Cinema Papers No.63 May 1987

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iP » No 63 Editor Philippa Hawker Publisher Patricia Amad Assistant Editor Kathy Bail ; Art Director Mick Earls • Editorial Assistant/Subscriptions Sue Illingworth Proofreader Arthur Salton Office Cat Sylvester • Consulting Editors Fred Harden Brian McFarlane ° Founding Publishers Peter Beilby Scott Murray Typesetting by B-P Typesetting Pty. Ltd. Printed by York Press Ltd. Distribution by Network Distribution Company, 54 Park Street, Sydney, NSW 2000.

Signed articles represent the views of their author, and not necessarily those of-the editor. While every care is taken with manuscripts and materials supplied to the magazine, neither the editor nor the pub­ lishers can accept liability for any loss or damage which may arise. This magazine may not be reproduced in whole or in part without the express permission of the copyright owner. Cinema Papers is jj§ published every two months by MTV fe Publishing Ltd, 43 Charles St, Abbotsford, Victoria, Australia 3067. Telephone: (03) 429 5511. Telex: AA 30625 Reference ME 230. © Copyright MTV Publishing Limited, No 63, May 1987

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'Recommended price only.

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COVER: Judy Davis in High Tide. Photo: David Parker

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SELF PORTRAIT: Artist:^ and holographic film m aker Alexander at ^Sydney's Holdsw orth Contem porary Gallery:* See 'Techni­ calities', p 70

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CONTENTS 4 10 14 16 20 22 25 26 28

T A B L O ID TV: W h a t's R upert M u rd o c h g o t in store fo r th e sm all screen?

T H E S A C R IF IC E : T arko vsky's fin a l vision C R IM E O N H IS S ID E : But th rille r w rite r Elm ore Leonard has tro u b le g o in g fro m page to screen L A N D S L ID E S : D o c u m e n ta ry puts th e b o d y (of w o rk ) in q u e stio n PEE W H E E E E !!!!!!: T he m an w h o 's D affy D u c k 's equal FESTIV A L O C C A S IO N S : T he H o lo c a u s t, m o d e l trains, sham pooists and O rs o n W e lle s c o m e to to w n C E N S O R S H IP : T he January and F ebruary decision s G IR L S O N FILM : W h a t d o w o m e n 's film units d o fo r film m aking? For w om en ?

W R IT E W AYS: S cre e n w rite rs ta lk, T ro y K e n n e d y M a rtin dream s

SPECI AL

CANNE S

SE CTI ON

H IG H T ID E : G illia n A rm stro n g goes to Eden M O N E Y TALKS: T o n y G in n a n e extends his influences W AYW ARD H A Y W O O D : Chris H a y w o o d 'gets to th e p o in t A U STR A LIA AT C A N N ES: W h o 's w h o , w h ic h film s are Cannes openers

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66 68 70 74 76

R EV IEW S: The Berlin A ffair; F ootrot Flats; In Between; Kangaroo; Little Shop O f H orrors; M en; Peggy Sue G ot M arried; Platoon; Some Kind O f W o n d e rfu l; S om ething W ild ; T ravelling N o rth ; True Stories; The U m b rella W o m a n B O O K S: M ich ae l Powell rem em bers . . . and rem em bers . . . and rem em bers N EW Z E A LA N D : Cameras roll again T E C H N IC A L IT IE S : H o lo g ra p h y and the ligh t fantastic P R O D U C T IO N R EP O R T: Bill Bennett goes to paradise P R O D U C T IO N SU R V EY : W h o 's m aking w h a t in Australia

SHOCK T h e r e ’s no d o u b t th a t R u p e rt M u rd o c h is th e m o s t p o w e rfu l n e w s p a p e r p ro p rie to r in th e w o rld . B u t w h a t a re h is p la n s fo r te le v is io n ? L IZ F E L L re p o rts .

he scope of Rupert Murdoch’s vision is dramatically depicted in the latest News Corporation’s annual report, which uses three globes of the world to mark the loca­ tion of some 250 subsidiaries. A pic­ ture emerges of a brilliantly inte­ grated corporate structure straddling three continents, with Murdoch at the helm of almost every link in a production and distribution chain which encompasses film, home video, broadcast and satellitedelivered television.

In the United States, where Americans watch an average of 20,000 hours of television before the age of 20, Murdoch has taken out citizenship to acquire seven TV stations situated in the top 10 markets. He has now established a fledgling Fox Broadcasting Com­ pany network which beams pro­ grammes and advertising via satellite out of Hollywood to more than 100 affiliated TV stations reaching a potential 86 million TV homes. The Fox Broadcasting Company, using the FBC logo, has networked only one regular original programme across the nation at this stage — a late-night talk show featuring comedienne Joan Rivers. The next step is to deliver five hours of original programming on Saturday and Sunday nights during prime­ time viewing; a sitcom produced by Disney and based on Paul Mazursky’s hit film, Down A n d Out In Beverly Hills, will be one of FBC’s original series. The ultimate aim is to establish a fourth commercial TV network in the US. To back-up the Fox TV stations and the FBC, Murdoch has the valu­ able Twentieth Century-Fox film studios with a library of 2500 titles, many of which are treasured ‘golden oldies’. The Fox studios have pro­

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duced several box office hits recently including Aliens and David Cronen­ berg’s The Fly. On the TV side, Fox produces L.A. Law for the NBC net­ work, while reruns of old favourites such as M*A *S*H and The Fall Guy keep the dollars flowing in. It also develops prints for most of the major US studios at its Deluxe film processing labs, and is senior partner in CBS/Fox Home Video, the world leader in videocassette distribution.

In Europe, a satellite beams Mur­ doch’s Skychannel TV service into 15 different countries where it is received by cable operators and distributed to about 18 million homes. “ Tabloid TV” is the name coined to characterise the menu offered on this pan-European ser­ vice because it resembles the diet served up in Murdoch’s tabloid newspapers — hysterical headlines, jackpot games, racy stories — one media analyst has suggested that Murdoch has been producing a type of television through his newspapers for many years, diminishing news to the level of a soap opera and raising the soap opera to the level of news.

Finally Australia, Murdoch’s birthplace and the continent where he made the small fortune to launch out and transform his relatively tiny media empire into a multinational conglom erate straddling three different countries. His Australian TV interests suffered a minor hiccup in January this year when he was forced to sell off the two successful Network Ten stations in Sydney and Melbourne because of foreign ownership restrictions. He soon re­ appeared through the back door announcing that News Corp had retained a 15 per cent share — a limit permitted by law — in Northern Star, the new owner of the Ten stations. This deal also gave Mur­

doch a share in two smaller regional TV stations in New South Wales, and Ken Cowley, Murdoch’s chief executive in Australia, even secured a seat on the Northern Star board.

Next came the announcement that Ten stations would have first rights to Fox programmes. s Murdoch’s dream of creating a global TV network just a pipedream? Others have tried before and failed. Leonard Goldenson, the man who purchased the American Broad­ casting Company (ABC) in 1953 and built it up into the third commercial US network, had a rather similar global vision years ago. Goldenson, now 80 years of age, looked back at the mistakes he made acquiring stations in foreign countries in a recent interview with the Washing­ ton Post: “ We had an interest in five stations in Venezuela, stations in Argentina, and in each of the capital cities of Central America. We had working arrangements in Mexico City and Colombia,” he recalled. “ We sold out because the foreign governments were opposed to out­ siders.”

Thirty years later, foreign owner­ ship remains a problem in some countries, but Murdoch has a number of changed circumstances on his side. Financial markets are now global and far more tolerant of debt, especially with the invention of devices like ‘junk bonds’ and tax haven s. M urdoch has taken advantage o f this new financial environment in a number of ways.

He has built up an international pool of funds borrowed from about 40 different banks around the world.

News Corp made $64 million playing around in the international currency market last year, and Newscorp Finance, a paper subsidiary in the

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Cayman Islands, allows Murdoch to shuffle borrowed funds between ‘needy’ subsidiaries across the world and minimise tax.

Changes in the technology of communications are also on Mur­ doch’s side. In an interview for Murdochmedia News, a brand new company newsletter for some 14,000 US employees, he is quoted as saying: “ The world is shrinking faster than we realise, and to be in communications is to be at the centre of all change.” Satellites and cables now allow News Corp’s tele­ vision operations to transcend cultural barriers and geographic boundaries. Indeed, satellites can be likened to giant TV stations in the sky which shower programmes and advertising to receiving dishes located across the world. At present most satellite-delivered program­ ming is picked up by local entre­ preneurs who then retransmit it to homes using the air waves or cables in the ground. It is only a matter of time before individual homes acquire their own dish and receive the programmes directly from ‘stations in the sky’. When this emerges, Murdoch will be ahead in the race if he holds the key to success — mass appeal programmes.

The trend towards introducing competition through a process of de­ regulation is also on Murdoch’s side — competitiveness is a buzz-word in the US. The US regulatory body, the Federal Communications Commis­ sion, argues that broadcast, cable and satellite-delivered television companies best serve the public interest if they are treated like any other business and allowed to operate in an “ unregulated competi­ tive market” . Mark Fowler, retiring chairman of the Commission and a passionate crusader for Reagan’s policy o f deregulation, uses a sport­ ing analogy to make his point to the TV industry (the ‘players’). At a recent Commission hearing in Wash­ ington he announced: “ We must make the playing field level and more open. It should not be sur­ rounded by fences . . . some would say chains. There must be no leg irons around broadcasters.”

To accelerate the process of de­ regulation, the Commission has re­ duced its scrutiny of the television industry in a number of key areas.

Murdoch was not allowed to acquire >

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VICTORIA-Australia’s Coming Attraction, In 1906 one of the w orld’s first feature length films was made here in Victoria. T H E STORY OF THE KELLY GANG’ was a smash hit. Eighty years on, Victoria continues to be home to Australia’s finest film and television.

1986 saw Victorian productions scoop the pool at both the Australian Film Institute and the Television S ociety Penguin Awards. W inners such as ANZACS, THE DUNERA BOYS, KANGAROO, MALCOLM and THE LANCASTER-MILLER AFFAIR continued the tradition of fine Australian films made right here in Victoria-PICNIC AT HANGING ROCK, MAD MAX 1 and THE MAN FROM SNOWY RIVER, to name just a few.

The reasons behind Victoria’s ongoing success stories are not difficult to find. Victoria has all the qualities usually associated with Australia-long hot summers, rugged bush settings, arid wheatlands and intense sparkling sunlight. W hat people often don’t realise is that Victoria also has spectacular snow-

clad mountains and some of the most breathtaking coastline on the continent. All of this within a day’s drive from cosmopolitan M elbourne, the business capital of Australia; and thanks to our long movie and television-making tradition, Victoria offers many thousands of skilled industry professionals, ‘state-ofthe-art’ production facilities and ample studio space at economical rates.

FILM VICTORIA, established in 1976, exists to make your job easier. The highly experienced staff have backgrounds in film and television production; law, finance and public relations. They will assist you co-ordinate your location and production needs, saving you time and money.

And that brings us to the ‘bottom line! The decline in the value of the Australian dollar gives international filmmakers a golden opportunity to all but double their production dollar. So, what are you waiting for?

Come to Victoria now.

FilmVictoria isthe Government filmauthority for the state of Victoria, established toencourage, promote andassist inthe productionandexhibition of filmandtelevision.

409 King Street, Melbourne 3000. Australia. Tel: (03)3297033, Telex: AA 34314 FILM VC, FAX: (03)3291950.

TABLOID TELLY

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stations while he remained a US alien, but he may be able to take advantage of the deregulatory environment to avoid the rule that prohibits ownership of both TV stations and newspapers in the same market. He has problems in two large US cities: in Boston he must sell the Herald by January 1989, and in New York he must sell the Post by March 1988. A Commission spokes­ man told me firmly: “ We expect M urdoch to abide by these decisions,” but other Murdochwatchers predict he will find a way around the rules.

The deregulatory fever has proved contagious, and Australian poli­ ticians have succumbed to the notion that television owners must be allowed to buy and sell in an un­ cluttered marketplace of ideas — television is no longer regarded as a public trust. Relaxing the ownership rules, even foreign ownership rules, is consistent with this ideology. The Australian Communications Mini­ ster has announced a review of the present regulatory regime, and a pre­ liminary report from his department indicates that some changes can be expected in the foreign ownership limit of 15 per cent. No doubt Mur­ doch, or his Australian underlings, will have something to say to the Labor politicians about lifting this limit.

In the event that Murdoch’s News Corp fails to win a larger ownership share in Australian stations, there are other ways to exercise control, especially when the controller poss­ esses leverage through the most valued and scarce resource in the TV industry — high-rating programmes.

The Northern Star management has already announced that it has first right of refusal on Fox product from the US, and Fox has announced that it will shoot several films in Aus­ tralia this year. Murdoch is a shrewd and astute gambler with lots of political and commercial muscle.

His American citizenship may not turn out to be a barrier in his country of origin after all. edia analysts in the US argue that the success or failure of Murdoch’s ‘fifth estate’ ultimately depends on his ambitious bid to establish a fourth US television net­ work. In the last 30 or so years there have been four other attempts, and all have failed.

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Barry Diller, former chairman of Paramount Pictures and now chair­ man and chief executive at Fox Inc., is a convert to the idea of establish­ ing a network to compete with the “ Big Three” . Diller and Murdoch have adopted the strategy of tread­ ing softly, softly, without too much fanfare. The first step was to sign up affiliates in all the top markets where Fox did not own a station.

The timing proved perfect. In the last few years the number of independent stations without an affiliation agreement with one of the three large networks has burgeoned from about 160 to more than 250.

Most of these independents were going through hard times: the adver­ tising market was soft, programmes expensive, and they were in desperate need of some original product to draw in audiences and advertisers.

Fox appeared like a fairy god­ father, offering the independents free and original programming instead of the usual diet of ‘offnetwork’ reruns and expensive syndicated shows. In return, Fox asked the independents to give it 40 per cent of their advertising time.

The strategy worked, and now Fox Broadcasting Company offers national advertisers potential access to about 80 per cent of the US market at rates well below those of the three networks — an attractive proposition for those advertisers who can’t afford to pay $300,000 for a prime time network spot. Indeed, Murdoch recently received the Inter­ national Advertising Association’s award for distinguished services in the fields of advertising and market­ ing, so his reputation has been boosted by this new endeavour.

FBC’s next challenge is to deliver the goods to its mini-network — original sitcoms, youth-oriented action-drama and movies. Diller has managed to lure a number of talented producers, including feature producers who haven’t pre­ viously worked in TV, with the promise of ‘freedom from inter­ ference’ and the right to onsell their productions after screening on FBC. There is no favouring o f Lorimar TV or Paramount TV in terms of acquiring series: the aim is for Fox Broadcasting to select the best from all producers and studios.

The line-up so far is similar to the product seen on TV screens all over the world. Stephen Cannell Produc­ tions (The A-Team and Hunter) is producing Jump Street Chapel, an action series about undercover cops in high schools; Gary David Gold­ berg {Family Ties) has devised a romantic comedy called Duet in association with Paramount; Ed Weinberger {Taxi) is working on an idea for another comedy set in the White House called Mr President.

There is even talk of buying up the rights to football, and attracting James Cameron, writer/director of the Fox box office success Aliens, to produce a series. And, of course, there are promises of first-release Twentieth Century-Fox feature films for the TV screen.

The aim of all this product is to counter-programme the three net­ works and capture an audience of young viewers. Most o f the new Fox executives are young. Jamie Kellner, president of FBC is 39; Garth Amcier, senior vice president, net­ work programming is 29. Amcier is actually regarded as a boy wonder in the industry given his first appoint­ ment as vice president in charge of comedy for the NBC network at the age of 23. After an interview with him recently, one journalist wrote: “ Older executives may smoke or drink to cover their nervousness during meetings; Amcier guzzles Gummi Bears, Milk Duds, and Raisinets from bowls stuffed with a potpourri of sweets.”

Murdoch has indicated that he is prepared to lose money over three to four years to ensure FBC’s success as the fourth network. Some people are even using the term ‘Fox net­ work’ already, although FBC execu­ tives seem to prefer “ satellitedelivered national programme ser­ vice for independent stations” .

There is no hard and fast definition of what constitutes a network in the US, though a working formula is an organisation that broadcasts regu­ larly for a substantial part o f the day (some specify 15 hours) to all parts of the nation.

At present, FBC’s revenue comes from the sale of national advertising spots in its 100 affiliates, and the sale of both national and local advertising on its core group of seven Fox-owned stations. It intends to roll out programmes slowly, keeping losses down and its invest­ ment budget under control. By the end of this year, it plans to deliver original movies on Friday nights.

Then if Friday, Saturday and Sunday night programming proves a success, it will increase the service to fill the whole of prime time. Diller has predicted that FBC will be operating seven days a week by 1990. f the Fox TV network succeeds, it will develop as an extension o f the man who founded it. Over the last 30 years, Murdoch has used his media unashamedly to promote his own personal, political and commer­ cial interests, so he is not likely to break this habit.

The tabloid form ula which characterised his newspapers in Adelaide, Perth, Sydney, London, San Antonio, Chicago, Boston and New York is now evident on US TV

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screens. Murdoch has turned his top American (and even some Austra­ lian) newspaper editors and journa­ lists loose on his TV news and current affairs programmes, and his footprint is visible in the selection of items appearing on the screen — celebrities, drugs, pro-Reagan poli­ tics, diets, lotteries. In New York, his Post screams out an hysterical headline: “ Lying Reds Still Have Rebel in Jail: Wife” , while his WNYW-TV offers up a sensation­ alised teaser for the evening news: “A Model Nurse . . . Or Is She an Angel of Death?”

As one media analyst has ob­ served, Murdoch’s type of jour­ nalism trumpets a trend towards “tabloid TV, sensationalism on the screen, sleaze-and-tease, flash-andtrash, yellow journalism on the box” . Merging into news and current affairs are action-dramas and comedies featuring lawyers, police, doctors, politicians, and families; this is where so many Americans get their views on law enforcement, medicine, politics, and family life. After all, they spend, on average, six and a half hours each day watching the TV screen so there is not too much time left over to observe all these social institutions directly.

The one lesson that emerges from Murdoch’s life history is that he is a man who cannot always be trusted to keep his promises and follow the rules. As he told Thomas Kiernan, author of a new biography called Citizen Murdoch (a play on Citizen Kane and Murdoch’s citizenship changes): “ You tell these bloody politicians whatever they want to hear, and once the deal is done you don’t worry about it .” This prophetic boast should be heard by all those Australian Labor poli­ ticians who believe that Murdoch will do them a favour when election­ time is looming.

Murdoch is obviously a man who is driven by boundless ambition to make a personal fortune, build a massive media empire incorporating publishing and television, and exert power and influence on a global scale. As he completed the multi­ billion dollar acquisition of the Herald and Weekly Times news­ paper group in Australia, he an­ nounced plans to publish Premiere, a new film magazine for the US market. This joint venture with the French publisher, Hachette, is based on a French magazine with the same name. The US version, with an initial print run of 300,000, w;ll include features on directors and stars, reviews, and stories on loca­ tion. It should be on the newspaper stands by June this year. Meanwhile, another US TV station remains a possibility . . .

St/VIN f i U f i / V [ School o f

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Swinburne titles available exclusively from AFI Distribution.

4 7 Little Latrobe Street, Melbourne, 30 00 . Telephone 6 6 2 1944.

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CONTRIBUTORS Tony Ayres is a freelance film writer based in Melbourne.

John Alexander is a Writer on film . based in Stockholm.

Rod Bishop teaches film at the ^Rhillip institute of Technology. , Raffaele Caputo is a freelance ¿writer on film, y Mary Colbert is a Sydney-based ; film researcher, writer and lecturfer.

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Felicity Collins lectures in film at the Melbourne College o f ;v AdvancedTEducation. | Peter Craven is co-editor of

Susan Dermody is a senior lecturer in film at the New South iWales Institute of?Technology arijd , co-author of The Screening Qf Australia.

Liz Fell is a freelance journalist specialising in media and; / communications technology; Anna Grieve works at Film ^Australia as a ‘young filmmaker’Jn production and research,," Richard G uilliatt is a journalist11 living in New York.

Fred Harden runs, a production <;• [company in Sydney called Picture * Start which specialises imspecial! effects.

Charles Lambert is an. inveterate festival-goer.

Adrian Martin is a freelance film critic based jn S y d n e y ^ ) ^ a Brian McFarlane is a lecturer in ^English at the Ghíshoim?Jhstitute :ánd,áuíhor^ of Australian Cinema

1970-1985.

Joanna Murray-Smith is a writer and playwright based in Melbourne. is a tutor in ciriema-aiudies at La Trobe , il)hivefsity.

Mike Nicolaidi is a freelance writer /and contributor to Satiety.

Bill and Diane Routt are a couple | | | Melbourne academies. | ¡ ^ Jim Schembri is a journalist at The Age H B B H Christina Thompson is a freelance

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R.J. Thompson teaches cinema Jud ie s at C£ Troba U niversity.

Ralph Travisto is a popular ' songwriter. | Sue Turnbull teaches in the Media' Centre at La Trobe University. .

James Waites is a freelance writer

8 - MAY CINEMA PAPERS

BRIEFLY...

LOSANGELES

■ Cinema Papers plans to in tro ­ duce a reg ular co lu m n on A u stra ­ lian sh o rt film s , in an y gauge. If you have re ce n tly com p le te d a s h o rt film , w e w o u ld like to hear fro m y o u . S e n d p ro d u c tio n de tails and s tills to Cinema Papers, 43 C h a rle s S tre e t, A b b o tsfo rd 3067, o r rin g (03) 429 5511 fo r m ore in fo rm a tio n .

D etails on w o rk s in pre -p ro d u c­ tio n , p ro d u ctio n o r p o st-p ro d u c­ tio n sho uld be se n t to K athy Bail at th e same address.

□ Alan James recently retired as general manager of Cinevex Film Laboratories. He joined the com­ pany when it was established in 1969 and will act as a consultant for Cinevex until the end of the year.

Grant Millar, who previously worked with Colorfilm in New Zealand, is the new general manager.

■ The National Companies and Securities Commission (NCSC) has agreed to the latest Australian Film Commission (AFC) submissions for changes to the Film Exemption Scheme. The scheme enables offers to be made to the public to invest in films by means of a short form offer document as an alternative to the issue of a prospectus under the Companies’ Code. From 19 March, the budget threshold will rise from $3 million to $5 million, and the com, pletion guarantee threshold moves from. $700,000 to $1 million.

OSCAR 8,757 KM: Platoon carried off four Academy Awards

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Best picture: Platoon Best director: Oliver Stone, Platoon Best actor: Paul Newman, The Color Of Money Best actress: Marlee Matlin, Children Of A Lesser God Best supporting actor: Michael Caine, Hannah And Her Sisters Best supporting actress: Dianne Wiest, Hannah A nd Her Sisters Best original screenplay: Woody Allen, Hannah A nd Her Sisters

■ The production arm of the Australian Film Commission (AFC), Film Australia, faces closure or severe cutbacks to its operations. Three of the four options recommended in a review of Film Australia would involve the loss of at least 100 jobs at Film Australia’s Lindfield Studios. At the time of writing, the Government had not finalised a response to the review.

The review was carried out by Department of Arts, Heritage and Environment staffer Les Neilson, and the head of the Australian Film Commission’s creative development branch, Megan McMurchy.

The review criticised Film Australia for inefficiency, inflexibility and overstaffing. According to the report, the Federal Government could abolish Film Australia; operate it on a contract basis and shed staff; retain a core staff but sell off facilities; or streamline the current operation by shedding about 30 jobs.

The combined staff unions of Film Australia have sent a submission to Arts Minister Barry Cohen arguing for the retention of staff and facilities.

It asks that the government implement guidelines issued in 1981. These give all government film and video work above a $10,000 budget to Film Australia, either to produce itself or to tender out to private companies.

The submission says that greater private sector involve­ ment could be achieved by contracting out overflow of productions under Film Australia supervision. It is argued that the cost of delivering the government’s film and video needs would rise dramatically if only contract staff were used. If all employees were transferred to the private sector, there would be no net gain in private sector involve­ ment.

The submission also requests triennial funding to ensure effective production planning and equipment purchase/ It suggests that a company similar to ABC Enterprises should be set up to market Film Australia productions and ancillary product.

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Best screenplay adapted from another medium: Ruth Prawer Jhabvala, A Room With A View Best editing: Claire Simpson, Platoon Best achievement in sound: Platoon Best cinematography: Chris Menges, The Mission Best sound effects editing: Aliens Best costume design: Jenny Beavan, John Bright, A Room With A View Best art direction: A Room With A View Best original score: Herbie Hancock, 'Round Midnight Best original song: Giorgio Moroder, Tom Whitlock, ‘Take My Breath Away’, Top Gun Best visual effects: Aliens Best make-up: Chris Walas, Stephan Dupuis, The Fly Best foreign language film: The Assault Best short documentary: Women — For America, For The World Best documentary feature: Artie Shaw — Time Is All You've GotIDown And Out In America Best animated short: A Greek Tragedy Best live action short: Precious Images □ The Australian Film Commission and Film Victoria are jointly funding the comedy feature, Once Upon A Weekend, directed and written by Rivka Hartman. Film Victoria and the AFC are the only investors in the film, whose Australian release will include a national telecast by the ABC. Once Upon A Weekend is the first,feature film supported by the AFC’s Comedy Fund to go in to pro­ duction, and the second low budget feature to receive direct funding from the Special Production Fund. □ Freeze Frame, a new monthly film and video magazine, published its first issue in April. The magazine is edited by former Cinema Papers assistant editor Debi Enker.

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R u ssia n d irecto r A n d r e i T a r k o v sk y c o m p le te d T h e S a c r ific e in 1986 sh o r tly b e fo r e h e d ie d . T h e film , th e first h e m a d e o u tsid e R u ssia , w ill s o o n h a v e a s e a so n in A u s tr a lia . J O H N A L E X A N D E R , w h o w o r k e d o n th e p r o d u c tio n , d escrib es th e m a k in g o f th e film , th e n p la c e s it in th e c a n o n o f th e d irecto r o f w h o m In g m a r B er g m a n said: “ h e is fo r m e th e g r ea test, th e o n e w h o ) in v e n te d a n e w la n g u a g e , tru e to th e n a tu re o f film , as it ca p tu res life as a r e fle c tio n , life as a d r e a m ” . hortly after Andrei Tarkovsky completed Nostalghia in Italy, the Soviet authorities indicated that on his return to Moscow he could no longer be involved in feature film productions. This was one of a number of factors that led to Tarkovsky’s defection in June 1984.

He and his wife Larissa — who had worked with Tarkovsky both as actress and assistant in his previous films — went first to London. Their 15-year-old son was still in Moscow and was not allowed to join his parents.

On his first day of exile Tarkovsky delivered a reading from the Book of Revelations at St James Church, Piccadilly — for the first time he did not need to conceal his Christian faith.

Among his available options at this time was an offer from the Swedish Film Institute to direct a film in Sweden. The contract was signed in September 1984 and pre-production work began early in 1985.

The production team consisted almost entirely of those from Ingmar Bergman’s team who’d worked on Fanny and Alexander, including the highly regarded photographer, Sven Nyqvist.

The lead role of Alexander went to Erland Josephson, a regular member o f Bergman’s troupe, who had played a major part in Nostal­ ghia. Tarkovsky said the part was written specifically for Erland Josephson.

The other parts fell into place but by the time filming began in April the part of Alexander’s young son was still unfilled. A stand-in was used for the filming of the first scene, a dream sequence where only the boy’s feet were seen.

In May, filming began on a wild stretch of coast on the island of Gotland — coincidentally where Bergman had filmed The Shame in 1968, a film which shares many of the narrative elements of The Sacrifice.

Hundreds of six to eight-year-old boys had been audititioned; Tarkovsky couldn’t decide on any of them. Advertisements appeared in the

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10 - MAY CINEMA PAPERS

Swedish press for a small lean boy with grown-up eyes, and production assistants were sent to Finland where it was thought young boys looked more worldly wise than their fresh-faced Swedish counterparts. No luck. Tarkovsky was seeking a particular quality, a special look; production was half-completed and scenes requiring Little Man were postponed.

It became painfully apparent to the production team that the only boy who could fit this role was Tarkovsky’s own son. Once a week Tarkovsky telephoned to Moscow and would speak with him, sometimes for hours on end. During his time in Sweden Tarkovsky arranged meetings with the Swedish Foreign Office, and the Prime Minister, Olof Palme, who made appeals to the Soviet Union on his behalf. However the appeals were denied and it would be another year before the Tarkovsky family would be re-united.

By mid-summer location filming was nearing completion, and a young local boy was put hastily into the role, though Tarkovsky insisted he wear a wide brimmed hat to cover his eyes.

Apart from Gotland and the SFI studios in Stockholm, several other locations were used for filming. The location for the holocaust scene, presented as a dream in the film, was originally to have been in a small town outside Stockholm, but just a few weeks before filming Tarkovsky found a place in central Stockholm which he con­ sidered ideal. Four hundred thin and emaciated extras were charged chaotically through a small alley-way amidst strewn vehicles and debris. The location Tarkovsky had chosen was the same street where the Swedish Prime Minister, Olof Palme, was shot six months later.

The last major scene to be filmed was the burning of the specially constructed house. This was to be filmed in a single take, using the 10 minutes o f film available in a single magazine.

Elaborate preparations included a tangle of wires leading to a car which would explode, and to

parts o f the house which would burn more intensely at particular moments. Unfortunately the house burned too intensely at the outset and melted all the control wires — consequently, the car failed to ignite and the house burned uncon­ trollably. In the middle of the take the camera jammed and photographer Sven Nyqvist hastily called for another. In the final minutes of the take, an ambulance that was supposed to drive away with Erland Josephson ran out o f petrol.

The car which had failed to ignite because the wires melted was set alight by a production assistant with a match.

Tarkovsky insisted on a re-take and the house was rebuilt. Filming began two weeks later, this time with a reserve camera. If the first attempt had been a fiasco, the second attempt was a triumph, culminating with the arresting image of the blackened framework o f the house collapsing into the flames, at precisely the moment actress Susan Fleetwood is lifted by the doctor, creating a dramatic counterpoint of movement which a director could rehearse any number of times and never get right.

Studio filming was completed by late summer and the editing finished by early 1986. The finished film, two and a half hours long, has a total of 123 cuts. The opening shot lasts 10 minutes and the penultimate shot is seven minutes long. (By comparison, Hitchcock’s film The Birds has over 1,300 cuts and the 12-minute introduction to Walter Hill’s Streets O f Fire, up to the director’s credit, has 300 cuts.)

Tarkovsky’s editor, Michal Leszczylowski, says there are an additional 15 “ unseen” cuts in the sequence with the flickering television. Also,

a dissolve in the burning house sequence elimin­ ated two minutes of film at the point where Susan Fleetwood sits before the house.

The strange ‘wailing’ music in the film, accom­ panying the ‘witch’ scenes and other sequences, consists of actual recordings of shepherds in the north of Sweden, who sometimes sing, some­ times play on a flute-like instrument as they tend their flock. Other music included classical pieces

by Bach and 12th century Japanese folk music.

Tarkovsky describes the film as about “ . . . a man who sacrifices himself for someone, a man who understands that to save himself, he must forget his own ego and allow his faith to take him into another realm. His actions may seem absurd, even a trial to those around him, but through these acts he demonstrates his free­ dom.”

Since Tarkovsky’s death in December 1986, The Sacrifice can be viewed as both a very personal statement as well as a prophetic one. A few months earlier, when his illness was made known, the Soviet authorities allowed his son to rejoin his parents, then living in Paris, where Andrei was undergoing treatment.

In his book, Sculpting In Time, Tarkovsky wrote after the completion of the film, Nostalghia, shot in Italy: “Nostalghia is behind me now. It could never have occurred to me when I started shooting that my own, all too specific, nostalgia was soon to take possession of my soul for ever.”

Similarly one can’t help but speculate as to whether the ‘sacrifice’ he was presenting in film, was portraying the sacrifice he had pledged with his own God.

ttempting to analyse film is meaningless,” Tarkovsky has said. “A film is an organic whole that shouldn’t be dissected into small pieces. The idea of a picture is in the picture itself and cannot be expressed in words.”

Yet there is good reason for examining Tar­ kovsky’s films, even analytically, rather than regarding them solely as a form of visual medita­ tion. More than any other recent filmmaker he has created his own cinema style — a style totally removed from the traditional Anglo-Saxon film dramaturgy. Consequently his films require a different kind, o f evaluation — an evaluation on Tarkovsky’s own terms.

In the six films preceding The Sacrifice there is

a marked process in the kind of cinema Tarkov­ sky is creating. He has eliminated dramatic presentation that begins the conventional film: there is little indication o f plot or character or chronology. By the time of The Mirror (1974), he had done away entirely with traditional film structure, largely based on theatrical storytelling, and created his own cinematic language. Actors were no longer playing character roles, but became instead a part o f the landscape or a part of the picture. Images became images for their own sake, rather than an aspect o f plot or character.

Stalker (1979) and Nostalghia (1983), although ^ more clearly defined in terms o f narrative, are ^

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CINEMA PAPERS MAY - 11

THE SACRIFICE: Tommy Kjellqvist as Little Man

^ part of the process begun in The Mirror. So how does The Sacrifice stand up against these preced­ ing films? It is the first film Tarkovsky has made entirely free o f Soviet producers, and the first film written entirely by his own hand. However rather than grant the artistic freedom he sought, his ‘isolation’ has led to difficulties that have not been entirely resolved.

In many aspects The Sacrifice represents a retrograde step for Tarkovsky’s individual brand o f cinema. It is the most theatrical o f all his films — there is at times an oppressive amount of dialogue, a fairly straightforward story told in chronological sequence. However some scenes are overwhelming; the opening 10-minute take, despite its verbal plethora, and the penultimate house-burning scene lasting over seven minutes, may well take their place in cinema history. The camera gliding slowly through a clump o f trees observing the family meal, though reminiscent of the final scene of The Mirror, is both tense and exquisite.

However, other scenes don’t work at all.

Working from his Russian manuscript, directing a Swedish film crew, and actors from Sweden, England, France and Iceland, through an inter­ preter, Tarkovsky’s film prowess has been severely handicapped. Consequently words have often disrupted the flow o f visual images.

On one level each o f Tarkovsky’s seven films are intensely personal statements relating to a particular period o f his life. On another level the universality o f his images make a strong impact

12 - MAY CINEMA PAPERS

on the receptive viewer. Even The Mirror, with all its references to particular events in Soviet history, and to Tarkovsky’s own family, can awaken intense depth o f feeling to the Western viewer who is not demanding a rationale for the images appearing on the screen.

The Sacrifice, though crafted with a visual symmetry, lacks harmony in content and presentation, perhaps a result of Tarkovsky’s own unease as an uprooted exile, separated from his language, his country and his son. There is a sense that he is attempting to inject an unfeeling Western environment with as much of Russia as he possibly can, to help overcome his own nostalgia.

The film begins with a boy who can’t speak, reminiscent of the opening o f The Mirror, where a young boy is cured of a speech impediment by hypnosis. In returning to The Mirror Tarkovsky is returning to his past and his family.

In The Sacrifice, Little Man (which sounds more convincing in Swedish than the rather appalling English translation), is mute as a result of a throat operation. As he and his father plant the tree sapling together, Alexander laments on the overabundance o f words. “ In the beginning was the Word,” he jokes with his son. “ But you, you’re mute . . . ” The simple act o f planting a tree marks a beginning, just as Alexander’s birth­ day focuses attention on the passing o f his life, but also represents a re-birth, the beginning o f a new phase.

His withdrawal to a remote island, his retire­

ment from an acting career, are symptomatic of disillusionment. The arrival o f the postman Otto, an eccentric character obsessed with the paranormal, is an obtrusion from the outside world into his own.

Otto’s lengthy anecdote about bizarre coin­ cidences takes on particular significance in light of events outside the film. Premonitions o f terror on a Stockholm street, Tarkovsky’s own illness/sacrifice, and the nuclear crisis in the form of Chernobyl six months after filming, where Swedish newspaper captions read “ nowhere is safe” , “ nowhere to hide” and so on, lines almost taken out of Tarkovsky’s script. (In terms of radioactive fallout remote corners o f northern Sweden were amongst the worst affected after the Chernobyl disaster).

As night descends the colours tone down, and indicate the possibility of entering another dimension, the twilight realm o f dreams. Alex­ ander retires to his study. Later he enters the living room to see his family and friends trans­ fixed by the television news bulletin announcing a nuclear crisis.

Alexander, of contemplative and Eastern nature — shown by the kimono, Japanese music, ikebana, and so forth — refuses the doctor’s suggestion of sedation. He is determined to con­ template the prospect o f annihilation with a fully conscious mind, and almost as a revelation, or state o f enlightenment, makes his vow to forsake everything; his house, his family, his voice, if only the world would return to its former state.

Otto, the postman, obsessed with the super­ natural, tells him the only way to save the situa­ tion is to sleep with Maria, a local woman who is said to be a witch.

Perhaps there is some religious significance to Alexander having to make love to Maria. How­ ever the relationship with his wife Adelaide is an uneasy one. Their son seems to be all they share.

For Alexander, union with Maria takes on a mystical significance — this scene is also reminis­ cent of a sequence from The Mirror.

When Alexander wakes up in his own house it seems there has never been a crisis. The land­ scape is filled with colour once more and there is no sign of a nuclear catastrophe. Was it a dream?

As he persuades his family to leave the house, and, true to his vow, prepares to burn it down, Alexander limps noticeably from an injury sus­ tained on the way to Maria’s cottage during the night. Or was the dream so powerful as to suggest the limp?

Alexander sits before the burning house watching the flames in silence — the family return in horror — Alexander offers no explana­ tion — he is mute. He has made his sacrifice — if it was as a result o f a dream his family and friends will never know why he should destroy all he has, and withdraw completely from the out­ side world. His vow included silence. Yet why should the family be deprived through this act of madness?

Alexander is driven away to hospital. He will be treated for insanity. Soon Tarkovsky will be driven away to hospital. He will be treated for cancer. Alexander’s son tends the newly planted tree. Tarkovsky’s son is released from the Soviet Union. Alexander’s son speaks for the first time: “ In the beginning was the Word. But why, papa?”

Tarkovsky and his son have only some months together. Would he have explained the sacrifice he made? Perhaps there is an answer to be read in the film’s dedication.

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Elmore Leonard

He’s been hailed as the best thing to happen to thriller writing since Chandler and Hammett. But Elmore Leonard hasn’t found his Humphrey B o g a rt yet.

He t a lk s to RICHARD CUILLIATT about the perils of transferring his work from the page to the screen.

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Elmore Leonard is not too t doesn’t take much mental crazy about these films either. In effort to im agine an Elmore fact his career could serve as a Leonard novel up there on the screen. Leonard’s books couldc a u tio n a ry tale to a sp irin g writers — you might have sold 19 have been w ritten w ith cinem a in of your books and stories to m ind. H is characters exchange H ollyw ood , you m ight have wisecracks like small-arms fire, w ritten 15 screenplays, you and murder each other w ith might even have won awards for brutal efficiency. H is plot devices your Westerns and acclaim for jerk the narrative suddenly into your crime novels . . . just d on ’t uncharted territory. H is locations expect much jo y w ith what ends are a cinem atographer’s dream, up on the screen. “ Some o f the the neon sleaze of American cities early ones, some of the Westerns I like M iam i, D etroit and Atlantic lik ed ,” Leonard says of films City. made from his w riting. “ But I Unfortunately it hasn’t worked w asn’t happy w ith M r Majestyk, out that w ay for Elmore Leonard.

Joe K id d or The Moonshine W ar at H is predecessors in crime fiction all. No . . . they were terrible.” wrote books w hich are synony­ Since he wrote G litz in 1985, mous w ith cinem a — Double In ­ demnity, The Big Sleep, The Post­ however, Leonard is not just acclaimed, he is also popular, in man Always Rings Twice — but fact one o f the most popular Leonard’s contemporary crime novelists in the US. And as a fiction has been swallowed up by result, there is a good chance that H ollyw ood and regurgitated in many of the dozen or so Elmore alm ost u n reco g n isa b le form .

Leonard scripts w hich have been Chances are y o u ’ve seen the end results. Chances are you d id n ’t lyin g dormant in producers’ offices for the past 15 years w ill like what you saw. Remember soon be dusted off and sent down The Moonshine War, an MGM to the boys in pre-production, m ovie starring P atrick M cw ith instructions to have Central Goohan and Alan Alda in 1970?

C asting fin d som e scum bag Is M r Majestyk one o f your oldcrim inal types. time m ovie favourites? Or Stick, 52 Pick-Up is the first to re­ directed by and starring Burt su r fa c e . D ir e c te d b y J o h n Reynolds?

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14 - MAY CINEMA PAPERS

Frankenheimer, it stars Roy Scheider as Harry M itchell, the hard-nosed D etroit businessm an of Leonard’s 1974 novel. Harry is having an extra-marital fling with a younger woman when he suddenly finds him self being b la c k m a ile d b y th r e e o f Leonard’s scuzziest villain s, a trio who perpetrate sickening murder for H arry’s benefit. AnnMargret puts in an adept per­ formance as Scheider’s eversuffering w ife.

52 Pick-Up is an economical thriller w ith the porn theatres, strip-shows and brothels of Los Angeles as its setting. But why did it take 13 years to reach the screen? The answer gives a pretty good indication of Leonard’s difficulties w ith H ollyw ood. “ 52 Pick-Up I sold originally to a little c o m p a n y c a lle d T o m o r r o w E n te r ta in m e n t,” h e r eca lls. “ They had it a year and nothing happened so I got it back. Then I sold it to Noah film s . . . that’s M enahem Golan. H e w anted to make a foreign intrigue kind of spy picture out of it. So in 1974 I went to Tel A viv to write the screenplay setting it th ere.”

Predictably, this attempt to turn a sm all-time urban crime story into a foreign spy caper

failed, and out of the debacle emerged The Ambassador. It was Rock H udson’s last m ovie, and bore no sim ilarity either to 52 Pick-Up or L eonard’s reworked script. It stiffed.

After that the script to 52 PickUp lay around for a decade, during w h ich tim e L eonard knocked out a dozen new novels.

Then he was contacted by direc­ tor Frankenheimer w ho, like many people, had becom e a belated fan of Leonard’s w riting.

H e struck a deal w ith Cannon and sent a screenplay to Leonard, who made some m inor changes and mailed it back. For that he got a prom inent screenwriter’s credit.

Frankenheim er, w hose pre­ vious work includes French Con­ nection 2 and Seconds, is the first director to make a decent Elmore Leonard film , sim ply because he remained faithful to both the plot and the gritty flavour of the author’s w riting. U nfortunately, because the plot involves rape, blackm ail, snuff-m ovies, heroin, porn, adultery, and five murders, some critics found the film a bit sick and seedy. One even called it ‘bad-hearted’.

I t ’s been a recurring criticism over the years. L eslie H alliw ell

complained of some “ untenable moral attitudes” in Joe K idd, the 1972 Western w hich Leonard wrote and C lint Eastwood starred in , and review ing Stick in 1985, D avid D enby complained that “ Elmore Leonard is really a bit amoral: his characters, including Stick, care for m oney and power and not much else, a state of mind that Leonard seems to approve o f.”

The author of these badhearted and amoral stories is an a c a d e m ic -lo o k in g , b ea rd ed 60-year-old who lives in B irm ing­ ham, M ichigan, w ith his wife Joan. H e produces crime novels at a prodigious rate and his latest, Bandits, was an im m ediate best­ seller. Leonard is regarded by some as the best crime writer ever to come out of America, although Ham m ett and Chandler fans w ould find that a bit strong. H e is probably the best of the modern writers, his 20-odd novels dis­ playing a great grasp of crim inal language and logic.

Leonard confesses to a certain affection for crim s, and if there is any moral am biguity to his books it ’s because he makes crims so palpably human. Surprisingly, crim e-w riting was his second choice as a genre.

“ When I started w riting in ’5 1 ,1 thought ‘I ’ve gotta pick out a genre, either Westerns or crim e’, and I picked Westerns because I liked Western m ovies.

Western stories were appearing in the top slick magazines, Satur­ day Evening Post and then down through Argosy magazine, Adven­ ture and the pulps. And so the market was there, wonderful market. “ I would subscribe to Arizona Highways just to get the look of it and researched Apaches and cavalry . . . they were very big then. And a book like The Look Of The West, which told you what people wore and ate and what kind of coffee they drank. So that’s what I used and I wrote five books and 30 short stories in the fiftie s.”

When Westerns went out of fashion in the sixties, Leonard switched to crime, and for the next 20 years H ollyw ood paid the bills. Leonard’s crime novels were well-received, but like many authors he made more money w riting a script read by 20 people in H ollyw ood than he did w riting a novel read by 40,000 people around the world.

Some of the 15 books he sold to producers from 1965-85 were

actually filmed, although they are not exactly hot items at repertory cinemas. Others are still lying around w aiting to be produced — City Primeval at U nited Artists, Gold Coast at Fox, Cat Chaser apparently earmarked for direc­ tor John M ackenzie of The Long Good Friday fame.

Of the films that were com­ pleted, The Tall T and 3 .1 0 To Yuma were short stories made into Westerns in the fifties.

Hombre was made in 1967 with Paul Newm an, and is regarded as one of the best Westerns ever w ritten, but Joe K idd w ith Eastwood was more forgettable. M r M ajestyk (1974) was one of Charles Bronson’s better efforts.

But it was still a Charles Bronson m ovie.

Stick, w ith Burt Reynolds, was a big disappointm ent. The novel features one of Leonard’s best crim inal creations, an endearing Florida con-man by the name of Ernest Stickley Junior. Reynolds turned the character into a bruising meathead, and Leonard disowned the film before it even came out, saying “ th ey ’ve taken out the plot and put in machine guns and scorpions.”

T he logic of the studios and the big-nam e actors obviously leaves

Leonard baffled, but he allows him self a wry sm ile when discuss­ ing his dealings w ith the ego­ centric D ustin H offm an, who had been slated to star in the film of Leonard’s novel, La Brava. The plot centres on a 38-year-old photographer in Palm Beach, M iam i who meets an ageing m ovie star he once idolised as an adolescent. H e falls for her, not realising she is an extortionist w ith a sem i-sadistic strong-arm man. Leonard spent nearly eight months w ith H offm an, who was lined up to play the central character. “ D ustin Hoffm an would say, ‘I can’t be in love w ith a 50-yearold w om an!’ E ven though he just turned 50, last w eek or so. H e ’s playing a 38-year-old, see. H e ’s saying, ‘Who can we get? . . . we can’t get an yb ody!’ H e says, ‘N o, I ’m gonna be in love w ith the younger girl, and the m ovie star is just sorta there.'1 So that changes the plot quite a bit. Each tim e we have a m eeting I bring in a 50-page treatment. “ Then the next m eeting he says ‘N o. W e’re gonna change i t .’

H e says ‘I ’m gonna fall in love w ith the old m ovie star’. Because in the m eantim e, betw een that and the last m eeting, h e’s met Anouk A im ee, the French actress.

She’s 50, and she looks great. ” La Brava starring D ustin H off­ man and Anouk Aim ee never m aterialised, because Hoffm an pulled out shortly afterwards.

Leonard has been w orking on the screenplay now for three years, and the latest actor thum bing through it is A1 Pacino. “ I a m ,” says the author, “ so tired of that story.”

52 Pick-Up was som ething o f a comeback for Frankenheim er, who had been w orking on tele­ m ovies in recent years. Unfortun­ ately it has not done well at the box-office and the director’s plan to follow it up w ith another Leonard book, Swag, starring Jam es Fox, fell through.

But no doubt L eonard’s new ­ found fame as a writer w ill result in more films. H is latest book, Bandits, concerns a group of New Orleans ex-cons who decide to rob a Nicaraguan contra colonel who is on a fund-raising jaunt for weapons in the US. Contras?

Arms dealing? D iv ersio n of funds? W ith 1987 earmarked as the year of Irangate, Leonard shouldn’t have too much trouble selling this story. H is only problem is that, compared to Irangate, Bandits m ight not be amoral and bad-hearted enough.

CINEMA PAPERS MAY - 15

DERMODY: Let’s start off with what kind of kinship you feel Landslides has to your earlier work; especially since so much o f your earlier work re-appears in different guises inside the film?

LAMBERT: I think Landslides began by us wanting to re-examine our earlier works in order to expand on the things that we found satisfactory and try and explore them further, and try and understand the things that we found unsatisfactory. So we would look at something like the fact that all our documentary films were single-issue films, and that they were taking a perspective and examining it only in one dimen­ sion. One o f the things that we wanted to do was not make a film about one issue, and to try and have a more open-ended view of the way a film could work with an audience within its own terms.

DERMODY: So you deliberately tried to lose the idea of audience while you were doing it?

[la n d s lid e s is an im m ediate and exhilarating pleasure to w atch — but a much 11 harder film than m ost to absorb, to the point where y o u ’re ready to be disL b cursive about it. E ven n ow , after several view ings, I am n o t ready to pronounce very far o n it. Its process is still goin g on inside m y head . . . But I w ould be prepared to say that it is one o f the few great film s o f the eighties in A ustralia, so far.

L an dslides is a 75 m inute ‘docum entary’ exploration by veteran fem inist film m akers Sarah G ibson and Susan Lam bert. It was m ade under a jo in t docum entary fellow ship awarded in 1986 and is great vindication o f the liberating possibilities o f the schem e for film m akers ready for am bitious ‘freefa ll’ experim entation. T hey w ere. L a n d slid es is the record. T he surface o f their ‘o ld ’ film s o f th e seventies and earlier eighties gives, and w hole new and rarely seen strata o f film technique and poetry com e to sight.

The film is rich and strange. Its audience suffers a sea-change. It w orks through juxtap osition s o f extraordinary, and extraordinarily discrepant, sounds and im ages, in a rhythm and logic that is m ore m usical than rational. It brings into con ju n ction things visceral and abstract, ironic and sublim e; it is banal and funny and yet also alm ost utopian in its glim pse b e y o n d ordinariness, beyond the dulled and custom ary vision o f ourselves as bodies alive for this m om ent u pon th e earth. It is scary, in the risks it takes.

W hile it is n ot avow edly fem inist, the film com es naturally ou t o f a decade o f fem inist film w ork by the tw o film m akers and by others in this intellectual tradition. It is a docum entary, but on e that m ost pleasurably eludes all categories and descriptive attem pts, as few other docum entaries m anage to d o .

Chris M arker’s Sunless also inhabits this rarely occupied space. There aren’t m any others.

A nd it is extrem ely A ustralian — quite as effortlessly so as P au l H o g a n / C ro co d ile D u n d e e contrives to be — but in a w ay that is com pletely beside the m ain p oin t, w hich is as it should b e. T he film ’s A ustralianness inheres not ju st in the voices and th e unm istakeable landscapes, but in the hum our o f the tw o film m akers, appearing several tim es as them selves, o n voyages beneath and ab ove the earth, and in to the self and that great m ystery that runs through and through the se lf — the b od y.

S .D .

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LAMBERT: Yes, we wanted to please ourselves, and we were against any form of self-censorship.

GIBSON: And even though we said we weren’t going to make a film for an audience, I think there was always a sense that there was an audience for this film. There were people concerned about film language who would be an immediate audience for the film.

LAMBERT: It’s just that we didn’t then presume to know in advance what this audience would like . . .

GIBSON: Or even who they’d be.

LAMBERT: It was like working with an energy.

The moment we became dull, or bored by something, then we’d leave it alone.

DERMODY: Could this process have taken place outside the documentary fellowship scheme under which the film was made?

GIBSON: No, I don’t believe so. I think one of the benefits o f the fellowship was being left alone and being able to work up an idea and not to have interference with development or at any funding stage. I don’t believe that people would have ever funded us in the usual ways for this idea that we wanted to re-examine our past work and see where it took us. Nobody would have given us any money for that. But I do believe that the ABC pre-sales attached to the fellowship does push you in terms o f audience. Because in the back of your mind is that, apart from any theatrical screening o f the film, there will be an ABC audience for it. I don’t think that has

Landslides is an in n o v ativ e new d o c u m e n ta ry fe a tu re th a t has been hailed as a la n d m a rk in A u stralian cin em a. S U S A N D E R M O D Y ta lked to film m a k e rs S arah G ibson and S usan L a m b e rt ab o u t th e ir w o rk.

Susan Lambert (left) and Sarah Gibson

affected the film, but certainly I had to fight against it in making it.

it made sense, and whether we felt it was right to be included.

matter what, not even if we screamed at him to turn it off.

LAMBERT: We certainly did.

GIBSON: And those 10 minutes of cinema verite in the film came out o f seven or eight hours. So we put ourselves through a kind o f lengthy cinema verite process with the full realisation that we might or might not use the material.

GIBSON: As we did many times.

DERMODY: Well, let’s talk a bit about how Landslides positions itself as another kind of documentary. I thought it exploded the institu­ tional form within, and by that I suppose I mean that it’s a reasonably unusual thing to have an autobiographical, personal, subjective, abstract experimental documentary . . .

GIBSON: Well, I’m curious about people seeing it as an autobiographical film, because I don’t think that at any stage we saw it in that context.

DERMODY: Well, you do speak personally and talk about the process of the film and what in your deepest heart you are interested in doing with the film and with your life!

LAMBERT:. . . But I think we’ve separated the parts of the filmmakers from the personal — we take on the filmmaker role as actors take on a part, we speak as the filmmakers deliberately, and we act in it, a couple of clowns on a journey, as some might see us. To our horror a couple of people have said, ‘Oh yes, I feel I really know you both much better now’.

DERMODY: Are you really surprised that people would make that slippage?

GIBSON: There was a desire initially to do something autobiographical. However, we felt that that in itself had a lot of limitations, and what we wanted to do in fact was to put pressure on those limitations more than to find some kind of a true thing . . .

LAMBERT: And by the time we edited it we were as ruthless with ourselves as we would be with two other characters that we filmed. And so it came down, and down, and down.

DERMODY: At the moment when you were filming the verite ‘journeys’ were you con­ sciously constructing or impersonating your­ selves?

GIBSON: No, I think we were more focused on the material o f the film. Say, for example, when we go into the Jenolan Caves, we were aware of the analogy of the caves and the inside of the body. When we go on the Halley’s Comet observation flight, we were aware of notions of inside and outside, of being in a large group gazing at something very distant — distant and close. And all those parallels we were constantly aware of, but at the time we didn’t turn the camera off and have little chats about what we should say here . . .

LAMBERT: In fact we instructed Michael (Ewers) just to keep the camera running no

DERMODY: An autobiography is o f course constructed truth in any case — it’s creating a persona for yourself.

GIBSON: This is also important in the cinema verite sequences where we were attempting to place our bodies in the film, because the film was about bodies, and we weren’t happy with the notion of the filmmakers being invisible, having only disembodied voices. We were very curious about having cinema verite as one o f the modes of representing the autobiographical, if you like.

DERMODY: Can we talk about what the film is ‘about’? I mean, obviously it’s about the body, and obviously it’s about landscape, and obviously it’s about outer and inner space. Outer space interests me, the way it puts the audience o f the film into a journey from which they don’t come back, a journey to another plane of thinking about things. Putting together body, outer space and landscape yields something very interior and private, a little bit like the way a metaphysical conceit does. The film puts those three things into a relationship which is unexpected, partly because they are an unexpected cluster o f things to put together, and because the cluster includes both highly abstract and very concrete things.

GIBSON: I don’t want to be deliberately evasive, but it is impossible to sum up those juxtapositions which end up in the film because they came from a long period o f exploring certain ideas. I can say that there were particular ideas that I was drawn to, interested in, and then there was the challenge of trying to represent those, or pursue them in a visual way. Also, what goes on in a film will vary for different people, according to where they are. For example, some people have seen the film and said they thought it was all about a sense of abandonment of the universe, abandonment of the child within the universe, of humanity. I can honestly say that was not a consideration of mine in making the film. Yet I think the child images in the film are very provocative, and whether they’re provoca­ tive because of the presence/absence o f the mother or the particular nature of the footage itself, I don’t know. But now I think that footage has a resonance that I wasn’t aware of when we were putting it into the film.

DERMODY: Look, probably a more intelligent way o f putting the question is, what do you like best about the film?

LAMBERT: What I like best about the film is to me it’s been a surprise. The way those juxtapositions o f sounds and images worked, they gave me a great deal o f pleasure. And as we were making the film we did have a sort o f grid o f why certain things were going with other things, but when the sound and the images were put together, what a fantastic surprise that was. k All the way along, for me, it was a rewarding \ experience — even when the film was finished I /

DERMODY: How did that feel when you were putting yourselves into the picture?

LAMBERT: It was very uncomfortable at first, but when we’d do something and then hear it three weeks later, it wasn’t uncomfortable any more. It just became a voice, to be judged as appropriate or not with that image, and whether Landslides

CINEMA PAPERS MAY — 17

A still was surprised, and I’m still surprised now. If I saw it tomorrow I’d probably see things in it \ that I hadn’t discovered while I was making it, or last time I saw it. And I was taught that things aren’t supposed to happen like that. You have to know whak they’re going to be before you start them, and ' this film, by deliberately working against that, has given us much more than any of our other films where we did work more to an agenda. It’s encouraged me to work that way again, not to feel that you know all the answers before you begin, but that there’s heaps that can pop up as an accident or a coincidence or something you didn’t think about, and there it is.

DERMODY: And what are a few of your favourite things, Sarah?

GIBSON: Well I do like the cinema verite because of the autobiographical question we talked about. But that’s part of a larger thing, which is to be able to use any material, no matter what its source, as material for what you want. I really like the juxtapositions and the fact that we can go from an image like the maps to an image of an operation. I loved being able to say, I want to see this image and go and get it, rather than saying, how can you justify wanting this image?

The film has elements which to me are pure pleasure, like the journey inside the caves and some of the landscape material. It’s been able to cross so many formal boundaries and bring so much material together, and yet it works as a whole for me, and that’s an incredible pleasure.

LAMBERT: And it’s exciting that audiences can accept that. So far people have — if they don’t, they’re not frustrated by it. They’ve actually enjoyed the chopping and changing, and if they don’t hear the sound they look at the picture, and it’s all right.

GIBSON: In the seventies you might have thought that there were more simple approaches or simple answers, but for us to approach a film on the body now was very complex. It’s probably got as much to do with our lives in the last ten years than it has with our filmwork.

LAMBERT: When we first talked about Landslides, the point was that all the single-issue things that all our other films covered are still with us, and rather than see them separately, we saw them all together. It’s not that they’re forgotten, it’s just that they’re all in one.

DERMODY: And there’s no ticks or crosses of correctness or incorrectness? No fixed answer or fixed points?

GIBSON: No. In the seventies we would have tried to have the answer. I mean, I remember with Behind Closed Doors we, with great relief, decided that we didn’t have to answer the question about why there’s domestic violence, because we realised we couldn’t. And that was a big breakthrough for us.

LAMBERT: And also unlike On Guard, there’s no goodies and baddies in this film. I mean you listen to some of those voices and they are very caring, concerned voices and the particular path that they’re following is put alongside somebody else’s path which is a different path, which has an equally caring, concerned voice, so there are many attitudes within the film — that was a relief.

DERMODY: Could you talk a bit about how you arrived at your eventual choices, not of

18 - MAY CINEMA PAPERS

particular voices, but of a strategy for dealing with the problem o f voices.

LAMBERT: It was much more difficult than the problem of the image. We spent a lot of time on the voices and exploring the so-called voice of authority, male voice, academic voice, the socalled personal voice, the intimate voice, our voices — whether that was an intimate voice because it was automatically female. And it didn’t get us very far. I mean, we did a lot of homework on it; and finally we decided that we’d go and talk to the people that we wanted, that we’d always wanted to talk to about the body. So, people like surgeons and people who dealt with cancer, and interestingly enough, they were very happy to talk. There were three or four initial interviews, and because they were so good and so pleasurable to do we increased them.

GIBSON: But also we could have had women in the place of those male scientists and doctors.

And I think that we deliberately went with the male voices because we felt that to have a female voice talking in a scientific and professional language in that frame, it would have been exactly the same, and that we were trying to explore something about men’s relationship to their body. The way that men aren’t present in their body, and perhaps the voice is their way, the male voice takes on a different meaning because of this . . . So that’s why it’s important to have the male voices. We did try the idea of a male voice reading female text, but we had to discard that because it totally transformed the female text. We found that that kind of intimate material couldn’t be done by a male voice.

DERMODY: The one female authority voice — the academic’s voice — is the most worked over and created sort of text in the whole film, isn’t it?

GIBSON: It’s completely scripted. But hopefully the way that all of the voices are placed in the structure of the whole film is that this voice is questioned like everything else.

DERMODY: But the female voice — theorising from the work of Kristeva and Irigaray — has the quality of being both intimate and authori­ tative. It performs these questions very well.

GIBSON: What we were presenting here was a set of academic theoretical work which was being developed in a stream of women’s studies and philosophy studies, which was both French and Australian. Obviously we didn’t want to regurgitate those ideas and pretend they were our own. We didn’t want to speak them. We wanted them to be spoken in their own framework and let them be taken as that, alongside all the other spoken material.

DERMODY: But it’s still hard to resist the implication that you’re closer to that voice.

GIBSON: Why should we be closer to that voice than the voice of the historian? Or the astrono­ mer . . .?

DERMODY: Well, because you’re women and it’s a female voice. And because it’s a voice that enacts the searching process, perhaps more so than the others, and also because — it says things beautifully.

LAMBERT: I think that’s right.

GIBSON: And also, to be honest, it does have a kind of working o f some of the theory that helped us to get to the structure o f the film.

DERMODY: Now what I am really looking forward to with this interview is hearing about your working method on this film. You gave yourself a year of full-time, 9 to 5 office-type work on the film. I want to hear how you started — with ideas or with sequences? Did you start with a mass of complex ideas or did you start with a catalogue of film ideas? And then I’d like to hear what later stages you worked through, including the post-production stage, especially the extraordinary soundtrack you did with Cameron Allan.

GIBSON: Okay. Well, one of the first things that we did was to look at all our visual and written material that we had from the last 10 years. We went through our own films. I read 10 years of diaries, about 35 volumes.

LAMBERT: I catalogued 400 Standard 8s and boxes of slides.

GIBSON: The question was, is there anything in this material, either in the films or out of them in the diaries, in Super 8s, that excites us. That was the first criteria.

LAMBERT: We were looking for the context in which we made the films, so that was our most direct way — diaries, photographs, and at the same time we were reading as much as we could and swapping articles, including things that Liz Gross had suggested in her courses at Sydney University on feminism and philosophy. I’d taken two of her courses. And we employed her as a consultant on the film.

GIBSON: It was an exploration of her philosophy work, but also of how that could be applied to the film questions that we had. Then we’d take the still camera and the Super-8 camera out to various places to try to get images.

One of the things that preoccupied us from the very beginning was the relationship of the inside and outside of the body. So we tried various technical processes to try and put certain images inside the body.

DERMODY: For example?

GIBSON: Well, we were looking at how to have images of, say, body organs on the inside of a person.

DERMODY: A medical sort of image?

GIBSON: Yes. We tried several optical tech­ niques and animation to see where we could go with this notion of the inside and the outside.

That was one o f the earliest ideas, which we instantly took into a technical exploration. So sometimes we’d come across something that required a lot of technical research for how to physically do it, and some things that we wanted, we were never able to get.

DERMODY: Was the fifties’ home movie footage step-printed for the film?

LAMBERT: No, it’s just that it was filmed at the wrong speed or at different speeds.

DERMODY: It’s lovely how that makes it seem to phase in and out of optical processing of some kind . . .

GIBSON: Another thing that started then was that we would periodically go into the sound studio and record ourselves talking about the process.

DERMODY: Did the Jenolan Caves ‘journey’ come early?

GIBSON: Yes, the Jenolan Caves was the first material that we shot.

DERMODY: At this point in the first six months, did you have any kind of theme breakdown?

GIBSON: No. What we tried to do was assemble material.

LAMBERT: We made lists of all the material that we wanted, all the visual material, all the sound material, and then we sort of ticked it off as we got it. So by the end of the first six months we had the list and we’d actually got some material, visual material and some sound, and we sat down like we did for Behind Closed Doors and we put it together as we saw it on paper, and then we got Liz Gross in as an observer, and we sat there and watched the projector.

GIBSON: We had 45 minutes of images and sound.

LAMBERT: And it was rough, like a rough notebook, like the page you’ve got there, so it was very rough, but that was six months’ work.

DERMODY: Did you find the confidence early to know what worked and what didn’t?

GIBSON: Not until the screening.

LAMBERT: When we saw a screening, that was a huge relief. I just felt like tears, you know, thank goodness there’s a film. But we had developed the structure, and we did that in conjunction with Liz Gross. Then after the first six months we were pretty severely scheduled for the next five months getting the material we wanted. There was over a week of sound recording. And then there was the other 16mm shoot, and all the animation. When we compiled all that we had our blueprint, if you like, and Sarah and I sat down and edited our first rough assembly which was two and a half hours long.

GIBSON: And then we brought in an editor because we realised that we needed some more distance in the material and we needed somebody who had experience at being able to pace and work the material. Because it had a real sense of development, in that you could see an idea that started like this notion of inside/outside, and you could see where it went. And I know that for me the challenge of the six months was to say ‘Push it, go further into it’. My fear was that we said the same thing 27,000 times, so I had to kind of pull myself back from that. And then at the end of that six month period when it went into production, I felt a real stretch of not being able to delve any more into ideas and the conceptual work of the film because we were locked into a huge production schedule. And I think partly because of the budget we were very involved in production, because we didn’t have money to employ a lot of people to free us in that stage. I felt that there was a big shift between the way we worked in the first six months and the way we worked in the second.

LAMBERT: The first six months was exciting but it was also full of anxiety. And I don’t think of them as two six month periods, either. I think of it as a whole process. There was that moment of getting to that point and the relief of knowing that we’d actually got something, a formula that worked. But then the fleshing out of that formula I found just as interesting.

GIBSON: It was interesting, but it was very scheduled. We were always fighting the schedule.

LAMBERT: Yes, but that’s the reality . . . no, I think of it as a total, and not of two halves.

GIBSON: But I do think that the first six months is not your classic film production model, whereas the second six months is more like what most people would assume for a production pro­ cess . . .

DERMODY: What about the soundtrack? I remember seeing it before that stage, and feeling quite differently in some cases. Take the operation images — cutting into flesh and bone.

When you added sounds to that, especially the starlings’ screams as the flesh begins to give, I found it much harder to endure them. Maybe that’s just an example of how the soundtrack was a whole new stage of the structure?

LAMBERT: I found that sequence much easier when the soundtrack was on.

GIBSON: I think there’s more humour with those sounds. I mean I think the soundtrack allows there to be some sequences you could laugh at, and there was the possibility of distance. Some of Cameron Allan’s work did provide the humour and a different way of viewing the material. He can’t watch those operations, so his aversion to that kind of material was part of it. His first response was animal noises, the noises o f nature, because of what we were working on.

LAMBERT: Denise Haslem’s contribution as sound editor should be mentioned too. They did some fantastic sounds they made up themselves.

GIBSON: He and Denise kind of convinced us that we could go with certain things — like the jokes the soundtrack makes . . . I now regret that we didn’t go even further.

LAMBERT: But the sound was a whole other adventure. It was exciting and really pleasurable and we all loved doing it.

DERMODY: Just one little loose end. I was interested in the fact that there was one written text read in the film, the short story The Yellow Wallpaper by Charlotte Perkins Gilman. And I wonder how many other such things you thought of using, and didn’t . . .

GIBSON: That one goes back to the fact that we put in a project to make a film based on The Yellow Wallpaper in 1979. That was to be an abstract film based on textures and working with designs and patterns, and so many of those threads in that original idea have come back in Landslides by the mapping sequences, by other sorts of graphic elements in the other sequences.

It was in that section o f the film where we’re exploring the surface, when we come down from space, before we go inside, and so it’s in that context that it found its place. Now I think it does stand out, but it is a link for us with our earlier filmmaking.

DERMODY: I liked it very much. I would have been happy with other things like that.

GIBSON: Curiously enough we were given $700 to develop that idea then. We gave it back, because they didn’t seem to believe that the film could sustain itself based on that idea. But it was probably our earliest idea o f Landslides.

DERMODY: The map used in that sequence, underneath that image, what’s it a map of?

GIBSON: They’re a variety o f mineral maps.

DERMODY: They are quite strange maps, because they don’t really correspond to anything on the surface. A bit like your inside/outside ‘impossibility’.

LAMBERT: That’s great. I hadn’t even thought of that!

Landslides

CINEMA PAPERS MAY - 19

Inthebeginningwasthe nerd...

Pee W ee's Big Adventure has becom e a love-it or hate-it classic at the video store. RALPH TRAVIATO loves it. f c o o ln e s s is g a u g e d b y th e y o u th o f y o u r a u d ie n c e t h e n y o u w o n ’t f i n d a c o o l e r d u d e a ro u n d th a n P e e W ee H erm a n .

H e ’s s o c o o l h e h a s h i s o w n S a tu r d a y m o r n in g k id d ie s ’ s h o w o n C B S — P e e W e e ’s P l a y h o u s e — w h ic h , a s h e r e c e n t ly r e m a r k e d , is a v e r y r e s p o n s ib le p o s itio n s in c e h e is th e o n ly r e a l h u m a n to h a v e in v a d e d t h a t c a r to o n k in g d o m in a lo n g t im e . A n d in v a d e it h e h a s , in m o r e p r o fo u n d w a y s th a n a t th e le v e l o f T V p r o g r a m m in g .

P e e W e e ’s B i g A d v e n t u r e , h i s f ir s t fe a t u r e le n g t h m o v ie , w h ic h h a s s o fa r o n ly r e c e iv e d v id e o r e le a s e h e r e in A u s tr a lia , is n o t s o m u c h a P e e W e e v e h ic le a s a n e x p a n s i o n (o r s h o u l d t h a t b e c o n tr a c t io n ) o f t h e P e e W e e p e r s o n a in to n a r r a tiv e .

T o lo o k a t h im y o u c o u ld s a y t h a t h e i s a ‘n e r d ’ o f t h e t y p e w e h a v e o fte n s e e n in r e c e n t A m e r ic a n film . H e i s s k i n n y (9 8 1 b s e x a c t l y ) , p a l e , h a s a c r e w c u t w it h c o w -lic k , w e a r s a s u it t h a t ’s t o o s m a l l , w h i t e l o a f e r s a n d w h ite s o c k s . B u t h e h a s c o m p le x ity a n d t h a t is o n e o f th e p le a s u r e s o f B ig A d v e n tu r e — g e t t i n g a ‘f i x ’ o n h i m . H i s v o i c e c h a n g e s q u it e d r a m a t ic a lly . H e a c t s lik e a s ix -y e a r -o ld a n d h a s m a n y c o r r e s p o n d in g in t e r e s t s (b ik e s , to y s ) a n d t r a it s (h y s te r ic a lly h a p p y , o b n o x io u s ly se lf-a b s o r b e d ) a n d in h is h o u s e e v e r y th in g is d o n e b y a fa n ta s tic a r r a y o f a u to m a te d c o n tr a p t io n s (th e p a r e n ta l fu n c t io n m a d e s p e c t a c u la r ). Y e t h e i s v e r y o b v io u s ly a g r o w n m a n a t t h e s a m e tim e . H e h a s a m a tu r e w o u ld -b e g ir lf r ie n d w h o n a g s h im t o b e t a k e n t o t h e d r iv e - in th r o u g h o u t th e film a n d to w a r d s w h o m h e is q u it e c o o l a n d c r u e l, th o u g h th is is in th e h a r m le s s m a n n e r o f little b o y s n o t y e t i n t e r e s t e d i n ‘y o u k n o w w h a t ’. O h a n d h e w e a r s m a k e - u p to o : w h it e fo u n d a tio n , r o s y c h e e k s , p in k lip s an d e y e s so d ark o n e su sp e c ts c o s m e tic le n s e s .

T h e n a r r a tiv e i s lig h t n in g p a c e d a n d a c t i o n p a c k e d . I t ’s o n e o f th o s e c o m e d ie s w h e r e e v e r y lin e an d ev ery m o v e is a g a g or p art o f a g a g . T h e r e i s n o t h in g a t a ll th r o w a w a y in t h e film , e x c e p t th e b o o m e r a n g b o w - t i e (H A ) h e b u y s a t th e b e g in n in g o f th e sto r y , th o u g h th is m a y p o p u p in th e s e q u e l. A lth o u g h h e h a s e n c o u n te r s w ith c h ild r e n t h e y te n d to b e in g r o u p s. T h e o th e r k e y p la y e r s in t h e f ilm a r e a ll

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20 — MAY CINEMA PAPERS

a d u l t s i n a d u l t r o l e s . T h e r e ’s a p r is o n e s c a p e e , a s m a ll to w n w a it r e s s w h o d r e a m s o f a lif e in P a r is , a d e m e n t e d h o b o o n a f r e ig h t tr a in , a b ik e r g a n g a n d ‘D o t t i e ’, t h e w o u l d - b e g i r l f r i e n d w h o w o r k s in t h e lo c a l b ik e sh o p .

In o n e w a y o r a n o th e r h e w in s th e m a ll o v e r b u t n o t w ith o u t b e in g q u ite a j e r k in t h e p r o c e s s .

I f y o u h a d n ’t a l r e a d y g o t t h e i d e a , P e e W e e ’s w o r l d i s s t e e p e d i n t h e c lic h e s o f g o ld e n a g e , B -g r a d e A m e r ic a n a . A lt h o u g h it c o u ld b e s a i d o f j u s t a b o u t a n y f i l m , I d o n ’t th in k I h a v e y e t s e e n o n e th a t c o m m u n ic a te s s o la r g e ly , a n d a lm o s t e x c lu s iv e ly , a t th e le v e l o f s e n s ib ilit y . B e h in d P e e W e e th e r e is d e p th o f c u lt u r e a n d if y o u s h a r e in t h e lo v e o f th a t c u lt u r e , a lo v e P e e W e e p o s it iv e ly r a d ia t e s , t h e n t h e f i l m i s a g a s . I f y o u d o n ’t , t h e n I s u p p o s e y o u ’v e s e e n P a r i s T e x a s tw ic e .

H o w c a n I b e s t p u t it ? W h e n P e e W ee g e ts o u t o f b ed a n d s lip s o n h i s b u n n y r a b b it s lip p e r s a n d m a k e s t h e m tip p y -to e a c r o s s h is B a m b i r u g to s n iff a t th e ru b b er c a r r o t ly in g th e r e , s o m e h o w it r e v e r b e r a te s w ith a ll t h e fo r c e o f a

life tim e o f I L o v e L u c y a n d B u g s B u n n y r e -r u n s c o m b in e d . W h e n h e lo o k s a t h im s e lf in t h e b a th r o o m m ir r o r , c o v e r s h i s f a c e w it h a d h e s iv e ta p e th e n r ip s it o ff, s c r e a m i n g a n d l a u g h i n g , t h e ‘T e x A v e r y ’ lig h t in th a t h a p p y c o r n e r o f y o u r b r a in s t a r t s f l a s h in g a n d s p i n n i n g l i k e c r a z y . B u t t h e r e ’s m o r e t o P e e W e e ’s g r e a t n e s s t h a n th is se c o n d ord er s tu ff.

P e e W ee is g r e a t b e c a u s e o n to p o f a ll t h a t h e d e liv e r s s o m e t h in g o f h is o w n . H e h a s ta p p e d in to so m e p a r t o f h im s e lf a n d g iv e s o f it w it h o u t r e s e r v e o r c o m p r o m is e .

T h e p r o o f o f t h is is h is p o p u la r ity w it h p r e -s c h o o le r s . I n a r e c e n t in t e r v ie w , P e e W e e (a lia s P a u l R e u b e n s) s a id th a t w h e n w r itin g e p is o d e s o f P la y h o u s e t h e t h in g th a t g a v e h im a n d h is c o lla b o r a to r s t h e g r e a t e s t k ic k w a s k n o w in g th a t t h e y h a d c o m e u p w it h s o m e t h in g t h a t w o u ld g e t t h e fiv e -y e a r -o ld s g o in g . W h a t I w a n t to k n o w is , h o w d o y o u k n o w w h e n y o u ’v e g o t s o m e t h i n g t h a t w ill g e t a fiv e -y e a r -o ld g o in g ?

T h e r e i s n o q u e s t io n a b o u t it , t h i s m a n is r ig h t u p th e r e w ith D a ffy D uck.

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FESTIVAL OCCASIONS Film festivalgoers will soon be settling down to prolonged ses­ sions in the dark. CHARLES LAMBERT previews some Melbourne highlights, several of which will be seen in both Sydney and Melbourne. mm TUBA OR NOT TUBA: high spot from under-underground documentary D.U.I. UNDOUBTEDLY the big event of this year's Melbourne and Sydney Film Festivals w ill be the screening of Shoah, the mega-documentary on the Holocaust by Claude Lanzman. This nine and a half hour film took Lanzman seven years to shoot and three to edit.

Remarkable for not using any archival footage, the film consists primarily of interviews with survivors and their persecutors, as well as contemporary footage of the camps at Treblinka, Auschwitz and other Polish locations.

Lanzman, a long-time political journalist, rigorously assembled the film from over 350 hours of material. He decided against the use of archival stills or footage in an attempt to ensure that the film would not be read as a conventional historical document.

"The European Jews massacred are not just of the past, they are the presence of an absence," Lanzman has said. The film contains almost no narration and does not work through the usual means of

temporal construction. It circles the facts, using long interviews where often the words unsaid are more important than those said, and gradually builds a picture by amassing a wealth of detail.

This detail reveals much about the logistics of the final solution, and about the complexities of what may at first glance appear to be a simple conflict between good and evil. Polish villagers who lived around the death camps can still barely conceal their indifference to the fate of the Jews; they recall without irony "It was sad to watch, nothing to be cheery about." One of the SS men stationed at Treblinka heartily sings the song that all Jews had to learn upon arrival at the camp: " Looking squarely ahead, brave and joyous/At the world,/The squads march to work,/All that matters to us now is Treblinka./lt Is our destiny./That's why we've become one with Treblinka,/In no time at a ll." And those Jews who survived by assisting the grim process of

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annihilation at Auschwitz and Treblinka are now burdened by guilt, the feeling that every Jew who survived the Holocaust is now eternally tainted.

Nazism also provides the backdrop for a very different kind of documentary, My Life For Zarah Leander. Zarah Leander was a Swedish-born singer who became film studio UFA'S number one star during the Nazi era, and was reputedly one of Hitler's favourite actresses. Christian Blackwood has made many documentaries about artists and popular entertainers, and here gives a twist to the usual biopic formula by orienting the film through the eyes of obsessed fan Paul Seiler, who dedicated his whole life to Leander. Seiler ended up becoming confidant and friend to the aging star until her death in 1981.

Leander starred in many 1930s German romances, and tw o of these w ill be screening, La Habanera and Distant Shores. Both were made by Douglas Sirk, the

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director who left Germany for Hollywood where he made 28 films, including Magnificent Obsession, A ll That Heaven Allows and Written On The Wind.

Distant Shores has Leander as an English singer who takes the rap for her lover and is deported to Australia where she must serve time at Parramatta Penitentiary.

Much of the film is set in Australia, although it was all shot in Germany, and it includes such peculiarities as a Parramatta Prison that is located in the centre of Sydney.

Such historical inaccuracies would be frowned upon these days, with filmmakers going to ever increasing trouble to duplicate the actualities of history. Hector Olivera, whose enjoyable Funny D irty Little War was seen recently on David Stratton's Cinema Classics and earlier at film festivals, has sought the best possible advice on his new film Night O f The Pencils. An account of the kidnapping, torture and ultimate

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RISING DAMP: Jutta Bruckner’s One Look A nd Love Breaks Out disappearance of six high school students in Buenos Aires in the early seventies, it is based on facts told by the only survivor of the group who was hired by Olivera as adviser. The film does not emphasise the physical aspects of the ordeal, but rather looks at the techniques of humiliation and morale busting used by the torturers against the teenagers.

Jean-Pierre Gorin, who was Godard's collaborator on a large number of his films such as Wind From The East, Tout Va Bien and Letter To lane is represented by Routine Pleasures, his keenly awaited second feature. In 1979 he made the curious and delightful documentary Poto And Cabengo, which invited us to contemplate the phenomenon of twin girls living in a small American town who had developed their own spontaneous way of speaking through exposure to a number of different languages.

Playful and intellectual, Poto And Cabengo explored the concept of language as well as the obvious

story aspects inherent in the material.

Routine Pleasures is similarly eccentric, being both a study of a group of model train buffs and an investigation of the paintings and writings of American film critic Manny Farber. W ithout recourse to heavy-handed symbolism, Gorin manages to weave a delicate thread of commonality between the two ostensibly unrelated subjects.

Chantal Akerman's film The Eighties came as a breath of fresh air at festivals in Australia in 1984.

It was a work in progress, made by Akerman to help her to raise money for her film, The Golden Eighties. The Eighties, a compilation of screen-tests and rehearsals that gave an interesting insight into the world of filmmaking, worked very well as a film in its own right.

"Between a script and a movie, one must go through a whole landscape," says Akerman, and Golden Eighties is the horizon of this journey. The setting for this

musical is a vast and glossy shopping mall, where shampooists trade their secrets of love, salesmen seduce their customers and short order cooks tell of lost love — all in songs written by Akerman. These are not songs of sentiment, but biting critiques of love, sex and business placed within the claustrophobic world of surfaces of the shopping mall where nothing is as it appears.

Two years ago film buffs around the world were excited to hear that 18-20 hours of footage shot by Orson Welles for his unfinished 1942 documentary It's A ll True previously thought to be lost, had been discovered in a vault at Paramount. It's A ll True: Four Men In A Raft is a 20 minute short that shows one section of the proposed movie, an epic voyage undertaken by sea by four raft fishermen who travel 1600 miles to Rio to seek aid from the then dictator Getulio Vargas. It's A ll True, has always been seen as a very significant work in the list of Welles

incompletions, because it marks the beginning of his fall from favour in Hollywood and the production misadventures are seen as typical of the uncomfortable relationship Welles had with Hollywood.

The archetypal story begins in 1942, when Welles was just finishing editing The Magnificent Ambersons. He was offered the chance of going to Rio to make a film about Brazil as part of Roosevelt's Good Neighbour policy. Welles accepted, and decided to rush off to shoot the carnival, leaving the completion of Ambersons to the studio and his editor, a decision that had very well-known consequences.

In Rio he had 40 crew and 12 cameras to capture the brilliance of the carnival, and he also began to shoot more footage around the countryside, focusing particularly on the curiosities and cultural life of the country. Here the story becomes unclear. Some claim that the American government was not >

CINEMA PAPERS MAY — 23

F E S T IV A L OCCASIONS A NATIONAL ARTS IN AUSTRALIA SCHOOLS PROJECT

T he A rts o n F ilm IA I

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The Australia Council and the Curriculum Development Council of the Commonwealth Schools Commission have commissioned a User-Directory of the Arts on film and video in Australia.

It is recognised that many film s and videos have been over the past decade. This at all levels and to indicate

outstanding Australian documentary produced on the Arts in Australia Directory is intended to target schools sources for hire and purchase.

If you want your work listed in this Directory, please send details by 1 June, 1987 to: The Editor The Arts on Film PO Box 421 Kings Cross. NSW 2011 Tel.: (02) 356 4363.

THE MELBOURNE CINEMATHEQUE FILMS ACROSS THE SPECTRUM 1985-1986 PROGRAMME INCLUDES RENOIR OPHULS R IV E T T E OSHIMA R E SIS T S POW ELL ROMER- B l " EXHIBITION

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24 - MAY CINEMA PAPERS

happy with the eccentric treatment that Welles was giving the film, while others saw it as merely a reshuffle at RKO, but whatever the reason, the plug was pulled and much of the footage was junked or ended up in stock shots libraries.

Also on the programme is Not A ll Is True, a feature documentary

by Brazilian filmmaker Rogerio Sganzeria on the subject of Welies' trip to Brazil.

One of the few directors who exerts as much fascination as Welles is Hitchcock, and he is the subject of a new two hour documentary The Thrill O f Genius.

By focusing on his relationships with actors and actresses, as well as collaborators, and by looking at his methods of directing, the film sketches an interesting analysis of his personality, his neuroses, complexes and sexual phobias.

Joan Fontaine explains that Hitchcock directed so closely that he prompted every movement and gesture, while Joseph Cotten says he never gave any direction at all.

Anthony Perkins and Janet Leigh explain the famous Psycho shower scene, while Tippi Hedren sits beside her pool with a pet leopard and analyses The Birds.

There are a number of films from major contemporary directors.

Wim Wenders' The Sky Over Berlin will be finished just in time for the Melbourne Festival. Godard's Grandeur Et Decadence, completed late last year, and described as a story about cinema itself and the efforts of a down-at-heel director to finance his new picture, will also make an appearance. Taiwanese director Hou Hsiao-Hsien contributes A Time To Live, A Time To Die which many critics are

calling a masterpiece, and French director Maurice Pialat is represented by Under Satan's Sky. Ken Loach's Fatherland tells of a dissident East German singer first silenced by the authorities and then allowed to leave quietly on a one way visa to the West. Upon arrival in West Berlin he is lionised and given a major recording contract, but still remains curiously diffident and unmoved by his new position. This work from Loach, with a script by Trevor Griffiths, (Reds), explores the way in which both East and West attempt to appropriate or suppress the work of artists for their own ends.

From Rosa von Praunheim comes A Virus Knows No Morals, a black comedy about AIDS. Its satirical targets include a woman scientist who goes to Africa to find out more about the disease and ends up contracting it from an ape; a sauna boss (played by von Praunheim himself) who finds the disease to be an annoying intrusion on his business; and a government minister whose solution is to have all gays incarcerated on an island.

The comedy is a wild and rough affair, but somehow manages to succeed where more serious material has failed.

There's a very strong representation from women directors including a new work from Helma Sanders-Brahms, Laputa and Jutta Bruckner's One Look And Love Breaks O ut. There's a considerable number of new directors' films such as N oir Et Blanc, Bad Night and La Pelicula Del Ray (Carlos Sorin's imaginative first feature thatw on the award for the Best Debut at last year's Venice Film Festival.)

FILM CENSORSHIP LISTINGS Films examined in terms of the Customs (Cinematograph Films) Regulations as States’ film censorship legislation are listed below.

The decisions of the Film Censorship Board

An explanatory key to reasons for classifying non-“ G” films appears hereunder: Frequency

and the

Films

Board

of Review for the first

S (Sex)..........................................

V (Violence)..................................

L (Language)..............................

O (Other).......................................

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1987.

Explicitness/lntensity

Infrequent

Frequent

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Purpose

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Justified

G ratuitous

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Videos are not included.

J A N U A R Y

1 9 8 7

Films Registered Without Deletions • G (For G eneral E xh ib itio n ) A ll Under Heaven (16mm): Gordon/Hinton/ Kline/SIpe, USA/China, 636.26m, Ronin Films.

A u s tra lia The T o p End (16m m ): J. Patterson/A. Patterson, Australia, 1053.12m, A. Patterson China Unknown (said to be title, not shown in English): Not shown in English, China, 2496.13m, Golden Reel Films John Harding’s Australian Seafari (video­ tape): Not shown, Australia, 111 mins, J. Harding Phantom Treehouse, The (videotape): P. Williams, Australia, 72 mins, Australian Coun­ cil for Children’s Film and Television Steam Driven Adventures of Riverboat Bill (videotape): P. Williams, Australia, 72 mins, Australian Council for Children’s Film and Television To Taste A H undred H erbs (16mm): G o rd o n /K lin e /H in to n /S ip e , U S A /C hin a , 625.29m, Ronin Films True Stories: G. Kurfirst, USA, 2441.27m, Village Roadshow Corporation

• PG (Parental G uidance) Ginger e Fred (Ginger And Fred): A. Grimaldo, Italy, 3456.18m, Greater Union, L(i-m-j) Ofsexual allusions) King Kong Lives: M. Schumacher, USA, 2852.00m, Hoyts Distribution, Vfi-m-j) Lfi-i-g) Legend Of Wisely, The: S. Hui, Hong Kong, 2358.98m, Chinatown Cinema, V(f-l-g) My Will, I Will: A. Fung, Hong Kong, 2578.42m, Golden Reel Films, Ofsexual allusions) Small Happiness (16mm): Gordon/Kline/Sipe, USA/China, 625.29m, Ronin Films, 0(adult concepts) Travelling North: B. Gannon, Australia, 2633.28m, Communications and Entertain­ ment, Ofadult concepts)

• M (For M ature A udience) 9 To 3: Not shown in English, Hong Kong, 2413.84m, Yu Enterprises, V(i-m-g) Ofsexual allusions) A p o lo g y : P a rk/S m ith /A le xa n d e r, USA, 2688.00m, AZ Film Distributors, Vfi-m-g) Sfi-m-g) L(l-m-j) Brighton Beach Memories: R. Stark, USA, 2962.44m, United International Pictures, L(i-m-j) Ofadult concepts) Crimes Of The Heart: F. Fields, USA, 2852.72m , Hoyts D istrib u tio n , O fadult concepts) Modem Girls: G. Goetzman, USA, 2276.69m, Filmpac Holdings, Ofdrug use, adult con­ cepts) Mr. Wrong: R. Laing/G. Preston, New Zealand, 2386.41m, Australian Film Institute, V(l-m-j) Ofadult concepts)

Night Girls: Wong Ka Hee, Hong Kong, 2441.27m, Chinatown Cinema, Sfi-m-g) V(i-m-g) No Mercy: D. Constantine Conte, USA, 2880.15m, Fox Columbia Film Distributors, Vff-m-j) L(f-m-g) S(i-m-j) Pom Pom Strikes Back!: J. Sham, Hong Kong, 2413.84m, Chinatown Cinema, V(i-m-g) Something Wild: J. Demme/K. Utt, USA, 3099.59m, Village Roadshow, L(i-m-j) Sfi-m-j) V(i-m-j) S oul: Molesworth Prods, Hong Kong, 2468.70m, Golden Reel Films, S(i-m-j) V(i-m-j) Static: A. Ness, USA, 2413.84m, Luna Films, L(i-m-g) Ofadult concepts) Walking Beside Me: Lo Wai, Hong Kong, 2496.13m, Golden Reel Films, Vfi-m-j) Sfi-m-j) L(i-m-g) What Happened To Kerouac? (16mm): R. Lerner, USA, 1020.21m, Newvision Film Distri­ butors, L(i-m-j)

• R (For R estricted E xh ib itio n ) Brotherhood: D & B Film Co., Hong Kong, 2468.70m, Chinatown Cinema, V(i-m-g) Dogs In Space (a): Not shown, Australia, 2825.29m, Hoyts Distribution, 0(drug abuse) Dogs In Space (a) (reconstructed version): Not shown, Australia, 2935.00m, Hoyts Distribu­ tion, Ofdrug abuse) Field Of Honor: M. Golan/Y. Globus, Holland/South Korea, 2523.56m, Hoyts Distri­ bution, S(i-m-g) V(i-m-g) Hearty Response, A: Rover KC Tang, Hong Kong, 2276.69m, Golden Reel Films, Vfi-m-g) Play Girl: Not shown, Japan, 1673.23m, Yu Enterprises, S(f-m-g) (a) See also under Films Board of Review

Films Registered With Deletions Nil

Films Refused Registration Nil

Films Board of Review Dogs In Space (b): Not shown, Australia, 2825.29m, Hoyts Distribution Decision reviewed: Classified R by Film Censorship Board.

Decision of the Board: Confirm the decision of the Film Censorship Board.

Dogs In Space (b) (reconstructed version): Not shown, Australia, 2935.00m, Hoyts Distribution Decision reviewed: Classified R by Film Censorship Board.

Decision of the Board: Confirm the decision of the Film Censorship Board. (b) See also under Films Registered Without Deletions — R— For Restricted Exhibition.

FEBRUARY

1987

Films Registered Without Deletions • G (For General E xh ib itio n ) 84 Charing Cross Road: G. Helman, UK/USA, 2715.57m, Fox Columbia Film Distributors Broken Rainbow (16mm): M. Florio, USA. 724.02m, Filmpac Holdings Dot And The Smugglers: Y. Gross, Australia, 1536.08m, Yoram Gross Film Studios Flight Of The Navigator: R. Wald/D. Villard, USA, 2441.27m, Village Roadshow Rumpelstiltskin: M. Golan/Y. Gross, USA, 2304.12m, Hoyts Distribution Time Traveller, The (16mm): H. Kodakawa, Japan, 1907.00m, Japan Information Centre Torasan’s Forbidden Love (16mm): K. Shimazu/S. Nakagawa, Japan, 1129.91m, Japan Information Centre

• PG (Parental G uidance) And Then (16mm): M. Kurosawa/S. Fujimine, Japan, 1371.25m, Japan Information Centre, Ofadult theme) Boris Godunov: Mosfilm, USSR, 3867.63m, Trade Representative of the USSR, Vfi-m-j) Firewalker: M. Golan/Y. Globus, USA, 2852.72m, Hoyts Distribution, Vff-l-g) Letter From A Dead Man: Lenfilm Studio, USSR, 2386.41m, Trade Representative of the USSR, Ofadult concepts) My Friend Ivan Lapshin: Lenfilm Studio, USSR, 2688.14m, Trade Representative of the USSR, Ofdrug references, adult concepts) Over The Top: M. Golan/Y. Globus, USA, 2550.99m, Hoyts Distribution, Vfi-m-j) Lfl-l-g) When The Wind Blows: J. Coates, UK, 2304.12m, Seven Keys Films, Ofadult concepts)

• M (For M ature A udience) 90 Days: G. Walker/D. Wilson, Canada, 2743.00m, Hoyts D is trib u tio n , Ofadult concepts) Lfi-m-j) Around The World In 80 Ways: D. Elfick/S. Knapman, Australia, 2358.98m, Hoyts Distri­ bution, Ofdrug use) Sfi-m-g) Arriving Tuesday: D. Reynolds/C. Hampson, New Zealand, 2358.98m, Australian Film Institute, Lfi-m-g) Ofadult theme) Australian Dream: S. Wild/J. McKimmie, Aus­ tralia, 2331.55m, Ronin Films, Sfi-m-g) Ofadult concepts) Black Widow: H. Schneider, USA, 2715.00m, Fox Columbia Film Distributors, Lfi-m-g) Ofadult concepts) Call Me Mr Brown (16mm): T. Jennings, Aus­ tralia, 1042.15m, The Kino Film Company, Ofadult theme) Death Of A Soldier: D. Hannay/W. Nagle, Aus­ tralia, 2605.85m, Open Eye (Film & TV), Vfi-m-j) Lfi-m-g) Ofadult concepts) Dona Herlinda And Her Son: M. Ponce, Mexico, 2386.41m, Australian Film Institute, Ofadult theme) Sfl-m-j)

Duet For One: M. Golan/Y. Globus, USA/UK, 2852.72m, Hoyts Distribution, Lfi-m-j) Ofadult concepts) Gray Sunset (16mm): Toei, Japan, 1327.37m, Japan Information Centre, Ofadult concepts) Heavenly Pursuits: M. Ralph, UK, 2413.84m, Village Roadshow, Lfi-m-g) Joshua Then And Now: R. Lantos/S. Roth, Canada, 3209.31m, Seven Keys Films, Lfi-m-j) Ofadult concepts) Legends From A Southern Island (16mm): Imamura, Japan, 1634.53m, Japan Information Centre, Sfi-m-j) Vfi-m-j) Ofadult theme) Link: R. Franklin, UK, 2770.43m, Greater Union Film Distributors, Vfi-m-j) Ofmild horror) Man Who Stole The Sun, The (16mm): Yamamoto, Japan, 1546.77m, Japan Informa­ tion Centre, Ofadult theme) Vfi-m-j) Mirage: Golden Principal Film Company, Hong Kong, 2468.70m, Golden Reel Films, Vff-m-g) Other Halves: T. Finlayson/D. Hill, New Zealand, 2852.72m, Australian Film Institute, Lff-m-j) Sfi-m-j) Vfi-m-j) Outrageous Fortune: T. Field/R. Cort, USA, 2688.14m, Greater Union Film Distributors, Vfi-m-g) L(f-m-g) Ofsexual allusions) Tears Behind The Jokes: Hajimi/Takeshi Sasaki, Japan, 1140.88m, Japan Information Centre, Ofadult concepts) Tragedy Of ‘W’ , The (16mm): H. Kadokawa, Japan, 1662.82m, Japan Information Centre, Ofadult concepts) What You Take For Granted (16mm): M. Citron, USA, 778.87m, Australian Film Institute, Lfi-m-g) Ofadult concepts)

• R (For R estricted E xh ib itio n ) Legacy Of Rage: J. Sham/L. Kuk, Hong Kong, 2386.41 m, Chinatown Cinema, Vff-m-g) Madam X (edited version): Not shown in English, Japan, 1206.92m, Yu Enterprises, Sff-m-g) Righting Wrongs: Not shown in English, Hong Kong, 2578.42m, Chinatown Cinema, Vff-m-g) Sadistic Whore (said to be main title not shown in English) (edited version): Not shown in English, Japan, 1316.64m, Yu Enterprises, S(f-m-g) Tragic Hero: Not shown in English, Hong Kong, 2633.28m, Chinatown Cinema, Vff-m-g) Wanted Dead Or Alive: R.C. Peters, USA, 2907.58m, Village Roadshow, Vff-m-g) Lff-m-g)

Films Registered With Deletions Nil

Films Refused Registration Nil

Special Conditions Sleeping Dogs: R. Donaldson, New Zealand, 2935.00m, Newvision Film Distributors Special Conditions: (i) That the film be exhibited not more than twice at the New Oxford Cinema, Perth, Western Australia, between 30 January 1987 and 8 February 1987 (both dates inclusive) (ii) That the film be exported within one week following 8 February 1987

Ä subscription to Cinema Papers is only a phone call away R f N C S U E O N (03) 429 5511

CINEMA PAPERS MAY - 25

Two assumptions: 1) the invocation of ‘women’s film ’ is more likely to produce disavowal than debate amongst many (including women) film workers today; 2) ignoring the current will to disavowal for the moment, the idea that has persisted most strongly over the last 15 years of feminist film work is that any feminist engagement with the cinema must be double-pronged. On the Dne hand, there must be an equal opportunity push to increase the numbers of women working at all levels and in all sectors of the industry.

At the same time, the aim must be to change both the work process and the kinds of meanings produced.

One proviso: it is not my intention to give a fully documented history of the Victorian Women’s Film Unit, nor will I be attempting to review or critically evaluate the films produced by the unit.

For feminist film workers, the mid-80s constitutes a period of intense questioning and re-evaluation of the achievements and trajectories of seminal films and theories produced since the early seventies. The current furore over the voluntary obsolescence of the Women’s Film Fund is a case in point. In this article I want to produce a sketchy account of the Victorian Women’s Film Unit as a means for touching on questions about that difficult nexus: ‘women and film ’ .

Some figures: between October 1984 and October 1985, the unit employed 36 women under the Community Employment Program (CEP), for an average of 14-18 weeks, to make six short films which had the following budgets: Pre-occupied: $40,000; Blood Ties: $56,000; Egami: $6,500; High Heels: $38,000; Sunday Lunch: $10,500; Tango Delta: $8,500.

Another 60 women and men were employed out of the production budgets, or out of the $25,000 allocated for training and consultancies.

The total CEP grant was $477,983,60 per cent of which was earmarked for wages.

To comprehend the achievements and limitations of the unit, it is necessary to recognise that it was a bureaucratic initiative which fulfilled two government objectives; short-term jobs for the long-term unemployed

26 - MAY CINEMA PAPERS

under the auspices of the CEP and the voluntary implementation of affirmative action and equal employment opportunity principles by various organisations during the lead-up to the current legislation. A further determining factor was the joint survey, Women in Australian Film Production, conducted by the Women’s Film Fund and the Australian Film and Television School in 1983. The survey showed that 69 per cent of the respondents believed that either more training or more experience would help women improve their job prospects in the industry.

The period from 1983 to 1985 witnessed an upsurge in film training projects aimed at improving women’s access to the means of production.

This proliferation of filmmaking by funded groups like Technical Girls, Tit for Tat, Cinematrix and the women’s film units occurred after a very bleak period from 1978 when the Fraser government’s Razor Gang put the brakes on public spending.

This sudden windfall of funds meant that the aims and objectives of the Victorian unit were formulated along CEP guidelines which emphasised the upgrading of technical, creative and production skills in an environment employees’ prospects of full-time permanent work. The emphasis on the upgrading of technical, creative and production skill in an environment modelled on some notion of ‘ real’ production situations had several repercussions.

Applicants interviewed for the CEP positions were informed that production would be based on a strictly hierarchical model and that the emphasis would be on training in sound, lighting and electrics in the technical area, and on the upgrading of skills in the creative and production areas. Training was based on workshops and consultancies, while the upgrading of skills occurred through on-the-job experience. The extremely uneven distribution of skills between crew members produced predictable problems and conflicts during shoots. The value placedDn upgrading skills resulted in the privileging of technique over concept, skill over content and craft over style.

Despite a decade of sporadic protests against this (film school) model of teaching students ho w to do things with equipment to the detriment of the

HIGH HEELS: witty and stylish essay from the Victorian Women’s Film Unit development of any form of cinematic intelligence, the Australian Film Commission (AFC), as the initiator and sponsor of the unit was not prepared to take any risks with the CEP grant. Within the time limit of 12 weeks for each film, it seems only the tried and true ‘industry’ model could be guaranteed to bring the product in on budget, on time. Within these restrictions the unit managed to loosen the grip of industry standards by instituting diverse production strategies, ranging from the three-part collaboration by three directors working with full crews on Blood Ties, to the very low budget, three-person production, Egami. Perhaps it is more than coincidence that the most fully realised production to come out of this process was High Heels, a witty and stylish film essay written and directed by two graduates from the Australian Film and Television School.

There can be no doubt that the films display the technical proficiency and polish that professionalism claims for itself. However, as a result of the unit’s priorities, most of the films approach their subject matter with a tentativeness, at the conceptual level, that results in their inability to sustain or develop their initial premises. Pre-occupied deftly posits a number of contradictions emerging out of an interface between the ethics of documentary filmmaking and the ambiguous joys of motherhood, only to retreat from the problems it sets up. Sunday Lunch succeeds in producing a formal unity that is quite refreshing in short films, but its realist aesthetic remains a very safe option.

Tango Delta and Egami are both impressive achievements at the level of visual style, yet their voice-over commentaries do not do justice to their experiments with generic conventions. They offer tantalising fragments of ideas which gradually lapse into repetition without development. Blood Ties performs some breathtakingly adroit shifts in mood and genre, evoking moments of tense ambivalence which are extremely rare in Australian cinema, yet the final image of the empty swing induces a sense that the film has made an abrupt exit from a narrative situation that has become too hard to handle.

These shortcomings would not matter very much if they were completely attributable to the stringent production schedules imposed on the unit in

the name of upgrading skills. However, stylistic and conceptual weaknesses are the rule rather than the exception, right across the spectrum of Australian film production. If public money is going to be poured into film production for cultural rather than commercial considerations, then something more is required from training and funding bodies than the narrow focus on craft skills and career paths. There needs to be a revival of the insight that access to production, on its own, is insufficient to bring about the kinds of transformations which are essential if women are to create cinematic places from which to ‘speak’ .

The question of whether women have anything to say ‘as women’ seems extremely pertinent to the setting up of the Victorian Women’s Film Unit at a time when disavowal became one response to the institutionalisation of feminist orthodoxies. The brief for a women’s film unit sets up a conflict between the desire for ‘women’s film s’ and the goal of films made by women. The former is seen as a feminist goal while the latter is seen as a retrograde step by women who want to be persons.

This dangerous dichotomy constitutes a refusal to acknowledge three shifts that have occurred in the past few years: i) the emergence of many different feminisms to the point where it is meaningless to talk about feminism as a singular or unified practice; ii) the exhaustion through the processes of repetition of feminist political discourse as it was conceived in the 1970s; iii) the emergence of government policies which, in the interests of disciplining the unemployed, would herd women together, as the ‘disadvantaged’ , into a secondary labour market of short-term, casual and subsidised jobs. Bureaucratic initiatives like the women’s film units have a vested interest in displacing attention from these problems. Nothing could suit these bodies better than the concept of film as an expressive medium which ought to be put at the disposal of talented individuals, of whom 53 per cent should be women. If talented individuals fail to emerge, then the fallback position is the instrumentalist concept of film as an educational tool.

When the New South Wales Women’s Film Unit was proposed in 1984, the long-term plan was to set up a permanent women’s unit at Film Australia. This unit would be responsible for ‘issue’ films, freeing the Women’s Film Fund to put its meagre production allocation into more experimental and expressive films by women. Another proposal was that any returns from sales and rentals of the Victorian Unit’s films would go to the Women’s Film Fund. The recent announcement that the WFF would be phased out by 1990 marks the advent of a new era in the history of feminist film strategies in Australia.

Current wisdom has it that the existence of the Women’s Film Fund has helped to marginalise women’s film work. Supposedly, the abolition of the fund, along with affirmative action policies, will enable an upsurge of feminist interventions in all those cultural sites which have excluded women on the grounds that the Women’s Film Fund is responsible for that kind of thing. If 1983-85 saw a burst of activity in the name of women, then the past year or so has witnessed an equally spectacular number of disappearances: the closure of the Sydney Filmmakers Co-op, the winding up of Reel Women, the end of CEP funded projects and the collapse into inactivity of organisations like Women In Film and Television (WIFT). The voluntary liquidation of the Women’s Film Fund amounts to an admission that the AFC’s femocrats are unable to envisage any strategy for intervention except that of affirmative action.

The ‘women’ became a targetable sub-group of the ‘disadvantaged’ , at about the same time that feminist film theory became a ‘stifling orthodoxy’ , then declarations of difference began to be heard at every site of feminist debate. It is not unlikely that these differences between women will be neatly absorbed into the so-called diversity and plurality of multiplying film scenes where every film must be accorded the dumb respect demanded by its ‘irreducible difference’ . It will be left up to the Australian Film Institute’s (AFI) revamped distribution service to select the best from this shimmering heap, and to dump it on the video market after a short theatrical season somewhere on the edges of the cinema. The fate of the Victorian Women’s Film Unit films, at present caught in the limbo between the closure of the Co-op and the resurgence of subsidised distribution through the AFI, will be lamented only by those audiences for women’s films who know what they are missing but don’t have the means to get it.

CINEMA PAPERS MAY — 27

THREE MINUTES...

If television drama is to survive, it has to take its cue from pop clips and c o m m e rc ia ls , argues Troy Kennedy Martin. MARY COL­ BERT talks to him about montage, frag­ mentation and the three-minute drama.

Troy Kennedy Martin

TROY KENNEDY MARTIN th in k s it’s tim e fo r lib e ra tio n ; th e fre e in g o f te le v is io n d ra m a fro m th e s h a c k le s o f n a tu ra lis m a n d th e ty ra n n y o f tim e . H e b e lie v e s th a t p o p v id e o s a n d c o m m e rc ia ls h a ve p o in te d th e w a y, a n d th a t d ra m a s h o u ld b e in je c te d w ith a n e w e n e rg y in a n e w fo rm a t.

H e a d v o c a te s w h a t he c a lls ‘ m ic ro d ra m a s ’ : s h o rt, fa s tm o v in g p ie c e s th a t a re p a rt o f a lo n g e r s h o w c a s e .

H e ’d c o m e to th e N a tio n a l S c re e n w rite rs C o n fe re n c e as a g u e s t s p e a k e r w ith im p re s s iv e c re d e n tia ls : c re a to r o f Z C ars, w rite r on The Ita lia n

Job, K e lly ’s H e ro e s , R eilly A c e o f S p ies a n d th e h ig h ly a c c la im e d E d g e o f D ark n e ss .

A u d ie n c e s w e re k e e n to h e a r a b o u t h is p re v io u s w o rk b u t d is c u s s io n a ls o s h ifte d g ro u n d to th e fu tu re . F e w ha d a n tic ip a te d th is b o n u s .

T h e p u s h fo r a n e w d ra m a is n o t a s u d d e n fla s h o f in s p ira tio n . A s e a rly as 1966, M a rtin a n d a g ro u p o f o th e rs d e liv e re d an a tta c k on n a tu ra lis m , e x p re s s in g d is s a tis fa c tio n w ith liv e T V d ra m a , u rg in g th e n e e d fo r n e w fo rm s a n d p h ilo s o p h ie s . “ W e w e re g o in g to d e s tro y n a tu ra lis m , if p o s s ib le b e fo re C h ris tm a s . W e w e re lik e th e B lu e s B ro th e rs , o n a m is s io n fro m G o d ,” K e n n e d y M a rtin re c a lls . D e liv e rin g th e M c T a g g a rt le c tu re a t la s t y e a r’s E d in b u rg h In te rn a tio n a l T e le v is io n F e s tiv a l, h e w a s s till p u s h in g th e s a m e

28 - MAY CINEMA PAPERS

m e ssa g e , in a s lig h tly m o d ifie d fo rm . R e c e n t d e v e lo p m e n ts in m u s ic v id e o a n d c o m m e rc ia ls ha d g iv e n th e a rg u m e n t n e w re le v a n c e .

T h e g ro u p p ro p o s e d th a t T V , “ c o lo n is e d b y o th e r, s tro n g e r a rt fo rm s ” — th e a tre a n d H o lly w o o d c in e m a — s h o u ld n e v e r h a v e a d o p te d n a tu ra lis m . It b ro u g h t w ith it p re c o n c e p tio n s a n d p ra c tic e s s u c h as a u d ie n c e id e n tific a tio n , th e a tric a l d ia lo g u e , e m p h a s is o n c lo s e u p s a n d ta lk in g h e a d s , a n d h a rn e s s e d th e s e to te le v is io n , re g a rd le s s o f th e ir s u ita b ility .

K e n n e d y M a rtin a n d o th e rs a rg u e d th a t n a tu ra lis m w a s to o re s tric tiv e to d e a l w ith a b s tra c t re la tio n s h ip s ; th e c a m e ra w a s b o u n d by re s tric tio n s o f p h o to g ra p h in g fa c e s o r d ia lo g u e , tim e w a s e x c e s s iv e ly s tru c tu re d to re fle c t ‘ re a lity ’ . T h e y a d v o c a te d a n e w a lte rn a tiv e d ra m a w h ic h w o u ld e m p lo y fa s t c u ttin g , a d is ta n c in g e ffe c t a n d m o n ta g e to p re s e n t a c tio n in c o n d e n s e d fo rm a n d a llo w th e c a m e ra m u c h g re a te r fle x ib ility . “ B u t th e p ro b le m is th a t te le v is io n is c re a te d b y e n g in e e rs a n d a c c o u n ta n ts , a n d in A m e ric a e s p e c ia lly , c o m m itte e s o f la w y e rs , w h o g o in to th e ir o ffic e s a n d g e t w rite rs to ta k e d o w n th e ir c ra z e d ra m b lin g s ,” K e n n e d y M a rtin sa ys. “ T h e y a re n ’t s to ry te lle rs b u t th e y h a v e th e p o w e r to m a k e th e d e c is io n s .

A n d th e y a re n ’t n e c e s s a rily

c a p a b le o f a b s tra c t th o u g h t. “ If th is n e w d ra m a is to s u c c e e d it w ill n e e d to be h a n d e d o v e r to a v is u a lis e r a n d e d ito r w h o ’ ll g iv e it th e k in d o f o b s e s s io n p a in te rs use d to g iv e th e ir a rt.

B e c a u s e real a rt is a b o u t o b s e s s io n ,” h e sa ys. “ O n c e e q u ip m e n t b e c o m e s m o re u s e r-frie n d ly it w o n ’t re q u ire h u g e m a n -m a n a g e d c re w s a n d th e c re a tiv e c o n tro l in m ic ro d ra m a s c a n be p a re d d o w n to th e s e tw o p e o p le ; the w rite r, d ire c to r (th o u g h m a n y a re re a lis e rs ra th e r th a n v is u a lis e rs ), o r p ro d u c e r w o u ld ta k e o n th e ro le o f v is u a lis e r. “ T h e re s u lt w o u ld b e a v e ry fa s t c h a n n e l, a s h o w c a s e o f s h o rt e p is o d ic p ie c e s o r s e g m e n ts fro m th re e to 10 m in u te s in le n g th o n a p a rtic u la r th e m e : n e w s ite m s , c u rre n t a ffa irs , m in i s o a p s.

In to th e s e w o u ld b e in c lu d e d th e s e n u g g e ts o f d ra m a w h ic h c o u ld b e v ie w e d a g a in a n d a g a in ,” h e e x p la in s . “ It w o u ld be a m is c o n c e p tio n to th in k th a t b e c a u s e th e y ’ re s h o rte r th e y ’ ll b e s u p e rfic ia l. T h e y ’ ll a c tu a lly e x te n d e x p e rie n c e . T h is fo rm a t m a y a llo w us, fo r in s ta n c e , to re c o n s tru c t m o re frig h te n in g a s p e c ts o f life s u c h as w h a t it ’s lik e to b e in s id e a c a r w h e n it c ra s h e s .

F le x ib ility o f c a m e ra a n d tim e s tru c tu re w ill e n c o u ra g e m o re e x c itin g w a y s o f re c o n s tru c tio n , w ith m u s ic a n d s o u n d a c tin g as s tro n g re in fo rc e m e n ts to n a rra tio n .”

H e d o e s s tre s s , h o w e v e r, th a t h e d o e s n ’t re c o m m e n d to ta l re p la c e m e n t o f th e lo n g fo rm a t b y m ic ro d ra m a s : th e fo rm e r s till h a s a lo t o f e n e rg y a n d m ile a g e le ft.

M ic ro d ra m a s w o u ld p ro v id e an a lte rn a tiv e : a n o th e r d is h on th e m e n u .

T h e c o s t, he fe e ls , m a y a ct as a d e te rre n t: “ T h e y w o u ld n ’t be c h e a p b u t th e re w o u ld be no c o rre la tio n b e tw e e n th e m o n e y s p e n t on m a k in g th e m a n d th e le n g th .”

L ik e p o p v id e o s a n d c o m m e rc ia ls th e y c o u ld b e re p e a te d to d e fra y c o s ts . “ I s u p p o s e it ’s d iffic u lt to im a g in e a n y p e rm a n e n t s tru c tu re d e v e lo p in g fo r a fe w y e a rs yet, th o u g h s o m e tim e s th in g s w o rk fa s te r th a n w e a n tic ip a te . I n e v e r th o u g h t E d g e o f D a rk n e s s w o u ld g e t o ff th e g ro u n d as q u ic k ly as it d id . It w o u ld b e e x c itin g to se e a tre n d to w a rd s a le ss p re d ic ta b le fo rm a t.”

A t th is s ta g e th e c o n c e p ts are th e o re tic a l. K e n n e d y M a rtin a d m its h e h a s n ’t y e t h a d th e o p p o rtu n ity to in c o rp o ra te th e m in to p re v io u s w o rk o r e x p e rim e n t w ith th e m in p ra c tic e . B u t he th in k s th e n e tw o rk s m ig h t n o w (or so o n ) b e re c e p tiv e to th e id e a . “ T h e s itu a tio n in B rita in is fa irly c o m p e titiv e a n d c h a n n e ls lik e th e B B C a re try in g to a ttra c t w id e r a u d ie n c e s a n d y o u n g e r v ie w e rs . M a n a g e m e n ts w ill be to o c a u tio u s to g iv e o v e r a p rim e -tim e s lo t b u t I d o se e th e p o s s ib ility o f a ‘d e a d s lo t’ s u c h as S u n d a y a fte rn o o n o r la te S a tu rd a y n ig h t o p e n in g u p fo r a tria l run . B u t c h a lle n g in g d e e p -ro o te d a s s u m p tio n s is n ’t e a s y ,” he adds.

While Troy dreams, screenwriters talk THIS WAS

th e s e c o n d p ilg rim a g e o f its k in d . D e a ls a n d ty p e w rite rs s to p p e d as 180 w rite rs a n d in d u s try p e rs o n n e l g a th e re d fo r th e N a tio n a l S c re e n w rite rs C o n fe re n c e to d is c u s s m a tte rs o f im p o rta n c e to th e c ra ft: th e c h a n g in g p ro file o f th e m a rk e tp la c e , fu tu re tre n d s a n d s tra te g ie s to m e e t th e m .

O n a le ss fo rm a l n o te , th e y m e t to e x a m in e m a tte rs c lo s e to th e h e a rt: to c o n s id e r th e s c re e n w rite r’s -s ta tu s in th e in d u s try , th e d ile m m a o f c o m m e rc ia l v ia b ility v e rs u s in s p ira tio n , to p o n d e r th e e lu s iv e fo rm u la s fo r s u c c e s s .

T h e firs t s e s s io n , s e ttin g th e

to n e fo r th e c o n fe re n c e , h ig h lig h te d c h a n g e s to film fin a n c e a n d th e in flu e n c e o f o ffs h o re in v e s tm e n t o n th e in d u s try in g e n e ra l. A u s tra lia n F ilm C o m m is s io n (A F C ) c h ie f e x e c u tiv e K im W illia m s p ro je c te d a d o w n tu rn in p ro d u c tio n d u e to th e re d u c tio n in th e 1 0 B A in c e n tiv e s , a n d s tre s s e d th e v u ln e ra b ility o f an in d u s try d e p e n d e n t on g o v e rn m e n t s u b s id y . H is fo re c a s t le d to q u e s tio n s on w a y s th a t e m p lo y m e n t o p p o rtu n itie s c o u ld be b o o s te d ; w o u ld th e p ro p o s e d film b a n k p ro v id e a n y fe a s ib le s o lu tio n s fo r w rite rs ?

E x e c u tiv e o ffic e r A n g e la W a le s p re s e n te d th e A u s tra lia n W rite rs ’ G u ild (A W G ) p o s itio n on th e b a n k : g e n e ra lly s u p p o rtiv e , w ith re s e rv a tio n s a b o u t its o p e ra tio n (w h o w o u ld run it? w o u ld w rite rs b e a b le to a p p ro a c h it w ith o u t p ro d u c e rs ? ) a n d its c re a tiv e im p lic a tio n s (w o u ld p u re ly m a rk e tp la c e v a lu e s p re v a il? ).

S h e e m p h a s is e d th e im p o rta n c e o f m a k in g fu n d s a v a ila b le fo r “ s m a lle r w o rth w h ile p ro je c ts ” w ith o u t p re s a le s .

T h e a n n o u n c e m e n t o f th e A F C ’s n e w E n tre p re n e u ria l P ro g ra m m e a ro u s e d c o n s id e ra b le in te re s t.

A d m in is te re d b y th e S c rip t U n it (w h ic h o u tla y s m o re th a n $1 m illio n a n n u a lly on s c rip t d e v e lo p m e n t), it a im s to d e v e lo p a p o rtfo lio o f p ro je c ts fo r film a n d te le v is io n fro m c o n c e p t s ta g e to p ro d u c tio n .

S c rip t e x e c u tiv e M a rg a re t K e lly (P ig In A P o k e, P u b e rty B lues) a n d B ria n H a n n a n t

(M a d M a x 2, The Tim e G u ard ian ) w ill s e le c t p ro je c ts fo r d e v e lo p m e n t, c o m m is s io n w rite rs , m a tc h th e m u p w ith p ro d u c e rs a n d d ire c to rs a n d h e lp a rra n g e d e v e lo p m e n t fin a n c e . A lth o u g h b o th h a ve p e rs o n a l p re fe re n c e s in s c rip ts , th e y s tre s s e d th e im p o rta n c e o f o p e n m in d e d n e s s a b o u t s u b je c ts , g e n re s , a n d e ve n b u d g e ts .

Ian B ra d le y , h e a d o f p ro d u c tio n fo r D e L a u re n tiis E n te rta in m e n t L td (D E L ), a n n o u n c e d th e s tu d io ’s p la n s to p ro d u c e s e v e n to e ig h t p ro je c ts a y e a r, w ith fo u r to s ix to be s c rip te d in A u s tra lia .

T h e ru le s fo r w ritin g fo r D E L a re q u ite s trin g e n t; s c rip ts w ith s tro n g c h a ra c te rs w h o s o lv e th e ir o w n d ile m m a s (th o u g h n o t n e c e s s a rily C o n a n th e B a rb a ria n , he s a id ). D e L a u re n tiis d o e s n ’t lik e fa ilu re s o r u n h a p p y e n d in g s , s o th e h e ro m u s t liv e o n a n d s u c c e e d . O n c e th e s c rip t ha s

be e n a p p ro v e d b y re a d e r a s s e s s o rs , it m ig h t n e e d to be tra n s la te d in to Ita lia n fo r D e L a u re n tiis .

S e v e ra l s e s s io n s w e re d e v o te d to te le v is io n , a n d th e T V — M a k e It A u s tra lia n c a m p a ig n w a s la u n c h e d .

In itia te d in V ic to ria by a c o m m itte e o f in d u s try g ro u p s , its a im is to p re s s fo r m o re lo ca l c o n te n t, w ith a p ro p o s e d lim it o f 2 5 p e r c e n t on im p o rte d p ro g ra m m e s . T h e c o m m itte e is a lso lo b b y in g fo r an in c re a s e in firs t-re le a s e d ra m a fro m th e c u rre n t 104 h o u rs (an a v e ra g e o f 17 m in u te s p e r da y) to 36 5 h o u rs p e r y e a r, to be p h a s e d in o v e r th re e ye a rs.

In a s e s s io n on th e p o te n tia l e ffe c ts o f th e A B C /S B S m e rg e r, P a d d y C o n ro y (S B S ) a n d S a n d ra L e vy (A B C he a d o f d ra m a ) o u tlin e d p ro d u c tio n p la n s fo r 1987. S h o rta g e of fu n d s w a s c ite d c o n s ta n tly as a p ro b le m in h ib itin g e x p a n s io n an d in n o v a tiv e p ro g ra m m in g . T h e n e g le c t o f th e s in g le p la y in 19 8 7 c a m e in fo r s tro n g a tta c k , le a d in g to a m o tio n th a t th e c o n fe re n c e “ d e m a n d th a t th e A B C in c lu d e a m in im u m o f 25 h o u rs o f s in g le o n e -o ff p la ys in its y e a rly p ro g ra m m e ” .

S o m e o f th e m o s t in te re s tin g s e s s io n s in v o lv e d o v e rs e a s g u e s t s p e a k e rs . T ro y K e n n e d y M a rtin in trig u e d th e a u d ie n c e w ith s to rie s a b o u t E d g e o f D a rk n e s s ; F ra n k P ie rs o n ( C o o l H a n d Luke, C a t

ÏH E STOCK F00TA6E FINDERS Direct access to A ustralia’s leading historical,scientific, news and music commercial film libraries.

If it's on film in Australia or anywhere in the w orld we’ll find it fo r you,

0 2 1 4 3 8 1 8 8 8 4 - 14 Dickson Avenue, T e l e x AA 1 7 6 2 5 8, A r t a r m o n N O W 2 0 6 4

B allou, D o g D a y A fternoo n) re c o u n te d his s e a rc h fo r th e im p o s s ib le d re a m , a d ire c to r w ith w h o m he c o u ld c o lla b o ra te h a rm o n io u s ly ; T o m R ic k m a n (H o o p e r,

C o a lm in e r’s D au g h te r) d e s c rib e d h is e x p e rie n c e s o f w o rk in g in th e U S an d c o n tra s te d th e m w ith c o lla b o ra tin g w ith E n g lis h d ire c to rs w h o re s p e c te d th e w rite r’s in p u t; P hil P a rk e r e x p la in e d th e c o -o p e ra tiv e e ffo rts o f L o n d o n S c re e n w rite rs ; a n d H o lly w o o d agent R honda G om ez d e s c rib e d th e w a y a g e n ts se t u p d e a ls a n d a s s ig n m e n ts , m a tc h p e o p le , la u n c h th e p ro d u c t, a n d g e n e ra lly g u id e w rite rs th ro u g h th e la b y rin th o f n e g o tia tio n s th a t a re a p a rt o f w o rk in g in th e U S. N o m a tte r w h a t p e rs p e c tiv e s th e y c a s t o n th e s c re e n w ritin g p ro c e s s , a n d w h a t p e rs o n a l a n e c d o te s th e y to ld , it w a s c le a r th a t th e w r ite r ’s p ro b le m s a re u n iv e rs a l. L o ss o f c re a tiv e in p u t, b a ttle s fo r fu n d s an d p s y c h o lo g ic a l b a ttle s w ith d ire c to rs a re p a rt o f th e g a m e e v e ry w h e re in th e film w o rld .

CLARKE RICHARDS ENTERTAINMENT and MEDIA LAW

Solicitors S p e c ia lis in g in:

Peter Francis Jill Sweet

F ilm T e le visio n In te lle c tu a l P ro p e rty P ro s p e c tu s C o n tra c t La w

Telephone (0 3 ) 6 0 6 1 6 0 6

CINEMA PAPERS MAY - 29

1987 marks the 40th anniversary of the festival, and organisers are planning a surfeit of special events, retrospectives and various forms of celebration that w ill only add to the gru ellin g business-with-pleasure m ixture that has always been associated with Cannes.

There is a healthy number of Australian films, only a few short of last year’s total of 34.

A few themes have already emerged: innocent girls suffer horrible experiences in Belinda , Cassandra, Coda and Frenchm an’s Farm; directors Virginia Rouse and Roger Scholes make their feature debuts; the Australian coast provides a setting for self-examination in High Tide and The Place A t The Coast; the landscape provides a challenge to its inhabi­ tants in Initiation and The Tale O f Ruby Rose; the past is celebrated in The Lighthorsemen, and the recent past is re-examined in Ground Zero and recreated in Dogs In Space.

What the numbers w ill be for next year’s festival is another question . . .

Eight years after M y Brilliant Career, Gillian Armstrong and Judy Davis have teamed up again in High Tide. Set principally in a caravan park on the New South Wales coast, the film tells the story of Lilly, a drifter who gets the chance to renew her i relationship with the daughter she abandoned as a baby. ANNA GRIEVE talked to Gillian Armstrong about scripts, coastlines, camerawork and motherhood.

GILLIAN AI G R I E V E : C o u l d y o u t e ll m e h o w y o u c a m e t o d e c i d e o n t h e s t o r y o f H i g h T id e , a fter c o m i n g b a c k fr o m H o l l y w o o d ?

A R M S T R O N G : T h e story w a s d e v e lo p e d b y t h e t h r e e o f u s: S a n d r a L e v y , t h e p r o ­ d u c e r , Laura Jones, t h e w rite r, a n d m e .

W e 'd w o rk e d to ge th er o n so m eth in g e lse w h ic h n e v e r g o t o ff th e g r o u n d , bu t w e all g o t a l o n g s o w e l l a n d f e l t t h e r e was a w o n d erfu l creativ e rapport b e t w e e n t h e t h r e e o f u s , s o w e s a i d , l e t 's d o so m eth in g. T h e o th e r p ro ject w e 'd w o r k e d o n h a d b e e n v e r y difficu lt to r a is e m o n e y f o r b e c a u s e it w a s h i g h b u d g e t . I s a id I w a n t e d t o d o s o m e t h i n g th at's c o n t e m p o r a r y A u stralia n , s o m e ­ th in g w h e r e w e c a n k e e p th e b u d g e t lo w . W e sat d o w n a n d said, w e 'l l m a k e a . s m a l l s t o r y t h a t ' s c o n t e m p o r a r y , ■ with o n l y a s m a l l c a s t . If w e ' d r e a l l y b e e n : stickin g to e c o n o m i c s w e s h o u ld a lso h a v e s e t it in S y d n e y , b e c a u s e it is q u i t e an e x p e n s e to ta k e a c r e w " o n th e coast.

But w e had m eetin gs for w e e k s , w h e r e e v e r y id e a w e c a m e u p w ith w e said, 'O h ; n o , t h a t ' s n o t g o o d e n o u g h ' . In t h e e n d w e h a d t o s e t t l e o n s o m e t h i n g w e all a g r e e d o n , b e c a u s e th is c o u l d h a v e g o n e

CHOC TOP OR DOUBLE SUNDAE? Gillian Armstrong during the filming of High Tide

ÌMSTR0NG RETURNS TO EDEN o n f o r e v e r . W e w e r e all o f u s s o selfc rit ic al. N o t h i n g w e t h o u g h t o f w a s g o o d e n o u g h t o b e t h e g r e a t film w e w a n t e d t o m ake.

Laura h a d a n i d e a o n c e a b o u t d o i n g s o m e t h i n g o n r u n a w a y s ; I'd o n c e s t a y e d in a c a r a v a n p a r k in E d e n a n d a l w a y s t h o u g h t it w o u l d b e a w o n d e r f u l l o c a ­ tio n — it w a s c a l l e d T h e C a r d e n o f E d e n ' a n d it w a s m o r e li ke a liv in g he ll.

I'd a l s o r e a d a n u m b e r o f t h o s e s t o r ie s a b o u t p e o p l e w h o f ig h t t o f in d o u t w h o th e i r real p a r e n t is. T h e r e ' s s o m e t h i n g a b o u t b l o o d tie s . . . Y o u r e a d a b o u t p e o p l e w h o f o r y e a r s tr y d e s p e r a t e l y t o fin d , j u s t t o s e e th is p e r s o n — t h e y c o u l d b e p e o p l e in t h e i r fiftie s s e a r c h i n g f o r a n 80 y e a r o l d — a n d t h a t a l w a y s in t r ig u e d me. W e c o m b in e d th o se elem en ts, and initially w e w r o t e t h e s t o r y a b o u t a g ra n d m o th e r bringing u p her g ra n d ­ d aug hter an d th e father c o m in g back .

W e c a m e u p w ith a v e r y ro u g h storyline a n d th en Laura w e n t a w a y a n d did a t r e a t m e n t w h i c h w e p u t in t o t h e Film C o m m i s s i o n . It w a s d e v e l o p e d in to first a n d s e c o n d draft, I'd s t a r te d c a s t i n g , w e had th e f in a n c e b u t th e r e w a s ju st s o m e ­ t h i n g n i g g lin g . W e h a d n ' t g o t his c h a r a c ­

te r right a n d I w a s w o r r y i n g a b o u t it. A t o n e s t a g e w e h a d t a l k e d a b o u t t h e m a in c h a r a c t e r b e i n g a w o m a n a n d sa id , o h n o , it's s o o b v i o u s , t h r e e w o m e n all w o r k i n g o n th is film a b o u t w o m e n , w e c a n ' t d o t h a t . B u t w h a t w a s f in a lly w o r r y ­ in g m e w a s t h a t t h e r e h a d b e e n o t h e r s to r ies a b o u t a l i e n a t e d d r ift e r m e n w h o are th en t o u c h e d b y th eir relationship w ith a c hild . Y o u k n o w , P a p e r M o o n , o r e v e n Paris, Texas. It's a p r e t t y h a r d t h i n g to sa y to a w riter w h o has a lr e a d y d o n e t w o dr afts , b u t I sa id t o L a u ra 'I r e c k o n w e s h o u l d c h a n g e it t o a w o m a n ' . S h e t h o u g h t a b o u t it o v e r n i g h t a n d s h e a n d S a n d r a b o t h a g r e e d . It w a s r e a l l y q u i t e a la te s t a g e .

B u t o n c e w e ' d d e c i d e d t o c h a n g e it t o a w o m a n , it w a s in t e r e s t i n g h o w e a s y it w a s in a lot o f w a y s t o d o , b e c a u s e f o r a m o d e r n w o m a n w h o ' s a drifter, a lot o f h e r b e h a v i o u r is li k e a m a n ' s . In t h e e n d that w a s q u ite e x c itin g a n d c e r ta in ly I t h i n k it g i v e s t h e s t o r y a m u c h h a r d e r e d g e . S o c ie t y c o n d o n e s th at sort o f b e h a v i o u r in a m a n , b u t it's still n o t e x p e c t e d o r c o n d o n e d in a w o m a n . A t that p oin t w e a p p r o a c h e d Ju dy D av is w i t h t h e s t o r y a n d s a id , ' W e h a v e n ' t g o t

it s c r i p t e d at t h e m o m e n t b e c a u s e h e ' s c alle d John, but w e w a n t y o u to b e J o h n .' I a l s o sa id t o h e r , 'I 'd r e a l l y l o v e y o u to b e in v o lv e d as w e d o th e n ex t c o u p l e o f drafts b e c a u s e it's s o r a r e ly d o n e in th is c o u n t r y . W e ' l l s a y t o y o u right f r o m d a y o n e , w h a t d o y o u w a n t t o p la y? S h e c a n b e a w o r k i n g - c l a s s girl, m id d l e - c l a s s , w h a t e v e r ' . S h e s a id , I t h i n k it w o u l d b e m o r e o f a c h a l l e n g e t o p l a y s o m e o n e m id d le -class, s o m e o n e c lo s e r t o m y s e lf , b e c a u s e I h a v e n ' t r e a lly d o n e th a t .' A n d t h e n w e w o r k e d o u t t h e b a c k g r o u n d , w h y sh e w a s travelling, a n d so on .

G RIE VE: D id y o u w a n t t o b r i n g f o r w a r d th a t d i l e m m a o f h e r n o t b e i n g a g o o d m o t h e r , o r t h e n o t i o n o f w h a t is a g o o d m other?

A R M S T R O N G : O h y e s , d e f i n i t e l y . As s o o n a s w e c h a n g e d t h e s e x I t h i n k it m a d e t h e w h o l e s t o r y s o m u c h r i c h e r , it b r o u g h t u p s o m a n y m o r e e l e m e n t s in to t h e sto r y .

G RIE VE : S o d i d J u d y D a v i s s p e n d a lo t o f t i m e o n t h e s e c o n d dr aft, r e w r i t i n g t h a t character? ^

CINEMA PAPERS MAY — 31

^

A R M S T R O N G : Y e s , t h e first t i m e w e h a d t h e s e x c h a n g e , w e s e n t it t o h e r a n d s h e c a m e a lo n g to th e n ext m e e tin g S an dra an d I had w ith Laura. M a n y o f her id e a s h a v e b e e n in c o r p o r a t e d into t h e s c r ip t . A c t u a l l y , I t h i n k m o s t a c t o r s a r e p r e t t y g o o d o n s c r ip t s ; it's n o t j u s t t h a t t h e y ' r e liv i n g t h e c h a r a c t e r t h e y k n o w t h e y ' l l b e p o r t r a y i n g . A lo t o f t h e m a r e p retty sm art a b o u t t h e o v e r a ll script. A n d J u d y w a s v e r y g e n e r o u s w i t h t h e s c r ip t , s h e w a s n 't just ta lk in g a b o u t h e r o w n c h a r a c te r a n d w h a t w o u ld b en efit her.

O f t e n s h e w o u l d s a y , y o u d o n ' t n e e d th is d ia lo g u e o f m in e, or A lly s h o u ld d o s o m e t h i n g h e r e . S o it w o r k e d r e a l l y w e l l , I t h i n k s h e e n j o y e d it a n d w e all g a i n e d f r o m it.

G R IEVE: A n d w e r e y o u a l w a y s a w a r e t h a t in s o m e p a r ts y o u w e r e p a i n t i n g h e r as an u n s y m p a th e tic ch aracter?

A R M S T R O N G : W h e n J u d y first t a l k e d a b o u t t h e r o l e s h e s a i d , 'I d o n ' t k n o w w h y I s h o u l d b e t h i n k i n g a b o u t t h is c h a r a c t e r b e c a u s e e v e r y t h i n g I d o all t h e w a y t h r o u g h is a b s o l u t e l y d e s p i c a b l e a n d n o - o n e is g o i n g t o lik e m e . ' T h a t w a s h e r in itia l re a ctio n .

S h e 'd just fin ished p l a y i n g H e d d a C a b le r , a n d s h e f e l t ' O h n o, I c a n 't p lay a n o th e r c h a ra c te r w h e r e I f e e l t h e w h o l e a u d i e n c e is g o i n g t o d e s p is e m e .' But w h e n w e w o r k e d on th e script s h e w a s n 't tryin g to w h i t e w a s h h e r c h a r a c te r . W e h o p e th at finally t h e r e ' s s o m e s y m p a t h y f o r h e r . B u t it's a d e lic a t e b a la n c e . A n d I th in k th at m a k e s it r e a l l y i n t e r e s t i n g .

G R IEVE: A n d in t r o d u c i n g a r e la tio n s h ip w h e r e sh e d o e s n 't c o n fo r m to w h a t's e x p e c t e d o f a w o m a n in t h a t s i t u a t i o n ; h o w d i d t h a t r e l a t i o n s h i p c o m e in?

A R M S T R O N G : That had alw ays been t h e r e . H e [John] m e t a y o u n g s i n g l e m oth er in to w n .

Then, w hen we c h a n g e d th e sex, th e c h a ra c te r m e t a sin g le father.

G R I E V E : A n d w a s C o l i n F rie ls a t h o u g h t from th e begin n in g?

A R M S T R O N G : W e a l w a y s felt th a t h e 'd b e w o n d e r f u l f o r t h a t p a r t , b u t I d id n 't , know w h eth er h e 'd be in te re sted b e c a u s e h e 's p la y in g le a d in g roles n o w .

In f a c t h e w a s m o r e i n t e r e s t e d t h a n J u d y in t h e in itial s t a g e s a b o u t t h e s c r i p t , a n d a b o u t t h e p a r t . H e l o v e d it. W e s a id t o h i m w e k n o w y o u ' v e b o t h d o n e Kan ga­ r o o t o g e t h e r a n d y o u d o li k e w o r k i n g t o g e t h e r , a n d J u d y s a id s h e ' d l o v e h i m t o b e in it, b u t it w a s r e a l l y h is d e c i s i o n .

And I said, s p e a k i n g h o n e s t ly a s a d irecto r, a n d forgettin g a b o u t w h e t h e r it 's n i c e t o h a v e y o u a r o u n d b e c a u s e J u d y w ill b e h a p p y , I re a lly th in k y o u 'r e th e best p e rso n for th e part a n y w a y .

G R I E V E : W a s it h a r d t o f i n d t h e y o u n g girl?

A R M S T R O N G : W e l l w e t h o u g h t it w a s g o i n g t o b e h a r d . W e s t a r t e d c a s t i n g rig h t from th e b e gin n in g, b e c a u s e w e th o u g h t w e ' d h a v e t o s e e h u n d r e d s o f g ir ls . B u t C l a u d i a [ K a r v a n ] w a s a c t u a l l y t h e t h ir d girl in t h e d o o r . W e t h e n s p e n t m o n t h s s e e i n g h u n d r e d s o f g ir ls , j u s t t o m a k e s u r e . B u t t h e m i n u t e s h e c a m e in w e t h o u g h t s h e ha d a really e x tr a o r d in a r y

32 - MAY CINEMA PA PERS

q u a lity th at w a s g o in g to b e p e rfe c t for A lly.

G RIEVE: S h e w a s w o n d e r f u l . Y o u r h e a rt g o e s to ta lly w ith her. A n d th e g r a n d ­ m o t h e r is n 't in s o m e w a y s a p a r t i c u l a r l y s y m p a th e tic c h a r a c te r eith er.

A R M S T R O N G : N o . S h e 's not. S o m e ­ tim es m id d le-class m o vie m a k e rs get really s e lf-c o n s c io u s a b o u t th e w o r k in g c l a s s , t h a t t h e y ' r e all w a r m a n d g o o d h e a rte d a n d so o n . Laura w a s v e r y a w a r e o f t h a t a n d w a n t e d t o w r i t e h e r a s a rea l p erso n as w e ll, w ith g o o d a n d b a d th in gs a b o u t her character.

G R I E V E : A n d o n c e y o u g o t t o t h e fin a l script stag e a lt h o u g h y o u ' d w o r k e d as a t e a m u p t o t h a t p o i n t , it w a s b a s i c a l l y y o u r s t h e n . D i d L a u r a c o m e o n t h e s e t at all?

A R M S T R O N G : L a u r a w a s i n v o l v e d in t h e r e h e a r s a l s . W e r e h e a r s e d in S y d n e y f o r n ea rly t w o w e e k s bu t b e c a u s e so m u c h o f it w a s s e t in t h e c a r a v a n p a r k , t h e k e y c a s t all m o v e d d o w n t h e r e . Jan [ A d e l e ] a n d C l a u d i a h a d t o g e t u s e d t o l i v i n g in a c a r a v a n a n d a n a n n e x e . T h e a rt d e p a r t ­ m en t w e r e d o w n th ere and everyth in g w a s w o r k e d o u t w ith t h e m . T h e y said, o h I'd lik e t o h a n g a t e a t o w e l t h e r e , a n d w e r e h e a r s e d th e s c e n e s , a n d Laura w a s t h e r e t h e n t o o a n d d i d a lo t o f r e w r i t i n g .

T h e m ain c o n fr o n ta tio n b e t w e e n Bet a n d Lilly, w h e n B e t c h a s e s h e r t h r o u g h t h e c a ra v a n park, th at w a s im p r o v ise d , a n d th e n Laura w r o t e u p th e d ia lo g u e a n d a c o u p l e o f o th e r s c e n e s . But finally w e had to say g o o d b y e . S h e c a m e d o w n o n c e in t h e m i d d l e o f t h e s h o o t , a n d s h e c a m e t o v is it in S y d n e y w h e n w e w e r e sh o o tin g s o m e o f th e m u sical n u m b e rs.

But sh e d id n 't s e e a n y rushes.

GRIEVE: I n o t ic e t h e r e S t e a d i c a m in t h e f ilm .

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A R M S T R O N G : W e l l , t h e r e a r e a lo t o f m o v i n g s h o t s . R u s s e ll [ B o y d ] a c t u a l l y in ve n te d a w a y o f d o in g a c o u p le o f th e m , b e c a u s e this w a s a l o w b u d g e t p r o d u c t io n , a n d w e c o u l d n 't afford th e S te a d ica m for as m a n y tim es as I n e e d e d it. I c o u l d o n l y h a v e t h e S t e a d i c a m t w i c e .

W e w o rk e d ou t the tw o key sce n e s w h e r e I n e e d e d it. T h e n R u s s e ll a c t u a l l y in v e n te d w h a t h e calls 'B u d g e t c a m '. H e a n d R a y B r o w n , t h e g r i p , b u i l t t h i s little f r a m e w o r k w h e r e t h e y fixed th e c a m e r a in h a n d - h o l d m o d e , a n d t w o o f t h e m c o u l d ru n a l o n g h o l d i n g h a n d l e s . It w a s v e r y p r i m i t i v e , b u t it a c t u a l l y w o r k s . It w a s u s e d in t h e o p e n i n g s e q u e n c e .

G R IE V E : T h e r e w e r e a lo t o f a b s t r a c t s h o t s in t h e f ilm . In a lo t o f y o u r o t h e r w orks, you h a v e n 't used as m uch a b s t r a c t i o n in t h e f r a m e .

A R M S T R O N G : I h o p e in t h e e n d it d o e s n 't c o m e o u t lo o k in g p h o n y , but b e c a u s e w e had w ritten s o m e th in g that w a s a v e r y i n t i m a t e d r a m a , I f e lt I w a n t e d to try a n d a d d a n o t h e r e l e m e n t to o , so th e a u d ie n c e had a p h ysica l sen satio n o f a lo t o f t h e t h e m e s in t h e film . T h e y w e r e pretty p rim itive th in gs really about c o m i n g a n d g o i n g a n d t r a v e l l i n g a n d tie s , fo rc e s — th a t's really th e t h e m e o f th e f ilm , t h a t f o r c e o f m a t e r n a l t i e s a n d b l o o d tie s.

G R IE V E : B e i n g a m o t h e r n o w , d o y o u th in k th at c h a n g e d t h e w a y y o u s a w th at character?

A R M S T R O N G : Y e s, I th in k so. T h e scrip t w a s w r i t t e n a f t e r I h a d m y b a b y , it w a s p a r t l y p l a n n e d in t h e t i m e t h a t I h a d off; Laura a n d S a n d r a c a m e to m y h o u s e a n d w e w e r e w ritin g th e script w ith th e b a b y p la yin g o n th e floo r. I th in k h a v in g a c h i l d c h a n g e s y o u r p e r c e p t i o n s a lo t a b ou t bein g a h u m a n bein g and I c e r t a i n l y d i d n ' t s a y ' I ' v e h a d a b a b y , le t's w r i t e a film a b o u t b e i n g a m o t h e r ' , a s I s a id , w e f o u g h t a g a i n s t it, w e w e r e w r i t i n g a b o u t a f a t h e r . T h e r e w e r e all these other reasons, n o -o n e 's e v e r d o n e a n y t h i n g o n t h e S o u t h c o a s t , it w a s a grea t lo c a tio n a n d I'v e a l w a y s w a n t e d to d o s o m e t h i n g a b o u t p e o p l e in c a r a v a n parks, th a t's th e way it started.

U l t i m a t e l y , I s u p p o s e it d o e s t u r n i n t o s o m e t h i n g t h a t is q u i t e a p e r s o n a l s t a t e m e n t a b o u t m o t h e r h o o d , b u t it w a s n 't a c o n s c io u s thin g.

G R IE V E : M a k i n g a film lik e t h a t , a f t e r M r s

Soffel a n d a f t e r A m e r i c a , d i d y o u m a k e a c o n s c io u s c h o ic e th at y o u w a n t e d to w o r k in a m o r e l o w b u d g e t w a y , w h e r e y o u had m o r e con tro l?

A R M S T R O N G : Y e s . I still w o u l d h a v e lik e d a b i g b u d g e t ; b u t I w a n t e d t o w o r k in a s m a l l t e a m , a s w e a l w a y s d o in A u s t r a l i a , in a n i n d e p e n d e n t w a y . I m e a n I'v e had w o n d erfu l producers in A m e ric a , bu t n ot h a v in g a stu d io ta k e s s u c h a lo t o f p r e s s u r e o f f y o u .

G R IE V E : A n d d o y o u th at w a y o f w o rk in g ?

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A R M S T R O N G : W e ll, o n e p r o je c t at a t i m e . It l o o k s lik e m y n e x t f ilm m a y b e b a c k w ith a stud io but I c erta in ly w o u ld lik e t o d o m o r e f i l m s li k e H i g h T id e h e r e .

It's i n t e r e s t i n g h o w t h i n g s h a v e c h a n g e d here. I s u p p o s e th at th e h o n e y m o o n w o n ' t last f o r e v e r , b u t o n e o f t h e t h i n g s I w a s lo n g in g for w h e n I c a m e b a c k w a s t h a t a b s o l u t e d e d i c a t i o n t o t h e film t h a t A u stralia n c r e w s u s e d t o h a v e , a n d I d o n ' t t h i n k it's t h e r e in q u i t e t h e s a m e w a y . I d o n ' t k n o w w h y it's c h a n g e d .

M a y b e w o r k i n g o n f e a tu r e film s u s e d to b e s u c h a s p e c i a l e x p e r i e n c e , it w a s s o hard to g e t a fe a tu r e o ff t h e g r o u n d a n d in t h e o n e s t h a t d i d , e v e r y o n e f e lt t h e y w e r e h e l p i n g m a k e it. B u t p e r h a p s w i t h 1 0 B A , th a t's c h a n g e d a n d c r e w s n o w th in k o f film s as s o m e t h i n g fo r th e ir p a y p acket, th e w a y th e y u se d to th in k o f c o m m e r c i a l s . O f c o u r s e all th is c o u l d c h a n g e a g a i n . I 'm c e r t a i n l y n o t d a m n i n g m y en tire c r e w , n o t th e k e y g r o u p o f p e o p le and th e m a n y w o n d erfu l n e w yo u n g p e o p le on th e c re w w h o m I k n o w sla v e d d a y a n d n ight. B u t t h e r e w a s ju st a s lig h t f e e l i n g t h a t o u r c r e w s a r e g e t t i n g m o r e lik e t h e y w e r e in A m e r i c a , m o r e b l a s e a n d t h e r e ' s a b it m o r e o f a ' t h e m a n d u s ' s i t u a t i o n . I f e l t I w a s still o n e o f ' u s ' , b u t m a y b e I w a s a b it n a i v e .

W e d id h a v e s o m e in dustrial p r o b le m s o n t h e film a n d p e r h a p s it w a s n e v e r p ro p erly c o m m u n ic a t e d to th e c r e w th at all t h e p e o p l e in m o r e h i g h l y p a i d positions had ta k e n h u g e w a g e cu ts to w o r k o n t h e f ilm ; p e o p l e l i k e R u s s e ll B oyd a n d m e a n d th e d e s ig n e r a n d so on , n o n e o f us w a s b e in g paid n ea rly

w h a t w e c o u l d h a v e b e e n p a i d b u t w e all d i d it b e c a u s e w e w a n t e d t o m a k e s o m e t h i n g w e all c a r e d a b o u t . I j u s t f elt t h a t it w a s n ' t u n d e r s t o o d b y t h e rest o f th e c r e w w h o w e r e n o w g o in g by th e r u le b o o k .

G R IE V E : W o u l d y o u lik e t o w o r k w i t h San dra Levy again , are y o u a te a m n o w ?

A R M S T R O N G : Y es, w e ll a ctu a lly th e t h r e e o f us a r e a t e a m . I'm r e a l l y g l a d t h a t L a u r a w a s p l e a s e d w i t h t h e film , h e r b a b y th at w e t o o k a w a y from her, a n d Sandra has b e e n a w o n d e rfu l p ro d u ce r, v e r y s u p p o r t i v e . It's o n e o f t h o s e t h i n g s w h e r e if y o u w o r k w i t h p e o p l e w h o ' v e g o t t h e s a m e a t t i t u d e , t h e s a m e t a s t e s in artis tic t h i n g s , t h e r e a r e n e v e r a n y real p r o b l e m s . I 'm s o r r y t h a t I 'v e lo st S a n d r a t o t h e A B C f o r t h r e e y e a r s . I h o p e it's o n ly th re e years.

G R IE V E : A n o t h e r t h i n g I t h o u g h t w a s i n t e r e s t i n g in t h e film w a s o l d e r w o m e n h aving h e a lth y sexual rela tion sh ip s; t h a t ' s ra re .

A R M S T R O N G : Y e s , it's n o r m a l l y d o n e as a j o k e o r s o m e t h in g th a t's m e a n t to b e a turnoff.

G R IE V E : A n d t h e y o u n g e r girl h a v i n g t h e first e l e m e n t s o f a s e x u a l r e l a t i o n s h i p ;

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w a s th at t h e m e o f h o w m e n a n d w o m e n p e rc e iv e sex, w a s that so m e th in g y o u w e r e i n t e r e s t e d in?

A R M S T R O N G : W e ll w e w a n t e d A lly to b e g o i n g t h r o u g h a c h a n g e in h e r life at th e s a m e tim e as J u d y 's c h a r a c t e r w a s g o in g t h r o u g h a c h a n g e . J u d y 's c h a r a c t e r w a s in h e r e a r l y t h irt ie s , a n d f o r b o t h m en a n d w o m e n , y o u th in k, 'W h a t a m I d o i n g w i t h m y life? T h i s is it, I c a n ' t p r e t e n d t h a t I 'm j u s t y o u n g a n d I'm g o i n g t o g e t t h e r e , I'm n o w b e g i n n i n g t o b e t h e s u m to ta l o f m y e x p e r i e n c e s . ' G R IE V E : S o th a t's w h e n she st ar ts qu estio n in g w h ether she really has a c h i e v e d a n y t h i n g in h e r life?

A R M S T R O N G : Y es. I th in k that y o u w e r e m e a n t t o f e e l t h a t w a s s t a r t in g t o h a p p e n to her a n y w a y , b e f o r e a n y th in g e lse h a p p e n s in o u r s t o r y .

G R IE V E : H a v i n g h e r a s t h a t t a c k y c lu b sing er, h o w d id that d e v e lo p ?

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A R M S T R O N G : W ell, w e w e r e w o n d e r ­ in g h o w s h e c o u l d b e a d r ift e r , m o v i n g th ro ugh c o u n try to w n s . . . sh e c o u ld h a v e b e e n li ke t h e g u y in Paris , Texas, y o u d o n ' t k n o w h o w h e e x is t s , b u t w e d e c id e d w e w a n te d her to h a v e s o m e sort o f j o b th at y o u c o u ld d o e asily,

w it h o u t really a p p ly in g y o u r s e lf. I k n e w th at J u d y c o u l d sin g a n d w a s a b a c k u p s i n g e r a f t e r s h e left s c h o o l — s h e a c t u a l l y w a s w i t h a b a n d s h e s a id w a s v e r y lik e th is b a n d , a n d w e n t t h r o u g h A s i a — I f elt it w a s w o n d e r f u l t o u s e a t a l e n t t h a t s h e h a s , a n d s h e d o e s s i n g o n all t h e t r a c k s .

A l s o , it w a s n i c e t o c o n t r a s t s o m e s o r t o f g l i t z y s h o w b i z life w i t h t h e v e r y r e a lis t ic , c o ld , u gly A ustralian c o a sta l to w n .

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A R M S T R O N G : Y es, I th in k o n e o f th e t h i n g s w e w e r e l o o k i n g f o r in t h e film w a s t o tr y t o c o n t r a s t t h e m a n m a d e u glin ess a gain st th e natural b e a u ty , a n d w e 'r e trying to do th at w ith th e so u n d tra ck as w ell. P e o p le g o to th e m o s t b e a u t i f u l p l a c e s in A u s t r a l i a a n d a r e b l i n d t o it, t h e y b u i l d b u i l d i n g s w i t h n o v ie w , th e m ain street o f th e t o w n f a c e s t h e o p p o s i t e d i r e c t i o n , rig h t in t h e m o s t b e a u t i f u l p i e c e o f c o a s t l i n e t h e y sit t h e u g l i e s t t o i l e t b l o c k , rig h t in t h e c e n t r e part o f t h e v ie w ; a n d th a t's s o m e t h in g t h a t I w a n t e d t o p u t i n t o t h e film .

G R IE V E : A n d w h a t a b o u t t h e m u s i c ?

ARM STRONG: The m u sic is L illy's o b s e s s i o n , it's h e r d e e p u n h a p p i n e s s .

W h e n P e t e r B e s t s a w t h e film h e s a i d o n e o f t h e t h i n g s I c a n d o w i t h t h e m u s i c is m a k e p e o p l e f e e l a little bit m o r e f o r Lilly. S h e ' s a t o u g h c h a r a c t e r , a n d a lo t o f h e r u n h a p p i n e s s is n 't o n t h e s u r f a c e , s o t h e m u s i c h o p e f u l l y d o e s t h a t . A n d it p l a y s w i t h a lo t o f t h e m o v i n g i m a g e s in a m o r e ly ric a l s e n s e . I'm r e a l l y t h r i l l e d w i t h t h e s c o r e . It's q u i t e w e i r d at t i m e s , it's not trad ition a l.

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A R M S T R O N G : H e m d a le , w h o are re­ leasin g th e p ic tu r e o v e r s e a s s e e m c o n ­ c e r n e d t o d o it in a r e a l l y s e n s i t i v e w a y , t r e a t i n g it a s a s m a ll p i c t u r e , n o t p r e t e n d ­ in g t h a t it's a n y t h i n g o t h e r t h a n it is, s o I 'v e b e e n v e r y p l e a s e d . In f a c t t h e w h o l e relation ship w ith H e m d a le has b e e n fa n ­ ta s t ic . T h e y i n v e s t e d in t h e p r o j e c t w ith o u t a n y n a m e s a tta ch e d , th at w a s t h e d e a l , it w a s all g o i n g t o b e u n ­ k n o w n s . B u t I t h o u g h t a b o u t it a n d felt, n o m a t t e r w h a t it c o s t s , J u d y is s u c h a w o n d e r fu l actress, a n d I w a n t e d to w o r k w ith her again.

G R IE V E : D o e s h a v i n g a c h i l d m e a n t h a t y o u h a v e to sp e n d a lo n g tim e b e t w e e n p ictures?

EAST COAST DRIFTER: Judy Davis as Lilly

A R M S T R O N G : I a ctu a lly u sed to h a v e q u i t e a l o n g g a p b e t w e e n f ilm s . It j u s t h a p p e n s t h a t I 'v e s p e n t a lo t o f t i m e o n e a c h o f t h e s c r ip t s I 'v e w o r k e d o n , a n d I 'v e n e v e r w a n t e d t o r u sh i n t o p r o d u c ­ t i o n u ntil t h e y ' r e r e a d y . It's b e e n g r e a t w o r k i n g w ith S a n d r a o n m y return to t h e c i n e m a as a w o r k i n g m o th e r , w e did t h i n g s lik e p l a n r u s h e s a n h o u r a f t e r break, so I had tim e to g o h o m e a n d put t h e b a b y t o b e d . A n d I t h i n k f o r all w o m e n w h o are w o rk in g m o th ers y o u h a v e to h a v e su p p o rt from th e w o r k ­ p la c e , y o u n e e d s o m e sort o f h e lp a n d u n d e r s t a n d i n g t h a t y o u r h o m e life is j u s t as im p o rta n t as y o u r w o r k .

CINEMA PAPERS MAY — 33

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SETSTHE WINE Producer Tony G in n an e has six film s at Cannes, and is expanding into distribution, television and production in South East Asia. KATHY BAIL and PH ILIP PA H A W K ER talk to him about chauvinism , finance, vitriol and 'actio noriented, driven pictures'.

INITIATION: Bobby Smith and Rodney Harvey

THE TALE OF RUBY ROSE: Chris Haywood and Melita Jurisic

DARK AGE: Gulpilil, John Jarratt and Burnam Burnam

34 - MAY CINEMA PAPERS

o o k i n g t h r o u g h t h e list o f th is y e a r ' s A u s t r a l i a n r e l e a s e s , it c a n t a k e a w h i l e t o f in d a f e a t u r e t h a t d o e s n ' t h a v e T o n y G i n n a n e ' s n a m e o n it. F r o m G illia n A r m s t r o n g ' s H ig h Tide, t o R o g e r S c h o l e s ' first f e a t u r e The Tale O f R u b y Rose t o t h e kille r c r o c th r ille r D a r k Age, his p r o d u c t i o n c o m p a n y , I n t e r n a t i o n a l Film M anagem ent L i m it e d , fina n ced t h e m all. N o t t o m e n t i o n t h e s c i e n c e f i c ­ t io n f e a t u r e The T im e G u a r d ia n , t h e m i n i s e r i e s / f e a t u r e G re a t Expectatio ns — The U n t o l d Story, S i m o n 'Phar La p' W i n c e r ' s The L ig h th o r s e m e n , M i c h a e l P e a r c e ' s I n it ia t io n a n d D o n M c L e n n a n ' s Slate, W y n & M e . It's a v a r i e d list, a n d it r e p r e s e n t s $ 4 0 m i llio n w o r t h o f p r o d u c ­ tio n s .

For t h e r e c e n t A m e r i c a n Film M a r k e t e d i t i o n o f Variety, G i n n a n e t o o k t h e c o v e r to a d ve rtise th e s e p ro d u c tio n s, a n d a p a c k a g e o f s e v e r a l m o r e in d e v e l o p m e n t . A t a t i m e w h e n t h e rest o f t h e A u s t r a l i a n i n d u s t r y is a n t i c i p a t i n g s e v e r e c o n t r a c t i o n , h e ' s in t h e p r o c e s s o f e x p a n d i n g still f u r t h e r : in to t e l e v i s i o n , in to d i s t r i b u t i o n in A u s t r a l a s i a , a n d in t o p r o d u c t i o n a n d d i s t r i b u t i o n in SE A s i a .

G in n a n e 's ''c h e s s b o a r d a p p r o a c h " to t h e film in d u s t r y , his d e l i g h t in " m o v i n g th e p ie ce s a r o u n d " , is e v e n m ore c h a r a c t e r i s t i c o f his c o m p a n y in 1 9 8 7 .

I n t e r n a t i o n a l Film M a n a g e m e n t L i m ite d has re c en tly fo r m e d a n e w A ustralasian m o tio n p ictu re a n d tele visio n distribu­ t io n c o m p a n y w i t h H e m d a l e , t h e A n g l o A m e ric a n c o m p a n y w ith w h o m G in n a n e has had a lo n g -sta n d in g a ss o c ia tio n .

H em dale-IF M E n tertain m en t P ty Ltd plans to distrib u te an a v e r a g e o f 15 features a n n u a lly from bo th c o m p a n ie s ' p r o d u c t i o n sla te s .

In A u s t r a li a , t h e p r o d u c t will b e h an dled by th e M e lb o u rn e -b a s e d c o m ­ p a n y F i l m p a c H o l d i n g s Ltd. Slate, W y n & M e is e x p e c t e d t o b e t h e n e w c o m p a n y ' s first r e l e a s e a n d is s c h e d u l e d f o r a n a t i o n a l p r e m i e r e in J u n e .

G i n n a n e is p l e a s e d a b o u t t h e m o v e in to d i s t r i b u t i o n . It is, h e s a y s , " a v e r y i m p o r t a n t e l e m e n t in c o n t r o l l i n g o n e ' s d e s tin y ." H e likens th e a r r a n g e m e n t w ith F i l m p a c t o t h e Tri S t a r / C o l u m b i a o p e r a ­ tio n : " W e ' r e n o t s e t t i n g u p a full s c a l e o p e r a t i o n . Like Tri Star, w e ' l l c r e a t e t h e m o vies an d con tro l th e advertisin g an d m a r k e t i n g a p p a r a t u s , a n d s p e c i f i c d is tr i­ b u t i o n b o o k i n g s a n d b a c k u p s w ill b e d o n e v ia F i l m p a c . W e ' l l h a v e a v e r y h a n d s - o n c o n t r o l o v e r w h e n titles a r e released a n d th e a m o u n t sp e n t o n a d v e r ­ tisin g."

H e poin ts o u t th at b ig g e r d istribution c o m p a n ie s a re m indful o f th e a m o u n t sp en t on p ro m o tio n a n d advertisin g.

Eit her t h e y t a k e t h e i r c u e a c c o r d i n g t o t h e initial U S r e l e a s e o r t h e y t a k e a n e c o n o m i c v i e w a n d lo yalty to a n y o n e p i c t u r e is r e l a t i v e t o t h e a c q u i s i t i o n p r i c e . " W e ' l l f i n a n c e t h e P & A f o r o u r tit le s — th a t's th e a r r a n g e m e n t . I b e lie v e th at w e k n o w t h e s e tit le s b e t t e r t h a n a n y ­ b o d y . T h a t is n o t t o s a y t h a t w e w o n ' t m a k e m istakes, b u t I w o u l d s o o n e r m a k e th e m istakes m y s e lf th an h a v e th e m m ad e by so m e b o d y else!"

G i n n a n e is a l s o m o v i n g i n t o t h e S o u t h East A s i a n r e g i o n a n d h a s a l r e a d y s e t u p a c o m p a n y in t h e P h i l i p p i n e s . It is a p ro to typ ical c o m p a n y for w h a t h e h o p e s w ill b e " a s e r i e s o f k a n g a r o o h o p s t h r o u g h SE A s i a o v e r t h e n e x t t h r e e y e a r s . " H e has a lr e a d y started s h o o t in g a first f e a t u r e in t h e P h i l i p p i n e s , K ille r

Com es A ga in , d i d n o t d o n e a r l y a s w e l l .

Tony Ginnane

Instin ct, a n d e x p e c t s t o h a v e a d i s t r i b u ­ tio n n e t w o r k u n d e r w a y b y t h e e n d o f t h e year.

In A u s t r a l i a , I F M 's s t u d i o i m a g e is g o i n g t o b e f u r t h e r c o n s o l i d a t e d if t h e c o m p a n y c o n t i n u e s t o i n c r e a s e its t e l e ­ v is io n a c t i v i t i e s . Last y e a r it p r o d u c e d t h e $ 5 . 9 7 m i llio n f e a t u r e / m in ¡s e rie s G reat Expectations — The U n t o l d S tory w i t h t h e A B C a n d t h e r e is t h e p o s s i b i l i t y o f m o r e c o - p r o d u c t i o n s . B e f o r e th is p r o j e c t h o w ­ e v e r , it w a s a n a r e a t h e c o m p a n y h a d n ' t b e e n i n v o l v e d in. T h e r e a s o n , c l a i m s G in n a n e , w a s "ju st tim e and re s o u rc e s ".

N o w he feels th e c o m p a n y has th e c a p a c i t y t o u s e his c o n n e c t i o n s in t e l e ­ v i s i o n a n d t h a t The Last F r o n tie r ( p r o ­ d u c e d b y t h e M cE lro ys) has " o p e n e d th e g a t e s " . H e is c o n s i d e r i n g e m p l o y i n g s o m e b o d y w h o s e s p e c ific j o b will b e to b u i l d u p th is p a r t o f t h e c o m p a n y .

G i n n a n e started o u t w ith d istribu tion in t h e e a r l y s e v e n t i e s , w h e n h e b r o u g h t

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t h e c o u n t r y t h e k i n d s o f film s t h a t n o e l s e w a s i n t e r e s e d in i m p o r t i n g : o n o n e h a n d G o d a r d ' s Vent D e L'Est Pravda, o n t h e o t h e r h a n d e x p l o i t a ­ title s lik e The V a m p ir e H a p p e n i n g , Succubus a n d The C orpse G rin d e rs . In 1 9 7 6 h e m a d e th e m o v e in to p ro d u c t io n w i t h t h e s e x c o m e d y Fantasm. A t t h e t i m e w h e n D o n 's Party, C a d d ie , Eliza Fraser a n d The D e v il's P la y g r o u n d w e r e b e in g h e r a ld e d as 'in d i g e n o u s ' A u s tr a ­ lian p i c t u r e s , G i n n a n e w a s m a k i n g a n Pi­ r a te d e r o t i c c o m e d y t h a t w a s s h o t in t h e U n i t e d S ta t e s w i t h a n A m e r i c a n c a s t . It d i d n ' t e x a c t l y s e n d t h e c r it ic a l p u l s e s r a c i n g , b u t it m a d e a t i d y s u m at t h e b o x o f f i c e , b o o s t e d b y a b a n in Q u e e n s l a n d .

T o d a y , G in n a n e d o e s n ot a p o lo g is e for t h e film ; it m a d e a lo t o f m o n e y f o r his p r o d u c t i o n c o m p a n y in its first y e a r o f o p e r a t i o n , a n d h e h a s s a id r e c e n t l y t h a t h e still f i n d s it m o d e r a t e l y a m u s i n g .

Its i n v e n t i v e l y - t i t l e d s e q u e l , Fantasm

B ut a p a t t e r n w a s e s t a b l i s h e d f o r t h e se v e n tie s a n d e a r ly eighties: G i n n a n e p ro d u c tio n s w e r e m a d e w ith an u n ­ a s h a m e d e y e for th e o ffsh o re m arket.

Film s li ke H a r l e q u i n , Race To The Yankee Z e p h y r , T u r k e y S h o o t a n d Blu e Fire Lady w e r e g e n e r a l l y g e n r e p i c t u r e s w ith an o v e r s e a s e le m e n t . T h e y w e r e o f t e n s e e n as e x p l o i t a t i o n film s, c y n i c a l l y m a d e at a t i m e w h e n t h e l o c a l i n d u s t r y w a s t r y i n g t o a s s e r t itself a g a i n s t o v e r ­ seas, p a rticu la rly A m e r i c a n in flu e n c e s .

G in n a n e has a lw a y s a rg u e d strongly against that p o in t o f v ie w . " T h e m o st destru ctive m yth p r o p o u n d e d b y th e f o u n d e r s o f o u r film i n d u s t r y is t h a t it's a n a t io n a lis t g a m e . It's i n t e r n a t i o n a l i s t , a n d it a l w a y s h a s b e e n , " h e s a id in 1 9 8 2 .

T h e i m p o r t a n c e o f th is o u t l o o k w a s so m eth in g he e m p h a s ise d e v e n w h e n he w a s st a r tin g o u t a s a d i s t r i b u t o r . In a n i n t e r v i e w in C in e m a Papers in 1 9 7 4 h e sa id t h e m i s t a k e w a s t o sit at a d e s k t r y i n g t o m a k e d e a l s f r o m A u s t r a l i a : " . . . If y o u g o o v e r t h e r e , sit d o w n , ta lk t o t h e g u y , c l a p h im o n t h e s h o u l d e r a n d s a y , ' H o w a r e t h i n g s g o i n g o n t h e G a z a Strip?' a n d b u y h im a b o t t l e o f S c o t c h , w e l l , t h i n g s a r e terrific . Y o u t h i n k t h e y a r e c u t e , t h e y thin k y o u 'r e c u te a n d e v e r y th in g w o r k s out fin e ."

T h i r t e e n y e a r s late r, his a s s e s s m e n t h a s n ' t r e a lly c h a n g e d . " P r o b a b l y n o o n e e l s e in th is c o u n t r y h a s t h e c o n t a c t s I h a v e in t h e i n t e r n a t i o n a l film c o m ­ m u n i t y , " h e st a t e s . " I t ' s a so rt o f h is­ t o r ic a l a c c i d e n t b e c a u s e w h e n e v e r y o n e e l s e w a s m a k i n g p i c t u r e s in t h e s e v e n t i e s and e arly eighties w ith an e y e to th e off­ s h o r e m a r k e t — a n d t h e r e a r e h i s to r ic a l re a so n s for that — m y o w n tastes a n d p e r h a p s s o m e so rt o f d o g in t h e m a n g e r a ttit u d e , t o o k e x a c t l y t h e r e v e r s e t a c k .

"I d e v e l o p e d a m a s s o f c o n t a c t s , n o t ju s t c o n t a c t s b u t real f r i e n d s h i p s w i t h y o u n g p e o p l e in t h e film i n d u s t r y o v e r ­ s e a s . M a n y o f t h o s e p e o p l e w e n t in to sen ior a n d high m id d le m a n a g e m e n t p ositions.

Those co n n ectio n s w ere u n i q u e t o us a n d it w a s w h a t m a d e us attractive to th e fin a n cia l c o m m u n i t y . " G i n n a n e ' s i n v o l v e m e n t in film c a m e in his la te t e e n s . H e w a s n o t a m o v i e br at; it w a s n ' t until 1 9 6 7 , w h e n h e w e n t t o M e l ­ b o u r n e U n iversity to stu d y law , that h e d e v e l o p e d a " s e r i o u s " c o m m i t m e n t . "I g o t v e r y in terested v e r y q u ic k ly , a n d s a w a m assive a m o u n t o f m o v ie s a n d c a u g h t u p w i t h a lo t o f m a t e r i a l I h a d n ' t s e e n .

T h e r e w a s a v e r y a c t i v e film s o c i e t y at u n i v e r s i t y in t h o s e d a y s ; t h e r e w e r e f i v e o r six m o v i e s a w e e k b e i n g s c r e e n e d . . .

I g o t c a u g h t up, as pretty m u c h e v e r y ­ b o d y d i d , in a h a n d s - o n i n v o l v e m e n t , w r i t i n g a b o u t film s a n d o r g a n i s i n g r e t r o ­ spectives. " W h a t h a p p e n e d in t h e s e c o n d h a l f o f t h e s i x t ie s w a s a r e a s s e s s m e n t o f t h e A m e r ic a n c i n e m a o f t h e forties a n d fifties. T h a t h a d a m a j o r i m p a c t o n t h e sort o f p ic tu res I p e r s o n a lly li k e d ."

G in n a n e m ain tain s his l o n g - s t a n d i n g p r e fe r e n c e for w h a t h e calls " a c tio n o rien ted , driven p ic tu res " w h ic h are " fa r m o r e in teresting to m e p e r s o n a lly th an m a t e r i a l t h a t is m o r e o v e r t l y c e r e b r a l " .

O f c o u r s e th is r e a s s e s s m e n t o f t w o d e c a d e s of A m erican c in e m a w a s bein g ^

CINEMA PAPERS MAY - 35

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carried o u t b y th e F ren ch N e w W a v e , a n d G i n n a n e is h a p p y t o a c k n o w l e d g e th a t at th at tim e h e w a s in flu e n c e d b y G o d a r d . N o t o n l y w a s h e la t e r r e s p o n s ­ i b l e f o r d i s t r i b u t i n g s o m e o f his f ilm s: his so le v e n t u r e in to d ir e c tio n had th e G o d a r d s t a m p . F i n a n c e d in p a r t b y M e l ­ b o u r n e U n i v e r s i t y s o u r c e s , S y m p a t h y In Sum m er w a s m a d e on th e crest o f th e N o u v e l l e V a g u e in 1 9 6 8 . A l p h a v i l l e w a s th e in sp iratio n , a cco rd in g to Ross C o o p e r a n d A n d r e w P i k e in A u s tr a lia n F ilm 1 9 0 0 - 1 9 7 7 ; t h e f i l m ' s m a i n c h a r a c ­ ter w a s Lenny, " a y o u n g stu d en t w h o s e a p p e a r a n c e as an o p p o r t u n i s t i c w o m a n ­ is e r is c o n t r a d i c t e d b y t h e r o m a n t i c i d e a l i s m o f his t h o u g h t s , w h i c h a r e h e a r d o n th e s o u n d t r a c k as a m o n o l o g u e " .

G in n a n e w rote, p ro d u ce d and d irected th e 8 8 -m in u te fea tu re , b u t c h o s e n o t to d ire c t a gain . By th e tim e a s h o r te n e d v e r ­ s i o n w e n t i n t o r e l e a s e in 1 9 7 1 , G i n n a n e h a d g o n e i n t o d i s t r i b u t i o n . It w a s , h e s a y s , a s t r a t e g i c d e c i s i o n , a s w a s his m o v e into p r o d u c t io n . " W h e n I d e c i d e d t o g e t i n t o f i lm s 1 0 o r 1 2 y e a r s a g o it w a s b e c a u s e I f e lt t h a t w h ile th e r e w a s a p le th o ra o f th o s e w h o w a n t e d to b e w riters o r d irecto rs, p e o p l e w i t h t h e in t e r e s t s o r t h e skills o r t h e aspiratio ns to p r o d u c e w o u ld b e v e r y thin o n t h e g r o u n d . T h e r e w o u l d b e o p p o r t u n i t i e s in t h a t a r e a .

"I t h o u g h t a b o u t d i r e c t i n g , b u t I n e v e r f e lt t h a t I w o u l d g e t a s m u c h f u n o u t o f to t a l c o m m i t m e n t t o o n e p r o j e c t o v e r a c o m p a r a t i v e l y l o n g p e r i o d o f t i m e in a v ery in tense w a y , as o p p o s e d to th e a b i l i t y t o p a r t i c i p a t e in a w h o l e b u n c h o f activity. 1 a lw a y s v a lu e th e o p p o r t u n ity to s t a n d a s t e p o r t w o b a c k . I f e lt t h e o b s e s ­ s i o n t h a t is g e n e r a l l y a n e c e s s a r y p a r t o f d irectin g w a s an o b se s sio n I d id n 't w a n t to ta ke o n ."

F or G i n n a n e , it w a s a n o b v i o u s m a t c h ­ in g o f skills: a p a s s i o n f o r film a n d , w i t h a d e g r e e in l a w , k n o w l e d g e o f t h e f i n a n c i a l w o rld . H e e ve n e q u a te d th e tw o , regard ­ i n g film a s a d i s c i p l i n e lik e l a w o r a n y o t h e r p ro fe s s io n a l a re a . "I e n j o y e d l a w , " h e s a y s , " b u t f e lt I c o u l d h a v e m o r e f u n

in m o v i e s , p e r h a p s in itia lly o n l y m a r g i n ­ a lly . Film , a f t e r all, is a b o u t life a n d h e i g h t e n e d s i t u a t i o n s a n d in a s e n s e c e r ­ t a in s e g m e n t s o f t h e l a w d e a l w i t h t h e sa m e th in gs."

H e s a y s h e h a s n e v e r lo st " a f a s c i n a ­ t i o n o r o b s e s s i o n w i t h film . . . I ' v e n e v e r s e e n a film in w h i c h I d i d n ' t f i n d s o m e ­ t h i n g I l i k e d . If I h a d a c h o i c e b e t w e e n s p e n d i n g 9 0 m i n u t e s in t h e d a r k a n d 9 0 m i n u t e s o n t h e b e a c h I k n o w w h a t I'd ch o o se ."

He p ro b ab ly w o u ld n 't c h o o s e 90 m i n u t e s w i t h G o d a r d o r F a s s b i n d e r first u p . "I h a v e a c e r t a i n r e s p e c t f o r t h o s e f ilm s , b u t g e n e r a l l y I d o n ' t g o t o t h e m o v ie s for that. I g o so t h e y c a n m a k e m e feel g o o d , " h e says. " B u t at t h e s a m e tim e th e r e 's th e d ire c to r's w h o l e b o d y o f w o r k to ta k e into a c c o u n t . Y o u c a n 't r e s p o n d t o The Fly in t h e s a m e w a y if y o u h a v e n 't se e n C r o n e n b e r g 's o th e r p ic ­ t u r e s , o r t o t h e r e m a k e o f T h e T h in g if y o u h a v e n ' t s e e n a b u n c h o f fifties s c i - f i . " In f a c t , h e s a y s a g a i n , h e r e g a r d s film a s an a c a d e m i c d is cip lin e, a s e r io u s m atter, a n d h e d is cu s se s th e n e e d for " a h ig h er l e v e l o f i n t e l l e c t u a l d e b a t e a b o u t t h e film i n d u s t r y in th is c o u n t r y . T o s o m e e x t e n t it's a f u n c t i o n o f t h e m e d i a . I c a n ' t s e e sign ifican t im p ro v em en t h a p p e n in g h e r e , b u t m a y b e it w i l l c o m e a s a n e w ge n eratio n o f critics and review ers e m e r g e w i t h le ss c u l t u r a l l y i n t r o v e r t e d a ttitu d e s ."

H e returns to a c o n s t a n t t h e m e ; w h a t h e r e g a r d s a s d e s t r u c t i v e c h a u v i n i s m . It is n o t a v i e w t h a t h a s e n d e a r e d h i m t o Equity a n d o t h e r in d u str y a ss o c ia tio n s, n o r t o m a n y film p r a c t i t i o n e r s w h o h a v e d e e p ly - h e ld fears a b o u t th e p r o b le m s t h a t c o u l d r e s u lt f r o m o p e n i n g t h e f l o o d ­ gates to A m e ric a n p ro d u c e rs an d p ro ­ d u c t i o n c o m p a n i e s . H e , in his t u r n , c o n ­ d e m n s w h a t h e regard s as " t h e d a m a g e d o n e t o th is i n d u s t r y b y E q u i t y a n d t h e certification re q u ire m e n ts o f 1 0 B A ." A s a r e s u lt, h e s a y s , " t h e r e is n o s e r v i c e industry su b stru ctu re to su p p o r t actors, p ro d u ce rs and te c h n icia n s d u rin g fea tu re p ro d u ction d o w n tu rn s."

«

ON THE BEACH: Ginnane at Cannes, 1981

36 - MAY CINEMA PAPERS

W h a t e v e r h a p p e n s e l s e w h e r e in t h e in du stry, G i n n a n e sa y s firm ly th a t Inter­ n a t i o n a l Film M a n a g e m e n t L i m i t e d h a s t h e c a p a c i t y t o s u r v i v e a n d p r o s p e r . H is w o r d s c o u ld b e th o s e o f a h igh ly-p aid m o tiv a tio n a l s p e a k e r o n a n ation al to u r.

"I s e e a t r e m e n d o u s le ve l o f g r o w t h for u s a n d t h a t ' s in lin e w i t h m y p h i l o s o p h y f o r t h e p o s t- 1 O B A g e n e r a t i o n . N o l o n g e r will t h e r e b e a n y b o u t i q u e o r s m a ll- s c a le o p e ra tio n s. W h a t e v e r o n e th in ks o f th e DEL situ a tio n o r t h e e m b r y o n i c N e w W o rld and W e in tra u b stru ctures, w h e t h e r t h e y had h a p p e n e d o r not, th e d a y o f th e in d iv id u al p r o d u c e r o r d ir e c ­ t o r w o r k i n g f o r t h e m s e l v e s is g o n e . " R e g a r d l e s s o f w h e t h e r t h e f ilm b a n k p ro p o s a l b e c o m e s a reality o r not, y o u 'll n e v e r really b e a b le to g o b a c k t o t h e days o f th e se v en tie s w h e n a g r o u p of p e o p le w e r e a b le to e n tre p re n e u r p ro ­ jects th ro u g h from A to Z th e m se lv e s .

T h e s u r v i v o r s in t h is i n d u s t r y w i l l b e t h e p e o p l e w h o m a n a g e t o d i v e r s i f y in t o o th e r a ctiv itie s."

G i n n a n e ' s v i e w o f t h e A u s t r a l i a n film i n d u s t r y h a s a p e s s i m i s t i c e d g e — it w o u l d s e e m t h a t t h e h a l c y o n d a y s are o v e r a n d h e is t a k i n g s t e p s t o i n s u l a t e t h e c o m p a n y a gain st w h a t h e p re d ic ts are g o in g to b e to u g h tim es. H e has a lw a y s been opposed to any attem p t to " e n g i n e e r " t h e film i n d u s t r y , w h i c h in ­ c l u d e s t h e r e c e n t A F C film b a n k p r o ­ p o s a l . H o w e v e r h e is in f a v o u r o f t a x in cen tives w h ic h , h e suggests, sim p ly p r o v id e d a fo r m u la to e n a b l e a n y kind o f p r o d u c t t o xb e m a d e if it m e t c e r t a i n f i n a n c i a l c r i t e r i a . H e b e l i e v e s t h e film bank, on th e o th e r hand, w o u ld in v o lv e qualitative a ssessm en t.

H e says th e finan cial m o d e l C o o p e r s and Lybrand u sed a ssu m e s a m e a n b u d g e t o f $ 3 .2 t o $ 3 . 4 m i l l i o n w h i c h s u g ­ g e s t s t h a t o n l y a p a r t i c u l a r s o r t o f film w o u ld be m ade. " T h e film i n d u s t r y is a b o u t s o m e b o d y w h o gets an id ea a n d g o e s a n d m a k e s it, som ebody who stru ggles, faces a d versity, y e t has e n o u g h stick-to-it-ive­ n e s s f o r t h e w h o l e t h i n g t o h a p p e n . If y o u w a n t t o m a k e a n $8 m i l l i o n p i c t u r e a b o u t k id s r u n n i n g a m o k in N e w t o w n , y o u ' l l g o t o t h e film b a n k a n d if s o m e ­ o n e 's b e e n stupid e n o u g h to g iv e y o u an a p p ro p r ia te distribu tion g u a r a n te e , th en th e b a n k will le n d y o u t h e m o n e y a g ain st t h e g u a r a n t e e . Y o u ' v e still g o t t h e s h o r t ­ fall b e t w e e n t h e d i s c o u n t e d g u a r a n t e e a n d t h e b u d g e t , a n d t h e film b a n k ' s d e c isio n as to w h e t h e r to m a k e that f u r t h e r u n s e c u r e d l o a n o r n o t is w h e r e t h e s u b j e c t i v i t y r e a l l y c o m e s in. " W h a t h a p p e n s if y o u w a n t t o m a k e a n $8 m i l l i o n s c i e n c e f i c t i o n f e a t u r e ? Y o u c o u l d b e in t r o u b l e u n d e r t h e f ilm b a n k scenario , b e c a u s e s o m e o n e 's su b je c tiv e j u d g e m e n t p re fers t h e so c ia l realism o f N e w t o w n d e lin q u e n ts t o s c i e n c e fiction hi-jin ks o n M a r s . " S o m e c o m m e n t a t o r s s a y t h a t a lo t o f t h e 1 0 B A f i lm s w e r e j u n k ; d o u b t l e s s s o m e w e r e , b u t t h a t ' s h o w f ilm i n d u s t r i e s w o rk . Y o u m a k e 20 ( 7 r 3 0 pictu res a n d y o u ge t five o r 10 th at a re g o o d to great.

If y o u t r y t o w o r k o u t w h a t t h e y a r e in a d v a n c e y o u g e t in a t e r r i b l e m e s s . " P e o p l e h a v e s a id t o m e ' w h y a r e y o u p u b l i c l y t r a s h i n g f ilm b a n k w h e n y o u ' r e

g o in g to b e o n e o f their biggest c u s to ­ m e r s ? '. W e w i l l b e ! P r o d u c e r s a r e still g o in g to n ee d s o m e b o d y to p ro vid e th e m w ith th e d istribu tion g u a r a n te e s w h i c h t h e y e i t h e r d o n ' t h a v e t h e skills t o g e t o r a r e n ' t i n t e r e s t e d in g e t t i n g t h e m ­ se lv es."

In f a c t h e d o e s n o t e x p e c t t h e film b a n k p r o p o s a l t o b e a d o p t e d . "I th in k th at n o t h in g will h a p p e n a n d I th in k th at m a y b e a g o o d t h i n g in t h e m i d d l e t e r m .

B u t in t h e s h o r t t e r m it w i l l b e v e r y un fortun ate for a n u m b e r o f p e o p le , t e c h n i c i a n s , a c t o r s a n d t h e lik e , w h o h a v e b e e n g iv e n th e e x p e c ta t io n that t h e y ' l l h a v e a l o n g - t e r m f u t u r e in t h e film industry. T h e s e sort o f p e o p l e a r e g o in g t o b l e e d in t h e n e x t c o u p l e o f y e a r s if t h e film b a n k d o e s n ' t h a p p e n . " T h e a b s e n c e o f a film b a n k a n d t h e v e r y re a l d i f f i c u l t i e s w i t h 1 0 B A m a y c r e a te a situatio n s o m e y e a rs fro m n o w w h e r e , if w e m a n i p u l a t e it p r o p e r l y , a n d t h e i n d u s t r y t a c k l e s it o n a u n i t e d f r o n t f r o m w i t h i n , film c a n b e a v o t e - w i n n i n g m e c h a n is m ag ain . T h a t's w h y th e S c re e n P ro d u ctio n A ss o c ia tio n resolu tion had t a g g e d t o it t h a t 1 0 B A s h o u l d r e m a i n in p l a c e u ntil t h e film b a n k is u p a n d r u n ­ n i n g . S o t h e s t a t u t e w i l l r e m a i n in p l a c e until s o m e m o r e e n l i g h t e n e d t i m e w h e n it m a y b e o f u s e t o u s a g a i n . " I t w i l l t a k e a w h i l e f o r t h e b l o o d to r e a l l y st art f l o w i n g . P r o d u c t i o n h o u s e s a n d t e c h n ic ia n s a n d so o n will b e f in e for t h e n e x t 1 2 t o 1 4 m o n t h s . B u t it w ill h a p p e n , it h a p p e n e d in N e w Z e a l a n d a fter 1 7 S e p t e m b e r 1 9 8 5 , a n d I s a w th at in d u stry g o fro m o n e th a t w a s m a k in g 20

f ilm s a y e a r t o o n e w h i c h w a s m a k i n g t w o . W e ' l l still m a k e h a l f a d o z e n f i l m s a y e a r h e r e , b u t t h e o v e r a ll im p a c t w ill b e th e s a m e . O f c o u r s e this D o o m s d a y sc e n a rio c o u ld b e sign ifican tly m o d ified for th e indu stry, d e p e n d i n g o n t h e s c o p e o f t h e a c t i v i t y b y D EL, N e w W o r l d , e t c . " W h e n h e t a l k s a b o u t his s t r o n g p o i n t s , h e refers th in g s im m e d ia t e ly b a c k to t h e c o m p a n y , rath er th a n to h im self. H e says it is t h e c o m b i n a t i o n o f f i n a n c i a l skills, a film b a c k g r o u n d a n d a n u n p a r a l l e l e d c o lle c t io n o f o v e rs e a s c o n ta c t s th at has e n a b le d th e c o m p a n y to flou rish a n d e x p a n d . S t r a t e g y is a c o n s t a n t e m p h a s i s ; h e stresses th e n ece ssity to ta k e a lo n g ­ te rm v ie w , to a n tic ip a te t h e situatio n t w o or th re e y e ars a h e a d , to r e m e m b e r th at A ustralia g e n e r a lly fo llo w s o v e r s e a s p r o ­ d u c tio n trends. " I h a v e n ' t g o t o n e p a r t i c u l a r skill t h a t o v e r w e i g h s t h e o t h e r s . I t h i n k I 'v e g o t a se n se o f th e m a g ic th at p e o p le lo o k for w h e n t h e y p a y $ 7 t o g o t o a film a n d I t h i n k I tr y t o a p p l y t h a t s e n s e t o a n y d e c i s i o n s in r e l a t i o n t o p r o d u c t i o n . A n d I 'm a f a ir l y d r i v e n p e r s o n . I j u s t k e e p o n g o i n g a t s o m e t h i n g u n til it a c t u a l l y h a p p e n s . I g e n e r a l l y f in d t h a t p e o p l e g i v e u p o n t h i n g s t o o s o o n . If y o u d o n ' t r e a l l y k n o w th e v a lu e o f th e p ie c e s that y o u h o l d in y o u r h a n d t h e n t h a t m a y b e a w i s e t h i n g t o d o , b u t it t a k e s a l o n g t i m e to put a d ea l to g e th er, n o m atter h o w m a n y t i m e s y o u ' v e d o n e it, h o w m a n y con tacts y o u h a v e ."

A n a l y s i n g t h e c r u c i a l d e c i s i o n s o f his career, h e regards p ro d u ctio n in v o lv e ­ m e n t in N e w Z e a l a n d , t h e e s t a b l i s h m e n t

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o f a n o f f i c e in L o s A n g e l e s a n d t h e r e t e n ­ t i o n o f a h o m e b a s e in M e l b o u r n e a s a m o n g th e m ost im portan t. " B y b e in g b a s e d in M e l b o u r n e , y o u ' r e i s o l a t e d from m a n y o f th e tim e - w a s te r s ," h e says. " I f p e o p l e r e a l l y w a n t t o s e e y o u , if t h e y fly d o w n t o s e e y o u , t h e n t h e y ' r e s e r i o u s .

A n d I ' v e a l w a y s f e lt t h a t p e o p l e in t h e M e l b o u r n e film c o m m u n i t y — I d o n ' t s o c i a l i s e a s m u c h a s I u s e d t o — b u t I 'v e f o u n d p e o p l e h e r e b y a n d large m o r e su p p ortiv e, p e o p le in S y d n e y m ore g o s s ip -r id d e n , m o r e vitrio lic. W ith m a n y , m an y e x c e p tio n s ," he adds.

H e h a s n o t h i n g t o s a y a b o u t his w e a k p oin ts. A fter a lo n g p a u s e h e sa y s finally, " I t ' s n o t s o m e t h i n g I t h i n k a b o u t . " It's not that h e a v o id s a n a ly sin g m istakes, h e c o n t i n u e s . " T h e film i n d u s t r y in a f u n n y s o r t o f w a y is a v e r y f o r g i v i n g i n d u s t r y , d e s p i t e w h a t I s a id e a r l i e r a b o u t v itr io l.

Y o u s e e a d i r e c t o r lik e C i m i n o , w h o n ea rly b a n k ru p te d a m a jo r c o m p a n y , b e i n g g i v e n in a c o m p a r a t i v e l y s h o r t t i m e th e o p p o rtu n ity to d irect a n o th e r m a jo r p icture, a n d w h e n that d o e s n 't w o r k t o o w e l l h e g o e s a n d d o e s a n o t h e r . It's a v e r y fo rg ivin g indu stry, a n d h a rk in g b a c k to a n e a r l i e r q u e s t i o n , I'd p r o b a b l y s a y t h a t I'd b e e n t o o f o r g i v i n g o n o c c a s i o n s .

T h e r e a r e p e o p l e t h a t I k n o w in t h e film in du stry w h o d o n 't forget, a n d w a it w ith s o m e m e a su re o f g le e for th e o p p o rtu n ity w h e n t h e y c o m e into a p o s itio n o f p o w e r to w r ite th e slate o f th eir s u p p o s e d g r ie v ­ a n c e s, a n d I see, o f c o u rs e , h o w that c o u ld b e a t h e r a p e u t ic sort o f th in g . But I ' v e a l w a y s h a d s o m e d i f f i c u l t y in d o i n g th a t."

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CINEMA PAPERS MAY - 37

CAK TK TES t is ir o n ic th a t th is B ritis h -b o r n a c t o r is re ga rd ed b y m a n y film go ers as th e q u i n t e s s e n t i a l A u s s i e ba ttle r. Fro m t h e l a i d - b a c k b r a v e r y a n d l i k e a b l e larri­ kin i s m of th e young cam eram an d r o w n e d in t h e M a i t l a n d f l o o d s in Newsfront, t o t h e o p t i m i s i m o f t h e h illbilly c h a i n s a w s e lle r in Dogs in Space, C h r is H a y w o o d ep ito m ise s a gutsiness w h ic h in fe c ts his o p i n i o n s o n a n d o f f t h e set.

S i n c e his arriv al f r o m Britain in 1 9 7 0 , H aywood has been an ou tspoken d e f e n d e r o f a c t o r s ' rights, a g it a t in g fo r b e t t e r fa c ilitie s a n d d e f e n s i v e e m p l o y ­ m e n t p o l i c i e s . A u s t r a lia n film h a s b e n e ­ fited f r o m b o t h his p o l itic a l c o n c e r n s a n d his c r e a t iv it y , a n d his d y n a m i c p e r f o r m ­ a n c e s s h o w h o w th ese t w o p assions fee d e a c h other.

B o th o n t h e s c r e e n a n d a s i n t e r v i e w e e , h e is full o f c o n v i c t i o n a n d c o n v e y s his o p i n i o n s w i t h a v o l a t i l e e n e r g y . H e is at first s u s p i c i o u s and defen sive, but g r a d u a l l y h e p e p p e r s his r e p lie s w it h larrikin l a u g h t e r , w h i c h s e r v e s a s a r e m i n d e r t h a t th is t h o u g h t f u l a c t o r is p r o b a b l y a bit o f a w i l d m a n w h e n h e 's o f f his g u a r d .

H a y w o o d p la y s a real w i l d m a n in R o g e r S c h o l e s ' d e b u t f e a t u r e The Tale o f R u by Rose. H e n r y R o s e is a W e l s h i m m i g r a n t t r a p p e r li v in g w i t h his w i f e R u b y ( p l a y e d b y M e l i t a Jurisic) a n d f o s t e r s o n G e m in t h e N o r t h W e s t h i g h l a n d s o f T a s m a n i a in t h e 1 9 3 0 s .

H e n r y is a n a u t h o r i t a r i a n , br ittle m a n w h o s e relation ship w ith th e d e s o la te la nd f r o m w h i c h h e m a k e s a liv in g c h a r a c t e r i s e s his c a l l o u s relation ship w i t h his f a m ily . H e h a s little s y m p a t h y fo r Ruby, a m y s t ic a l c h i l d - l i k e w o m a n w h o is possessed b y her fear o f th e dark. R u by lo n g s t o e s c a p e t h e is o la t io n o f t h e m oun tain s and re tu rn through th e m ountain valleys to her c h ild h o o d v illa g e . W h e n H e n r y r e f u s e s t o l e a v e w i t h her, R u b y d e c i d e s t o m a k e t h e jo u rn e y alon e.

S c h o l e s s h o t t h e film o n l o c a t i o n in t h e W a lls o f Jeru salem , an e xtra o rd in a ry la n d scap e of bare m o un tain peaks, b l i z z a r d - r a v a g e d cliffs in t h e h e a r t o f t h e North W e s t. T h e cast a n d c r e w w e r e f l o w n in b y h e l i c o p t e r . W a l k e r s c a r r i e d in p r o v i s i o n s a n d e q u i p m e n t w h e n t h e w e a t h e r w a s t o o p o o r for flying an d " a t o n e s t a g e h a d t o c r a w l in o n t h e i r b ellies". H e a v y sn o w , e x tre m e c o ld and is ola tion a n d d if fic u lt te r r a in le a d H a y ­ w o o d t o d e s c r i b e t h e f i lm i n g o f R u b y Rose a s " t h e m o s t s p a r t a n c o n d i t i o n s I have ever w orked u nd er".

B ut H a y w o o d c a r r i e s a b o u t h im a n air o f c h a l l e n g e . O n e s u s p e c t s t h a t h e is both a p e rso n a n d an a c to r w h o thrives on difficu lty.

He a dm its that th e a m b i t i o u s n e s s o f t h e p r o j e c t w a s its a ttr a c tio n : " N o r m a l l y w h e n t h i n g s a r e a m b i t i o u s a n d d e m a n d i n g , t h e y tu rn o u t t o b e n o t o n l y e x c i t i n g in t h e s h o o t b u t I t h in k t h a t is a l s o c a p t u r e d o n film . T h a t w a s t h e r e a s o n I w a n t e d t o d o it. " O n th e m a in la n d , y o u 'r e g o in g to p l a c e s li ke t h e G o l d C o a s t d r t h e b ig c itie s o r t r o p i c a l b e a c h e s — all fast, s p e e d y , z a p p y so rts o f e n v i r o n m e n t s . But d o w n th e r e that d a rk n e ss a n d r e m o te ­ ness a n d sile n c e has an e x tra o rd in a ry e f f e c t o n y o u . It's r e a lly c a p t u r i n g . .

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38 - MAY CINEMA PAPERS

S ch o le s' p ro ject was in e v ita b ly d o m in a te d b y th e location : "A ll th e e q u ip m e n t had to b e carried . . . w a lk in g t h r o u g h vir gin f o r e s t o r o n i c e a n d s n o w .

W e w e r e w o r k i n g at t h e w a ll w i t h i n a t w o t o t h r e e m ile ra d iu s o f o u r c a m p b u t a lot o f t h e s h o t s w e r e d o n e u p in t h e high r id g e s a n d hills w h i c h m eant carrying th e g e a r up th e ro ck faces. " W e got to th e stage w h e r e w e w o u ld run o u t o f m o s t th in g s . W e c a m e c l o s e t o actu ally c o n s id e r in g g o in g o u t and trap p in g som e m eat . . . On one o c c a s io n I w e n t and p u lled th e p ro p v e g e t a b l e s o u t o f t h e se t g a r d e n a n d c a m e b a c k an d g a v e th e m to th e c o o k to se rve up . . . I se le c tiv e ly p ic k e d th e m so o n l y o n e s i d e o f t h e p la n t w a s b a ld s o t h e y c o u l d a l w a y s tu rn t h e p la n t o v e r f o r film in g!"

T h e practicality o f H a y w o o d 's p ro fe s­ sio n al a ttit u d e i m p o s e s its o w n c r e a t i v e c o n s t ra in t s : "I a m v e r y a w a r e o f t h e p r a c ­ tical p r o c e s s o f f i l m m a k i n g a n d I f e e l t h a t to a la rg e e x t e n t I c o m p r o m i s e w h a t I c a n d o in o r d e r t o g e t a s h o t . T h r e e t o f o u r s e t -u p s w o u l d b e an o r d i n a r y d a y o f h a rd w o r k ( u n lik e o t h e r fil m s o f e i g h t t o nin e) and th e tim e a v a ila b le to d o th e sh o t and th e n u m b e r o f takes y o u had w e r e m in im a l . . . O f t e n t h e p r i m e t h o u g h t w o u ld be to k e e p th e actio n w ithin th e r a n g e a n d lim it a t io n s o f w h a t w e h a d .

W e c o u l d n ' t s p e n d a lot o f t i m e w o r k i n g arou n d th e fre e d o m w ith w h ic h I n o rm ­ a lly like t o w o r k . " T h e l a b o r i o u s p r o c e s s e s i n v o l v e d in s h o o t i n g le d t o p r o b l e m s in c o n t i n u i t y : " I t 's a l w a y s d if fic u lt t o m a in t a in a c o n t i n u i t y in a s c e n e w h e n s h o t s a r e h o u r s o r d a y s a p a r t . . . In R u b y w e w o u ld often s h o o t a sh o t from o n e s c e n e fo llo w ed b y a shot from a n o th er sc e n e and so o n and th en g o b a c k a nd d o th e d if fe r e n t w i d e s h o t s . Y o u ' r e j u m p i n g all o v e r a n d it m a k e s c o n t i n u i t y w i t h i n t h e s c e n e f o r y o u r s e l f in t e r m s o f e n e r g y le v e ls e x t r e m e l y d iffic u lt, p a r t i c u l a r l y in c ir c u m s ta n c e s as p h y s ica lly d e m a n d i n g as t h e y w e r e o n th is f i l m . " H a y w o o d has lo n g b e e n a ss o c ia te d

w it h is su es r e la tin g t o a c t o r s ' rights. H e spent t w o years d o in g th eatre/pu b s h o w s in t h e s e v e n t i e s a s a re s u lt o f b e i n g 'b l a c k l i s t e d ' b y t h e film i n d u s t r y f o r being to o d e m a n d in g an d o u ts p o k e n .

H a y w o o d w a s in s t r u m e n t a l in c a m p a i g n ­ in g for b e t t e r f a c ilitie s f o r a c t o r s o n t h e set. It is a n is su e h e still c o n s i d e r s e s s e n ­ tial t o g o o d s t a n d a r d s : " W h e n a c t o r s a s k f o r c a r a v a n s o r a r e a s f o r t h e m s e l v e s it's for a p u rp o s e, so th e y d o n 't ge t d istu rb ed a n d d is t r a c t e d , s o t h e y c a n m a i n t a i n c o n ­ tin u it y . Y o u o f t e n g e t th is f e e l i n g o f ' O h , t h e y ' r e ju s t p r i m a d o n n a s ' , b u t t h a t 's bu llshit. A n y o n e w h o is s t u d y i n g a n y ­ t h in g n e e d s p e a c e a n d q u i e t a n d a n a r e a t o c o n c e n t r a t e in. U n f o r t u n a t e l y I d o n ' t th in k s o m e p r o d u c t i o n c o m p a n i e s a r e a w a r e o f w h a t actors n e e d . . ."

H a y w o o d a c k n o w l e d g e s th at c o n d i ­ t io n s f o r a c t o r s h a v e i m p r o v e d c o n s i d e r ­ a b l y in t h e last 1 0 y e a r s . T h e m o s t i m ­ p o r t a n t is su e s n o w a r e t h o s e r e la t e d t o " th e m on op olisation o f th e m edia and t h e c o n t r o l o v e r p r o d u c t i o n , " h e sa y s. " I t 's b e e n m o o t e d t h a t r e p l a c i n g 1 0 B A sh ou ld b e a central reserve fu n d w h ic h p e o p l e c a n in v e s t in a n d w h i c h w o u l d b e adm inistered b y a g r o u p o f p e o p le . I t h i n k t h a t is o p e n t o a lot o f q u e s t i o n , b e c a u s e it m e a n s t h a t a g r o u p o f p e o p l e a r e g o i n g t o a c t a s s o m e so rt o f c e n s o r ­ s h ip o n w h a t is p r o d u c e d . . . A n d I k n o w th ro u g h m y o w n e x p e r i e n c e that a p p o in te e s w ith th e A F C c a n b e v e r y de stru ctive a gain st in d ividu als' c a r e e r s ."

D efen sive e m p lo ym en t is a n o t h e r is s u e w h i c h H a y w o o d s e e s a s c r u c i a l t o th e con d ition s o f actors an d "th e m a in ten a n ce o f an i d e n t i t y in o u r industry".

H e a p p ro v e s o f th e c o ­ p ro d u ctio n system w h ic h s w a p s o v e r s e a s o p p o rtu n itie s for acto rs bu t regard s th e n e w D e L a u re n tiis o p e r a t i o n in Q u e e n s ­ la n d a s a m i x e d b le s s in g : " W h a t h e ' s d o i n g is g u a r a n t e e i n g a p r e s a l e f o r all p r o d u c t s w h i c h is te rr ific a n d m a k e s i n v e s t m e n t a lo t e a s i e r . . . b u t I h o p e h e d o e s n 't u se A ustralia as a c h e a p off-sh ore p r o d u c t i o n f a c ility f o r his A m e r i c a n c o m ­ p a n y a n d ju s t tu r n o u t p r o d u c t s s u i t e d

for th e A m e r ic a n m arket, th at d e n y th e A u stralian iden tity.

T h e re 's enough d e s tru ctio n o f w h a t iden tity A ustralia has go in g on a lre ad y."

The cultivation and p ro te ctio n of n a t i o n a l i d e n t i t y is a n o t h e r i s s u e w h i c h r e m a i n s c l o s e t o his h e a r t . " H e r e in M e l b o u r n e y o u p i c k u p t h i n g s li k e t h e Taxi D r i v e r s ' G u i d e to M e l b o u r n e f o r tourists . . . w h i c h g iv e y o u a v e r y p o o r r e p r e s e n t a t i v e v i e w o f w h a t A u s t r a l i a is all a b o u t . I'm w o r r i e d t h a t o u r i n d u s t r y w i l l t a k e o n t h e Taxi D r i v e r s ' G u i d e to A u s tra lia - t y p e i m a g e . " I su g g est to H a y w o o d th at an A u stra ­ lian i d e n t i t y in film h a s b e e n t o o c l o s e l y a s s o c ia te d w ith th e A ustralian la n d s c a p e .

T h e s e d u c t i v e n e s s o f t h e la n d a n d t h e s t r e n g t h s o f A u s t r a l i a n t e c h n i c a l skills, p a r t i c u l a r l y in c i n e m a t o g r a p h y , a r e d i s ­ g u i s i n g g e n e r a l i n a d e q u a c i e s in s c r i p t i n g a n d in n o v a tiv e ideas. H a y w o o d a g r e e s th at to d e v e l o p o u r in d u stry c re a tiv e ly " w e m u s t firstly b e c o m e m u c h m o r e i m a g i n a t i v e in o u r s c r i p t i n g " .

A m o r e v o l a t i l e i n d u s t r y is d e p e n d e n t on th e im a gin ation a n d e x p e r im e n ta tio n w h i c h is, in p a rt, t h e t e r r i t o r y o f n e w d i r e c t o r s lik e R i c h a r d L o w e n s t e i n a n d R o ge r S ch o le s. H a y w o o d th rives o n th e e x c ite m e n t th ese n e w directo rs g e n e r a te b e c a u s e " w h e n s o m e b o d y is n e w t o a m e d i u m t h e r e is a s o r t o f e n e r g y r e l a t e d to th at n e w n e s s " .

T h e p o ssib ilities o p e n e d u p b y an in clin a tio n t o w a r d risk-takin g a re , h e says, " o n e o f th e jo y s o f w o r k in g w ith p e o p le from S w in b u r n e . S o m e h o w or other S w in b u rn e ten d s to produce p e o p l e w h o a r e far m o r e w i l l i n g t o t a k e risks . . .

O f th e p ic tu r e s I'v e b e e n i n v o l v e d in, t h o s e c l o s e s t t o t h e e d g e h a v e b e e n S w in b u r n e p ictures. " I t is s t i m u l a t i n g t o w o r k w i t h y o u n g e r d i r e c t o r s b e c a u s e o f t h e i r le ss p r e d i c t ­ a b le s u b je c t m atter. T h e u n p r e d ic ta b ility o f t h e s i t u a t i o n is f a s c i n a t i n g — y o u n e v e r k n o w w h a t's g o in g to h a p p e n ."

A r e th e re a n y ch a ra cteristics th at th e e ig h ties w a v e o f y o u n g d ir e c to rs share?

" W o r k in g w ith L o w e n ste in o r S c h o le s had in c r e d ib le sim ilarities to w o r k i n g w i t h P e t e r W e i r o n The Cars t h a t A t e Paris ( 1 9 7 4 ) — n o o n e k n e w w h a t t h e y w e r e d o i n g ! W e l l , e v e r y t h i n g w a s in t h e i r heads — th ey k n e w exa ctly w h a t th ey w a n te d , bu t n o o n e e lse d id !"

H a v in g e stab lish ed h im self as an a c to r w h o is w i l l i n g t o s u p p o r t n e w d i r e c t o r s , H a y w o o d n o w en terta in s th e p ossib ility o f b e c o m i n g a n e w d i r e c t o r h i m s e l f : "I w o u l d l o v e t o d i r e c t a film a n d I t h i n k I c o u l d t o o . I'd h a v e t o s p e n d s o m e t i m e learn in g m o r e a b o u t p o s t-p ro d u c tio n . . . b u t in t e r m s o f p r e - p r o d u c t i o n a n d s h o o t i n g I'm s u r e t h o s e a r e a r e a s I'm qu ite c o m p e te n t to w o r k in ."

A m o n g s t p o s s i b l e p r o j e c t s a r e The Balla d o f N ic k le s a c k , a C o u n t r y a n d W e s te rn tru ck in g m u sical a n d a N e p a l­ e s e lo v e story. H e s e e s h im se lf w o r k i n g c lo s e ly w ith o th e rs to d e v e l o p th e s e p r o j e c t s : " L i k e w h e n y o u ' r e r u n n i n g , it's e a s i e r t o ru n a l o n g s i d e s o m e b o d y e l s e t h a n t o ru n o n y o u r o w n . " A s a n a c t o r H a y w o o d is p e r h a p s b e s t r e m e m b e r e d f o r his c a m e o a p p e a r a n c e s in f ilm s s u c h a s M a n o f Flo w ers, M a l c o l m a n d Dogs In Space, in w h i c h h e p a c k s t h e e n e r g y o f a l e a d i n g r o l e in to t h e s c o p e o f a c h a r a c te r role. A la ck lu stre o r c lu m s y narrative c a n s u d d e n ly b e illu m in a ted b y his i d i o s y n c r a t i c v it a lit y . It is t h e r e f o r e hearten in g to know that w h ile he a p p re cia te s th e o p p o rtu n ity to p lay l e a d i n g r o le s , h e d o e s n o t s e e t h e m a s a n i n e v i t a b l e a n d n e c e s s a r y ' p r o g r e s s i o n ' in his c a r e e r . " M y r o l e is a s a p e r f o r m e r , a n d l d o n ' t t h i n k t h a t o u r i n d u s t r y is t h a t b i g t h a t I c a n a f f o r d t o s a y I 'm j u s t a l e a d a c t o r . It has b e e n s u g g e s te d to m e b y p e o p l e w h o s e a d v i c e I lis te n t o , t h a t I s h o u l d n o l o n g e r a c c e p t s m a ll r o l e s . I f u l l y u n d e r ­ stand th eir re a so n in g , a n d to a d e g r e e , it's m o r e s a t i s f y i n g t o p l a y t h e l a r g e r r o le s , b u t t h e r e ' s n o d i f f e r e n c e t o t h e a m o u n t o f p rep a ratio n re q u ire d for a la r g e o r s m a ll ro le . " I t h i n k a film is r e l i a n t o n e v e r y p a r t o f it, n o t j u s t t h e l e a d a c t o r o r a n y o n e e l s e .

E v e r y p a r t o f t h e film is vital t o its o v e r a l l i m p a c t . . . Q u i t e o f t e n a p i c t u r e c a n fall d o w n in t h e c a s t i n g o f s o m e o f t h e s m a l l e r p a r ts . . . I f e e l t h a t I still a c c e p t s m a ll p a r ts b e c a u s e t h e film c o m e s first, not m y p e rfo rm a n c e ."

H a y w o o d ' s a t t i t u d e t o his c r a f t is e s s e n t i a l l y p a r t o f his p r a g m a t i s m . Ju st a s h e is c o m m i t t e d t o t h e e x c e l l e n c e o f a s h o t w i t h i n its t e c h n i c a l c o n f i n e s , s o is h e c o m m itte d to social c h a n g e w ith in th e p r a c t i c a l c o n f i n e s o f his m e d i u m . O n e gets th e fee lin g that H a y w o o d e n jo y s th e i m a g e o f a bit o f a r a b b l e r o u s e r , b u t h e is e ssen tially an a c to r a n d h e s e e s th e c h a n c e to c h a n g e policies and p e o p le t h r o u g h his c raft. " Y o u ' v e g o t t o u s e film t o e d u c a t e p e o p le , but y o u 'v e go t to b e su b tle a b o u t it. T h e first p u r p o s e is t o e n t e r t a i n .

A u d ie n c e s d o n 't w a n t to b e le ctu red to.

T h e y ' r e g o i n g o f f t o h a v e a bit o f f a n t a s y , r e li e f f r o m d r u d g e r y a n d e v e n t h o u g h it w o u l d b e n e f i t p e o p l e t o s e e m o r e 'a rt m o v ie s ', e n te r ta in m e n t m u st b e th e prin ­ c i p l e o b j e c t in m a k i n g a p i c t u r e . "

CINEMA PAPERS MAY - 39

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BELINDA Set in 1968, Belinda is the story of an innocent young girl who is diverted from a career as a classical dancer by a job at a sleazy nightclub. It is a world she is ill-equipped to cope with. Deanne Jeffs plays the wideeyed ingenue and Nic Lathouris is cast as one of the many brutal characters who teach her the harsh realities of life, as she is lured into sequins, feathers and bumping and grinding to nightclub versions of sixties classics.

• W ritten and directed by Pamela Gibbons. Produced by Bedrich Kabriel.

Photographed by Malcolm McCulloch.

Cast: Deanne Jeffs, Nic Lathouris, Mary Reegan, Kaarin Fairfax, Joy Smithers, John Jarratt, Ricky May. Represented by: Australian Film Com­ mission.

CANDY REGENTAG W holly funded by the Australian Film Commission, the film is set in a Sydney brothel where Candy, an art school graduate, earns a living. Her work is beginning to change her relationship with the man she lives with, and she becomes obsessed with Reg, an unpredictable, enig­ matic client, who is ultimately un­ attainable. Producer Graeme Isaac describes it as “ a movie with guts, heart and humour".

James, Kit Taylor, Tim Burns, Briony Behets.

Represented by: Phil Gerlach and Mikael Borglund from Parallel Films.

Screenings to be conducted by OP Enter­ tainment.

CODA, A SYMPHONY OF EVIL When a music student is flung out of her residential college window, her fellow student and neighbour finds herself involved in a series of threatening events.

• Directed by Craig Lahiff. Produced and written by Terry Jennings and Craig Lahiff. Photographed by David Foreman.

Cast: Penny Cook, Arna-Maria W in­ chester, Liddy Clark, Olivia Hamnett, Patrick Frost.

Represented by: Tom Broadbridge, Premiere Film Marketing, Sofitel-Mediterranee.

DARK AGE A giant killer crocodile, known as Numunwari to the Arnhem Land Aborigines, terrorises Darwin. W ild­ life officer, Steve Harris, has to decide between placating a terrified population by killing the croc or following his conservationist beliefs and respect for the tribe's wishes.

John Jarratt, also to be seen in Belinda, stars with Nikki Coghill,

DEAR CARDHOLDER Bill Bennett's third feature and first comedy, the story of a man who runs up a huge debt on credit cards.

Robin Ramsay plays Hec Harris, a sacked taxation clerk who is em­ broiled in After Hours-style chaos as he uses credit card after credit card to pay his debts; Jennifer Cluff is Aggie, a poultry farmer who pays her tax debt in kind, letting loose cages of chickens in the tax office.

It's a film about 'small people' who've been stamped on by bureau­ cracies, as Hec and Aggie and Hec's precocious daughter team up to take on the system. Bob Ellis and Patrick Cook can be seen in support­ ing roles.

DOGS IN SPACE It's 1979, the space shuttle is in the heavens, David Bowie comes to Australia, and in a communal house­ hold in a Melbourne inner-city suburb, life goes on . . . television, drugs, rock'n'roll, television, trips to Melbourne's first all-night stores and a bit of soft-focus sex. Richard Lowenstein recreated his own life in a seventies household, actually going back to the original house to film. INXS lead singer Michael Hutchence makes his acting debut, mostly on his knees, as the amiably amoral Sammy, and the perennially excellent Chris Haywood (see story p 38) makes a cameo appearance with a chainsaw.

• Directed and written by Richard Lowenstein. Produced by Glenys Rowe.

Photographed by Andrew de Groot. Cast: Michael Hutchence, Saskia Post, Nique Needles, Deanna Bond, Tony Helou, Chris Haywood, Peter Walsh, Sharon Jessop.

Represented by: Skouras Pictures Inter­ national, Hotel Martinez.

Jackie, a young university student, is caught in a time warp, and witnesses a brutal, motiveless crime which turns out to have been committed 40 years ago. She convinces her boyfriend to help her investigate the crime. When the case is re-opened by the police, their computers mal­ function and refuse to store data; the temperature drops and the smell of lavender pervades the control room, and Jackie and her boyfriend are drawn deeper into a mystery from the past and the present. Veteran actors Ray Barrett and John Meillon respectively play an old soak and an old-style detective; Norman Kaye, best-known for his performances in Paul Cox features, plays an enig­ matic vicar.

CASSANDRA Cassandra is a young girl haunted by her past, and terrorised by the present. She dreams constantly of the shotgun suicide of her mother, and has a psychic vision about the death of Libby, her father's mistress.

Libby is found murdered . . . and the nightmares start to become reality.

Director Colin Eggleston's previous credits include the features Long Weekend and Sky Pirates and the television miniseries Body Business.

He wrote the script for Cassandra with John Ruane and Chris Fitchett, who were responsible for the under­ estimated thriller, Blood Money.

40 - MAY CINEMA PAPERS

• Directed by Arch Nicholson. Pro­ duced by Basil Appleby. W ritten by Sonia Borg, from a screenplay by Sonia Borg, Tony Morphett and Stephen Cross, based on the novel Numunwari by Grahame Webb. Photographed by Andrew Lesnie.

Cast: John Jarratt, Nikki Coghill, Max Phipps, Burnam Burnam, David Gulpilil, Ray Meagher, Jeff Ashby.

Represented by: RKO Pictures Inc/ Embassy Home Entertainment.

• Directed, produced and written by Bill Bennett. Co-produced by Jenny Day. Photographed by Tony Wilson. Cast: Robin Ramsay, Jennifer Cluff, Marion Chirgwin, John Ewart, Bob Ellis, Patrick Cook.

Represented by: Jenny Day, c/o Austra­ lian Film Commission.

FRENCHMAN’S FARM

• Directed by James Ricketson. Pro­ duced by Graeme Isaac. W ritten by Don Catchlove. Photographed by Mike Edols.

Cast: Patsy Stephen, Gary Cooke, War­ wick Ross, Rainee Skinner, Maxine Klibingaitis, Toni Scanlon, Jacqui Phillips.

Represented by: Australian Film Com­ mission.

• Directed by Colin Eggleston. Pro­ duced by Trevor Lucas. W ritten by Colin Eggleston, John Ruane and Chris Fitchett.

Photographed by Gary Wapshott. Cast: Tessa Humphries, Shane Briant, Lee

who appears in The Time Guardian.

Director Arch Nicholson's credits in­ clude Razorback and the TV series Return To Eden.

CASSANDRA: Tessa Humphries

• Directed by Ron Way. Produced by James Fishburn and Matt W hite. W ritten

by Ron Way, James Fishburn, Matt W hite, W illiam Russefy Photographed by Malcolm McCulloch. Cast: Tracey Tainsh, David Reyne, Ray Barrett, John Meillon, Norman Kaye, Andrew Blackman.

Represented by: Goldfarb Distributors.

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SLATE, WYN & ME: Simon Burke and Sigrid Thornton

GREAT EXPECTATIONS — THE UNTOLD STORY In the Dickens novel, the young hero Pip found that his mysterious benefactor was the convict Magwitch, who had made himself a fortune in Australia. Great Expecta­ tion s^- The Untold Story speculates on what might have happened to Magwitch in the colonies. It has been made as both a theatrical feature and a six-part miniseries, and was a co-production with the Aus­ tralian Broadcasting Corporation.

• Directed by Tim Burstall. Produced

by Tom Burstall and Ray Alehin. W ritten

by Tim Burstall. Photographed by Peter Hendry and Roger Lanser. Cast: John Stanton, Sigrid Thornton, Robert Coleby, Noel Ferrier, Gerard Kennedy, Todd Boyce, Anne Louise Lambert.

Represented by: Tony Ginnane, Film and General Holdings F*ty Ltd, Hotel Du Cap, and Hemdale Film Corporation.

GROUND ZERO Ground Zero is a contemporary poli­ tical thriller inspired by the recent revelations about British atomic test­ ing in the South Australian desert in the fifties. The film examines the fate of Australian soldiers and Aborigines in the test site area. Colin Friels plays Harvey Denton, who investigates the mysterious death of his father, killed during the atomic testing.

Donald Pleasence is Prosper, an Englishman living underground and on the edge of madness in the desert, and Jack Thompson is an intelligence officer who appears to be playing a double game.

• Directed by Michael Pattinson and Bruce Myles. Produced by Michael

42 - MAY CINEMA PAPERS

Pattinson and Stuart Freeman. W ritten by Jan Sardi and Mac Gudgeon. Photo­ graphed by Steve Dobson. Cast: Colin Friels, Donald Pleasence, Jack Thomp­ son, Natalie Bate, Simon Chilvers, Bob Maza.

THE LIGHTHORSEMEN

Gillian Armstrong and Judy Davis are back together again, eight years on from My Brilliant Career. Davis plays Lilly, a drifter who abandoned her daughter years ago, and now finds herself staying in the same sea­ side caravan park as her daughter and mother-in-law. Claudia Karvan plays Ally, the daughter; Colin Friels is a single parent with whom Lilly becomes involved. (See interview with Armstrong, p 30.)

In 1901, the Australian Light Horse was formally established as a m ili­ tary unit. The film focuses on a fourman section of the regiment, a group which survived Gallipoli; the story is set in 1917 when the British cam­ paign in Palestine is at a stalemate, and climaxes with the dramatic sun­ set charge of the Light Horse in an attempt to take the fortress of Beersheba. Action and spectacle are the order of the day in this feature, directed by Simon 'Phar Lap' Wincer. Executive producer Tony Ginnane (see feature p 34) negoti­ ated a record $6 million presale deal with RKO for the $10.5 million film.

• Directed by Gillian Armstrong. Pro­ duced by Sandra Levy. W ritten by Laura Jones. Photographed by Russell Boyd.

Cast: Judy Davis, Claudia Karvan, Jan Adele, Colin Friels, Frankie J. Holden, John Clayton, Monica Trapaga.

Represented by: Tony Ginnane, Film and General Holdings Fty Ltd, Hotel Du Cap, and Hemdale Film Corporation.

• Directed by Simon W incer. Produced

by Ian Jones and Simon W incer. W ritten

by Ian Jones. Photographed by Dean Semler. Cast: Jon Blake, John Walton, Tim McKenzie, Gary Sweet, Peter Phelps, Sigrid Thornton, Anthony Andrews.

Represented by: Tony Ginnane, Film and General Holdings Pty Ltd, Hotel Du Cap and RKO Pictures Inc.

INITIATION

THE PLACE AT THE COAST

HIGH TIDE

The saga of a streetwise city kid who is stranded in the Australian outback after a plane crash. His life or death journey involves magic and ritual.

Bruno Lawrence, the New Zealand actor who has made a strong impres­ sion in films like Smash Palace and The Quiet Earth, plays Nat. • Directed by Michael Pearce. Pro­ duced by Jane Ballantyne. W ritten by James Barton. Photographed by Geoffrey Simpson. Cast: Bruno Lawrence, Rodney Harvey, Arna-Maria Winchester, Miranda Otto, Bobby Smith, Tony Barry, Luciano Catanacci.

Represented by: Goldfarb Distributors.

Formerly known as The Bee-Eater, the film is the debut feature for writer and producer Hilary Furlong.

It is set on the southern New South Wales coast, where Ellie and her widowed father Neil retreat for their summer holidays. Ellie becomes in­ volved in a battle against a proposed tourist resort, but is caught up in another emotional conflict when her father falls in love with a woman young enough to be her sister.

Director George Ogilvie, whose pre­ vious work includes Short Changed, Mad Max III: Beyond Thunderdome

and the miniseries The Shiralee, has a distinguished theatrical back­ ground.

• Directed by George Ogilvie. Pro­ duced and written by Hilary Furlong.

Photographed by Jeff Darling. Cast: John Hargreaves, Heather Mitchell, Tushka Bergen, Margo Lee, W illie Fennell, Garry McDonald, Julie Hamilton.

Represented by: New South Wales Film Corporation, Apartment 6 E1, Hotel Gray D'Albion.

SHADOWS OF THE PEACOCK Director Phil Noyce describes this as an escapist romance for the eighties. Originally set in Bali, the production moved at short notice to Thailand. It concerns a love affair between a married woman in her early thirties and a Balinese dancer.

Wendy Hughes plays the woman, John Lone (Year O f The Dragon and the forthcoming Bertolucci picture The Last Emperor) plays the dancer.

• Directed by Phil Noyce. Produced by Jane Scott. W ritten by Jan Sharp with additional material by Anne Brooksbank.

Photographed by Peter James. Cast: W endy Hughes, John Lone, Steven Jacobs, Peta Toppano, Marjorie Child, Gillian Jones.

Represented by: OP Entertainment; Jan Sharp, do Australian Film Commission.

SLATE, WYN & ME Two brothers, Slate and W yn, kill a policeman w hile robbing a bank; the witness, a young schoolteacher, is kidnapped by the brothers and taken on their getaway. It's based on the novel by Georgia Savage. Direc­ tor Don McLennan also wrote and directed Hard Knocks (1980). The >

(M TV Publishing Limited)

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and Film Victoria

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by Michael Edols. Cast: Gary Day, Gosia Dobrowolska, Rod Mullinar, Tony Barry, Gerard M acG uire, Kris M cQ uade, Stephen Leeder.

Represented by: Australian Film Com­ mission.

THE TALE OF RUBY ROSE

THE TIME GUARDIAN: Dean Stockwell plays the boss of a time­ travelling city

< ubiquitous Sigrid Thornton plays the schoolteacher.

• Directed and written by Don Mc­ Lennan. Produced by Tom Burstall.

Photographed by David Connell. Cast: Sigrid Thornton, Simon Burke, Martin Sacks, Tommy Lewis, Lesley Baker, Harold Baigent.

Represented by: Tony Ginnane, Film and General Holdings Pty Ltd, Hotel Du Cap and Hemdale Film Corporation.

THE SURFER A promo reel was shown at last

year's festival; this year, the whole film makes an appearance. Gary Day plays a Vietnam veteran who runs a beach hire stand, and becomes embroiled in a blackmail conspiracy when his best friend is murdered. A mysterious woman becomes his partner in an attempt to find the killers. She is played by Gosia Dobrowolksa, star of Silver City.

• Directed by Frank Shields. Produced

by James M. Vernon and Frank Shields.

BETWEEN SKIPPY A N D BLISS

The first feature for director Roger Scholes, The Tale O f Ruby Rose is set in Tasmania's Central Highlands.

Its spectacular, isolated setting posed considerable problems for cast and crew (see story p 38), but it only serves to heighten the emotional intensity of the narrative, which concerns a woman with a fear of the dark. The landscape is given the same kind of overwhelm­ ing presence that the Yorkshire moors had in Wuthering Heights.

• Directed and written by Roger Scholes. Produced by Bryce Menzies and Andrew Wiseman. Photographed by Steve Mason. Cast: Melita Jurisic, Chris Haywood, Rod Zuanic, Martyn Sander­ son, Sheila Florance.

Represented by: Tony Ginnane, Film and General Holdings Pty Ltd, Hotel Du Cap and Hemdale Film Corporation.

THOSE DEAR DEPARTED In the spirit of Blithe Spirit, Those

Dear Departed concerns a spouse who comes back to haunt the living partner. In this case paranoid superstar Max Falcon is murdered by his wife Marilyn; when he comes back as a ghostly presence, they fall in love all over again. This black comedy features many of Australia's leading comic talents; it is directed

by Ted Robinson (Shout! and The Gillies Report), and written by play­ wright Steve J. Spears (The Elocution O f Benjamin Franklin ), from a short story he wrote in the seventies.

• Directed by Ted Robinson. Produced

by Phillip Emanuel. W ritten by Steve J. Spears. Photographed by David Burr.

Cast: Garry McDonald, Pamela Stephen­ son, Su Cruickshank, Marion Dworakowski, Richard Singer, John Clarke, Jonathan Biggins, Arthur Dignam.

THE TIME GUARDIAN A rarity for Australia, a science fiction feature, which employs many special effects that have never been used before in this country. Pro­ ducer Bob Lagettie describes it as ''an adventure'action sci-fi, a bang bang, shoot-'em-up story" which concerns an entire city on a jaunt through time. Tom Burlinson and Nikki Coghill star: imports Carrie Fisher and Dean Stockwell give the >

PARLEZ-VOUS STRINE? The S e n tim e n ta l B lo ke (1918), m a d e by R ay m o n d L ongford a n d L ottie Lyell, is re g a rd e d as o n e o f A u stra lia 's silen t classics.

T he N atio n al Film a n d S o u n d A rch iv e is se n d in g a n ew 3 5 m m p rin t to C a n n e s as p a rt o f th e a n n iv e rsa ry festival w h ich ce le b ra te s th e w o rk o f ea rly film m ak ers. T itles like, " M e p al 'e tro ts 'e r u p a n ' d o e s th e to ff/'E aliu s w u s a b lo k e fe r s h o w in ' o f f ," a re b ein g tra n s la te d in to F rench sp ecially fo r th e o cc asio n . The B loke w as ex tre m ely su ccessfu l in its tim e h e re a n d o v erseas, b u t w as a lm o st lo st fo re v er; it w as red isc o v ered in 1955 a fte r su rviving a fire in D e p a rtm e n t o f In fo rm a tio n v au lts in M e lb o u rn e . T he c a st in c lu d es L ottie Lyell, A rth u r T au c h ert, G ilb e rt E m ery, S tanley R o b in so n a n d C.J. D en n is, w h o w ro te th e v erse n a rra tiv e fro m w h ich th e film w as d eriv e d . It w as p h o to g ra p h e d by L o n g fo rd 's fa v o u rite c in e m a ­ to g ra p h e r, A rth u r H iggins.

A p u b lic a tio n on A u s tra lia 's m a in s tre a m v id e o , T.V. a n d film sin ce th e m id se ve n tie s.

C o py d e a d lin e : 1st A u g u st

INTERVENTION PUBLICATIONS P.O. Box 425 B ro a d w a y , NSW , 2007.

This p ro je c t is b e in g jo in tly fu n d e d by The A u s tra lia n Film

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THE SENTIMENTAL BLOKE: Arthur Tauchert and Lottie Lyell

44 - MAY CINEMA PAPERS

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CA N N ES < picture international appeal. It is directed by Brian Hannant, co­ writer of Mad Max 2, with music by Alan Zavod.

duction assistant on Man O f Flowers and first assistant director on Cactus.

• Directed, produced and written by Virginia Rouse. Photographed by Jaems Grant. Cast: Philip Quast, Maureen Edwards, Tony Llewellyn-Jones, Noel Trevarthen, Kate Reid, Wayne Cull, Genevieve Picot, Marcus Gollings.

Represented by: Australian Film Com­ mission.

• Directed by Brian Hannant. Produced

by Norm an W ilkinson and Robert Lagettie. W ritten by Brian Hannant and John Baxter. Photographed by Geoff Burton. Cast: Tom Burlinson, Nikki Coghill, Carrie Fisher, Dean Stockwell, Henry Salter, Jo Flemming.

Represented by: Tony Ginnane, Film and General Holdings Pty Ltd, Hotel Du Cap and Hemdale Film Corporation.

TRAVELLING NORTH The film of David Williamson's stage play, Travelling North brings Leo McKern back to Australia to play a warm but irascible engineer, who retires to the North Queensland coast to consolidate his relationship with Frances, played by Julia Blake.

However, his growing ill-health puts constraints on their love. (See review p 59.) Director Carl Schultz also worked on Goodbye Paradise and the award-winning Careful, He Might Hear You.

TO MARKET, TO MARKET Another first feature; director Vir­ ginia Rouse also wrote and pro­ duced this story of a young man from an establishment background, whose emotionally deprived child­ hood and adolescence still leave him desperate for the approval of his family. He becomes unknowingly implicated in a drug ring when he attempts to assist the brother whose affection he craves. Virginia Rouse has worked as a stills photographer on several Paul Cox films, was a pro-

Graham Kennedy, Henri Szeps, Diane Craig, Michelle Fawdon, Andrea Moor, Drew Forsythe, John Gregg.

Represented by: Ben Gannon, View Films, Grand Bretagne.

VINCENT - The Life And Death Of Vincent Van Gogh Paul Cox uses the letters of Vincent Van Gogh to his brother Theo, written between 1872 and his death in 1890, to tell the artist's story and explore the sites of his inspiration. It is a documentary drama, which un­ like the biopic Lust For Life, investi­ gates the artist's life w ithout using an actor to play him.

• Directed by Paul Cox. Produced by Tony Llewellyn-Jones and W ill Davies.

Photographed by Paul Cox. Represented by: Tony Llewellyn-Jones and Paul Cox, Hotel Acapulco.

WARM NIGHTS ON A SLOW MOVING TRAIN

DO T AND KEETO

• Directed by Carl Schultz. Produced

by Ben Gannon. W ritten by David W illiamson. Photographed by Julian Penney. Cast: Leo McKern, Julia Blake,

A romantic thriller set on an over­ land train; Wendy Hughes gives a

Maya Alexandrovna, Australia and New Zealand Film Agency, Hotel Grande Bretagne.

Frank Cox, buyer, Newvision Film Distributors, Hotel Athenee.

Me, Great Expectations — The Untold Story, High Tide, Hotel du Cap, Eden

Sandra Levy, producer, High Tide, Hotel Grande Bretagne.

Patricia Amad, publisher, Cinema Papers, Hotel Acapulco.

Vincent — The Life And Death Of Vincent Van Gogh, Hotel Acapulco.

W ilf Beaver, New South Wales Film Corporation. Representing The Place

Will Davies, Look Films, c/o J.C. Williamson.

At The Coast Judith Bland, director, Cori Films.

Representing Dot And Keeto, Dot And

The Koala, Dot And The Smugglers, Dot And The Whale, Epic.

Mikael Borglund, Parallel Films.

Representing Cassandra, do Australian Film Commission.

Tom Broadbridge, Premiere Film Marketing. Representing Coda — A Symphony Of Evil, Hotel SofitelMediterranee.

Charlotte Brown, Filmpac Holdings Ltd. Representing Warm Nights On A

Paul Cox, Illumination Films. Director,

Jenny Day, Mermaid Beach Productions. Producer, Dear Cardholder, do Australian Film Commission.

Ross Dimsey, president, Screen Production Association of Australia.

Representing Warm Nights On A Slow Moving Train, Hotel Splendid and do Australian Film Commission.

Marilyn Dooley, National Film and Sound Archive, do Australian Film Commission.

Phillip Emanuel, producer, Those

Dear Departed.

Roc, Cap d'Antibes.

Gordon Glenn, director.

Paul Gwynn, Filmpac Holdings Ltd. Gary Hamilton, UK-Europe manager, Australian Film Commission, do Australian Film Commission.

David Hannay, producer. Preselling

Dead Centre and other projects with British partners Film Screen International. Studio AC Flamant, Residences du Grand Hotel, 45 La Croisette. Ph. 93 99 19 08.

Philippa Hawker, editor, Cinema Papers, Hotel Acapulco.

James Henry, South Australian Film Corporation. Representing Playing

Beatie Bow, Run, Chrissie, Run, The Fire In The Stone and SAFC features

Leon Fink, Hoyts Corporation, Hotel Majestic.

and telemovie catalogue available for video release, c/o AFC and 8th floor, Palais des Isles, 68 La Croisette.

Stewart Chilton, managing director, J.C. Williamson Film Distributors.

Representing Fever, The Navigator,

Alan Finney, Village Roadshow Corporation.

Suzie Hoste, London representative, J.C. Williamson.

Jilted.

Oliver Gamgee, Filmpac Holdings Ltd.

Marie Hoy, president, Cori Films.

Jonathan Chissick, managing director, Hoyts Corporation, Hotel Majestic.

Ben Gannon, View Films. Producer,

Michael Hutchence, actor, Dogs In

Travelling North, Hotel Grande

Space.

Bretagne, 12 to 17 May.

Kaki Kirby, Los Angeles .representative, J.C. Williamson.

Slow Moving Train, Mates.

Al Burgess, Filmpac Holdings Ltd.

Daniel Collins, marketing consultant, New South Wales Film Corporation.

Representing The Place At The Coast.

Also The More Things Change, Going Sane, Short Changed, screened last year.

Liz Cook, sales representative, Cori Films.

Dani Cowburn, New South Wales Film Corporation.

46 - MAY CINEMA PAPERS

Andrew Gaty, Seven Keys Films Pty Ltd. Phil Gerlach, Parallel Films.

Representing Cassandra, do Australian Film Commission.

Antony I. Ginnane, Film and General Holdings. Representing The

Lighthorsemen, The Time Guardian, The Tale Of Ruby Rose, Slate, Wyn &

Robert Lewis, Australian Films International Inc. Representing The

Place At The Coast.

Jeff Lipski, Skouras Pictures International, Hotel Martinez.

Tony Llewellyn-Jones, Illumination Films. Producer, Vincent — The Life

And Death Of Vincent Van Gogh, Hotel Acapulco.

Richard Lowenstein, director, Dogs In

Space.

Danny McKay, marketing consultant, J.C. Williamson.

Kerry McGovan, Film Victoria, Hotel Palma, 7 to 12 May. Nick McMahon, Crawford Productions. Representing The Far

Country, Whose Baby?, My Brother Tom and other TV product. Stand 1203, MIP TV and Residence Saint Michel, 55 La Croisette.

Ph. 93 99 00 66.

Terence McMahon, general manager, Greater Union film distributors, Hotel Athenee.

Natalie Miller, Sharmill Films/Longford Cinema, Hotel Gray d'A lbion.

Caroline Koopmans, sales officer, Australian Film Commission.

Blake Murdoch, Variety correspondent, Appaitement La Josefa, 7 rue du 14 juillet.

Bruce Lamshed, Australia and New Zealand Film Agency, Hotel Grande Bretagne.

Fred O'Brien, distributor and exhibitor, Dendy Cinema Pty Ltd, Hotel Athenee.

Bevan Lee, distributor and exhibitor; Dendy Cinema Pty Ltd, Hotel Athenee.

John Politzer, film programmer, Greater Union organisation, Hotel Athenee.

strong performance as a good time girl who 'goes off the rails' on a regular professional basis. The other lead is Colin Friels and it is directed by the irrepressible Bob Ellis.

• Directed by Bob Ellis. Produced by Ross Dimsey and Patric Juillet. W ritten by Bob Ellis. Photographed by Yuri Sokol.

Cast: W endy Hughes, Colin Friels, John Clayton, Lewis Fitz-Gerald, Norman Kaye, Peter W hitford, Grant Tilly.

Represented by: Filmpac Holdings Ltd, Apartment Rose-Marie; Ross Dimsey, Alchemy Films, Hotel Splendid.

YORAM GROSS FILM STUDIO: Dot And Keeto/Dot And The Koala/Dot And The Smugglers/Dot And The Whale/Epic

The prolific Yoram Gross gives us four more feature-length mixtures of live action and animation starring the peripatetic Dot, who is aided at various times by a kookaburra, two boxing kangaroos, a dolphin, a mosquito and a koala called Bruce.

Paul Riomfalvy, New South Wales Film Corporation.

Virginia Rouse, director, To Market, To Market, c/o Australian Film Commission.

Glenys Rowe, producer, Dogs In

Epic is set in a magical past, opening with the Great Flood and following the fortunes of two babies, Sol and Luna, who are saved from the deluge by kindly animals. In fact they are reared by a couple of dingoes, which will be healthy for the image of an animal that hasn't recently been regarded as good with children.

• Dot And Keeto: Produced and directed by Yoram Gross. Animation directed by Ray Nowland. W ritten by John Palmer. Dot And The Koala: Pro­ duced and directed by Yoram Gross.

Animation directed by Gairden Cooke.

W ritten by Greg Flynn. Dot And The Smugglers: Produced and directed by Yoram Gross. Animation directed by Jacques Muller. W ritten by Greg Flynn.

Dot And The Whale: Produced and directed by Yoram Gross. Animation directed by Ray Nowland. W ritten by John Palmer. Epic: Produced and directed

by Yoram Gross. Animation directed by Athol Henry. W ritten by John Palmer and Yoram Gross.

Represented by: Cori Film Distribution, Room 172, Hotel Martinez. Marie Hoy, president, Judith Bland, director, Liz Cook, sales representative.

Antonio Zeccola, managing director, AZ Associated Film Distributors, AZ Theatres, Palace Home Video, Hotel Martinez.

Karen Zeccola, AZ Associated Film Distributors, Hotel Martinez.

Space.

John Sexton, producer, Hotel Grande Bretagne.

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Jan Sharp, producer, Shadows Of The Peacock, do Australian Film Commission.

Athenee, 6 rue Lecerf.

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Acapulco, 16 boulevard d'Alsace.

Carlton, 58 La Croisette.

Tom Skouras, Skouras Pictures International, Hotel Martinez.

Grande Bretagne, Bld Sadi-Carnot, Le

Greg Smith, Film Victoria, Hotel Splendid.

Gray d'Albion, 38 rue des Serbes.

Gordon Steel, overseas agent, Hoyts Corporation, Carlton Hotel.

Cannet.

Majestic, 14 La Croisette.

Martinez, 73 La Croisette.

Alan Stiles, Seven Keys Films Pty Ltd, Pullman Hotel.

Sofitel-M editerranee,

David Stratton, Variety correspondent, Appartement La Josefa, 7 rue du 14 juillet.

Splendid, 4 et 6, rue Felix-Faure.

Max Stuart, distributor.

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Ian Taylor, Luna Films, Hotel Athenee.

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Australian Film Commission, 8th floor, Residence du Festival, 52 La Croisette.

Richard Toltz, solicitor, Clayton Utz.

92 98 61 25

Clive Turner, Australian Film Commission.

Australian Producers Sales Office, La Salle Touquet and room 135, first floor, Hotel Majestic. 92 98 61 23

Patrick veitch, chief executive officer, J.C. W illiamson group.

Carole Wallis, Filmpac Holdings Pty Ltd. Robert Ward, Filmpac Holdings Pty Ltd. Frances Willington, Australian Film Commission.

Cori Films, Room 172, Hotel Martinez.

68 91 91 Filmpac Holdings Ltd, Apartment Rose Marie, 3rd floor, 57 La Croisette

PROUDLY PRESERVING AUSTRALIA’S FILM HERITAGE McCoy Circuit, Acton A.C.T. G.P.O. Box 2002, Canberra, A.C.T. 2601, Australia.

Telephone: (062) 67 1711 Telex: AA61930

New South Wales Film Corporation, Apartment 6 E1, Hotel Gray d'Albion.

93 38 70 19

CINEMA PAPERS MAY — 47

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W l KUKI KAA • JUDY M clNTO SH ROSS GIRVEN • MICHAEL TIBBLE TUTU NG ARIM U TAMATI • C O N N IE PEWHAIRANGI Screenplay TAMA POATA • Photography • RORY O'SHEA Music DALVANIUS • Producer JO H N O'SHEA Director BARRY BARCLAY A PACIFIC FILMS PRODUCTION in association with the N.Z. Film Commission INTERNATIONAL SALES: Lindsay Shelton, Marketing Director NEW ZEALAND FILM COM M ISSION AT CANNES: Top Floor, Pavilion Royal, 4 La Croisette. Tel 93382575 IN NEW ZEALAND: PO Box 11 -546, Wellington. Tel (4) 859-754. Telex NZ30386

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Based on the characters created by MURRAY BALL Music DAVE DOBBYN • Sound Design JO H N McKAY Screenplay MURRAY BALL and T O M SCOTT Animation Director ROBBERT SMIT Producers JO H N BARNETT and PAT CO X Director MURRAY BALL A M AG PIE PRODUCTION S Presentation In association with Independent Newspapers Ltd with assistance from the New Zealand Film Commission.

Soundtrack available through CBS • Dolby Stereo in selected theatres.

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INTERNATIONAL SALES: J & M ENTERTAINMENT London. Tel (01) 723-6544, Telex 298538 FILMING AT CANNES: Carlton hotel, Suites 217 and 218.

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pWZEALANDFlLMCOMMISSION AT CANNES TOP FLOOR, PAVILLON ROYAL, 4 LA CROISETTE. TEL93

ATCANNES'87 CHALLENGE FILM C O RPO R ATIO N PRESENTS PETER PHELPS and GREER ROBSON in STARLIGHT HOTEL Director of Photography WARWICK ATTEWELL Produced by FINO LA DWYER and LARRY PARR Editor MIKE H O R TO N • Director SAM PILLSBURY Produced in association with the NEW ZEALAND FILM COM M ISSIO N INTERNATIONAL SALES: Paul Davis, Marketing Director CHALLENGE FILM CORPORATION AT CANNES: Room 104, Hotel Martinez.

444 Madison Avenue (suite 2901) New York, NY10022. Tel (212) 752-0900.

Telex 4971299.

IN NEW ZEALAND: PO Box 1113 Auckland, New Zealand.

Tel (9) 790-097. Telex NZ21536

ALSO SCREENING AT CANNES #

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IN POST-PRODUCTION MICHAEL FIRTH'S

E LEADINGfH l i with M ATHURIN M O LG A T

JUDY MclNTOSH • PETER HAYDEN • RAWIRI PARATENE

LEON NARBEY'S

Produced by D O N REYNOLDS • Directed by RICHARD RIDDIFORD A Cinepro Production in association with the New Zealand Film Commission

iQ fy MATHEW HUNTER • MARK PILISI KIM WILLOUGHBY • PETER BLAND Produced by LARRY PARR • Directed by BRUCE MORRISON A Challenge Film Corporation Presentation.

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in association with the Challenge Film Corporation and the New Zealand Film Commission.

NEW ZEALAND AT

C A N N E S

With cameras rolling in New Zealand again (see report p 68), the Kiwis are eager to promote an industry back on the road. New Zealand will have three new features at Cannes and there will be repeat screenings of two titles from last year, Q u e e n C ity R o cke r and A rriv in g Tuesday.

N g a ti, the first 'feature written and directed by

Maoris, is about a young Australian who becomes involved in the affairs of a Maori community. It is directed by Barry Barclay and produced by John O'Shea. The other two new features to be shown are Sam Pillsbury's S ta rlig h t H o te l, produced by Finola Dwyer and Larry Parr, and the popular animated cartoon F o o tro t Flats, directed by Murray Ball and produced by John Barnett and Pat Cox. These features will have daily screenings at the Olympia Cinema. Lindsay Shelton, marketing director of the New Zealand Film Commission will be co­ ordinating the NZ campaign from a new office on the top floor of the Pavilion Royal, 4 La Croisette. David Gascoigne, NZFC chairman, John Barnett, Pat Cox, John O'Shea, Bronwen Stewart, sales manager of the Gibson Group, and Dorothee Pinfold, formerly of the Gibson Group and now an independent producer, can also be contacted there.

The sales office of the Challenge Film Corporation, sales agent for S ta rlig h t H o te l, is at the Martinez Hotel. Larry Parr and Finola Dwyer are based at this office, with Challenge marketing director Paul Davis.

NGATI: Ross Girven, Connie Pewhairangi and Judy McIntosh

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JOHN BARNETT, PAT COX AND THE TEAM AT MAGPIE PRODUCTIONS ON THE TREMENDOUS SUCCESS OF “ FOOTROT FLATS” W E W ERE PROUD TO BE ASSOCIATED WITH YOU ON TH E LABORATORY PRO CESSING AND POST PRODUCTION.

C o lo rfilm (NEW ZEALAND) Pty. Limited 27 Nugent Street, Auckland, 1.

Telephone: 775-483 Telex: NZ60481

50 - MAY CINEMA PAPERS

C o lo rfilm PTY. LIMITED AUSTRALIA. 35 Missenden Road, Sydney, Telephone: 516-1066 Telex: AA24545

inning awards Cine vex is part of the process!

The same processing expertise that went into ‘Malcolm’, ‘Dunera Boys’ and ‘Kangaroo’ goes into all our work. Being associated with such award winners is not new to Cinevex, after all, you do get used to it with 20 years in the business.

The process of bringing ideas to life cXN E ^

CINEVEX FILM LABORATORIES

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15-17 Gordon Street, Elsternwick, Victoria 3185 Phone: (03)5286188. Fax: 5285098. Telex AA 38366 m m m

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• The Berlin Affair • Footrot Flats — The Dog’s Taii Tale • In Between • Kangaroo • Little Shop Of Horrors • Men • Peggy Sue Got Married • Platoon • Some Kind Of Wonderful • Something Wild • Travelling North • True Stories • The Umbrella Woman

• T R U E S T O R IE S D a v id B y r n e ’s True Stories is an a n n o y ­ in g an d tr o u b lin g film in several resp ects. It is th e k in d o f project w h ich floats p u rely o n h y p e fin a n c e d b y h y p e , p ro m o ted b y h y p e . W h e n th is h y p e gets to the sorry p o in t o f to u tin g True Stones (a lo n g w ith Blue Velvet an d D ow n By L a w ) as a p rin cip a l r ep resen ta tiv e o f N e w A m e r ic a n in d e p e n d e n t /e x p e r im e n ta l film , it ’s o n c e a g a in tim e to w o n d e r ab o u t all th e a u th en tic a lly fu n k y little A m erica n film s w e w o n ’t b e se e in g this y ea r b eca u se True Stories h a s cd rn ered th e n o v e lty m a rk et. (A lth o u g h w e can look forw ard to b o th W a y n e W a n g ’s D im Sum an d S p ik e L e e ’s She’s Gotta H ave I t.)

I f I m e n tio n th at lo a d e d term ‘a u th e n tic ity ’, it ’s b e c a u se all d isa g r e e ­ m en ts o v er True Stories w ill o ccu r a ro u n d this issu e. B y r n e ’s lo o se ly k n itted co llectio n o f skits a n d stories are in an an ecd o ta l sen se ‘tr u e ’ — rep o rted ly ad ap ted from th e m o r e fa n cifu l item s in p o p u la r ta b lo id rags. B u t ‘tr u e ’ clearly m ea n s m u c h m o r e to B yrn e: folk sy, d o w n to ea rth , n o rm a l, ev e r y d a y , a u th en tic. True Stories is an u n d o u b te d ly p erfect cu ltu ral artefact. It illu m in a te s in o n e stroke the w h o le h ea d -se t o f an arty m id d le-cla ss d u d e le a v in g th e p o st­ m o d ern b ig city an d h e a d in g S o u th to fin d ‘real life ’. T h is real life — o n ce

p r o p e r ly a s s e m b le d , s t y lis e d and d ista n ced th ro u g h carefu l m ise en scen e and co d es o f satiric m id d le class a ctin g — is th en ‘c e le b r a te d ’, b u t th e c e le ­ b ration n e v e r r e lin q u ish es a p a tro ­ n isin g , c o n d e sc e n d in g to n e.

True Stories is, from sc en e to scen e an d d etail to d eta il, a h it-a n d -m iss affair; but w h at h its a n d m isse s for w h o m d ep en d s w h olly o n cu ltu ral tastes an d id e n tifi­ c a tio n s. If, like m e , y o u fin d y o u r se lf fig h tin g th e ‘freak sh o w ’ n a tu re o f m u ch o f the film , y o u w ill tak e resp ite an d p leasu re in th o se m o m e n ts w h ich so m e h o w m a n a g e to b e n o n -ju d g em e n ta lly n a tu ra l, sp o n ta n eo u s an d daggy. W h e th e r it ’s d u e to th e o cca ­ sion al stroke o f a p p a ren tly a u th en tic ca stin g (so m e d elig h tfu l ca m eo s in the m im in g o f ‘W ild W ild L ife ’), th e rig h t­ n ess o f the v erb a l id io m s h ere a n d th ere (d u e p erh ap s to B eth H e n le y ’s h a n d in the scrip t), or in d e e d B y r n e ’s o w n b etter creative ju d g e m e n ts (th e kids w h o stroll a lo n g b a sh in g o u t ‘H e y N o w ’ o n b its o f tin; th e tw o tee n a g e r s w h o d o u b le up la u g h in g at th e n e w ssta n d r e a d in g a lo u d item s from The Weekly W orld N ew s), True Stories n o w a n d th e n rin g s tru e.

T r y in g to m a k e a p o sitiv e case for the film ou t o f th ese b est m o m e n ts, it m ig h t be v e n tu red th at True Stories b rin g s to g eth er an d m u tu a lly tran sform s tw o p rev io u s te n d e n c ie s in B y r n e ’s w ork as son g w riter for th e b a n d T a lk in g H e a d s.

TRUE STORIES: David Byrne is just another brick in the wall

T h e first te n d e n c y is h is p o r tr a y a l o f th e m o d e r n in d iv id u a l: in c u r a b ly n e u r o tic , m in d a n d b o d y n e v e r in sy n c , h e a d an d h eart in c o n fic t, cla ssic a lly ‘a lie n a te d ’ (a s in ‘P sy c h o K ille r ’). T h e se c o n d a n d m o re recen t te n d e n c y is h is a tte m p t to ch a ra cterise so c ie ty as a w h o le as a c o lle c tiv e ly n e u r o tic b o d y sp a c e d o u t o n u to p ia n d r e a m s, v is io n s a n d d e lu s io n s, b u t to o h a p p ily d u m b to k n o w a n y b etter ( ‘R o a d to N o w h e r e ’). W h e n B y rn e sets th ese p r e o c c u p a tio n s d o w n S o u th , p e rso n a l a lie n a tio n su d d e n ly b e c o m e s an a g r e e a b ly c r a z y w a y o f c o p in g , r e sistin g a n d su r v iv in g th e d a ily d ru d g e; a n d th e c o lle c tiv e so c ia l d r e a m b e c o m e s an e q u a lly m e r r y m e a n s o f im p r o v isa tio n (as in B y r n e ’s c e le b r a tio n o f sh o p p in g m a lls a n d o th e r S o u th e r n a rch itectu re).

H o w e v e r , for a n o th e r se g m e n t o f th e a u d ie n c e , True Stories w ill b e a b o u t n o n e o f th ese th in g s. Its fu n n ie st a n d ‘tr u e s t’ m o m e n ts w ill b e c o m e th o se in w h ic h se a so n e d sa tirica l acto rs lik e S w o o sie K u rtz or S p a ld in g G r a y e n a c t cru el ste reo ty p es o f S o u th e r n stu p id ity . Its c lim a c tic ‘m e a n in g fu l’ m o m e n t w ill o ccu r — lik e in N ashville w h e r e a sta te o f fo ols ch a n t in u n is o n “ It D o n ’t W o r r y M e ” in th e face o f p o litic a l a ssa ssin a tio n — w h e n a ch a ra cter sin g s “ P e o p le lik e u s /W e d o n ’t w a n t fr e e d o m /W e d o n ’t w a n t ju s tic e /W e ju s t w a n t so m e o n e to lo v e ” . In th is r e a d in g (w h ic h th e film a b u n d a n tly in v ite s ), th e p o in t o f v ie w o f True Stories is im m a c u la te ly d ista n t an d sn e e r in g . T h is is th e True Stories I d e fin ite ly d o n o t like; it is also th e o n e w h ich g e n e r a te s m o s t o f th e h y p e a ccla im .

I f th e r e ’s a n y th in g a b id in g ly ‘e ig h t ie s ’ a b o u t th e film ’s to n e a n d s e n s ib ility , it is its c o n sta n t (a lm o st h y ste r ic a l) o sc illa ­ tio n b e tw e e n c o m p lic ity w ith , a n d d isd a in for, its su b ject m a tte r — a fu n d a m e n ta l a m b ig u ity lo c a te d first a n d fo r e m o st in B y r n e ’s q u a s i-fic tio n a l p r e se n c e as n a rra to r.

O v er-a cco m ­ m o d a tin g th e o b ject o f h is e n q u ir y , B y r n e tu rn s h im s e lf in to a lo o n e y tu n e e c h o in g th e e x o tic a a r o u n d h im , a n d p erfo rm s c u r io s ity for real life a n d n o r m a l folks in a fa sh io n th a t r e ek s o f b ad faith . F or th e fact is th a t, d e sp ite e n d le s s im p lic it p r o te s ta tio n s o f h is d e sire to m e r g e in w ith th e su b lim e S o u th e r n m a s se s, B y r n e (a s d ir e c to r ) c a n n e v e r g e t e n o u g h o f h is o w n im a g e .

H e sn ea k s it in e v e r y w h e r e — o n T V , a n d in fle e tin g c a m e o s . T h is in its e lf m ig h t c o n stitu te a n in te r e s tin g g a m e w ith m e d ia -id e n tity (B o b D y la n a n d N e il Y o u n g tried a sim ila r trick in th e ir se lf-d irected m o v ie s ), b u t in th is c o n te x t it stick s o u t as a g g r a v a tin g ly c ity -slic k a n d n a r c issistic .

W h a t o f True Stories as a m o v ie ? I f th ere is su ch a p h e n o m e n o n as c in e m a b y -n u m b e r s, th is is su r e ly it. T h e film a lte r n a te s tw o b a sic v is u a l styles: th e sta tic, d ista n t, p r im a r y -c o lo u r e d p o s t­ card v ie w (th a n k y o u , c in e m a to g r a p h e r E d L a c h m a n ), a n d fr e n e tic b lin k -a n d y o u ’ll-m is s -s o m e th in g -im p o r ta n t m o n ta g e . P lu s a few c u te to u c h e s lik e a rtific ia l b a ck p ro je c tio n ; a B r e c h tia n d e v ic e o f in tertitles; a n d m a n y p o in t-o fv ie w tr a c k in g sh o ts w ith a cto rs sta r in g in to th e c a m e r a a n d m o u th in g off. W h a t all th is a d d s u p to is th a t u n fo r tu n a te c lich e w h ic h is for o n c e -a b so lu tely a ccu ra te: True Stories is o n e lo n g rock v id e o clip . T h e r e is n o a r tic u la tio n , n o sen se o f sy ste m (e ith e r o p e n or c lo se d ) in it. L ik e v id e o clip s, it tries to w o rk o ff th e im m e d ia te im p a c t o f e a c h sp e c ­ ta cu la r a n d /o r jo k e y m o m e n t, to th e d e tr im e n t o f a n y o v e r a ll c o m p le x ity o f e ith e r fo rm or sen se .

P er h a p s th is rec o u r se to th e rock v id e o m o d e is d u e to B y r n e ’s Filmic in e x p e r ie n c e . B u t I c a n ’t h e lp su s p e c t­ in g th ere m a y also b e an e le m e n t o f c a lc u la tio n in v o lv e d — for a n a m n e s ia c film sty le is also a w a y o f e v a d in g a n d slip p in g p ast th e v ie w e r ce r ta in tr o u b le ­ so m e c o n tr a d ic tio n s a n d u n c e r ta in tie s in th e m a te r ia l. I ’m su re D a v id B y r n e w o u ld n ’t w a n t to b e c a u g h t v isib ly w a v e r in g b e tw e e n c e le b r a tio n a n d c o n ­ te m p t for ‘o rd in a r y p e o p le ’ . S o h is so lu ­ tio n is to fa b rica te a n o b je c t w h ic h is, in th e la n g u a g e o f h y p e , a p u re ‘e v e n t ’ . A n e v e n t True Stories c e r ta in ly m a y b e , b u t it ’s n o t m u c h o f a m o v ie .

Adrian Martin TRUE STORIES: Directed by David Byrne. Executive producer: Edward R. Pressman. Co-producer: Karen Murphy. Producer: Gary Kurfirst. Screenplay: Stephen Tobolowsky, Beth Henley and David Byrne. Director of photography: Ed Lachman. Editor: Caroline Biggerstaff.

Production designer: Barbara Ling. Music: Talking Heads. Choreography: Meredith Monk, Dee McCandless, Gene Menger. Cast: David Byrne (Narrator), John Goodman (Louis Fyne), Swoosie Kurtz (Miss Rollings), Spalding Gray (Earl Culver), Alix Elias (The Cute Woman), Annie McEnroe (Kay Culver), Roebuck Staples (Ramon), John Ingle (The Preacher). Production company: True Stones Ventures. Distributor: Village Roadshow. 35mm. 89 minutes. USA. 1986.

• IN B E T W E E N T h e r e are at lea st fo u r a rea s w h e r e th e S B S m in ise r ie s In Between c o u ld h a v e d e liv e r e d s o m e th in g p r e d ic ta b le . F ir stly , if it w ere m e a n t to b e a b o u t th e p r o b ­ le m s e n c o u n te r e d b y fo u r M e lb o u r n e te e n a g e r s liv in g in th e sa m e h o u s in g c o m m iss io n fla tb lo ck w h o are c a u g h t b e tw e e n tw o c u ltu r e s, it c o u ld h a v e b e e n a lo t m o r e se lfc o n sc io u s a b o u t th e is su e s, a lo t m o r e e m o tio n a lly sim p listic , a n d a lo t m o r e c o n fr o n ta tio n a list. A fte r all, th is is te le v isio n .

S e c o n d ly , if it w a s to b e d iv id e d in to fou r p arts it c o u ld h a v e c o n siste d o f fou r se lf-c o n ta in e d sto ries a b o u t ea ch o f th e fo u r cen tra l ch a ra cters. T h ir d ly , w h a t­ e v e r p r o b le m s th e y h a d sh o u ld h a v e b e e n r e so lv e d p r e fe r a b ly b y th e e n d o f e a ch e p iso d e a n d c e r ta in ly b y th e e n d o f th e series. Y o u k n o w , a h a p p y e n d in g .

F o u r th ly , b e c a u se y o u ’re d e a lin g w ith M a c e d o n ia n s , C a m b o d ia n s , T u r k s an d A u str a lia n s th e sh o w co u ld h a v e b e e n b r im m in g w ith c u ltu ra l ste r e o ty p e s.

T h e ser ie s, n o n e th e le ss, th a n k fu lly a v o id s all o f th e se tra p s, m a in ly th r o u g h th e tw in b le ssin g s o f a su b tle, rea listic ap p ro a ch a n d a n a r r a tiv e th at trea ts the fo u r e p is o d e s as o n e w h o le sto ry . T h e series is b a sic a lly a th ree a n d a h a lf h o u r m o v ie w ith e a ch e p is o d e th r o w in g so m e d ra m a tic e m p h a sis o n o n e p a rticu la r ch a ra cter, w h ile c o n tin u in g to d e v e lo p th e o th ers. T h is k e e p s v ie w e r in terest fo cu sed o n th e fo u r ch a ra cters th r o u g h ­ o u t, an d a llo w s th e ch a ra cters to d e v e lo p an d g ro w o v e r tim e , k e e p in g th e m safe from th e c lu tc h e s o f c lich e.

T h e series r e v o lv e s a r o u n d fou r situ a tio n s: F a tim a (F a tim a U y g u n ) is a T u r k ish girl w h o se fa th er w a n ts h er to q u it sch o o l a n d go to w o rk so she ca n go back to T u r k e y a n d g et m a rried ; S aret (V ic h e a T e n ) a n d h is sister K a n y a (L y L a c k h e n a M a k ) are su rv iv o rs o f th e P o l P o t r e g im e in C a m b o d ia a n d are ille g a l im m ig r a n ts; A n g ie (S h e r y l M u n k s) is a 1 6 -y ea r-o ld A u str a lia n C a th o lic w h o se d e c isio n to h a v e a n a b o r tio n c a u se s a rift w ith h er str o n g -w ille d m o th e r a n d w ith h er b o y fr ie n d A le x (J im P e tr o v sk i), the fou rth ch a ra cter o f th e series w h o has trou b le w ith h is M a c e d o n ia n fath er a n d sev ere p e e r g r o u p p ressu re p r o b le m s from th e g a n g h e h a n g s o u t w ith .

T h e s e r ie s ’ m o s t m o v in g , a n d m o st im p o r ta n t, n a r r a tiv e stra n d c o n c e r n s S a ret, th e C a m b o d ia n . H is d e sc r ip tio n s o f th e h o rro rs o f th e P o l P o t r e g im e to A le x are a m o n g th e s e r ie s ’ m o s t p o w erfu l sc e n e s a n d are a lo n g o v e r d u e r e m in d e r o f th e ig n o r a n c e m a n y p e o p le still h a v e a b o u t it. T h e su b s e q u e n t d e p o r ta tio n o f h im a n d h is sister (tr ig g e r e d b y h e r b e in g ra p ed an d b e a te n b y a fe llo w w o rk er) in th e fin al e p iso d e se rv es as a n e m o tio n a l c o n ­ d e m n a tio n o f th e p se u d o -n a tio n a listic a n d b la ta n tly ra cist a ttitu d e o f ‘sen d th em b a ck w h e r e th e y c a m e fr o m ’. B u t th e S a ret sto ry is a lso im p o r ta n t b e c a u se its d ire c to r ia l sty le is to ta lly in sy n c w ith th e o th e r c h a ra cters. T h e r e ’s n o t a h in t o f a n y th in g p a tr o n isin g or to k e n istic .

In te r e stin g ly , th e tw o e p is o d e s c o n ­ c e r n in g A n g ie a n d A le x a d d ress p r o b ­ le m s th a t reflect th e ir p e r so n a l v a lu e s rath er th a n p r o b le m s s te m m in g d irectly >

CINEMA PAPERS MAY - 53

K from extern ally ap p lied cu ltu ral p res­ sures (a lth o u g h th eir b a ck g ro u n d s, p ar­ ticularly A le x ’s M a c e d o n ia n fa m ily , are u n d o u b te d ly im p o rta n t). A n g ie w an ts A lex to stop h a n g in g a ro u n d w ith his m a te s b eca u se she th in k s th e y ’re ‘h o o n s ’, an d A le x w an ts h er to h a v e the child so th ey can get m a rried an d settle into a n ice su b u rb an a rra n g em en t.

In In Between, the cu ltu ral an d social conflicts o f the characters ten d to be extern al as w ell as in tern a l.

For in sta n ce, w h ile F a tim a co n sta n tly argu es w ith her father (a lth o u g h , sig n ifica n tly , n o t h e r m o t h e r ) a b o u t T u r k is h trad ition , m u ch o f w h ich she rejects, she also seem s to h ave an in h eren t lin k to the cu ltu re. In the ser ie s’ m o st b ea u tifu l scen e, F a tim a alm ost u n co n sc io u sly b eg in s sw a y in g to so m e T u rk ish m u sic w h ich filters in to h er b ed ro o m from a radio in an ad jacen t ro o m . S im ila rly , A n g ie ’s d ecisio n to h a v e an ab ortion co m es o n ly after a lot o f sou l sea rch in g and the realisation that she is g o in g to d eep ly u p set her strict m o th er and alien ate h er b o y frien d .

P at reso lu tio n s are a v o id e d . In d e e d , In Between is m ark ed b y a series o f e m o ­ tio n a l a n ti-clim axes: S aret is d ep o rted , A n g ie an d A le x split u p , F a tim a , a l­ th o u g h a llow ed to co n tin u e at sch o o l, is still u n d er the rule o f h er fath er, h er affection for S aret n ev e r gets further th an chats w ith A n g ie , an d A le x en d s up d o in g so m eth in g he d id n ’t w a n t to d o , w o rk in g as a h a m b u rg er v e n d o r for h is rich u n cle. E v en the n etw o rk o f r e la tio n ­ ships b etw een the four characters is far from sym m etrical. F a tim a is close to A n g ie w h o se b o y frien d , A le x , d islik es F a tim a an d v ice versa. (S ig n ific a n tly , the o n e friend th ey all share is S aret, w h o m th ey h elp o u t w h ile h e is a v o id in g

the im m ig r a tio n o ffic ia ls.)

B ut th e series lea v es o n e w ith a fe e lin g o f h o p e , that the characters h a v e lea rn t, suffered an d grow n b e ca u se o f th eir exp erie n c e and in tera ctio n s. T h e r e is no rosy p rojection o f a sw eet fu tu re for any o f th em , b u t th ey h a v e d isp la y ed the in d ep e n d e n c e , self a ssertio n , an d in te lli­ g en ce that w ill h o p efu lly h elp th em to su rvive w ith at least so m e d eg ree o f h ap p in ess. T h e series su g g ests that perhaps this is w h a t it m e a n s to be A u stralian .

In Between d id h a v e o n e m ajor p ro b lem w h en it w as screen ed in M e lb o u r n e in M a rch . A lth o u g h it certain ly h as a b ro a d -b a sed ap p eal, its c h ie f a u d ien ce w o u ld h a v e b een the teen a g ers w h o w ere its su b ject. N o w th ere w ere m a n y w a y s o f g e ttin g teen a g ers to see th e series, b u t a irin g su ch an im p o rta n t sh ow o n S B S at 8 .3 0 p m o n S u n d a y n ig h t, m o v ie n ig h t, w as n o t o n e o f th em .

Jim Schembri IN BETWEEN: Directed by Chris Warner and Mandy Smith. Producers: Chris Warner and Kim Dalton.

Screenplay: Shane Brennan and Maureen McCarthy.

Director of photography: Jaems Grant. Editor: Peter Friedrich. Sound recordist: Ian Wilson. Music: Mark McSherry. Cast: Sheryl Munks (Angie), Jim Petrovski (Alex), Vichea Ten (Saret), Fatima Uygun (Fatima).

P rod uction com pany: In Between Television Productions. First broadcast: SBS TV, Sunday 8, 15, 22, 29 March 1987. 4 x 1 television hours. Australia. 1986.

• TH E UM BRELLA W OMAN W h a t B ryan B ro w n lik es ab o u t b e in g in the m o v ie s is that h e learn s h o w to do th in gs. I t ’s a m ea su re b oth o f the in d u stry and th e actor that h e can shear a sh eep an d sit a h o rse. W h a t The

THE UMBRELLA WOMAN: Sam Neill, apex of a triangle

54 - MAY CINEMA PAPERS

Umbrella Woman h as ad d ed to B r o w n ’s repertoire o f m a n ly skills is h o w to sw in g an axe.

Y es, it ’s a n o th er pastoral A u stra lia n p eriod p iece ab o u t life in a little tim b er to w n , N e w S o u th W a le s, 1939. The Umbrella Woman, released in A m erica as The Good Wife, is like a w eird cross o f M y Brilliant Career and The W izard of O z: girl w ith n o p rosp ects gets it in to her pretty h ead that th ere m u st b e m o re to life than this. S he runs the g a m u t o f her p articu lar fa n ta sy , g e ttin g fairly w ell b attered in th e p ro cess, an d c o m es at last to the co m fo r tn g c o n clu sio n that, after all, th e r e ’s n o p lace like h o m e.

M a rg e H ills (R a c h e l W a rd ) is a d a n g ero u sly ro m a n tic y o u n g h o u sew ife w h o finds h e r se lf im p o ssib ly circ u m ­ scribed by the c o n d itio n s o f p re-fem in ist m arried life. I t ’s n o t that h er h u sb an d S o n n y (p la y ed b y W a r d ’s real life h u sb a n d B ro w n ) is a b ru te. In fact, the o n ly th in g w r o n g w ith S o n n y H ills is that d esp ite h is rep ea ted ly sign alled virility (n o te th e cra sh in g g u m trees), h e ’s really a b ore in b ed .

E arly in the Film w e g et M a rg e on her back lo o k in g m isera b ly in to the cam era w h ile S o n n y , face b u ried in the p illow , thrusts aw a y at h is w o o d en w ife. T h e final spasm o v er, h e rolls o ff an d asks her w h a t’s the m atter. “ O h S o n ,” she says, “ it seem s as i f n o th in g ex c itin g w ill ever h a p p en to m e .”

T h e n w h o sh o u ld step o u t o f a clou d o f steam o n to th e railw a y p latform bu t that ch arism atic slea ze, S am N e ill. N e ill p lays N e v ille G ifford , a city slicker w ith a n eat little C lark G a b le m o u sta ch e an d a n ifty floral carpet b a g w h o ’s b een hired to ten d bar at th e lo ca l h otel.

N e v ille is offered as a la d y-k iller w ith such m a g n e tism th at n o t a w o m a n passes h im b u t starts to u n b u tto n her b lo u se. M a r g e c o n c e iv e s an utterly fantastic o b se ssio n for th e m a n w h o, w ith his d a p p er dress an d stu d ied lin es, rep resen ts e v e r y th in g th e local b lok es d esp ise. D e e p d o w n , o f cou rse, N e v ille is a w o m a n -h a te r for w h o m each co n q u est is ju st a n o th er brick in the w all. B u t if th e b o y s are b lin d to the w o m e n ’s n e e d s, th e w o m e n are ju s t as sh ort-sigh ted w h en it c o m es to ju d g in g their ow n in terests.

W h a t b e g in s as in n o c e n t ro m a n tic e x p erim en t rap id ly d eg en era tes in to a d e g ra d in g an d d estru ctiv e fix a tio n as M a rg e lea v es h u sb a n d , h o m e , and h a p p in ess in h o t p u rsu it o f a m a n w h o d o e sn ’t w a n t h er. N e v ille p roves to b e as u n scru p u lo u s as w e su sp ected , M a rg e as crazy, and S o n n y as h elp less in th e face o f h is w ife ’s d esires.

W ith its su m p tu o u s p h o to g ra p h y , w ell-p a ced a ctio n , a n d the in h eren t in terest o f p sy c h o -se x u a l d ram a, th is is the k in d o f film th a t’s fin e if y o u d o n ’t th in k to o h ard a b o u t it.~ S h o u ld y o u be foolish e n o u g h to do so, y o u realise that this tale o f co n flict b e tw e e n (g o o d ) social c o n v e n tio n s and (b a d ) se x u a l a d v en tu rism , w h ich p reten d s th rou gh the sy m p a th etic fig u re o f M a rg e to a radical reversal o f v a lu e s, in fact

co n firm s th e m o r a lity o f 1 9 3 9 — th e m o r a lity im p lic it in th e o r ig in a l (ir o n ic ? ) title ‘The Good W ife ’.

T h e o p e n in g sc e n e d o e s d o u b le d u ty as coda: o u t at th e tim b e r c a m p S o n n y a n d h is y o u n g e r b ro th e r S u g a r race to see w h o ca n fell th e first g ia n t o f a tree.

S o n n y w in s, a n d S u g a r , in a fit o f p iq u e , sen d s th e tree c r a sh in g to th e g r o u n d w ith o u t th e r e q u is ite w a r n in g , v e r y n e a r ly o b lite r a tin g o n e o f th eir m a te s.

T h e b lo k es at th e c a m p are o u tr a g e d , lik e th e g o o d la d ie s o f th e to w n a b it la ter w h e n M a r g e sim ila rly d e fie s th e la w s o f

com m on d ecency. Sugar and M arge — y o u th an d im a g in a tio n — h a v e th e v ery sa m e le sso n to learn : w h e n y o u flo u t th e ru les y o u in v ite d isa ster. A n d as e v e r y d e c e n t m a n a n d so lid m a tr o n k n o w , h a p p in e ss c o m e s o f u n d e r sta n d in g th a t y o u ’re b etter safe th a n sorry.

The Umbrella W oman g o t m ix e d r ev ie w s in A m e r ic a . E v e n th ere w h e r e th e ta ste for A u str a lia n folk ta les is u n b o u n d e d , th e y fo u n d th is o n e a b it silly. It is n e ith e r m y th ic e n o u g h n o r p sy c h o lo g ic a lly p r o fo u n d e n o u g h to b e p a rticu la rly m e m o r a b le . T h a t ’s at b e st.

A t w o rst, a n d in d u str y , y o u r e g ressiv e.

in te r m s o f th e lo ca l m ig h t fa irly call it

Christina Thompson THE UMBRELLA WOMAN: Directed by Ken Cameron.

Producer: Jan Sharp. Associate producer: Helen Watts.

Screenplay: Peter Kenna. Director of photography: James Bartle. Editor: John Scott. Sound recordist: Ben Osmo. Production designer: Sally Campbell. Music: Cameron Allan. Cast: Rachel Ward (Marge Hills), Bryan Brown (Sonny Hills), Steven Vidler (Sugar Hills), Sam Neill (Neville Gifford), Jennifer Claire (Daisy), Bruce Barry (Archie), Peter Cumm ins (Ned Hopper).

Production company: Laughing Kookaburra. Distri­ butor: Village Roadshow. 35mm. 92 minutes. Australia.

1986.

• T H E B E R L IN A F F A IR

THE BERLIN AFFAIR: Mio Takaki, point of a Buddhist cross

A n o p e n in g title , fro m S c h o p e n h a u e r , a b o u t th e n e e d for “ p a ttern a n d u n ity in the life o f th e in d iv id u a l” as h a v in g a p rio rity a b o v e th e sea rch for u n iv e r sa l tr u th s is p r e s u m a b ly in te n d e d to a n n o u n c e th e c e n tr a lity o f sex u a l p a ssio n in L ilia n a C a v a n i’s la test film , The Berlin A ffa ir. D e r iv e d fro m J u n ic h ir o T a n iz a k i’s 193 2 n o v e l, The Buddhist Cross, a n d tr a n sp o se d to 1 9 3 8 B erlin on th e e v e o f w a r, th is in te r m in a b le a n d tu rg id film u se s p o litica l tu r m o il as a b a c k g r o u n d for th e se x u a l ch a o s w h ich e n m e s h e s its fo u r m a in ch a ra cters.

T h e fo u r p o in ts o f th e ‘B u d d h ist C r o s s ’ are M itsu k o (M io T a k a k i), d a u g h te r o f th e J a p a n e s e a m b a ssa d o r to G e r m a n y , L o u ise (G u d r u n L a n d g r e b e ), th e d ip lo m a t’s w ife sh e se d u c e s, th e d ip lo m a t h im se lf, H e in z (K e v in M c ­ N a lly ), w h o also falls v ic tim to M it ­ su k o ’s tr e a c h e r o u s c h a rm s, a n d J o s e p h (A n d r e a P r o d a n ), th e art in stru cto r at w h o se cla sses L o u ise m e e ts M its u k o , an d w h o is also h e r lo v e r . It is im p o s s ­ ib le w ith in th e sp a ce o f th is r e v ie w to do ju s tic e to th e e x c e ss e s, to th e lu d ic r o u s c o n v o lu tio n s o f p lo t b y w h ic h th e tireso m e ly in sc r u ta b le M its u k o is en a b le d to h o ld th e o th e r th ree in se x u a l th rall.

T h ese c o n v o lu t io n s in v o lv e , for in sta n c e , th e fak ed su ic id e o f L o u ise an d M itsu k o , d e v is e d to fo rce H e in z to take th eir r e la tio n sh ip serio u sly ; M it s u k o ’s a d m in is te r in g s le e p in g p o w d e r s to H e in z a n d L o u ise e a c h n ig h t as she le a v e s th e m to p r e v e n t th e m h a v in g sex w ith e a c h oth er; a n a g r e e m e n t b e tw e e n J o s e p h (w h o is p la n n in g to m a rry M itsu k o ) a n d L o u is e , sea led in b lo o d , a llo w in g L o u ise lo v e r ’s rig h ts w ith M itsu k o ; a n d , fin a lly , a trip le su ic id e p act b e tw e e n M its u k o , L o u ise a n d H e in z w h e n a G e s ta p o raid o n th eir h o u se m a k e s it c lea r th e y are in d a n g e r .

L o u ise a lo n e s u r v iv e s, a n d C a v a n i u ses h er as th e o ste n sib le n a rra to r o f th e film w h ic h is fr a m e d a n d in te r r u p te d b y h er te llin g th e sto ry to h er o ld fr ie n d , th e p ro fesso r (W illia m B e r g e r ), th e a u th o r o f p ro scrib ed n o v e ls , w h o is ta k e n a w a y b y th e p o lic e at th e film ’s e n d . A p a ra llel is th u s e sta b lish e d b e tw e e n th e o p p r e s­ sio n o f th o u g h t in th e to ta lita r ia n r e g im e an d th e o p p r e ssio n o f th e e m o tio n a l liv e s o f th e p r o ta g o n ists w h ic h b r in g s th e m to su ch v io le n t e n d s (th o u g h n o t fast e n o u g h ). T h e n a r r a tiv e d e v ic e is a w k ­ w a rd ly u se d , so th a t L o u is e a p p ea rs to

CINEMA PA PERS MAY - 55

R*E*V*I*E*W*S < report ev en ts o f w h ich she can h a v e had n o k n o w led g e; it in v o lv e s d ia lo g u e e x ­ ch a n g es b e tw e e n h er an d the p rofessor o f startlin g cru d ity , an d a v o ic e o v e r co m m en ta ry o f still m o re sta rtlin g b an ality ( “ M y h ea d w as sp in n in g ” , “ N e v e r h ad I felt so h u m ilia te d ” , etc).

A t first it seem s as if th e film m a y be m o u n tin g a seriou s ch a lle n g e to the h etero sex u a l h e g e m o n y o f G e r m a n b o u r g e o is life. L o u is e ’s p a ssio n for M itsu k o is p resen ted as m o re fu lfillin g th an h er lo v e m a k in g in the dark w ith H e in z , w h o sees their affair as a th reat to his career an d w h o is c o n v e n tio n a lly d ep icted as too p reo cc u p ie d w ith this career to take p rop er n o tice o f h is w ife.

T h e r e is a tellin g m o m e n t w h e n , h a v in g ren o u n ced the faith less M itsu k o o n fin d ­ in g h er w ith J o se p h , L o u ise is sex u a lly reco n ciled w ith h er h u sb a n d ; o v er h er sh o u ld er there is a p h o to g ra p h o f a w o m a n w ith ch ild ren , as if r e -e sta b lish ­ in g the ‘p roper o r d e r ’ o f th in g s. H o w ­ ev er, M its u k o ’s su b seq u e n t m a n ip u la ­ tio n s (sp elt ou t in the v o ic e o v e r ) lea d the film from o n e a b su rd ity to the n e x t, an d the d ra m a o f sex u a l p o litics lo ses force an d clarity.

The Berlin A ffair is n o t a r e w o rk in g o f the M a y e r lin g story w ith in n o c e n t lo v e sacrificed to a corrupt r e g im e . W h a t ap p ears in its first h a lf as a p le a for the p rim a cy o f the e m o tio n a l life (a v ie w u sh ered in b y the S c h o p e n h a u e r q u o ta ­ tio n ) h as b e c o m e an ab su rd farrago o f m a n ip u la tio n an d d ec e it, so that the p arallel w ith the c o m m u n ity at la rg e is rob b ed o f its force. T h e film ’s d e p ic tio n o f the official m o ra lity o f N a z i G e r m a n y is p e r fu n c to r y e n o u g h b u t it is im m e n se ly m o re in te r e stin g th an w h a t is h a p p e n in g in the fo reg r o u n d o f this w retch ed film .

C a v a n i is v irg in territory to m e so th at I d o n o t c o m e to The Berlin A ffair w ith p r e c o n cep tio n s b orn o f ex p o su r e to h er p r ev io u s w ork. O n th e b a sis o f this film , I find her n arrative p ro ced u res stiff (n o th in g b u ild s; the p lot is je r k e d a lo n g m e c h a n ic a lly ), h er v isu a l style te d io u s (a great m a n y flash y d isso lv e s a n d w ip e s sig n ify in g n o th in g ), h er ear for d ia lo g u e to n e -d e a f an d h er d ir e c tio n o f actors d e v o id o f su b tlety. T h e b ea u tifu l L a n d g reb e, so im p ressiv e in Istv a n S z a b o ’s Colonel R edl, is h ere red u ced to cru d e extrem es: e x p ressio n less m a sk or the co n to rtio n s o f p a ssio n . O n ly art d irecto r L u c ia n o R ic c o r i an d c in e m a to g r a p h e r D a n te S p in o tti, b e tw e e n th e m , o n e a ssu m e s, resp o n sib le for th e film ’s m u te d p erio d lo o k , e m e r g e w ith a n y cred it.

Brian McFarlane THE BERLIN AFFAIR: Directed by Uliana Cavani. Pro­ duced by Menaham Golan and Yoram Globus.

Associate producer: John Thompson. Screenplay: Liliana Cavani and Roberta Massoni. Director of photo­ graphy: Dante Spinotti. Editor: Ruggero Mastroianni. Art director: Luciano Riccori. Cast: Gudrun Landgrebe (Louise von Hollendorf), Kevin McNally (Heinz von Hollendorf), Mio Takaki (Mitsuko Matsugae), Hanns Zischler (Wolf von Hollendorf), Massimo Girotti (Werner von Heiden), Philippe Leroy (Herbert Gessler), William Berger (the Professor), Andrea Prodan (Joseph Benno).

Production company: Italian Inti. Film/Cannon/KF-Kinofilm Productions (Munich). Distributor: Hoyts. 35mm.

115 minutes. Italy/West Germany. 1985.

56 - MAY CINEMA PAPERS

S

O

M

E

T h is has got to b e the b est m usic in a m ovie in years. W e are talk in g four and on e-th ird pages o f singles credits in the press book (w ay m ore than could be on any soundtrack album ). L a tin o , reggae, A frican, h ip h op — m ain ly b lack, h ea v y on the bass, prim e m overs. T h e jo y o f this m usic w ashes over the w hole picture, m akes you so grateful for the sound that it really d o esn ’t m atter w hat else is goin g o n , could b e D eep and M eaningful, could be T rue and B eautiful, y o u w o u ld n ’t care, and you sh ould n ’t.

T h e credits read “ M u sic Score by Joh n C ale and L aurie A n d erson ” , w hich is a n ice th in g to see w h ile D a v id Byrne and C elia Cruz are settin g up the N ew York sk y lin e at the op en in g o f the film .

But you w ill have to listen fast to catch much Cale and A ndgrson. T h eir taste — best flavour, in tow n — m ust be w hat i s ' on d isplay. " You d o n ’t see the m usic in a m o v ie, o f course — and you w ill m iss m ost o f w hat is good about this film if you are used to seeing on ly w hat is set up in front o f you . T h is is a m ovie for fast look ers, not voyeurs. M ove you r eyes to the right or

T

H

I

N

left alm ost an ytim e and you are liab le to w itness a b it o f q u o tid ia n surrealism (not to m en tion w hat they are d o in g in the seats up ah ead). P eop le and events intersect w ith the m o v ie 4 do their schtick and slide off. T h e en d cred its, for exam ple, are really lon g and really good, w ith Sister Carol sw a y in g right and left on one sid e w h ile the credits roll dow n to up on the other and every now and then a w igw ag in the letterin g. B ut lots o f people leave w hen the story is over.

P ity for them .

T h e best characters in the m ovie say only a few lin es and are gone. A fat man b eh ind a counter, a restaurant ow ner, the two Joh n s (Sayles and W aters), two ladies w ho ow n an op shop, M ax D og (the M ax D og?). T h ere is a m om ent w hen the cam era tracks over a car filled w ith p eople sin g in g as it m otivates along the h igh w ay, and you th in k “ in every car there is som ething lik e th a t” . A good tim e and som e antacid p h ilosop h y — surely that is m ore than enough to take aw ay from any m ovie.

H ave w e said enou gh about the good tim e? M elan ie G r iffith ’s costum es and her grin. M ovie references (the film is in

W I L D th e Gun C razy-couple-on-the-run tra d itio n , an d it k n ow s it) an d cars an d k in k y sex an d b o o ze an d tob acco (n o o th er drugs) an d crim in a l b e h a v io u r and a p sych op a th an d lo w -k e y ex p lo ita tio n v io len ce at th e en d .

B ut th e p o ster m akes h e a v y claim s: “ S om eth in g d ifferen t, S o m e th in g d a rin g, S om eth in g d a n g ero u s” , an d th e en d cred its say “ la lu ta c o n tin u a ” (w h ich m eans “ th e n o n e x iste n t S p an ish w ord w h ich y o u th ou gh t m ean t ‘stru ggle’ goes o n ” ). Is th is really

Something Wild?

W ell, n o, actu a lly . T h is is a story about a crazy, m ix ed u p girl (L u lu or - A u drey H a n k e l, p la y ed b y M e la n ie G riffith ) searchin g for a good m an to settle d ow n w ith . N o k id d in g . L o o k at the b ooks sh e reads (y o u c a n ’t m iss ’em ): b io grap h ies o f F rid a K a h lo a n d W in n ie M a n d ela, great w om en in th e sh adow s o f great m en . T h in k ab out th e w a y the n arrative shifts from d ra g o o n in g him (C h arlie D riggs, p la y ed b y J e ff D a n ie ls) in to h er w orld to in sin u a tin g her in to h is. A t th e en d sh e has b een w a itin g for h im , n ot so th ey can zoom o ff o n a 16 state spree o f m urder and m a y h em , b u t so she can offer h im th irties su b u rb ia — an d he e v e n gets to drive! T h e p rob lem is, th is creep is n eith er D ie g o R iv er a nor N elson M a n d ela . H e is an assh ole at th e b e g in n in g o f the m o v ie an d an a ssh ole at th e en d o f th e m o v ie, so w h a t d oes that m ake her?

T h er e’s m ore. T h e life less v isu a l an d a ctin g sty le favoured b y J o n a th a n D em m e an d h is regular D O P , T a k F u jim oto, is m atched in th e scrip t b y first-tim er N Y U F ilm School grad u ate, E . M ax F rye, w h ich is carefu l to d efu se a n y in tim a tio n o f real d an ger to its p rotagon ists. It d o e sn ’t take lo n g to learn that her m oth er k n ow s w hat A udrey is and accepts h er, that her “ w ild n e ss” has b een fen ced o ff so that it w ill not touch h er, that ev e ry tim e th is p ost-m od ern ist B o n n ie an d C ly d e m iss th eir fo o tin g the n arrative w ill catch them and ease them back to terra jirm a.

U n p re d icta b ility , fin a lly , is ex a c tly w hat is lack in g in a story w h ich cla im s to be p u sh in g ju st th at.

So, not som eth in g w ild , b u t so m eth in g d o m esticated , not freed om , but h a p p in ess, not an arch y, b u t ord er. N ot a co m ed y, b u t a traged y. O n ly th e b its at the edges o f the fram e and th e in sisten t drum s on the sou nd track tell you d ifferen t — m aybe.

Bill and Diane Routt SOMETHING WILD: Directed by Jonathan Demme.

Producers: Jonathan Demme and Kenneth Utt. Screenplay: E. Max Frye. Director of photography; Tak Fujimoto. Production designer: Norma Moriceau.

Editor: Craig McKay. Music score: John Gale and.

Laurie Anderson. Cast: Jeff Daniels (Charles Driggs), Melanie Griffith (Audrey Hankel), Ray Liotta (Ray Sinclair).. Jack Gilpin (Larry Dillman), Su Tissue (Peggy Diliman),’ Dana Preu (“ Peaches"), Margaret Colin (Irene), Tracey Walter (The Country Squire), Kristin Olsen (Tracy). Production company: Orion Pictures Release of a Religioso Primitiva presentation.

Distributor: Village Roadshow, 35mm. 113 minutes.

USA. 1986

KANGAROO: Colin Friels, mixed-up man in search of a good lung

•K A N G A R O O I su p p o se it w a s in e v ita b le th a t so m e o n e w o u ld e v e n tu a lly film Kangaroo. D . H .

L a w r e n c e ’s n o v e l, first p u b lish e d in 1 9 2 3 , e n c a p su la te s, b y so m e w e ir d p ro cess o f e m p a th y , p r e c ise ly th e k in d o f m u s h y m e a n d e r in g p r e o c c u p a tio n w ith th e m y th ic e sse n c e o f n a tio n h o o d th at A u str a lia n s h a v e m a d e p e c u lia r ly th eir o w n . F or L a w r e n c e , o n to lo g y b e c o m e s g eo g r a p h y ; th e m o r e h e d o u b ts h im s e lf th e m o r e th e p o o r la n d sc a p e b e c o m e s a n im a te w ith h is p r o je c tio n .

T h e resu lts are m ix e d , b u t w e ca n h a rd ly c o m p la in a b o u t th e b est o f L a w ­ r e n c e ’s A u str a lia n b r o o d in g s b e c a u se th e c o u n tr y to u c h e d so m e ly rica l v e in in h im a n d rele a se d so m e o f h is m o st e v o ­ c a tiv e p o e tr y . F o r L a w r e n c e th e A u s ­ tralian b u sh , in o n e o f h is m o o d s , w a s “ so p h a n to m -lik e , so g h o stly , w ith its tall p a le trees a n d m a n y d e a d tre e s, lik e c o rp ses, p a rtly ch a rred b y b u sh fires: a n d th en th e fo lia g e so d ark , lik e g rey g r e e n ir o n ” .

It is p r e c ise ly th is q u a lity o f m o o d y ly r ic ism th at T im B u r sta ll’s film so s in g ­ u la rly fails to c a p tu r e . A P e te r W e ir or e v e n a B r u c e B e r e sfo r d m ig h t h a v e fo u n d a c in e m a tic e q u iv a le n t to L a w ­ r e n c e ’s p ro se p o e tr y b u t T im B u rsta ll se e m s to h a v e h a d n o c o n c e p tio n o f h o w to p r o v id e a v is u a l a n a lo g y to L a w ­ r e n c e ’s im a g in in g s . T o start w ith , th e b o o k calls o u t for th e k in d o f ly rica l c in e m a to g r a p h y th a t w e d o so w ell h e r e b u t D a n B u r sta ll’s c a m e r a w o rk is staid an d p e d e str ia n , h e a v ily r e lia n t o n th e m o n o to n ie s o f th e c lo s e -u p a n d w ith n o se n se o f sp a c io u sn e ss . T h e p h o to g r a p h y

w o u ld lo se little o n te le v isio n : in K a n g ­ aroo, P a n a v isio n is u se d as a b ig c o lo u red b o x for c o n ta in in g th e o b v io u s an d r e n d e r in g it c la u str o p h o b ic . A b o u t h a lf w a y th r o u g h th e film w e get a w h iff o f T o m R o b e r ts ’ A u str a lia , b u t it c o m e s too late an d lo o k s c o r n y a n y w a y .

T h is lack o f ly rica l im p r o v isa tio n or p r e d o m in a n t v isu a l in te r e st th ro w s the film b ack o n L a w r e n c e ’s d ra m a tic c o n te n t a n d h ere B u rsta ll (o r a n y o th er d irecto r) w a s b o u n d to b e in d a n g er.

R ic h a r d L o v a t S o m e r s a n d h is w ife H a r r ie t, tra n sp a r e n t d is g u ise s for D . H . an d F ried a L a w r e n c e , c o m e to A u str a lia in th e a fte r m a th o f W o r ld W a r I, h a v in g b e e n p e r se c u te d in w a r -tim e B rita in on a c c o u n t o f h er G e r m a n o r ig in s a n d h is lack o f p a tr io tic fe r v o u r. In A u str a lia th ey are o v e r w h e lm e d w ith lo v e -h a te for th e la n d a n d , in p a ss in g , for ea ch o th er, sto r m in g a b o u t in a m ild a n d d e su lto r y v e r sio n o f th e u su a l L a w r e n tia n b rew o f frank talk a n d s e lf-d e c e p tio n . S o m e r s b e c o m e s fr ie n d ly w ith J a c k C a llc o tt, a tru e b lu e d ig g e r w ith w h o m h e h a s th e o d d p sy c h ic tu ssle . (S o m e tim e s i t ’s h ard to resist th e id e a th at L a w r e n c e ’s p rim a ry fa sc in a tio n w ith A u str a lia c a m e fro m th e h o m o -e r o tic a m b ig u itie s o f h a v in g a “ m a t e ” — h e c e r ta in ly g ets o ff o n th e w o r d .) C a llc o tt, in tu r n , in tr o ­ d u c e s S o m e r s a n d H a r r ie t to th e c h a r is­ m a tic K a n g a r o o , a p o litic a l m a ste r o n th e m a k e — b a le fu l, m a g n e tic a n d p ro to -fa sc ist. W h a t th e y all m a k e o f e a ch o th er in a s o u p y in c e s tu o u s w a y is c o n v e y e d in th e n o v e l w ith a g o o d d ea l o f p s y c h o lo g ic a l e x c it e m e n t and g la m o u r , d e sp ite th e ir r ita tio n s o f L a w r e n c e /S o m e r s h a r a n g u in g u s a b o u t th e >

CINEMA PA PERS MAY - 57

R*E-V*I*E*W*S u n iv erse, A u stra lia , h is o w n n a v el an d w hat ad join s it. T h e n o v e l d o es h a v e the ru d im en ts o f a plot an d th is co n n ects w ith a p u n g e n t an d in v ig o r a tin g g lim p se o f a p ossib le A u stra lia n p o litics that show s L a w ren ce at h is m o st p o w erfu l.

T h e film m a k es slow w ork o f all this.

It w as a m ista k e, I th in k , to b e g in w ith w hat is a flashback tw o-th ird s o f th e w a y th rou gh the b ook — w ith th e S o m ers w artim e trau m a an d h u m ilia tio n in C orn w all. In sto d g y su b -R e m b r a n d tia n m u rk , an d w ith static a ctio n to m a tch , B urstall creates n o sen se o f w h a t all this m ea n s to th ese tw o stran gers. A n d E v a n J o n e s ’ script d o es its b e st, h ere and e lsew h ere, to em u la te th e e x cessiv e e x p licitn ess o f m u ch A u stra lia n scrip t­ w ritin g — w h ich is od d g iv e n h is w ork w ith d irectors like L o sey . “ D o y o u think w e are sp ies? ” the h ero b o o m s, u n n e c e s­ sarily. B u t th en the scrip t, w h ich is ce r ­ tain ly efficien t in te le sc o p in g the b o o k ’s dilatory a ctio n , seem s to lack an y real in w ard n ess eith er w ith L a w ren ce or w ith the social reality h e w as after.

P erh ap s B urstall sh o u ld h a v e u sed an A u stralian scriptw riter.

T h e actors stru ggle. N o t lea st b e ca u se B urstall is so p o n d er o u s a b o u t the b o o k ’s m o st p o m p o u s asp ects. C o lin F riels m ak es a fair fist o f im p e r so n a tin g L a w ren ce in the part o f S o m ers b u t h e lacks the ferret-like p atricia n q u a lity o f character an d creator. H e m isse s the essen tia l n itp ick in g in te lle c tu a lism , as w ell as the p a ssio n that sh o u ld e n sh ro u d S o m ers, and he d o e s n ’t really h a v e the ran ge to en co m p a ss S o m e r s’ m o o d in e ss.

N o n e o f this is to d e n y th at i t ’s an accu rate p erform an ce — F riels is n o A la n B ates b u t h e h old s d o w n th e M id ­ lan d s accen t an d m a n a g e s to a c h ie v e a c o n s i s t e n t a n d n o t d is c r e d it a b l e characterisation . (S till, o n e w o n d ers w h at R o b ert M e n z ie s, sa y , or J o h n B ell w o u ld h a v e m a d e o f the part — a n g u la r a c to r s w h o ca n c a p tu r e n e r v o u s in ten sity an d m a k e it lo o k n a tu r a l.) I t ’s p erh ap s u n fair to say th at C o lin F riels is too A u stra lia n — b u t h e d o es lo o k far too m u c h a w o m b a t an d far to o little a ferret.

T o co n tin u e the a n im a l im a g ery : H u g h K ea y s-B y rn e as K a n g a r o o is the film ’s cen tral an d fatal p ie c e o f m is­ ca stin g b eca u se he co m e s across like a ted d y b ear, or rather, a sort o f p o m m ified k oala. In the b o o k , L a w ren ce m a n a g e s to m a k e K a n g a r o o a cred ib le p u ta tiv e fuhrer w h ich , g iv e n th e A u s ­ tralian co n tex t, is sa y in g a g o o d d ea l.

H e is the lin ch p in o f th e n o v e l’s d ram a an d for the film to c o m e off, it w as essen tia l that the part b e p la y e d b y an actor w h o co u ld su sta in K a n g a r o o ’s a m b ig u o u s m a g n e tism , h is b e a u ty -in ­ u g lin e ss. T o m e the o b v io u s ch o ice w o u ld h a v e b een S am N e ill a n d w ith o u t so m e o n e o f h is calibre or c o m m a n d th e film ’s ch aracterisation is n o w h e r e . J o h n W a lto n as J a c k C a llco tt is to o m u c h the ock er b u lly b o y , b lin d an d su p erficial; h e m isses th e sort o f a n im a l in te llig e n c e an d ta citu rn ity to m a k e S o m e r s ’ a ttra c­ tio n b e liev a b le. J u lie N ih ill is m u c h to o

58 — MAY CINEMA PAPERS

daffy a n d v a p id in th e a d m itted ly u n rew a rd in g role o f V ic k i. L a w ren ce b elie v e d A u stra lia n w o m e n w a lk ed as th o u g h th ere w as a sex u a l c o n n e c tio n b etw e e n th em and th e p a v e m e n t. J u lie N ih ill d o e s n ’t lo o k as th o u g h she e x p e r i­ e n ces a n y co n n e c tio n w ith a n y th in g .

O n ly J u d y D a v is as H a rriet (th e F ried a role) m a n a g e s to d istil the n e e d ­ ful co h eren ce an d L a w ren tia n glitter.

E v en th o u g h the a ccen t d o e s n ’t so u n d to m e like aristocratic G e r m a n — m o re like stage S w ed ish — w h e n e v e r the ca m era is o n h er the film lifts. A t tim es she seem s to o ea sy , a n d , y e s, to o A u s­ tralian , bu t she is an actress o f great la rg esse an d she d o es su cceed , a lm o st sin g leh a n d e d ly , n o t in m a k in g Kangaroo a su ccess b u t in g iv in g it a recu rren t in terest an d focu s. W h e n she screa m s at h er h u sb a n d a b o u t h is d a n g e r o u s little b o y s ’ g a m es it is like th e b reath o f reality b lo w in g o n th e w h o le in fla ted p sy c h o ­ d ram a.

Kangaroo is a staid film m a d e from the ru in s o f a m essy b ook b y an im m e n se ly ta len ted w riter. T h e p o litics o f th e n o v e l are fan tastic an d its p sy ch o lo g y is n u ts.

T h e film faith fu lly p reserv es th ese q u a lities w h ile m issin g m o st o f the fa scin a tio n that m ig h t ex p la in its o w n g en esis. T h e o n ly th in g m y th ic ab o u t T im B u rsta ll’s film is th e p o w er o f D a v is ’s p erform an ce: it is like F ried a L a w ren ce rew ritin g h er part o f the story an d g iv in g the great m a n h is c o m e ­ u p p a n ce.

S h e ’s the b est th in g ab o u t this film .

F or the rest, B u rsta ll’s Kangaroo really d o es look like A u str a lia ’s re v e n g e o n D .

H . L a w ren ce.

Peter Craven KANGAROO: Directed by Tim Burstall. Producer: Ross •Dimsey. Screenplay: Evan Jones. Based on the novel by D.H. Lawrence. Director of photography: Dan Burstall.

Production designer: Tracy Watt. Editor: Edward McQueen-Mason. Sound recordist: Paul Clark. Music: Nathan Waks. Cast: Colin Friels (Richard Somers), Judy Davis (Harriet Somers), John Walton (Jack Callcott), Julie Nihill (Vicki Callcott), Hugh Keays-Byrne (Kangaroo), Peter Hehir (Jaz), Peter Cummins (Struthers), Tim Robertson (O'Neill). Production company: Naked Country Productions. Distributor: Filmways. 35mm. 110 minutes. Australia. 1986.

• FO O TR O T FLA TS — T H E D O G ’S J A IL T A L E T h e A m e r ic a n a n im a to r C h u ck J o n e s o n ce ex p la in e d th e a n im a l-cen tricity o f a n im a ted ca rto o n s in term s o f a trad ition th at w e n t b ack to A e s o p ’s fables. It h a d to d o w ith a n th ro p o m o rp h isa tio n , w h ich h e felt w as a b asic h u m a n im p u lse , a n d w ith fair p la y , g iv in g at lea st eq u a lity a n d , m o re often , con trol o f c o m m e n ta r y an d n a rra tiv e to th e a n im a l v o ices. Footrot Flats — The D o g ’s JrdtCTale fits righ t in h ere, in the trad ition o f P o g o , B u g s, D a ffy and Snoopy.

A p ro b lem in tru d es in th e m a tter o f tran sferrin g a c o m ic strip to th e a n im a ted ca rto o n , a n d it h as p la g u ed such efforts o n th e part o f D o o n e sb u r y ,

P ea n u ts, P o g o an d in n u m era b le others — the p ro b lem o f p r o v id in g w h at goes on in b etw e e n p a n els an d in b etw een the w ritten w ord an d th e read er. S o m e th in g h as got lost b etw e e n the n ew sp rin t p age an d the cellu lo id fram e — or so m e th in g has b een a d d ed w h ich is p erceiv ed as loss.

P art o f th is p lu s-a n d /o r -m in u s shift has to do w ith c o n v e n tio n . T a k in g their cu e from D is n e y ’s fea tu res, p rod u cers o f a n im a ted featu res h a v e felt it n ecessary to tu rn th eir stories in to m u sica ls — Charlotte’s Web, for e x a m p le. S in ce D isn e y , little o f th is ca rtoon m u sic has b een m em o r a b le , an d th at is the case in Footrot Flats. T h e so n g s ad d little to the essen tia l n a rra tin g , b u t at the sa m e tim e tw ist th e film in to so m e th in g else — a series o f a ltern a tio n s w h ich d o n ’t speak to each oth er, an in terru p ted rep lica o f a H o lly w o o d m u sic a l, n eith er lyrical nor iron ic.

A n o th e r co n v e n tio n a l n o tio n im p o sed on the n atu re o f M u r r a y B a ll’s co m ic strips is th e lo n g n a rra tive. S u ch lo n g form s are rela tiv ely rare in co m ic strips o f the ‘c o m ic ’ sort — P o g o b e in g m o stly an e x cep tio n . In stea d o f g o in g for a series o f ch a ra cterisin g ep iso d es parallel to the co m ic strip , th e film n eed s to form a sin g le, lo n g featu re film story, an d m u s t in f la t e th e M u r p h ie s in t o c o n tin u in g v illa in s — g iv in g th em a pride o f place o u t o f p ro p o rtio n w ith the co m ic strip, a p lace th e M u r p h ie s d o n ot p rop erly fill. T h is im p u lse tow ard a ‘n o v e listic ’ n a rra tiv e, u n d ersta n d a b le as a c o n v e n tio n in fea tu re a n im a tio n , d o e sn ’t w ork v ery w ell in Footrot Flats.

W h a t o n e rem em b ers: n o t the o verall story, b u t a co u p le o f v ery g o o d seq u en ces, p a rticu larly th e early sh eep sh ea rin g , filled w ith th row -aw ay gags an d g o o d ch a ra cterisa tio n , d istin g u ish ­ in g W a l’s rela tio n w ith an im als; C o o c h ’s co o p era tiv e (b est part o f th e film ); or the fo llo w in g scen e, D o g ’s fall in to the sh eep d ip an d th e flash b ack se q u en ce it o cca sio n s e x p la in in g h is ch ild h o o d and h o w he ca m e to th e farm .

G iv e n th at w e are in th e age o f x ero x a n im a tio n (it is u n fa ir to co m p a re it to the old , full a n im a tio n , b u t h ard n o t to th in k o f it), th e p ro b lem o f h o w p an elim p riso n ed characters m o v e is h a n d led w ell, as are the b a c k g ro u n d s, p a rticu ­ larly ex terio rs, an d p articu larly th e th ree m a jo r s e q u e n c e s in v o lv in g u n c o n ­ trollable w ater, a c o n tin u in g m o tif in the co m ic strips.

V o ic e s, o f co u rse, are a m ajor p ro b lem . C h e e k y H o b s o n is to o refin ed , and D o g , th e cen tra l ch aracter o f the c o m ic strip, is to o te n ta tiv e an d y o u n g .

J o h n C lark e d o e s w o n d e rfu lly as W a l, b u t sh o u ld h a v e b e e n cast as th e d o g , the m o st a rticu late an d c y n ica l o f the characters.

-— C o lo u r is u se d w e ll, m o stly , alth o u g h th e h e a v y em p h a sis o n J e s s ’s b lu esh ad ed ey e lid s is o v e r d o in g th in gs: the p arallel b e tw e e n J e s s an d C h eek y H o b so n in th e sex u a l e c o n o m y o f the film is certa in ly clear e n o u g h (o th erw ise, y o u ’ll b e h a p p y to k n o w , D o g a n d J e ss

TRAVELLING NORTH: Leo McKern and Julia Blake in w hat’s been called “ A ustralia’s On Golden Pond'

r eta in th eir b la c k -a n d -w h ite n e s s, as it sh o u ld b e ). S o m e v ie w e r s m a y o b ject to th e fu n k m o t if — sm e lls are clea r ly m a rk ed as p art o f th e n a r r a tin g , a n im a ls d efe c a te a n d u r in a te , th e c o n te n ts o f c h a m b e r p o ts are sh o w n .

A m o n g th e m issin g : th e d iu r n a l, th e e v e r y d a y n e ss o f life o n W a l’s farm — th e n o tio n o f rh y th m e ss e n tia l to th e c o m ic strip; th e o ld ram ; K in g C h a rles; C o o c h ’s h o u se w ith the tree in th e liv in g ro om ; or h is la s t-m in u te -r e sc u e S h ire h o rse, P ea rl. T r y in g to tu rn th e film in to a lo n g sto ry h a s sa crific e d a lo t o f w o n d e r fu l n a r r a tin g p o in ts, a n d it h a s m a d e th e film a b it c u te , m o r e c u te th a n th e strip , w h ic h is a b o u t th e d o g ’s p o in t o f v ie w . T h a t ’s g o n e m is s in g so m e w h a t.

W h e n th e d o g is c e n tr e -sc r e e n , th e film is at its b e st, b u t la r g e ly th e film fails; i t ’s tu r n e d th e strip in to a film a b o u t h u m a n s w h o o w n a n im a ls. A s e v e r y o n e k n o w s, th at sh o u ld b e th e o th e r w a y around.

R.J. Thompson and Sue Turnbull FOOTROT FLATS - THE DOG'S JAtETALE: Directed

by Murray Ball. Producers: John Barnett and Pat Cox. Animation director: Robbert Smit. Screenplay: Murray Ball, Tom Scott. Based on characters created by Murray Ball. Sound design: John McKay. Music: Dave Dobbyn.

Voice production: Chris Hampson. Backgrounds: Richard Zaloudek. Editors: Michael Horton, Denis Jones. Cast: Peter Rowley (Dog), John Clarke (Wal), Rawiri Paratene (Rangi), Fiona Samuel (Cheeky Hob­ son, Pongo), Peter Hayden (Cooch), Dorothy McKegg (Aunt Dolly), Billy T. James (Pawai). Production com ­ pany: Magpie Productions. Distributor: Hoyts. 35mm.

71 minutes. New Zealand. 1986.

• T R A V E L L IN G N O R T H Travelling North o p e n s w ith a b ir d ’s e y e v ie w o f M e lb o u r n e ’s c o m m u te r traffic; th en o n to a b u ild in g site w h e r e F ra n k (L e o M c K e r n ) is b u lly in g a c o n tr a c to r in to a b etter p e r fo r m a n c e . I t ’s an u n ­ u su a l, r e fr e sh in g ly u n r o m a n tic o p e n in g for a lo v e story b e tw e e n tw o p e o p le ‘in th e a u tu m n o f th eir liv e s ’. B o th F ra n k an d F ra n ces (J u lia B la k e) are w id o w e d , d e c e n t m id d le cla ss p e o p le . T h e ir situ a ­ tio n an d ch a ra cters c o u ld h a v e le d to a m u c h m o r e c o n v e n tio n a l film .

T h is is n ’t to sa y th a t d ir e c to r C arl S ch u ltz h a s c h a n g e d th e fa ce o f m a k in g film s a b o u t lo v e r s. B u t, at lea st to so m e e x te n t, th e ‘r o m a n c e ’ is c o n ta in e d in sid e th e film , as p art o f its su b ject. A n d S ch u ltz h a s c e r ta in ly tried so m e th in g m o re ‘c r itic a l’ , m o r e rea listic th a n all th at v a se lin e d slo w -m o to w h ic h h e s u b ­ je c te d Careful H e M ig h t H ear You. T h e film o p e n s o n F r a n k ’s la st d a y o f w o rk as an e n g in e e r . T h e r e ’s th e in e v it­ a b le, a w k w a rd o ffic e fa r e w e ll p a r ty . A n d in th e e v e n in g , a c e le b r a to r y n ig h t o u t — cla ssica l c o n c e r t a n d c a n d le lit d in n e r — w ith F r a n ces.

O v e r d in n e r th e y d isc u ss th e trip n o r th , th e ir d r e a m o f m e llo w in g o u t for th e rest o f th eir d a y s in p r iv a te , tr o p ica l sp le n d o u r . U n fo r tu n a te ly , d e sp ite a p e r ­ fect a m b ie n c e , th e se e d s o f c o n flic t h a v e a lrea d y b e g u n to g e r m in a te .

Travelling North m a y u ltim a te ly b e a film a b o u t c h a ra cter, h o w a b u lly a n d a te n d e r u n c e r ta in w o m a n , b o th p r o u d , c o m e to k n o w m o r e a b o u t th e m se lv e s th ro u g h th eir e x p e r ie n c e o f e a c h o th er.

B u t i t ’s told in te r m s o f a story a b o u t sick n ess an d a g e in g . T h e m e s or v a lu e s e ffe c tiv e ly e x p lo r e d in c lu d e lo y a lty , d e p e n d e n c e , in te g r ity , se lfis h n e ss, n e e d , c o p in g w ith p a in , fa ilu r e, tru st, a n d u lt i­ m a te ly th e fact o f d e a th .

T h e tro u b le b e g in s w ith a sta b b in g p a in F ra n k su ffers as h e gets in to h is car after th e o ffice p a r ty . F ra n k sta g g ers, b rea th less, d r o p p in g h is h e a v y b r iefca se.

F ra n c e s, w e n o w k n o w , is a b o u t to lin k a rm s w ith a fin e , in te llig e n t, b u t in c r e d ­ ib ly d ifficu lt o ld b u g g e r a lrea d y d y in g o f h ea rt d ise a se .

F ifte e n m in u te s in to th e film a n d i t ’s clea r M c K e r n is r e lish in g , a n d u tte r ly in co n tro l o f, th is a n tip o d e a n ch a ra cter.

(S o m e E n g lish c o m p a n y sh o u ld n o w m a k e a film a b o u t th e la st few y e a r s o f n o v e list T . H . W h it e ’s ex tr a o r d in a r y life , w ith M c K e r n in th e title r o le .)

T h e r e ’s su ch p le a su r e in a c tin g , as w ell as e x p e r tise o n d isp la y h e r e — th e first h ea rt a tta ck , th e te n d e r n e s s le a k in g th r o u g h th e crack s o f h is b lu ff e x terio r.

J u lia B la k e is q u ite c a p a b le o f m a tc h ­ in g M c K e r n . A n d it ’s th eir ra p p o rt as a cto rs w h ic h r e a lly g iv e s th e film a lift.

T h is fa irly u n u su a l q u a lity for a n A u s ­ tra lia n film is e n h a n c e d w ith th e a rriv a l >

CINEMA PA PERS MAY - 59

^ o f G rah am K e n n e d y as F red d ie, their w e ll- m e a n in g , if r a th e r tir e s o m e Q u een sla n d n eig h b o u r.

Travelling N orth is o n e o f D a v id W illia m so n ’s b est stage p lays. In stea d o f ta k in g on m orality on a grand scale, som ew h at u n su ccessfu lly as h e has d on e in m ore recent w orks (Sons o f Cain, Emerald City), here W illia m so n is at h o m e w ith m ore straightforw ard h u m a n em o tio n s.

For the m ost part W illia m so n has d o n e a good jo b in tran sla tin g h is p lay to film . T h e o n ly th in g on e n o tices w ith d isa p p o in tm en t is that F ran ces seem s to get a lot less o f the lin es in the film .

S o m e o f her best o n es, esp ecia lly those w h ich confirm her ow n q u iet rad ica lism , seem to have b een cut. A t a secon d screen in g it b eca m e clearer that som e tra d e-o ff had taken p lace. I f F ran ces w ere to get less say, she w as to receiv e in return m ore o f the cam era. W h ile M c K e r n rages o n , it is o ften B la k e ’s subtle shifts o f exp ressio n w e are stu d yin g.

In th eory a fair deal perhaps; b u t in reality the m ale v iew easily w in s o u t. A pity this, b ecau se in stea d o f a terrific film ab ou t q uite a u n iq u e rela tio n sh ip (as it is in the p lay), w e get a story ab ou t a m an w ith a bad h eart w h o has this w o m a n around lo o k in g after h im .

T h ere are som e cu rio u s su p p o rtin g perform ances. T h e m a in p rob lem is that th ey sim p ly d o n ’t d isp lay the en sem b le q u ality o f th e larger roles.

In d ep en d en tly th e r e ’s som e g o o d w ork , esp ecially from M ich elle F a w d o n and D rew F orsyth e. B ut bits o f o th er p er­ form an ces stick o u t, su g g e stin g S ch u ltz sh ou ld h ave taken m ore care o v er th ese less central aspects o f th e film .

Travelling North m a y n o t be e v e r y o n e ’s cup o f tea, but for an o ld er, fairly straight a u d ien ce it’s a n ice ch a n g e from som e o f the h y p ed -u p lies o ften h a n d ed d ow n as stories a b ou t p eo p le in lo v e.

F orm ally th e r e ’s n o th in g in it that su g ­ gests rad icality, bu t a g a in , for a

60 - MAY CINEMA PAPERS

m o d estly priced n ew A u stra lia n featu re, th e r e ’s a sense o f m atu rity in ap p roach w h ich su g g ests it is q u ite p o ssib le for the quality o f local co m m ercia l film m a k in g to im p ro v e. It w ill p rove an in terestin g b o x office test case.

James Waites TRAVELLING NORTH: Directed by Carl Schultz. Pro­ ducer: Ben Gannon. Screenplay: David Williamson.

Director of photography: Julian Penney. Production designer: Owen Paterson. Music co-ordinator: Alan John. Editor: Henry Dangar. Production supervisor/Castlng director: Sandra McKenzie. Cast: Leo McKern (Frank), Julia Blake (Frances), Graham Kennedy (Freddie), Henri Szeps (Saul), Michelle Fawdon (Helen), Diane Craig (Sophie), Andrea Moor (Joan), Drew Forsythe (Martin), John Gregg (Jim). Pro­ duction company: View Films. Distributor: CEL. 35mm.

95 minutes. Australia. 1986.

• S O M E K IN D O F W ONDERFUL W h en c o n sid erin g this film and the reasons w h y I liked it, and in d eed h a v e liked all H u g h e s ’ film s, I w as rem in d ed o f a rem ark m a d e by a fam ou s F rench director ab ou t his b e lo v ed A m erica n p opular cin em a . H e c o m p la in ed that if he w ere to try to em u la te the sim p le poetry o f the great p op u lar film s he w ou ld m erely appear to b e b e in g clever and all the p o ig n a n cy w o u ld be lost. H e could n o t, for e x a m p le , m ak e tw o h ap p y lovers w alk o ff in to the d istan ce w ith o u t it seem in g iron ical or fu n n y . Part o f the greatness o f A m erica n p op u lar film lies in the w eig h t an d p ow er w ith w h ich it, at its b est, can in v est the sim p lest gestu res.

E xten d this to in clu d e a sim ilar d eftn ess in th e .h a n d lin g o f c o m ed y and y o u w ill have an id ea o f the H u g h e s stam p . I say stam p b ecau se a lth ou gh it w as w ritten and p rod u ced by h im , Some K in d o f Wonderful w as d irected by H o w a rd D eu tch w h o also d irected Pretty in Pink.

L o v e, class an d m o n e y are the fam iliar th em es o f Some K in d o f Wonderful and the A m erica n h ig h sch ool the fam iliar H u g h e s settin g . T h ere are three central characters: K e ith , the eld est son

o f a w o rk in g class fam ily w h o, desp ite his fa th er’s asp iration s for h im , is not particularly in terested in g o in g to college; W a tts, a w o rk in g class tom b oy w ho lives w ith her b rothers an d plays the drum s; and A m a n d a , a w ork in g class girl w h o, b eca u se o f h er g ood looks, runs w ith the child ren o f the rich. K eith is in lo v e w ith A m a n d a but A m a n d a goes w ith a h u n k y rich g u y called H a rd y and d o e sn ’t k n o w that K eith exists.

W atts is K e ith ’s b est ch ild h ood friend.

She lo v es K eith but b ecau se o f their lo n g -sta n d in g frien d sh ip K eith d oes not look at her in that w a y . E ven tu ally K eith gets to date A m a n d a and th a t’s w hen th in g s really start to roll. Y ou w ould not have to be a g en iu s to w ork out the p lo t’s lik ely tw ists and m essages on paper but m a k in g th em pack a p u n ch on screen is a n o th er m atter, the key to w hich lies, p erh ap s, in the film ’s c h a r a c t e r is a t io n s .

I f a n y o f th e characters w ere to ap p ear a n y th in g less than full h u m a n b e in g s, ev en for a secon d , th en w e w o u ld h a v e soap opera.

In the H u g h e s film e v en the m ost in cid en tal characters are sketched w ith sym p ath y and ey e for tellin g detail.

T h ere is a fan tastic m o m en t w here W atts is b e in g p ro p o sitio n ed b y a y o u n g L A pun k ty p e, a fellow stu d en t, in w h om she is clearly n o t in terested . H a d this b een a sim p le teen ex p lo ita tio n flick he w ou ld have b een m a d e to appear lau gh ab ly rep u g n a n t and n o th in g m ore.

Instead w e are g iv en a lo v in g p ictu re o f a som ew h at u n g a in ly and socially aw kw ard yo u th try in g to m ak e som e real em o tio n a l c o n n ectio n bu t still too u n su re o f h im se lf to drop h is ‘c o o l’. “ W e cou ld do a lot o f d a m a g e to each o th e r ,” he says. I t’s fu n n y an d it ’s tou ch in g. T h ere is a feelin g , difficult to d efen d I su p p o se, th at in the H u g h es film w e are g ettin g an accurate picture o f w here A m erica n y o u th is at — stylistically, id eo lo g ica lly an d in term s o f w h a t’s ex p ected o f th em — and it ’s n o t a very attractive p ictu re.

S o cia l sta tu s, m o n e y an d th eir a ttain m en t are at the root o f all the bullshit, and h en ce w o e, in the H u g h es film . S u zu k i 4 -w h eel d rives, m ock T u d o r h o m es an d A rm a n i suits are not in h eren tly b a d , n o r are the characters w ho p ossess th em . T h e y are, h ow ever, the great ob stacles to b e o v erco m e. T h e y are the p rob lem in y o u n g A m erica .

K eith is the h ero o f the film . H e is sen sitiv e, a little w ea k p erh ap s, good lo o k in g an d sen sib le. H e pain ts. H e cou ld be d escrib ed as id ealistic. W h en he starts d a tin g A m a n d a , h ow ever, h a v in g stolen h er from H a rd y , it is v iew ed as som e k in d o f triu m p h by his fam ily and friends and w e feel that ev en his lev el h ead has b e e n tu rn ed . D esp ite h im self, he to o is a —v ictim o f the con su m erist, m aterialist m o n ster th in g , so in sid io u s are its m ec h a n ism s. A g a in st this m o n ster, the H u g h e s film offers love a n d c o m p a n io n s h ip , b u t w h a t is certainly m o re rem ark ab le than this gen tle lesso n is th e fact th at there is on e at all. T h is, I feel, p artially a ccou n ts for

the power behind those simple gestures of which I spoke earlier. You feel that the problems are real and their defeat important.

A noteworthy element in all these films have featured almost exclusively English pop and not just any old top forty stuff, but a very discerning selec­ tion ranging from the Smiths to the Jesus and Mary Chain. I could not ven­ ture an explanation for this other than perhaps American kids, the hip ones, might actually value British Pop over their local product. It all adds to that feeling that the Hughes film really does have its finger on the pulse.

Ralph Traviato SOME KIND OF WONDERFUL: Directed by Fioward Deutch. Producer: John Hughes. Executive producers: Michael Chinich and Ronald Colby. Screenplay: John Hughes. Director of photography: Jan Kiesser.

Production designer: Josan Russo. Music score; Stephen Hague, John Musser. Music supervisor: Tarquin Gotch. Editors: Bud Smith and Scott Smith.

Cast: Eric Stoltz (Keith Nelson), Mary Stuart Masterson (Watts), Lea Thompson (Amanda Jones), Craig Sheffer (Hardy Jenns), John Ashton (Cliff Nelson), Elias Koteas (Skinhead), Molly Hagan (Shayne), Maddie Corman (Laura Nelson), Jane Elliot (Carol Nelson), Candace Cameron (Cindy Nelson). Production company: John Hughes Production. Distributor: UIP 35mm. 96 minutes. USA. 1986.

• MEN

Doris D om e’s film, Men (Männer), is indeed a refreshing contrast to a spate of turgid West German dramas exhibited in local ‘art house’ cinemas. Distin­ guishing itself from the products of film­ makers like Herzog or Von Trotta, whose images of interminable misery, despair and alienation rarely attract a paying German audience, Dom e's film is representative of popular West German cinema. Accordingly, Men can be linked with other commercially successful ventures like Stammheim, Woman in Flames, The Boat or Edith’s Diary. In a country where two-thirds of the population never attend the cinema, six million West Germans saw Men in the first six months of its release. Even more remarkably, it is D om e’s low budget production which has proven to be one of the greatest money spinners of the year, having managed to out-gross Rambo at the West German box office.

Men presents a beguiling and comic portrait of the sexual intrigues of three figures who become entangled in a commonplace romantic triangle. At its apex is Paula (Ulrike Kriener), who, after 12 years of marriage and two children, embarks upon an affair with a cavalier ‘artist’, Stefan (Uwe Ochsen­ knecht), her ‘man from another galaxy’.

Paula’s husband, Julius (Heiner Lauter­ bach), is outraged by his wife’s ‘betrayal’ despite his own adulterous activities. With murderous intent and disguised identity, Julius stalks his wife’s lover, eventually manoeuvring to share Stefan’s house so that all maso­ chistic and voyeuristic impulses may be indulged to the full. In variation of an

< old theme, Men attends to the banal and psychopathological dimensions of sexual rivalry, possessiveness and jealousy. It is the wryness with which Men depicts its characters and their predicament that gives this film its appeal and its moments of tantalising ambiguity.

In truly felicitous performances, Heiner Lauterbach plays Julius, a successful and ambitious packet designer for an advertising company, while Uwe Ochsenknecht fills the role of Stefan, an ageing hippie with creative pretensions who, once given the oppor­ tunity, embraces the materialist values and aspirations of a society he pre­ viously rejected. Motivated by his own interests and concerns, Julius turns Stefan into his own Doppelgänger, propel­ ling Stefan into the advertising world and conformity, and prompting Paula to lose interest in him. The growing like­ ness does not escape Paula, who, once reunited with Julius, remarks of her lover, “ He became boring, like most men.”

None of the characters in Dome’s film is viewed flatteringly. We learn little about Paula, who, presented from Stefan and Julius’s point-of-view, is the phantom of their limited imaginations; conspicuously the product of male in­ securities and fantasies. In the tradition of the ‘buddy film’, women are incidental to Men. Considering the shrewdness and impudence with which the film treats its subject matter, it would, however, be difficult to view Men as an ingenuous celebration of mateship. Nevertheless, that obstacle is one readily surmounted by Derek Malcolm, who writes: “ The film is actually the buddy-buddy movie of all time — a fact that might have been noticed more clearly if a man had been its director. It seems to say that women are a complete enigma to most men and are likely to remain so. And the best thing men can do about it is to chum up with each other . . . Men is, in fact . . . invested by Dorrie with one thing a male director might have difficulty . . . imparting, which is a sense of why women find men so desirable in the first place.”

Granted that the relationship Julius establishes with Stefan is characterised by ruthless competition, envy and male­ volence, it is more tempting to view Men as a perversion of the ‘buddy film’. Men takes as its foundation the ambivalence of Julius and Stefan’s relations and unfolds as a blithe, yet dexterous satire of mateship and its mysteries. That its satire is not more incisive will disappoint some of the film’s viewers.

Initially, neither the viewer nor Stefan has great sympathy for the tor­ mented Julius, except perhaps for the occasions when he realises and acknow­ ledges the extent of his own idiocy.

Stefan, it would seem, is incapable of such personal insight and recognition (Dörrie has quipped that the men in this film are her Marilyn Monroes).

Husband and lover emerge as egoistic, juvenile and regressive: scenes 62 - MAY CINEMA PAPERS

of domestic harmony and camaraderie are shattered as Julius seeks periodically to maim, mutilate and brutalise his un­ suspecting housemate. “ It was love at first sight,” declares Julius to Stefan shortly before an ineffectual attempt at strangulation. Later, after Julius is reduced to a spiteful and jealous child, and scalds his rival with boiling water, the friendship between Julius and Stefan is strengthened as the pair enact modern rituals of bonding. In Stefan’s den of seduction, littered with beer bottles and the ubiquitous cock-rock recordings of The Doors, the couple recline in bed to discuss their own sexuality as they dis­ tractedly watch the World Cup on tele­ vision. Clad in leopard-skin underpants (apparently his most trusted sex-aid), Stefan awkwardly guzzles beer, his un­ compliant hands heavily bandaged and suspended; the picture of ridiculously impaired potency. Julius, meanwhile plays with his partner’s automated toy sports car as he reflects upon mascu­ linity and achievement.

Stefan and Julius are characters who purport to have profound personal insight as well as intimate knowledge and understanding of what lies on the other side of the gender boundary. Once their friendship is consolidated through acts of sadism, competitiveness, decep­ tion and confidence, they revel in their self-assured discussions about mascu­ linity, love and the ‘female psyche’.

Those discussions involve the circula­ tion of platitudes through which men regularly define and demean women in habitual self-aggrandisement. “ Women are the enemies of art” . . . “ They can always be talked into being unhappy” .

Men identify women as maximum security girls, and speculate about what they want with the arrogant certainty of the patriarch who would never dare to ask ‘the problem’ herself. Dorrie rationalises: “When men say [such] idiotic things about women . . . they know they’re hanging out their insecuri­ ties, but none comments on another’s laundry because each knows next time around it could be his pants that are down.”

Yet, by the end of the film, even Stefan and Julius can laugh at their ridiculous generalisations and delusions.

By their own rules and definitions, if “ a man is what he does and a woman is what she is, ” they cannot help but laugh at themselves. Men is not a rigorous feminist expose of the means through which sexual identity is instilled. Still, considering the equivocal manner in which Men treats men, it is curious that it is so regularly praised for the accuracy of its depiction.

Leonie Naughton MEN: Directed by Doris Dorrie. Executive producer: Harald Kugler. Screenplay: Doris Dorrie. Director of photography: Helge Weindler. Music: Claus Bantzer.

Editors: Raimund Barthelmes, Jeanette Magerl. Cast: Heiner Lauterbach (Julius Armbrust), Uwe Ochsenknecht (Stefan), Ulrike Kriener (Paula Armbrust), Janna Marangosoff (Angelika), Dietmar Bar (Lothar), MarieCharlott Schuler (Marita Strass). Production company: Olga Film. Distributor: Newvision. 35mm. 99 minutes.

West Germany. 1985.

LITTLE

Our society seems to have cultivated a pathoneurotic fear of dentistry. In Marathon Man we shrieked (in terror) when Laurence Olivier started his excavation job on Dustin Hoffman’s dentures. And in Little Shop Of Horrors, it’s a dental scene alone that unites the audience, admittedly in something closer to a raucous guffaw. It’s the moment when the sadistic dentist, Orin Scrivello (played with delicious sincerity by Steve Martin), plunges a savage drill into a gaping mouth. We see it from the tonsil’s point of view.

That aside, the story goes: Seymour and Audrey work at Mr Mushnik’s failing flower shop on Skid Row. One day Seymour brings home an unusual­ looking plant which attracts a surge of customers. Unfortunately, he discovers that it lives off human blood. Seymour feeds “ Audrey 2” (named after his secret love) his own blood, lured by the fame it brings as America’s newest vegetable sensation. Only after being involved in two murders does he realise that this rapping, jiving extra-terrestrial artichoke (with the voice of Levi Stubbs of The Four Tops) plans to conquer the world!

Why is it that Little ShopJLf Horrors doesn’t quite make it? It has all of the right ingredients. The plot is appropriately absurd. Our hero, Seymour Krelborn (Rick Moranis) is

adorably vulnerable and inept. Our heroine, Audrey (Ellen Greene), is America’s favourite sexist stereotype, the stupid but buxom blonde with a heart of gold. The score is great. As in any good musical, the songs are catchy and immediately familiar, led by the fabulous Crystal (Tichina Arnold), Chiffon (Tisha Campbell) and Ronette (Michelle Weeks), reminiscent of every black girl group of the sixties. And, some of the ‘big names’ of American comedy — Steve Martin, Bill Murray, John Candy, James Belushi — make guest appearances. Everything about the formula is right . . . which seems to be the very crux of the problem.

In trying to squeeze humour from every direction, the film never manages to sustain the wave of laughter which compels us into its diegesis. Aside from Steve Martin, the ‘big names’, whose entrances on screen are accompanied by a cinematic pause almost like canned laughter, are the flattest parts of the movie. America is infatuated with the ‘zany’ — these ‘whacko’ guys doing ‘crazy’ things. It adores the kind of humour which precludes subversion, which empties subtext. At the end of the day, these ‘zany’ guys take off their masks and become one of the gang — safe, wholesome and politically neutral.

‘Zaniness’ is a way of saying, “ Hey, the weirdness is out there.” Yet, other parts of Little Shop Of Horrors rely on parody, ie, subtext subverting text. When Audrey dreams of hosting tupperware parties, you aren’t supposed to want to go. There is a recurring incompatibility. The kind of laughter which comes from Bill Murray playing a dental masochist is different from the giggle in watching Audrey serve Seymour and their identikit kids TV dinners in front of I Love Lucy. Instead of generating the infectious mirth, the licence to laugh on which comedy thrives, laughter makes us feel self-consciously isolated.

We can see some of the shortcomings of Little Shop Of Horrors by comparing it to its obvious precedent, The Rocky Horror Picture Show. There are many similarities. Both were successful stage productions which lampoon the ‘SciFi/Horror’ genre, both draw heavily from the sixties rock‘n’roll/Motown sound, and are filmed in traditional ‘musical’ formats (within a specifically designated theatrical space/blocked and shot in terms of the proscenium arch theatre). However, what Rocky Horror has, and Little Shop Of Horrors sorely misses, is a sense of camp. The latter takes its humour seriously, and is laboured, mechanical and predictable in producing it. There might be spectacular animation and cute nasties, but it lacks those deft touches of self-reflexive irony and critical distance which are the trade mark of the former.

There is evidence to suggest that the material is not as fatuous as it first appears. For instance, isn’t there something rather sick about a hero who chops his dentist into little pieces to feed his pet plant? And the constant bludgeon of violence; Orin’s S and M relationship with Audrey (which is most unfunny), the whirl of his drills, the sparkle of medieval-looking instruments of torture: PATIENT: Wait a minute, I’m not numb!

ORIN: Oh shut up, open wide, here I come!

The lingering suggestion is that in this ideal world of the early sixties, before Kennedy died, and whilst the American Dream was shiny and untarnished, there is a rotten, dark and dangerous core. We even see traces of a wobbly social critique — Audrey 2 offers fame, riches and the beautiful girl in exchange for Seymour’s innocence. The obvious

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parallel is between Audrey 2, who sucks Seymour’s blood, and Mr Mushnik, who exploits his labour. The wonderful opening number has both Audrey and Seymour dreaming of escape from their immuring poverty on Skid Row. Unfortunately I didn’t see the stage version of Little Shop Of Horrors. Perhaps the vigour and energy of live performance, away from the bland salve of mass marketing, would release some of the brooding undercurrent of threat.

In the Geffen/Oz film, the few glimmers of intelligence disintegrate or are undercut by simple minded pyrotechnics. Ultimately the flight from poverty into the arms of True Love and Suburban Bliss is made possible by the promise of a Gardening Show. Now, there shouldn’t be any doubts that this is parody, but . . .

Tony Ayres LITTLE SHOP OF HORRORS: Directed by Frank Oz. Producer: David Geffen. Associate producers: David Orton, Denis Holt. Line producer: William S. Gilmore.

Screenplay: Howard Ashman. Director of photography: Robert Paynter. Production designer: Roy Walker. Music: Alan Menken. Editor: John Jympson. Cast: Rick Moranis (Seymour Krelborn), Ellen Greene (Audrey), Vincent Gardenia (Mushnik), Steve Martin (Orin Scrivello, DDS), Tichina Arnold (Crystal), Tisha Campbell (Chiffon), Michelle Weeks (Ronette), James Belushi (Patrick Martin), John Candy (Wink Wilkinson), Christopher Guest (First Customer), Bill Murray (Arthur Denton). Production company: The Geffen Company. Distributor: Village Roadshow.

35mm. 93 minutes. USA. 1986.

TH E G O O D , T H E BA D A N D T H E C U D D L Y : Ellen G re e n e (left), S tev e M artin (centre), R ick M oranis (right)

CINEMA PAPERS MAY — 63

bracketed. Peggy Sue Got Married opens rehash of a childhood fairytale, and all and closes with a shot in a mirror. It the more intriguing is the way Peggy Sue opens with the estranged family as the Got Married achieves this by enveloping camera pulls away from a mirror. It’s Carroll’s Through The Looking Glass with A tale begun in other days, 1985 and the reunion ball of the Class of another literary work.

When summer suns were glowing When Peggy Sue returns to 1985 and 1960. Peggy Sue is 42, about to divorce A simple chime, that served to time her high school beau, and deeply to a hospital bed with a repentant hus­ The rhythm of our rowing Whose echoes live in memory yet, melancholy. And just as Peggy Sue, band, Charlie, at her bedside, Charlie Though envious years would say forget ’. with the eighties perspective, is an presents her with a book by Michael anachronism when she returns to 1960, Fitzsimmons, which is dedicated to Lewis Carroll her dress at the reunion marks her out “ Peggy Sue and a starry night” . The Let’s pretend there is not too much to from all the others, for it’s the dress she book is titled “A Pilgrim’s Progress” . gain from the fact that there once was a wore to her high school prom. In a Again, it’s a borrowed title: it refers to man by the name of Buddy Holly who sequence that curiously ping-pongs its John Bunyan’s The Pilgrim’s Progress, had a hit song by the name of ‘Peggy way through trauma and joy for Peggy which is an allegorical narrative that Sue’ and a follow-up number called Sue, she recalls memories, hopes and recounts the burdened character’s ‘Peggy Sue Got Married’. Let’s just say dreams, of which one is the regretful (Christian’s) spiritual journey until he is that all there is to gain is that the memory of never having made love to unburdened by the abstract obstacles to borrowed title for Francis Coppola’s the would-be novelist, Michael Fitz­ his faith. It’s, of course, more than likely film serves its purpose: it’s a changed simmons. It seems something is missing that Peggy Sue’s journey back to 1960 is Peggy Sue we’re dealing with. and it’s to be found back in 1960. She to be seen in the same light. Like Let’s also pretend that in 1986 there gets another chance, as the sequence Christian, Peggy Sue is, by the end of was no such film as Back to the Future. It’s culminates with her coronation as queen her journey, unburdened by whatever it not unexpected that for many critics of the reunion, and then she faints away was that had made her melancholy. In Peggy Sue Got Married does no more than into 1960. When she returns from her this case, one does not have to search far capitalise on the time warp humour of journey the film closes with a reunited and wide — it’s that Peggy Sue got Back to the Future, with a heavy lining of family as the shot steadily moves into married. “ We got married too young emotion. It might also be worthwhile at their reflection in a mirror. and blamed each other for everything times to pretend this is not a Coppola If one would like to take it as a sequel we missed” is what Peggy Sue admits to film. Let’s just pretend, because other­ to something, one would have to say her longtime friend in the opening wise, we may get lost along the paths that this is Alice at 42. Or, to be a little sequence. through which Peggy Sue Got Married is more clearer, Peggy Sue Through The The final scene in hospital, however, taking us.

Looking Glass. But it’s not enough to seems to open up an old wound but from When Peggy Sue visits her grand­ say that Peggy Sue Got Married merely a different perspective. Peggy Sue parents on their farm, it is as if the film borrows some well remembered motifs denies to Charlie (in an uncertain rather has taken us to a land far, far away. It all (the looking glass, the crowning of a than suspicious manner) that she ever looks peaceful, idyllic and crested with queen, and a figure out of her element) knew Michael Fitzsimmons. It is a gold — a golden skyline, a golden fire, a from Lewis Carroll’s Through The denial of her journey back to 1960 and golden age. It seems to be the point Looking Glass (which, interestingly, is a her reacquaintance with Michael on that where she is reconciled with her past: sequel). The film wouldn’t make much starry night, except as in a dream. The “ remember the things that matter sense if it did. This is more than an adult book and its dedication to Peggy Sue most” is the advice of her grandmother; presents us with a new twist, for one is while, in response to Peggy’s question­ left with a question mark in mind: who ing, “ I wish I took better care of my had actually told this story? This is teeth” is the only regret her grandfather where the film firmly attaches itself to has.

Carroll’s fairytale. The final chapter of Yet it also seems to be the point where Through The Looking Glass is a question: the film is at its most nonsensical; she “ Which Dreamed it?” Was Alice a part attends her grandfather’s lodge meeting of the Black King’s dream, or the Black where its dotty members, decked out in King a part of Alice’s dream? One has silly hats and Merlin-like robes, perform to remember, of course, how the film’s a ceremony with pressed up nostrils and central characters — Michael and fluttering fingers that they firmly believe Charlie in particular — are distin­ will transport Peggy Sue back to 1985. guished as though they are the black and The scene is touched with magical white pieces from Through The Looking wonderment and, despite the film’s fan­ Glass. tastic premise, it would seem strange, if However, Peggy Sue Got Married tends indeed Peggy Sue Got Married were not so to be more than the sum of its parts, and much like a fairy tale. this is probably Coppola. One would The film is bracketed twice. One have to make a distinction between ‘bracket’ is the journey through time, ‘missing something’ and the ‘loss of which begins and ends as though it is the something’, because despite the coming and going of a dream. It is reunited ending, it is still a melancholy explained in the film as the ‘burrito’ film. When at the reunion a couple are theory of time. According-to the theory, asked, “ What’s it like to have missed time is like a Mexican burrito (a<kind of the sexual revolution?” the question is tortilla), in which the ends fold over not as impertinent as it may have towards each other and just touch. (In sounded. At least, it wouldn’t be for the film, this notion of two things that Peggy and Charlie, and not by the end overlap and touch is represented visually of the film. Remembering 1960 is by the image of a silver balloon, and the remembering a time when America was heart-shaped locket that returns Peggy still innocent, for this is pre-Kennedy to 1960). In between is whatever you assassination, pre-sexual revolution and wish to fill it with: memories, hopes and pre-Vietnam. It’s fairytale America. dreams.

Maybe Peggy Sue’s enthusiastic recital P E G G Y S U E G O T M A R R IE D : K athleen The other is the way 1985 is Turner, back to th e classroom of the anthem before the flag is more • PEGGY SUE GOT M A R R IE D —

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than nostalgia. Maybe it is the melan­ choly of an America that has grown old and lost its innocence.

Come, hearken then, ere voice o f dread, W ith bitter tidings laden, Shall summon to unwelcome bed A melancholy maiden!

Rajfaele Caputo PEGGY SUE GOT MARRIED: Directed by Francis Coppola. Producer: Paul R. Gurian. Executive producer: Barrie M. Osborne. Screenplay: Jerry Leichtling, Arlene Sarner. Director of photography: Jordan Cronenweth. Production designer: Dean Tavoularis. Music: John Barry. Editor: Barry Malkin.

Cast: Kathleen Turner (Peggy Sue), Nicolas Cage (Charlie Bodell), Barry Miller (Richard Norvik), Catherine Hicks (Carol Heath), Joan Allen (Maddy Nagle), Kevin J. O’Connor (Michael Fitzsimmons), Jim Carrey (Walter Getz), Lisa Jane Persky (Delores Dodge). Production company: Paul R. Gurian/Zoetrope Studios. Distributor: Fox Columbia. 35mm. 104 minutes. USA. 1986.

• PLATOON

Near the start of Platoon, a black US infantryman asks Chris Taylor (Charlie Sheen) why he volunteered for Vietnam. Taylor replies that he didn’t want the poor to be the only soldiers in combat. The black looks incredulous: “You gotta be rich to think like that!”

Oliver Stone is clearly the product of wealthy America. The child of a Jew­ ish stockbroker father and a French Catholic mother, Stone spoke his mother’s native language before he learnt English. In 1965, while teaching English at a Chinese Catholic School in the Saigon suburb of Cholon, he watched the build-up for the war.

Sensing it would be the experience of his generation, Stone enlisted and returned to Vietnam just two years later. His film, Platoon, is his account of that experience.

For the US industry, Platoon is really The American Film Dream. More than a movie, it’s an event: painfully reopening the trauma wrought on the American psyche, and simultaneously attracting a volume of international media attention that (despite some easy cynical jibes by critics) lies well beyond the purchasing power of the Hollywood publicity machine.

Platoon cost $6 million and is likely to gross more than 20 times that amount, eclipsing the box office receipts of its more expensive predecessors Apocalypse Now (1979) and The Deer Hunter (1978).

Platoon shows no interest in the metaphysical questioning that left Coppola’s film bogged in the jungle mud. Nor is it interested in the mythic, heroic and dishonest posturing that underscored Cimino’s epic. Platoon’s distinct advantage over those two egotistical and self-consciously auteurist pretenders is that Stone, quite clearly, knows what he is talking about.

The director’s use of the terrain is but one example. Strategists decried the American army’s inability to handle the jungle warfare. Stone’s images drip with the tropical heat, the dark foliage enfolding, sucking in and entrapping the US soldiers. Leeches become fearful

attackers from some prehistoric time; insect noises sound like a deafening psychological weapon; footsteps are laden with doom, and heartbeats signal the onslaught of death.

Stone’s platoon stumbles through this atmospheric nightmare — a collection of overweight, overequipped foreigners with an inadequate sense of direction.

The men are divided into two camps, each surrounding an experienced, professional soldier. Barnes (Tom Berenger) has turned to a cold evil for his salvation, and leads the ‘juicers’.

The ‘dopers’ surround Elias (Willem Dafoe), a man whose salvation is restricted by his own despairing morality.

Chris Taylor, obviously based on Stone himself, is a young volunteer thrown up against the death and mayhem, learning (to the detriment of his soul) that murder provides but one passage to survival in a world where cause and righteousness have lost purpose.

Oliver Stone’s Catholic guilt lingers in every frame of Platoon as his soldiers m urder, rape and terrorise the Vietnamese, and intermittendy take time out to kill one another. This ‘civil war’ in the platoon simplistically reflects both sides of The Great Vietnam Debate.

The tensions, conflicts and polarised moralities represented by Barnes and Elias tear apart the fabric and discipline of the military machine. Having lost the psychological battle to opponents united in a quest for freedom and selfdetermination, the physical battle, despite the technological superiority of the American forces, becomes a ‘no contest’ event. This factor of the war became one of the most humiliating lessons of Vietnam. Oliver Stone, through no fault of his own, has limited himself to the US infantryman’s experience.

In her remarkable book, Nothing And Amen, Italian journalist Oriana Fallaci recounts her assignments in Vietnam during the war. In one of many poignant passages, Fallaci comes across a pile of diaries collected from dead N orth Vietnamese soldiers. The American intelligence corps is only interested in the diaries for names, places and dates relevant to military information. Once scoured for strategic significance, they are burnt.

Fallaci takes a handful of these doomed accounts and reprints extracts.

The personal and intimate writings paint portraits of North Vietnamese peasants willingly co-opted into the suicidal but psychologically damaging Tet Offensive. They are ‘soldiers’ who walk the length of Vietnam and slip into Saigon under the cover of darkness, never having held a weapon until that night, but never in doubt about their desire, or their right, to die for their country. Their love for wives, families and nation are inseparable, and all part of the same emotion.

The ‘mind set’ of these North Vietnamese regulars is at odds with the attitudes embedded in Stone’s platoon.

Unlike the Americans, who were neurotically preoccupied with staying alive, the North Vietnamese accepted the prospect of dying, and were even blissfully resigned to it. Their deaths were, in fact, the ultimate expression of their love. For Stone’s soldiers, death became the ultimate expression of their hate.

Platoon has its detractors. Some have pointed out the black soldiers are unduly patronised and the Vietnamese remain faceless (either pathetic victims or the invisible enemy). The occasional similarities of Stone’s mise en scene to Robert Aldrich’s Attack! (1956), and to the sixties television series Combat have also drawn comment. Most presump­ tuous of all are the doubts cast on Stone and whether he is accurately portraying his own experiences.

Evaluating Platoon’s contribution to the Art of Cinema seems a pedantic exercise at this juncture. After more than a decade Stone has finally delivered his Götterdämmerung and its status as art or entertainment seems relatively unimportant. The political nature of the film has turned it into public therapy for a nation still threatened by a military defeat whose consequences simply won’t go away.

Rod Bishop PLATOON: Directed and written by Oliver Stone.

Producer: Arnold Kopelson. Executive producers: John Daly and Derek Gibson. Co-producer: A. Kitman Ho. Director of photography: Robert Richardson.

Production designer: Bruno Rubeo. Editor: Claire Simpson. Music: Georges Delerue. Cast: Tom Berenger (Sergeant Barnes), Willem Dafoe (Sergeant Elias), Charlie Sheen (Chris), Forest Whitaker (Big Harold), Francesco Cuinn (Rhah), John C. McGinley (Sergeant O’Neill), Richard Edson (Sal), Kevin Dillon (Bunny).

Production company: Hemdale. Distributor: Village Roadshow. 35mm. 128 minutes. USA. 1986.

• R EC EN T RELEASES

A Supplementary Guide

March: What Happened To Kerouac? (Newvision) No Mercy (Fox Columbia) Just Between Friends (Village Roadshow) Stand By Me (Fox Columbia) Tough Guys (Greater Union) Meatballs III: Summer Job (Village Roadshow) Over The Top (Hoyts) Gothic (Village Roadshow) April:

Night Of The Creeps (Fox Columbia) Police Academy IV (Village Roadshow) Miss Mary (Village Roadshow) Les Patterson Saves The World (Hoyts) Pinocchio (Greater Union) Death Of A Salesman (Hoyts) Solar Warriors (UIP) Hoosiers (Village Roadshow) Whoopee Boys (UIP) Critical Condition (UIP) Modern Girls (Filmpac) Light Of Day (Village Roadshow) 84 Charing Cross Road (Fox Columbia) Heavenly Pursuits (Village Roadshow) L’amor Brujo (Village Roadshow) Death Before Dishonour (Village Roadshow) The Assault (Hoyts) CINEMA PAPERS MAY - 65

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M ICH AEL PO W ELL — A L IF E IN MOVIES, AN AUTO BIO GRAPH Y

By Michael Powell (Heinemann, 1986, ISBN 0 434 59945 X, $45.00 rrp).

The first th in g th a t strikes one ab ou t M ichael P o w e ll’s a u to ­ b io g ra p h y is its im m e nse length: 670 pa ge s to co ve r his first 45 y e a rs a n d a n o th e r v o lu m e pro m ised to b rin g us up to date.

T he s e c o n d is its u n c o m ­ pro m isin g p u b lish in g stance: the re are no p h o to g ra p h s and no chapters, on ly th re e vast sections starkly entitled ‘S ilen t’ , ‘S o u n d ’ , ‘C o lo u r’ .

These tw o im p ressio ns s u g ­ gest a w rite r w h o is co n fid e n t of his readers staying interested in w hat he has to say a n d in his ow n id io s yn cra tic to n e of voice.

For the m ost visually a d v e n ­ turou s of British dire cto rs is here co n ce rn e d not with sh o w in g but w ith saying , w ith re c o rd in g a n d /o r re co n stru ctin g a history w hose im p o rta n ce he never doubts. This be in g so, he has not been p re p a re d to m ake c o n ­ cessions to th e casual reader: if the rea de r d o e s n ’t share his p a s s io n fo r film m a k in g (or in de ed fo r P ow ell’s ow n films), too bad.

T he result is a h u g e ly g a rru ­ lous, som etim es u n d iscrim in a ­ ting, often fascinating, often egotistical, a b o ve all in va lu a b le ch ro n icle of a care er th a t g re w with th e m ovies them selves.

Those w h o stay w ith it (and it is b y no m eans un iform ly riveting) are re w a rd e d with a personal history of a m an w h o w as alw ays re so lu te ly h im s e lf a n d w ith som ething like the histo ry of British cin e m a in th e first half of this century.

P ow ell’s care er b e g a n in N ice w hen, th ro u g h th e offices of his unreliable father, he g o t a jo b w ith “ an A m e rica n co m p a n y m aking a big film h e re ’’ . The c o m p a n y w as M e tro-G oldw ynM ayer, th e big film w as M are N ostrum , an d its d ire c to r w as th e a lre a d y le g e n d a ry Rex Ingram , of w h o se in flue nce Powell w rites w ith cha ra cte ristic g e n e r o s it y .

H o w e v e r , th e 2 5 -o d d film s Pow ell d ire c te d in the early 1930s g a ve him little c h a n ce to e xp lo re th e im a g in a ­ tive, rom a ntic elem ents of his — and In g ra m ’s — crea tive talents.

All he co u ld d o w ith th e q u o ta q u ic k ie s to w h ic h he w as assign ed w as to learn as m uch as possible a b o u t th e craft of the art to w h ich he ha d w h o le ­ he arted ly d e d ic a te d his life.

Even so, his th ird film R ynox (1931) led O bse rve r review e r G.A. Lejeune to link his nam e w ith A n th o n y A sq u ith a n d A lfred H itch co ck as on e of “ th e on ly th re e film d ire cto rs w o rth y of the nam e w o rk in g in E n g la n d ” .

66 — MAY CINEMA PAPERS

It w as not until The E dg e O f The W orld (1937), fo r w h ich he also w rote the scree np lay, that he g o t the ch a n ce to m ake the film he w anted, a n d as he w anted. This m ea nt film in g in difficult w eather on th e island of Foula in the Shetlands, and using the islanders instead of actors in a studio be cau se “ they had an in ne r strength and repose tha t oth er m en and w om en d o not have, and it show s in their fa c e s ” . This kind of rom antic de votio n to his task is typica l of P ow ell’s a p p ro a c h — or, at least, of ho w he reco l­ lects it — an d if on e is to a cce p t this bo ok an d its au thor one m ust a cce p t just such ro m a n ­ ticism . “ It w as not a thirst for glory, but the love of the art w hich I s e rv e d ,” he w rites ab ou t his attitude to th e m a king of The Edge O f The World, “ a tu rn in g point in m y life in a rt.”

A fter this tu rn in g point, he m a d e th e successful thriller The S py In B la ck (1939), w h ich b e g a n his 20-year association w ith E m eric P ressburger, w h o shares the d ire ctin g c re d it with Powell on m ost of the ir films, th o u g h Powell m akes cle a r the division of labour. T ogether, th e y m a d e an e xtra o rd in a ry series of film s w h ich has no parallel in British screen history.

By th e e n d of th e w a r years, th e y h a d c o lla b o r a te d on an othe r sp y thriller, C o n tra b a n d (1940), again starrin g Valerie H o bso n and C o nra d Veidt; 49 th Parallel (1941) set in C a n a d a as esca p in g G erm an s are pursue d across the m ap and bo astin g a c a s t h e a d e d b y L a u re n c e O livier, Eric P ortm an, R aym ond M assey, A nto n W a lb ro o k and Leslie H o w ard ; O ne O f O ur A ir­ c ra ft Is M issing (1942) in w h ich a scene (betw een H u gh B urd en a n d G o d fre y T earle) w h ich “ d e p ic te d th e con flict betw een in to le rant youth an d e x p e ri­ enced a g e ” c o n ta in e d th e genesis of his next an d m ost fam ou s film The Life A n d D eath O f C o lo n e l B lim p (1943). D avid T hom so n calls this film “ a beautiful salute to E ng lishne ss” an d this c o m m e n t m ig h t also be a p p lie d to A C a n te rb u ry Tale (1944). This latter film was, h o w ­ ever, the ir first failure as Powell a ckn o w le d g e s, a lth ou gh tim e has o ve rtu rn e d c o n te m p o ra ry ju d g m e n t w h ich m a d e m uch of th e nastiness of a m agistrate w h o p o u re d g lu e in g irls ’ hair.

A s Powell p e rce p tive ly notes, “ In spite of E m e ric’s valiant a ttem p ts to tu rn it into a d e te c ­ tive thriller, th e story of A C a nter­

b u ry Tale rem ained a frail and u n co n vin cin g s tru c tu re .” So it does, but it is a film full of im ­ pe rish able im a ge s a n d the final scenes in C a n te rb u ry C athedral are a m o n g th e m ost m o vin g in British cinem a.

Im m ediately post-w ar, their success g a in e d new m om e ntum with / K n o w W here I ’m G oing (1945), a paean of praise to the W estern Isles, to the triu m p h of love an d po etry over m aterial­ ism, and to the h igh ly in dividu al attractiveness of its stars — W end y Hiller, R oger Livesey and P am ela B row n. Powell is fu l­ som e a b o u t Livesey and B row n, both of w h o m he w o rke d with several tim es; L ive se y’s film reputation in de ed ha ng s on this film, on C olon el B lim p and on P ow ell’s next film, A M a tte r O f Life A n d D eath (1946); with Brow n, Powell had w h a t he calls “ a m arriage not of bodies, but of tw o m in d s ” .

The R ed Shoes (1948), with w h ic h his firs t v o lu m e of m em o irs ends, is p e rh a p s the best kno w n P ow ell-P ressburger film in Australia, and, in its tale of a ballerina torn betw een love an d art a n d fin d in g only a tra g ic w a y out of th e conflict, it has the kind of visual b ra vu ra tha t m ad e the P ow ell-P ressburger team so susp ect in the British cin em a tradition.

It is a pity th a t so m e ruthless e d ito r has not g o n e to w o rk on A Life In M ovies, so th a t it m ig h t have c o m p le te d th e story. The Kentish c h ild h o o d is all v e ry well in its w a y but, as w ith m ost (au to )biogra ph ies, on e w ants the a u th o r to g e t on w ith the business th a t m a d e us w a n t to read a b o u t him in th e first place.

Indeed, w e c o u ld ha ve been b ro u g h t up to d a te w ith th e films, an d the sense of a som e w h at flo u n d e rin g ca re e r in th e 1950s.

Powell, th a t is, w a s at his pe a k w h e n British cin e m a was, in the S E E IN G I: M ichael Powell

1940s; fro m 19 50 on, w ith the e x c e p tio n o f P e e p in g Tom (1959), e xe cra te d then, v e n e r­ ated now, th e re is no w h o lly s u c ­ cessful film bu t som e fa scin a tin g exce sses such as G one To Earth (1950) a n d The Tales o f H o ff­ m an (1951).

It is g o o d to see an o ld m an (Pow ell is n o w 81) g e ttin g the attention he has ea rn e d , an d w h ic h th e B r it is h c r it ic a l fra te rn ity w a s fo r so lo n g reluctan t to g ive him. S om etim es I have felt im p a tie n t w ith the in­ sisten ce of re ce n t yea rs on the pre -e m in e n ce of Pow ell in the ap pra isal of British cinem a. It has see m ed like a case of o v e r­ co m p e n sa tio n a n d it has the e ffect of eve n fu rth e r m a rg in a l­ ising oth e r British d ire c to rs of w h o m on e w o u ld like to kno w m ore. D oes a n yo n e in A ustra lia ca re a b o u t V icto r S a ville ’s S outh R id in g (1938) or L a n ce C o m ­ fo rt's G reat D a y (1945) or Lew is A lle n ’s So Evil M y L o ve (1948) or A s q u ith ’s L ib e l (1959), let alon e the less pe rip h e ra l plea sures of G a in s b o ro u g h ’s 1940s output, or th e p o st-R oom A t The Top realists of th e ea rly sixties, o r the H a m m e r ca n o n of th e fifties and sixties? It is not to va lu e Powell less th a t I d ra w atten tion to w h a t is, in this c o u n try at a n y rate, la rge ly u n e x p lo re d territory.

P ow ell m a y w e ll be, as T h o m a s E lsaesser has cla im ed , “ o n e of th e fe w a u te u rs [B ritain] has ever p ro d u c e d ” ; his is ce r­ tain ly th e m ost c o h e re n t b o d y of film s eve r m a d e by a British d ire c to r (and th a t in clu d e s faults as w ell as blazin g virtues), a n d A Life In M ovies h e lp s us to locate this co h e re n c e in th e m an him ­ self an d his flair fo r ch o o sin g s y m p a th e tic co lla b o ra to rs. Let us ju st kee p in m in d th a t the re are oth e r plea sures a w a itin g re­ cla m atio n in th e an na ls of British cinem a.

B rian M cFarlan e

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O N T H E G O L D F IE L D : S hau n B ao in Illustrious E nergy

NEW ZEALAND

BY M IK E

N1COLAIDI

Back to the feature The twin paths of New Zealand feature film production were neatly illuminated by the late summer shooting in Central Otago of two new films — Starlight Hotel and Illustrious Energy.

One of those paths denotes cool­ eyed commercialism; the other, more obvious cultural concerns. Not that the producers of either movie would really concede the primacy of box office over artistic aspirations — or vice versa.

The rolling cameras bore witness to a timely resurgence at the upper end of the Kiwi industry after an arid 12 months. Only one feature-length documentary, Michael Firth’s The Leading Edge, emerged during this time, following the early 1986 East Coast location filming of Barry Barclay’s Maori story Ngati for Pacific Films. Ngati will have its first screenings at Cannes, joining The Leading Edge, the animated feature Footrot Flats, and Bruce. Morrison’s Queen City Rocker in the New Zealand catalogue. Starlight Hotel, directed by Sam Pillsbury, and like Rocker out of the Auckland-based production house of Larry Parr’s Mirage Films, also will be there.

Based on an original story by Grant Hindin Miller, Starlight Hotel is a classic tale of two young people joining forces on the road in the

68 - MAY CINEMA PAPERS

Depression years of the early 1930s.

Kate, a strong-willed teenager, is running away from an uncaring aunt and uncle in search of her sole parent father. Patrick, a self-centred loner, is on the run from the police.

Publicity for the project stresses the general audience nature of the material and a storyline built around a strong human relationship that achieves intimacy and dramatic tension without recourse to sex and violence.

For Pillsbury, Starlight Hotel is the first feature he has directed since The Scarecrow in 1981. A Gothictinged portrait of New Zealand small town life, it starred John Carradine and was selected for Directors’ Fortnight at Cannes. Pillsbury was co-producer of the Geoff Murphy helmed The Quiet Earth — to date New Zealand's top grossing movie in North America — and director of the miniseries Heart of the High Country, a co-production involving Phillips-Whitehouse Productions of Auckland, Television New Zealand, and Zenith Productions in Britain.

Interviewed by Cinema Papers on location in the southern town of Oamaru, Pillsbury says he believes he has the goods in his two stars, Australian actor Peter Phelps, and 15-year-old Aucklander, Greer Robson. Phelps is fresh from a leading role in Simon Wincer’s The Lighthorsemen, while Robson, who has appeared in several New Zealand films, made a big impact as the child of two warring parents in Roger Donaldson’s Smash Palace in 1982.

Pillsbury is confident they will bring passion and relevance to a

story that results in a fine movie which makes money and finds its audience.

But he is blunt about Starlight Hotel’s low $NZ1,700,000 budget and the truncated timetable to get the film complete for Cannes, suggesting the project aims to prove to a government loath to provide more money for the industry, that there is a way of making films simply and commercially. “ We have a six week shoot for a film that has to stand up against product from L.A. It’s a bit like squeezing an elephant through a pinhole, and it hurts not to be able to have more time and all the resources. “ As it is we are shooting with one camera, averaging three minutes footage a day.’’

Three hours by road away from the Pillsbury action, one of New Zealand’s top cinematographers, Leon Narbey, is grappling with the realisation of a film that has been in his mind for seven years. Produced

by Don R eynolds and Chris Hampson for another Auckland film company, Cinepro Productions Ltd, Illustrious Energy, budgeted at $NZ1,500,000, is Narbey’s first feature as a director. In the words of the producers, it is “ unashamedly an art movie’’.

The script, which Narbey has co­ written with Martin Edmond, focuses on two Chinese goldminers striving to improve their lot during the years of decline in the goldfields of Central Otago, circa 1895. It sensitively and dramatically explores the loneliness of men in an alien land seeking that fortune which will allow them to return with wealth and honour to their ancestral home.

The p ro d u c tio n has been approved by the government of the People’s Republic of China as an official co-venture between the Chinese Co-production Corporation and Cinepro.

The star is 30-year-old Shaun Bao, who made 15 films in Beijing before marrying a Chinese Australian two years ago and settling in Adelaide.

He says he understands English better than he speaks it, but the fine detail of the performance he is delivering is already obvious in early “ rushes” .

Aware of the significance of this new burst of New Zealand feature film production (Starlight Hotel and Illustrious Energy are almost certain to be followed by at least three more productions this year, including Merata Mita’s Mauri and Vincent W a r d ’ s l o n g - p r o j e c t e d The Navigator), Arts Minister Peter Tapsell makes his first visits ever to see films in the making. He offers verb al if not ext ra fin a n cia l encouragement. “ Film is too important to us as a nation to let its future be determined solely by the vagaries of the marketplace,” he says.

He muses that his assessment of the level of funding needed to promote a strong feature film industry in New Zealand is around $NZ20,000,000 a year. His personal hope is that the country (and presumably the government) will be able to move gradually towards that “ sort of goal” .

Direct government funding to the NZ film commission for the 1986-87 financial year was $NZ5,000,000.

When pressed, Tapsell says current economic pressures are such that it is unlikely this figure will be increased by 15 per cent in 1987-88.

Nevertheless, it is election year and the Lange administration, given the new confidence apparent in the industry, could go a little further than that.

The continuing investigations by the Inland Revenue Department into past special film partnerships will stymie any helpful moves through the taxation system. What could materialise, however, is a larger boost in direct funding to the film commission than Tapsell is prepared to advocate publicly.

The commission itself says it needs $NZ18,000,000 in 1987-88.

Any takers for a doubling of the current grant to $NZ10,000,000?

O N T H E R O A D : P ete r P helps and G re e r R obson in S tarlight Hotel

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HOLOGRAPHIC MOTION PICTURES It s e e m e d s ig n ific a n t th a t I h e a rd th e p h ra s e “ it ’s lik e re ­ in v e n tin g m o tio n p ic tu re s ” tw ic e in th e s a m e w e e k, in v e ry d iffe re n t c o n te x ts . P e te r Ja m e s, w h o is s h o o tin g th e firs t A u s tra lia n 7 0 m m film , use d it to d e s c rib e th e p ro b le m s o f w o rk in g w ith a la rg e fo rm a t n e g a tiv e a n d th e s c u lp to r a n d h o lo g ra p h ic a rtis t A le x a n d e r lik e n e d th e c u rre n t w o rk on m o v in g h o lo g ra m s to th e firs t s ta g e s o f th e e x p e rim e n ts w ith m o tio n p ic tu re s .

In 1981 I s to p p e d by c h a n c e a t th e M u se e d e I’ H o lo g ra p h ie w h ile w a lk in g th ro u g h th e F o ru m D es H a lle s in P aris a n d e x p e rie n c e d fo r th e firs t tim e d o z e n s of h o lo g ra m s, fro m th e m u n d a n e to th e c re a tiv e , th e lu m in o u s im a g e s g lo w in g in th e d a rk e n e d g a lle ry . I w a s fa s c in a te d b y o n e im a g e o f a m a g n ify in g g la s s o v e r a b a c k g ro u n d th a t a llo w e d you to lo o k th ro u g h th e g la s s on a n y a n g le a n d s e e a tru e e n la rg e d p o rtio n o f th e b a c k g ro u n d , w h ile a lso b e in g a b le to lo o k u n d e rn e a th th e g la ss to see th e o b je c ts in real size . I c o u ld n ’t u n d e rs ta n d w h y it w o rk e d b u t l ta lk e d a b o u t it fo r d a ys, eve n g o in g b a c k a n d s m u g g lin g a m o vie c a m e ra u n d e r m y co a t.

T h is w a s s o m e th in g n e w and sp e c ia l. I fe lt a s im ila r s e n se o f w o n d e r a fte r se e in g th e firs t fe w s e c o n d s o f A le x a n d e r’s h o lo g ra p h ic m o vie in s ta lla tio n M a s k s at th e H o ld s w o rth C o n te m p o ra ry G a lle ry in S yd n e y.

T h e firs t th in g s I s a w on e n te rin g th e s m a ll s id e roo m o f th e g a lle ry w e re a fe w h a n g in g g la s s p la te h o lo g ra m s . S u s p e n d e d on fis h in g lin e a n d lit by w h ite s p o tlig h ts , th e s e w e re c o n v e n tio n a l h o lo g ra p h ic im a g e s. W h e n I s to o p e d to lin e m y e ye s w ith th e c e n tre o f th e be am , th e fa m ilia r (bu t s till s p e c ia l) g re e n to red im a g e s flo a te d fro m th e ir p la n e s.

A ro u n d th e c o rn e r w a s a la rg e b la c k p a in te d p lyw o o d b o x w ith an in s e t re c ta n g le a b o u t 10 in c h e s w id e a n d w h a t lo o ke d lik e d a rk th e a tric a l ‘g e l’ p re sse d a g a in s t th e hole. O n th e flo o r at th e b a c k w a s a ta p e re c o rd e r a n d a w ire w ith jo in s e xp o se d , le a d in g to a p u sh b u tto n s w itc h ta p e d to th e w a ll. W h e n th e b u tto n w a s p re sse d , th e p la s tic in th e s q u a re b e g a n to m o ve a n d

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m ay c in e m a p a p e r s

b e ca m e b a c k lit. T h e im a g e th a t s c ro lle d had th e g re e n h o lo g ra m c o lo u r an d u n ro llin g b e h in d th e o p e n in g , th e w o rd “ m a s k s ” and a m o vin g p a tte rn o f b ro ke n v e rtic a l lin e s a p p e a re d . P rim itiv e m a sks, ca sts o f th e a rtis t’s he ad , halfco ve re d fa ce s, a n d a s to re m a n n e q u in ro ta te d in d e p th .

F rom th e s e s ta tic im a g e s th e re w a s an a lm o st im p e rc e p tib le eye m o v e m e n t on a ro ta tin g head, th e n th e m ix o f im a g e s in c lu d e d real m ove m e n t. A fa c e p a in te d as a M ao ri p o ke d o u t a to n g u e , an d a w o m a n be g a n p e e lin g o ff a fa c ia l m ask.

T h e tra n s itio n to th e n e xt im a g e w a s a id e d by th e co m m o n ro ta tio n bu t so m e tim e s w h e n you e x p e c te d to see a re p e a te d fro n t fa c e o f an o b je c t, th e ed g e a p p ro a c h in g c a m e ra ‘w ip e d ’ on a n e w im a ge .

F o u r m in u te s la te r I kn e w th a t I had e x p e rie n c e d s o m e th in g th a t w a s n o t as s ta rtlin g as L u m ie re ’s tra in a p p ro a c h in g th e v is u a lly u n s o p h is tic a te d firs t a u d ie n ce s at th e S a lo n Ind ien , b u t s o m e th in g th a t fre e d th e fix e d p la te h o lo g ra p h ic im a g e s h a n g in g a ro u n d m e an d b ro u g h t w ith it a rush of id ea s and im p lic a tio n s . T h e m a sks and th e s c u lp tu re s a lso a d d e d a fe e lin g o f p rim itiv e m a g ic. I p u sh e d th e b u tto n a g a in an d th e scra tc h e d p la s tic rolled o n ce m ore . I e v e n tu a lly lo oke d b e h in d th e b o x try in g to re d u ce th e m a g ic to a level I c o u ld u n d e rs ta n d an d re so lve d to ta lk to th e m a g icia n .

ALEXANDER, ART AND MAGIC T he B ritish -b o rn a rtis t (he ca lls h im s e lf ju s t A le x a n d e r) lives an d w o rk s b e tw e e n th e rura l o u te r s u b u rb s o f S y d n e y a n d th e W e s t C o a st o f th e USA. H e w a s kn o w n in te rn a tio n a lly , firs t fo r his la rg e m o n u m e n ta l s c u lp tu re s a n d p a in tin g , a n d th e n fo r w h a t he c a lls fo u r-d im e n s io n a l s c u lp tu re s (p a in te d ste e l rod s a rra n g e d in a g rid th a t d is p la y p a tte rn s in d e p th a s th e v ie w e r w a lk s a ro u n d th e m ). It w a s th e s e w o rk s th a t led h im to h o lo g ra p h y. “ I’v e a lw a y s ta k e n m y ow n p ic tu re s o f m y w o rk , not b e c a u s e I’ m a n y b e tte r th a n a p ro fe s s io n a l p h o to g ra p h e r, b u t as th e c o n c e p t b e h in d th e o b je c t is in m y m in d , it is e a s ie r fo r m e to re a lis e it in a p h o to . W h e n I p h o to g ra p h th e rod s c u lp tu re s th e y a re a b s o lu te ly d e a d , so to s h o w

th e m to th e g a lle rie s th a t sell m y w o rk, I d e c id e d th a t I had to e ith e r use a film o r v id e o o r s o m e th in g like a h o lo g ra m th a t w o u ld d is p la y th e e ffe c t o f th e m o v e m e n t p a ra lla x .”

F ro m th a t d o c u m e n ta ry ne ed , he b e g a n his w o rk in h o lo g ra m s , q u ic k ly re a lis in g th a t “ it s e e m e d p o in tle s s to ju s t m a ke im a g e s of te le p h o n e s , w in e g la s s e s and a p p le s th a t a c tu a lly lo o ke d b e tte r in a go o d c o lo u r p h o to g ra p h ” . He w a s se le c te d in 1983 fo r a fe llo w s h ip in h o lo g ra p h y th a t w a s se t up by th e C S IR O a n d th e A u s tra lia C o u n c il. It a llo w e d him to w o rk w ith h o lo g ra p h ic s p e c ia lis t D r “ H a ri” H a rih a ra n at th e C S IR O . A s w e ll as te a c h in g A le x a n d e r th e p ro c e s s e s in vo lve d in m a k in g h o lo g ra m s , D r H a rih a ra n ta u g h t him “ h o w to ta c k le th e p ro b le m s w h e n you c o m e up a g a in s t th e lim ita tio n s of to d a y ’s h o lo g ra m te c h n o lo g y ” .

O ve r th e n e x t fe w ye a rs A le x a n d e r m a d e h o lo g ra m s by th e c o n tin u o u s w a ve p ro ce ss he had use d w ith la se rs at th e C S IR O an d w ith th e in te g ra l p ro c e s s in A m e ric a , as w e ll as a n u m b e r w ith th e p u ls e la se r p ro ce ss. T h e c o n tin u o u s w a ve w o rk s w e re d is p la y e d at th e A rt G a lle ry o f N e w S ou th W a le s in m id -1 9 8 6 . T h e p u lse la s e r m a s te rs w e re m a d e In P aris in F e b ru a ry la st y e a r and th e tra n s fe rs w e re m ad e at th e C S IR O w ith Dr H a rih a ra n in O cto b e r.

B e ca u se o f th e ra n g e of size an d fo rm s o f h o lo g ra m s he has m a d e A le x a n d e r has be en in v ite d to d o a n u m b e r of u n u s u a l c o m m is s io n s . As he p u ts it: “ P e o p le kn o w th a t m y e x p e rie n c e as an a rtist, b o th as a p a in te r and s c u lp to r, m e a n s th a t I can h a n d le th e c re a tiv e s id e so I g e t in v ite d to d o th in g s th a t a re o u ts id e o f th e n o rm .” In F e b ru a ry 1986 he w a s in vite d to p ro d u c e th e firs t fic tio n a l h o lo g ra p h ic film in F ra n ce . “ B e fo re th is th e re h a d been s h o rt film s of a b o u t a m in u te , d o n e as e x p e rim e n ts , b u t th is tim e th e y w a n te d to m a ke a m o vie th a t la ste d m u ch lo n g e r, fo r o n e m in u te a n d 20 se c o n d s ! R e ally, re a lly lo n g , a fe a tu re m ovie! “ I d id all th e p la n n in g w o rk in m y S y d n e y s tu d io w h e re I fin d it e a s ie r to w o rk, and p re p a re d all th e p ro p s a n d m a sks. I to o k th e c h a ra c te rs o f B e a u ty an d th e B ea st, m a k in g th e B e a st a p a in te r a n d B e a u ty th e m o d e l. F rom th is I m a d e u p a sm a ll s e q u e n c e w h e re , as th e p u ls e

la se r w a s ta k in g th e im a g e s , I w a s p a in tin g a p ic tu re . T h e B e a st co m e s o u t o f th e firs t o n e so I rip th a t up an d s ta rt a g a in a n d fro m th a t o n e th e m o d e l c a m e ou t. It w a s th e b e st I c o u ld d o in th e s h o rt tim e ! “ W h e n I g o t to F ra n ce I d is c o v e re d th a t it w a s to be m a d e in a la b o ra to ry w h e re th e y had an e x tre m e ly p o w e rfu l p u ls e la ser. T h e y s a id th a t u n d e r no c irc u m s ta n c e s m u st w e lo ok c lo s e r th a n a c e rta in a n g le in to th e la se r o r w e w o u ld be b lin d e d . It w as v e ry p o w e rfu l a n d p u ls in g at 25 fra m e s a s e co n d . T h a t w a s o b v io u s ly lim itin g b u t th e b ig g e s t re s tric tio n w a s th a t, d e s p ite th e p o w e r o f th e la se r, th e v o lu m e th a t th e y c o u ld illu m in a te w a s a b it u n d e r tw o fo o t w id e b y a b o u t 18 in ch e s ta ll a n d 18 in c h e s d e e p . S o w h e n D a n ie lle a n d I w e re in th e s a m e fra m e it w a s v e ry re s tric te d !” (H is w ife D a n ie lle is o fte n a m o d e l in his w o rk .)

T h e v ie w in g o f th e film w a s a lso re s tric te d to a p e e p h o le fra m e th e size o f th e film , w h ic h w a s 126m m w id e . T h e s m a ll siz e s e v e re ly lim its th e th re e -d im e n s io n a l v o lu m e th a t ca n be use d, ye t it is th e m e th o d th a t is b e in g m o st w id e ly used in e x p e rim e n ts in R u ssia an d F ra n ce , and a lth o u g h it is th e m o st a d v a n c e d s yste m o f its kin d , A le x a n d e r fo u n d it d is a p p o in tin g . “ It w a s a lo t o f w o rk a n d an h is to ric o c c a s io n b u t I re a lise d th a t if you c o u ld o n ly lig h t su ch a s m a ll size w ith a p o w e r th a t c o u ld b lin d p e o p le th e n it m u st be a de a d en d fo r th e c in e m a p ro c e s s .”

BACK TO THE FUTURE T h e o b v io u s lim ita tio n s w ith th e p u ls e la s e r p ro c e s s a n d his d e s ire to in c lu d e p e o p le in his w o rk c a u s e d A le x a n d e r to re th in k . H e w a s s u re th a t th e film in d u s try w o u ld c o n tin u e its p a th to w a rd s g re a te r re a lis m a n d h e re s o lv e d to try to d e v e lo p th e in te g ra l h o lo g ra m p ro c e s s . “ It s e e m s to m e th a t if yo u th in k a b o u t th e h is to ry o f th e c in e m a , o n e h u n d re d y e a rs a g o p e o p le w e re e x p e rim e n tin g b a s ic a lly w ith d e v e lo p m e n ts o f th e z o e tro p e u n til E d is o n p ro d u c e d h is firs t c a m e ra . A t th a t tim e p e o p le w e re s till m a k in g v e ry s h o rt le n g th s o f film a n d th e s u b je c ts m a tc h e d th a t. I th in k th a t is th e p o in t I’m at w ith m y h o lo g ra m s in a h is to ric a l p e rs p e c tiv e . It’s b e fo re th e >

CINEMA PAPERS MAY - 71

< d e v e lo p m e n t o f th e s ile n t film , c e rta in ly a lo n g w a y b e fo re th e a d d itio n o f s o u n d an d c o lo u r, a n d d e c a d e s a w a y fro m th e m a g n ific e n t fo rm a ts o f Im a x a n d O m n im a x . “ T h e p u sh to m o re re a lis m m u s t m e a n th e d e v e lo p m e n t o f g re a te r d im e n s io n a lity . T h e tra d itio n a l m e th o d o f s te re o s c o p y is lim ite d b y th e n e e d fo r g la s s e s th a t use c o lo u r o r p o la ris a tio n to p re s e n t th e d iffe rin g s te re o p a irs to e a ch eye. P e o p le se e m to d is lik e th e g la s s e s a n d th e s te re o im a g e is in a lim ite d fo rm so no m a tte r w h e re you s it in th e a u d ie n c e you o n ly se e th e s a m e tw o vie w s. U n lik e rea l life th e re is n o n e o f th e re a lis m o f m o v e m e n t p a ra lla x . In rea l life o r th e th e a tre , fo r th a t m a tte r, if yo u s it o ff to o n e s id e you se e th in g s o ffs ta g e th a t you a re n o t s u p p o s e d to .”

S o w ith th e lim ita tio n s o f th e p u ls e la s e rs a n d th e d iffic u lty a c h ie v in g th e s u b tle tie s o f lig h tin g , he w e n t b a c k to th e in te g ra l sy s te m th a t a llo w e d a n y s iz e o f s u b je c t, a n d a n y k in d o f lig h tin g style .

THE MAKING OF MASKS T h e firs t film he m a d e w ith th a t p ro c e s s w a s M a sk s.

A le x a n d e r fe e ls th a t it is v e ry e le m e n ta ry b u t th a t its te c h n iq u e fitte d th e id e a . It p ro v e d to b e th e id e a l s c e n a rio b e c a u s e he w a n te d to u se a ro ta tin g o b je c t s y s te m to lim it th e n u m b e r o f p ro b le m s th a t he h a d to ta c k le .

T h e title s c e n e o f M a s k s is an e x a m p le o f th e u n e x p e c te d n a tu re o f th e p ro c e s s fo r a n y o n e w ith a c o n v e n tio n a l k n o w le d g e o f film . H e use d o n e o f th e fo u r ro ta tin g d im e n s io n a l rod s c u lp tu re s a n d a fte r o n e ru n p a in te d ‘ M a sks b y A le x a n d e r’ in w h ite on tra n s p a re n t p la s tic an d w a ve d th a t b a c k w a rd s an d fo rw a rd s in fro n t o f a s ta tic c a m e ra . “ I d id n ’t k n o w w h a t w o u ld h a p p e n b u t w e c o m b in e d th e tw o to g e th e r a s a film o p tic a l a n d it w o rk e d q u ite w e ll. Y o u c a n n o t p o s itio n w h e re in s p a c e th e title is flo a tin g w ith th e rod s. T h is le d m e to ta k e m u c h g re a te r ris k s in u s in g to ta lly d iffe re n t s p a tia l g e o m e trie s to g e th e r, s u p e rim p o s in g th e m . “ I’v e h a d n o b a c k g ro u n d in c in e m a to g ra p h y a t a ll b u t th e in te g ra l h o lo g ra m s a llo w you to use s o m e lim ite d m o v e m e n t a n d th a t’s re a lly w h e re I s ta rte d . It w a s s till,

72 - MAY CINEMA PAPERS

h o w e ve r, in m y m in d a p ro c e s s o f a s u c c e s s io n o f c a n v a s e s ra th e r th a n a flo w in g film ic n a rra tiv e . A t th e m o m e n t th a t s e e m s to fit in to th e lim ita tio n s an d c h a ra c te ris tic s o f th e m e d iu m .

It in v o lv e d a lo t o f p ro b le m s at th e s ta g e o f tra n s la tin g th e m o vie in to th e h o lo g ra p h ic s trip e s .”

THE INTEGRAL HOLOGRAM PROCESS A le x a n d e r e x p la in e d th e p ro c e s s w ith d e s c rip tiv e ha nd m o v e m e n ts . “ W h e n you lo o k a t an o b je c t, w h a t you are se e in g is th e a m b ie n t lig h t s c a tte re d b y th e s u rfa c e o f th e o b je c t to y o u r eye. A la s e r o r p u ls e la s e r h o lo g ra m is a re c o n s tru c tio n in lig h t o f th a t o b je c t, c o m p le te in itse lf. T h e in te g ra l p ro c e s s is s o m e w h a t d iffe re n t. “ If you w e re m a k in g a fla t h o lo g ra m , s a y s ix fe e t lo ng , you w o u ld m o ve th e m o tio n p ic tu re c a m e ra a t a p re ­ d e te rm in e d rate a lo n g a tra c k p a ra lle l to th e o b je c t yo u a re s h o o tin g ; fo r e x a m p le 30 0 fra m e s to m o ve s ix fe e t. T h is film is th e n p la c e d on e q u ip m e n t th a t p ro je c ts each fra m e to c re a te a tw o d im e n s io n a l im a g e in s p a c e (as in an a e ria l im a g e p rin te r) an d a h o lo g ra m is m a d e of th a t, m a s k e d to e x p o s e a h o lo g ra p h ic s trip e . T h e n e xt fra m e is a d v a n c e d a n d th e n e ig h b o u rin g s trip e is m ade.

T h e re s u lt is 3 0 0 h o lo g ra p h ic s trip e s , e a ch o f w h ic h c o n ta in s th e fu ll tw o d im e n s io n a l im a g e o f a fra m e . “ T h is is th e m a s te r a n d fro m th is a h o lo g ra p h ic c o p y is m ad e, c a lle d th e H2. T h e

m a ste r re q u ire s a la s e r to illu m in a te it o r a m o n o c h ro m a tic lig h t so u rce , but th e H2 is a w h ite lig h t ho lo g ra m and is a c o p y w ith all th e in fo rm a tio n tra n s fe rre d . “ T h e e ffe c t is a s ix fo o t ho lo g ra m w ith ea ch o f th e strip e s a c tin g as a kin d of w in d o w and you a lso ha ve th e im a ge o f th e s lit of th e m aster, situ a te d in sp a ce . So as you w a lk a lo n g th e h o lo g ra m y o u r eyes are lo o kin g th ro u g h th e s e in v is ib le w in d o w s and p ic k in g up ste re o pa irs, fo rm in g th re e d im e n sio n a l im a g e s b e ca u se th e c a m e ra has m ove d be tw ee n e xp o s u re s e n o u g h to p re se n t a d iffe re n t v ie w p o in t to ea ch e y e .”

In p rin c ip le , th is is th e pro ce ss th a t w a s a lso used to m ake th e film , A le x a n d e r e xp la in s. “ It is a bit m ore co m p lic a te d b e ca u se th e re is a w a y to ju m p d ire c tly to m ake th e H 2 by ho w you set up th e o p tics. M a sk s is m ad e b y th is d ire c t p ro ce ss an d th e m oving h o lo g ra m on d is p la y is a c tu a lly th e m aster. In th e o ry it is not d iffic u lt to c o p y h o lo g ra m s — th e re are a n u m b e r o f c o m m e rc ia l m e th o d s fo r m a kin g fo il h o lo g ra m s fo r m u ltip le co p ie s fo r c re d it c a rd s etc. In p ra ctice no on e is se t up to do it w e ll e n o u g h fo r m e to be h a p p y w ith .”

C o p yin g w o u ld be re q u ire d fo r a w id e r d is trib u tio n b u t A le x a n d e r d o e s n ’t ha ve tim e to ta c k le th is p ro b le m .

TOWARDS A LANGUAGE OF HOLOGRAPHIC CINEMA T h e re a re th re e d is s o lv e s in

M a s k s , an d a n u m b e r o f c le v e r tra n s itio n s th a t m a ke th e im a ge s flo w c in e m a tic a lly .

I w a s e xcite d by th e id e a o f h a vin g to re -th in k th e la n g u a g e o f film ic tra n s itio n s and co n v e n tio n s : w h a t ha p p e n s w h e n you c u t fro m a w id e ‘s h o t’ to a clo s e -u p in a h o lo g ra p h ic m o vie? A le x a n d e r says th a t he a p p ro a c h e d M asks as a p a in te r and p la ce d th e im a g e s w ith o u t a n y c in e m a tic kn o w le d g e . “ T h e d is s o lv e s w e re d o n e fo r e c o n o m ic re a so n s, as th e w h o le p ro je c t w a s d o n e on a sh o e -strin g . It is m y s u c c e s s as a s c u lp to r th a t s u b s id is e s th e se p ro je cts. I ta k e a lo ng te rm vie w th a t all th e e n e rg y and tim e th a t has be en pu t in to th e h o lo g ra p h ic w o rk w ill pa y off, and it a p p e a rs th a t th is is h a p p e n in g w ith so m e co m m is s io n s c o m in g in and p e o p le h irin g th e h o lo g ra m s fo r e x h ib itio n s . “ I’ve le a rn t a lot a b o u t s p e cia l e ffe c ts fro m m a k in g th e in te g ra l h o lo g ra m s , and th e re are a n u m b e r o f id e a s I have th a t w o u ld use m a tte s from a b lue scre e n in m y in te g ra l h o lo g ra m w o rk.

People in A u s tra lia ha ve been m uch m ore h e lp fu l w ith th is sp e c ia lis e d kn o w le d g e , so m uch so th a t I am d o in g all m y in itia l p h o to g ra p h y w o rk here. I ju s t c o u ld n ’t have affo rd e d to do a n u m b e r of th in g s in th e S ta te s w ith th e p rice s th e y are c h a rg in g in H o llyw oo d. T h e re is no in te re st th e re in w h a t th e end re su lt w ill be; th e y are p ro b a b ly m ore in te re s te d in m a kin g a soa p p o w d e r co m m e rc ia l th a n s e e in g s o m e th in g th a t, as a w o rk of art, w ill ha ve a life a fte r th e soa p p o w d e r is fo rg o tte n .

MASKS — Technical

Details

Masks is recorded as an integral

Combined images from the holographic movie Masks.

hologram on a s trip o f film 70 fe e t long by ab ou t 10 inches w ide. It runs (or scrolls) fo r fo u r m in utes w ith title s. Each o f th e im ages rotate th ro u g h 360 degrees and use 250 fram es o f 35mm film . The original was taken on a M itchell camera. The film s to c k was Eastm ancolor 5247 chosen fo r its avail­ a b ility and standard processing. It was printed on to a high co n tra st black and w h ite negative p e rfo r­ ated stock Kodak typ e 5369. (The high con tra st sto ck is used to get a tonal range th a t gives a b rig h t image w ith detail at th e to p o f the tonal scale; the blacks are c u t o ff.)

The integral hologram was made to A le xan der’s in s tru c tio n s in San Francisco in the la b o ra to ry o f Sharon McCormack.

Basic set-up for the production of the

Masks images.

PRODUCING THE DREAM T h e s e c o n d film h e is w o rk in g on n o w is c a lle d The D re a m .

T h e title , h e e x p la in s , “ w a s a p p a re n t to m e v e ry e a rly on w h e n I b e g a n m a k in g e ve n s m a ll h o lo g ra m s . It w a s e a s y to g e t a d re a m -lik e a tm o s p h e re — it c o m e s w ith th e p ro c e s s . T h e s e c o n d tw o m e tre by o n e m e tre h o lo g ra m I m a d e w a s c a lle d D a n ie lle ’s D re a m . It is so m u c h e a s ie r to g e t a d re a m -lik e e ffe c t in h o lo g ra m s th a n in o il p a in tin g o r o th e r m e a n s . T h e s tra n g e n e s s is a lm o s t like w h a t yo u c a n g e t in a p o e m . It is p o s s ib le to m a k e an im a g e th a t is e th e re a l b e c a u s e th e im a g e is flo a tin g in s p a c e . It is a re c o n s tru c tio n o f lig h t, a n d th e lig h t is a d iffe re n t k in d fro m w h a t yo u s e e fro m m o s t o th e r th in g s , lik e th a t re fle c te d fro m a p a in tin g o r e m itte d by p h o s p h o rs o n a te le v is io n s c re e n . T h e h o lo g ra m a c ts as a k in d o f filte r. “ A n o th e r in flu e n c e w a s a d is c u s s io n I h a d w ith s o m e o n e a b o u t v e ry e a rly c in e m a w h e re a s in g le roo m a n d v ie w p o in t w a s u se d a n d p e o p le w o u ld c o m e in o n e d o o r a n d g o o u t a n o th e r, like a s ta g e . “ T h e th ird in flu e n c e w a s a film th a t le ft a lo n g im p re s s io n (an d I s a w it firs t in m y e a rly tw e n tie s ) a n d th a t w a s The C a b in e t o f D r C aligari. T o m e it c o m b in e d a rt a n d rea l th in g s a n d p e o p le in th e m o st a m a z in g w a y. I d o n ’t th in k a n y o th e r m o v ie I’ve s e e n ha s a c h ie v e d th a t in te g ra tio n . “ T h is m o v ie ’s in flu e n c e ha s b e e n g re a te r th a n I th o u g h t b e c a u s e it w a s n ’t u n til a fte r I h a d s h o t th e film fo r The D re a m th a t I s a w s till p h o to s o f th e s e ts o f D r C a lig a ri in a b o o k a n d re a lis e d h o w c lo s e I h a d m a d e th e fa c a d e o f th e s e t to th e s ty le o f th e m o vie . It is n o t e x a c tly th e sa m e , b u t c o n c e p tu a lly it is v e ry clo s e , a n d I h a v e n ’t s e e n th e film fo r m a n y y e a rs .”

A le x a n d e r d e s c rib e d th e te c h n iq u e s he h a d le a rn t fro m M a s k s a n d his te s ts . “ T h e film o p e n s w ith th e p rin c ip le c h a ra c te r w h o h a s o n e leg a n d a c ru tc h e n te rin g , lo o k in g a ro u n d a n d lim p in g o ff. I’v e fo u n d th a t s p a tia lly I c o u ld c o m b in e e le m e n ts , s o I’ve p h o to g ra p h e d h im o n b la c k a n d m o v in g a lo n g th e tra c k b u t w ith th e c a m e ra le n s lo o k in g a t h im a ll th e tim e .

T h is is a d e p a rtu re fro m th e u s u a lly ro ta tin g o r lin e a r tra c k in g m e th o d s . “ I th e n film e d a tra c k o n th e

b a c k g ro u n d lin e a rly s o th a t th e s e t lo o k e d a b it h ig h e r th a n th e c h a ra c te r. I a lso c o m b in e d th a t w ith a c ra n e u p w a rd s as it re a c h e d o n e e n d , so th a t th e c h a ra c te r a p p e a rs to m o v e up in th e air.

T h is is c o m b in e d w ith a d im m in g o f th e lig h t on th e b a c k g ro u n d at th e e n d o f th a t s c e n e . W h e n c o m b in e d , e a ch a lte rn a te h o lo g ra p h ic s trip e is o f c h a ra c te r, fa c a d e , c h a ra c te r, fa c a d e a n d yo u se e th e m to g e th e r as o n e .”

H e s a ys th e film , w h e n fin is h e d , w ill b e lo n g e r, w ith a c a s t o f s e v e n p e o p le , a n d up to fo u r p e o p le on s ta g e at o n e tim e . T h e re w ill be m o re s p a tia l re s o lu tio n , it w ill be b rig h te r a n d th e im a g e w ill be b ig g e r.

COMPOSERS AND MUSICIANS - w e have a new FAIRLIGHT SERIES III C.M.I. in o u r s tu d io .

W e sp e cia lize in ve ry high q u a lity m u sic reco rdin g using th e Fairlight S tereo S o u n d L ib ra ry an d S M P T E T im e C o d e lo ckin g features.

T h e fo llow ing score s have been recorded exclusive ly w ith us: ■ T h e H o w ling III ■ S w ord of H o n o u r ■ T im e G u a rd ia n ■ N a ncy W ake ■ S a tu rdee ■ Paradise O f M artyrs

=//¿ u sk & (Effects SOUND LABORATORY T h e B ase m en t, No. 1 Yarra S treet, S ou th Yarra 3141 T elephone: (03) 241 3348

THE FUTURE OF THE ART T h e fru s tra tio n s o f w o rk in g w ith w h a t is s till a n e w m e d iu m a re o b v io u s a n d it s e e m s rig h t th a t it is th e a rtis ts th a t w ill c o n trib u te to its fu tu re . A le x a n d e r d e s c rib e s th e te n s io n b e tw e e n a rt an d te c h n o lo g y : “ W h e n yo u ca n g e t a p ie c e o f w a x a n d m o u ld it in y o u r h a n d s a n d c a s t it in to a s c u lp tu re , o r ta k e a c a n v a s a n d b ru s h a c ry lic on it to p ro d u c e a p a in tin g , w h y th e n s h o u ld yo u be so m a s o c h is tic th a t yo u s p e n d y o u r tim e rig h t u p a g a in s t th e e d g e o f te c h n o lo g y , w h e re yo u h a ve to s p e n d so m u c h tim e s o lv in g th e te c h n ic a l p ro b le m s b e fo re yo u c a n d o a n y th in g ? T h a t’s o n e o f th e p a ra d o x e s o f b e in g a n a rtis t, o f p la c in g y o u rs e lf in an in c o n g ru o u s s itu a tio n c o n s ta n tly . “ W h a t I’ m d o in g is s o lv in g a fe w p ro b le m s a n d m a k in g a m o v ie , s o lv in g a fe w m o re a n d m a k in g a n o th e r. T h is n e x t o n e w ill be a b ig ju m p u p fro m M a s k s b u t I c o u ld n ’t p o s s ib ly h a v e ta c k le d all th o s e p ro b le m s at th e s ta rt. “ M y in te re s t in th is is to c re a te w o rk s o f a rt b u t w ith so m u c h in v e s te d in th e p ro c e s s th e re m a y be s o m e o n e in th e film in d u s try th a t is in te re s te d in m a k in g u se o f m y k n o w le d g e . S o o n e r o r la te r th e p ro c e s s w ill h a ve to be d e v e lo p e d c o m m e rc ia lly a n d it w ill ta k e a lo t m o re in v e s tm e n t to d o it. “ A s lo n g as I c a n c a rry o n m a k in g an a rt w o rk o f e a c h s ta g e th e n it in te re s ts m e .”

T h e re s u lts w ill a ls o in te re s t a n y o n e c o n c e rn e d w ith th e fu tu re o f th e c in e m a . I’ m w a itin g a n x io u s ly fo r it to be in v e n te d .

35mm & 16mm Negative Cutting

| o

\ C H R IS ROW ELL PRODUCTIONS f 1

/

■ Studio 75' x 46' with 14' to lighting grid.

■ Large three sided paintable fixed eye.

■ Good access to studio for cars and trucks.

■ Dressing rooms, wardrobe, and make-up facilities.

FOR STUDIO BOOKINGS, PHONE: Alex Simpson,

(03) 568 0058, (03) 568 2948

CINEMA PAPERS MAY - 73

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S P E A K T O a n y o n e w h o w o r k e d o n th e c r e w o f th e 1 9 7 6 film Eliza F ra se r a n d th e y w ill te ll a t a le o f w o e : m e m o r ie s o f to rr e n tia l ra in , to r m e n tin g in s e c ts a n d s o a r in g b u d g e ts . F r a s e r Is la n d w a s n o t, fo r th e m , th e m o s t e x o tic o f lo c a tio n s . F o r th e s m a ll c r e w o f Jilte d, h o w e v e r , th e is la n d o ffe r e d m y s te r y a n d le g e n d , a n d a s e ttin g s o m e w h e r e o n th e fr in g e o f p a r a d is e .

N o t th a t it w a s w ith o u t p h y s ic a l d iffic u ltie s , h in ts o f m a d n e s s ; b u t s im p ly th a t lik e o t h e r a r tis ts a n d w r ite r s th a t h a v e b e e n t a k e n w ith th e is la n d , th e y h a d a s e n s e th a t t h e y w e r e c a p tu r in g a n d in te r p r e tin g s o m e th in g s p e c ia l. N o v e lis t P a tr ic k W h it e w r ite s o f t h e c e r e m o n ia l s u n lig h t, th e d a r k p r o p r ie ta r y tr e e s , th e s e a b ird s a n d t h e d o m in a n c e o f th e d u n e s : “ g r e a t m a ttr e s s e s o f s a n d . . . q u ilte d a n d b u tto n e d d o w n b y v in e s . . . ” S id n e y N o la n d id a s e r ie s o f p a in tin g s th e r e . In d e e d fo r a f ilm m a k e r , th e is la n d h a s a ll th e in g r e d ie n ts fo r a n a r c h e ty p a l A u s tr a lia n la n d s c a p e film .

H o w e v e r th is is a ‘t r a p ’ th a t th e d ir e c to r a n d w r ite r o f Jilte d, B ill B e n n e t t, s a y s h e d o e s n ’t w a n t to fa ll In to . W h ile h is fo u rth fe a tu re m ay suggest ‘fig u r e s in a la n d s c a p e ’ , h e is c o n c e n tr a t in g o n th e p e r f o r m a n c e o f th e fiv e m a in a c to r s , u s in g th e is la n d a s t h e p la c e o f s tru g g le . “ O n e o f th e r e a s o n s I fo u n d th e s c rip t s o h a rd to w r ite is it’s a v e r y s u b tle w e a v e .

A n d t h a t ’s w h y in d ir e c tin g it, th e le v e l o f p e r f o r m a n c e is s o a c u te . If it is a c o u p le o f d e g r e e s o u t, th e n th e c h a r a c t e r ju s t is n ’t g o in g to w o r k .”

T h e film lo o k s a t p e o p le fa c in g c h a n g e , ju s t a s th e fr a g ile n a tu r a l fe a t u r e s o f th is s a n d is la n d a r e n o w u n d e r g o in g m a s s iv e tr a n s fo r m a tio n . “ T h e s a n d ’s s w a llo w in g u p th e la k e . In a h u n d r e d , tw o h u n d re d

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y e a rs , it w o n ’t b e t h e r e . J u s t s a n d ,” s a y s o n e o f th e c h a r a c te r s . T h e film e x p lo r e s th e tr a n s ie n c e o f r e la tio n s h ip s , h o w th e y c a n b e s h ifte d o r c o v e r e d u p .

It is a b o u t a w o m a n c a lle d H a r r y (o r H a r r ie t, lik e th e c y c lo n e ) w h o s ta y s a s h o rt w h ile o n th e is la n d , e ffe c ts c h a n g e a n d th e n le a v e s . It is h e r c o n ta c t w ith th e o th e r c h a r a c te r s , w h o a ll w o r k a t th e is la n d re s o rt, th a t c r e a t e s th e d y n a m ic fo r th e n a rr a tiv e . T h e r e is A l (R ic h a r d M o ir), a c r a n k y c h e f w h o ta k e s m e tic u lo u s b la c k a n d w h ite p h o to g r a p h s o f d e a d th in g s ; P a u la ( T in a B u r s ill), an e m b it t e r e d a c c o u n ta n t w h o fic tio n a lis e s h e r s e x u a l e n c o u n te rs , g r a d u a l ly r e v e a lin g her v u ln e ra b ilitie s ; B o b ( S te v e J a c o b s ) th e re s o rt m a n a g e r , w h o , a f t e r V ie t n a m a n d a fa ile d m a r r ia g e , is lo o k in g fo r a s e c o n d c h a n c e ; a n d C in d y ( H e le n M u tk in s ), th e w a itre s s w h o fin a lly e a r n s lo v e a n d re s p e c t.

E a c h o f th e c h a r a c t e r s ’ m o v e s is c a r e fu lly m a r k e d , e v e n s ty lis e d , a n d w ith n o c o n v e n tio n a l s to r y lin e it is, B e n n e t t s a y s , “ g o s s a m e r s t u ff” . J e n n ife r C lu ff, w h o p la y s th e s e e m in g ly in d e p e n d e n t , y e t c o n fu s e d H a r r y , fe e ls y o u h a v e to b e ju s t a s m u c h p o e t a s a c to r to m a k e th e ro le c o n v in c in g . “ It is e x t r e m e ly d e lic a t e ,” s h e e x p la in s . “ M a n y o f m y s c e n e s a r e d o n e fo r m o o d a n d lig h t. I h a v e to b e c a r e f u l n o t to d o to o m u c h — th e lo o k in th e f r a m e is s o ric h , y o u d o n ’t n e e d a lo t o f e m o tio n , o r e ls e it w ill b e to o g lo s s y , to o p r e tty . . . ” T h e a c to r s h a d a tw o -w e e k r e h e a r s a l p e rio d in S y d n e y b e fo r e s h o o tin g b e g a n o n F r a s e r Is la n d in m id -F e b r u a r y . T h e y a ll fe e l th a t th a t p r e p a r a tio n w a s c r u c ia l, g iv e n th e e m p h a s is o n s u b tle e v o lu tio n o f c h a r a c te r . In d e e d J ilte d s e e m s to b e e v e n m o r e o f a n a c to r s ’ film th a n B e n n e t t ’s s e c o n d , im p r o v is e d f e a tu r e , B acklash , e v e n th o u g h h e is s tic k in g c lo s e ly to th e s c rip t th is tim e .

F o r R ic h a r d M o ir, J ilte d is “ a p u z z le w ith p ie c e s th a t d o n ’t lin k u p . U ltim a t e ly th e y d o , b u t th e y a r e n ’t in o r d e r . S o y o u h a v e to o p e r a te w ith in th e s c o p e o f th e s c e n e .” H e s a y s a n e x te n s iv e r e h e a r s a l p e rio d g iv e s y o u th e c h a n c e “ to p u t a ll th e in fo r m a tio n in , e s ta b lis h t h e o v e r a ll s tru c tu re , a n d d o t h e in te lle c tu a l e x e r ­ c is e s . W h e n it c o m e s to t h e a c tu a l s h o o t-

THE SEARCHERS: Jennifer Cluff as Harry (below) and in g , it’s w h a t h a p p e n s a t th e m o m e n t . It h a s to b e in s tin c tiv e .”

B a s e c a m p fo r t h e p r o d u c tio n w a s th e (v e ry c o m fo r ta b le ) O r c h id B e a c h re s o rt.

In te rio rs w e r e g e n e r a lly s h o t in th e m o rn in g to a v o id th e e v e r in te n s ify in g lig h t a n d h e a t. In th e a fte r n o o n s , a n e n to u r a g e o f 4 - w h e e l d r iv e s , lo a d e d w ith e q u ip m e n t, w o u ld s e t o u t o n r o u g h s a n d y tr a c k s to th e c h o s e n lo c a tio n s : in la n d la k e s , ro c k y h e a d la n d s a n d w in d s w e p t c a p e s . T h e ‘ m a g ic h o u r ’ w a s h a lf a n h o u r b e fo r e s u n d o w n and a n y th in g c o u ld h a p p e n : a d in g o m ig h t a p p e a r o n th e s a n d h ill, a w ild b r u m b y m ig h t w a lk d o w n to th e s u rf, a s e a h a w k c o u ld s ta r t c ir c lin g .

T h e a c to r s w e r e c o n tin u a lly h a v in g to c o m e to te r m s w ith h o w to m o v e a g a in s t th is la n d s c a p e . “ S o m e tim e s it c a n ju s t d e a d e n y o u !” M o ir jo k e s . “ B u t s e r io u s ly it d o e s a f fe c t y o u r p e r f o r m a n c e b e c a u s e y o u c a n s e ttle in to it. It is e a s ie r to b e r e fle c tiv e . T h e c h a r a c t e r I p la y d e s ir e s a sense of o rd e r o u t o f ch ao s .

The p h o to g r a p h s h e ta k e s a r e o r d e r e d a n d c a r e fu lly lin e d u p . H e is a lw a y s c o n s tr u c ­ tin g th e s p a c e a r o u n d h i m .”

O f c o u r s e th is to o w a s o f p r im a r y c o n c e rn to D O P G e o ff S im p s o n . H o w to p o s itio n th e a c to r s in th e f r a m e w a s s o m e th in g th a t b e c a m e o b v io u s to h im v e ry e a r ly o n . H e a n d B e n n e t t a r e g o in g fo r a d e fin ite , m in im a lis tic s ty le , a v e r y h a rd -e d g e d lo o k , u s in g th e h o riz o n ta l fr a m e a s a c e n tr a l d e s ig n e le m e n t. “ W e ta lk e d a b o u t th e fe e lin g o f th e p la c e a n d d e c id e d o n lo n g le n s e s fro m th e w o rd g o , ’ ’ s a y s S im p s o n . “ W e ’ re d o in g lo n g le n s c lo s e -u p s a n d le ttin g th e b a c k g ro u n d b lo w o u t a n d th e n w id e -s h o ts w ith la y e r s o f c o lo u r, m a in ly b lu e a n d w h ite . W e ’v e b e e n g e ttin g th e s e d r a m a tic la te a fte r n o o n s k ie s , a lm o s t b la c k , a n d yo u h a v e th e s e w o n d e r fu l e x p a n s e s o f w h ite s a n d . T h e c o n tr a s ts a r e q u ite e x t r e m e .”

S im p s o n is s h o o tin g o n S u p e r 1 6 m m a n d , to a c h ie v e s im p lic ity in th e c o m p o s i­ tio n , is ta k in g p r e c is e r e a d in g s o f th e e x p o s u r e : “ I ’ m te n d in g to o v e r e x p o s e s lig h tly a n d g iv e a fa ir ly s a tu r a te d n e g a ­ tiv e s o w e ’ ll g e t ric h , s tro n g c o lo u rs fo r th e b lo w -u p .”

P a r a d o x ic a lly , B e n n e t t d o e s n o t fe e l th a t th e lo o k o f th e film w ill s ig n ify its “ A u s tr a lia n ” q u a litie s , b u t r a th e r th a t th is lie s in th e d ia lo g u e . “ T h is is a film w h e r e th re e lin e s o f s c rip t c a n t a k e fo u r h o u r s to s h o o t b e c a u s e it in v o lv e s th in g s th a t a r e b e in g s a id in a n o n -v e r b a l w a y . M o s t A u s tra lia n s d o n ’t c o m m u n ic a t e v e r b a lly — th e y d o n ’t s a y w h a t th e y r e a lly m e a n , o r if th e y d o , th e y s a y it in s u c h a n o b liq u e w a y . T h a t ’s w h a t I ’v e tr ie d to g e t in th e d ia lo g u e . “ T h e w h o le p r e m is e o f t h e film is th a t it is w o r t h w h i l e o v e r c o m in g p a in to e x p e r ie n c e lo v e . F o r th a t p r e m is e to w o rk , yo u h a v e to e s ta b lis h th e p a in w ith in th e c h a r a c te r s . T h e p a in in flu e n c e s w h a t th e y

s a y a n d th e w a y th e y s a y it — t h e y u s e o th e r th in g s to try a n d c o m m u n ic a t e th e ir fe e lin g s . T h a t ’s th e d iffic u lty w ith th is film : to try a n d fin d th a t t r u t h .”

J ilte d s e e m s to h a v e h it a v e r y p e rs o n a l c h o rd w ith all o f th e a c to r s w h ic h , M o ir h o p e s , is w h a t w ill g iv e th e film its h o n e s ty . “ T h e r e a r e s c e n e s h e r e th a t y o u ’v e p la y e d b e fo r e in life , fo r r e a l! ” h e e x c la im s . F o r J e n n ife r C lu ff, it is “ th e s o rt o f film w h e r e y o u c a n u s e y o u r p a s t. It m a k e s y o u th in k a b o u t r e la tio n s h ip s y o u ’v e h a d , w h y th e y w o r k e d , w h y th e y d id n ’t . . . F r o m th a t p o in t o f v ie w , it is a w o n d e r fu lly p e rs o n a l w a y o f e x p r e s s in g th o s e fe e lin g s — th e lo v e s , th e h e a r t­ b r e a k s a n d th e p a in .”

B e n n e tt a d m its th a t J ilte d is p r o b a b ly h is m o s t p e rs o n a l film . “ It c o m e s fr o m a p e rio d in m y life w h e n I w e n t th r o u g h s o m e th in g v e r y s im ila r to th e s e c h a r a c ­ t e r s ,” h e s a y s , “ e x c e p t th a t I d id it a ll a t o n c e !”

T h e te n o r o f th is film is c e r ta in ly a lo n g w a y fro m th e h is to ric a l p a r o d y o f Eliza Fraser. J ilte d is p e r h a p s c lo s e r to a tra d itio n th a t m ig h t in c lu d e film s lik e Ia n P r in g le ’s P lains o f H eaven (a ls o s ta r r in g R ic h a r d M o ir) o r R o g e r S c h o le s ’ The Tale o f R u b y R ose — film s th a t h a v e b e e n m a d e in d e p e n d e n t ly , c lo s e to th e h e a r t, a n d th a t a r e c o n fr o n tin g in t h e m o s t s u rp ris in g o f w a y s .

K a th y B a il

P R O

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TJ

Producer..................................................YoramGross Prod, accountant..........Moneypenny Services, Mandy Carter Director.................................................... YoramGross Scriptwriter..................................................JohnPalmer Continuity.............................................Liz Perry Animation director......................................AtholHenry Casting........................................... LizMullinar, Adrienne Dolphin Assoc, producer..................................... SandraGross PRE-PRODUCTION Focus pulle r..............................

GregRyan Music b y ....................................................... GuyGross Length.............................................................75minutes Clapper/loader............................... Terry Howell Gauge....................................................... 35mm BLIND FAITH Boom operator......................... Scott Rawlings Synopsis: Dot goes to Hollywood.

Art director................................

Bernie Wynack Prod, company........................... Brian Douglas Wardrobe designer.....................................RoseChong Film and Television THE MAN FROM SNOWY RIVER Wardrobe supervisor...................................

Gail Mayes Producer..................................... Brian Douglas ROADWARS Scenic artist.......................... Graham Galloway TWO Director....................................... Brian Douglas Set construction manager....

Gerry Powderley Prod, company......................

Roadwars Pty Ltd Scriptwriter.................................Robert Taylor Prod, company........................................SnowyTwo Dist. company...................................... PremiereFilm Length............................................ 110 minutes Script editor.................................Brian Douglas Productions Pty Ltd Gauge....................................................... 35mm Marketing Ltd Based on the original idea Producer...................................Geoff Burrowes Synopsis: When he mistakes a ne’er-do-well Producer......................................................TomBroadbridge by.......................................................... RobertTaylor Director..................................... Geoff Burrowes ex-gold miner for Father Christmas eight-yearDirector......................... Brian Trenchard-Smith Editor.............................................................KenSallows Scriptwriter....................................... John Dixon old Ned O’Day sets in motion a series of events Scriptwriter..............................................Patrick Edgeworth Assoc, producer....................................... Phillip Collins Photography..............................Keith Wagstaff that save his family’s sheep from a devastating Based on the original idea Length.............................................. 90 minutes Sound recordist..........................................GaryWilkins drought, bring feuding neighbours together by..........................................................Patrick Edgeworth Gauge....................................................... 35mm Editor........................................ Gary Woodyard and reform a scoundrel.

Composer.................................. Frank Sfrangio S ynopsis: Rivalry between two parish Prod, designer.................................Leslie Binns Exec, producers........................................ PeterBeilby, churches escalates into a media event of Composer.................................. Bruce Rowland Robert LeTet THE CRICKETER astronomic proportion — leaving Father Exec, producers........................Dennis Wright, Length.............................................................98minutes (Working title) Brannigan attempting to undo what the miracle John Kearney Gauge....................................................... 35mm he needed has given him!

Prod, supervisor............................................ BillRegan Prod, company.............................Monroe Stahr Synopsis: A story about modern gladiators set Prod, co-ordinator.........................................JanStott Dist. company.......................

Valhalla Holdings in the near future.

BOULEVARD OF BROKEN DREAMS Producer....................................................ChrisKiely Prod, manager......................................... StuartMenzies Director.......................................................BarryPeakUnit managers.............................................DonKeyte, Prod, company...................................BoulevardFilms SEBASTIAN AND THE SPARROW Tom Jannike Scriptwriter................................................ BarryPeak Producer.................................................... FrankHowson Location manager.......................................... JoJury Photography.................................. John Ogden Prod, company............... The Kino Film Co. Ltd Scriptwriter................................................FrankHowson Prod, accountant........................................ StanSeserko Exec, producer...........................................PeterBoyleProducer.................................................... ScottHicksSound recordist.........................................SteveHaggerty Prod, assistant........................................... LydiaCover Director...................................................... ScottHicksEditor.......................................... Ralph Strasser Synopsis: A modern day love story set in Mel­ 1st asst director..........................................JohnPowditch Prod, designer..........................................PaddyReardon Scriptwriter.................................................ScottHicks bourne and Los Angeles.

2nd asst director...................... Brett Popplewell Exec, producer..............................Phil Dwyer Script editor.................................................. JanSardi 3rd asst director...................................CameronMellor Prod, manager.............................. ....Ray Pond Photography.........................

Geoffrey Simpson BREAKING LOOSE 2nd unit director......................................... JohnDixon Prod, accountant..................................... MareeMayall Sound recordist.......................... Toivo Lember Prod, company........................................ AvalonFilmsProd, designer........................... Anni Browning Key grip....................................................... NoelMudieContinuity...................................Christine Lipari Producer.......................................................PhilAvalon Producers assistant..........................Kim Snow Boom operator............................................John Wilkinson Assoc, producer....................... Stephen Jones Director.................................................Rod Hay Wardrobe.................................................RachelNott Casting consultants...................................SusieMaizels Casting...........................................S.A. Casting Scriptwriter........................................... Rod Hay Props..........................................................BrianLang Camera......................................................DavidEggby Budget................................................ $775,000 Assoc, producer............................................KipPorteous Focus puller.................................... Rob Murray Budget................................................ $690,000 Length.............................................. 90 minutes Publicity.....................................................LionelMidford Clapper/loader................................ Rosie Cass Length.............................................. 90 minutes Synopsis: The story of two teenagers, a rich Laboratory..................................................Atlab Camera assistant......................................DavidStevens Gauge............................................ Super 16mm kid and a street kid, living in adjoining suburbs Budget......................................................... $1.2million Key g rip ...................................................... GregWallace Synopsis: A young surfer, Mike Taggart, goes but worlds apart — until their lives cross over.

Length............................................ 100 minutes Asst grips................................................... KerryJackson, to an outback town believing he has a Gauge...................................................... 35mm Richard Allardice rendezvous with his father whom he has never SKIPPY AND THE CHALLENGER Synopsis: A young man set off on a journey to 2nd unit photography................................ MarkHayward met. In fact, it is with an alien who has crash Prod, company.........Skippy Industries Limited find his origins and discovers not only his past Gaffer......................................................StewartSorby landed. As he attempts to help the alien, a Scriptwriter..............................William H. May but the murderers of his father and grand­ Electrician............................................. RichardTummel glory-seeking scientist kills the local cop, Based on the original idea father.

Boom operator........................................... MarkWasiutak Ryder, who has helped Mike. Using the alien's by..........................................William H. May Art director................................................ DavidO’Grady time travel device, he manages to save Ryder Exec, producers...................... William H. May, CONTAGION Asst art director............................Peter Kendall who, as he finds out afterwards, is in fact his Malcolm C. Cooke Costume designer......................... Jenny Arnott father.

Prod, company........................... Reef Films Ltd Assoc, producer........................................ BarbiTaylor Make-up........................................Dianne Biggs Dist. company............................. Premiere Film Script edito r.............................Barbara Bishop Hairdresser................................... Paul Pattison THE DAY OF THE PANTHER Marketing Ltd Casting consultants............ Lee Larner Casting Wardrobe................................................

JamesWatson, Producer........................................ Ken Methold Publicity......................Barbara James Publicity Prod, company....................... Danetan Pty Ltd/ Francis Hogan Director............................................ Karl Zwicky Television Makers Budget.......................................................$2.79million Wardrobe assts..............................

Laura Jocic, Scriptwriter.................................... Ken Methold Length............................................................ 94minutes Dist. company......International Film Marketing Marita Mussett, Exec, producer...................... Tom Broadbridge Producer.................................... Damien Parer Gauge.......................................................35mm Judy Ann Fitzgerald Length.............................................................90minutes Synopsis: The adult Sonny Hammond’s two Director......................... Brian Trenchard-Smith Props.......................................................... Chris James Gauge....................................................... 35mm sons, Tim, aged 16, Pete, 10, and their friends, Scriptwriter......................................Peter West Props buyer................................................RossNewman Synopsis: A suspense thriller about catatonic Based on the original idea b y ......... Peter West, Skippy The Bush Kangaroo and her baby joey, Standby props........................................... BarryKennedy schizophrenia.

David Groom get involved in an action-filled adventure with a Special effects.............................Visual Effects long-shot Australian entrant in the America’s Photography......................... Simon Akkerman Set decorator................................................ Viv Wilson THE DREAMING Cup trials, with exciting and hilarious results.

Sound recordist..........................David Glasser Scenic artist................................................ KateJoyce Editor............................................Kerry Regan Prod, company......................................GenesisFilms Carpenter............................................... MurrayWilson Fight choreography......................Jim Richards SOMETHING GREAT Pty Limited for International Set construction................................. CampbellBurdon Exec, producers.......................................Judith West,Asst editor.....................................Simon James Film Management Limited Prod, company...................................BoulevardFilms Grahame Jennings Dist. company............................. Goldfarb Film Musical director........................................BruceRowland Producer.................................................... FrankHowson Co-exec, producer.................................BeverlyWoodSound editor..............................................TerryRodman Distributors Inc. Scriptwriter................................................FrankHowson Prod, co-ordinator.................... Susie Campbell (excluding Australasia Editing assistant.............................. Tim Chau Exec, producer............................... Peter Boyle Prod, manager....................................... DebbieCopland and The Philippines) Stunts co-ordinator....................................ChrisAnderson Publicity.................................................... LionelMidford Unit manager...........................................SimonHawkins Producers.................................................. Craig Lahiff, Stunts.......................... New Generation Stunts Budget............................................ $5,980,000 Prod, accountant.........................................

Eric Sankey Terry Jennings Still photography............................. Vivian Zink Length............................................ 120 minutes Prod, assistant....................................... AndrewMartin-Weber Director........................................... Craig Lahiff Wrangler................................................. Charlie Lovick Synopsis: The true story of the trials and 1st asst director........................................ StuartWoodBest bo y .....................................................PeterMaloney Scriptwriter..................................... Rob George triumphs of Australia’s golden boy of boxing 2nd asst director-........................................ChrisLynchRunner................................................... ConradCoffey Based on the original idea b y .... Craig Lahiff, who fell from grace as a result of World War I’s 3rd asst director...................... Connie Mercurio Terry Jennings Publicity..................................................... SuzieHowie conscription hysteria and was resurrected as a Continuity................................. Chris O’Connell Exec, producer..................... Antony I. Ginnane Catering................................................. RichardRoques hero, when he died in Memphis, lonely, Casting................................................... AndrewMartin-Weber Length.............................................................92minutes bewildered and reviled at the age of 21.

Laboratory..............................................Cinevex Casting interstate....................... Susie Maizels Gauge....................................................... 35mm Lab. liaison................................... Ian Anderson Focus puller..........................Marc Edgecombe Shooting stock..................Kodak Eastmancolor Budget........................................................ $8.7million SONS OF STEEL Clapper/loader;.............................Anne Benzie Synopsis: Thriller about a young woman and Gauge..................................

35mm anamorphic Key grip...................................................... KarelAkkerman Prod, company....................Big Island Pictures her dreams — dreams which plunge her into Shooting stock.........................................Kodak Asst grip.....................................................DavidCross Producer....................... James Michael Vernon the past to a time when whalers and Cast: Brian Dennehy (Harrison), Tom BurlinGaffer..........................................Per™ Sandow Director...........................................Gary Keady aboriginals met, and there were massacres, a son (Jim), Sigrid Thornton (Jessica), Nicholas Boom operators..............................Gary Carr, Scriptwriter.................................... Gary Keady betrayal of innocence, a taint on the dreaming Eadie (Patton Junior), Rhys McConnochie Mark Keating Photography................................Joe Pickering . . . a taint that will live on into the present and (Patton Senior), Peter Cummins (Jake), Mark Art director.....................................Peter Marlow Synopsis: A futuristic adventure set to power­ create for her a new kind of nightmare . . .

Hembrow (Seb), Cornelia Francis (Mrs Darcy), Costume designer...................................MandyGroom ful heavy metal rock ’n’ roll music. Fantasy and Bryan Marshall (Hawker), Tony Barry (Jacko).

Make-up....................................Liddy Reynolds science fiction are bound together by a band of LAY OFF Synopsis: The film picks up several years after Hairdresser.............................. Liddy Reynolds likeable, old fashioned heroes.

The M a n F ro m S n o w y R ive r. Jim Craig is Prod, company............................Chancom Ltd Wardrobe consultant...................................NoelHowell returning once again to the Harrison home­ Dist. company....................Octopus Worldwide Props buyer...........................................Tim Hall stead to take Jessica back to his Snowy River Media Enterprises Special effects......................... Charlie Staples home.

But he finds that Harrison — and Producers................................. Rosa Colosimo, Set construction....................... Charlie Staples Jessica — have different ideas. So too does Reg McLean Still photography......................................... SkipWatkin Patton, the arrogant son of the banker/landDirector................................ .— Rosa Colosimo Dialogue coach............................ Barrie Barkla owner who leads a group determined to seize Scriptwriters.................................Josie Arnold, Best boy....................................... Kim Harwood the High Country cattle runs.

Angelo Salamanca, Runner.......................................................... NicSadler Rosa Colosimo Unit publicist.................. Andrew Martin-Weber P R O D U C T I O N Exec, producer.............................. Kevin Moore THE MAN WHO LOST HIS HEAD Catering................................... Griffin Caterers Cast: Penny Cooke (Kerry), Joe Spano (Tony).

Nurse........................................................ JohanAkkerman Prod, company..........................................ChairFilms BUSHFIRE MOON Synopsis: A contemporary comedy about a Laboratory............................................... Atlab Dist. company........................................... RoninFilms young Italo-Australian doctor who falls in love Length.............................................................90minutes Prod, company.................Entertainment Media Producer..................................................JamesClayden with a grazier’s daughter who is studying archiGauge...................................................... 35mm Pty Ltd Director....................................................JamesClayden tecture. He leaves home to live with her and Producer.................................................... PeterBeilbyCast: Eddy Staszak (Jason Blade), Jim Scriptwriter...............................................JamesClayden discovers that mama had never prepared him Director........................................George Miller Richards(Jim Baxter), Michael Carman Based on the original idea for life in a zany, shared household.

Scriptwriter..........................................Jeff Peck (Damien ZukorL Tania Marie (Jemma), Martin b y......................................................... JamesClayijen Photography................................David Connell Flinders Da -linders (Zale Daniel), Matthew Quartermaine Photography...............................................ChrisDavis Sound recordist..................................... AndrewRamage RIKKI AND PETE (Lambert).

Editor.............................................Barrie Munro Editor.............. ............................. Tim Wellburn Synopsis: A feature introducing martial arts Composers.............................. Chris Knowles, Prod, company.....................................CascadeFilms Prod, designer.................................. Tel Stolfo exponent “ Jason Blade" to clean up crime and Martin Friedel Producers........................................Nadia Tass, Composer..................................................BruceRowland corruption in Perth.

David Parker Publicity........................................................KimLewis Exec, producer............................ Robert Le Tet Laboratory..............................................Cinevex Director........................................ •••Nadia Tass Assoc, producer..................................DorotheePinfold Lab. liaison.....................................................IanAndersorl Scriptwriter................................................ DavidParker DOT IN GOOD OLD HOLLYWOOD Prod, co-ordinator............................ Hilary May Budget................................................... $51,507 Photography..............................................DavidParker Prod, manager.......................................... HelenWatts Prod, company..............................Yoram Gross Length.............................................. 75 minutes Editor.............................................................KenSallows Location manager................................... MurrayBoyd Film Studio Pty Ltd Gauge........................................................16mm Pjod. designer........................................ Jo Ford

F E AT URE S

Exec, producer..........................Bryce Menzies Assoc, producer........................ Timothy White Prod, supervisor........................... Lynda House 1st asst director......................... Tony Mahood Cast: Colin Friels (Pete).

Synopsis: Bored by their easy existence in Melbourne, Rikki and her brother Pete set off for Mt Isa and a questionable foray into the hardened world of mining.

F E A T U R E S

76 _ MAY CINEMA PAPERS

A full listing of th e features, telem ovies, docum entaries and shorts now in pre-production, production or post-production ini A ustralia.

Shooting stock.................................7291,7292 Cast: Neil Gladwin (Walter Hey).

Synopsis: A comedy about the author's obses­ sions. The author. Walter Hey by name, is obsessed with the process of image making.

Every time Walter’s photographic excursions into the outside world merge with his imagin­ ings of the photographic past, his head falls off.

And fish swim through it.

Shooting stock............................ Eastmancolor Electrician............................................Gary Hill 3rd asst director......................... Charles Revai Boom operator............................. Grant Stuart Cast: Richard Moir (Al), Jennifer Cluff (Harry), 2nd unit operator............................ Tony Gailey Art director....................................Peta Lawson Helen Mutkins (Cindy), Steven Jacobs (Bob), Continuity.......................... Stephanie Richards Art dept, administrator....................Judy Ditter Tina Bursill (Paula).

Casting.................................................... HaydnKeenan Costume designer................... Graham Purcell Synopsis: J ilte d is a story of two people who Additional casting....................... Simone North Make-up....................................Noriko Spencer meet on a tropical island resort. Both have had Focus puller..................................... Perry Field disastrous love affairs and are reluctant to get Hairdresser.............................. Noriko Spencer Clapper/loader........................Sebastian Thaw involved. Yet they do.

Wardrobe supervisor.............Heather McLaren Key g rip ...................................Peter Ledgeway Wardrobe stand-by................................. DevinaMaxwell Grip............................................Mitchell Logan Props buyer..................................Eugene Intas THE LIGHTHORSEMEN Gaffer............................................ Jamie Egan THE STRIKE OF THE PANTHER Standby props......................Karan Monkhouse 3rd electrics...................................Brett Remati Prod, company..........Picture Show Pty Limited Construction manager.............................. BrianHocking Boom operator................................... David Lee Prod, company........................Danetan Pty Ltd/ for International Film Carpenter.........................................John Rega Costume designer.................................. MelodyCooper Television Makers Management Limited Art dept, runner.............................David Atkins Costume assts........................................... ColinMitchell, Dist. company......international Film Marketing Dist. company......................RKO Pictures Inc./ Safety officer............................George Mannix Julie Pajaczkowski Producer.................................... Damien Parer Cinecom International Films/ Still photography.......................... Barry Peake Make-up................................................ RichardSharah Director......................... Brian Trenchard-Smith Hoyts Distribution Pty Ltd Best boy........................................Craig Bryant Make-up assts............... Andrea Deane-Johns, Scriptwriter...................................... Peter West Producers......................................... Ian Jones, Runner..................................... Stefan Laguna Greg Ennis Based on the original idea b y ........ Peter West, Simon Wincer Catering....................................Kaos Catering, Hairdressers.............................................. JohnAdams, David Groom Director.................................................... Simon Wincer Kathy Trout Bruce Israel, Photography......................... Simon Akkerman Scriptwriter........................................ Ian Jones Laboratory..........................................Colorfilm Scott Macinnis Souna recordist..........................David Glasser Photography..............................................DeanSemler Lab. liaison....................... Richard Piorkowski, Art dept asst............................

Anthea Leonard Editor.........................................................KerryRegan Sound recordist.........................................LloydCarrick Denise Wolfsen Fight choreography.....................Jim Richards Editor....................................................... AdrianCarr Props buyers.................................John Braby, Gauge...................................................... 35mm Will Soeterboek Exec, producers.............................Judith West, Prod, designer...................................... BernardHides Shooting stock................. Kodak Eastmancolor Standby wardrobe....................................... RitaCrouch Grahame Jennings Exec, producer....................Antony i. Ginnane Cast: Arthur Dignam (Senator), Mark Lee Special effects.........................................

MonteFieguth Co-exec, producer..................... Beverly Wood Assoc, producers......................................DavidLee, (Youth), Dennis Miller (Eric), Heather Mitchell Set dressers................................................ PaulJones, Prod, co-ordinator.................... Susie Campbell Jan Bladier (Senator’s Wife), Paul Goddard (Son), John Robert Campbell Prod, manager....................................... DebbieCopland Mixed a t...................................Hendon Studios Meillon (Judge), Beth Child (Pottery Woman).

Scenic artists............................ Lyn Rowland, Unit manager...........................................SimonHawkins Laboratory................................................. Atlab Synopsis: A political thriller.

Sandra Pallin Prod, accountant......................................... EricSankey Lab. liaison............................................GrahamKeir, Carpenters.............................................AndrewSwain, Prod, assistant............... Andrew Martin-Weber Peter Willard Annie Brown, 1st asst director.............................. Stuart Wood Budget............................................$10,500,000 FEVER Chris Gibson 2nd asst director........................................ChrisLynch Length........................................... 120 minutes Prod, company.....................................

Genesis Films Construction manager................................Nick Lyons 3rd asst director...................... Connie Mercurio Gauge.......................................................35mm Dist. company.......................... J.C. Williamson Editing assistants...................... Laura Zusters, Continuity.................................................. ChrisO'Connell Shooting stock.........................................Kodak Rim Distributors Adrienne Walsh Casting........................... Andrew Martin-Weber Cast: Peter Phelps (Dave), Jon Blake (Scotty), Producer................................... Terry Jennings Prosthetics......................................... Les Elms Casting interstate........................Susie Maizels Director...................................................... CraigLahiffJohn Walton (Tas), Tim McKenzie (Chiller), Stunts co-ordinator......................... Grant Page Focus puller..........................Marc Edgecombe Sigrid Thornton (Anne), Tony Bonner Scriptwriters...............................................JohnEmery, Stunts asst.................................. Zenda Graves Clapper/loader........................................... AnneBenzie (Bouchier), Bill Kerr (Chauvel), Ralph Cotterill Craig Lahiff Still photography................................... CarolynJohns Key grip......................................................KarelAkkerman (Von Kress), Gary Sweet (Frank), Anthony Choreographer............................................PaulNovae Asst grip.................................................... DavidCrossPhotography............................. David Foreman Andrews (Meinertzhagen).

Sound recordist............................

Rob Cutcher Dubbing editor......................... Philippa Harvey Gaffer..........................................Perry Sandow Synopsis: The story of a group of young men Editor.......................................Denise Haratzis Safety officer.............................Claude Laybert Boom operators...............................Gary Carr, in an Australian Light Horse regiment in the six Exec, producers....................... Ron Saunders, Security officer............................Robert Simper Mark Keating months leading up to the charge at Beersheba, Craig Lahiff Best boy....................................Greg Fitzgerald Art director.....................................Peter Marlow the world’s last great cavalry charge.

Prod, co-ordinator.................. Angela Heesom Runners..................................................DebbieAtkins, Costume designer.................................. MandyGroom Prod, manager............................Elspeth Baird Chris Prior Make-up....................................Liddy Reynolds Unit manager...............................Mason Curtis Publicity.............................................. Write-OnGroup Hairdresser.............................. Liddy Reynolds ONCE UPON A WEEKEND Prod, accountant...................Christopher Hunn Catering.......................................OutTo Lunch Wardrobe consultant.................................. NoelHowell Prod, company......................Yarra Bank Films 1st asst director........................................... GusHoward Length..............................................90 minutes Props buyer...........................................Tim Hall Pty Ltd 2nd asst director........................Lindsay Smith Gauge...................................................... 35mm Special effects..........................Charlie Staples Producer......................................... Ned Lander Continuity........................... Heather Oxenham Cast: David Argue (LeadinghamL Amanda Set construction....................... Charlie Staples Director.....................................

Rivka Hartman Casting......................................................... JanKillen Dole (Dingo Girl), Esben Storm (E.B.), Arna Still photography.........................................Skip Watkin Scriptwriter.............................. Rivka Hartman Focus puller....................................................JoMurphy Marie Winchester (P.B.), Rainee Skinner (Twin Dialogue coach...........................Barrie Barkla Based on actor’s workshop.

Key g rip ....................................................... RobMorgan #1), Kerry Mack (1 win #2), Ashley Grenville Best boy...................................... Kim Harwood Photography............................. John Whitteron Gaffer...................................... Graeme Shelton (Adolph), Mercia Deane-Johns (Morticia), Henk Runner..........................................................NicSadler Sound recordist............................John Phillips Boom operator............................ Des Keneally Johannes (Count), Haydn Keenan (Dr Doctor).

Unit publicist...................Andrew Martin-Weber Editor........................................... Tony Stevens Art director.......................................Derek Mills Synopsis: P a n d e m o n iu m is a high speed Catering................................... Griffin Caterers Prod, designer.......................... Ro Bruen-Cook Art dept runner.......................... John Santucci horror comedy.

It is set in a boarded up and Nurse........................................................JohanAkkerman Composer...................... Burkhard von Dallwitz Make-up.................................... Leanne White profoundly haunted old movie studio. It is the Laboratory............................................... Atlab Prod, co-ordinator........................................SueStephens Wardrobe................................Ruth de la Lande adventure of a beautiful young girl who is Length............................................................90minutes Prod, manager......................................... LyndaHouse Props buyer............................... Kate Saunders drawn into this netherworld.

Gauge...................................................... 35mm Prod, accountant................................Galbraith,Rothman Standby props...........................................PeterDavies Cast: Eddy Staszak (Jason Blade), Jim and Whiteway Special effects..............................................VicWilson Richards (Jim Baxter), Rowena Wallace (Sgt 1st asst director.................................Phil Jones THE TIME GUARDIAN Construction manager...........Peter Templeton Lucy Andrews), Tania Marie (Jemma), Martin 2nd asst director........................................ChrisOdgers Editing assistant.....................Treesje Klaasen Prod, company....... Jen-Diki Film Productions Flinders (Zale Daniel), Matthew Quartermaine Continuity..................................................

Fiona Cochrane Mixer............................................James Currie Pty Limited for International (Lambert).

Casting asst............................................ NoellieTaylor Stunts co-ordinator......................Glen Boswell Film Management Limited and Synopsis: A feature introducing martial arts Focus puller.............................. Mandy Walker Action vehicle Chateau Productions Clapper/loader......................................... KathyChambers exponent “ Jason Blade” to clean up crime and co-ordinator......................... Jonathon Blaikie Investments Limited Key g rip ......................................................... IanPark Dist. company........ Hemdaie Film Corporation corruption in Perth.

Still photography....................................... GregLamey Asst grip.................................... Alistair Reilley Best boy........................ Keith (Sooty) Johnson (excluding Australasia) G affer........................................Mark Gilfedder Runner.......................................... Toni Forsyth Producers........................... Norman Wilkinson, Costume designer.....................Sue Armstrong Catering.......................................... Keith Fish Robert Lagettie Make-up.................................... Paddy Opwald (Food For Rim) Co-producer............................Harley Manners Wardrobe asst......................................Michelle Leonard Studios.................................... Hendon Studios Director................................... Brian Hannant Standby props........................................MurrayKellyScriptwriters............................. Brian Hannant, Laboratory................................................. Atlab Art dept runner........................................ DarrenHart Lab. liaison....................................... David Cole John Baxter Catering................................................TimbaleCatering Cast: Bill Hunter (Sgt Jack Welles), Mary Photography.............................................. GeoffBurton Laboratory..........................................Cinevex P O S T -P R O D U C T IO N Regan (Leanne Welles), Gary Sweet (Jeff Sound recordist......................................... ToivoLember Lab. liaison.................................................... IanAnderson Maslim), Jim Holt (Morris).

Editor..................................................... AndrewProwse Budget............................................... $699,000 Synopsis: A contemporary suspense thriller.

Prod, designer........................................GeorgeLiddle Length............................................................90minutes Exec, producer...................Antony I. Ginnane THE EVERLASTING SECRET FAMILY Gauge.......................................................Super16mmStudios...................................................HendonStudios JILTED Prod, company...................Indian Pacific Films Cast: Lyn Pierse (Dot), Bruce Spence (Alistair), Mixed a t.................................................HendonStudios Pty Ltd for International Film Prod, company......................... Mermaid Beach Doug Tremlett (Charlie), Tim Robertson Laboratory...........................................Colorfilm Management Limited Productions Pty Ltd (Grant), Christine Mahoney (Jenny), Sue Jones Lab. liaison................................................KerryJenkin Dist. company..........................J.C. Williamson Dist. company.........Hemdaie Film Corporation (Audrey), Kim Gyngell (Karl), Jan Friedl Budget.............................................$8,000,000 Film Distributors Pty Ltd (excluding UK) (Helen), Ruth Yaffe (Esther), Dennis Moore Length.......................................................... 100minutes Producers.............................................. MichaelThornhill, Producers..................................................... BillBennett, (Bert), Mark Minchinton (Gazza).

Gauge.......................................................35mm Sue Carleton Jenny Day Synopsis: Soap opera writer, Dorothy Bloom, Shooting stock.........................................Kodak Director................................ Michael Thornhill Director........................................... Bill Bennett plans a quiet long weekend in Melbourne.

Cast: Tom Burlinson (Ballard), Nikki Coghill Scriptwriter......................................Bill Bennett Scriptwriter.......................... Frank Moorhouse However, work, family, friends and romance all , Carrie Fisher (Petra), Dean Stockwell Based on the original idea by.......... Bill Bennett conspire to foil her good intentions.

Based on the short story Henry Salter (Prenzler), Jo Flemming by........................................................... FrankMoorhouse Photography.............................................GeoffSimpson (Tanel).

Sound recordist.........................................ToivoLember Photography.............................................JulianPenney Synopsis: A sci-fi action movie about a woman Editor....................................................... DeniseHunter Sound recordist................... John Schiefelbein wno encounters time travellers from the 24th PANDEMONIUM Composer.............................................. MichaelAtkinson Editor............................................ Pam Barnetta Century in Central Australia.

Assoc, producer........................................... PruDonovan Composer...................................................TonyBremner Prod, company................. KFM Pandemonium Prod, co-ordinator................................ DeborahSamuels Exec, producer..................... Antony I. Ginnane Pty Ltd Unit manager.................................David Joyce Prod, consultant.............................Lynn Gailey Producers.................................Haydn Keenan, 1st asst director...................................Phil Rich Prod, coordinator....................................... PerryStapleton Alex Cutler 2nd asst director...................................StephanElliottDirector.................................................... HaydnKeenan Prod, manager..................................... ElizabethSymes Continuity................................ Alison Goodwin Unit manager................................. Paul Fenton Scriptwriters.............................................. PeterGailey, Focus puller...................................... Nick Mayo Location manager......................... Paul Manos Haydn Keenan Clapper/loader........................................ AdrienSeffrin Prod, accountant...........Moneypenny Services, Photography.......................... David Sanderson Rosemary Stephenson Gaffer.........................................Stephen Carter Sound recordist....................................... Phillip Keros Boom operator.............................Scott Rawlins Prod, assistant..................... Juliette Van Heyst Editor...........................................................PaulHealy BALI TRIPTYCH Make-up..................................................WendyFreeman 1st asst director..........................................KeithHeygate Prod, designer........................................MelodyCooper Wardrobe...................................................

MagiBeswick 2nd asst director............................ John Titley Composer........................................... CameronAllanProd, company......................... Bozado Pty Ltd Wardrobe asst............................................. LiseGardiner Dist. company.......................... ABC Marketing 3rd asst director............................. Linda Paviil Exec, producer........... ,.................. Patric Juillet Sound editor..............................................DanyCooper Producer..................................... John McLean Co-exec, producers..........Malcolm Olivestone, Continuity...................................................Judy Whitehead Mixer........................................ Brett Robinson Director.................................JohnA.C. Darling Casting......................................................HilaryLinstead Tony James & Associates Still photography..........................................BobBennett Line producer........................................... HelenBoydScriptwriter.......................... John A.C. Darling Tech, adviser........................Bruce Williamson Prod, co-ordinator................................. SimoneNorthPhotography.........................David Sanderson Extras casting...................................... Gabrielle Healy Mixed a t....................................Sound On Film Prod, manager......................................... HelenBoydSouna recordist.......................... Max Hennser Focus puller...................................................IanThorburn Laboratory............................................... Atlab Prod, secretary......Christina Khumari Topham Editor................................................... Bill Aiers Clapper/loader.....................................Susi Stitt Lab. liaison...................................... David Cole Prod, accountant.......................Dianne Brown Camera asst............................Sebastian Thaw Key g rip.................................................... LesterBishop Length.............................................93 minutes Mixed at.....................................................Atlab 1st asst director........................ Robert Kewley Asst grip......................................................GaryLincoln Gauge...................................................... 35mm Laboratory................................................ Atlab 2nd asst director........................................ Trish Carney Gaffer........................................................... RegGarside

F E A T U R E S

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DOCUMENTARIES

CINEMA PAPERS MAY - 77

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WARDROBE • MAKE-UP VANS • CAMERA TRUCKS • CAST VANS • PROPS VANS • UNIT VEHICLES • TRACKING VEHICLES

PROUD TO BE SUPPLYING:

FOR THE SUPPLY OF ALL FILM PRODUCTION TRANSPORT CONTACT DAVID SUTTOR ON (02) 439 4590 318 WILLOUGHBY ROAD, NAREMBURN, SYDNEY STATION WAGONS • SEDANS • HI-ACE VANS « 4 X 4 TOYOTA LANBCRUISERS • ACTION VEHICLES

Budget................................................$500,000 Length........................................3 x 50 minutes Gauge.......................................................16mm Shooting stock.................................7291,7294 Synopsis: Adefinitive view of Balinese life­ style, history and culture.

Length........................................3 x 60 minutes Gauge......................................................16mm Synopsis: An alternative history of Australia.

IN SEARCH OF JOSHUA SLOCUM

• • ,• • • •

Nancy Wake Willing and Abel High Tide The Howling ill Those Dear Departed Fields of Fire

TRAY TOPS • BUSES

LIGHTWEIGHT STRUCTURES

Prod, company.........................Phillip Emanuel (Working title) Productions Prod, company..................................Mediacast Producer...................................Phillip Emanuel Producer............................................. Jim Dale THE FANTASTIC SPORT OF WAVE Director..................................... David Flapman Director........................................... Ivor Bowen SKI SURFING Scriptwriter................................David Flapman Scriptwriter......................................Mark Stiles Photography.............................................SteveWlndon, Prod, company............................ Avalon Films BUSHFIRES Photography............................... Joel Peterson Tony Wilson Producers.......................................Phil Avalon, Editors....................................Peter Somerville, (Working title) Editor.......................................... Robin Archer Peter Taylor Ivor Bowen Prod, company................................. Mediacast Budget................................. ..............$300,000 Editor.........................................Paul Hamilton Producer’s assistant.....................Hazel Joyner Producer............................................. Jim Dale Length........................................................... 60minutes Assoc, producer...................Meredith Malllday Synopsis: An examination of lightweight struc­ Director.........................................................BillEdmonson Gauge.....................................................16mm Music............................................... Big Island, tures from the nomadic tent to futuristic space Scriptwriter................................................... BillEdmonson Synopsis: A documentary about the first Gary Keady stations.

Photography..............................................GaryMaunder, American to sail single-handed around the Narrators................................... Tony Murphy, John Scott world (1895-1898).

Tom Richards Editor......................................Peter Somerville LLOYD REES — Length........................................................... 60minutes Producer’s assistant.....................Hazel Joyner IRENE MEANS PEACE Synopsis: The sport of wave ski surfing has REFLECTIONS OF AUSTRALIA Synopsis: A scientific look at the behaviour of reached all four points of the globe. This docu­ (Working title) ..... Australian Art Film Prod, company... the Australian bushfire. Why do we tolerate the mentary catches moments in all of those Partnerships Pty Ltd Producer.....................................................TishPhillips recurring loss to property and life and face a countries highlighting the personalities and the Director.......................................................Tish Phillips Producers.......... ............Don Bennetts, national bill running into millions of dollars? competitions.

Scriptwriter..................................................TishPhillips Jeremy Hogarth Photography.....................................Jan Kenny Directors............ .........Jeremy Hogarth, DONALD FRIEND — FOOD FOR THOUGHT Sound recordist................... Scott Montgomery Don Bennetts THE REBEL SPIRIT Editor......................................... Tang Thien Tal ...Christopher Leonard Prod, company......................... ABC (Brisbane) Scriptwriter.........

Prod, company... ....Australian Art Film Prod, manager......................................... SuzieCampbell Dist. company.......................... ABC (Brisbane) Photography...... ..............Ray Henman, Partnerships Pty Ltd Asst to Dr Greenwood........... Madelon Wilkens Producer...................................... Ian Henschke Terry Carlyon, Producers..........

Tony Wilson, ..........Don Bennetts, Camera assistant...................................... AnneBenzie Director....................................... Ian Henschke Length........................................................... 60minutes Jeremy Hogarth Scriptwriter..................................Ian Henschke Malcolm Ludgate Directors............ ...... Jeremy Hogarth, Gauge......................................................16mm Photography....................................Tye Tet Fai Sound recordists .............. John Franks, Don Bennetts Synopsis: The story of 86-year-old Irene Sound recordist......................................... MikeCharman George Weis, Scriptwriter........ .Christopher Leonard Greenwood, feminist and peace activist.

Editor......................................... Steve Rhodes Ron Brown, Photography..... ...........Ray Henman, Composer.................................. Lee Faulkener Rob Stalder Tony Wilson, Exec, producer..........................John Gleeson Editor.................. ................... Tim Lewis Terry Carlyon Producer’s assistant................................ IngridAndersenJACK PIZZEY IN AUSTRALIA Exec, producer.... ............. Don Bennetts Sound recordists ............John Franks, Camera assistant....................... Frank Biffone Prod, manager.... .................. Jo Stewart Prod, company........................ Phillip Emanuel George Weis, Neg matching............................................BarryMcKnight Camera assistant .................. Keith Platt Productions Ltd Leo Sullivan, Sound editor............................................RogerCarter Neg. matching.... .Meg Koenig (Cinevex) Producer................................ Peter Thompson Sean Heltzer Editing asst.............................................. RogerCarter Still photography. .................. Keith Platt Exec, producer..;.....................

Phillip Emanuel Editor................. ................. Tim Lewis Mixer.......................................... Quentin Black Opticals............... .......................Cinevex Length.......................................... 5x50 minutes Exec, producer... ...........Don Bennetts Narrator......................................Ian Henschke Laboratory........... ...................... Cinevex Gauge......................................................16mm Prod, manager... ................ Jo Stewart Animation...................................T undra Gorza Lab. liaison.......... ..............Ian Anderson Cast: Jack Pizzey (Presenter).

Neg. matching.... ..............Meg Koenig Title designer.............................................. RonPhilpot Length................ ................. 50 minutes Synopsis: A look at the Australian way of life Still photography ..........Robert Walker Mixed a t....................................ABC (Brisbane) Gauge................. ..........................16mm as seen by an 'outsider'.

Opticals.............. ....................Cinevex Laboratory.......................................... Colorfilm Shooting stock.... ....................Fuji 8521, Laboratory.......... .................... Cinevex Lab. liaison............................................. Ian Gill Kodak 7292 Lab. liaison......... ............Ian Anderson Budget.................................................... $6,000 Synopsis: The first in a series of films on Aus­ Length............... ............... 50 minutes Length............................................ 20 minutes JO tralian artists and their work. Lloyd Rees was Gauge................ ....................... 16mm Gauge.......................................................16mm born In Brisbane In 1895 and his work is rep­ Prod, company...... Milburn Stone Productions Shooting stock.... ................. Fuji 8521, Shooting stock................................ 7291,7294 resentational in an age on non-figurative art.

Producer......................................... Julie Stone Kodak 7292 Synopsis: A look at the history of food in Aus­ His preoccupation In painting is with giving Director.......................................... Lynn-MareeMilburn Synopsis: Part of a series of films on Aus­ tralia. The programme’s main emphasis is on associations to familiar environments.

Scriptwriter..................................... Lynn-MareeMilburn tralian artists and their work. Donald Friend Is a the changes that have taken place since World Photography.......................... Andrew de Groot decorative painter and draws with the fluency War II, focusing on changes in our diet and Sound recordist.........................................PeterClancy MYSTERIES DOWN UNDER of a master draftsman. He is also a story-teller eating habits brought about by post-war Editor................................ Richard Lowenstein with a taste for satire.

Prod, company....... Channel Communications immigration and fast foods.

Prod, designer.........................................JackieEverett (Film Investments) Ltd Producer’s assistant............................. ShelleyThomas Dist. company............... EVP Television Pty Ltd HOLIDAY Casting.......................................... Lynn-MareeMilburn, DRIFTERS AND ANGELS Producer.................................................

WayneGroom Julie Stone Prod, company.......................................... ABC Scriptwriter................................................ BarryGroom Prod, company........................ Phillip Emanuel Camera assistant...................Steve McDonald Dist. company.............................................ABC Exec, producer.........................................

KevinMoore Key grip..................................Macgregor Knox Productions Producer....................................................GerriWilliams Length........................................6 x 60 minutes Dist. company................................Ronin Films Art director................... ............ Chris Kennedy Scriptwriter................................................ GerriWilliams Gauge.................................................I....Video Producer.................................................... AlecMorgan Costume designer.................................. JackieEverett Photography..............................................BrettRamsay Synopsis: Australian ‘Ripley’s Believe It or Director...................................................... AlecMorgan Make-up................................................ GeorgeHuxley Sound recordist........................................... MelRadford Not’ — little known facts about Australia.

Scriptwriters................................ Alec Morgan, Musical director...............................Ollie Olsen Editor..............................................Kim Cardow Mary Callaghan Mixer.......................................................

Roger Savage Exec, producer............................... Peter Reid Based on the original idea by........Alec Morgan Animation....................................... Lynn-MareeMilburn NATURE OF AUSTRALIA Mixer............................................................MelRadford Composer.............................. Ralph Schneider Laboratory...................................................VFL Gauge...................................................... 16mm (Working title) Exec, producer.........................Phillip Emanuel Length........................................................... 25minutes Synopsis: Part of a series of 12 programmes Prod, company..........ABC Natural History Unit Laboratory...........................................Colorfilm Gauge..................................................... 35mm assessing a variety of holidays on location, Producers.................................

Dione Gilmour, Synopsis: A multi-layered documentary which Budget................................................$800,000 including lifestyles and holiday Information.

David Parer challenges and extends the conventional form Length........................................6 x 30 minutes Directors...................................

Dione Gilmour, Gauge................

16mm of animation and cinema to show the personal HOPE STREET David Parer history of ‘Jo’. The film will trace the life of this Shooting stock............................... 7294, 7291 (Working title) Scriptwriter................................................ JohnVandenbeld strong charismatic woman, from great happi­ Synopsis: An entertaining and thoughtExec, producer...........................................JohnVandenbeld Prod, company............East West Films Pty Ltd ness in peace time Czechoslovakia through to provoking television series about the history Length........................................ 6 x 55 minutes Producer......................................... Ivan Hexter her survival as an actress in war time Prague and lives of travelling showpeople in Australia.

Gauge...................................................... 16mm Director........................................... Ivan Hexter and her eventual fleeing of the Bolsheviks to a It will explore the development of the travelling Shooting stock............................ Eastman neg. new beginning in Australia.

Prod, manager................................ Sue Hexter entertainments through to the ‘last’ travelling Synopsis: The evolution of the Australian Laboratory................................................... VFL shows today. continent — animals and plants.

Length........................................................... 50minutes Gauge.......................................................16mm ECHO OF A DISTANT DRUM LABOUR OF LOVE Shooting stock................................ 7291,7294 PARROTS OF AUSTRALIA Prod, company. .Orana Films Pty Ltd Synopsis: H o p e S tre e t Is the story of youth Prod, company..........................Pumpkin Films ........Dick Dennison Producer.......... homelessness. It is through a group of resi­ Producer......................................Martyn Down Prod, company.....................Yoho Productions ..... Michael Balsón, Directors.......... dents at a youth refuge that we come to under­ Director.............................. Harriet Clutterbuck Dist. company....................... Documentaries of Matthew Flanagan stand homelessness, the reasons for it, the Exec, producer................................ Bob Plasto Australasia ..... Patrick O’Farrell Scriptwriter...... stresses it creates and the consequences for Assoc, producer............................Mary Moody Producer................................................... GrantYoung ........Michael Ewers PhotooraDhv.... our young characters.

Length...........................................48 minutes Director..................................................... GrantYoung Sound recordist ...........Ralph Steste Synopsis: A L a b o u r o f L ove examines the Scriptwriter................................................GrantYoung Editor............... .......Michael Balsón Exec, producer........Channel Communications issues of homebirth and domiciliary midwifery INDEPENDENT COMPANY ....... RTE Orchestra Music............... in Australia. The experiences of three families Budget............................$95,000 (per episode) Laboratory........ ....................... Atlab Prod, company................. Media World Pty Ltd and three midwives will be traced over many Length........................................ 7 x 30 minutes Producers..................................................ColinSouth, Gauge...................... ...............................16mm months, culminating in three births. One JohnTatoulis Synopsis: Episodes 7-13 of a documentary couple will be having their first child at home, Director......................................................ColinSouth series about parrots of Australia. one family will be having a homebirth after a Please help us keep this survey Scriptwriter.............................................. PhillipDalkln previous hospital birth, while the third couple Based on the novel accurate. Phone Kathy Bail on will be preparing their older child to share the RESERVED by..........................................................BernardCallinan experience. The aim of the film is to show that (03) 429 5511 with any errors or Synopsis: The story of the Australian forces Prod, company............ Ipso-Facto Enterprises homebirth is a responsible and viable alter­ omissions. who fought in Timor from 1941-1943.

Dist. company.............. Ipso-Facto Enterprises native to hospital birth.

78 - MAY CINEMA PAPERS

Producers.................................................WayneColes-Janess, Composer.................................. Felicity Provan B.J. Price 1st asst director.......................Fiona Cochrane Directors...................................................WayneColes-Janess, Continuity.................................Sally Englender B.J. Price Camera operator..............................Mark Lane Scriptwriters............................................WayneColes-Janess, Art director........................................Tony Ayres B.J. Price Length..............................................55 minutes Editor................................ Wayne Coles-Janess Gauge........................................................16mm Length...............................................48 minutes Synopsis: Victor the cat prowls and plays in a Gauge........................................................16mm working class dockside suburb. Pampered by a Shooting sto ck................................. 7291,7294 nurse, press-ganged by a drunken sailor, his Synopsis: A documentary which seeks to favourite residence (where he lets his fur down) dispel mythical conceptions of the Army belongs to Rose and William, who have sung, Reserve and its members through neo-realist laughed and argued their way through ten cinematography. It provides a depth of insight years of unmarried bliss. into the Australian Army Reserve hitherto con­ cealed in myth.

THE DEATH OF GOD

Boom operator........................Charlie Sandford Art directors................................................ Chris Kennedy, Rob Howard Asst art directors...........................Wain Fimeri, Peter Davies Make-up..................................................ClaytonJacobson Wardro&e....................................Cathy Hereen Asst editor................................... Jane Karslake Music performed by............................Blue Ruin Sound editor.................................... Ray Bosely C atering........................................... L. Bosely, G. Maus NICE COLOURED GIRLS Laboratory.............................................. Cinevex Producer..................................... T racey Moffatt Budget....................................................$84,000 D irector...................................... Tracey Moffatt Length...............................................30 minutes Scriptwriter.............................................. TraceyMoffatGauge........................................................ 16mm Sound recordist...........................................KateGunnShooting sto c k ............................................ 7291 Producer.................................................... GeoffCliftonEditor......................................... Phillipa Harvey Cast: Rob Howard (Crawley), Nique Needles THE ROAD Director...................................................... GeoffCliftonProd, manager.......................................... Kristin Sanderson (Baxter), Polly Croke (Jenny), Fred Dugina Prod, company.......................... Concrete Films Scriptwriter.................................................GeoffCliftonProd, assistant.......................................... ElaineTaylor(Hughey), Danny Lillford (Louis), Maddog Bott Producer......................................................KerryO’Rourke Composer........................................ Andre Leu 1st asst director............................................KateStone(Hans), John Flaus (Morris Oswald), John Director........................................................KerryO’Rourke Neg matching..................... Clodagh Ashburner 2nd asst director..................... Natina Eggieton Howard (Darby), George Huxley (Pasquale), Scriptwriter................................................. KerryO’Rourke Music performed by......................... Andre Leu Continuity................................................ MargotSnellgrove Chris Windmill (Davison).

Photography.............................................MarianRedmond with La La Cafe Script assistant.......................................... GeoffWeary Synopsis: In a bomb shelter, after the big melt­ Sound recordist.............................. Kieran Knox Still photography................... Sandi Wrightson, Casting........................................ Tracey Moffatt down, a group of people throw a party. They Editor.............................................................. PatLaughren Lighting cameraperson...............................JaneCastleget through a year’s worth of food in three days Michel Bruet Laboratories .................................. Cinefilm, Animation...................................................GeoffCliftonCamera operator....................... Renee Romeril and die.

Atlab Laboratory............................................Colorfilm Camera assistant................Nicolette Freeman Length............................................... 50 minutes Asst grip.....................................Frank Verdinah Budget......................................................$9,000 SOUTHERN QUEST: THE MUSICAL Gauge........................................................ 16mm Art director...................................................JaneMurphy Length............................................................. 12minutes Synopsis: A documentary on prisons as an Producers............................................. Amanda Dusting, Costume designer.................................. TraceyJames Gauge........................................................ 16mm institution and social idea, with particular focus Kate Gilroy Shooting stock.................................7294, 7291 Make-up................................................... LynetteFisher on the Queensland prison system.

Directors............................................... AmandaDusting, Synopsis: An expressionist animation with live Set design..................................Amanda Bruhn Kate Gilroy action montage. God is overthrown by multi­ Still photography....................... Virginia Speers Scriptwriters..........................................Amanda Dusting, tudes of dissatisfied spirits who demand a Catering.................................................... Nancy Wahlquist, SKY’S WITNESS Kate Gilroy Shoot Thru Caterers more caring heavenly reign.

Editors...................................................Amanda Dusting, Laboratory............................................Colorfilm Prod, com pany............ Neon Emu Productions Kate Gilroy Lab. liaison..............................

Warren Keevers Producer............................................... TerrenceMaybury FLESH WILL EAT Length................................................................8minutes Budget................................................... $48,000 Director................................................. Terrence Maybury Prod, company......................

Base Productions Gauge........................................................16mm Length..............................................................18 minutes Scriptwriter...........................................Terrence Maybury Producer.................................................... KathyDrayton Synopsis: A woman searches for a lost needle, Gauge........................................................ 16mm Photography..............................John Robinson Director.......................................................KathyDrayton while a ship sinks in ice. It is cinema, but is it a Shooting sto ck............................................ 7291 Sound recordist............................... Paul Payne Based on the original idea story?

Trainee............................

MichaelRiley Editor......................................... David Fosdick by............................................................ KathyDrayton Cast: Gayle Mabo (Aboriginal Woman A), Composer.................................. James Hewgill Photography............................................... TiborGulyas Cheryle Pitt (Aboriginal Woman B), Janelle A SWIMMER DROWNING Runner...................................... Michael Jesser Sound recordist......................................... PeterRead Court (Aboriginal Woman C), Fiona George Laboratory................................... Custom Video Prod, company.....................................Victorian Editor.......................................................... KathyDrayton (Aboriginal Woman D), Lindsay McCorrmack Budget...................................................$41,000 International Pictures Composer................................................... PeterRead (Captain).

Length...............................................40 minutes Dist. company...............................................FilmVictoria Neg. matching............................................ ChrisRowell Synopsis: N ice C o lo u re d G irls explores atti­ Gauge........................................................Video Producer........................................................

Jon Stephens Musical director..........................................PeterRead tudes between white men and Aboriginal Synopsis: S k y 's W itn e ss is a speculative docu­ Director..........................................................JanSardi Music performed b y ...................................PeterReadwomen in an historical and contemporary con­ mentary which will deal with the historical Scriptwriters................................................John Trigg, Still photography........................................... MelBroe text. The film is also about vulnerability and development of the Western Australian wheat Norman Kaye, Mixed a t ...................................................... PalmStudios how both parties are affected with the early belt of Quairading. Utilising home movie Peter Albert Sardi Laboratory............................................ Colorfilm abuse of Aboriginal women by European men footage, stills, archive material and seasonally Based on the original idea by........... John Trigg Lab. liaison............................................. WarrenKeathers to the present day where men are often ‘taken shot Super 8 footage it will attempt to portray Photography............................................ JaemsGrant Budget....................................................$15,000 for a ride' by Aboriginal women. different interpretations of history (e.g.

Sound recordist..................................... StephenHaggarty Length..............................................................25 minutes scientific, artistic, business, agriculture, abor­ Editor...................................................... Jill Holt Gauge........................................................ 16mm iginal and religious) through the eyes of a child Prod, designer................................ Tony Wright RACE OF FOOLS Shooting sto ck............................................ 7292 narrator. While dealing with the history of a Assoc, producer........................................... Jan Sardi Synopsis: Experimental documentary on Producer....................................Frank Gapinski particular area it will also question the idea of Prod, manager........................... Jenny Caruana bodies, architecture, eating habits, sexuality, Animator..................................... Frank Gapinski history.

Prod, secretary.........................................GillianCampbell ham burger shops, dancing, elevators, Narrator......................................... Peter Nolloth Prod, accountant.....................Natalie Rothman demolishing, heroin, redevelopment, stupidity, Length...............................................12 minutes SUBURBAN ENCOUNTERS 1st asst director..................... Don McLennan hospitals, the sky, toilets, catastrophes, bikie Gauge........................................................16mm Continuity.....................................

Beth Whelan Producer...................................Chris Sammers slayings, corridors and brain damage.

Synopsis: A savage satire on life’s rich Lighting cameraperson................ Jaems Grant Director............................................................JoBell tapestry and the struggle to climb the greasy Camera assistant..............................

Mark Lane Photography...................................Ray Boseley pole.

HOME SCENARIO Key g rip .................................. Michael Madigan Sound recordists...................... Chris Hubbard, Gaffer..........................................................Peter Scott Jane Karslake Prod, company.........................................PaisanFilms SAXOPHONE Boom operator............................................ JohnWilkinson Editor............................................................... Jo Bell Producers.................................................. DavidThomas, Producer...............................

Mark D. Chapman Make-up.....................................................Fiona Campbell Arthur D'Aprano Sound editor.................................. Ray Boseley Directors.................................. Mark Chapman, Set construction................. Screwed and Glued Still photography.....................................LorettaBell Director......................................................EttoreSiracusa Nabil Fassy, Neg matching.........................................Cinevex Scriptwriter.................................................EttoreSiracusa Laboratory.............................................. Cinevex Stephen Frost Mixer.................................................. Soundfirm Budget................................................... $45,825 Budget....................................................$30,000 Scriptwriter................................................. NabilFassyStill photography.................................... GeorgeMiller Length............................................................. 30 minutes L e n ^ h .............................................. 30 minutes Based on the original idea b y ..........Nabil Fassy Opticals..................................................

Cinevex Gauge........................................................ 16mm Gauge........................................................ 16mm Photography................................Stephen Frost Title designer............................................ OliverStreeton Synopsis: A photographer takes a look at the Synopsis: A challenging study of the lives of Sound recordist..............................

Kieran Knox Catering.................................................

Timbale Catering, homes of Italian immigrants. people who have had UFO experiences.

Editor.....................................................JeanetteMcGown (Rod Murphy) Composer....................................Jon Anderson Studios.......................................................

Open Channel THE MAGIC PORTAL WHERE SHE DARES Prod, manager......................................... Stirling McWhirter Mixed at.............................................. Soundfirm Producer................................................ LindsayFleay1st asst director....................... Mark Chapman Prod, company......................... Gittoes & Dalton Laboratory.............................................. Cinevex Director...................................................LindsayFleayContinuity............................................Penelope Howland Productions Limited Lab. liaison..................................................... IanAnderson Scriptwriter............................................. LindsayFleayCasting Dist. company............................................. ABC, Budget....................................................$75,000 Photography...........................................LindsayFleay consultants.......Elaine Holland & Associates Devillier & Donegan Enterprises, USA Length............................................................. 25minutes Prod, supervisor............. George Borzyskowski Producers............................................ Gabrielle Dalton, Lighting cameraman...................Stephen Frost Gauge........................................................ 16mm Animation............................................... LindsayFleayCamera assistant....................................... Craig LucasShooting sto c k ............................................7292 George Gittoes Budget......................................................$7,800 Director................................................... GeorgeGittoes Boom operator...............................Frank Biffone Cast: Norman Kaye (God), Peter Albert Sardi Length............................................................. 17minutes Scriptwriters........................................... GeorgeGittoes, Art director.................................... David Glazier (Smith).

Gauge........................................................ 16mm Gabrielle Dalton Asst art director............................................... JoForsyth Synopsl synopsis: A psychological, mystery/black Shooting sto ck............................................ 7291 Based on the original idea Asst editor........................................... Brad Cull comedy.

Synopsis: Three Lego characters in a Lego b y .........................................................GeorgeGittoes Runner................................ Peter Stirling-Smith spaceship discover the Magic Portal, which Photography........................................... GeorgeGittoes, Laboratory............................................Colorfilm can transport them to other animated realms.

David Perry Budget................................................... $41,000 TREVOR ISLAND However, as the film progresses, it transports Sound recordist...................... Chris Thompson Length............................................................. 20minutes Producer...................................................... John Taylor them to reality and also into the animation set E ditor...................................Dereck Wenderski Gauge........................................................ 16mm Director........................................................ John Taylor they are being filmed in. Film and real world Prod, secretary................................ Lynn Teda Shooting sto ck............................................ 7222 Scriptwriter..................................................JohnTaylor collide with interesting results.

Prod, accountant....................................... DavidBarnes, Cast: Julian St John (Lou), Lloyd King (Nick), Photography................................................John Taylor Remarkable Film Computers Rebecca Riggs (Evelyn), Greg Katahanas Narration recorded b y.............. Gary Constable Prod, assistant........................................Patricia Waites MIDDRIFFINI (Angelo), Alexandra Black (Anna), Peter Editor............................................................John Taylor Laboratory............................................ Colorfilm Knapman (Detective), Errol O’Neill (Salvatore), Producer................................................ Sabrina Schmid Prod, designer............................................ John Taylor Budget................................................. $217,000 Leo Wockner (The Drunk), Anne Marie Lee Director...................................................SabrinaSchmid Composers.................................................David Crosbie, Length..............................................................58minutes 'he Nurse), Julienne Hutley (Mary).

Scriptwriters...........................................SabrinaSchmid, John Taylor Gauge........................................................ 16mm ynopsis: Two youths live by their wits in Bris­ Gregory Pryor Musical director........................................... JohnTaylor Shooting s to c k ............................................ 7291 bane’s seedy ’Valley’ area but one’s obsession Based on the original idea Music performed b y ..................................

DavidCrosbie, Synopsis: A three-part series about women for a saxophone and a girl, leads to tragedy. b y ........................................................ Sabrina Schmid John Taylor, and writers on the frontline. Part 1 features five SFX, atmos.............................. Jon McCormack Philip Layton, Nicaraguan women; Part 2 follows five women Editor......................................................SabrinaSchmid SMOKE ’EM IF YOU GOT ’EM Alan Fowler in Africa; and Part 3 looks at five women in the Composer...............................................Ian Cox Producer...................... ............. Ray Bosely Sound editor................................................John Taylor Middle East frontlines, including Australian Animatlon/rostrum Director........................ ............. Ray Bosely Animation.................................................... JohnTaylor journalist, Dianne Willman. camera operator.................................Sabrina Schmid Scriptwriter.................. ............. Ray Bosely Studios................................................... ‘Qwiklik’Studios Neg matching....................................... WarwickDriscoll Photography................ ......Michael Bladen Mixed at.............................................. Soundfirm Music performed b y............................... Ian Cox Sound recordist........... .............. Peter Falk Laboratory.....................................................VFL Sound editors......................... Sabrina Schmid, Editor............................ ............ Ray Bosely Budget................................................... $31,284 David Atkinson Composer..................... ............ ‘Blue Ruin’ Length..............................................................12minutes Character voices........................ Gregory Pryor, Line producer............... ......Jennifer Hooks Gauge........................................................ 16mm Merryn Gates Prod, managers........... ......Lucy Maclaren, Shooting sto c k............................................ 7291 Animation............................................... Sabrina Schmid Jo Bell Voice characterisations: Richard Healy (The ARGUING THE TOSS OF A CAT Title designer..........................................Sabrina Schmid Prod, assistant............. .........Tina Marsten Man), Jane Lewis (The Lady), Danny Nash Sound recording 1st asst director...........

Producers.................................................... PaulBrown, .................... Jo Bell (The Pilot/A Seagull), David Crosbie (A Sea­ studios..................Film Soundtrack Australia Christine Sammers Continuity..................... .... Victoria Sullivan gull).

Mixed a t............................................. Soundfilm Director............................... Christine Sammers Producer’s assistant.... .Christopher Bence Synopsis: Trevor and his owners parachute Laboratory.............................................. Cinevex Camera operator..........

Scriptwriters................................................. PaulBrown, ............. Mark Lane onto a deserted island where the Man decides Budget........... ........................................$30,965 Christine Sammers Focus puller.................. ..Andrew Cochrane to run a carpark, the Lady an airport, and Length...............................................16 minutes Photography..................................... Erika Addis Key g rip ........................ .......Andrew Taylor Trevor, to subjugate the local seagulls. All is Gauge......................

16mm Sound recordist..........................................LloydCarrick Special fx photography ......Michael Bladen quiet until a plane carrying a load of cars is Shooting stock................................... 7291 ECN Editor............................................................. KenSallows Gaffer............................ ........... Mark Hanlin forced to land.

Synopsis: “ Hmmm . . . when you close your eyes . . . , "speculates Nobody-Else, thus evoking a dream in Rebecca’s mind, where unfolds the story of Grosmond, supposedly a bunyip, and his whacking tail and many teeth.

Grosmond laments the loss of Middriffini, the cause of his greatest toothache. Middriffini’s mysterious identity is eventually revealed, and her spectacular return delights Grosmond. An animated tragicomedy.

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CINEMA PAPERS MAY - 79

Exec, producer..................................... TristramMiall Length.............................................. 90 minutes Assoc, producer.........................................AnnaGrieve G auge.......................................................Video Prod, manager..................................Ian Adkins Synopsis: Successor to J u s t A u s tra lia n T ra in s ; Prod, secretary...................................... DesireePfeiffer compiled from 2-3 hours of Film Australia Prod, accountant......................................DavidTrestrail archival footage shot on Australian aeroplanes, Publicity........................... Lesa-Belle Furhagen including first release dramatic war footage. It Studios........................................................ FilmAustralia features stories on Flying Boats, F111s, THE BIG GIG Mixed at....................................................... FilmAustralia gliding, the history of the RAAF, the Flying FILM AUSTRALIA Budget................................................ $250,000 Doctor Service and other classic aircraft.

Prod, company.............................................FilmAustralia Length............................................................ 50minutes Dist. company..............................................FilmAustralia A.D.A.B. Gauge....................................................... 16mm LAND OF THE LIGHTNING Producer.......................................................DonMurray (Working title) Shooting stock............................................ ECN Director.........................................................KarlZwicky BROTHERS Prod. comDany.............................................FilmAustralia Synopsis: Filmed in the observational drama Scriptwriter................................................ SteveJohnson Prod, company.............................................FilmAustralia Dist. company............................................. FilmAustralia Exec, producer..................................... TristramMiall style, we follow a couple working through the Dist. company..............................................FilmAustralia Director...................................... Bob Kingsbury complicated and highly emotional path that Prod, manager....................... Virginia Pridham Producer........................................... Janet Bell Scriptwriter.................................Bob Kingsbury leads to a fully contested custody case in the Prod, secretary.......................................DesireePfeiffer Director......................................................DavidRoberts Photography..........................................Axolotyl Family Court.

The film will use real lawyers, Prod, accountant......................................DavidTrestrail Scriptwriter...............................................

DavidRoberts Sound recordist.................................... Axolotyl judges, etc, but the actors will play the parts of Publicity........................... Lesa-Belle Furhagen Photography................................ Andy Fraser those involved In the court.

Editor..................................................... Axolotyl Studios.........................................................FilmAustralia Sound recordist............................ Howard Spry Exec, producer.......................Geoffrey Barnes Mixed a t....................................................... FilmAustralia Editor............................................Ray Thomas Prod, manager....................... Virginia Pridham Budget................................................$235,000 Composer.................................. Gondwanaland Prod, secretary.................. Margaret Crewes FILM AUSTRALIA’S AUSTRALIA Length..............................................20 minutes Exec, producer................................. Janet Bell Prod, accountant.................. John Russell Gauge.......................................................Video F ilm A u s tra lia ’s A u s tra lia is a series of 12 video Prod, manager......................... Nigel Saunders Special fx photography.........................Axolotyl Synopsis: A stylistic parody of youthprogrammes with supporting discussion notes.

Prod, secretary................ Amanda Etherington Studios.........................................................FilmAustralia orientated B-grade science fiction movies, Prod, accountant......................................... NeilCousins Length.............................................................15minutes dealing with driving skills of young drivers. It THE NATURAL LANDSCAPE Camera assistant...................................RodneyHinds Synopsis: An animation programme commis­ covers a night’s activities of a group of young Asst editor.................................................. GaryO’Grady Prod, company........................... Film Australia/ sioned by A.D.A.B. to show Australians, in an friends on their way to the Big Gig. Visiting Length............................................................ 27minutes Australian Bicentennial Authority entertaining manner, how, where and why Aus­ aliens observe them, commenting on their pro­ Synopsis: A television documentary. Billy Dist. company............................. Film Australia tralia has a development assistance pro­ gress and are finally forced to intervene.

Harney, son of famous author/raconteur Bill Producer...................................................... JanPunch gramme.

Harney, takes us 200km west of Katherine in Director........................... Paul Woolston-Smlth the Northern Territory through Wardaman CANE TOADS Educational consultant................................ TedMyers AUSTRADE OVERSEAS country to visit the magnificent rock painting Photography...................Mick von Bornemann (Working title) (Working title) Sound recordist..................................... HowardSprysites associated with the mythology of the Prod, company.............................................Film Australia Lightning Brothers.

Ceremonies related to Prod, company.............................................FilmAustralia Video editor................................................. PaulHumfress Dist. company..............................................FilmAustralia these paintings, which have not been per­ Dist. company..............................................FilmAustralia Dubbing editor..............................................RonTaylor Director......................................................

Mark Lewis formed for 40 years, have been recorded in this Producer.......................................................DonMurray Scriptwriter................................................. MarkLewisExec, producer........................... Geoff Barnes film which underlines the importance of the Director................................................ Bob Hill Prod, manager............................ Ron Hannam Based on the original idea by...........Mark Lewis preservation of these paintings, as part of both Scriptwriter........................................... Bob Hill Prod, secretary....................................MargaretCrewes Australian and world heritage.

Sound recordist......................................GeorgeCraigPhotography.................................... Jim Frazier Prod, accountant........................ Stephen Kain Sound recordist....................Rodney Simmons Editor........................................................... RoyMason Make-up...................................................... BrltaKingsbury Editor..................................................... LindsayFrazier Exec, producer....................... Geoffrey Barnes A LONG NIGHT WITH LETHAL Exec, producer..................................... TristramMiall Sound mixer...................................... Geoff Stitt Prod, manager........................Virginia Pridham Narrator..............................Annette Shun Wah GUESTS (MALARIA) Prod, manager...............................................IanAdkins Prod, secretary...................... Margaret Crewes Research asst........................ Geraldine Crown (Working title) Prod, secretary...................................... DesireePfeiffer Prod, accountant...................John Russell Film archivist..............................................

Judy Adamson Prod, accountant......................................DavidTrestrail Prod, company............................ Film Australia Studios.........................................................FilmAustralia Synopsis: A look at Australia’s physical land­ 1st asst director...........................Debbie Sidore Dist. company............................. Film Australia Length....................................11 x 30 minutes, scape. The programme examines flora and Camera assistant................................... WayneTaylor Director.....................................................OliverHowes 1 1 x7 minutes Asst editor................................................... RhylYatesfauna and uses some excellent early footage.

Scriptwriter............................................... OliverHowes Gauge.................................16mm to videotape Publicity...........................Lesa-Belle Furhagen Editor........................................................... RayThomas Synopsis: A package of films for Austrade on Studios........................................................ FilmAustralia POLITICS Exec, producer..........................................GeoffBarnes overseas market profiles. Each programme will Mixed a t....................................................... FilmAustralia Prod, company............................................ FilmAustralia/ examine a particular market ana advise a Prod, manager.............................Ron Hannam Budget................................................$199,347 Australian Bicentennial Authority potential exporter of the do’s and don’ts Prod, secretary....................................MargaretCrewes Length............................................................ 50minutes Dist. company............................. Film Australia associated with that market.

Prod, accountant.........................Stephen Kain Gauge....................................................... 16mm Producer...................................................... JanPunchLength............................................................ 48minutes Shooting stock............................................ ECN Director..........................................................Ian Walker Gauge.........................................16mm to video BE IT EVER SO SIMPLE Synopsis: A stylised, off-beat documentary Educational consultant................................ TedMyersSynopsis: Research into malaria, especially showing a social history of the Cane Toad Prod, company.............................................FilmAustralia Research................................................... JudyAdamson finding a vaccine, is of great importance to through the people who have contact with Dist. company..............................................FilmAustralia Based on the original idea Australia. Apart from considerations of world them. Informative and entertaining with a Producer.......................................... Janet Bell by........................................................ SunnarIsaacson health, it involves our standing as a nation in unique blend of absurd fact and serious Director.................................. Philip Robertson Exec, producer........................... Geoff Barnes this region, and it should be the genesis of an anecdote.

Scriptwriter.............................Philip Robertson Prod, manager............................ Ron Hannam expanding biotechnology industry, with poten­ Photography.................................. Kerry Brown Prod, secretary....................................MargaretCrewes tial for Australia and its exports.

Sound recordist.................... Rodney Simmons CLOSE UP — AUSTRALIAN Prod, accountant.........................Stephen Kain Editor............................................ Ray Thomas ANIMALS Narrator.............................. Annette Shun Wah Exec, producer.................................Janet Bell THE MOVERS Synopsis: An examination of Australian poli­ Prod, company.............................................FilmAustralia Prod, m anager......................... Nigel Saunders tical history beginning with Federation. The Dist. company..............................................FilmAustralia Prod, company............................ Film Australia Unit manager...................Amanda Etherington programme looks at forms of government, the Producer..................................................... John Shaw Dist. company............................. Film Australia Prod, accountant......................... Neil Cousins Director....................................................... John Shawelectoral system, democracy at work, govern­ Producer.......................................................RonSaunders Editing assistant.......................... Frank Haines Scriptwriter......................................ChristopherLee ment services, and how public attitudes to Director.............................................Gil Brealey Length...........................................26 minutes Photography...............................................John Shawgovernment have changed.

Scriptwriter............................................... Bruce Petty Gauge.......................................................16mm Editor.................................... Jamie Robertson Based on the original idea Synopsis: A documentary programme made Exec, producer.............................Tristram Miall by........................................................... BrucePetty for the International Year of Shelter for the Prod, manager...............................................IanAdkins Photography.............................................BruceHillyard Homeless.

FITNESS — MAKE IT YOUR Prod, secretary.......................................DesireePfeiffer Sound recordist......................... Ken Hammond Prod, accountant......................................DavidTrestrail Editor.......................................... David Huggett BUSINESS 2 THE BEST YEARS Asst editor.............................Claire Williamson Prod, designer............................................LarryEastwood Musical director......................................... MarsLasarProd, company............................Film Australia (Working title) Exec, producer.............................................RonSaunders Dist. company.............................Film Australia Music performed by....................................MarsLasar Post-prod, supervisor....................................BillInglis Prod, company....................Film Australia/SBS Mixer......................................................GeorgeHart Director................................................. Ian Host Prod, manager.......................................... Geriv Letts Producers.................................. Jebby Phillips, Exec, producer...........................Geoff Barnes Publicity...........................

Lesa-Belle Furhagen Unit manager..............................................VickiSugars David Mitchell Prod, manager............................ Ron Hannam Studios........................................................ FilmAustralia Prod, secretary................................ Liz Wright Director................................................. Ian Host Prod, secretary......................Margaret Crewes Mixed a t.......................................................

Film Australia Prod, accountant........................Geoff Appleby Scriptwriter................................ David Mitchell Prod, accountant........................ Stephen Kain 1st asst director......................................... GerryLetts Photography...............................................RossKing,Budget...................................................$54,910 Synopsis: A follow-up to the successful F itne ss Length............................................................

55 minutes 2nd asst director.........................................VickiSugars Peter Viskovitch, — M a ke It Your B u s in e s s video produced for Gauge............................................ 16mm/video Continuity................................Danuta Morrisey Mick von Bornemann the Department of Health, Recreation and Cast: Dr Michael Archer (Presenter).

Researcher (film library)................Tricia Farren Sound recordist............................Howard Spry Tourism.

Researcher (stills/books)..........Sonia Rothbury Editors........................................................... IanHost,Synopsis: An entertaining and informative Casting..............................................

Forcast, video on seven Australian animals, presented Paul Humfress HARDER THAN EVEREST Rae Davidson Prod, designer.......................................... RogerKirk by Dr Michael Archer, a zoologist at the Uni­ Camera assistant.............................

Ivan Kacer versity of NSW. The animals featured are the (Working title) Exec, producer........................... Ron Saunders koala, echidna, kangaroo, platypus, numbat, Key grip............................................ Peter Doig Prod, manager............................. Gerald Letts Prod, company.............................................FilmAustralia crocodile and the Tasmanian tiger.

Gaffer............................................................. IanBosman Unit manager................................ Peter Horton Dist. company..............................................FilmAustralia Boom operator............................................MarkKeating Prod, secretary.............................Robyn Briais Producer...............................................GeoffreyBarnes Asst art director.......................... Rob Robinson Prod, accountant.......................................GeoffApplebyDJUNGGUWAN AT GURKA’WUY Director....................... Tim McCartney-Snape Costume designer............... Tony Jones-Love Prod, assistants.............Donna Norton-Lodge, Based on the original idea (PART I & PART II) Make-up....................................Brita Kingsbury Di Jura b y .............................Tim McCartney-Snape, Hairdresser..............................

Brita Kingsbury Prod, company............................Film Australia Camera assistant.......................................... Jim Ward Phil Balsdon Wardrobe.................................. Cheyne Phillips Dist. company............................. Film Australia Photography...............................Phil Balsdon Gaffer............................................................. IanBosman Property master...........................................

IgorLazareff Producer........................................................

Ian Dunlop Electrician.................................................. LeighBosman Editor.......................................... Denise Hunter Props buyer................................................. PetaLawson Director.......................................................... IanDunlop Boom operators........................ Greg Rossiter, Exec, producer..................................... GeoffreyBarnes Choreography..............

Donald Spencer-Harris Photography..............................................

Dean Semler Mark Bolitho Prod, manager............................................. RonHannam Carpenters.................................................GeoffHowe, Sound recordist......................................RodneySimmons Prod, secretary...................... Margaret Crewes Make-up................................Brenda McKenzie Frank Phipps Editors........................................................... IanDunlop, Laboratory..................... Meredith Productions Prod, accountant...........................John Russell Set construction manager.......... Brian Hocking Sharon Bell Length............................................................ 60minutes Budget..................................................$57,000 Props maker........................

Errol Glassenbury Exec, producer............................Tristram Miall Synopsis: This documentary is about the Length.............................................................15minutes Asst editor..................................................ChrisMcGrath Prod, manager..................................Ian Adkins realisation of Tim McCartney-Snape's boyhood Shooting stock..........................................Video Safety officer............................................ BernieLedger Prod, secretary...................................... DesireePfeiffer dream to climb Gasherbrum 1V, a beautiful yet Cast: James Dibble (Presenter), Terry Colling, Still photography................. Robert McFarlane Prod, accountant........................................JohnRussell terrifying peak in the Karakoram mountains of Dr James Wright, Margaret Fulton, Roger Tech, director.......................................... DannyDiklich, Edltor/director.................................Sharon Bell north-east Pakistan.

Omnicom Video Pty Limited Budget................................. $180,000 (approx.)

Best b o y ...............................Jonathan Hughes Length......................................... 2 x 50 minutes JUST AUSTRALIAN AEROPLANES Help us make this produc­ Runner................................ Andrew Dalbosco Synopsis: A clan leader invites Film Australia tion survey as complete as Publicity.................................................... LionelMidford Prod, company.............................................FilmAustralia to record the first ceremony to be held at his Unit publicist.............................................LionelMidford Dist. company..............................................FilmAustralia possible. If you have some­ new clan homeland settlement in northeast Studios.........................................................Film Australia Producer.................................Dick Collingridge Arnhem Land. The films show the organisation thing which is about to go Mixed a t........................................................FilmAustralia Photography..............................................

John Hosking and performance of a ceremony in a contem­ into pre-production, let us Sound recordist......................................HowardSpryBudget................................................ $400,000 porary setting and explore the significance of know and we will make sure Length.....................................

58minutes Exec, producer............. ...............Tristram Miall the clan homeland movement. it is included. Call Kathy Bail Cast: Drew Forsythe (John), Lorna Lesley Prod, manager...............................................IanAdkins on (03) 429 5511, or write to (Tara), Candy Raymond (Sacha), Bob Baines Prod, secretary.......................................Desiree Pfeiffer FAMILY COURT (Marcus), Geoff Kelso (Walter), Donald Prod, accountant...................................... DavidTrestrail her at Cinema Papers, 43 (Working title) Spencer-Harris (Bart), Aussie Mercladez Publicity........................... Lesa-Belle Furhagen Charles Street, Abbotsford, Prod, company............................Film Australia (Helen).

Studios.........................................................FilmAustralia Victoria 3067.

Dist. company.............................Film Australia Synopsis: The M o v e rs is a comic documentary Mixed a t....................................................... FilmAustralia Director............................................Ian Munroe about technology and the search for the good Budget.................................................. $52,305

GOVERNMENT FILM PRODUCTION

80 - MAY CINEMA PAPERS

Climson, Alan Searle, Don Chipp, Fred Daly, Hazel Phillips, Mary Rossle (Guests).

Synopsis: A pilot for a weekly magazine style programme aimed at the 55 plus age group and designed to reflect the interests and con­ cerns of post-retirement viewers.

time. A man and a woman push a lounge chair through five different periods of history, mechanising it and adding domestic appli­ ances to it until, at the end of the film, they have the chair piled with devices on a ramp ready for blast off. During the countdown they are trying to work out whether they have had the good time or whether it is still to come.

PARLIAMENT HOUSE/ THE BUILDERS Prod, company............................ Film Australia Producer...................................... Ron Saunders Director.............................................Ian Walker Scriptwriter....................................... Ian Walker Photography..................................... Ross King, Kerry Brown Sound recordists......................... Howard Spry, Rodney Simmons Exec, producer............................Ron Saunders Prod, manager................................. Gerry Letts Prod, secretary............................ Robyn Briais Prod, accountant........................ Geoff Appleby Synopsis: A study of the design and building of the new Parliament House in Canberra which is to be completed for the Bicentenary celebrations.

KIDS IN TROUBLE Prod, company............................................. FilmAustralia Dist. company...............................................FilmAustralia Producer...................................................MacekRubetzki Director......................................................... SueCornwell Photography.................................. Tony Wilson Sound recordist.............................. Leo Sullivan Editor..............................................................LesMcLaren Exec, producer............................................ TomHaydon Assoc, producer................................ Ian Adkins Asst director................................................. LisaNoonan Length..............................................................65minutes G auge................................................... 1" video Synopsis: The film is about the criminal justice system and its treatment of juvenile offenders.

The film includes, for the first time, footage shot in the Australian court while cases are being heard.

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Prod, company..............................................FilmAustralia Dist. company...............................................FilmAustralia Producers................................................ MacekRubetzki, Ian Adkins Director..........................................Karl McPhee Photography................................. Tony Wilson Sound recordist.............................Leo Sullivan Editor.......................................... Lindsay Fraser Exec, producer..............................Tom Haydon PRISONERS OF PROPAGANDA Length...............................................75 minutes Prod, company............................................. Film Australia Gauge........................................................16mm Dist. company...............................................Film Australia Synopsis: A foray into the world of the un­ Director................................................... GrahamShirley attached.

Scriptwriter............................................ GrahamShirley Photography....................................... Ross King THE VISIT Sound recordist..................... Rodney Simmons Prod, company..............................................FilmAustralia Exec, producer............................ Geoff Barnes Dist. company...............................................FilmAustralia Prod, manager..............................................RonHannam Producer................................... Macek Rubetzki Prod, secretary...................... Margaret Crewes Director....................................................... TonyWheeler Prod, accountant......................... Stephen Kain Photography.................................. Tony Wilson Synopsis: In 1943, the Imperial Japanese Sound recordist.............................................LeoSullivan Army Secret Service forced a group of Austra­ Editor.............................................................SueHorsley lian servicemen to appear in a film to show the Exec, producer............................................ TomHaydon 'exemplary conditions’ under which prisoners Assoc, producer.........................................ClareEdwards of war were treated by Nippon, and also to Gauge........................................................16mm soften up the Australian public for the antici­ Synopsis: A moving film about a Vietnamese pated occupation of their country by Japanese refugee family and the visit to Australia of a son forces. For 40 years, the making of this film they haven’t seen for four years. remained a mystery. This documentary tells why the film was made and how it has come to be forgotten.

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ROADS TO XANADU (Working title) Prod, company..............................Film Australia Prod, company............................................. Film Australia Dist. company............................. Film Australia Dist. company...............................................FilmAustralia Producer........................................John Merson Producer................................................GeoffreyBarnes Director......................................................... DonEzardDirector........................................David Roberts Scriptwriter.............................................Jeannie Baker Scriptwriters................................ John Merson, David Roberts Based on the original idea by.........................................................Jeannie BakerBased on the original idea Editor....................................................... Nichole Mudie by...............................................John Merson Exec, producer......................................GeoffreyBarnes Exec, producer............................ Geoff Barnes Prod, manager.............................. Ron Hannam Prod, manager..............................Ron Hannam Prod, secretary.................................... MargaretCrewes Prod, secretary...................... Margaret Crewes Prod, accountant........................................ John Russell Prod, accountant......................... Stephen Kain Length................................................................8minutes Synopsis: A four-part series for television that Gauge................................ 35mm (wide screen) takes a new look at the dynamic interchange Synopsis: This film, based on the Daintree between Asia and Europe in the modern world. tropical rainforest wilderness of North Queens­ The conventional views about the relationship land, is to convey the precious and special between science, technology and society, nature of the place, something of the magic which continue to shape our perceptions of that words don't convey — its vulnerability and progress, are scrutinized and re-evaluated. the real possibility that in only a few years it could be gone. It is intended to make people STORYMAKERS feel they play a part in the future of this place and other special places like it.

Prod, company.............................Film Australia Dist. company.............................. Film Australia RESUSCITATION Producer............................................ Janet Bell Director.........................David Haythornthwaite (Working title) Scriptwriter................... David Haythornthwaite Prod, company..............................................Film Australia Photography.................................. Kerry Brown Dist. company...............................................Film Australia Sound recordist.....................................BronwynMurphy Director.......................................... Karl McPhee E ditor..............................................Ruth Cullen Scriptwriter............................Anne Brooksbank Exec, producer.................................. Janet Bell Photography...................................Kerry Brown Prod, manager..........................Nigel Saunders Exec, producer........................ ....Tristram Miall Unit manager....................... Corrie Soeterboek Prod, manager.................................. Ian Adkins Prod, secretary................Amanda Etherington Prod, secretary....................................... DesireePfeiffer Prod, accountant..........................................NeilCousins Prod, accountant.......................................David Trestrail Length............................................................. 30minutes Publicity........................... Lesa-Belle Furhagen Artists' Gauge.......................................................

16mm Studios..........................................................Film Australia Cast: Emily Cannon, Patricia Kennedy.

Mixed at.........................................................FilmAustralia Synopsis: The first of a series of documen­ Budget....................................................$90,000 Length...............................................15 minutes taries on well-known Australian children’s writers.

Gauge........................................................ 16mm Shooting stock............................................. ECN SUBMARINE Cast: Judy Morris.

Synopsis: A short drama film to be shown by Prod, company............................................. FilmAustralia St John Ambulance Association as part of their Dist. company...............................................FilmAustralia courses. It is designed to produce a strong Researcher/scriptwriter.............................. JuneHenman emotional effect, and persuade Australians of Exec, producer............................Geoff Barnes the value of learning basic resuscitation tech­ Prod, manager.............................Ron Hannam niques so as to avert a tragedy.

Prod, secretary...................... Margaret Crewes Prod, accountant.........................Stephen Kain Synopsis: A film about the multiple attacks, by REAL LIFE SERIES 1 air and sea, on Australia by the Japanese armed forces during World War II, culminating GETTING STRAIGHT in the midgetsubmarine raid on Sydney Prod, company..............................................Film Australia Harbour. It uses archival footage (much pre­ Dist. company...............................................FilmAustralia viously unseen by the public) and reminis­ Producer...................................................MacekRubetzki cences of Australian and Japanese partici­ Director...................................Phillip Robertson pants.

Photography..................................Tony Wilson Sound recordist.......................Bronwyn Murphy TECHNOLOGY AND BUSINESS Editor............................................................. RayThomas EFFICIENCY Exec, producer.............................................TomHaydon Prod, company............................ Film Australia Assoc, producer................................ Ian Adkins Dist. company............................. Film Australia Length..............................................................75minutes Producer........................................ Alistair Innes Gauge........................................................ 16mm Director.........................................................PaulHumfres6 Synopsis: The film follows a group of patients Scriptwriter................................................... PaulHumfress from a drug and alcohol treatment clinic during Photography.......................................

Ross King their last days in the clinic and the first few Prod, manager........................................Virginia Pridham weeks of their return to the community.

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CINEMA PAPERS MAY - 81

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Prod, secretary................................... MargaretCrewes Music performed by.................. The Escalators DISCLOSURE Prod, accountant......................... Stephen Kain Budget................................................. $18,000 Prod, company.............. The Production Group Synopsis: Two packages of quality multiLength........................................... 12 minutes Producer.................................................. KarenWatson Gauge........................................................ BVU media training materials for small business Director..........................................Peter Smith Synopsis: A short companion film to / W anna management education and training pro­ Scriptwriter.............................................. RogerHudson B e . . . It features interviews with women about grammes.

Sound recordist......................................StevenMurphy the creative skills and frustrations associated Prod, manager................................Vikki Angel with film production.

TOURISM PROFILES Lighting cameraperson............................... MaiHamilton P R O M O T I O N (Working title) Length............................................ 12 minutes FOOLS AND FEATHERS A U S T R A L I A Prod, company........................... Film Australia Gauge..................................................Betacam Dist. company.............................Film Australia Dist. company............................... Film Victoria Synopsis: Intended as a training video for the Promotion Australia is Australia’s official over­ NSW Department of Education staff, this video Producer...................................................... DonMurray Producer................................................VincentO’Donnell seas information service. consists of five school-based vignettes, four of Director................................................... PennyRobenstone Director...................................................... RossDunlop which address some of the most common dis­ Scriptwriter.................................................RossDunlop Scriptwriter........................................Mem Fox closure situations of child sexual assault. The Photography............................... John Hosking Based on the short story by...............Mem Fox AUSTRALIA FILM final vignette is a model of an appropriate Sound recordist....................Rodney Simmons Prod, designer.........................................PennyRobenstone (Working title) method of responding to disclosure from a Editor.............................................................IanSpruce Animation................................................ PennyRobenstone Prod, company..................Promotion Australia child. This video is not available for general Exec, producer.....................................GeoffreyBarnes Budget.................................................. $16,000 Director......................................... Chris Hindes Prod, manager....................... Virginia Pridham Length...............................................5 minutes distribution.

Length............................................20 minutes Prod, secretary................................... MargaretCrewes Gauge...................................................... 35mm Gauge......................................................Video Synopsis: A parable on peace, concerning the Prod, accountant........................John Russell MIRACLES AREN’T EASY Synopsis: A general look at Australian life, Inability of some swans and peacocks to live in Studios....................................... Film Australia Prod, company........................................JamesKnox industry and culture. harmony.

Length.........................................6 x 5 minutes Productions Pty Ltd Gauge......................................................16mm Producer................................................. JamesKnox MURRAY PRINCESS Synopsis: Tourism P rofiles is the working title OPENING OF PARLIAMENT Director................................................... JamesKnox for a series of programmes aimed at the Prod, company..................Promotion Australia Scriptwriter.................................David O’Brien Prod, company..................................... FlindersProductions Channel 9 B u sin e ss Today programme. Each Director............................... Robert Hargreaves Pty Ltd Sound recordist.............................. Brett Heath programme will cover an aspect of the tourism Photography.................................. John Eilson Editor.................................... John Mandelburg Dist. company............................................. FilmVictoria industry and will, through interviews with Composer.................................................. JohnStuartGauge......................................................Video Producer............................................... VincentO’Donnell leading people in many areas of the industry, Synopsis: A new riverboat now works the Lighting cameraperson............. Chris Bentley Exec, producer......................................VincentO’Donnell look at the physical make-up, finance and Murray River, in a similar style to Deep South Camera operator............................ Jack Swart Narrator...................................................... RobMcNeill future directions needed to make an already riverboats of the United States.

Length............................................ 13 minutes Laboratory............................... HSV Channel 7 expanding industry more efficient.

Gauge..................................................Betacam Lab. liaison.......................................Don Smith SUPERANIMALS Synopsis: Produced for the Traffic Authority of Budget.................................................... $7,500 WOMEN ’88 NSW, this dramatised video is a ‘trigger’ aimed Length.....................................1 x 120 minutes Prod, company..................Promotion Australia at promoting discussion on ways to increase Gauge.........................................1" videotape Prod, company........................... Film Australia Director............................... Robert Hargreaves road safety for motorists, cyclists and pedes­ Synopsis: Outside broadcast and rediffusion Dist. company.............................Film Australia Gauge.....................................................Video trians in local neighbourhood streets. Its of the opening of the second session of the Producer..................................... Jo Horsburgh Synopsis: Australian scientists are using intended audience is personnel in state and 50th Parliament of Victoria.

Exec, producer................................. Janet Bell genetic engineering and hormone treatment to local authorities and other community leaders.

Prod, manager.........................Nigel Saunders breed a new super animal.

Prod, secretary................ Amanda Etherington OPERATION LIVE FIRE Prod, accountant.........................................NellCousins NOTIFICATION SCALZO ENGINE Prod, company........................................ MediaWorld/ Length........................................................ 7 x 5 minutes Cellar Films Prod, company.............. The Production Group Prod, company..................Promotion Australia Synopsis: A series for television celebrating Producer.................................................. KarenWatson Dist. company............................................. FilmVictoria Director............................... Robert Hargreaves Australian women during the last 20 years, Director......................................... Peter Smith Producer.............................. Vincent O’Donnell Gauge......................................................Video made for release in the bicentennial year.

Scriptwriter.............................................. RogerHudson Directors.................................... John Tatoulis, Synopsis: An Australian inventor has Sound recordist......................................StevenMurphy Tim Smart developed a continuously variable stroke WORLD OF WORK Prod, manager................................Vikki Angel Sound recordists.............................. Pat Slater, engine which adapts its output according to the Lighting cameraperson............................... MaiHamilton load it is carrying.

Jeff Wilson Prod, company............................................ FilmAustralia Length............................................ 19 minutes Exec, producer.................... Vincent O’Donnell Dist. company............................................. FilmAustralia Producer...............................................TristramMiallAssoc, producer........................................ColinSmithGauge................................................. Betacam A STEP IN THE RIGHT DIRECTION Synopsis: The purpose of this video is to Prod, supervisor.................................... YvonneCollins Director..........................................Daryl Dellora Prod, company.................................. PromotionAustralia Inform teachers and school personnel of their Prod, assistant......................................... PhilipBarton Sound recordists........................................DaleSadler, Producer......................................................EricKenning legal responsibilities as a result of pending Camera operators................... Peter Zakharov, Ray Carlson Director........................................................ EricKenning legislative changes in the area of mandatory Steven Flounders, Editor......................................................... DarylDellora Scriptwriter............................................... JanetGardiner notification of child sexual assault. The video Tim Smart, Exec, producer........................... Tristram Miall Length............................................. 26 minutes discusses issues such as confidentiality, Mike Boland, Prod, manager..................................Ian Adkins Gauge...................................................... Video indicators, implications for school personnel David Staley Prod, secretary........................ Desiree Pfeiffer Synopsis: A review of projects and activities and the correct procedure for notification. This Tech, director................................David Aston Prod, accountant..........................John Russell carried out in Australia to commemorate the video is not available for general distribution.

Camera assistant........................ Warrick Field Reporter.................................................... PeterMcEvoy International Year of Peace.

This was produced for the NSW Department of Key g rip .......................................Ian Benallack Camera operator....................................... John Hosking Education.

Special fx photography.........................National Safety Budget..................................................$22,029 NATIONAL PARKS Length............................................................20minutes Council of Australia Prod, company.................................. PromotionAustralia Synopsis: A video programme aimed at Year Gaffer........................................ Mark Gilfedder UNDERSTANDING PROMOTION Director......,........................Robert Hargreaves 10 students. M icro s R ule O K is the pilot Laboratory................................................... VFL Prod, company............... The Production Team Gauge...................................................... Video episode of a proposed series which deals with Budget..................................................$20,000 Producer...................................................... PruColville Synopsis: A look at Australia's national parks, new technologies being introduced and how Length........................................2 x 60 minutes Director..................................................... GrantHarrisflora and fauna. they will affect young people in and out of work and Cine film documentation Scriptwriter................................................... PruColville and school.

Gauge.................................Betacam/2", 16mm Sound recordist.......................Tony McCullogh Shooting stock.................................... Eastman OPSITE HAND APPLICATOR Editor.........................................John Cameron Microwave links........................ HSV Channel 7 Prod, company.................................. PromotionAustralia Composer..................................Phillip Colville Synopsis: On 21 and 22 February the old Prod, manager..........................................KarenMyersDirector............................... Robert Hargreaves Comalco Building at 95 Collins Street was used Gauge...................................................... Video Lighting cameraperson............. Jon Matthews for a series of live fire experiments to study the Synopsis: A quick and easy bandaging Length............................................................15minutes propagation of fire on high rise buildings. method developed in Adelaide solves problem Gauge................................................. Betacam These experiments were documented on film of emergency treatment of burns and other Synopsis: To assist employees in their and videotape and a live outside broadcast injuries to the human hand. applications for promotional opportunities was transmitted to an audience of civic and within the organisation, this video illustrates scientific personnel at a remote location.

FILM V I C T O R I A through dramatisation the processes by which applications are made; how they are con­ sidered, interviews held and recommendations SMOKO AIDS made. Produced for the State Rail Authority, Producer.................................................... SallySemmens Producer.................................................... Sally Semmens the video is one element in a package related Scriptwriter...................................... Mark Little Scriptwriter................................................Sally Ingleton to career development.

Exec, producer...................................... VincentO’Donnell Exec, producer...................................... VincentO’Donnell Budget.................................................$20,000 Length.............................................. 15 minutes PRE-PRODUCTION Length.............................................

10 minutes Gauge...................................................... 16mm Gauge...................................................... 16mm Synopsis: A film explaining to 14-16 year olds Synopsis: A humourous video which Illustrates why AIDS is an important issue, how it is trans­ the benefits of the long service leave scheme mitted, and where they can get proper informa­ THE COLORIST to construction workers, and explains why it is tion.

Prod, company................... Gittoes and Dalton compulsory.

Productions BUYING A HOUSE WITH NO MONEY Dist. company............................. Premiere Film Marketing Ltd Producer.................................................... SallySemmens Producers................................ George Gittoes, Scriptwriter...................................Lou Hubbard Gabrielle Dalton Exec, producer...................................... VincentO’Donnell Director.................................... George Gittoes Budget.................................................$15,000 Scriptwriters............................George Gittoes, Length.............................................................. 8minutes CES PROGRAMMES Justin Fleming Synopsis: A short film which explains the key Prod, company...........................Brian Douglas Based on the original idea elements of the Home Finance Assistance Film and Television b y ..........................................George Gittoes Scheme to low income earners.

N E W S O U T H W A L E S Producer.................................... Brian Douglas Exec, producer......................Tom Broadbridge Director...................................... Brian Douglas Budget............................................ $ 1 ,000,000 CAUSE FOR COMPLAINT F I L M C O R P O R A T I O N Scriptwriter................................ Robert Taylor Length..............................

93 minutes (approx.)

Scriptwriter..............................Michael Harvey Script editors............................. Brian Douglas, Gauge...................................................... 35mm Exec, producer...... ..............Vincent O’Donnell Phillip Collins Shooting stock..................Eastman Color Neg CHILDHOOD Synopsis: A community video programme Treatment/storylines................. Brian Douglas, Cast: Doc Neeson (Space Visitor) designed to facilitate the operation of the Phillip Collins, Prod, company................ Tandem Productions Synopsis: A visitor from outer space has Police Complaints Authority by educating the Kent Chadwick, Pty Limited seven days to sway the eccentric artist, Bill younger audience (15-17) as to their rights and Robert Tay lor Dist. company........................................ DeniseCorrigan Bradshaw, to leave Earth as there are no living obligations when dealing with the police.

Co-producer...............................

Phillip Collins Producer...................................................MartaSengers artists remaining in outer space. The odd Prod, co-ordinator...................... Christine Hart Director................................................. MichaelMangold visitor is sidetracked by Billy’s son, Jack, and a Production execs...................... Kerry Shearer, FIND A WAY Sound recordist.......................... Robyn Archer rock ’n’ roll band. The diversion helps him to Gayle Brown Editor..........................................Graham Wyse understand human creativity, although he fails Prod, company...................Seven Dimensions Post-production supervisor.........Phillip Collins to get Bill into space.

Directors.................................................. Kirstle Grant,Lighting cameraperson..........Preston Clothier Length....................................... 2 x 20 minutes, Length....... ....................................... 8 minutes Eve Ash 4 x 3 0 minutes Gauge...................................................... 16mm Scriptwriter....................................Kirstie Grant FUTURETROUPERS Gauge......................................................Video Synopsis: Through children’s games, this film Sound recordist.....................................RichardBence Synopsis: A series of documentaries for the Prod, company...........................Brian Douglas depicts the universality of folklore. It com­ Editor..................................................... RichardBence Commonwealth Employment Service covering Film and Television mences with a montage of a children’s play­ Composers.............................. The Escalators, ‘Telephone T e c h n iq u e s ’ , ‘ R e ce p tio n ’ , Producer.................................... Brian Douglas ground, showing diverse cultural groups and Ken Leslie ‘Vacancy Handling Technique’, ‘Interviewing’, Scriptwriter................................. Brian Douglas games. It then focuses on pick-up-sticks, Exec, producer................... Vincent O’Donnell ‘Freedom of Information’ and 'Confronting Em­ Based on the original idea marbles and hop scotch. This film was Prod, secretary.................. Heather Rutherford ployers and Job Seekers’. produced for the Power House Museum. by............................................ Brian Douglas Camera operator...................................RichardBence

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82 - MAY CINEMA PAPERS

Focus puller...........................Calum McFarlane Script editor.............................Sharon Connolly TOUCH THE SUN Clapper/loader......................... Miriana Marusic Based on the original idea Producers.............................Margot McDonald, Gaffer........................................... Peter O’Brien b y.................................. Jocelyn Moorehouse Jill Robb, Art director........................................Ian Grade Photography............................Dick Willoughby Antonia Barnard, Costume designer......................................HelenHooper Sound recordist.............................. Ivane Kayne Tony Llewellyn-Jones, Wardrobe supervisor....................... Lyn Askew Editors............................................... Ken Tyler, Jane Ballantyne Standby wardrobe........................................ RitaCrouch Gary Watson Directors.................................. Michael Carson, Props master.......................................... RichardHobbs Snr prod, designer....................Paul Cleveland Jackie McKimmie, Catering.................................... Jan Drummond Exec, producer.................................. Noel Price George Ogilvie, Length............................................................. 90minutes Prod, manager......................................... MarionPearce THE G’DAY SHOW WITH DOT AND Paul Cox, Gauge....................................................... 16mm Prod, secretaries................................... Jacquie Lamb, THE KANGAROO Mario Andreacchio, Shooting stock................................ 7291,7292 Frances Fitzgerald George Miller Prod, company......................................... Yoram Gross 1st asst directors Filmstudio Pty Ltd Scriptwriters................................................John Misto, Block 1 ........................................ Ann Bartlett EAST IS EAST Producer.................................................. Yoram Gross Michael Aitkins, Block 2................................................. Maggie Goller Prod, company.................. Critically Acclaimed Kristin Williamson, D irector.................................................... Yoram Gross Block 3 .....................................................John Slattery Director......................................................V.F.J.Metcalf David Williamson, Scriptwriter................................Marcia Hatfield 2nd asst directors Scriptwriters.............................. V.F.J. Metcalf, Paul Cox, Assoc, producer......................................SandraGross Block 1 ........................................ Alf Marshall Tina Gwinner, Georgina Beier, Length.......................................13 x 30 minutes Block 2 ...................... .................. Ross Allsop Mark Bahnisch Rob George, G auge....................................................1" video Block 3.........................................Libby Lavan Photography...............................................

PerryBulner David Phillips, Synopsis: Pilot for a 13-part television series Continuity.................................. Debbie Challis, Exec, producers........................................ V.F.J.Metcalf, Graeme Koetsveld featuring a combination of animation and liveAnnette Rogan, Peter Backen, Script edito r..................................................SueSmith action.

Susie Struth, Brian O’Donnell, Exec, producer....................................... Patricia Edgar Kerry Bevan Mark Bahnisch Publicity.......................... Suzie Howie Publicity HOME AND AWAY C asting............................................ Dina Mann, Prod, co-ordinator..................... Mark Bahnisch Budget.............................................$7,500,000 Caroline Elliott Prod, com pany.........................ATN Channel 7 Prod, assistants.........................Helen Moeser, Length.......................................6 x 120 minutes Lighting director..................... Graham Brumley Dist. company...........................ATN Channel 7 Michelle McFayden, Gauge....................................................... 16mm Camera operator..................... Dick Willoughby Annette Low, Director...........................................................RicPellizzeri Synopsis: Stories about young people extend­ Unit m anager.............................. Peter Murphy Carolynn Swift Scriptwriter.......................................Philip Ryall ing themselves in the face of a crisis, a conflict, T u to r............................................Rachel Evans Composer.................................................... MikePerjanic 1st asst director............................Tina Gwinner a critical period in their lives. A bicentennial Boom operator................................ Gary Lund Exec, producer............................................ AlanBateman Make-up.............................................SamanthaLeltch series for children set in every corner of Aus­ Costume designer................................... Carole Harvey Hairdresser........................................ SamanthaLeitch tralia’s diverse landscape.

Make-up...................................... Ian Loughnan Music.............................................. Dave Lucas, Wardrobe......................................................AnnBrown, Peter Adsett MIKE WILLESEE’S AUSTRALIANS JoyceImlach Length............................................80 minutes Prod, company........Roadshow Coote & Carroll Props buyer........................................Norm Allis Cast: Janelle Rayner, Cherie Bromley, Laura Pty Ltd (Transmedia Pty Ltd), Studio design.................................. Frank Early Bahnisch, Tracey Allen, Rachel Terry, Peter Film Australia Location design..........................................ChrisForbes, Backen, John Evans, Roger Petane, Jeff Dist. company........Roadshow Coote & Carroll/ Rob Walters Hopkins, Chris Metcalf.

Film Australia Length...................................... 12 x 30 minutes Synopsis: A group of girls from an exclusive Series producer...........................Ron Saunders Synopsis: The B a rto n s is an affectionate private school and a group of rowdy public Supervising producer.............Pamela Vanneck exploration of modern suburban family life P R O D U C T I O N school boys meet while celebrating their high Executive producers.....................Greg Coote, through the eyes of 11-year-old Elly, the only school graduation on the Gold Coast.

Matt Carroll, girl in a family of four kids.

Robyn Hughes, Mike Willesee THE FIRST KANGAROOS ALWAYS AFTERNOON Budget...........................................$9.75 million BLACK BEAUTY Prod, company................................ Roadshow, Prod, company........Afternoon Pictures Pty Ltd Length...................................... 13x4 8 minutes Prod, company........................... Burbank Films Coote & Carroll Pty Ltd Dist. company...........................SBS Television Gauge........................................................16mm Producer.......................................... Roz Phillips Producer.....................................................MoyaIceton Producer................................... Henry Crawford Synopsis: M ike W ille s e e ’s A u s tra lia n s is a Scriptwriter....................................... J.L. Kane Director................................. Frank Cvitanovich Director...................................... David Stevens drama series of momentous events, unsung Based on the novel b y ............................... AnnaSewell Scriptwriter..................................Nigel Williams Scriptwriter.................................David Stevens heroes and buried surprises of history from Editors...................................... Peter Jennings, Photography................................................RossBerryman Based on the novel b y ................... Gwen Kelly Australia's penal beginnings to the present Caroline Neave Sound recordist........................................... NoelQuinn Photography................................... Ellery Ryan day.

Exec, producer............................................ TomStacey Editor...................................................... RichardHindley Sound recordist............................. Geoff White Prod, co-ordinator.............................Joy Craste Prod, designer........................................ HerbertPinter Editor......................................Stuart Armstrong NIGHTMARE Prod, manager.................................. Roddy Lee Exec, producer.............................................MattCarroll Prod, designer............................ George Liddle Prod, accountant....................................Andrew Young Prod, co-ordinator..................................Barbara Ring Prod, company............. Sci-Fi Films Newcastle Composer...................................Dobbs Frank Casting...........................................................JoyCraste Prod, manager...................................... StephenJones Producers.......................................... Alan Gow, Assoc, producers....................Sarah Crawford, Camera operators............................Gary Page, Unit manager.............................. Antony Adare Gregory Warburton David Lee, Tanya Viskich Location manager....................... Patricia Blunt Director................................................Alan Gow Jan Bladier Storyboard.................................... Bob Fosbery Prod, accountant.........................Jill Coverdale Scriptwriter.............................................Andrew Ferguson Prod, co-ordinator............................Dale Arthur Tim ing...............................................Jean Tycn 1st asst director........................ ..... Bob Howard Photography......................David Russell Prod, secretary............................. Reita Wilson 2nd asst director............................ Ian Freeman Length...............................................50 minutes Sound recordist......................James Crawford Prod, accountant.......... Moneypenny Services, 3rd asst director...........................................GuvCampbell Gauge....................................................... 16mm Exec, producer.......................Grant L. Grothen Di Gibbons Continuity.....................................................Sian Fatouros Prod, manager..................Wayne McNaughton Shooting sto c k ........................................... 7291 Prod, assistant................................................JoLarner Casting....................................... Forcast Pty Ltd Location manager..................................Andrew Ferguson Synopsis: The autobiography of a horse, fol­ 1st asst director............................................BobDonaldson Extras casting........................................... ExtrasAgency 1st asst director.......................Grant L. Grothen lowing the life of Black Beauty through a series 2nd asst director................................ Ian Kenny Focus puller................................................ BrianBreheny Continuity..............................Graham R. Busch of different owners, grooms and companions, 3rd asst director..................Brendan Campbell Clapper/loader.............................................GlenCogan and the changing circumstances of his life.

Art director................................. David E. Webb Continuity................................................... Judy Whitehead Key g rip .......................................PipShapiera Musical director................. David Russell Casting............................... Liz Mullinar Casting Asst g rip ...................................... Danny Lockett Budget................................................ $736,000 Focus pulle r................................ Tracy Kubler THE BUTCHER’S SON Gaffer............................................Lindsay Foote Length............................................................. 82minutes Clapper/loader............................ Kim Johnston Prod, com pany......................................ABC TV Electrician................................................ SimonStewart G auge........................................................Video Key g rip ....................................... Barry Hanson Dist. company..............................................ABC Boom operator....................................Gary Carr Cast: Stephen Hamer (Kurt), Alan James Gaffer...........................................Ian Dewhurst Producer...................................... Julian Pringle Art director.................................... Stewart Way /Darren), Jamie Gow(Steven), Ronald Gillette Boom operator........................................... ChrisRoland Director...................................................Norman Neeson Costume designer......................................AnnaSenior (Anderson).

Art director........... .»................... Brian Edmonds Scriptwriter............................................ NormanNeeson Make-up...................................................... Judy Lovell Synopsis: A group of school army cadets take Asst art director........................................ Jenny Carseldine Photography.................................................

Jeff Malouf Hairdresser....................................................Lita Bosco a suspense-filled trip and encounter a crazed Costume designer..................... George Liddle Sound recordist...........................Chris Alderton Wardrobe standby.......................Paula Ekerick escapee from a remote institution. None of the Make-up/hairdresser..................Viv Rushbrook Editor...........................................................MikeHoney Wardrobe asst.............................................Katie Harris teenagers are sure which of them will survive Wardrobe.................................... Jean Turnbull Prod, designer............................. Marcus North Props buyer/set dresser...........Helen Macaskill to see the following morning.

Wardrobe a s s t....................Linda Maple-Doran Exec, producer............................ Julian Pringle Standby prop s........................................... PeterMoyes Props buyers/dressers............... Brian Dusting, Prod, manager............................ Carol Chirlian Special effects..........................................NevilleMaxwell Keith Hanscombe Prod, secretary........................ Annabel Jeffery REMNANTS OF TIME Scenic a rtis t........................................... MichaelO’ Kane Standby props.................................John Stabb 1st asst director...........................................GaryStephens Carpenters..................................................

DaleWallace, Prod, company............. Sci-Fi Films Newcastle Special effects............................................ ChrisMurray 2nd asst director........................................LanceMellor Steve Warrington Producer..................................Grant L. Grothen Scenic artist................................................... IanRichter Continuity...............................................RhondaMcAvoy Set construction.........................................

Peter Musgrove Director.................................... Grant L. Grothen Set construction..........................................JohnMoore, Casting........................................ Jennifer Allen Asst editor................................... Peter McBain Scriptwriter.............................................Andrew Ferguson Wayne Allen Casting asst.................................Irene Gaskell Stunts co-ordinator...................................... GuyNorris Photography...................................... Alan Gow Stunts co-ordinator......................................GuyNorris Camera operator........................Russell Bacon Stunts........................................................... BobHicks, Sound recordist.................David Russell Still photography........................................ BlissSwift,Focus pulle r......................................Ged Quinn Bob Duncan.

Prod, supervisor.................Gregory Warburton Earl Mant Clapper/loader.................. Andrew McClymont Fred Welsh Prod, manager..................Wayne McNaughton Wranglers..................................Graham Ware, Key grip........................................Alan Trevena Still photography........................................ BrianMcKenzie Location manager..................................Andrew Ferguson John Baird Asst grip....................................................... PaulLawrence Wranglers.....................................................

RayWinslade, 1st asst director......................Graham R. Busch Runner............................................................. JoLarner Gaffer.......................................... Martin Perrott Evanna Brand 2nd asst director................................. Alan Gow Publicity....................................................... SBS Electrician................................................. PierreDrionBest boy.......................................... Jimmy-LJunt Continuity............................... James Crawford Catering..................................... Out To Lunch, Boom operator............................................ ScottTaylor Runner.................................................Ross Bell Casting................................. Graham R. Busch, Daniel Popper Catering Make-up........................................... Garry Siutz Publicity........................................... Channel 10 Grant L. Grothen Studios................................. HSV-7, Melbourne Wardrobe....................................Rolando Cano Catering.......................................................Kaos Catering Art director......................................David Webb Budget..........................................................$4.3million Props buyer......................... Paddy MacDonald Mixed a t................................................ Colorfilm Budget................................................$822,000 Length........................................4 x 60 minutes Length.............................................. 30 minutes Laboratory............................................Colorfilm Length.............................................80 minutes Gauge........................................................16mm Gauge.......................................................16mm Lab. liaison..............................................DeniseWolfson Synopsis: On a family camping trip, a group of Shooting sto ck............................................7291 Synopsis: A short film, for television release.

Budget..................................................... $3,368million six children go on an early morning hike. They Cast: Tushka Bergen (Freda), Jochen Horst Length............................................90 minutes witness the crash of an alien spacecraft. The (Franz), Lisa Harrow (Nancy Kennon), Marshall THE COLONIAL CAVALRY Gauge........................................................ 16mm story revolves around the newiy-found friend Napier (Bill Kennon), Dieter Kirchlechner Shooting s to c k ............................................7291 Prod, company.......Somerset Film Productions and the adventures they have together. , Herbert Trattnig (Wolfgang), Ben Cast: Dennis Waterman (Goldthorpe), Chris Pty Limited jr (Ernst), Mathew Burton (Peter Stein), Haywood (James Giltinan), Dominic Sweeney Dist. company.................. Tambarle AB Limited Simon Burke (Tom), John Poison (John SEEN BUT NOT HEARD Producers................... James Michael Vernon, Kennon), Taya Straton (Ailsa Kennon).

Jan Tyrrell Synopsis: A love story between the daughter Prod, company............. ACTF Productions Ltd/ Director................................................... MarcusCole TVW-7 /Perth) of a country baker and a young German :), Clarissa Kaye Mason (Annie), Jim Scriptwriter............................................ MichaelMcGennan violinist, who has been interned at Trial Bay Producer.............................................Jarf Pack Darter (Arthur Hughes).

Photography.............................Martin McGrath Director................................. Graeme Thorburn Jail during WWI. Synopsis: A story of the first rugby league tour Sound recordist............................................ BobClayton Scriptwriter..................................Steve Spears of Great Britain in 1908 by the Australian rugby Prod, designer....................................... MichaelRalph Exec, producer............................Patricia Edgar THE BARTONS team.

A comedy, it deals particularly with the Prod, supervisor.............................. Penny Wall Publicity...........................Suzie Howie Publicity (Working title) relationships and comic adventures of the Prod, m anager.......................................... PaulaBennett Studios........................................TVW-7 (Perth) team and their British adversaries.

Prod, company............................. ABC/Revcom Unit manager.................................................PhilUrquhart Length........................................ 6 x 30 minutes Producer.................................................. JeniferHooks Location m anager......................................Chris Williams G auge................................................. 1" video Directors.................................................Richard Sarell, Asst to loc. manager..................................

Arnie Custo Cast: Huw Evans (Compere).

THE FLYING DOCTORS Peter Dodds, Prod, secretary........................................... FfionMurphy Synopsis: A drama/discussion series, focus­ Mandy Smith Prod, company............... Crawford Productions Prod, accountant...........................................LeaCollins ing on the often hidden attitudes, feelings and Scriptwriters.................... Jocelyn Moorehouse, (Series) Pty Ltd Prod, assistant............................................. AnnCasey beliefs of kids in the formative years of adoles­ Paul Hogan, Producer.................................Oscar Whitbread 1st asst director.......................................... TonyWellington cence. Issues discussed by a group of 13-yearGreg Millin, Directors................................................ Various Continuity............ /..............................Liz Barton olds will be introduced by short, witty and Noel Robinson Scriptwriters........................................... Various C asting....................... Maizels and Associates sometimes controversial dramas.

Assoc, producer...........................Phillip Collins Script editor..........................Patrick Edgeworth Length......................................... 6 x 60 minutes G auge....................................................1" video Synopsis: In the near future, an out-of-work theatre troupe inadvertently prevent the piracy of Australia s underground power source by a most devious and deadly organisation.

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Photography................................ Dan Burstall, Length............ .90 minutes Boom operator...........................Mark Van Kool Asst g rip...................................................StuartCrombie Barry Wilson, Gauge............. ........16mm 2nd unit photography............................... KevinAnderson Art director...................................... Ian Gracie Brett Anderson, Shooting stock .7291,7292 Art dept runner.........................................AdamHammond Gaffer....................................................... BruceTowers Jamie Doolan Costume designer.................................... HelenHooper Boom operator...........................................ChrisGoldsmith Sound recordists.................... John McKerrow, NEIGHBOURS Make-up..................................................... BritaKingsbury Art director.............................................RobbiePerkins Malcolm Rose Hairdresser................................................Brita Kingsbury Asst art director......................................... ColinRobertson Prod, company.........Grundy Television Pty Ltd Editors..................................................... AileenSolowiej, Wardrobe supervisor.......... Lucinda McGuigan Costume designer..................................... RoseChong Producer.......................................... Philip East Lindsay Parker Make-up....................................................

KarlaO’Keefe Standby wardrobe...................................Barbra Zussino Directors........................................Steve Mann, Exec, producers......................................HectorCrawford, Props buyer.........................Lisa Boyd-Graham Wardrobe supervisor...................................GailMayes Tony O’Sicka, Ian Crawford, Props master.........................................

Richard Hobbs Standby props...................

Graham Blackmore Chris Langman, Terry Stapleton Standby props.............................................RobMoxham Set dressers.................. Stephen Jones Evans, Rod Hardy, Assoc, producer............................Howard Neil Martin Perkins Asst props buyer.................................... MurrayGosson Mark Piper Prod, supervisor............................ Vince Smits Standby props........................................... JohnOsmond Genny operator........................................... TimTowers Scriptwriters..........................................Various Prod, co-ordinator..........Bernadette O’Mahony Best boy..........................................

Paul Booth Sound editor....................................Rex Watts Script supervisor.............................. Ray Kolle Prod, manager................................ Chris Page Sound editor asst............................. Irwin Hirsh Script editors.......................................YsabelleDean,Runner..................................................MichaelLavlgne Prod, secretary..........................................CarolMatthews Editing assistant.......................................Owen Johnston Art dept runner........................................

James McTeigue Wayne Doyle Prod, accountant..........................Jeff Shenker Catering.....................................................John Faithfull Still photography....................................... TiborHegedis Based on the original idea b y ....... Reg Watson 1st asst directors............Richard Clendinnen, Laboratory.................................................Atlab Dialogue coach.........................................

Peter Tulloch Sound recordists.......................Dave Shellard, Don Linke, Length........................................................... 90minutes Tutor........................................... Robbie Emery Grant Vogler, Michael McIntyre Gauge...................................................... 16mm Horse wranglers............................. John Baird, Bruce Finlay, 2nd asst directors................................ MauriceBurns, Shooting stock.................................7291,7292 Teriy Tulk Keith Harper, Mark Farr Synopsis: Mickey wanted to be rich and Dog handiers/suppllers............ Mary McCrabb, Rob Saunders Continuity................................................ LesleyForsyth, Ken McCrabb Prod, designer..........................................SteveKellerfamous. If he's not careful,he just may get his Carmel Torcasio Best boy................................................ MichaelHughes Composer (theme).................................... TonyHatchwish!

Casting................................................. GrahamMoore, Runner....................................................NevilleMason Exec, producer............................. Reg Watson Jan Pontifex Courier.................................Michael Batchelor Assoc, producer........................... Peter Askew Focus pullers....................................Louis Puli, Catering............................................. Band Aid, Prod, co-ordinator....................................JayneRussell Craig Barden Virginia Vinden, Prod, manager.......................Vicki Popplewell Clapper/loaders...................................... WalterRepich, Rowena Lee Casting.............................................. Jan Russ Gary Bottomley Length........................................6 x 60 minutes Casting asst...............................................JaneDaniels P O S T-P R O D U C TIO N Key grips................................ John Cummings, Gauge......................................................16mm Floor managers...................... Peter O’Connor, Craig Dusting Cast: John Heywood, Brenton Whittle, Kris Alan Williamson, Asst grips...................................................... IanPhillips, McQuade, Mathew Stevenson, Asher Keddie, Peter Hinde AUSTRALIA . . .

TAKE A BOW Leigh Tate John Jarratt.

Directors’ assts....................... Marianne Gray, Prod, company.................... Soundsense Film Gaffers.......................................................... BillJones, Synopsis: The story of Tim Lincoln and Dusty Linda Wilson, Productions Pty Ltd Laurie Fish which he has trained to become the best Rhonda Bark-Shannon Producer........................................Brian Morris Electricians................................ Con Mancuso, working sheep dog in the district.

Art director................................... Steve Keller Director..........................................Brian Morris Peter Ryan Hairdressers.........................David Henderson, Based on the original idea Boom operators........................................ ColinSwann, GONE TOMORROW David Vawser by............................................... Brian Morris Greg Nelson Wardrobe................................................. IsobelCarter, Prod, company.................. Ansata Productions Photography.................................. Paul Warren Art director............................ Geòrgie Greenhill Jessie Fountain, Producers.....................................Alan Ingram, Sound recordist.................................... MichaelGissing Asst art director............................................LenBarrett Julianne Jonas Mark Stow Smith Editor................................................ Tim Street Costume designer.................................... ClareGriffin Props buyer............................................... MarkGrivas Director...................................................... AlanIngram Prod, manager..............................Fiona Aaron Make-up.....................................................BradSmith, Standby props.................. Richard Williamson, Scriptwriter............................Mark Stow Smith Prod, secretary..........................

Linda Hopkins Bill Jackson-Martln Sue Birjac Photography.................................... Lou Brown Asst editor................................................. LindaGoddard Hairdressers............................................... LisaJones, Lighting supervisor..................Keith Ferguson Sound recordist........................................Grant Lockie Sound editor..........................................Michael Gissing Sue Kelly Music editor........................... Warren Pearson Prod, designer............................................AlanIngram Mixer..................................................... MichaelGissing Wardrobe.......................................... Keely Ellis Vision switcher....................... Jenny Williams Prod, assistants....................Wayne Marsden, Still photography..........Wildlight Photo Agency Props buyer.... .............................. Rolland Pike Off-line editing................. The Editing Machine Glenn Howroyd, Publicity............................The Write On Group Standby props............................................PaulKiely,Tech, directors............................. Barry Shaw, Brad Candy Melissa Carrington Unit publicist.............................. Sherry Stumm Peter Merino, Electrician................................................. GregHayes Laboratory.................................................Atlab Set decorators............................................ CarlHabal, Howard Simons Costume designer............................Brian Kent Jenny Hoogstra, Lab. liaison...........................

Bruce Williamson Catering................................................... HelenLouers Make-up...........................................Brian Kent Souli Lividitis, Budget................................................$922,500 Post-production................ ATV-10, Melbourne Hairdresser...................................... Brian Kent Length....................................... 7 x 28 minutes Leigh Eichler, Cast: Anne Charleston (Madge Mitchell), Kylie Set designer....................................Jane Norris Simon Carter Gauge......................................................

16mm Minogue (Charlene Mitchell), Jason Donovan Soenic artist................................Jeanne Eager Shooting stock...................

Agfa XT 125, XT320 Set construction.......................... Gordon White (Scott Robinson), Alan Dale (Jim Robinson), Set construction................... Peter McKinnon Runner......................................Aurelia Ginevra Synopsis: A contemporary look at life in each Anne Haddy (Helen Daniels), Stefan Dennis Still photography.........................................Sue Howard Australian state and territory. Pictures, music Catering................................Sweet Seductions (Paul Robinson), Elaine Smith (Daphne Tech, adviser............................................GlynnMorris and sound effects will tell the story — there will Studios.........................Channel 9, Melbourne Clarke), Paul Keane (Des Clarke), Guy Pearce Length...........................................................

90 minutes Mixed at........................ Crawford Productions be no dialogue or narration. The series is (Mike Young), Myra De Groot (Eileen Clarke).

Cast: Michael Hannon (Homunculus), Steven endorsed as a Bicentennial project and is Laboratory.............................................Cinevex Synopsis: Love ’em or hate ’em, but every­ Tandy (Hanno), Laura Williams (Lightning), sponsored by IBM Australia.

Length..................................... 24 x 60 minutes one’s got 'em: neighbours. Ramsay S treet. . .

Simon Reptile (Ssnake), Michael Matou (Sly), Gauge.......................................................16mm the stage for an exciting drama serial .. . ...................... ly), Olivia Hilton (Blue Fairy), Shooting stock................................ 7291,7292 THE AUSTRALIAN IMAGE drawing back the curtain to reveal the intrigue Lance Ragano (Stromboli), Ritchie Finger Cast: Robert Grubb (Dr Geoffrey Standisti), Liz Prod, company.................................. AustralianCapital and passions of Australian families . . . and (Watt), Marcus O’Loughlin i Birch (Dr Chris Randall), Lenore Smith (Kate their neighbours.

Television Pty Ltd Synopsis: 1999 — and the World is in trouble.

Wellings), Bruce Barry (George Baxter), Dist. company................................... AustralianCapital Amid the chaos Homunculus, a perfect Rebecca Gibney (Emma Plimpton), Maurle Television Pty Ltd RAFFERTY’S RULES humanoid, learns life’s lessons high and low.

Fields (Vic Buckley), Val Jellay (Nancy Producers..................................Nick Hildyard, Will he be in time to save Humanity from itself?

Prod, company........................ ATN Channel 7 Buckley), Max Cullen (Hurtle), Pat Evison Ray Edmondson Dist. company.......................... ATN Channel 7 (Violet Carnegie), Terry Gill (Sgt Jack Director............................................... ChristinaHunniford THE HENDERSON KIDS II Producer...................................................Posie Jacobs Carruthers).

Scriptwriter........................................... GrahamShirley Directors.............................Graham Thorburn, Synopsis: A Royal Flying Doctor Service is Prod, company. .Crawford Productions Sound recordist.................................... BradleyHeadland Russell Webb located in the outback town of Coopers Video Pty Ltd Editors........................................ Steven Billett, Scriptwriters..........................................Various Crossing. The two doctors, Geoff Standish and Producer.......... ................. Alan Hardy Mark Kelly, Based on the original idea b y........... Ben Lewin Chris Randall, not only contend with the Directors......... .........Chris Langman, Greg Evans Editor.....................................................MichaelHagen medical challenges, but also with the small Paul Moloney Prod, designer......................................BernardHidesExec, producer................................... ChristinaHunniford community in which they live.

Scriptwriters.... .........Peter Hepworth, Prod, co-ordinator.............................. Vicki Pini Composer.................................. Mike Perjanik Roger Moulton, Prod, secretary............. .Susan Minchin Exec, producer..........................

Alan Bateman HOLD THE CIRCUS Galia Hardy, Producer’s assistant.... ...... Rachel Masters Prod, manager...........................Anne Bruning John Reeves, Lighting cameraperson. ............. Steve Isaac Prod, company.......................... Somerset Film 1st asst director........................................SorenJensen David Phillips, Productions Pty Limited Camera operator.......... .........Robert Walker 2nd asst director........................................ MattRixson Andrew Kennedy Dist. company..................Tambarle AB Limited Camera assistant......... ............Alan Gilvear Casting..................................................... HelenSalter ...........Brett Anderson Photography.....

Producers...................James Michael Vernon, Narrator......................... ................Bill Hunter Art director............................................... DiaanWajon ..........John McKerrow Sound recordist.

Jan Tyrrell Costume designer......................................AlanBurnsStudios......................... ..Capital 7, Canberra Editor................. ...........Lindsay Parker .Capital 7, Canberra Mixed a t.......................

Director......................................... Marcus Cole Publicity....................................Lindy Anderson Composers....... ....... Garry McDonald, Scriptwriter........................................... MichaelMcGennan Laboratory................... ................. Colorfilm Studios..................................... ATN Channel 7 Laurie Stone Photography............................Martin McGrath Lab. liaison.................. ..........Kerry Jenkins Length........................................6 x 60 minutes Exec, producers. ........Hector Crawford, Sound recordist............................. Bob Clayton ...... 13x30 minutes Gauge............................................................ 1"VideoLength.

Ian Crawford, Prod, designer.......................... Michael Ralph Shooting stock...................................Videotape Cast: John Wood (Michael Rafferty), Catherine Terry Stapleton Cast: Bill Hunter (Presenter).

Prod, supervisor............................ Penny Wall Wilkin (Paulyne), Simon Chilvers (Flicker), Arky Assoc producer........ .........C. Ewan Burnett Prod, manager......................................... PaulaBennett Synopsis: The series highlights the work of the Michael (Fulvio).

Production executive .............. Michael Lake National Film and Sound Archive and stresses Unit manager............................................... PhilUrquhart Synopsis: The trials and tribulations of stipen­ Prod, co-ordinator.... ..................Gina Black the importance of the preservation of our film Location manager.....................................ChrisWilliams diary court magistrate Michael Aloysius Prod, manager.......... .........C. Ewan Burnett and sound recording heritage. It explores our Asst to loc. manager...................... Arnie Custo Rafferty.

Location manager.... .................Ralph Price national character as expressed through our Prod, secretary.......................................... FfionMurphy ....................Ron Sinni Prod, accountant..... films and sound recordings.

Prod, accountant..........................................LeaCollins 1st asst director......... ...................Phil Jones Prod, assistant............................................ AnnCasey UNCLE SAM’S AT THE DOOR 2nd asst director...... ............Michael White Prod, company........ .................. Somerset Film 1st asst director....................... Tony Wellington DUSTY — THE SERIES 3rd asst director........ ............Maurice Burns Productions Pty Ltd Continuity...................................................... LizBarton Continuity................. ............Lesley Forsyth Dist. company......... ....... Tambarle AB Limited Prod, company.................... Dusty Productions Casting....................... Maizels and Associates .................Jutta Goetz Script editor..............

Producers............... ....James Michael Vernon, for Film Documentaries Ltd Focus puller.............................................CalumMcFarlane Casting...................... ..........Kimlarn Frecker Jan Tyrrell Producer..............................John Richardson Clapper/loader......................... Miriana Marusic Focus puller.............. ............. Craig Barden Director...................

Director......................................................ColinBudds Gaffer........................................................PeterO’Brien Clapper/loader.........

Scriptwriter............. .....................David Young .........Garry Bottomley Art director.................................................... IanGracie Scriptwriters.........................................GraemeFarmer, Key grip....................

Photography........... ................... Joe Pickering .............Rob Hansford Costume designer.................................... HelenHooper John Misto Asst grip...................

Sound recordist...... ................. Ian Phillips Wardrobe supervisor................................... LynAskew Photography............................................JamieDoolan Prod, designer....... .................. Michael Ralph Gaffer........................ .........David Parkinson Standby wardrobe....................................... RitaCrouch Sound recordist................................ Paul Clark Boom operator.......... .............. Greg Nelson Prod, supervisor..... .......................Penny Wall Editor........................................ David Hipkins Props master..............................Richard Hobbs Prod, co-ordinator.... ...........Sandra Thompson ........... Andrew Reese Art director...............

Composer................................Paul Grabowsky Catering....................................................... JanDrummond Prod, manager......... .................. Michael Davis Asst art director........ ....................Greg Ellis Assoc, producer.......................................DavidButterfield Costume designer....

Unit manager.......... ....... Richard Montgomery ............... Clare Griffin Co-producer........................................ GeoffreyPollock Location manager.... ........Christopher Williams Make-up................... ..................Brad Smith Prod, co-ordinator................................... SusanEdwards ........................Lea Collins ............... Carolyn Nott Hairdresser...............

Asst co-ordinator........................................ SueEvans Accounts asst..........

Wardrobe.................. .................. Keely Ellis Unit manager........................................... DarrylSheen Prod, assistant.........

Standby wardrobe.... ............. Marion Boyce Prod, accountant................. Pauline Montagna 1st asst director......

Wardrobe a s s t.......... ................... Ann Went 1st asst director.....................................StewartWright ................ Steve Stannard Props buyer.............. ................. Len Barratt 2nd asst director..........................James Leslie Send p ro d u c tio n d e tails to Continuity................

Standby props.......... ............... Rolland Pike 3rd asst director................................... StephenShelley Kathy Bail, Cinema Papers, 43 ....................Suzie Maizels Set decorators.......... ............Souli Livaditis, Continuity..................................Kay Hennessy C harles S tree t, A b b o ts fo rd , Focus puller............

Leigh Eichler Producer s assistant................. Millie Comfort Clapper/loader........

Scenic artist............. ................. Ian Richter Casting consultant....................................... LeeLarner V ictoria 3067, o r call on (03) Carpenters............... ..... Michael Shadbolt, Clapper/loader....................................... KattinaBowell 429 5511. ......................... John Tate Janis Ermanis Camera assistant......................................HarryGlynatsis ............ Gordon White Gaffer..'....................

Key g rip.......................................................JoelWitherden Set construction........

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A s s t e d i t o r ....................................................A v r il N ic h o ll C o n s t r u c t io n f o r e m a n ........................ P e t e r M c N e e S till p h o t o g r a p h y ...................................B ill B a c h m a n D ia lo g u e c o a c h ...................................... P e t e r T u llo c h B e s t b o y ....................................................D a r y l P e a r s o n R u n n e r ............................................................... R o d S h o r t C a t e r in g .........................................................B a n d e - A id e , R ic h a r d R o g u e s S t u d i o s .......................................................................H S V 7 M ix e d a t ...................................C r a w f o r d P r o d u c t io n s L a b o r a t o r y ......................................................................V F L L e n g t h ....................................................1 2 x 6 0 m in u t e s G a u g e ...........................................................................1 6 m m S h o o tin g s t o c k ............................................ 7 2 9 1 , 7 2 9 2

Cast: N a d i n e G a r n e r , P a u l S m it h , M ic h a e l A itk e n s , B r a d le y K ilp a t r i c k , A le x P a p p s , A n ita C e r d ic , M a r ie k e H a r d y , N a t h a n C r o ft, P a u l H a ll, E liz a b e t h R u le , L o u is e H o w it t .

Synopsis:

T h e f u r t h e r a d v e n t u r e s o f S te v e a n d T a m a r a H e n d e r s o n a n d t h e ir f r ie n d s c o m in g to g r ip s w it h lif e in a t o u g h s u b u r b a n e n v ir o n ­ m e n t.

KABOODLE

Patricia Kennedy (P e n n y P o lla rd ’s D ia ry), Alan Fletcher (M a rty M o v e s to th e C o u n try).

Synopsis: An anthology series of drama for the under ten audience, comprised of 33 stories, including live action, animation and computer animation.

THE LAST OF THE MOHICANS

ASCOT WIGMAKERS

Prod, company............................Burbank Films Dist. company.........Consolidated Productions/ Vistar International Productions Producers...................................... Roz Phillips, Tim Brooke-Hunt Exec, producer..............................Tom Stacey Scriptwriter.................................... Leonard Lee Based on the novel b y ........................... James Fenimore Cooper Storyboard.....................................Bob Fosbery Timing....................................... Gairden Cooke Budget................................................. $730,000 Length............................................50 minutes Gauge........................................................ 16mm Shooting sto ck............................................7291 Voices: John Waters, Andrew Clarke, Bill Conn, Judy Morris, Juliete Jordan, Scott Higgins, Wallas Eaton, Ross Higgins, Phillip Hinton.

Synopsis: The American adventure story of conflict among the British, French and Indians.

BEARDS • WIGS • M OUSTACHES • SIDEBURNS • ANYTHING IN HAIR • SPECIAL ITEMS FOR SPECIAL EFFECTS HIRE SERVICE • A N Y ITEM MADE T O ORDER FOR T.V. • FILM • COMMERCIALS.

Prod, company.............. ACTF Productions Ltd Producers................................. Colleen Clarke, Gary Davis, Jenny Hooks, Tony Llewellyn-Jones, Heather Ogilvie, THE LIZARD KING Penny Robins, Prod, company..................................... ABC TV Michael Webb, Dist. company..............................................ABC Timothy White, Producer....................................................... JanChapman Stephanie Wiessner Director.................................................GeoffreyNottage Directors...................................Karen Altmann, Scriptwriter.................................................LouisNowra Sue Brooks, Based on the original idea Paul Cox, b y ...................................................... GeoffreyNottage Gary Davis, Photography................................................. JeffMalouf Jessica Douglas-Henry, Sound recordist..........................................Chris Alderton Mitch Mathews, Editor..............................................................BillRusso Mark Osborn, Prod, designer........................

Janet Patterson Jan Sardi, Composer..................................Martin Armiger Heather Williams Exec, producer.............................................

JanChapman Scriptwriters..............................Shirley Barrett, Prod, manager.......................................StephenO'Rourke Cate Cahill, Unit manager.................................................Vid McClelland Gary Davis, Prod, secretary....................................... JoanneHolliman Hazel Edwards, 1st asst director.............................

Scott Feeney Morris Gleitzman, 2nd asst director................................... DeborahKlika Peita Letchford, Continuity............................................... AntheaDean Alan Love, Casting.................................................. JenniferAllen Jennifer Mellett, Casting asst...................................Irene Gaskell Jeff Peck, Camera operator......................... Russell Bacon Jan Sardi Focus puller.............................................GerardQuinn Script editors.................................... Sue Smith, Clapper/loader..................

Andrew McClymont Jeff Peck Key grip......................................... Alan Trevena Photography............................... Jaems Grant, Asst grip.....................................Paul Lawrence Stephen Prime, Gaffer........... :.............................. Martin Perrott Jan Kenny, Electrician.......................................

Pierre Drion Richard Bence, Boom operator............................................ScottTaylor Tony Brennan Asst designer.............................................Peter Davies Sound recordists................ Shalagh McCarthy, Costume designer...................Janet Patterson Garry Gleeson, Make-up/hairdresser................Christine Ehlert Mark Lewis, Wardrobe.....................................Wendy Chuck John O’Connell, Wardrobe asst.......................................CaterinaPupo Russell Hurley Props dresser.......................... Richard Kennett Editors................................. Murray Ferguson, Props buyer..............................Anthony Cronin Russell Hurley, Standby props.................. Christopher Greene, Ronda Macgregor, Nicole Mitchell, Jenny Hooks, Glen Daly Jarina Urbanski Special effects........................................PaulineGrebert Prod, designers.............................Tony Wright, Set dresser..................................................Julie Puglisi Neil Angwin Scenic artist.......................... Paul Brocklebank Composers.................................Jikou Sugono, Asst editor..................................Dorothy Welch Martin Wesley-Smith Publicity..................................... Geòrgie Brown Exec, producer........................... Patricia Edgar Mixed at........................................................ABC Supervising producer..........................Jeff Peck Laboratory...........................................

Colorfilm Prod, managers......................................... KirstyOfficer, Length.............................................................90minutes Wendy Clarke, Gauge........................................................16mm Susie Campbell Cast: Marie-Christine Barrault (Beatrice Prod, accountants.................... Trevor Blainey, Aumond), John Hargreaves (Rhys), Manuel de Santhana Naidu la Roche (Rene), Sarah de Tellga (Diana), Prod, assistants......................................... FionaEagger, Ignatious Jones (Oliver), Warwick Moss Denise Patience, (Victor), Helen Jones (Jayne), Clarissa KayePaul Grinder Mason (Gloria), Ollie Hall (Frank), Bob Barrett 1st asst directors.......................Lucy Maclaren, (Mr Foray).

Corrie Soeterboek, Synopsis: A woman comes from France to Chris Odgers 2nd asst director..................................ElizabethLovellAustralia in search of her son, who is missing in the desert.

A telemovie conceived as part of Continuity................................. Kay Hennessy, nine films to be made in France, Italy and Aus­ Linda Ray, tralia on the subject of romance.

Sally Engelander

For Enquiries call Judith Schuback

02 4381979

RICHARD CARROLL NEG-CUTTING 16mm & 35mm NEGATIVE CUTTING fea tu re film s, co m m e rcia ls, m usic clips, d ocu m e n ta ries, d ra m a series, etc.

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Gaffers......................................Graeme Wook, A MATTER OF CONVENIENCE Ian Plummer, Rory Timoney Prod, company............................. ABC/Revcom Art directors..............................................RobertAlcock, Producer.............................................Noel Price John Lowndes, Director..............................................Ben Lewin Rob Macleod Scriptwriter........................................ Ben Lewin Make-up..................................................... LloydJames, Script editor.............................Sharon Connolly Vicki Friedman, Based on the original idea b y ........... Ben Lewin Vivian McGillicuddy, Photography..................................... Chris Davis Leonie Plummer Sound recordist.................................. Bill Doyle Wardrobe................................................... LloydJames, Editor......................................................... Barrie Munro Bruce Symons, Snr prod, designer..................Gunars Jurjans Rex McClenaghan Prod, manager............................................ JohnWinter Animation............................Richard Chataway, Prod, secretary....................Frances Fitzgerald Michael Cusack, 1st asst director...................Jamie Lipscombe Steve French, 2nd asst director........................................Ali AN Ross Gathercole, Continuity.................................................. KerryBevan Maggie Geddes, Casting........................................................DinaMann, Anne Jolliffe, Caroline Elliott Penny Robenstone, Grips.................................... T ony Woolveridge, John Skibinski, Martin Lampitt Sue Rendall, Boom operator............................................... IanCregan John Taylor, Designer........................................Colin Gersch Peter Viska Publicity.......................... Suzie Howie Publicity Wardrobe................................ Beverley Jasper Budget.................................................$975,000 Length............................................................. 90minutes Length.......................................13 x 30 minutes Synopsis: Valma is in her thirties and sick of Gauge..................................................... 1 video selling salamis. Boyfriend Joe is no potential saviour. When Alphonse Toronto, a profes­ Cast: Lucy Angwin (The S e c re t L ife o f Trees), sional Cupid, proposes marriage for profit and Kim Gyngell (S n o w W hite & The D re a d fu l convenience, Valma persuades Joe to wed.

D w a rve s), Paul Chubb ( The S te a m Train C rew ), Adam Cockburn (S c u ff The S o ck), Johnno & But marrying Joe to the beautiful Fadya proves less convenient than Valma might have Danno (S c u ff The S o ck), Angry Anderson (S c u ff The S o ck), Reg Evans (P o ta to a n d th e K o b o ld ), wished.

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CINEMA PAPERS MAY — 85

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B e s t b o y ......................................................... P a u l B o o th NANCY WAKE W a rd ro b e s u p e r v is o r ..............L u c in d a M c G u ig a n SHADOW PLAY R u n n e r ...............................................M ic h a e l L a v ig n e S ta n d b y w a r d r o b e ........................... B a r b r a Z u s s in o P ro d , c o m p a n y .................... S im p s o n L e M e s u r ie r ( W o r k in g t it le ) C a t e r in g ................................................... J o h n F a ith fu ll W a r d r o b e a s s t .................................. B a r b r a Z u s s in o F ilm s company........................................ EbonyFilms G a u g e ....................................................................... 1 6 m m P r o p s ......................................................................R ic h a r d H o b b Prod, s D is t. c o m p a n y ................................... P r e - s a le S e v e n Producer...................................

Ann Darrouzet Cast: B a r ry O tto (L a w s o n ), R a lp h C o tte r ill P ro p s b u y e r ........................................................... D o n n a B ro w n N e tw o r k Director.................................Monique Schwarz (M a n ), G o s ia D o b r o w o ls k a ( G e n e v ie v e ) , S ta n d b y p r o p s ....................................J o h n O s m o n d P r o d u c e r s ......................................... R o g e r S im p s o n , Scriptwriter...........................

Monique Schwarz D u n c a n W a s s (W a lla c e ), G a r y D o w n (D r S h o ll), A s s t p ro p s b u y e r ...................................................D ia n e H e n r y R o g e r L e M e s u r ie r Friedrich G w e n P lu m b (M is s C le m e s h a ), P a tr ic k W a rd A rt d e p t r u n n e r .....................................................J a m e s M c T ePhotography........................Zbigniew ig u e D ir e c t o r ...................................................... P in o A m e n ta Sound recordist........................................

LloydCarrick (R e g u s ).

S e t c o n s t r u c t io n ...........................M a rc u s E ra s m u s S c r ip t w r it e r ..........................................R o g e r S im p s o n Editor...................................Zbigniew Friedrich Svnoosis: L a w s o n , a n e c c e n t r ic a d v e n tu r e r E d itin g a s s is t a n t ..............................D im ity G re g s o n S c r ip t e d i t o r ....................................... B a r b a r a B is h o p Prod, manager.........................

Chris Gallagher a n d fa m o u s w r ite r, a n d M a n , h is o ffb e a t m a n ­ S tu n ts c o - o r d in a t o r .......................... B e r n ie L e d g e r B a s e d o n th e n o v e l Location manager................. Leigh Ammitzboll s e rv a n t, c re a te a fia s c o o f c o m e d y a n d A n im a l c o - o r d in a t o r .........................E v a n n e B ra n d b y ......................................................................... R u s s e ll B ra ddd uo pn lic ity a s th e y s e t a b o u t c o n v in c in g th e w o rld Prod, secretary................ Francis O’Donoghue S till p h o t o g r a p h y ..................................... V iv ia n Z in k , P h o t o g r a p h y ......................................... D a v e C o n n e ll Prod, accountant....................Santhana Naidu th a t L a w s o n h a s “ g o n e o ff th e d e e p e n d ” .

R o b e rt V e r k e r k S o u n d r e c o r d i s t ................................................ A n d r e w R a m a g e & Associates N u r s e ....................................................................... S a n d ie S tr u d w ic k S u p e r v is in g e d i t o r .......................................P h il R e id B e s t b o y ....................................................................... P a u l B o o thAccounts assistant..................Antony Shepard P ro d , d e s ig n e r ............................................... T e l S to lfo 1 st asst director.........................................Euan Keddie POOR MAN’S ORANGE R u n n e r .........................................................................G a r y J o n e s C o m p o s e r ............................................ G r e g S n e d d o n 2nd asst director..........................Craig Griffin C a t e r in g .................................................J o h n F a ith fu ll P ro d , c o m p a n y .............................. A n th o n y B u c k le y E x e c , p r o d u c e r s .............................. A la n B a te m a n , Continuity............................

Joanne McLennan G a u g e .......................................................................1 6 m m P r o d u c tio n s P ty L td J o h n S tu r z a k e r Casting..........,...................................... Forcast C a s t: R ic h a rd M o rg a n (N ic k ), B re tt C lim o P r o d u c e r ........................................... A n th o n y B u c k le y A s s o c , p r o d u c e r ........................... M a r g o t M c D o n a ld Focus puller.............................................. ChrisCain (B ro n c o ), A n g e la K e n n e d y (L u c y ), J o h n D o y le D ir e c t o r ................................................. G e o r g e W h a le y P ro d , s u p e r v is o r ........................... M a r g o t M c D o n a ld Clapper/loader.......................................AndrewScott (S ir A lfre d ) , M a g g ie B lin c o (A q a th a ) , D a v id S c r ip t w r it e r .........................................G e o r g e W h a le y P ro d , c o - o r d i n a t o r ........................... L e o n ie J a n s e n Key grip...................................... Peter Kershaw G ib s o n (G e o rg e ), A n to n ia M u r p h y (S a m a n th a ).

B a s e d o n th e n o v e l Poor P ro d , m a n a g e r Gaffer.......................................... Nicholas Lee S y n o p s is : The P rin c e o f D a rk n e s s has ( F r a n c e ) ...........................................................D o m in ic A n to in, eMan’s Orange b y ................................................R u th P a r k Boom operator............................ Craig Beggs b e c o m e s c h iz o p h r e n ic a n d p a r a n o id a b o u t th e P h o to g r a p h y ............................................. P a u l M u r p h y U n it m a n a g e r ................................................J o h n S u h r Art director................................Paddy Reardon u n c o n tr o lle d s p r e a d in g o f v a m p ir is m t h r o u g h ­ L o c a tio n m a n a g e r ..............................................M u r r a y B o y d S o u n d r e c o r d i s t ..............................S y d B u tte r w o r th Costume designer..................................... RoseChong o u t h is h o m e la n d o f T r a n s y lv a n ia . In a n E d ito r .......................................................W a y n e L e C lo s P ro d , s e c r e t a r y .......................................... J e n n y G ra y Make-up...................................................CyndyFerrier a tte m p t to e s c a p e th e s c o u r g e , h e m o v e s P ro d , d e s ig n e r ...................................B e r n a r d H id e s P ro d , a c c o u n t a n t s .......................... M a r g o t B ro c k , Standby wardrobe...................Jessie Fountain C o m p o s e r ..................................................................P e te r B e s t h im s e lf a n d h is f a m ily to s u n n y Y a r r a lu m la , R o b e r t T h re a d g o ld Standby props...............Debra-Lee Nordbruch O u tb a c k A u s tra lia .

E x e c , p r o d u c e r ..............................R o b e r t M e r c ie c a 1 s t a s s t d i r e c t o r ........................................... J o h n W ild Still photography.................................

StephenGower P ro d , m a n a g e r ......................................C a ro l H u g h e s 2 n d a s s t d ir e c t o r ............................ B r e tt P o p p le w e ll Best boy...................................... Daryl Pearson U n it m a n a g e r .................................................. R o x a n n e D e lb a r re 3 r d a s s t d ir e c t o r ............................. C a m e ro n M e llo r THE RED CRESCENT Runner......................................................

ChrisHunter L o c a tio n m a n a g e r ............................................... R o b in C lifto n C o n t i n u i t y .......................................................J e n n i T o s i Catering..................................Sweet Seduction P ro d , c o m p a n y ........ S o m e r s e t F ilm P r o d u c tio n s P aror d , s e c r e t a r y ...................................................E d w in a N ic o lls C a s t i n g .............................................................................L iz M u llin Laboratory............................................

Cinevex P ty L im ite d P ro d , a c c o u n t a n t s .......... M o n e y p e n n y S e r v ic e s , E x tr a s c a s t i n g .................................S im o n R o s e n th a l Lab. liaison................................... Ian Anderson D is t. c o m p a n y ...................... T a m b a r le A B L im ite d N ic k y R o w n tr e e , G e n n y o p e r a t o r ..........................................L a u rie F is h Length..............................................75 minutes P r o d u c e r s ..........................J a m e s M ic h a e l V e r n o n , R o b in a O s b o r n e F o c u s p u l l e r ............................................... G re g R y a n Gauge...................................................... 16mm A c c o u n ts a s s t ........................

J e n n if e r D e s c h a m p s J a n T y rr e ll C la p p e r / lo a d e r .................................... T e r r y H o w e lls Shooting stock............................ Eastmancolor D ir e c t o r .......................................................H e n r i S a fra n 1 s t a s s t d ir e c t o r ........................................ C h r is W e b b K e y g r i p .................................................. Ia n B e n a lla c k Cast: Maggie Millar(Mary Verton), Sally c reip t w r it e r ...................................... R ic h a rd C a s s id y 2 n d a s s t d ir e c t o r .................................................. H e n r y O s b oSrn A s s t g r i p .................................... A r t h u r M a n o u s a k is Cooper (Jan Preston), TonyRichards (Henry P h o to g r a p h y ............................................................ P e te r L e v y C o n t in u it y ................................................................N ic o la M o o rs G a f f e r .................................................... R o b b ie Y o u n g Norrie), David Blackman (Jim Birrell).

S o u n d r e c o r d is t .........................................................

T im L lo y d C a s t in g .......................................................................S u z ie M a iz e ls , B o o m o p e r a t o r ..................................S c o t t R a w lin g s Synopsis: A murder story.

E d i t o r ....................................................R ic h a rd H in d le y M a iz e ls & A s s o c ia te s A r t d ir e c t o r ..................................B e r n a d e tte W y n a c k E xgtr a s c a s tin g ................................................... C a ro lin e B o n hParo md , d e s ig n e r ...................................M ic h a e l R a lp h A r t d e p t r u n n e r .........................................................T r is h K e a tin P ro d , s u p e r v is o r ..................................................P e n n y W a ll C o s tu m e d e s ig n e r ..................................................J a n e H y la nCda m e ra o p e r a t o r ......................... D a v id W illia m s o n TREASURE ISLAND F o c u s p u lle r ...............................................................J o h n P la ttP ro d , m a n a g e r ............................. R o s e m a r y P ro b y n C o s tu m e m a k e r ................................ S a n d y C ic h e llo K e y g r i p ........................................................................ R a y B ro wUnn it m a n a g e r ........................ R ic h a r d M o n tg o m e r y P ro d , c o m p a n y ................................................. B u r b a n k F ilm s M a k e - u p a r t i s t ........................A m a n d a R o w b o tto m G a f f e r ........................................................................... M ic k M o rrLiso c a tio n m a n a g e r .............................C r a ig S in c la ir P r o d u c e r .......................................................................

R o z P h illip s H a ir d r e s s e r ............................................ R o c h e lle F o rd B o o m o p e r a t o r ........................................................... S u e K e r r P ro d , s e c r e t a r y .................................................. S a n d r a T h o m S p sc or ip n t w r it e r .................................. S te p h e n M a c L e a n W a r d r o b e s u p e r v i s o r ....................................... M a r g o t L in d s a y A r t d ir e c t o r ...................................V ir g in ia B ie n e m a n P ro d , a c c o u n t a n t ...................................L e a C o llin s B a s e d o n th e n o v e l E x tr a s w a r d r o b e ...................................................M a r ita M u s s e t b y .....................................R o b e r t L o u is S te v e n s o n A r m o u r e r .................................................................... B r ia n H o lmAesss t a rt d ir e c t o r ...............................................C a ro lin e P o linA c c o u n ts a s s is t a n t ............................... T r a c e y H y d e o sntu m e d e s ig n e r ............................ D a v id R o w e — 1 s t a s s t d ir e c t o r ...................................................... J a k e A tk in sEo dn ito r s ..................................................P e te r J e n n in g s , S ta n d b y w a r d r o b e ..............................................J e a n ie C a m C e ro U to p ia R o a d 2 n d a s s t d ir e c t o r .................................................... T o b y P e a s e C a r o lin e N e a v e M ilit a r y d r e s s e r ...........................................................P h il C h a m b e r s M a k e - u p ........................................... M a r jo r y H a m b lin C o n t in u it y .......................................... K r is tin V o u m a r d E x e c , p r o d u c e r .........................................................T o m S ta c e y P r o p s b u y e r s ............................................................ D a ry l M ills , H a ir d r e s s e r ...........................................T e r r i M e is s n e r C a s tin g c o n s u lt a n t s ......M a iz e ls a n d A s s o c ia te s P ro d , c o - o r d in a t o r .....................................J o y C r a s te M u r r a y K e lly W a r d r o b e m is tr e s s .......................................... P h illip a E y e rs F o c u s p u l l e r ........................................... C o n r a d S la c k P ro d , m a n a g e r ............................................ R o d d y L e e S ta n d b y p r o p s ......................................................... B ria n L a n g S ta n d b y w a r d r o b e .................................................. J o h n S h e aC la p p e r / lo a d e r ................................................... K a tr in a C r o o kP ro d , a c c o u n t a n t .............................. A n d r e w Y o u n g S p e c ia l e f f e c t s ........................................................ B ria n P e a rc e A s s t s ta n d b y w a r d r o b e ...........................................L y n L o n dKoeny g r ip ................................................B re tt M c D o w e ll C a s tin g ............................................................J o y C r a s te S e t d r e s s e r s ........................................B r ia n D u s tin g , P ro p s m a k e r ......................W a le r V a n V e e n e n d a h l A s s t g r i p ......................................................... J o h n T a te C a m e ra o p e r a t o r s ....................................G a r y P a g e , H a m is h H ic k s P ro p s b u y e r s .......................................S u e M a y b e rr y , T a n y a V is k ic h G a f f e r .........................................................................

D e re k J o n e s C o n s t r u c t io n m a n a g e r .......................................... B o b H e rn B o o m o p e r a t o r ....................................M a rk V a n K o o l M ic h a e l M e r c u r io S t o r y b o a r d ...............................................................S te v e L y o n s , A s s t e d it o r ............................................................ M ic h a e l G ild e r s S ta n d b y p r o p s ..........................................................J o h n D a n A iert ll d ir e c t o r .................................................... Ia n G ra c ie A le x N ic h o la s B e s t b o y .....................................................................P e te r M o lo n e y A s s t s ta n d b y p r o p s ................................. J a m e s C o x C o s tu m e d e s ig n e r .............................H e le n H o o p e r T im in g .............................................................J e a n T y c h R u n n e r ...................................................................A n d r e w M itc h e ll A r t d e p t c o o r d i n a t o r .............................

D e b r a C o le M a k e u p .......................................................................B r ita K in g s b u r y U n it p u b l i c i s t ........................................................M a ria n P a g e L e n g t h ............................................................................... 50 m in u te s H a ir d r e s s e r ............................................................... B r ita K in g sGb a uu r yg e ....................................................................... '6 m m C a t e r in g ................................................................... D a n n y P o p pSe cr e n ic a r t i s t ............................................... R a y P e d le r C o n s tr u c tio n m a n a g e r ........................................ J o h n P a r kW e ra rd ro b e s u p e r v is o r ...................... R o s a le a H o o d S h o o tin g s t o c k .................................................... 7 2 9 1 L a b o r a t o r y ..............................................................A tla b F o r e m a n .................................................................... F ra n k P h ipSp ta s n d b y w a r d r o b e ..............................................B a r b r a Z u s s in o L e n g t h ................................................... 4 x 6 0 m in u te s Synopsis: T h e c la s s ic a d v e n t u r e s t o r y o f S o u n d e d i t o r ............................................................D e a n G a wPe ro n p s m a s te r ....................................... R ic h a rd H o b b s p ira te s a n d b u r ie d tre a s u r e .

G a u g e ....................................................................... 1 6 m m S tu n ts c o - o r d i n a t o r .................................G u y N o rris P ro p s b u y e r ............................................................D o n n a B ro w n Cast: N o n i H a z le h u r s t ( N a n c y W a k e ), J o h n S till p h o t o g r a p h y ....................................................... J im T o w An slesyt p ro p s b u y e r ...................................................D ia n e H e n r y W a te rs (H e n ri F io c c a ) , Shane B r ia n t R e s e a r c h e r ................................................................. K ris W y ldS ta n d b y p r o p s ......................................................... J o h n O s m o n d (H e r m a n n ) , P a t r ic k R y e c a r t ( F a r m e r ), A la n THE VENTRILOQUIST A s s t e d it o r .............................................S te lla S a v v a s N u r s e .............................................J a c q u ie R o b e rts o n A n d r e w s (R a k e ), L u c ia n n o M a r t u c c i (T a rd iv a t), n a ld company................ James Clayden/ABC R u n n e r s ...................................................................N a o m i E n fieFldig h t c o - o r d in a t o r ................................................ R o c k y M c D oProd, F r a n k G a lla c h e r (G a s b a r d ) .

B e s t b o y ....................................................................... P a u l B o o thDist. company.......................................... RoninFilms (P ro d u c tio n ) , Synopsis: T h e s t o r y o f N a n c y W a k e , A u s ­ Producer...................................James Clayden R u n n e r ..................................................................M ic h a e l L a v ig n e Ia n J o b s o n (A rt D e p t) t r a lia n h e r o in e o f th e F r e n c h R e s is ta n c e in Clayden A r t d e p t r u n n e r .....................................................J a m e s M c T e Director.....................................James ig u e C a t e r in g .......................................

M a rik e J a n a v ic iu s W o r ld W a r 2 .

Scriptwriter...............................

James Clayden C a t e r in g ......................................................................

J o h n F a ith fu ll M ix e d a t .............................................................. C o lo rfilm Based on the original idea L a b o r a t o r y ........................................................ C o lo r film G a u g e ........................................................................ 1 6 m m b y.......................................... James Clayden S h o o tin g s t o c k ...........................................7 2 9 1 , 7 2 9 2 B u d g e t .......................................................... $ 3 .8 m illio n PIGS WILL FLY Photography............................. Ian Warburton C a s t: H e n r i S z e p s (T r a y n o r), Iv a r K a n ts L e n g t h ...............................................................4 x 1 h o u r Sound recordists........................................... BillDoyle, P ro d , c o m p a n y ........... .....................S o m e r s e t F ilm (M u e lle r), S h e re e D a C o s ta ( C a s s a n d ra ), J o h n G a u g e ........................................................................ 1 6 m m Ian Cregan O rc s ik (C a h iil), P e te r C o r b e tt (M o r tim e r ), J o h n P r o d u c t io n s P ty L td S h o o tin g s t o c k ..........................................................A g fa Editor........................................................ KevinStott D is t. c o m p a n y ........... ................T a m b a r le A B L td S to n e (iv a r), V ic R o o n e y (L u d k e ), K a th e r in e Cast: A n n e P h e la n , M a rty n S a n d e rs o n , K a a rin Composer................................................ MartinFriedel T h o m s o n (J u d y ), R ic H u tto n (V e n d t), W a r w ic k P r o d u c e r s .................... . .J a m e s M ic h a e l V e r n o n , F a irfa x , A n n a H r u b y , S h a n e C o n n o r.

Exec, producer........................................... NoelPrice M o s s (L a n e ).

J a n T y rr e ll Synopsis: B a s e d o n th e b e s t- s e llin g n o v e l Prod, manager..................Margaret Greenwell D ir e c t o r ........................... ........... S o p h ia T u r k ie w ic z S y n o p s is : A jo u r n a lis t in v o lv e d in s e ttin g in Poor Man’s Orange b y R u th P a r k a n d s e q u e l to Prod, secretary.......................... Jacquie Lamb S c r ip t w r it e r ................... ......................C r a ig e C r o n in m o tio n a p o litic a l d ir ty t r ic k a g a in s t a s m a ll tim e The Harp in the South.

Prod, assistant........................... Meredith King p o litic ia n w itn e s s e s e v e n ts w h ic h c a r e e r o u t o f P h o t o g r a p h y ............... .................. M a r tin M c G ra th 1st asst director............................................ BillSmithett c o n tr o l.

H is a m a te u r s le u th in g u n c o v e rs S o u n d r e c o r d is t .......... ................................T im L lo y d 2nd asst director....................................... RossAllsop E d i t o r .............................. ................. P ip p a A n d e rs o n d e v io u s n e tw o rk s o f a llia n c e s a n d a c o m p le x o f PRINCE AT THE COURT OF Continuity............................................. AnnetteRogan in tr ig u e a n d d e c e p tio n th a t t o u c h e s h is life o n P r o d , d e s i g n e r ........... ..................... M ic h a e l R a lp h Script editor............................................SharonConnolly YARRALUMLA th e m o s t p e r s o n a l a n d in tim a te le v e l.

P ro d , s u p e r v i s o r ....... ............................ P e n n y W a ll Focus puller................................... Greg Parish P ro d , c o - o r d i n a t o r . . . . ........... S a n d r a T h o m p s o n Prod, company........ ...............Somerset Film Clapper/loader........................... Andrew Craig P ro d , m a n a g e r ........... ......................P a u la B e n n e tt Productions Pty Ltd ROB ROY Key grip............................. Tony Woolveridge U n it m a n a g e r .............. ......R ic h a r d M o n tg o m e r y Dist. company........ ...........Tambarle AB Ltd Asst g rip .................................... Martin Lampitt L o c a tio n m a n a g e r ...... ...................... C r a ig S in c la ir P ro d , c o m p a n y ................................... B u r b a n k F ilm s Producers............... .James Michael Vernon, P ro d , a c c o u n t a n t ....... ........................... L e a C o llin s P r o d u c e r ......................................................

R o z P h illip s Jan Tyrrell A c c o u n ts a s s t ............. .........................T r a c e y H y d e S c r ip t w r it e r ............................................ R o b M o w b r a y Director................... .............Colin Eggleston 1 s t a s s t d i r e c t o r ......... . C a r o ly n n e C u n n in g h a m B a s e d o n th e n o v e l b y .................. S ir W a lte r S c o tt Scriptwriters............ ............Colin Eggleston, 2 n d a s s t d i r e c t o r ....... .......................... T o b y P e a s e E d ito r s ..................................................P e te r J e n n in g s , Dave Young C o n t in u it y ....................... ................K r is t in V o u m a r d C a r o lin e N e a v e Photography............ ..............Gary Wapshott C a s t in g ........................... ...................... S u z ie M a iz e ls E x e c , p r o d u c e r .........................................................T o m S ta c e y Sound recordist....... ...................... Tim Lloyd C a s t in g c o n s u l t a n t s .. ......................... M a iz e ls a n d P ro d , c o o r d in a t o r ....................................

J o y C r a s te Editor....... .............. .........................Jo Cook A s s o c ia te s P ro d , m a n a g e r ........................................... R o d d y L e e Prod, desigher........ ...............Michael Ralph F o c u s p u l l e r ................. .............C a lu m M c F a r la n e P ro d , a c c o u n t a n t ..............................................A n d re w Y o u n g Prod, supervisor..... ................... Penny Wall C la p p e r / lo a d e r ............. ................M ir ia n a M a ru s ic C a s t in g ........................................................................... J o y C r a s te Prod, co-ordinator.... ....... Sandra Thompson K e y g r i p ........................... .................. B r e tt M c D o w e ll C a m e ra o p e r a t o r s ....................................G a r y P age, Prod, manager........ .........Rosemary Probyn A s s t g r i p ......................... ............................. J o h n T a te T a n y a V is k ic h Unit manager........... ....Richard Montgomery G a f f e r ............................... ........................D e r e k J o n e s S t o r y b o a r d ..............................................

B o b F o s b e ry Location manager.... .... Christopher Williams B o o m o p e r a t o r ............. ...................M a r k V a n K o o l T im in g .........................................................G e o ff C o llin s Prod, accountant..... ....................Lea Collins A r t d ir e c t o r .................... ..............................Ia n G ra c ie Accounts assistant... ..................Tracey Hyde L e n g t h ............................................................5 0 m in u te s C o s t u m e d e s ig n e r ...... .................... H e le n H o o p e r Prod, assistant......... ......................Fiona Hile G a u g e ....................................................................... 1 6 m m M a k e - u p .......................... ................. B r it a K in g s b u r y S h o o tin g s t o c k ........................................................ ,J ? o i 1st asst director....... ...... Michael Faranda H a ir d r e s s e r ................... ................. B r it a K in g s b u r y Voices: P h illip H in to n ( M a c D o n a ld K in g 2nd asst director..... ................ Robin Newell W a r d r o b e s u p e r v is o r .................... R o s a le a H o o d G e o rq e ), S im o n H in to n (Y o u n g C o lin ), J a n e Continuity................. ............Kristin Voumard S ta n d b y w a r d r o b e ...... ................. B a r b r a Z u s s in o H a rd e r s (O in a , M rs S te w a rt), B ru c e S p e n c e Casting.................... ............... Suzie Maizels P r o p s m a s t e r ................ .................. R ic h a r d H o b b s (D u n c a n ) N ic k T a te (R o b R o y ), A n d r e w L e w is Casting consultants.. .Maizels and Associates H a m is h ), R o n H a d d r ic k (K ille a r n ) A n d re w P r o p s b u y e r ................... .......... L is a B o y d -G ra h a m Focus puller............. ...........Andrew McLean In g lis (J a m e s S te w a rt), B ill K e r r ( D u k e o f A s s t p r o p s b u y e r ......... .................. M u r r a y G o s s o n Clapper/loader......... ............Miriana Marusic S ta n d b y p r o p s ............. .....................J o h n O s m o n d M o n tro s e ), T im E llio tt ( D u k e o f A rg y le ) .

Key grip................... ............. Brett McDowell A r t d e p t r u n n e r ............. ............. A d a m H a m m o n d Asst g rip.................. ......................John Tate Synopsis: R o b R o y M a c G r e g o r is th e S c o ttis h A s s t e d i t o r ...................... ......................... R a y C o o p e r Gaffer...................... ..................Derek Jones v e rs io n o f R o b in H o o d , w h o c le v e r ly t r ic k s th e S tu n ts c o - o r d in a t o r .. . . ................... B e r n ie L e d g e r Boom operator......... .............. Mark Van Kool e v il D u k e o f M o n tr o s e o u t o f th e t a x e s c o lle c te d R e p tile h a n d l e r ........... ..................... G e o r g e K a n n Art director............... .................... Ian Gracie fro m th e v illa g e r s . H e is d e c la r e d a n o u tla w A n im a l c o - o r d i n a t o r ... ...................E v a n n a B ra n d Costume designer.... ............... Helen Hooper a n d h a s m a n y e x c itin g e s c a p a d e s b e fo re h e S till p h o t o g r a p h y ......... ...........................V iv ia n Z in k Make-up/halrdresser. ............Brita Kingsbury c a n c le a r h is n a m e .

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PRODUCERS

Help us make th is pro du c­ tio n survey as com p le te as possible. If you have som e­ thin g w hich is ab ou t to go in to pre-production, le t us know and we w ill make sure it is included. Call Kathy Bail on (03) 429 5511, o r w rite to her at Cinema Papers, 43 Charles Street, A bb otsford, V ictoria 3067.

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86 - MAY CINEMA PAPERS

SOUNDSTAGE AUSTRALIA HAS OPENED ■"Perths Largest Sound Stage — Quality Low Cost Production — You will be suprised how much cheaper it is out west

SOUNDSTAGE AUSTRALIA 9 Foundry Street, Maylands W.A. 6051 (09) 370 2522

A r t d ir e c t o r s ............................................................. J a m e s C la y d e n , L a u r ie M c l n n e s M u s ic a l d ir e c t o r ................................... C h r is K n o w le s M u s ic p e r fo r m e d b y ............................................... C h r is K n o w le s , S te p h e n C u m m i n g s , M a r ie H o y , O llie O ls e n , P e a c h e s L a C re m e S o u n d e d i t o r ............................................ G a r y H il lb e r g S till p h o t o g r a p h y ........................................E v a n C la r k P u b lic i t y .......................................................... K im L e w is , M e r e d i t h K in g WITH TIME TO KILL S t u d io s ......................................................................A F T R S M ix e d a t ............................................................. S o u n d f ir m P ro d , c o m p a n y ......................................... C h a ir F ilm s L a b o r a t o r y ................................................................K o d a k ( C o b u r g ) , D is t. c o m p a n y ............................................R o n in F ilm s E C V - P r o lm a g e ( S y d n e y ) P r o d u c e r ...............................................J a m e s C la y d e n B u d g e t .......................................................... $ 6 5 ,2 2 4 D ir e c t o r ................................................. J a m e s C la y d e n L e n g t h ..............................................................7 3 m i n u t e s S c r ip t w r it e r .......................................... J a m e s C la y d e n G a u g e ......................................... 1 " v id e o , 3 5 m m k in e B a s e d o n th e o r ig in a l id e a S h o o tin g s t o c k ................................K o d a c h r o m e 4 0 , b y .........................................................J a m e s C la y d e n E k ta c h ro m e 1 6 0 , S u p e r 8 P h o t o g r a p h y ....................................... L a u r ie M c ln n e s Cast: Ia n S c o tt (L t N ic k Y a t e s ) , E liz a b e t h S o u n d r e c o r d i s t s ............................. C h r is K n o w le s , ( L o u is e N o r th ) .

H u n t le y ( L o u is e Y a te s ) , J a m e s C la y d e n ( S g t B r e tt R o m a ti Synopsis: F o r f iv e y e a r s v e n t r i lo q u is t H a r r y M a x C le m e n ts ) , J o h n H o w a r d ( A d a m S a y e r ) , E d i t o r ...........................................................G a r y H illb e r g THE WIND AND THE STARS a n d h is w if e L o u is e h a v e p la y e d o u t a s t r a n g e L in V a n H e k ( J a n e t G o ld in g ) , P e t e r G r e e n (T h e C o m p o s e r s ......................................... C h r is K n o w le s , ritu a l in w h ic h t h e c e n t r a l c h a r a c t e r is a d u m m y P ro d , c o m p a n ie s ..................................................... A B C , L a u n d r y m a n ) , B a r r y D ic k i n s ( T e r r y B e n d ix ) , S te p h e n C u m m in g s , n a m e d M a x . L o u is e d e c id e s t o e n d t h e ir g u ilt R e v c o m T e le v is io n , r im R o b e r ts o n ( J a c k K e a n e ) , M a r ie H o y ( S a r a h M a r ie H a y , in s p ir e d g a m e . T h e d u m m y m u s t g o a n d H a r r y R e s o lu t io n F ilm s D a v is ), S te p h e n C u m m i n g s ( T o n y S h a w ) .

O llie O ls e n , m u s t f in d h is o w n v o ic e .

P r o d u c e r ......................................................................... R a y A le h in Synopsis: A f ilm o f t h e s t r e e t a n d t h e c it y , o f P e a c h e s La C re m e D ir e c t o r ...............................L a w r e n c e G o r d o n - C la r k twn o c o p s a n d t h e ir p r a y . L t N ic k Y a t e s a n d S g t A s s o c , p r o d u c e r .........................................................F r e d H a r d e WILLING AND ABEL S c r ip t w r it e r ...........................................P e te r Y e ld h a m M a x C le m e n ts m a k e a h it - lis t a n d s e t o u t t o rid P ro d , a s s is t a n t ...................................... M e r e d ith K in g P h o t o g r a p h y .............................................................. P e t e r H e n d r y P ro d , c o m p a n y .................................. T h e W i llin g a n d t h e ir to w n o f t h e h u m a n g a r b a g e t h a t h a s 1 s t a s s t d ir e c t o r ................................L a u r ie M c ln n e s S o u n d r e c o r d i s t ....................................................... P e t e r B a r b e r Abel C om pany a c c u m u la t e d o u t o f t h e c o r r u p t io n t h a t s u r ­ C a m e r a a s s is t a n t ..................................................... B r e tt R o m a ti P r o d u c e r ........................................................................L y n n B a y o nEadsi t o r s .............................. ......T o n y K a v a n a g h , A s s is t a n t ...................................................................... G e o f f C r o s rboyu n d s th e m . T h e h u n t e r s b e c o m e t h e h u n t e d D ir e c t o r s ....................................................................... G a r y C o n w a y , L y n S o lly in d e a d ly , u r b a n la n d s c a p e s t h a t s e e m t o h a v e 2 n d u n it p h o t o g r a p h y .................... J a m e s C la y d e n K e v in D o b s o n , ....... L a u r ie J o h n s o n P ro d , d e s ig n e r ............... no end.

S p e c ia l fx p h o t o g r a p h y ................ J a m e s C la y d e n R ic k P e lliz z e r i, .. .G e o f f r e y D a n ie ls E x e c , p r o d u c e r .............

J o h n P o w e r, ....... P e t e r Y e ld h a m A s s o c , p r o d u c e r .......... ................ R a y B r o w n M a r k J o ff e A s s t p r o d u c e r ................ ............J u d y M u r p h y S c r ip t w r it e r s .................................................................. T e d R o b ePr ts ro, d , m a n a g e r .............

P e te r S c h re c k , ............W a y n e B a r r y s t a s s t d ir e c t o r ............

D a v id B o u t la n d , ....... S te v e S ta n n a r d n d a s s t d ir e c t o r ..........

S h e ila S ib le y , ............E m m a P e a c h C o n t in u it y .........................

P e t e r K in lo c h , .......... R o g e r L a n s e r C a m e r a o p e r a t o r .........

M i c h a e l A it k e n s , .......... R o b e r t F o s te r C la p p e r / io a d e r .............

L e o n S a u n d e rs , ........P a u l P a n d o u lis C a m e r a a s s i s t a n t .......

L u is B a y o n a s ............J o h n W in b o lt nd c a m e ra o p e ra to r. ...J o h n H u n t in g fo r d S to r y e d i t o r ....................................................................T e d R o b eKr ts e y g r i p .............................

P h o t o g r a p h y ........................................................... D a n n y B a tteAr hsas m ............. G a r y B u r d e tt t g r i p ............................

S o u n d r e c o r d i s t ........................................................... K e n H a m m nodn dc a m e r a a s s t ........... ......L o r r a in e S ta c e y E d i t o r ........................................................................... S tu a r t A r m sAt rromn og u r e r .......................... .......... P e t e r L e g g e tt P ro d , d e s i g n e r .................................................... M ic h a e l R a lp hG a f f e r ................................ .T im M u r r a y - J o n e s C o m p o s e r ................................................... A s h l e y Irw in .........K e n P e ttig r e w , E le c t r ic ia n s .....................

E x e c , p r o d u c e r s ................................ L y n n B a y o n a s , R o b e r t W ic k h a m T e d R o b e r ts .........D a v id P e a r s o n B o o m o p e r a t o r ...............

A s s o c , p r o d u c e r ............................................ R o d A lla n ...............B o b W o o d s G e n e r a to r o p e r a t o r . . . . ....... L a u r ie J o h n s o n P ro d , c o - o r d i n a t o r s ........................................... S h a r o n M ille rS , e n io r p r o d , d e s ig n e r A m a n d a B e n n e tt ................ J im M u r r a y W a r d r o b e d e s i g n e r ...

L o c a t io n m a n a g e r ...........................L is a H e n n e s s e y .J o h n P ry c e -J o n e s , D e s ig n e r s .........................

U n it m a n a g e r .............................................................H e n k P r in s C o l R u d d e r, G re g o r M c L e a n P r o d , a c c o u n t a n t ................................................... C a t c h 1 -2 -3 , T h e r e s e T ra n ......... S u s ie S te w a r t, M a k e - u p .........

P ro d , a s s i s t a n t s .................................K e r r i E ic h h o r n , S a n d i B u s h e ll J a c q u i P e te r s ...............C a t h ie S ilm A s s t d e s ig n e r .........P a u l H in d e r e r , 1 s t a s s t d i r e c t o r s .......... C a r o ly n n e C u n n in g h a m , D e s ig n a s s t s .

A Division Of Auslarama Television Ply. Ltd.. Inc. in Vicioria D e u ll D r o o g a n K e rry R e a y, 5!4 SPRIN GV ALE RD ., NU NA W ADIN G 3 I3 I, VICTORIA , A U STRALIA. PH 232 4I00. TELEX 30628 M ic h e lle F ro s t 2 n d a s s t d i r e c t o r ................................................... N ic o la L o n g 3 rd a s s t d i r e c t o r .........................A n d r e w M e r r if ie ld W a rd ro b e 4 th a s s t d i r e c t o r .......................................................S a r a h L e w is c o - o r d i n a t o r s ................... R o la n d o C a n o - F lo r e s , E ls ie R u s h to n C o n t i n u i t y ...................................................................T r a c y P a d u la , S h i r le y B a lla r d C o n s t r u c t io n m a n a g e r ...........................L a u r ie D o rn S c r ip t e d i t o r .............................................................. H e le n S te e lP ro p s b u y e r s ...................................... A d r ia n C a n n o n , C o iin B a ile y P r o d u c e r ’s a s s is t a n t ............................................... J u lia S to n e C a s t i n g ......................... N a t a lie W e n t w o r t h - S h ie ld s S ta n d b y p r o p s ...........................................D o n P a g e , R o y E a g le to n , C a s t in g e x t r a s .............................................................B e th R o b e r ts J o h n D o w n ie L ig h t in g c a m e r a p e r s o n .............D a n n y B a t t e r h a m F o c u s p u l l e r ................................................................C h r is C o le S p e c ia l e f f e c t s ..........................................................B r ia n M c C lu r e C l a p p e r / l o a d e r ......................................................... S e a n M c C lo S er yt m a k e r s ............................................................M ic h a e l C a r r o ll, J o h n M c D ia r m id K e y g r i p .................................................................... G e o r g e T s o u t a s A s s t g r i p .....................................................................J a m e s M c K aSye t f i n i s h e r ........................................ G e o r g e S ta n to n S nc e n ic a r t i s t ................................... P a u l B r o c k le b a n k G a f f e r ..............................................................................B r e tt J a r m a B e s t b o y ........................................................................ T h a d L a w r eSne ct ed r e s s e r s ...............................S a n d r a C a r r in g t o n , R o b e r t H u t c h in s o n 3 r d e l e c t r i c i a n .................................................. J o h n L e e S ntaenyd b y s e t m a k e r ...........................G e r r y S e y m o u r B o o m o p e r a t o r .................................................... G r a h a m M c K in A r t d i r e c t o r ............................................................ A n d r e w P a u l S ta n d b y s e t f i n i s h e r .................S te w a r t M c C a u le y A s s t e d i t o r ....................................................S a n d i E y le s A r t d e p t c o - o r d i n a t o r ................. A la n a h O 'S u lliv a n C o s t u m e d e s ig n e r ...................................................K e r r y T h o mApsssoisn t a n t ...............................................W a y n e P a s h le y N e g . c u t t e r .................................................. P a m T o o s e M a k e - u p ............................................... M i c h e lle B a r b e r A ns s i s t a n t ........................................N ic o le L a M a c c h ia H a ir d r e s s e r .................................................................. T r is h N e w to S o u n d t r a n s f e r / r u s h e s ........................M a r k W a lk e r , W a r d r o b e s t a n d b y ............................................ H e a t h e r L a u r ie J o h n M ille r W a r d r o b e a s s t ........................................................S h o n a F le tt P r o p s b u y e r ............................................................. R o w a n M c K eSnFz O ie ................................................................. A le x C u lle n S o u n d e d i t o r s ....................................P e t e r Tow nend, A s s t p r o p s b u y e r ........................................................ S a m R ic k a r d L a w r ie S ilv e s t r in S ta n d b y p r o p s .............................S h a n e R u s h b r o o k E d itin g a s s is t a n t s ..........................F a b ia n S a n ju r jo , A r t d e p t . r u n n e r .......................................................... J u d y K e lly E liz a b e t h V illa S c e n ic a r t i s t ................................................................C h r is R e id R u n n e r ................... .................................... A n d y H o w a r d E le c t r ic ia n s .........................................A n d r e w H o lm e s , C a t e r in g ....................................................M M K C a t e r in g P e te r R o s s b o ro u g h tugd io s ..................................................T h e F ilm C e n t r e A r t d i r e c t o r ...................................................................... T im B r o w S n in M ix e d a t ............................................................ A u d io L o c M a k e - u p ................................................. P a d d y O p w a ld L a b o r a t o r y ......................................................................C F L W a r d r o b e ...............................................V a l e r i e N e ls o n N e g m a t c h i n g .............................................................R u th W e lleLra b . l i a i s o n ............................................ K e v in A c k r o y d L e n g t h .................................................. 2 6 x 4 6 m in u t e s M u s ic p e r fo r m e d b y ..............................S a r a h M o r s e G a u g e ......................................................... 1 6 m m to ta p e M i x e r ........................................................... P a u l F r e e m a n S S till p h o t o g r a p h y ......................................................E v a n C la r k h o o tin g s t o c k ............................................ 7 2 9 1 , 7 2 9 2 T it lp s ................................................................................ J u d y L e e c hCast: G r a n t D o d w e ll ( W illin g ) , S h a n e W ith in g P u b l i c i t y ...........................................................................K im L e w isto , n (A b e l) , R e b e c c a R ig g ( A n g e la ) , L u c iu s B o r ic h ( P a r r a m a tta ) , M a r t in V a u g h a n (J u s t M e r e d i t h K in g / A B C n e n), T in a B u r s ill ( M a g g ie ) , M a r k M itc n e ii C a t e r i n g ...................................................................... S w e e t S e d uO c tio (D o b s o n ) , D ane C a rs o n (S w a n n ) , S im o n M i x e d a t .......................................................................... A B C C h ilv e r s (P is a n i) .

L a b o r a t o r y ............................................................. C in e v e x Willing and Abel is a s m a ll b u s in e s s L a b . li a i s o n .......................................................................I a n A n d e.Synopsis: rs o n e s ta b lis h e d b y o u r t w o c e n t r a l c h a r a c t e r s , w h o B u d g e t .................................................................... $ 9 0 ,0 0 0 L e n g t h ................................................................................. 3 0 m in u o t effe s r t h e ir s e r v ic e s in a n y c a p a c it y , to a n y o n e , a t a n y t im e . . . a n o ff e r w h ic h c a n p la c e th e m G a u g e .................................................... 1 6 m m , 1 " v id e o in s it u a t io n s t h a t c a n b e d r a m a t ic , h u m o u r o u s S h o o tin g s t o c k .......................................................... 7 2 9 1 o r d a n g e ro u s .

Cast: T o n y B a r r y ( H a r r y N o r t h ) , E lle n C r e s s e y

L e n g t h .......................................................................8 h o u r s G a u g e ..........................................................................3 5 m m C a s t: K e ith M ic h e ll ( C o o k ), J o h n G re g g (B a n k s ) , E r ic h H a llh u b e r ( L t G o r e ) , J a c q u e s P e n o t ( C le r k e ) , S te p h e n G r iv e s ( G ib s o n ) , P e te r C a r r o ll ( S o la n d e r ) , F e r n a n d o R e y ( H a w k e ), C a r o l D r in k w a t e r ( E liz a b e th ) , B a r r y Q u in (L t H ic k s ) , E m il M in ty ( Y o u n g N ic k ) .

S y n o p s is : T h e life o f J a m e s C o o k .

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A s s t e d i t o r ........................................................... S u z a n n e S ta a l S till p h o t o g r a p h y .......................................................G a r y J o h n s o n M u s ic a l d i r e c t o r .................................................... A s h le y Irw in M e c h a n ic ....................................................... J o h n C la r k S o u n d d i r e c t o r ....................................................S te p h e n S m it hP u b lic i t y ................................................ G e o r g ie B r o w n M i x e r s ............................................................................J o h n D e n nCis ao tne, r i n g ............................................... A & B C a te r in g , A r th u r & B a r b a ra B o ttc h e r Tony V accher S tu n ts c o - o r d i n a t o r .............................................. B e r n ie L e d g B e ru d g e t ............................................................. $ 8 m illio n

melbourne freelancers CINEMA PAPERS MAY - 87

N u m b e r 51 (May 1985): Lino Brocka,

20 (March-April 1979): Ken Cameron, Claude Lelouch, Jim Sharman, French cinema, My Brilliant Career.

N u m b e r 22 (July-August 1979): Bruce Petty, Luciana Arrighi, Albie Thoms, Stax, Alison's Birthday.

N um ber

N u m b e r 24 (December 1979-January

BACK ISSUES

1980): Brian Trenchard-Smith, Ian Holmes, Arthur Hiller, Jerzy Toeplitz, Brazilian cinema, Harlequin.

(February-March 1980): David Puttnam, Janet Strickland, Everett de Roche, Peter Faiman, Chain Reaction, Stir.

N um ber

25

N u m b e r 26 (April-May 1980): Charles H.

Joffe, Jerome Heilman, Malcolm Smith, Australian nationalism, Japanese cinema, Peter Weir, Water Under the Bridge.

N u m b e r 27 (June-July 1980): Randal

N u m b e r 1 (January 1974): David William­ son, Ray Harryhausen, Peter Weir, Antony Ginnane, Gillian Armstrong, Ken G. Hall, The Cars That Ate Pahs.

N u m b e r 2 (April 1974): Censorship, Frank Moorhouse, Nicolas Roeg, Sandy Harbutt, Film under Allende, Between the Wars, Alvin Purple.

N u m b e r 3 (July 1974): Richard Brennan, John Papadopolous, Willis O ’Brien, William Friedkin, The True Story of Eskimo Nell.

N u m b e r 10 (September-October 1976): Nagisa Oshima, Philippe Mora, Krzysztof Zanussi, Marco Ferreri, Marco Bellochio, gay cinema.

N u m b e r 11 (January 1977): Emile de Antonio, Jill Robb, Samuel Z. Arkoff, Roman Polanski, Saul Bass, The Picture Show Man. N u m b e r 12 (April 1977): Ken Loach, Tom Haydon, Donald Sutherland, Bert Deling, Piero Tosi, John Dankworth, John Scott, Days of Hope, The Getting of Wisdom.

N u m b e r 13 (July 1977): Louis Malle, Paul Cox, John Power, Jeannine Seawell, Peter Sykes, Bernardo Bertolucci, In Search of Anna.

N u m b e r 14 (October 1977): Phil Noyce, Matt Carroll, Eric Rohmer, Terry Jackman, John Huston, Luke’s Kingdom, The Last Wave, Blue Fire Lady.

N u m b e r 15 (January 1978): Tom Cowan, Francois Truffaut, John Faulkner, Stephen Wallace, the Taviani brothers,.

Sri Lankan cinema, The Irishman, The Chant of Jimmie Blacksmith.

N u m b e r 16 (April-June 1978): Gunnel Lindblom, John Dulgan, Steven Spiel­ berg, Tom Jeffrey, The Africa Project, Swedish Cinema, Dawn!, Patrick.

N u m b e r 17 (August-September 1978):

Bill Bain, Isabelle Huppert, Brian May, Polish cinema, Newsfront, The Night the Prowler.

Kleiser, Peter Yeldham, Donald Richie, Richard Franklin’s obituary of Alfred Hitchcock, the New Zealand film industry, Grendel Grendel Grendel.

N u m b e r 47 (August 1984): Richard Lowenstein, Wim Wenders, David Brad­ bury, Sophia Turkiewicz, Hugh Hudson, Robbery Under Arms.

N u m b e r 48 (October-November 1984):

Ken Cameron, Michael Pattinson, Jan Sardi, Yoram Gross, Bodyline, The Slim Dusty Movie.

49 (December 1984): Alain Resnais, Brian McKenzie, Angela Punch McGregor, Ennio M orricone, Jane Campion, horror films, Niel Lynne.

N um ber

N u m b e r 50 (February-March 1985): Stephen Wallace, Ian Pringle, Walerian Borowczyk, Peter Schreck, Bill Conti, Brian May, The Last Bastion, Bliss.

N u m b e r 28 (August-September 1980): Bob Godfrey, Diane Kurys, Tim Burns, John O'Shea, Bruce Beresford, Bad Timing, Roadgames.

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N u m b e r 29 (October-November 1980):

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Bob Ellis, Uri Windt, Edward Woodward, Lino Brocka, Stephen Wallace, Philippine cinema, Cruising, The Last Outlaw.

N u m b e r 36 (February 1982): Kevin Dobson, Brian Kearney, Sonia Hofmann, Michael Rubbo, Blow Out, Breaker Morant, Body Heat, The Man from Snowy River.

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N u m b e r 37 (April 1982): Stephen Mac-

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Lean, Jackl Weaver, Carlos Saura, Peter Ustinov, women in drama, Monkey Grip.

N u m b e r 38 (June 1982): Geoff Burrowes, George Miller, James Ivory, Phil Noyce, Joan Fontaine, Tony Williams, law and insurance, Far East.

N u m b e r 39 (August 1982): Helen Morse,

Richard Mason, Anja Breien, David Millikan, Derek Granger, Norwegian cinema, National Film Archive, We of the Never Never.

40 (October 1982): Henri Safran, Michael Ritchie, Pauline Kael, Wendy Hughes, Ray Barrett, My Dinner with Andre, The Return of Captain Invincible.

N um ber

N u m b e r 41 (December 1982): Igor Auzins, Paul Schrader, Peter Tammer, Liliana Cavani, Colin Higgins, The Year of Living Dangerously.

N u m b e r 42 (March 1983): Mel Gibson, John Waters, Ian Pringle, Agnès Varda, copyright, Strikebound, The Man from Snowy River.

N u m b e r 18 (October-November 1978): John Lamond, Sonia Borg, Alain Tanner, Indian cinema, Dimboola, Cathy's Child.

N u m b e r 43 (May-June 1983): Sydney Pollack, Denny Lawrence, Graeme Clifford, The Dismissal, Careful He Might Hear You.

N u m b e r 19 (January-February 1979): Antony Ginnane, Stanley Hawes, Jeremy Thomas, Andrew Sarris, sponsored documentaries, Blue Fin.

N u m b e r 44-4 5 (April 1984): David Stevens, Simon Wincer, Susan Lambert, Street Kids, a personal history of Cinema Papers.

88 - MAY CINEMA PAPERS

N u m b e r 46 (July 1984): Paul Cox, Russell Mulcahy, Alan J. Pakula, Robert Duvall, Jeremy Irons, Eureka Stockade, Waterfront, The Boy in the Bush, The Woman Suffers, Street Hero.

Harrison Ford, Noni Hazlehurst, Dusan Makavejev, Emoh Ruo, Winners, The Naked Country, Mad Max: Beyond Thunderdome, Robbery Under Arms.

N u m b e r 52 (July 1985): John Schlesinger, Gillian Armstrong, Alan Parker, soap operas, TV news, film advertising, Don't Call Me Girlie, For Love Alone, Double Sculls.

N u m b e r 53 (September 1985): Bryan Brown, Nicolas Roeg, Vincent Ward, Hector Crawford, Emir Kusturica, New Zealand film and television, Return to Eden.

N u m b e r 54 (November 1985): Graeme Clifford, Bob Weis, John Boorman, Menahem Golan, Wills and Burke, The Great Bookie Robbery, The Lancaster Miller Affair, rock videos.

N u m b e r 55 (January 1986): James Stewart, Debbie Byrne, Brian Thompson, Paul Verhoeven, Derek Meddings, The Right-Hand Man, Birdsville, tie-in market­ ing.

N u m b e r 56 (March 1986): Fred Schepisi, Dennis O'Rourke, Brian Trenchard-Smith, John H a rg re a ve s, stunts, sm oke machines, Dead-End Drive-In, The More Things Change, Kangaroo, Tracy.

N u m b e r 58 (July 1986): Woody Allen, Reinhard Hauff, Orson Welles, the Cinémathèque Française, The Fringe Dwellers, Great Expectations: The Untold Story and The Last Frontier.

N u m b e r 59 (September 1986): Robert Altman, Paul Cox, Lino Brocka, Agnès Varda, the AFI Awards, The Movers.

N u m b e r 60 (November 1986): Australian Television, Franco Zeffirelli, Otello, Nadia Tass, Bill Bennett, Dutch Cinema, Movies

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N u m b e r 61 (January 1987): Dogs In Space, Alex Cox, Roman Polanski, South Australian Film Corporation, Howling 3, Martin Armiger, Film Financing.

N u m b e r 62: Screen Violence — horror movies, pornography, censorship. David Lynch, The Story Of The Kelly Gang, Dino De Laurentiis, ASSA conference, Cary Grant.

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C a n n e s F ilm Festival

A WARNERS BROS., COLDCREST AND KINCSMERE PRESENTATION OF AN ENIGMA PRODUCTION IN ASSOCIATION WITH FERNANDO GHIA - DIRECTED BV ROLAND IOFFE. PRODUCED BY FERNANDO CHIA, DAVID PUTTNAM, EAIN SMITH.

2 GOLDEN GLOBE AWARDS Hollywood Foreign Press Association 7 OSCAR NOMINATIONS INCLUDING BEST CINEMATOGRAPHY Academy of M otion Picture Arts & Sciences

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Director of photography: Chris MENGES High speed cinematography on AGFA XT 320

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