In the past few years, the film manu- facturers have learnt how to make silv[...]chunky and solid, and also how to arrange for all the crystals to lie flat in each emul- sion layer. As a result, the crystals present their best face to the light, and capture photons far more efficiently. The thin, flat crystals then generate much smaller d[...]er film than was possible before. Granularity is the objective measure of grain: taking a microscopic View of a developed emulsion, the variation of density between clumps of dye and the gaps between them and the size of the clumps may be measured using a spe- cialized microdensitometer. But it is the subjective quality graininess that relates more directly to our experience of the effect of grain. The eye is less sensitive to variations at low light levels, and so very dark areas in a print tend to appear less grainy. However, the lower levels of light in the original scene were only enough to expose the largest of the sil- ver bromide grains, and so, in any objective measurement, the shadow areas must have the largest grains. Under-exposed scenes deprive every area of the image of some light, so that more large crystals and less[...]ed: furthermore, by grading these scenes lighter, the eye’s attention is drawn to the extra granularity. Moral: avoid underexposure unless you want a grainy effect! The sense of graininess is also affected by the nature of the image itself. It seems that the eye seeks out the clearest details Colour film still works with silver bromide, and the exposed crystals are still developed to silver grains, but the more complex processing also produces clouds of coloured dye around each silver grain. as a key for understanding the image. In a brightly-lit, sharply-focused scene, there is plently to lock on to, and the grain structure goes unnoticed. But where the focus is a little bit edgy, or a wide aper- ture has put much of the scene out of focus, then the sharpest detail to look at is the grain itself. Similarly, in dim or flat light, the light-and—dark pattern of the grain is as strong as the subject, but, with a key light thrown in, the same scene can suddenly appear grain-free. We te[...]patterns, and so it would be reasonable to expect the tan- domly-changing pattern of grain from frame to frame to be noticeable — par- ticularly in an optical freeze-frame effect. However, the viewer builds up a much more detailed image as the random grain pattern shows fine detail differently in each successive frame (a distinct advan- tage over the fixed pattern of television or digital screens), and the sharper image tends to distract attention from the grain patterns. Optical freeze frames usually cycle through two or three still frames to keep the grain pattern moving, for this reason. Camera ne[...]— strictly — add more grain: it’s all there in the original. How- ever, the slight tricks that duplication plays with the contrast of the image can often make the image appear subjectively a little grainier. Careful grading and printer control in the lab are, of course, vital to getting the best results. What about grain removal on teleci[...]ms? Aperture cor- rection is an electronic system of increasing the apparent sharpness of a scanned image by boosting the high-fre- quency variations in the image signal. The technique adds a sharper edge to image details, but also outlines every element of grain in the same way. The grain can be suppressed by reducing aperture correc- tion, but inevitably at the expense of image sharpness. Similarly, digital filters can reduce the effect of pixel—by-pixel variations in the image, but grain struc- ture and fine image detai[...]n though, grain is most objectionable where it is the sharpest element of the image: in these circumstances, grain suppression does lit- tle harm to the image itself. Except where the grain is the real story. Often cinematographers choose a grain[...]than for its speed. Is Art imitating Life, or are the paparazzi the trendset- ters for a creative look? Perhap[...] |
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| [...]it runs — 110 or 115 minutes.Brealey recalls the dropping of a sub-plot which was to have considerable ramifications: “One element [thrown out] was the developing love scene between [Foley and] the girl, because basically it wasn’t shot.” Duri[...]there were not enough angles and takes to enable the scene to be edited. This was intended to contain a suggestion of a love scene between Foley and Sheila near the pigpen: Up came a wide shot, which was absolutely won- derful. Fantastic black clouds coming out of sky and absolutely wonderful with light coming th[...].” There were no scenes, there was no dialogue. The whole sequence had been dropped without my permission. The scene could not be cut for emphasis and was not i[...]developed. Other scenes, such as when Foley sees the rouseabout Michael Simpson (Gregory Apps) in bed with Sheila at the end of the film, were also cut. Brealey feels the major reason for the cut was the unsatisfactory cast- ing of the character who plays the rouseabout. Hannam cast an actor for the role who was not only taller than jack Thompson, but who was too old to portray the callow lad required in the script. Brealey feels this casting decision destroyed the dynamics of the sub-plot: The fact that he was a 15-year-old runt was vital to the screenplay, and I think Ken did a major piece of damage to the film, which went on to be one of the reasons why we had to do such a major cut in the film. That character just didn’t work, and as much of it was with the girl. This was one of our biggest problems when we came to look at the film. Brealey, by this stage, was becoming more and more anxious about how best to complete the film, and showed it to others in the business, including the SAFC’s John Morris and an unnamed distributor:[...]I had a screen- ing for John Morris, and a couple of the other members of staff that had come over. Their response was that[...]ic relationship that wasn’t established — all the obvious things that I had thought was wrong with it. Brealey was forced to consider radical action to save the film, and save the SAFC. Obviously, Sunday in its longer form did not appeal to distribution inter- ests, Hannam seemed to have lost interest in the final outcome, and only Brealey and the editor, the patient and conscientious Rod Adamson, were left working on the film. Brealey came to a difficult and ultimately[...]to filmmaking. He was angry with Hannam’s lack of interest in the post-production stages and decided to exercise hi[...].” Brealey had considerable experience at Film Australia in restructuring dramatic films, when a final decisi[...]had reworked Peter Weir’s segment “Michael” in the portmanteau film Three to Go (Peter Weir, Brian H[...]Howes, 1970). To arrive at a releaseable version of Sunday, CINEMA PAPERS - DECEMBEH1996 Brealey decided to follow the same approach. His approach was based on clear dr[...]iences will forgive you if you leap sequences, if in fact there is not necessarily an absolute linear[...]ot forgive you if you bore them or if you destroy the illusion of the film that you are creating. Working with Rod Adamson, Brealey assembled a spare and economical version of the film. This meant throwing out many scenes which had required con- siderable work and were treasured by the director and other crew members. David Stratton’s account of the production referred to the loss of the love affaire between the girl and the rouseabout as one of the major narrative losses. The “entire subplot”“ cut was the relationship between Sheila and Michael, which was removed because of poor performances, according to Matt Car- roll: “The girl who played Sheila wasn’t a very good actress, and the whole thing didn’t work, so basically that sub-[...]was basically what was done.” Brealey also made the significant decision to have the shortened version of Sunday musically scored, which implies that the editing process had been “locked off”. Hannam learned that the film had been recut and returned to South Australia to view the completed version. Arguments ensued between Hann[...]and Brealey finally agreed to reinsert some shots the director wanted, but rejected others on tech- nic[...]such scene included a faulty camera shot. A shot of the strikers at the station started with a slight camera shake, and B[...]on to this deci- sion was given by David Stratton in The Last New Wave: “I can’t get over the fact that the editor didn’t use that shot [...] it simply should have been used.”37 The release version of Sunday was the producer’s cut of a much more complex narrative, and the producer was the individual who shouldered the ulti- mate responsibility for the film’s apparent failure to realize its potential. Brealey became the target for many attacks from within the industry, as summa- rized by David Stratton in 1980: “Jack Thompson [...] feels that in its longer version Sunday Too Far Away was one of the finest achievements of the Aus- tralian cinema, if not the finest.”23 Sunday ends with a curiously enigmatic freeze frame, which became almost a hallmark of Australian films of the time, followed by a montage of the empty shearing shed. McFarlane and Mayer comment on the prevalence of “lowkey endings, often involving a closing capt[...]ng on a deliberately muted, expository note.”29 In the case of Sunday, the caption read “But it wasn’t so much the money, it was the bloody insult.” Matt Carroll believes that the script was shot as planned and the ending was as originally intended: “That was always Ken’s ending. That was where it all ended in the script and that was how Ken shot it.” unday Too Far/lway premiered at the Quin- zaine des Réalisateurs (Directors’ Fortnight) at Cannes in May 1975, the first Australian film to be selected for this event. It was a major critical success. In June, it opened the Sydney Film Festi- val to an invited and predominantly industry-based audience, which responded to the film’s energy and overwhelming visual authenticity. Rumours had already been spreading in the local industry about the troubled post-production phase. Many wondered what had been cut and what the film would have been like if Dingwall’s script had been filmed in its entirety. The legend, as reported by David Stratton, is that both Dingwall’s script and Ken Hannam’s realization of it Losing the hard—earned cash in Sunday'Taa FarAway. had been irreparably damaged by the heavy-handed approach of the producer. With considerable hindsight, it is app[...]by Jack Thompson and a strong sup- porting cast. The bush ethos and the lives of the shearers are convincingly realized and the lighting and art direction by Geoff Burton and Bob Cop- ping give the film a powerful sense of place and authenticity. The period elements are exceptionally well-handled, and this was to prove an influential achievement in terms of the developing Australian industry as a whole. On the debit side, the heavy cuts and manipula- tion of the storyline and script defuse much of the film’s character Conflict and scenes of competition and dispute are diluted. Some notable exceptions are Foley’s battle to get rid of an appalling cook, and the death of Old Garth, which Dingwall states was _,,\ a verbatim depiction of scenes he had heard or ['5 I witnessed. An authentic vision of the under- p66 41 |
| [...]ED BY JAMES SHERLOCK Why Thelma Loves Marty__ n In between editing the films of Martin Scorsese Thelma Schoonmaker promotes the work of her late husband, Michael Powell. rom an early a[...]h would take a classic film and run it nine times in one week. Martin Scorsese was able to use that pr[...]intriguing to him as a child and young man. Some of the ones that were the most interesting to him were the films of Pow- ell and Pressburger, the films ofof autobiogra- phy Million Dollar Movie. He felt he[...]then came to England to find him and res- urrect the whole canon of Powell and Pressburger films. I remember being par- ticularly affected by seeing my future husband’s film, The Life and Death of Colonel Blimp [1943], on Million Dollar Movie whe[...]t sixteen. I also remember being deeply moved by The Red Shoes [1948] in a movie theatre when I was about twelve. That fil[...]eat deal to me, but I had no idea how to get into the film business, or how films ') were made, anyth[...]g to become a diplomat. I was brought up outside the United States because my father wanted to run an oil company. Iwas born in Algeria and grew up in the West Indies and came to the States when I was 15. I went to college and studied political science and the Russian language, but was told by the State Department that I was too idealistic. I did some graduate work in New York city and saw an ad in The New Yorla Times saying someone was willing to train an assistant film edi- tor. It was just a stroke of luck, because nobody advertises those jobs in the film business. You get jobs purely by word-of-mouth recommendations from editor to editor. My[...]out to be a terrible old hack who was butchering the films of Visconti, Fellini, Antonioni and Truffaut for lat[...]My job was to help him subtitle things like Shoot the Piano Player and I l Gridol. Because of that, I was able to study these films back and forth on the Movi- ola as I measured them for subtitles. The editor also taught me a little bit about negative[...]ut I did learn that I wanted to do something more in film. I then saw that there was a summer course in film production at New York put small groups of people together to make a short film. That is where I met Marty, who was attending the Univer- sity, majoring in film. I wasn’t working on his film, but the person who had cut the negative ruined it and he needed someone who knew[...]nt film called What is a Nice Girl like You Doing in a Place like This? [1963]. There was a par- ticularly good group of students there that year: Michael Wadleigh, with[...]McBride, for example. It was a fantastic time at the film school. Some of us got together and started making documentaries in the streets of New York and small films for television — and out of that came Woodstock. CINEMA PAPERS ° DEC[...] |
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| [...]experiment with — and therefore I’m learning in every film with him. It is just the best job in the world as far as I’m concerned.Back in the days of NYU, did you realize that there was something hap[...]tudent film, lt’s Notjust You Murray, which won the National Student Film Award, had early strokes of genius in it. It was quite clear to us that he was special.[...]g, brilliant “Marty and I have everything but the camerawork, which was done by Wadleigh. The union was very restrictive in Los Angeles in those days, and, when Marty asked me to come out[...]im, it turned out I couldn’t because I wasn’t in the union. It wasn’t until Raging Bull that the producer, Irwin Winkler, got me into the union and, from that point on, I’ve been lucky enough to edit all of Marry’s movies. In 1980, you went on to win the Academy Award with Raging Bull. How did you feel to win the Oscar and to eventually find out it was voted the best American film of the '80s? Oh, we were very proud of that. My feelings on Oscar night were very confli[...]h was wonderful. How soon do you become involved in a project? I start on the first day of shooting. Marty usually gives me the script 21 little bit before that. He doesn’t like to cloud my mind with all of his problems during the scriptwriting. My job is to look at the dailies cold on the screen and tell him if anything isn’t working. I read the script once and then try to put it aside and not[...]it again unless I absolutely have to. I just like the film to evolve on the screen. How long did it take to cut Raging Bull?[...]We shot on both coasts, so there was a good deal of moving involved. It took a lot longer than an ordinary film because of that. We shut down twice while De Niro are his wa[...]lutely brilliant filmmaker, a remarkable man and, of course, a major force in establishing the British film industry. You’ve already mentioned[...]or influence on Scorsese, as we said before, with The Life and Death of Colonel Blimp. What of the highly controversial but inspirational Peeping Tom (1960), which is extremely popular with film schools in Australia. Marty was incredibly influenced by Peeping Tom.[...]chael Powell was still alive, he arranged to have the film entered in the New York Film Fes- tival, even though it had been[...]use it had never been given a proper distribution in this country. It was a huge success at the Festival and the rebirth of the Powell-Press- burger films was off and running. Marty also put up some of his own money to get the film distributed here in the U.S. Michael Powell actually came to Australia and did They're a Weird Mob (1966) and Age of Consent Worked so long together that we are alm[...]ticularly edit- ing, and a great gift for getting the best out of actors, even though he had never been taught about acting. He portrayed the neighbourhood where he grew up with fascinating r[...]ociated with Scorsese? I would include Woodstock in that period, because Marty did work on it for a w[...]ood, I couldn’t work for him because I wasn’t in the union. As young filmmakers protesting against the Vietnam War and supporting the civil rights movement, we never had to be in the union. We all loaded film magazines, drove the cars, tied into electrical sources, ran sound, pushed the wheelchair we used as a dolly — we did I was b[...]found out Marty had lost and it took a great deal of the pleasure out of the evening for me, because it was such an injustice.[...]t Marty would not have been voted Best Director. The reason we won Editing was because of the fight sequences, and they were so beautifully th[...]t conception for each fight, and there were eight in the movie — different size of ring, a different attitude for each one, incredib[...]what made them so brilliant and that is why I won the award. So, I’ve always said that in a way it is Marty’s Oscar. I was particularly proud when Raging Bull was named best film of the decade. That really meant a great deal to me. (1[...]ong time ago, have virtually disappeared. Is any of Powell's work tied up in copyright problems or litigation? I understand from Michael Powell’s son, Kevin Powell, who lives in Canberra, that there is an attempt to get Weird Mob re-released in Australia this year. I hope they can get both Weird Mob and Age of Consent restored. Age of Consent had a very nice score by Peter Sculthorpe that was removed by Columbia Pictures when they got the film. Michael was very upset about the music Columbia put in the film and told me he wanted to get the original score put back in. We are working on that. I believe you are also working in conjunction with the British Film institute in preserving his work? CINEMA PAPERS ° DEC[...] |
| Yes, they have done a wonderful job of restoring many of the Powell—Pressburger films. They have got- ten grants from people like Sainsburys to pay for the restorations, which are very expensive. Michael was lucky that so many of his early films were in colour, which may have contributed to them being restored early. He made some of the first Technicolor films in England. Rank Films also took pretty good care of the negatives, which was most important.The staff of the British Film Institute have been incredibly devoted to the work of Powell and Press- burger, for which I am very gra[...]ds at something? We’ve only disagreed a couple of times on key things. De Niro and I at one point wondered whether the last speech in Raging Bull, where Jake CINEMA PAPERS - DECEMBER 1996 La Motta is looking at himself in the mirror and rehearsing the “I could have been a champ” speech from On the Waterfront, should have been a warmer performance. Marty had shot De Niro doing the speech in varying degrees of emotion. He felt strongly that Bob should be stripped of emotion when he confronts himself in the mirror. De Niro and I wondered whether a warmer t[...]screened it once with one take and then once with the other. And Bob and I saw that Marty was absolutel[...]e have fun arguments, but we always work it out. The hardest thing I’ve ever had to do on one of his films is get brilliant improvisation to cut t[...]hey spark each other off so wonderfully. On some of the scenes in Raging Bull, Marty couldn’t get two cam- eras in the room, which made it very difficult to cut the footage, because I would get a very funny line fr[...]th much time and effort, it finally came together in a way that preserved all the best moments. I love cutting this kind of improvisation because it calls on some of the things I learned as a docu- mentary filmmaker. You are given a whole bunch of footage and you have to find a shape for it. But[...]rk”, and then you have to go home and come back the next morning and dread turning on the machine, because you don’t think you can find a solution. But gradually you find a way. Are you still in that situation now? Are your eyes still opening to other filmmakers and the vast techniques? You never stop learning. Before[...]I worked for a year on Marty’s documentary for the BFI and Channel 4 called A Personal joarney with[...]ough American Movies. I got to spend a great deal of time digesting the work of filmmakers that Marty had admired over the years, and I just loved it. You can learn so much from the films made before you. It can be quite humbling,[...]never knew about. For Marty, it is equivalent to the way painters go to museums and study the work of painters who came before them. He studies older f[...]it refuels him. It gives him a lift. It gives him the inspi- ration to go on. He never copies those old[...]ests and it comes out as something his own. It is the spark, the spark that something like The Red Shoes gave him: the emotion, the power, the guts, the brilliant camera work, the editing, the colour, the use of music — all of it so deeply influences him. Is there any other[...]my husband, but that wasn’t possible. Marty is the best director in the world as far as I’m concerned, and I look for-[...]e is such a good teacher, I get to share his love of film history. It is like going to the best film school in the world, and having the best job in the world. Now what more could you ask for? He also introduced me to my husband, so I’ve had all the luck anyone could ever ask for in life. How long did it take to edit Casino? It t[...]u have a personal favourite from his overall body of work, which differs so much? No, I love them all for different reasons. The Last Temptation of Christ [1988] was a deeply spiri- tual experience for all of us, and we are looking forward to the Dalai Lama film for that reason. Marty is not a devotee of the Dalai Lama, but the subject matter is one close to his heart: the collision of the spiritual and the physical — the clash of a holy man like the Dalai Lama and a political being like Mao Zedong. Scorsese's mother plays an important part in Casino, a scene-stealing sequence. What is she like? She has a wonderful sense of humour, slightly surreal, which has influenced Marry a lot. She has 45 |
| '(Robert_De,Niro) in’ -Martin Scorsese's Raging Bull, edited by ' Thelma Schoonmaker.46 a great love of music, which has also made its mark on him. He puts her in his films because she just responds very naturall[...]She enters into it completely as if it is real. In the scene in Casino, he had to keep saying to her, “Now just[...]ry take very fresh. Marty never prepared her for the scene in Good- Fellas where she feeds Joe Pesci and De Niro and Ray Liotta in the middle of the night, While unbe- knownst to her they have a dead body in the trunk of their car outside, which they have to bury. He just told her to react to whatever the conversation was. She has known Joe and Bob for s[...]that. She is great. Scorsese very rarely shoots in Cinemascope. Is that for reasons of video and television? Marty shoots in Super 35, a kind of an artificial Cin- emascope so that he doesn’t[...]and scan for television. He shoots a flat image in the camera — shooting into the area of the frame usually reserved for the track — thereby getting a wider image. He frames up in the frame, so that he can use the bottom part of the frame for television. When we are ready to finish the film, we make a flat interpositive and then blow-up and squeeze the image to a dupe negative, thereby allowing us to get a track onto the film. When it comes to putting the film on video, we use the flat interpositive and use the bottom part to avoid panning and scanning. Marty[...]ing and scanning. He feels it is a real violation of the director’s composition. I believe Casino was e[...]computer. Yes, it was. How did that compare to the old faithful system? Well, I resisted it very mu[...]opped complaining, because it is very, very fast. The wonderful thing is that you can save your cut and then just take a copy of it, which takes about a second, and then rip into[...]there as Well. It makes experimentation easier. The only down factor is the image is pretty bad, but they are going to improv[...]ry fast. Between projects, what do you do? I get the impres- sion there is a lot of documentary work going on. Yes, there are the documentaries Marty is making about the history of the movies. He is just starting one on the history of Italian cinema. I like to go back to my husband’s cottage in Eng- land whenever I can. But I’m getting less[...]ded by Michael’s books and his paint- ings, and the house he lived in for 20 years. We were married in the little church in the village and he is buried there, only a short distance from the cottage. A final question: Have ”film restorat[...]lways been ‘dirty’ words? Marty got involved in trying to do something about the fading of old films during the making of Raging Bull. He had been complaining bitterly of the qual- ity of the prints he was seeing in retrospectives in LA and New York. One day he just got furious about it and decided to call up Eastman Kodak and say, “What the hell is going on there. Why is this film fading?” He decided to use the publicity tour for Raging Bull as a way to go around the World and try to teach people about the need for preservation. He asked me to come along to explain some of the technical information. We did lectures in Los Ange- les, Tokyo, London and Venice. Out of that grew the movement that is now making a difference. Archivi[...]rs themselves became involved and began to badger the studios to start looking after the great treasures in their vaults. Robert Harris is a major influence in film restoration. Oh yes, huge. Film Care, the company that I've just started, wouldn't be formi[...]or film preservation on AMC, a cable channel here in the U.S. People have sent in large amounts of money because of the little blurbs that are run on the channel several times a year, which alert them to the crises of fading films. Do you do any restoration work there? No, thethe studios to reserve their own vaults. Some of them are doing a better job than others. Paramoun[...]ing functions to raise people’s awareness about the need for film preservation and also for artists’ rights — everything from cropping of films on television to colourization. He is a real cham- pion of these causes. ® 1 Tirez au pianiste (Fra[...] |
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| [...]r/zed Parklands arklcmds is a 50-minute film set in Adelaide, spanning the week after the death of Cliff (Tony Martin), a for- mer policeman. His da[...]nchett), believes she has reason to investi- gate the last years of his life. Parkland: uses archival footage of Adelaide, mainly from the ’5 Os and ’60s, to create a collective image bank. In addition, it recreates scenes from that period. In writing about Park/zmris, it seems important to convey the sense of ambi- guity With which writer—director Kathryn Millard has imbued her film. She insists on the ambiguities of lived experience, her dissatisfactions with neat endings, and her exploration of a cinematic form, rich like life. The parklands of Adelaide were described in the instructions to Ade- laide’s surveyor, Colonel William Light, as the buffer zone between work and home. Ifl could, I’d use the metaphor of flowers to talk about the film: the beautiful allure of the film’s beginning buds; textures in their heads, stems and petals; and colour gradati[...]us to fade. But Millard refines this devvy view: The parkland is a metaphor. All that flower imagery that goes through the film — I have deeply ambivalent feel- ings about that. I’m extremely attracted to the nostalgia around that kind of imagery as well as seeing it as repre- senting a kind of order that may be very containing. Some botanic a[...]ardens are extraordinarily ordered. Everything is in its right place. They’re beautiful but they have a feel- ing of being rigid. Par/elcmds thrives on the thrill of explo- ration. In a loose narrative of investigation and mystery, Rosie returns to Adelaide to attend the wake of her father. Millard: I think those times when somebody dies are times when the past can overwhelm the present. Rosie is overwhelmed by conflicting impr[...]does seem that there are many unre- solved issues in the relationship with her father, also a sense of fear associated with the police force, a sense of her father being quite a secretive person. It may be [characteristic of] men of his generation, especially policemen, or it may b[...]th revealed and prompted technical responses from the collaborative creative team behind Par/elrmds. Millard noted a prominence of the colour red in her archival research: This is partly because of the reversal film stock used. That became an idea for the [scenes of] childhood memo- ries, and the idea that you remember the past through the photographic technologies of particular periods. Millard also cites cross—c[...]confirms that this is her personal recol- lection of early childhood. 50 it is no surprise that key objects are red in the recollections of Rosie’s early Adelaide years: red shoes, red chairs, a red bal- loon. “Theof storytelling!’ to support her investigative story—strand using events like late—night drives in police cars, and “a cool kind of look for the investigative stuff”. Importantly, for scenes of recent memory, the camera is quite still: “I see that as recent memory not being endlessly recomposed.” In por- traying Rosie’s recollection of childhood Light Years, Millard’s previous film[...]k-and—white photographer Olive Cotton, was born of her strong interest, albeit with no formal education, in the visual arts: I became very aware of my own sense of colour through this process of mak- ing a documentary about a photo- grapher whose vision of the world was in black and white. At script stage, the various strands of Par/zlands each took on a colour. Mil- lard doesn’t subscribe to a strict colour-coding system like, say, the sys- tem French composer Olivier Messaien was rep[...], for instance, follows particular characters and the use of red has been earlier described. This red was also a result of the way the scenes were shot, by director of pho- tography Mandy Walker.‘ Millard: Cliff (T[...]andy and I both liked about this process was that the results were never totally reliable. I have this notion of unstable colour and colouring the past. And you know the way in which mem- ories shift and fade? That’s something I’m keen to embrace. Maybe it hints at something about the unreliability of memory — not in a negative way. In the same way, idealized, archived Ade- laide shows houses Duluxed fresh, in matte and gloss everlasting. The home’s interiors, from the women to the walls, are stained and shone to catch the eye. But on hot nights the kids of Par/zlands watch television out in the yard in the pal- pable warmth of their parents’ porch love. It’s one of the “bits that don’t fit in to the idealized world offered in the L ___,\ :3 ‘ images of the ’60s”. The backdrop of the film’s P70 CINEMA PAPERS - DECEMBER 1996 |
| Developing People.Investing in the Future. PROJECT DEVELOPMENT Script Deve[...] |
| [...]tbril1er, Dead Heart. A ‘ROB ' ' cbqficter in literature com’ to life in Jude 52 WHEN THERE'S NU CANVAS ° WALK Co—p uper: Giuseppe Pedersoll. man, against the Earth. Thégrnan _' 9 produce“ Sham” J5°k§[...]e says. ‘ Scr twrlteri Rolf de Heerrlvllrector of V . , L v..;him»£he people photography: Tony[...]ustralian distributor: Roadshows‘; thing; down, thein cold water and slowly this film is the motion—contr0l he’:it°el¢:l.;_/kulrvtktil i[...]pto look at what’s on a time—lapse background in the happening around them, the devas- most spectacular landscape loca— tation, the pollution and that soon tions. E;7sz'lo71’s drama is the story the Earth and humans will die. of time and planet Earth. Tl1e irrationality of human’s A woman from planet Epsilon refusal to heed the obvious infuriates drops unexpectedly onto planet her; she must teach the Earth man Earth. She meets a man, a surveyor, the lesson of environmental truth. camping alone in the Australian They fight, they hurt, they fall in desert. She demands to know where love as, of course, they must. She she is, and, when she finds out she is l embodies the intellect, he is unable on Earth, she rages — against the l to think of his body. Their desire to i be together effects a reconfiguring of ; time, and, for planet Earth, a hero. l The reference to I-luxley’s Brave _ v ‘ ,_ » _ _ , <. New World in the film’s title has to be an ironic one. In Huxley’s tale, Pete‘; Green5vvny's new film is A ; Epsflom are the People Ofthe fin ‘audacious and rwnirlti-layered work in in oh the spell of the" k . forient is insistent and_v , RE G'réena‘way_k,retums to The‘PiIIow ‘ lowest caste in a mass—production 1. society where babies are[...]ermines caste. Epsilons are starved T '- Booirof the.|VIinor Counsellor ' (Shonagon) of the tenth century 7 in Japan, in order to~fashion an intricate but stylish umeiclitation °on—thfe‘iia‘ture""o_f the image and ‘ the text, and 'on.the funcfons of A "writing, insoribing landitslgjningl of oxygen in order to keep them below par and suited to the lowest levels of work. Like humans i_n Epsilon, they “breathe the foul air”. Also in Brave New World, all the castes — Alphas, Betas through Epsilons — are[...]on through sleep teaching — whispers from under the pillow, CINEMA PAPERS - DECEMBER 1996 51 |
| 52 She amine isya Brisbane). Epsilon. I The Pillow . or hypnopeedia. Five hundred repetition[...]e, could instil “progress is lovely” as truth in an Alpha brain. The time-lapse photography in Epsilon offers the majestic image of the Earth as a breathing, moving form of awesome wonder. The secrets of the cinema, time and repetition, here reveal the spirit of nature. lt’s a hypnopzedic lesson from Rolf de l-leer you \yon’t forget. I must admit, though, I liked the film better when I saw it at the AFI screenings last year. The framing device, whence the story is narrated by an old woman to her two grand- daughters around the campfire, is a new addition to the film. In the recur, you know this is a story with an end right from the beginning. For me, this diminished the sense of possibility, the magic of the film unfolding as shamanic journey. Nor does the film’s story in the recur close in the present time, and the spiritual notion of Jungian indi- viduation is given over to the more traditionally political notion of the gifted leader (a man, of course). But I’in more than probably being picky. De Heer shot the film across a twelve—month period \vith a core block of ten people, including the two actors, Ulli Birve (She) and Syd Brisbane (He[...]boration with Italian producer Domenico Procacci; the first was Bad Boy Bobby. Says de l-leer on Digital Arts: Once you learn the basics of motion control, the limitations are only those imposed by your iinag[...]s Wigman. Scriptwriter: Peter Greenaway. Director of photography: Sachy Werny. Editors: Chris Wyatt, P[...]in Margiela. Cast Vivian Wu (Nagiko), Yoshi Oida (The Publisher), Ken Ogata (The Father), Hideko Yoshida (The Aunt; The Maid), Ewan McGregor (Jerome), Judy Onegg (The Mother), Ken Mitsuishi (The Husband.) Australian distributor: Dendy. Japan/Ho[...]w film is an audacious and multi- layered work in which the spell of the Orient is insistent and vivid. Greenaway returns to The Pillow Book of the Minor Counsellor (Shonagon) of the tenth century in Japan, in orderto fashion an intricate but stylish meditation on the nature of the image and the text, and on the functions ofwriting, inscrrbing and signing. ln the context, the film raises very important and topical issues with regard to notions of authorship and myth, creativity and forms of life in lit- erature, film and culture. It also raises important points about the connec- tions between popular cultural forms, such as the personal diary, pillow book and calligraphy on the one hand, and those high cultural forms in literature and the visual arts which Greenaway's previous films have explored in such visually memorable terms — for exam- ple, his cinematic appropriations of The Tempestand Dante's Commedia, as well as the masterpieces of Rem- brandt, Hals, Delacroix and so on. Greenaway's cinema is largely a cinema of allusion, evocation and invocation, pastiche, parody and eclectic appropriation. _ The Pillow Book is a key example of a particular kind ofwriting in Japan- ese literature. First of all, the writer in this case is a woman who belonged to the upper classes and who looked down on the so-called vulgarity ofthe commoners. Secondly, it[...]marry ‘ an official.This is a book that belongs in a line of vernacular literature which was inscribed —thou[...]uence, such a book offers , crucial glimpses into the world of a woman who ., i worked in the court and whose writing betrays many contemporary[...]onventions and i values. It offers a glimpse into the tenth century world with its restrictions, snob-[...]ntolerance, but also its wit, elegance and charm. The Pillow Book is a collection of observations, musings, satire and informal views, and it was kept by the pillow just so the writer could capture fugitive thoughts in prose. It is a collection of lists, and loose iottings. Presumably, it is aspects such as these that fascinate Greenaway. Moreover, The P/I/ow Bookis notable for its confused and loose structure: There seems to be no unifying logic or plotline in the collection — no doubt this is something that at[...]e it offers radical possibilities when applied to the language ofthe cinema. And what one gets is a radical film. Dstensibly, the film deals with a young Japanese woman, Nagiko (which, cru- cially, many believe was the namerof the woman who composed The‘Pi/low” ~ Book), who was brought up byafathe[...]n a ritualized existence. She hears passages from The Pillow Book read out and decides to have one of her own. In it she will enter her accounts of her lovers. Her marriage is pre-arranged when she is six years of age. Not surprisingly, she finds the marriage unsatisfactory at a number of levels. Crucially, The Pillow Book becomes the narrative mirror of her unhappiness, separation from herfam— ily, and the critical lists she constructs on the pages. Her husband destroys her book on the pretextthat she is a modern woman and does not need such an archaic tool. Nagiko then sets out in search of an ideal lover. The film does not only invite reflection on questions of power and subjugation in terms of its ostensible‘ plotlines; it also seems to affirmthe : continuity behlveen the distant past _ I » y Nagiko (Vivian Wu) and , Jerome (Ewan Mcfiregorl. and the present. ln this sense, the mod- ernism thatthe film examines turns out to b[...]concealed and frowned upon, but nonetheless there in the tenth century, and which are from the medieval to the modern world. Butthere is more to this: Nagiko's[...]finding that we’re reinventing certain aspects of cinema, but we’re also finding that we’re doi[...]hander, both intimate yet expansive, dealing with the most personal (love) and the most public (the earth). If the experience of watching is half as powerful as the experience of making it, we will have succeeded. The film is a murmur of voices on a canvas to rival Koyaiznisquatsi (Godfrey Reggio, 1983) and, like Bad Boy Bobby, is trenchant in pulse and message. It’s a film to see and hear more than to talk about. And then become proactive about the environment. ® DENA GLEESON and recurrent myth[...].‘.I a hypnotic, almost obsessive impor- tance in Nagiko's life and inthe film , through‘Greenaway’s carefully-fash- ioned discourse of repetition and insistent traces. _ The ideal lover whichgNagiko seeks will also be a calligraphist. At this point the film becomes somewhat audacious and bizarre. Her body will. be the page on which the lovers will inscribe their names and their love. ' Her body will become the text, and it is suggestive to say the least to think that her devotion to this writing[...]bodies become books, books become , . texts and the film becomes a self- 7 . reflexive image ofthe dynamics of ‘desire, articulation, inscription and signatures which multiply— one might. I’ add,_in a cinematic space which has Ibecorne largely discursiveand texture,~; ;,"\3,.panucularly in terms of its appearance, . 71;, its texture anilits form. - As one watches, usually entranced, 3 the film becomes a book in which lists, _observations, iortings, ephemera and ‘ confessions are recorded. And the I book will be signed: breathes life into it,.. I. so too Greenaway suggests boldly, the ‘ film is fashioned and the signature completes the work and brings it to life. For assuredly many wi[...]their loss). This film works at such high levels of intricacy that the viewer will be defeated on a firstviewing. Green- A away de-structures the classical language ofthe mise en scene: the unified spatial and temporal dimen,-_, sions of the frame are fractured and‘ CINEMA PAPERS[...] |
| [...]ark Shivas. Scriptwriter: Hussein Amini, based on the novel by Thomas Hardy. Director of photography: Eduardo Serra. Editor: Trevor Waite.[...]director Michael Winterbottomls purposes, so for the second time he has takento the harsher north of England. His first feature, the rigorous, Nagiko (Vivian Wu). subdivided into sequences and sets ‘of images which are not always .,.I._ Bsymmetrical o[...]fashion a complexity which raises questions aboyt the ostensible centrality of the , viewer's gaze, jusf asrit problematizes the assumption that the viewer is in " control of the imagesequences and clusterson the screen. This is a cin- 9 "fgmafthat seems toaffitm and celebrate a rhetoric ofthe bleak land- scapes of northern motorways and roadhouses. In filming Thomas Hardy’s austere masterpiece, jude the Obscure, Winterbottom evokes late 19th-century ‘Wessex’ by a skilful manipulation of harsher settings in, for example, Yorkshire and in rain-soaked Edinburgh, which stands in for the story’s Christminisrer/Oxford. Winterbottom has[...]hose anguished hero is again and again bruised by the social and moral conventions of late—Victorian England. On the evidence of the genuinely alarming Butterfly Kiss, one would not[...]m which implicitly challenges and undermines some of the most entrenched assumptions about the central role of the viewer in relation to the nature ofthe image; it presents a plurality which exceeds and evades the viewer's capacity to see and process and understand at a number of key moments. Moreover, the film only seems to present chaotic accumulation of lists, jotting, essays, meditations, jokes: CINE[...]DECEMBER 1996 into a consciously literary style of filmmaking. It is good to report that he has avoided both traps. He manages to encapsulate two influen- tial strands of British cinema — the literary and the realist ~ without committing to either, and the result is a film which is committed to passion an[...]ivings with unflinching compas- sion and no touch of sentimentality. The film opens on a memorable vista of a hillside field beneath a wide, grim sky (for so[...]y echo Fred Williams’ unset- tling hillscapes). The young Jude Fawley (Christopher Eccleston) is punished for feeding the birds he is meant to be scaring away, and the sequence is dominated by an image of dead birds hanging in a row as a grimly prophetic warning of the films worst horror, involving ]ude’s musings[...]tely, one realizes that Greenaway has pre- sented the seemingly-chaotic details within the strict framework of 13 Books which encompass life, love, desire, disa[...]empti- ness, betrayal, authorship and death, And the tradition of The Pi//ow Bookis passed onto another daughter, who again takes up the myth ofthe God who fashions'a“’c|ay doll and signsitl with his name to give it life. The film, small son twenty years later. This black—and—white prelude to the film establishes a mood and a difficult ambience. The village ofthe University city of Christ- minster, where the film takes on a muted colour. His Marygreen teach[...]am), has told him, “If you want to do anything in life, that’s where you have to go”, adding wi[...]is never able seriously to choose his future and the hegowncd young scholars of Christminster, in their self—absorhed superiority, seem to mock h[...]st insert dazzling and excessive simulations into the space of the mise en scene; it also rarely allows the viewer/readerto forget that it is constantly doing so and in a self- conscious way. So, the film more or less constantly invites the viewer to considerthe originsjnature and func- tions ofimages, texts and discourses in modern life. The film is marred on a few occa- sions by some visual indulgences+ ]ude’s problems are, of course, not merely those of the frustrated intellectual, though the film is very touching about his aspirations to scholarship, and one of the most memorable scenes is that in which he, half—proud and half- embarrassed, silences a noisy Christminster pub by reciting the Nicene Creed in Latin. A generation later, D. H. Lawrence’s hero, Paul Morel, would be less daunted by the class barriers to scholarly pursuit, whereas Jude has to accept the disappointment of a letter from the Dean of Admissions coldly advising him to stick to his own sphere in life. Winterbottom doesn’t make the mistake of representing as a joyless business ]ude’s life as a stonemason, working on the outside of the halls of academe he wants to enter: it is shown as having[...]ed for, his restraint! — and it is oven/vrought in a number of respects, but ‘rtcan be argued thatthis excess is a part ofthe point. On the oflier hand, thisis a vivid and provocative affirmation ofthe self- reflexivity of the cinema in the 19905‘, just as it is a thoughtful meditation on the extent to whichimages and simu- lacra pervade modern lives in ways which are often elusive, uncontrollab[...] |
| [...]llow workmen are allowed a good-natured tolerance of his aspirations. However, the imagery insistently stresses ]ude’s outsider status in relation to the life he craves.]ude’s early disastrous marriage to the pig—breeder’s daughter, Arabella (played with[...]his progress. Winterbottom cuts from a screenful of warmly—glowing inter- twined limbs to the snow-covered fields in which Jude shrinks from killi.ng a pig, while Arabella is undaunted: in the juxtaposition of the two images is summed up the sexual basis of the marriage and the incompatibility of its principals. Arabella returns much later when many things have gone badly for Jude, and the film is wise enough not to make her a mere nemesis in his life. Kate Winslet, last seen as the romantic Marianne in Sense and Sensibility (Ang Lee, 1995), con- trasts superbly with Griffiths, as the modern-minded Sue Bridehead, ]ude’s cousin, with whom he falls in love and with whom he eventually lives and has several children. Unlike the openly—sensual Arabella, Winslefs Sue offers a daringness of speech and social behaviour, a sense of being undaunted by the conven- tions of the age, but nevertheless oddly inhibited in the matter of sex- uality. In all this, Winslet is Hardy’s Sue to the life, all “theoretic uncon- ventionality”, which crumbles when, at the end, worn down by grief and loss, she decides she must return to her husband, Phillotson, the teacher who long ago has encouraged Jude. The novel’s unnecessary harping on how the Fawleys aren’t meant for marriage is rather surprisingly retained in the film — surprisingly, because V/interbottom’s lean version of I Iossein Amini’s screen- play more than adequately accounts for the anguish of ]ude’s life. The cruelty of deprivation; of feeling shut off from the world of ideas and imagination; the conflicting demands of an urgent sexuality and a wish to grapple with the worlds cultural wealth; the poverty and social stigma that make his life with Sue one of peripatetic misery: all these are movingly registered in Christopher Eccleston’s fine, unmannered Jude, so that the claptrap about curse on the marrying Fawleys seems to belong to another order of drama. Gaunt of face, intent on goals he will never reach, he reminds one in these respects of the murderous Eunice played so memorably by Amanda Plummet in Butterfly Kiss. The director, on the basis of these two disparate films, shows a special gift for representing the driven protagonist, consumed from within by needs at odds with what society permits and aware of that society rushing past heedlessly. Both films are in fact characterized by rapid tracking shots along roads or rails, or of vehicles rushing past. The itinerant nature of the two is another common element, and Winterbottom exploits it not just to tell an episodic story but to render the sheer weariness of incessant striving for elusive goals. I have stressed the compassion with the earlier film because it is important to note, in a year domi- nated by adaptations of the classics, that Winterbottorn has made an essentia[...]stands that ]ude’s story, for all its embedding in Hardy’s Wessex, is a modern story of dogged perseverance met by alienation and injustice. Nothing can make this a happy tale, and the filmmaker has found a visual story- telling style suited to the grim truths his characters have to face. A great work in one medium has provided the basis for a starkly powerful work in another. G9 BRIAN MCFARLANE I I I I I I I I I I[...]Helen Watts. Scriptwriter: Nick Parsons. Based on the play by Parsons. Director ofAustralia. 35mm. I996. 106 mins. ake several characters, each T of whom stands for some tendency or group in the larger community (say, the Nation), gather them together in some place whose features stand for features of the larger community (the Nation) and set the characters to fighting over some issue (the Issue). This dramatic pattern for middle-of-the-road serious theatre is followed by Dead Heart and, among recent films, the milder-mannered Hotel Sorrento (Richard Franklin,[...]and based on his play, Dead Heart is put together in a nervy, action—thriller manner. It moves suspe[...]tting climax. And it is one Australian film where the film- makers don’t feel they have to state everything for the viewer. The per- formances are generally good-, Lewis Fitz—Gerald slightly overplays the wimpiness of Les, a schoolteacher, but Ernie Dingo, Aaron Pede[...]wn are very good; and any discontent I have about the performance of Angie Milliken must be blamed on the script. The film works. I have little doubts about the competence and ingenuity with which a certain version of dramatic realism and intensity is served, but about what is served I have large doubts. In the end, the film’s coin- petence seems to me interestingly misplaced. Ray, the cop, is loud—mouthed, narrow—minded, decent in his own way, a bloody nuisance. He is the object of some animosity among the blacks, for several reasons. A black man has hanged himself in Ray’s gaol. He has locked up Poppy (Gnar- nayarrahe W/aitaire), the old man, for shooting his own Toyota van. Les, the primary schoolteacher, is a wimpish do—gooder who is angry when the children go bush. Charlie (]ohn jarratt), the anthro- pologist who is shacked-up with Sarah (Anne Tenney), the ineffec- tual doctor, is a slob and has a girlfriend in Sydney. Kate (Angie Milliken), the lonely, bored house- wife, who has an affaire with the fun—loving young black, Tony (Aaron Pedersen), doesn’t know she hates Aborigines. The whites talk loudly among themselves at table, the men in Hawaiian-style shirts. It may be the consequence of a cliched idea of dramatic realism that every white character in this fly- blown colony is a collection of distasteful or pathetic motives. At no time are w[...]nd their predicament poignant or even melancholy. The filmmakers make sure every one of them gets his or her due. The most obvious symp- tom of this pattern is the scene near the end where frustrated Charlie lets out to Sarah that his Sydney girlfriend has written to tell him of a job at the University of New South Wales. This leads to a shouting match. The quarrel has nothing to do with the rest of the film, but it does take care of poor Charlie, of whom we so far knew little. Ernie Dingo’s prea[...]akers. Both are allowed a charming sensitivity to the expecta- tions of both white and Aboriginal cultures. But David and[...]suffer or die. David, an intelligent man dressed in Country Road good taste, suffers. Tony dies. He i[...]y lust”, Kate finally admits) on a painting on the rock floor. The plot turns on this offence, which brings to a head the conflict between Poppy the elder and Ray the cop, each of whom seeks to impose his law on the land. (Aborigi- nal women have no role here; they[...]because he rejects whitefella law and education, the latter because he believes schoolchildren will be stolen. If the whites are distasteful or pathetic in this conflict between white civilization and Aboriginal tradition, the film contrives to make Poppy appear a sinister ma[...]to have Tony killed, Ray brought to his downfall, the whites dispersed. In one sequence, for example, Poppy’s mere look seems to create an appari- tion of a painted black face in the window that frightens Kate. Really, the implication that Aboriginal tradi- tional[...] |
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| Films co/1 [armed force is just plain Victorian. The suspense of the plot depends on our finding this plausible, for, curiously enough, white Australians of this day and age are shown as mentally besieged by the alien darkness around them, like colonials maddened by Africa. This brings me to perhaps the most interesting aspect of Dead Heart. This is the way it constantly sets up the viewer to make infer- ences that lead to dead ends or form false expectations. The implication that Poppy is exerting a strange magic on events is an example. Since this implication precedes the suspicion that Poppy has arranged the death of Tony, it can’t be a belief on the part of the whites. If it is from Poppy’s point of view, it is unclear why he should appear sinis- ter. ls it just there for suspense? review The possible meanings of the love-making (or lust-making) on the sacred site, for which the happy-go- lucky Tony pays with his life, are more[...]s this event sup- posed to be desirable, a symbol of a happy possibility? Then presumably it is a consummation to remain wished for because the traditional blackfellas want to preserve their law. Are the lovers trapped between the patriarchal norms of bloody- minded societies? At the painful climax (painful to Ray), Poppy says to the preacher, “Are you blackfella or whitefella?”[...]ers, “I’m just a fella.” This suggests that the lovers are trapped between inhu- mane antagonists. What is unattractive in this inference, if it is one the filmmakers intend, is the implication that Abo- tigines have to tolerate the violation of their core tradition (the sacred site) as a condition for reconciliation between blacks and Whites. Can the filmmakers mean this? Whatever they mean, I think it is tactless of CINEMA PAPERS 0 DECEMBER 1996 them to film a love scene on a sacred site in a style worthy of Paul Verhoeven. “This is the last time”, says Kate ambivalently, after being rubbed with suntan lotion. But, it is one of many times the film displays an insensitivity induced by its notions of provocative, tough- minded drama. There is a brief two—shot sequence inserted after Tony dies, in which one of his mates sits idly in front of a run—down hut and turns his head. There is a track or zoom onto the door to the fridge—room where Tony’s body is lying. Given its briefness and its context, the sequence creates an expectation that something is going to happen, something Tony’s mate is in on. Nothing happens. The sequence I think is intended to indicate that at least this one mate of Tony’s feels sorry for him or guilty, but the film is so hell-bent on creating dramatic tension that it won’t stop to let us observe the moment. Dead Heart’s aimed-for serious- ness c[...]scape, for uncompromised observation, but instead the film perpetuates a corn- ball formula for dramati[...]r Heller. Scriptwriter: Craig Rosenberg. Director of photography: Steve Windon. Production designer: S[...]e). Australian distributor: Roadshow. 1996. 35mm. Australia. 96 mins. “Bananas are green for months and r[...]irl for three years and will declare undying love in an instant. Rick (Aden Young) is Steve’s twin b[...]d and jaded yet ready to take their vows again at the honeymoon resort hotel so dear to them thirty odd years ago, the Hotel de Love, which their son Rick now manages.[...]ndison), who is determined to go to Barcelona, is the resident fortune teller at the Hotel, as well as being Rick’s distracted girlfriend. Enter the woman of Rick and Steve’s dreams, Melissa Morrison (Saff[...]ars ago Rick’s first sweetheart and now back on the scene toting a Ralph Bellamy hand- bag by the name of Norman, as well as her philosophy degree. Melissa is on holiday at the Hotel de Love with Norman and blithely, she think[...]Belinda, a happy newly—wed herself who believes in the discretion of the talking penis, proves herself Melissa’s friend. These screwball characters and others bump for a time at the Hotel de Love in various of the outlandishly-decked theme rooms, like the Garden of Eden and Subter- ranean Seduction, and meet and un—ineet ir1 the Hotel foyer where “Ronnie” (Alan Hopgood) sings and plays 10CC and The Captain and Teneille love songs on the piano: “Love, love will keep us together...” Oh, and most impor- tantly for the rendezvous or proposal of marriage, there’s Niagara Smalls, a modest but magical fountain in the Hotel grounds. As a treatise on love, this Austr[...]rg is a warm and silly gesture to love as a sense of the everyday - familiarity. If you can recognize love, you’Ve found it — that is, as long as you look in the right direction. And that’s exactly what most of the characters spend their time learning — which direction, often literally, to look in. The problem, of course, is that first one must come face to face with oneself, and that can be, at least initially, a bit of a let-down, or simply darn confusing if you keep bumping into your twin brother. The characters aren’t as cool as those in another Australian film released this year with love in the title, Love and Other Catastrophes (Emma—Kate Croghan), though considerably more cooler than those in Love Serenade (Shirley Barrett). I.ove’s narrative machinery is more obvious in Hotel de Love than in either of these other two films, but there’s nonetheless[...]ll three films. There’s never really any doubt of the happy endings, and perhaps this knowledge remains too easily unchallenged, or perhaps the film can’t decide whether to avoid or to celebr[...]ess which is awkwardly acknowledged a little late in the piece, in Rick’s unsuccessful last—minute dash to the church, but Hotel de Love has a warmth resonant of the best of romantic comedy’s silly, joyful moments — moments which make the film more than worthwhile viewing. And the odds of finding love are really quite good — 60 percent[...]atistically from his time watching and waiting at the airport for the love he hopes will return. According to the publicity, Australian-bom director—screen— writer Craig Rosenberg divides his time between Australia and Los Angeles, and is mostly known for his fict[...]presents as a dizzy Hollywood comedy pic without the studied languor of our home—grown characters like Muriel in Muriel ’s Wedding (P. J. Hogan, 1994) or those in Love Serenade . But Aden Young is a dream.[...] |
| 58 censorship A New Conservatism More than ever, the neivly—titled Filrn Classification Board is reflecting an agenda of political correctness and conservative hiireaucratic expediency. ver the past two years, hardly a month has passed without media comment about the new conservatism ema- nating from the Office of Film and Literature Classification. The most recent examples have included: the banning of Jim Jar- musch’s Dead Man (1995); cuts to The Rock (Michael Bay, 1996) to gain an MA classification; the re—classification, from MA to R, of the video release Ninja Scroll after only 15 months; and cuts to Dis- ney’s The Hzmchbaclz ofNotre Dame to eliminate scenes around which there was “an atmosphere of threat and menace” before it was granted a G cl[...]hese decisions have been made con- currently with the revision and adoption of new classification guidelines for films and videotapes that came into effect fol- lowing the meeting of commonwealth, state and territory Ministers at the end of]uly this year. The question must be asked, how- ever, why the Film Censorship Board’s practices appear to have changed so much over the past couple of years that the guidelines have had to be re-written to reflect the greater conservatism of their decisions. And isn’t it ironic that, in these days of increasing censoriousness, the newly- adopted title of Film Classification Board probably reflects what the Board does no better than when it was called the Film Censorship Board — as Shakespeare wrote: What’s in a name? That which we call a rose By any other name would smell as sweet The introduction of consumer advice in 1990 meant that consumers knew pre- cisely what t[...]successful public awareness campaign was launched in 1991. As a consequence of these, com- plaints to the OFLC have declined steadily and substantially since that time. Surveys and research conducted by the OFl.C in recent years have shown that the majority of Australians have been happy with the classifications applied using the existing guidelines. For example, interviews with[...]taken since 1993 and have shown consistently that the community not only understands the classification system, but largely agrees with decisions on specific films — if any- thing, the Board was shown to be more conservative. It follows that any review should have used the existing guidelines as a starting point for public consultation rather than the mishmash that was put out for consideration. The revised guidelines appear to reflect an agenda of political correctness and conservative bureaucratic expedi- ency. How was the alleged shift in community standards assessed? Or was a decision t[...]hould be moulded by imposing stricter standards? The Chief Censor, or Director as the position is now styled, has stated that the revised guidelines do not mark a change in the way films are classified; that the changes merely formally spell out the cri- teria the Office already used informally in rating films. These disingenuous remarks would appear to indicate that the old guidelines were flexible enough to allow different interpretations to be made — in which case why change them? They are also at odds with the fact that the Board is supposed to interpret guide- David A. I-Iaines investigates lines that have been approved by the Council of Ministers, not anticipate pos- sible changes. The Director has also stated that the revision was necessary to make the guidelines more easily understood by the public and to better explain the classifi- cation system. A comparison between the two sets of guidelines, however, shows that they are both more prescriptive and less descriptive. Though the film and video classification guidelines are a relatively recent introduction, they have become something of a sacred cow under the present administration at the OFLC. Prior to the introduction of voluntary point-of—sale regulation for videotapes in 1984, when “formal” guidelines were agreed to by censorship Ministers, the Customs (Cinematograph Films) Regu- lations provided the legal framework for decisions to register for importation films for public exhibition; the classifi- cation assigned to a film was a matter of judgement by Board members based on their perceptions of community stan- dards and expectations. While there were informal in—house guidelines, Board members regarded themselves, being members of an inde- pendent statutory Board, as the appointed tribunal of fact applying the law and making the hard decisions with- out succumbing to outside in[...]ng docu- ment used by Board members to guide them in their decision-making on the- atrical films, with the addition of an X category for video, which was first adopted by Ministers. During the course of 1984, there were a number of changes made to the X guidelines to meet con- The question must be asked, however, why the Film Censorship Board's practices appear to have changed so much over the past couple of years that the guidelines have had to be re-written to reflect the greater conservatism of their decisions. cerns about sexual and other violence in this new category. Changes were also made to the guide- lines for G, NRC (today’s PGR), M and R,[...]as- sification process. lt is clear from minutes of meetings held at that time that, in presenting the guidelines, the Board was seeking a broad consensus from Ministers on the way the system had worked; that there was a clear understanding of the difficulties which could arise if the guidelines used pre- scriptive or proscriptive language; and an acknowledgement that the reason for having a Film Censorship Board was that its members were best placed to judge the merits in any particular case. Film guidelines were next reviewed in 1988 following the appointment of a new Chief Censor, John Dickie, and the creation of the Office of Film and Lit- erature Classification. The establishment of the OFLC not only brought Canberra’s policy and min- isterial functions under the Chief CINEMA PAPERS - DECEMBER 1996 |
| E Censor’s umbrella; it also changed the Board’s culture. Political sensitivity to decision-making increased to the point that the determining criteria have become less a matter of community stan- dards than of considering what questions might be raised in Parliament and at meetings of censorship Ministers, or what Senator I-Iarradine and the Sen- ate Committee might say.The principal reason for the 1988 review was to make the guidelines more accessible to the public and to remove the more subjective terms used. This was in anticipation of a costly and exten- sive public awareness campaig[...]y-understood classification system. Concern over the I-Ioddle and Queen Streets massacres was still reverberating through the community, however, and much was made of “consultation” with the states and territories — a draft was sent to each for comment, though in the event only one state came back with a suggestion (which was ignored). The Joint Select Committee on Video Mate- rial also reported to government that year and made a recommendation in respect of the R guidelines, which was also largely ignored. The current review was announced on 14 October 1995, causing an imme- CINEMA PAPERS - DECEMBEH1996 diate furore. In spite of recommen- dations by the Law Reform Commission, in its 1991 report on censorship procedure, about the need for a 3-month public consultation process, only ten days were given for the presentation of submissions. The closing date anticipated a Censorship Ministers’ meeting by just a week. Clearly that timetable influenced the time available for public input rather than the obligation to consult. In the event, the deadline was extended for a month by order of the Federal Minister. No report on submissions received has been made public, and, although much has been made of the involve- ment of Professor Peter Sheehan (former Chairman of the Board of Review) in their incorporation into the draft guidelines, it is understood he saw only a summary of submis- sions prepared by staff at the OFLC. The review provides an example of the political influences increasingly being brought to bear, whether from the Censorship Ministers, other federal Min- isters, or the Senate Committee. One need look no further for the real inspiration for the review than the Senate Committee on Community Standards. In February 1995, it recom- [T]he determining criteria have become less a mat- ter of community standards than of considering what questions might be raised in Parliament and at meetings of censorship Ministers, or what Senator Harradine and the Senate Committee might say. mended that R-rated material should not be allowed on Pay-TV until such time as the OFLC undertook a comprehensive overhaul of the R classification. Only when this was done would the Com- mittee reconsider its recommendation. The Committee was driven by its con- cern with Pier P[...]Salo 0 le Centiz/anti Giornate di Sodoma (Salo or the 120 Days ofSodom, 1975) which d er I ~ Eiffel T[...]), and ,. usa it saw, wrongly, as being typical of material classified at the upper end of the R category. In fact, none of the Committee had at that time seen the film, and the only one who has seen it since — Senator Brian I-Iarradine — has said that the film was not as bad as he had expected. We have yet to see what differences the new guidelines, which have been in effect now for only a short time, will have on fi[...]ar from statements about cutting back on violence in films by Senator Alston (and since when has the Minister for Communications been responsible for film censorship?) and the Director of the Classification Board that there will be changes.[...]arantino, 1994), Seven (David Fincher, 1995) and the infamous Dead Man banned under the new regime? The Chief Censor says no, we will not be denied the likes of Tarantino’s work, that the Ministers have expressly stated that quality cinema films are not intended to be covered by the stricter regime on film violence, that it will ap[...]or so videos. This is mis- leading double-speak. The guidelines refer to all films and videos e[...] |
| 60 censorship The reference to quality films pre- sumably harks back to the new Code which requires the Board to take account of a film’s artistic or other merit in arriv- ing at a classification decision. It is as well to remember that Salo — the film that started this review — was classified R on appeal in 1993 on grounds that included the fact that it was one of the most powerful and important works of a leading filmmaker. At a hearing of the Senate Commit- tee on Community Standards last November, Dickie stated categorically that under the new guidelines Salo would be refused, even for fi[...]evel consumer advice — that is to say, those at the upper range of R that would now be refused — would include fil[...]ogs (1971) is another film Dickie has singled out in public statements cg sored gaze. M: The Chief Censor says no, we will not be denied the likes of Tarantino’s work, that the Ministers have expressly stated that quality cinema films are not intended to be covered by the stricter régime on film violence, that it will a[...]en or so videos. This is misleading double-speak. The guidelines refer to all films and videos equally.[...]l have nothing to do with community standards and the hundreds of thousands of adults who have enjoyed such material both on the big screen and at home, and every- thing to do with political expediency. The recent announcements of a tight- ening up on violence in film have, as Senator Alston has stated, more to do with addressing the public perception than the reality of violence in our community. While politicians and the Chief Cen- sor have referred constantly to “growing concern” in the community about vio- lence, there is no evidence that such concern is higher than, for example, after the Queen Street and Hoddle Street massacres. It is u[...]s a link between television violence and violence in the community — Australian Broadcasting Tribunal research in 1989 put the figure at more than 60 percent. What no one has[...]film violence and real violence. One sus- pects the media and self—serving politicians have a lot to answer for in this regard. And what do people mean by unacceptable screen violence? A look at the lists of the most popular films and videos may go some way to help under- stand what is acceptable. A couple of years ago, a small—scale study in South Australia into why people felt they were living in an increasingly violent society indicated that it was because of media reports stating this was the case, and because of increased media coverage of violent crime. This is in marked contrast to statis- tics from both the Australian Institute of Criminology and the NSW Bureau of Crime Statistics and Research which have for some[...]here has been no such increase. it is clear that the wowsers are in the ascendant. We have seen an increasing and widely-recognized conservatism in classification decisions over the past cou- ple of years. This will undoubtedly continue with the review this year of guidelines for publications and computer games. A further concern in terms of the politicization of censorship practices in Australia is that the new Act substantially increases the power of the Chief Censor or Director. The office now wears three hats: chief classifier; su[...]ser to Ministers; and public service head and CEO of the “commercialized” OFLC. There are even indications of an increasing role in enforcement. These are potentially—conflicting roles. Statutory Boards are set up to dis- tance the decision-making process from political influence. They should be, and be seen to be, at arm’s length. That a Board member is currently acting in a public service position compounds this conflict of interest. The determining criterion for a clas- sification decision must be in line with community standards. Some politicians a[...]represent that view, but they are susceptible to the minority or swinging votes that win or lose elect[...]lated and tend to hear only from certain sections of the community. If the Classification Board is simply to take the safe and least resistant course, the political and bureaucratic solution, why have a Board? For the future, perhaps we should look at the way in which converging tech- nology is fast making the existence of two separate bureaucratic bodies dealing with regulation — the Australian Broadcasting Authority and the OFLC — an expensive and unnecessary duplication. The existence of this two-pronged approach to the regulation of media con- tent is an accident of history: film censorship commenced in 1917, with a Censorship Board established in 1929 evolving into the OFLC in 1988; the advent of television in the ’50s saw the establishment of the Broadcasting Con- trol Board which became the Australian Broadcasting Tribunal in the ’70s, fol- lowed by the Australian Broadcasting Authority in 1992. The separation of regulatory controls resulted from the different modes of delivery. With converging technology, this will n[...]ficient, and more convenient from a policy point of view to link the OFLC classification processes to the self-regulatory model administered by the ABA, which has all the resources and expertise necessary, in research, pub- lic consultation and the oversighting of self-regulation in broadcast and narrow- cast services including tel[...]Common sense would suggest a need to rationalize the regulatory process in order to achieve a consistent approach and facilitate public education in the use of the new communication media. A self-regulatory appro[...]esisted by an industry that can cur- rently point the finger at the OFLC when their audiences complain about a classification decision. With the present system becoming increasingly suscepti- bl[...]nd standards relating to filmed entertainment — the film and Video industry — to take an active role in regulating themselves and thus become more accoun[...]ti- vals; and it works overseas. There are those in the industry who share my concerns — albeit to vary[...]ctant to make their views public. However, now is the time to speak out if the indus- try is not to be patronized like the viewing public has been. An industry voice in the form of an advisory or con- sultative council woul[...] |
| [...]v ’. =l39"’.‘-‘ea-‘.‘°’*§»Bank of Melbourne As setbuilder the flexible line of credit for Home Owners You only pay interest on the money you use / Invest in property / Improve your home ./ Build your business / Invest in shares I Turn your home equity into a tax-efficient line of credit I Costs less than overdrafts or personal[...]credit from v $20,000 to $1 million or mor Bank of Melbourne cuts the cost of banking Head Office: 52 Collins Street. M[...] |
| [...]s Revisited Lloyd Hart continues his examination of completion guarantees y article in the last issue on completion gu arantees has spawned requests for more on the subject. I will now go over a number of things that can crop up in negotiating the terms of a completion guarantee under the headings: Approvals, Script, Stop Dates, Insurance and Letters of Credit. Approvals Among other things, the guarantor guar- antees the delivery items appearing in a distribution agreement will be delivered as required in that agreement. The pro- ducer must deliver to the distributor a film conforming to the blueprint of elements set out in the distribution agreement; that is, using the script described there, the budget, the schedule, the key cast and heads of depart- ments named. Typically, a distributor has the right to approve these key elements and their replacements. From a guarantor’s point of view two “What if?”s arise: What if, given the exi- gencies of production, the distributor has not approved key elements at the time the guarantor commits? What if the distributor does not or will not approve a replace- Generally, the guarantor’s answer to the former is not to accept lia- bility for elements undecided at the time it commits. Otherwise, the opinion of an interested party on artis- tic ability could decide delivery. For example, the distributor may want to approve the composer, who is some- times identified late in the day, or the music, which ordinarily is produced down the track. There are times when the guarantor accepts the risk of delayed approvals out of necessity. It is common on television series for many of the scripts not to be finished at the time of financing; yet the television licensee has script approval. Given the writers, other personnel, the bigger pool of artists and the format of the series, the producer, directors and licensees pretty well know what they will get, so the risk is minimal. On approval of replacements, most agreements require the distributors to merit? respond to proposals within a number of days or they are deemed to approve. The producer and distributor can agree beforehand on a list of persons any one of whom the distributor will accept. Usu- ally, the replacement must be of similar standing to the original. Can you find an Australian contemporary[...]ace Russell Crowe? There can be sticky situations in co- productions where the replacements must be a particular nationality to keep parity of contributions between co- production countries. There may be no one else of similar standing from that country available to do the role. If the producer ca.n’t find that replacement, the film ceases to be a co—production under the relevant treaty; ceases, therefore, ACCORDING TO THE STOP DATE ON THE COMPLETION GUARANTEE, YOU ONLY HAVE KONG FOR ANOTHER WEEK... COULD YOU USE THE §l/-‘IND-IN FOR THE FINAL CLIMACTIC EATTLE SCENE? to qualify for FFC[...]s when particular stars or directors are vital to the film and become ‘essential elements’. Who els[...]iability to pay Film Producers Indemnity (FPI) if the relevant person becomes unavailable through the things usually covered by FPI. For exam- ple, to[...]get sick, they become incapacitated or they die, the insurer pays up the loss to the backers; production is abandoned. If an essential[...]ir walking off or inca- pacity through addiction, the guarantor is responsible. Script As you would expect, a distributor wants the film to be made in accordance with the approved script. Apart from the minor on-the—floor changes to most scripts, there can be more dramatic changes for all sorts of legitimate rea- sons; the special effects won’t quite work as expected, the director recognizes a better way of doing something, some- thing else is seen not to be working (the pig won’t fly, the sequence it die). The producer undertakes to the guarantor to obtain prior approval of the guarantor and the distributor for any changes other than minor on-the—floor changes. Clearly, thematic changes, structural changes and changes to the nature of a character belong in this category. Another “What if?”: What if the pro- ducer does not seek or does not get the approval of the distributor as they make the film? Is the distributor bound to accept the film? This depends on the wording of the distribution agreement. If the script is so defined as to allow no departures at all, then that is what the producer must deliver. That can pres- sure the filmmakers, adversely affecting the film, particularly where there has been no time to obtain approvals. Where the distribution agreement uses a description like “based on the script”, there is more scope for changes. After all, the distributor will have approved the key filmmakers, which itself shows some confidence in their ability. Film Finances, Inc. usually guarantees the delivery of the film based on the script. To go further may require the guaran- tor to overtrain as a supervisor. Freque[...]ator decides on whether a film has been delivered in accordance with a distribution agree- ment, to avoid leaving the question in the hands of interested parties such as the distributor or the completion guar- antor. In a recent arbitration in England, the arbitrators said that the key was whether the film as delivered was made accord- ing to the script as defined in the distribution agreement, and found irrel- evant the industry practice which allows some scope for the producer to make changes. Frankly, this sucks. It is a more workable approach to ask what the parties to the distribution agreement intended, objec- tively de[...]bitrators will use a test like this. Stop Dates The guarantor’s ability to honour its obligations depends on having the cast available to finish the film. Frequently, actors are jug- gling commitments and, because of competing sched- ules, want to leave as soon as possible after the scheduled completion of their services. They, therefore, negotiate a “stop date” which, as the name suggests, stops the actor’s obligations to provide services to the film after that date. Because the producer may extend a schedule for reasons beyond[...]rol, a tight stop date can cause real uncertainty in production. The par- ties may negotiate and reschedule to accommodate the differing needs of all concerned as much as possible. As the one liable if an actor does not com- plete a performance, the guarantor needs to know about potential stop dates as soon as the actor proposes them. Insurance Mostly, the insurers and guarantors cover mutually-exclusive areas. There are times when the production company may suffer loss because the insurers are not liable. For instance, the fact ‘ that an actor does not disclose[...] |
| [...]MICROSOFT DEBUTS CINEMANIA '97he latest edition of Microsoft Cinemania '97 allows consumers to supplement their CD-ROM experiences by getting the latest information with the enhanced Internet integration Cinemania '97 includes links to the Internet for the latest movie information and celebrity guided tours for behind-the-scenes perspectives. The Cinemania Online Web site lhttp://cinemania.msn.com/I contains the latest movie reviews, entertain» ment news, vide[...]iographies and monthly download- able updates for the CD—ROM. It also includes access to the all- new Cinemania Connections — the guide to the best independent Web sites about movies and filmm[...], which must be acquired separately and for which the user may pay a separate fee. Free monthly updates[...]n earlierthis year to create a joint venture with the existing Warner Bros. Theatres operation in the United Kingdom and Germany. Village Roadshow's interest in the joint venture will be approximately 50 percent. The total amount of Village Roadshows initial investment in the venture is approximately A$I7O million. Warner Bros. currently operates 143 screens on 18 sites in the United Kingdom, and 26 screens within three locations in the Ruhr Valley of Germany. When completion occurs at the end of November 1996 those theatres will become owned and operated by the joint venture. Warner Bros. and Village Roadshow have long enjoyed a relationship in operating, thus far, 19 cinemas with 160 screens as well as other entertainment attractions in Australia. I I I I I I I I I I I I I I I I I I I I I I I I[...]CONTINUES FOR AUSTRALIAN FILM INDUSTRY Quantel, the company which has played a pivotal role in the evolution of graphics and effects in post—production, broadcast and film, is to sponsor the 1998 Australian Film Institute Awards. In its 38th year, the Awards are an annual event that recognises out- standing achievement in film and television, the equivalent to the BAI-TA Awards in Great Britain. In announcing the sponsorship on the tenth anniversary of Ouantel's Australian office in Frenchs Forest, Managing Director Haydn Deere commented: Ouantel has been in the picture business since 1975 when we launched the world's first frame- store synchroniser. Now, most recently with the launch of Domino, Ouantel has shown a continued investment in developing products that help creative people achieve excellence. It's our pleasure to support the AFI by sponsoring the Awards success in Australia over the years. AFI Awards Manager Lindsay Van Niekerk commented: By sponsoring the AFI Awards, Ouantel is showing its support for the many outstanding achievements over the past year in the Australian film and television industry. The AFI congratulates Ouantel on its tenth anniversary and looks fon/vard to a successful partnership in the 1996 AFI Awards. TAKING STOCK You'll have realised that we're in the middle of a production boom at the moment (count the titles in the ‘in production’ section of this issue), so it's a busy time for film stock sup- pliers. With Agfa out of the negative stock market here, Kodak has the lion's share of it. Richard Krohn reports that the company is handling 12 major productions, both local and for Japan and the US. To that, says Richard lhe's the PMI National Sales and Marketing Managerfor Australia and New Zealandl, add an increase in local television production and all the film schools who are finishing student productions. The labs and optical I I I I I I I I I I I I I I I I[...]I I I I I I I I I I MISSION: CRAWFORDS rawfords Australia went top secret For its promotional briefing by the Treasurer and Minister for Multimedia, the Honourable Alan Stockdale, and launch it its new[...]joint venture partners Sega and Compaq Computers Australia. The day was hosted by Crawford's owner, Bruce Cordon, who flew in from London For the day. The first two projects will be a muIti—path movie,[...]written and devised by Crawiiordls Brian Douglas. The second will be a television series designed for the Internet titled /1/[omzéea/n. The comedy adventure is set 50 years from now. The facility is being housed as a stancI—aIone section within Crawfords, and is looking to specialize in interactive entertainment programmes. houses al[...]ture Products Manager, reports Agfa has just done the two biggest local releases, Braveheartand Indepen[...]t on video sell—through and hire mid—November in Australia. U.S. pre-orders were over 21 million, beating the pre-orders that were set by the best-selling video of all time, The Lion King, Disney took nearly $US200 million at the box- ofiice for The Lion King. Want to bet there'll be a Toy Storyvideo in lots of Christmas stockings in Australia as well? Disney also announced a video release early next year of a frame—by~ frame restoration of Bambi for the 55th anniversary of the movie. The edition will have "never-before-seen footage" and a free commemorative booklet entitled The Magic of Bambi. YOU CAN LOOK DOWN NOW he other restorati[...]rly next year is Alfred Hitchcock's Vertigo, made in 1958. It opened the New York Film Festival in October and is in show- case around the country. Originally shot in colour in VistaVision, the colour faded film was restored, emulsion |ayer»b[...]es C. Katz, who rescued such classics as Lawrence of Arabia, Spartacus and My Fair Lady. They have a p[...]n to detail, even tracking down a paintchip from the Jaguar sports car that appears in the film, so that the original colour could be recreated. The release wouldn't have been so dramatic if it wasn't for the major discovery of tapes of Bernard Herrmann's original stereo recording of the score. which has been remixed and converted to a DTS digital sound- track. Fans of the James Stewart and Kim Novak classic can look forward to revisiting it in a new Super Vistavision 70mm print. BUSH TRACKING ON THE INFORMATION SUPERHIGHWAY he Indigenous Branch of the Australian Film Commission is currently visiting Indigenous communities around the country to generate interest in and promote discussion about new technology and multimedia developments. The 'Multimedia Show and Tell’ tour addresses the implications of new technology and multimedia for lndige» nous Australians, and looks at issues of copyright, cultural misappropriation and promotion of Indigenous culture. There are some 300 sites on the Web that focus on Indigenous Australians; only ar[...]by Indigenous people. This percentage is mirrored in the manufacture and production of CD ROMS about Indigenous Australia. Wal Saunders, Director of the Indigenous Branch, says: We are also concerned about the extensive archival holdings about Indigenous people and the risk of this material being appropriated in order to satisfy the increasing need for multimedia product. The world still hasn't worked out who owns culture. The copyright laws of this country do not recognise or support ownership of intellectual property, like stories, legends, arc[...]genous cultural practices. But we recognise that the new media also offers tremendous opportunities to promote Indigenous issues to the world and to encour- age kids within our c[...] |
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| 66 Sunday stated sentimentality of life and death in Australian rural F41 surroundings is delineated f[...]and Mayer describe Sun- day as: ._,/ e.- ' One of the key successes of the new Australian cinema [...] Sunday [...] clearly draws its strength from its real- ist observation of a small rural community of men with more interest in the tensions and difficulties and sol- idarity of their lives, than in the construction of a causally connected narrative.” Distributors for the film were finally won over by threats and flatte[...]rical release. Brealey recalled his meetings with the Australian distributors, Roadshow: We had to persuade the distributors to show this film. I said, “If you don’t show it, we have the funding to actu- ally register it in a cinema and show it for 6 months. And if we embarrass you, we are going to make the most of it. I don’t care ifl don’t get a cinema. I am[...]Whitlam on side and we’ll do that too.” So, in a way, we didn’t give them an alternative. Graham Burke [Roadshow] came to see the film and, as he came in, he said, “One of these days, one of these Aussie films is going to be successful and[...]” Matt Carroll, to whom it had fallen to steer the film through its most difficult production and po[...]periods, feels that it succeeded. Carroll defines the mood that the film creates through his enthusiasm for one scene: The election of the union representa- tive is one of the great scenes, and there are a number of great scenes in Aus- tralian movies, but it will remain a classic[...]ain. It gives you goose bumps; it’s so close to the bone of what were about. The international reaction to the film was favourable. Dingwall was sent copies of English reviews and registered the film’s reception from afar with a sense of pride: Sunday was the first [Australian] film to be in competition [sic] at Cannes. I read this review and I thought, “ esus it’s good.” Sunday was credited with opening up Australian films to the international market. They gave us a very good subtitle in France and it did very well. The film was not a major financial suc- cess, given the problems and lack of experience in releasing Australian films, but it did achieve respectable arthouse runs in the UK and Europe.“ Confi- dence was restored in the fledgling SAFC, and production seemed assured for some time. Sunday probably did at least as well at the box office as the earlier Wa/ee in Fright (1971), directed by noted Canadian Ted Kotcheff and produced with a far larger budget.“ For all the people involved in its pro- duction, Sunday Too Far Away was a steep learning curve, and the film can be viewed as a paradigm case for the meth- ods by which original Australian screenplays were to be developed over the following period of intense produc- tion. It seems simple enough in retrospect to see why the film succeeded, but at the time it was made the Australian industry lacked both a clear sense of direction, and a pool of experienced production people who had the confidence and the skill to realize such an ambitious project. The risks of failure were very high, and the industry was only too quick to turn on those who made serious errors in judgement. Gil Brealey’s career was to suffer irreparable damage as a result of the action he took to complete Sunday, and the personal cost to him was almost intolerable: It[...]rough a lot. I had been making films for 20 years in those days. The thing that destroyed me most was the way that I was treated [...] by everybody, even my closest friends in the film industry. I was the first pro- ducer to stand up for what I had to do[...]on a story by Colin Thiele, and other features at the SAFC, then moved to commercial television. He produced a range of quality television projects at Roadshow Coote (SC Carroll. John Dingwall continued as a writer of film and television, and his career was not markedly affected by the stories that circulated about the re-editing of the final cut of Sunday. However, the problems may well have reinforced Dingwall’s rep- utation for integrity in his writing, and he has since moved on to directing with Phobia (1990) and The Custodian (1993). The actors, many of them already rec- ognizable faces from Australian television shows and theatre, went on to appear in many films of the revival, and demon- strated their abilities on the big screen with an assurance which would have bee[...]e even ten years before. ® Sunday Too Far Away The South Australian Film Corporation. SUNDAY TOO FAR AWAY. © 1975 South Australian Film Corporation. Made with the assistance of the Australian Film Development Corporation. 35mm. 1[...]tt Carroll. Scriptwriter: John Dingwall. Director of photography: Geoff Burton. Camera operator: Graha[...], Peter Cummins (Arthur Black), Graeme Smith (Iim The Learner), Ken Weaver (Quinn), Lisa Peers (Sheila[...]n jamieson (Rousies)-, Curt Jansen (W entworth). The author thanks Professor Graeme Turner of the University of Queensland for his support with this study. 1 Phillip Adams, The Age, 19 November 1980, in Ina Bertrand, A Documentary History of Australian Film, NSW Univer- sity Press, Kensington, 1989. First Report of the SAFC, 1972, in Albert Moran, “A State Capitalist Business Ven- The South Corporation”, in Moran and Tom O’Re- Iv ture: Australian Film[...]ncy Press, Sydney, 19 85. 3 Bruce Molloy, Before the Interval, UQP, Brisbane, 1991, contains a useful account of the decline of Australian feature pro- ductionduring the leadup to World War II and the post-war period. Gil Brealey interviewed by Ian[...]erview, unless other- wise stated. First Report of the SAFC, 1972, in Moran, 1985. Peter Coleman, in Bertrand, p. 278. 7 Peter Coleman, The Bulletin, 4 August 1973, in Bertrand, “A Symphony for Busy Clapperboards”, p. 278. Scott Murray, “Australian Cinema in the 1970s and 19805”, in Scott Murray (ed.), Australian Cinema, Allen and[...]ls, “Sym- VI phony for Busy Clapperboards”, in Bertrand, p. 285. 10 Matt Carroll, interviewed[...]ss otherwise stated. 11 John Dingwall screenplay of Sunday Too FarAway, Heinemann Educational, Oak- l[...]otherwise stated. 13 John Dingwall, screenplay. The text which opens the film is "Friday night too tired, Saturday night t[...]Turner, National Fictions - Literature, film and the construction of Australian narrative, Allen 8: Unwin, Sydney, 198[...]op cit. 18 Noel King, “Sunday Too Far Away and the Born Again Cinema”, Framework 13, 1980. 19 Barry Jones, The Age, 7 June 1976, in Bertrand. 2” John Dingwall, 1972, Appendix 1,[...]ay, Sunday Too FarAway, p.12. 22 David Stratton, The Last New Wave: The Australian Film Revival, Angus 8c Robert- son, Sy[...]John Dingwall, 1972, Appendix 1, p. 26- 32. 24 The lines in question as they appear in the final film are: UGLY: What do you think? FOLEY: I don’t. All I know is, here I am again with the arse out of my pants. Go ask your mate, Black Arthur. Lulee[...]TV UK. On-air date: 7 April 1976. Hannam was one of five directors, another of whom was Peter Weir. Albert Moran described it as “a commercial miniseries but ahead of its time”. Moran, op cit, pp. 277-278. 25 Str[...]made, removing an entire sub—plot and reducing the running time to a little over ninety minutes.”[...]p. 169. 31 See David White, Australian Movies to the World: The International Success of Australian Films since 1970, Fontana and Cinema Papers,1984. A celebratory account of the film’s release, accompa- nying an equally celebratory documentary film of the same title (Gordon Glenn, Scott Murray, 1983). Wh[...]“I first became aware that there was something in Aus- tralia besides koala bears and kangaroos [in] the year of Sunday Too Far Away. I liked it quite a lot.” 32 This film, funded by NLT (Australia) and Group W (U.S.), premiered in the Offi- cial Selection at Cannes in 1971 and also attracted critical attention[...] |
| 68 Robinson g__ _ Eadie Plan, where so much out K’ J of the box—office receipts went P20 to the cinema, to the distribu- tor and the producer, you know. That’s what we wanted. And,[...]g to talk politicians into [recognizing] that was the answer to it. Nevertheless, at this point, Southern International’s shareholders were happy to invest in a further slate of three pic- tures. With the arrival of television promising additional opportunities, in May 1956 Rafferty and Robinson bought and refurbished the old Cine- sound studio in Bondi as a base for operations. Robinson had sold[...]at £ 15 a week. Work for Lowell Thomas and hire of facilities kept Southern Interna- tional afloat f[...]s career. However, costs were beginning to mount. In Dustin the Sim (1958), he and Rafferty returned to the Northern Territory for a story again featuring sta- tions and Aborigines. This time, they shot in colour with an imported English actress, but could not repeat the success of Walk into Paradise. Moreover, South- ern International’s final French co—productions, The Stowaway (1958) and The Restless and the Damned (1959), were budgeted at figures far greater than the company could afford. Hybrid productions, they failed critically and financially. The B—picture market in the U.S. was being rapidly eroded by television, while in Australia, in the absence of content regulations, televi- sion failed to provide the expected opportunities for independent produc- ti[...]n. As Robinson told Gra- ham Shirley: We got out of feature production com- pletely because there was a feeling there was no future in it. We came in at the wrong time, Chips and I. We were at our peak when television started in this country. If we’d been at our peak five years earlier, we’d have been consoli- dated by the time television came in. Nevertheless, it was television which was to lead to Lee Robinson’s greatest suc- cess. Following the collapse of Southern International, Robinson worked as a director and producer on a range of doc- umentary projects, and as production supervisor on the only Australian film released in 1966, They’re a Weird Mob, with English produce[...]teamed up with John McCallum, who had represented the Australian interests in They’re a Weird Mob, to become one of the principals of Fauna Films. By this time, local televi- sion production had managed to make the breakthrough to Australian audiences with the 1963 success of Crawfords’ police series Homicide. Producing fo[...]e. Once again, Robinson carefully thought through the commercial considerations involved in this new area of production. He travelled to North America, South[...]ips were not so readily under- taken — studying the television markets. In Los Angeles, Robinson recalls, he dis- covered that the producer of Flipper was getting out of production to concentrate on theme parks and was[...]was a relationship just with a single parent and the boys — better mateship availability. The series, of course, was S/zippy (1967- 69)9, the adventures of Matt Hammond and sons, assisted by the bush kangaroo. john McCallum and the other five part- ners scraped up the finance for a pilot. Each episode was to cost $18-20,000. Robinson, who had completely run out of money by this time, put in his labour: I wrote the pilot and directed the pilot and produced the pilot. We had to use a kangaroo from Kuringai Chase zoo, untrained, totally untrained. And it was a hell of a problem to get the kangaroo footage to make it work. Because you to persuade his six partners of the impli- cations of this for Fauna: I came back and they said, “Have you found out anything about the televi- sion.” I said, "Yep. Whatever we make has got to play at six o’clock at night. That’s where the hole is all around the world.” And they said, “Well, what’ll we do[...]dy made their own chil- dren’s stuff all around the world. It was the one American-type programme that everybody tolera[...]” It went through various stages. At one stage, the father had a wife and then I took the wife out because I know you just had to pick up footage of whatever you could of a kangaroo hopping about. Anyway, we put it together and went to a lot of trouble in the editing. And then the pilot was finished and we went and showed it to F[...]g others]. And that was very embarrassing because the projector broke down in his boardroom. We were looking at it. And I said, “Can we stop and fix the projector?” And Frank said, “No.” He said,[...]going on.” And after a while [laughing a bit], the sound went off but the pic- ture had come back on. And now it was going with no sound and I said, “Can we get the sound fixed?” And he said ferociously, “NO! I can see what’s going on.” So, at the end of it, I thought, “We’ve got Buckley’s chance here with old Frank.” I knew him well from Thethe contract was written that, so long as we kept mak[...]Aus- tralian television’s first major success. In its day, it was sold to more countries than any other television series in the world — the Americans couldn’t sell to the Soviet block. Today, S/zippy has sold to 126 different countries, often many times to the same country, and is still sold anew with each co[...]son believes that S/eippy’s success is a result of its honesty: It’s got qualities in it that you don’t see every day in other television things. If you read the Writer’s Bible that we, Joy Cavill and I, designed to give to writ- ers as a guideline, [it] laid out the code. Typical was: the police will always be our friend; there will neve[...]ip and consultation; and so on. Thirty points are in it. The Bible goes on: an element that must be in every episode is freedom of childhood; it always must express not only for children the free- dom of movement, but a memory for adults of what the freedom of child- hood was. There was a reminder about Skippy in the Bible. It was: always remember Skippy is a free, wild ani- mal. Skippy is not a pet of the Hammonds. And all through that series; Skippy cou[...]because it’s illegal to own a protected animal. In the new series, Skippy was their property. Wore a collar like a dog and, of course, the new series was less than successful; the whole concept we started outwith had completely gone. Skippy led to a feature spin-off, Thein Malaysia. Bailey’s Bird led to Robinson’s gro[...]ut ultimately unsuccessful Asian co- productions, the war dramas _,_,‘ Attack Force Z with Tai[...] |
| [...]phone: (02) 9954 1477 Facsimile : (02) 9954 1585Australia’s Leading Film & Television Insurance Specialists Film & Television is our business and we specialise in providing insurance for: - Film Producers Indemn[...]- Extra Expenses - Money books... ENCYCLOPEDIA OF ANIMATION * THE 16MM CAMERA BOOK THE TOOLS OF SCREENWRITING * SCREENI/YRITERS BIBLE HIT & RUN *[...]SCREEN scripts... CRASH "‘ MARS ATTACKS ’“THE CHAMBER LONE STAR * GHOST AND THE DARKNESS " SLEEPERS TITANIC * THE PEOPLE \-’S LARRY FLYNT *' LOLITA software...[...]MAGIC "‘ TURBO BUDGET " FILM PROFIT and more THE CINESTORE a writers & filmmakers bookshop 37 Li[...]ennings Chris Thrift Megan 0’Riley introducing Australia's first gallery dedicated exclusively to the art & science of motion pictures opening December 1996 75g and 0[...]ian & international set designers from Gone with the Wind to Shine lst floor, 43 Bourke Street, Melbourne (above The Cineslore) open Tues-Sun 69 |
| [...]er AFC Commissioner John McQuaid recalls that, at the 1978 Asian Film Festival in Sydney, Robinson was the only Australian to pick up the proposition that Asia might provide partnerships[...]e. Perhaps, once again, he had arrived too early. In any case, Australia was changing. The stylistic and aesthetic sensibilities which had g[...]throughout his long career were losing acceptance in an increasingly sophisticated milieu, and by the end of the ’80s he had retired from active production.In his day, Robinson was often per- ceived as a Holl[...]cer: charming, ruthless, insightful, doing things in lavish style. In fact, he was often short of money and laughs now at the naive deals which he believes pre- vented him fro[...]ces, Lee Robinson produced and/or directed dozens of doc- umentaries, 13 feature films and seven telev[...]a record which pro- vides some justification for the argument he made to Cecil Holmes. Today, governm[...]d cultural circumstances have somewhat alleviated the necessity to choose between making the film you really want to make first or fulfilling[...]o get their money back. But I now understand why, in Australia in the 19505, Robin- son couldn’t see his way clear to doing both. The project which was (and still is) close to Robinson’s heart is a five- reeler called The Brimrning Billabong.1° In brief, it concerns a young man from Arnhem Land who leaves his tribe to find the brimming billabong which pro- vides all the wonderful things he has heard about in tales of the outside world. He travels to a cattle station and[...]oorly and all they want is his labour; it’s not the brimming bill- abong. He goes to a mission statio[...]have to work. But, just as he thinks he’s found the brimming billabong, he discovers they want him to[...]es. (“See, they want his brain and not his body in this place.”) So he goes on fur- ther, to an outback police station to work as a tracker. One day, the police- man arrests a fellow for spearing cattle. But when the young man talks it over with the prisoner, he can’t explain why a man should be[...]has provided his peo- ple with game for hundreds of years and he lets the prisoner out. Finally, unable to find a brimming[...]i_, c.-- It’s a curiously reverberant tale for the Australian film industry. In the 195 0s and ’60s, many Australian actors and filmmakers left the country to search for the Briinming Billabong. Some, like Rod Taylor, thoug[...]rned, eventually. Lee Robinson chose to stay with the tribe, where the work of mak- ing something out of what we had and who we were Was, in itself, the only reward a filmmaker could usually achieve. ® 1 Filrnnews, October 1971. 1 David Stratton, The Avocado Plantation, Sydney 1990, p.236. 3 This matter has been discussed in a very interesting way by Bill Routt in his essay, “On the Expression of Colonialism in Early Australian Films — Charles Chauvel and Naive Cinema”, in Albert Moran 56 Tom O’Regan (eds), An Australian Film Reader, Sydney, 1985. 4 Not released in Australia until 1953. 5 Made in 1982. Unreleased theatrically in Australia, but released in the UK as The Highest Honour: A True Story in 1984. 6 Eureka Stockade was shot in 1947; dates of first release are used for all films 1nen— tioned in this article. Cecil Holmes directed sponsored do[...]o features, Captain Thunderbolt (1953) and Three in One (1957). For Film Australia he also directed Gentle Strangers (1972), origi- nally 75 minutes, but cut to an hour by Film Australia to remove controversial material. 8 Cavill’s feature credits include: The Stow- away (1955), associate producer, co-writer; Dust in the Sun (1958), asso- ciate producer, co—writer; The Restless and The Damned (1959), associate pro- ducer; The Intruders (1969), co-producer; Nickel Queen (197[...]n.’ (1979), writer, producer. As is invariably the case various princi- pals involved in a successful project tend to claim credit later for its origin. The Sydney Morning Herald (14 March 1996) reports John McCallum as saying that he decided to stay in Australia in 1967 because he’d “just thought of a good idea”, the television series S/zippy. Given Robinson’s re[...]lso. 10 This script appears to be a re—working of a more unstructured and very much less pointed novelette by Bill Harney, the famous bushman storyteller with whom Lee worked on occasion in the Northern Territory. Entitled Brirnming Billabongs, it was written as the protagonist’s first- person true account by Harney, ‘On Patrol’ (as he signs the introduction), in 1945 and published in 1947. Apparently, Harry Watt attempted unsuccessfully to interest Ealing in producing the film for Robinson. shorts world is a fabric of character- specific images, like the dark I348 abyss of this local fibro night and collective images, like the glossy- calved coutured club babes, that ghost Ro[...]lk Hindley Street mall. Cliff lived with Jean for the last years of his life, not with his wife, Rosie’s mum, whose[...]her return to Adelaide. Millard: There’s lots of questions they have of each other. They both know about dif- ferent bits of Cliff’s life, so I thought dramatically that of[...]pens Rosie up, for one thing. Millard is drawn to the silences, the gaps, and, conversely, the desperate need for characters to talk, if about l[...]e details that fire her to say so much about life in her creative work. Of Jean, she says: There are quite bold colours and[...]ated with Jean. Jean’s kitchen was yellow; lots of conflicting patterns. She is not particularly con[...]ipt editor Keith Thompson through all five drafts of the script. Throughout our conversation, Millard spoke in musical terms about scriptwriting, using words like coun- terpoint and orchestration to evidence her love of music, her excitement at using different artistic languages and the vital working relationship she has with composer[...]ollaboration is primary for Millard. She parlayed the immediate, positive responses to her script from[...]struc- tured script and I was unwilling to let go of anything during production. I felt I would be ope[...]s. Performers Cate Blanchett and Tony Martin are the leads, working with dif- ferent textures in the script of voice—over and dialogue: I think different themes demand dif- ferent kinds of storytelling, and one of the really interesting things was explor- ing some of the contradictions of lived experience. Take flowers. Old roses defin[...]coloured glasses? And as for that flower that has the perfume of rotting meat to attract its pollinator, put a par[...]owers”, says Millard. I know what she means. 1 The ’60s scenes were shot on reversal film stock and processed as negative. legalease drug to the insurer’s medical advisers may vitiate the FPI on P62 that actor. The guarantor will not take responsibility for this,[...]n insurance matter. ’—r_-., c_-- ' Letters of Credit A distributor may pay its advance under a letter of credit it has procured from a bank. In the meantime, the producer may have discounted the letter of credit to fund or part—fund the production. On the bank’s paying under the letter of credit, the producer can repay the discounted funds and interest. The bank pays when presented with particular bits of paper in a prescribed form, usually laboratory let- ters where the laboratory acknowledges that it holds the relevant film material, including duplicating material for the film, and a guarantor’s certificate that the film has been delivered. From the viewpoint of the producer and the guarantor, satisfying the require- ments of the letter of credit is more hazardous than the innocent might sup- pose, because the bits of paper triggering the payment must be in the exact form prescribed. The purpose of this require- ment is to remove doubt, not to cau[...]ncidental result. Sometimes, it may be better for the successful distribution of the film to change some of the delivery items in the light of more information and changing technology. But, given the strict requirements of the letter of credit, the bank may not be obliged to pay if the producer makes changes. The banks often insist on a tight expiry date or early performance dates of the various letters triggering the letter of credit, so that a ‘mistake’ cannot be righted[...]tors negotiate to have a right to make changes to the triggering documents, have disinterested parties[...]dictate delivery dates, a common one being to get the film to the Cannes Film Festival. Conclusion I have necessa[...]imes things go smoothly. Offhand, I can’t think of an Australian feature film or television series that has been aban- doned, a word that bites deep into the psyche of our species. ® I ’ I HART 5 SPIRA For any[...]ase contact: Hart 6“ Spira, 2/88 George Street, The Rocks, Sydney NSW 2000. Tel: (02) 9247 500[...] |
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| [...]Me 74 Documentary Television Series Declslons The W911 73 Doing Time for Patsy Cline 74 | Changing[...]Skippy 78 99_9 Raw PM 73 ; Oscar and Lucinda 76 The Date 77 - 20,000 Leagues Under the Sea 78 Fable 7 3 - Features in Pre-production I Paws 7 6 . Otherzone 77 The Adventures of the Balanced D€3d Letter Office 73 Siam Sunset 76 Purgatory 77 Particle Freeway 73 Sound ofin Post-production - Television Production - Barry Humphries’ Flashbacks 73 . The AIIVC TfIl'>C 73 Blackmck 7 6 Kangaroo Palace 78 The Dream Factory 73 The Big Red 73 My Blessings 7 6 3_4 Ever 78 I Black IE6 74 Scream 7 6 Spellbinder II: The Land of the I Dark WY 74 i Tl'lal1l( God He Met Lizzie 7 6 i[...]ions Following a Board meeting on 28 August, the FFC has entered into contract negot- iations witli the producers of ustralian soap opera is a heated Acrucible where the ordinary and obscure are rapidly and unexpectedly rocketed to a level of fame that people in other walks of life take decades to Yielefeatit,/‘ed FABLE ([...]Producer roduction CLINE 0 DIANA & ME Fm [urea in ID/‘09l,LC[L.0I1 THE ALIVE TRIBE Budget. $17,000 PRINCIPAL CREDITS D[...]. _ V I D Director Associate producers. LAWRENEE the followmg prmects; achieve. The Dream Factoryis the . A current affairs host becomes SW S _ _ SNBENST[...]y ofthe addictive lure offame and : obsessed with the supernatural Cnptwmer Smptwmey. STEPHEN ANNS the immense influence and power of afterthe death of his family. C Cast DIOIP: BARREL STOKES Teleferzture soap opera. Via the intimate lives of PC Principal Cast Pmdumon manager, MYRLENE BARR :::::Ei:r:::(::esr:nguéhgggzlggentary THE ADVENTURES OF \VSDEV?,t?Iy Editor Camera operator: STEVE WELSH ' riter- re t r A ’ d ;M G 9&9 RAW FM will examine the pressures, THE BALANCED PARTICLE DIST D- tr]: : O Ssmapvi Hicmr[...]; M|CHAE|_ CARSON professional and personal costs of PS ZELD R E M "W ‘Z3/1”: to a mama format QTO[...]ml AUL MONEY Qifferen/format. MICHAEL BRINDLEY At the July Board H-leetlngl Writer: CAROLE WiLi<iNsoN _[...]rashlands into a children's cubby house and needs the help of the children to reaponarfzi/zly for f/Jc accuracy ofTHE WELL AMY Mm" [ to cuffed W/mt /Md Pmducmm. N3/9_9[...]o be a week—|ong /7 . narrow/Cast dance paw for the kids of (95,100 NNNS) Dmmr. NAM TASS zzlrewy been dupplwa. PRINCIPAL CREDITS Melbourne. The graffiti gang, the Vietnamese kids, the party girls, the skateboarders, the headbangers and the clubbers are all drawn to RAW FM. It's chaotic, a[...]ANG P: SANDRA LEW Writer: DAVID PARKER he story of an eight—year—oId girl who can hear only musi[...]MAS - ' [6 . . 9 . Dacgr/ngnta/ty _ _ _ Based on the novel’ THE DEAp HEART av T6‘ VMLO/’Z P/'0 LlCl’£0/1 I[...]9 ' : Dacu/nanny BARRY HUMPHRIES, and adyudged as of Director of photography. MIKE MOLLOY _ 1 September 1996 Editor: MARTIN WALSH The Commercial Television _ Production designer: OWEN PATTERSON THE DREAM FACTORY P d ti F d h Director" DAVID MITCHE[...]_ as Producer JOHN McLEAN P,«e~’0,.03[w[£'0n THE SAMUEL GoLowvN COMPANY, approved funding of a new Distributor‘ SEVEN NETWURK _ FFC Interna[...]I I I I I I I I I I I I I I I I I I I I I I I I THE SAMUEL GOLDWYN COMPANY I I I I D3: ANDREW SAW, Um, GANDINEN from the Children's Drama n irreverent look atthe past four I DEAD LETTER OFFICE he story of Teddy, a streetvvise New PS3 ANDREW SAW‘ Lizzy GARDNER Initiative and the Fundrs first decades OI Australian IIISIOFY : P[...]JOHN Miiggyy HHUNDA MABEY _ an original slant on the events and I PIOGUCIIOIII 20/I*7/3/97 depth Down[...]A PAPERS 0 DECEMBER I998 FREECALL 1 800 675 168 THE NEW HHB DAT TAPE THE BEST GETS EVEN BETTER 73 |
| [...]by Detective Andy Riddle to hand out his Own form of rough justice. Vaughn begins working for criminal[...]ENCE AND COLIN FRIELS.ohn Murdoch awakens alone in a strange hotel room, accused of a series of brutal murders that he cannot remember. Indeed, most of his memories have vanished altogether. He soon discovers that his memories and reality as he knows it are in fact artificial creations controlled by a fiendish underworld of ominous beings collectively known as The Strangers. I I I I I I I I I I I I I I I I I I I[...]OLL FILMS Production: 28/9 — I6/I I/96 Finance: AUSTRALIA FILM FINANCE CORPORATION, NSW FILM OFFICE, VILLAG[...]TE, DOMINIC WEST romantic Comedy, Diana & Me is the story of a young Australian woman who shares the same name and birthday as the Princess ofWa|es. Obsessed with her royal namesak[...]ion accountant, \KEVIN PLUMMER Insurer: H.W. WOOD AUSTRALIA P/L Completion guarantor: FILM FINANCES Legal ser[...]parents he begins an hilarious adventure through the City's mean Streets and to the halls of government, finding a new bestfriend and justice along the way. O)» g‘p:1:1$1¢—1 ASC AUDIO SOUND CENTRE 74 FREECALL 1 800 675 168 THE NEW HHB DAT TAPE THE BEST GETS EVEN BETTER CINEMA PAPERS 0 DECEMBER 1995 |
| [...]JONES Government Agency Investment: FFCased on the novel by Peter Carey, a story aboutfate, love, ga[...]FOLD— RUSSELL Screenplay: HARRY CRIPPS Based on the novel: CHANCE INOF ONE HAND CLAPPING Production company: ARTIST SER[...]ERINE KNAPMAN Scriptwriter: NICK ENRIGHT Based on the play by Nick Enright Director Of photography: MARTIN MCGRATH Sound recordist: GUNT[...]duction runner: ALICE LANAGAN Insurer: H. W. WOOD AUSTRALIA PTY LTD Completion guarantor: FILM FINANCES INC L[...]nage Surf club party, Blackrock turns into a town of hatred, shame and distrust. For 17- year-old Jared, the event tears him between loyalty and truth. When o[...]N (As HIMSELF). diary film, chronicling Six days in the life ofa woman in her early 30s. SCREAM Production company: THE FILM FACTORY Production: DECEMBER 1996. PRINCIP[...]H GOYET. young man is arrested afterthe hold-up of a liquor store. During psychiatric examination, the young man regresses to Egypt 4,000 years ago as a mummified body. The psychiatrist learns that there has been a trail of killings of anyone who disturbs the mummy. THANK GOD HE MET LIZZIE Production company: STAMEN FILMS Distribution companies: REP (AUSTRALIA); BECKER GROUP (INTERNATIONAL) Budget; $2.25 MIL[...]AROL HUGHES Scriptwriter: ALEXANDRA LONG Director of photography: KATHRYN MILLISS Sound recordist: STE[...]I I I I I I I I I I I I I I I : CAMERA COOKS A THE NEW HHB DAT TAPE THE BEST GETS EVEN BETTER FREECALI. 1 800 675[...] |
| [...]or: large nuclear power company, BAFE, has moved in and dispossessed the Animation: DAVID COX Laboratory: CINEVEX Executive producer: KEN HAWKINS Director of photography: HELEN CARTER Make—Up: SAMANTHA PA[...]A FIUI3ENsTEiN Film gauge: 35MM entire population of the town. Irene An depanmem [unnerz gm PNKWORTH Techn[...]EVELOPMENT Catering. DEBBIE RosE Development live the rest of her life in total Isolation, a citizen of a ghost town. She is left for dead, waiting to meet her maker. The company keeps her existence under wraps. Winesap, a disillusioned BAFE employee, visits Irene with the intention of exposing this human rights violation. While he is at lrene's home the monthly grocery service supplied by BAFE is deliv[...]researcher, has caughtouy, Shooting stock: KODAK AUsTRALiA Camera assistant: DARRYL WOOD T."|xe_ j:sD%U:ADCM[/fig: d9V9'0_PF-‘d the Ame”) 3C3"fi 3 gammy De; MNCHELL MK tr’ ARE, IN ' 95: device which enables human souls to GOVERNM[...]JACK), NICOLE NABDUT murder by Nam Meloque, head of the global telecommunications monopoly, Machines All[...]PURGATORY Production company: VICTORIAN COLLEGE OF THE ARTs, SCHOOL OF FILM & TV PRINCIPAL CREDITS Director: ROBERT LUKE[...]Life Park St Botanic Gardens near Alice Springs. The film follows the evolution of Central Sound recordist: FINTON MAHDNV Editor: G[...]or: DAVID Cox SEE PREVIOUS ISSUES FOR DETAILS ON THE FOLLOWING A t lia from the be ' ' ft‘me : » : : - T-Ttstl Ta gmmngs[...]CIDT. ALEX LECKIE Scriptleditor. EMMA BALAZS on I recent istory. Smptwmer DAVID COX Costume designer: ZOE[...]RIS Shooting schedule by:RoeERT LUKETIC, Director of photography. PAUL R. COX K c Shara PLANNING AND D[...]Composer: OLLIE OLSEN PRODUCTION CREW RED HERRING THE D PLANNING AND DEVELOPMENT - PRDDT-Two" CHEW Prod[...]i/cg Relezzae SEE PREVIOUS ISSUES FOR DETAILS ON THE FOLLOWING: JAGUDA. ERNIE SCHWARTZ 2 d ' t td’[...]VERSCHURE CaT"T”' W‘ AT‘“'TTTX IFORMERLY THE STORY OF CIA.) T T T L993‘ SEWICSS? SHANA LEVINE ' T/' >[...]andby props. SACHA EDMUND LEVINE ONSET CREW UNDER THE LIGHTHOUSE C°mTmETs' HANE HORNTDN’ Gaffer: JIM[...]nuity: TARA FERRIER Boom operator: CHRIA COLTMAN THE NEW HHB DAT TAPE Choreographer: SIMON VOWLES Add[...]LPAN Still photography: JOHN PIcciRiLLO Catering. THE BENEDYKT CAFE~ST KILDA ART DEPARTMENT Art direct[...]. Irene Harris, an Old aboriginal Woman, resides in a small town in rural NSW that is cast in the shadow of a monolithic nuclear power station. A DIGITAL AR[...]SEAN CADDV I : I l I : I : I I I I : : I I : : : THE INNER SANCTUARY I I I I : I D)» 3jj111$1$3: THE BEST GETS EVEN BETTER FREECALL 1 I300 675[...] |
| [...]BELL KANGAR00 PALACE Frances find they have a lot in I Km N05‘-E IaIIu,aII,III_, CINEVEX Mixed at: S[...]nd; Doi_3y STEREO I powers and shared adventures, in an ULEMAN. ETEH AWLEFI. NTH N . I _ Id Ib _ BEYON[...]S. ’‘”E“"“' “APresale: NINE NETwORK AUSTRALIA Laboratow: CiNEvEx FILM LABORATORIES Director: R[...]cutive producers: ANDREW KNIGHT, SPELLBINDER “I THE LAND _ D~0-P- CRAIG BARPEN CAST Grader: IAN LETCHER STEVE VizARD, REREccA GIDNEV OF THE DRAGON LORD Edllolsi PETE“ CARRODUSI STEPIIEN E[...]. Scriptwriters: ANDREW KNIGHT, DEE COX Director of photography: KIM BATTERHAM Sound recordist JOHN M[...]ID TECHNOLOGY (SERIES) Production company: FILM AUSTRALIA Network presale: NINE Production: 5/9fi—3/97[...]innis comes from a dubious family background and the fact he's a former cop Only makes matters worse. It's hard to tell thethe Bad Guys any more. But then Publicity; MAVERICK M[...]riptwriters: MARK SHIRREES, JOHN THOMSON Director of photography: DANNY BATTERHAM Production designer:[...]NE Francine Pickles plots to break Titia na's “ the mId‘I9505 f0UI AU5V3II3”5 CAST mam” manage;[...]EFF OWEN SpI|’It' no one COIIIII have predmed the leave the country oftheir birth forthe HEATHER MITCHELL Um[...]It's amazing WIIaIaImIefaI1II home ofThe Beatles, the Rolling hI|dren's fantasy adventure IIIIII ESSISW[...]GROSS Executive producers: SANDRA GROSS, Stones, the fashion industry, the pill series. and all-night clubs. In London, they inTHE TERRITORIANS CAMERA CREW MALcOLM MCGODKIN Product[...]Y BIIIIQEII S31 MILLION B83, IIIIII; ANDREW MOORE THE SEA DDP3 BEN Non Pre-production: 3/6/95 KIDS 3r[...]s who just don't always understand. And when both of you are from differentgalaxies, you can sometimes[...]He is a typical Australian boy - more interested in surfing and hanging out than in girls. Togetherthey will save their planets from[...], JEFFREY HAYES Screenplay: BRIAN NELSON BASED DN THE NOVEL BY JULES VERNE_ CAsT MICHAEL CAINE, PATRICK DEMPSEV, MIA SARA, BRYAN BRowN. n 20,000 Leagues Under the Sea, a lyoung scientist, haunted by his overbearing father, sets sail with an American frigate in Search of a monster terrorizing the high seas. But after the ship is attacked, Arronax learns the menace is in fact an astounding man- made Vessel called The Nautilus, a ship of untold power guided by the brilliant, Wardrobe: Mici-IELE MURRAY Set constr[...]S (0VERoN), ANDREW BUCHANAN (BEN). he film tells the story of an innocent Australian businessman, Dveron, who is committed to life imprisonment in a South American prison, and Ben, who after a fiv[...]n, is finally released. Their lives are summed up in the on- going checkers game the pair played during their internment — your move[...]VIOUS ISSUES FDR DETAILS DNI BOY destruction and in the process discover AI1 difeciflli BERNIE WVNACK en[...]ND DISTRIDUTIDN Standby wardrobe: NARELLE JOHNSON THE WAYNE MANIFESTO .3» THE NEW HHB DAT TAPE "---‘V.---Z THE BEST GETS EVEN BETTER FREECALL 1 800 675[...] |
| [...]n I II 0 TH E CRITI CS FIND HEAVENLY PIE/ICE IN KANSAS CII-ITY. THE HIATS RANK,‘SECOND'-,_‘ _ 1 V . Beautiful Th[...]_ 7 1 I I I 6 _ EDWARD ZWICK I I I l I Dating The Enemy I _ I 5 I 3 I 5 I 5 I _ I 6 .; MEGAN SIMPSO[...]I _ 4 I 6 I 4 I 3 I _ ]oHN CARPENTER I I I I I I The First Wives Club I 7 I 8 I 8 I _ > _ 2 I 8 _ HUGH[...]AW I I I I I I l I I l f—““”““‘ I l The Gate of Heavenly Peace I I 8 I I 8 _ I _ I 6 I 8 9 RICHAR[...]4 I 7 _ ANGELA POPE I I I I . I I I l I l l I I I The Hunchback of Notre Dame I 8 I _ I I _ 7 I 4 I 7 _ I 7 GARY TRO[...]1 DANNY DE Vrro I I I I I I I I I _ I I I I I | I The M1ni—Sl<1rted Dynamo I I 3 I 8 I 6 _ _ I 9 I 4 I _ RJVKA H,iRT;\r_-IN I l I V I I I II I I Moll Flanders I I 6 I I 2 I[...]5 4 — I 2 HAROLD RAMIS l I l I 1 l I ‘I . I The Nutty Professor I I _ I _ I 2 I 6 6 I 6 I 7 I 7 TOM SHADYAC I '7 I I II I _ I I I I The Phantom I I 7 I I 3 I 5 1 I I 5 I SIMON WINCER I I I I I I I I I he - I- o * I Rats in the Ranks I I 8 I I 6 I I _ I 7 I 9 I B03 CONNOLLY, R[...]I NB: "flihil obstat: |Lat., ‘nothing stands In the way'] Wordsappearing on the tite page or elsewhere in the preliminary pages I ..] indicating that it has been approved as free of doctrinal or moral error" A panel a/IIzrI/[...] |
| [...]RKS _ Striptease Halifax FP Nutty Professor Law Of the Land The Cable Guy 3l”Q3P0T9 Sling Mission Impossible Fr[...]08' Colombo Brilliant Lies Spellblnder k Children of the Matloc R9V0lUtl0H Cracker Lillian’s Story Conspiracy Jack Beaurepairs TVCsMa‘l'da The best in digital editing A °°”“”V courage under F[...]oubtfire Better Homes & G d ii A.C.N,0U295BB63 The Cosby Hote| Sorrento (03) 9558 9377 (02)[...] |
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| [...]rd Lowenstein replies: in the other categories as well (Best Film and Best For[...]The focus of my mention of the cinematographers' Documentary, among others[...]panel this year to select (or not select, as the case with the ACS or the members of a panel (it is their only was the DOP but was the camera operator. may be) die four top films in their section misses "opinion", after all), my criticism is with the jury Sokol's credit was for "Additional Photo[...]the point of my intended criticism. M y gripe has system itself. A system Where such a small panel (not even one of Jones' categories). nothing to do with the films I favoured; that is only has to speak for the whole industry is fraught with To set the record straight, the DOPs who were[...]-convicted criminal will actually responsible for the Australian features[...]I One really must have one's head in the sand to tell you). It was a system that was brought in mentioned by Jones are footnoted below.[...]miss the quite public and widespread criticism during the turbulent days of the 10BA funding A t the end of her letter, Jones writes: NEWS, VIEWS, AND[...]40 films were being made \ And, by the way, I was interested to read[...] |
| [...]be in ch arg e o f m y p u b licity c a m p a ig n . It[...]is th e personal, caring, hands-o n typ e of[...]and be confident that the job w ill be done[...] |
| [...]I Please list issue Nos required: Total no. of issues Total Cost $[...]rseas orders should be accompanied by Bank Drafts in Australian Dollars only. Name ................[...]in Enclosed is my cheque fo r $ ...................[...]ng Limited and mailed to P0 Box 2221 Fitzroy MDC Australia 3065. All overseas orders should be accompanied by Bank Drafts in Australian Dollars Only. Please allow 4-6[...] |
| [...]re - film, video, multimedia a vision of the past, present and future an arthouse for the 21st centurycinemedia[...] |
| [...]IC ACTIVITY AND OTHER Peter Jackson's The Frighteners.[...]D I S A S T E R S , T H E P R O D U C T I O N O F THE[...]C a m p e r d o w n S t u d i o s . H o u s e d in t h e LARGEST OF TWO BUILDINGS WERE PETER[...]M ic h a e l J . F o x was b o d y -sl a m m in g HIM SELF INTO. A W AREHOUSE UP THE[...]The N e w York Trues a n n o u n c e d[...]J a c k so n as w ritin g a n d d ir ec t in g[...]How did The Frighteners begin?[...]a simple, novel twist to the ghost story. We were, at that time, interested in the idea of writing a cou ple of scripts a year for Hollywood - spec scripts,[...]not for me to direct. They'd just be a bit of work we could do in-between movies.[...]page outline which we sent to our agent in[...]ideas for a series of Tales from the Crypt movies -[...]. The plan was that the guys who developed the Tales from the Crypt show - Zemeckis, Richard Donner,[...]developed the first draft. We were writing it think[...]Eventually, when he got the first draft, he called up and asked me if I'd ever thought of directing it? It was actually the first time I'd ever thought R Q FILM TH[...] |
| about it, which was kind of weird since we'd writ "AT THIS STAGE,[...]various other things into the script. The wish ten the script. I HAVE N O TH IN G BUT to get the computer was a definite factor, rather[...]than the dramatic reason, really. So, I said, "Yes I'[...]make GOOD THINGS TO it, how about doing it in New Zealand?" He said, SAY ABOUT W ORKING[...]We just got one computer, and the various " Okay, if you can make it look like m[...]ital effects and back to Zealand taking photos of small towns and sending MAINLY BECAUSE[...]Heavenly Creatures, we figured do it, and then the whole thing came together rel THEY HAVEN'T[...]out how to do it. George Port was the only guy atively quickly. Fran and I wrote mor[...]We had this big package of about $1,000,000 Creatures through its final stages of post and into WITH IT, W HICH HAS of machinery from the States. It came in a big festivals.[...]cardboard box with one page of xeroxed[...]instructions [big laugh]. After the stuff arrived, So, last year was taken up wi[...]t took four to five months before we got a sin The Frighteners to the stage where, this year, we ing if we'd had[...]anything. It's quite inex worked. A lot of experimenting and testing[...]pensive but there was none of that gear in this went on. Was Heavenly Creatures a test for the computer part of the world. Computer technology is so new in terms of[...]film that the sky's the limit. It's as much as your animation when you wrote the script? So, we deliberately wrote some sequences in Heav imagination can encompass. Init[...]morphing. Everyone thought, "Wow, you can Yes, in a way it was. It was actually an excuse to buy[...]morph!" It's settling down now and people are the gear.[...]different applications.1 Around the time we were writing Heavenly Crea tures, I wan[...]We're testing our limits in terms of the sheer around about how amazing the dinosaurs were. I number of shots that we've got. The bread-and-[...]We usually have actors playing the ghosts; not[...]screens and then they're composited into the[...]What is the special ghost effect that you're[...]and so were very interested in seeing it. Ours[...]is similar in that sense that they're transpar[...]ent and have a bluey glow. The main difference[...]The story is very much the relationship between /[...]the guy that Michael Fox plays [Frank Bannis[...]ter] and a series of ghosts. We never thought[...]of doing it any other way than using actors and[...]treat the ghosts in our story like a special effect.[...]actors, only some of the characters in the scenes are[...]bunch of guys together. It's a classic Roger Rabbit[...]scenario in a way.[...]half the movie acting to nothing, in a room, getting[...]put in later. So, it's been an arduous shoot in that[...]sense. Every shot of that type is very time-con[...]Michael, and sometimes months later the blue[...]43:1 at the moment. T hat's the overall ratio[...]throughout the movie. My other movies have been[...]15:1. This is the one movie where I've never had to[...]worry about running out of film stock. Other[...]the ratio, but this one has a budget where fil[...] |
| You've said the Blubberhead project is still very good creative executive from the studio, has ever happened. Usually t[...]because, if they finance a film, then, in a year's time, hanging around. Is this a test ru[...]come up with some good ideas for that's the film they want to see. But the folks at Uni the script. Fran and I have re-written the script all versal have been really pleased b[...]s more mainstream - a good, logical pro the way through the shoot, which is the way we like seen that we've been improving[...]hey say, gression to get my hands on that sort of budget to work. We see the rushes and see how the film "Great. If you want to change this, okay." So that if I should want it in the future. The one thing is developing and we then re-writ[...]rting new pages. We just try feedback on the rushes. They get the rushes on video movies in the future. They're very different ani to keep ahead of ourselves and keep improving it and they've been happy all the time. They've never mals. The big-budget films like this with a long all the time. signalled any problems with the rushes to me. shoot is one type of experience. They're equally[...]le. This is enjoyable because ultimately The guys at Universal say this is the first time this alone to make the film that I want to make. I don't you're striv[...]in any way at all. I've had total freedom. get mo[...]r work?You've still managed to keep your hand in with low-budget films like Jack Brown Genius.[...]g. We shot that just before we started work on The Frighteners. Shooting 30 set-ups a day with a small crew: that was great. I certainly love being in the middle of all this [The Frighteners], but the concept of doing a little film with a small crew has its appeal. Has the relationship with Universal been good? Yes,[...]look at them. That's the sort of deal I like because[...]I'm interested in scripts. I'm still not enthusiastic[...]You've talked about the genesis of the film, but[...]were the studios nervous in dealing with you?[...]apparent to me. Bob [Zemeckis] saw the script and[...]liked it before the studio ever knew anything about[...]it. Bob had a development deal with Universal. In[...]other words, the studio didn't even know the pro[...]with it. I'm sure the studio reaction to the project[...]this and I want to make this film in New Zealand."[...]I don't have final cut on the film, but I knew that[...]going in. Bob's got final cut, so I have no qualms[...]about that. The guy's made some great movies, so[...]I'm quite happy for him to have that sort of control.[...]Bob's been very definite all the way through that[...]I should make the sort of film I want to make. He[...]wants me to make this because of my previous[...]him or the studio, to intrude on that. Otherwise, it's[...]with suggestions of scheduling and budgets, and the[...]nuts and bolts of getting the film made. He's never[...]No, I haven't. I'm very much shooting in the style[...]I've shot my other films, although this has the[...]encumbrance of motion-control cameras. If you're CINEM[...] |
| Frank Bannister and Luc Lynskey (Trim Alvarado) The Frighteneps not careful, you get nailed down a little bit by the nation of straight drama and comedy. We came up copies anywhere in the world, which is just great. So technology. The film has been as much a battle with names of various comic performers because we who cares if someone puts out the R-rated version? against being controlled by the motion control as it could see that this c[...]has been about just being able to let rip with the style funny lines and does some funny stuff -[...]Heavenly Creatures is fine. We supervised a cut of that I'm used to.[...]shorter than the New Zealand version. We did It's not a straight[...]When you start thinking in those terms, it's hard about 3 to 4 versions after it was released in New to think of actors. There are not that many that Zeal[...]being a straight actor - had final cut on the film in the States, so Fran and psychological black comedy[...]has a I tightened it. We actually prefer the American ver horrific stuff in it - some monsters and some really nice comic timing, comic sensibility - who sion to the New Zealand one now. psychos. It's sort of a weird one. Michael J. Fox can play that kind of straight comedy, like the Lionel describes it as Truffaut meets The Mask [Charles r |
| [...]L jee ee rR t o ot ii n s o n is a unique figure in Aus[...]and producer of a stream of commercially-successful[...]series, and now in his retirement still deals with the[...]ongoing business of his worldwide sales.[...]In the early '70s when the film community was[...]polarized around the `Art vs Industry' argument, Lee[...]in the camp of commerce. He recalls " a school of[...]thought" in that period which did not understand[...]that "the main tool of picture-making is money" and[...]establishing the new government-funded film indus[...]employee Albie Thoms observed in 19711, they com[...]Robinson -- which was absurd. Robinson was one of[...]a handful of filmmakers whose abilities had enabled[...]them to survive in the difficult days before govern[...]ment support, in the days when most others went[...]to the wall. 1958 is a case in point: in that year,[...]Graham S hirley (in Augudt 1976) and m yd elf (O ctober 1995).[...]Graham and I are memberd o f the Filmmakerd' Oral Hidtory[...]to interviewd can be obtained through the oral hidtory officer o f the[...]N ational Film e3 Sound Archive. New memberd o f the Group are[...] |
| [...]Hostage: The Christine Maresch Story (1983). The non-commerci[...]industry recoiled in amazement when Shields' The sometimes cr[...]Surfer (1988) was selected for the Quinzaine des R |
| Lee Robinson was born in 1923, one of eleven was in Australia making features for Ealing, was sup for sync. Music, narration and voices were gener children of a close-knit Mormon family, whose reli portive of the new filmmakers. He explained to ally dubbed later -- a consequence of the unwieldy gious taboos included movie-going. He tells the story Robinson the mechanics of such things as overlap nature of sync cameras as well as of stylistic devel of the kids persuading their mother to see her first[...]wood Studios to opments. Filmmaking teams of two or three people film in the '30s, a De Mille bible epic, The Sign of the watch the making of Eureka Stockade (1949)6. camped ou[...]were low. Robinson remembers that he and feature The Phantom Stockman (19524) was at the Robinson and his cameraman, Alex Po[...]his cameraman, Frank Bagnall, spent weeks in local cinema, they talked her into going to see her off for central Australia where they spent months Broome on another DOI documentary, The Pearlers second film, and, when she came out, asked her what researching and filming Namatjira the Painter (1947). (1949), just taking everything in. Then, when he'd she thought. "I've seen worse", she said. This laconic In those days at the DOI, filmmakers did their devised his shooting script, they shot the film in a day. style is a mark of the Australia in which Robinson research, shot their film a[...]ck and grew up and did his major work. It was an Australia edited it -- as a creative whole. Watt had emphasized Later, in 1957, Robinson experienced a different whose identity had been shaped by Federation, the to Robinson the importance of the editing process, kind of luxury, collaborating with the famous Amer Anzacs, and a masculine bush nationalism. It was an and it became an aspect of filmmaking which Robin ican commentator Lowell Thom as on his High Australia which valorized egalitarianism, understate son was closely involved in -- in the cutting-room -- Adventure series shot around the world for American ment, unpretentiousness -- ev[...]From his very first film, Robin television. The budgets were lavish, the crews large And, until relatively recently, this Australia repre[...]uld ask for anything you wanted. By this sented "the real Australia" to almost all of us -- not son shot to cut,[...]time, Robinson had acquired a reputation as "an the least of all to Lee Robinson.[...]ty situa expert on primitive peoples" because of his work in[...]ions. He gave strong direction to his Aboriginal Australia and New Guinea. And, appar A military histor[...]real-life characters. Nam atjira the ently, on this basis Thomas could have gotten him son wrote a large and detailed report on the Painter even includes flashbacks of citizenship in the U.S. Robinson, however, had Portuguese Timor Campaign. His view of the Anzac Albert Namatjira played by a young been working on the American series in order to spirit of these Australian commandos continued to[...]sepeg finance his own projects and declined the offer. He be expressed in an enduring interest in films of adven joined a handful of Aboriginal actors recalls that he liked working with Thomas but, as a ture, and directly in his last two features as producer, in contributing an air of mystery and sixth-generation Australian, he was[...]local colour to Australian productions tralian in every shape and form that I couldn't Cross (aka The Highest Honour: A True Story, Peter of the '50s and ' 60s.) This film conceive of becoming a citizen of another country^ Maxwell and Seiji Moriyama, 19845), which fiction remained in distribution for decades, He says in rett alized their exploits. with a revised version in 1974.[...]_I fojrfnc On his discharge from the army in 1946, Robin In speaking of his allenge Lee Robinson set son learned that the newly-created National Film[...]es that were distinctly Aus Board was setting up the Department of Information pleasure and the luxury of tralian and yet constructed in a way that could (DOI) Film Unit, later to become Film Australia. time (in the absence of a larke cjlw command an international audience. He recalls that Under the influence of John Grierson and the docu to research and think. Films were mentary movement, the DOI created a new kind of largely shot mute, although wire film by a new breed of writers and intellectuals, the recorders were occasionally used creative interpretation of Australian nation-building: men at work. Often the `real' Australia was located in the bush and the bush became Lee Robinson's area of expertise. Robinson, a successful short-story wri[...]rtist Albert Namatjira, and then asked to direct the film. He recalls that when he told the DOI chief, Canadian Ralph Foster, that he wouldn[...]there aren't too many around who have, so what's the difference." Feature films were almost extinct and the cameramen who had, in actual fact, been direct ing newsreel stories we[...], as Robinson has said, "There were no directors in Australia." The DOI in those days was a cauldron of religious, political and aesthetic debate; and film became a sub ject for intense study by the neophyte director. English director Harry[...] |
| [...]ical filmmaker Cecil Holmes restrictions on the raising of capital for any Clockwise from far[...]Lee Robinson on location at Ayero Rock on the High Adventure sibility was to get your investors' money back,' because, of them. Chips Rafferty had been refused an[...] |
| one film and never been heard of again. And it on the set, and rapidly learned how to get the most from Southern International's original strategy of pro might have been a very, very good little film. But out of his appearances. Bud Tingwell took Taylor ducing low-budget Australian films was, in the long the idea was to try and build something as a base to[...]run, a miscalculation. While the first joint venture, work on over the years. The economics of it were[...]aradise (1956), was a great success, co a fact of life. You simply had to observe that that[...]out when you're working with Chipsey." Chips, of ple to put money into your next one, get their[...]iscifilm money back for them on this one. And, of course, Chips, he doesn't[...]Paul-Edmond Descharme when Walk that happened in the early stages, you know. We[...]him. Try and get on a rise." into Paradise was in the final stages of pre-produc found that once you got people's mo[...]y And I watched Rod through the camera, day after tion, and successfully adapted the adventure script to came in like a shot the next time. They were pre[...]vided a director for a French language version of the King of the Coral Sea, more polished than The Phan close enough to be a[...]wo-shot scenes with film along with 30 percent of the budget. In future, tom Stockm an, is again a sim ple action film. It him. And I wondered how the hell he seemed to the two companies would alternate in providing the involves an illegal immigrant racket and the kidnap grow like that. And one day I found -- he used to bulk of the finance and the choice of story and direc ping of the daughter of Ted King (Chips Rafferty),[...]a a Torres Strait pearler. Along with Rafferty, the cast now -- all packed with paper, up for about two twelve-week shoot in the New Guinea Highlands. includes Australian actors[...]inches. He hardly had room to get his foot in but Again, the film emphasizes travel and action, as Dis to build their world-class careers. The playboy owner he'd woken up to that was the way to get himself a trict Officer McAllister (Chips Rafferty) and his New of the pearling company was played by Bud Tingwell,[...]Guinean offsider lead a party into the interior to who by then had appeared in several local features. One of the most successful elements of the film was investigate jungle oil deposits. Foisted on the group The villain was played by Lloyd Berrell, a part-Maori[...]man doctor conducting m alaria actor who was one of Sydney's most talented radio of the sail-powered pearlers around the little-known research for the United Nations. The climax of the and stage performers until his premature death in Torres Straits. Wood, too,[...]about the ways of the natives, secures the co-opera actor with tremendous screen presence,[...]these early features that Rafferty and tion of initially hostile tribes in building an airfield in[...]h Joy Cavill. return for a promise to cure the chief's sick children. WATCHED BY unit doctor John Quinn, Lowell Thomao ex a m in ed Cavill started as continuity, soon took on the role the dkull o f Lajdeter. Filming are Keith Loome and B[...]Witch doctors cause trouble, the explorers are and interedted observer, Lucky Harrii, chief grip. Robertdon and of production manager and eventually worked as a nearly massacred, but the children recover just production m anager Curley Fraoer were charged with the ancient writer and producer with Robinson for many years in time. com m on law charge o fg ra ve robbuig ov[...]homaj travelled to W ajhington to ferty had been the one who organized the film Shot under extremely difficult circumstances, explain the circunutanced to the Audtallan A mbajdador and the scheduling, marking cross-hatches on big sheets of the |
| [...]votee who many Did your short films have anything in common with "Battleship Pot[...]s his opinion? Children of the Revolution? bit Citizen Kan[...]eill "had never read No, but I did see a lot of documentaries in prepa-j Black humour. As a writing stude[...]ript] before" ration for this, amongst them one in which kids talk I also got to direct The Obituary, about a man who' and "is still not quite sure what it about the impact of Stalin's death as the worst event is mistakenly believed by his[...]is", while Judy Davis thinks "It's of their lives - 11- to 12-year-olds who in 1953 friend to be dead, and is not to[...]iterature had their reactions. It's a story in which I was very much Murra[...]y inspired to travel across the world to get the laughs coming at the right place. to do a |
| ical. She's strong, intelligent, dynamic, everyone The material being covered was structured in such a lot of licence, but from the western point-of-view in Sydney's in love with her, so why not him? a wa[...]d reflect - on a metaphorical level that has the resonances that are quite appropriate - the history of communism, starting off with great to his[...]offrey Rush has said, "It's Mel I didn't have the tougher material of what hap humour, larger-than-life, well[...]s Battleship Potemkin. " What I was try pens to the child once he grows up and how his h[...]it older and ing to convey was a sense of larger-than-life in overt metamorphosis occurs. I didn't hook into Joe's jour sadder. To have done it in a way that didn't reflect comic terms which wouldn't have worked in other, ney early on and this is evident in the drafts. Many that breadth of tone would not have satisfied me or everyday parts of the film. were concerned with the second half of the story. the story that I wanted to tell. Whether or not the Joe took a number of journeys in the screenplay; he film suffers from having those gear shifts is in the But there is so much pow erful iconography was an academic, in advertising, a politician, unem eyes of the individual filmgoer, but I wouldn't have attached to the period that people have an expec ployed, ran for local council. I tried so many things made the film differently. tation and understanding of Stalin. So, when you until I finally settled on the trade union leader. It[...]ight. The gear shifts were always inherent in the story first impression of him doing up his fly or reading[...]movie magazines. It was important to connect the two journeys. clear that the film was going to start and end in the They are two different people but actually it'[...], and it was up to those people who were In the early drafts, on her arrival in Russia Joan journey because, like many parents[...]is film was going to be appalled by the excesses, but that rations for her child. The film also shows the whether they were going to accept that. just didn't work in the story. It was much better for importance of the `baggage' we carry; the mystery The Russian sequences contain the most farcical her to be blown away by everything - psychologi of what makes us what we are.[...]cally drunk - on the whole trip. Working against[...]ted an the grain is where the humour is. So the forces of history create Joe but also doom ic[...]Did you think of Judy while you were writing it? his relationship[...]it was The r |
| [...]A Film Australia and Telewizja Polska[...]in association with NDR, TVE,SABC, RTE[...]SUN ON THE used on most[...]STUBBLE productions in te le c in e a t rushes stage offering[...]A Film Australia Production 1996. Made in[...]association with the Australian Film Finance producers a superi[...]Corporation, the Australian Broadcasting final tape to tape gr[...]poration, ZDF and ZDF Enterprises. using the Copernicus[...]AND WILD and o r the da vinci Rensaissanc |
| Did you intend him to be the character with whom We've known each[...]and have a How difficult was it shooting the Russian sequences[...] |
| AFi nominated feature films: HILDREN Or THE REVOLUTION |
| which I think you really need, otherwise the com Are you perhaps just sneaking in there with Angeles. It was a time[...]from the audience last night. not be able to do it in ten years. So, I took off. Do you consider the outcome of the film is Probably yes, particularly in Australia. I wrote my first script, "Eliot Loves Gabriela", in[...]s. I got an agent and within a day determined by the constraints of the romantic The film actually balances the two male leads very and a half he'd sold[...]well; neither one outshines the other. But Aden running. It hasn't bee[...]Young does have the name. it off Par[...]the end of the year. John Cusack is attached to it. It's an i[...]ght, yeah. But what can you do? without giving the ending away![...]How did you get a foot in the door in LA, Perhaps by giving him the less sympathetic My advantage is you never knew who is the real character.[...]larly without having gone to film school? star of the movie, or I hope you don't. It's a weird ensem[...]ng that's true. You know, when I was That was the most difficult part, because you can sit by co[...]re casting it, I didn't think, " Which is the bigger in your room and write War and Peace, and wri[...] |
| THE DOMINO EFFECT as seen in: THE ADVENTURES Buena Vista/Cinergi Pictures OF PINO C CHIO Cinema Resea[...] |
| What is it about the process you really don't like? It doe[...]at we can do elsewhere?" Oh, God! Got a couple of hours? You know, it's writing serio[...]really difficult if you just want to be a writer in Hol So, rather than the logistics of it getting in the way of lywood, because you have to learn to give up y[...]tic comedy, they said, "Fan To me, the real danger with directing is over Have any of those scripts seen the light of day on film? tastic! You're a comedy writ[...]allow things to They're all at various stages of development. I don't Hollywood tends to type you. happen spontaneously in front of the camera. The want to jinx things, but it looks like the Disney one[...]is designed to cap may be going ahead, and one of the others. Would you direct someone else's script? ture some moment of truth, of real life, between[...]people. I think you always have to allow for the Are they all romantic comedies? If it was the right script, I would. If I really loved oppor[...]it and felt some involvement with the script and in your thinking about how you want to shoot No, no, they're different. Two of them are roman that I could bring[...]never direct some things like that. the other's a bit more serious. So, it's been pre[...]going to be supportive of you. You have to I'm being offered a few studio jobs at the moment,[...]e there, and you just have so I may do one of those; or I may do another script[...]to be careful about the people you work with. of my own which I am currently writing. At the[...]moment I'm just reading and writing, and in a few What were some of the difficulties you encountered months[...]in the transition from writing to directing?[...]The most apparent thing is that as a writer you spend[...]six months in intense isolation, and then as a direc Ag[...]tor you spend three months in intense exposure to edy, but I would[...]want from the script to the people around you.[...]The most difficult thing is probably the unforeseen is that it's simply always about the script and the[...]with them. You know, like losing the permit for this me. But I guess[...] |
| unday Too Far Awaywas one of the first major feat be made during the Australian feature film revival wholly with Au[...]eam. As such/ it marks a significant step forward in Australian film production anu film storytelli[...]cast/ it was a so made | entirely on location in a part of Australia which had not f witnessed feature film production for fifteen years/ s in c | r Fred Zinnemann s production of The Sundowners in 1960. C I N E M A PAPERS |
| T H E M A K IN G OF SUNDAY TO O FAR AWAY against all[...]Gil Brealey and M att Carroll have expressed to the author resulted from a unique set of government-initiated stan found the money, the money found the talent." 1 some reservations about this article appearing. Cinema circumstances. In the late 1960s, the Dunstan Labor Papers has taken note of these concerns/ but has decided Government had taken advice from columnist and In this determined effort at state capitalism , to publish as it believes the article is w ritten without bias/ film critic Ph[...]tical analyst Barry described by Albert Moran in 1983, the SAFC was and goes to great lengths to represent and fa irly discuss Jones on the feasibility of funding film production designed to "Reflect our way of life with truth and through state incentives. The result of their researches artistry [...] to provide opportunity for Australian the views of all the key players. was to lead to the setting up of the South Australian artists and craftsmen to dev[...]press them Film Corporation, a state initiative. In broad outline, selves within the film medium."2 Equally im portant/ Sunday Too Far Away is one of the few the plan was to create a viable industry in the state by true icons of Australian cinema. Whatever problems the consolidating government short-film and documen The first feature from the SAFC was to be Sunday filmmakers had along the way/ whatever courageous steps tary production to provide a pool of experienced film Too Far Away, but before thi[...]o rig h tly fu lfil his role as a crews, and, at the same time, to lay down plans for launched there were to be a number of false starts to producer/ the result is a classic that continues to gain in feature film production using loan finance. Adams' the plan to make feature films. The prospects of finan account of the process (in 1980) is succinct: "I devised cial success, for[...]ere not great. stature w ith the years. the South Australian Film Corporation [SAFCJ which[...]Only in celebration of this beloved film is this article printed.[...] |
| Producer-in-Chief of the SAFC, felt that the main ities. This was complemented by the Australian Film some feature projects that we could go ahead with problem facing the Australian industry was its dis Development Corporation (AFDC), which loaned and one of those was Gallipoli. continuity, because very fe[...]ed feature money for commercial projects. For the first time in films had been made in the country for more than recent history, many Australians working in the arts, Gallipoli was an ambitious first prod[...]useful expe including theatre and film, saw the opportunity to Brealey sought help from an old school friend, Ian rience in the production of features, and those who create works which[...]nd social purpose. Some Australians, like the large Melbourne television production house. rea[...]verseas and Crawfords had trained a stable of experienced writ a great deal, and we learnt it the hard way", Brealey began to develop projects which would reflect the ers and producers, and had developed th[...]general optimism and idealism of the Whitlam era. on series productions like[...]a strong interest in historical subjects, and had pre Also, there was no guarantee that the films would The activities of the SAFC were heavily influenced viously been involved as writer-researcher on the find a market, as the local industry had long been by Premier Don Dunstan, an ardent supporter of the British-financed Tony Richardson production of Ned dominated by U.S. and British distributors.[...]0), which starred rock singer Mick Jagger. this, the SAFC projected a somewhat na |
| brother-in-law's stories about the life of itinerant weeks, just among themselves, for the title of being deal that was struck. Dingwall indica[...]and built these into a short story treat the gun shearer - the fastest shearer. And then they low status and the humble aims of the project by ref ment titled "Shearers" .11[...]all their pay that they had bro erence to the fees that were agreed to for his services:[...]ken their backs on, and do it in a dice game or a "They asked me to do the script for a pittance, which Brealey, with l[...]e to go back again. I did. I wrote the screenplay for $7,500, which ject to replace Gal[...]even then was a pittance, on the basis that I would Matt Carroll says that Breale[...]to have a Dingwall's treatment portrayed the adventures of get 10 percent of the overseas profits. I have never meeting with Dingwall about the new project: Foley, a gun shearer w[...]at the same time, becomes romantically involved with So I went up to Sydney and sat down with John. He the daughter of a station owner, who has returned "Shearers" was announced in 1973 in a fulsome said, "I have got a great idea. I'd[...]script home after a divorce. Other key elements of the story press release. Carroll was attracted by the setting and about my brother-in-law's life as a shearer." And I are the camaraderie and competition between the men the visual qualities of the environment, and together said, "I would much rather do that than Gallipoli." who formed the "shed" , conflict with the station he and Dingwall discussed the settings for the film: So I went back to Gil and said, "John is happy to owner ("the cocky") and the growing threat of the drop Gallipoli but he wants to do something on shearers' strike as scab labour is brought in to com John then went off on a research trip. He went to shearers" , and Gil said, being the good old urban pete with the professional shearers' wage demands. Queensland to track down his brother-in-law. I also Melbournian, "I don't want to know[...]sent him up to where my brother lives in the bush ers, but, if you like, go ahead with it. We have to This early document outlines most of the events and we did a whole research thing. Out of it came[...]Dingwall spent many hours in conversation with[...]his brother-in-law, listening to the tales of shear[...]ers' lives, and recording these in note form:[...]I asked him to take me around to the old[...]shearers in Brisbane. Old Garth was based[...]in all the windows in Sydney. get John to write something, so it may as well be of the film, lists the kinds of incidents which would T he title of the film came from a piece about shearers as anyth[...]s a closure which has of shearing folklore, which tells of the[...]losing his money effects of hard work on the sexual life of Brealey says that he was immediately attracted by the gambling. The shearers' strike against reduced pay the shearers, and especially the women's potential of the story and setting, and particularly by and con[...]otential: ing the men against police harassment and hired[...]n [as Foley]. I had used his romance with the cocky's daughter. Far Away became the title, as Dingwall recalls: Jack Thompson for one of his first film appearances[...]"It was just a saying they had ... the shearers' back in the late '60s at the Commonwealth Film The film was to be a historical piece, set in the wives. So I called it Sunday Too Far[...]had a terrific admiration for his work. He recent past, depicting a labour struggle, as well as the that's pure instinctive titling of the film." was one of the few, in those days, with a gen lifestyle of the shearers, as outlined by writer John uinely bu[...]Brealey intended to raise funding for the pro genuinely Australian; he was saying everything that no longer familiar with. It encompassed the Australian ject through the AFDC, which would match the we wanted him to say.[...]', fight, drink, SAFC's own funds. Just as the AFDC approved everything was contained in that story." The film the project, Dingwall suddenly went back to A film t[...]and segments treatment also delineates some of the less-attractive Queensland, and Brealey feels that this created prob in short outline form, but Dingw all's treatment class divisions which exist in Australian society, fore lems in the development of the script: read like a short story. Brealey recognized the qual grounding the workers against a less-than- ity of the story, characters and setting, and became sympathetically-portrayed " cocky" , who refers The AFDC liked it [the treatment] and they invested very enthusiastic: "It was about 20 pages long and scathingly to the shearers as "scum." 13 in the first draft. John Dingwall disappeared that was undoubtedly one of the most exciting things I[...]afternoon. He got the sudden news that his son was have ever read in the Australian film industry." 12 Carroll[...]the SAFC by writing a screenplay from this treatment,[...]nt to into his first draft. purpose in mind, and it had strong documentary ele the story: "Part of my honours thesis was the shear ments. Dingwall wanted to record a way of life which ing sheds, as indigenous archite[...]o I Brealey lost contact with Dingwall for the period of would soon disappear: knew all the history of the Australian Workers Union time he was writing the first draft, and his only con[...]going right back." Dingwall agreed, although in ret tact was through Dingwall's agent: I felt the magnificence of the story of men who rospect he was less than happy about the financial would go into the middle of nowhere, and work at[...]It was disastrous from my point of view, because in this incredible pace for a period of six or seven[...]the characters too large or what?" She said, "Both,[...]The main problem in developing the screenplay arose[...]from the many events contained in the treatment,[...]which was too long for a 90-minute feature. The[...]unusual form of the treatment created problems for[...]The film was really only about half of that treat[...]were several drafts of it all - by largely me working C I N E[...] |
| [...]Ken Hannam, with extensive credits at both the ABC destroyed." At the end of the screenplay, what hap stage for a long, long time. and in the UK, was brought into the development pened was that Foley went back to his room of his[...]t there looking like he was going to slash While the script was in development, Dingwall spent ered a final script. Brealey sent the treatment to his wrists - that was the end of the film. I said, "At another lengthy period driving around with Carroll Hannam in London: "Ken came back to me and said least we can get something of the drama of the scab looking for suitable locations for the film (or, more it was absolutely a marvellous treatment and he would shearers coming in. At least have a conflict with specifically, one suitable location, since it was intended love to work on the film." Brealey also made the deci them so it leaves the audience kind of high and we that the film should be shot entirely on one location) sion at this time to involve Hannam in the can leave it at a high point and say that out of this and collected more anecdotes which entered the film scriptwriting process, although now[...]ll be a dramatic cli script. It was decided that the film would be shot in feelings about this decision: "I think some of the deci m ax ." He said, " I want it to be so that he is the same shearing shed used for Fred Zinnemann's sions that we made at that level were in fact Ken's absolutely destroyed." I said, "Why John?" He said, production of Jon Cleary's The Sundowners. mistakes."[...]destroys people!!" Hardly the subject of a feature With more experience, the producers could have Brealey went to London to discuss the project film. recognized the problems inherent in the treatment. with Hannam, and the men were meeting when The film story as presented by Dingwall is com[...]ints began to have an impact plex, with a number of sub-plots and themes. The mous shock to Brealey, for two reasons: on the scope of the screenplay. The first real casualty storyline also contains a number of character inter of the writing and rewriting of the script was the sub actions, but does not follow a conventional[...]read this bloody thing and it was won ject of the strike. The film treatment had as its finale which sets up an audience-satisfying resolution of the derful to read, absolutely superb on the page, but a portrayal of Foley's role in the shearers' strike, main character's aims and needs. The needs of the about half-way through we had probabl[...]er Foley character are obscure, and, even though the the first two pages of treatment. I just quickly flicked wages. In development, the script changed to a char characterization is strong and convincingly realized through the end and I just threw the script to the acter profile of Foley and depiction of the shearers' by Jack Thompson, the audience is no more in touch other side of the room. I was just so angry - I real lifestyle. The group of main characters, men who with Foley's inner life at the end of the film than they ized he had [only] written half the picture. could have faced the strike and been changed by it, were at the beginning.[...]were outlined in their working situation, and the film Aside from the problems of running time, since the ended where the strike would begin. The ending Foley is full of behavioural contradictions: he budget wou[...]seemed so arbitrary that Noel Purdon accused the enjoys the camaraderie of the shearing shed but also found that the script had major structural problems: producers of tacking it on.17 longs for female contact; he works hard for the final pay he earns, but throws it away in a card game; he There was no climax - it just fizzled out at the end Matt Carroll defends the decision to film this ver strongly supports the rights of shearers but only acts - although the characterization was wonderful, the sion, because it was the one that Dingwall chose to reluctantly to try and protect those rights against the humour was magnificent, all the things we had deliver: "We realized w[...]scab labourers. Foley is really a cipher, a set of char looked for were there. So, I had a talk to Ken, the strike in terms of length. Basically, the screenplay acteristics; none is really consistent with the others. showed him the script and he felt the same way. that first came in ended at that point." But Foley is, above all, a worker and a part of an Aus tralian bush mythology. In the growing Australian The other terrible thing was that it was almost the Dingwall says that the failure to include the strike nationalism of the mid-1970s, Brealey was well aware same as The Sundowners. Now I knew The Sun was forced on him by the industrial conditions of Aus that these elements in the film would give it a better downers very well and I got a copy of it out. A major tralian filmmaking: chance of success: plot in The Sundowners, not the major one, but a major sub-plot is in fact a shearing competition, and When I wrote the story, the real story is about the Not only was it the film we all wanted to make, as it seems[...]nd it wasn't that long since shearing shed. The strike should have been abbre far as [being] a nationalistic film, but we knew The Sundowners was made - so that again made a viated in part, but probably taken about twenty that the feeling of the community was that way. We really big worry about it. minutes of screen time. That would have taken knew that w[...]the script to 115-120 minutes. At the time we was not only a personal sort of want to make that Brealey returned from the UK and, in a meeting with didn't do, and still don't, 120-minute films. We sort of film, but it was also very carefully commer Dingwall, attempted to renegotiate the down-beat do 105, 110. That's basica[...]otes and I said, "At least one of the things we have to have is I actually believe, if I had got to the draft further the appeal of the extended yarn, eschews all a sort of a climax to it." [John] said, "There is a cli down the road, I would have written the strike in. forms of causality in its plot. The texture of m ax." I asked, "What is it?" He said, " Foley is the film is rooted in an everyday reality, where trivial and often commonplace events take on a sense of heightened drama through the response of the characters, rather in the manner of heroic stereotypes.15Thus, the shearers are natu rally competitive, and a simple task like washing clothes becomes a competition in speed. The shear ers race to see who will finish first, heedless of the fact that their towels have fallen off and their bot toms are bared. This may be an allusion to the underlying homosexuality which is always present in the myth of mateship, and the implications of this scene intrigued reviewer Noel Purdon. To Purdon, the scene illustrated the attitude: "We don't care, we have no secrets or sense of shame in the company of our mates." 16 The search for a director began, and a few prospects were mentioned, including the British direc tor Jack Lee. Brealey considered a[...]stralian film. I've always been very conscious of the difference between English filmmakers a[...] |
| [...]e it. It took me quite noticing particularly the hero's lack of defined goals. hints at a new r |
| At one stage in the rewrites, the script was left with shearing shed for ten days, with sheep to shear, when dence, but also to the problems caused by a lack of Hannam, who produced a further draft which we had to train the actors to shear the sheep. The attention to the shooting of some of the scenes, which included many changed lines and a change of empha sheep were bloody starving and dy[...]he felt were scantily covered. Brealey showed the long sis in a number of scenes. The results of Hannam's rained and we had no electricit[...]t he successfully Matt Carroll feels that the problems that ensued were his own feelings later: argued that the director's lines be removed: due to the script's excessive length: The script was long. It just wasn't properly timed[...]y and I remem I finished my rewrites that took the girl down to an [because] we were amateurs a[...]s we could. We disappeared with Matt Car- take the script now and type it up." And in the typ Brealey remained at the SAFC offices while Matt Car- roll into my o[...]" I think it's an ing Ken started to do a bit of rewriting. He had the roll managed the production. unmitig[...]it's going to have to come only copy, because in those days you didn't have[...]down extraordinarily to get the actual essence of copies, you just had the one copy. [...] When Black Due to the length of the script and Hannam's what it is about." Arthur beats Foley, and they're in the pub and Foley shooting style, it soon became apparent that the film Matt Carroll: loses his money and they're standing in the bar and would run much longer than was first anticipated. We had tremendous problems in the editing stages Ugly comes up to Foley and says[...]to do?", my line was, "Go ask Black Arthur", of the revival, but such overruns inevitably played and this is where a lot of the controversy came: that because he has won the game right. Ken had added havoc with budgets and the availability of key cre the film was cut and there were two versions of it. in the line, "He's your hero now." When we got to[...]a problem. Once again, the problems of the expense of commu that line, I said, "I am professionally[...]" Now, to Ken's credit, he read that 30- At the end of the shoot, Hannam began work with Hannam, now oc[...]ocument and he said, "You are right, I am the editor on an assembly of the film and, accord wrong." He went back to the original script episodes of the mini-series Luke's Kingdom25- which which we h[...]Han left him little time to concentrate on the problems of it, and that's very much to his credit.24[...]the film without offering any concrete suggestions fo[...]ulating, and with considerable I saw the first 30 minutes cut together and it worked improvement: pressure on him to start the film, Brealey pre reasonably well. Y[...]an assembly it sented Dingwall's latest draft to the AFDC: was going to have to be pul[...]and I went away on friends, and we showed the full two-and-a-half The two assessors, who had both read the pre the first holiday that I'd had for years. When I came hours of it. At the end of it, I said, "What do you vious treatment, were very disappointed. I said, back, I expected that the whole assembly would want us to do with[...]hardly at all over could get it down a bit in length." N o notes, no came back and said, "No[...]ed that comments or anything. idea. Get the writer to go back and write the he had been offered a job directing some of the Editor Rod Adamson and Brealey started to[...]s that was being done here by a British com the film in length, and this resulted in a two-hour ver were given." John wasn't prepar[...]nnam, who offered so I had to finally persuade the AFDC to let us "I'm off. Can't finish the cut. You will have to fin no comments other than advising Brealey to keep go ahead, and in the end they did. ish it yourself." He said he wasn't earning enough working on the film: "He said, `Just keep doing what[...]money. We paid him $10,000 as a flat fee for the you are doing.'" Matt Carroll states that he worked Further doubts as to the value of the script came whole thing, presuming that was a year's salary. closely with the editor to bring the film down in from Brealey's ultimate superior, the Premier of Given Hannam's experience at the ABC and BBC, he length, after Brealey started to believe that the film South Australia. Brealey heard Dunstan's com could perhaps be forgiven for assuming the film was a failure: ments: "Don Dunstan didn't like the script, and would be completed without the need for daily super Gil, of course, hated it. He said, "This is going to asked did we really think this was the film that vision. Brealey saw his priority as completion of a be the end of the South Australian Film Corpora was going to make[...]version which would be accepted by the distribu tion" and things like that. I[...]also satisfy his political overseers, and the editor, and said, "Look Rod, we will get what agreed to do. All the decisions were mine and immediately p[...]er notes Ken can give us and we will get it down the responsibility was mine."[...]rs. Brealey John Dingwall was not present at the shoot objected to some of the technical defects still in evi and pressing production problems emerged. With the general lack of expertise came prob lems with weather. The remote location, where cast and crew roughed it in makeshift accommodation, was rained out, and this delayed production. In the seven-week shoot, the actors suffered periods of low- morale, and line producer Matt Carroll describes hav ing to defuse an open revolt by the actors which exactly paralleled events in the script: Half way through the shoot there was this incredi ble actors' strike that had nothing to do with more than the fact they had become totally possessed by these bloody characters. A couple of the actors lived in their bloody wardrobe. They actually became th[...]ong hours and inexperience made heavy demands on the energies of all involved, but Carroll attributes the film's artistic and critical success to the crew and cast's enthusiasm. Even so, the production prob lems led to many delays and the film looked like running over budget: We never had made a feature of that size before. We had no idea what we were in for. We were under crewed but we all had incre[...]made with great passion, because we all adored the script and there was this incredible belief in what we were doing. And there were just monu mental problems to actually do it - to shoot in a 40 C I N E M A PAPERS |
| 1996 is a time of flux S peculation about the Australian audio-visual for the Australian production industry's[...]tion industry. It faces alarmed at recent and proposed federal bud the possibility of broad-ranging changes to its funding base and in[...]l get cuts, and strongly concerned about the future of as complex policy, regulatory, copyright[...]nt main and industrial-relations issues entailed in tain the FFC after 1997/98, or use as its primary the expansion of delivery systems. On top support mechanism `revamped' tax concessions under of this comes continuous change in the Division 10BA of the Income Tax Assessment Act} marketplace. Diane C ook talks to Michael How will the AFC fare? How will the ABC adjust Gordon-Smith, Executive Director of the to proposed cuts? Screen Producers' Association of Australia (SPAA), and Association President Steve On the eve of its eleventh national conference, Vizard, about[...]a difficult and exciting time for the industry, but it has been for the past decade, and probably will be for[...]confident that SPAA's recent representations to Can berra have helped to temper the Howard government's policies, and views the current state of play as better than anticipated prior to the past election. This is the crux of SPAA's business - nego[...]to the challenge. SPAA is the employer representative association for the audiovisual production industry. It is respon[...]sible for negotiating terms and conditions of employment within the industry; its activities include lobbying, the facilitation of information exchange and networking, and the development of business and cre ative relationships. The Association also aims to[...]the industry's profile and an awareness of its contri[...]expanded to represent the interests not only of feature[...]film and television producers but those involved in[...] |
| [...]in going to grass roots to get a sense of direction; services, and, most recently, multi[...]my starting-point for all of the [current] inquiries comprises an Executive Dir[...](is: (Why do we do what we do? The fundamental national Council with Divisions representing the con tf^Thirig fs-that members of SPAA are storytellers, and stituent production[...]9 0hat,(they want is the capacity to tell stories that multimedia division as yet), with state chapters in Y 0[...]as Australians. From that toria, NSW, Western Australia, South Australia[...]a - that we need to be Queensland. Council, as of October this year* com-?/[...]Gordon-Smith identifies effective lobbying as one of Vice-President, Tom Jeffrey, Daniel Sch arf,^ika[...]' ^ ^ ^ 's^MosPMlgnificant achievements over the past Borglund, Roger Le Mesurier, Jude Le[...] |
| [...]political connections, as we structures that work in countries of 25 million tele as much for its n[...]agenda. SPAA held its 1994 and 1995 Con had with the previous government - and not because vision households on the edge of Europe, or in a ferences in Melbourne in conjunction with the AFI[...]cord attendances - well over we're involved with the media, but because we have place the size of the States. We think the ABC would 500 each year. The 1996 Conference (13-15 Novem[...]ber) continues the association, with which well thought-out, well-c[...]ely employ people, create business, and give with the creative life of Australia and better able to I think there's a great deal of value in an event hav[...]ing a Janus face ... looking in and looking out. It's people Australian stories in cinemas and on televi tap into the creative juices of the independent very valuable for the industry's annual event to focus[...]on issues which are important to the industry, to be sion. They're very compelling ar[...]to contract out. a gathering of the industry, but also for it to be[...]to describe Gordon-Smith's executive On the debate over New Zealand product, Gor - an exercise in drawing the attention of the general directorship as instrumental. Explaining the need for don-Smith is vehement. Justice Davies[...]government and cultural and commer under Australia and New Zealand's 1988 Agreement Citing other advantages for both SPAA and the AFI, cial sectors, Vizard says:[...]was established to facilitate mutual the Conference and the Awards, Gordon-Sm ith Michael is one of those rare creatures; he moves trade benefits, and many in the Australian industry says SPAA hopes to continue the association: "I think between three camps with[...]h we haven't yet fully with dignity. He's been the lynchpin in SPAA's being apply to what's essentially a cult[...]mous supporter base to include screen product in its ambit would disad from almost all the film and television producers in vantage Australian product (which is subsidized on The agenda for this year's Conference is domi the country, for it to be a successful mix, and [for cultural grounds) in the domestic market. At the time nated by the obvious big issues: SPAA] to achieve some real degree of success in of writing, SPAA was seeking to become a party to changing the statutory and commercial environment the ABA's appeal of the case, due to go to court in Having said we wanted to get away from a policy- in which we work.[...]focused Conference, the industry's in the grip of a[...]review of the whole structure of industry assistance, Among SPAA's chief concerns now are the review of It's a big issue in terms of the cultural precedent it and there's the CER case and the ABC review. These the ABC, the recent acceptance by Justice Davies in sets, for the relationship between cultural policy and topics will get a lot of attention. the Federal Court of lobby group Project Blue Sky's international trade deals. I think the campaign by arguments for points for New Zealand product under the New Zealanders has very little going for it. I What we're trying to do is to use [the Conference] Australian content regulations, and the current review think from their point of view this is the first step to kick-start a policy-making process, to try to have of film financing (the Gonski review). in a campaign to have access to the full range of Aus the industry more involved in setting the agenda for[...]SPAA attracted criticism for its submission to the[...]ssions at this year's Conference directed to ABC review, which suggested that the industry and Criticizing New Zealand's lack of content policy to answering policy questions. What's the industry the ABC might be better served if the ABC were to date, he says: going to look like over the next ten years? How can contract out production rather than produce in-house. Australia engage with the international industry? Gordon-Smith acknowledge[...]e with these people who What are the financing structures we need in order seen as self-serving, but stands by the submission: oppose the Australian standard GATT, believe there[...]is no place for public broadcasting in their broad Obviously, if you're a representative of the inde casting environment, have no local content rules of We've divided it by strands, by `genr[...]ys their own and then seek to get access to the bene a strand for features, for television, for documen of making more business, but I actually think in this fits of the Australian local content requirements, it[...]ials. And we're trying to case it makes a hell of a lot of economic and pol seems to me to be an act of extraordinary hypocrisy. ensure they'll continue [across the first two days] in icy sense. The reporting of the submission would It's so easy to be angry about it. a way that lets the debate and discussion develop, lead you to think that we were in some ways argu[...]rather than being scattered across a series of `lucky ing for cuts to or that we were opposing the ABC. Regarding the future of government subsidy, while dip' issues. Nothing could be further from the truth; we're argu SPAA has yet to co-ordinate its submission to the ing very passionately for the retention of a strong Gonski review, Gordon-Smith says there is general On the third day, we'd hope to attract some and power[...]ng system. We just support for continuation of direct funding mecha people who are there for the AFI Awards, to look think there are ways in which it could be better man nisms, in particular the FFC: at more `[...]There's no real interest in a radical re-shuffle that debate on se[...]There are a lot of questions about censorship, screen In a country of six million television households, would se[...]ich have been it's a mistake to look to examples of systems and an entirely tax-driven model.[...]people, many companies, in SPAA that would like been brought to a head [in Australia] by the Port[...]Arthur tragedy. The industry probably needs to[...]ng, which would Confirmed guests at the time of writing include:[...]lA^m ake^^Iife of independent producers a shade Film[...]utive Vice President of Acquisitions for New Line[...] |
| From the producers of[...]establishes itself as an instant and THE MADNESS OF KING GEORGE[...] |
| it is being said, is the A ny examination of Australian film inevitably[...]strongest year for turns to the AFI Awards, and the controversy the Australian film they always caus[...]Again. have put many noses out of joint. Why did It seems that every year we are t[...]Costume Design after winning notable exceptions, of course - we were assured the Camera d'Or at Cannes? Why was Rats in the that the industry was powering ahead.[...]It is true that this year's films are remarkable in nated for Best Documentary when it is clearly one of their diversity and maturity. This started with the the best of recent times? And why was Rolf de Heer's success of Shine (Scott Hicks) at Sundance, Love The Q uiet Room, which was in Com p |
| The Awards reflected the nature of Australia's film nificant contribution to Australian film- which at the time consisted of pre-selection panels industry at the time, which was commercially-based, making from an individual, and the first and juries made up of professional filmmakers. and explains categories[...]ad grave doubts about medallions were awarded to the winning films in each By 1970, the Australian Film Awards were receiv the value of prizes picked `by the industry for the category, and a Grand Prix could be awarded by[...]se industry'. Such competitions assume that the best the judges, but only if they thought the film had inter from the sixty it was receiving a decade earlier - and, judges of quality are those who create it, not those national potential. It was the films themselves that for the first time, cash prizes were awarded to the for whom it is created. were awarded the prizes, and not individuals, and three mos[...]owed they were judged by an invited jury made up of crit by the Myer Foundation. It seemed obvious that[...]a few filmmakers. the Australian film industry was making a comeback, Score were established in the 1974-5 Awards, and[...]r Best Perfor Further awards were introduced in 1962 - the upon every year since. mances in Supporting Roles. Sixteen feature films Kodak Aw[...]Individual filmmakers were recognized further in were entered, forcing the Fiction category to split into and Best Colour Photography - the first move 1971 with the introduction of Best Performance and Feature and Short Fic[...]con towards craft-based awards, and recognition of the Best Direction Awards, won respectively by Monica cerns about the categories were pertinent and various elements of a film. Maughan for[...]Peter Weir for Homesdale. 1963 saw the awarding of the first Grand Prix prize[...]and Eve, for its "origi Ifie Beginnings of and Non-Feature Films, and the Best Film Award was nal and imaginative achievement in the use of Controversy presented for the first time, won by The Devil's Play symbolism in animation", and proved for the judges ground (Fred Schepisi). The judging process that the Australian Film Awards were being successful T hroughout the early '70s, there was much debate underwent a major overhaul, and a model where pro in their aim to "stimulate and raise the standards of about award categories and judging methods. fessionals voted for the films in their area of expertise film production in Australia", a view that was echoed John C. Murray commented in Lumiere: was adopted, with the help of various industry guilds by critic Colin Bennett the following year in an ABC and unions. Best Film was decided by the guilds talk show. He also stated that internatio[...]th members and associate tivals had asked to see the prizewinners, proving there mentary, Experimental, General, Advertising, and members of the AFI. Other new awards included Best was an inter[...]when the awards were first established (and also raphy in a feature film. A further award was introduced in 1967, the Film granting that the judges can move entries from cat Editors' Guild of Australia Award for Best Edited egory to category as they see fit), I don't think they The Telecasts Begin Film, and, in 1968, the Raymond Longford Award have very much to do with the varied natures of the was first presented. This was an AFI citation fo[...]ed.1 1 976 was also the first year the Awards were tele[...]cast nationally by the Nine Network. Criticism Bennett wrote in The Age2about the judging process was not far away, and the telecast received an[...]unfavourable pasting by Ken Quinnell in Filmnews?C I N E M A PAPERS |
| [...]hill debated through bers willing to attend the pre-selection screenings. Today's Beginnings The Age the merits of peer judgement, and whether This group was required to see all thirty feature films the Awards criteria should be craft-based or art-based. entered that year, and to cast four nominations in I n 1987, the pre-selection process was again[...]their accredited categories. The nominated films were revamped into the basic form still in operation Further craft awards were initiated in 1977: Best then screened to all members, who would decide the now. Film entries were pre-selected by specialized Achievement in Sound Editing, Art Direction and winners. Costume Design. Concerns that the Awards Presen[...]then judged by all tation, this time telecast on the ABC, was too glitzy This system was widely[...]being unde accredited members - not just by the relevant mem and not relevant to the Australian film industry mocratic and too selective, and actually resulted in bers for the various categories. All AFI members voted clashed with the belief that, if the industry was to the number of entries dropping in 1983. The system for the AFI Members Prize, awarded for Excellence receive the attention of the general public, such pre was subsequently abandoned. New awards in the in a Feature Film, which has now evolved into all s[...]passing many craft awards, and, for the first time, the Best Short Fiction, and Best Animation. In 1991, the The next year's Awards were telecast from Perth Awards were presented as the AFI Awards, and not Young Actors Award for actors under the age of by the 0-10 Network, and 1979's Awards were not just the Australian Film Awards. sixteen was initiated and, in 1992, the AFI Members telecast at all due to an industrial[...]Best Foreign Film was first awarded. After also the year the current Awards trophy was first pre In 1984, the Byron Kennedy Award was founded, a rocky time during the early '90s, television cover sented.[...],000 cash prize. Its age was secured again by the ABC. purpose was to recognize and encourage the pursuit One of the largest contentions regarding the Aus of excellence within the Australian film and televi The success of Australian film in recent years, both tralian Film Awards and television coverage was the sion industry, and could be awarded to anyone within locally and overseas, has resulted in a spiral of recog use, as with the Logies, of international film per the industry. It was first awarded to Roger Savage.[...]its success at Cannes in 1991 gave its AFI Awards, about the contradictory nature of Australia's confi Television's growing relevance was recognized in including Best Film, extra credibility, which in turn dence in it's own film industry. Some said that inviting[...]ards including Best Telefeature, Best gave the film more recognition. Attendances for Proof international stars to host the Awards was hypocrit Mini-Series, Best Direction, Screenplay and Perfor jumped by 20 percent in the fortnight following the ical, and indicated to the general public that local mance by a Lead Ac[...]ood enough, or well- on by an invited panel of industry representatives. ning for seven weeks. The spiral continued upward known enough. This undermined the whole aim of The controversy of the year was the withdrawal of with Strictly Ballroom (Baz Luhrmann), The Piano the Awards themselves, and therefore could not be[...]and Cinema Papers published an article in September Angel Baby (Michael Rymer). Attend[...]1986 that questioned the Awards' relevance and dis Baby increased by 44 percent in five days after it won The AFI signed up with the ABC in 1980 to tele cussed the problems the AFI was facing that year. It six awards last year, including Best Film, and, while cast the Awards for the next four years, and, in 1982, is interesting that many of the issues raised then are the telecasting of the Awards has been erratic during a pre-selection g[...]duced. This consisted still relevant today - the inclusion and exclusion of that time, the AFT Awards now have a consolidated of a core committee of twenty members recom films, eligibility, the effects of the Awards on box place, not just within the film industry, but in the mended by the various industry guilds and office and television coverage. minds of the general public as well. associations, and profes[...]Executive Director of the ALT Ruth Jones believes[...]the ALI Awards are a very good promotional hook[...]People are reassured by endorsements and the ALI[...]Awards are a signal of quality for the general pub[...]lic, and a final seal of approval for the local film[...]Jones talks about the growing commercial success of[...]both Australian films and the AFI Awards. "Australian[...]films are now screening in the multiplexes, and not[...]just the arthouse cinemas", she elaborates, adding:[...]The Awards presentation has to be an event. It's ter[...]ribly important, because it's the key to the public[...]image of Australian film. Frankly, it's gotten bigger[...]every year, but that needs to continue as the indus[...]To this end, the AFI Awards this year are going on[...]the Internet with a live Netcast - like the Oscars[...]hopes, to develop in the future.[...]Whatever the controversies - and it can be argued[...]hat controversy itself is an important element to the[...]Awards' success - the AFI Awards serve a vital role[...]within the Australian film industry. |
| [...]r a l ia n F ilm s WITH THE UPCOMING RELEASES |
| at The ..Movie .Convention 1997- e n tr ie s OPEN TO[...]For further information and entry forms, The Filmmakep's call Rebecca Oswald at Kodak[...] |
| promised re-introduction of tax- ing to supporters of the pre-FFC days in the Corpo breaks will undoubtedly be the[...]report: hot topic for the Australian film industry in the years ahead.[...]film investment was dictated by tax and finan The federal Coalition has already signalled a return[...]cial considerations resulting in a larger industry to indirect subsidies - quite[...]ich produced demonstrably fewer films that along the lines of the old 10BA tax breaks, mere[...]eir way to Australian cinemas and televi mention of which provokes mixed and heated[...]sion screens. Whilst the present position of the feelings among Australian producers - and a phas[...]s far from perfect it is vastly superior to down of the Australian Film Finance Corporation the position in which the industry found itself in (FFC), presently the principal source of funding for[...]ilms. With this article, Cinema Papers re-opens the topic But a glance at a list of films made before and after of how best to apply subsidies to what has become the establishment of the FFC suggests that Lovell's a thriving and intern[...]justify the present system of funding which costs views on what is clearly the most vital issue presently the government much less than the high tax-breaks facing the local production industry.1[...]provided for before the FFC was set up. What if, in Catharine M unro sets the scene. fact, the films made in the "bad old days" of 10BA[...]using f he Howard government is returning to one of The Australian Film Finance Corporation (FFC)[...]its old ideas - high tax-breaks for film is the largest government body that subsidizes films, investors - opening up the question of how and many in the industry are highly sceptical about In 1992, former Australian Film Commission offi best to subsidize the industry. its success. But no one c[...]his article cer Lynn Gailey compiled a fist of the highest-grossing would go on the record about the FFC, reflecting the Australian films to 1992 in real terms. Only 11 of the The options boil down to two approaches. One is power of an organization which has a virtual monop 44 films on the list were financed after the FFC was the indirect subsidy in the form of high tax-breaks, oly over government subsidies to the feature-film established. Of course, since 1992 there have been such as those[...], such as Strictly Ballroom (Baz Luhrmann, 1994) of the Income Tax Assessment Act during the 1980s. and The Adventures of Priscilla, Queen of the Desert The other is the present system of direct funding. On the other hand, one of the great concerns (Stephan Elliott, 1994). But the number of hugely- Hopes that the government will adopt both seem fan within the film industry is that bigger tax-breaks will successful films made under 10BA belies Lovell's ciful given the current regime's apparent preference produce ba[...]and small budgets.2 It is not concerned about the success of their film, only the about to give up large amounts of foregone tax rev tax write-off they would make. The 10BA tax scheme started in 1981 when the enue and increase spending on films at the same time.[...]ssued a warn tax write-off for investment in films, with 50 percent[...]of the net earnings tax exempt. According to the[...]Department of Communication and the Arts, bud[...]$57.93 million in 1980/81 to peak at $105.60 mil[...]lion in 1985/86. While the number of films[...]because most investors had no interest in box-office[...]number of low-budget feature films during the heyC I N E M A PAPERS |
| day of the 1980s tax scheme. He is now chief exec 1994/95 fi[...]production, the expected changes are just around the utive of Southern Star. Ten years ago, Sullivan the industry. By contrast, foregone government rev corner.thought that the scheme worked because it would rid enue in the form of tax breaks does not produce an A tax-break seems more in tune with the Liberal[...]ty's ideology than is direct funding, because it the industry of bureaucratic intervention. Now he immediate return. The cost to revenue of tax breaks encourages direct investment from the private sec[...]oves away from a centralized institution. thinks the scheme was an administrative disaster. He under 10BA peaked in real terms at $180.9 million This was[...]Howard who, during the 1996 election campaign, believes government subsidies in the form of tax in 1984/85, with no direct returns to the government. said arts policies should "reflect the core Liberal ideals[...]of championing free enterprise and maximizing the breaks are inflationary and a blunt instrument for But what Morris fails to point out is that the indi choices available to individuals" . How[...]ain direct subsidies, incentives for stimulating the industry: rect returns are far-reaching. Firstly, the proceeds private investors and Australian content requirements. 10BA did throw vast amounts of money at the of a successful film are returned to the industry, with While such comments may sugge[...]t was calamitous. approximately four-fifths of a film's budget taken up higher tax-breaks, the system would be prone to cost The bad thing was that it caused a proliferation in paying those who worked on the film. A rich film blow-outs. Tax-breaks in any area face staunch oppo production which couldn't be sustained by the cre industry creates a bigger training ground for Aus sition within the bureaucracy and Treasurer Peter ative communit[...]flationary impact tralian filmmakers. Also, the FFC 's returns of $25 Costello's distaste for them has already been revealed. on costs. It's not sustainable in terms of growing the million may sound a lot compared to its annual bud In late July, he announced the end of the 150 percent business in an orderly way. get, but they are the product of several years of deduction for syndicates who invested in compa[...]nies engaged in research and development, choosing Many producers love high tax-breaks because of to replace the scheme with direct grants. Costello said the independence it gives them. For example, Jane No one tries to argue that the film industry does the system invited rorts and led to growth in costs by Scott, who spent three years finding the money to not need subsidies. While succes[...]rge Miller may not need government finance, from the FFC, wants them back. "Any scheme that most projects are too risky for the profit-driven pri One of the authors of the discussion paper which the government may be looking at is one that may vate investor to participate in from the word go. led to the FFC's inception is David Court, Movieco attract that sort of investment from financial mar Consequently, the absence of government subsidies managing director. He[...]explore it [10BA] is rare, with Jane Campion's The Piano (1994) being back in a different form: again."[...]by Ciby 2000, a subsidiary of French construction The option that I have heard floating around, but I[...]hn Morris argues there company Bouyges. But, in most cases, the high start haven't seen anything on paper, is an option where is no need for a diversity of government funds while up costs of a project, where success depends on returns from the movies that were reinvested in new there are "thousands" of sources out in the market popularity, make investing in a film an unattractive movies would attract concessions. That would be place. He says the FFC is willing to provide the option for those outside the industry. More com attractive to me because we aim to look very well cash if the film has a "marketplace attachment". While monly, investment in films is left to those within after inves[...]d be foolhardy enough to say it openly, there the industry: the state and federal funding bodies, and are many in the industry who say that subjective and a myriad of distribution agents and cinema chains. The government is also " exploring ways" of chang even personal choices are made by the FFC, especially[...]ing requirements for issuing a prospectus in a process when films are border-line cases as to the extent of Apart from control over spending, Morris argues that is separate to the review of 10BA. The corpora their private financing.[...]as the FFC is that it has encouraged more business[...]nt less than $500,000. This is seen as [...] one of the dealings[...]an impediment to film producers because issuing the great concerns[...]document chews up about $80,000 to $90,000. The themselves in Australia. For them, the FFC creates government is expected to intro[...]a gateway through which buyers can enter the Aus prospectus which would cost only abou[...]n to make it easier for 20 people or less within the film tr[...]stry. But FFC critics say these to invest in a film budgeted at less than $500,000 is -in^ustryistfiaf[...]also being examined. Court does not believe the short- way in an era when pay-television operators seem to[...]many film and television produc to expect the amount of information contained in the[...]While the industry needs subsidies, and always Movieco is looking at more sophisticated ways of[...]will, private investment in the film industry appears menting and spreading the risks so we can match the to be popular. The fact that funds are raised for main investors' risk/reward preference", Court said. The[...]cautious investor would be promised a return of 20 films because stream U.S. films is evidence that the money is percent and be the first to receive his or her share[...]ers (Spike Lee, 1995), Evita and Jim while the speculator's investment would be leveraged[...]and the returns much higher. "There's an expecta -m |
| [...]Product: U nder the Lighthouse Dancing rocess: Composite ov[...] |
| [...]lation he draft legislation for the chosen medium or mediums, with or clear when the weight of evidence is It is also clear that a playwr[...]introduction and possible without the collaboration of another predominantly in a particular person or ator with points 1, 2 and 4, unless he or enactment of moral rights: or others. persons' favour. I have suggested, in she has contracted to surrender point 4 which will accord artistic In this definition, "governs the execu response to the draft legislation, that it to a stage director and the play is to be creators the right of attri tion" or, alternatively, " controls the be incorporated as a guideline. considerably altered. bution and protect the execution" is essential. I suggest that it integrity of their works and will become clear in the following text A creator is a person(s) wh[...]overcomes confusion. It facili 1. conceives of an original idea and ence to the guidelines, whether the break free from the con tates the assessment of who is worthy director, the producer, the scenarist straints of the past; from of moral rights in a work and who communicates the fact in a manner (or anyone else) should be attributed as the precedents set by France and the should be denied, for, particularly in cognizable by others in spoken creator, or if the right should be shared. United Kingdom, and from the earlier film, the responsibility of determining words, by musical sounds, a prelim consideration given to moral rights by the final form of a work is crucial. inary sketch, model or by physical A scenarist would clearly hold the Copyright Law Review Committees action, or in written form such as a first position, but the director might hold in Australia. The better term to encapsulate the pr |
| [...]ongoing tribunal I suggest should be set The term creator more readily more protection for a clause to be the creator of any cinema or television up to deal with moral rights. When and embraces the sense of being in control included in contributors' contracts programme, a painting, s[...]if disputes do arise, a tribunal could be of the performance and execution of, which commits the producer of a film dance, music or literary work including a more appropriate body than the Fed and the final form of, a work, and this and his/her representative, the director, drama and the staging thereof. eral Court nominated in the legislation is an essential and inescapable[...]cussion and cation for a creator, especially in a work the integrity of that person's work. Such There is generally,[...]about speedy resolutions. A tri realized in collaboration with others in a `best endeavour' clause could help plicab[...]ollaborators are allowed and now, to acknowledge the degree of applicants, and probably more immedi ing of this also overcomes the inability enough time and assistance in budgets creativity and conceptual worth of the ately available than the Court with its which presently exists in the community and schedules to deliver of their best to writer/scenarist, although it is w[...]s and then final adju to discern a creator in the midst of con their satisfaction. recognized, figurati[...]nd collaborators. play is worth up to 75 percent of the increasing use of mediation processes.[...]I am not objecting to a producer or to the Discussion Paper of June 1994,[...]evelop spe a director being recognized as the cre and the proposed legislation of January As a simple example, take Padding cial knowledge and expertise which I ator of a film; the director will rightly 1996. I was concerned that the word ton Bear (originally from "Darkest feel is essential to guard against inaccu get the guernsey more times than not. I `compromise' was used by the Attorney- Peru"). It would be inconceivable that rate precedents in this sensitive field. am objecting to the fact that the draft G eneral's D epartm ent, and that it moral rights not be accorded to the It would be better able to settle differ[...]lation does not know that one or expressed the opinion that it cannot author, Michael Bond. He has created ences about work-in-progress, or the the other is the creator. It has no prin hope to satisfy everyone, reflecting, it a complete character in Paddington: the ciple to apply in order to find out. And would seem, a view that the legislators way he looks, dresses, thinks, expre[...]mm it should not be a matter of whom it must steer a course midst competi[...]s to call a creator. interests. That some in film-related marmalade sandwiches), the nature of[...]industries are aggressive in attempting the situations in which he involves him i'.-jpL: r 'f a-: it- iifp*^ IB The proposed legislation has also to establish[...]suited to their self, and Bond carefully defines the I iP u f l ignored the fact that a journeyman own self-interes[...]ral rights. It wants to nominate Should the legislation be influenced It would be an inj[...]r the journeyman director as creator b[...] |
| [...]his much-loved column (now incorporating the Web, et al) Well hung stability and it would certainly eliminate in film & video", it's solid information Newtonian log the stress which an offset bowl attach and ins[...]ican readers (a good list of U.S. grants, If you ig n o re M ike F e e , who has weighs in at less than most of its rivals,[...]p enough decided to always cut film by hand, the even with Miller's solid construction qual The Underm ount and Projib are for an over[...]for 4 issues) that you can get your fill the time it takes to review, log, organize and stainless-steel components, it folds also available in an ENG or studio sys of the buzz. In the last issue I bought and input the footage for digitizing. Sure, down to 48 inches[...]m Xines/Desert M oon periodicals all the biggie editing systems have a sim reputation wit[...]there's an interview with portable and grabs the timecode on the plea[...]Sarah Green, producer of set. But I want to walk around on set or The release of the Projib Undermount Miller Fluid Heads (Australia). The Secret o f Roan Inish, location and do the same thing. No has been similarly well received.[...]and filmmaker Christine Newton PDA and the new Shot Fogger. the jib arm for even lower shooting[...]Choy. It's even interesting angles. The Undermount, which attaches Angles[...]Shot Fogger transmits timecodes from to the Projib bowl via a Hi-hat adapter,[...]a pager-sized 916.5 MHz transmitter ensures the cam era and fluid head An g les packs a lot of sensitivity into its For all those interested, attached to the timecode source of any remain balanced in the centre of the jib twenty-five pages of simple black-and- please contact: Angles,[...]receiver in the Apple Newton. While it's[...]accurately logging timecode "in" and[...]list of preferred shots for digitizing.[...]The whole story is told in detail on[...]the Production M agic web site,[...]in Australia, having made contact with[...]a couple of com panies. (He says he's[...]interested in opportunities for more new[...](there's a current price deal of around[...]U S$2,000, you supply the PDA), or, if[...]you want to sell lots of them, contact[...] |
| [...]full of PT-01-visored crew walking around bumping into each other, or, in a twist on the famous Leunig cartoon, going "Ooooh aaah" at the spectacular sun set straight from the vidsplit.) One eyed,[...]yw ood S e r ies) isn't a Also fro m VDA comes the news that M c H a le's N avy rem ake but a head-[...]dolly from Microdolly Hol mounted video monitor. The idea was lywood is rolling off the shelves and out developed so that camera operators the door. Earlier this year it picked up could watch head-up the video split the pick-of-the-show award at NAB '96 while doing hand-held and[...]nifty to call a pipe shots. It has found a list of other uses dolly. In a lOlbs kit (that's, err umm, 4.5 in sports shoots, animatronic and pup kilos), you get a T-Bar dolly, 13 feet of pet manipulation, and it keeps directors track[...]track shims, 1 rachet tiedown and 1 V R helmet, the display is great for use wheel wrench tool, and it fits in your in bright sunlight and the optics produce pocket (if you have a 30-inches l[...]t) or a custom-soft case. There's appears metres in front of you, reducing lots of extras you can get, such as a fold eyestrain. The helmet is light-weight and ing handle to push the dolly and extra flips up so that you can have an[...]Film in, Film Cineon Thunder[...]out, Film in ... even higher-resolu[...]option as part of their integrated Cineon[...]an Kodak Company have BTS to develop the software to enable[...]developed the world's first real time the data transfer between this telescan[...]claim it is the world's first "Datacine." formed in conventional fashion with a[...]standard colour corrector; then the teles The Philips BTS Spirit Datacine offers canner will b[...]the same fu nctions as a trad itio n al mode. The colourist then selects the res[...]sion and digital data for 2K RGB data) and the software will con[...]external graphics workstations. The trol the scanning process and data[...]Spirit can output to a variety of standard transfer to the computer.[...](HDTV) television formats in real time High-definition scanning is part of[...]and with image quality in film resolu the high cost of digital post-production[...]pixels/line). Inside and faster systems such as the Spirit and[...]is an advanced CCD film imaging head, the Thunder will change how we work[...]designed by Eastman Kodak, and the with film. The telecine session could be[...]microprocessor-controlled film transport one of the most important responsibili[...]handles frame rates, at the top resolu ties for the cinematographer, defining[...]tion, up to 6 fps. the image for all the formats, current and[...]version of the Spirit Datacine, called the Philips BTS contact is Richard Everet[...] |
| [...]y are complete programmes (with Snow, the story of Alaska's Iditabike[...]cluded), except that they race was shown on the Discovery D igging BACK into the PR releases bin assume you don't need one. I[...]exporting or print Channel and was winner of Best Film (it's scary but someone has to do it), we the clean effects and nifty drop shadows ing of files. It's enough to give you a taste at the 1994 Interbike Film Festival found Quinto report[...]d to compare with your Word macros. (one of my favourites after Telluride). major U.S. television series and 47 U.S. Post in Melbourne and Acme Digital in If you are digitally challenged, they'll He was "director of bicycle photog features currently in production using Sydney.[...]d you a demo disk. Just fax to raphy" for the interactive feature film Lightworks or Heavywork[...]s and telephone number and what released in May 1995. Mark also con Tektronix Inc., didn't y[...]ld to Maybe they explain it better on the Web remember DOS.[...]eloped and built other special 10 skite about it in their ads already, so O kay, a final m om ent of new product camera mounts. that's not news. The best bit is the Ursa Movie Master whimsy to send you off to your shoot. tie-in to the da Vinci Artisan Renaissance[...]tor, which uses a SGI Indy W h ile you are on the W eb, if you're If you peddle your Web browser over is the Forman Camera Bicycle (patent computer to control and display the 8:8:8 scriptwriting, download the demo ver to Mark Forman's Web pages, you'll[...]digital options. Who wants 4 :2 :2 ? Not sion of M ovie M aster, a script/word able to experience the multimedia plea ing shots at speed, "This[...]processor that's been around a long time sures of The Forman Camera Bicycle. device", he say[...]They've demos for DOS, Windows 3.1, Member of The Society of Operating vehicles at speeds up to th[...]men), whose credits include those per hour in situations where motor smooth slow-motion video on the Grand as producer and director of Bicycles on ized vehicles cannot be used b[...]of safety or space limitations." bought an EVS Supe[...]you can download on the site show camera. The camera records three[...]ing M ark using a boom on the rig, times faster than normal speed[...]and he lists the various camera posi (75fps). The EVS comes from Amber[...]tions the rig is capable of including, Broadcast. Say hello to Peter Amos[...]ward toward the actor's face as he[...]rides the bike in traffic. A centre Still talking video. Abekas'[...]cars, and the camera mounted on the well around the country (may have[...]king backward toward other been special deals on the 16 systems[...]riders at speed. The rig can also be used at Atlanta?) and has comple[...]used safely in a low front m ount confounded me with the press-release[...]camera only a few inches from the tion s, but did you know that the[...]pavement. Dveous "delivers the highest pic ture quality o f any DVE by using[...]The Form an Cam era Bicycle is 23 x 12 point video f[...]available for rent but sadly only in point store output interpolators. All[...]the U.S. It comes with remote view picture tr[...] |
| [...]C o n tin u in g to lead th e w a y in n o n -lin e a r tech n o lo g y,[...]aying. W e a re th e firs t facility in A u s tra lia to o ffe r th e n e w 24 tra c k Av[...]com.au Film Special Ef Wilm in >> Film out[...] |
| [...]Asia Pacific + 61 2 9586 0991Resolution In d e p e n d e n t Special Effects Di[...] |
| [...]technicalities All the Fun of the Fair Dominic Case delights in the International Broadcasting Convention in Amsterdam rade exhibitions are getting All of which amounts to my refusal[...]ore frequent. This to do an overall survey of new toys on see him step behind the chair, and the ter was the Hollywood Microdolly.2A 4 seems[...]ontains a lightweight dolly and in the film industry, where, display. Suffice it to say that, whereas the underside of the chair. four metres of track, capable of sup traditionally, equipment ha[...]Live-motion capture systems reverse bag of the same weight brings two more las[...]real actor, wearing a suit four-metre lengths of track. Made of air- development has been at a was selling their own brand of non-lin with wire[...]s hard to calm and steady pace. In[...]cartoon imagine it working successfully in the western Europe, for example, the main ear editing system, this year's big character mimics the actor's perfor- rough terrain where the light weight show always used to be Photokina, staged every two years in Cologne, products are virtual studio[...]. T he result is that the Pink Best of the where professional m otion picture[...]show? [...] equipment occupied one of twelvejor the virtual studio is a hve-actionpreal[...] |
| technicalities exported in Avid fo rm at as well as a entry alone would set this system high think of something it couldn't do. It soon of The Executive Producer that took my range of EDL styles - but sadly not in the amongst its competitors. But three extra[...]t there was another fea breath away was the price. The entire industry standard FLeX format at this[...]ognition, or auto mark $1,000. Add about the same again for a ing and sorting functions: to mark all the ing. W hile you leave the videotape video capture card, arid R[...]all those with a named char O ne: when the PC is fitted with a playing and have a cup of coffee, the sys For the cost of a local phone call, you acter mentioned, all tho[...]mes (160 tem recognizes any sudden changes in can get a demonstration version (fully- certain duration and so on. The database pixels wide) can be captured, one f[...]bbing a thumbnail frame for refer from the Internet, at www.imagine- ing functions: spell checking, search and included in reports in a range of styles. ence. This feature can be trimmed to[...]post-production scripts, edit ignore flashes of lightning or other aber agents Adimex on (0[...]rations, by waiting for a consistent Instead of running a V TR, timecode management documents are just some of change over a set number of frames 1 In Australia, Techtel have supplied the first can be captured from a timecode gener the possibilities that this feature presents. before confirming the scene change. Elcomvirtual studio to Channel 7 Sydney. ator on the set for location logging, or can be typed in manually. The second feature? By this time I This c[...]spent a long time free sales pitches. But the third feature 3 Available from Lem ac (03) 9 4 2 7 9 3 4 4 . The easy and adaptable style of data at IBC looking at this product, trying to A G rain of Truth crystal, it becom es capable of being less grainy. However, the lower levels of readily than static patterns, and so it[...]eloped to silver. Larger crystals have light in the original scene were only would be reasonable to expect the ran A magazine in a waiting-room was full more chance of collecting photons, but enough to expose the largest of the sil domly-changing pattern of grain from of superbly-detailed photographs of still only need the same half-dozen. In a ver brom ide grains, and so, in any frame to frame to be noticeable -[...]fashion parades: nutshell, this explains the connection objective measurement, the shadow ticularly in an optical breeze-frame effect. in a full-length portrait of Ivanka Trump between grainy films and sensitivity: fast areas must have the largest grains. However, the viewer builds up a much (the daughter), you could count every films, in order to work in lower light lev Under-exposed scenes deprive every area more detailed image as the random grain diamond. (Okay, they weren't small.) els, have larger grains, collecting scarce of the image of some light, so that more pattern shows fine detail differently in But on the next page appeared some photons over a[...]furthermore, by grading these tage over the fixed pattern of television of two other famous women: one towel- of grain sizes. The larger ones are scenes lig h ter, the eye's a tten tio n is or digital screens), and the sharper image clad on a distant beach, the other, exposed in shadow areas: in brighter drawn to the extra granularity. M oral: tends to distract attention from the grain headscarfed, getting out of a car across areas of the image, there is more light to avoid underexpo[...]cal freeze frames usually a city square. Why was the technical expose the smaller grains, filling in the a grainy effect![...]to keep the grain pattern moving, for this haps the captions explain it: Demi Moore detailed, negative image. The sense of graininess is also affected reason. - pregnan[...]by the nature of the image itself. It seems line - has she lost her h[...]Colour film still works with silver that the eye seeks out the clearest details Camera negative emulsion[...]bromide, and the exposed crystals are[...]times faster than any lab stock - print or In M cLuhan's terms, the medium is still developed to silver grains, but the Colour film intermediate - and so duplication and the message. Here, we are being told, more co[...]se women have something to hide, clouds of coloured dye around each sil with silver grain: it's all there in the original. How but our photographer has caught them ver grain. W hen the silver image is bromide, and ever, the slight tricks that duplication out! The long lens, the fast film and bleached away, the dye clouds remain as the exposed plays with the contrast of the image can the extreme enlargement all emphasize a trace of the original silver image, and crystals are often make the image appear subjectively the texture of the photograph itself. The show the same grainy structure. Like sil still deve[...]oes not lie: it captures docu ver grains, the individual dye clouds are printer control in the lab are, of course, mentary evidence of the unannounced too small to be visible even in a projected to silver vital to getting the best results. pregnancy, of the hidden alopecia. image, but they tend to clump together grains, but the in a random arrangement, and it is this more[...]t about grain removal on telecine G rain is the essence o f the p hoto random , clumpy arrangm ent that[...]tems? Aperture cor graphic image: like pixels on the appears "grainy".[...]rectio n is an electro n ic system of computer screen, each grain is the small[...]oduces increasing the apparent sharpness of a est, indivisible part of a picture - but In the past few years, the film manu scanned image by boosting the high-fre unlike pixels, the size and arrangement facturers have learnt how to make silver clouds of quency variations in the image signal. The of grains is quite random. In conven bromide crystals flat, rather tha[...]details, but also outlines every element of grain is a separate granule of metallic sil all the crystals to lie flat in each emul silver grain. grain in the same way. The grain can be ver, corresponding to one crystal of sion layer. As a result, the crystals present[...]essed by reducing aperture correc silver bromide in the unexposed emul their best face to the light, and capture as a key for understanding the image. In tion, but inevitably at the expense of sion. These crystals are sensitive to light: photons far more efficiently. The thin, a brightly-lit, sharply-focused scen[...]much smaller is plently to lock on to, and the grain can reduce the effect of pixel-by-pixel particles of light) have landed on one dye clouds, lead[...]n for structure goes unnoticed. But where the variations in the image, but grain struc[...]ture has put much of the scene out of alike. As we have seen though, grain is[...]Granularity is the objective measure focus, then the sharpest detail to look at m ost objectionable where it is the of grain: taking a microscopic view of is the grain itself. Similarly, in dim or flat sharpest element of the image: in these a developed emulsion, the variation of light, the light-and-dark pattern of the circumstances, grain suppression does lit[...]density between clumps of dye and the grain is as strong as the subject, but, with tle harm to the image itself. gaps between them and the size of the a key light thrown in, the same scene can[...]grain-free. Except where the grain is the real cialized microdensitometer. But it is the[...]more directly to our experience of the[...]effect of grain. The eye is less sensitive Life, or are the paparazzi the trendset[...]very dark areas in a print tend to appear[...] |
| [...]serious Most of the best But this is only the Contact Future ^ |
| [...]tever it runs - Brealey decided to follow the same approach. His frame, which became almost a hallmark of Australian 110 or 115 minutes.[...]sed on clear dramatic principles: films of the time, followed by a montage of the empty[...]M cFarlane and Mayer comment on Brealey recalls the dropping of a sub-plot which Audiences will forgive you if you leap sequences, if the prevalence of "lowkey endings, often involving a was to have considerable ramifications: "One element in fact there is not necessarily an absolute linear[...]ending on a deliberately muted, [thrown out] was the developing love scene between structure,[...]t forgive you if you bore expository note."29 In the case of Sunday, the caption [Foley and] the girl, because basically it wasn't shot." them or if you destroy the illusion of the film that read "But it wasn't so much the money, it was the During production, Brealey had regularly viewed[...]bloody insult." M att Carroll believes that the script rushes, and had noticed that one scene wa[...]y assembled a was shot as planned and the ending was as originally covered and that there[...]h angles and spare and economical version of the film. This meant intended: "That was always Ken's ending. That was takes to enable the scene to be edited. This was throwing ou[...]ch had required con where it all ended in the script and that was how Ken intended to contain a suggestion of a love scene siderable work and were treasured by the director shot it." between Foley and Sheila near the pigpen: and other crew members.[...]unday Too Far Away premiered at the Quin Up came a wide shot, which was absolutely w on David Stratto n 's account of the production zaine des R |
| T helma S choonmaker IN TER V IEW ED BY JAMES S H E R L O C K[...] |
| [...]odstock. Have everything but the camerawork, which was done by How soon do you become involved in a project? you ever had a desire to pursue that career? W adleigh. The union was very restrictive in Los Angeles in those days, and, when Marty asked me I start on the first day of shooting. Marty usually gives N o, I never hav[...]out there and work with him, it turned out me the script a little bit before that. He doesn't like[...]se sets I couldn't because I wasn't in the union. It wasn't to cloud my mind with all of his problems during the himself a challenge with each film he makes - some until Raging Bull that the producer, Irwin Winkler, scriptwriting. My job is to look at the dailies cold on thing that he wants to try, or learn to do, to got me into the union and, from that point on, I've the screen and tell him if anything isn't working. I experim ent with - and therefore I'm learning in been lucky enough to edit all of M arty's movies. read the script once and then try to put it aside and every film with him. It is just the best job in the[...]I'm concerned. In 1980, you w ent on to win the Academy Award just like the film to evolve on the screen.[...]with Raging Bull. How did you feel to win the Oscar Back in the days of NYU, did you realize that there and to eventually find out it w as voted the best How long did it take to cut Raging Bulf[...]e w as ...? American film of the '80s?[...]t's N ot Just Oh, we were very proud of that. My feelings on Niro to go through various weight changes. Marty You Murray, which won the National Student Film Oscar n[...]e would edit until De Award, had early strokes of genius in it. It was quite I was so devastated[...]ssi both coasts, so there was a good deal of moving[...]l. film because of that. W e shut down twice while De that Knocki[...]and, of course, a major force in establishing the[...]before, with The Life and Death o f C olonel Blimp.[...]What of the highly controversial but inspirational[...]with film schools in Australia.[...]to have the film entered in the New York Film Fes[...]distribution in this country. It was a huge success at[...]the Festival and the rebirth of the Powell-Press-[...]some of his own money to get the film distributed[...]here in the U.S.[...]Michael Powell actually came to Australia and did[...]video ing, and a great gift for getting the best out of actors, out M arty had lost and it took a great deal of the a long time ago, have virtually disappeared. I[...]r been taught about acting. pleasure out of the evening for me, because it was of Powell's work tied up in copyright problems or H e portrayed the neighbourhood where he grew up such an[...]Pow ell, who lives in C anberra, that there is an and Raging Bull (1980). Were you still associated The reason we won Editing was because of the attempt to get Weird M ob re-released in Australia with Scorsese?[...]ent restored. I would include W oodstock in that period, because each fight, and there were eight in the movie - M arty did work on it for a while. different size of ring, a different attitude for each Age o f C[...]is what made them so brilliant when they got the film. M ichael was very upset for him because I wasn't in the union. As young and that is why I won the award. So, Fve always said about the music Columbia put in the film and told filmmakers protesting against the Vietnam W ar and that in a way it is M arty's Oscar. me he wanted to get the original score put back supporting the civil rights movement, we never had in. W e are working on that. to be in the union. W e all loaded film magazines,[...]cularly proud when Raging Bull was drove the cars, tied into electrical sources, ran sound, named best film of the decade; That really meant I believe you are also working in conjunction with pushed the wheelchair we used as a dolly - we did a great deal to me. the British Film Institute in preserving His work?44[...] |
| Yes, they have done a wonderful job of restoring Fa M otta is looking at himself in the mirror and each other off so wonderfully. On some o f the many of the Powell-Pressburger films. They have got rehearsing the "I could have been a champ" speech scenes in R a g i n g B u l l , Marty couldn't get two cam ten grants from people like Sainsburys to pay for the from O n t h e W a t e r f r o n t , should have been a warmer eras in the room, which made it very difficult to cut res[...]performance. Marty had shot De Niro doing the the footage, because I would get a very funny line lucky that so many of his early films were in colour, speech in varying degrees of em otion. He felt from Pesci and[...]d strongly that Bob should be stripped of emotion era. But, with much time and effort, it finally early. He made some of the first Technicolor films when he confronts himself in the mirror. De Niro came together in a way that preserved all the best in England. Rank Films also took pretty good care[...]rmer take was better. moments. of the negatives, which was most important.[...]with the other. And Bob and I saw that Marty was I love cutting this kind of improvisation because The staff of the British Film Institute have been absolute[...]it calls on some of the things I learned as a docu incredibly devoted to the work of Powell and Press-[...]have worked so long together that we of footage and you have to find a shape for it. But[...]have to go home and come back the next morning W e've only disagreed a couple of times on key[...]and dread turning on the machine, because you things. De N iro and I at one point wondered The hardest thing I've ever had to do on one of don't think you can find a solution. But gradually whether the last speech in R a g i n g B u l l , where Jake his film[...] |
| (Robert De Niro) in Marty shoots in Super 35, a kind of an artificial Cin How did that compare to the old faithful system ? Martin Scorsese's[...]for television. He shoots a flat image in the camera W ell, I resisted it very much [laug[...]-- shooting into the area o f the fram e usually didn't want to do it, b[...]*' reserved for the track -- thereby getting a wider trainer[...]two weeks, I was off and run4 a great love of music, which has also made its mark image. He frames up in the frame, so that he can ning and stopped complaining, because it is very, on him. He puts her in his films because she just use the bottom part o f the frame for television. very fast. T h e[...]situation he cre When we are ready to finish the film, we make a save your cut and then just take a copy of it, which ates. She enters into it complete[...]flat interpositive and then blow-up and squeeze the takes about a second, and then rip into it[...]ary ideas and not worry if it doesn't work In the scene in Casino, he had to keep saying to a track onto the film. because[...], "I am trying W hen it comes to putting the film on video, we to do that, but he w on't listen!" She makes every use the flat interpositive and use the bottom part to The only down factor is the image is pretty bad, take very fresh.[...]and scanning. He feels it is a real violation o f the it is very, very fast -- very expensive, but very fast. Marty never prepared her for the scene in Good- director's composition. Fellas[...]Between projects, what do you do? I get the impres Ray Liotta in the middle of the night, while unbe I believe C asino w as edited on digital computer. sion there is a lot of documentary work going on. knownst to her they have a dead body in the trunk of their car outside, which they have to bury. He[...]Yes, there are the documentaries M arty is making just told her to react to whatever the conversation about the history of the movies. He is just starting was. She has kno[...]. one on the history of Italian cinema. was very easy for her to just do that. She is great. Scorsese very rarely shoots in Cinemascope. Is that[...]I like to go back to my husband's cottage in Eng for reasons of video and television?[...]ings, and the house he lived in for 2 0 years. W e[...]were married in the little church in the village and[...]he is buried there, only a short distance from the[...]Marty got involved in trying to do something about[...]the fading of old films during the making o f Raging[...]Bull. He had been complaining bitterly o f the qual-[...]ity o f the prints he was seeing in retrospectives in[...]say, "W hat the hell is going on there. W hy is this[...]film fading?" He decided to use the publicity tour[...]for Raging Bull as a way to go around the world and[...]try to teach people about the need for preservation.[...]He asked me to come along to explain some of the[...]i technical information. W e did lectures in Los Angeffa[...]the m ovement that is now making a difference.[...]involved and began to badger the studios to start[...]looking after the great treasures in their vaults.[...]Robert Harris is a major influence in film restoration.[...]Film Care, the company that I've just started,[...]on AM C, a cable channel here in the U.S. People[...]have sent in large amounts of money because o f the[...]little blurbs that are run on the channel several times[...]a year, which alert them to the crises of fading films[...]N o, the restoration work is done at museums or[...]dedicated to trying to get the studios to reserve their[...]own vaults. Some of them are doing a better job[...]about the need for film preservation and also for[...]artists' rights ^ everything from cropping of films[...]pion of these causes. @[...] |
| [...]both revealed grapher whose vision of the world was film set in Adelaide, ing of being rigid. and prompted technical responses from in black and white. v I spanning the w eek the collaborative creative team behind At script stage, the various strands of P a r k l a n d s thrives on the thrill of explo[...]ok on a colour. M il I after the death of Cliff ration. In a loose narrative of investigation P a rk la n d s.[...]colour-coding system like, say, the sys mer policem an. His attend the wake of her father. Millard: Millard noted a prominence of the tem French composer Olivier Messaie[...]colour red in her archival research: was reputed[...]has reason to investi- are times when the past can overwhelm This is partly because of the reversal characters and the use of red has been gate the last years of the present. Rosie is overwhelmed by fil[...]licting impressions and memories. for the [scenes of] childhood memo his life.[...]em that there are many unre ries, and the idea that you remember This red was also a result of the way P a r k l a n d s uses archival footage of solved issues in the relationship with her the past through the photographic the scenes were shot, by director of pho father, also a sense of fear associated technologies of particular periods. tography Mandy W alker.1 Millard: Adelaide, mainly from the '50s and '60s, with the police force, a sense of her to create a collective image bank. In[...]d yellow. And she process was that the results were never In writing about P a r k l a n d s , it seems may be [characteristic of] men of his confirms that this is her personal recol totally reliable. I have this notion of important to convey the sense of ambi generation, especially policemen, or it lection of early childhood. So it is no unstable colour and colouring the past. guity with which writer-director Kathryn[...]be surprise that key objects are red in the And you know the way in which mem Millard has imbued her film. She insis[...]out. They remain open recollections of Rosie's early Adelaide ories shift and fade? That's something on the ambiguities of lived experience, questions.[...]loon. "The past wasn't all black and something about the unreliability of and her exploration of a cinematic form, Cinematically art[...]Millard quips. memory - not in a negative way. rich like life.[...]In the same way, idealized, archived Ade[...]laide shows houses Duluxed fresh, in The parklands of Adelaide were[...]matte and gloss everlasting. The home's described in the instructions to Ade[...]interiors, from the women to the walls, laide's surveyor, Colonel William Light,[...]are stained and shone to catch the eye. as the buffer zone between work and[...]But on hot nights the kids of P a r k l a n d s home. If I could, I'd use the metaphor[...]watch television out in the yard in the pal of flowers to talk about the film: the[...]pable warmth of their parents' porch love. beautiful allure of the film's beginning[...]It's one of the "bits that don't fit in to the buds; textures in their heads, stems[...]idealized world offered in the and petals; and colour gradations too[...]images of the '60s". beautiful for a plan, too precious to fad[...]The backdrop of the film's The parkland is a metaphor. All that flower imagery that goes through the film - I have deeply ambivalent feel ings about that. I'm extremely attracted to the nostalgia around that kind of imagery as well as seeing it as repre senting a kind of order that may be very containing. Some botani[...]ens are extraordinarily ordered. Everything is in its right place.[...]demand different kinds of[...]using events like late-night drives in about black-and-white photographer[...]police cars, and "a cool kind of look for Olive Cotton, was born of her strong the investigative stuff". Importantly, for int[...]scenes of recent memory, the camera is in the visual arts: quite still: "I see that as recent memory not being endlessly recomposed." In por I became very aware of my own sense traying Rosie's recollection of childhood of colour through this process of mak[...] |
| [...]eensland producers PR O D U C TIO N IN V E S TM E N T FUND Provides equity f[...]S IO N A L D E V E LO P M E N T iopm ent of skills for w riters, directors,[...] |
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| [...]e hundred For me, this diminished the sense nation. W e're finding that we'r[...]repetitions once a week from age of possibility, the magic o f the film[...]ourney. reinventing certain aspects of[...]instil "progress is lovely" as N or does the film's story in the truth in an Alpha brain. recut close in the present time, and cinema, but we're also[...]the spiritual notion of Jungian indi[...]The time-lapse photography in viduation is given over to the more that w e're doing things that have[...]Epsilon offers the majestic image traditionally political notion of the of the Earth as a breathing, moving gifted lead[...]form of awesome wonder. The I'm more than probably being pic[...]secrets of the cinema, time and[...]repetition, here reveal the spirit De Heer shot the film across a of nature. It's a hypnopredic lesson twelve-[...]rom R olf de Heer you won't block of ten people, including the[...]I must admit, though, I liked the wonderful performances. Epsilon[...]film better when I saw it at the API is de Heer's second collaboration[...]screenings last year. The framing with Italian producer Domenico dealing with the most personal[...]device, whence the story is narrated Procacci; the first was Bad Boy[...]Says de Heer on Digital Arts: (love) and the most public (the[...]daughters around the campfire, is[...]a new addition to the film. In the Once you learn the basics of earth). If the experience of[...]ow this is a story with motion control, the limitations are[...]an end right from the beginning. only those imposed by yo[...]the experience o f making it, we[...]The film is a murmur of voices[...]Bad Boy Bubby, is trenchant in pulse[...]then become proactive about the[...]ducers: Tetry Greenaway. Moreover, The Pillow of levels. Crucially, The Pillow Book ; " ' tanceln N agjko'-s'Iife and i[...]confused and becqmesthe narrative mirror of her |
| [...]ly Kiss \ into a consciously literary style of small son twenty years later. This Jude's problems are, of course,[...]black-and-white prelude to the film not merely those o f the frustrated Director Michael Winterbott[...]d and a difficult intellectual, though the film is very Producer: Andrew Eaton. Exe[...]ambience. The village o f Marygreen touching about hi[...]rk Shivas. protagonist through the bleak land- ' that he has avoided both trap[...]her than scholarship, and one o f the most Scriptwriter Hossein Amini, based on[...]an't offer an memorable scenes is that in the novel by Thomas Hardy. Director of[...]Production designer scapes of northern motorways and 1 manages to encapsulate two influen way to the University city of Christ- Christminster pub by reciting the Joseph Bennett. Costume designer:[...]minster, where the film takes on a Nicene Creed in Latin. A generation Janty Yates. Original music: Adrian roadhouses. In filming Thomas tial strands of British cinema - the muted colour. His Marygreen[...]nning Morel, would be less daunted by the (Jude Fawley), Kate Winslet (Sue[...]Hardy's austere masterpiece, Jude ! literary and the realist - without ham), has told[...]to do anything in life, that's where whereas Jude has to accept the Bridehead), Liam Cunningham the Obscure, Winterbottom evokes i committing to either, and the result you have to go", adding with what disappointment of a letter from the (Phillotson), Rachel Griffiths (Arabella),[...]roves to be a tragic irony, "You Dean of Admissions coldly advising[...]de's him to stick to his own sphere in June Whitfield (Aunt Drusilla), Ross[...]able life. Winterbottom doesn't make the Colvin Turnbull (Little Jude). Australian skilful manipulation of harsher passion and records Jude's en[...]ously to choose his future and mistake of representing as a joyless[...]the begowned young scholars of business Jude's life as a stonemas[...]lyGram. 1996.35mm. settings in, for example, Yorkshire \ strivings with unflinching compas Christminster, in their self-absorbed working on the outside of the halls UK. 125 mins.[...]superiority, seem to mock his of academe he wants to enter: it is and in rain-soaked Edinburgh, i sion and no touch of sentimentality. attempts.[...]sy for director which stands in for the story's The film opens on a memorable Michael W inte[...]Christminister/Oxford. vista of a hillside field beneath a so for the second time he has taken to the harsher north of England. Winterbottom ha[...]m sky (for some viewers His first feature, the rigorous,[...]tage movie from a book whose 1 tling hillscapes). The young Jude[...]braised by the social and moral punished for feeding the birds he is conventions of late-Victorian meant to be scaring away, and the England. On the evidence of the sequence is dominated by an image[...]genuinely alarming Butterfly Kiss, of dead birds hanging in a row as a[...]expected him grimly prophetic warning of the[...] |
| m review[...]in these respects of the murderous[...]r: Nick Parsons. Producers: hates Aborigines. The whites talk Unlike the openly-sensual Arabella, Amanda Plummer in Butterfly Kiss. Bryan Br[...]Winslet's Sue offers a daringness of The director, on the basis of these the men in Hawaiian-style shirts.[...]Based on Jude's fellow workmen are allowed of being undaunted by the conven gift for representing the driven the play by Parsons. Director of It may be the consequence of a a good-natured tolerance of his tions of the age, but nevertheless protagonist, consumed[...]cliched idea of dramatic realism that aspirations. However, the imagery oddly inhibited in the matter of sex by needs at odds with what society[...]ames Battle. Production every white character in this fly insistently stresses Jude's outsider uality. In all this, Winslet is Hardy's permits and aware of that society designer: Brian Edmonds. Costume blown colony is a collection of status in relation to the life he Sue to the life, all "theoretic uncon rushing past heedle[...]ventionality", which crumbles when, are in fact characterized by rapid[...]their at the end, worn down by grief and tracking shots[...]age loss, she decides she must return to or of vehicles rushing past. The Dingo (David), Angie Milliken (Kate), melancholy. The filmmakers make to the pig-breeder's daughter, her husband, Phillotson, the teacher itinerant nature of the two is sure every one of them gets his or Arabella (played with well-judg[...]ron Pedersen (Tony), Gnarnayarrahe her due. The most obvious symp sensuality and directness by R[...]Waitaire (Poppy), Lewis Fitz-Gerald tom of this pattern is the scene near Griffiths), is a major obstacle to his The novel's unnecessary harping tell an episodic[...]the end where frustrated Charlie progress. W interbottom cuts from a on how the Fawleys aren't meant the sheer weariness of incessant (Les). Australian di[...]ow. lets out to Sarah that his Sydney screenful of warmly-glowing inter for marriage is rather[...]ng for elusive goals. Australia. 35mm. 1996.106 mins. girlfriend has written to tell him of a twined limbs to the snow-covered retained in the film - surprisingly,[...]job at the University of New South fields in which Jude shrinks from because W interbottom 's lean I have stressed the compassion T ake several character[...]killing a pig, while Arabella is version of Hossein Amini's screen with the earlier film because it is of whom stands for some match. The quarrel has nothing to undaunted: in the juxtaposition of play more than adequately accounts important to note, in a year domi tendency or group in the larger do with the rest of the film, but it the two images is summed up the for the anguish of Jude's life. The nated by adaptations of the classics, community (say, the Nation), gather does take care of poor Charlie, of sexual basis of the marriage and the cruelty of deprivation; of feeling that W interbottom has made an them together in some place whose whom we so far knew little. incompatibility of its principals. shut off from the world of ideas essentially modern film from a features stand for features of the Arabella returns much later when and imagination; the conflicting century-old novel. He avoids that larger community (the Nation) and Ernie Dingo's preacher David many things have gone badly for demands of an urgent sexuality and numbing attention to period detail set the characters to fighting over and Aaron Pedersen's Tony get Jude, and the film is wise enough a wish to grapple with the world's which can distract both eye and some issue (the Issue). This dramatic better treatment from[...]make her a mere nemesis cultural wealth; the poverty and mind, and he understands that pattern for middle-of-the-road filmmakers. Both are allowed a in his life. social stigm[...]s followed by D ead charming sensitivity to the expecta with Sue one of peripatetic misery: in Hardy's Wessex, is a modern Heart and, among recent films, the tions of both white and Aboriginal Kate Winslet, last seen as the all these are movingly registered story of dogged perseverance met milder-[...]ures. But David and Tony can't romantic Marianne in Sense and in Christopher Eccleston's fine, by alienati[...]g Lee, 1995), con unmannered Jude, so that the can make this a happy tale, and the[...]apped between trasts superbly with Griffiths, as the claptrap about curse on the filmmaker has found a visual story[...]s seems to belong telling style suited to the grim truths based on his play, D ead H[...]ntelligent man Jude's cousin, with whom he falls in to another order of drama. his characters have to face. A great together in a nervy, action-thriller dressed in Country Road good taste, love and with whom he e[...]work in one medium has provided manner[...]Gaunt of face, intent on goals the basis for a starkly powerful a[...]work in another. one Australian film where the film cally filmed, with Kate on a[...] |
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| [...]nservatism More than ever; the newly-titled Film Classification Board is reflect[...]David A. Haines investigates Over the past two years, community not only understands the lines that have been approved by the pendent statu tory B oard , as the hardly a month has classification system, but largely agrees Council of Ministers, not anticipate pos appointed tribunal of fact applying the passed without media[...]nges. law and making the hard decisions with comment about the thing, the Board was shown to be more[...]nservative. The D irector has also stated that from politici[...]minorities. nating from the Office the revision was necessary to make the of Film and Literature It follows that any review should guidelines more easily understood by the It was that informal working docu have used the existing guidelines as a public and to better explain the classifi ment used by Board members to guide[...]cation system. them in their decision-making on the Classification. The most rescteanrtienxgamppolienst for public consul[...]atrical films, with the addition of an X[...]A comparison between the two sets category for video, which was first have included: the banning of Jim Ja r rather than the mishmash that was put of guidelines, however, shows that they adopted by Ministers. During the course musch's D ead Man (1995); cuts to The out for consideration. are both more prescriptive and less of 1984, there were a number of changes[...]descriptive. Though the film and video made to the X guidelines to meet con- Rock (Michael Bay, 1996) to gain an MA The revised guidelines appear to class[...]The question must classification; the re-classification, from reflect an agenda of political correctness recent introduction, they have become be asked, however, MA to R, of the video release Ninja Scroll and conservative bureaucratic expedi something of a sacred cow under the[...]present administration at the OFLC. why the Film after only 15 months; and cuts to Dis[...]Prior to the introduction of voluntary Censorship Board's[...]point-of-sale regulation for videotapes practices appear to ney's The Hunchback o f Notre Dame to in 1984, when "formal" guidelines were[...]agreed to by censorship Ministers, the have changed so eliminate scenes around w[...]oms (Cinematograph Films) Regu much over the past[...]lations provided the legal framework for "an atmosphere of threat and menace"[...]sions to register for importation couple of years[...]films for public exhibition; the classifi that the guidelines before it was granted a G classificat[...]cation assigned to a film was a matter of[...]on their perceptions of community stan re-written to[...]dards and expectations. currendy with the revision and adoption[...]reflect the greater[...]While there were informal in-house conservatism of of new classification guidelines for films[...]themselves, being members of an inde and videotapes that came into effect fol[...]cerns about sexual and other violence in[...]this new category. lowing the meeting of commonwealth,[...]Changes were also made to the guide state and territory Ministers at the end[...]R, but only to remove specific examples of July this year.[...]sification process. The question must be asked, how[...]It is clear from minutes of meetings ever, why the Film Censorship Board's[...]held at that time that, in presenting the[...]guidelines, the Board was seeking a broad practices appear to ha[...]consensus from Ministers on the way the[...]tem had worked; that there was a clear much over the past couple of years that[...]understanding of the difficulties which[...]could arise if the guidelines used pre the guidelines have had to be re-written[...]an acknowledgement that the reason for to reflect the greater conservatism of[...]its members were best placed to judge the their decisions.[...]merits in any particular case. And isn't it ironic that, in these days[...]in 1988 following the appointment of a of increasing censoriousness, the newly-[...]new Chief Censor, John Dickie, and the[...]creation of the Office of Film and Lit adopted tide of Film Classification Board[...]erature Classification. probably redects what the Board does[...]The establishment of the OFLC not[...]policy and min no better than when it was called the[...]isterial functions under the Chief Film Censorship Board - as Shakespeare wrote: W hat's in a name? That which we call ency. H ow was the alleged shift in a rose[...]stricter standards? The introduction of consumer advice in 1990 meant that consumers knew pre The Chief Censor, or Director as the cisely what they were getting. A costly, position is now styled, has stated that the ongoing and clearly-successful public[...]ot mark a change awareness campaign was launched in in the way films are classified; that the 1991. As a consequence of these, com changes merely formally spell out the cri plaints to the OFLC have declined teria the Office already used informally steadily and substantially since that time. in rating films. These disingenuous[...]Surveys and research conducted by the old guidelines were flexible enough the O FLC in recent years have shown to allow different interpretations to be that the majority of Australians have made - in which case why change them? been happy with the classifications They are also at odds with the fact that applied using the existing guidelines. For the Board is supposed to interpret guide example, in[...]aken since 1993 and have shown consistently that the 58 C I N E M A PAPERS |
| censorship The reference to quality films pre as w arrant[...]gth. That a convenient from a policy point of view sumably harks back to the new Code guidelines. Board member is currently acting in a to link the OFLC classification processes which requires the Board to take account[...]public service position compounds this to the self-regulatory model administered of a film's artistic or other merit in arriv If such films are banned, it will have conflict of interest. by the ABA, which has all the resources ing at a classification decision. It i[...]and expertise necessary, in research, pub well to remember that Salo - the film and the hundreds of thousands of adults The determining criterion for a clas lic consultation and the oversighting of that started this review - was classified who have enjoyed such material both on sification decision must be in line with self-regulation in broadcast and narrow- R on appeal in 1993 on grounds that the big screen and at home, and every communi[...]t services including television, Pay-TV included the fact that it was one of the thing to do with political expediency.[...]line services. most powerful and important works of they are susceptible to the minority or a leading filmmaker. The recent announcements of a tight swinging votes that win or lose ele[...]ening up on violence in film have, as They are also often isolate[...]t films and other entertainment At a hearing of the Senate Commit Senator Alston has stated, more to do hear only from certain sections of the straight into homes and other venues. tee on Community Standards last with addressing the public perception community.[...]ovember, Dickie stated categorically than the reality of violence in our rationalize the regulatory process in that under the new guidelines Salo would community. If the Classification Board is simply order to achie[...]to take the safe and least resistant course, and facilitate public education in the use While politicians and the Chief Cen the political and bureaucratic solution, of the new communication media. He also said that[...]mer advice - that is to say, those at concern" in the community about vio[...]A self-regulatory approach may well the upper range of R that would now be lence, there is no evidence that such For the future, perhaps we should be resisted by[...]ern is higher than, for exam ple, look at the way in which converging tech rently point the finger at the OFLC Pulp Fiction and Seven. Peckinpah's after the Queen Street and Hoddle Street nology is fast making the existence of two when their audiences complain about a Str[...]es dealing with classification decision. With the present has singled out in public statem ents believe there is a link between television regulation - the Australian Broadcasting system becoming incr[...]violence and violence in the community Authority and the OFLC - an expensive ble to political influences, however, The Chief Censor - Austral[...]ys no, we will research in 1989 put the figure at more[...]tastes and standards relating to not be denied the than 60 percent. The existence of this two-pronged filmed entertainment -- the film and likes of Tarantino's approach to the regulation of media con video industry -- to take an active role work, that the W hat no one has ever asked is why tent is an accident of history: film in regulating themselves and thus Ministers hav[...]ere is a link between censorship commenced in 1917, with a become more accountable. It[...]olence. One sus Censorship Board established in 1929 television; it has worked with film festi that quality cinema pects the media and self-serving evolving into the OFLC in 1 9 8 8 ; the vals; and it works overseas.[...]politicians have a lot to answer for in this advent of television in the '50s saw the films are not regard. And what do people mean by establishment of the Broadcasting Con There are those in the industry who intended to be[...]violence? A look at trol Board which became the Australian share my concerns -- albeit to varying covered by the the lists of the most popular films and Broadcasting Tribunal in the '70s, fol degrees -- though they ma[...] |
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| [...]Lloyd Hart continues his examination of completion guarantees y article in the respond to proposals within a[...]ript To go further may require the guaran of days or they are deemed to approve.[...]r. . 5H I last issue on The producer and distributor can agree As you wo[...]beforehand on a list of persons any one the film to be made in accordance with Frequently, agreements[...]t, 11 I I com pletion of whom the distributor will accept. Usu the approved script. Apart from the if there is a dispute, an arbitrator decides ally, the replacement must be of similar minor on-the-floor changes to most on whether[...] |
| [...]FILM INDUSTRY C rawfords Australia went top secret for its promotional briefing by the Treasurer and Minister for T he latest edition of Microsoft Q uantel, the company which has Multimedia, the Honourable Alan Stockdale, and launch if its new[...]venture partners Sega and Compaq Computers Australia. to supplement their CD-ROM played a pivotal role in the experiences by getting the latest evolution of graphics and effects in The day was hosted by Crawford's owner, Bruce Gordon, who flew in from London for the day. information w ith the enhanced post-production, broadcast and film, The first two projects will be a multi-path movie, Amzor the PowerU jj, slated for Christmas 1997. This sci Internet integration is to sponsor the 1996 Australian Film ence-fiction comedy adventure was written and devised by Craw ford's Brian Douglas. The second will be a[...]television series designed for the Internet titled M oonbeam. The comedy adventure is set 50 years from now. Ci[...]The facility is being housed as a stand-alone section within Crawfords, and is looking to specialize in the Internet for the latest movie In its 38th year, the Awards are interactive entertainment program[...]an annual event that recognises out for behind-the-scenes perspectives. standing achievement in film and houses also report good business. 1958. It opened the New York Film The 'M ultim edia Show and T e ll'to u r The Cinemania Online Web site television, the equivalent to the Agfa has been busy supplying print Festival in October and is in show addresses the implications of new (http://cinemania.msn.com/) contains BAFTA Awards in Great Britain. stock. Graeme Wilson, Motion case around the country. Originally technology and multimedia for Indige the latest movie reviews, entertain[...]Picture Products Manager, reports shot in colour in VistaVision, the nous Australians, and looks at issues ment news, video releases, In announcing the sponsorship on Agfa has just done the tw o biggest colour faded film was restored, of copyright, cultural misappropriation biographies and monthly download the tenth anniversary of Quantel's local releases, Braveheartand[...]ion layer-by-layer by Robert A. and promotion of Indigenous culture. able updates for the CD-ROM. Australian office in Frenchs Forest, Independence Day.[...]Katz, who There are some 300 sites on the Web Man[...]rescued such classics as Lawrence of that focus on Indigenous Australians: It also includes access to the all- commented:[...]25 percent have been new Cinemania Connections - the[...]created by Indigenous people. This guide to the best independent Web Quantel has been In the picture P ixar's production for W alt Disn[...]n tracking down a percentage is mirrored in the sites about movies and filmmakers. busin[...]paint-chip from the Jaguar sports car manufacture and production of CD- Online features require Internet launched the world's first frame- Toy Story, w ill be out on video that appears in the film, so that the ROMs about Indigenous Australia. access, which must be acquired stor[...]our could be recreated. separately and for which the user recently w ith the launch of Domino, in Australia. W al Saunders, Director of the may pay a separate fee. Free Quant[...]The release wouldn't have been Indigenous Bran[...]hly updates to Cinemania '97 investment in developing products U.S. pre-orders were over 21 so dramatic If it w asn't for the are available online. that help creative people achieve million, beating the pre-orders that major discovery of tapes of Bernard We are also concerned about the excellence. It's our pleasure to were set by the best-selling video of Herrmann's original stereo recording ext[...]ILLAGE ROADSHOW support the AFI by sponsoring the all time, The Lion King. Disney took of the score, which has been re-mixed Indigenous people and the risk of PARTNERS WITH Awards success in Australia over nearly $US200 million at the box- and converted to a DTS digital sound this material being appropriated in WARNER BROS. the years. office for The Lion King. W ant to bet track. Fans of the James Stewart order to satisfy the increasing need[...]ndsay Van there'll be a Toy Story video in lots of and Kim Novak classic can look for mu[...]mented: Christmas stockings in Australia as forward to revisiting it in a new Super By sponsoring the AFI Awards, well? VistaVision 70mm print. The world still hasn't worked out Roadshow[...]who owns culture. The copyright successfully completed negotiations the many outstanding achievements Disney als[...]BUSH TRACKING ON laws of this country do not begun earlier this year to create a over the past year in the Australian release early next year of a frame-by- THE INFORMATION recognise or support ownership of joint venture w ith the existing Warner film and television industry. The AFI frame restoration of Bambifot the[...]property, like stories, Bros. Theatres operation in the congratulates Quantel on its tenth 55th anniversary of the movie. The SUPERHIGHWAY[...]cultural practices. Village Roadshow's interest in the successful partnership in the 1996 footage" and a free commemorative T he Indigenous Branch of the joint venture w ill be approximately AFI Awards. booklet entitled The Magic o f Bambi. But we recognise that the new 50 percent.[...]opportunities to promote Indigenous The total amount of Village[...]OW communities around the country to issues to the world and to encour Roadshow's initial investment in Y ou'll have realised that we're in generate interest in and promote age kids w ithin our communities to the venture is approximately A$170[...]wn million. the middle of a production boom[...]ging at the moment (count the titles in the Australian release early next year[...] |
| [...]A RTIST THE M OST EXPER IEN C ED AND PR O FESSIO N A L[...]N E G A T IV E C U T TIN G CO M PA N Y IN A U ST R A L IA[...]SU IT E D 172 FIL M A U ST R A L IA B U IL D IN G 1997 women & the arts calendar 101 ETO N RO A D L IN F IE L D N SW 2070[...] |
| Sunday The film was not a major financial suc[...]cess, given the problems and lack of[...]ational, Oak- stated sentim entality of life experience in releasing Australian films, The South Australian Film Corporation. leigh, 1978. and death in Australian rural but it did achieve[...] |
| [...]ed to make with a single parent and the boys -- much are you asking for it? Ho[...]Eadie Plan, where so much out the breakthrough to Australian audiences bet[...]you intend to m ake?" And I said, of the box-office receipts went with the 1963 success of Crawfords'[...]we want to make 3 9 ." Y eah", to the cinema, to the distribu police series H o m i c i d e . Producing for The series, of course, was S k i p p y (1967- he said, "I'll give you six thousand dol tor and the producer, you know. television was potentially viable. Once 69)9, the adventures of M att Hammond lars an episode. That's[...]fully thought and sons, assisted by the bush kangaroo. And we argued and we said,[...]and days and days trying to through the commercial considerations John McCallum and the other five part seven years." And he[...]cians into [recognizing] that involved in this new area of production. ners scraped up the finance for a pilot. limited to seven years. I'll give you an was the answer to it. He tr[...]such trips were not so readily under of money by this time, put in his labour: good. Now how many episodes?"[...]olders were happy taken -- studying the television markets.[...]id, "I'll take as many as you like to to invest in a further slate of three pic In Los Angeles, Robinson recalls, he dis I wrote the pilot and directed the pilot make." And the contract was written tures. W ith the arrival of television covered that the producer of F l i p p e r was and produced the pilot. We had to use that, so long as we kept making them, promising additional opportunities, in getting out of production to concentrate a kangaroo fro[...]Unending contract, yeah. bought and refurbished the old Cine- a hell of a problem to get the kangaroo sound studio in Bondi as a base fo r to persuade his six partners of the impli footage to make it work. Because yo[...]Robinson had sold his house cations of this for Fauna:[...]tralian television's first major success. In Rafferty kept their salaries pegged at |
| [...]Facsimile : (02) 9954 1585 Australia's Leading Film & Television Insurance Specialists Film & Television is our business and we specialise in providing insurance for: |
| [...]mer AFC Commissioner John the Australian film industry. In the 1950s McQuaid recalls that, at the 1978 Asian and '60s, many Aust[...]nd world is a fabric of character- drug to the insurer's medical Film Festival in Sydney, Robinson was the filmmakers left the country to search for specific images, like the dark advisers may vitiate the FPI on only Australian to pick up the proposition the Brimming Billabong. Some, like Rod P 4 8 ab y ss of this local fibro night tbat actor. The guarantor will that Asia might provide partnersh[...]t and collective images, like the glossy- not take responsibility for thi[...]ies than those with France. with the tribe, where the work of mak walk Hindley Street mall. Cliff lived with Letters of Credit Perhaps, once again, he had arrived too ing something out of what we had and Jean for the last years of his life, not with early. In any case, Australia was changing. who we were was, in itself, the only his wife, R osie's mum, wh[...]A distributor may pay its advance under The stylistic and aesthetic sensibilities[...]clear. Rosie stays with Jean on a letter of credit it has procured from a which had g[...] |
| F C C an d C T P F F u n d in g Feature[...]74 The Well 7 3 j Doing Time for Pat[...]20,000 Leagues Under the Sea 78 Telefeatures[...]Oscar and Lucinda 76 The Date 77[...]ble 73 Features in Pre-production ' Paws[...]Titsiana Booberini 77 The Adventures of the Balanced 73 Dead Letter Office[...]Sound of One Hand Clapping Amy Documentary Features in Production Features in Post-production Television Production Barry Humphries' Flashbacks 73 The Alive Tribe 73 Blackrock[...]76 Kangaroo Palace 78 The Dream Factory 73 The Big Red 73[...]sings 76 Spellbinder II: The Land of the Dark[...]K ey Features in production Following a Board meeting[...]pera is a heated FABLE (1 2 0 m in s ) E P Executive Producer THE ALIVE TRIBE on 28 August, the F F C has crucible where the ordinary and[...]Budget: $17,000 iations with the producers of rocketed to a level of fam e th at people Distributor: Seven N[...]edits in other w alks of life take decades to[...]Director: Stephen A mis the following projects: achieve. The Dream Factory is the Director: M alcolm M cDonald[...]story of the addictive lure of fame and Writer: IAN COUGHLAN[...]RENCE Telefeature the immense influence and power of Cast: S imon W estaway[...]soap opera. Via the intimate lives of[...]experienced peers, the documentary obsessed with the supernatural C Cast[...](90 mins) will examine the pressures, after the death of his family.[...]professional and personal costs of THE ADVENTURES OF S E Story Editor[...]sudden and intense notoriety. THE BALANCED PARTICLE W D Writ[...]D IST Distributor Agroup of university students W s: J acquelin P erske, A t the Ju ly Board meeting, FR[...]ion Survey form d campaigns against the use of M ichael B rindley fu[...]W hitbread accept information received in a THE BIG RED D ist: B eyond[...]THE WELL Director:[...]ot accept (working title) In a suburban M elbourne w arehouse,[...]riter: CAROLE WILKINSON redpondibilityfo r the accuracy fringe music and techno-mixer Robert (95-100 m in s )[...]children's cubby house and particularly the cade when licence. It promises to be a week-long D: Sam a n th a Lang needs the help of the children to information changed but the Production office: Sydney narrow cast dance party for the kids of P: Sandra Levy res[...]Production: 16/9-9/11/96 Melbourne. The graffiti gang, the[...]attem pt to correct what had Vietnamese kids, the party girls, the C om m ercia l[...]Principal Credits skateboarders, the headbangers and Television Production[...]Director: Stephan Elliott the clubbers are all drawn to RAW FM.[...]ELL, could be theirs...99.9 RAW FM. The Commercial Television The story of an eight-year-old girl Information is suppli[...]hear only music and and adjudged as of Stephen W oolley[...]approved funding of a new[...]Based on the novel: T he Dead Heart by THE DREAM FACTORY adult drama,[...]D ocum entary Features in from the Children's Drama[...](5 5 -m inute A ccord) Initiative and the Fund's first BARRY HUMPHRIES'[...]Director of photography: M ike M olloy[...]An irreverent look at the past four[...]decades of Australian history with[...]an original slant on the events and[...]people that shaped the country. The story of Teddy, a streetwise N ew[...]Yorker, who finds himself out of his[...]THE NEW HHB DAT TAPE THE BEST GETS EVEN BETTER[...] |
| [...]Liz M ullinar Consultants hand out his own form of rough justice. DDA (612) 9955 580[...]Production company: Dark City the story of a young Australian[...]P r o d u c tio n s woman who shares the same name Line dancing consultant: J[...]and birthday as the Princess of W ales. Stunts co-ordinator: Z ev Eleftheriou[...]Director: A lex Proyas elbowed out of the w ay by a pushy[...]Post- production J ohn Murdoch awakens alone in a Liz M ullinar Casting[...]visor: J ohn Cox strange hotel room, accused of a Extras casting: Dominique M echam,[...]Best boy: Dave Smith series of brutal murders that he cannot J oe B en[...]M arketing remember. Indeed, most of his memories have vanished altogether. He[...]P ictures W orldwide reality as he knows it are in fact Production co-ordinator: Debbie[...]assistant director: Christie fiendish underworld of ominous beings[...]Cast collectively known as The Strangers. Location manager: M aude[...]hilarious adventure through the city's[...]J eff Little mean streets and to the halls of[...] |
| [...]SOUND OF ONE HAND Wardrobe supervis[...]Adiary film, chronicling six days in Production: SEPTEMBER-DECEMBER 1996[...]Government A gency Investment the life of a wom an in her early 30s.[...]esser: T eena M cCarthy Featured in[...]international sales agent: Based on the novel by Peter Carey, a Unit nurse: J acqu[...]mart (Cherie), Ayoung man is arrested after the (UK) Ltd[...]Davis (D et. Gilhooley), J essica hold-up of a liquor store. During Production: 14/10[...]eath Ledger (T oby), psychiatric examination, the young[...]mourer: J ohn B owring Based on the play by Nick Enright[...]Director of photography: M artin M cGrath J ustine Clarke (T iffany). ago as a mummified body. The[...]n a 15-year-old girl is raped a trail of killings of anyone who Producers: A ndrena Finlay,[...]and murdered at a teenage surf disturbs the mummy.[...]of hatred, shame and distrust. For 17- THANK[...]anning and Development year-old Jared, the event tears him[...]casting: Kate Finsterer choose? Based on the novel: Chance in a M illion[...]Principal Credits Director of photography: Kathryn M illiss Planning a[...]oks THE NEW HHB PAT TAPE[...] |
| [...]rt department co-ordinator: Director of photography: Helen Carter Hairdresser: Sa[...]Laboratory: ClNEVEX | has moved in and dispossessed the[...]Film gauge: 35m m i entire population of the town. Irene Stefanie Kleinhenz[...]Government A gency Investment j live the rest of her life in total isolation,[...]Development: i a citizen of a ghost town. She is left for Propsperson:[...]Production: Film VICTORIA (IFF) The company keeps her existence Standby props[...]BAFE employee, visits Irene with the[...]arie H oy (Z heng), Stelarc (N a m intention of exposing this human rights Wardrobe supervisor:[...]the monthly grocery service supplied P[...]Production company: VICTORIAN COLLEGE OF Development:[...]Titles: J ason M cQuoid developed the Ameth scarf, a the A rts, S chool of Film & TV A ustralian Film Commission[...]im MORGAN murder by Nam Meloque, head of the[...]6 Costume designer: Lisa- J ane B ell The romantic myth is exposed for[...]Additional music: A nton D elecca, m em ories of an old girlfriend on his Video trans[...]itional vocals: Karin M cClean on the following:[...]Planning and Development DUST OFF THE W INGS form at film to be screened at the[...]Script editor: Em m a Balazs THE INNER SANCTUARY Gardens near Alice Springs. The film[...]follows the evolution of Central Director: David Co[...]K.C. Australia from the beginnings of time Producer: Sarah Zadeh[...]until recent history. Scriptwr[...]Director of photography: Paul R. Cox Costume desig[...]THE DATE Costume designe[...]runners: J ason B ird, A ndrew on the following:[...]Camera Crew (FORMERLY t h e STORY OF C.I.A.) Co-producer: Ernie Sch[...]r Clapper-loader: NlCOLE Sw an THE QUIET ROOM[...]Camera type: A rriflex UNDER THE LIGHTHOUSE[...]Catering: Canteen, Ba lm a in[...]W ardrobe wom an, resides in a small town in rural[...]N S W th at is cast in the shadow of a A rt Department[...]THE HEW HHB DAT TAPE THE BEST GETS EVEN BETTER[...] |
| [...](m in i-series) The orphaned Danny, Paulie and Produce[...]Frances find they have a lot in M esurier, Ros T atarka[...]dits powers and shared adventures, in an Executive producers: MlKAEL B orlund[...]izard, Rebecca Gibney SPELLBINDER II: THE LAND Titles: Optical & Graphic Scriptwriters: A ndrew Knight, Deb Cox OF THE DRAGON LORD M ac Gudgeon, C[...]tory: ClNEVEX FILM LABORATORIES Director of photography: KlM Batterham[...]M arcus Graham (Elvis M a g in n is ),[...]family background and the fact he's[...]or: Chris Gough worse. It's hard to tell the Good Guys Video transfers by: Complete Post[...]from the Bad Guys any more. But then Off-line facili[...]ueline M cKenzie (Catherine), J ohn Director of photography: DANNY BATTERHAM Story edito[...]s (Chubus Zarbo), Rosalind Ham m ond In the mid-1960s, four Australians Pr[...](Carol J ohnson) leave the country of their birth for the Cast[...]home of The Beatles, the Rolling Heather M itc[...]ng Italian girl, Titsiana Stones, the fashion industry, the pill[...]feels trapped by her and all-nightclubs. In London,they Children's fantasy adventu[...]ager: SUE EDWARDS existence as a check-out chick in a confront sex, destiny, love, failure[...]rmarket. W hen Top Dog varying degrees of success. Kangaroo[...]andra Gross, spirit, no one could have predicted the outcome. It's amazing w hat a little faith[...]cCart, T im B rooke-H unt in yourself can do! Titsiana Booberini\s[...]Scriptwriters: J ohn Palmer, David W in , a film for anyone who has ever felt ( m in i- ser ies) different.[...]THE SEA D.O.P: B en N ott[...]RINGTON, always understand. And when both of[...]Best boy: A ndrew M oore B ased on the novel by J ules V erne_ Harold Hopkins (Over[...]On-S et Crew M ichael Ca in e , Patrick Dempsey, T he film tells the story of an innocent Production designer: IAN[...]Planning and Development interested in surfing and hanging out Phil J ones in a South American prison, and Ben, Script editors: Rob George, David Farrell than in girls. Together they will save In 20,000 Leagues Under the Sea, a who after a five year sentence sharing[...]Casting: A udine Leith destruction and in the process discover 3rd assistant director: Ed[...]her, sets sail with an Their lives are summed up in the on Shooting schedule by: David Ligh[...]ay Hennessey, Cate La p h a m , American frigate in search of a monster going checkers game the pair played[...]terrorizing the high seas. But after the during their internment - your move.[...]y ship is attacked, Arronax learns the[...]Boom operator: D ean Ryan menace is in fact an astounding man S ee previous issues[...]A m and a Rowbottom made vessel called The Nautilus, a ship[...]Hairdresser: Pam M urphy of untold power guided by the brilliant, BOY[...]THE WAYNE MANIFESTO LEFT LUGGAGE[...]THE NEW HHB DAT TAPE THE BEST GETS EVEN BETTER[...] |
| THE CRITICS FIND HEAVENLY |
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MD |
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Issues digitised from original copies in the collection of Ray Edmondson |
Reproduced with permission of one of the founding editors, Philippe Mora |