Cinema Papers May 1978 - Cannes edition

PECIAL ISS X X X I« FESTIVAL INTERNATIONAL DU CANNES MAY 16-MAY301978

‘The Irishman,’ a very special Australian movie. The makers chose a very special film - Gevacolor Type 680

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The makers of The Irishman’ were aiming for a unique look, a totally different visual ‘feel’.

And they achieved just that with Gevacolor Type 680. “ It’s the colour of The Irishman’ AGFA-GEVAERT LIMITED.

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that’s of particular importance” says producer, Tony Buckley, “ and one area where we have broken with tradition...the Agfa-Gevaert colour has given our cameraman that extra

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dimension we were looking for.”

Consider Gevacolor Type 680; a high-speed, double-masked original negative film. After all, why stick with tradition?

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As you can see, the same audience that went to Tommy flocked to Summer City And when we came to Sydney, the crowds came too.

Summer City is set between Rock and Roll and the Beatles.

It was a time for end­ less cruisin' in that old Chewy.

Looking for the Eldorado called Surf City, tw o girls for every boy and that fatal 'one last ride'.

Summer City is a very truthful movie

that has plenty of action, comedy, warmth and drama. And, best of all, It's making money.

W hich, we think, w ill open doors for us in many places.

A new film from Intertropic.

Currently in production is our new film , Zodiac Fairground. Its success is written in the stars.

For more information contact: Austin Levy or Phillip Avalon, Room 120, Carlton Hotels Cannes. Phone 6 89168. TLX470720.

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Cinema Papers first appeared in this format in December 1973.

In that year, only nine Australian feature films were released theatrically. While only a small number by American and European standards, it marked the resurgence of film production in Australia. In-1978, there are already 18 features scheduled for release and several more in production, not including many short features and tele-films. This dramatic increase in output has been paralleled by increased technical and creative standards which have gained the Australian cinema international recognition.

This special issue has been published exclusively for the XXXIe Festival International du Film at Cannes and comprises articles, interviews and picture spreads which have appeared in domestic

issues of Cinema Papers over the past year dealing with the films present at this festival. A special supplement consisting of a Who’s Who of the Australian film industry, and checklists of directors and feature films from 1970 has also been included.

The Editors

Articles and Interviews The Last Wave Production Report: 35

The Last Tasmanian Haydon Interviewed: 14

The Chant of Jimmie Blacksmith Tom Haydon: Interview The Irishman John Duigan: Interview The Last Wave Phil Noyce: Interview Blue Fire Lady Paul Cox: Interview Dawn!

Tom Jeffrey: Interview In Search of Anna Solo Soundtracks: George Dreyfus Womenwaves Production Survey Services and Facilities Guide 1. Laboratories 2. Sound Studios 3. Equipment Rentals

8 14 21 28 35 45 49 55 63 70 75 82 85 86 89 95 96 103

The Chant of Jimmie Blacksmith Production Report: 8

Dawn!

Production Report: 63

Picture Previews Patrick Summerfield Long Weekend The Mango Tree The Getting of Wisdom Summer City

13 33 43 59 61 81

Checklists The Getting of Wisdom Picture Preview: 61

Who’s Who Feature Films 1 9 7 0 -7 8 Directors 1 9 7 0 -7 8 Feature Film Credits

Editors: Peter Beilby, Scott Murray. Editorial Board: Peter Beilby, Philippe Mora, Scott Murray.

Contributing Editors: Antony I. Ginnane, Graham Shirley, John Reid, Tom Ryan, Andrew Pecze.

Correspondents: London — Jan Dawson; Los Angeles — David Brandes; Paris — Meaghan Morris; Rome — Robert Schar; Denmark — Gail Heathwood.

Graphic Designer: Keith Robertson. Layout Supervisor: Andrew Pecze. Layout Assistant: Peter Kelly. Sub-Editor: Maurice Perera. Proof Reader: Arthur Salton.

Advertising Manager: Sue Adler.

Office Manager: Mary Reichenvater. Business Manager: Robert Le Tet. Office Assistant: Gillian Hehir.

I V VI VII

Tom Jeffrey Interview: 70

Printing: Ramsay Ware Stockland Pty. Ltd., 552 Victoria St„ Nth. Melbourne 3051. Telephone (03) 329 7300. Typesetting: Affairs Computer Typesetters, 74 Eastern Road, South Melbourne 3205. Telephone (03) 699 2174.

This special edition of Cinema Papers was produced with assistance from the Australian Film Commission. Articles represent the views of their authors and not necessarily those of the Editors. This magazine may not be reproduced in whole or in part without the prior permission of the copywright owner.

Cinema Papers is published by Cinema Papers Pty. Ltd. Main Office: 143 Therry St Melbourne 3000. Telephone (03) 329 5983. Sydney Office: 365A Pitt St., Sydney. Telephone (02) 26 1625.

1 Cinema Papers Pty. Ltd., April 1978

Front cover: Scene from The Irishman. Photographed by David Kynoch.

Courtesy of Anthony Buckley.

Cinema Papers, 1978 Cannes Special — 7

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FRED SCHEPISI Producer/ Director/Script writer Thomas Keneally’s ‘The Chant of Jim m ie Blacksm ith’ Why adapt Thomas Keneally’s book? is one of Australia’s few great novels. It tells the story of It is something that is normally against my principles, because I believe a work of art in a particular media should stay in that media; I don’t believe it is transferable.

T h e re are so m e n o ta b le exceptions, but I think they are almost always films which are quite different to the book — Orson W elles’ The Trial, for example.

So, I was very wary. However, I believe Thomas Keneally wrote the book with it being filmed in mind. It is a very visual book, though when you try to break down and transfer it into film, it is an entirely different proposition.

There are just so many things in it that you can’t do in film — newspaper reading would be the simplest example.

As well, Keneally is such a p re c ise w rite r th a t in o n e sentence, he can give you a balance between black and white feelings and sym pathy for a character, and that you can’t do so easily in film.

What I did was to read the book again and again until I found what he was about. I then put that aside an d trie d to fin d my own justification for it, treating it as if I was writing it myself.

a young half-blood Aboriginal who leaves his tribe to make a go of life in a white m an’s world. Confronted by pressures he cannot control, he explodes in a fateful “ declaration of war’’.

Schepisi started his career in advertising at 15. He then took charge of television production for one advertising agency before joining Cinesound Productions, Victoria, as manager in 1964. Two years later, he took over the firm and formed his own production house, The Film House.

Schepisi’s first fictional film was “ The P riest” , a half­ Given the Australian public’s hour episode from “ Libido” . “ The D evil’s Playground” , attitude to Aboriginals, do you which followed in 1976, was a financial and critical see a problem in trying to create success, and was the second Australian film to be invited sympathy for the character? to the Directors Fortnight at Cannes.

Would you say so? (Schepisi In the following interview, conducted by Australian holds up a photo of Tommy Film Institute executive director David Roe and Scott Lewis). With a guy who is as Murray, Schepisi talks about his direction, the logistical handsome and compelling as that I don’t think so. problems of shooting a $1.2 million film over 14 weeks, —Of course I was concerned, but and his handling of actors. while I may sit here and talk to you about audiences, in the end you can only make a film for yourself. You have to make it to your integrity and to the way you truly feel.

You can’t be worried about w h eth er the audience needs violence, sex or whatever, other than in terms of letting them know where they are and what they are meant to feel. Obviously it is no good making a film without any signposts in it — you need some consideration for the audience — but since there is no way of really knowing, you just do what you feel is going to create a real experience.

What attracted you to the book in the first place?

The subject matter. I think it is a great story, one that is extremely relevant today. I believe it is the kind of story that can reach people on a mass level, and also say something that needs to be said in this country.

How have you handled the violence in the film?

Is the film’s concern on racial matters a universal one, or one relevant largely to the Australian situation?

It is universal; it is about half­ castes, of being black and white, and about being torn between two worlds, two cultures. That is a situation that exists everywhere, and I think the ramifications of it are the same. I am sure black audiences world wide will go crazy for it.

H o w e v e r, th e film i s n ’t specifically one-sided. The book tends to paint all the whites as outand-out rats, and I don’t believe that they would have been; they were just acting the way they knew.

We are a lot better educated now, but we still treat Aboriginals about as badly. So, it is still a

C orrect. A part from color pressures, the forces on him are the same that would apply to any person who is poor or disad­ vantaged.

I hope from a commercial pointof-view that the audience won’t be thinking of him as a black guy, but that they will be sitting there thinking of him as like them ­ selves, trying to get somewhere in the world.

question of what is the norm for society.

What effect will this de-villainization have on the dramatic tension?

I am not actually de-villainizing them because what they were doing was wrong. Rather, I am trying to humanize them, showing that they could have been you or

me.

Also, it is not only a black and white thing, it is the story of an underdog, of a person who is trying to make a go of it and isn’t allowed to. Now that problem relates to probably 50 per cent of our society.

The pressures on him are, therefore, not particular to him being a half-caste . . .

The way I like to put it is that it is more Saul Bass than Sam Peckinpah. But I think it will probably fall half-way between the two, because though I have tried to stylize it and do something different, in the end you have to front it head on. You can’t avoid it because that would be like having sex without an orgasm.

Incidentally, I do think a lot of Australian films tend to. avoid a lot of things on an intellectual level.

They think that the audience knows what is going to happen so they don’t tell them. What they should do is tell them on a physical level.

Do you think i t is an intellectual decision or a refusal to face up to things?

It is a mixture. I have fronted up to this problem a million times: Will I have this argument, or will I leave it out because everyone will Cinema Papers, 1978 Cannes Special — 9

THE CHANT OF JIM M IE BLACKSMITH

Despite his value as a police tracker, Jimmie is constantly subjected to doing menial tasks.

Ray Barrett as Farrell with his tracker Jimmie Blacksmith.

Jimmie with his brother Mort (Freddy Reynolds) while on the run.

know that it’s coming? And each time I have had to say to myself, “ Come on, it is a physical thing, it has to reach its climax” .

So, I fronted up to the murder and it is going to be devastating. I think they will have to issue sick bags at the premiere (laughs). I mean, it even gets me.

the studio and set up the cameras and lights. There are offices everywhere with phones ringing, and I told people to keep walking through the studio.

I made him do some things on video-tape, then I walked away, telling him to go through them again 10 times with someone else.

I then came back and made him do it again.

I was trying to create as much c o n fu s io n and p re s s u re as possible. We did this for four hours; he stood the lot and was actually improving. We then knew he had to be good.

Tommy Lewis as Jimmie Blacksmith.

Have you used special effects?

We have tried to do it in a bloodless manner. If there is one thing I am overconscious of in films it is phoney make-up and blood. You won’t find any of that here, though what you will find will be pretty bloody terrifying.

According to Ian Baker, the film takes a panoramic vista of the Australian countryside. Would you agree, and if so, how do you react to the claim that this is poor box-office?

If people say that, they are misunderstanding the value of some of the elements of Ryan’s Daughter, Doctor Zhivago and Lawrence of Arabia. What Ian means — and certainly it was my intention — is the putting of human action within a scale. We keep contrasting things by cutting, say, from a tiny beetle to people who are having, what is for them, the most heartfelt drama in the world. Sure 200,000 Pakistanis could get wiped out in a tidal wave, but there is something in human nature that makes one feel less about that than if you told me I was a dick-head. We are trying to put that kind of feeling in scale.

After completing “ Backroads” , Phil Noyce suggested that only Aboriginals should make films about them selves. Were you 10 — Cinema Papers, 1978 Cannes Special

conscious of such issues?

I thought for instance that I should have black interpreters with me so that when I was expressing something there would be somebody who understood the actors’ cultures and who would be able to interpret these feelings for them. Then when they acted the scene, the truth would come out and that would be exciting and different.

But I then discovered, if you spend enough time with your particular actors, you will find that truth without interpreters.

I would relate my situation to that of Roman Polanski or Milos Forman directing in the U. S. They must have had encountered immense language and culture barriers, but they were able, by linking with the people, to break through them.

You used an actors’ tutor as w e ll. . .

Yes, Michael Canefield. We had heard of his work on Storm Boy and in theatre, and as our black stars had never done any acting before, we used Michael to train them.

Firstly, I went through the script with Tommy and Freddy, and my wife gave them systems by which they could learn their parts. Then

Michael gave them exercises on the emotional areas that we wanted: he took them out horse­ riding, to gymnasiums to get trim, taught them to run and hardened up their feet in the cold — all those aspects of it.

He then did exercises where they interpreted each line with gestures. He was really preparing them for me. It is a great way to work, and Michael did a fantastic job.

W hat made you decide on Tommy Lewis for the lead role?

R h o n d a a n d I w e re at Melbourne airport, en route to the opening of Devil’s Playground in Perth, when I noticed Tommy passing by. When I came back from ch ec k in g my tic k e ts , Rhonda, who was in the coffee lounge, said, “ That guy over there is fantastic.” We talked about it and then I sent her over.

So in the reverse of the normal role she did the “ How would you like to be in films?” line; I think he just about died.

She talked to him for a while, then I went over. He was going to Darwin, and when he came back he rang us up, much to our surprise — we thought he would probably be too shy.

I put him through a very heavy test. I stood him in the centre of

And the other actors . . .

Tommy wanted me to meet his friends from the Swinburne Tech, so we went to a party at John Morrison’s place. He didn’t know Freddy Reynolds, but Freddy came as a guest of somebody else and when he walked into the party I took one look at him and said to Rhonda “ There is Mort, let’s get him ” . We had a lot of trouble getting him, though.

How long was the shooting schedule?

We did 11 weeks with a major crew, though there were times within that when we should have been working with a smaller one, but the logistics just wouldn’t allow it. I think it would have been better to take another week and work with a smaller crew all the time.

On top of that, we had three weeks with an almost half-crew, one day with cameraman, sound­ man and myself, and a couple of days with the cameraman and two assistants picking up little extras.

It was fantastic.

THE CHANT OF JIMMIE BLACKSMITH

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What was the reason for the long shoot?

I wanted to go to a number of different country locations and they were spread all over the place. We went from Dubbo to Gulgong, Scone to Armidale, Kempsey to Dorrigo, Bundarra down to Mudgee, and then back to Melbourne. Now that takes a lot of time, and that was one of the reasons for the long schedule.

Another, was that no matter what our base was we would have at least three hours travel to and from the location. This starts from when you leave base to when you arrive back, so that left us with six and a half or seven hours for actual shooting.

So while it seemed a long schedule, we were still doing two to two-and-a-half minutes a day.

And if you want good light for all those things, you need the time to do it.

The mission school from where Jimmie came.

He was production manager . . .

The budget is — the world will be surprised to know — still $1.2 million. We are in fact $25,000 over budget, which is the amount of the preliminary PR budget that we never had in the budget but which we later tried to squeeze in.

And most of that is coming back through the Department of Trade.

As well, we settled an insurance claim today, and we have yet to sell off our props and wardrobe.

So, we are likely to be under­ budget, which I think is fantastic.

It is certainly contrary to the

rumors of $ 1.8 million . . .

I would like to say something on that. When this industry grows up and stops wanting everybody’s film to be a disaster, particularly the big budget ones, then we will really start making strides. The rumors that went round before the film started have caused us immense trouble, particularly with the AFC and our private investors.

Anyhow, I believe in correct budgeting in the first place, and with everything that happened to

Why would you have preferred a sm aller crew over a longer period?

I find big crews have a lot of time to sit around and do nothing and the minute someone has nothing to do they start to slack o f f . T h e y w h in g e a b o u t yesterday’s motel or last night’s dinner and it builds and builds.

When you have a smaller crew who are all helping one another, they are constantly involved and become part of the film. They have less time for bitching and whinging.

What is the film’s final budget?

us, thank God we had Roy Stevens out from Britain.

Jackson Thompson as Rev. Neville who adopts Jimmie as his son.

Associate producer will be his title now. He had the capacity when we moved to an area to say, “ Look, transport is costing us so much and since this is a beautiful area, let’s dig in and find some of the things that we have in other places and eliminate a move.”

He was able to contain the film in an extraordinary way and certainly no one in Australia would have been able to do it.

Most people here are a bit up themselves at the minute; they do one job as production manager or associate producer, then they want to be a producer. This is causing disasters across the industry because almost everyone is going over budget. That is one side of the picture.

Flexibility is another thing people in this country cannot understand, particularly big crews.

If you see a great shot, you must get it, no matter. It is irrelevant what it says on the call sheet, because you may never see it again.

People have a disease for wanting to make a film for a price, in so many weeks and with so many people, and that is all that counts. It isn’t all that counts.

If, despite my efforts to contain it, my film needed to go over budget $100,000 to lift it from being an ordinary film to a great one, then I would have spent the money. That is the other side of the story.

Concluded on P.101 Cinema Papers, 1978 Cannes Special — 11

Australian International Film Corporation P/L

The innocence of “Blue Fire Lady”

The terror of “Patrick”

See it at the Cannes Film Festival A Division of FILMWAYS AUSTRALASIAN DISTRIBUTORS PTY. LTD. 1 5 8 C i t y R o ad , So uth M e l b o u r n e , V i c t o r i a , Australia 3 2 0 5 T e le p h o n e 6 2 2 9 3 1 . T e le x A A 3 3 4 8 7 . Cables: F ilm w a y s M e l b o u r n e .

PATRICK “ A psychic thriller about a young coma patient and his effect on the various people he comes in contact with.”

K a th y ...................... . . . . Susan Penhaligon Dr. R o g e t ................Sir Robert Helpmann E d ............................................ Rod Mullinar Dr. W right.................................Bruce Barry Matron Cassidy.........................Julia Blake Sister Williams............. Helen Hemingway Director.............................Richard Franklin Producers.................... Antony I. Ginnane, Richard Franklin Executive P rod u cer.................Bill Fayman Screenplay...................... Everett de Roche Director of Photography . . Don McAlpine Art D ire c to r...................... .. Leslie Binns Special Effects................ Conrad Rothman Sound R ecordist......................Paul Clarke Editor................ Edward McQueen-Mason

Top Left: Susan Penhaligon (N urse Kathy) and Bruce Barry (Dr Wright).

Patrick.

Top Right: An angered Dr Roget (Sir Robert Helpmann). Patrick.

Right: Sir Robert Helpmann (Dr Roget) and Susan Penhaligon (Nurse Kathy).

Patrick.

Bottom: The electrocution by Patrick of his mother (Carole-Ann Aylett) and his lover (Paul Young) Patrick.

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WKÊÈÈÊÈÊÊ"S Èk

In Australia at the moment, we seem to be suffering from a lack of idealism. The feature filmmakers are fond of talking about the new ‘Australian film industry’. That emphasis on ‘industry’ is significant — it betrays our present obsession with the pragmatic business side of filmmaking — finance and box­ office. Of course, that’s natural at this stage. But I think filmmakers also have a responsibility for the way they can influence society — and if they do have something to say, that often means they will want to change society.

I don’t hear much talk along those lines within the film world here.

And I don’t see that kind of commitment expressing itself in most of the recent feature films, Tom Haydon is one of the new brigade of directors who with the exception of Devil’s Playground. emerged under the stewardship of Ken Watts — now

TOM HAYDON

chairman of the Australian Film Commission — at the

Do you think this tendency is ABC His first films made in the 1960s at the ABC, “The peculiar to Australia?

Talgai Skull” and “Dig a Million Make a Million”, Of course not. Think of Holly­ wood in the grand old days. Maybe the old style Hollywood film syndrome has infected some of our producers. Perhaps we are living out fantasies conceived years ago at Saturday matinees, though it would not be surprising if the Australian character had something to do with it. As a nation, we do seem to be more comfortable with an escapist, physical approach to life as against a probing, analysing one.

While you were at the BBC you made “The Black Stump” for the “British Empire” series. Was that an attem pt to exp lore the Australian character?

It was a film about the way we used to be, or rather, thought we used to be. That wasn’t the way the Australian press took it up. They attacked it for giving a distorted view of the present. In fact the film presented a view of Australia in the nineteenth century. The headlines on the front page of The Australian said: “With a friend like Haydon, who needs an enemy.”

It was a reflex action. Remember, it had been shown in London and at that stage people in Australia hadn’t even seen the film.

Perhaps the kindest thing I can say about the Australian press is that they just viewed the film in a very superficial way. The film was certainly not a journalistic piece.

received several Australian awards and made an impact overseas. This led to an offer of producership by the BBC. Haydon made several episodes of the BBCs prestigious “British Empire” series, including the now notorious “Beyond the Black Stump”. He followed this with a docu­ mentary on the trawlermen of the cod war, “Skipper Pitts Goes to War”, which was well reviewed. Then came two more films on Australian themes — “Epitaph to a Friend­ ship”, about Russell Braddon, and the “Long, Long Walkabout”, on the Aboriginals. These were BBC-ABC co­ productions.

In 1975, he returned to Australia on a creative fellowship from the Arts Council. He has formed a company with Geoff Burton, ARTIS Film Productions, which has received AFC pre-production support Tom Haydon was interviewed for Cinema Papers at his home in Sydney by Ian Stocks. He begins with a discussion on Australian filmmakers’ attitudes towards the business side of filmmaking.

Beyond the Black Stump: One of Haydon’s episodes in The British Empire series.

Left: Research still for The Last Tasmanian. Truganini is seated on the left.

Dig a Million, Make a Million: Exploring the power game behind Australia's richest mining venture, Hamersley Iron.

I don’t make films in a literal way. It’s not like writing. In a film you can have a whole number of streams running parallel to each other — acting on each other. In the end you just can’t say that such a film is about one thing. It’s about a number of things all at one time — they inter-relate. What holds them together is the overall style chosen by the filmmaker.

I found doing Beyond The Black Stom p was a very subjective experience. I had been interested for a long time in the Australian character as an idea — or as a myth.

So when the BBC said they wanted a film on the ‘Australian character’ — believing in the myth — I decided I wanted to make a film that was a comment on itself. It’s a film that cancels itself out in a way.

You have had a strong interest in this associative technique — it started even before you left Australia in the ABC docu­ mentary “Dig a Million Make a Million”. It’s full of irony and non-logical comment. . .

It’s all a question of juxtaposition.

You can put this after that, and you find that people jump to con­ clusions. They work out their own idea of what connects the two scenes. Then comes the next scene, or sequence. It seems to carry on the same connecting idea, but at the same time it relates back to the earlier scene in a way that suggests quite a different idea. So there you have two different arguments or a t t it u d e s being d e v el o p ed simultaneously. Then come others, as the film goes on.

You work this out at the editing stage — Well, you have to shoot with it in mind; but yes, it’s mainly achieved in editing. Of course, most docu­ mentary making depends on editing, because you have no script as such.

I find editing an intuitive process.

I try to be systematic, but it never comes out in a straightforward way.

I often get to a long rough cut which doesn’t have a straight-through logical argument and is full of irrelevancies.

I remember this happened par­ ticularly with The Long, Long Walkabout. At the time I was trying to bring it down I saw a film on Rodin. And it showed that when he was sculpting he used to start Cinema Papers, 1978 Cannes Special — 15

TOM HAYDON

with a title. And after a few weeks chipping away, he would change the title. And then he would do some more and the title would change again. So the theme, the argument developed with the form — and the form was what really governed things. The form was the concept and the concept was the form.

It’s the first thing I try to come to grips with — the form of the film.

So you shoot not just for logical reasons, but because the material has some style, some quality you w a n t . It is a m b i e n c e and atmosphere and character.

Did you find you had more freedom in Britain to make films the way you wanted?

Well, yes and no. There is one great advantage in Australia.

Because we don’t have so rich a literary tradition, the documentary filmmaker does not really have to reckon with established ways of approaching a subject. Your film could well be the first time the subject has been tackled, in any form. You can just go out and do the f i l m , u n a f f e c t e d by any predecessors. It’s like being in a desert.

In a way, in Britain every thought you have is being related to tradition, and that can make it hard to do the film in your own way. You move in a thick sort of soup of firmly inscribed verbalised notions.

They are also very conditioned to sit and listen to the film, rather than look at it.

I had a battle at first — on the British Empire series — actually to write my own films at the BBC. They were documentaries, but the instruction was that the writing had to be done by established literary figures. But I wrote my films in the end.

Did you produce and direct your films there?

G e o r g e A u g u s t u s R o b i n s o n , th e b r i c k l a y e r a n d lay p r e a c h e r w ho obsessively rounded up the last Tasmanian aborigines.

The last Tasmanian Aborigines at Oyster Cove circa 1860.

the managing director of television — until agreement is reached.

It’s a very cunning system that depends on no written rules. So you are never quite sure if it’s a way of allowing individual aspirations to enjoy some reasonabl e s e l f ­ expression, or just a way of milking an individual dry. But there is the recognition that the making of the documentary film is essentially one man’s responsibility. He will have the glory, and also suffer the blame.

At the BBC the documentary director is his own producer. He is encouraged to think that he is free within a certain context. He also gets a lot of freedom between the time he starts the film and the time he shows the rough cut.

The rough cut viewing can some­ times be tough. Though even at that stage if the producer and his boss just can’t agree, there is the With regard to the “ Empire” possibility of referral upwards; you series, did many of the producerssee people up the ladder — even to directors come from the colonies?

16 — Cinema Papers, 1978 Cannes Special

Top: Truganini, painted when she was 17.

Above: Truganini in old age. She was R obinson’s principal collaborator and became the last full-blood Tasmanian aborigine in Tasmania.

Well, no. The others were all BBC hands. I was the only one who had actually come from one of the ’Dominions’ to work on the series.

How did you reach the stage of being invited to work for the BBC? I began at the ABC as a ’specialist t r a i n e e ’ p r o d u c i n g s chool s programs — University of the Air, that sort of thing. Then I found myself in the science unit and there was the chance of doing a full-scale documentary, as long as it had a science angle. So I did The Talgai

Skull and it did well, much to my surprise.

The year after, in 1968, I made Dig a Million Make a Million. I had been planning to do a film about the 10-year drought and the day before the critical program meeting it rained all over Australia.

So I had to come up with another project really quickly, and I hap­ pened to see a newspaper headline about the mining boom and the way we were “selling the farm” to over­ seas investors. I had also seen a Canadian National Film Board documentary on Lord Thomson, and that influenced me a lot. It had all been done with ironic juxtaposi­ tion. The method intrigued me.

I was struck by the way it could take you along two paths at once.

The m ining-investm ent theme offered an ideal opportunity for this kind of contrast. Here were these various men, all over the world, each presenting an attitude to j us t i f y t he i r p o s i t i o n . Now juxtapose these attitudes with each other, and with the factual data about the whole enterprise, like the huge profits, and you can see these men erecting elaborate moral justi­ fications for what is really straight­ forward self-interest.

It was this contrast which I sought to explore, not just the ’issue’ itself: you know, should we or should we not have so much overseas investment to develop mining. That controversy affected the behavior of the people involved; it was their behavior which most interested me. I think that’s a difference between the journalistic television docum entary which reports and analyses an issue and the committed filmmaker’s docu­ mentary which is concerned with its subject for its own sake.

Usually that subject is mankind in one aspect or another. I think mankind is ambivalent. We try to deceive ourselves. Most of us don’t accept our ambivalence and we like to pretend to be something we are not. We put up reasons for doing things which are not the true reasons. This is a basic problem for the historian who has later or. to discover the true reasons.

You are a history honors graduate.

Do you somehow see yr urself as an historian in the way you make films?

Well, I suppose you might say that. There is a sense in which I am

TOM HAYDON

desert and look at the fireplaces on the ground where people actually sat 20,000 years ago. The landscape around is virtually unchanged. I can’t escape the feeling that gives me . . . I want to feel that 1belong to this. It’s the exact opposite of our recent European Australia.

What gets me is the contrast. You are out there, looking at things thousands of years old, the real history of the continent. And out there with you is a station overseer who has been on his job maybe five y e a r s , and p r o f e s s o r s and geologists, and you can’t escape feeling how ephemeral, how super­ ficial the European presence is, compared with, say, a 30,000-yearold skeleton extruding from the s and. The E u r o p e a n s seem irrelevant to the landscape.

trying to record the present in a way which reveals the ambivalence, doing now what historians would usually do later on.

And you think irony is the method for doing this. . .

Irony is an excellent weapon for slicing paradoxes apart, and it’s e n t e r t a i n i n g too. Human ambivalence is a paradox — it’s about something being different from the way it seems, about two apparently contradictory things being contained in the one idea, in the one person.

The essential film technique for bringing over the irony is juxta­ position. Placing the contradictions immediately side by side, so they become more obvious than in everyday life. You are thus h e i g h t e n i n g the a u d i e n c e ’s perception.

“Black Stump” was criticised in Britain because of its lack of attention to the Aboriginal people. . .

There were people on both sides of the argument who liked “Dig a Million Make a Million” — Yes. That demonstrates what I have been saying. I was surprised when the mining companies con­ cerned said they liked the film — they bought prints. Yet left-wing opponents of the companies also liked the film — saw it as a blow against overseas investment and so on. So there you are .. . society is ambivalent, man is ambivalent, audiences are ambivalent.

Rather like the sequence in Petersen that showed police brutality. Tim Burstall was worried that it would be banned. Within a few weeks the police had ordered prints of that sequence to show cadets how to handle drunks.

Well, in many of my films 1 have come at things obliquely, so people can opt for their own reaction. The main exception is Beyond The Black Stump, where 1 just let my hair down. That film is explicit.

There is only one kind of reaction possible. You like the film if you agree with its strong line. You don’t like it if you don’t.

Did that create problems for you at the BBC? On the contrary, they loved it.

Although there was an astonishing debate in the House of Lords where an Australian-born peer called me “the long-haired layabout from King’s Cross”. But the British liked

Jim Allen in the ruined Montacute homestead which was attacked many times by the Tasmanian aborigines.

it, probably for the wrong reasons in that it confirmed their worst suspicions about Australia.

Some people also found it illuminating. It explained a lot about the Australian sense of failure and defeat and the perennial chip on the shoulder, which a lot of the British said they hadn't under­ stood until that time.

Why did you leave the BBC? At the beginning of 1975 I had a choice. I had a creative fellowship from the Australian Arts Council. I had this desire to get off the institu­ tional ‘treadmill’ — I had never made a film independently. I had always been on staff or on contract to an organization.

I also suspected, knowing Aus­ tralia, that the sort of film wave which was then building up might not last long. I really felt I would like to have a go at catching it and becoming part of it.

Has your BBC experience helped you in setting up deals?

From a business point of view it’s invaluable. It has ‘internationalized’ me, in a sense. I don’t find anything strange about getting overseas

backing and distribution for my films. I know I can retain artistic control. I am not nervous about being ripped off. Maybe some Aus­ tralians are still fairly cautious about getting involved overseas. We don't need to be. Our status is now so high in all sorts of areas.

Especially with regard to crews and production standards. That has changed.

How did you set up “The Last Tasmanians”?

Aboriginals only appear for a few minutes in the film — in a re-enact­ ment for the Queen at the Bicentennial. They are dressed-up ones. No Aboriginal in a real sense ever appears in the film because the nineteenth century myth of what white Australians did in settling this country involved no recognition of Aboriginals except as a charade.

Women were the same — they were ignored in the myth. There was one four second shot of a woman in Black Stump — four seconds in 55 minutes. That was about the place accorded her in the traditional canon of the Australian ‘character’.

Are you trying to answer your Well, I have been setting it up for critics in the next film on the a year, on and off. The Australian Tasmanian Aboriginals?

Film Commission gave us pre­ production assistance. We had I was stirred by Clive James in backing from the Tasmanian The Listener who suggested that in government, but we still needed to Black Stump we should have had a find 50 per cent of the budget. We shot of Tasmania from a helicopter finally got the balance from French and a voice reading out the names television and the BBC. There is an of all the dead Aboriginal people. I interesting aspect to the deal. We think the story is so big and mind­ are making the film in three bending that it deserves a whole languages at once: English, French film. and Welsh.

How are you treating it?

I find it interesting that a lot of your films have something to do As a story of the search to with skeletons. “ The Talgai rediscover the Aboriginal. It will Skull” was the first. . . cover the genocide, but also try to take us further. The man who is Well, you can go out into the doing the searching is Rhys Jones, a Cinema Papers, 1978 Cannes Special — 17

TOM HAYDON

prehistorian at the Australian National University. He is from Wales and is obsessed with the vanished Tasmanian society.

The film is about something ' which is no longer there. So you can’t use dramatization; there has to be a chilling sense of the empty land where they once lived.

That land is the silent witness of a t err i f yi ng genoci de. The Tasmanian aborigines did not w i t h e r away, they were deliberately exterminated. It was the swiftest and most complete case of genocide in history.

A re th e r e m a n y cataloguing this?

Signing the cheques at the Great Dog Island in Bass Strait. Roz Berrystone (production organizer) and Tom Haydon.

What role does a documentary play in this respect?

record s

Very few. During their first 25 years in Tasmania, from 1803 onwards, the British drew no pictures of the aborigines, except for one done by an unknown artist which depicts them as apes.

Most of what the Europeans wrote during the time is full of contempt and hate. They called them “ orang-outangs” , and one settler wrote they were “ the connecting link between man and the monkey tribe” .

If there is so little to show, how can one put it onto film?

Well, it is that very precise, austere nature of the story that allows me to document, in one film, all the stages of this genocide. Of course, you have to use your imagination. There is that grandiose, wild and empty landscape of Tasmania, brooding, as it were, over the past.

You can use your imagination to make that landscape speak, and I’m doing that. Rhys Jones, and his colleague Jim Allen, move through that landscape on their search, and there are touches of theatre which we are using to help the audience go back in their minds. It is not “ docudrama” or dramatized docum entary, it is documentary which uses some dramatic methods and devices to nudge you into sensing the past, while not leaving the present.

Can you give an example?

At Risdon cove, where the first meeting of British colonists took place with aborigines, we placed an A - f r a m e t e n t on t h e c o m m an d an t’s site and th at 18 — Cinema Papers, 1978 Cannes Special

f o r g o t t e n . . . it has b e e n deliberately hidden from people.

You can go to several sites in T a s m a n i a w h e r e t he l ast Aboriginals were taken and where in place after place, they died. The buildings have been destroyed, levelled, ploughed over.

To rediscover these concentra­ tion camps of our recent past you have to go in for painstaking detective work. There is an absence of a sense of history in this country that is deliberate.

Tom Haydon watches as Geoff Burton (director of photography) lines up a two-shot of Allen and Jones. Sound recordist Robert Wells on right.

looks sort of “ oldish” . Rhys and to look at it in reverse to see what Jim sit in front at a camp table, in really happened because we can’t their present-day clothes. They show what the Aboriginals thought, are looking at the commandant’s and we have no Aboriginal record sketch map, and the land before of what they really did. We are them, and identifying where the always having to see them through convicts were kept, the soldiers the eyes of their discoverers. barracked, etc. And behind them The earliest discoverers were you see a couple of period some young French idealists who muskets leaning against the tent, came to Tasmania in the early Jim’s camera on a tripod, and, if 1800s. Napoleon had the idea of you look closely, some beer cans annexing it and he sent out an on the table. In one sense, they expedition. And for one brief look like Rhys and Jim camped on moment these Frenchmen saw the a field archaeological trip; in very image of what Rousseau had another, they invoke an idea of been thinking in France about the the commandant and his off-sider, noble savage. For a brief spasm say, sitting there in 1803 when they saw what they expected to see 300 aborigines suddenly ran — what Rousseau had dreamed up towards them from the trees in the in a wood outside Paris. That was an incredible moment, like a frozen valley below.

We are encouraging a dual frame of film.

All this material . . . the drawings vision and, of course, that is a fine line to walk. You can easily topple and descriptions have been stored into theatricality, or, worse, farce. at an archive in Le Havre and we It puts a great pressure on you to will in fact be discovering some of think about every single aspect of them in the course of the film. The the way you express the scene: the European mind coming in contact camera angle, the choice of lens, with the other extremity of the action, the dialogue — every mankind. And we will also be dis­ one of these becomes that much covering our own history. Because a more critical. few years later the British arrived All the dialogue is improvised, and started using cannon on them. by the way, within a framework That was the British solution to this problem of perception. worked out beforehand.

So you concentrate on the discoverers, as it were?

Do you think it was deliberate?

That’s the kind of idea. The story is etched like a negative; you have

What has been deliberate in this country is the effort to forget our own history. It hasn’t just been

To show it, film it, push it right in the faces of people and make them uncomfortable if necessary. Not as whimsy — as one television docu­ mentary series has been doing — but go to at least a dozen places around Australia and say: “In there are buried three or four hundred massacred Aboriginals . . . if you dig around you will find the bones.”

That’s one way, the other is to unearth our European story, not missing out the bootlicking, god­ fearing, monarch-worshipping, status-seeking response to being ruled for so long by dear old Britain. ★ FILMOGRAPHY ABC Television Series

1965 University of the Air (Producer) T he C ase for C o n se r v a tio n (Producer) Mister Prime Minister (Producer) 1966 Anzaas Science Congress (Producerdirector) ABC Television Film Docmentaries

1968 The Tulgai Skull (Producer-directorwriter) 1969 Dig a Million Make a Million (Producer-director-writer) 1970 Casey (Joint producer-director with Neil Munro) BBC Television Series

1970-72 The British Empire Episode l :Oh the Jubilee (Producerdirector-writer) Episode 9: Beyond the Black Stump (Producer-director-writer) Episode 11: The Gift of Endless Dreams (Producer-director-writer) BBC Television Film Documentaries

1972 S k ip p e r P itts G oes to W ar (Prod ucer -director -wr iter) 1974 One Pair of Eyes Russell Braddon — Epitaph to a F riendship episode (co-w riterdirector) 1975 Horizon The Long, Long Walkabout episode (prod ucer -writer -director)

There were once 4,000 Tasmanian Aborigines.

A distinct race.

They had been isolated from the rest of the world for 12,000 years.

They had the simplest culture ever known.

In 1803 , British colonization began.

WITHIN ONE GENERATION, THE WHOLE RACE WAS EXTERMINATED. This is the story of how it happened, from 4,000 to one . . .

LAST TASMANIAN A FEATURE DOCUMENTARY Produced and directed by TOM HAYDON Presenting the discoveries of Dr Rhys Jones 16mm color 105 minutes 2 VERSIONS: ENGLISH & FRANÇAISE An ARTIS production in association with AUSTRALIAN FILM COMMISSION * TASMANIAN FILM CORPORATION CADBURY OF CLAREMONT * SOCIETE FRANÇAISE DE PRODUCTION

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The Irishman is the latest film of producer Ant hony Buckley and director Donald Crombie, and follows their highly successful Caddie.

Based on the novel by Elizabeth O’Conner, The Irishman is set in the logging country of Queensland and “ is the story of one man who would not accept the changing times and who decided to exit at the same moment as the times he had known and loved.”

During the location shooting, Tony Buckley issued weekly progress reports for the investors and from these has been culled the following story by Barry Tucker. (The report extracts have been italicized.)

T h e earl y gol d m i n i n g t o wn s of Queensland’s Gulf country — the setting for The Irishman — have virtually disappeared.

Director and screenwriter Donald Crombie, and production manager Ross Mathews, surveyed the Gulf towns during June/July 1976, returning for another look at Ravens­ wood and Charters Towers in November. They decided on the latter.

The location was ideal for the purposes of filming: one of Australia’s best preserved gold towns of the turn of the century, countryside faithful to the book and not seen before on film. It had reasonable facilities to house a crew and cast of about 60 people.

On return from the location survey, Donald Crombie revised the screenplay and the search for the team of 20 Clydesdales began. We didn ’t have to search far. In Brisbane we found Don Ross, horsemaster, and 20 Clydesdales, eight of which were already working as a team. Don didn 7 even blanch when we said we wanted to film at Charters Towers.

The production office opened in Sydney on April 4, 1977, and construction manager Bill Howe left by road on the 3000 km journey to Charters Towers the same day. While production designer Owen Williams, location manager Beverley Davidson, and director of photography Peter James went to Brisbane to check out the horse team, costume designer Judith Dorsman went to Charters Towers to get the feel of the place, and to find old costumes and bits for extras.

By the end of the second week the art department had set up an office above the Collins Pharmacy in Gill St., the main street in Charters Towers. The staff included Robyn Coombes, the only student from the Film and Television School studying production design.

Casting began in Sydney in late April and, based on screen tests, the lead role of Paddy Doolan went to Michael Craig; his wife Jenny to Robyn Nevin; Mrs. Bailey-Clark to Roberta Grant.

Simon Burke had already been selected from a preview of Fred Schepisi’s D ev il’s Playground for the part of Michael, Paddy’s youngest son. The part of his eldest son, Will, was left uncast by Buckley and Crombie till further tests were made with Melbourne cameraman Lou Brown, who was finally chosen.

Twenty-six Queenslanders, most of them locals, were given speaking parts. There were two discoveries — Granny Doolan was played

by Tui Bow, step-mother of “ It” girl Clara Bow, and Andrew Maguire, breeder of Bernborough, played Grandpa Doolan..

Everything ran smoothly until May 9, when Crombie, Mathews and 1st assistant director Mark Egerton were booked to fly to location — b u t they were gr ou n d e d by the Air Controllers’ strike. Buckley didn’t want to start behind schedule, so he chartered a plane which took eight and a half hours to get to Charters Towers. The strike continued for another week, finishing only nine hours before Michael Craig’s plane from London was due to leave.

The color stock used in The Irishman was another decision Buckley felt to be of major importance. And it was in this area that there had been a break with tradition.

film; in story totally different from other Aust­ ralian films and, therefore, should look visually different from any o f the current batch of films.

Previous competition is quite keen. Picnic at Hanging Rock, Break of Day and Caddie are The look of the film is under the control of the all visually superb. So after extensive tests it was production designer, Owen Williams, who co­ agreed to film on Gevacolor 680 with prints by ordinates the feel, mood and color of every scene Agfacolor. with the art director Graham Walker, costume designer Judith Dorsman, director of photography The Agfa-Gevaert company produces these Peter James, ACS, and director Donald Crombie. compatible film stocks in Germany and Belgium.

The scenes are discussed weeks before production Most films are shot on Eastmancolor; however, begins and the result is a well planned and the Agfa-Gevaert color has given our cameraman organized scheme between those departments to that extra dimension we were looking for. give the film that special something. Our team had The color in one aspect is rich in greens, browns done this on our previous film, Caddie, and it worked very well. and beautiful fe sh tones, but not as bright as However, The Irishman is an outdoors period Eastman. In some ways that wonderful Tom

Producer Anthony Buckley with authoress Barbara MacNamara (Elizabeth O’Conner) and husband, Phil.

22 — Cinema Papers, 1978 Cannes Special

Director Donald Crombie with Simon Burke who has the role of Michael Doolan.

THE IRISHMAN

Simon Burke, Michael Craig and Robyn Nevin with the team of Clydesdales.

Roberts look o f the Australian country-side.

Our laboratory in Sydney, Colorfilm, was well equipped to handle the change and are in fact quite excited about the challenge of handling the new stock. In fact, it isn’t so new because AgfaGeva is used by most European fdm producers and Claude Lelouch’s latest fdm has received high praise for its use o f Agfa-Geva.

We are now keeping our fingers crossed for good weather. June should be (by the records) ideal. However, two weekends ago Charters Towers had six inches o f rain in three days, the first time ever in May! The town’s set dressing looks marvellous, a superb job by the art department.

On June 10, Buckley reported that The Irishman was now 11 days old. Nearly two

weeks shooting had been completed of the total seven week schedule.

Our first week was a long and tiresome one for cast and crew. Our location was Bluff Downs — a two-hour drive from Charters Towers. A considerable amount of night shooting took place at the Downs, which at first caught us a little illprepared.

The days are hot and sunny, but the nights are freezing. At one stage in the first week our rushes boxes carried more sweaters than film.

Zane Grey visited Bluff Downs in the early ’30s seeking permission to use the property for a film.

He was then making White Death on the Barrier Reef with the Cinesound team._ The owners at the time, the Bassingthwaites, refused. This time, however, we were welcomed and given every

The Irishman crew on the blocked Gill St., Charters Towers, during the eight days of location filming there.

facility by station manager, Alastair McDougall.

Week two loomed and Sunday was quiet until about 5.30 p.m. While quietly riding a push bike at a goat race picnic staged by the towns people for the crew, Michael Craig lost his hat in a gust of wind. He tried to stop the bike quickly and fell off It was obvious he was badly hurt and after a tense two hours in Charters Towers hospital the verdict was a dislocated shoulder. An immediate examination by a Townsville specialist was felt necessary.

By late evening, Monday’s planned shoot had been rescheduled. At least 40 extras had been cancelled and most of them were not on the ’phone. The Council, which planned to begin covering the main street with dirt at 5 a.m. had been notified.

The art department of any film is perhaps the busiest, managing to keep one jump ahead of the schedule. To completely reschedule at less than 24 hours notice is taxing the department to the hilt.

However, art director Graham Walker and his team were ready for the new scenes next morning, and by 7.30 a.m. the crew was on the road and the film back on the rails.

On Monday, Michael and I flew to Townsville where an orthopaedic surgeon said the injury would be painful, but recommended against pinning it. Michael can work if his load is eased and pinning, if necessary, will be done at the end o f shooting.

In the meantime, Michael will “bite the bullet”.

He resumes back on the set next day and performs as if nothing is wrong. The accident causes a major reschedule to vary the work-load and by Friday afternoon it’s finalized.

We are completely disorganizing the life of the towns people and they are loving every minute of it. They are happy and only want to know “ when is Gerard Kennedy arriving?” (to play Michael’s friend Logan).

Gerard casually walks on set during shooting of major street scenes and is besieged by 500 towns people and truckloads of children.

Fortunately for all concerned, his first scenes at Logan’s camp were shot the previous day, 25km from town, at 4am.

The Miles Franklin Award winning auth­ oress of The Irishman, Elizabeth O’Conner CSteak for Breakfast and A Second Helping), and her husband Phil, were invited to Charters Towers to watch the filming. The Irishman is reminiscent of Phil’s childhood.

Director of Photography, Peter James, and Simon Burke.

Cinema Papers, 1978 Cannes Special — 23

THE IRISHMAN

Elizabeth was interested to meet face to face the actors playing her characters. Would they measure up? She was thrilled to see Michael Craig as the Paddy Doolan she had imagined, but more surprised to see young Lou Brown as Will.

To Elizabeth, he had walked o ff the page.

Monday dawned bright and sunny for our major street scenes. But by mid-morning it was overcast and by mid-afternoon there was rain.

Tuesday was slightly overcast, then on Wednesday the sky was clear for some quite spectacular street scenes.

Saturday night saw the results o f that shoot, and despite the weather our dialogue scenes don’t need to be re-shot — thanks to lighting cameraman Peter James.

In one of his weekly letters to investors Buckley mentions that his previous film, Caddie, had helped to bring the Venus battery back to life. Proceeds from a charity performance of Caddie in Charters Towers were given to the local branch of the National Trust. This money and a government grant was used to restore the battery.

Composer Charles Marawood spent some time on location to get the “ feel” of the Clydesdales, walking beside them and watching them work. He had already put together some guide themes and these were used on the sets to provide a mood for the actors and crew.

On the second day of the river crossing scenes the sky blacked over. Mark Egerton and The November location survey selected the Donald Crombie conferred on whether they Mingala race-course — a half-hour drive along would move to another location or wait and the main road from Charters Towers. It wasn’t see what happened to the weather. Returning what was really wanted, but the production on another day would have cost another designer felt his department could “ do a job on $10,000. They decided to sit and wait. it” . When the advance party arrived in April a At 3 p.m. the sun burst through. Mark new stand had been built at Mingala.

Egerton yelled “ turn over!” Three cameras As for answering the questions of where the rolled, the horse team lunged forward and original race-course was located and how completed the crossing of the Burdekin. At 4 people dressed for country race meetings in p.m. the sky was dark again, but it was all in the ’20s, an advertisement for photographs the can, and Egerton’s decision had paid off. and information was placed in the Northern The bad weather continued after the river Miner. Three great discoveries resulted: Mrs. crossing. Donald Crombie began improvising Bassingthwaite had an invaluable album of locations, revising the script and transferring photographs from a meeting held by the Basalt exterior scenes indoors. Scenes that were to be Hack Club in the early ’20s; Graham Walker shot in a leather shop and a hotel on the coast found the original course on Dr. Allingham’s were done in Charters Towers.

The weather was so uncertain that on the Fletchervale property — 45 minutes from town — and on inspection discovered the eve of the last scheduled shooting day in straight, finishing post, grandstand frame, rail Charters Towers two call sheets were devised posts and rails, bough sheds and bar frames, — a 4.30 a.m. call and an alternative 7.30 a.m. and six metres of wire hanging from a gum tree call. Buckley said the call sheet was the most which was used as an aerial to receive the race complex for the entire shoot and he included a broadcast from Sydney in 1927; one of the copy in that week’s newsletter.

The crew moved to location in a rain forest, townspeople had a box of crockery “ that might be of interest” . It contained cups, saucers and near Cardwell, to shoot the logging camp plates carrying the insignia of the Basalt Hack scenes. It was decided to shoot some night Club. scenes as day-for-night, to pick up lost time.

Michael Craig spent his Sunday rehearsing his fight scene, practising swings and falls so that he would not damage his injured shoulder.

Charters Towers has the only remaining orecrushing battery in Queensland, and when it turned over for the first time in 50 years its steady “ crump, crump, crump” brought the rest of the town to a standstill.

A few days later, a T model Ford truck vital to a scene in the rain forest hit a displaced board on a bridge and ran into a parked vehicle, badly damaging a mudguard and headlamp and, worst of all, breaking the Ford’s steering rod. The rest of the day was abandoned.

Crombie began revising the next day’s storyboard so shooting could continue, but the Ford would still be required by 11.30 a.m. The repaired vehicle arrived on time. Standby propsman Ken James had found a retired toolmaker in Cardwell who knew all about T model Fords. He had the parts and the equipment.

It took the toolmaker 90 minutes to put the parts together and install a new steering rod.

The mudguard and headlamp had been straightened out.

Saturday was a big move and the “luck o f the Irish” struck once again. An electric’s vehicle broke down on the road to Charters Towers. The heavy arcs and equipment were needed for that afternoon’s filming.

Filming proceeded, but without arcs the light beat us again.

The crew support was absolutely marvellous.

The weather was awful. Rain and wind. It was Realizing our predicament, they offered to work decided to go for broke and shoot a scene in a on Sunday if the weather was fine, enabling the cemetery the arts department had constructed on film to be completed and the crew to return home the edge o f a swamp. Within 30 minutes o f the on Monday. shooting having been completed, the sun It was another of those 4 a.m. calls to shoot the disappeared and heavy cloud and light drizzle set dawn scenes we had not been able to get the in. previous week. A clear starry sky, followed by a Tuesday, and Townsville weather bureau issued golden sun, greeted us at 6.30 a.m. *

The crossing of the Burdekin River.

24 — Cinema Papers, 1978 Cannes Special

a gloomy forecast: a week o f heavy coastal cloud and rain conditions. The locals agreed that the weather was going to be bad. We needed one fine day and our impending return to Charters Towers made it seem we were losing the battle.

Wednesday, 6 a.m. No one could believe their eyes. A clear sky. By 9 a.m. the first main scene o f the day was in the can. The rain forest looked spectacular, with long shafts o f sunshine reaching clown through the trees and vines and hitting the clearing. The varieties of palms caused the wry comments from the crew that the set looked over­ dressed!

One lesson so Jar learnt from this exercise is not to take any notice o f weather bureau or the locals.

Catching the right effect: Julian McSwiney with the baffled mike.

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HR:

MOUTH TO MOUTH Is “ Mouth to M outh’ original screenplay?

an

Yes. It began with the idea of four teenagers spending a night on the town, and just extended from that. I decided to try and make a film that would involve a fairly wide-ranging audience in the experiences of four sympathetic characters who are battling to get some kind of life going at the lower end of society. Characters whom the middle-class audience generally reads about as numbers in the unemployment figures, or kids in the juvenile courts. In all, I did 14 drafts of the screenplay.

Why was that?

Almost all the assessments I received were very positive, but the assessors at the Australian Film Commission felt that while it was a good script, it had limited 28 — Cinema Papers, 1978 Cannes Special

John Duigan’s “ Mouth to Mouth” is the story of two girls who escape from a youth training centre and live in a disused warehouse with two boys. This striking film, made for $129,000 and on 16 mm, is notable for its technical proficiency, and, most importantly, the excellent performances from the mostly teenage cast. “ Mouth to Mouth” is Duigan’s third feature, and follows “ The Firm M an” and “ The Trespassers” . In the following interview, conducted by Scott Murray while Duigan was preparing for his next project, “ Dimboola” , Duigan begins by discussing the origins of his screenplay. financial potential. I think the film was knocked back three times on those grounds.

The Victorian Film Corporation, on the other hand, was very helpful; I had several long and useful discussions with people there.

The material I write probably needs a lot of rewriting, and I

believe The Trespassers could have done with another rewrite.

Do you feel a corporation is within its rights in pressuring a writer into reworking a script?

Obviously th ere are many dangers. If a film body starts to

suggest or impose some of its own concepts on the screenplay, a writer could be dislodged from his own personal vision and end up writi ng s o me t h i n g else. If comments are directed towards clarifying the writer’s vision, then it can be useful.

One criticism that has been voiced a g a in st “ M outh to M o u th ’’ is that it is too determinist . . .

I don’t accept that as a criticism.

One of the m ost important qualities of the four characters is t h e i r t e r r i f i c vi t a l i t y and imagination. Given their environment, there aren’t many options, and they certainly don’t ever perceive them selves as having many. Yet, they do come out with some ingenious ways of solving their problems — the way they steal, for example. As well,

Director John Duigan and Director of Photography Tom Cowan.

the places that they go to on the spur of the moment, are quite exciting and unusual.

But one of the feelings I was a f t e r was a real s e n s e of inexorability in the way the action unfolds — the envi ronment creates it. From the moment they escape from the youth training centre, it is inevitable that the girls will be arrested again. That is the pattern in reality.

On the other hand, the two guys are on the dole. I worked on a radio program for six months in which young unemployed people talked about their experiences.

One of the overw helm ing impressions was the feeling of pessimism and of a basic lack of options. And the longer they were u n e m p lo y e d , the more entrenched these feelings were. It seemed important to get that kind of feeling with Serge and Tim — a growing sense of frustration.

Serge (Sergio Frazetto) and Jeannie (Sonia Peat) on the roof of the disused warehouse they make their home. Mouth to Mouth.

the characters, and while at the Finish one of the four characters becomes separated from the other three, even she is not really beaten. But the world is making her very hard.

The other three we see still together in the last series of images, and it is clear that they have found a real solidarity among themselves. They care a lot about each other.

This theme reminds me of “ The T r e s p a s s e r s ” , where the strongest scenes are those about the relationship between the girls . . .

I agree. One of the things I wanted to do in that Film was suggest the dichotomy in people who have very respectable and sophisticated political views, but whose personal lives are a mess.

Also, to explore the implications of rationality, or over-intellectualYet, one sees in the characters’ ization, on spontaneity and actions a partial transcending of emotional honesty. the lim itations. The film is, The characters in “ Mouth to therefore, very optimistic . . .

Mouth’’ have that honesty . . .

I certainly hope people will Yes, the four of them are very perceive the optimism which is crucial to the Film. I wanted to direct, particularly the girls. It is a generate a lot of warmth between characteristic I like very much.

In “ Mouth to Mouth’’ you h i g h l i g h t the c h a r a c t e r s ’ progression by subtly detaching them from the violence and noise of the soundtrack . . .

T h e s o u n d t r a c k is v e r y important, and I think Tony Paterson, the editor, has done a superb job in helping create that ugly sound environment.

The four live in a warehouse near a shunting yard, and there is constantly the jarring sounds of trains and carriages jolting into one another, or rushing past.

Then there is the pub situation, with the grinding music in the background, and layers of loud pub ambiance.

The ways in which a soundtrack can enrich an image are becoming clearer to me. In general , Australian Films have not widely explored the possibilities.

In Bresson’s book, ‘Notes on Cinematography’, there is the much-quoted line: “ If you can ever replace an image with a sound, do so.’’ . . .

That is a good quote. An example of this is when Carrie, the girl who becomes isolated from the other three, walks into the park. She sits on a bench, near the Carlton football ground, and there is the sound of people cheering, wafting over the park. It

mirrors the position of the individual in Carrie’s isolation against a huge kind of social animal. The force of the image comes from the incredible noise.

Also, there is the cut to Carrie coming into the warehouse before the above scene, which is done on a scream from Jeannie. When one of the boys hits a policeman, she cries out and this sound blurs into a train whistle. Again, this has resonances linked with the use of trains and machines throughout the Film, a world inhabited by generally anonymous people and machines.

In one scene, Carrie is picked up off the railway tracks by an old hobo. How do you see his role in the film?

Fred is a very i mp o r t a n t character. Earlier in the Film, after the girls have escaped from the youth training centre, they are in a car with a group of guys. They drive past a derelict old man and the guys scream out abuse; this anticipates later events.

Carrie, by far, is the most desperate of the four, and senses in Fred the way she is heading. So she shuns him. One night he Finds her in the railway yards, curled up and drunk. He helps her home, and subsequently she is much warmer towards him. Later he is beaten up by Tony, with whom Cinema Papers, 1978 Cannes Special — 29

wmmA W mM ÉM Sm M li

■ W B w #

C arrie has had a very self­ destructive relationship.

The violence of this act finally makes her see the sort of person Tony is and she breaks away from th is o b sessiv e re la tio n s h ip .

Incidentally, Tony likewise is a kind of social derelict, and knows it. When the old man calls him a dero it’s the worst possible insult.

I have come to think that casting is as important as the screenplay. I was looking for actors for these roles for about a y ear an d d id so m e fa irly exhaustive testing. I spotted Sonia Peat (Jeannie) in a Sydney pub.

She knew most of the people there and was buzzing around with this endless, speedy energy — she seemed just right for the part. On In dealing with feminist issues, closing time I found out she was an d d i f f i c u l t o n e s l i k e living in a nurses’ home. Without prostitution, did you ever find using the line, “ Do you want to be yourself in the situation of being in a film?” , I contacted her the false to yourself in order to avoid next time I was in Sydney and we exposing a flank to criticism? did a bit of testing.

Not as far as I am aware. A friend of mine worked in a massage parlor for six months: I talked to her a lot about her experiences, and I suppose the events in the film have been colored by this.

In no way was I attempting to make value judgment points on prostitution — I wouldn’t want to.

The events that occur in the film, and the characters’ reactions in them , are generated by the momentum of the characters as I saw them.

One of the striking features about “Mouth to Mouth” is the performance of the four lead actors. How did you go about casting them?

30 — Cinema Papers, 1978 Cannes Special

from agencies and they had some acting experience. Ian Gilmour (Tim) had done a television series nine months before and has done bits and pieces since. Kim Krejus, who plays Carrie, did a year at the National Institute of Dramatic Arts and is now doing some television work. They have impressive futures.

So, it was a combination of two totally inexperienced actors and two with some experience. They were great to work with and

The four: Carrie (Kim Krejus)-, Tim (Ian Gilmour, Serge (Sergio Frazzetto), and Jeannie (Sonia Peat).

worked very hard. We had a twoweek rehearsal period, and during the first week we went down the coast, to get to know one another.

We worked intensively in the quiet, and it was very useful. I believe all four performances are really terrific.

Y ou

worked

with

mo r e

What did this entail?

Mainly reading scripts. I would listen to her and then make some suggestions.

For me, the most important thing in testing an actor is finding whether he or she can establish a rapport with others, and if he or she can get anything out of the suggestions that I make about delivery and character.

Sergio Frazzetto, who plays Serge, was working at the Royal M e lb o u rn e I n s t i t u t e of Technology as a van driver; he had never done any acting, but has great vitality, like the others, which was one of the prime things I was looking for. I thought I would try and get that onto film.

The other two people came

The brutal attack on the hobo (Walter Pym) by Carrie’s long-standing boyfriend (Michael Carman). Mouth to Mouth.

JOHN DUIGAN

experienced actors on “ The Trespassers” . Did you have to change your directing style on “ Mouth to Mouth” , such as doing more takes?

film on 35 mm and not 16 mm.

Did the changeover affect the size of the crew or use of equip­ ment?

I don’t think we would have used a bigger crew, apart from one To an e x te n t one w orks more on camera. We would have differently with each actor. I value used a 35BL, so the size of the rehearsals very highly; I would camera would have been very prefer to over-rehearse people and much the same, and we would find ways of recapturing the have shot at a similar speed. freshness, than try to get what I I am very keen on working with want for the first time in front of crews of the size we had on the camera. So we didn’t need to Mouth to Mouth, which was a shoot many takes on either film — little smaller than that on The we couldn’t afford to anyway.

Trespassers.

As to shooting styles, the cam era m o v e m e n ts in The How many were on location?

Trespassers were often long, fluid, tracking shots comple­ Eleven, as opposed to 13 on The menting the long passages of Trespassers. dialogue. Mouth to Mouth was very economical with a lot more D id th e V i c t o r i a n F i l m jarring movement and close-up Corporation have any feelings work. about the size of the crew?

Also, a faster pattern . . .

cutting

Yes, it is a lot more manic — as is implied by the speedier lifestyle of the characters.

You had planned to make the

No, other than suggesting that it would be more appropriate to employ 16.

At this stage I haven’t seen the blow-up to 35 mm, so I don’t know whether spending an extra $25,000 to do it on 35 mm would have been justified. It doesn’t

seem very much money, but it is a lot when you are speaking of a budget of $129,000.

special division for low-budget films, haven’t expended much effort or money in that area . . .

That is the final budget. . .

I think it is a very exciting i n n o v a t i o n by t h e N S W Corporation to set up their fund, because budgets of that kind seem to be much more in line with market expectations of Australia.

If the film is good and is made for $ 2 0 0 ,0 0 0 or under, then in many cases you can get your money back in Australia. D on’t you agree?

Yes, but $44,000 of that is deferments. In terms of straight cash, the film took $85,000 to make — and that includes the blow-up.

It would have been nice to have had $150,000, and the film I want to do after Dimboola will probably have a b u d g et of a ro u n d $185,000. The only reason it will cost an extra $35,000 is because it needs a French or G erm an actress.

For a hell of a lot of film subjects $150,000 seems an appropriate budget; there is no need to have much more than that.

Was it for economic reasons that you shot on 16 mm?

Yes, I couldn’t find any more money at that time, though I could probably find it now with the contacts I have. But I had all the people lined up for the film and, because of their availability, it was essential to shoot when we did.

Do you think your difficulty in raising money was influenced by the lack of commercial success of “ The Trespassers” ?

Yes, I am sure it was. If The Trespassers had made a fortune, the people who had invested in that would have been delighted to invest in Mouth to Mouth. So I hope Mouth to Mouth makes a lot of money; it will certainly make it easier the next time around. “ Mouth to Mouth” is one of the few films made on a budget of between $130,000 and $150,000, and the corporations, apart from the NSW Corporation with its

Serge and Sonia playing on the beach they escape to. Mouth to Mouth.

P e r h a p s , t h o u g h i s n ’t it sufficient justification that this type of filmmaking may produce films of an aesthetic calibre not achieved by more exp en sive features?

P ro v id e d th a t a film is competently made, and its story doesn’t demand a lot of money, it doesn’t matter how much it cost.

Audiences are not looking for hairs in the gate, nor do they notice that there are only six extras in a pub scene instead of 50.

A good subject will carry them along.

Your next project is “Dimboola” , which playwright Jack Hibberd has considerably rewritten for the film . . .

It would be im possible to recreate on film some of what the play achieves as a live-event. The audience as guests at a wedding re c e p tio n are a u to m a tic a lly implicated in the action; they can get drunk and dance, shout and so on, and it’s all part of the show.

The screenplay covers three days, leading up to and including the wedding and reception: the play was simply the reception. It is a much more complex subject — an opportunity to celebrate a country town and its people.

Continued on P. 101

Carrie (Kim Krejus) lying drunk and exhausted in the railway yard, prior to being helped by a hobo. Mouth to Mouth.

Cinema Papers, 1978 Cannes Special — 31

Starring

Kim Krejus, Sonia Peat, Ian Gilmour, Serge Frazzetto.

John Dlligan.

Produced by Jon Sainken Cinematography by Tom Cowan Music by Roy Ritchie

Written, Directed and Co-Produced by

Screening Dates

Sales

Jill Robb C/o Australian Film Commission stand Hotel Carlton, Cannes.

Jeannine Seawell Hotel Carlton, Cannes SEAWELL FILMS 45 rue Pierre Charron Paris 8 Telephone: 259 0959, Telex: 65 0024

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Director..................................... Ken Hannam Top left: Michelle Jarman as Sally Abbott.

Producer....................................... Pat Lovell ; Director of Photography.......... Mike Molloy Top right: Simon Robinson (Nick Tate) Art Director.........................Graham Walker c o m fo rts Jen n y A b b o tt (E liz a b e th Sound Recordist................... Ken Hammond Alexander).

Editor......................................... Sara Bennett Music..................................... Bruce Smeaton Centre: Nick Tate with Geraldine Turner who plays Betty Tate.

Simon Robertson........................... Nick Tate David Abbott............................. John Waters Bottom: Nick Tate and Michelle Jarman.

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THE LAST WAVE “The Last Wave” is the latest film by Peter Weir, director of “Homesdale”, “The Cars That Ate Paris” and “Picnic at Hanging Rock”. Returning to the pre­ occupations of Weir’s earlier films, “The Last Wave” is a psychic thriller about a lawyer’s premonitions of the future.

The cast includes Richard Chamberlain, Olivia Hamnett, G ulpilil and Nandjiwarra Amagula. Budgeted at $810,000, the film is set for a December release.

David Burton (Richard Chamberlain) watches in horror as the roof of his house collapses during a ferocious storm.

Cinema Papers, 1978 Cannes Special

HAL and JAMES McELROY Producers the script in October and on the basis of that committed $50,000 on paper. He in turn had a friendly relationship with Ernst Goldsmidt of United Artists and mentioned the project to Ernst. Jeanine followed Australian films have till now been mostly domestically up the conversation and asked me, Was it always intended that orientated. However, with a cost-push spiral developing in while I was in the U.S., to contact Ernst, which I did, giving him the McElroy and McElroy would the local industry, the need for foreign sales has greatly script revised by Petru and Peter. produce the film? increased. “The Last Wave” is an important film in this On January 1, UA gave us a Hal: No, it wasn’t until June or regard because of the McEHoys’ breakthrough in pre­ positive response to our proposed package. D erek Pow er, our July last year when Peter showed us selling the film to the U.S. major, United Artists.

American agent, then took over a script he had written with Tony In the following interview, conducted by Scott Murray, from where Jeanine left off and Morphett. We liked it very much and agreed to produce it. We started Jim and Hal McElroy talk about the UA deal, producing worked out the numbers. We then full-time in August, and by October features in Australia and the role of the independent decided to ask the AFC to re-adjust had seriously begun to raise money. producer. They begin by discussing their involvement with its investment, and at the meeting in February they voted to do so.

Jim then went to London and Los “The Last Wave”.

Angeles with Peter and met Petru By re-adjust, do you mean the UA Popescu. investment was substantial enough Jim: Petru was asked to introduce to allow you to lower the amount a little more structure into the script — to make it more commercially requested from the AFC? accessible. Perhaps one of the Jim: Correct. It has always been weaknesses of Peter and Tony’s our aim that eventually we would draft was that it was too Australian work solely on private finance — I and didn’t quite have international guess everyone wants to do that. appeal. So Petru introduced that.

Although the AFC is only an This meant, for example, the film investment body, you really tend to would have been just as valid if it want your own independence, and had been transplanted to the U.S. we tried to structure The Last and involved American Indians Wave without AFC involvement. instead of Aboriginals.

But we really didn’t have enough Peter then did another rewrite time to get it together. with Petru, because he felt Petru The UA deal involved all had taken his brief a little too English-speaking territories, except literally. The script had lost a little the U.S. and Canada, being bought of its mystery — it had become too in advance — i.e. Australia, New accessible, too linear.

Zealand, Britain and South Africa.

Germany, Austria, Switzerland, and “The Last Wave” is, I believe, the parts of Scandinavia had also been first Australian film to use the sold to Janus. So we weren’t really package concept. . . able to sell any more territories without jeopardising the number of Jim: We had come to the territories from which we had to Co-producer Hal McElroy and Gulpilil (Chris Lee) beside a wind machine. conclusion that a project of this size recoup our investment. We had to needed a package. The four leave the structure as it was. elements we had were a screenplay The territories we sold off amount

by Peter, Petru and Tony; a director to approximately $400,000, the in Peter Weir; a star in Richard balance of $300,000-odd being put C h a m b e r la in ; an d u s, th e up by the SAFC and AFC. We have producers. That is how we decided gone over budget, but the AFC and to sell it.

S A F C , as jo in t c o m p le tio n guarantors, came up with the overage.

Who did you then approach for Hal: Another point that should be money? m e n tio n e d a b o u t th e A FC involvement was that they made, at Hal: The South Australian Film our re q u e st, two innovative Corporation were the first people to decisions. One was that they make a commitment. They did this discounted the Janus advance. The on an earlier draft, possibly because system under which Klaus agreed to the SAFC are producers themselves buy the distribution rights was that and are very sensitive to the he would issue a credit note for the package concept. While they may agreed sum and that would be have had some reservations about cashed in on delivery of the film. In the first script they didn’t voice effect, we pre-sold the film, but them — they just trusted our instead of receiving money we got a collective judgment. credit note. Then, for the first time Jim: Jeanine Seawell, our agent in in Australia, though it has been Europe, introduced us to Klaus done for many years in international Helwig of Janus Films who had bought Picnic At Hanging Rock Co-producer Jim McElroy chats with Penny Leach (the schoolteacher) following a storm film financing, we borrowed 85 per sequence filmed at the desert school in Hammond. cent of the money using the credit and Cars That Ate Paris. He read Jim: Peter began working on the “The Last Wave” is the third feature James and Hal idea just after the Cannes Festival McElroy have produced for director Peter Weir. It follows in 1974. It was in quite a different “The Cars That Ate Paris” and the extremely successful form then and has since been “Picnic at Hanging Rock”, which they produced in transferred from an adventure to a mystery. association with Patricia Lovell.

36 — Cinema Papers, 1978 Cannes Special

Leon Saunders (Sydney)

THE LAST WAVE

note as collateral.

The other 15 per cent being taken up in interest. . .

Hal: No, that was Jeanine's commission, though effectively she doesn’t get it until the credit note is cashed in. The interest we are paying becom es p art of the production costs.

The second thing we asked the AFC was to guarantee an overdraft to cover the third payment from U nited A rtists. The deal we negotiated with UA had a three-step payment: one on a signature of contract; the other on completion of photography; and the third on delivery. Obviously there is a gap in the post-production stage where you have spent the money, although you haven't actually got it. So the AFC guaranteed an overdraft at the bank on the strength of our contract with United Artists.

Jim: The breakthrough in that regard is that the film is partly bank financed. The Commonwealth Bank have put in over $ 1 0 0 ,0 0 0 .

How ready were the banks to become involved?

Jim: They were very reticent. In fact, it could not have been done

Producers Hal and Jim McElroy.

without the guarantee from the AFC. How did you feel about selling away territories like Australia?

Hal: Looking at in simple terms, United Artists have offered us the largest sum ever offered to an Australian producer — in advance — for the distribution rights. Given theatrical attendances being the way they are at the moment, it could be said we were bloody lucky to get the amount we did because, as we all know, box-office grosses aren't very good at the moment.

Yet we have virtually half our budget up front and we only have to recover approximately $400,000.

Any producer placed in our position, I believe, would have grabbed the money and run — it is as simple as that.

It is easy for a critic to stand on the outside and say: “Oh, how could you give away Australia?’’ But what we have done is cut down the risk of the money involved by 50 per cent — we are only risking $400,000, not the $800,000 it cost to make.

Besides, costs have risen by about 30 per cent and certainly the The

Last Wave cost nearly twice as much as Picnic.

Over the same period, box-office has fallen about 30 per cent, while house-costs (ie. the house “nut”), has gone up. The exhibitor's return has remained fairly static, but the distributor is sharing from a smaller film hire and we, as producers, inevitably are sharing even less. So you are facing a squeeze situation where you can’t cover your production costs in Australia. And the UA deal wasn’t a matter of selling our soul, giving up to the Americans or anything like that because no one has any creative control apart from Peter, Jim and I. Fortunately our relationship with UA has allowed for an exchange of dialogue in all areas, including the film itself.

Given this cost squeeze, is it possible for an Australian film, made purely for an Australian audience, to succeed?

Hal: It can, but it has to do smash business. But why should we ignore other markets when these markets are ready for our films? Picnic sold well, and was exhibited well in

many territories overseas.

The Italians, the French and the British have all literally made fortunes out of Picnic, and they are eager to see more Australian films because one of them might be the next Picnic.

An obvious question is why use Richard Chamberlain for the role of David Burton and not an Aust­ ralian actor?

Hal: Firstly, we believe that the choice of Chamberlain was valid.

Burton is a happily married solicitor living in Sydney who has, by necessity. South American parents.

And Richard has managed to play the role in a convincing and sympathetic manner — he sounds and looks right and he doesn’t look like an American in Paris.

Secondly, we are facing a costpush situation in the industry here and if we are going to try for outside markets, one naturally looks toward foreign actors. We actually looked at a dozen name actors and only three of them were American, the other nine were British.

Our first reaction was to get a British actor because we thought he would be more palatable to an Aust­ ralian audience. But Richard’s name kept coming up again and Cinema Papers, 1978 Cannes Special — 37

THE LAST WAVE

Shooting the sequence where David Burton tries to convince Chris Lee that he must tell the truth about the murder he is on trial for.

Director Peter Weir rehearsing a scene with Richard Chamberlain and Olivia Hamnett.

again. We also found it very difficult to come up with the name of any Australian actor who would have been as good for the role as Richard was.

David Burton is very much the everyman — he is Mr Normality — yet he is subjected to terrifying dreams and nightmares. So it is important the audience sympathizes strongly with him, otherwise he would be just a looney or a neurotic.

Richard has a terribly pleasant demeanor and appearance, and this helps greatly. Of course, the important thing is that he is a great actor and great in the film.

Jim: One should also remember that Olivia Hamment gets co-billing with Richard. She will get a lot of exposure in the territories where the film will be sold and I think she is going to do very well from it, mainly because she is such a fine actress.

coffee and discuss common problems. After all, it is time we were all working together. It really is a great feeling to know that you are not all alone, that someone else is going through the same hassles as you are.

The other important thing is that all of a sudden the AFC has an entity it can deal with on a one-toone basis. We intend to get a permanent staff who will be able to provide legal precedents on distri­ bution contracts, offer financial advice or hire somebody to give advice, for example, on taxation incentives. We could become a lobby to the government to ensure that budgets aren’t cut, tariffs aren’t unnecessarily imposed and so on.

The association has put a case to the AFC that i ndependent producers are underpaid, given that it takes as much as two years to produce a feature-length 35mm theatrical release film. For example, it takes you a year to get the script and package together, and certainly another year or two to market the film. So to pay a producer only $9000-odd is just ridiculous. It is also counter­ productive.

The association has proposed that the salaries scale be significantly increased, and instead of some producers rushing off to make another film just to make some money, we hope they will be able to stay on and responsibly market their films.

Did you find any union resistance to y o u r d e c i s i o n to use Chamberlain?

Hal: Not really. Equity has made its position known to us — ie. we should be using Australian actors — and I understand their position. But we came to an amicable and perfectly satisfactory arrangement with Olivia receiving co-billing, and Gulpilil and Nandjiwarra Amagula just after the title.

Jim: Equity, by embracing this film, is in fact helping their membership, because the film will get exposure outside this country 38 — Cinema Papers, 1978 Cannes Special

for Australian actors. That is important.

agreed to contribute fairly substantial sums of money to become members. We hope the Both of you are actively involved organization will become a in the newly-formed association responsible force within the of independent producers. How industry by being co-ordinating and supportive. did the group form?

Jim: The first aim, as I see it, is to Hal: Originally, it was a loosely- give more rational thought to formed organization which didn't production here. The second is have any legal status. It has now communication, and that is one of amalgamated with the Film and the things most lacking in our Television Producers’ of Australia industry to date.

Association and has become a Hal: All the fighting that has gone division of it. Therefore, in future on among themselves was just we will be known as “ The insane. So it is really great to be able I n d e p e n d e n t Feat ure Film to sit and meet with fellow Producers, a division of the producers. Frankly, I don’t like some of their films and I am equally F and TP A”.

We have been meeting on a fairly sure some don't like ours, but now loose basis and producers have we can all sit down over a cup of

THE LAST WAVE

away the film and market it. That is not the case in Australia.

Hal: If a state corporation sets up a marketing branch there will be a severe temptation on the part of producers to literally walk away from the responsibility. It may sound fatuous, but a producer should have the desire to market his film more than anyone — and if he d o e sn 't, then he should be encouraged to do so.

What are your plans for the future?

David Burton consults Anthropologist Dr. Whitburn (Vivean Gray) in the hope she can provide a key to the mystery that possesses him.

What are your feelings about the present proliferation of state corporations?

Jim: I think it is quite evident that the state corporations are a political hobby-horse at the moment, and it is up to us all to make sure they continue to be so. I would rather see a number of corporations than just one central body, even though some of these bodies are going through identity reckonings at the present time. Therefore, it would be most useful for the industry if these corporations defined the way they see th e m s e lv e s o p e r a tin g .

Producers would then know how to deal with them. For example, you would approach the SAFC quite differently to the way you would approach the NSW Film Corp­ oration. They are two quite different bodies with quite different philosophies.

Hal: One vital question is how should these corporations finan­ cially assist producers. Should they cover the difference in airfares, meet the accommodation costs or just invest? The American state corporations — and there are many of them — have generally opted on the side of logistical support, rather than financial. I think smaller states may have to consider this concept as a viable alternative to investment.

It is clear to everybody that film budgets are rising, but the AFC’s budget, given inflation, is almost being reduced. And, as a result, the investment side is being squeezed.

So if we were asked for a recommendation, it would be that if necessary the AFC get out of investment and into completion guarantees and pre-production funding. They are the high risk areas and the areas the commercial

industry doesn't want to get involved in.

Jim: Overseas, completion work is normally handled by insurance companies, but they are not operating in this area in Australia.

They may do so soon and there are moves underfoot.

There has been some criticism of the Victorian and New South Wales corporations in that they are solely investment bodies without marketing branches. If the AFC was to remove itself from an investment area and move into the pre-production and post­ production areas, do you see any likelihood of all these bodies merging?

Jim: It would be wrong to place the emphasis of our feelings re the AFC as them removing themselves for investment. The emphasis should rather be placed on their concentrating on development funding and completion guarantees.

The role of the producer is threefold: he has to gather the money; make the film; and sell it so that he can return that money to the investors. If corporations assume a production role, then I don’t think the producer is going to be anything more than a line producer for the corporation, and that is not going to establish the film industry.

T h e re has b een o b v io u s disagreement with the AFC in the past about the role of marketing and they are taking a very pragmatic view about that now.

It is interesting to note that almost without exception, successful Aust­ ralian films have had considerable producer involvement in their marketing and distribution, here

and internationally.

Therefore, I would say that it should be down the line one way or the other with the film corporations producing their own films or being solely investment bodies. I don’t think a patchwork quilt of the two would be successful.

Hal: I don’t think you can say, for example, that because the SAFC was smart enough to be involved in a couple of successful films, that means perse they represent the only way one should operate a state corporation. I think that what the New South Wales Film Corporation is doing is terrific, and I would be appalled if they started getting into production because, my God, there are a lre a d y 50 p ro d u c tio n companies in Sydney and 15-odd independent producers.

Several producers have been criticized for tossing away the marketing of their films. A marketing branch would surely help overcome this. . .

Jim: I don't think you are examining the root of the problem which is that the producer must have the responsibility of returning the investments to the investors.

Hal: And if he walks away from a project and lets it die in the bum then he shouldn’t be allowed to produce again. Joseph E. Levine is hawking himself around Europe at the moment flogging A Bridge Too Far, because he knows that he has to make the film work. He may not succeed, but by God he is trying.

Jim: Hopefully this doesn't sound pretentious, but Me Elroy and Me Elroy are closer to Joe Levine than we are to being line producers for U n iv ersal, because th e ir marketing department would take

Jim: We feel that the future for people in the film industry is to embrace the entire entertainment concept. As a result, we are getting into m ulti-m edia presentations involving the skills we have learnt in filmmaking and, hopefully, the showmanship.

What is becoming clear to us is that people aren’t going to leave their television sets unless it is for something fairly extraordinary. We will continue to make ex tra­ ordinary films. Picnic, in its day, was fairly extraordinary and though with perspective it may not be so, it was at the time. The Last Wave is also an extraordinary film.

Hal: By multi-media we mean other than just looking at a screen down one end of a rather large hall.

We want to bring all the senses together — a combination of tele­ vision films and live threatre.

Jim: The first thing is a venture which we are calling “Space-Trip” where we will take an audience literally on a journey through space.

We will gather the audience in an auditorium in the shape of a space craft. There will be a large cinema screen in the shape of a window on which they can see their journey. A live crew will drive the craft.

Television will show other crafts passing us, and the audience will be' sitting on seats supported by hydraulic jacks which will move up and down and collapse to resemble the G-Force. Walls will collapse when the craft passes through a meteorite storm and the crew have to go outside and float through space to effect repairs.

Hal: Ii is the most ambitious thing that has been done in Australia, and it is the most innovative enter­ tainment idea in the world today. I can say that without fear of contra­ diction, because Jim and Michael Falloon, whose idea it is and who is going to direct it, and Geoff Malone, the designer and architect, went around the world last year looking at all the alternatives like Disney World and we know there is no hope of the audience duplicating the experience. And people will pay $ 13 to go and see Chorus Line, but they won't necessarily pay $3 or $4 to see a $5 million film, because Chorus Line is a one and only.

That's what we are into — a unique entertainment experience. ★ Cinema Papers, 1978 Cannes Special — 39

NOW WE IN

TONY BONNER in ■

■ ; ;■ -"

'7

Newsfront Blue Fire Lady

The Mango Tree Image of Death

BARRY PIERCE

LYNDA STONER

The Mangó Tree Image of Death

National TV Star

MANAG

AT CANNES CONTACT PATRICIA DE HEER AT THE A.F.C. SUITES, CARL

i-

MELBOURNE:

SYDNEY:

B ens Underhill 97 Barry Street :■ Carlton. Victoria. 3053 Telephone 347 4255

Patricia de Heer Suite 209 3 Bruce Street Crows Nest. N.S.W . 2065 Telephone 922 4502

GAVE YOU

TRODUCE

BILL HUNTER

PETER SUMNER

in

in

Newsfront Weekend of Shadows In Search of Anna (Aust: Jane Cameron)

The Chant of Jimmie Blacksmith

ROBERTA GRANT

CHARD HAYWARD

The Irishman

(Aust:I.C.S.

UK: Marina Martin)

National TV Star

AUSTRALIA rON HOTEL. TELEPHONE: 68 9168 OR C.M.A.’s VILLA TELEPHONE: 38 5960 PERTH:

'

Vivian Poulton 78 Stirling Street = Perth. W.A. 6000 Telephone 328 1444

Dugong Films present

.

LONG W EEKEND with

John Hargreaves

Briony Behets

Screenplay by Everett De Roche Photography Vincent Monton Music Michael Carlos Produced and Directed by Colin Eggleston Executive Producer Richard Brennan

They are trespassers.

Will they survive their

“ In an attempt to resurrect their failing marriage, Peter and Marcia set out to spend a holiday weekend on a deserted stretch of the Australian coastline; deserted, that is, except for the birds, the animals and the vegetation that jealously guard their isolation and right to survival. “ This survival is threatened as Peter and Marcia unthinkingly impose their ‘civilized’ life-style on their new surroundings. Things begin to go wrong; trivial things; the car won’t start, a frozen chicken goes bad, their dog goes missing, they feel they are being watched. Are they being threatened? Will they be allowed to leave? “ They are trespassers. Will they survive their long weekend?”

D irector...............................Colin Eggleston P ro d u cer...........................Richard Brennan S creenplay...................... Everett de Roche Director of Photography . Vincent Monton E d ito r .................................Brian Kavanagh Art D ire c to r...........................Julie M onton M u s ic ...................................Michael Carlos Sound R e co rd ist.................... John Phillips John H a rg ra e v e s.............................. Peter Brioney Behets................................... Marcia

Top: The animal world fights back: Long Weekend. ... , , Right. The final scene of Long Weekend. _ . . , , T, Ir .

Below: A terrified ? John Hargreaves in Colin Eggleston s Long Weekend.

JOHN EWART-CHRIS HAYWOOD •ANGELAPUNCH-BOH CROSBY-BRYAH RRBWN Produced by DAVID ELFICK Directed by PHILLIP NOYCE Palm Beach Pictures in association with New South Wales Film Corporation, Australian Film Commission and Village Roadshow presents ‘Newsfront’.

DAVID ELFICK, DAVID ROE NSW FILM CORPORATION Residences du Grand Hotel 7 ©me D Goéland 47 La Croisette Cannes 0 6 4 0 0 Telephone: 38.13.00, 38.44.26

INTERNATIONAL SALES CONTACT

NSW FILM CORPORATION 45 Macquarie St (GPO Box 1744) Sydney 2 0 0 0 Australia Telephone: 0 2 -2 7 5 5 7 5 Telex: FILCOR (AA) 2 32 98 Telegraphic: Filmcorp

Leon Saunders (Sydney)

n m ^ H fln r n BACKROADS

Where did you get the original idea for “Backroads”?

John Emery, who wrote Caravan Park, sent me a short story he had written called First Day o f Spring.

We took one incident and the spirit from the short story, and drafted a treatment. John wrote the first screenplay, and the actors and I changed that along the way.

The central character in the script we wrote was a young Aboriginal of 26 to 30 who had been married to a white woman. He had been trying to make it in the white society under the influence of his wife because that was the ideal presented to him.

What was the involvement of the Aboriginal actors in the making of the film?

I didn't know many Aboriginal actors, and in fact there weren’t many at that time who were experienced in filmmaking. I didn’t want to get David Gulpilil because our Aboriginal was more urban.

Anyway, I’d seen Gary Foley around town for a couple of years, so I asked him to play the part of

Phil Noyce is probably the best-known of Australia’s non-mainstream directors, with two of his films, “Castor and Pollux” and “Backroads”, receiving considerable critical praise. Both films have also reached wide audiences despite the limitations of their very low budgets.

Noyce joined the Interim Training Scheme of the Film and Television School in 1973 (and there he directed “Caravan Park”, “That’s Showbiz” and “Castor and Pollux”). Noyce then worked as a freelancer on “The Golden Cage” and “A Calendar of Dreaming” before being invited to direct “God Knows Why, But It Works” for Film Australia, under producer Richard Mason.

Noyce remained at Film Australia as second assistant on “Let the Balloon Go”, subsequently directing, among others, “Gregf’ and “Mick” for the highly-regarded “Why Can’t They Be Like We Were?” series. These were followed by the controversial “Backroads”.

In the following interview, conducted by Mary Moody, Noyce discusses his previous films and his new project, “Newsfront”.

Noel. I also wanted him to have some creative control, as well as the ideological control of the black statement the film generated.

W as it a g o o d relationship?

working

Yes, although it was really an impossible relationship, the answer to which is that black people ought to film their own stories.

I believe changed. . .

the e n d i n g was

Originally, the people in the stolen car — the two Aboriginals and the white man — end up by causing a traffic jam on the approach to the Harbour Bridge.

They abandon the car, leaving it among a mass of vehicles, and disappear into the concrete jungle.

The last shot was to be three or four miles of traffic stacked up behind this car.

We were actually going to stage a breakdown on the freeway and just film it. Gary, however, felt that politically it was a cop-out. The journey these men undertake was always seen as an allegory of the jo u rn ey w hite men and the Aboriginals took together over the past 2 0 0 years — and that journey, as we know, has been ultimately tragic for the Aboriginals. So, Gary felt the film should end tragically Cinema Papers, 1978 Cannes Special — 45

PHIL NOYCE

and that his character should be killed. And that is the way we shot it.

Are you happy with the ending?

Not really. We didn’t have enough resources of money and manpower to do the sort of ending that we finally compromised on.

Also I had been planning the other ending for more than a year and we only changed it at the last minute.

What would have happened if you had insisted on your ending?

Gary would probably have shot it though he said he wouldn’t.

Your earlier films, “Castor and Pollux” in particular, received very good press, but the reaction to “Backroads” was very mixed.

How do you respond to criticism?

you must when you are making films above a certain budget, you know you are making something to be sold — it’s not just an esoteric thing. That is why in a capitalist society a director will usually only make another film if his last film’s been a success — except in Australia.

There is another reason for pushing Backroads and that is, being an hour long it could die without anyone seeing it. I can’t sell it to television because of the subject matter and language, so I had to make the most out of the theatrical situation.

How has “Backroads” gone?

It went okay in Sydney, but great in M e lb o u r n e , th o u g h in Melbourne it was released at a time when the Longford Cinema could not give me an indefinite season. I guess it was my fault in going to a cinema knowing I only had three weeks, but I had to take the opportunity.

Critics can be valuable to a filmmaker as a yard-stick. Certainly close friends seldom give honest opinions on your work, and I re c o g n iz e c e rta in flaw s in Can you see yourself making more Backroads myself. films with the budget of “Back­ Backroads is a very difficult roads”? film for any viewer to come to grips with. The characters are generally Yes. I’d like to do some feature unattractive and it is a film where I documentaries, films that might not have sought to investigate so-called necessarily be commercial but “ unmotivated crime” . And this which have a political or social makes it additionally difficult for an nature. audience to feel sympathy for the characters.

Do you feel you can get more The realism and forcefulness of social comment into this type of the characters have also tended to film? provoke personal prejudices in some viewers, reactions that have You can do things that you can’t been confused by their attitudes to do in a $500,000 film, because on a certain behavior. film like Newsfront you are playing You always bring your own with other people’s money, and you prejudices to a film so you can’t feel less inclined to experiment really blame critics — you just have with style and content. I knew that to find a way of pointing out to them Backroads, by its language and how your film might appeal. subject matter, would be offensive Pierre Rissient, the director of to a large section of the community.

One Night Stand, who was once a But I could afford to take a risk be­ publicist, used to make successes of cause it was only $25,000 worth of films that looked like sleepers. And basically non-repayable govern­ he did this by pointing out to critics ment funds — as well as my own the way in which the film might be savings. important. He did this on an I understand the NSW Film individual level.

Corporation is investigating a plan to make $2 0 0 ,0 0 0 films and I think You seem to be very involved in this could be an answer. You could this side of filmmaking as w ell__ then make films that may have commercial potential but which you It is absolutely important. I was can afford to take risks with. There reading Ken Hall’s book last night tends to be a certain repetitiveness and he points out that while you can about Australian features and this trust other people to look after your may help a break-away. film, they are never going to put in the same amount of energy, or present the same outlook, as you can. Therefore, you have only NEWSFRONT yourself to blame if things go wrong.

In filmmaking there is a degree of Are you aiming to do something departmentalizing, inasmuch as the - different with “Newsfront”? art director and the cameraman have their own autonomy, but The film has an each way bet, ultim ately it is the d irecto r’s inasmuch as it is appealing to a very responsibility. wide audience while trying to do If you see filmmaking as an something different — i.e. to make a industrialized commodity, which few different statements and to 46 — Cinema Papers, 1978 Cannes Special

Backroads. Noyce's look at unmotivated crime. Bill Hunter as Jack and Zac Martin as Joe.

adopt a revolutionary structure. At the same time, we will be trying to water the structure down so that people won’t feel threatened by it.

How did you become involved in “Newsfront”?

About a year ago, David Elfick asked me to read a script Bob Ellis had written. I thought the idea quite extraordinary and told him I was interested in directing it.

The original idea was David’s, largely I think as a response to the success of Philippe Mora’s Brother Can You Spare a Dime and the American film, Let the Good Times Roll. In fact, David initially had discussions with Philippe.

David wrote the story outline, with Andrew Fisher, then Bob Ellis came into it and he and Bob ampli­ fied it greatly.

With almost all my other films, I had the idea or else found one that caught my attention. But here I inherited a second draft screenplay which already has a certain number of characters and a plot line, some of which I agreed with and some I didn’t. It’s been a very difficult process arriving at a final draft. We produced seven new drafts in the past 12 months.

• What is “Newsfront” basically about?

It’s a dramatic story of the newsreel cameramen who lived and worked in Australia during the golden era of the newsreel from 1948 to 1956. It uses actual docu­ mentary footage of the public events that shaped and influenced the nation, and these are set against the fictional private lives of the men who recorded that history, and the women with whom they had relationships.

It’s the story basically of one

cameraman, Len McGuire, who works for a company called Cinetone News, which is based on Cinesound. And he works in opposition to his brother, Frank, who works for the rival company, Newsco. Cinetone is the a ll­ Australian company and Newsco is, as Movietone was, an Australian sub-branch of an international company.

Newsfront is also an examination of what happened to Australia during that time of great change.

Between the end of the war and 1956, a million new settlers came to Australia, and this greatly altered the make-up of our society. One result was a more international outlook being taken by Australians in general. Coupled with this is the Americanization of this country.

There has been a lot of criticism lately about the number of period films that we are making in Australia and the way in which filmmakers seem unwilling to come to terms with contemporary issues and events. How do you feel about this?

I believe Newsfront is quite different to most other period films because it’s attempting, by an examination of the social fabric and the public events of the near past, to make statements about the evolu­ tion of present day attitudes and constitutions within Australia.

For example, the Hungarian Uprising was an event which embellished a fear in a lot of Australians — that of communism.

The same goes for the Petrov affair, which though not directly treated in the film — we just hear something about it over the radio — is an event which led to the split in the Labor Party and the formation of the Democratic Labor Party.

I must add that these events are

PHIL NOYCE

Games; the Suez Crisis; the coming to p o w e r o f th e M e n z ie s government in 1949; the Redex trial; McDougall the singing dog; the Red Peril; the Maitland floods; etc.

With Caddie, which was set in the 1930s, there are only a very small number of the film-going public who were actually alive at that time. With Newsfront, there are a large number of people all over the world who were alive in the 1950s.

Of course, their countries were not necessarily affected in the same way and by the same pressures, but when Bruce Beresford was inter­ viewed on television recently he spoke of an American distributor who said that Don’s Party was spoton for the North American market because people there had gone through the same sort of influences.

They, of course, weren’t sub­ jected to American cultural and industrial imperialism, but I think Americans might be interested in finding out what it is like to be on the receiving end of the boot.

Certainly the other influences such as the communist scare, the influence of the church, the way in w h ic h th e R ed P e r il was manipulated, are all relevant to these countries.

L 'P Cinelone cameraman Len Maguire (Bill llunier) and his offsider Chris Hewitt

(Chris Haywood) Newsfront.

G erard Kennedy and Wendy Hughes (Amy Maguire) in Noyce’s Newsfront.

skilfully integrated into the narra­ tive, and the film is not, at least on the surface, about these events.

These events are treated subtexturally and the film is really a narrative — the story of a family and of two men.

Is it going to be a problem cutting the news footage into the narrative?

Only inasmuch as some of the newsreel stories were edited with a different aesthetic then. So the rhythm of the cutting is often quite

dissimilar to the way in which you'd cut that same material into a dramatic story. But we think we can get round by using off-cuts and a story in a different way.

One must remember that tele­ vision didn’t exist until 1956, and that’s one reason the film ends then.

And television was, of course, a further nail in the coffin of socalled Australian independence, because it increased the brain­ washing. That’s why in the film we show people watching The Mickey Mouse Club on television. After all, our cultural heroes generally have

been American in origin, and Ginger Meggs is less known than Superman.

Do you think “Newsfront5’ will have much i n t e r n a t i o n a l potential?

Yes. I may have given the impres­ sion that the film is heavily politi­ cal, but all the events can be taken on different levels. As pure entertainm ent, for example, a newsreel of Richard Nixon making a speech is enthralling. In this film you see him when he visited Australia as Vice-President in 1953. He was followed by the Queen in 1954.

That Nixon speech, quite apart from what his presence in Australia represented to the Australian people and to the history of Australia, is interesting on a purely entertainment level.

The story of the film is also very strong. It’s an action story, a love story, a story of the disintegration of a man’s relationship; a story of a person who has the highest ideals and who sees around himself the perversion of ideals by fellow workers.

The film has a universal significance and there are things in it that anyone in any country will be interested in. The film examines the way in which nostalgia acts as a veil over the true significance of events.

We look back to things that have happened and see them in a romanticized way. So the film pin­ points the true significance of an event and, at the same time, fosters a nostalgia. Examples would be the miners’ strike of 1949; the Olympic

What are your plans after “Newsfront”?

I hope to make Simmonds and Newcom be, a film about the manhunt in 1959 for the two jail escapees, Kevin John Simmonds and Leslie Alan Newcombe. The idea was first suggested to me by Ken Cameron, who has written a wonderful script. We are producing it in conjunction with Hilary Linstead and Liz Mullinar. They are, in fact, raising the money at present.

It is also being made in association with Les Newcombe, who has collaborated on the third draft. He will also act as a consul­ tant during production. We hope to shoot it in September/October next year. ★ FILMOGRAPHY Shorts 1969 Better to Reign in Hell 1970 Intersection 1971 Camera Class 1971 Sun 1971 Memories 1973 Caravan Park 1973 That’s Showbiz 1976 Let the Balloon Go ( 3 x 8 min supports)

Documentaries 1972 1974 1974 1974 1975 1976 1976 1976 1977 1977

Good Afternoon Castor and Pollux Renegades God Knows Why, But It Works Finks Make Movies Amy Mick Greg Disco' Brad

Short Features 1977 Backroads

Features 1978 Newsfront

Cinema Papers, 1978 Cannes Special — 47

The Australian Film Institute The vital link with Australia for producers of independent quality films. As both a distributor and exhibitor, the Institute is uniquely placed to develop this important market.

The Institute organises the Australian Film Awards competition, the most important annual event for Australian filmmakers.

The Institute has recently published A U ST R A LIA N FILM PO STER S 1906-1960, the first in a series of books and monographs on the Australian film industry.

AUSTRALIAN FILM INSTITUTE

Cardigan Street, Carlton, 3 0 5 3 .

Postal Address: P.O. Box 165 , Carlton South, 3 0 5 3 .

Telephone: (0 3 ) 347 6888 Cables: “ Film Institute, Melbourne�

Telex: 32968 81

IN CANNES, CONTACT DAVID ROE or PAUL COULTER Residences Du Grand Hotel 47 La Croisette, Cannes Telephone 3 8 . 13.00 or 3 8 .4 4 .26 _________________________________________ /

BACKROADS 60 mins, colour. directed by Phil Noyce, cinematography by Russell Boyd, cast includes Gary Foley, Dill Hunter, Zac Marrin and Essie Coffey, -ir

ppllli

i a f i li i

For information, contact Phil Noyce, Hotel Ligure, 5 Rue Jeon Jaurez, Cannes or the Australian Film Commission stand at the Carlton Hotel.

PRODUCTION REPORT 2

BLUE FIRE LADT “Blue Fire Lady” is a heart-warming family story about 18-year-old Jenny Grey and the horse she falls in love with. Jenny is played by British actress Cathryn Harrison and Barry, her boyfriend, by Mark Holden. The cast also includes Peter Cummins, Marion Edward, Gary Waddell and John Ewart “Blue Fire Lady” is the fourth feature to be produced by Antony I. Ginnane.

His first, “Sympathy in Summer” (which Ginnane also directed), was released in 1971 and was followed by “Fantasm” (Richard Franklin) and “Fantasm Comes Again” (Colin Eggleston).

“Blue Fire Lady” is directed by Ross Dimsey, photographed by Vincent Monton and is from a screenplay by Bob MaumilL The budget is $300,000 and the film is expected to have a Christmas release.

Cathryn Harrison as Jenny and Mark Holden as Barry in Blue Fire Lady.

Cinema Papers, 1978 Cannes Special

ROSS DIMSEY Director How would you describe the appeal of the film?

It is no secret that we are making what is euphemistically known as a family film — which means intended for children accompanied by adults. While I am optimistic that we may have something with a slightly broader appeal, having got the brief from the producers, I have been at pains to conform as much as I can with the classical parameters of children’s films. I have fairly clearly painted the white and black hats — though the bad guys have been defused by making them appear a little foolish. Basically, the film is pantomime, but I happen to think that pantomime is a perfectly acceptable entertainment form.

Ross Dimsey has been active in the Melbourne industry for over ten years. He was the first assistant/production manager on most of the Hexagon features, and is a freelance director of commercials. His documentary, “It’s Time . . .

The Gough and Bob Show”, won the Shell Award in 1973.

Dimsey has also written, produced and directed two half­ hour shorts — “The Girl on the R oof’, an award winner at the 1971 AFI Awards, and “The Runner”, which is soon to be released through Roadshow.

“Blue Fire Lady” is the third feature on which Dimsey has worked with Tony Ginnane, having previously written the two sexploitation films, “Fantasm” and “Fantasm Comes Again”. His next projects are “Body Count” (co­ written with Forrest Redlich) and another Bob Maumill screenplay.

The following interview, conducted by Scott Murray, was recorded while Dimsey was supervising the editing of the film with editor Tony Patterson.

What market age group are you looking at?

A ustralian International are probably looking at what I would call the “ABBA market”, and we all know how enormous that is. It is for kids from about five up to 12 or 13.

It then comes in again at the accompanying adult level, so that you have a five-year-old kid and a 30-year-old mum. This then holds pretty strongly right through to the grandmother end of the scale.

Well, my nickname for the film was A Minute Before Morning Tea, because we were shooting four minutes of cut film a day and that is moving along on 35mm with the sort of production value we were trying to obtain. We had a very limited budget and therefore a fairly low shooting ratio — I think it ended up at nine-to-one — so if I wanted a fairly classical coverage, I had to be aiming to print about every second take. Pre-production rehearsals', therefore, become a matter of necessity. I spent a full week with the entire cast.

I think it has a considerable effect and it operates in a couple of ways.

Firstly, it prevents new and untried actors getting work, because when you have limited time the question you ask yourself is: “Who do I know that can deliver the goods, can get it right rapidly and who is absolutely trustworthy in terms of technicals like hitting marks etc.?” So you find yourself looking at perhaps only two or three actors for a particular p a r t. G iven m ore le is u re ly schedules, however, you might be more inclined to give someone new a chance.

Another way schedules can limit performances is in coverage. You tend to play scenes in toto without a lot of insert cutting, which means you have to use actors who can inter-relate easily within a frame.

There are quite a few actors who are better playing insert close-ups (often with just the continuity person playing them feed-lines) than say an extended three-shot with a dolly movement. Perhaps it is i the influence of television series. <D 5 § How did you find working with S Cathryn?

You had better talk to Ginnane about risking a children’s film as a subject. However, once given the job these films were only a marginal influence.

I haven’t seen Let the Balloon Go, but I have seen Barney and Ride a Wild Pony. They seemed to lack an intrinsic honesty. Part of this is because I think they played down to their audience — Barney in particular — and kids could see through it.

As for Wild Pony, the ingredients were too pat, right from the crippled kid to the court case over the ponies, to the wild little bugger that liked to race the steam train and the steam train driver who said: “Gee whiz that kid is going to get himself hurt one day”.

By the same token, “Blue Fire Lady” has a lot of ingredients: the horse that no one but the girl can tame; the boyfriend come Prince Charming. How do you stop these appearing as ingredients?

50 — Cinema Papers, 1978 Cannes Special

How did you find the tight shooting schedule?

Acting is something that has rarely reached great heights in Australia. How much do you feel this is a result of tough schedules?

“Barney”, “Let the Balloon Go” and “Ride A Wild Pony” were not exactly financial successes. How has this history of failed children’s films influenced you?

The way I hope I’ve stopped it is by making the story of Jenny the core of the film and by making the

other things merely parts of her life.

I like to think Blue Fire Lady is the story of a 16-year-old undeveloped pre-adolescent who becomes a wiser and more mature 18-year-old young woman. If I can have the audience fall in love with this girl, then these ingredients will just be the icing on the cake. In the case of Barney and Ride a Wild Pony, the ingredients were very much the replacements for the substance. I could be wrong.

Lead actress, Cathryn Harrison, and director, Ross Dimsey.

Rewarding. She is an intelligent actress, a hard worker and very

BLUE FIRE LADY

quick. I often found her a jump ahead of me. You must remember that the part she was playing was largely against type for her.

The big problem with the character of Jenny was to make it non-soppy, because she could easily have appeared a petulant, horseloving and spoilt brat. It was important to give her some sort of roundness, or charm.

I don’t think children are necessarily entranced by kids winning over adults, but I think they are entranced by other kids, or figures to which they aspire, showing a glimpse of themselves.

And I think part of the success of ABBA is that they are ordinary, right down to their gauche costumes and basically simple music.

Kids can see a part of themselves, though they know they are watching 30-year-old people. They are not so glossy that they are unreachable.

So, one of the things I had to try and do with the Jenny character was to scrub a bit of the gloss off her and make her a bit more ordinary.

The Barry character has been very useful in doing this. There is a scene which was written precisely for this reason. It is a little night out in town where Jenny appears slightly ordinary and ill at ease in her pretty clothes; whereas he is the young gay blade around town, equally nervous, but in charge of the situation — that sounds a bit like ingredients.

After working with Mark on Blue Fire Lady, however, I have found there is a lot more to him as a composer and lyricist than ends up on record.

H ow m u c h has M a r k ’ s consci ousness of his image influenced his performance in the film?

You must remember that Mark is a very intelligent, 23-year-old businessman. This was a limitation in the early days of rehearsal but after that it certainly wasn’t. He is a very quick learner. Also don’t forget that he hasn’t really acted before because he is the first to admit that The Young Doctors was really “walk-up-and-say-it” stuff.

Like several other directors, you make commerci al s between projects. Do you find there is a tension between the two?

I don’t believe it is a problem if you are able to keep your distance.

If you get totally absorbed into the advertising world, you spend most of your time selling yourself, convincing people that your work is good and very little of your time actually making films. What I try and do is keep the emphasis on filmmaking.

What has been interesting is coming from commercials to a feature film. I have had to do a lot of hard thinking and homework on this film to stop myself going with a commercial style. It has some advantages, though. Because of the influence of television, kids have developed fairly short attention spans. They need to be visually encouraged and, therefore, the film must have pace. So it was intriguing to retain this aspect of my commercial training, while at the same time ridding myself of an obsession for going in too tight.

Vince’s feature experience helped with this, particularly early on.

Instead of going for a cut-around style, I have been saying: “Right, let’s see how we can do it in a dolly”. I have been focusing on a piece of action by theatrically directing attention to it, rather than by cutting. This is something you just don’t often get the opportunity to do in commercials, and it has been great fun to design sequences of two to two-and-a-half minutes which have been encompassed in a single take. Stylistically it is something I would like to pursue further.

C a t h r y n H a r r i s o n is a sophisticated young actress. How difficult was it for her to conceal this worldliness?

Cathryn is a very complex person, but just because an actress has had a sophisticated background, it doesn’t necessarily mean that their “real-age” personality is not part of their ammunition. I believe that it is still part of Cathryn's am m unition and she uses it brilliantly, particularly when dealing with the press. She is also a highly professional actress and quite capable of convincing age changes. In fact, during a lot of the sequences where she was 16 I had to pull her up out of it a bit because she had become a little knockkneed and wide-eyed.

Cathryn is also a technician. She can hit her mark, find the lights and, more importantly, knows how to play to a lens.

An interesting thing about Mark Holden is that he has such tremendous popularity, yet his songs are quite adult. . .

Mark’s songs I personally find unappealing and I think I may have perceived the reason for this during the making of the film. I feel they are designed to be performed live and are too closely tailored to the image he believes he should market.

I believe they lack a certain vitality in terms of coloration and style.

The last question should be on horses . . .

Top: Peter Cummins as the cruel trainer. 2nd top: Cathryn Harrison and Mark Holden. 3rd top: Ross Dimsey and Cathryn Harrison. Bottom: Cathryn Harrison and Gary Waddell in the “night on the town" sequence.

Right now, I never want to do a horse film again — not racehorses anyway. They are the most difficult animals I have ever encountered. So if anybody is interested in making a film with racehorses, all I can say is: “Beware”. They lean, bite, kick and sometimes stand on your feet. ★ Cinema Papers, 1978 Cannes Special — 51

HOYTS THEATRES LIMITED PRESENTS THE CHANT OF JIMMIE BLACKSMITH A FILM BY FRED SCHEPISI STARRING TOMMY LEWIS AND FREDDY REYNOLDS WITH RAY BARRETT ANGELA PUNCH JACK THOMPSON STEVE DODDS PETER CARROLL RUTH CRACKNELL DON CROSBY ELIZABETH ALEXANDER TIM ROBERTSON PETER SUMNER SCREENPLAY BY FRED SCHEPISI FROM THE NOVEL BY THOMAS KENEALLY DIRECTOR OF PHOTOGRAPHY IAN BAKER PRODUCTION DESIGNER WENDY DICKSON EDITED BY BRIAN KAVANAGH MUSIC BY BRUCE SMEATON ASSOCIATE PRODUCER ROY STEVENS PRODUCED & DIRECTED BY FRED SCHEPISI PANAVISION « COLOR

A film Ivy Red Schepisi

The Chant of Jimmie Blacksmith

World Sales Enquiries: Dennis Davidson Associates Ltd.,

Apartment F1, Palais D’Orsay, 62 La Croisette, Cannes.

WHO’S WHO P roducers and D ire cto rs Phillip Adams - Co-directed Jack and Jill: A Postscript (65); produced The Naked Bunyip (71); produced and distributed The Adventures of Barry McKenzie (72), Don’s Party (76) and The Getting of Wisdom (77). Also a columnist and advertising executive.

Chairman of the Independent Feature Film P ro d u ce rs A s s o c ia tio n . Was Chairm an of the Film, Radio and Television Board and The Australian Film Institute; foundation member of The Australian Council for the Arts.

Gillian Armstrong -

Has directed

several shorts including Ond Hundred a Day (73). Was art director on Promised Woman (74) and The Trespassers (76).

Directed the short feature The Singer and The Dancer (76). Current project: My Brilliant Career (as director).

Igor Auzins — Director of several television series and shows before directing shorts and documentaries.

Credits include the television features All at Sea (77), The Night Nurse (77), and the theatrical feature High Rolling (77).

Phil Avalon — Director and actor.

C r e d its in c lu d e D o u b le D e a le r (television film — 75), Summer City (77).

Current Project: Zodiac Playground (as director).

David Baker — Director of numerous television series including The Terrible T e n , S p y f o r c e and T h e M a g ic Boomerang. Also directed The Family M an (episode of L ib id o — 72), Squeaker’s Mate (75), and produced and directed The Great MacArthy (75).

Bruce Beresford — Has worked as a producer, editor and cameraman on documentaries and short films. Co-wrote and directed The Adventures of Barry McKenzie (71) and Barry McKenzie Holds His Own (74). Directed Side to Side (Britain — 75), Don’s Party (76) and The G etting of Wisdom (77) Current project: The Money Movers David Bilcock — Editor and director.

Editing credits include Petersen (74) and End Play (75). Co-directed Alvin Rides Again (74).

Terry Bourke — Directed the short feature Night of Fear (71), wrote, directed and associate produced Plugg (75). Produced, directed and scripted The Inn of the Damned (75) and directed Murchison Creek (television film — 76). Current project: Memoirs.

Richard

Brennan

— Producer of

Holmesdale (71), The O ffice Picnic (73), Promised Woman (74), Love Letters From Teralba Road (77) and Long Weekend (78). Executive producer on The Trespassers (75), The Great M acArthy (75), D eath ch eaters (77).

Associate producer on The Removalists (7 5 ), M ad Dog M o rg a n (7 6 ) and N e w s fr o n t (7 8 ). D ire c to r of The Australian Film Institute in 1975.

R obert Bruning — Producer with extensive experience in the industry.

C redits include (as producer) the television films Mam a’s Gone A-Hunting (77 ), G one to G round (77 ), The Alternative (77), The Night Nurse (78),

Plunge Into Darkness (78), Roses Bloom Twice (78), Image of Death (78) and Demolition (78).

Anthony Buckley - Edited Age of Consent, Wake in Fright, Don Quixote, The Removalists and Do I Have to Kill My Child?. Directed and produced Forgotten Cinema and Snow, Sand and Savages. Produced Caddie (75), and The Irishman (78) and The Night The Prowler (78). Part time Commissioner of the Australian Film Commission.

Nigel Buesst — Independent director and lecturer in film. Credits include The Rise and Fall of Squizzy Taylor (67), Bonjour Balwyn (71) and Come Out Fighting (73).

Tim Burstall — Producer, director and scriptwriter. Directed many shorts and documentaries before directing 2000 W eeks (69), Stork (71), The Child (episode in Libido — 73). Produced and directed Alvin Purple (73), Petersen (74), End Play (also script-75) and Eliza Fraser (76). Produced Alvin Rides Again (74) and High Rolling (77).

C urrent Project: The Last of the Knucklemen.

Arthur and

Corrine

Cantrill -

Experimental filmmakers and lecturers in film. Have made many short experi­ mental films and the features Harry Hooton (70) and Skin of Your Eye (73).

Matt Carroll — Executive producer at the South Australian Film Corporation.

Produced Sunday Too Far Away (75), Storm Boy (76) and currently producing The Money Movers.

Joy Cavill — Has extensive experience as a producer, writer and director for film and television. Produced the features The Intruders (69) and Nickel Queen (71). Wrote and produced Dawn! (78).

Robin Copping — Cinematographer and director. Has had many years experience as photographer of shorts, d o c u m e n ta rie s and fe a tu re film s including Petersen (74), End Play (75) and Eliza Fraser (76). Co-directed Alvin Rides Again (74).

Tom C o w en — Wrote, directed, photographed and co-produced The O ffic e Picnic (72) and Prom ised W om an (74). D irector, d ire c to r of photography and c o -s c rip tw rite r of Journey Among Women (77). Worked as cinem atographer on T ro u b le in Monopolis (68), Pure Shit (75), Love Letters From Teralba Road (77) and Mouth to Mouth (78). Current project: Dimboola (as cinematographer).

P a u l C o x — E s ta b lis h e d s till photographer before turning director.

Credits include the shorts Skin Deep (968), The Journey (72) and the feature, Illuminations (76), as well as a number of docum entaries. D irected, wrote, p h o to g ra p h e d and e d ite d In s id e Looking Out (77).

Peter Cox — Independent filmmaker of several shorts and documentaries.

Produced, directed and wrote the feature film Surrender in Paradise (75).

Don Crombie — Director of shorts, documentaries and features. Directed Who Killed Jenny Langby? (television film - 74), Do I Have to Kill My Child? (television feature — 76) and Caddie (76). Scripted and directed The Irishman (78).

Bert Deling — Director and film lecturer. Credits include the features Dalmas (72) and Pure Shit (75).

Ken Hannam — Has worked variously as an actor, scriptwriter, producer and director for stage, radio, film and television. Directed Sunday Too Far A w a y (75), B re a k o f D ay (76), Summerfield (77) and Dawn! Current project: The Ridge and the River.

R o s s D i m s e y — D ire c to r and s c r ip tw r ite r . C re d its in c lu d e the documentary It’s Time — The Gough and Bob Show (73); the shorts The David Hannay — Associate producer Girl on the Roof (71) and The Runner on s e v e ra l te le v is io n s e rie s , (77); and the feature Blue Fire Lady (77) . S crip tw rite r of Fantasm and docum entaries and television film s including The Spoiler (76), Mam a’s Fantasm Comes Again. Current project: Gona A-Hunting (77), The Alternative Maggie.

(77), Gone to Ground (77). Co-producer Kev i n D o b s o n — D ire cto r and of the documentary Kung Fu Killers producer. Edited, directed and co­ (72), executive producer of Stone (74), produced several television series The Man From Hong Kong (75), and including Division 4, Homicide, Matlock Polly Me Love (television film — 75).

Police and Bluey. Directed the television Producer of Solo (78). films Gone to Ground (77), Image of Sandy Harbut — Actor in television Death (77), Demolition (77) and the and film before he produced, directed feature The Mango Tree (78). and wrote Stone (74).

John Duigan — Acted in, and wrote, the Tom Haydon — Producer, director and short Brake Fluid (70). Producer, scriptwriter with extensive experience in directed and wrote The Firm Man (74) television. Documentary credits include and The Trespassers (75). Directed, The Talgai Skull ( 6 8 ) , Dig a Million, wrote and co-produced Mouth to Mouth (78) . Current project: Dimboola (as Make a Million (69), Beyond the Black Stump (episode of the BBC British director).

Empire Series — 71), The Long, Long W a lk a b o u t (7 5 ) and T h e L a s t Paul Eddy — Director in film and tele­ Tasmanian (78). vision. Credits include The Box (75) and the television films, The Alternative (77) Lyne Helms — Producer. Credits and Roses Bloom Twice (78). include several shorts and the feature Oz (76).

Patrick Edgeworth — Producer and s c rip tw rite r. S c rip tw rite r and c o ­ Oliver Howes — Director and script­ producer of the television series Cash writer at Film Australia where he has and Company (75) and Tandarra (76). directed many shorts and documen­ Co-producer and scriptwriter of Raw taries. D irected and w rote T o u la Deal (77). (episode of Three To Go — 71), W okabout Bilong Tonten (74), directed Col i n E g g le sto n — Independent and co-wrote Let the Balloon Go (76) producer, director and scriptw riter. and directed the television film, Say You Writer, director and executive producer Want Me (78). of several television series between 1970-76. Co-produced and directed the John Heyer — Producer, director and feature, Long Weekend (78). scriptwriter. Since 1939 has made over 90 short and documentary films, many of David Elfick — Producer. Has long which have won international awards. involvement with surfing films, including Director of Back of Beyond (54), and Crystal Voyager. Latest production is producer and director of The Reef (76).

Phillip Noyce's Newsfront.

Ma r g a r e t Fink — Produced and designed The Removalists (75). Current p ro je c t: My B r illia n t C a re e r (as producer).

Richard Franklin — Directed episodes of the television series Homicide and has made several short films. Director, co-producer and co-scriptwriter of The True Story of Eskimo Nell (75). Director of Fantasm (77) and co-producer and director of Patrick (78).

Zbigniew Freidrichs - Director of the features, Made in Australia (75) and Apostasy (78).

Antony I. Ginnane — Producer and director of Sympathy in Summer (70), producer of Fantasm (76), Fantasm Comes Again (77), Blue Fire Lady (77) and c o -p ro d u c e r of P a tric k (78).

Currently projects: Maggie and The Bed.

Yoram Gross — Producer, director and s c r ip tw r ite r of a n im a te d s h o rts , d o c u m e n ta rie s and c o m m e rc ia ls .

Produced, directed and co-wrote the animated feature Dot and the Kangaroo (77).

Russel Hagg — Directed and co­ produced the television series Cash and Company (75), Tandarra (76) and the feature Raw Deal (77).

Frank Heimans — Documentary film­ maker. Produced, directed and edited Pacific: Pacific (73), Island of the Spirits (74), The Elusive Geisha (75), The Living Goddess (76) and Shadow Sister (77).

Tom Jeffrey — Producer and director with extensive experience in television.

Directed the feature The Removalists (76) and director and co-producer of Weekend of Shadows (78). Current project: The Odd Angry Shot (director and co-producer). Is the chairman of the Australian Film and Television School and was chairman of the Film, Radio and Television Board.

Brian Kavanagh — Producer, director and editor. Has extensive experience in all areas of film production. Produced, directed and edited A C ity’s Child (71); edited The Devil’s Playground (76), Long Weekend (78) and The Chant of Jimmie Blacksmith (78).

Hady n K een an — D irector and producer of several shorts. Producer of 27 A (73).

A y te n

K u y u l u l u — P roducer, scriptwriter and director. Has written and directed The Outsiders, (75). Current project; The Battle of Broken Hill (writer and producer).

Cinema Papers, 1978 Cannes Special Supplement — I

WHO’S WHO John Lamond — Producer, director and distribution consultant. Directed and produced Australia After Dark (75) and The ABC of Love and Sex — Australia Style (78).

John Papadopoulos — Producer and director of experimental films. Credits include the short features Matchless (73) and Jog’s Trot (76).

Michael Pate — Producer, actor and scriptwriter who has worked extensively editor. Credits include Part One — 3 0 6 in com m ercial television. Associate (71) , Part Two — The Beginning (72) producer of The Age of Consent (68) and the feature Oz (76). and producer and scriptwriter of The Mango Tree. Current Project: Tim. J o a n L o n g — P ro d u c e r and scriptwriter. Wrote the documentary The Gary Patterson — Independent film­ P ic t u r e s t h a t M o v e d (6 8 ) and maker. Director of many shorts on 16mm Paddington Lace (70). Directed and and 8mm, and the feature, How Willingly scripted The Passionate Industry (72). You Sing (76).

Wrote C addie (75), and wrote and John Power — A freelance director produced The Picture Show Man (77). who worked in television news before Pat Lovell — Has worked extensively in directing live television. Has directed television as a writer and reporter. television series. Credits include Billy Produced Picnic at Hanging Rock in and Percy (72) and They Don’t Clap association with Hal and James McElroy Losers (74). Directed the feature, The (7 6 ), B r e a k o f D a y (7 7 ), and Picture Show Man (77).

Summerfield (77). Current project: The House Upstairs (as producer).

Eric Porter — Producer and director of animated films, docum entaries and H a l a n d J a m e s M c E l r o y — commercials. Produced and directed the P ro d u c e rs . E x p e rie n c e in s h o w animated feature, Marco Polo Junior business, television, theatre and film.

Versus the Red Dragon (71).

Produced The Cars That Ate Paris (74), Picnic At Hanging Rock, in association Jill Robb — Has worked in various with Patricia Lovell (76) and The Last capacities on several documentaries, Wave (77). Future plans include a $2 television series and features including million multi-media production entitled They’re A Weird Mob (66) and Skippy. “ Space Trip” .

Was marketing manager at the South A u s tra lia n Film C o rp o ra tio n , and executive producer on The Fourth Wish R ich ard M as o n — Producer at Film (76) and Dawn! (78). Joined the Australia with more than 20 years experience in the industry here and at Victorian Film Corporation in 1977 as the BBC in London. Produced the feature Chief Executive.

Let the Balloon Go (78).

Henri Safran — Director with extensive P e te r M a x w e ll — Director with many television experience. Worked at the years experience in film and television. BBC and on several British series, Directed Country Town (71) and the including Z Cars. Directed the short television features Polly Me Love (76), feature Listen to the Lion (76) and the Is Anybody There? (76), Mam a’s Gone children's feature Storm Boy (76).

A-Hunting (77), Plunge into Darkness (78).

Keith Salvat — Director. Has made several shorts and documentaries and Ian Mills — Director and lecturer in the feature, Private Collection (71). media studies. Has made several shorts and the feature, Solo Flight (75).

Fred Schepisi — Has produced, d ire c te d and w r itte n n u m e ro u s P h il i p p e M o r a — Produced and documentaries and shorts, as well as directed Trouble in Monopolis (68); co­ cinema and television commercials. writer of The Double Headed Eagle Producer, director and scriptwriter of (72) ; co-writer and director of Swastika The Priest (episode of Libido — 73), (73) ; writer and director of Brother, Can The Devil’s Playground (76) and The You Spare A Dime (74); director of Mad Chant of Jim m ie Blacksm ith (78).

Dog Morgan (76). Member of editorial Board member of the Victorian Film board of Cinema Papers.

Commission.

Chris Lofven — Producer, director and

John B. Murray — Producer, director

Jane Scott — Independent producer

and screenwriter. Directed The Naked Bunyip (70) which helped pioneer inde­ p e n d e n t d is trib u tio n in A u s tra lia .

Directed an episode of Libido (73), which he also produced. Was the inaugral Executive Director of the Film, Radio and Television Board.

w ith s e v e ra l y e a rs of in d u s tr y experience. Associate produced Barry McKenzie Holds His Own (75), Oz (76) and Storm Boy (76). Produced the SAFC television films Harvest of Hate (78) and The Touch of Love (78)

Scott Murray — Independent director, film critic and member of Editorial Board of Cinema Papers. Credits include Beginnings (71), Paola (72), Denial (74) and the short feature Summer Shadows (76).

Jim S h a r m a n — Has dire cte d numerous stage plays including Hair, Jesus Christ Superstar and Big Toys.

Directed the features Shirley Thompson vs The Aliens (71), The Rocky Horror Picture Show (75), Summer of Secrets (76) and The Night The Prowler (78).

Phil Noyce — Has directed several shorts and documentaries including Castor and Pollux (74), the short feature God Knows Why But it Works (74), and the features Backroads (77) and N e w s fr o n t (78). C u rre n t p ro je c t:

Esben Storm — Director, producer and writer of several shorts before directing, scripting and editing 27A (73). Recently completed In Search of Anna, which he produced and directed.

Simmonds and Newcombe.

Albie Thoms — Independent producer, director, scriptwriter and editor in film and television. Has made numerous e x p e rim e n ta l s h o rts in c lu d in g Blunderball (66), Rita and Dundi (67), Bolero (67). Features include Marinetti

Terry Ohlsson — Has directed shorts and documentaries and the feature Scobie Malone (75).

II — Cinema Papers, 1978 Cannes Special Supplement

(69) and Sunshine City (73). Edited Morning of the Earth (71).

Michael Thornhill — Producer and director. Former film critic and short film m aker. P roduced and d ire cte d Between Wars (74) and FJ Holden (76).

Produced Summer of Secrets (76) and directed the television film Harvest of Hate (77). Current Project: Eden Rock (as director). Director of the NSW Film Commission.

Brian Trenchard Smith — Producer and d ire c to r of several te le vision specials, documentaries and shorts including The Stuntman (73), The World of Kung Fu (73), The Kung Fu Killers (74) and Dangerfreaks (76). Directed and scripted The Man From Hong Kong (7 5 ) , and produced and d ire cte d Deathcheaters (77). Editor of Movie 78.

David S. Waddington - Producer and director in television, and of the feature, Barney (Lost in the Wild — 76).

Stephen Wallace — Scriptwriter and director. Credits include the shorts Break-Up (75), Brittle W eather Journey (73) and the short feature Love Letters From Teralba Road (77).

Peter Weir — Director and scriptwriter.

Has directed numerous shorts and documentaries and the features Cars That Ate Paris, (74), Picnic at Hanging Rock (75), and The Last Wave (77).

Current project: Gallipoli.

Bob Weis — Producer and director.

Produced Bert Deling's Pure S (75), and directed Children of the Moon (74).

Tasmanian Film Corporation 64 Brisbane Street, Hobart, Tasmania, 7000.

Telephone: 308033. Telegrams: Tasfilm.

Chairman: G. J. BrealeyA. O. Members: B. Manning, W. H. Perkins, A. M ., C. A. Hogben, R. Grierson.

Executive Producer: M. Smith .

Producers: D. F. Anderson, John Honey, N. R. Laird.

The Tasmanian Film Corporation is a production house involved in film, video and still photographic work. It has its own staff, offers 16mm and 35mm facilities, and an equipment hire section. The corporation is a statutory body of the state government. It is an independent, profit-oriented organization which aims to participate in, and help the growth of, a stable film industry in Australia.

The main functions of the corporation are to produce, market, distribute and exhibit film (including video tapes, photographs and other works) for the entertainment and education of adults and children through commercial and government agencies in Australia and overseas. It is also involved in hiring personnel and equipment.

New South Wales Film Corporation 4th Floor, 45 Macquarie Street, Sydney, NSW, 2000. Telephone: 27 5575. Telex (AA) 23298 Telegraphic: Filmcorp.

Chairman: Paul Riomfalvy Directors: Michael Thornhill, Damien Stapleton General Manager — Production: Jenny Woods General Manager — Business Affairs: Lloyd Hart Production and Marketing Consultant: David Roe. The New South Wales Film Corporation was incorporated on July 1,1 977. Its primary function is to invest in Australian feature film production. Two major projects have recently been completed and several others are in various stages of pre-production. The corporation, which is run by a three-man board of directors, has just opened the Australian Films Office, Inc., in Los Angeles.

Victorian Film Corporation

Paul

Winkler

— In d e p e n d e n t experimental filmmaker. Has produced, directed, photographed and edited many short experimental films, including Scars (72), Dark (73) and Brick Wall (74). Has won numerous awards at local and international festivals.

G overnm ent Film Funding O rganizations The Australian Film Commission 8 West Street, North Sydney, NSW, 2060.

Telephone: 922 6855.Telex: 251 57 Chairman: Ken Watts Commissioners: Peter Martin, John McQuaid Director, Creative Development Branch: Lachie Shaw Director, Project Development Branch: John Daniell Director, Public Relations: Rea Francis Part-time Commissioners: Anthony Buckley, Frank Gardiner, Graham Burke. .

A Federal Government body, the Australian Film Commission is a merchant bank and service arena for the Australian film industry, aiming at establishing an independently viable film community. The AFC provides bridging finance, loans and script development monies to feature film and television packages, and documentary producers. It provides funds for experimental films and grants for short filmmakers. It has a marketing division that sells and promotes Australian product internationally, and supports film areas such as the Australian Film Institute, the Sydney Filmmakers Co-operative, film historical libraries, community and video access centres and Cinema Papers.

The AFC is also responsible for, in conjunction with the National Library of Australia, the keeping of film archives, and administers The Australian Women’s Film Fund, and Film Australia.

8th Floor, 140 Bourke Street, Melbourne, Vic. 3000. Telephone: 663 3981.

Chairman: Peter Rankin.

Members: Graham Burke, Nigel Dick, Cliff Green, Natalie Miller, John McLachlan, Fred Schepisi.

Chief Executive: Jill Robb Senior Project Officer: Geoffrey Pollock Government Project Officer: Nina Syme Project Officer: Paul Manos Research Officer: Andrew Knight The Victorian Film Corporatipn was formed in June 1976. The primary function of the corporation is to act as an investment and funding body within the state. Its aims are to activate and encourage professional film production in the state and to market films nationally and overseas. The VFC also produces documentary films for Victorian government departments.

Film Australia Eton Road, Lindfield, NSW 2070. Telephone: 467 0111 Telex: AA 22734 Telegrams: Filmaust.

Producer in Chief: Denys Brown MBE Head of Production: Timothy Read Production Manager: John Carter Head of Audio Visual: Leon Becker Executive Officer: John Wood Publicity: Max Keogh Film Australia is the Australian government’s official film production organization and is part of the Australian Film Commission. A modern studio complex including complete production facilities and a stock shot library is located at Lindfield. Annual output is 50-60 films ranging from government departmental films on national and cultural aspects of Australia to dramatic films and features. In addition to 110 production staff, many freelance directors, producers and technicians are employed on particular productions, and many films are made by commercial film companies under Film Australia's supervision.

WHO’S WHO South Australian Film Corporation 64 Fullarton Road, Norwood, SA 5067.

Telephone: 42 4973 Telex: AA88206.

Chairman: Jack Lee Members: I. M. Cook, W. L. C. Davies, J. J. Morris, E. N. Peleska.

Director: John Morris Marketing Director: Paul Davies Executive Producer, Features: Matt Carroll Executive Directors, Documentaries: Lesley Hammond, Peter Dimond Assistant Director: Stuart Jay The South Australian Film Corporation is a total film enterprise involved in film research, production, marketing, distribution and library services. Established as a statutory body by the state government, it is one of Australia's leading film producers, particular of feature films and short documentaries.

Queensland Film Corporation 3rd Floor, Executive Building, 100 George Street, Brisbane, Queensland, 4000.

Telephone: 224 7018 Chairman: Syd Schubert Deputy Chairman: John Bensted Members: Leo Hielscher, Mike Williams, Terry Jackman, Ron Archer, Frank Moore, Ron Parkes, Syd Williams, Charles Porter.

The Queensland Film Corporation was formed by an act of state parliament in October 1977.

Its functions are to encourage the development of the film industry in the state and to administer financial and other assistance provided to the government of the state to the film industry.

Perth Institute of Film and Television 92 Adelaide Street, Fremantle, WA 6160.

Telephone: Chairman: BillWarnock Director: Paul Barron Administrator: Eric Sankey Resident Producer: Judith Prindiville PIFT is actively involved with film and television production, film exhibition and film education. The institute acts as an 'umbrella' providing office space, technical equipment and screening facilities for organizations such as the W. A. Council for Childrens Films and Television, the W. A. Filmmakers Co-operative, the National Film Theatre of Australia, and Frevideo. PIFT's aim is to foster interest in film and television and to help develop the technical skills of West Australians who want to express themselves through the visual media.

State Film Centre 1 MacArthur Street, East Melbourne, Victoria 3002. Telephone: 651 1301.

Acquisitions Officer: Ed Schoeffle Chief Executive Officer: David Swift Distribution: Reg Marsden The State Film Centre is a 16mm film library lending films on a wide range of subjects. The centre caters to diverse community groups such as schools, hospitals, film societies, elderly citizens clubs etc. and is beginning a videotapes collection for lending purposes The centre also holds early prints of 'classic' films and is an agent for the National Film Library.

W estern Australian Film Council

Sydney Filmmakers Co-operative Ltd.

C/- Syd Donovan, TVW-7 Enterprises Ltd., Osborne Road, Tuart Hill, WA 6060.

Telephone: 349 7777.

Chairman: B. A. Wright Members: Russell Twogood, Syd Donovan, Brian Williams, Owen Burns, Bill Bowen, John Pye. Formed by the state government on January 22,1978. The Council is investing $1 million in films over a five-year period. Priority is given to projects which are completed in Western Australia, use West Australian actors, writers, technicians and production personnel, and have Australian Film Commission investment.

By such policies the Council hopes to build a stable, self supporting industry in WA by 1983.

St. Peters Lane, Darlinghurst NSW 2011.

Telephone: 31 3237 Administrator: Nick Herd.

Distribution: Margot Oliver, Peter Howard.

I i l n m c n s Editors: Barbara Alysen, Tina Kaufman The co-operative is open to all filmmakers and people active in the production of films. It is a non-profit organization and members are encouraged to participate in formulating policy. The co-operative has a distribution service for overseas and local independent filmmakers and accepts any film for distribution provided it is lodged by the maker or producer. The co-operative also screens films at its own cinema, including special seasons of individual filmmakers, and publishes a monthly tabloid called Filntnnvs.

Film O rganizations National Film Library, National Library of Australia Parkes Place, Canberra, ACT 2600.

Telephone: 62 1111. Telex: 62100.

Telegrams: Natlibaust.

Director: Ray Edmondson.

Film Archive Officer, Karen Foley The National Film Library is part of the National Library of Australia and comprises (i) The National Film Archive which preserves the widest possible range of Australian film and television productions and provides the normal range of film archive services. It contains the largest collection of Australian productions in existence from 1896 onwards.

Australian member of FIAF. (ii) The National Film Lending Collection which is the major national 16mm and videotape non-theatrical/ non-commercial distribution library handling mainly documentary films on all subjects, but also specializing in feature, short and avant­ garde films for film societies and film study courses. The library also publishes Iustniluin h i n t s which lists Australian film production yearly.

S tate Film Library 1 Francis Street, East Sydney, NSW 2010.

Telephone: 339 7385,339 7345.

Administration Officer: Vince Dwyer Librarian and Information: Dianne Rhodes Senior Films Officer: Joe Britton The State Film Library maintains a lending library of documentary and educational films for community use. It presently comprises over 1 2,000 16mm films on a wide range of subjects with new films being constantly added. The Library is also the NSW agent for the National Film Library.

Australian Film Institute 81 Cardigan Street, Carlton, Victoria 3053 Telephone: 347 6888 Telex: AA32968 Telegrams: Filminstitute.

Chairman: Barry Jones Board Members: Ina Bertrand, Susan Dermody, John Flaus, Ian Macrae, Timothy Read, Alan Simpson.

Acting Executive Director: John Foster Executive Consultant: David Roe Exhibition and Distribution Manager: Paul Coulter Project Officer: Sue Murray Archivist and Librarian: Helen Zilko The Institute is an independent national film organization dedicated to developing a film culture in Australia Through its many outlets it specializes in distributing and exhibiting films of quality. The Institute organizes the annual Australian Film Awards, curates a museum, publishes books and monographs, operates a resource centre, and is a focal point for film activity in Australia.

Australian Film and Television School 13-15 Lyonpark Road, North Ryde, NSW 2113.

Telephone: 887 1666 Cables: Filmschool Telex: 27575 Chairman: Tom Jeffrey Director: Professor Jerzy Toeplitz Deputy Director: Storry Walton Head, Fulltime Program: Robert Gist Head, Open Program: Jill Nash Head, Administration: Georgina Carnegie Technical Controller: Alan Morrison Head, Research and Surveys: Julie James Bailey Librarian: Peter Wagner Information: John J. Howard The Australian Film and Television School was established by the Australian federal government in 1973 to provide vocational training for professional careers in camera, sound, editing, production, direction and writing for both film and television. Fulltime courses include a three-year diploma course and a one-year screenwriting workshop. A multi-institutional course or study for a graduate diploma in media was introduced in Victoria and WA in 1978 as the beginning of a planned National Graduate Diploma Scheme.

The Open (External) program provides in­ service training for the film and television industry and educational and community training in film, video and audio-visual techniques.

Film F estivals Melbourne Film Festival 53 Cardigan Street, Carlton, Victoria, 3053.

Telephone: 347 4828. Cables: Melbfest Director: Erwin Rado Publicity: Natalie Miller Held during June 2 — 17

Adelaide International Film Festival 1st Floor, Central Market, Gouger Street, Adelaide, South Australia, 5000. Telephone: 212 3671 Cables: Adfest Chairman: George Anderson Acting Administrator: Daniel S. Hawley Artistic Co-Ordinator: Claudine Thoridnet Held during September 22 — October 1.

Brisbane Film Festival Box 1655, G.P.O. Brisbane, Queensland, 4000.

Telephone: 371 5575 Cables: Brisfest Brisbane Director: George Francey Assistance Directors: Brian Whitte, Noel Gribble Treasurer: Graham Walsh Held during August 28 — September 3.

Sydney Film Festival Box 4934, G.P.O. Sydney, NSW, 2001 Telephone: 660 3909. Telex: 22969. Cables and Telegrams: Sydfest Sydney.

Director: David Stratton Administrator: Ian McPherson Publicity Director: Antonia Barnard Held during June 2 — 17

Perth Film Festival P. O. Box 149, South Perth, WA, 6151.

Director: Sylvie Le Clezio Screening dates not yet decided.

The Independant Feature Film Producers’ Association 34 Neridah Street, Chatswood, NSW 2067.

Telephone: 411 2877 Chairman: Phillip Adams Secretary: Hal McElroy

Australian Cinematographers Society 39 Kissingpoint Road, Turramurra, NSW 2074.

Telephone: 44 111 5 President: Bruce Hillyard Secretary: Reg Edwards

The Australian W riters’ Guild 1 97 Blues Point Road, North Sydney, NSW 2060. Telephone: 922 3856 President: Shan Benson Secretary: Nan Moloney

Motion Picture Distributors Association of Australia Room 8 1 .8th Floor, 280 Pitt Street, Sydney, NSW 2000. Telephone: 29 1529. Telegrams: Mopic Chairman: Michael Tarrant Secretary: H.W. Connolly

Association For a National Film and Television Archive P.0 Box 1 37, Gordon, NSW 2072.

Chairman: Graham Shirley

Television Society of Australia G.P.O. Box 1 71 SP. Melbourne, Victoria 3001.

Telephone 879 3911.699 1174 President: T.J. O'Donohue Secretary: S. McNeil

Freelance Technicians Agency 30 Long Avenue, North Ryde, NSW 2113.

Telephone: 887 1155.

Director: Pam Borain

Producers and Directors Guild of Australia P-O. Box 332, Double Bay, NSW 2028.

Telephone: 31 5182,665 6485.

President: Kip Porteus Secretary: Kay Roberts

Actors and Announcers’ Equity of Australia 72 Stanley Street, Darlinghurst, NSW 2010.

Telephone: 31 7718:31 7719; 31 7721.

Telegrams: Austequity.

President: Don Crosby General Secretary: Bob Alexander Organizer: Uri Windt

Film Editors Guild of Australia PO Box 195, Roseville, NSW 2069. Telephone929 5699; 43 0433.

Chairman: Geoffrey Portman President: Barry Fawcett Secretary: Graham Willand

The Film and Television Production Association of Australia 3rd Floor, 1 29 York Street, Sydney, NSW 2000 Telephone: 29 7946; 29 7947.

Chairman: G. J. Jennings President: Robert Pascoe

Association of Independant Filmmakers 335 Belmore Road, North Balwyn, Victoria 3104. Telephone: 857 5645.

President: Don McLennan Secretary: Basil Gilbert

National Film Theatre of Australia Ltd. National Office' Paddington Town Hall, 249 Oxford Street, Paddington. NSW 2021.

Telephone: 31 0695 Telegrams: Kinema President: Stanley Hawes Director: Rod Webb Program Director: Bruce Hodson The NFTA is a national, non-commercial, specialized exhibitor of world cinema to members in Sydney. Melbourne, Adelaide, Canberra, Brisbane and Fremantle. Programs are usually arranged in seasons in the same manner as the NFT in London. Many titles shown are imported especially for NFTA seasons: others are obtained from the film collection of the National Library in Canberra: others from local sources. Revenue is derived from membership subscriptions, admission charges and subsidies from the Australian Film Commission and other state funding bodies.

Cinema Papers, 1978 Cannes Special Supplement — 111

Guilds, Unions, S o cieties and Associations

Australian Council of Film Societies 20 Craithle Avenue, Park Orchards, Victoria 3114. Telephone: 876 11 28.

Executive: Barry King, Bob Rothols, John Turner

Motion Picture Exhibitors’ Association Film Production Association of Australia 1 29 York Street. Sydney. NSW 2000.

Telephone: 29 7946 President: Graham Jennings Executive Director: G.E. Farrar

Music Arrangers Guild of Australia P.0 Box 1647. Sydney. NSW 2001 Telephone: 389 0928 President: Barry Heidenrick

119/123 York Street, Sydney, NSW 2000.

Telephone: 29 6339 Chairman: David Joel Secretary: W. Lockie

Musician’s Union of Australia 94 Chalmers Street, Surry Hills, NSW 2010.

Telephone: 69 5937.

Acting Secretary: Alan Nash

WHO’S WHO ■RB

Cinecenta Films P/L

D istributors Australasian Film Hire 49 Market Street, Sydney NSW 2000, Telephone: 233 5211 .Telex: AA241 61.

Director: John Politzer Sales Manager: Ken Brown

R.A. Walberg 628 George Street, Sydney, NSW 2000.

Telephone: 26 3321

Blake Films 155 Castlereagh Street, Sydney, NSW, 2000.

Telephone: 21 1 4070,61 8736. Cables: Blakefilms Directors: J. Fletcher, Z, Blake

Sylvie Le Clezio 8 Thomas Street, Birchgrove, NSW 2041.

Australian Broadcasting Commission Head Office: 145 Elizabeth Street, Sydney NSW 2000. Telephone: 3102111.

7 Keys Films P/L 68 Alfred Street, Milsons Point, NSW 2081.

Telephone: 922 41 88. Telex: 25641. Cable: Key TV Chairman: Andrew Gaty Managing Director: Ken Beaton General Manager: Ted McKenzie

Warner Brothers Australia P/L 49 Market Street, Sydney, NSW 2000.

Telephone: 26 1 708. Telex: 22851. Cable: Warbros Managing Director: Sammy Parker Company Secretary: Colin Sandridge Accountant: Mac Willis TV Sales Director: Matt Brown

Columbia Pictures P/L 49 Market Street, Sydney, NSW 2000.

Telephone: 26 651 1. Telex: 26278. Cables: Columfilm Managing Director: Michael Tarrant General Sales Manager: Arthur Griffin Company Secretary: Peter Wilkinson Publicity Director: Guy Scott

Bunda Street, Canberra ACT, 2600.

Telephone: 491 932.Telex: 62672. Cable: Cinecenta Executive Director: Reg McLean Canberra Manager: Kris MacIntyre Advertising Manager: John Whittingham Publicity Director: Wendy Day Financial Director: Richard Harper Film Booker: Jim Jones.

Ronin Films 136 Blarney Crescent, Campbell ACT, 2601.

Telephone: 48 0851. Cables: Rofilm Directors: Andrew Pike, Merrilyn Fitzpatrick, Geoffrey Gardner.

Cassette Television Australia 365A Pitt Street, Sydney, NSW 2000.

Telephone: 233 4158.

Director: K. J. Wanka

MCA (Australia) P/L 23 Pelican Street, Darlinghurst, NSW 201 0.

Telephone: 61 9844. Telex: AA25687. Cables: Revue Sydney.

GUO Film Distributor P/L 6th Floor, 49 Market Street, Sydney NSW, 2000. Telephone: 2 0663. Telex: AA24230.

Cables: Guofilm Sydney General Manager: John Reid Sales Manager: Rod Puskar Controller of Advertising and Publicity: Doug O'Brien Publicity: Joyce Dowling-Smith Administration Controller: Bull Duckworth

AB N-2 Sydney

Cineaction Film Distributors

Gordon Street, Elsternwick, Victoria 3185.

Telephone: 528 4444.

AB Q -2 Brisbane

Sharmill Films

85 Main North East Road. Collinswood. SA 5081 .Telephone: 44 091 1.

27 Stonnmgton Place. Toorak, Victoria 3142.

Telephone: 20 5329. Cables: Sharfilms Director: Natalie Miller

Filmways Australian Distributors P/L 2nd Floor, 158 City Rgad, South Melbourne.

Victoria 3205. Telephone: 62 2931 Telex: AA33487 Managing Directors: Robert F. Ward, Mark Josem.

Managing Directors: Graeme Emanuel. William Fayman, Leon Velik National Promotions Manager: Ian Williams

Exhibitors The Greater Union Organisation P/L Theatres Division 6th Floor, 49 Market Street, Sydney, NSW 2000. Telephone: 2 0663 Telex: AA24230 Cables: Guofilm.

Theatre Division Group Controllers: W. G. C. Hind,K. D. McLennan Controller of Advertising and Publicity: G. Newman Controller of Special Projects: J. D. Fraser Controller of Administrator: T. P. Power

Hoyts Theatres Ltd. 600 George Street, Sydney NSW 2000.

Telephone: 61 9161. Telex: AA21353. Cables: Hoytsfilm.

Managing Director: P. T. Jackman National Theatres Manager: A. M. Bohnsack Film Buying Manager: G. O'Conner National Marketing Manager: H. McGowan _Film Acquisitions Manager: P. Rose

State Film Library Valhalla Cinema P/L

43-51 Brisbane Street, Sydney NSW, 2000.

Telephone: 211 4955. Telex: 21 450. Cables: Centfox Managing Director: Eric Davis Assistant Managing Director: Peter Ridley General Sales Manager: Robert Gunn Publicity Director: Bruce Keen

A B V-2 Melbourne

600 Coronation Drive, Toowong, Queensland 4066. Telephone: 371 3722.

53-57 Brisbane Street, Sydney NSyV, 2000.

Telephone: 211 41 22.Telex: 22255. Cable: Cinteror Sydney Branch Manager: Allen Myers Managing Director: John Neal Publicity and Advertising Director: Len Webb

Twentieth Century Fox (Australia) P/L

Pacific Highway, Gore Hill, NSW 2065.

Telephone: 43 0433.

263 Adderly Street, West Melbourne. Victoria 3003. Telephone: 329 5422 Director: John Weickhardt

See listing under Film Organizations.

United Artists (Australasia) P/L

Australian Broadcasting Commission

Educational Media Australia 237 Clarendon Street. South Melbourne.

Victoria 3205. Telephone: 69 6340, 699 1806 Principal: Ken Widdowson 16mm Distribution: Elizabeth Conner Audio Visual: Ann Turnbull

C.I.C. P /L

6th Floor, 8-24 Kippax Street, Surry Hills, NSW 2010.Telephone: 212 1266.Telex: 20734.

Cables: Unartisco Managing Director: Jonathan Chissick Sales Manager: Greg Lynch Director of Advertising and Publicity: Ken Stevens

T elevision S tations Head Office: Broadcast House, 145 Elizabeth Street, Sydney, NSW 2000. Telephone: 31 0211. Telegrams: Abcom.

General Manager: T. S. Duckmanton C. B. E. Deputy General Manager: Dr. C. Semmler Assistant General Manager: G. G. White Head Programs and Sales: D. Stone Director, Television Drama: J. Davern Director, Television Features: H. Fisher

R. A. Becker

(see Film Organizations)

Cinecentre Films P/L See listing under Distributors.

500 Collins Street, Melbourne, Vic. 3000 Telephone: 61 3811. Telex: AA 32502.

Telegrams: Roadshow.

Chairman: R. Kirby Managing Director: G. Burke Director and General Manager: G. Coote Assistant to the Managing Director: J. Kirby General Sales Manager: S. Fitz-Alan

Roadshow Distributors P/L

Suite 201,283 Alfred Street North, North Sydney, NSW 2060. Telephone: 921 354.

Telex: 2591 4.

Cables: Beckerco Managing Director: Russell Becker Business Manager: June Becker

Sydney Filmmakers Co-op

Executive Directors: G. Burke, J. Kirby General Manager: David Aalders Film Buyer: A. Simpson Advertising Managers: R. Campbell-Jones (NSW), A. Finney (Victoria)

3A Oxford Street, Sydney, NSW 2000.

Telephone: 33 4453 Managing Director: Chris Kiely Director: Barry Peak

Sydney Filmmakers Co-op (see Film Organizations)

Australian Film Institute See listing under Film Organisations.

State Film Centre See listing under Film Organisations.

Mayfair Cinemas P /L 167 Collins Street, Melbourne, Victoria 3000.

Telephone: 63 3131.

Managing Director: David Wayside

Village Theatres Ltd. 500 Collins Street, Melbourne, Vic. 3000 Telephone: 61 3811. Telex: AA 32502.

Telegrams: Roadshow.

Chairman: R. Kirby

IV — Cinema Papers, 1978 Cannes Special Supplement

A B S-2 Adelaide

AB W -2 Perth 191 Adelaide Terrace, Perth, WA 6000.

Telephone: 23 0341.

AB T-2 Hobart 32 Harrington Street, Hobart. Tasmania 7000.

Telephone: 23 0341.

S T W -9 Perth Swan Television and Radio Broadcasters Ltd, Hayes Avenue, Tuart Hill, WA 6060.

Telephone: 349 999, Telex: AA92142, Telegrams: Swantel. ' Managing Director: L.J. Kiernan Executive Manager, Operations and Production: D.R. Aspinall Executive Program Manager: P. Waterhouse National Sales Manager: R.A. Guyot Publicity Manager: J. Izzard

T V W -7 Perth TVW Enterprises Ltd, Osborne Road, Tuart Hill, WA 6060. Telephone: 349 7777, Telex: AA92235, Telegrams: Teleview Chairman and Managing Director: J.W. Cruthers Managing Director: S.J. Donovan Chief Executive: M.A. Bostock General Manager: W.H. McKenzie General Sales Manager: G.V. Byrne Program Manager: G.L. Plummer

T V T -6 Hobart Tasmanian Television Ltd, 52 New Town Rd, New Town, Tasmania 7008. Telephone: 28 0341, Telex: AA5801 9, Telegrams: Tasteevee.

Chairman and Managing Director: E.G. McRae General Manager: D.L. Carter Sales Manager: P.N. Hutchins Program Superintendent: N. Coulston

T N T -9 Launceston Northern Television (TNT-9) Pty Ltd, Watchorn Street, Launceston, Tasmania 7250.

Telephone: 44 0202, Telex: AA5851 2, Telegrams: Netnine.

General Manager: D.M. McQuestin Sales Manager: J.R. Montgomery Program Manager: J.M. Stephens

A D S -7 Adelaide Television Broadcasters Ltd, 1 25 Strangways Terrace, North Adelaide SA 5006. Telephone: 267 1591, Telex: AA82141, Telegrams: Adseven.

• General Manager: J.S. Doherty National Sales Manager: G. Edwards Program Manager: I. Woodward Promotions Director: P. Pike

N S W -9 Adelaide Southern Television Corporation Ltd, 202-208 Tynte Street, North Adelaide SA 5006 Telephone: 267 011 1, Telex: AA82238, Telegrams: Newsnine.

Managing Director: R.G. Heading Program Manager: R. Boland National Sales Manager: T. Talbot

S A S -1 0 Adelaide South Australian Telecasters Ltd, 45-49 Park Terrace, Gilberton, SA 5081 .Telephone44 6991, Telex: AA82084 Telegrams: Newsnine General Manager: K.V. Campbell Assistant General Manager: G.R. Earl Sales Manager: J.B. Williams Program Manager: T.W. Warne

T V Q -0 Brisbane Universal Telecaster Qld Ltd, Sir Samuel Griffith Drive, Mt Coot-tha, Brisbane Qld. 4001.

Telephone: 36 0366, Telex: AA40354, Telegrams: Channel O. General Manager: R.G. Archer Sales Manager: H.P. Holmes Program Manager: R.C. Pennell

A T V -0 Melbourne Austarama Television Pty Ltd, Hawthorn Road.

Nunawading Vic. 3131 .Telephone: 2-32 6211.

Telegrams: Austarama Group General Manager: R.M. Roberts General Manager: M.C. Stewart Deputy General Manager and Director of Sales: W.J. Barker Director of Programs: J. McLachlan

G TV -9 Melbourne General Television Corporation Pty Ltd, 22 Bendigo Street, Richmond Vic. 31 21.

Telephone: 42 0201 .Telex: AA301 89, Telegrams: Geeteevee Executive Vice President: D. Evans Assistant General Manager: R. Biddle Vice President Sales: D.C. Maxwell Vice President Programs: J.G. McKay Publicity Manager: C. Forsyth

H SV-7 Melbourne Herald-Sun Television Pty Ltd, cnr Dorcas and Wells Streets, South Melbourne Vic. 3205.

Telephone: 699 7777, Telex: AA30707, Telegrams: Hertel.

General Manager: R.P. Casey National Sales Director: H. Gardner Program Manager: G.B. Fenton Publicity Manager: E. O’Shea

B TQ -7 Brisbane Brisbane TV Ltd, Sir Samuel Griffith Drive, Mt Coot-tha, Brisbane 4001. Telephone: 36 0111, Telex: 40243, Telegrams: Beeteecue.

General Manager: R.B. Leonard Chief Executive: G.M. Moller General Sales Manager: J. O’Callaghan Program Manager: M. Lattin

Q TQ -9 Brisbane Queensland Television Ltd, Sir Samuel Griffith Drive, Mt Coot-tha, Brisbane, Qld. 4001 Telephone: 36 2233, Telex: 40244, Telegrams: Queteenine.

General Manager: J.W. McKay Assistant General Manager: H. Cornish General Sales Manager: R. Stevens Director PR and Promotions: D. Timms

A TN -7 Sydney Amalgamated Television Services Pty Ltd, Television Centre, Epping NSW 21 21.

Telephone: 85 0111-, Telex: 20250, Telegrams: Telecentre General Manager: E.F. Thomas Sales Director: M.H. Harrison Program Development Manager: J. Sturzaker Program Manager: G. Kinging Publicity Manager: R. Heeps Network Affiliations: The Seven Network (ATN, HSW, BTQ.ADS).

T C N -9 Sydney Television Corporation Ltd, Artarmon Rd, Willoughby, NSW 2068, Telephone: 43 0444, Telegrams: Diffusion Sydney.

Chairman and Managing Director: K.F.B. Packer President: S.H. Chisholm General Manager: G. Chapman Vice-President Sales: J. Styles Vice-President Programs: G. French Programming Director: L. Taylor Network Affiliation: National Television Network (TCN, GTV, QTQ, NWS)

T E N -1 0 Sydney United Telecasters Sydney Ltd, Cnr. Epping and Pittwater Rds, North Ryde, NSW 2 1 13.

Telephone: 888 5555, Telex: 21 767, Telegrams: Unitelcasf~~ General Manager: T. Kennon Director of Sales: M. Whiting Director Programming: R. Haynes Publicity Relations Director: T. Greer Network Affiliation: The 0/1 0 Television Network (TEN, ATV, TVQ, SAS).

Geoff Burton talksabout photographing IRk “StormBoy.”

••F ro m the beginning I knew w hat I wanted. x v To capture the calm before the storm.

The w ild, untam ed...and the gentle.

The warm th...and the cold, harsh reality.®# Geoff Burton. Winner 1977 Penguin Award for Best Cinematography.

"Storm Boy" . . . shot on EASTMAN Color Negative film 5247 Photograph by courtesy of David Kynoch.

Geoff Burton. Director of photography "Storm Boy." "Storm Boy". .. first there was the book, with magnificent illustrations

by Robert Ingpen. I loved his ink line drawings with their pastel colour washes. They wereoll so evocative of the awesome and majestic wilderness area — yet incredibly romantic, in keeping with the story of o boy ond hispelican companion.

So when the opportunity come for me to shoot the feature, I knew I wonted my pictures to look like his pictures. And I was absolutely delighted — though not surprised when Art Director, David Copping wos just as impressed with Ingpen's work.

These drawings become the basis for our thinking.

Photographically, we felt we needed to wash out the strong colours, reduce the overall contrast generally and carefully control the density to achieve the time/weother progress throughout the film, building up to the final storm sequence. But I wonted more than that. I wonted the interiors to be worm and comfortable to contrast with the cold, threatening weather raging outside.

What I was doing most of the time wos "down grading" the photographic image with the use of heavy filters, minimal light ond extremes of colour temperature.

To do that I hod to start with three essential elements. And those three elements hod to be of a quality and reliability I knew I could count on under extreme filming conditions.

The work the lob. did speaks for itself, os does the excellent quality of the high-speed Zeiss Lens I used.

What's not so obvious, is the third of these elements — the Kodak 5247 stock. But then film stock isn't meant to be noticed, it'sjust there doing its job letting you push it around os much as you dore.

I like to "use" the negative a lot.

Work if to its extremes to produce a particular look or effect. It's the reliability and consistency of Kodak 5247 that mokes if so attractive for this style of shooting. In fact I just can't imagine how I could hove photographed "Storm Boy" on anything other than Kodak 5247."

EASTMAN Color N egative film 5 2 4 7 . A rem arkable, sensitive film.

1 KODAK (Australasia) PTY. LTD. Motion Picture b Audiovisual Markets Division

FEATURE CHECKLIST <70-78 1970 Jack and Jill: A Postscript Phillip Adams, Brian Robinson Three to Go Brian Hannant, Oliver Howes, Adam’s Woman Phillip Leacock Beyond Reason Giorgio Mangiamele Strange Holiday Mende Brown Little Jungle Boy Mende Brown Colour Me Dead Eddie Davis Sympathy in Summer Antony I. Ginnane Nothing Like Experience Peter Carmody Squeeze a Flower Marc Daniels The Set Frank Brittain Ned Kelly Tony Richardson That Lady From Peking Eddie Davis The Naked Bunyip John B. Murray Harry Hooton Arthur and Corinne Cantrill

19 71 A City’s Child Brian Kavanagh Wake In Fright Ted Kotcheff Walkabout Nicolas Roeg Country Town Peter Maxwell Nickel Queen John McCallum Stockade Hans Pomeranz Stork Tim Burstall And the Word Was Made Flesh Dusan Marek Shirley Thompson versus the Aliens Jim Sharman Private Collection Keith Salvat

1972 Bonjour Balwyn Nigel Buesst Marco Polo Junior Versus The Red Dragon Eric Porter Sunstruck James Gilbert The Adventures of Barry McKenzie Bruce Beresford About Love George Schwartz Dalmas Bert Deling

The following is a listing of all dramatic features (60 mins and over) made and released in Australia since 1970. It covers 35mm and 16mm.

The 1978 list is, necessarily, incomplete.

Demonstrator Warwick Freeman

1973 Alvin Purple Tim Burstall The Firm Man John Duigan Sunshine City Albie Thoms Don Quixote Rudolph Nureyev, Robert Helpmann The Office Picnic Tom Cowan An Essay on Pornography Chris Carey Skin of Your Eye Arthur and Corinne Cantrill Lost in the Bush Peter Dodds Libido John B. Murray, Tim Burstall, Fred Schepisi, David Baker.

Sabbat of the Black Cat Ralph Marsden Crystal Voyager Falzon/Greenough 27A Esben Storm

1974 Yaketty Yak David Jones Alvin Rides Again David Bilcock, Robin Copping Promised Woman Tom Cowan Stone Sandy Harbutt Number 96 Peter Bernardos Petersen Tim Burstall The Cars That Ate Paris Peter Weir Between Wars Michael Thornhill Wokabout Bilong Tonten Oliver Howes Rolling Home Paul Witzig Children of the Moon Bob Weis

1975 Avengers of the Reef Chris McCullough The True Story of Eskimo Nell Richard Franklin Made in Australia Zbigniew Freidrichs Picnic at Hanging Rock Peter Weir

The Love Epidemic Brian Trenchard-Smith Sunday Too Far Away Ken Hannam The Great MacArthy David Baker The Removalists Tom Jeffrey Inn of the Damned Terry Bourke Let the Balloon Go Oliver Howes Barry McKenzie Holds His Own Bruce Beresford End Play Tim Burstall Scobie Malone Terry Ohlsson Plugg Terry Bourke The Man From Hong Kong Brian Trenchard-Smith Harness Fever Don Chaffey The Golden Cage Ayten Kuyululu The Box Paul Eddy Ride a Wild Pony Don Chaffey The Lost Island Bill Hughes Sidecar Racers Earl Bellamy Solo Flight Ian Mills Pure S . . .

Bert Deling Australia After Dark John Lamond How Willingly You Sing Gary Patterson Nuts, Bolts and Bedroom Springs Gary Young

1976 Don’s Party Bruce Beresford Fantasm , Richard Bruce (alias for Richard Franklin) Oz Chris Lofven Mad Dog Morgan Philippe Mora Storm Boy Henri Safran The Devil’s Playground Fred Schepisi Summer of Secrets Jim Sharman Barney David S. Waddington

Eliza Fraser Tim Burstall Caddie Don Crombie Break of Dav Ken Hannam The Fourth Wish Don Chaffey Harness Fever Don Chaffey The Trespassers John Duigan Surrender in Paradise Peter Cox Olive Tree Edgar Metcalfe

1977 High Rolling Igor Auzins The Getting of Wisdom Bruce Beresford The Mango Tree Kevin Dobson Journey Among Women Tom Cowan Inside Looking Out Paul Cox Fantasm Comes Again Eric Ram (alias for Colin Eggleston) Summerfield Ken Hannam Raw Deal Russell Hagg Highway One Steve Otton The Picture Show Man John Power FJ Holden Michael Thornhill Deathcheaters Brian Trenchard Smith The Last Wave Peter Weir Cosy Cool Gary Young Summer City Phil Avalon Blue Fire Lady Ross Dimsey

1978 The Irishman Don Crombie Mouth to Mouth John Duigan The Chant of Jimmie Blacksmith Fred Schepisi Newsfront Phil Noyce Dawn!

Ken Hannam Weekend of Shadows Tom Jeffrey In Search of Anna Esben Storm

Cinema Papers, 1978 Cannes Special Supplement — V

DIRECTORS CHECKLIST ‘70-78 ADAMS, Phillip Jack and Jill: A Postscript (co­ director — 70) AUZINS, Igor All at Sea (television film — 77), The Night Nurse (television film - 77), High Rolling (77) BAKER, David The Family Man (episode of Libido — 73), The Great MacArthy (75). Current project: Nee­ dles.

BERNARDOS, Peter No. 96 (74) BERESFORD, Bruce The A d ven tu res of B arry M a c K e n z ie (72), Barry MacKenzie Holds His Own (75), Side to Side (British — 75), Don’s Party (76), The Getting of Wisdom (77). Current project: The Money Movers BILCOCK, David Alvin Rides Again (co-director — 74) BOURKE, Terry Night of Fear (71), Inn of the Dam ned (75), Plugg (75), Murcheson Creek (television film - 76) BRITTAIN, Frank The Set (70) BRUCE, Richard (alias for Richard Franklin) Fantasm (76) BUESST, Nigel Bonjour Balwyn (72), BURSTALL, Tim Stork (71), The Child (episode of Libido — 73), Alvin Purple (73), Petersen (74), End Play (75), Eliza Fraser (76) CANTRILL, Arthur and Corinne Harry Hooton (70) COPPING, Robin Alvin Rides Again (co-director — 74) COWAN, Tom The Office Picnic (73), Pro­ mised Woman (74), Journey Among Women (77) COX, Paul Illuminations (76), Inside Look­ ing Out (77) CROMBIE, Donald Caddie (75), Do I Have To Kill my Child . . . ? (television film — 76), The Irishman (77).

DANIELS, Marc Squeeze a Flower (70)

The following is a listing of all Australian directors who have made at least one feature since I9 6 0 * Individual credits cover theatrical and television features, and episodes of portmanteau features.

DIMSEY, Ross Blue Fire Lady (77). Current pro­ ject: Maggie DOBSON, Kevin Gone to Ground (television film — 77), The Mango Tree (77), image of Death (television film — 78), Demolition (78) DUIGAN, John T h e Firm Man (74), The Trespassers (75), Mouth to Mouth (78). Current project: Dimboola EDDY, Paul The Box (75), The Alternative (television film — 76), Roses Bloom Twice (television film — 78) EGGLESTON, Colin Fantasm Comes Again (77), Long Weekend (78) FRANKLIN, Richard The True Story of Eskimo Nell (75), Fantasm (76), Patrick (78) FRASER, Chris Summer City (77) FREEMAN, Warwick Demonstrator (72) FRIEDRICHS, Zbigniew M a d e in A u s t r a l i a ( 7 5 ) , Apostasy (78) HAGG, Russell Raw Deal (77) HANNAM, Ken Sunday Too Far Away (75), Break of Day (76), Summerfield (77), Dawn (78) HARBUTT, Sandy Stone (74) HAYDON, Tom The Last Tasmanian (78) HOWES, Oliver Toula (episode of Three to Go — 70), Wokabout Bilong Toten (74), Let the Balloon Go (75) JEFFREY, Tom The Removalists (75), Weekend of Shadows (78). Current pro­ ject: The Odd Angry Shout

DELING, Bert Dalmas (72), Pure S (75)

* A feature is here defined as a film of 60 or more mins duration and of a basically fictional nature.

VI — Cinema Papers, 1978 Cannes Special Supplement

KAVANAGH, Brian A City’s Child (71) KUYULULU, Ayten The Golden Cage (75) LAMOND, John Australia After Dark (75), The ABC of Love and Sex — Australia Style (78) LOFVEN, Chris 806/The Beginning (72), Oz (76) MANGIAMELE., Giorgio Beyond Reason (70) MAREK, Dusan And the Word was Made Flesh (71) MARSDEN, Ralph Sabbat of the Black Cat (74) MAXWELL, Peter Country Town (71), Polly Me Love (television film — 76), Is There Anybody There? (televi­ sion film — 76), Mama’s Gone AHunting (television film — 77), Plunge Into Darkness (television film - 78) McCALLUM, John Nickel Queen (71) McCULLUGH, Chris Avengers of the Reef (75) METCALFE, Edgar The Olive Tree (76)

POMERANZ, Hans Stockade (71) PORTER, Eric Marco Polo Junior, versus the Red Dragon (71) POWER, John Billy and Percy (television film — 72) , They Don’t Clap Losers (television film — 74), The Pic­ ture Show Man (77), The Touch of Love (television film — 78) RAM, Eric (alias for Colin Eggleston) Fantasm Comes Again (77) ROBINSON, Brian Jack and Jill: A Postscript (co­ director — 70) SAFFRAN, Henri Storm Boy (76) SALVAT, Keith Private Collection (71) SCHEPISI, Fred The Priest (episode of Libido — 73) , The Devil’s Playground (76), The Chant of Jimmie Blacksmith (78) SHARMAN, Jim Shirley Thompson Versus The Aliens (71), The Rocky Horror Picture Show (British — 75), Summer of Secrets (76), The Night The Prowler (78) STORM, Esben 27A (73), In Search of Anna (78) THOMS, Albie Sunshine City (73) THORNHILL, Michael Between Wars (74), F. J. Holden (77), Harvest of Hate (television film — 78). Current project: Eden Rock.

MILLS, Ian Solo Flight (75) MORA, Philippe TRENCHARD SMITH, Brian Swastika (British — 74), Brother The Kung Fu Killers (television Can You Spare a Dime (British film — 74), The Love Epidemic — 75), Mad Dog Morgan (76) (75), The Man from Hong Kong (75),'Deathcheaters (77) MURRAY, John B. The Naked Bunyip (70), The WADDINGTON, David S. Husband (episode of Libido — Barney (76). Current project: The 73) Last Station NOYCE, Phil WEIR, Peter Backroads (77), Newsfront (78) Michael (episode of Three to Go — 70), The Cars That Ate Paris OHLSSON, Terry (74) , Picnic at Hanging Rock Scobie Malone (75) (75) , The Last Wave (77). Cur­ PATTERSON, Gary rent project: Gallipoli How Willingly You Sing (75) WEIS, Bob Children of the Moon (74) WILLIAMS, Tony Solo (78) YOUNG, Gary Nuts, Bolts and Bedroom Springs (75), Cosy Cool (77)

FILMS AT CANNES Standby Props...................................... NickHepworth BACKROADS Asst Makeup............................ Lloyd James Candy Raymond. Jan Friedel. M onica THE LAST TASMANIAN Key Grips............................ Joel Witherden, Special Effects....................... MontyFieguth, Maughan. Dorothy Bradley. Diana Greentree.

Dist Companies. Sydney Filmmakers Co-op Prod Com pany.. .. ARTIS Film Productions Tony Sprague Bob Hilditch Julia Blake.

Noni Hazelhurst.

Margot Vincent Library Pty Ltd in association with Tasmanian Asst Grip.......................... Steve Greenaway Asst Special Effects................ Dennis Smith McLennan. Gerda N icholson. Terence Director...................................................Phillip Noyce Department of Film Production and Société Chief Wrangler..............................Ken Grant Optical Effects...........

Optical and Graphics Donovan.

Stephen Oldfield.

John Waters, S cre en p lay............................................. JohnEmery Française de Production Wrangler................................ Mark Williams Construction Managers. Greg Brown (NSW), Celia de Burgh, Sigrid Thornton. Kerry Additional material by Dist Com pany.. ..

ARTIS Film Productions Neg Matching.....................

Margaret Carden Herbert Pinter (SA) Armstrong. Stephanie Blake. Richard Butler, director and cast Pty Ltd Asst Editors.............................. Ken Sallows, Electricians....................... .. Keith Johnson, Kim Deacon, Michael Edgar. Kay Eklund.

Producer................................................ Phillip Noyce Director......................................

TomHayaon Jill Stevenson Max Fairchild. Susannah Fowle. Cordelia Mick Morris, Music........................................................ Zac Martin, Screenplay................................Tom Haydon, Mark Norfolk H a r r is o n . S h e ila H e lp m a n n . Rom a Paul Moyes Robert Murphy Rhys Jones Asst Dubbing Editors............ Steve Lambeth, Carpenter............................ Ken Hazelwood J o hn ston e . M aggie K irk p a tric k . AI i x Photography.............................Russell Boyd Producer......................................Tom Haydon Susy Pointon Catering..................................................

FrankManley Longman.

Jo-Anne More.

Amanda Moore.

Editor....................................................... DavidHuggett Still Photography..................... John Pollard Hilary Ryan, Janet Shaw. Karen Sutton. Assoc Producers....................... Ray Barnes, Stage Hand............................................. RonFletcher Unit Manager...........................Martha Ansara Roger Fauriat Actors'Tutor.......................

Michael Caulfield Publicity..................

Brian Trenchard-Smith Edwina Wright.

Sound Recordist..................................... LloydCarrick Aboriginal Casting Color Consultant..................James Parsons Synopsis: Based on the novel by Henry Photography............................... Geoff Burton Asst Directors................... Elizabeth Knight, Editor......................................... Charles Co-ordinator................................. Bob Maza UnitRees Runner..................Mark Patterson (SA) Handel Richardson.

Kevin Smith Prod Co-ordinator.................Roz Berrystone Aboriginal Advisors............ Howard Creamer, Length.............................................. 106 min Camera Asst.................

Jan Kenny Musical Director...................

William Davies Ray Kelly Gauge.............................. 35 mm Panavision Continuity................................ Jan Chapman TASMANIA Hairdresser........................................... CherylWilliams Cast: Richard Chamberlain, Olivia Hamnett, Asst Editor....................... Franz Vanderburg Location Manager........... Graham McKinney Best Boy....................................................PaulGanter Gulpilil, Fred Parslow, Vivean Gray, NandjiBudget.............................................. $40,000 Prod Asst...................................Gillian Leahy INSIDE LOOKING OUT Makeup..............................

Deryck de Niese warra Amagula, MBE, Walter Amagula, Roy Length.................................................. 60 min Prod Secretaries................. Adrienne Elliott, Pre-Prod Manager.............. Richard Brennan Bara, Credrick Lalasra, Morris Lalara, Peter Prod Company...................Illumination Films Gauge.................................................. 16 mm Rosanne Andres-Baxter Construction Manager............................

Ray Pattison, Carroll, Athol Compton, Hedley Cullen, Director........................................... Paul Cox Color Process..................................Eastman Sound Recordist...................... Robert Wells Ray Brown Micheál Duffield, Wallas Eaton, Jo England, Screenplay....................................... Paul Cox. Cast: Gary Foley, Bill Hunter, Zac Martin, Camera Operators...................Geoff Burton, Asst Const Manager.........Geoff Richardson John Frawley, Je nn ife r de G reenlaw , Susan Holly-Jones Terry Camilleri, Julie McGregor.

Gert Kirchner Prod Accountant....................... Lynn Barker Richard Henderson, Penny Leach, Merv Producers............... Paul Cox. Bernard Eddy S y n o p s is : T h e b ir t h o f a b la c k Camera Assts.................Russell Galloway, Asst Prod Acc.........Carolynne Cunningham Liley, John M eagher, G uido Rametta, Assoc Producer......... Tony Llewellyn-Jones revolutionary. A young Aboriginal discovers Gillian Leahy Mechanic................................Barry Hogarth Malcolm Robertson, Greg Rowe, Katrina Photography......................................Paul Cox that anarchy will yield relative personal Chief Electrician........................ Brian Adams Sedgwick, Ingrid Weir.

Editor............................................... Paul Cox Continuity.............................. Roz Berrystone freedom in white Australia.

Second Unit Photography....... Gert Kirchner Electrician/Gen Operator... . Ted Nordsvan Art Director...................... Alan Stubenrauch Synopsis: A man experiences a series of Catering................................. Frank Manley, premonitions. In his study he sees a man Prod C o-ordinator................. Bernard Eddy Still Photography.................................... RayDavie, Jacquie Gardner Michael Davis who is not really there — next day he meets Sound Recordist.......................Russell Hurley Publicist............................ Dennis Davidson him. He sees water flowing down the walls of Asst. Director.............................Bernard Eddy Grip........................................ Gary Clements Electrician.......................................... LembitLaats Unit Publicist.......................................... GeoffFreeman his house — a week later a storm floods the BLUE FIRE LADY Camera Operators..................................PeterTammer.

FRANCE Transport Manager...............................

John Chase property.

He sees a city street flooded to a Bryan Gracey Prod Company... Blue Fire Productions P/L Asst Transport Manager........... Colin Chase greath depth. Is this premonition going to Focus Puller.............................. William Kerr Prod Manager........................................ PierreRobin for Australian International Photography..............................................GuyMacou Titles...................................................

AI&AI come true?

He is no street-corner prophet Camera Asst.............................

John Tv.egg Film Corporation Budget.......................................................$1.2million announcing the end is night, but a Boom Operator...................... Bruce Lamshed Sound Recordist........................ Mario Vinck Dist Company................ ............... Filmways Camera Asst....................................... AdrienFortis Gauge..............................

35 mm Panavision Clapper Loader......................

Sandra Irvine successful Sydney lawyer, a product of Director....................................... Ross Dimsey Continuity.............................. Roz Berrystone Color Process....................... Eastman 5247 rational culture. There is only one man in Gaffer....................................................... RossLander Screenplay.............................................. BobMaumill Still Photography..........................

Jean More Cast: Tommy Lewis, Freddy Reynolds, Ray Sydney who knows the meaning of these Continuity.............................................. Julie Millowick Producer...........................Antony I. Ginnane Barrett, Jack Thompson, Julie Dawson, Asst Unit Manager. .

Darrelyn Gunzburg Electrician................................ Jean Mouton premonitions — Charlie, an old aborigine.

Assoc Producer....................................... BillFayman BRITAIN Peter Carroll, Robyn Nevin, Don Crosby, But he will kill to keep the secret.

Set Decorator.................. Alan Stubenrauch Photography........................... Vince Monton Photography.............................................MikeFox Ruth Cracknell, Elizabeth Alexander, Peter Grip........................................................

Paddy Reardon Editor.......................................Tony Patterson Sound Recordist..................................EdwardTise Sumner, Tim Robertson, Jane Harders, Ray Still Photography......................................WimCox. Prod Manager............................ Barbi Taylor Meagher, Brian Anderson, Marshall Crosby, Heinz Lambertin Camera Asst........................... Steve Haskett Art Director...............................................JohnPowditch Still Photography................. Eileen Tweedie Matthew Crosby, Rosie Lilley, Katie Lilley, Script Assts . . . . . . . Bernard Eddy.

LONG WEEKEND Prod Secretary...........................Jenny Barty Angela Punch, Rob Steele, Bill Charlton, Tony Llewellyn-Jones Graphics Designer............... Bernard Lodge Wardrobe................................................ TerryRyan Prod Company........... Dugong Films Pty Ltd Rostrum Camera Operators.......Ken Morse, John Jarrett, Barbara Wyndon, Kevin Myles, Makeup.......................................Trudy Simms Sound Recordist......................................GaryWilkens Director............................... Colin Eggleston David Bookman Ken Grant, Richard Ussher, Alan Hardy, Catering............... Gus Eddy. Kate Halliwell „ Asst Directors......................................... GeoffMorrow, Screenplay........................ Everett De Roche Sound Editor............................... MickAudley John Bowman, Michael Carmen.

Personnel Physician.........Dr James Khong James Parker Producer............................ Richard Brennan Asst Editors..............................

John Allinson, Synopsis: The story of a young half-blood Titles....................................................... JulianEddy Focus Puller........................................... Jack Endacott Music....................................... Michael Carlos Ben Morris aboriginal, who is made conscious of his. Length................................................ 92 min Boom Ooerator.......................Mark Wasiutak Photography........................ Vincent Monton Kate Grenville white blood by a missionary. He leaves his Color Process . ...

Eastmancolor Clapper/Loader..................... Robert Powell Editor....................................Brian Kavanagh tribe to find a place in the white man’s world Cast: Briony Behets. Tony Llewellyn-Jones. Narrator................................................... LesMcKern Gaffer....................................................... RobYoung Prod Manager.......................... Julie Monton Budget.......................................... $122,608 where he seeks acceptance because he Dam Eddy. Juliet Bacskai. Norman Kaye.

Continuity.............................. Fran Haarsma Art Director.......................... Larry Eastwood Length..................................................... 105min lives by white standards. He fails through no Elke Neidhart.

Key Grip.................................... Noel Moodie Prod Secretary........................................... LynGailey Synopsis:In many marriages a state of truce Color Process.......................... Eastman7247 Grip.............................................................. IanParkfault of his own and explodes in a fateful Costumes/Wardrobe............. Kevin Reagan “declaration of war" — the white man’s way, and vacuum develops Such is the case with Progress.............................. Post Production Props Buyer..............................Tina Mortimer Sound Recordist...................... John Phillips he has learnt, of acquiring a licence for the marriage of Elizabeth and Robert. C a s t: A n th ro p o lo g is t Dr Rhys Jones Still Photography.................................. DavidParker Asst Directors.......................... TomBurstall, supported by past and present natives of revenge and violence.

Elizabeth s realization of unfulfilment in her Racing Co-ordinator............................... RonGreen Chris Maudson, Ross Hamilton relationship with Robert brings her closer to Tasmania, with some French and English Best Boy................................ Peter Moloney Camera Operator.............. : . . . Louis Irving her daughter Dani but offers her no practical appearances.

Makeup.............................. Annie Pospischil Focus Puller............................

David Brostoff solution. This film makes an attempt at Synopsis: th e extermination of the Tas­ Unit Doctor.................................. Dr. Callister Camera Asst.......................... Robert Powell penetrating the contradictions of personal manian Aboriginals Is the only case in Unit Vet....................................... Jack Sewell Boom Operator........................................

PhilSterling recent times of a genocide so swift and total.

DAWN! motivation.

-Catering.................................................. RonGreen Gaffer..................................... Robbie Young A search to rediscover these unique people.

Runner.................................................... PaulHallam Continuity................................................... JanTyrrell For full details see page 66.

Budget........................................... $300,000 Asst Art Director........................................IvanDurrant Length.................................................. 95 min Set Decorator................................Tony Hunt THE LAST WAVE Gauge.................................................. 35 mm Grip........................................................... NoelMudie THE IRISHMAN Cast: Cathryn Harrison, Mark Holden, Peter Prod Company........... Ayer Productions P/L Second Grip..................................... Ian Park Prod Company.................Forest Home Films Dist Company.......................... UnitedArtists C u m m in g s , M a rio n E d w a rd , L lo y d Wranglers..................... Brian Beaverstock, Pty. Ltd. C u n n in g to n , Anne S u th e rla n d , G ary (Australasia)P/L • June Doggett THE GETTING OF WISDOM Dist Company..............................G l.J O Film Director......................................... Peter Weir Waddell, John Wood, John Ewart, Rollo Asst Editor....................................Ken Sallows Prod Company.................... Southern Cross Distributors Screenplay................................. Peter Weir, Roylance, John Murphy, Telford Jackson, Still Photography........................ David Parker Film Productions Director.................................................DonaldCrombie Tony Morphett Katie Brinson, Leila Hayes, Ken Webb, Bill Phillip Morris Director........................ .. . Bruce Beresford Screenplay........................................... DonaldCrombie Petru Popescu Collins, Roy Higgins, Jack Mobbs, Danee Best Boy................................... Ian Dewhurst Producer.................................

Phillip Adams Producer.............................

Anthony Buckley P roducers.............. Hal and James McElroy Lindsay, Joanne Moore.

Makeup................................. Deryck de Niese Photography.......................... Don McAlpine Music.............................. Charles Marawood Music........................................ Charles Wain Transport............................................... JohnChase Synopsis: A young girl with a deep love for Photography.................. Peter James A.C.S. Photography............................. Russell Boyd Runner................................................... MarkWilliams horses comes to the city and gets a job in a Editor........................................................ BillAnderson Screenplay........................ Eleanor Witcombe Editor....................................... Tim Wellborn Editor....................................................... MaxLemon racing stable. She meets ‘Blue Fire Lady' Budget............................................. $270,000 Prod Manager........................... RussellKarel Prod Manager....................................... RossMatthews Prod Manager.........................Ros Matthews Length............................................... 100 min and together they share a series of exciting, Art Director............................... RichardKent Art Director............................ Graham Walker Art Director................................ NeilAngwin Gauge................................35mm Panavision funfilled and sometimes tearful adventures.

Director s Asst........................................ MoyaIceton Prod Designer........................ OwenWilliams Location Manager.......... Bev Davidson (SA) Color Process.................................. Eastman Prod Accountant........................................LynBarker Unit Manager.....................Beverley Davidson Prod Assts............................ Rod McMorran, Cast: John Hargreaves, Briony Behets.

Prod Co-ordinator................... Julie Hocking Prod Secretary.............................................SuArmstrong Philip Hearnshaw Synopsis: A couple whose marriage has Prod Designer........................ John Stoddart Costumes/Wardrobe............. Judith Dorsman Production Accountant.............. Penny Carl THE CHANT OF JIMMIE deteriorated decide to get away from it all Costumes.................................................AnnaSenior Sound Recordist...................... Gary Wilkins Prod Designer.............................Goran Warff over a long weekend. They travel to a BLACKSMITH Sound Editor.................... William Anderson Mixer......................................... Peter Fenton Production Secretary............ Su Armstrong secluded spot and realize too late that nature Sound Recordists.............................DesmondBone.

Prod Company__ Film House Australia P/L Sound Editor.............................. Bob Cogger Producers' Secretary................ FionaGosse has decided to get her own back on them.

Gary Wilkins Dist Company................... Hoyts (domestic) Asst. Directors.........................................MarkEgerton.

Wardrobe Designer.............. Annie Bleakley Asst. Directors........................Michael Lake.

Director..................................................... FredSchepisi Mark Turnbull. Penny Chapman Standby Wardrobe.............. Daro Gunzburg Toivo Lember.

Screenplay............................................... FredSchepisi Camera Operator........................ John Seale Sound Recordist................... Don Connolly John Hipwell Producer...................................................FredSchepisi Focus Puller.......................................... DavidWilliamson Sound Editor.................................. Greg Bell Camera Operator...................Gale Tattersall Assoc Producer....................... Ray Stevens Boom Operator...............Julian McSweeney THE MANGO TREE Asst Directors....................John Roberston, Camera Asst......................................... PeterSykes Music.................................... Bruce Smeaton Clapper/Loader......................................DavidForeman Prod Company....... Pisces Productions P/L Ian Jammieson, Boom Operator.................... Mark Wasiutak Photography................................. Ian Baker Gaffer.................................................... MilesMoulson Penny Chapman Dist Company................. GUO Film Dist. P/L Clapper/Loader........................ Denis Nikolic Editor.................................... Brian Kavanagh Continuity................................................ LynMcEncroe Camera Operator.........................John Seale Director....................................Kevin Dobson Focus Puller..................................David Burr Casting Consultants........... M and L Casting Focus Puller..................... David Williamson Prod Designer...................... Wendy Dickson Screenplay.............................. Michael Pate Gaffer.................................................... RobertYoung Prod Co-ordinator..................... Andrea Way Grip.......................................................... RossErickson Boom Operator....................... David Cooper Producer..................................Michael Pate Continuity................................................MoyaIceton Stunt Co-ordinator.................... Heath Harris Prod Secretary....................................... PamStockley Clapper/Loader................... David Foreman Assoc Producer...................... Michael Lake Key Grip................................ Joel Witherden Producer’s Secretary.......... Sylvia van Wyck Asst. Editor.......................................... JamieRobertson Gaffer............................................Tony Tegg Music.................................... Marc Wilkinson Asst. Grip.......................... Geoff Richardson Hairdresser.............................. Jenny Brown Continuity.............................. Gilda Baracchi Music..................Recorded at Anvil Denham Photography......................................... BrianProbyn Standby Props...................... Nick Hepworth Best Boy................................... Eddy Hendel Casting Consultants.............. M & L Casting

by National Philharmonic Orchestra Editor........................................................ JohnScott Props Buyer........................ Mark Rochford Makeup................................... Peggy Carter Additional Photography............................RonTaylor, Costume/Wardrobe........... Bruce Finlayson Prod Manager.............................. TomBinns Asst. Editor............................ Catherine Ann Scenic Artist............................ Ned McCann Standby Wardrobe...............Dario Gunzberg George Greenough, Art Director.............................................. LesBinns Millar Electrician................................. Bill Edwards Sound Recordist.......................... Bob Allen Prod Supervisor.....................Geoff Gardiner Klaus Jaritz Standby Wardrobe............. Judy Whitehead Mixer..................................Gerry Humphries Runners..................................... Scott Hicks. Set Decorator............................................ BillMalcolm Prod Co-ordinator.................................... IreneKorol Still Photography............................... GeorgeMiller Mark Patterson Set Maker..................................... Phil Worth Sound Editors....................................... PeterBurgess, Prod Secretary...................................... IreneKorol Wardrobe Asst........................................ TerryRyan William Anderson Titles..................................... Adrienne Rolfe Key Grip............................ Merv McLaughin Producer's Asst.......................... FelippaPate Hairdresser.................: . . . . Anne Pospischil Budget............................................. $700.000 Asst Grip................................. MicheálWhite Dean Gawen Prod Accountant.....................Vivian Falloon Assistant Gaffer................................... PeterMaloney Length........................ ..................... 110 min Prop Buyers..................John Carroll (NSW), Asst Directors........................ Ken Ambrose, Costume/Wardrobe....................................PatForster.

Make-up...................................................... VivMepham Greg Allen, Color Process........................ Gevacolor680 Clark Munro (SA), Terry Ryan, Unit Runners................................ Tim Smart.

Cast: Michael Craig. Robyn Nevin. Simon David Tayles Kevin Brewer (SA) Heather McLaren Andrew Lesnic Focus Puller.......................... John Swaffield Burke. Lou Brown. Gerard Kennedy. Tony Standby Props............................ Ken James Sound Recordist........................ Barry Brown­ Construction Manager....... Bill McDonough Barry. Vincent Ball. Bryan Brown. Roberta Asst Editors........................... Peter Fletcher, Camera Asst................................Ellery Ryan Mixer......................................... Peter Brown Construction Crew........... Guy McDonough. Grant.

Boom Operators................ Chris Goldsmith, Justin Milne Dubbing Editor..................... Andrew Steuart Robert Doecus Synopsis: The Irishman is basically a story Asst Sound Editor............................... HelenBrown Malcolm Hocking Asst Directors........................ Michael Lake, Painter....................................Matthew Philip Clapper/Loader............................ Alan Cole of people during a time of change and the Still Photography..................... David Kynoch Tovio Lember, Laboratory Liaison...................... BillGooley effect of that change on the lives of one Advisor on Tribal Continuity....................................... Jan Tyrell John Hipwell Catering..........................Anna-Mary Catering family in particular. It is also the story of one Aboriginal M atters................. Lance Bennett Casting Director................Rhonda Schepisi Camera Operator....................................PeterMoss Budget............................................. S500.000 man who would not accept the change and Hairdresser.................................. Jose Perez Asst Prod Design..................... Igor Lazareff Focus Puller............................................ PaulMurphy Length............................................... 100 min who decided to exit at the same moment as Best Boy................................................. AlanDunstan Set Dressers/Prop Buyers.. Mark Rochford.

Camera Assistant................... Steve Neuman Jill Eden Cast: Barry Humphries, Patricia Kennedy. the times he had known and loved .. .

Makeup......................................... Jose Perez Boom Operator..................... Mark Wasiutak

Cinema Papers, 1978 Cannes Special Supplement — VII

FILMS AT CANNES Clapper/Loader...................................... HarryGlynatsis Focus Puller.......................... David Brostoff Sound Recordist........................ Paul Clarke Gaffers.............................................. NormanElder.Prod Co-ordinator .

Jenny Tosohni Gaffer......................................... Alan Walker Boom Operator..................... Jack Friedman Asst Directors.......................... Tom Burstall, Chick McDonald Prod Accountant. .

Treisha Ghent Continuity........................... BarbaraBurleigh Clapper/Loader..................... Steve Dobson James Parker Continuity.............................................. JanTyrell.

A s s is ta n t..................................Kate Chantler Casting Consultants............... Michael Pate.

Gaffer................................. Brian Bansgrove Camera Operator................................... DanBurstall Therese O Leary Costume Designer.............

Ron Williams and Associates P/L Continuity............................... Adrienne Read Camera Asst......................... Andrew Lesnie Director of Wardrobe Asst ............... Robin Hall Second Unit Photography... Ron Johannsen Construction Manager............................ BillHowe Focus Puller.......................... Jack Endacott Aerial Photography. , Steve Locker Lampson Sound Recordist.................. Ken Hammond Assistant Art Director............. James Parker Carpenter.............................. Danny Burnett Boom Operator....................................... PhilStirling Construction............................Russell Collins Mixer...................................

Peter Fenton Set Decorator.......................... Peter Kendall Second Unit Photography......... Peter Moss, Clapper/Loader.....................Robert Murray Key Grip..............................Joseph Bleakley Sound Editor............................ Bob Cogger Standby Props....................................... JohnPowditch Frank Hammond, Gaffer..................................... Stewart Sorby Asst Editors............................................. JanGillette, Asst Directors. . . Mark Egerton.

Grip..................................... GrahameMardell Oscar Scherl Continuity.............................. Fran Haarsma Annie Collins, Mark Turnbull. Steve Andrews Construction............................. GregSproule Asst Art Director........................................ LeeWhitmore Casting Consultant................... Barbi Taylor Camera Operator .............. Gale Tattersall Rod Prosser Asst Editors............................... Emile Prebe. Set Decorator........................ SallyCampbell Set Decorator..........................................PeterKendall Still Photography...................... Sal Criscillo Focus Puller............................... Peter Rogers Sue Scott Chef Grip................................................. RayBrown Key Grip................................................ NoelMoodie Technical Advisor...................................... BillDittmer Boom Operator.....................Chris Goldsmith Foreign Language Grip.......................................... Stuart Green Grip................................... Geoff Richardson Hairdressers.................... Jillian Lawrence.

Clapper Loader........................David Brostoff Consultant/Coach................... Moni Dobson Stunt Co-ordinator................................. MaxAspen Asst Editor....... Mark Norfolk Ellen Wishart Gaffer........................................ Tony Holtham Still Photography.................... George Miller Asst Editor.......................Frans Vandenberg Standby Props........................................ JohnPowditch Lighting & Grip Continuity.............................. LynMcEncroe Hairdresser............................................ LollyPerez Stand-by Props................. Peter Glencross Prod Accountant................. MichaelRoseby Equipment.......................................Filmobile Design Consultant...................... Jenny Green Best Boy.............................. John Cummings Hairdresser............................................. IreneWalls Catering........................................ D&R Prod Makeup ........................ Christine Reynolds Standby Props........................ Bruce Barber Makeup.................................................. JosePerez Best Boy................................... Paul Gantner Still Photography. David Parker Post Production Props Buyer. . .

Chris Webster Flying Sequence Makeup.....................................Sally Gordon Best Boy.................................... Ian Dewhurst Supervisor....................................... Pat Cox Asst. Props .......

Pauline Walker Supervision/Pilot.................... Alan Peterson Catering................................... Richard Ford Makeup........................................Jose Perez Aerial Stunts............................................ BillDitmer.

Grip..................................... Graham Mardell Flying Sequence Still Photographer................. Mike Giddens Special Effects.................. Conrad Rothman Asst. Grip ..

Graham Litchfield John Nurse.

Co-ordinators...................... Charles Deane.

Unit Manager................................... Bob Hill Prod Accountant................. MichaelRoseby Asst E d ito r.............................................. TedOtton Mark Malone.

Bob Schuh, Electrician...............................................PeterMoyes Runner................................................... PaulHallam Still Photography............................. Ian Potter Ken McCraken Neil Hartman Runners.....................................Sandy Beach Budget.......................................... $400,000 Car Stunts................................... ColinTaylor Construction M a na g e r.................Ray Brown Ken Peterson Budget.......................................... $505,000 Length............................................. 120 min Editing Facilities......... Film Editing Services Carpenter..............................

Phil Warner Stunts................................................... GrantPage.

Length.............................................. 110 min Color Process........................................ Agfa Electricians.................................. John Nurse.

Script Consultant..................

Moya Wood John Baird.

Color Process........................ Eastmancolor Cast: Susan Penhaligon, Robert Helpmann, Hairdresser...................

Cheryl Williams David Mulholland Electrician............................. Peter Moloney Rod Mullinar, Bruce Barry, Julia Blake, Cast: Bill Hunter, Wendy Hughes, Gerard Runners................................................... GaryDittmer.

Best Boy.................................................. PeterMaloney Runners................................Martin Flannery.

Kennedy, Chris Haywood, John Ewart, Helen Hemingway, Walter Pym, Maria Jane Usher.

Makeup................................. Deryck de Niese Bruce Armstrong Angela Punch, Bryan Brown, John Clayton, Mercedes, Frank Wilson, Peter Culpan, Electrics 1................................................ MickEwan David Dittmer.

Titles...................... Peter & Amanda Newton Don Crosby, John Dease, Drew Forsythe, Marilyn Rodgers, Peggy Nichols, Carole-Ann Generator............................... Simon Purton David Blythe Budget............................................. $650,000 Tony Barney, Bill Lyle, Paul Jones, Mark Aylett.

Titles......................................................... GartJackson Runners........... Ralph Storey. Mark Williams Length............................................... 110 min Holden, Rob Steele, Bruce Spence, Les Synopsis: What was Patrick s secret7 What Consultant............................ James Parsons Budget ........................................... S560.000 Color Process.................................. Eastman Foxcroft, Brian Blain, Lana Lesley, Sue was the strange influence he possessed? A Length................................................ 95 min Length.............................................. 100 mm C ast: Geraldine Fitzgerald, Christopher Walker, Johnnie Q uicksilver, Bunney hospital, a relationship, a sense of the usual Color Process................................. Eastman Color P ro cess....................

Eastmancolor Pate, Robert Helpmann, Gerard Kennedy.

Brooke, Gerry Duggan, Denise Otto, Anne are turned upside down in a thrilling emotion Cast: Vincent Gil. Lisa Peers. Martyn Cast: Nick Tate. John Waters. Elizabeth Gloria Dawn, Dianne Craig, Barrie Pierce.

Haddy, Marshall Crosby, Alex Archdale, charged experience.

Sanderson, Davina Whitehouse. Maxwell Alexander. Michelle Jarman. Bud Tingwell.

Carol Burns, Gerry Duggan, Ben Gabriel.

Ken Bernard, Jane W inchester, Alan Ferme. Perry Armstrong. Frances Edmund.

Geraldine Turner. Max Cullen. David Smeed.

Jonathon Hardy. Maggie Miller. Tony Bonner.

Penney, Peter Pilcher, Jude Kuring, Berys "Uncle Roy Stark. Gillian Hope. Val Murphy.

Barry Donnelly. Sheila Florance. Isabel Tony B a rry. K u rt L e d e s c h e r. T e rry Marsh, Slim de Grey, Kay Eklund, Kit Taylor, Veronica Lawrence.

Harley. Joy Westmore. Adrian Wright. Max McDermott. Jonathon Atherton. Gary Day. Don Philps, Peter Carroll, Graeme Smith, Fairchild.

Synopsis: A film about four people who lead Joy Verity. Wilson Irving. Frank Geary. Betty Robin Moase, Franco Valentino, Brian solo lives.

Synopsis: A young schoolteacher goes to a Ross. P atricia Norman. Leo Wockner. Anderson, Ray Marshall, Tessa Mallos, Ray small fishing town, in Victoria to take over the IN SEARCH OF ANNA Sallyanne W illiam s. Kevin Ballantyne. Meagher, Chad Morgan, John Flaus, school as the previous teacher has disap­ Prod Company.................Storm Productions Maurice Hughes.

Stephan Bisley, George Till. p e a re d w ith o u t tra c e . He b eco m e s Pty Ltd Synopsis: From the Miles Franklin Award fascinated by the people living at "SummerDirector..................................... Esben Storm winning novel by Ronald McKie. The period field . an island farm, and involved in the Screenplay............................... Esben Storm SUMMER CITY is 1917-1919 — a young man experiences life mystery of the teacher s disappearance Producer...................................

Esben Storm and death and his first love-affair in a Prod Company........................ Avalon Films. against his better judgment. Think of the Assoc Producer...................... Natalie Miller Queensland coastal town.

Summer City Productions worst that could happen — then think again.

Music.........................................John Martyn. Director.......................... Christopher Fraser THE NIGHT THE PROWLER Allan Stivell Screenplay.............................. Phillip Avalon Prod Company............ Chariot Films Pty Ltd Photography.......................... Michael Edols Producer....................................Phillip Avalon Director.....................................Jim Sharman Editor..................................... Dusan Werner Assoc Producers............................ Fontana.

Screenplay............................. Patrick White WEEKEND OF SHADOWS Prod Manager............................... JaneScott Happy Investments Producer............................Anthony Buckley Prod Company...........Samson Film Services Art Director............................................... SallyCampbell MOUTH TO MOUTH Music......................................................... PhilButkis Music.....................................Cameron Allan Pty Ltd, S.A.F.C. Prod Secretary.................... Robyn Bucknall Photography......................................... JerryMarek Prod Company.............................. Vega Film Photography..................... David Sanderson Director.......................................Tom Jeffrey Location Manager....................................KateGrenville Editor.................................................... DavidStiven Productions Pty Ltd Editor........................................ Sara Bennett Screenplay............................ Peter Yeldham Prod Asst..........................

Zelda Rosenbaum Director.................................................. JohnDuigan Prod Manager........................Lionel Slutzkm Prod Manager...........................................PomOliver From novel The Reckoning Sound Recordist................................... LaurieFitzgerald Art Director.............................................. JannHarris Screenplay............................................ JohnDuigan Prod Designer........................ Luciana Arrighi Producers............................................... TomJeffrey, Sound Editor.......................... MichaelNorton Prod Designer........................Karmen Doran Co-Producers.......................................... JohnDuigan Unit Manager........................................ BrianRosen Matt Carroll Asst Directors...............................

Ilian Tiano Prod Co-ordinator................... A. Mascord Jon Sainken Prod Secretary......................................... SuArmstrong Assoc Producer...................................... SueMilliken George Miller Unit Manager.......................................... RonSwanson Music....................................................... RoyRitchie Costume/Wardrobe............................. AnnaSenior Music..............................

Charles Marawood Focus Puller..............................

Paul Murphy Music Director......................................... PhilButkis Photography.......................................... TomCowan Sound Recordist..................... Don Connolly Photography............ Richard Wallace A.C.S. Clapper/Loader........................... GrantFenn Costumes/Wardrobe.......................... Karen Editor..................................................... TonyPaterson Mixer........................................ Peter Fenton Editor.......................................Rod Adamson Gaffer....... ......................... Brian Bansgrove Prod Manager........................................ VickiMolloy Vaughan-Williams Sound Editor............................Paul Maxwell Prod Manager........................................... SueMilliken Continuity.................................................... JoWeeks Sound Recordist............................... Bill Pitt Art Director................................. Tracy Watt Asst Directors.................... Elisabeth Knight, Additional Photography. . Malcolm Richards Mixer.............................................. Phil Judd Art Director............... Christopher Webster Prod Secretary................. Laurel Crampton Keith Heygate, Grip.......................................

Noel McDonald Sound Editor........................................... KlausJautzUnit Manager......................................... RalphStorey Sound Recordist........................ Lloyd Carrick Brian Rosen Stunt Co-ordinator......... Graham Matherick Special Photographic Prod Accountant...................... Treisha Ghent Asst Director............................................ AlexRappel Camera Operator........................ Kevin Lind Asst Editor..................................... Hugh Piper Effects.................................................... KlausJaritzProd Secretary...................... Cathy Flannery Camera Asst............................................NigelBuesst Focus Puller................................... David Burr Still Photography................................. CarolJerems Music Director.............................. Alan Dean Asst Director.......................................MichaelCarlton Boom Operator........................................ PhilStirling Boom Operator................... Chris Goldsmith Best Boy....................................................PaulGantner Costume/Wardrobe................................ AnnaSenior Camera Operator................................. JerryMarek Gaffer......................................... Terry Jacklm Clapper/Loader..................... Mike Gambrill Makeup....................................................Anne Pospichil Sound Recordist........................................KenHammond Camera Assistant.............

George Kopacka Continuity................................Anne McLeod Gaffer.................................

Peter Wood Length.............................................. 110 min Gaffer.................................................... PeterStadler Mixer....................................

PeterFenton Wardrobe/Makeup........... Christina Mackay Continuity............................ Caroline Stanton Color Process.................................

Eastman Sound Editor, , , ..........' .................. Greg Bell Continuity..........................Christina Mackay Set Dresser......... Nicholas van Roosendael Casting Consultants.............. M & LC asting Asst. Sound Editor.................. HelenBrown Cast: Richard Moir, Judy Moms. Gerda Casting Consultants...........Mitch Mathews Grip..................................... Paul Ammitzboll Props Buyer............................ Bruce Barber Asst Directors.......................... Michael Lake, Nicholson, Chris Haywood, Gary Waddell. Second Unit Photography......... Klaus Jaritz Still Photography................................... RobMadden.

Asst Props Buyer..................................JennyGreen Bill Hunter, Ian Nimmo. Alex Taifer. Richard Asst Art Director. , Karen Vaughan-Williams Toivo Lember, Nigel Buesst Stand-by Props...................................... HarryZettel Murphett.

Maurie Fields.

Lou Brown.

Shuvus.

Geoff Tanner Key Grip................................................ PaulNevan Catering.........................................Anna-MaryCatering Grip...................................... Paul Ammitzbol Camera Operator........................ John Seale Martin Sharp, Virginia Mort.

Asst Editors........................................... DerekCatterall.

Budget............................................. $129,000 Prod Accountant................. Geoff Cameron Focus Puller.........................................

DavidWilliamson Alan Trott Length................................................. 96 min Asst Editor.................................................TedOften Synopsis: In Search of Anna is a story Still Photography.................................... MaiKearney.

Clapper/Loaders....................................... JanKenny, Color Process................................. Eastman Still Photography..................................... BrettHilder about coming to terms with one s past and Steve Dobson Cast: Kim Krejus. Sonia Peat. Ian Gilmour.

Lionel Slutzkin Hairdresser............ ................ Trish Cunliffe then with the present, accepting the here Script Asst............................... Peta Alexiou Boom Operator........................Jack Friedman Serge Frazzetto. Walter Pym. Michael Best Boy.................................................. PatHagen and now. and moving into the future with a Hairdresser..............................................RosaMiano Gaffer........................................... TonyTegg Jill Porter Carman, Janis Hayes, Roz de Winter. Neil Makeup.................... positive attitude towards life.

Continuity.............................. Lyn McEncroe Best Boy................................... Alex Watson McColl. Peter Finlay, Robyn Bourne, Lorraine Electrician.............................................. RoyMajewski Location Casting.................. Hilary Linstead Makeup............................... Bromwyn Jones West. Jack Brown, Shirley Lester. Joan Runner.......................................... Rosie Lee Graphic Artist...................... Phillip Mortlock Letch, Mary Charleston. Peter Felmingham. Budget.......................................... $400,000 Casting Consultants.............. M & LC asting Length......................................................... 90min Scenic Artist.......................... Brian Maloney Tom Broadbridge, Script Consultant............................... MoyaWood 2nd Unit Neg Matching.......................... Ellen O Brien Synopsis: Two girls escape from a social Color Process......................... Eastmancolor SOLO Electrician............................................ PeterStadler welfare institution. They meet up with two Cast: Ruth Cracknell, John Frawley, Kerry Director/Cameraman.........Bill Grimmond Walker, John Derum, Maggie Kirkpatrick, Prod Company.........................David Hannay Prop Runners....................................................JohnEdman Buyer........................................... HarryZettell young country guys and together the four Tony Williams Titles....................................... David Denean Property Master................................... HarryZettel struggle to set up home in an old deserted Terry Camilleri.

Productions Pty Ltd Budget............................................. S200.000 Construction Manager.......... Herbert Pinter warehouse. But their options are limited; it is Synopsis: Exploiting the furore surrounding Director....................................Tony Williams her attem pted rape, a young woman Length................................................ 90 min Standby Props.................................... BruceBarber a question of survival more than choice. emerges from the claustrophobia of a Screenplay............................ Tony Williams. Color process................................. Eastman Key Grip................................ Graham Mardell Martyn Sanderson Cast: John Jarrat. Phil Avalon. Steve Bisley. wealthy conservative family and turns from Asst. Grip................................ Dennis Smith Producers.............................. David Hannay, Mel Gibson, James Elliot. Abigail, Debbie victim to criminal, stalking the streets of Asst. Editor........................ Andrew Prowse Still Photography................... David Kynoch Tony Williams Forman. Judith Woodroofe. Ward Austin.

Sydney by night in a relentless pursuit of NEWSFRONT Exec Producers............................ BillSheat. Vicki Hekimian, Ross Bailey. Hank Tick. Carl her own liberation.

Dog Trainer............................... RayWinslade Prod Company__ Palm Beach Pictures P/L John Sturzaker Rorke. Guest appearance: Marshall Bros Hairdresser......................................... JennyBrown Dist Company.................. Village Roadshow Assoc Producer.......................... TonyTroke Band. Peter McGovern.

Caterers............................ Movie Munchies Director........................................ Phil Noyce Music..................................... Robbie Laven. Synopsis: A period psycho-drama set in a 2nd Unit Asst. Director....... Steve Connard Screenplay..................................... Bob Ellis Marion Arts.

Best Boy............................George Harrington small coastal town including suspense, PATRICK Producer..................................... David Elfick Dave Fraser murder and mystery.

Make-up................................................ PeggyCarter Assoc Producer................. Richard Brennan Prod Company...............Patrick Productions Photography................................. John Blick Electrician........................ Roland McManus Photography........................ VincentMonton for Australian International Editor........................................Tony Williams Title Design..............................Kevin Brooks Editor.............................................. John Scott Film Corporation Pty Ltd Executive in charge Runner.................................................. MarkPatterson Prod Manager.................... Richard Brennan of Production..................................... Pat Cox Dist Company................................. Filmways Budget............................................. $500,000 Art Director..............................................LarryEastwood SUMMERFIELD Prod Manager......... Steve Locker Lampson Director............................... Richard Franklin Length................................. .............. 95 min Prod Designer............................ Lissa Coote Art Director................................. Paul Carvel Screenplay........................ Everett de Roche Prod Company................. Clare Beach Films Color Process........................ Eastmancolor Prod Secretary.......................... Lynn Gailey Prod Co-ordinator....... r1.................. Sue May Producers........................ Antony I. Ginnane, Pty Ltd Cast: John Waters, Melissa Jaffer, Graeme Costume/Wardrobe.......... Norma Moriceau Music Director...................... Peter J. Martin Dist Company............................. G.U.O. Film Richard Franklin Blundell, Wyn Roberts, Barbara West, Asst Wardrobe...................... Susan Bowden Exec Producer............................Bill Fayman Costume. Wardrobe. . . . . Christine Reynolds Distributors Pty Ltd Graham Rouse, Audine Leith, Keith Lee, Bill Sound Recordist..................................... TimLloyd Music............................................ Brian May Location Sound Mixer............... Robert Allen Director..................................... Ken Hannam Hunter, Les Foxcroft, Kit Taylor, Kevin Miles, Prod Accountant.......................... PennyCarl Photography..................... Donald McAlpine Mixer....................................................... PhilJudd Screenplay..................................... Cliff Green Don Barker, David Hursthouse, Ken Weaver, Sound Editor................................. Greg Bell Editor................... Edward McQueen-Mason for Atlab Sound Producer............................... Patricia Lovell Rob George, Leslie Dayman, Bryan Brown.

Assistant Directors.................................ErrollSullivan, Prod Manager............................Barbi Taylor Sound Editor............................................ DellKing Assoc Producer.......................... Pom Oliver Tony Barry. Stuart Campbell. Hedley Cullen!

Chris Maudson, Art Director............................... Leslie Binns' Producer's Asst..............................Jan Tyrell Music................................... Bruce Smeaton Faith Kleinig, Tony Allison.

Steve Andrews, Prod Secretary...........................Jenny Barty Asst Director............................... Bob Barton Photography........................................ MikeMolloy Synopsis: An action drama involving a hunt Danny Torsh Costume/Wardrobe..................Kevin Regan Focus Puller.................. Michael Hardcastle Editor......................................... Sara Bennett for a murder suspect by a group of men in a Camera Operator....................... Louis Irving Standby Wardrobe.......... Aphrodite Jansen Boom Operator...................... Don Reynolds Art Director.......................... Graham Walker small country town.

Vili — Cinema Papers, 1978 Cannes Special Supplement

or do they?

c’est impossible — n’est —ce pas?

Film Australia vividly portrays a credible series of events in a major hospital to alert all concerned — civic authorities, designers, patients, staff — to the need for proper fire training.

This is a safety film with a difference. The Australian Film Commission’s production branch — Film Australia — has a name for films that are different in • Education • History • Sport • Sociology • Arts • Wildlife and many other categories Talk to the Aussies at the Australian stand about J

Australia Film a réalisé une série de courtmétrages vivants dans un grand hôpital dans le but de faire prendre conscience à toutes les parties concernées — les administrations, les architectes, les patients, le personnel — de la nécessité d’un entrainement efficace en cas d’incendie.

C’est un film différent sur la sécurité. Le département production de la Commission du Film Australien — Australia Film — produit des films différents concernant • l ’éducation • l ’histoire • le sport • la sociologie • les arts • la nature p et bien d’autres sujets. + Demandez aux australiens sur le stand de * l’Australie de vous parlez d’

FILM AUSTRALIA

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normanl<oye.,£ll<e. Oeklhort, Juliet Bocskai 6 Doni €ddy produced uuith assistance Prom the.

Australian Film Commission Illumination Filmy D ire c t e n q u irie s to A u s tra lia n Film C o m m is s io n s ta n d a t th e H otel C a rlto n .

Agent: Mr David Hannay S c r e e n in g T im e s :

Thursday 18 May 13h Jeudi 18 Mai 13h Tuesday 23 May 15h Mardi 23 Mai 15h Friday 26 May 17h Vendredi 26 Mai 17h

Julie Millowick

At 37, Paul Cox is becoming one of the most impressive filmmakers working in Australia. Cox, who came from the Netherlands in 1963 with an international reputation as a photographer, began his career in films with a series of shorts. His first three dramatic narrative films, “Skin Deep” (1968), “The Journey (1972) and “Illuminations” (1976), were considerably shorter than the customary feature, but they exhibited an admirable ability to work with images to construct a world in which the details of his mise-en-scene provided the keys to his characters and their situation.

It is possible to argue that Cox’s films are more akin to the European cinema of his youth than they are to their Australian environment. “ Skin Deep”, for example, structured around a never-ending movement and a belief in the transcience of things, has much in common with the films of Jacques Demy (e.g. “Lola”, “Les Demoiselles de

Rochefort”, “Model Shop”), though the tone is ultimately much darker, less able to rejoice in the delight of the moment when it is cast in the shadow of its impermanence, Cox’s two most recent films, “We Are A ll Alone My Dear” (1976) and “Inside Looking Out” (1977), which were screened at festivals this year, provide evidence of the personal nature of his work. The former, ostensibly a documentary about an old people’s home in Prahran, is a moving account of people who have lost the desire for, and the means of, communication. Like “ Inside Looking Out”, “We Are A ll Alone My Dear” takes as its starting point, characters who have reached a point of departure — for their lives and from each other.

The following interview was recorded in the week before the premiere of “Inside Looking Out” at the Melbourne Film Festival.

Tom Ryan

You want to communicate your views through film to as many people as possible, yet up until “ Inside Looking Out”, your films have been largely inaccessible to the popular audience. Isrf t that a self-defeating process?

response — mean that you have had to compromise your position to make that sort of a film?

Investigate the question first. If you say film costs a lot of money, does that then mean you have to disregard any inner-strength or inner-self motivation? That is what the question really implies, doesn’t it? So does the fact that things cost money mean you have to do the socalled “right” things and not follow your own integrity or ideas? I don’t think so. The only answer I can give is I would like to investigate that question, because its existence as a question means many people keep on doing the wrong things.

But the people who invest in your

films are obviously going to want their money back And if they dorft get it, then next time neither w ill you? One can’t depend forever on subsidies. . .

You are going off the track. If you keep on insisting that you just do something for the love of it, or for your strong belief in what you have to say, that sort of inner motivation must at some stage shine through.

And, ironically, people regard it then as something commercial.

I have thought about this a lot. I think it would be conceited to say, “yes I have compromised.” What do I have to compromise about? I am just starting to make films in spite of the fact that I have been doing it for 12 years. I have learned a lot by just doing my own thing, as I am not the sort of person who can learn a great deal from others. I have to teach myself.

But isn’t that somewhat naive?

No, it’s not. I believe the world has a conscience, so whatever you do, somehow, at some stage, it must start to make sense.

Does “Inside Looking Out” — a most accessible film which is obviously going to get public

You have talked about a personal cinema with some embarrassment as to whether it applies to you.

But can you see how your back­ ground might have in some way 4scripted’ the sorts of films you have made and the sort of personal flavor you have brought to them?

Yes. It would be lovely to say that my youth or my background has not affected me; that I have not been conditioned by anyone; and that”I have always done my own thing.

But it would be wrong. A certain element of conditioning comes into everybody’s life, and it is perhaps essential that this happens.

We have now conditioned a generation of people who have only been given a verbal language with which to express thought. We have never given them an ability to express feeling. I would like to tell you what I feel. And I would like to hear what you feel. I have no par­ ticular ability to understand that feeling, or to feel that feeling. I have . never been taught to feel. I have always been taught to say the wrong thing in the right way, because that’s what language does to you.

Speech is, in many ways, inadequate, and that is why I find Cinema Papers, 1978 Cannes Special — 55

PAULCOX

film so fascinating. Because it is a doesn’t really fit__ freer language and it offers the opportunity to express feeling.

I don’t think so. Inside Looking Perhaps that desire has given my Out is the first time I have used a lot films some sort of “personal flavor”. of dialogue, and, as you know, the script was originally written with You seem to place a great Susan Holly-Jones who contributed emphasis on details that surround a lot. Tony Llewellyn-Jones and a particular incident from your Bernard Eddy also contributed personal experience, and often greatly to the shooting script. that incident can provide the The rest has all been improvised. motivation for a particular film. If I find the awkwardness of Juliet’s that is true, are there any line quite good: it fits her character, particular incidents that set you it fits the situation. She is with the in motion for “Inside Looking man she is sexually attracted to; she Out”? is prying on his unhappy marriage and gets a lot of kicks out of it. But It’s very personal. A lot of things as she really doesn’t know how to that happened in Inside Looking handle that in an adult sort of Out are things that involved me and fashion, there is a awkwardness even my friends. I think Illumina­ about her delivery. I don’t mind that tions is a better example of the im­ at all. portance of little incidents. Five or I know it is a long-standing six years ago I had a dream about criticism of my films. But you can’t somebody in a coffin which had a really talk about dialogue in all the little hole in it. And somebody’s eye other films, because it is hardly was looking through the hole at the there. I have always avoided it. I people following. I realized it was have a great respect for the silent me in the coffin, but that.I was alive films which told very clear stories and could see all the people who without ever resorting to dialogue. had somehow been part of my life.

It wasn’t just the people I knew at Is it because you are more con­ that time, but also people who had cerned then with a certain kind of come back from my past — the man abstraction in the dialogue. . . who used to repair my bicycle when I was six, he was there.

While talking at times, I say It was an amazing procession and something absurd, just to break it led to Illuminations. But when I through the codes. It breaks down made the film I took all that out. I the whole nonsense game and gives found the very vision of lying in the us a chance to relax and touch. coffin so heavy and grotesque that I Images are the most unshakeable couldn’t use it. arguments. In fact there are no In Inside Looking Out, the arguments about them. I often motivating incidents have disap­ become so frustrated about words peared as well. I cannot remember and how to use them that I have, at them — at least I don’t really times, overstated things on purpose. want to.

Many people found “Illumina­ Many people have been critical of tions”, at least in its later stages, the dialogue used in your films: t o t a l l y i n a c c e s s i b l e . What that it is banal, too obviously response do you have to that structured, and that it is not right criticism of the film? for the characters who speak i t . . .

I have m ade very d a rk , I think it goes back to the part of depressing, heavy sorts of films in our conversation where we talked the past. With Illuminations I tried, about having no language to express for the first time, to be optimistic. I feelings. We express thought was trying to make a film about the through a certain code system such potential of the mind, not about as, “G’day, how are you?” You must what people are. speak in slogans and codes because This is another thing we should that is regarded as good dialogue. talk about: people always try to My films are, I suppose, pretty imitate life instead of inventing life. obscure and I use few words. It’s This is the way we are, we say. And true that they don’t always work. In in the process of resigning ourselves The Journey, for instance, you to that fact we grow dull and grey couldn’t possibly have had a and miss out so much. We really heavier speech at the end. But I start life with the potential for ex­ thought most of the film would be periencing all the beauty the world completely lost if it didn’t have the has to offer. And look what happens! dialogue spitting out the message.

I would love a lot of people who I think the criticism is really more hated Illuminations to see it again. to do with something like, for I am not proud of that film. It is example, when Juliet, the baby­ badly constructed: it is in two parts sitter in “Inside Looking Out”, and too fragmented. But perhaps in says, “We all have our private 20 years, when I have become more madnesses.” That is obviously a professional, I will remake that significant statement and it comes film. I believe the idea has great awkwardly from her mouth. You potential. appear to impose a certain dialogue on the character that Many people have commented on 56 — Cinema Papers, 1978 Cannes Special

Sensually aroused by Elizabeth and Robert's love letters, Juliet (Juliet Bacskai)toys playfully with Robert’s shaving cream and razor. Inside Looking Out.

what they see as your bleak view of things. Do you agree with that assessment?

work; and both use the comfort of their friends as an escape, and their little daughter communicates better with her pet rabbit than with her parents.

We look for something warm, a little corner to sneak away into. We all need shelter and warmth, but it mustn’t become an escape. One must be aware of the process that one is going through.

Let me put it this way: if I couldn’t believe in another dimen­ sion, in a greater possibility for this particular existence, I really would cease to exist. You know we go through so much rubbish and humbug before we reach ‘home’ and as Hesse says, “We have no one to guard us.”

Some people would argue that your films, and the personal What we see in “Inside Looking aspect of them, is an escape, that Out” are characters who have you are ignoring the political im­ become victims of that rubbish, plications of what is there in the and cannot find a way out. . . films but not explored. For example, in “We’re All Alone My Everyone looking at the film must Dear”, the film about the old somehow be looking at him or people’s home, you could have herself. That is the idea. Look at gone one step further and damned yourselves, investigate your lives, the authorities who had created your motivations. The purpose of that institution and allowed it to our lives lies in very small things, be the way it was. But you but if we can’t find the time or the didn’t . . . answers, we must be careful not to ruin other people’s lives. People do Firstly, who am I to condemn the this constantly. people who set up this home? I don’t know enough about it. It could have Do you see any hope for the been done in sheer goodwill or in characters in the film, for Robert complete ignorance. Basically, the or Elizabeth? individual can never be blamed for a situation as such. To expose a Yes, if they learn to investigate situation like that you have to hurt a their existence and situation lot of individuals, and sometimes properly and not use any little thing that is necessary. But I cannot see as an excuse. Elizabeth uses her the point of involving myself daughter as an excuse; Robert, his politically at that level. Not that I

Wim Cox

am chickening out, because to make Robert (Tony Llewellyn-Jones)seduces the sleeping babysitter. Juliet (Juliet Bacskai). films about the human condition is Inside Looking Out. the most difficult thing to do.

At that sort of level, I think my films are extremely political, but “self-indulgent stage”. I used to try question. not in an overt way. They do not and force the audience to identify fight for a particular dogma or a themselves with a situation. I did In industrial terms it certainly point of view, but they are con­ not succeed at all. People liked my does: there are filmmakers cerned with what’s between or films, because visually they were working in Australia, so there is inside characters. They are political able to respond to them. But then an Australian industry. But your they accused me of making photo­ perspective on Australian life, it in a personal way. graphic films. seems to me, does not deal so To me it is of primary importance much with s p ec if ic a lly the In “Inside Looking Out”, it seems you have given Briony and Tony a to make films that are visually Australian rituals that Tim lot of freedom to move, to bring balanced. It is pointless to merely Burstall’s films, or“F. J. Holden”, their own personalities into the point the camera and let the whole do for example . . . thing happen. There is so much to film. . . get out of the structure of the images It can be a real advantage to make so-called Australian films when I Yes, it is a very big change in themselves.

Now, giving freedom to actors has have not been brought up in this style. Before that I used people as vehicles to express something very brought a lot of fresh ideas and a country. Usually people are proud general; like in The Journey, which new way of looking at things. When of the country they come from and is about the potential of the mind, you learn a new language, it takes a they tend to defend it. I have no the sadness, the wastage, the long time to learn the right words, such desire.

I don’t feel I belong to Holland or incredibly pathetic nature of a man and explain exactly what you are on who has so much ability and so about. And finally when you have to any of the other countries my much to offer, but who is so screwed learned to speak, you realize that a parents come from, because when a up about his past. That’s one thing whisper is more powerful. So you person, for example, says, “I am one has to learn in life — being able become more pronounced in your G e rm a n ” , th a t m akes him whispering, and if you can find the potentially aggressive, he has some­ to put aside the past.

It has taken at least 10 years for right actors to quietly “live” in front thing to defend. So I would rather me to re-educate myself to forget all of the camera you should be able to be extremely cool on that level and I had learned and start afresh. I am, make silence speak. say I am here to defend — to put it at all times, conscious of this very pretentiously — the dignity of process because one can so easily What sort of new projects do you man. slip back. As I said, I am just have in mind?

If I want to make a film on the learning the language of film. It is isolation of Australian suburbia, on the most powerful medium of our One thing that has always the galvanized iron on the hot roofs, time. I feel it is possible to use a film angered me is when people say we the concrete gardens and rotary to expand our limited horizon. must make Australian films. What clothes dryers, I see enough visual I think we all have to go through a does that mean? You answer that possibilities to make an Australian

film with an international flavor, and isn’t that what the Australian film industry should aim at?

My next film is probably going to deal with the isolation of migrants — though that issue isn’t unique to Australia.

People leave an almost inbred, cosy situation at home and come to an alien place like Australia; for them integration is very difficult.

Have you ever seen people leaving or arriving by boat?

Especially the Arabs or the Jews or the Greeks. Amazing scenes, and you cannot possibly watch without going to pieces. Strong family ties are much more apparent in socalled ethnic groups. Incredibly moving. Put that on film and you touch the soul of not just Australia, but the whole world. ★ PAUL COX FILMOGRAPHY 1965 1966 1968 1969 1969 1970 1970 1971 1972 1975 1975 1976 1976 1977

Matuta 23 min. Color 16mm Time Past 10 min. B/W 16mm Skin Deep 40 min. Color 16mm Marcel 5 min. B/W 16mm Symphony 12 min. B/W 16mm Mirka 20 min. Color 16mm Calcutta 30 min. Color 16mm — documentary Phyllis 35 min. Color 16mm The Journey 52 min. Color 16mm Island 10 min. Color 16mm A ll Set Backstage 22 min. Color 16mm — documentary Illuminations 74 min. Color 16mm We’re A ll Alone My Dear 21 min.

Color 16mm — documentary Inside Looking Out 90 min. Color 35mm

Cinema Papers, 1978 Cannes Special — 57

A town of amazing people.

A story that crowds a lifetime into a few, short years And a young man who experienced it all.

THE MANGO TREE ‘The Mango Tree is based on the popular novel of the same name by Ronald McKie. It concerns the growing up of a boy in a Queensland town during the early 1900s.”

Director................................. Kevin Dobson Producer.................................. Michael Pate Director of Photography........ Brian Probyn Editor.................. ..........................John Scott Sound Recordist...................... Barry Brown Screenplay.............................. Michael Pate Grandma Carr............ Geraldine Fitzgerald The Professor............... Robert Helpmann Jamie Carr........................ Christopher Pate Preacher Jones.................. Gerard Kennedy Maudie.........................................Carol Burn Joe Speight.......................... Jonathan Hardy

Top Lett: Joe Speight (Jonathan Hardy), Jaim ie and the P r o f e s s o r (R o b e rt Helpmann).

Top Right: Grandma Carr (Geraldine Fitzgerald).

Above: Christopher Pate who plays Jamie Carr. .

Left: Preacher Jones (Gerard Kennedy) and Maudie (Carol Burn).

Below: Almost the symbol of Australian filmmaking — the dirt-covered bitumen road. The Mango Tree.

SI?

■

is hope, there is hurt... there is loqeliqess, there is love... there is wSqting and there is jo y ' ill...

Starring

SUSANNAH FOWLE

• HILARY RYAN • TERENCE D O N O V A N • PATRICIA KENNEDY • SHEILA HELPMANN and Producer

BARRY HUMPHRIES PHILLIP ADAMS

• Director

as Reverend Strachey

with

BRUCE BERESFORD

• CANDY R AYM O ND

JOHN WATERS • Screenplay

as Reverend Shepherd

ELEANOR W IT COMBE

WORLD REPRESENTATIVE IN CANNES, JEANNINE SEÄWELL.

•

A ROADSHOW RELEASE

Cast and crew stayed at Melbourne's cHbtel ‘Windsor?

The Getting of Wisdom ‘The Getting of Wisdom is set in Victoria in the 1890s and concerns Laura’s school days at Melbourne’s exclusive Presbyterian Ladies College. It is based on Henry Handel Richardson’s second novel and recounts her own adolescent experiences. A drama of human relationships charged with emotion and sexuality, it is the only one of Richardson’s works to reveal a strong comic streak. A story of obsession and rebellion, The Getting of Wisdom is a closely observed study of the absurdly pompous social values of the time.”

CAST Barry Humphries.......... The Rev. Strachey -John W aters.................. The Rev. Shepherd Susannah Fowle................................... Laura Hilary R y a n ....................................... Evelyn Jan Friedl............................ Miss Snodgrass

CREW D irecto r............................. Bruce Beresford Producer................................ Phillip Adams Production D esigner............ John Stoddart Director of Photography . . . Don McAlpine Editor................................. William Anderson Screenplay.......................Eleanor Witcombe

Top Left: John Waters as the Rev. Shepherd.

Top Right: Laura (Susannah Fowle) plays cricket.

Right: Laura is taunted by school friends.

Below Right: The Ladies College: display­ ing the absurd, pompous values of the time.

Below: Laura at work.

B ottom : D irecto r Bruce B eresfo rd ‘conducts’ a schoolroom scene.

Aquataurus in association w ith SAFCOR presents

Joy Cavilli production of

Written and Produced Directed

Cavill

by KHannam

Made in association with the Australian Film Commission

WORLD SALES: Sidney and Lawrence Safir, c/-Majestic Hotel, Cannes.

Safir Films Limited, Gala House, Old Compton Street, LONDON W1V 6JR. Telephone: 734 5085 Telex: 25572, Cable: Saflrfilm London W1.

Paul Davies Director of Marketing & Distribution, South Australian Film Corporation, Michael Flint London Representative, c/- Hotel Mediterranee, Cannes.

NPOS' PR(DDUCTION AVAILABL.E UNE

“ D aw n!” is the personal life story of Dawn Fraser, the world’s greatest ever woman swim m er.

Produced by Joy Cavill and directed by Ken H annam , the film has been shot in a wide range of locations from Tokyo, Ja p an , to a B alm ain pub; from the M elbourne Olympic Pool to the palm groves of Townsville.

Budgeted at $764,000, the film is now in post production.

Browyn Mackav-Payne in the lead role of Dawn.

Cinema Papers, 1978 Cannes Special — 63

KEN HANNAM Director Did you contribute much to the screenplay?

No, by the time I became involved, the script was pretty well finalized. There were a few things I felt needed attention, and Joy and I worked on them. We made a lot of minor changes.

Was the film already financed?

Yes. I was still working on Summerfield, and in fact Dawn! should have gone earlier had not Joy kindly waited for me. As it was, we were lucky and got only a very mild winter; otherwise, we might have been in a lot of trouble with the weather.

One criticism you have made of Australian producers is that they often go ahead with scripts that aren’t quite ready . . . *

“ D aw n!” is director Ken H an n am ’s fourth feature.

After a successful career in television where he directed episodes for several series, including “ Z C ars” , H annam returned to A ustralia to m ake “ Sunday Too Far Away” in 1975. Critically acclaimed world-wide, “ Sunday” was the first A ustralian film to be shown in the D irector’s Fortnight at the C annes Film Festeval.

In 1976 H annam directed “ Break of D ay” , a period love story written by Cliff Green. This was followed in 1977 by “ Sum m erfield” , also for producer Patricia Lovell. Scripted by Green, “ Sum m erfield” has been the centre of a controversy in the film industry over the relationship between w riters and directors, and the quality of A ustralian writing.

In the following interview, conducted by Scott M urray and Peter Beilby, H annam discusses his attitudes to scripts and screenw riters, the problems of shooting a logistically complex film like “ D aw n!” , the role of the producer/w riter in the A ustralian situation, and, finally, his previous three features.

A film cannot be a time and motion exercise, but in Australia they have become that. Instead, writers should be encouraged to keep working on a script until it is perfect.

If we are going to make important films — films that say important things — then we will have to work hard, often doing things we won’t be paid for. And that’s how it should be.

Whose responsibility is it to decide whether a script is ready?

A director shouldn’t work with a script until he is sure it is right.

However,

there

ar e

many

pressures put on a producer in this area. For instance, money is made available by government bodies and distributors for a limited period, and if the film doesn’t get into at least pre-production in that Director Ken Hannam instructing camera operator John Seale. time, it will be taken back. The producer is, th e re fo re, often in, keep backing new projects. The th is s itu a tio n seem s to be obliged to go ahead with, a film solution, therefore, is in making changing. that is not ready. the producer’s return such that he or she is not forced to rush into a Ideally, who should assess T h is situ a tio n is p o ssib ly new film. The same goes for scripts for the funding bodies? connected with producers raising writers: if they were paid more, money on first drafts . . . one could expect them to spend I don’t know, but it is a shame more time on a script. if it falls into the hands of failed or I agree, and that situation bitter people, whether they are should change. H opefully, a How does one go about assessing writers or not. I have similar producer will also involve a a screenplay? feelings about directors assessing director in finalizing the script the work of other directors for the before proceeding.

It is very difficult. However, Australian Film Institute awards.

I think the problem could be there is a tendency to assess It is very difficult to get a neutral due to misplaced benevolence by scripts on the way they are panel, one that is informed and th e fu n d in g b o d ie s, w hich, written, and not on what they say; has a feel for commercial and knowing that producers don’t get if a script reads as beautiful prose, dramatic potential. a fair return on the work they put it has a greater chance of getting money. There has been too much You im p lie d e a r lie r th a t * The Age, January 21.1078. emphasis on presentation, though Australian films fail to make 64 — Cinema Papers, 1978 Cannes Speeial

strong statements. Why is this so?

It doesn’t matter whether you are making a skin-flick or an epic, the films that really mean some­ thing are those that show a passion in their making. It’s not a question of social or political statements; if you have a burning desire to make a statement, it will come across. ' Take The Devil’s Playground: this was Fred’s story and it had to be told. What comes over on the screen is the compassion and passion with which he tells it.

Take also Peter Weir’s rapid development between Picnic at Hanging Rock and The Last Wave; this was because he became his own man, and made his own statements.

In Australia, we are at the stage of making films as if playing with new toys. Sure you have to go through that process, but we have reached the stage where we should have a pretty good reason for doing a film — otherwise, we shouldn’t do it.

Did you consider “ Dawn!” a worthwhile script?

Yes. Dawn is a living person: she is not someone we can escape; she is not a piece of history. The script makes no effort to white­ wash her; it tells the other side of her story. People may not be sh o c k e d , but they will be surprised. “ Dawn!” is a different type of film for you in that it involves a lot of sport and action. Did you have any reservations about this?

No. I like action films and I have done a considerable amount of action material on television.

C ertainly th ere is action in Dawn!, but I think you will be surprised by how little swimming there is.

What generally interests me about films is the relationships between people. I am not a director on a vast landscape; such things in terest me in oth er people’s work, but not in my own.

I think the main reason I was attracted to Break of Day, for example, was that I had been in television for a while and felt I had lost my cinema eye. Television is all close-up, and visually different to cinema.

Break of Day called on me to do tw o th in g s : to w ork v ery

PRODUCTION REPORT - DAWN!

intimately with the actors, and to make a beautifully lyrical film. So when I took it on, though I didn’t know if I could get my eye back, I knew I had to try.

There is considerable debate in the industry over the producer/ writer, and director/writer. What are your feelings?

I think the producer/writer is the most dangerous combination.

On Dawn!, however, it has been a very happy relationship because Joy has been involved in many facets of the industry and is extremely objective.

Yet I can’t help feeling that a lot of producer/writers only become producers to protect their scripts.

You can’t do that. It’s like having a son or a daughter and having to face up to the fact that one night they are not going to come home.

It’s the same with a script: it is flesh and bone, and people have worked a lot on it. But at some stage it’s got to get up on its own, and the writer just has to let go.

As for director/writer, this has worked very well in Europe. The argument against it is a possible lack of objectivity, and if I were a writer/director, I would want a script editor with me who I respected and who would talk to me directly.

But there are certain writers who are able to control the machinery and the money, and this is the best way to express themselves. Fred Schepisi is a good example.

Coach Harry Gallagher (Tom Richards) prepares Dawn (Browyn Mackay-Payne) for a race after a bout of illness.

THE SHOOTING

How did you h a n d l e swimming sequences?

PRE-PRODUCTION

L ogistically, “ D aw n !” must have been a nightmare with all its locations . . .

I was greatly helped by our production department; I felt they were too tough when I was filming, but they had every right to be.

During the last four weeks we were doing four minutes a day and still not up to schedule. It was an underscheduled film, and we were very lucky that the weather was as good as it was.

How closely were you involved in planning the schedule?

That is part of the problem with the documentaries made here. A good documentary must have a degree of bias. If I don’t like you, and I am making a film about you, then I am entitled to let my feelings seep through. Somebody else can then make a film attacking me, if they like.

In Australia, there is a habit of following a bad remark with something nice, and all you end up with is a grey mass in which y o u h a v e m a d e a lo t o f statements, and said nothing.

Actually, I believe one of the reasons Joy wanted me to do this film was because she wanted strong statements — but nothing maudlin or over-emphasized. At the same time, the last thing she wanted was a documentary.

The film is about Dawn, and at no time during her life does she stop and look back; she always plunges forward. That is part of her magic, part of why she survived so long as a champion.

The ap p ro ach I th e re fo re employed was to try and get inside her character.

Director of Photography Russell Boyd lines up the special rig designed by John Seale and Ross Erickson for shooting underwater.

you con yourself into thinking you can do it. Sometimes it falls apart, but generally it keeps together.

When do you prepare your shooting script?

As soon as I can. I also like to go to a location as early as possible and just wander around, getting to know the feel of the landscape.

Well, you fight as much as you Did you have this time on can. I have always worked with “ Summerfield” , which had an Mark Egerton as my first, except island location? on Sunday Too Far Away, and he I had about a fortnight there and is remarkably good. He organized the schedule with the production the art department was based on manager, though we all talked the island. Mike Molloy came out about it and visited locations. I from Britain to shoot the film gave him my feelings, how long I three weeks before we started, felt a scene would take to shoot, and that was a luxury on an Australian film. then left him to it.

But it’s no use bringing out a You tend to live in a fool’s paradise: you know damned well director of photography six weeks that it’s not going to be easy, but before the shooting if he and the

director don’t have something to say to each other. So the first thing we have to do is to get to know one another better; once that is done we can be more honest and direct.

A person shouldn’t be afraid to say, “ Excuse me, but I think you are misdirecting this scene.” I may chuck away what he suggests, but he ought to say it.

How far can such a collaborative approach go?

It’s difficult to judge. One doesn’t always have the time to make films as a communal effort, and I don’t think there is all that much to be gained, anyway.

Som ebody has to make the statement, and it should be the director on behalf of the writer and producer. Otherwise, there is a d an g er of th e s ta te m e n t becoming grey.

the

T here are three swim m ing events. The first, the 1956 games, was easy because the Melbourne Olympic pool was still there. We opened this scene out in a big way, and managed to make some hundreds of people look like t h o u s a n d s by movi ng t he m around. It is very expansive and exciting.

We don’t cover Dawn’s swim at the Rome Olympics, but there is a sequence at the Fina carnival in Naples where she was forced to participate in an exhibition race.

The third event is the Tokyo race. We filmed this as a swimmer would feel, see and hear it. To do this, John Seale (the operator) and Ross Erikson (the grip) spent several days developing a periscopic device for the camera, which enabled us to film under water without having to submerge the camera.

The scene starts with the girls above water, follows them as they dive in and then tracks along under water behind them.

It is so good, in fact, that it is a bit of an anti-climax; you sit and think, “ Oh yes, now we are under water.”

In leaving out important events, such as the Rome swim, are you running the risk of disappointing audience expectation?

No, I think Joy has been pretty cunning. Joy feels that if anything is going to attract people, it is a personal story about Dawn; the Cinema Papers, 1978 Cannes Special — 65

PRODUCTION REPORT - DAWN!

swimming is something people already know about. So, although we don’t cover the Rome swim, we cover other aspects of her trip there.

What about characters?

the

other

The character I am most fond of is Gary, Dawn’s husband. It was very bold of him to allow us to tell his story; and though he starts as a sort of villain, in the scene where he leaves Dawn, he shows a real honesty. It is something all of us have at some stage wanted to do, but not had enough strength.

Len, the man who comes into her life later on, emerges as a somebody who is attracted to her but suddenly frightened by the intensity of her feelings. We never . know whether he is seizing an opportunity to get out of the relationship, or whether what he says is true.

MARKETING

How do you feel about the way your previous films have been marketed?

Marketing is the area that has still to come of age. It is strange that many distributors are willing to invest in films, but are hard put to know what to do with them once they are finished.

If people suspect a film is going to be hard to sell, they should nut it out and avoid the situation where films have been thrown into the market place with a helpless shrug of the shoulders.

No wonder they often disappear without trace.

Dawn! is a very commercial film and should appeal to a wide age range. What Joy and Hoyts have in mind is to run separate campaigns geared towards various facets of an audience. It is going to be very interesting to see if they pull it off — I am sure they will.

SUMMERFIELD and BREAK OF DAY

“ Summerfield” and “ Break of Day” don’t always indicate the passion you talked of earlier.

Was that because the film s needed to be low key?

I think Cliff was brave with Break of Day; what he did was very interesting, but perhaps he underwrote it. It is a funny thing about Cliff’s writing, but his heroes and heroines don’t have an y t h i n g to say, while his subsidiary characters never stop talking.

What I admire enormously in Break of Day — which, inci­ dentally, I think is my best film — 66 — Cinema Papers, 1978 Cannes Special

Len (Ivar Kants) with Dawn (Browyn Mackay-Payne) at the end of their romance.

Dawn’s new-found friend, Kate (Gabrielle Hartley), offers Dawn (Bronwyn MackayPayne) solace after a late party.

is Sarah K e s t l e m a n ’ s producer) was in a position where performance. Her role was a very she had to go; the people funding difficult one because she had no the film thought the script was more than 60 or 70 lines, and very good and wanted her to start. most of those were “ Thank you” , Again, probably because of my “ Goodbye” and “ Pleased to meet ego, I thought I might be able to you” . strengthen the things I felt were Yet her character is supposed to weak. I don’t think I was able to, be terribly liberated, have a but it was a good learning marvellous sense of humor and be experience — for me at least. very sophisticated. She says - I am al ways glad wh e n nothing to indicate any of these audiences enjoy Summerfield. I things and nor does anyone else t h i n k t h e a c t o r s , i n d e e d till her friends arrive — and even everybody connected with the they don’t say much. film, put in a tremendous amount Cliff also left the bohemian of devotion and love. group for us to develop. What I imagined was that she had had an “ Summerfield” is probably the affair with John Bell, but left the most consistently acted of the commune when she found the recent Australian features. John group so influencing her work that W a t e r s ’ p e r f o r m a n c e , in she was no longer sure of its particular, is excellent . . . value.

Her move to the town was a And Nick Tate, who had a transitory experience, and she thankless part. Simon is a very was selfish enough to imagine that ordinary person, not particularly he would feel the same — but he good at anything, who blunders was not used to meeting people into a situation and makes a great like her. So, when she found the cock-up of it. key to her painting, with his help, John’s part was easier, and very she was happy to move on. I don’t nicely tailored for him — though think she saw her action as selfish. he did it extremely well. Nick and What people miss about Break Elizabeth Alexander, however, of Day, and perhaps this is had very difficult roles and they because we didn’t do it well worked like demons to achieve enough, is that it is about non­ what they did. confrontation. It doesn’t matter whether the audience wants the “ Summerfield” is a film that two women to confront one sharpl y divides audi ences; another, they can’t — because of “ Break of Day” doesn’t . . . the period, the place and the circumstances in which they live.

That’s true. The most disap­ So it’s got to be bloody low key, pointing thing about Break of Day doesn’t it?

■ is that it can be said not to have made any impact at all.

When talking about Yet, an audience may ask if this l a c k of c o n f r o n t a t i o n is Summerfield, I must point out I deliberate or whether there am not attacking anyone but should be something happening myself. If I felt the script needed more work, I should have said so. that isn’t . . .

Then it would have been up to the Yes; we were all aiming at producer and writer to agree with something that didn’t quite come me, or choose someone else. off. I don’t know where we went wrong, but it did need a bigger Many critics have found the energy flow, and a flow that was e n d i n g of “ S u m m e r f i e l d ” generated by action and dialogue. unrealistic. The Abbotts are obviously very wealthy and could Did that experience modify your have moved i n t e r s t a t e or approach to “ Summerfield” ? o v e r s e a s to prot ect t he i r name . . .

Summerfield is a film that i n t e r e s t e d me greatly. The I suppose the ending is a device. problem was that the script wasn’t In fact, it was not the way Cliff had quite ready — it should have had written it, although I heard Cliff six months more work on it. agreed with what I did.

H o w e v e r , Pat L o v e l l ( t h e In the original, after Nick had

returned to the island and seen them through the window, John rushed out, shooting madly into the night. Now, I don’t think a man who was so gentle and meek as he could suddenly become a mad killer.

If the ending was going to work, I felt we had to convince the audi ence his act was purely momentary. If he stopped and thought about if for another 10 minutes, things may have been different.

Finally, given your feelings about scripts, do you have plans to find a subject and develop it yourself?

I have two projects I want to work on, and if I am strong enough, that’s what I’ll do. If I do another film, it will be because I really want to do it. ★ .

DAWN! CAST: Browyn Mackay-Payne...................... Dawn Tom R ic hards...................................... Harry John Diedrich........................................ Gary Bunney B r o o k ...................................... Mum Ron Haddrick.......................................... Pop Gabrielle H a rtl e y .................................. Kate Ivar K a n ts.................................................Len David C am eron................................

Joe Kevin Wilson........................................ Bippy Lvndall B a r b o u r .................................... Edie John Clayton............................................ Syd Go M ikam i. . . . Japanese Police Inspector Judith Fisher ...............................Chaperone Reg G i l l a m .............. First Board Member Bill C harlton..............................

Johnno John A rm strong.................................. Dusty Judi Farr.............................. New President Wayne A n t h o n y .......... Garage Customer Richard Hill . .•........................................ Ken John Jam ieson................................ Reporter Robert Davis . . . . Second Board Member Piere Von A rnim .................................... Carl Kevin M anser.................................... Official Audine Leith.................................... Barmaid

CREW: Director.....................................Ken Hannam P ro d u cer....................................................JoyCavill Screenplay..................................................JoyCavill Story E dito r. .............................Moya Wood Executive P ro d u c e r ................................. JillRobb Associate Producer. . . . Sandra McKenzie Production Associate.......... Gloria Payten Director of Photography.. . . Russell Boyd E d i t o r ..........................................Max Lemon • Production Manager............. Ross Mathews Art Director............................................ RossMajor Production S ecretary ......... Jenny Tosolini Costume Designer............Judith Dorsman Location Manager..........Beverly Davidson Sound R ecordist.............. Ken Hammond Sound E d i t o r .......................................... BobCogger Prop Masters......................Martin McAdoo Neil Angwin Assistant Directors---- --- Mark Egerton, Penny Chapman, Scott Hicks Camera O perator...................... John Seale Focus P ullers.............. David Williamson, Jan Kenny Boom O perator........................ Joe Spinelli Gaffer......................................... Tony Tegg Set D resser.........................Annie Bleakley Set C o n stru c tio n ................................ Herb Pinter Stills......................................David Kynoch Technical A d v iso r...............................Dawn Fraser Research.........................................Sue Wild Hairdresser...........................................Jenny Brown Make-up................................................. PeggyCarter Produuction A ccoun tant.. . . Jean Findlay Caterers................ John and Lisa Faithful!

THE NEW SOUTH WALES FILM CORPORATION SYDNEY, AUSTRALIA

is proud to announce major investment participation in PALM BEACH PICTURES’ production of

ANTHONY BUCKLEY’S production of

THE NIGHT THE PROW LER Written by Patrick White and directed by Jim Sharm an

MARGARET FINK’S production of

m § j ËÊmêMMimtÉetum em ?

Screenplay by Eleanor Witcombe. Based on the Novel by Miles Franklin Directed by Gill Armstrong

... and also its involvement in the following productions

THE ODD ANGRY SHOT

Produced by Sue Milliken and Tom Jeffrey. Directed by Tom Jeffrey

THE MONEY MOVERS Produced by Matthew Carroll for the South Australian Film Corporation and directed by Bruce Beresford IN CANNES:

MICHAEL THORNHILL DAVID ROE Residences du Grand Hotel 7eme D Goéland 47 La Croisette Cannes 06400 Telephone: 38.13.00 38.44.26

4th Floor, 45 Macquarie Street, (G.P.O. Box 1744) Sydney, New South Wales Australia 2000 Telephone: 27.5575 Telex: Filcor (AA) 23298 Telegraphic: Filmcorp

Ruth Cracknell

John Frawley in

Kerry Walker

PATRICK WHITE’S THE NIGHT THE PROWLER with John Derum

Maggie Kirkpatrick

Produced by Anthony Buckley Screenplay by Patrick White /.-'o ■ '

Terry Camilleri

Directed by Jim Sharman Music by Cameron Alan

A presentation of The N S W. Film Commission

:

^

THE NIGHT THE PROWLER â&#x20AC;&#x153; Exploiting the furore surrounding her attempted rape, a young woman emerges from the claustrophobia of a wealthy conservative family and turns from victim to criminal, stalking the streets of Sydney by night in a relentless pursuit of her own liberation.â&#x20AC;?

Top Right: Terry Camilleri. The Night The Prowler.

D i r e c t o r ................................................................................JimSharman P ro d u cer.....................................................Anthony Buckley Screenplay.......................................................................PatrickWhite Top: Kerry Walker in The Night The Prowler.

Director of Photography...........................David Sanderson Editor....................................................................................SaraBennett Right: Kerry Walker and Terry Camilleri. The Night The Prowler.

Sound R eco rdist................................................................ Don Connolly Music........................................................................... Cameron Allan Below: Ruth Cracknell and Kerry Walker. The Night The Prowler.

Ruth C rack nell................................................................ Doris Bannister Kerry W a lk e r.............................................. Felicity Bannister John F raw ley ........................................ Humphrey Bannister

iliit iia

mmmm

1

How long have you been working on the project?

Five years. In March 1973, Sue Milliken picked up the book {The Reckoning) in a second hand shop in Oxford St., Paddington. She read it, and thought it would make a good Film. I also read it, and liked it very much. I thought the mood, and some of the social aspects of the story, would transpose very well on to Film.

What was the major hold-up?

There were a couple. In 1973, I was employed by Air Programs I n t e r n a t i o n a l and we were working on a number of projects. I suggested The Reckoning to Wal Hucker and he agreed. It took nine months to sort out the rights; we also had to get a writer.

Then in 1974, I worked on The Removalists, which was another nine months out of my life. API waited for me to come back from The Removalists and then they contacted a scriptwriter.

Who did write the screenplay?

Peter Yeldham, an Australian writer. He went to Britain in the late 1950s and achieved some success working for television — he wrote s omet hi ng like 13 screenplays.

In late 1974 I heard that Peter was coming back to Australia, so I tracked him down and discussed the project. He went back to Britain but called me from London and said he’d love to do the adaptation.

At that time, I found the projects were building up at Air Programs and taking longer than I had t h o u g h t , due to t hei r particular marketing policy of “ pre-selling” . As a result, I was not really able to get on with the job of making Films.

I decided to leave, and made an agreement with Wal Hucker to take over the rights to The Reckoning. Peter Yeldham wrote the script and delivered it to me around the middle of 1975.

What was your next step?

“ Weekend of Shadows” is director Tom Jeffrey’s sec­ ond feature, following his earlier adaptation of the David W illiamson play ‘The Rem ovalists’. Set in a small Australian town in the 1930s, the film follows the hunt­ ing down of a suspected murderer by the male townsfolk.

The film was produced on a budget of $500,000, with investment by the South Australian Film Corporation and the Australian Film Commission.

The principal cast includes John Waters, M elissa Jaffer, Graeme Blundell, Wyn Roberts and Barbara West.

Tom Jeffrey, who also co-produced the film with John Morris of the SAFC, has had a long involvement in the Australian film and television industry. Apart from two years spent working in Britain in the 1960s, Jeffrey spent 14 years at the Australian Broadcasting Commission.

There he directed “ Pastures of the Blue Crane” , and episodes of “ Delta” and “ Dynasty” .

In 1972, Jeffrey left the ABC to direct “ The Rem ovalists” . This was followed by the shooting of “ Harness Fever” which his company Samson Produc­ tions managed for Walt Disney Productions in Australia.

Jeffrey’s involvement in the industry has also included being a chairman of the once Film, Radio and Television Board, and president of the Producers and Directors Guild during 1972-73. He is now chairman of the Film and Television School.

Jeffrey was involved in the final stages of post­ production on “ Weekend of Shadow s” when film producer Richard Brennan interviewed him for Cinema Papers. involved because of their script­ writing investment. John Morris (chairman of the SAFC) took first bite of the cherry by coming in as a co-producer, as well as putting up one-third of the finance. This happened late in 1976. Then in early 1977, the AFC followed with an investment of $200,000. With that sort of impetus, we were then able to approach a number of private investors.

Did you find the current tax situation, where film investment can be written off only over a period of 25 years, a stumbling block when approaching private investors?

We never approached them on that basis. We did have a plan for i n v e s t o r s w h i c h wa s an encouragement to them to invest, but this was structured under the present taxation act.

The First draft was submitted to the Australian Film Commission, but they regarded it as a television program. It then took another T h e F e d e r a l G o v e r n m e n t three rewrites before potential recently promised to alter the investors, like the AFC, realized taxation act to allow private that it did have cinema potential. investors to write off their The South Australian Film investment over two years. Will Corporation were the first to come this assist producers to raise in, though the AFC were already private finance?

At present, private investors are hanging off because they want to see how the amendment to the tax act is written; whether it is going to be a new section to the act or just an amendment to the clause pertaining to the writing off of copyright. But I think this new legislation should encourage greater private investment in the future.

that’s all we will spend.

How long did you take to shoot the film?

Five weeks and two days, plus an extra day because laboratory problems ruined a day’s shooting.

It was a heavy schedule because, though we were working close to Adelaide, virtually every day was a new location.

The story is one of men on a manhunt, and we couldn’t go back to a location if we hadn’t finished it that day, because the next day we just had to move on to a new location.

I generally approach a film with a fairly well worked out plan of how I want to shoot each scene.

This enables me to make quick decisions if s omet hi ng isn ’t working as I originally visualized it. I can then keep the film moving on schedule, though I must say, 95 per cent of the time the whole crew worked like bloody slaves.

The script required a good deal of night shooting . . .

It took us about four nights, which we did at the beginning of the shoot; it was a really tough way to start out on a film. We had other night scenes which we split with some afternoon shoots, starting, say at 2 , p.m., and working through until midnight.

You used actors of very mixed backgrounds; some theatrical, some television, some feature film . . .

What we were looking for was a texture of people to tell the story.

Each of the characters was quite separate in the sense that they represented a type of person. We, One problem that has caused a therefore, looked for actors who lo t of n e r v o u s n e s s o ve r could represent those types, and investment in films, particularly who could play off one another in on the Government side, is an ensemble situation. overages. How did you end up?

The male actors found that they were able to come to terms with We came in under budget, and their parts quite easily. The two those monies saved in production women, Melissa Jaffer (Vi) and will be applied to our marketing Barbara West (Helen), found it e x p e n d i t u r e . Sue Mi l l i k e n less easy. They had very difficult ( P r o d u c t i o n M a n a g e r and roles to play, but they did a superb Associate Producer) is a terrific job. organizer; she keeps a very tight In fact, on this film I found that rein on things, with everything I directed the actors less than I had well planned and co-ordinated in ever done before; I like working advance. . with actors and I believe I am We always try to spend money quite good with them. where it counts; if we feel that we One character I -found very can cut corners in other areas, interesting was that of Bernie. I then we do — particularly as asked Graeme Blundell if he’d regards shooting. If a scene only like to play this part. He read the warrants two hours’ shooting, script and said ‘yes’. Even so, I Cinema Papers Cannes Special — 71

TOM JEFFREY

really had no firm idea of who the character Bernie was. I felt that Graeme had a good face, was a good shape, and that he would fit in with the rest of the men in terms of their shapes and sizes. I was looking for a picture of the person, rather than looking inside him and trying to work out what sort of person he was.

On the first night of shooting we were all in peals of laughter because Graeme was doing these antics with a bag stuck around his foot. I then went over to Graeme and asked him if he would like me to move a bag so that he could move more easily around the fire to get to the truck. “ Oh no” he said, “ I set that up for myself.” I then realized that Bernie was the comic within the group. That set his character for the rest of the film.

was listed as co-producer, director and writer, I would not have an ability to retain an objective view of the project. However, since they have seen Weekend of Shadows, I think any doubts they had in regard to my ability as a director have faded.

1 have already adapted the screenplay, so the only problem r e m a i n i n g is t h a t of my involvement as a producer. But I see that only in terms of initiating the project, which will allow me to concentrate entirely on directing.

One of the exciting things I find about filmmaking is that it is such a social activity. A producer is de pende nt upon his or her director; a director is dependent upon the inputs of his crew, the actors, and the relationships between them all.

Another exciting thing about the Australian film industry at the You have worked with a number moment, and certainly over the of producers on other projects. past five years, is the degree of Did you enjoy the autonomy of enthusiasm and willingness that working as a co-producer? everybody has had — actors and crew, even the caterers — to put Very much. It has added a up with torrid conditions and still greater burden to me, but it is an give 150 per cent effort. I rue the enjoyable one and fortunately I day when we start arguing about have had a very good working how much effort we put in and relationship with the SAFC on how much money we have to take corporation and individual levels. out because then, to me, we will become like those problem-bound V a r i o u s c o r p o r a t i o n s ha ve overseas industries such as in objected to th e idea of th e Britain or on the west coast of the producer and director roles being U.S. combined. Has this presented any problems with this, or any I believe “ The Odd Angry Shot” future, projects? is part of a package . . .

Our next film will be The. Odd Angry Shot, which we hope to begin filming in July. With that project, I have listed myself as a co-producer with Sue Milliken. I shall direct it and because I had a strong idea about the way in which one could adapt this script, 1 attempted the screenplay adaption from Bill Nagle’s book.

I think there was some concern by the AFC, which had offered us a 50 per cent investment in The Odd Angry Shot, that, because I

The leadup time to a film that is going to cost about $600,000 is about two years. One of the good things that the AFC agreed to do a couple of years ago was introduce its policy of assisting with package developments for the producer.

There is a certain risk involved with this policy, in that certain ideas might never come to fruition. But Sue and I were fortunate in late 1976 to be given encouragement from the AFC by wav of investment in a parcel of

Kevin Miles (left) as the Police Superintendent, with Rob George (Constable Forrest) and Barbara West (Helen Caxton). Weekend of Shadows.

72 — Cinem a Papers Cannes Special

Graeme Blundell as Bernie, the “ comic” character on the hunt for a murder. Weekend of Shadows.

ideas, one of which is The Odd Angry Shot.

Our next film after that is hopefully an original screenplay written by Ted Roberts called Q uartet With Strings, which is a slightly unusual love story. We felt that period dramas (a) have had their day and (b) were getting too expensive. Having to go away and stay on location is also becoming very expensive.

Ted had this idea for a light, romantic comedy, set in the city.

It has an under-current theme of exploring some of the problems which people, men my age, face around the age of 40 when you tend to wonder where you are going. One gets a different perspective of life, and this affects one’s relationship with women.

Women go through a changing relatio n sh ip as well — with themselves, the people around them, and with their men. The film will have a background of elegance in the form of classical music, and we hope to begin filming in 1979.

We are looking now to the latter part of 1979 and 1980 for further projects. The package has allowed us to do this, and that has been a great advantage to us.

Music in Australian Films is often regarded as underdeveloped or excessive. How did you and Charles Marawood approach the s c o r i n g of “ W e e k e n d of Shadows” ?

We have used a lot of music in

On the way to a beer and a bet. Knock-off time at the brickworks. Weekend of Shadows.

TOM JEFFREY

person being pressured by his comrades, by his peers, to take a course of action that is regarded as common and usual by all of them, and which he resists. Is this a theme that particularly interests you?

Richard Wallace (director of photography) and Tom Jeffrey (co-producer and director) line up a close-shot on Weekend of Shadows.

the film — about nine different themes. One theme is used twice, while there are three themes which are used up to 15 times throughout. It is a means of tieing characters together and setting moods and so on.

I have known Charles Marawood for a number of years and I respect his work greatly.

More than a year ago I gave him the script and we discussed some musical ideas he had. Once we were under way, I brought Charles down to South Australia and we spent a couple of days visiting most of the locations. Later, I gave Charles a cassette copy of the fine cut and spent two or three weeks with him while he plotted the music score. Charles works very closely with arranger Alan

Dean, who, in his own right, is a very good composer and vocalist.

During the final mix, we retained a separation of the music on three stripe, 35mm sprocketed tape to allow us full flexibility in balancing the music to the dialogue and effects. I think this was a great asset.

I think the music adds a lot of tension and drama to the story, but whether the audience will want it, I am not sure. Something that worries me is having music coming in and out like strings.

That’s the difficulty, getting into and out of the music. However, I think we are close to solving it.

There is about 45 or 50 minutes of music and that is nearly 50 per cent of the film; it’s quite a lot.

Melissa Jaffer (Vi) tries to persuade John Waters (Rabbit) into joining the hunt.

Weekend of Shadows.

You’ve had a long association with the film industry . . .

Before getting into the feature film area, I suppose my major claim to fame would have been my work with the ABC Television Drama Department.

In 1969 1 directed Pastures of the Blue Crane, which was an all film serial for television, with Jeannie Dryden, Harold Hopkins and Harry Lawrence. I then moved on to a series — a very expensive one — called Delta, which again was all film. I did about eight episodes out of the 23.

Then D ynasty came along, written by Tony Morphett. It s t a r r e d K e v i n Mi l e s , Ron Graham, Nick Tate and John Tate, Nick’s father, who came out from Britain to take the role of the father of the dynasty.

During 1971, we made one film which was a pilot for a proposed series called Devlin — it was one of my less happy experiences at the ABC. I was then offered a consultant’s job with the Interim C o u n c i l of t h e F i l m and Television School. So I took leave from the ABC and did that job for a year.

In 1972, I felt there were things happening outside the ABC which were, for me, more exciting and more toward what I was striving for in my work. So, at the end of 1972, I resigned from the ABC and took up the appointment with Air Programs International.

In “ Delta” , “ The Removalists” and in “ Weekend of Shadows” , there is a common theme of a

It is difficult for me to analyze my work, but I attempt to do this from time to time. I sometimes wo n d e r w h e t h e r t h e r e is a thematic line that I am taking; I am not sure yet. But what I have come to understand is that what I am trying to make in my work is a plea for the individual.

So often, as individuals, we are forced into a situation of having to toe the line. We are told so often that something is impossible to do that we say, “ All right, we will go with the mass, do what everybody else does, because that’s easy.”

As a consequence, we tend to lose our individuality, our ability to determine our fates, if you like.

Cer t ai nl y in We e k e n d of Shadows there is this plea, but there are other things as well.

Sergeant Caxton, for example, is a study of a person’s failure. He is a failed man and he fails absolutely.

Also, the relationship of the men to their wives and how they can trigger the men to do certain things. But I don’t think that was an obvious theme I was pursuing.

There was a c e r t a i n “ aggression” t heme in The Removalists which I was actually working against. The thing I liked about The Removalists as a stage play, which I thought should work as a film, was the way in which an i n d i v i d u a l , or a g r o u p of individuals, become a sort of a pack and try to assert their authority or their influence over an individual.

The intriguing thing in the d ra m a tic form of The R e m o v a l i s t s , as D a v i d Williamson wrote it, was that the balance, the centre of authority, kept shifting. It would be first with Kate and her sister Marilyn, as we called her in the film, against the Sergeant; then it would be the Sergeant and Kenny against the women; then it would be Kenny -and—the removalist against the Sergeant. Perhaps one of the reasons the filnC failed was because I didn’t quite come to grips with that. It is a film that I enjoyed making and I am sorry it didn’t do better — it should have.

Why do you think the film was basically unsuccessful?

There were lots of reasons. But I am glad the film J s getting exposure now and a lot of people are enjoying it, though I would be worried if I was a producer and saw the exposure — but I wasn’t the producer.

If Weekend of Shadows fails, I have only myself to blame, which is the way I like it. I don’t want to kick anybody else in the arse. ★ Cinema Papers Cannes Special — 73

We were looking forward to seeing you in Cannes this year.

But we can’t make it. The reason 1978 is proving too busy a year for us.

W e ’ve just got one film in the can and into release. Now w e ’re starting work on another one That’s the pace at which things are happening in Australia.

WEEKEND OF SHADOWS is the movie w e ’ve released in the last few weeks. Tom was director and co-producer; Sue was associate producer. I t ’s been a co-production between our company, Samson Productions, and the South Australian Film Corporation, in association with the Australian Film Commission. ...

It's an action drama and stars John Waters, one of the most appealing actors to emerge in the current surge of Australian cinema. ’’He looks as though h e ’s got a past,” people told our market researchers. They used to say things like that about Bogie.

What's WEEKEND OF SHADOWS about? Basically, it revolves around a bush hunt for a murder suspect in the 1930s. The hunters are a group of men from a small country town. The suspect is an immigrant farmworker. One of the ; hunters is Rabbit (that’s John Waters’ role) and he is commonly mocked by the townspeople because he is an inarticulate loner. As the film moves to its unexpected and stunning climax, Rabbit realises that both he and the hunted man are

World Sales, Weekend of Shadows Sydney & Lawrence Safir, c /- Majestic Hotel, Cannes.

London office, 15-17 Old Compton Street, London W1V 6JR. . ..

Telephone 734 5085.

victims of the town’s inability to cope with people who are strange or different.

We barely had time to catch our breath before our next project.

While you're all into seeing movies and doing deals at the Carlton, w e ’ve gone into pre-production.

THE ODD ANGRY SHOT is the name of the new film and i t ’s very different from WEEKEND OF SHADOWS. It’s the story of a group of Australian commandos on a year’s tour of duty in Vietnam in the 1960s A commedy with a serious edge, it’s about the frustrations and difficulties of the commandos’ life in their camp - from which they occasionally venture into the jungle to fire ’’the odd angry shot” . It will have something of the feel of M.A.S.H. and Catch 22 about it.

The two of us are co-producing this time, with Tom directing. For the second time, the Australian Film Commission is a big investor.

We're really looking forward to starting shooting THE ODD ANGRY SHOT in early July. After all, to vary the old adage, a change is as good as a trip to Cannes.

Samson Productions Pty. Limited 11 Young Street, Paddington, New South Wales 2021.

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Cables: Samsonfilm Sydney.

Telephone 33 4663.

IN SEARCH OF ANNA “The basic story is of a character named Tony who comes out of prison and confronts the people from his past who have, more or less, been negative influences on his life till then. The second story is about him hitch-hiking to Sydney to find Anna, who respresents the positive values of the past As he hitch-hikes to Sydney he gets picked up by Sam, a woman in an 1939 Buick. They fall in love; Sam leaves the guy she is living with and they head off to Queensland to find Anna. But Anna becomes something else and the need to find her gets less important “It’s a story about coming to terms with one’s past and then with the present, accepting the here and now and moving into the future with a positive attitude towards life.”

Judy Morris (Sam) and Richard Moir (Tony).

Cinema Papers, 1978 Cannes Special — 7

E S B E N STO R M PRODUCER / DIRECTOR In an interview you did at the “In Search of Anna” is Esben Storm’s second feature as a time of “27A”, “In Search of director, and follows “27A” made in 1973. It was shot in Anna” you mentioned as a pilot seven weeks, on the road from Melbourne to Surfers for a television series. . .

Yes, I had an idea for a television series about a young guy who leaves home in search of Anna. Each week would find him in a different place and the hook was that he was getting closer to finding Anna who was then, and still is, symbolic of the woman one dreams about. Just as the partner in one’s first relation­ ship is idealized in time and becomes something unreal.

Anyway, we were just about to shoot the pilot when Hayden * and I suddenly felt we didn’t have enough faith in the script. Perhaps, the story was not ready to be told at that stage.

You had the finance already arranged?

tracking vehicle with an A Frame and a three-metre crane on the back. If we were on the long frame, for instance, we could sit in front of Paradise, with a crew of 20. “In Search of Anna”, which is the car’s nose, go down to the now in the editing stage, represents for Esben Storm “a film wheels, then crane up as they start which tells people how good it is to be alive. A realistic their dialogue.

If we were on the short A frame film about coming to terms with one’s past and present, it is we could be sort of sitting on top of a rejection of the negativity of my generation”. the bonnet, swinging around as they The following interview was conducted by Gordon Glenn travel along. That crane proved to and Scott Murray at the offices of Smart Street Films, be really effective. Sometimes we just ran it loose and had the Buick Sydney. come towards us as we sat out over the freeway. We would then go up, look through the sun-roof and finally let it go away again. We also did a few shots where Mike* was strapped to the side of the car; he would swing right down next to the road, bring the camera up over the bonnet and then into a two-shot or single on the side. These worked brilliantly; it was a really fluid movement.

We were financing it ourselves — we had just won a $5000 award for 27 A.

What are you doing for sound in these scenes?

Why did you decide to shoot the film on the road, all the way from Melbourne to Surfers Paradise, when I imagine you could have cheated and shot it within 100 km radius of Sydney?

We could have done that and just had a second unit do some wide shots of the car. But it seemed to me that if we could do it on the road, then there would be a lot of advantages. The whole film was shot in sequence and there was a strong feeling of travelling. We would shoot one scene in the car, then drive 50 km to do another. So, day by day people got to know each other, just like the two main characters get to know each other in the film. The hope was that this sort of rhythm of shooting would have an effect on the overall result.

Esben Storm (producer/director) and Michael Edols (director of photography) on the frame.

of effect on how he acted in that scene. After all, Tony is coming out after six years in prison and it must be quite a shock.

The argument against shooting in sequence is that while the early material is generally the weakest, it is still what the audience sees first. . .

We have a structure whereby the two weeks shooting in Melbourne and the five weeks shooting on the road are of two virtually separate Do you like to shoot in sequence stories. The first scene in the film is within a scene as well?

Tony on the highway; the second is him coming out of prison; the third Yes, we appeared to do that a lot. him on the highway; the fourth him It adds much to the overall result — back in Melbourne, and so on. especially to the performances.

It is two weeks out of his life, but With someone like Richard Moir, we have taken the first week and the for whom this was the first time out second week concurrently; so we go as a lead actor, we shot the first Monday, Monday; Tuesday, scene of the film first. I kept him Tuesday; Wednesday, Wednesday, separate from the whole crew on etc. Both stories then climax at the the first day and when he walked end and both climaxes relate to him out of jail there was the whole crew coming to terms with the past. confronting him, and this had a lot By having this crosscut structure we were able to throw in a lot of tensions, because the audience * Hayden Keenan, owner of Smart Street Films with Storm. gradually gets information which 76 — Cinema Papers, 1978 Cannes Special

We have to post-synch all the car interiors as the Buick was not as « quiet as it was in 1939. There was a £ lot of rattle and noise, so we 2 decided to post-synch at the start.

I We are doing that here at Smart ° Street, and I am excited by the A- prospect of post-synching. I think we will get a very good soundtrack.

makes them think that Tony is not actually looking for Anna, but is on the run after having killed Jerry. It is not till near the end, when there is a final confrontation between Tony and Jerry, do you realize what happened.

This tension also relates to the theme of the film: that of being torn between the past and the present.

Do the characters change much because of the road aspect of the film?

They change through being together; being alone and always moving. Sam is the spirit of the present, taking him along, teaching him about love and women and life.

Are there many scenes of the car travelling?

Yes. We used basic equipment like a limpid mount. Noel McDonald, the grip on the film, had just done F.J. Holden and was very au fait with that sort of shooting, though we did quite a lot more than was in F.J. We also had a

You like the effect of postsynching . . .

Yes. I used to be totally into 100 per cent location sound, but I have gone right off that now.

Was that because of the problems on location?

No, it was because of the final product. When you lay the tracks you have to put in a base level of sound to cover the bad spots and cuts. You don’t have complete control over your track and I don’t like that base level. I prefer to have a completely silent track into which you put only what you want. That seems to me the best way to control what people hear.

Is there music in the film?

Alan Stivell who plays a Celtic harp was out here recently, and he recorded a lot of music for the film.

We put him in a studio and he gave us an hour of music. He saw all the sequences that were to have music * Mike Edols, director of photography.

PRODUCTION REPORT

had always found her too soft and, therefore, didn’t feel she would be right for the part.

Then, I went to Crawfords in Melbourne to look at another film where someone suggested I con­ tact Judy. After I talked to her I realized she had the strength that none of the other actresses had; it w was like she sat down and she | didn’t have to tell me she was | equal or anything like that — she | just assumed that she was. I asked ° her if she would do a screen test and she said “no”, because she thought she would be fucked On Judy M orris. . . around. I thought that was fan­ tastic — that she could say “no”.

We had a lot of difficulty Eventually, I had two or three finding Sam. I talked to every girls, and Judy was one of them. I actress I could think of and asked her again if she would do a searched Brisbane, Sydney and screen test and this time she Melbourne. In all, I interviewed agreed. I had another girl it^.ed as over 100 actresses and screen- well and I showed the tests to a lot tested about 30 of them. of people. Their reaction to Judy I hadn’t at first considered Judy was fantastic. I then asked her if Morris because I had an image of she would do the film, and she her, which I later found out to be said she would. incorrect, that related to things During shooting she continually like Between Wars and Libido. I amazed me by the number of times and we explained what sort of feeling we wanted. He was brilliant — the music gives the film a whole new feeling.

Why did you decide to produce the film yourself?

Originally I approached Natalie Miller and asked her if she would produce it for me, but she didn’t want to. Then I talked to Cecil Holmes who said, “Do it yourself, it is not such a big deal.” I have a lot of respect for what he thinks and so I tried it.

Eventually I talked Natalie into becoming an associate producer as I felt I needed someone else’s name on the whole deal to give it a little more legitimacy. I then put a sub­ mission to the Australian Film Commission asking for half the budget; as well as a submission to the Victorian Film Commission for $40,000, which we later increased to $50,000. At the same time I approached private investors in Melbourne, Sydney and Brisbane and got letters of intention from them. Then before the AFC met, I told them: “I have half the budget, will you give me the other half?”

So, it was up to the AFC. I didn’t use the AFC to lever the others, I used the others to lever the AFC — and it worked. And in about two months we had the money.

part. I also felt that because I hadn’t produced anything before they might think I wouldn’t be able to get my shit together with the private investors. If I could prove to them before they met that I could get private money, then they would think I was okay.

she stretched herself beyond what know each other quite well.

I had expected of her.

Richard was at the National Judy is a very strong woman — Institute of Dramatic Arts but had very willing and able to pull things decided he did not like that kind out of herself and express what of learning process. He gave it she needs. I think she is a person away after a year and got into who is worthy of a lot of respect. editing. I knew he wanted to get back into acting, but did not want to go through the normal channels.

So when we made 27A, I wrote him the small part of the junkie at the asylum.

Richard carried th e ' role off really well and the reaction to him, especially from women, was very interesting. I enjoyed working with him and I thought he had a lot of potential. He has a certain presence.

So, two and a half years ago when we were doing the pilot of In Search of Anna, I wrote the lead for him. In the intervening period Richard and I developed the script On Richard M oir. . . together, Richard acting as my script editor.

I first met Richard Moir when I I wrote In Search of Anna was at Film Australia, where we always with Richard in mind; I were production assistants. And knew he could do it, and that he over the next few. years, we got to would be very good. was the big devaluation: Kodak went up, as did many other things.

Consequently, a lot of my con­ tingency fund of 15 per cent was chewed up before we shot a foot of film.

for a road movie was very tight. I also budgeted for a seven to one ratio, but ended up shooting ten to one — which is comfortable for me and I don’t think I would go for less in the future.

How did you feel making the film What was the budget at that time? on a tight budget?

Was this figure the minimum needed to make the film or because you felt if represented a possible return in film hire?

We went in with $231,000, but it I believe you can make a really looks as if it will go over about good contemporary film set in one $30,000. This was mostly because location and with generous shooting after I had raised the money there ratio for about $300,000; $230,000

You obviously have a very strong commitment to your film. . .

Did you have any specific reasons for approaching the AFC this way?

I hadn’t approached the AFC for any script development money and I didn’t talk to anyone until I was able to present a whole package. I wanted to be judged on the script without any preconceptions on their

If the rule of thumb is that you have to earn four times as much as you budget to break even, it seemed to me that the cheaper the film, the better. But also, if the film was gutsy and accessible, with a down-toearth approach and no fancy frills, I felt it could take $1 million at the box-office and break even. It seemed to me a financially good proposition, and the investors obviously thought so, too.

| | o o Richard Moir and Judy Morris during the party scene at Balmain.

My commitment is total. I will do anything I can to assist the film in becoming as good as I hope it will be.

Also, I have only directed films that I have instigated or been a party to instigating, and only from scripts I have written. So I can’t say how it might be different if I directed a film for someone else, written by someone else.

But if you decide to write, produce and direct a film, you know that it is going to be two or three years out of your life. And if you are going to spend this amount of time, what is the use of doing it if you are not really committed to it.

There are a lot of people for whom the aim of the object is just to make a film. But the aim should be

Cinema Papers, 1978 Cannes Special — 77

A film by Esben Storm Starring: Richard Moir, Judy Morris â&#x20AC;˘ Co-Starring: Chris Haywood, Bill Hunter Music by John Martyn and Alan Stivell Written, Produced and Directed by Esben Storm A Storm production in association with The Australian Film Commission and The Victorian Film Corporation Soon to be available as a novel through Widescope International Publishers P/L.

Storm Productions 1 7 Oxford Street, Bondi Junction N SW 2022 Australia Tel: 389 2332 or 389 2336

Carol Jerrems

PRODUCTION REPORT

During rehearsal: Richard Moir and Esben Storm.

to make a film because you have something to express — it is not the film itself that is important, it is what the film expresses.

Many Australian directors don’t remember that; they cop out by saying that you have to get your films to an audience and that they would need mass appeal. But I believe, unless a film has something to say, has a direction in mind — which all comes from the spirit of the person involved initially — then the film is not going to do well anyway. You can have some sort of preconception of what the market will pay to look at, and you can try to make a film to that preconcep­ tion. But the chances are that it won’t pay off because you are doing it with the wrong aim in mind.

How do you see the film’s com­ mercial potential?

I think the film has a directness and a purpose; it has an entertaining reality and the audience will enjoy it. It has a dog, it has cars; it has violence, love, sex, humor and music; it has two very interesting people, and 3200 kilometres of highway.

It is a very complex story which will come across as being very simple. I think the structure of the film will be one of the basic strengths.

The look of the film is also different. Break of Day, Summerfield, Getting of Wisdom and Picnic at Hanging Rock, for instance, are all full of yellows and browns, faded or muted colors, soft focus and so on. The look of our picture is different: it has blues, hard contrast, hard focus, saturated colors. It is a very contemporary look.

Have you decided on a marketing approach at this stage?

We didn’t sign up with a dis­ tributor at the start or during production; we thought it would be better to be independent. We have complete control, and if we are lucky and end up with a good hand

Maurie Fields who plays Bert (right) and director of photography Michael Edols.

iP iP B

of cards, we should be in a good position to deal.

Would you be tempted to side­ step the distributors, like Fred Schepisi planned to do on “Devil’s Playground”?

We are considering that, too. We are in a good position to do that in Melbourne, because of Natalie Miller’s knowledge of Melbourne.

In any case these are problems no one is pressing us to make instant wdecisions on, and that’s the way I | like it. I am thinking of doing a ®couple of test runs with the film in a | theatre and seeing how people react ° to it. They may react completely different to what we expect; they Judy Morris (Sam), Richard Moir (Tony) and Billie (the dog). may not catch what we thought they would, yet they may catch some­ thing else. Their reactions will, to a degree, determine the sort of theatre we put the film into, and the sort of push we give it.

The kind of audience we want is one that enjoys thinking, enjoys laughing, enjoys being distracted, without being treated as morons. It is for people who, when they spend $3.50, like to feel as if they have been taken somewhere — in every sort of way.

Take a film like Carrie or Obsession: they are not great films, but they are good American films — they are solid. Obsession bored me until the last 15 minutes, but that last 15 minutes was worth $3.50.1 liked Carrie a lot more, but The photographer’s studio where Sam leaves Peter to go with Tony. there were only two moments in that. The last 15 minutes were also Continuity.................................... Jo Weeks boring until the last flash. But that Grip....................................................... NoelMcDonald flash was worth $3.50.

Stunt Co-ordinator......... Graham Matherick Assistant Editor..........................Hugh Piper Director................................... Esben Storm There isn’t one Australian film Screenplay/Scriptwriter......... Esben Storm Still Photography.................. Carol Jerrems that has had a flash like that. You Producer.................................. Esben Storm Best Boy................................. Paul Gantner Associate Producer.................. Natalie Miller Make-up................................................. AnnePospischil don’t get any highs, any lows, or any Director of Photography....... Michael Edols flashes. There is no purpose behind Editor..................................... Dusan Werner the making of most films here.

Production Manager............................ JaneScott Art Director.......................... Sally Campbell Nobody seems to have anything Production Secretary......... Robyn Bucknall relevant to say and as a result the Location Manager................ Kate Grenville Tony.......................................... RichardMoir Sound Recordist............... Laurie Fitzgerald Sam......................................................... JudyMorris film has no impetus, no direction Sound Editor........................ Michael Norton Jerry................................... Chris Haywood Production Assistant... . Zelda Rosenbaum Peter...........................................................BillHunter and, therefore, no guts. And if a film Assistant Directors.................... Ilian Tiano, doesn’t grab you by the balls, you Maxie..................................... Gary Waddell George Miller Buzz......................................................... IanNimmo feel you have wasted your $3.50.

Focus Puller........................... Paul Murphy Bert......................................... Maurie Fields What I am hoping is that our film Clapper/Loader..................................... GrantFennTony's Father.............................. Alex Taifer Gaffer................................ Brian Bansgrove Undertaker........................ Richard Murphett will have balls and people won’t feel they have wasted their $3.50.*

CREW

CAST

Cinema Papers, 1978 Cannes Special — 79

The Chant of Jim m ie Blacksmith Produced and Directed by Fred Schepisi.

The Getting of Wisdom Produced by Phillip Adams.

Directed by Bruce Beresford.

Summerfield Produced by Patricia Lovell.

Directed by Ken Hannam.

Mouth to Mouth Produced by John Duigan and Jon Sainken.

Directed by John Duigan.

In Search of Anna Produced and Directed by Esben Storm.

Patrick Produced by Antony I. Ginnane and Richard Franklin.

Directed by Richard Franklin.

Long Weekend Produced by Richard Brennan.

Directed by Colin Eggleston.

Produced with the Assistance of the VICTORIAN FILM CORPORATION. Promoting and Investing in film and television production in the STATE OF VICTORIA. For further information about these films or the Victorian Film Corporation contact:

In Cannes: Enquiries to Chief Executive, Jill Robb, c/- The Australian Film Commission Office, Carlton Hotel.

In Australia: Geoffrey Pollock, Andrew Knight, Victorian Film Corporation, 140 Bourke Street, Melbourne, Victoria 3000

“Beautiful, achieving a style of it’s own, often exciting, tender, a bit crazy and touched by sheer magic.”

Catherine de la Roche The Dominion ,

“Solo is certainly a film to see more than once.”

Lindsay Shelton Radio N.Z.

“Conveys a depth of feeling, sincerity and above all, a respect for human beings as individuals.” i Simon Collins Evening Post

Contact: David Hannay & Tony Williams at the Australian Film Commission stand, Room 120 Carlton Hotel.

Solo will be screening at the Paris Theatre rue d’Antibes: Thursday May 18 1500h Monday May 22 1900h Friday May 26 1300h Sunday May 28 1700h

A LOVE STORY OF OUR TIME a h a n n a y - w il l ia m s p r o d u c t io n

starring: V IN C E N T GIL • LISA PEERS • PERRY ARM STRONG

with MARTYN SANDERSON • DAVINA WHITEHOUSE- MAXWELL FERNIE produced by: DAVID

O

lF

Ê N T H S

HANNAY 6 TONY WILLIAMS • director o f

photography:

JOHN BLICK

written by: TONY

directed by:

TONY WILLIAMS

WILLIAMS 6 MARTYN SANDERSON

THE FIRST AUSTRALIA - NEW ZEALAND CO-PRODUCTION

obinsonjV

82 - Cinema Papers, 1978 Cannes Special

■ ■

i hitchhiker who is savoring freedom after from an early marriage. It is through her see the forest and the strange, lonely lives

lion of the film develops around the relan Paul and .lud\ as they fly across the spectacular countryside in his restored Tiger Moth bi­ plane, with Billy in tow. The mood is at times delicate, itimes lyrical and even tense as the two people reach or each other from their different worlds. The focus of the film is when Billy, who is feeling left out of the situation md trying to gain attention, attempts to fly the «»Id bi­ plane solo and crashes bringing to earth the fantasy of the trip and the relationships The followi”S interviews were conducted on location by Mary

D A V ID H A N N A Y Producer Was it difficult getting the money together for an Australia/New Zealand co-production?

No, it was surprisingly easy. Tony Williams and I talked out the idea for the film in October 1976 and we had a script ready for presentation to th e p o te n tia l b a c k e rs by Christmas. The Seven Network then committed themselves for invest­ ment by early January 1977, and New Zealand’s Queen Elizabeth Arts Council and four New Zealand businessmen followed suit with the balance. We started shooting on February 21.

Why did you decide to film in New Zealand?

The story has a New Zealand background. There are exotic pine fo rests h ere in A u stralia, but nothing with the scope and beauty of those in New Zealand. The timber industry there is one of the w orld’s largest and our central character is an aerial firewatcher, a uniquely New Zealand occupation.

In 1968, David Hannay was appointed executive in charge of production for Mawson Continental Pictures. He left in 1970 and began a six-year association with Robert Bruning (Gemini Productions) where he worked as an associate producer on, among other productions, “Crisis’’, “ The S p oiler” , “ Mama’s Gone a-H unting” , “ The Alternative”, “Gone to Ground”, and the television play “Poor Tony”.

In 1972, Hannay co-produced the feature-length docu­ mentary “Kung Fu Killers”, and was executive producer on “The Man from Hong Kong”, both directed by Brian Trenchard Smith. Hannay was also executive producer on “Stone” having been involved with the project since its inception in 1970. He was then executive producer on Eric Porter Productions’ “ Polly Me Love” and associate producer on Cash Harmon’s “The Unisexers” and “Number 96”.

Hannay became associated with the Royce Smeal Group of Companies in 1976 where he co-wrote the screenplay ‘The Last Run of the Kameruka’ and worked as executive producer on two on-location specials.

W h a t w e r e th e p r o b le m s associated with shooting a film 2000 km from your Sydney office?

The problems were greater than if we had been shooting the same distance away but within Australia.

For exam ple, when we w ere shooting at Waimarama, which is a beautiful beach on the east coast, we were filming on a Monday, and it was Tuesday before we could get a flight out from the local airport to get rushes to Auckland, Wednesday before the Customs agents had Producer David Hannay. transhipped them to Australia, Thursday before they cleared Aus­ ment and co-ordination of the film tion, so that by the time I had come tralian Customs and Friday before couldn’t have been better. to produce Solo I was more they were processed and viewed by prepared for problems that might Atlab. It took just as long for them How did the Australian and New arise. The film s are en tirely to get back to us on location for Zealand crew members work different, of course. On Man from viewing. In fact, we were two weeks together?

Hong Kong I was ex ecutive into the shoot before we saw our producer and the film was being E x tre m e ly w e ll. T he New made by two large corporations, first rushes. This eventually caused a problem, because a lens fault Zealanders were the top people while with Solo it’s Tony Williams’ developed which was not apparent a v a il a b l e a n d I th in k th e and my production, so I had much to the camera crew on location. The Australians were actually quite more control of the situation. On fault only affected scenes shot with surprised at the extent of their Man from Hong Kong there were very low light levels, affecting both expertise. There was never a ‘them’ trem endously different attitudes focus and depth of field. It involved and ‘us’ situation — it was always a between us and the Chinese on considerable re-shooting at loca­ ‘together’ unit. The same applied to every level — cultural, personal tions we had already left. For most the actors, although Vincent and a n d p r o f e s s i o n a l . B u t th e of the shoot we were not only Lisa knew Davina and Martyn’s differences between Australians 2 0 0 0 km fro m S y d n e y , b u t work in Australia — as well as New and New Zealanders are very subtle. We have already mentioned generally hundreds of kilometres Zealand. from any major New Zealand the problems but the pluses are centre, which naturally caused Of the two co-productions you much more important to point out. com m unication problem s. O ur have been involved with — “Man The assistance we were given at travelling production office was From Hong Kong” and “Solo” — every level, from Government Ministers, to major New Zealand also marvellous. Pat Cox, who was which had the fewer problems? corporations, to small businessmen in charge of production, and his Well, the experience of working and the man in the street was assistant, Sue May, always had things under control no m atter on Man from Hong Kong taught incredible. There was so much where we were. In fact, the manage­ me a few things about co-produc­ positive interest in the film from

every area, it was terrific.

D o you intend doing more A u s t r a lia /N e w Z e a la n d c o ­ productions?

Tony W illiam s and I have another project ( L itt le T r ip p e r s ) which we are in the process of planning now. We already have a second draft screenplay and have selected the main locations. Bill Sheat (executive producer on Solo) and I have been talking to people about investment. I find that New Zealand, while being similar to Australia in many ways, has so many different backgrounds and ways of life. The main character in Solo is an aerial firewatcher, and to my knowledge no such person exists in the forests here. The background to L ittle T rip p e rs is a small town whose main industry is the killing of deer from the air — for export as venison. New Zealand is probably the most air-minded country in the world — both Solo and T rip p e rs feature flight as a background.

D o you b eliev e “ S o lo ” overseas potential?

has

It is a love story and, therefore, has universal appeal. It is the story of a man who grew up in the fifties falling in love with a girl growing up in the seventies. It handles single parent/single child situations, a very topical theme. It also explores man’s great passion for flight. All these things give it a tremendously wide appeal.

How do you intend selling it overseas?

A fter the initial release in Australia and New Zealand, we will take it to Cannes. Apart from that, Tony and I have contacts in the U.S. and Britain whom we will be seeing.

What sort of financial deal do you have with your backers?

I think a very good one. The backers have 6636 per cent and we have 33 V3, which is better than the usual split in Australia. This has e n a b le d us to give a good percentage to the cast and crew.

Did you give percentages instead of high fees?

Nobody on the film got a very high fee, but certainly nobody was scratching for a living. Obviously we wanted a good ensemble feeling, which I believe is only created by those involved being shareholders in the production.

C o n c lu d e d on P . 8 5

Cinema Papers, 1978 Cannes Special — 83

T O N Y W IL L IA M S Director How do you feel about co-produc­ tion with Australia?

I feel it is our only hope of sur­ vival. Over the years we have lost g a ffe rs , c a m e ra m e n , e d ito rs , directors, producers, writers and actors to the A ustralian film industry. Our market is too small for us to get our negative costs back here, so it is important that we work hand in hand with Australia. Not only bringing Australians here, but bringing back New Zealanders too.

What we can offer Australia is another three million people, which helps the box-office, as well as additional areas of finance not available to purely Australian films.

How did you and Martyn Sander­ son go about writing “Solo”?

It was my outline. I got together with David in Sydney and discussed it with him. He liked it, so I wrote the treatment. Martyn then came in and we worked as a team. For example, I would write a skeleton outline for a scene and give it to Martyn, who would either rewrite it or say it was good enough to leave as it was. If he rewrote it, he would then hand it to me and I would correct what he had written. It was a collaborative effort.

Tony Williams is perhaps the best-known film director working in New Zealand. He was assistant cameraman for Pacific Films when he was 16 and five years later director of photography on two New Zealand features, “Runaway” and “Don’t Let it Get You”.

Williams made his debut as a director on two docu­ mentaries for the BBC “ Release” program: “ Takeis Unlimited”, shot in London and Paris, and “Sound the Trumpet, Beat the Drum”, made in Iran.

Williams returned to New Zealand and spent five years making independent documentaries for New Zealand tele­ vision, three of which won the Feltex “Best Television Program of the Year” award in consecutive years. He directed a one-hour musical special for American tele­ vision, and the “First Edition”, which was to become the widest distributed New Zealand film.

Williams’ previous production, “Lost in the Garden of the World” — shot at the Cannes film festival — has received festival screenings in New York and Edinburgh.

Williams now operates his own company in Wellington, New Zealand.

You were a cameraman and editor before becoming a writer and director. What influenced you to move from one area to another?

I was always interested in films and wanted to direct. It was really a matter of taking the opportunities as they came, so I started off as a camera assistant. I was in my early twenties when I lit two feature films for John O ’Shea (Runaway, Don’t Let it Get You). Then, I left New Zealand. I wanted to stop being a technician. I worked with Sandy 84 — Cinema Papers, 1978 Cannes Special

Do you feel that the resurgence of the Australian film industry has had any effect on New Zealand?

Very much so. Until now a feature film was a distant dream we all aspired to, but couldn’t really see happening. It wasn’t until I began to see people I had known as camera assistants at Supreme Sound many years ago, turning out superb work as directors of photography, and c o m m e r c ia ls ’ d i r e c t o r s directing superb feature films, and spent some time at Cannes a couple of years ago interviewing Aus­ tralians for a documentary I was making on the Festival, that I realized these were our people; they w eren ’t B ritish, they w eren ’t American, they were Australians and they were our friends, very much like us, thought like us, were the same age as us. So I thought, well, I have as much talent as these people, so what was possible for them was possible for me.

How do you relate to the actors in “Solo”?

How do you as a director feel about having a producer always around on the location?

In David’s case it doesn’t worry me at all, because we complement each other very well. He is creative, very enthusiastic, and has terrific energy. If it was someone else .. . for instance, I worked on The Rise and Rise of Michael Rimmer in London, where the producer used to come down if we were going into overtime and tell the gaffer to turn the lights out. There would then be an argument between him and the gaffer, and, of course, the director.

We have never been involved in any of those situations.

David and I are co-producing the film, so it isn’t like having someone watch over your shoulder.

have been luckier than most and have a very comfortable existence here. But it’s ironical that I have had more support from the U.S. and Australia than I have had from my own country.

Lead actress, Lisa Peers, and director, Tony Williams.

McKendrick in Hollywood and for a period with Alain Resnais in Paris.

In Paris I decided that editing was closer to the process of writing and directing, so I gave up the camera and joined the BBC as an assistant editor, got my ticket and then went freelance as an editor and began directing in London before I came back to New Zealand. I always wanted to be a director, but you can’t start directing films, you have to know something else first. I started off as cameraman by chance.

Do you always edit your own films?

No, not always. I have edited many of my films but more recently I have worked with an editor I used to work with at the BBC, Ian John.

He is not available for Solo as he is editing Sleeping Dogs. There was

nobody else I felt secure with, and as I have edited features I decided to cut the films myself. In fact, I would prefer to work with an editor, because it’s better for the director to keep some sort of distance from his work. However, until I meet a feature editor I feel happy with, I will probably continue to cut my own films.

As a director, do you find New Zealand a good place to work in?

As a New Zealander I have an affinity for the country. I have always wanted to live and make films here, but it’s very frustrating.

Freelancing New Zealanders have a hard time trying to get experience directing dramatic productions. We have an enormous television system, but they don’t like using freelance directors; they keep importing refugees from the BBC and ITV. I

We are trying to make Solo a very intimate and personal film. Because there are only a few actors we’ve had time to develop each role as well as develop close relationships.

For example, when we first met Perry Armstrong, who plays the 14year-old boy, he was a rather pale, quiet schoolboy. But now he has blossomed into a fantastic human being.

We spent a week in the Sounds working on improvizations and developing roles and have some beautiful performances from all the actors.

How do you define your role as a director?

I prefer to act as the first member of the audience to see the film.

Everyone else on the crew has so many technical problems to worry about — lighting, camera, sound — that a director should, for my taste, be the one concerned with how the shoot is going to look to an audience. I don’t ever scream or shout, and I believe in holding con­ versations with the actors instead of yelling out orders from behind the camera like a sergeant major.

Actors are vulnerable people who need to be given support; they should never be criticized in front of the crew. ★

GEORGE DREYFUS

Ivan Hutchinson George Dreyfus is one of the small number of professional musicians working in Australia who manage to make a living by concentrating almost exclusively on compos ing. It is only in recent years, however, with the growth of locally-made television programs and films that this has become even remotely possible. Dreyfus’ composi­ tions range from chamber music to opera, and have been performed in many countries, but it is his work in films and television which concerns us here.

Dreyfus came to Australia with his parents before World W ar 2 and was educated at Melbourne High School, after which he spent what he described as a “disastrous” year at the Conservatorium of Music at Melbourne University. There he attempted to learn the bassoon, but claims that his enthusiasm far outshone his musical ability.

He left the Conservatorium in 1948, having failed to pass the exams, but continued his study of the bassoon. Two years later he joined the orchestra for the opera season of 1948 sponsored by J. C. Williamson. Staying on, Dreyfus then played for “South Pacific”, “Annie Get Your Gun ”, “Oklahoma” and the Ice Follies.

Dreyfus was doing some arranging and composing at this time but was p re­ dominately an orchestral musician. This stint in the pit orchestra later proved invaluable e x p erien ce because he learn t about orchestration the hard way and learnt it from observing the work of some of the finest American theatre-music arrangers.

Dreyfus then joined the Melbourne Symphony Orchestra, the ne plus ultra at that time of Victorians hoping to make a living out of performing orchestral music.

But he soon found that the “strict regimenta­ tion” was not at all to his liking. He was recognized as a bassoon player and successful at it but his unhappiness forced him into developing his talents as a composer.

In the early 1950s, Dreyfus left for Vienna and studied there for two years. On returning to Australia he began writing chamber music for himself and his friends, and gained some recognition. Then, Dorian

George Dreyfus working on his score for Let the Balloon Go, his most imaginative and complete work to date.

Le Gallienne, a well-known composer and critic of that time, who had written a score for Tim Burstall’s film The Prize, was forced by ill-health to withdraw from another project of Burstall’s, a series (of 12 episodes) which the ABC had commissioned called The Adventures of Sebastian the Fox. Le Gallienne suggested to Burstall that Dreyfus take over the work. Dreyfus went to work with an orchestra consisting of only a piano and three wind instruments. He conducted the score without click-track or any of the devices today considered essential to film music, but it worked, and, optimistically, he left the orchestra and worked with Eltham Films. Not long after, however, Eltham Films closed down.

Dreyfus has been writing almost con­ tinuously since for films, somewhat to his surprise as he had no idea then, along with nearly everyone else, that the renaissance of the Australian film was approaching.

Between 1963 and 1973, he wrote scores for nearly 12 documentaries for the Com­ monwealth Film Unit, for the ABC series Delta and Marion, and for the Phillip Adams-Bruce Petty film Reflections in Vietnam, among others. (With regard to the latter, Dreyfus’ music was bartered with a cover design by Petty for the Philips recording of Dreyfus’ “Golden Lieder Song Cycle” .)

In 1974, the ABC made Rush, and with the theme music Dreyfus soon had a hit on his hands. It captured the public imagination and it became, in a version played by Brian May and the ABC showband, one of the most successful Australian instrumental records of recent times. Dreyfus claims he put 10 years of experimentation into the theme because in the early 1960s he had written versions of Australian folk songs for a projected version of the Ned Kelly story which Tim Burstall wanted to do. (In the

always thought that a producer owes it to those who have invested in his judgement to involve himself totally in every area.

Well, I intend to. But when I do, it would be something so totally personal that it couldn’t be under­ stood or done as well by anybody else. Until that situation arises, I am quite happy working as a producer.

event, the money could not be raised and Tony Richardson did the story with less than exciting results.) Some of this music was scored and performed and, in addition, he wrote for his Expo music for Japan a “mock Australian” folk song (part “Click Go the Shears” , part “Waltzing Matilda") which he scored for the Sydney Symphony.

Whether as a result of this obvious success or not, commissions have been coming since. He wrote the music for one of the finest of recent documentaries, Film A ustralia’s A Steam Train Passes, the musical theme for This Day Tonight (Victorian edition) and for possibly the most successful, certainly the most prestigious, of all recent ABC television series,-Power Without Glory.

But it was not until 1976 that Dreyfus moved into the feature film world, scoring both Let the Balloon Go and Break of Day. Dreyfus describes the latter as a “dream film” for the composer as the film is visually very strong with dialogue kept to a minim um. 'M usic th e re fo re plays an important part in the film, and in response to my question as to the type of music he felt the film had needed he replied: “Well I don’t think I could have done music of the day the way John Barry did in The Day of the Locust where they just played, in my opinion, the old records. (Actually he did a little bit of scoring.) Then the other one with Liza Minnelli, Lucky Lady; fabulous ar­ rangements — 1970s arrangements, superb sound, but I don’t think we should have done that either, it would have been quite tasteless to have film music playing Roy Agnew’s piano music. So what I’ve done is tc write a love theme. Not Summer o f’4 2 , but 1 was essentially in a situation where I could write my own love theme.”

Dreyfus would like to be in a position where he could concentrate on one film score a year. He is adamant about having control over the sound of his music and he has no desire to let others orchestrate his musical ideas ( “I don’t think the money’s good enough for me to split it, you see” ), and he feels very strongly that composers should stick to the music they do best. Amplifying this last statement, he feels that before accepting an assignment, he would like to have his music heard by those making the film, the director or the producer; they should be “sure whom they’re getting and also sure of whether there is plenty of evidence of ability and style” . ★

David Hannay C o n tin u e d f r o m P. 8 3

How do you see your involvement in a film?

As a creative one. I like to involve myself in every aspect of making the film — scripting, casting, make­ up, locations, perform ances, art direction, post production — every­ th ing. F o rtu n a te ly , th is h a sn ’t created a problem with any of the other contributors, because most of the time I have been in accord with their views anyway, and on the few occasions there were disagreements e v e ry th in g was w o rk e d out amicably. During the shooting I was on location all the time and saw every foot of film shot. I have

If you feel that involved, why aren’t you directing the film as well?

Firstly, the possibility of my directing this film was never in question. Tony and I have been talking about making films together for the past six years, and he was always going to be the director of any film we did together. I love his work — always have.

What about directing generally?

Why did you cast Vincent Gil and Lisa Peers in the leads?

I’ve known Vince Gil for 10 years and I think I’ve probably seen everything he has done. He is my favorite actor, so when Tony and I talked about the character of Paul Robinson, I knew that Vince would be great for the part. So I took Tony round to meet him and then showed him an episode of Bluey in which

Vince guest-starred and he really dug him and agreed with me.

Casting the girl wasn’t that easy. I had instantly understood who Paul Robinson was, but the initial idea I had for Judy was not the same as Tony’s. He obviously knew the character better than I did, so he had to tell me about her beyond what was in the script, as the c h a ra c te r in many ways was someone in his life that was im­ portant to him. We fined it down to two people; both were right, and we looked at their work on film before making a decision. Although we couldn’t talk with Lisa because she was in New York, she had the right quality for the film. ★ Cinema Papers, 1978 Cannes Special — 85

Home, a study of the child welfare system.

Barbara Alysen There has been a much-vaunted upsurge in “ wom en’s films” , a term used commonly to describe the sudden abundance of serious roles for women actors — from Vanessa Redgrave and Jane Fonda’s laundered politics in J u li a , A nne B ancroft and S hirley McLaine’s thwarted ambition in The Turning Point, to Diane Keaton’s new-found sexual licence in Looking for M r. Goodbar.

Certainly women want to see, and are seeing, more realistic and identifiable images of them selves reflected in feature films, in d ep en d en t films have, how ever, been dealing rather realistically and unglamorously with women’s lives for years. Recently, with grant funding more accessible and women in the full-time program and wom en’s course at the Australian Film and Television School, independent wom en’s films have become more numerous.

Late last year, many of these films were brought together under the general title “ W omenwaves” , and screened for one month at the Sydney Filmmakers Cinema. Currently, the package is showing in similar venues interstate.

Assembled by the Sydney W omen’s Film G roup, the films are grouped into four th e m a tic p ro g ra m s: “ S e x u a lity /L o v e / Relationships” ; “ Image/Space/Creati vity ” ; “ Social Action Issues” ; and “ M yths/Dream s/ Fantasies” .

The categories reflect convenience rather than precise definitions of content. Moreover, no value judgments were made, at least formally, when films were submitted for inclusion in the collection; this has led to an enorm ous divergence in style, content and technical proficiency.

In Sydney, there were a few cases of titles being shown at double-head stage or with opticals pencilled over the workprint. Yet, despite these flaws, the Co-operative cinema was consistently packed for the month-long season.

86 — Cinema Papers, 1978 Cannes Special

Margot Oliver s The Moonage Daydreams of Charlene Stardust, one of the films produced by the Women s Film Workshop in 1974.

The enthusiasm with which the 40 films and video tapes were received suggests that films exploring women’s lives are in demand and that audiences are not overly discriminating about how they are made. Content, even if haphazardly expressed, is what matters.

The chronology of independent women’s production, in Sydney at least — and Sydney leads here, perhaps because of easier access to funding bodies — reinforces this leaning towards the suprem acy of message over means.

The Australian founder of the film tradition to which the Womenwaves films are heir, is W omen’s Day 20c. The film, made in 1972 by four women, is about the loneliness and desperation of a young housewife. It was shot without sound, as cheaply as possible, yet six years later remains a powerful statement.

During 1973, Sydney W omen’s Film Group members completed Film for Discussion (questioning the narrow range of choices open to women in work and at hom e); Home (made as part of the campaign to change the child welfare system, especially in relation to its treatm ent of teenage girls); and imported the American W omen’s Film because it was judged to fill an important gap in the local product.

While these early films suffer to varying extents from the technical deficiencies that accom pany low budgets, they convey an urgency, a clear ra iso n d ’etre , not obvious in some more recent films. These films are clearly the work of people with something to say (rath er than of those with artistic complexes to work off), and can’t be judged by whether they make money for investors.

Rather, they have to be judged by their utility and the demand that exists for them. In this respect, films such as those mentioned above have aged well.

The films produced by the 1974 W omen’s Film W orkshop reveal the changing concerns of women filmmakers. Among the 10 or so films produced, there are titles with a marked feminist leaning — such as What’s the Matter

Sally?, (about housework), The Moonage Daydream s of Charlene Stardust (wishful adolescence) and W omen’s House — as well as films about personal relationships, and experimental works. A year later, when the women in the first year of the full-time program at the Australian Film and Television School finished their first productions, this division was quite marked.

Of those first full-time program AFTVS films, only Martha Ansara’s Don’t Be Too Polite G irls (on working women) reveals a strongly political line. Other films are about individual women, or have female characters, but they appear more intent on entertaining than on preaching or informing.

Obviously, there is nothing wrong with entertainm ent p e r s e , but the market for independent films is still largely a n o n ­ theatrical one, and people who are prepared to set up a projector in their home, school or hall, are still more likely to want to be instructed

Margot Oliver’s film on the problems faced by women seeking higher education, Charlene Does Med at Uni.

WOMENWAVES

It is like taking a shower with a raincoat on: Gilly Coote’s Getting It On.

than entertained. ^ So, it is largely “ message” films which have found an audience, and maintained it, and while “ W om enw aves” has so far been successful as a theatrical package, it will be interesting to see how individual titles fare in the rental market.

Some of the films explore the now familiar territory of the genre — consum erism , housework and self-image — while others reveal new preoccupations. Nearly half, for e x a m p le, deal w ith re la tio n s h ip s , sex , procreation (or its avoidance) and parenthood, A few also go to show how there are few things more boring than the filmm akers’ best friends recorded on celluloid. Most films, however, are insightful, revealing or frighteningly direct.

In Liz R u s t’s v id eo ta p e D e f in itio n s / Redefinitions, the tapemaker and her exspouse reveal that their marriage has been a farce; in Barbara Levy’s P aralysis, Levy explains her infatuation with her former lover and her breakdown on his departure. Part of the film consists of animated stills of a woman in various states of anguish, accompanied by the sound of her sobbing. While the acme of personal cinema, Paralysis is also a very general film, describing the responses of a great many women to emotional loss.

Similarly, Debbie Kingsland’s All in the Sam e Boat is an individual rendition of a much-discussed dilemma. Covering similar ground to Woman’s Day 20c and Graham

An erotic, feminist pot-pourri — We Aim to Please. Robin Laurie and Margot Nash.

Shirley’s A Day Like Tomorrow, All in the Same Boat follows the daily routine of a western suburbs housewife, a m other of two small children who is trapped at home and frustrated with her role. Her husband regards her as a good wife, one who simply needs a bit of checking up on now and again. She regards him as a good husband, one who tries, but who can’t understand her predicament. At night he slumps in front of the television and they converse during commercials. Her need for something which dulls the senses and quietens the nerves is revealed gradually and confirmed as a chemist counts out the tablets and types up the label — V. A. L. I. U. M. Produced at Film Australia for the Health D epartm ent’s drug education program, All in the Same Boat doesn’t offer solutions, and anything other than long-term proposals would be inexcusably facile. Instead, it provides a kind of cam araderie betw een w om en sharing a com m on predicam ent, Hopefully it will be seen by many schoolgirls, forcing them to question the limited horizons of the career of “ hom em aker” , Gilly Coote made Getting It On specifically for screening to high school students, to dispel the popular notion that a condom is worn “ over two erect fingers” . A combination of animated and live footage, Getting It On takes an effervescent approach to one of life’s most d e p re ssin g s u b je c ts, and is u n iq u e in suggesting that men, too, have contraceptive

Paralysis, Barbara Levy’s look at a woman’s emotional breakdown.

responsibilities.

For those who missed Getting It On and are approaching m otherhood, Barbara Chobocky’s Gentle B irth (which like Gilly Coote’s film was produced at the A FT VS), shows the birth of a child under the Le Boyer method. This method is intended to minimize the trauma for the baby, and the film, depicting a relatively easy delivery with beaming mum and docile child, elicits varying responses from women viewers: some are grateful for proof that labor and childbirth need not be crushingly painful for the m other, while others are adamant that since it might be, Gentle Birth is misleading.

Other depictions of sexuality offered by “ W omenwaves” include Robyn Laurie and Margot Nash’s erotic feminist pot-pourri We Aim to Please, a collage of doubts and assertions; and, conveying the life of a girl who doesn’t make her own choices, Linda Blagg’s J u s t Me and My Little Girlie which deals with father-daughter incest — his dominance of the teenager and her acquiescence to this extreme form of parental authority.

The remaining films span such diverse topics as contemporary dance (Dialogue, Rosalind Gillespie), the depiction of women in rock m usic (G len d a S haw ’s T h ey C a ll Us C hickens) art (Sue W ilson’s Boxes, Sarah G ibson’s A ilsa — A W oman Sculptor) and the problems faced by women seeking higher education (Margot Oliver’s C harlene Does Med at Uni, Sandra Alexander’s Women R eturning to Study).

F in ally , lest an y o n e still th in k s th a t “ fem inist” equals “ dour” , Jude Kuring and others parody the better known polemic in The Carolina Chisel Show, a loose amalgamation of cliches, political manoeuvres and music which has been curiously well received, considering that it has something to offend nearly every faction and tendency currently in vogue. _ Inevitably, grouping 40 films together involves a degree of thematic repetition, but th is , plus som e in te r m itte n t tec h n ica l s l o p p i n e s s , e s p e c i a l l y in th e s o u n d departm ent, is the most notable fault in the collection and probably, given the purpose to which most of the films are directed, is a superficial one.

The Sydney screenings were punctuated by tw o fo rm a l d is c u s s io n s w h ic h , w h ile inconclusive, suggest that the audiences these films attract tend to be forgiving of technical faults, if not ideological ones. ★ Cinema Papers, 1978 Cannes Special — 87

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P R O D U C T IO N SURVEY 35mm PRE-PRODUCTION THE BLOODY HALF MILE Prod Company............... Austral American ..

Funding Co. Inc. P/L Director................................ Eric Fullilove Screenplay........................ Tony Morphett Original Story........... James Norwood Pratt Exec Producers.......................... C.P. Herr " A.J. Helgeson Technical Advisors............... Marian Dryer, Ivan Chapman Budget..................................... $750,000 Length........................................... Feature Progress......................................Scripting and Pre-Production Synopsis: The confrontation, in the streets of Sydney, between American and Australian troops during World War II.

GALLIPOLI THE UNKNOWN INDUSTRIAL Prod Company.................. South Australia PRISONER Film Corporation Prod Company..................... Film Australia 35mm POST-PRODUCTION Director................................... Peter Weir Director........................... Arch Nicholson Screenplay....................David Williamson, Screenplay........................ Alan Seymour, Peter Weir Ken Cameron, Producers........................................ MattCarroll, Based on the novel by David Ireland DAWN! John Morris Producer.......................... Richard Mason Progress.............................Pre-Production Budget..................................... $500,000 Synopsis: The epic story of the Anzac Length........................................ 120 min See Production Report pages 339-347. landing at Gallipoli.

Progress.............................Pre-Production

Runner..................................... Rosie Lee Budget..................................... $400,000 Length...........................................90 min Color Process..................... Eastmancolor Progress........................... Post-Production Cast: Ruth Cracknell, John Frawley, Kerry Walker, John Derum, Maggie Kirkpatrick,’ Terry Camilleri.

Synopsis: Exploiting the furore surrounding her attempted rape, a young woman emerges from the claustrophobia of a wealthy conservative family and turns from victim to criminal, stalking the streets of Sydney by night in a relentless pursuit of her own liberation.

NEWSFRONT THE HOUSE UPSTAIRS ZODIAC FAIRGROUND Prod Company.............. Clare Beach Films Prod Company..................... Avalon Films Prod Company— Palm Beach Pictures P/L Screenplay........................................ TedRoberts Dist Company.......................... Intertropic Dist Company............... Village Roadshow Producer............................. PatriciaLovell Screenplay.......................... PhillipAvalon, Director................................... Phil Noyce Music............................... Bruce Smeaton Austin Levy Screenplay................................ Bob Ellis MAD MAX Progress.............................Pre-Production Producer....................................... PhillipAvalon Producer................................David Elfick Synopsis: A young lawyer decides to save a Photography................................... BrianProbyn Assoc Producer............... RichardBrennan Prod Company.................Mad Max Pty Ltd row of terrace houses from a developer of an Editor......................................... Rod Hay Photography.. : ..............

VincentMonton Dist Company.......................... Roadshow office block complex. To his dismay he Titles........................................... YorramGrass Director.......................... ,.. George Miller Editor................................................ JohnScott discovers illegal activities in two of the Length.........................................96 min Prod Manager.................. RichardBrennan Screenplay............... James McCausland, houses.

George Miller Progress.............................Pre-Production Art Director........................................LarryEastwood Producer.......................... Byron Kennedy Release Date...................... January, 1979 Prod Designer........................ Lissa Coote BLUE FIN Prod Secretary....................... Lynn Gailey Assoc Producer.................................... BillMiller MAGGIE Cast: To be announced.

Photography..........................David Eggby Costume/Wardrobe......... Norma Moriceau Prod Company......... South Aust Film Corp Prod Company...... Australian International Synopsis:A futuristic drama set in a Asst Wardrobe............................... SusanBowden Editor................................. Tony Paterson Director............................................ CarlSchultz Film Corp P/L fairground.

Sound Recordist................................ TimLloyd Product Asst.................. Tom Broadbridge Screenplay.............................. Sonia Borg Dist Company...........Filmways Australasian Prod Accountant...................... PennyCarl Art Director........................... JonDowding Adapted from the novel by Colin Thiele Distributors P/L Sound Editor............................. Greg Bell Prod Co-ordinator..................... Jenny Day Producer................................ Matt Carroll Director..................................Ross Dimsey Assistant Directors............................ ErrollSullivan, Costume/Wardrobe............... Clare Griffin Music................................ Michael Carlos Screenplay....................... Robert Maumill 35mm IN PRODUCTION Sound Recordist....................Garry Wilkins Chris Maudson, Photography.............. Geoff Burton A. C. S Producer.......................Antony I. Ginnane Asst Directors..................................... IanGoddard, Steve Andrews, Editor................................ Rod Adamson Exec Producer................. William Fayman Steve Connard Danny Torsh Prod Manager....................Ross Matthews Prod Manager.................................... BarbiTaylor Des Sheridan Camera Operator.............................

Louis Irving Art Director....................... David Copping Prod Secretary................................. JennyBarty Focus Puller........................ DavidBrostoff Camera Asst...................... Harry Glynatsis Prod Secretary..................... Barbara Ring Length............................................ 1 00m Boom Operator..................................

Jack Friedman LITTLE BOY LOST Boom Operator...................Mark Wasiutak Costume/Wardrobe............ Anne Bleakley Color Process...............................Eastman Clapper/Loader................... SteveDobson Clapper/Loader................................... TimSmart Sound Recordist..................Don Connolly Prod. Company................................. JohnPowell Progress........................... Pre-Production Gaffer.............................Brian Bansgrove Gaffer................................ Lindsay Foote Asst Director...................................... PatClayton Productions • (shooting June 1978) Continuity........................... Adrienne Read Continuity.......................... Shirley Ballard Camera Operator..................... John Seale Synopsis: An examination of the values and Director............................................JohnSpires Construction Manager........................ BillHowe Casting Consultants.... Mitch Consultancy Focus Puller............................ David Burr social attitudes of an insular rural town in Producer........................................... AlanSpires Carpenter...........................

Danny Burnett Gaffer......................................Tony Tegg Asst Art Director............... Steve Amezdroz Australia in 1978.

Progress.............................In Production Continuity............................. Moya Iceton Grips.............................. Noel McDonald, Cast: Lorna Leslie, John Hargreaves, John Second Unit Photography........ Peter Moss, Frank Hammond, David Cassar Casting Consultants............ M & L Casting Jarrat, Gulpilil.

Oscar Scherl Stunt Co-ordinator.................. Grant Page Asst Art Dept.......................... Harry Zettel MY BRILLIANT CAREER Synopsis: Based on the real-life story of Asst Art Director...................................Lee Whitmore Traffic Supervisors.............

Andrew Jones, Set Decorator...........................Ken James a four-year old boy lost in the bush. Details Prod Company......Margaret Fink Films P/L Set Decorator.................................. SallyCampbell Stuart Beatty Grip................................ Graham Mardell Dist Company....... Greater Union Film Dist available.

Chef Grip..........................................

Ray Brown Unit Manager..................................... JohnHipwell Standby Props...................................ClarkMunro Director............................. Gill Armstrong Grip.................................... Stuart Green Mechanics....................... Spanner Argon, Props Buyer........................................ NeilAngwin Screenplay/Scriptwriter. Eleanor Witcombe Stunt Co-ordinator............................ MaxAspen Scallop Orchard Set Construction.................. HerbertPinter Producer..................................... MargaretFink Asst Editor....................Frans Vandenberg Still Photography................................ ChicStringer Length...........................................90 min THE MONEY MOVERS Music................................... NathanWaks Hairdresser............................. Ben Taylor Color Process.............................Eastman Photography.................................. RussellBoydProd Company.. South Australian Film Corp Stand-by Props............... Peter Glencross Hairdresser....................................... IreneWallsBest Boy........................... Garry Plunkett Progress........... Shooting Starts May 1978 Editor................................ Nick Beauman Director......................................... BruceBeresford Best Boy.............................................PaulGantner Special Effects.................................. ChrisMurray Synopsis: “Snook" Pascoe is a young Port Art Director....................... Luciana Arrighi Screenplay.................................... BruceBeresford Makeup.............................................SallyGordon Length........................................ 100 min Lincoln schoolboy whose father , runs a Gaffer.............................Brian Bansgrove Adapted from the novel by Devon Minchin Catering...........................,. Richard Ford Color Process............... Todd AO, Eastman tuna boat — Blue Fin. Clumsy, gaunt and Casting Consultants.........M and L Casting Script Editor........................ HaroldLander Still Photographer............... MikeGiddens' Progress..........................Post-Production something of a misfit at school and in the Length...........................................Feature Producer............................................MattCarroll Cast: Mel Gibson, Joanne Samuel, Vince community, he has his finest hour when Progress.............................Pre-Production Photography....................... Don McAlpine Unit Manager.............................. Bob Hill Electrician........................................

Peter Moyes Gill, Hugh Keays-Byrne, Roger Ward, Steve “ Blue Fin” far out at sea is wrecked by a Synopsis: From Miles Franklin’s first novel Editor................................................ BillAnderson Runners................................Sandy Beach waterspout and the remainder of the crew about a gifted, original and witty girf in the Prod Manager.................................... PatClayton Bisley, Katie Morgan, Tim Burns, Lulu Pinkus, Nick Lathouris, John Ley, Steve lie injured or dead. Excitement, adventure, bush who doesn’t see why romance must Art Director..........................David Copping Budget.................................... $505,000 Millichamp, Sheila Florance, Max Fairchild, courage and endurance. Gives a highly lead to conventional marriage ties and Prod Secretary.......................Barbara Ring Length....................................... 110 min Steven Clark, George Novak, Reg Evans, readable insight into the tuna fishing preclude an adventurous, creative life of Costume/Wardrobe................ AnnaSenior Color Process..................... Eastmancolor Progress..........................Post Production Hunter Gibb, John Farndale, David Bracks, industry and the liven of the fishermen. freedom. .

Sound Recordist................................ DonConnolly Release Date......................................May,1978Paul Johnstone, Geoff Parry, Nic Gazzana, Sound Editor........................................ BillAnderson Cast: Bill Hunter, Wendy Hughes, Gerard Howard Eynon, Bertrand Cadard, David Asst Directors.................................. MarkEgerton, Kennedy, Chris Haywood, John Ewart, BRAINWAVE Cameron, Jonathon Hardy.

THE ODD ANGRY SHOT Mark Turnbull Angela Punch, Bryan Brown, John Clayton, Synopsis: The gladiatorial road culture. A Prod Company. Brainwave Productions P/L Prod Company.... Samson Productions P/L Scott Hicks Don Crosby, John Dease, Drew Forsythe, few years from now . . .

Director............................’.. Alex Morphett Camera Operator................................JohnSeale Director..............................................TomJeffrey Tony Barney, Bill Lyle, Paul Jones, Mark Screenplay.........................Tony Morphett Focus Puller.............................David Burr Screenplay.........................................TomJeffrey Producer........................................... DougMichels Clapper/Loader................. David Foreman Holden, Rob Steele, Bruce Spence, Les From the novel by William Nagle Foxcroft, Brian Blain, Lana Lesley, Sue Budget.................................................. $1million Gaffer............................................... RobYoung OCEANS -Producers.............................Sue Milliken, Walker, Johnnie Quicksilver, Bunney Length........................................ 100 min Tom Jeffrey Continuity.............................. MoyaIceton Brooke, Gerry Duggan, Denise Otto, Anne (working title) Gauge.......................... 35mm Panavision Budget..................................... $600,000 Casting Consultants........... Allison Barrett, Prod Company.................. Yarra Films P/L Haddy, Marshall Crosby, Alex Archdale, Progress............................Pre-Production S.A. Casting Ken Length...........................................Feature for the Victorian Film Corporation Bernard, Jane Winchester, Alan Release Date.......................January 1980 Progress.............................Pre-Production Art Dept Buyer........................ NeilAngwin Penney, Peter Pilcher, Jude Kuring, Berys Director................................... EricLomas Synopsis: Thestory is about an SAS Standby Props........................ Clark Munro Marsh, Slim de Grey, Kay Eklund, Kit Taylor, Music..................................... MikeBrady Asst Art Dept...................................

Harry Zettel commandopatrol ona year's tour of duty in Photography....................................... EricLomas Don Philps, Peter Carroll, Graeme Smith, DIMBOOLA Set Decorator......................................KenJames Vietnam.

Editor...................................... Tim Lewis Robin Moase, Franco Valentino, Brian Grip........................................David Petley Anderson, Prod Company.......................Pram Factory Ray Marshall, Tessa Mallos, Ray Prod Manager.......................Chris Batson Stunt Co-ordinator..................... Alf Joint Productions Pty. Ltd. Sound Recordist..................... GeoffWhite Meagher, Chad Morgan, John Flaus, SIMMONDS AND NEWCOMBE Asst Editor.......................Jeannine Chialvo Director........................................... JohnDuigan Stephan Bisley, George Till.

Camera Asst......................Jack Endacott Screenplay.......................... Jack Hibberd Prod Company................. Verite Film Prod, Construction Manager......... Herbert Pinter Asst Editor...........................

Chris Batson Still Photography.................

David Kynoch Producer............................... John Weiley M. & L Pty Ltd Length...........................................

1 5 min Technical Advisor.............. Devon Minchin Assoc Producers..................... John Timlin, Director............................................. PhilNoyce Color Process.............................Eastman Best Boy........................... Peter Maloney ■Max Gillies Screenplay....................................... KenCameron, THE NIGHT THE PROWLER Progress..........................Post-Production in association with Les Newcombe Makeup.............................................JosePerez Music................................ George Dreyfus Synopsis: The coastline of Victoria is an Special Effects..................... Ian Jamieson Prod Company...........Chariot Films Pty Ltd Producers...................................... HilaryLinstead, Photography..................................... TomCowan area of spectacular contrasts. The film aims Phil Noyce Titles.............................Optical & Graphic Director............................... Jim Sharman Editor.............................................. TonyPaterson to capture this unique beauty and to create Assoc Producer................................. RossMatthews Budget..................................... $500,000 Screenplay.......................... Patrick White Prod Manager.................................... VickiMolloy an awareness of what it has to offer.

Length...........................................95 min Producer........................ Anthony Buckley Prod Secretary................. LaurelCrampton Photography........................ Russell Boyd Music...............................

Cameron Allan Color Process............................Eastman Costume/Wardrobe............... Rose Chong Editor..................................David Huggett Photography..................

David Sanderson Casting Consultants.............M. & L Pty Ltd Progress....................Shooting April, 1978 Margot Lindsay Budget..................................... $762,000 Cast: Ed Devereaux, Terry Donovan, Tony Editor................................. . Sara Bennett Sound Recordist.............................. LloydCarrick Prod Manager............................Pom Oliver Camera Asst..................... WolfgangKress Length...............................Approx 110 min Bonner, Frank Wilson, Charles Tlngwell.

Progress.............................Pre-Production Synopsis: Dick Martin, an ex-pollceman Prod Designer............................... LucianaArrighi Boom Operator.................................. PhilStirling Unit Manager.................................. BrianRosen dismissed for taking a bribe, is robbed while Gaffer...............................Brian Bansgrove working as a security guard for Sacs Prod Secretary.................... Su Armstrong Continuity............................................. JillTaylor Costume/Wardrobe..............

Anna Senior Stand by Props..................... John Koning 24 FRAMES A SECOND OR IN LIKE Security Services. He then joins D’arCy’s Sound Recordist...................Don Connolly Security Services, who believe they are Grip................................................. PaulAmmitzboll FLYNN Mixer...................................

Peter Fenton to be robbed, too. They suspect an Still Photograph............................. PonchHawkes Prod Company............... Scimitar Pictures going inoffensive-seeming recruit though the Sound Editor........................Paul Maxwell Budget..................................... $350,000 Australia P/L robbery Asst Directors.................

Elisabeth Knight, is actually being planned by an old Length...........................................95 min Director................................Allen Bickford Keith Heygate, Color Process..................... Eastmancolor Screenplay......................... Allen Bickford employee. The elaborate robbery is planned Brian Rosen Progress.............................Pre-Production Producer........................... Allen Bickford to take place when most of the staff are at a Camera Operator...................... KevinLind Cast: Max Gillies, Bruce Spence, Nathalie Exec Producer........ Simon Smith-Peterson Union meeting and only starts to go wrong Focus Puller.............................. David Burr when Martin notices a flaw in the replica Bate, Jack Perry, Irene Hewitt, Tim Assoc Producer..................... Yvette Rees armoured car which is the key to the Boom Operator................Chris Goldsmith Robertson, Kerry Dwyer, Bill Garner, Evelyn Progress............................Pre-Production Clapper/Loader.................. Mike Gambrill Include your current and future Krape, Chad Morgan, Claire Binney, Captain (shooting March 1978) attempted theft.

Gaffer......................................Peter Wood Matchbox. projects in our production Release Date............................ Late 1978 Continuity.......................Caroline Stanton Synopsis: A comedy that traces the Cast: Steve Renyon, Sean Myers, Roberto survey listings. Forward details Casting Consultants............ M & L Casting unusual social history of a small country Occhiplnti, Lisa Dombrovsky, Emma Props Buyer........................ Bruce Barber and stills to: town over the three days that lead up to the Binassi, Ralph Kurl, Alan Hale Jnr., Ken Asst Props Buyer..................Jenny Green marriage of Maureen Delaney to Morrie Hunter, John Feathers.

Stand-by Props........................Harry Zettel McAdam.

Synopsis: Based on extensive research Production Survey, Grip................................. Paul Ammitzbol carried out in Australia, the film is an actionProd Accountant............... Geoff Cameron Cinema Papers, adventure-comedy. It traces Errol Flynn's Asst Editor................................TedOtten 143 Therry St., early life in Australia, to his final exit from Still Photography................................ BrettHilder Melbourne 3000. this country. Several of Flynn’s close friends Hairdresser..........................Trish Cunliffe C in e m a P a p e rs cannot and does not accept Best Boy................................... PatHagen any responsibility for inaccuracies resulting are featured in the cast.

Telephone: (03) 329 5983 Makeup................................................ JillPorter from wrongly completed or untyped Electrician.......................... Roy Majewski production survey details.

PRODUCERS, DIRECTORS

and

PRODUCTION COMPANIES

Cinema Papers, 1978 Cannes Special — 89

P R O D U C T IO N S U R V E Y THE ABC OF LOVE AND SEX Length.............................. Approx 90 min Art Director........................... Leslie Binns Narrator................................ Peter O’Neil Color Process.................... Eastman 7247 Prod Secretary.......................Jenny Barty - AUSTRALIA STYLE Titles................................. Peter McLean Progress..........................Post-Production Costume/Wardrobe.................Kevin Regan Budget....................................... $10,000 Prod Company.......... John Lamond Motion Release date.............................May 1978 Standby Wardrobe.........Aphrodite Jansen Length.......................................... 55 min Picture Enterprises Cast: Patients and staff of Gladesville Sound Recordist.................................PaulClarke Color process...........Eastman 7252, 7240.

Dist Company.......................... Roadshow Hospital, Sydney; Maggie Fitzgibbon; Serge Asst Directors.....................................TomBurstall, Release date..........................March 1978 James Parker Director.............................. John Lamond Martich-Osterman; Bridget; stars of Michael Cast: Reg Gorman, Gillan Gillbert, John THE CHANT OF JIMMIE Screenplay........................ John Lamond, Edgley Circus International.

Camera Operator..............................

Dan Burstall Miller, Wendy Miller, Robin Layset, Grant BLACKSMITH Alan Finney Synopsis: Patients in a mental hospital go Camera Asst..................... Andrew Lesnie Layset, Laurie Deenham, Greegre Martin, through workshop situations in which they Focus Puller...................... Jack Endacott Producer........................................... JohnLamond Mike Martin, Narelle Martin, Sonia Martin. confront themselves, aiming to gain self­ Assoc Producer..............................RussellHurley Prod Company.... Film House Australia P/L Boom Operator.................................. PhilStirling Synopsis: A film on the cycle and all its Photography......... Gary Whapshott (Aust), expression and individual freedom. Using Dist Company................. Hoyts (domestic) .Clapper/Loader..................Robert Murray uses in today’s life style, ranging from Lasse Bjork (Sweden) parallel situations from life outside the Director................................Fred Schepisi Gaffer................................ Stewart Sorby children’s bikes to the businessman, racing Screenplay...................

Fred Schepisi Continuity......................... Fran Haarsma Editor................................. RussellHurley hospital walls, this film seeks to relate these and tour cycles.

Part of the film is on the Prod Manager..................... RussellHarley aims to the society in which we live. Reality Producer.............................. Fred Schepisi Casting Consultant............................ BarbiTaylor restoration of a BSA winged wheel cycle Art Director........................ StephenWalsh versus dream throughout this rich, Assoc Producer.................... Ray Stevens Set Decorator....-..............................PeterKendall which is the only one left in Australia.

Prod Secretary.................. Jackie Horvath contrasting, sad, happy — sometimes even Music............................... Bruce Smeaton Key Grip.......................................... NoelMoodie hilarious —picture of basic human dilemma.

Mixer..................................................BobGardiner Photography............................. Ian Baker Grip..............................Geoff Richardson GOLDEN NATURE Sound Editor..................... Russell Hurley Asst Editor....... Mark Norfolk Editor............................... Brian Kavanagh (working title) Camera Asst......................................JackEndacott Prod Designer................... Wendy Dickson Standby Props.................. John Powditch Prod Company................

The Film Factory THE CAR STRIPPERS Prod Accountant............. Michael Roseby Gaffer.................................................RayThomas Prod Co-ordinator..................Andrea Way Director.......................................... HansStammel Prod Secretary.................... Pam Stockley Catering................................... D&R Prod Second Unit Photography......Brian Gracey Prod Company................ The Film Factory Producer.......................................

HansStammel Director.......................................... HansStammel Props................................................MikeHudson Still Photography. David Parker Producer's Secretary....... Sylvia van Wyck Photography..................................... HansStammel Grip...............................................GeorgeTurner Screenplay..................................... AndyPearcey, Best Boy...........Ian Dewhurst Music............... Recorded at Anvil Denham Prod Asst........................................

Heidei Sommer Choreography.....................Marilyn Rogers Hans Stammel Makeup...................................Jose Perez

by National Philharmonic Orchestra Budget......................................... $6000 Still Photography.. Charles Druss (Sweden) Producer......................................... HansStammel Special Effects............. Conrad Rothmann Costume/Wardrobe......... Bruce Finlayson Length..........................................

25 min Russell Hurley (Aust) Music.................................... M u c k y D u c k Prod Accountant......................... MichaelRoseby Standby Wardrobe.............Dario Gunzberg Color Process.............................. Eastman Runner.................................. PaulHallam Makeup...................... Margaret Archman Photography..................................... HansStammel Sound Recordist........................ Bob Allen Progress.....................

Shooting Budget.................................... $400,000 Narrators..............................Sandy Gore, Editor............................................. HansStammel Mixer.............................Gerry Humphries Release Date.............................June 1978 Michael Cole Prod Manager................ Glenda Hembley Sound Editors.................... Peter Burgess, Length. : .................................... 120 min Synopsis: Musical documentary of the Prod Assts........................................ HeidiSommer, Animation............................ Moderation William Anderson Color Process...................................Agfa return to natureof a gold mining district.

Uma Pillay Progress......................... Awaiting Release Electrician.......................................... RayThomas .

Dean Gawen Nature left to itself will remove or cover up Asst Directors...................Ken Ambrose, Release Date............................June 1978 Titles...................................... Ray Strory Sound Recordist............................... DonMolosch most signs of man’s intrusion or destruction Greg Allen, Cast: Susan Penhaligon, Robert Helpmann, Length.......................................... 85 min Sound Asst............................ OwenWyatt of the district.

Color Process.............................Eastman Asst Director................................... AndyPearcley David Tayles Rod Mullinar, Bruce Barry, Julia Blake, Progress................................. In Release Camera Operator............... Ken Woollams Focus Puller...................................... JohnSwaffield Helen Hemingway, Walter Pym, Maria HAWAIIAN SAFARI Camera Asst...........................Ellery Ryan Mercedes, Frank Wilson, Peter Culpan, Cast: Katie Morgan, Leon Cosack, Robyn Grips................................................ NeilWatkins, Prod Company........Rodney Sumpter Films Bartley, Ian Broadbent, Ian Crow, Brigid Ilona Andruschkiw Boom Operators.............. Chris Goldsmith, Marilyn Rodgers, Peggy Nichols, Carole-Ann Dist Company..........David Sumpter Films Still Photography................ Mark Peasley O'Donoughue.

Malcolm Hocking Aylett.

Director.............................................. RodSumpter Clapper/Loader........................ Alan Cole Synopsis: What was Patrick's secret? What Synopsis: A soft, sexy, sensual light­ Titles................................................ RodGillies Screenplay..................... Mike Whitmarsh Continuity................................. Jan Tyrell was the strange Influence he possessed? A hearted look at all manners pertaining to Length.......................................... 15 min Producer.......................................... RodSumpter love and sex in alphabetical order.

Color Process.............................Eastman Casting Director............... Rhonda Schepisi hospital, a relationship, a sense of the usual Exec Producer.................................. RodSumpter Progress........................... In Production Asst Prod Design............................... IgorLazareff are turned upside down in a thrilling emotion Assoc Producer., .................... Ron Fisher Cast: Colin Borgonon, Cliff Sanderson, Set Dressers/Prop Buyers.. Mark Rochford. charged experience.

Photography..................................... RodSumpter Colin Armstrong, M u c k y D uck.

Jill Eden Editor.......................................

Ron Fisher Synopsis: The stripping of a late model car Standby Props................................. NickHepworth Prod Secretary................ Valerie Sumpter Key Grips........................ Joel Witherden, 16mm PRODUCTION SURVEY on a dusty, remote Australian highway.

Music Director.........................

John Povey Tony Sprague Sound Recordists..................... Ron Fisher, Asst Grip.......................Steve Greenaway THE CONFESSIONS OF RONALD 35mm IN RELEASE Mike Whitmarsh Chief Wrangler......................... Ken Grant BIGGS Mixers..................................... Ron Fisher, Wrangler........................... Mark Williams Prod Company... The Grundy Organisation Mike Whitmarsh Neg Matching.................. MargaretCarden AFTER THE BREAK Dist Company....................O/Ten Network Special Photo Effects........................... RodSumpter Asst Editors...................................... KenSallows, Asst Director....................David O’Donnell Prod Company............Bill Gill Productions Director................................Barry Sloane Jill Stevenson WEEKEND OF SHADOWS Camera Asst................................... DavidSumpter Director....................................... Bill Gill Producer..............................Barry Sloane Mark Norfolk Samson Film Services Continuity.......................................ValerieSumpter Producer...................................... Bill Gill Photography..........................Tony Wilson Asst Dubbing Editors...........Steve Lambeth, Prod Company......... ' Pty Ltd, S.A.F.C. Editor...................................

John Oakley Asst Editor.......................................... RodSumpter Photography....................... Hans Stammel Susy Pointon Director................................. Tom Jeffrey Technical Advisor.................... Rod Fisher Still Photography.................. John Pollard Screenplay........................

Sound Recording.................. Owen Wyatt Prod Co-ordinator................ Terri Vincent Peter Yeldham Sound Recordist...................

John Oakley Script Asst........................ Valerie Sumpter Foreign Language versions: Actors’ Tutor.................. Michael Caulfield From novel The R e ckonin g Narrator....................... Mike Whitmarsh Port of Fremantle Length.......................................... 90 min Aboriginal Casting Producers........................................

Tom Jeffrey, Gauge.........................................

16mm Length......................................... $10,000 Director..........................................

Hans Stammel Co-ordinator............................ Bob Maza Matt Carroll Producer........................................ HansStammel Release Date........................ March 1978 Color Process.................. Eastman 7247 Aboriginal Advisors.......... Howard Creamer, Assoc Producer.....................

SueMilliken Cast: Ronald Biggs, Charmian Brent, Colin Translations......................................Hans Stammel Release Date....................December 1977 Ray Kelly Music....................... Charles Marawood Cast: Rory Russell, Jerry Lopez. Bertleman, (German), MacKenzie, Ian McColl, Mikezimho Biggs Hairdresser............... , __ Cheryl Williams Photography..........

Richard Wallace A.C.S. (son), Det. Chief Sup. Jack Slipper (Scotland Mark Liddell, Peter Drouyn, Peter Neisen, Nae Osawa Best Boy............................................ PaulGanter Editor.................................Rod Adamson Ian Goodrell, the Kapo Brothers.

(Japanese), Yard), and various other cameos, Christine Makeup.......................... Deryck de Niese Prod Manager........................SueMilliken Synopsis: Surfing in Hawaii and Europe Victor Seah Dupont Pre-Prod Manager......................... RichardBrennan Art Director............. Christopher Webster featuring contemporary Hawaiian and (Chinese) Synopsis: A documentary shot in Brazil, Construction Manager......................... RayPattison, France, England and Australia on the re­ Unit Manager....................................Ralph Storey Australian surfers.

Narrators............................... Uri Themal Ray Brown Prod Accountant................... Treisha Ghent (German), telling of the Ronald Biggs story by Biggs Asst Const Manager....... Geoff Richardson himself.

It traces the story from the Great Prod Secretary...................

Cathy Flannery JACKA V. C. Nae Osawa Prod Accountant................... Lynn Barker Music Director......................... Alan Dean (Japanese), Train Robbery to his life in Brazil.

Prod Company............. Sunrise Picture Co Asst Prod Acc....... Carolynne Cunningham Costume/Wardrobe........................... AnnaSenior Victor Seah Directors......................................... RossCooper, Mechanic......................................... BarryHogarth Sound Recordist...................Ken Hammond (Chinese) Nigel Biiesst Chief Electrician................... Brian Adams FIRST THINGS FIRST Mixer............................................. PeterFenton Length.......................................... 25 min Producers....................................... RossCooper, Electrician/Gen Operator.... Ted Nordsvan Sound Editor.............’ ...............

Greg Bell Release Date.....................

February 1978 Dist Company................................VincentLibrary Catering......................................... FrankManley, Nigel Buesst Director...........................................

Paul Jansen Asst. Sound Editor............... HelenBrown Synopsis: German, Japanese and Chinese Screenplay............................ Nigel Buesst Michael Davis Asst Directors...................... Michael Lake, versions of the documentary After the Screenplay...................................... PaulJansen Research........................................ RossCooper Publicist........................ Dennis Davidson Producer...................... Aphrodite Jansen Toivo Lember, Break.

Photography........................ Nigel Buesst Unit Publicist....................................GeoffFreeman Music............................. Andrew Mclntire Geoff Tanner Editor................................... Nigel Buesst Transport Manager............... John Chase Photography.......................................

Ivan Hexter Camera Operator.....................John Seale Sound Recordist.............................. RossCooper Asst Transport Manager......... Colin Chase ALBRECHT FOR YOU Editor................................Louis F. Anivitti Focus Puller................... David Williamson Narrator..............................Harold Baigent Titles............................................ AI&AI Prod Company......Hobson’s Bay Movie Co. Art Director.......................... John Morgan Clapper/Loaders..................................JanKenny, Budget......................................... $3000 Budget...............................................$1.2million Steve Dobson Director.................................... Lou Brown Costume/Wardrobe............................JaneHowat Length.......................................... 4 6 min Gauge..........................35 mm Panavision Sound Recordist............................. LloydCarrick Boom Operator.................... Jack Friedman Screenplay....................................... LouBrown, Color Process.........................

Ektachrome Color Process.................... Eastman 5247 Gaffer.....................................

Doug Jaquier Sound Editor..................... Louis F. Anivitti TonyTegg Release Date...................... January 1978 Progress.....................................AwaitingRelease Continuity......................... Lyn McEncroe Producer................................. Lou Brown Camera Operator.............................. IvanHexter Synopsis: The life and times of Australia’s Release Date....................May/June 1978 Focus Puller....................................RobertPowell Assoc Producer................................ BobKewley Location Casting................Hilary Linstead first Victoria Cross winner.

Cast: Tommy Lewis, Freddy Reynolds, Ray Music..............................

M a g ic P u d d in g Camera Asst................................. RobertPowell Barrett, Jack Thompson, Julie Dawson, Casting Consultants............ M & L Casting Photography............................ John Lord Boom Operator......................... Paul Elliot IMMODEST WIFE Peter Carroll, Robyn Nevin, Don Crosby, Script Consultant..................... Moya Wood Editor.............

Lou Brown Gaffer................................ TonyHoltham Prod Company.................. Alpha Centauri Ruth Cracknell, Elizabeth Alexander, Peter 2nd Unit Director/Cameraman Director......................... Mike Hudson Continuity...........................Anne McLeod ........................................ Bill Grimmond Art Co-Productions (Rome) Sumner, Tim Robertson, Jane Harders, Ray Prop Music Director..................................

Alan Pearce Grip...................................................Noel Mudie Buyer..................................... HarryZettell Dist Company....................Alpha Centauri Meagher, Brian Anderson, Marshall Crosby, Costume/Wardrobe........................ Sadie Still Photography........................... AndrewJones Property Master.............................. HarryZettel Co-Productions Matthew Crosby, Rosie Lilley, Katie Lilley, Construction Sound Recordist..................

Danny Dyson Titles................ - . ..................Owen Bros Manager.........Herbert Pinter Director................................. Jubilee Rose Angela Punch, Rob Steele, Bill Charlton, Budget......................................... $7010 Camera Asst................................... MikePattinson Screenplay........................ Lesley Tucker John Jarrett, Barbara Wyndon, Kevin Myles, Standby Props..................... Bruce Barber Budget.........................................$10,000 Length.......................................... 24 min Producer............................... Jubilee Rose Ken Grant Richard Ussher, Alan Hardy, Key Grip......................... Graham Mardell Length.......................................... 30 min Color Process.............................. Eastman Asst. Grip............................ Dennis Smith Exec Producer............. Dr Vittorio Bianchi John Bowman, Michael Carmen.

Process.............................. Eastman Progress........................ Awaiting release Asst. Editor.......................Andrew Prowse Color Assoc Producers...........KoAn Productions Synopsis: The story of a young half-blood Still Cast: Carmen Duncan, Tony Bonner.

Progress.........................

Post Production Photography.................. David Kynoch Music................................................NinoRota aboriginal, who is made conscious of his Trainer...........................Ray Winslade Cast: Rhonda Stroud, Bob Hicks, Ed Synopsis: A study in infatuation.

Photography..................................... TomCowan white blood by a missionary. He leaves his Dog Rosser, Margret McClusky, Sue Burke, FULL CYCLE Sound Recordist........................... LawrieFitzgerald tribe to find a place in the white man’s world Hairdresser................................... JennyBrown Chris Keystone, Keith Foote.

Camera Asst.................................... PaulReid where he seeks acceptance because he Caterers........................ Movie Munchies Synopsis: A man wins a seat in Parliament Prod Company....... Pete Tabe Productions 2nd Unit Asst.

Director......

Steve Connajd Casting Consultants............................ SueFord lives by white standards. He fails through no Directors........................... Peter McLean, Boy........................George Harrington and finds a few surprises in store for him.

Length.......................................... Feature fault of his own and explodes in a fateful Best Barry Gilbert Make-up.........................................

Peggy Carter B&W Stock......................................Kodak Plus-X “declaration of war” —the white man’s way, BALANCE Screenplay....................................... PeterMclean, Progress..........................Post-Production he has learnt, of acquiring a licence for Electrician..................... Roland McManus Reg Gorman (Working Title) Title Design.........................

Kevin Brooks Cast: Jubilee Rose, Stewart Green, Chris revenge and violence.

Producers.............................Peter Mclean, Runner........................................... MarkPatterson Maudson, and co-starring Lesley Tucker.

Prod Company..................Viewfinder Films Tabe Valentyne Budget...................................... $500,000 Director........................................... MichaNussinov Synopsis: Passionate love story of Photography........................ PeterMclean, PATRICK Length......................................... 95 min Co-Authors............... Jennifer Nussinov, immodest emotions forcing dramatic Barry Gilbert Prod Company.............Patrick Productions Color Process..................... Eastmancolor changes in an idyllic relationship, which Micha Nussinov Editor............................................. PeterMclean for Australian International Progress.............................................. InRelease after much heartbreak, reaches new MichaNussinov Prod Manager.................. Tabe Valentyne Film Corporation Pty Ltd Cast: John Waters, Melissa Jaffer, Graeme Producer......................................... heights.

—_ Assoc Producer............ Jennifer Nussinov Costumes/Wardrobe....................... GillanGilbert Dist Company.............................Filmways Blundell, Wyn Roberts, Barbara West, Music.............................................RobertHughes Sound Recordist.................. Lloyd Carrick Director........................... Richard Franklin Graham Rouse, Audine Leith, Keith Lee, Bill Photography.................................. MichaNussinov THE KING OF THE TWO DAY Mixer............................................. BarryGilbert Screenplay.......................Everett de Roche Hunter, Les Foxcroft, Kit Taylor, Kevin Miles, Editor........................................... DusanWerner WONDER Sound Editor................................... BarryGilbert Producers.....................Antony I. Ginnane, Don Barker, David Hursthouse, Ken Weaver, Prod Manager............... Jennifer Nussinov Camera Operator...............................PeterMclean Director........................... Kevin Anderson Richard Franklin Rob George, Leslie Dayman, Bryan Brown, Sound Recordist......... Nicholas Alexander Camera Asst.......................... Peter O’Nell Screenplay...................... Kevin Anderson Tony Barry, Stuart Campbell, Hedley Cullen, Additional Sound.................. Robert Wells Clapper/Loader.................

Exec Producer........................ Bill Fayman JohnMcLean Producers....................... Kevin Anderson, Music....................................... - Brian May Faith Kleinig, Tony Allison.

Max Henser Asst Editor....................... Tabe Valentyne Walter Dobrowolski Photography.................. Donald McAlpine Synopsis: An action drama involving a hunt Camera Asst.............................. Mike Roll Still Photography.................. Barry Gilbert Music— .....................................GregorySneddon Editor.................Edward McQueen-Mason for a murder suspect by a group of men in a Titles.................................... Ron Waugh Script Assistant..................... Reg Gorman Photography....................

Kevin Anderson Prod Manager........................ Barbi Taylor small country town. .

Budget....................................... $25,000 Hairdresser......................................GillanGilbert Editor.............................. Kevin Anderson

35mm AWAITING RELEASE

90 — Cinema Papers, 1978 Cannes Special

P R O D U C T IO N S U R V E Y Music Director.............................. GeorgeGittoes WELCOME ABOARD Producer............................Ken Cameron THE NEWMAN SHAME Sound Recordists.............................. PhilStirling, Prod Company............ Bill Gill Productions John Phillips Prod Company... The Grundy Organisation Costume/Wardrobe......... Gabrielle Dalton Assoc Producer.................Ross Matthews Sound Editor..............................

Carl Vine Asst Producer...............

Christine Dunstan Producer........................................ BillGill Nick Alexander Dist Company.........................STW-9 Perth ClaudeGittoes, Photography.........................Russell Boyd Photography.......................Hans Stammel Lloyd Carrick Director............................... Julian Pringle Camera Assts.................................

David Martins Editor..................................David Huggett Editor................................ Hans Stammel Sound Editor.................... Kevin Anderson Screenplay..................................... BruceWishart Bob Burton Prod Manager............... Christine Dunstan Narrator......................................... BillGill G rip...,.......................... Paul Ammitzboll Producer.......................... Robert Brunlng Asst Art Director.................Gabrielle Dalton Sound Recordist............. Lawrie Fitzgerald Length............................................ 15 min Asst Editor....................................... TonyStevens Assoc Producer..................... Michael Lake Set Decorator............................... GeorgeGittoes Asst Director......................Ross Matthews Color Process.........................Ektachrome Neg Matching............................. WarwickDriscoll Photography.................................. RichardWallace Stunt Co-ordinator....................... GeorgeGittoes Progress.......................... Post Production Sponsor..................................... US Navy Special Effects.........................John Pugh, Editor.................................................. RonWilliams Choreography.................

Graham Murphy, Cast: Steve Spears, Robyn Nevin, John Synopsis: Public relations documentary, on Darryl Gladwin Art Director.......................Richard Harrison Ronaldo Gaden, Max Phipps. the operations of the naval communications Titles........................................ Bill Owen Prod Co-ordinator............................ IreneKorol and George Gittoes base, Harold E. Holt, at Exmouth, Western Length........................................... 70 min Prod Secretary............... Kaye Livingstone Australia.

Color Process.......................... Ektachrome Unit Manager.................. Michael Padgett Still Photography............................ GeorgeGittoes Technical Advisor............

John Masterson, THE THIN EDGE Progress.......................................AwaitingRelease Costume/Wardrobe......... Carol Margieson Neil Lutherborough Cast: Walter Dobrowolski, Sigrld Thornton, Standby.......................... Carol Margieson (ATLAB) Prod Company.......................Mark & Roger WET CLAY Dianne Giulieri, Alien Bickford, Jame.s Sound Recordist................................LloydCarrick Director...............................

Roger Bayley Budget......................................... $5000 Robertson, Maureen O’Loughlin, John Asst Director........... ToivoLember Director............................. Don McLennan (to double head stage) Screenplay.......................... Roger Bayley Matyear, Ron Maoris, Ian Blake, Andrew Focus Puller...................................... PeterWynne Screenplay.. !*.. r ......... Don«McLennan Producer...........................................

Mark Ruse Length............................... approx 35 min Robertson, Ron Watkins and with the Boom Operator................................ TrevorGaines Producer............................... Mike Jacob Color Process................... Eastman 7247 Assoc Producer.................... JuttaGoetze participation of Peter Sumner.

Photography.................Zbigniew Friedrich Clapper/Loader.............. Simon Ackerman Release Date....................December 1978 Music..........................j\h n Clifford White Synopsis: A writer of "pulp" detective Gaffer................................ Robbie Young Cast: Bob Burton, members of the N.S.W. Photography................. Michael Pattlnson Art Director............... .->-___ Mike Hudson novels encounters difficulties when he tries Continuity................................ Linda Ray Dance Company, Ronaldo and various Editor................................................. CrisBatson Sound Recordist... .•............ Lloyd Carrick to re-write his latest book.

Budget......................................... $30,000 Casting Consulting.............. Kerry Spence others.

Prod Manager............................Mark Ruse Lentjth........................................... 4 0 min Grip...................................... David Petley Synopsis: Point Omega is a film poem Art Director........................................ JuttaGoetze Progress.............................Pre-Production Assistant Editor.....................

Karen Crisp Costume/Wardrobe.................JuttaGoetze THE LAST TASMANIAN using abstract images to link the Synopsis: Story of a girl who is released Props Buyer/Set Dresser......David Crosby transformation of human beings through Sound Recordist....................... Bill Baxter Prod Company.... ARTIS Film Productions Standby Props........................Peter White from an institution after doing an armed thousands of years. Each transformation Asst Director.................... Michael Rogers Pfy Ltd in association with Tasmanian 3rd Asst Director..................Lawrence Hill hold-up and her subsequent rehabilitation. becomes less like a 20th century man until Camera Asst..................................... DavidCollyer Department of Film Production and Société Best Boy..............................Michael Ewan Boom Operator................................... PaulElliot a completely alien ‘human’ image appears. Gaffer................................

Française de Production Makeup........................... Josy Knowland Beamish Elliot Holography is seen as the most important Continuity.......................Andrew de Groot Dist Company.... ARTIS Film Productions Length...........................................93 min WOMAN SEEN . ____ Pty Ltd Gauge........................................... 16mm development In science to cause the first Grip..................................................DavidGornell Prod Company....... Dramafilm Productions Director................................. Tom Haydon Color Process...............................Eastman transformation and the Bela Julesz studies Still Photography.................................PaulElliot Director........................................

MadelonWilkens in F o u n d a tio n s o f C y c lo p e a n P e rc e p tio n Screenplay............................Tom Haydon, Progress............................Post-Production Runners................................ Peter Watson MadelonWilkens Rhys Jones Cast: George Lazenby, Joan Bruce, Dianne are seen to cause the second. There are Titles...............................................ShaneCargillScreenplay.....................

Producer........................

Madelon Wilkens seven transformations in all.

Producer................................. Tom Haydon Craig, Alwyn Kurts.

Budget.......................................... $4500 Photography........................... JohnLaurie Assoc Producers............................... RayBarnes, Length........................................... 20 min Synopsis: A respectable bank manager Sound Recordist.................................

KaiDineen Roger Fauriat commits suicide after being framed by a Color Process...............................Eastman Camera Asst........................... ClareJager Photography......................................GeoffBurton Progress............................................... InRelease vice syndicate. Ex-Hong Kong police Continuity......................................Carolyn Howard PORT OF FREMANTLE Editor................................... CharlesRees inspector, John Brandy, is called in to assist Cast: David Mitchell, Juliet Basckai, Janet Length......................................... „15 min WESTERN AUSTRALIA Prod Co-ordinator...............Roz Berrystone Lord, Mark Timson, Trevor Hunter. by the bank manager’s widow.

Progress..............................................

In Production (Working Title) Musical Director................. William Davies Synopsis: A family disintegrates on a run­ Cast: Susan Weis, Lyn Hovey, Peter TASMANIA Prod Company............ Bill Gill Productions down dairy farm.

Brownrigg.

Location Manager..........Graham McKinney Script.....................................John Aitken Synopsis: An exploration of the similar and NO FEAR - I QUOTE Prod Asst......................................... GillianLeahy Director............................. Hans Stammel different effects that class has on two THUMPALONG Prod Secretaries............... Adrienne Elliott, Prod Company........................ Drama Film Producer....................................... Bill Gill women, both of whom have a child.

Prod Company...............

Nicholson Cartoon Rosanne Andres-Baxter Productions Photography................................ Bill Gill, Productions Sound Recordist................... Robert Wells Director............................................ClaireJager Editor:............................... Hans Stammel Screenplay........................................Peter Nicholson Camera Operators................ Geoff Burton, Screenplay............................. ClaireJager Prod Asst............................. Janet Prance Producer.............

Peter Nicholson Gert Kirchner Producer....................... Madelon Wilkens Length.......................................... 26 min VANDALISM Animation....................... Peter Nicholson, Camera Assts...............Russell Galloway, Camera Operator............................... JohnLaurie Color Process.............................Eastman Prod Company............ Bill Gill Productions Paul Williams Gillian Leahy Camera Assts.................. Madelon Wilkens Release Date....................December 1978 Producer......................................

Bill Gill Lawrence Continuity..........................Roz Berrystone Progress............................. In Production Music.............................................. Joan Sound Recordist................................ KaiDineen 15min Director........................................ Bill Gill Second Unit Photography...... Gert Kirchner Continuity.....................................CarolineHoward Sponsor.............. Fremantle Port Authority Length..................................................

Screenplay...........................................Bill Quin Progress...................................... AwaitingRelease Length...........................................20 min Still Photography............................... RayDavie, Synopsi s: Tracing the h isto rica l Synopsis: Photography......................................HansStammel An animated children’s musical, Jacquie Gardner Synopsis: Mutual strength in the face of the development and the operations of the Port about Editor................................

Hans Stammel a person with three mouths.

Grip.................................. Gary Clements alienating industrial complex which could of Fremantle.

Prod Asst............................. Janet Prance and nearly does destroy the two people Electrician.................................... LembitLaats Script Research................. Hans Stammel UNDER THE STEAM involved.

FRANCE Length.................................................. 15min THESWAGMAN Prod Manager................................... PierreRobin Prod Company........Dramafilm Productions Release Date......................................June1978 Photography........................................GuyMacou Producer............................. Anton Dekker Director...................................John Laurie Sponsor........................... Education Dept NOT JUST THE OBJECT Sound Recordist..................... Mario Vinck Photography....................... Anton Dekker Screenplay..............................John Laurie of W.A. Camera Asst.................................. AdrienFortis Director................................ Meg Stewart Animation........................... Anton Dekker Producer................................. John Laurie Synopsis: Documentary to counter Continuity..........................Roz Berrystone Producer...............................Meg Stewart Puppets and Sets.................Anton Dekker Photography.......................... JamesGrant vandalism in educational institutions.

Still Photography.......................Jean More Photography................................... DavidSanderson Assisted by..........................Eric, Lynnette Editor......................................John Laurie Electrician....................................... JeanMouton Editor............................. RondaMacgregor and Russell Dekker Sound Recordist................................LloydCarrick BRITAIN Sound Recordist............ Lawrie Fitzgerald Music.................................. Santo Spurio, Asst Director.................. Madelon Wilkins Photography.......................................MikeFoxCamera Asst................................... PeterLipscombe For details of the following 16mm films Hormah de Niese, Continuity........................Carolyn Howard Sound Recordist.......................Edward Tise Still Photography.................John Delacour consult the previous issue: Patric de Niese, Gaffer/Grip..................... John Blenkheim Camera Asst................................... SteveHaskett Length........................................... 34 min Ron Loos, Ivan de Neise Length.................................................. 23min After the Break Still Photography.... '........ EileenTweedie Release Date........................ March 1978 Length......................................... 18 min Cast: Philip Motherwell, Susan Weis, The Ballet Dancer Graphics Designer.............. BernardLodge Synopsis: The study of two craftsmen and Color Process...................

Ektachrome Richard Murphet, John Ley. Basic Skills — Mathematics Rostrum Camera Operators...... Ken Morse, their relationship to their work: Heather Synopsis: A stop-motion animated puppet Synopsis: Two lonely inebriates have a Blueprint for Survival David Bookman Dorrough working in fibre and Ray Norman, film about an old swagman who has a run of chance meeting under a statue of General The Business of Co-operation Sound Editor..................................... MickAudley Gordon. They steal a car and travel the road jeweller. Produced for the Crafts Council of bad luck but comes good in the end.

Demolition Asst Editors........................................JohnAllinson, of no return.

Australia.

A Drop of Rough Ted Ben Morris The End of Schools Kate Grenville THE SCALP MERCHANT ULTRA SOUND Every Care But No Responsibility Narrator............................................. LesMcKern 1 0 0 ,0 0 0 LIGHTS Prod Company... The Grundy Organisation (Working Title) Far West Budget..................................... $122,608 Prod Company.................. The Film Factory Dist Company.........................TVW-7 Perth The Gravedigger and the Girl Length.............................................. 105minDirector............................. Clif Sanderson Director................................Howard Rubie Prod Company............ Bill Gill Productions Producer/Director................................. BillGill Hansford — the Competitor Color Process...................... Eastman7247 Producer........................... Hans Stammel Screenplay......................................... IanCoughlan Photography..................

Hans Stammel Harvest of Hate Progress.......................... Post Production Music............................................... NanaMousKouri Producer..............: ............. Roger Mirams Editor................................

Hans Stammel The Importance of Keeping Perfectly Still Cast: Anthropologist Dr Rhys Jones Photography....................... Hans Stammel Photography..................... Peter Hopwood Narrator........................................

Bill Gill Journey into Paradise supported by past and present natives of Editor................................ Hans Stammel Editor.................................................. TimWelburn The Last Bullet Tasmania, with some French and English Budget......................................... $2500 Prod Manager........................ Keith Spice Prod Asst..........................................JanetPrance Editor......................... GaleJohnsten The Last of the Leviathans appearances.

Progress.....................................Shooting Art Director.......................... MontyFleguth Asst Length..................................................

12 min A Mill of Hooks Synopsis: The extermination of the Tas­ Release Date........................... May 1978 Prod Secretary...................................DixieBrown Not Only Pipes manian Aboriginals is the only case in Synopsis: The memory of a relationship just Costume/Wardrobe...... Cornelia Volleman Color Process.............................Eastman Progress..................................... Shooting Reg-Perry Remembers recent times of a genocide so swift and total. past, in the lights of a big city. Shot entirely Sound Recordist............................ BobbyHayes Release Date.....................

February 1978 Ritual A search to rediscover these unique people. at night under existing lighting, with Sound Editor........................................ JimStevens Metro Industries/Ultrasound The Touch of Love highspeed color material.

Asst Directors.......................James Parker, Sponsor.........

Synopsis: The documentation of rail flaw Teaching Reading John Easton detection by means of computer technology LIFE CLASS A Young Girl Dreams of the Last Cowboy Camera Operator.................................. IanMcLean from a moving vehicle.

OVERSEAS LAMB MARKETING Prod Company........Dramafilm Productions Camera Asst............................Jeff McKell Director..................................John Laurie Prod Company............ Bill Gill Productions Boom Operator.................................... TimThunder VOLITA Screenplay............................. John Laurie Director........................................ Bill Gill Gaffer.............................................. ChickMcDonald From a story by Vance Palmer Screenplay................................Bill Quin Continuity........................... FranHaarsma Prod Company......... Abraxas Films Pty Ltd TELEVISION SERIES Producer............................................JohnLaurie Producer...................................... Bill Gill Casting Consultants............. KerrySpence Dist Company__ Abraxas Films Pty Limited Budget........................................ $15,000 Photography.......................Hans Stammel Second Unit Photo............................... BobDiggens Director........................... James Ricketson Length........................................... 25 min Editor................................ Hans Stammel Set Decorator.......................................JeffThomas Screenplay..................... James Ricketson Progress............................Pre-Production Prod Asst............................. Janet Prance Grip..................................................DavidPetley Producer............................... JohnWeiley Cast: Susan Weis, Chris Saunders, Maria Length.-......................................... 15 min Stunt Co-ordinator.................. Peter West Assoc Producers.............. Greg Ricketson RAINBOW Simonetta.

Color Process............................. Eastman Script Asst................................... GlendaHambley Gill Eatherley Synopsis: A life-class teacher attends a Progress............................. In Production Makeup......................................... LeslieNicholson Prod Company.................. Aust Children’s Music..................................Greg McLean party with her students.

Sponsor...... Lamb Marketing Board of W.A. Special Effects.................................MontyFieguth Media Workshop Photography.......................... Tom Cowan Synopsis: Documentary on the export of Electrician........................... PerrySandow Editor...... ................ Crisropher Cordeaux Dist Company........... Australian Children’s Western Australian lamb products, from the Runner............................. Peter Leidimier Sound Recordist.................Kevin Kearney Media Workshop MONDAY MOURNING producer on the land to the consumer in the Length...........................................90 min Mixer...................................Les McKenzie Director.............................................BarryCross Prod Company............ Montage Film Trust Middle East.

Gauge........................................... 16mm Sound Editor............ Crisropher Cordeaux Scriptwriter.................. Michael Laurence Director..................................... Jim Kemp Color Process.............................Eastman Camera Asst................................ Phil Bull Exec Producer.................. Godfrey Philipp Screenplay................................ Phil Witts Progress.......................... Post-Production Casting Consultants............. M & L Casting Assoc Producer................. Fay Rousseaux POINT OMEGA Producer............................................ GlynMorris Cast: John Waters, Elizabeth Alexander, Still Photography.................. Greg Weight Music.............................................. JohnGray Photography.................................... GaryMoore Prod Company................. Bundeena Studio Margaret Nelson, Ron Haddrick, Rlc Hutton. Hairdresser........... Hair Head Quarters P/L Ron Carpenter Editor.................................................. IanSmith Special appearance: Cameron Mitchell.

Director..........................................GeorgeGittoes Budget......................................... $35,600 Photography.......................... Ian Woolley Sound Recordist...................Michael Locke Screenpoem...................................GeorgeGittoes Synopsis: A private investigator is hired by Length......................................... 90 min Editor.................................................AlanLake Sound Editor..................................... GlynMorris Producer..................................... GeorgeGittoes an insurance company to recover a strong­ Gauge........................................... 16mm Prod Manager.............................. -GodfreyPhilipp Lighting.............................................. TomSturmAssisted by AFI ExperimentalFilm and TV box hidden by a prison escapee in a remote Color Process.......... Ektachromefleversal Art Director........................................... VicYeates Continuity.......................... Roslyn Pitman Fund timber town. ^, Progress........................................ Jtftirig Music Director.............

John Gray Cast: Alex Sanderman, Toni Sanderman.

Music........................................ Carl Vine Release Date...................... *... May 1978 Costume/Wardrobe__ Sylvia Bryen Synopsis: Model/classical musician meets Photography................................. GeorgeGittoes TEMPERAMENT UNSUITED Cast: Bryan Brown, Lynden Wilkinson, “ . Shirley Gray an accident-prone, hedonistic window Editor.............................................GeorgeGittoes George Shevtsov, Margaret Cameron, David Sound Recordist................................... RicCaster Director............................................. KenCameron cleaner.

Art Director.................................. GeorgeGittoes Cameron, Elaine Hudson, Alex Kovacs.

Asst Director...................................... JeffWard Screenplay..........................................KenCameron

Cinema Papers, 1978 Cannes Special — 91

P R O D U C T IO N S U R V E Y Color Process.............................Eastman anywhere. His son, Nick, born in South East Producer........................ Judith Prindiville Camera Asst........................... John Lewis ECOLOGY 1 AND 3 Progress............................. In Production Asia follows suit and runs away from school Boom Operator..................Martin Frohlich Exec Producer...................... Paul Barron Prod Company..................... Film Australia Release Date....................December 1978 in Australia to join his father. Days pass with Length...................................... 10x8 min Dist Company..................... Film Australia Clapper/Loader................ Craig Campbell Cast: The people of the Solomon Islands.

Bailey threatening to send the boy back and Gauge.......................................... 16mm Director.......................................... DavidBarrow Continuity........................... JennyQuigley Synopsis: The people of the Solomon Nick inventing every possible excuse to Color Process.............................. Eastman Producer............................ MalcolmOtton Grip................................Craig Thompson Islands become an incfependent nation on 7 remain with the South East Asian friends he Progress............................. In Production Photography.................Andy Fraser A.C.S. Still Photography.................... Lee Pearce, July 1978. Film Australia will cover this Geoff Henderson grew up with and in the environment he Synopsis: Stopwatch is a series of Editor...................................................IanWeddell historic event and show the lives of the knows and loves. Bailey’s adventures with documentary and drama programs Prod Manager...................................... RoyBissell' Script Asst......................................CherieWilson people of this shattered country. We will Makeup................................... Nan Dunn his trusty Mallard Seaplane and those of his produced specially to fill the demand for Camera Asst................... Peter Viscovitch study the cultures, crafts and the changing son with his Asian friends make the exciting, Australian shorts for the 12-14 age group. Length.................................... 2x18 min Scenic Artist..................................... NedMcCann way of the life of the people. The film will Animator.............................. TonyGooley sometimes funny and sometimes near The series will be released as supports for Gauge.......................................... 16mm have a "unifying” effect on this new nation. disastrous adventures of Bailey’s Bird. children's cinema screenings and for Color Process.............................. Eastman Budget....................................... $35,000 television programs.

Length...................................... 5x30 min Progress......................................Shooting Gauge................................. 2" videotape Release Date...........................

July 1978 THREE DANCES BY GULPILIL CHOPPER SQUAD Cast: Marian Henderson, Dallas Lewis and Synopsis: Fundamental principals of Prod Company..................... Film Australia Prod Company... The Grundy Organisation eighty children. population ecology.

Dist Company..................... Film Australia For details of the following TV series and Dist Company...................

O/Ten Network Synopsis: Five television pilots aimed at the Director.............................. David Roberts 5-12 year age group, each program is Directors.......................... Graeme Arthur, films see the previous issue: Producer...........................

Tom Manefield GULF PRAWNING Rod Hardy designed to encourage children in the Because He's My Friend Photography............ Andrew Fraser A.C.S. Julian Pringle following ways — Rainbowman — to open Prod Company.................................... FilmAustralia Kirby Company Editor...................................Colin Waddy their eyes and discover the world around Producer.......................................... DonBattye Dist Company................................... FilmAustralia Nolan At Sixty Prod Manager........................ Gerry Letts them. The Rainbow Tribe — to go out into Music................................ Mike Perjanik Director................ David Haythornthwaite Run From the Morning Length............................................

6 min the environment and enjoy practical Photography............... Paul Onorato A.S.C. Producer............................................ DonMurray Twenty Good Years Gauge........................................... 35mm activities. Rainbow Road — to enjoy music Editors........................... Richard Hindley, Photography..................................... KerryBrown Color Process...............................Eastman Tim Welburn and to be creative It’s A Rainbow World — Prod Manager...................................GerryLettsProgress.........................................Editing a children’s media world — run by the Prod Manager............................. MichaelMidlam Sound Recordist.................. Howard Spry Release Date........................ March 1978 AVEC FILM UNIT children themselves. Make Your Own Prod Asst................................. Dale Price Camera Asst................... Peter Viscovitch Synopsis: A film shot in Bamyili where Rainbow —a children's access programme. Music Supervisor............. Garry Hardman Length............................................20 min Gulpiiil lives in the Northern Territory. It Costume/Wardrobe.........Beverley Powers Gauge.......................................... 35mm observes three dances, "The Emu" "The Asst Costume/Wardrobe.........Kathy James Progress............................. In Production AGAINSTTHE WIND Kangaroo" and “The Fish”. The first two are Recordist................................ JohnMcPhall THEMAKING OF ANNA Release Date....................September 1978 Prod Company......... Pegasus Productions Sound solo performances

by Gulpiiil. The third is a Sound Editor..................................

Lloyd Colman Prod Company..................

AVEC Film Unit for The Seven Network Asst Directors................... David Bowden, Distribution...................... Education Dept Synopsis: Prawning in the Gulf of group dance with some of the children from Carpentaria.

Directors........................... Simon Wincer, Bamyili.

Tony Bowman of Victoria George Miller Garry Keane Director............................. Robert Francis Created by..........................Bronwyn Binns Camera Asst.............................Rod HARBOUR Hinds Producer........................... Robert Francis WALYA NGAMARDIKI, THE LAND Producer..........................Henry Crawford Boom Operator...................... MarkBergin Exec Producer.................. Ross Campbell Prod Company.................................... FilmAustralia MY MOTHER Exec Producers.................................. IanJones, Music.............................................. AlanStivell Merryman Dist Company................................... FilmAustralia Bronwyn Binns Clapper/Loader............Richard Prod Company..................... Film Australia Photography.....................................

Peter Dodds Continuity.....................

Barbara Burleigh, Director................................Dean Semler Dist Company..................... Film Australia Photography..................................... DavidEggby Annie McLeod Prod Manager................... Rob McCubbin Producer........................... SuzanneBaker Director..............................David Roberts Editor..................................................PhilReid Prod Secretary.................................. RossLukeis Casting Consultants........................ KerrySpence Photography............... Dean Semler A.C.S. Producer........................... Tom Manefield Prod Manager................................... TomBinns Sound Recordists...............

Lloyd Carrick, Set Decorator..................

Michael Beckett Editor............................................

Vincent Kent Music................................ John Sangster Art Director............................. Tracy Watt Asst Editors........................... Brian Kelly, David Hughes Prod Manager................................... GerryLetts Photography..............

Andy Fraser A. CTS. Prod Co-ordinator.............................. JanStott Michael Norton Length..........................................

25 min Vicki Ambrose Editor...................................Colin Waddy Prod Secretary.....................................JanStott Standby Props........................ Laurie Floyd Sound Editors................... David Hughes, Gauge.......................................... 16mm Prod Manager..........................Gerry Letts Costume/Wardrobe Robert Francis Color Process.............................. Eastman Page, Sound Recordist................... MaxHensser Supervision.......................... Clare Griffen Stunts................................... Grant Max Aspin Asst Editors........................ Adrian Bruch, Release Date........................... April 1978 Max Hensser..........................................

Sound Recordist....................Gary Wilkins Ruth Vary Synopsis: Seasonal aspects of Sydney Dale Aspin Mixer.....................................George Hart Mixer............................................. DavidHarrison Length...........................................48 min Harbour.

Lighting Director..............:... Derek Jones Length.......................................... 20 min Sound Editor..................................... TerryRodman Assist.............................

Peter Ledgeway Gauge..........................................

16 min Gauge........................................

35mm Asst Directors....................................RossHamilton, RodneyMcMorran Color Process....... ..................... Eastman HERITAGE TRAIN Color Process.............................Eastman Stewart Wright Runner........................................

Progress..........................Post-Production Length.......................................... 45 min Progress..............................

Final Editing Camera Operator............................ DavidEggby Prod Company....................................

Film Australia 16mm Release Date........................... May 1978 Release Date.................. March/April 1978 Focus Puller..................... Harry Glynatsis Gauge..........................................

Progress.......................Second series now Synopsis: A documentary for students of Dist Company................................... FilmAustralia Synopsis: The relationship between Camera Asst..................................... HarryGlynatsis Director............................

Michael Pearce in production media which follows the progress of Esben Aboriginal people and their land in both Boom Operator..................MarkWasiutak Release Date......................... March1978 Storm's In Search of Anna. The work of Screenplay........................ Michael Pearce Gaffer......................................... StewartSorby historical and contemporary contexts.

Cast: Dennis Grosvenor, Eric Oldfield, crew members and the,development by the Producer........................................ PeterJohnson Continuity............................................. JoWeeks Robert Coleby, Kerri Eichorn, John Clayton, director are observed in detail over the Photography..............................Ross King Ass! Art Director.......................Clive Jones Tony Prod Manager....................Jillian Nicholas WHAT IS INNOVATION, WHY 1000km covered during shooting.

Hughes.

Set Decorator.......... Nick van Roosendael Sound Recordist.................... Rod Pascoe INNOVATE, HOW TO INNOVATE Action packed air/sea helicopter Grip......................................Ian Benallack Synopsis: Mixer....................................

George Hart Prod Company.................................... FilmAustralia A HISTORY OF V I S U A L Gaffer................................... Ian Plummer Asst Editor.............................Ken Sallows rescue series.

Dist Company...................... FilmAustralia COMMUNICATION Hairdresser.....................................CherylWilliams Length.......................................... 25 min Director.................................

Janet Isaac Best Boy.............................................. IanDewhurst (working title) Gauge.......................................... 16mm DISCOVERY 3 Scriptwriter............................. Janet Isaac Makeup................................. Terry Worth Prod Company.................. AVEC Film Unit Color Process.............................. Eastman Prod Company................

Perth Institute of Producer................................

Bruce Moir Cast: Mary Larkin, Jon English, Kerry Dept Progress........................... In Production Film and Television Distribution....................... Education Photography............... Dean Semler A.C.S. McGuire, Frank Gallacher, Fred Parslow, Producers......................... of Victoria Release Date........................... July 1978 Owen Paterson, Editor.................................

Martin Cohen Lyn Rainbow, Warwick Simms, Gerard Director................................. Peter Green Synopsis: A documentary on the Royal Cynthia Baker Script....................................

Prod Manager.......................... Ian Adkins Kennedy.

Peter Green Silver Jubilee Train, showing the life on Exec Producer..................

Judith Prindiville Sound Recordist..................

Howard Spry Synopsis: Thirteen one hour all-film Length...................................... 13x7 min Producer.............................. Peter Green board this mobile museum, as well as Electrician........................... Bruce Gailey episodes. A historical series set 1797-1809, Gauge.......................................... 16mm Exec Producer.................. Ross Campbell describing some of the priceless relics on Length.......................................

3 x8 min tracing the life of Mary Mulvene who is Color Process........................ Ektachrome Animator................................Peter Green show to the Australian public.

Gauge........................................... 16mm transported from Ireland.

Animator........................Des Bunyon Progress............................. In Production Asst Color Process...............................Eastman Music Director................... Lorraine Milne Synopsis: A series of 13 children's Length.......................................... 30 min Release Date................................. March1978 PRODUCTIVITY IS PEOPLE BAILEY’S BIRD television programs, Discovery 3 illustrates Gauge.......................................... 16mm Prod Company.................................... FilmAustralia Synopsis: Trigger films on innovation in the Prod Company__ John McCallum Prod P/L unusual subjects to young viewers. It also Color Process.............................. Eastman Dist Company................................... FilmAustralia N.S.W. Education Department.

Directors......Peter Maxwell, Howard Rubie, provides young and/or inexperienced crews Simon Wincer, Igor Auzins, with an opportunity to improve their skills Progress............................ In Production Director....................... Michael Robertson WILDLIFE PATROL Synopsis: An animated film for secondary Scriptwriter.................. Michael Robertson Michael Jenkins and try novel approaches. and technical students of graphic Producer........................... SuzanneBaker Prod Company.................................... FilmAustralia Screenplay.... Peter Yeldham, Ted Roberts, communication which explores the Editor...............................................DavidHuggett Dist Company................................... FilmAustralia Michael Cove, Ross Napier profound influence of visual communication Synopsis: In a case study followed over a Director................ David Haythornthwaite Producers........................ Lee Robinson, FALCON ISLAND at every stage in the development of Producer............................... Don Murray period of several months at a Sydney Tony Firth (working title) Western civilization.

Photography..........................Kerry Brown factory, we see a specific example of Exec Producer.................. John McCallum Prod Company.................Perth Institute of Prod Manager................................... GerryLetts productivity improvement. Initiated by Music....................................... Eric Jupp Film and Television Sound Recordist.................. Howard Spry management, the productivity improvement Photography.......................Paul Oronarto, Judith Prindiville Length..........................................

20 min project is taken on by factory personnel in a Dan Burstall Producer........................

FILM AUSTRALIA Exec Producer.......................

Paul Barron Gauge.......................................... 35mm creative process of problem finding and Editors........................... Richard Hindley, Length...................................... 5x30 min solving.

Color Process.............................. Eastman David Stiven, Gauge.......................................... 16mm Progress............................. In Production Lindsay Frazer Process............................ Eastman Release Date....................September 1978 Production Manager............ Betty Barnard Color BABYTALK Progress.............................Pre-Production Synopsis: A trip with a wildlife patrol officer Prod Designer.................... Bernard Hides Synopsis: PROJECT“A” A half-hour children's television Prod Company....................................

Film Australia in the Northern Territory. We study in some Post-Prod Co-ordinator........ Don Saunders drama series about three children and their Dist Company................................... FilmAustralia Prod Company.................................... FilmAustralia detail the wildlife of the area.

Prod Secretary... Rosanne Andrews Baxter community on Falcon Island, which is Director.............................................. KarlMcPhee Dist Company................................... FilmAustralia Costumes/Wardrobe....... JoanGrimmond threatened by sand-mining and is the Screenplay......................................... KarlMcPhee Director.............................................GregReading Sound Recordist.................. Don Connolly reported site of an old Dutch shipwreck.

Producer........................... Tom Manefield Producer........................... Peter Johnson Sound Editor..................... Lindsay Frazer SOUTH AUSTRALIAN FILM Photography............. John Hosking A.C.S. Photography...................Ross King A.C.S. Special Photo Effects............ Anton Jambu Editor................ Post Production Services Prod Manager..................................... IanAdkins CORPORATION Asst Directors.......................Ian Goddard, LOSS OF INNOCENCE Sound Recordist............

Rodney Simmons Michael McKeag Prod Company.............................. ABC-TV Sound Recordist..............Rodney Simmons Camera Asst..........................James Ward Camera Asst....................................

Andre Fleuren Grant Harris Director.................................... EricTayler Length.......................................... 15 min Electrician............................................ IanPlummer Camera Operators.............. Paul Oronarto, Writer....................................... John May Length.......................................... 16 min Gauge......................................... 16mm ADULT LIBRARY PROMOTION Dan Burstall Gauge.......................................... 16mm EricTayler Color Process.............................Eastman Screenplay............................Ken Methold Focus Pullers.... Steve Mason/Tony Gailey Producer.................................

Color Process.............................. Eastman Length......................................

4x60 min Progress............................

In Production Exec Producer............... Lesley Hammond Camera Assistant........................... AntonJambu Progress................................. In Release Release Date..................... April/May1978 Progress......................................Shooting Length.......................................... 15 min Boom Operator................................. DavidCooper, Cast: John Fitzgerald, Ronald Falk, Monica Synopsis: Children talking in entertaining Synopsis: An informational film on drinking Gauge..................... \ ................... 16mm Julian McSwiney Maughan, Carol Burns, Alwyn Kurts, Carol situations and driving.

— designed to encourage parents Sponsor..............................

State Library Clapper/Loader.............................. AntonJamber Raye, Jacqueline Kott, Louise Howitt, Paul to enjoy their children and interact with of South Australia Gaffers................................ Derek Jones, Bertram, Enid Lorimer, Michele Fawdon, them through language.

SOLOMON ISLANDS Synopsis: The film aims to show the Edward Hendel David Franklin, Jacqui Dalton, David Waters, INDEPENDENCE general public the advantages of libraries, Continuity.......................................ShirleyBallard Edward Howell, Julieanne Newbould. particularly to those who do not use CORAL REEF Grip................................. Edward Hendel Synopsis: A four part drama series tracing Prod Company.................................... FilmAustralia libraries. It also aims to recruit people to the Hairdresser......................... Michelle Lowe the life of Peter Robinson from boyhood in Prod Company.................................... FilmAustralia Director........................................ GrahamChase library profession.

Makeup............................. Michelle Lowe the depression to manhood in the 1970s.

Producer.............................................DonMurray Dist Company................................... FilmAustralia Length.................................... 26x30 min Director................................. Dietmar Fill Asst Producer..................................... RonHannam Photography............... Dean Semler A.C.S. CONDITIONING FOR SPORT Gauge.......................................... 16mm Producer................................Don Murray STOPWATCH Photography.................. Dietmar Fill A.C.S. Colour Process.............................Eastman Editors............................. Graham Chase, Screenplay....................... Terry Jennings Length.......................................... 15 min Progress........................... Post-Production Prod Company................ Perth Institute of Susan Horsley Exec Producer..................... Peter Dimond Film and Television Gauge........................................ 16mm Cast: Hu Pryce, Mark Lee, Holger Hagan.

Prod Manager...................... AlfredAihunu, Length.......................................... 30 min Synopsis: Bailey, an ex-Australian war pilot Directors................................. Pat Maher, Color Process.............................Eastman Sound Recordist..................... Bob Hayes Gauge...................................... Videotape Steve Jodrell, Brian Beaton, Progress............................. In Production Mixer.................................... George Hart opts out of life in the Western world and Synopsis: To demonstrate the various remains in South East Asia, operating a oneAl Kemp, Ivor Bowen, Release Date....................September 1978 Asst Director........................ MartinCohen methods of conditioning for sport, e.g.

John Beaton, Glenda Hambly, Synopsis: A microscopic look at the Great Length.......................................... 90 min man, one 'plane air charter service — oxygen transport, speed and running, Keith Saggers, Owen Paterson Barrier Reef.

Gauge........................................... 16mm carrying anythingfrom anywhere to warming up and mobility exercises.

92 — Cinema Papers, 1978 Cannes Special

P R O D U C T IO N S U R V E Y Editor...............................................HelenBrown Patrick Edgeworth/Russell Hagg, DAYS I’LL REMEMBER - IN Sound Editor.......................Peter McKinley Muckraker $5000 SOUTH AUSTRALIA Dist Company............ Tasmanian Film Corp Stoney Creek Films, Woman in Love $5000 Director......................................... HowardRubie Director........................

NormanLaird Mariner Films, Rusty Bugles $4700 Screenplay.................. Michael Ingamells Camera Asst.................. Russell Galloway (additional pre-production money) Exec Producer..................... Peter Dimond Progress.........................................Editing FEATURE FILMS Photography.................................. RussellBoyd 1978 Length............................................ 1 8 min Release Date........................ March StateLibrary Pram Factory Productions, Dimboola Gauge........................................... 35mm Sponsor................................ of Tasmania $100,000 Synopsis: Julie Anthony features in a Synopsis: Film of historic paintings and GENERAL prestige tourist film on South Australia. manuscripts housed in the Tasmanian Writers Study Grants, $3000 Allport Museum.

Stage Development Loan, $30,000 HOUSING National Film Theatre of Australia, $750 (for Screenplay.............................. John Dick HOLIDAY the Moomba 78 Retrospective Season of Exec Producer............... Lesley Hammond Prod Company.................. TasmanianFilm Australian Film) Length........................................... 20 min 8mm Movie Club, $1000 (for the “Ten Best .

Corporation Gauge........................................... 16mm Dist Company.......... Tasmanian Film Corp of Eight” Awards) Sponsor.................Department of Housing Director............................................ RonSaunders and Urban Affairs Screenplay...................................... JohnPatterson Synopsis: The film is aimed at middle and Producer.......................................... SonAnderson upper years of high schools, technical N.S.W. FILM colleges, adult, further and workers Progress......................................Scripting Tasmanian Tourist Bureau CORPORATION education organizations and universities. It Sponsor...........

Synopsis: A promotional film on Tasmania explains in simple visual terms the main based on the Fly/Drive holiday package. issues relating to “housing", in order to increase the awareness, understanding and The following productions have been LOST IN THE BUSH knowledge of young people about their invested in: present and future physical home Prod Company.................. TasmanianFilm Matt Carroll (for the South Australian Film environment.

Corporation Corporation), The Money Movers $1 25,000 Dist Company................... TasmanianFilm Sue Milliken and Tom Jeffrey, The Odd Corporation Angry Shot $1 00,000 HUMANITY AND HARMONY Director................................. Eddie Moses Exec Producer..................... Peter Dimond JohnPatterson Gauge........................................... 35mm Screenplay........................

Producer.......................................... DonAnderson Sponsor........................ Mobil Oil Aust P/L AUSTRALIAN FILM Camera Operator.................. ChrisMorgan Synopsis: To improve man's understanding Camera Asst...................... GaryClements COMMISSION of man and promote tolerance and racial Progress.

Production harmony — perhaps where harmony did not Sponsor........................ Tasmania In Police exist before.

Synopsis: A film aimed at preventing tragedies occuring in the Australian bush.

PROJECT DEVELOPMENT LIFE. BE IN IT The film shows how to survive in most BRANCH Prod Company............ Pepper Audiovisual conditions that may be encountered.

Director...................................Max Pepper Production approvals from the 12 December Screenplay....................... Richard Yeeles NATIONAL PARK RANGERS 1977 AFC meeting: Exec Producer...................................PeterDimond Prod Company.................. TasmanianFilm Lighting/Camera.............................. PaulDallwitz SCRIPT DEVELOPMENT/PRECorporation Editor...................................... Max Pepper Dist Company......................... TasmanianFilm PRODUCTION APPROVALS Location Sound.......................Peter Barker Corporation Length............................................ 15 min Director................................. Eddie Moses Patricia Lovell, The House Upstairs $2000 Michael Thornhill, The Death in the Desert Gauge........................................... 16mm Screenplay..........................

Eddie Moses $8750 Sponsor.............................Premier's Dept Producer................................. John Honey Telemark P/L, The Hammer and the Spike Synopsis: A film to interest community Camera Operator.............................. GertKirchner groups, local government bodies and private Gauge.......................................... 35mm $4500 MacKormack $2950 enterprise in the sponsorship of the fitness Color Process.............................. Eastman Ray Berrett, Hudson, In Search of the Marsupial campaign.

Progress......................................Shooting Lionel Mole $5500 Sponsor.......................National Parks and Alan Hopgood/Christine Suli, Collingwood PESTICIDE CONTROL Wildlife Service $4720 Screenplay..................... Malcolm Purcell Synopsis: A film depicting the activities of a national pal“k ranger based on Flinders Exec Producer.................................. PeterDimond PRODUCTION APPROVALS Length............................................20 min Island and his efforts to create a balance Mutiny Pictures, Friday the Thirteenth Gauge........................................... 16mm between man and nature. $225,000 Sponsor..................... Health Commission Pom Oliver/Errol Sullivan, The Cathy S y n o p s is : D em onstration of the SAFETY IN SMALL BOATS Baikas Affair $1 75,000 precautionsnecessary in thehandling of Prod Company.................. TasmanianFilm South Australian Film Corporation, Blue pesticides.

Corporation Fin $1 20,000 Dist Company................... TasmanianFilm TIM - THE INHIBITED MAN Corporation Production approvals from the 7 February Director.....................................John Dick Director.......................................... SherryJames 1978 AFC meeting: Screenplay........................ Russell Porter Screenplay....................... John Patterson Producer.............................. Max Pepper Producer.......................................... DonAnderson SCRIPT DEVELOPMENT/PREExec Producer.................................. PeterDimond Camera Operator.............................. GertKirchnerPRODUCTION APPROVALS Lighting/Camera.............................. PaulDallwitz Progress................................................Inproduction Productions P/L, Tim $4675 Sound Recordist.................. Peter Barker Sponsor........................... Tasmania Police Pisces Edgecliff Films P/L, Eden Rock $7815 Length...........................................10 min Synopsis: A film to promote a greater Michael Chojeki/Henri Safran, Queen of Gauge........................................... 16mm awareness of safe boating practices.

Hearts $5000 Sponsor....................Dept of Public Health Bill Warnock/John Beaton, Catalpa Escape Synopsis: A film to assist school children TRAINING EXERCISE $4000 and parents in the prevention and cure of Gus Meyer, The Derrickman $500 Prod Company..................

Tasmanian Film scabies.

Corporation Bob Ellis/Chris McGill, Lindsay $6000 John McCallum Productions, Six Feature Dist Company...................

Tasmanian Film TRAINING OF WORKERS Corporation Package $150,000 Screenplay................. Christopher Bishop Director.............................. Sherry James Exec Producer............. Lesley Hammond PRODUCTION APPROVALS Screenplay.......................Stephen Collins Length.......................................... 20 min Gauge.......................................... 16mm Producer........................... Don Anderson Greenboe Corporation, Sparks $6000 Progress.....................................Scripting Artis Films P/L, The Last Tasmanian $5471 Sponsor.................. Department of Labour & Industry Synopsis: A training film on the planning Gemini Productions P/L, Telemovie and conduct of a disaster exercise.

Package $94,500 Synopsis: The film is aimed at workers, Samson Productions P/L, The Odd Angry unionists and their representatives to create VANDALISM Shot $10,000 greater awareness of the importance of effective job training. It also encourages Prod Company.................. TasmanianFilm Ray Beihler/Don Scheldup, Mary Loves workers and their representatives to Corporation Peter Loves Paul $218,075 communicate to management their views Dist Company................... TasmanianFilm Oxenburgh Productions, Learn Quick Die about what kind of training is required, and Corporation Young $18,568 to encourage workers to make effective use Director............................. Ron Saunders David Hannay Productions, A lis o n ’s Screenplay........................ Roger Lupton, Birthday $100,000 of training opportunities available to them.

Ron Saunders Producer........................... Don Anderson MARKETING APPROVALS VALUE OF MAPPING Editor.................................

Rod Adamson David Hannay, distribution funding for Solo Screenplay........................ Harry Bardwell Camera Operator................. Chris Morgan $50,000 Exec Producer............... Lesley Hammond Camera Asst................. John Jasiukowicz Yoram Gross Film Studio, industry Length......... .................................20 min Progress..................................... Editing assistance $60,000 Gauge........................................... 35mm Release Date........................... May 1978 The Film House, industry assistance Sponsor....................Department of Lands Sponsor........................ Community Crime $50,000 Synopsis: The film aims to show secondary Prevention Advisory school students at senior levels, tertiary level students of earth sciences and the Synopsis: To show that vandalismCouncil is an CREATIVE DEVELOPMENT general public the value of the basic map anti-social activity.

BRANCH relative to the development and protection of State resources and to be aware of the Projects recommended for funding from the applications of maps in State development.

February AFC meeting:

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The V.F.C. have invested in the following projects:

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ALLPORT LIBRARY

SCRIPT DEVELOPMENT

Prod Company................... Tasmanian Film Corporation

Hexagon P/L, The Last of the Knucklemen $7000

EXPERIMENTAL FILM AND TELEVISION FUND Klaus Jaritz (NSW), Sun $2500 Fabio Cavadini (NSW), The Lane $5776 Susan Lambert (NSW), Size 10 $2650 Peter de Lorenzo (NSW), Lichtenspiele $2172 Alex Proyas (NSW), Ditto $350 Tony Quill (NSW), 1 20 Further Adventures

of Zimbo Tuff $900

Kim Rendall (NSW), Grandma Rose, Elsie Mae and Lottie $2500 Antionette Starkiewicz (NSW), Pussy Pumps Up $9927 Paul Shinagl (NSW), Love Story $800 Richard Bradley (NSW), The Golden Sec­ tion $500 Brendon Stretch (NSW), TX 666 $1493 Gavin Wilson (NSW), Exile in Eden $6045 Roger Bayley (Vic), The Thin Edge $2294 Kevin Anderson (Vic), The King of the Two Day Wonder $7232 Paul Jansen (Vic), First Things First $2158 John Laurie (Vic), Undertow $1445 Chris Oliver (Vic), Rodeo $3263 David Shepherd (Vic), Mike’s Blood $1872 Daro Gunzberg (Vic), Profile of a Clown and a Mindreader $3839 Gary Patterson (Vic), Community Documen­ tary Cassettes $2000 Paul Reynolds (Vic), Saturday Play $1988 Renee Romeril (Vic), untitled $2000 Frank Bendinelli (Vic), Still Life $2013 Stephen Bennett (Vic), The Social Worker $804 Ian Pringle (Vic), Marco Polo $8840 George Viscas (Vic), The Brace $1618 Jane Allison (SA), Debbie $934 FILM PRODUCTION FUND Chris Cordeaux (Qld), U ndertakers $33,882 Peter Bull/Jas Shennan (Qld), A Precious Gift $4000 Ray Lawrence/Glenn Thomas (NSW) Sweet Dreams and Flying Machines

$30,000 Paul Williams (Vic), The Island of Nevawus $35,542 Don McLennan (Vic), King Island $2010 Peter Dodds (Vic), Percy Aldridge Grainger $10 00

SCRIPT DEVELOPMENT FUND George Goldberg (NSW), No Exit $1100 Philippa Porter (NSW), Hand Me Down $1000

Jeffrey Peck (Vic), Burke and Wills Are Dead $330 Projects recommended for funding from the March AFC meeting:

EXPERIMENTAL FILM AND TELEVISION FUND Mitchell Faircloth (Vic), Terra Lostralis $2618 Claire Jager (Vic), No Fear I Quote $2981 Paul Widdicombe (Vic), Meditation — Individual and Group $1214 Victoria Roberts (NSW), Cycles $5824 Lis Rust (NSW), Margaret’s Story $400 Jeni Thornley (NSW), Maidens $2539 Robert Wyatt (Qld), Suburban Windows $3814

PROMOTION ADVANCES Sonia Hofmann (NSW), $2000 for 35 mm blow-up of animated short, Letter to a Friend.

Michael Glasheen (NSW), $2000 for 16 mm Kinescope of Uluru.

FILM PRODUCTION FUND David Hay (NSW), Hard Yakka $35,000

SCRIPT DEVELOPMENT FUND Sandra Alexander (NSW), script for a Australian films $2214.

G ill E atherly (N SW ), script for a documentary on reminiscences about life in the bush $1300.

Bob Hill (NSW), treatment for a screenplay about a man obsessed with Japanese concepts of inner peace $ 1000.

Michel Pearce (NSW), treatment for a feature on a teenage boy who gets into trouble $1 250.

Bruce Petty (NSW), for a screenplay and artwork for an animation film about Enerav $3000.

James Ricketson (NSW), a screenplay for a feature about old people in a retirement home $2000.

Rivka Hartman (NSW), a screenplay for a feature about an eccentric lady $2000.

Alan Ingram (NSW), a screenplay for a lowbudget film with a medieval setting $1500 Mark Stow Smith (NSW), a screenplay for a low-budget feature on the problems of a deaf child $1050.

Roger Clarke (Vic), a script for a documentary about Australian soldiers in France in World War I $2300.

John Hughes (Vic), a script for a documentary on the Waterside Workers’ Federation $1500.

Peter Kennedy (Vic), a script for a documentary on politics in Australia $2240.

Ivan Gaal/Mary Keane (Vic), a script for a documentary on attitudes to the sudden wealth of big lottery wins $2000.

GENERAL Paddington Town Hall Centre, an interest free loan of $34,000 to cover the cost of installing video and cinema facilities.

mJ

Cinema Papers, 1978 Cannes Special — 93

C o l o r f i l m A U S TR A L IA is proud to be associated with these fine films at Cannes

S U M M E R F IE L D l o n g

w

e e k e n d

| fW S F R O N J THE M ANGO TREE

C olorfilm

A SPECIAL KIND OF LABORATORY SERVICE FOR AUSTRALIA AND SOUTH EAST ASIA.

COLORFILM PTY. LIMITED, 35 MISSENDEN ROAD, CAMPERDOWN, N.S.W. 2050.

Telephone: 516 1066. Telex: AA24545.

VICTORIA

★

★

★ ★

(c) Ultrasonic negative cleaning.

★

(d) Rushes (24 hours) — Bell & Howell Model ‘C ’ additive color printing.

★

★

★

(e) Negative breakdown, recording and storing.

★

★

★

★

(f) Negative matching.

★

★

★

★

(g) Intermediate positive and negative, reversal intermediate (CRI). (h) Release printing — B & H Model ‘C’.

★

★

★

★

★

★

★

★

★

★

KG

★

★

Suite 21. Valetta Units.

Campbell Street.

Artarmon. NSW 2064 (02)439 3555

★

Colorfilm

35 Missenden Road.

Camperdown, NSW 2050 (02)516 1066

Kinelab

2 Cadogan Street.

Marrickville. NSW 2204 (02)51 5034

★

Atlab

★

★

Television Centre, Epping, NSW 2021 (02) 85 0224-7

Driver and Associates

VFL

★

★

(b) Electronic color analysing.

31 Agnes Street.

East Melbourne. Vic 3002 (03) 63 1956-7-8

4 Guest Street.

Hawthorn. Vic 3122 (03)81 0461

Cine Service

233-235 Moray Street.

Sth. Melbourne. Vic 3205 (03) 699 6999

Çinevex

1. 35mm COLOR (a) Eastman negative to Eastman standards (5247 when available).

15-17 Gordon Street.

Elsternwick. Vic 3185 (03)53 1151-2

Mastercolor

457 Church Street.

Richmond, Vic 3144 (03)42 5160

Services & Facilities Guide

NEW SOUTH WALES

2. 16mm COLOR (a) Negative/positive.

★

★

★

★

★

★

★

(b) Eastman negative developing to Eastman standards (7247 when available).

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

(c) Electronic color analysing. (d) Ultrasonic negative cleaning.

★

(e) Rushes (24 hour)— B & W or color; Bell & Howell M odel'C ’ additive color printing; printer edge numbers.

★

★

★

★

(f) Negative breakdown, recording and storing.

★

★

★

★

(g) Negative matching.

★

★

★

★

★

★

★

★

★

★

★

(h) Intermediate positive and negative, reversal intermediate (CRI).

★

(i) Release printing — Bell & Howell Model C’.

★

★

★

★

★

★

★

★ ★

(j) ‘A’ and ‘B’ roll make-up and printing.

★

★

★

★

★

★

★

★

★

(k) Reversal;

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

★

Developing Eastman 7252, 7256, 7241,7242; Printing 7389;

★

or Developing Gevachrome P600, P605, P615; Printing P906.

★

3. OPTICAL PRINTING ★

★

★

★

(a) ‘Oxberry’ and like equipment.

★

(b) Aerial image. (c) Automatic complex zooming.

★

★

(d) Liquid gate.

★

(e) 16mm to 35mm blow-up with liquid gate.

★

★

★

★

4. SOUND (a) 35mm and/or 16mm magnetic to magnetic. ★

(b) Magnetic to optical.

★

★

★

★

★

★ ★

★

(c) Optical to optical. (d) Electronic printing.

★

★ ★

★

★

★

★

★ ★

★

★

★

5. MAGNATECH 35/16mm (a) Sound auto looping recording and duping system 6. 8mm (Standard-Super) (a) Duplicating.

★

★

(b) Bulk printing and cassetting.

★

★

★

7. CLEANING AND POLISHING (a) Base polishing.

★

★

(b) Scratch eliminations.

★

★

(c) Emulsion hardening.

★

(d) Ultrasonic cleaning.

★

★

★

★

★

★

★

★

★

★

★

★

Quality 16mm

W

★

A &B Hazeltine color analyzing.

Feature film proof printing.

Color consultant

f

★

16mm mixing 16/35 B& W Neg/Pos 16 reversal B &W. Specializing in duplication of old footage.

Part 1: Laboratories

★

Video & Telecine facilities.

Kinescope Recordings.

16mm to super 8mm Reduction Printing.

o 3 SL </>

★

★ ★ Ectachrome Process 7239.

Print on Eastmancolor 7390.

> a a

★

Cinema Papers, 1978 Cannes Special — 95

★ ★ ★

★ ★ ★

★ ★

No!

(a) Number of dubbers

(b) (c) (d) (e)

(f) (g)

(h) (i) (j) (k) (I)

(m) (n) (0 ) (p) (q) (r) (s) (t)

(u) (v) (w) (x)

Part 2 : Sound Studios Chart designed by Peter Kelly.

96 — Cinema Papers, 1978 Cannes Special

7

16

7

16

7

16

All

All

★ ★ ★ ★

★ ★ ★

A

B

11

12 12

11

★ *

★ ★ ★ ★ ★ ★

7

5

6

6

13

All

★

★

DUBBING STUDIOS (i) 16mm (ii) 17.5mm (iii) 35mm Number that can be interlocked Rock & Roll dubbing High speed rewind dubber Facilities to mix (i) Single track onto 35mm (ii) Three track (iii) Four track stereo (iv) Six track stereo Facilities to mix 0) Single track onto 16mm (ii) Three track Three track or single track double-head changeover projection facilities (i) 35mm (ii) 16mm Cartridge sound library Number of cartridges employed simultaneously Number of loops employed simultaneously Number of inputs into mixing desk Mixing desk has (i) dialogue equalizers (ii) graphic equalizers (iii) noise gates or kepexs | (iv) general equalizers on each channel (v) echo or reverb (vi) extras Dolby Size of dubbing theatre Size of screen Remote electronic footage counter Post sync to picture (i) dialogue (ii) Fx Facilities for recording music score to projected film Line-up tone on head of mix Optical neg printing (i) RCA (ii) Westex (iii) Other Cross-modulation distortion testing facilities Transfer three-track mix to mono optical Dolby cinema stereo optical printing AB comparison between optical answer print and soundtrack and the master mix

★ ★ ★ ★

12

All

★ ★ ★ ★

★ ★ ★ ★

Victorian Film Laboratories 2 Guest Street Hawthorn 3122 (03) 81 0461

★ ★ ★

Film Soundtrack Aust.

107 Queensbridge Road Sound Melbourne 3205 (03) 62 3205 (03) 62 5677

★ ★ ★

Desmond Bone 238 Ferrars Street South Melbourne 3205 (03) 699 7203

Supreme Films 11-15 Young Street Paddington 2021 (02) 31 0531

★ ★ ★

Smart Street Films 17 Oxford Street Bondi Junction 2022 (02) 389 2332

Sound on Film 50 Atchinson Street St. Leonards 2065 (02) 439 4932

TRANSFERS Va ’ tape to 16mm mono 1/4” tape to 17.5mm mono V4” tape to 35mm mono Va ’ tape to 16mm stereo V4” tape to 35mm stereo Equalizing or filtering during transfer Numbering on magnetic tape of each take Sheet listing details: sync pulse;equalizing; slates; etc SN Nagra transfers Speed variation during trans of original V4”

Film Australia* Eton Road Lindfield 2070 (02) 46 3241

(a) (b) (c) (d) ' (e) (f) (g) (h) (i) (j)

United Sound 21 Pier Street Sydney (02)261381

NB: This list is not comprehensive but represents only those who were willing to participate.

South Australian Film Corp.

64 Fullarton Road Norwood 5067 (08) 42 4973

Services & Facilities Guide

VIC.

N.S.W.

S.A.

★ ★

★ ★ ★ ★ ★ ★ ★ ★

★ ★ ★

★ ★ ★

★ ★ ★ ★

★

★

★

4

6

16

★ .★

1

★ ★ ★

★

★

★

★

★

★

6 1 1 6

4

All

All

★

★

★

★

★

★

★

★

★

20 20 ★ ★ ★

16mm only

★

★ ★

★

★

★ ★

★

★

★

★ ★

★ ★ 6

4

4 ’

2 12

★ 3 13

26

12

24

12

12

5

12

20

★

★

★

★

★

★

★

★

★ ★

★

★

★

★

★

★ ★

★

★

★

★

★ ★

★ ★ ★ ★ ★ (2 )**

★ ★ ★

★

★

★

★

★ ★

*

★ 0) 7 0 'x 35' ★ ★ ★

★

★ ★ ★

(6) ★ ★

★ 4 11

★ ★ ★ 0)

★

7.5'x 9'

12.5'x 5'

★ ★

★

★

★ ★

★

★

★

8 ★

(4)

3 2 'x 22' ★ ★

★

★

★ ★

3

★

3 4 'x 14.5'I |25'x 18'

(5)

6 0 'x 2 5 'I 16'

★ ★

★

4 5 'x 18'

12'x 14'

14'x 10'

5'x 3'

★ ★ ★ ★

★

★

★

★

★

★

★

★ ★

★

-

★

★

' These facilities are not at present available to private producers.

★

★ (1) (2) (3) (4) (5) (6)

Compression/De-ess fx filters 2 Telephone filters Lim iters/spring reverb/plate reverb Stereo mixdown A: 2 6 'x 17' B :6 5 'x 4 5 ' A: 4 .5 'x 3' B: 1 7 .5 'x 9.5'

S.A.

N.S.W.

★ ★ ★

A.P.A. LEISURE INT.

43 YEO STREET NEUTRAL BAY 2089 (02) 909 8011

★ ★

CRAWFORD PRODUCTIONS

1 SOUTHAMPTON CRESCENT ABBOTSFORD 3067 (03) 42 0311

TRANSFERS (a) W tape to 16mm mono (b) V4” tape to 17.5mm mono (c) V4” tape to 35mm mono (d) W ’ tape to 16mm stereo (e) V4” tape to 35mm stereo (f) Equalizing or filtering during transfer (g) | Numbering on magnetic tape of each take (h) Sheet listing details: sync pulse; equalizing; slates; etc (i) | SN Nagra transfers (j) Speed variation during trans of original 1/4”

SOUNDTRACK AUSTRALIA

1 0 5 RUNDLESTREET KENT TOWN 5067 (082)42 2251

Services & Facilities Guide

VIC.

★ ★ ★ iS • fo r

★

No!

★ ★ ★

★

★ ★ ★

★

Very very V e ry

I

very tu ff, q c u tH -fy .

DUBBING STUDIOS (a) Number of dubbers

(b) (c) (d) (e)

(f) (g)

(h) (i) (j) (k) (I)

(m) (n) (0 ) (p) (q) (r) (s) (t)

(u) (v) (w) (x)

(i) 16mm (ii) 17.5mm (iii) 35mm Number that can be interlocked Rock & Roll dubbing High speed rewind dubber Facilities to mix (i) Single track onto 35mm (ii) Three track (iii) Four track stereo (iv) Six track stereo Facilities to mix (») Single track onto 16mm (ii) Three track Three track or single track double-head changeover projection facilities (i) 35mm (ii) 16mm Cartridge sound library Number of cartridges employed simultaneously Number of loops employed simultaneously Number of inputs into mixing desk Mixing desk has (i) dialogue equalizers (ii) graphic equalizers (iii) noise gates or kepexs (iv) general equalizers on each channel (v) echo or reverb (vi) extras Dolby Size of dubbing theatre Size of screen Remote electronic footage counter Post sync to picture (i) dialogue 0») Fx Facilities for recording music score to projected film Line-up tone on head of mix Optical neg printing (i) RCA (ii) Westex (iii) Other Cross-modulation distortion testing facilities Transfer three^rack mix to mono optical Dolby cinema stereo optical printing AB comparison between optical answer print and soundtrack and the master mix

Part 2 : Sound Studios

5 1

10 4

5

All

All

All

★ ★

★

★

★ ★

★ ★

★ (1)!

★ ★

★ ★

★

12

8

12

★ ★ ★

★ ★ ★

★ ★ ★

★

10 12

★ 4 12

★ ★ ★

★ ★

★ ★ ★

50' x 24'i 15' x 30' 6 'x 8 ' 10'

★ ★ ★ ★ ★

(2) (3)

★ ★ ★

★ ★ ★

★

★ ★ ★ ★

c u r t .

V ic to r ia .*

film

Labor e f i t s

★

★ (1) (2) (3)

Two track A: 3 5 'x 25' A: 12' x 8'

*■ Film is our

B :2 0 'x 1 8 ' B: 6 'x 4 '

n 'iiM

t

h a rw e .

Cinema Papers, 1978 Cannes Special — 97

...ACTION!

NATALIE MILLER

On the twelfth of April 1978, 21 men and women became the

Associate Producer of

first team in Australian history to complete a course of professional training in film and television. »

In Search o f Anna

*

*

(A new Australian feature directed by Esben Storm)

They will now continue their learning and development, but as working members of a dynamic young industry.

We congratulate the first graduates of the Fulltime Program

C o n ta c t:

and confidently wish them well in their future careers.

Natalie Miller Hotel Athenee Cannes

Australian Film and Television School

Sharmill Films Personalized distribution of connoisseur films . . .

2 7 Stonnington Place, Toorak, Vic. 3 1 4 2 , AUSTRALIA Telephone: Melbourne 20 5 3 2 9 Cables: Sharfilms Melbourne Australia

Box 126, P.O., North Ryde, N.S.W. 2113 Australia

JOHN SCOTT HLM EDITOR THE ADVENTURES OF BARRY McKENZIE BOESMAN AND LENA (South Africa) THE GREAT MACARTHY MAD DOG MORGAN PURE SHIT JOURNEY AMONG WOMEN THE MANGO TREE

flEWSFRONJ 11 BARCONI AVENUE, RUSHCUTTERS BAY (DARLINGHURST) SYDNEY 2011

(02) 316232 STEENBECK EQUIPPED 35 MM EDITING FACILITIES ALL FORMATS INCLUDING ANAMORPHIC SPECIALIZING IN LOCATION EDITING FACILITIES

iiiiliiliilil

SUMMER CITY “ A period psycho-drama set in a small, coastal resort town.”

D irector........................ Christopher Fraser

Top: Judith Woodroofe and Steve Bisley.

D irectcKof Photography .. ^Jerry^M arek Centre: John Jarcatt in Phillip Avalon’s E ditor............ .......................... David Stiven Sum m er City.

Sound Recordist........................ . Bill Pitt Bottom: Judith Woodroofe, Mel Gibson, Screenplay............................ Phillip Avalon John Jarret, Phillip Avalon and Steve John J a r r a t........................ Sandy Harrison Bisley.

Phillip A valon.................................... Robbie Steve Bisley.............................................. Boo Noel G ib s o n ...................................... Scallop James E lliott.................................. Matthews

.. each issue of this sparkling Australian Quarterly has as much material as the average film book. The emphasis, sensibly, is on the m aking of movies, with plenty of documentation on the legal and administrative side of the industry, as well as good reviews, interviews, and international features. The colour covers are always striking.”

“C in em a P a p e r s is a great success: It manages to appeal to both film buffs and people with but a general interest, and is beautifully produced and edited.”

mema nter group

Media Information Australia

Editor Henry Mayer

“Nowadays, no film-lover interested in what is going on in this country can afford to miss an issue.”

Colin Bennett The Age

International Film Guide

Edited by Peter Cowie.

‘C in em a P a p e r s .. .as always, it is packed with interesting features.

Cinecenta Films Pty. Limited presents an alter­ native distribution outlet fo r AUSTRALIA, NEW ZEALAND and the PACIFIC ISLANDS, special­ ising in films of quality Currently in release:

"PARDON M O N AFFAIRE” "LA BETE"

Raymond Stanley

"THE STORY OF ADELE H" "STEPPENWOLF"

Screen International

Representatives at Cannes: Darrel Killen & Reg McLean

CINEMA PAPERS 143 Therry St. Melbourne 3000 Australia Phone: 03 329 5983

Cinema Center Bunda St. Canberra City, A .C .T. Australia, 2601 Tel. (062) 49-1932, 43-9728 Cables Cinecenta, Canberra Telex 62672 P.O. Box 413 Canberra City, A.C.T. 2601

WINDSOR THEATRES E X H IB ITO R S • D IS TR IB U TO R S • IM PORTERS OF MOTION P IC TU R ES Currently handling Australian distribution for the following: F ro m U .S .A .: John W aters/N ew Line Cinema Productions

D E S P E R A TE L IV IN G P IN K F L A M IN G O S FEM ALETRO UBLE M O N D O TRASHO M U L T IP L E M A N IA C S

journ ey A m on g W om en

F ro m A R G E N T IN A : Isabel Sarli/Armando Bo Productions

T R O P IC A L E C S T A S Y F ro m U. K.:

Vtailetfs *Biri

THE

LUST W NE

Meadway Film Productions

T H E M A N W IT H T H E G R EEN C A R N A T IO N CURRENTLY IN THE MARKET FOR ‘R’ RATED & SOFT X MOVI ES. . .

C o n ta c t -

ANDREW SHEPHERD,

B O X 2 4 Ç 4 G .P .O ., A D E L A ID E 5 0 0 1 , S O U T H A U S T R A L IA . P h o n e ( 0 8 ) 2 1 2 4 6 2 1

where the shoot ends and the movie begins 141 Penshurst St. W illo u g h b y N. S.W . 2 0 6 8 (0 2 ) 4 1 2 4 0 5 5

THE CHANT OF JIMMIE BLACKSMITH

JOHN DUIGAN

Fred Schepisi didn’t go with her.The agent I p ick e d , h o w e v e r, was a big mistake.

D e v il’s Playground was the kind of Film that nobody thinks is commercial until it goes on. For example, the treatm ent Columbia gave it in Britain w asn’t the greatest, yet it ran nine weeks at the W arners West End.

C o n tin u e d f r o m P . l l

W hen this is over we are going to see, as an exercise, whether it would have been better to pick one area and build all exteriors there. That will be very interesting because our transport costs were astronom ical. All our vehicles, ended up travelling 250,000 km and our petrol bill was around: $20,000. The accommodation was; also astounding.

Will you see anything back from it?

The hunt for Jimmie Blacksmith. The Chant of Jim m ie Blacksmith.

H ow h a v e y o u r p u b li c it y arrangements worked out so far?

Fantastically. (Schepisi lifts up a copy of the December F ilm s a n d F ilm in g.) For example, here is the front cover, plus a double page spread inside, of F ilm s a n d Film ing.

We are likely to get four pages in T he L o s A n g e le s T im e s in March and there is going to be an article about Australia, which is in fact spearheaded through The Chant of J im m ie B la c k sm ith and S u m m erfield , in th e L o n d o n Sunday

T im e s' C o lo r S u p p le m en t.

That has to be worthwhile I would have thought, but the AFC didn’t pay — Pat Lovell and I did.

We have been in a lot of the tra d e m ag a z in e s, p a rtic u la rly S cre e n In tern a tio n a l. As well, the D ecem ber issue of F ilm s a n d F ilm in g has been sent to the 30 top distributors in the world, and at Milan we gave out kits to the 50 top distributors.

All of this has generated such an awareness that I have already had seven inquiries from overseas.

Overall, publicity will cost us about $80,000 — that is less than 10 per cent. So it has to be worth it.

John Duigan C o n tin u e d f r o m P. 31

“ Dimboola” has been a projected film for a long time. When did you become involved?

I was brought in to direct the Film at the end of last year. Max G illies and Jo h n T im lin were appointed administrators of Pram Factory Productions, which is the Filmmaking arm of the Pram Factory. It has been their role to get the Film off the ground and they are now functioning as associate-producers. John Weiley will produce.

As for the script, Jack wrote the First new drafts, and subsequently, it has passed through a num ber of fu rth e r drafts after discussions Jack has had with Max Gillies, m yself and John Weiley.

What market is the Him aiming at? Presum ably, the theatre­ going au d ien ce w o u ld n ’t be sufficient in its e lf . . .

In term s of the num ber of p e o p le w h o h a v e s e e n i t , Dimboola is probably the most

Do you intend to premiere the film at Cannes?

We are aiming for the Com pe­ tition and everything is geared for that. We will have a Fine cut at the beginning of January and a print by the second week of March.

Sure the Film has to be good enough, and if it is, we will capitalize on it.

I f it i s n ’ t a c c e p t e d in to C om petition or the D irectors Fortnight, either because it is not good enough or because we are too late, then we won’t show the Film at Cannes.

There were some experiments done, through Dennis Davidson, with a Canadian Film at Cannes last year, and they got better inquiries by not competing in the market place, where you have dills running in and looking at your Films for 10 minutes and then disappearing.

How important is recognition overseas to a film ’s release here?

I think The Last Wave is the one that stands to be the most successful out of this. Devil’s successful theatrical event in Australia’s history. I understand it has been seen by more than 350,000 people. Because it’s been so universally well-liked, I think a large num ber of the people who have seen the play will want to see the Film. This is a good start.

Obviously we want everyone else to see it too.

Isn ’t there a danger that they will be expecting a film version of the play?

They probably will, and in publicizing the Film we will have to indicate that it is going to be very different to the play. Basically it is comedy, and if it works it should have very wide appeal.

However, I would also like to capture some of the feeling of Films, like for example Amacord and The Fireman’s Ball, and the play U n d e r M ilk W o o d — although a bit more roistering than these. I see the Film as having much broader possibilities than simply a Bazza-style okker comedy which s o m e p e o p le s e e m to be expecting.

Playground so far has been a marketing failure overseas.

I have always had a philosophy that you should get an inter­ national reputation for your Film because it helps in A ustralia.

There is no question that awards and festivals helped Devil’s Play­ ground locally. In fact, I am sure they were responsible for it being released.

You don’t agree with Ken Hall that the Directors Fortnight is the kiss of death . . .

I don’t think so. It grossed around 18,000 pounds, but.they spent nothing on advertising. Nick Tate drove them mad till Finally something was done for the radio, and the Film’s box-ofFice went up immediately.

We think we are treated badly overseas, but it is just that we are not treated specially, and I think you are led to believe you are going to be. So you have to Find people to look after you, and at the m om ent I have people looking after me very well in Britain and elsewhere.

No. We were shown late in the festival, and as we were not able to sell or sh o w it b e fo re th e screening, that disadvantaged us.

But probably we would have been disadvantaged anyway — that is what I have to work out.

1976 was my first tim e at Cannes and I was experimenting with everything because I didn’t merely want to sell that Film, I also wanted to learn.

If I had gone with Jeannine Seawell it probably would have been sold in every area that Picnic and Caddie were, and probably for a third less — which is why I

What ratio do you envisage between the Australian and the world-wide grosses?

In the city, people associate generally in groups of their own kind. In a country town, the population is too small for this and there is generally a greater mixing.

I would like to try and capture this d iv e r s ity o f ty p e s — in a heightened reality certainly, but one that doesn’t lose touch with its naturalistic roots. I hope we can create a good deal of warmth and energy — as we tried to in Mouth to Mouth.

of money. It is very difFicuIt to pare it below that, simply because of the size of the cast and the a s s o c i a t e d e x p e n s e s of accommodating, transporting and feeding that num ber of people.

There are more than 30 large speaking parts, and a lot of extras.

Are you shooting on location?

Yes, it will be Filmed entirely in Dimboola. We have been up there looking around the place and the tow n is excited at the idea.

D im b o o la , the play, was taken there a couple of years ago and played th ree sold-out nights.

Everyone liked it, and looks fo rw ard to th e film p u ttin g Dimboola on the globe.

Have you finalized a budget for the film?

Yes, $350,000 — which is a lot

On D e v i l ’ s P la y g r o u n d I th o u g h t we w ould get th re e quarters of our money back here and end up with double our money back from overseas. It turned out that we got all our money back here and nothing from overseas.

With Jimmie, Hoyts are doing a fantastic job. The effort, energy and imagination they are putting in is extraordinary. I think the Film is going to be a boomer. ★

H ave you raised money?

all of the

Most of it; there is still some private money to chase.

W ill the crew be of a sim ilar size to that on “ Mouth to M outh” ?

A b it l a r g e r in t h e Ar t D e p a r tm e n t/C o s tu m e s /P r o p s area, but a num ber of the same p eo p le: T om C ow an will be shooting it, Lloyd Car rick will do the sound, Vicki Molloy will be production manager.

Probably seven or eight people from Mouth to Mouth will be working on it — the crew on Mouth was very good. I was delighted to work with Tom again — we had worked together once on Bonjour Balwyn in 1970. ★ Cinema Papers, 1978 Cannes Special — 101

Th e Australian Film Producers & Investors Guide Subscription Service Written By Antony I. Ginnane LL.B., (Melb.)

Ian Baillieu M.A. Juris (Oxon) Leon Gorr B. Juris., LL.B., (Mon.) M. Admin.

Edited by Peter Beilby

The Australian Film Producers and Investors Guide is now in production and mailings have commenced.

An updated and improved version of the continuing series of Cinema Papers articles entitled “ Guide for The Australian Film Producer” , the new Australian Film Producers and Investors Guide is available as a loose leaf, hardcover, regularly expanding and updating subscription service.

The Australian Film Producers and Investors Guide will be an invaluable aid to all those involved in film business, including the producer trying to set up his first film; the investor contemplating financial participation in a production; the writer about to sell his first script; the lawyer, accountant or distribution executive who finds himself confronted with new problems as the local production industry grows. A chapter dealing with the foreign producer in Australia will also be included.

Prospective subscribers should note that in most instances subscriptions to the Guide are tax deductible.

The authors of the Service, all practitioners with experience in this field, will also draw on a number of specialist consultants. The combined information will provide, for the first time, a comprehensive reference work on the subject of film financing, production, distribution and exhibition in Australia.

Set out below is an abbreviated table of the proposed contents of the Service that subscribers will eventually have at their disposal. This material will be progressively made available to subscribers by mailings at regular intervals. It is envisaged that all chapters will be substantially completed by June 1 981, after which the contents will be updated when necessary.

THE EXHIBITOR

PRELIMINARY ASSESSMENT OF THE PROJECT

Need for preliminary analysis of project aims and project feasibility. Estimating the costs, technical problems and risks of the production. Estimating the monetary returns from a proposed film. Safeguarding concept from piracy during the preliminary assessment stage. Laws hindering production or exploitation of the proposed film: defamation, passing-off, censorship, etc. Rights and permissions needing acquisition: confidential ideas, copyright, location permissions, etc. Assessment of chances of project progressing to the production stage.

ORGANIZATION OF THE PRODUCER

Considerations governing choice whether to use company, trust, business name, partnership, etc. Costs and formal requirements of each form of organization.

SECURING NECESSARY RIGHTS Producer’s acquisition of necessary rights to complete screenplay and to make film. Price and other terms. Quit­ claims and disclaimers from persons with possible title.

Various stages at which it is appropriate to secure various rights. Establishing exclusive rights to the project: title registration, trademark registration, goodwill, etc.

SCRIPT DEVELOPMENT

Different forms of screenplay for different types of film.

Stages in the creation of a screenplay. Choice of screenplay writer. Agreement commissioning the writing of a screenplay.

DEALING WITH A COMPLETED SCRIPT

Nature and protection of rights in a completed screenplay.

Assessment and valuation of a completed screenplay.

Agreement for acquisition of a completed screenplay.

PREPRODUCTION Different meanings of “ preproduction” . Additional work which producer may have to do besides acquiring rights ¿and developing screenplay, in order to bring project to point where production can start.

BUDGETING

Budgeting for script development, for preproduction, and for production. Usual item classifications. Rules of thumb for estimating certain items. Special items and allowances.

Budget presentation. Expenditure timetable and cash-flow statement. Treatment of deferments. Examples of Australian film production costs.

Registration of cinemas. Regulations affecting cinema operation. Economics of cinema operations.

TAXES AND DUTIES Australian income tax law and practice as it affects the Australian film industry. Comparison with overseas tax systems. Overseas taxes payable on earnings of Australian films. Payroll tax. Sales Tax. Stamp duties on documents.

Gift and death duties as they may affect investors in a film.

REPORTING, ACCOUNTING AND AUDITING

Various accounting and audit requirements imposed by statutes, by production management, and by investors.

Record-retention obligations. Inspection of accounts. Distri­ bution of film proceeds. Retention of moneys to provide for future expenses. Reports. Special audits.

MISCELLANEOUS

FINANCING A FILM. INVESTING IN A FILM

Explanation of terminology. Similarities and differences in financing of preproduction and financing of production.

Methods of cost reduction: economies of scale; trade discounts; contra deals; deferments, including service partnership formed by investors. Forms in which finance may be provided: producer’s own money; direct payment by investors; various kinds of loan; various kinds of presale; various kinds of equity-sharing. The terms of an equity investment agreement. Financing coverages. Sources of finance: government, trade and private; policies and statistics of government film corporations. Solicitation of finance: government film corporation application procedures; relevant legislative provisions; prospectus requirements; use of an agent. Check-list for intending investors. Special issues arising for an Australian proposing to invest in a foreign production.

PRODUCTION Different production methods and stages for different kinds of film. Production insurances. Engagement of production executives, crew and cast. Special issues arising with engagement of foreigners and other special classes of personnel. Distinction between employees and inde­ pendent contractors, and its consequences. Problems of producing in a foreign country, e.g. New Guinea, Indonesia, New Zealand. Location permission. Dealing with spectators.

Catering. Film stills. Use of pre-existing film footage. Film music: technical procedures and necessary agreements.

Use of laboratory. Editing, crediting, dubbing and subtitling.

Archive and library copy requirements. Production reports and accounts. Retention and custody of preprint materials.

Production reports and accounts. Production of trailer.

Various kinds of package productions. Coproductions of various kinds. Extent of financiers’ rights to control or interfere with the manner of production.

ACQUIRING A COMPLETED FILM Investigation of vendor’s title and credit-billing obligations.

Special issues arising if film is foreign-made. Agreement to acquire Australian distribution rights. Import formalities.

EXPLOITING THE FILM Nature and protection of rights in a completed film; practical and legal remedies for prevention of piracy. Relative importance of Australian and foreign film markets.

Australian film markets: theatrical, television, 16mm and other. Directory of Australian cinemas. Alternative methods of releasing film in Australia. Decision by producer whether to undertake own distribution orto engage a distributor.

Planning and implementing film P. R. Film registration and censorship in Australia. Choice of exhibitor and various types of exhibition contract. Choice of an Australian • distributor. Terms of an Australian distribution contract.

Examples of gross and net returns achieved by films in Australia. Film markets overseas; theatrical, television, 16mm and other. Relative importance of various foreign territories. Methods of promotion to foreign distributors.

Export assistance grants. Assistance from Department of Trade, government film corporations, foreign publicists, and sales agents. Choice of a foreign distributor. Terms of a foreign distribution agreement. Examples of foreign earnings of Australian films. Extent of financiers’ rights to control or interfere with producer's exploitation of the film.

Directory of Australian and foreign film festivals and film awards.

■

EXPLOITING ANCILLARY RIGHTS

Nature of ancillary rights, compared with rights in the film.

Exploitation of the production as a spectator attraction.

Documentary about the production. Book about the production. Publication of the screenplay. Book of the film.

Music sales. Merchandizing. Stage presentation. Sequels.

Glossary of terms. Frequently encountered clauses in contracts.

Exchange control applications to Reserve Bank. Effect of Trade Practices legislation on the industry. List of useful books and periodicals. Film archives. Other miscellaneous useful information and topics not easily classifiable under other chapters.

THE FOREIGN PRODUCER IN AUSTRALIA

Information of particular use to a foreign producer planning to mount a production or co-production in Australia.

INDUSTRY SURVEY AND WHO’S WHO

General observations on current issues of importance to the future of the industry. Cumulative catalogue of films produced in Australia; giving production details. Directory of government film corporations, and their board members and executives. Directory of Australian film schools.

Alphabetical Who’s Who of the Australian film industry.

LEGISLATION Copyright Act, Acts incorporating the various government film corporations, and extracts from other legislation of particular use or relevance.

Regular readers of Cinema Papers should note that in the future no further precedents, forms, tables or schedules will be provided in the quarterly Cinema Papers articles. The Film Producers and Investors Guide will provide these and other precedents, together with a more detailed and expanded text on the problems and circumstances discussed in the magazine articles, which have inevitably been restricted by limitations of space.

Subscription Rates For subscribers joining during 1978 the subscription rate up to June 30,1979, is $A150, which comprises an installation fee of $A75 and the current annual subscription rate of $A75.

Subscribers who are prepared to prepay their subscription to June 1 981 may obtain concessional rates, and are invited to contact the publisher for further information.

To subscribe, please fill out the order form below and mail it with a cheque for $1 50 to The Australian Film Producers and Investors Guide, 143 Therry Street, Melbourne, Victoria 3000, Australia. Please note that the print run of the Service is limited.

ORDER FORM Please record my order to The Australian Film Producers and Investors Guide. My cheque for $1 50 payable to Cinema Papers Pty Ltd is enclosed.

Name_________________ ______________________ Address_____________________________________

Postcode___________________ To: The Australian Film Producers and Investors Guide, 143 Therry Street Melbourne Victoria 3000 Australia

SA

VIC

TAS Tasmanian Film Corp.

64 Brisbane Street Hobart, 7000 Phone: 30 8033 Contact: Don Anderson

South Australian Film Corp.

64 Fullarton Road Norwood, 5067 Phone: 42 4973 Contact: Michael Rowan

Crawford Productions 1 Southampton Crescent Abbotsford, 3067 Phone: 42 0311 Contact: Mark Howell

Bilcock and Copping Film Productions 48 High Street St Kilda, 3182 Phone: 944 883 Contact: Russell Hurley

Samuelson Film Service 27 Sirius Road Lane Cove, 2066 Phone: 428 5300.

Contact: Paul Harris

Pics Motion Picture Supplies Dungate Lane Sydney, 2000 Phone:261981Contact: Rick Smith

John Barry Goup 105 Reserve Road Artamon, 2064 Phone:439 6955Contact: Roger Gadd

Services & Facilities Guide

NSW

CAMERAS 16mm W ild Sound

'★

★

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35mm W ild

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Sound

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LENSES 16mm W id e-ang le

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Zoom

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Telephoto

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Superspeed

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Anamorphic Panavision

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Todd A - 0 O ther

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35mm W id e-ang le

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Zoom

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Telephoto

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Superspeed

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Anamorphic Panavision

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Todd A -0 O ther

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GRIP EQUIPMENT Dollies

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C ranes

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T ra c k s

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S c a ffo ld in g

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S u c tio n g rips

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H e lic o p te r m o u n ts

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B o d y m o u nts

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SOUND R e c o rd e rs

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M ic ro p h o n e s

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F is h p o le s

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S tu d io b oo m s

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W a lk ie -ta lk ie s

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L ou d h a ile rs

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LIGHTING A C g e n e ra to rs

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A rc s

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Q u a r tz lam p s

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L ig h tin g tru c k s

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EDITING F la tb e d e d ito rs

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M o v io la s

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S y n c h ro n iz e rs

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V ie w e rs

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S p lic e rs

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R e -w in d e rs

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Part 3 : Equipment Rentals Cinema Papers, 1978 Cannes Special — 103

CANNES Australian Film Commision Room 12 0 Carlton Hotel

AUSTRALIA Vixen Films 107 Powlett St East Melbourne 3002 Victoria Tel 4194391

Based on the bo A b v David Garnett Produced by Joanne Lane Screenplay by Tony Morphett and Joanne Lane Principal Photography commences October 1978

MICHAEL CRAIG • ROBYN NEVIN • SIMON BURKE

VEBYSPECIAL

GERARD KENNEDY • LOU RROWN • TONY RARRY RRYAN RROWN • TUI ROW • ANDREW MAGUIRE

Produced by ANTHONY BUCKLEY W ritten and Directed by DONALD CROMBIE Adapted from the novel 'THE IRISHMAN" by ELIZABETH O'CONNER Music composed by CHARLES MARAWOOD A Forest Home Films • South Australian Film Corporation production GUO Film Distributors

SALES Europe and. L a tin A m erica:

Jeannine Seawell, Seawell Films, 4 $ Rue Pierre Charron, PARIS 75008 At Cannes: Carlton Hôtel.

Anthony Buckley — Producer Donald Crombie — Director At Cannes: C/- Australian Film Commission, Carlton Hotel.

CARLTON

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