Cinema Paper No.68 March 1988 by UOW Library

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6 QUESTION AND ANSARA: Martha Ansara and the pursuit of happiness 8 STARS AND BARS: N ick Cave and the Rich Kids go directly to jail

L’AMOUR DE GLAMOUR ¡IONS O P A 'M A S K iip f ttiii in g called g lam o u r? * y-* SS O F RADIANCE: G lam our j [N T H E IRO N IC M ASK: Beal W L ^ m | th e b eh o ld er g H | m mi ;\'?j ~i%Hs'.'.

3 0 SHORTS CIRCUIT: Ruffled F eathers, deep Ocean, Ocean 3 2 THE SIGN OF FOUR: Taking cues from Channel 4 34 ROSY VIEW: Channel 4 ’s com m issioning editor talks K |' 36 REVIEWS: Barfly, The Black Cannon W lhcident, Can’t B u y Me Love, Cry Freedom, The ^M-fFamily, Fatal Attraction, Made In Heaven, ^ ^ M a n o n Des Sources, Rita, Sue And Bob Too, WSherman’s March, Tampopo, Planes, Trains And Automobiles, 28 Up. 50 BOOKS: National Fiction A VIDEO MATTERS CLOSE-UP: Jim McBride and The B ig E asy OVERVIEW: They’ve got the video industry covered •» 57 ON VIEW: New releases {Llgi Jr*

You should have been ^PRODUCTION SURVEY: Who’s m aking what I

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^CENSORSHIP: The November and December | decisions BACK PAGE: March and April film buff’s diary

Philippa Hawker

Publisher Patricia Amad.

Assistant Editor Kathy Bail

Art Director Mick Earls

Editorial Assistant/Subscriptioiis Sue Illingworth

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 pubÂ 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. Cinem a Papers is published every two months by MTV, Publishing Ltd, 43 Charles St, Abbotsford, Victoria, Australia 3067. Telephone: (03) 429 5511. Telex: AA 30625 Reference ME 230. ÂŠ Copyright MTV Publishing Limited, No 68, March 1988

'Recommended price only.

Cover: Nick Cave in Ghosts . . . Of The Civil Dead

Cmmissunu

Cinema Papers is published with financial assistance from the AUSTRALIAN FILM

ERWIN RADO

CONTRIBUTORS Graham Barrett is a journalist at The Age. Jillian Burt is a freelance writer currently based in New York. Raffaele Caputo is a freelance writer on film. Mary Colbert is a Sydney-based film researcher and writer. Felicity Collins is a lecturer in film theory and criticism at Melbourne College of Advanced Education. John Conomos is a Sydney writer on film. Hunter Cordaiy is a film writer based in Sydney. Peter Craven is co-editor of Scripsi. Barbara Creed is a lecturer in cinema studies at La Trobe University. Huw Evans is a broadcaster and media consultant. Freda Freiberg is a Melbournebased lecturer and writer on film. Dena Gleeson is a tutor in cinema studies at La Trobe University.

Erwin Rado was director of the Melbourne Film Festival for 28 years (1954-80 and 1983). During that time he oversaw its rise to what many considered Australia’s premier retrospective festival and one of the world’s more important. The Festival introduced thousands of Victorians to a world cinema poorly represented in commercial cinemas: that is, outside that of Hollywood and Britain. His stewardship overlapped the French New Wave, the Bergmanled Swedish revival, the flowering of the Czechoslovakian and Yugoslavian cinemas, and, of course, the triumphant Hungarian cinema of Jancso, Szabo and Gabor. Erwin’s selection of films, in conjunction with his committees, led many film buffs to rename the event the Middle-European Festival. For those audacious enough to challenge the director on this, Erwin would display all his passionate eloquence, arguing that he chose film s only on the basis of their quality, not their country of origin. I f it so happened that every year Hungary produced the best film s . . . Erwin was equally forthright about his belief in short film s and went so far as to prowl the cinema’s foyer to order back inside those who preferred to wait it out till the feature started. Quite rightly, he recognised the short film as an art form in itself and not just as a testing ground for would-be feature directors. (The government bodies trailed him badly on this.) In judging Erw in’s time at the Festival, it is

not enough to survey the extraordinary number of excellent film s exhibited, or to praise the efficient way the Festival was run, let alone explain the pleasure it gave so many thousands. Festivals have another cultural function, often ignored, and that is the learning environment they provide for filmmakers. M any writers have felt that Melbourne’s filmmakers are more European in style and content than those from the rest of Australia. I f this is so, Erw in’s selection of film s was an important factor. B ut Erwin was often a more direct influence, encouraging and inspiring those local filmmakers who took the time to understand the man and allow him to be their tutor. He was stem about what he thought was second rate, but praised warmly and sincerely those efforts of which he was proud. Erwin was also a force in his pioneering work at the Australian Film Institute. In that great Australian tradition, his work there is today little recorded or lauded, and, sadly, often ignored by subsequent administrations. A greater regret, however, is the one felt by many who had seen Erwin’s attempts to launch his own film productions thwarted by his illhealth. What Erwin would have brought to such productions — his passionate, romantic nature, his Europeanness, his search for the first rank — could only have enriched the Australian industry. He is already missed.

Scott M urray

Anna Grieve is a Sydney filmmaker and writer. Fred Harden is a film and television producer specialising in special effects. ■

Linda Jaivin is a freelance writer based in Canberra and specialising in Chinese affairs. Brian Jeffrey is a freelance writer based in Canberra. Paul Kalina is a journalist at The Herald. Daniele Kemp is a broadcaster on 3EA and tutor at Ormond College, University of Melbourne. Peter Kemp is a freelance writer on film. Adrian Martin is a freelance film critic. Scott Murray is a film director, writer and former editor of Cinema Papers. Vikki Riley is a freelance writer on film. Bill and Oiane Routt are a couple of Melbourne academics. Raffaelle Traviato — a guy who’s around. . t

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4 - MARCH CINEMA PAPERS

Cannibal Tours

F ram es, the 1988 F estival o f A u stralian Film and V id eo , takes place in A d ela id e from 18 to 25 M arch. H ayd n K een a n ’s P a n d e m o n iu m and D en n is O ’R o u rk e’s C a n n ib a l T ou rs w ill have their A u stralian p rem ieres, and there w ill be a range o f special even ts and d iscu ssion sessio n s. F or m ore in fo r m a tio n , w rite to F ram es, P .O . B o x 3 3 , R undle M ail, A d elaid e 5000. C a n n ib a l T ou rs, so o n to be released by R o n in F ilm s, is described by D en n is O ’R ourke as tw o jou rn eys: “ T he first is that depicted — rich and b o u rg eo is to u rists, on a luxury cruise up the m ysteriou s Sepik R iver, in the ju n g les o f P a p u a N ew G u in ea . . . the packaged version o f a ‘heart o f d ark ness’. T h e secon d jo u rn ey (the real text o f th e film ) is a m etaphysical o n e. It is an attem pt to d iscover the p lace o f ‘the O th er’ in th e p o p u la r im a g in a tio n . It a ffo rd s a glim pse at the real (m ostly u n considered or m isu n d erstood ) reason s w h y ‘civ ilised ’ p eo p le w ish to en co u n ter the ‘p rim itive’. ”

The Big Easy

W e h a v e th r e e co p ie s o f th e v id e o o f T h e B ig E a s y to give a w a y to re a d e r s , c o u rte s y o f S ev en K eys. T o w in a c o p y o f th is “ m u s t see, m u s t h a v e ” m o v ie , ju s t a n sw e r th is sim p le q u e s tio n : W h a t is th e n a m e o f D e n n is Q u a id ’s b r o th e r w h o a p p e a rs in T h e B ig E a s y l M a r k y o u r e n v e lo p e T h is Is T h e B ig E asy , D a r lin ’ , a n d se n d th e a n sw e r to C in e m a P a p e rs, 43 C h a rle s S tre e t, A b b o ts f o r d 3067. F irs t th re e c o rre c t e n trie s w ill w in .

Our New Zealand correspond ent, Mike Nicolaidi, is unable to continue writing for Cinema Papers, because of increased commitments. Mike has kept readers in touch with the latest issues and developments in the New Zealand film industry for many years, and we are grateful for his contribution. We will continue to give New Zealand regular coverage in the maga zine.

Australian short films are being screened on Qantas flights. The screenings, a joint project of Qantas and the Australian Film Institute, will reach an audience of more than 100,000. The first four shorts are Looking For Space Things (John Armstrong), The Huge Adventures O f Trevor The Cat (John Taylor), The Aardvark Song (Claire Barnford) and The Fogbrook Thing (Mark Osborne).

T h e B ritis h F ilm I n s tit u te ’s s u m m e r sc h o o l, ‘H e a rts o f th e W o rld — M e lo d ra m a a n d P o litic s in C in e m a ’, w ill b e h e ld a t th e U n iv e rs ity o f S tirlin g , S c o tla n d , fr o m 23 to 30 Ju ly . It w ill e x a m in e th e c u ltu ra l a n d id e o lo g ic a l m e a n in g s o f film m e lo d ra m a b y lo o k in g a t its h is to ric a l a n te c e d e n ts in a ra n g e o f c u ltu ra l p ra c tic e s : th e a tr e , th e n o v e l a n d p a in tin g , th e in te rd e p e n d e n t re la tio n s h ip o f m e lo d ra m a a n d re a lism a n d m e lo d r a m a ’s c a p a c ity to tr a n s c e n d n a tio n a l a n d c u ltu ra l d iffe re n c e s . F u r th e r in f o r m a tio n is a v a ila b le fr o m A lp a P a te l, S u m m e r S c h o o l S e c re ta ry , B F I, 21 S te p h e n S tre e t, L o n d o n W 1P 1PL. T h e re v ita lise d A u s tr a lia n S c re e n S tu d ie s A s s o c ia tio n in V ic to ria is o rg a n is in g a ra n g e o f a c tiv itie s fo r th e c o m in g y e a r. T h e firs t o f th e s e w ill b e ‘Z ip s , W h ip s a n d C lip s ’, a w e e k e n d f o r u m o n th e c in e m a a n d se c re t p le a s u re s a n d th e m e s o f to te m a n d ta b o o , to b e h e ld a t th e S ta te F ilm T h e a tr e in A p ril. S e d u c tio n T h e C r u e l W o m a n w ill sc re e n o n 9 A p ril a t 2 p m a n d B lu e V e lv e t o n 10 A p ril a t 2 p m , b o th fo llo w e d b y s p e a k e rs a n d a d e b a te . C o rre s p o n d e n c e to A S S A c a n b e d ire c te d to A n n e H u tto n a t th e S ta te F ilm C e n tre o f V ic to ria , 1 M a c a r th u r S tre e t, E a s t M e lb o u rn e 3002.

The Australian Film Institute’s extensive film and video distribution catalogue is available, free of charge, from the AFI, 47 Little La Trobe Street, Melbourne, or ring (03) 662 1944.

Women in Film and Television have compiled the first national register of women in film, TV and video. For more information contact WFT at P.O. Box 648, Broadway, New South Wales, 2007, or ring (02) 281 2058. The register costs $7 plus postage.

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CINEMA PAPERS MARCH — 5

How did you come to make this film? Well of course every time I make a film I say I’ll never do it again. But it's actually very much like having a baby. It really hurts and you think, I’ll never go through this again; then the memory of it fades. Anyway, People for Nuclear Disarmament (PND) were given the proceeds from the sale of a Victoria Cross to make a film. And because of my work in the peace movement I was very interested in the contradiction that exists between the fact that about 80 per cent of Australians, if you pay attention to the polls, don’t want to see any country having nuclear weapons, much less using them, and about 70 per cent, sometimes more, sometimes less, feel that Australia must have a nuclear alliance, that is, an alliance with the United States. So I was intrigued about the meaning of this contradiction. And because I have a sort of psychoanalytic turn of mind anyway, it led me In all sorts of directions, thinking about dependence and independence, nations and personal relations and so on. Things I had perhaps been stirring around and stewing around inside me for quite a while had an outlet In this film. I had originally planned it as a documentary. I had some idea that I would pick up the camera, because that’s actually what I really like to do, and I would walk around with the camera and just talk to people all over Australia about related subjects. But anyway it’s very different from what the film turned out to be — a new and different kind of docudrama. And the interesting thing about the film as a docudrama is that most docudramas are acted films which have a flavour of documentary. In this film, some of the documentary has the flavour of drama, and I think that that’s unique. Was that a conscious decision? No. Almost to the end of shooting I thought I was going to make the first kind of documentary. But there were so many different inputs to the film that were quite unpredictable — one of them was the camera style developed by Michael Edols — in fact it had a different flavour that I’m coming to be quite interested in. You were looking for a more documentary style of shooting the film? Definitely. In fact I felt we would be doing many of the scenes in a sort of psychodrama manner, which was something I’d done in 1970, with Film For Discussion, and had been very interested in pursuing ever since. But we didn’t. In part, I think it was also because of the participation of Alex Glasgow, who has written a lot for television, and because he was able to write lines that were very interesting, the actors wanted to use them. And why did you decide to set the film in Fremantle? Well there were several steps that led to that decision. First of all I sat down with

6 - MARCH CINEMA PAPERS

QUESTION

ANSARA M arth a A n sara’s The P u rs u it O f H a p p in e s s com bines docum entary and dram a, looks a t nuclear fam ilies and nuclear ships, alliances b etw een people and alliances b etw een countries. Set in Frem antle during th e A m erica’s Cup defen ce, it explores its them es through the eyes of Anna, a w om an trying to m ake sense of th e ties b etw een couples and nations. ANNA GRIEVE talk ed to M artha Ansara about th e m aking of th e film .

Kit Guyatt who worked with me, and later with Madelon Wilkens, and we tried to analyse what we wanted to communicate to whom. And we realised that the people we could probably reach with our kind of ideas, whatever they might be, would be people who were pretty immune to documentaries. People have seen it all. Jim Downes has made all the programs you could ever possibly want to make on the subject over the last 15 years in Four Corners. Excellent, excellent films have been made. Also we tried to think what actually influences us. And it isn’t always just the facts. Sometimes there has to be a way of presenting an idea that really catches on, and I think that what really stuck in my mind was that some years ago when Allies came out I did a review of it in Filmnews and while I was writing this review a metaphor occurred to me: what if the United States were a man and Australia a woman and they were lovers. And if this man dragged this woman all around the Pacific in all these wars and adventures, and was very domineering towards her, and she just said, "I want to go with you everywhere, I’ll do whatever you want, I just want to be with you,” you’d say, ‘‘God, that’s a pretty terrible relationship.” But because it happens between nations and not between people, you tend to see it through a filter. It’s all respectable because it’s political, it’s economic. I couldn’t get that idea out of my mind. And that’s why we decided on making a film in which there was a parallel between the relationship between countries and the relationship between people. Of course when you come to actually make it, the parallel can’t be very precise. It drifts in and out of the metaphor. Once we had decided that would be the structure of the film, we looked around for a way to make it in Sydney, and we could not find the conditions that would allow us to write the story and make the film with a sufficient amount of documentary in it. If we had written a drama — and almost to the end, I kept thinking we’d made a documentary — if we’d written a drama, well perhaps we could have set it anywhere. But for us we had to find a place where the relationship between Australia and the United States gave us enough of a contradiction in real life in which to put a personal relationship. I’d spent quite a lot of time in Fremantle and it seemed that the America’s Cup and the development of an excessive lust for money and wealth and power, in conjunction with the fact that the warships were coming in there every couple of months, made this really the only place to make the film. I had some ideas about character and so on, and I went to Fremantle and Madelon Wilkens and I did a lot of research there for quite some time and came up with some more ideas. Then luckily someone said to me, ‘‘There’s this bloke Alex Glasgow, he’s sort of along the same lines as you.” I’d seen When The Boat Comes In, which I thought was fabulous, and when I realised that not only was he the man that

sang the song, he had actually written a couple of the episodes, I thought that I should meet him. Alex was very good. Fie helped me out of sticky places and was critical without pushing me about the ideas. We developed a structure for the film together. Then we spent a lot of time looking for people to be in the film. And then with these people and with Alex we had a two-week workshop, where we’d try things out and then Alex would go home and write them up to try to pull together things that we’d done. Sometimes we wrote a sort of a script, sometimes he wrote some alternatives, and then the actors at the time on the spot would work from that script that we’d developed. But although that sounds spontaneous, an awful lot of thought and analysis had gone into it over months and months. And how about the West Australian film community? How did they relate to you as a Sydney filmmaker? In Perth they are very sensitive, and rightly so, about the fact that people are imported into Perth to make films and the local people don’t get the work they ought to get. But we did have a lot of people working on the film, especially young people without heaps of experience who were just fabulous. The cameraman and the sound recordist came from the East, but that’s about all. All the people in the film were local. Did you specifically set out to cast non-actors in certain roles? There’s hardly any actors in the film in fact. The main woman and man are actors, Alex Glasgow has done a little acting, and the American is someone who is actually a film director who has been an actor too — he’s very good — and other than that, there aren’t any actors in the film. For the father-in-law we had wanted to get an actor and couldn’t find one who could do the job — they were all too English and theatrical and so we decided we would just have to have the real thing. We wrote to Equity about it and they said that for people who were not playing themselves we should have actors. They were very helpful; they understood the nature of the film, and the nature of the film is that no money goes to the production company until everyone is paid off. All the investors are people who are really not in it for the money but for the issues, and any profit goes to the peace movement. So it is a different kind of film. I wasn’t paid a wage and Dick Mason, the executive producer, actually had to put in money. He worked at Kennedy Miller so that he could provide this film with his resources. Had you planned from the very beginning to use a lot of news footage? Yes. If we had known we were doing a drama we would have had a tighter script I guess, if we had had the time, but in fact all of those things were done after we had done the location shooting. We came back East and analysed what we had

done, and tried to see what material we needed. Some of the news material we had gathered when we were in the West and made into programs already, but most of it we did afterwards. So we had to research all the archives, get all the stuff together and make video programs. I’d never worked in video before and I was a bit shocked at how expensive, it was. But again, we got a lot of help. What about the ratio between media footage and drama? People have suggested that there’s too much media material, but in fact it’s a mere fragment of the programs we actually made. We didn’t understand how strong the dramatic side of it would be and how difficult it would then be to insert these television programs that Anna watches. In fact one of them that is 21/2 minutes long was once in its entirety a wonderful program of nine minutes. There was no way to put it in. I think we’ll have to release it separately. We made a nineminute program on the history of the military ties between Australia and the United States. Always we were trying to work out how to balance these things out and it was very difficult because we didn’t always have the material in the drama we needed for intercutting with the documentary. Kit Guyatt is an absolutely wonderful editor and we just wrestled with it. And after this film did you say you were never going to make another one? No I’m never going to make another one again, for sure this time. The kids look at me and roll their eyes and say, ‘‘You said that before.” But making a film on a very low budget like this is absolutely gruelling. It’s exploitative to other people — sure they said they wanted to work for basic wages or they wanted to volunteer, but I just don’t know. Perhaps if everybody worked for nothing, then I’d do it. Or if everybody could get paid and there was enough time and money, then I’d do it. Has winning the Byron Kennedy Award helped you at all? Yes, it’s been fabulous. I have to think of Byron all the time which is bizarre, because I can’t say that he and I saw eye to eye when we were in the [Sydney Filmmakers’] Co-op together; not that we had big arguments, but he was in a different direction from me. I feel as if I’m the bride of Byron, he’s come down from heaven and I think of him all the time. That’s really changed my life, thinking of Byron all the time. But more than that, it has a very practical function. It says on all our propaganda, our leaflets and so on, ‘‘Awarded the prestigious Byron Kennedy Award” . And this seems to make a difference to people. At first I didn’t know what to do with it, but then people told me and now . . . I’m not very keen on those kinds of things and I feel very embarrassed about getting it. I tell people what it’s really for is for being a good Communist. CINEMA PAPERS MARCH — 7

IN GHOSTS . . . OF THE CIVIL DEAD, MUSIC VIDEOMAKERS EVAN ENGLISH AND JOHN HILLCOAT HAVE GONE DIRECTLY TO JAIL. JILLIAN BURT LOOKS AT THE STORY OF A FILM BEHIND BARS. h o sts . . . O f T h e C iv il D e a d c o n c e rn s its e lf w ith th e so cial a n d m o ra l c o m p le x ity

o f life in s id e a m a x im u m s e c u rity p ris o n . I t is a m o v ie m a d e b y a te a m w it h a lm o s t n o p r e v io u s fe a tu r e film e x p e rie n c e — th e k e y p e o p le h a v e c o n s id e ra b le re c o g n itio n a n d n o t o r ie t y in th e fie ld o f m u sic v id e o s . P ro d u c e r E v a n E n g lish h a s b e e n m a k in g a c c la im e d , s ty lis tic a lly d iv e rs e m u sic v id e o s fo r a b o u t 1 0 y e a rs ( w ith P a u l G o ld m a n , in a c o m p a n y c a lle d T h e R ic h K id s ) . A c to r a n d c o s c r e e n w r it e r N ic k C a v e a c h ie v e d fa m e w ith h is b a n d T h e B ir t h d a y P a r ty . A s a solo p e r fo r m e r h is songs h a v e b e c o m e th e v e r y l it e r a r y n a r r a tiv e s o f a w ild im a g in a tio n a n d h e h a s also b e e n w r it in g p la y s a n d a n o v e l. D ir e c to r J o h n H illc o a t m a d e s h o rt film s a n d m u sic v id e o s a n d h a s w r i t t e n tw o fe a tu re s c rip ts . I n 1 9 8 4 h e b e g a n a c o rre s p o n d e n c e w ith J a c k H e n r y A b b o tt, th e c o n v ic te d m u r d e r e r w h o b e c a m e a lit e r a r y c e le b rity w ith h is b o o k I n T h e B e lly O f T h e B e a s t. T h is le d to h is c o lla b o r a tio n o n G h o sts. T h e film is n o t a d o c u m e n ta r y in a n y sen se, b u t it h a rb o u rs n o ro m a n tic illu s io n s a b o u t th e c irc u m s ta n c e s o f p r is o n life . I t m ig h t seem a n u g ly a n d v o la t ile s u b je c t fo r a g ro u p o f p e o p le w h o a re b e s t k n o w n fo r p u ttin g th e v is u a l m u sic to p o p songs. B u t s o c ie ty h a s a lw a y s h a d d iffic u ltie s in d e a lin g w ith p e o p le w h o d o n ’t c o n fo rm to th e r u le s , w h e th e r th e y a re c r im in a l o u tc asts w h o r e m o v e th e m s e lv e s fr o m th e n o r m b y a g g re s s iv e n e g a tiv e b e h a v io u r, o r c re a tiv e film m a k e rs w h o r e m o v e th e m s e lv e s fr o m th e fa s h io n a b le a rtis tic m a in s tre a m w it h a n u n o rth o d o x v is io n a n d m e th o d s th a t c a n b e c o n s tru e d as re b e llio u s . T o re s e a r c h th e m o v ie E v a n E n g lis h a n d J o h n H illc o a t ta lk e d to p r is o n g u a rd s , p s y c h o lo g is ts a n d p e o p le w h o h a d b e e n to p ris o n . T h e y also m a d e a to u r o f 1 5 o r 1 6 A m e r ic a n “ n e w g e n e r a tio n ” p ris o n s th a t a re d e c o ra te d in s u b d u in g p a s te l c o lo u rs a n d p a tr o lle d b y th e u n c e a s in g gaze o f e le c tro n ic e y e s. T h e p r is o n in G h o sts m o s t c lo s e ly re s e m b le s o n e i n M a r io n , I llin o is . “ M a r io n is a L e v e l 6 , F e d e ra l P e n i t e n t i a r y a n d i t ’ s th e e n d o f th e lin e ,” say s E n g lish . “ I t h a s th e soc a lle d ‘ m o st v io le n t c r im in a ls in A m e r ic a n h i s t o r y ’. W h a t y o u fin d w h e n y o u a c tu a lly go th e r e is th a t th e r e a re a tre m e n d o u s a m o u n t o f v e r y in te llig e n t a n d a r tic u la te p e o p le w h o h a v e v io le n t te n d e n c ie s w h o c a n n o t a d ju s t to in s titu tio n a l life . T h a t ’s w h y p e o p le go to M a r io n . A n d w h a t y o u fin d th e re — in lin e w it h th is le v e l o f in te llig e n c e a n d a rtic u la te n e s s — is th a t th e y a re s p ir itu a l a n d p h ilo so p h ic a l le a d e rs o f v a r io u s s u b -c u ltu re s . F o r in s ta n c e t h e r e ’s th e A r y a n b r o t h e r h o o d , th e B la c k M o s le m s , H in d u s , A m e r ic a n I n d ia n s a n d M e x ic a n m a fia . T h ro u g h a p ro c e s s o f w h a t th e y c a ll ‘ s e le c tiv e in c a p a c ita tio n ’ p o te n tia l tro u b le m a k e rs a re sc o o p e d u p a n d is o la te d . W h a t y o u ’v e got in M a r io n is lik e e ith e r th e b o tto m o f th e b a r r e l o r th e to p o f s o m e th in g — e x tre m e ly stro n g p e r s o n a litie s .” 8 — MARCH CINEMA PAPERS

CINEMA PAPERS MARCH â&#x20AC;&#x201D; 9

T h ere are th ree u n its o f p risoners in G hosts, each separated b y v a ry in g degrees o f m o b ility an d privileges. “ T he first is ‘p o p u la tio n ’. T h e y ’v e got freedom o f m ovem ent, th e y ’re w alk in g aro u n d , th e y ’re dealing drugs, th e y ’re in to the dru g culture. T h e y ’v e got T V up th ere, p o rn o , th ey ju s t shoot up an d sm oke dope. I t ’s lik e St K ild a really. T h en in the m axim um security yo u h ave a fa ir few in tellectu als, a lo t o f charism atic, p h ilosoph ically d evelop ed people an d th ey h a ve v e ry , v e r y restricted m ovem ent, one out o f a cell, one at a tim e, handcuffed, escorted b y th ree officers. T h en w e h a ve w h at w e call so lita ry con finem ent, the hole. I t ’s one long corridor, i t ’s m ore lik e co n ven tio n al prisons are an d y o u d o n ’t need this pyschological reason in g o r an yth in g , yo u ju s t th row the m an in th ere an d lock h im a w a y fo r six m onths.” T he characters w ere shaped b y people that th ey had read o f an d m et an d fin a lly b y the people w ho p o rtra y them in the m o vie, fleshing out th eir roles. T he story takes up them atic concerns th at come out o f the com prom ised re a lity th at is the basis o f p riso n operation . “ I t ’s got n o th in g to do w ith going back into the real w o rld , le t’s face it, n o th in g at all, an d th a t’s w h at a lo t o f this film is about. P ro b a b ly one o f the strongest lines in this film — an d in the A B C d o cu m en tary O ut O f Sight, O ut O f M in d as w ell — is th at p aten tly, p riso n m akes people w orse,” E nglish says. “ O ne o f the contentions o f Ghosts — an d i t ’s a v e ry contentious issue — is th at in fact th at m ay be deliberate, th at the p erp etu atio n o f the crim in al class and the acceleration o f crim in al tendencies v ia p riso n is in fact a useful d evice fo r society. T h a t’s one o f the film ’s them atic concerns. A n d the purpose o f that is that yo u h ave, to use hack neyed old cliches, the lan d ow ning class an d the w o rk ers, an d the p erp etu atio n o f the crim in al. T he fear o f the c rim in al ju stifie s things lik e the police. T he police are n o th in g b u t a social co n trol m echanism to m ain tain the status q u o .” W h ile G hosts w as b ein g film ed in O ctober an d N ovem b e r o f last y e a r in a disused fa cto ry in P o rt M elb ou rne, television vie w ers aro u n d A u stra lia w ere stunned b y the screening o f the docum en tary, O ut O f Sight, O ut O f M in d in w h ich m adness, suicide, n ervous disease, sexual licence, dru g ad diction an d a b ru ta l m an ip u lative h ie r arch y in an enclosed society operating w ith out selfcon trol, d iscipline o r sham e, had b ro k en the inm ates d ow n to cyn ical b a rb a ric rab ble. A n d most significantly, in P en trid g e’s J ik a J ik a d iv isio n (a ‘new age’ section not u n lik e the fictio n a l p riso n in Ghosts) fiv e prisoners died in a fire a fter b a rrica d in g them selves in to protest that th eir treatm en t w as in h u m an . T here is a grow ing concern and

BOOKED: Peter Lawless

10 — MARCH CINEMA PAPERS

aw areness about priso n s, b u t can a m o vie base itself on such p o tent re a lity ? “ H ow do y o u tu rn re a lity in to some sort o f d ram a? You d o n ’t,” E nglish says. “ A ll yo u can do is take the bones o f re a lity an d, in all fairness to the people w ho en du re 10 years in a cell, w h a t w e are doing here doesn’t relate in a n y shape o r fo rm . You can take the bones o f a d ram atic fo rm an d y o u hope, yo u do m ore th an hope, yo u desire that the fin a l fo rm has significance fo r the view er. You lose sight o f the fact th at this actu ally happens to a lot o f people, rig h tly o r w ro n g ly, an d w ith o u t a n y m o ra lity attached to it. I t ’s re a lly im p o rtan t that i f y o u ’re attem p t ing to say a n yth in g , in some w a y y o u ’v e got to h a ve y o u r sp ring board as re a lity otherw ise i t ’s im poten t. T he o ve rall in ten tio n o f the m o vie is to h ave an im pact, not ju s t in a sensational sense b u t in a fu n d am en tal sense, on those w ho v ie w it.” E van E nglish an d P au l G oldm an began m aking m usic videos w h ile stu d yin g film at S w in b u rn e C ollege, and used crews m ade up o f fellow students, m an y o f w hom stayed w ith them and are w o rk in g on Ghosts. P au l G old m an is d irecto r o f ph o to grap h y on G hosts. T he R ich K id s began m ak in g m usic vid eos w h en it w as still a new m edium an d th ey d re w atten tio n to them selves w ith yo u th fu l, b ra ttish b e h a v io u r an d developed a rep u tatio n fo r arrogance. E nglish’s in terest in the subject m atter o f G hosts develop ed o v e r a long p erio d , w h ile he w as engaged in m akin g the videos. “ I t ’s not a sudden d evelop m ent o f conscience. I th in k that a p a rtic u la r tu rn in g p o in t w as realisin g w h at a ra t race the m usic in d u stry w as, an d going to A m erica. Y ou’re a colonial b o y fro m the suburbs o f M elb ou rn e an d yo u lan d y o u rse lf in Los Angeles. W h a t an eye opener! W e spent about 2 Vi years in L A as w ell as liv in g in L on don. You develop as yo u get o ld er b u t I guess it does look strange w hen yo u look at ‘W alk O n B y ’ (Jo J o Z ep) and yo u lo ok at this film . B ut th en in the same y e a r th at w e m ade the film w e m ade ‘ Som ething So S tro n g ’ (C row ded House) w h ich is ab solu tely unabashed ro m antic cuteness. I t ’s good; w ho w ants to be tied th em atically fo r y o u r w hole life? “ I t ’s schizophrenic. W h e n yo u lo ok at all the w o rk I ’ve done w ith P au l it looks schizoid. W e ’v e m ade slick love stories and the rougli-as-guts stu ff th at no one w ou ld play. W e do lik e to p la y games an d o u r videos w ere about teach ing ourselves film ic tricks as m uch as a n yth in g else and doing it in the com m ercial m edium . T here w ere two things that w e w an ted to lea rn w h en w e m ade videos: w e w anted to learn ho w to m ove the cam era an d w e also w anted to gain com m ercial cre d ib ility and this film is the result o f doing that. O u r vid eos are as slick as hell and w e w o rk ed it lik e a charm . You go to H ollyw o o d an d th e y ’re am azed an d th ey th in k th at yo u can re a lly do som ething. It also keeps them guessing in the sense th at o n ly b y h a vin g the com m ercial reel th at w e h ad can yo u m ake som ething that goes against the com m ercial sort o f cliched grain . I f w e h ad a w hole b u nch o f stu ff lik e ‘N ick The S trip p e r’ (T he B irth d a y P a rty ) on th at, o r sim ilar m aterial, th e y ’d ju s t say ‘Y o u ’re a b u nch o f a rty w an k ers’ and ‘Fuck o ff’ an d y o u ’d n e v e r get an o p p ortu n ity.” G hosts features a couple o f m usicians w ho h a ve been in some o f the R ich K id s ’ m ost in v e n tiv e m usic videos, D ave M ason (o f the Reels) an d N ick C ave. “ N ick plays a guy called M a y n a rd w ho is b roug ht into the m axim um security u n it. H e is an absolute psychotic lun atic, m ad as h ell, w ho upsets b asically e v e ry side o f the fence: the guards, the p risoners, e v e ry b o d y hates his guts. H e’s a b ad piece o f ch em istry at a p a rtic u la rly b ad tim e. H e p ro vokes everyb o d y. O ut o f a 90-strqn g cast o n ly 25 are actors and w h at w e fo u n d is th at the non-actors are re a lly good.” Som e o f the actors are ex-p risoners. T he m ark etin g o f the m o vie is also going to take advantage o f the connection w ith the m usic w o rld . Nick C ave, along w ith B ad Seeds group m em bers M ick H arve y and B lix a B argeld are doing the m usic fo r the m ovie. “ B lixa m akes noises, y o u co u ld n ’t call it m usic as such.

/ T T I I I I 1 I I I I i j i i i_ | 1 1 1 I I I I I I I I

Polly Borland

TATTOO YOU: Roy Farrell

T here w ill be some m usic b u t N ick an d M ick and B lix a’s b rie f is to con trib u te sound effects, atm osphere and music. T h e re ’s going to be an album and all that sort o f stuff. T h e y ’re trem end ou sly excited, N ick in p articular, about the o p p o rtu n ity to create som ething a u ra lly around an idea that h e ’s taken by. H e re a lly loves prison, he loves the re a lly ben t q u ality.” G hosts was m ade fo r the m odest sum o f $ 1 .6 m illion. “ W h at I ’d fou nd w hen w e ’d m ade m usic videos is that I cannot be an sw erable to an yb o d y,” says English. “ We w o rk best c re a tive ly w hen th e re ’s m o n etary control. T h a t’s not ju s t m y person ality, I th ink i t ’s a constant that artistic con trol is econom ic control, and so w hat I w anted to do w as to be b asically the executive producer.” T hough G hosts is a b ra v e an d am bitious project, English is aw are o f the shortcom ings an d difficulties o f a sm all budget pro d u ctio n . “ W e are talk ing about a m illion d o llar film . W e are m ak in g a m otion p icture that w e have less m oney p e r m inute to spend on than w e w o rk w ith on m usic vid eos. W e ’re talk in g about w o rk in g fo r $ 1 0 ,0 0 0 a m inute — finished footage — an d w e are talking about up to $ 2 0 ,0 0 0 on m usic vid eos, w ith o u t the addition o f the overheads and p ost-p rod uction th at w e h ave here. W e’re lim ited b y m oney. W e ’re lim ite d b y o ur ow n in exp eri ence. W e ’re lim ite d b y tim e. “ T he w hole th in g has been less than a dream ride. T h a t’s been accentuated b y a lack o f m oney and in exp eri ence: w e ’re talk in g the director, the producer, the produc tio n m anager, the directors o f photography, the cam era m en, the lig htin g designer — w e ’re all on ou r first feature an d th a t’s a lot to overcom e. It does show, b u t hopefully o u r ra w in tu itio n and talen t m akes up fo r it in some w ays. “ W e h a ve m ade m istakes an d w e ’ll continue to make m istakes b u t yo u fin d often enough th at people w ith a lot o f m ovie experience p ro b a b ly m ake w orse ones, and spend a lo t m ore m oney m akin g w orse m istakes and the net w o rth o f w h at th e y ’re doing is zilch. I th in k that one o f the u n iq u e things is th at w e con trol ou r destiny right here, betw een J o h n and m e, an d w e m ake the film that we w an t to m ake an d th a t’s u n iq ue. A n d the sort o f fam ily th a t’s grow n up th rou gh the m usic videos and out o f S w in b u rn e, i t ’s a nice extended fa m ily an d th a t’s the sort o f passion that I lik e .”

Film M a k e -u p T e c h n o lo g y THE SCHOOL FOR PROFESSIONAL TRAINING IN FILM AND TELEVISION MAKE-UP T ra in in g com m ences w ith s tra ig h t corrective make-up for studio lighting through the various stages of character make-ups, beard and hair work. The course also covers racial and old age make-up techniques, basic hairdressing, as well as all studio protocol.

FILM MAKE-UP TECHNOLOGY in conjunction with f t * KEHOE AUSTRALIA Importers and suppliers of professional film , te le visio n and special effe cts make-up for the industry. details contact: Josy Knowland 43-47 Trafalgar St. Annandale, NSW, 2038 TELEPHONE: (02) 519 4407 ^ i i r r r i i i i i i i i i i i i 11 i i r r r i

CINEMA PAPERS MARCH — 11

H ow has th e glasnost policy affected the w ay film s are m ade in th e S oviet Union? M A R Y C O LB E R T w h o recently visited the USSR, takes a close look at th e dram atic restructuring of its film industry. hen M ikhail G orbachev outlined his ‘glasnost’ policy fo r liberalising the arts and press at the 27th P arty Congress few realised how penetrating w ould be its im pact on Soviet cinem a. Sceptics dism issed it as diplom atic, if not propagandistic, rhetoric, typical o f a polished politician. The changes, if any, were expected to be little m ore than cosm etic. Since the beginnings o f the socialist state, politics and film h ad been inextricably linked in an uneasy relation ship. P arty lines dictated policy and vigilant bureaucrats protected the ideological safety o f the state with stringent censorship. If party lines changed, art was expected to follow. Those who wished to m ake bold statem ents had to retreat behind the safety o f history, allegory and the classics. P unishm ent for not toeing the line was silence. So, fo r m any film m akers the course o f least resistance was easier. N ow the new leader was encouraging a swing so far the other way it was difficult to know how to bridge the gap between w ord and action. Yet G orbachev’s speech becam e the catalyst and official seal o f approval for the m ost dram atic upheaval o f the film industry since L enin’s nationalisation o f ‘the m ost im p o rtan t a r t’ in the cause o f the O ctober revolution. B oth Lenin and G orbachev had shown an acute aw areness o f the pow er o f film , yet G orbachev’s reform involved relaxation o f controls o f the bureaucratic film body Lenin had established 70 years ago, G oskino, which fo r so long m aintained a stranglehold over crea tive decisions, ideological direction, production and dis trib u tio n . L enin had centralised the state film m achinery, now G orbachev w anted to decentralise it. Film m akers who had long been dissatisfied with w hat they considered the stagnant state o f the art were sparked to action by G orbachev’s w ords. A fter all, w hat did they have to lose? F or a considerable num ber, their films were sitting ‘frozen’ on the shelves. A t the 5th Congress o f the Soviet Film m akers U nion (SFU) — a body representing the 6500 film w orkers — they vented their accum ulated grievances (“ in w hat could have been 7 on the R ichter scale” one o f them recalls), ousted tw o-thirds o f the previous leadership and replaced them w ith ‘new b lo o d ’. In an unprecedented secret ballot they elected controversial director Elem Klimov first secretary (head) o f the union. Klimov, whose w orks h ad caused clashes with authori ties since th e m aking o f his first graduate diplom a film

12 - MARCH CINEMA PAPERS

and had been banned for 20, 10 and five years respec tively, was a particularly appropriate choice fo r the posi tion — determ ined, critical, outspoken, charism atic, and highly respected fo r his talent by fellow film m akers. He did not seek the jo b , and in th a t perverse way o f fate, claims he probably got it fo r th a t reason. A fter the suc cess o f C om e A n d See (which won the G old M edal at the M oscow Film Festival in 1985) he w anted to continue directing again — after all, six films in 23 years is n o t a prolific to tal — b u t the pull o f the cause was stronger. “ W hat could I do? This was such an im p o rtan t tim e — and it m ight never com e ag a in ,” he recalls. One o f the key resolutions adopted at the congress was the form ation o f a C onflicts C om m ission, headed by P ravda critic A ndrei P lakhov, appointed to view p re viously banned and shelved films and, provided they m et standards o f quality, to seek their release. T he basic prem ise was th a t everything o f artistic value should becom e the property o f the people. The C om m ission swiftly went ab o u t their task and w ithin a few weeks pre sented a list o f 50 film s, the first o f which soon began to m ake their way to the screens. M eanw hile, practising a little public relations, the SFU B oard invited 50 m em bers o f F IP R E S C I (an inter national film critics’ association) to a resort on the Baltic coast for a little viewing. The newly released w orks quickly attracted attention. A buladze’s R epentance, an expose o f the Stalinist cult (see C inem a Papers 67, p6) broke all box office records w ithin the first m o n th o f release. T he Soviet press, encouraged by G orbachev, w arm ed to their task o f publicising the ‘th aw in g ’. O ther previously banned w orks followed — K lim ov’s A go n ia and Farewell, P anfilov’s Them e, K ira M u ra to v a ’s L o n g G oodbyes and Short Farewells, S okurov’s M o u rn fu l Sym p a th y, Alexei G herm an’s M y Friend Ivan Lapshin — and audiences flocked in droves to see them . They were w orks o f quality, but then forbidden fruit is always juicier. P eople were intrigued to discover for themselves the m otives fo r the shelving; some had been banned for obviously bold statem ents, others for m uch m ore obscure ideological travesties, such as the negative treatm ent o f progress and technology in Farewell or the m ention o f a Jewish em igre’s creative aspirations in Them e. F or some o f the film m akers, such as Sokurov and G herm an, the novelty o f release for the first tim e was exhilarating. O ne o f G h e rm an ’s earlier w orks h ad not only been banned b u t L enfilm Studios was asked to pay com pensation to the state fo r ‘m isspending’ m oney on its production. M eanwhile, the films were scooping prestigious aw ards at international film festivals, such as Berlin, where Them e won best film and the international critics’ prize. O ther Soviet films were being acclaim ed at Delhi, Venice, M annheim and other film events. A trem endous upsurge o f interest in Soviet cinem a was taking place. Tarkovsky once distinguished tw o types o f films: those th a t im itate life and those th at create their own world. M any o f the banned belonged to the latter. The censors usually favoured the form er. N ow, films th at once had no audience enjoy cult status fo r th a t very reason. Yet the SFU refused to rest on its laurels, claiming th at the quality films were proportionately few in num ber out o f the 150 (or so) features produced each year in the Soviet U nion. They expressed concern at a decline in cinem a attendances, although these are still extrem ely high com pared to the W est. A ny cinem a th at can sell 4 billion tickets per year (watching 70 per cent Soviet films), and draw 50 m illion to one o f its blockbusters, is ^ CINEMA PAPERS MARCH — 13

in quite a healthy state, although the adm ission price is only ab o u t 45 cents. T he SFU stronghold was determ ined to proceed still fu rth er. It was claim ed th a t m ore fundam ental changes were needed so th at real dém ocratisation o f the industry could occur. “ W e w ant to w ork on a chain o f responsi bility b u t it should exist at all levels. Instant restructuring is hardly possible but it m ust begin to gather m o m en tu m ,” urged Klimov. As m uch o f the criticism revolved around G oskino, G orbachev obliged by replacing the previous head o f 17 years, Fillipp Y erm ash, w ith m uch m ore dynam ic Alex ander K am shalov (previously from the cinem a section of the C entral C om m ittee), a m an m ore likely to strike a ra p p o rt w ith the W est. Alex R udnev was appointed head o f S ovexport film , and in no tim e the prom otional m aterials began to reveal a slicker im age. E ditors o f m ajo r film m agazines — Film A r t and S oviet Screen — were replaced by m ore dynam ic colleagues. Yet fo r any m ajo r reform the entire foundation of the industry needed rehauling and replacem ent by a new m odel. A t the press conference at the Jan u ary 1987 plenum o f the SFU , Klim ov insisted “ the situation will hardly change radically as long as we do not radically change the m ethods o f m aking m ovies” . The change p ro posed was a com plete tran sfo rm atio n from a central ised, state-subsidised m odel to w hat virtually was a system o f free enterprise. T he aim was to do away with the bureaucratic pyram id and th ro ugh decentralisation to allow studios greater autonom y, artistically, adm inistratively and financially. F o r an art form th at had so long been con trolled by state m echanism s it was an unprecedented d eparture, b u t one th at would “ lead to greater dém ocra tisation, freedom and responsibility for the results” claim ed Klimov. T he role o f G oskino was to be considerably changed — no longer censor and script editor but overall co o rd in ato r in charge o f distribution. Creative units within the 39 studios in the USSR w ould be responsible for their own decision-m aking. G oskino would merely require the subject (to avoid duplication) and a two- to three-year plan so it could w ork on distribution destiny. If they decided a film was an unprofitable proposition, the studio could tak e up the m atter with a special commis sion at the SFU. E ach studio was encouraged to form its own model. M osfilm , the largest and oldest, em ploying 5000 workers and responsible for one-third o f the country’s features, led the way in im plem enting their structure. Dividing their staff into creative units M osfilm dem ocratically elected leaders (directors and one screen writer) who were then asked to select their creative team from the pool o f available film w orkers, yet also encouraged to bring in talented outsiders to w ork on a contract basis. A creative council m ade up o f the leaders and the editor-inchief would act as the decision-m aking body for the studio, though ideas w ould be discussed w ithin each unit and passed on to the creative council, now m ade up o f artistic personnel only — no bureaucrats. This was indeed a radical departure from the past. T he greatest change was to involve the financing of films. Studios w ould no longer depend on state subsidy b u t w ould be encouraged to practise a system o f free enterprise, in which profits from the box office would be channelled into future productions. Studios would enter the m arketplace to earn their m oney and the box office becom e the m ain gauge o f success. U nder the new system they w ould have to becom e m uch m ore attuned to public taste and pro m o tio n. This fram ew ork w ould particularly suit the bigger studios, such as M osfilm , which in the past were obliged 14 - MARCH CINEMA PAPERS

Come A nd See

to donate 50 per cent o f the profits to state organisations such as day care centres or clinics, while they retained the other h alf to cover the cost o f film m aking. Since that was rarely an adequate am ount, they were forced to apply for m ore m oney from the state, thus perpetuating the subsidy cycle. F or the sm aller studios, however, the prospects were m uch m ore daunting. F urther reform s were still to com e. In this m ore com petitive system em ploym ent by tenure would be replaced by hiring on a picture-by-picture basis. In a country where jo b security has been accepted as one o f the basic tenets o f socialism, this was a radical departure intended to raise artistic standards. Less talented workers whom the studio was previously obliged to em ploy would be relocated to other w ork, eg teaching film. A Review Com m ission w ould reassess the situation every five years. By mid-87 with m ost o f the reconstruction well under way, the M oscow Film Festival (held every two years) was to provide a p latform to highlight progress and act as a barom eter o f glasnost. A record num ber o f dele gates and press were attracted to the event, w anting to discover for themselves the extent o f the changes. Though som e o f these were only cosm etic, such as the reduction o f the num ber o f prizes and film entries to ensure quality, others presented m arked departures from the past. The T arkovsky retrospective indicated the extent to which attitudes had relaxed. The film m aker whose w orks were once w ithdraw n from circulation and whose nam e was even deleted from film history books, was honoured with a retrospective o f all his works in their unabridged versions. F or the first tim e the festival organisers had selected a foreign head o f the jury, R obert De N iro. A record num ber o f Am ericans attended the event, and international distributors expressed considerable interest in Soviet films. A ppropriately, the spiritual nerve centre o f the festival becam e D om Kino, the headquarters o f the SFU in M oscow, where a professional club (PR O C ) provided opportunities for foreign and Soviet film m akers to exchange ideas and discuss issues o f vital im portance: the role o f film in prevention o f nuclear w ar, the future o f the art form , w om en’s issues, the future o f children’s cinem a. O f particular interest were the open sessions ^

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ab o u t the state o f Soviet cinem a, the im pact o f ‘pere s tro ik a ’ (reco n stru ction) or the role o f the press in the reform s — in an open in fo rm al atm osphere which the foreign press fo u n d particularly im pressive. T here was even an instant release o f a previously b anned film , T he C om m issar, when its director, A skoldov, dem an d ed its screening at the fo ru m . T he film had been recom m ended fo r release by the C onflicts C om m is sion b u t h ad rem ained on the shelf — the festival forum provided a p erfect o p p o rtu n ity to challenge the situa tio n . A t th e follow ing press conference, m ore personal aspects o f ‘shelving’ em erged — the trials for the directo r w ho was prevented from m aking films again and declared professionally u n fit by the Suprem e C ourt. L ittle can m ake up fo r those w asted years. T he revela tions provided particularly interesting insights and concrete evidence o f glasnost. U nsurprisingly, Soviet film s enjoyed an un p re cedented p o p u larity at the film m arket w ith record sales o f 414 films to 31 countries. Professional m arketing indicated th at the Soviets were eager to capitalise on the surge o f interest for their products, though still display ing financial caution in purchasing expensive foreign films. (The vice-president o f Sovexport, V iktor K hukarsky, explained th a t hidden costs o f dubbing, tran sp o rt, com bined w ith the low price o f cinem a tickets, m ake highly priced blockbusters an infeasible prospect.) Sovin, the agency b ran ch o f G oskino in charge of handling co -p ro d uctions an d provision o f services for visiting foreign crews, rep o rted record interest in w orking w ith the Soviets and U SSR as a location and subject fo r d o cum entaries. T he im portance o f art in political diplom acy was revealed w ith the unveiling o f the A m erican-Soviet Film Initiative, a n o n -p ro fit organisation form ed betw een the film m akers o f the tw o superpow ers to encourage co-pro ductions, professional exchanges, research and better in fo rm atio n services. First proposed at an earlier sum m it when a Soviet delegation visited the US in M arch last year, the initiative rep o rted a n u m b er o f projects already underw ay: a television docum entary, Superpow er M irror, aim ed at dispelling stereotypes betw een the tw o countries, a featu re ab o u t C hernobyl to be produced by Stanley K ram er, an d a biography o f the poet A lexander P u sh k in . It ap p ears th a t a rt was m aking m ore substan tial headw ay in diplom acy th a n political sum m its. B ut despite the progress, there are still areas where reform s have m et w ith less success — particularly in film education an d at V GIK, the All U nion H igher Institute o f C inem atography. VGIK is the first film school in the w orld, established by L en in ’s decree in 1919, where some o f the Soviet U n io n ’s leading film m akers had taught their specialties. T hough courses in the various com ponents — direction, acting, art, screen writing and film criticism , an d cam era — are long and intensive, for some years there has been an undercurrent o f dissatisfaction w ith the stan d ard o f equipm ent, course content (some o f which has rem ained unchanged since 1962), and the quality o f the teaching. (Ironically, in the 1930s Eisenstein com plained ab o u t the intellectual and cultural calibre o f the students.) G o rb ach ev ’s policies gave the students im petus to act. They organised a conference dem anding changes, suggesting th a t a system o f inviting guest teachers, ap p ro v ed by stu d en t vote, be ad o p ted . T he SFU , deter m ined th a t a re fo rm o f the system h ad to start at grass ro o ts, to o k th e stu d en ts’ com plaints seriously. VGIK cam e u n d er considerable attack (even tho u g h m any o f the SFU m em bers were graduates o f its system) accused o f p ro d u cin g an assem bly line w hich discouraged talent an d , at best, resulted in m ediocrity. In a subsequent reshuffle o f appointm ents, G oskino’s

1 6 _ MARCH c i n e m a p a p e r s

selection o f A lexander N ovikov (the previous assistant dean) over the SFU candidate was considered conserva tive. N ovikov adm its th a t new sta ff and equipm ent are badly needed an d th a t plans to revam p the curriculum are under consideration, b u t few believe he is capable o f injecting the in stitu te w ith the kind o f vision and initiative required. If proposals to introduce a film syllabus (in cinem a history and cinem atography) into secondary schools — currently prepared by film critics and educators — are im plem ented, the student intake o f future years m ay be even m ore dem anding and know ledgeable, especially as m any Soviet children are already provided w ith o p p o r tunities to w ork w ith film (even 35mm) at am ateur clubs and Y oung P ioneer hobby courses. L ooking dow n the line there is still m uch to be done. E ncouraged by the achievem ents over the last 18 m onths the SFU is proposing a num ber o f furth er im prove m ents. It is particularly concerned th a t the reform s be codified by law so th a t regression to the previous situa tion is unlikely. C ertainly the release o f shelved films has injected new vigour into a previously ailing industry. Victor D yom in (head o f Soviet film critics) stressed th at, th ough rela tively sm all in num ber, these film s counterbalanced the situation at a tim e w hen m ediocrity was representative o f the m ajority. T he shelved film m aker at least had the courage to prove th a t it was still possible to m ake great films and it’s only now th a t the Soviet film industry is being recom pensed fo r th at. But when the novelty wears off, it will be interesting to see the quality o f new films created as products o f the reconstruction. Judging by those recently released, a num ber reflect m ore personal them es and social problem s, such as L o n ely W om an L o o k in g F or C om panion or M essenger B o y, one o f m any films concerned with the dilem m as and disorientation o f youth in a changing society. Will these be able to com pete on the international film scene? A num ber o f other questions still need to be asked. H ow will the free enterprise system o f the studios walk the tightrope w ith a centralised socialist ideology? It m ust be rem em bered th a t a dém ocratisation o f the arts does not m ean a deviation fro m socialist ideals. C an the m om entum o f th e reform s be sustained? Even now acceptance o f th e reform s has n o t been pervasive in Soviet society an d th o u g h resistance at this stage is n o t overt, in tim e the o pposition m ay intensify. W hen will the changes be truly reflected on th e screen and how will young film m akers graduatin g fro m film institutions cope w ith th e adjustm ent? T he talent abounds and new m echanism s have been set up b u t how will these interact? C ould it even tu rn o u t th a t repression was conducive to creativity . . .? Soviet theoreticians were am ongst the first to treat film as an art form . Eisenstein, V ertov, P udovkin and D ovshenko set very high stan d ard s fo r th eir successors, at the sam e tim e setting u p the tug-of-w ar betw een artist and state w hich continued fo r m ore th a n 70 years. C ertainly th e Soviets have pro d u ced som e m asterpieces since then — one only needs to th in k o f The Cranes A r e Flying or M o sc o w D o e sn ’t Believe In Tears — b u t generally, horizons fo r film m akers have been lim ited by repressive state m echanism s. T he new policies have opened the doors. O ver th e last tw o years Soviet cinem a has earned a m uch higher profile internationally; at a tim e w hen W estern film has o ffered lim ited in sp iratio n , the lifting o f th e cu rtain has released an intense wave o f energy afte r so m any years o f stagnation. C om m ercially and artistically, it’s provided a sam ple offering to arouse w orld interest. W hether this can be sustained rem ains to be seen.

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t o f l y AUSTRALIAN

What is this thing called glamour? ADRIAN MARTIN considers the question.

C O N F E S S IO N S OF A M A SK L E T ’S think of the hum an face as a mask. Not in the sense, primarily, o f a disguise that can be taken on and off; although there are of course many wholly contrived ‘painted faces’. I mean, rather, the face as a special, heightened, almost imaginary sign or m etaphor o f the hum an person who ‘possesses’ it. The luminous face — the face o f glam our. Edgar M orin in his pathbreaking book The Stars (1959) once grumbled over the historical tendency that has led us to invest so much in the faces of others — ‘the eyes are the windows o f the soul’ and all that — a tendency given absolute aesthetic form in our rapture before the screen close-up of a movie star. M orin’s worry is valid: something o f the full, earthy body — and that body in motion — is surely lost in these ethereally frozen twilight m oments o f the supremely beautiful hum an face, images wrought from movies into that even more impossibly perfect art of the Hollywood still photographer’s glamour portrait. O ther com m entators, however — Robert Benayoun (The L o o k O f Buster K eaton), Lo Duca ( L ’erotisme au Cinema), Ado Kyrou (Love A n d Eroticism In The Cinema), Gerard Legrand (Cinemania) — take a different line o f reverie in relation to images of screen glam our. Touched one and all by successive waves o f surrealism, these authors contributed prolifically over many years to that overshadowed rival of Cahiers du Cinema, the

wonderful magazine Positif. Inspired by a great visionary and erotic philosopher o f the hum an face, Malcolm de Chazal, such writers probed deeply and fancifully into glamour, grasping the vision as a fantasy of love which must endlessly be produced through words and emotions, dreamed out aloud. A veritable religion of the face emerged, far surpassing even the traditional gush of glamour publicity that troubled Morin: a soliloquy addressed in minute detail to watery eyes, open pores, follicles o f hair, cheek lines, nostrils . . . Amongst filmmakers, Alain Resnais (Je t ’aime, je t ’aime), Luis Buñuel (L ’A ge d ’or) and Chris M arker (Sans Soleil) paid their homages to this vision. And even as they knew that what they worshipped was a madly unreal and magnified glam our possible only via camera lens and cinema screen, these dreamers still had the surrealist good sense to know that such beauty could be found outside the movies — that it could and indeed had to be explosively ignited within the ordinariness of everyday life. Here as never before cinema came to be the source not of escape but of inspiration, a potent m etaphor o f glam our in the service o f the w orld’s am our fo u . O f course, the fact can’t be escaped that most of the talkers in this love game were men, with women (privileged cases: Louise Brooks, Lana Turner, Cyd Charisse, Brigitte Bardot, Marilyn Monroe) fixed as the epitome >

of glamour-as-object. And it is for this very reason that the game goes largely unplayed today, at least in these terms; history has ultimately embarrassed or accused those men who would forever eulogise women in an ‘enlightened’ film analysis context. Today, the fact that Positif published a ‘Dictionary of Eroticism’ during the May 1968 riots is taken retrospectively as a cardinal symptom of political incoherence; today, the Raymond Durgnat who once dreamed so eloquently of Greta Garbo is hauled over the coals for trying the same with Grace Jones; today, even Gerard Legrand despairs of being no longer able to bear witness to the heterosexual eroticism which led him in the first place to his life of ‘cinemania’. When the American magazine Film Comment tried in 1985 to celebrate its ‘favourite screen women’, the results were indeed largely misogynistic and prurient. A sad end to the ethos of glamour. If glamour talk still persists, it is in fact mostly under the ‘progressive’ (ie historically sanctioned) cover of man-as-object reverie. Anyone, man or woman, can swoon in print these days over Gérard Depardieu, Mel Gibson, Clint Eastwood or Richard Gere as figures of glamour. Nelly Kaplan (also a surrealist) led the way (for straight women at least) in 1964 with her marvellous cry: “ Is there anything so exciting as a beautiful woman knowingly caressed by the caprice of the lens? Yes, the sight of a beautiful young man captured by a heterosexual camera” . The reversal of terms and the novelty of choice is itself exciting, playful. Furthermore, a strongly homoerotic, sometimes subtly ‘crypto-gay’ undercurrent informs much of the older writing on glamour, not to mention much of the work of the great Hollywood portrait photographers: see Benayoun on Keaton (“ his masculine energy” ) and the ‘feminine’ Gary Cooper; or the great stills anthologist John Kobal on classic ‘androgyne’ camp heroes like Marlene Dietrich or Greta Garbo, his eulogy confusing at every step the desperate tremors of love with a melancholic longing for death — and all in the name of a glamorous ‘transcendence’. Besides these various shades of homoeroticism, perhaps the ‘art house’ is the last fleetingly safe place where a straight man can, with care, confess publicly his ‘voluptuous’ estimation of, say, Isabelle Huppert; but woe to that same man if he speaks out of turn about Kim Basinger, Marilu Henner or Madonna. (Brave exception: Raffaele Caputo’s “ Bleach of Promise” in Cinema Papers 67.) Beyond the historical limits of what can and can’t be said in the name of glamour at any

given time, other deeper and more perennial problems stir — and they are hardly resolved by the modish replacement of Marilyn Monroe by Marcello Mastroianni as resident cultural sex object. Glamour images both moving and still have always displayed the tendency to slide from the positive end of a spectrum to an opposite, negative end: but that’s not something you can always see, since it has as much to do with the use or reception of those images as with their inherent visual or associative properties. My sense of what is positive and negative in glamour photography is personal — hence not universal — but it is based on an intuition of an intense, almost mystical or metaphysical, deep structure in much writing on the subject: a fierce dualism of living and dead, moving and frozen, subject and object, personality and fetish. Let me explain. Think once more of the face as a mask, and of glamour as the idealisation of the face, the imbuing of a face with soul. Nightmare: the mask becomes a prison, it hardens and cracks, but can never be removed — that’s beauty’s curse. Here, the ‘ideal’ of glamour is imposed on the star from without, a social stereotype administered by somewhat sinister Pygmalion-like directors, photographers, lighting and make-up artists. Billy Wilder’s cinema, from Sunset Boulevard to Fedora, has provided the classically jaded and incisive portrait of a film world where glamour is all ‘image’, illusion and nothing more — the dream of eternal youth and poise giving way to a nightmare of age, decay and insecurity as lived by the hapless victims of the glamour system, its so-called ‘stars’. But even on those who, in real life, don’t rise as high or fall as hard as Norma Desmond, the code of glamour must surely wreak its havoc: living an eternally alienated relation to one’s ‘self’ (presence, appearance, personality, sexuality) through the omnipresent cliche of one’s ‘looks’. (How strange, as Raymond Bellour once noted, that the question ‘how do I look?’ refers, nervously and eternally, not to one’s own act of looking but to the acts of others seeing and evaluating an already prescribed appearance.) , ‘Soul’ doubtless resides somewhere else. But where? Glamour’s fragile utopian dream is the two-way exchange between a star’s ‘inside’ (personality, heart) and his or her outward bodily appearance — a dream that the soul might ‘fashion’ the face and body in its secret, inner image. The moment a face becomes all ‘surface’, a mask that is too obviously constructed, the spark of magic which is glamour immediately flickers out. In all those glamorous images which really touch us, we

experience this profound intimation of the invisible soul, the soul made flesh. But who can determine, finally, whether this is anything more than pure hallucination? Can I really claim to know Cary Grant’s ‘soul’ through looking at his immaculate portrait? Is it all just another movieland con-job, the ultimate emotional sweet cheat? Yet still the search for true glamour continues — a truth which would not be brutely visible, but more fleeting, hidden, ephemeral, poignant. Once cliché notions of beauty are cast out from the lover’s gaze, what does he or she see in the most precious glamour photos? Alfred Appel Jr speaks of those fragile ‘signs of life’ (in his book of the same name) that undo the glossy perfection of glamour portraiture and introduce a moment of true human feeling — signs of age, worry, strain, distant reflectiveness (as in a celebrated 1932 shot of Buster Keaton by Clarence Sinclair Bull). Appel privileges and values those elements in glamour photography which resist or even subvert the genre’s wholesale tendency towards living death — subjects who find themselves inexorably frozen, embalmed and objectified by the art of prettification. Veronica Lake in a Richee portrait is, for Appel, “ checking her pulse at the carotid artery, to be certain that her imitation of the submissive doll in the male supremacy fantasy has not gotten out of hand . . . has she been posed to death?” Like Roland Barthes who, in his book on photography Camera Lucida, privileged what he called the punctum (the strange, intractable, individual effect) over the studium (everything which is cliché or conventional), Appel seeks out in his chosen images what is whimsical, imperfect, parodie — and also again homoerotic, since he (like others) regards a subterranean gay sensibility as having totally mocked the Hollywood facade of heterosexual glamour from within. He is fond of ‘limpid’, obscure, nutty, failing images (like a Philippe Halsman snap of Myth Marilyn against a very ordinary door) — those that betray tell-tale signs of life, and which, in retrospect, indicate the coming historical moment when the ‘great days of glamour’ would end, and other more ‘banal’ photographic practices (like the domestic snapshot or the journalistic news photo) would come to be revered as, in their own ways, magical. For ‘everyday life’ is that arena in which people and things happily move, change and perish — and photography should not want to freeze them for evermore. But is glamour really dead? For a stern aficionado like Kobal, it died way back in the

1930s: “ something that had been intensely powerful became something that was too bright, too cheery, and ultimately empty” {The A rt O f The Great Hollywood Portrait Photographers). A gradual loss both of total aesthetic mastery (of artist over model) and a proper tone of solemnity meant the end of the spell of glamour, in his account. But perhaps what Kobal values is precisely that tendency to ‘make over’ living, moving, individual subjects into comatose objects, pure fetishes. And perhaps the ‘soul’ he sees, the magic he projects, is the least truly soulful or magical. Let’s return one last time — with all due historical allowances for heterosexist bias — to that heady team of Kyrou, Benayoun, Legrand, and their friends on Positif. It seems to me these guys really knew something about soul. Their position was not some sophisticated pro-life/anti-glamour argument like Appel’s; on the contrary, they embraced the codes, clichés and rituals of the glamour ethos. Through investing that ethos with more love and intensity than it ever strictly required, they turned the ‘fan’s’ position right around from passivity to total delirium. Not for them the purism of Kobal: everyone, from Theda Bara to Jerry Lewis, could be found truly, stunningly beautiful. Yet these fans always exercised a certain affectionate discipline, a vigilance of the seeing heart: their reveries didn’t totally project a fantasy onto a loved object, rather they tried to draw out and magnify every physical and behavioural particularity of the ever elusive, ever mysterious subject of their mad desire. Both tortured and humble, they watched the screen or pored over stills in total awe — and in the explosive point of contact between what the star actually projected and what the fan longingly invested, a soul was born. The Positif crew knew something that too many of us forget too quickly: that the cinema is bigger than we are, that we are taken up in it, moved and transformed by it just as we move and transform it. Glamour, at its highest point, can be part of this dizzy scenario of two-way exchange. At the cinema, we are privileged to receive the confessions of masks, those souls made flesh which ultimately disappear back into shadow; and we might see in the screen-mirror that we too are masks, souls, shadows, free to reinvent ourselves. At the end of such an initiation, we might also realise (as did the surrealists) that the cinema of glamour is thus the perfect metaphor for what is possibly the only thing greater than it: love — sweet, mad love, another terrain where masks confess to and transform each other ceaselessly. CINEMA PAPERS MARCH - 21

DEGREES OF

You’ve made my life so glamorous You can’t blame me for feeling amorous Oh! ’S wonderful ’s marvellous! That you should care for me! George and Ira Gershwin’s ‘S’Wonderful’ sung by Audrey Hepburn to Fred Astaire in Funny Face (1957)

I hate showbusiness and I love it. I love working with actors and dancers and writers and designers. I think they’re the most beautiful, talented and witty people in the world. But I hate the bullshit, the Beverly Hills homes with swimming pools. I hate Mercedes, I hate Gucci bags, I hate all of that shit. Bob Fosse interviewed by Bernard Drew in “ Life As A Long Rehearsal” for American Film, November 1979.

ALL THAT JAZZ: Roy Scheider

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THE OXFORD English Dictionary tells us that glamour is “ A magical or fictitious beauty attaching to any person or object; a delusive or alluring charm.” Introduced into the language during the early 18th century, the word was originally coined to conjure, in the act of enchantment, those qualities pertaining to spells, trickery, deceit. However, with the introduction and development of photography (particularly fashion photography) and the cinema, it would appear that the meaning of glamour has been modified and extended to evoke not the catalysing process but rather one of the ultimate effects of what cameras can produce in the frozen or moving image. Through the tricks and ruses of technology and the ways light and shade may be artificially adjusted and re-adjusted, the magical instant became a perpetual moment, manifestly there for all time, for all to behold.

Fictitious beauty was presented in magazines and moviehouses as beguiling fact. Cheating delusion was transformed into forever charming illusion. And the all-embracing term to signify a certain heightened, highlighted attractiveness, peculiar to manipulative photogenics, was Glamour. Glamour — no longer a special effect but the everlasting, splendid result, the shining net outcome of many special effects. Glamour and, more specifically, Hollywood Glamour, was, and enduringly still is, Gloria Swanson, Rudolph Valentino, Greta Garbo, Cary Grant, Marlene Dietrich, Tyrone Power, Kay Francis, Joan Crawford, Charles Boyer, Constance Bennett, George Raft and a galaxy of other male and female bodies, whose faces and figures ‘took’ in a uniquely felicitous manner to the Dream Factory’s klieg lights. The fortuitous response of any being to the play of bulb shine and filter shadow across his or her bodily contours not only determines the shape and form of that entity’s glamour potential but also further emphasises a scientific/poetic relationship between glamour and various properties of light. Attributes often associated with the special impact of glamour are lustre, dazzle, sparkle, glitter, glow. And it is precisely through the phenomenon of the camera’s technical and chemical reactions that some Hollywood stars shine with glamour and others don’t. Glamour should not be confused with energy, talent, style, charisma, sex appeal or even beauty, though in many screen performers glamour co-exists with all or some of these qualities. Glamour neither promises nor precludes greatness or popularity. It simply is and you’ve either got or you haven’t got glamour.

Broadway Melody Of 1940

If stars can look or be glamorous (as made evident by movie stills, photo pin-ups, video pause buttons or the interpretative freeze frames of memory), then surely a number of them can behave and move glamorously as well. The Katharine Hepburn canter, the Cary Grant saunter, the Mae West sashay, the Errol Flynn bound, the Bette Davis stride, the Ava Gardner slink provide distinguishing kinetic signatures that complement the distilled glamour of posed portraits. Furthermore, if glamour on screen is characterised as a kind of glimmering surface veneer or textual polish emanating from people, things or places, then maybe this definitive dependence on lighting variables can be inflected to help create different types, diverging schools of glamour that could range from Bright and Debonair through to Dark and Dramatic. Probably the most gesturally pitched, energetically stylised, ritually concentrated and expressively exuberant of film genres is the > CINEMA PAPERS MARCH — 23

musical, which might be alternatively regarded as Glamour In Motion. The deaths last year of actor-dancer Fred Astaire (born 1899) and actor-dancerchoreographer-director Bob Fosse (born 1927) robbed the film world of two singular innovators of the movie musical, each a visionary practitioner who shaped, sharpened and shifted the elements of song and dance to yield forth much more than just a distinctive style or attitude. Fred’s flair and Bob’s brilliance fashioned unique universes, individual realms of colour, line, mood and movement which we could separately label Astaire Glamour and Fosse Glamour. Both artists perform as neatly apposite mascots for an Astaire-Bright/FosseDark Glamour dichotomy yet Astaire is not without his melancholy nor is Fosse entirely bereft of optimism or transcendence. Nobody proves the you-don’t-have-to-bebeautiful-to-be-glamorous maxim quite so cogently as Fred Astaire. Not until Barbra Streisand is there a plainer-faced contender who triumphs as the leading film musical performer of a generation. Though a seasoned success on Broadway and in the West End (partnered by his sister Adele), Fred auditioned solo for Hollywood in 1933, exhibiting that deceptive nondescriptness that is said to have prompted one myopic movie mogul to note: “ Can’t act. Can’t sing. Balding. Can dance a little.” 1 Producer David O. Selznick’s astute reply to this initial snub reads: “ I am a little uncertain about the man but I feel, in spite of his enormous ears and bad chin line that his charm is so tremendous that it comes through even in this wretched test.” 2 And come through it did, gloriously and glamorously. Fred went on to star in a series of nine black and white RKO dance musicals with Ginger Rogers which Pauline Kael describes as “ the most exquisite courtship rites the screen has ever known” .3 These are films distinguished by what David Thomson succinctly terms as “ those intimate, but accelerating conversational dances, where hard heels and glossy floors speak of bliss” .4

The sleek Astaire-Rogers vehicles of the 1930s with their justly celebrated Van Nest Polglase Big White Sets constitute a peerless pinnacle of Hollywood glamour. The films positively fluoresce with that all important light, sculpting Art Deco-rated fantasias which Thomson tells us “ glisten with glass, polished floors, satin dresses, celluloid costume flowers and Astaire’s hairstyle” .5 Fred’s immaculate grooming and sartorial sense enhance his rake-like frame which etches out such a parody of male slenderness as to seem almost inhumanly neuter. But that big irresistible grin twinkles with boyishness and the pliant silver tenor voice tosses off lyrics by Gershwin, Berlin and Porter with an occasional catch of ardour and dash of deep yearning. And when Astaire guides a female partner in dance, it’s clear this is a man who enjoys and salutes the principles and conventions of heterosexual romance where He Loves and She Loves, Fated to be Mated, Cheek to Cheek, Night and Day. The ‘Night and Day’ number is featured in the very first Fred Astaire movie I remember ever seeing, The Gay Divorcee (1934) and my 10-year-old eyes were, even then, astonished by the haunting, heart-breaking glamour of it all. Ginger in frothy snow evening gown backing off from, and eventually succumbing to, a persistently advancing Fred in white tie and tails, set to the rhythmic, relentless throb of Cole Porter’s classic love song. Contact. Release. Contact. Release. Contact. Contact. Contact. Contact. Wow. One of those moments when you know that you love movies if this is what movies can do. Another equally arresting kind of glamour concocted from components of the Hollywood musical left me gasping in mid-adolescence when those busty dance-hall floozies hung over the rails and clicked their fingers in the ‘Hey Big Spender’ routine from Bob Fosse’s Sweet Charity (1969). No swank ballroom dress here. No tidily

coiffed heads held in mutual trance. No balcony looking onto a moonlit sea. Instead, glitzy, figure-clinging miniskirts, garishly overmade-up female faces, crowned by monstrous sixties beehives all arranged into a come-hither tableau of girlie-mag posturing. Fred’s progressive wooing and winning of Ginger feels fairly remote from the chill, still line-up of tainted tarts staring straight ahead and delivering deadpan repetitions of “ Fun, laughs, good times” , as well as languidly spelling out the set-up’s basic erotic economics: “ Spend (two beat pause for punning emphasis) a little time with me (dumda-da/da-dum).” Again, Wow, but a different kind of Wow, longer and lower, much lower. Yet this dank demi-monde of tack’n’tinsel exudes its own stifling enchantment and appeal. The sharply exaggerated stances, the accent on angular rather than rounded movement, the roving camerawork and bravura use of constant, cutting-in editing contribute towards a crackling ensemble effect that reactivates strident cheap into stylish chic. As with the two other musicals choreographed and directed by Fosse, Cabaret (1972) and A ll That Jazz (1979), this reverse side to the fine romancing and ritzy put-on of Astaire, this key-hole view of seedy, steamy, carnal reality, this dancing in-the Fosse dark, nevertheless possesses a showy metallic glint, a piercing diamond-hard flash. In short, glamour. In deconstructing the luminous grace of Fred’s glamour, Fosse reconstructs his own brand of glamour aptly conveyed by the promotional slogan for Cabaret as “ a divinely decadent experience” . We can see early gleams of Fosse-Dark Glamour in some of those 1950s MGM musicals which showcase Fosse’s work both as a regular-looking, keen-faced young dancer and as a resourceful, idiosyncratic, promising choreographer. In the ‘From This Moment On’ number from Kiss Me Kate (1953), after the first two couples have done their bright bits, Fosse gives himself and Broadway colleague Carol Haney an absolutely sizzling duet, introduced by a skidding scream and further punctuated by curled up knee bends, unexpected body slides and a sort of dazed, head-holding stagger. Conceptually and stylistically it’s a far jazzy cry from Ann Miller’s sunny exhibition tap, Howard Keel’s robust leer and Kathryn Grayson’s operatic trill in the same film. Similarly the hearty trade union shenanigans of John Raitt and Doris Day in The Pyjama Game (1957) are counterpointed by Fosse’s dance direction of the sweaty, underground tango in ‘Hernando’s Hideaway’ (ole) and the prototypical Fossean ‘amoeba’ grouping of compressed human pistons in ‘Steam Heat’. And bursting forth from the Faustian baseball farce of Damn Yankees (1958) is Gwen Verdon’s knockout instance of screen immortality when then-husband Fosse choreographs her smouldering, high-heeled legginess through ‘Whatever Lola Wants, Lola Gets’.

SWEET CHARITY: Paula Kelly, Shirley MacLaine, Chita Rivera

But the most honoured (eight Oscars including best direction) and best remembered Fosse film is possibly Cabaret. This musical revamping of Christopher Isherwood’s Berlin stories by way of John Van Druten’s I Am A Camera boldly reflects the social currents of Weimar Germany within the tatty milieu of the Kit Kat Klub, a Berlin nightspot where can can girls turn into strutting Nazi soldiers and a giant female gorilla acts as a metaphor for persecuted Jewry. Among Cabaret's superb routines, Joel Grey’s devil doll M.C. and Liza Minnelli’s “ international zinging zenzation” Sally Bowles singing and dancing ‘The Money Song’ are a cynical high point. The number also furnishes a revealing indicator of aspects of Astaire and Fosse Glamour when placed alongside Fred and Judy Garland’s renowned team effort ‘A Couple of Swells’ from Easter Parade (1948). Both numbers are novelty songs about wealth and the relative conditions of having and having not. In the Irving Berlin standard, Judy and Fred play at being a pair of New York city bums who elaborate upon the aristocratic joys of slumming (“ We could sail up the avenue/But we haven’t got a yacht/We could ride up the avenue/But the horse we had was shot.” ) For the Ebb and Kander composition, specially devised for Cabaret the film, Liza and Joel play at being a couple of over-dressed toffs who perform a paean to how it’s cold cash and nothing else, certainly not love (“ But when hunger comes a-rap-tat-a-tat, tat-a-tat at the window/ See how love flies out the door!” )that makes the world go round. Fosse uses Minnelli’s top heavy eagerness to please and Grey’s mischievous midgety prurience to fuel the song’s message that coins cure all, to the extent that “ a mark, a yen, a buck or a pound” offer some kind of sex surrogate; her bosom and his crotch become THE LITTLE PRINCE: Bob Fosse

< erogenous banks of trickling gold as the spangled vamp and monocled dwarf shower themselves in riches, turning each other on to the lust for lucre. Of course the lyrics do tender some momentary sub-Brechtian moral compensation (“ That clinking, clanking, clunking sound/Is all that makes the world go round” ). However a lot of our recollective residue from the song remains anchored in shots of the shaking Minnelli mammaries and the jiggling Grey groin. This doesn’t necessarily mean we get out our ideological whips and relegate Fosse to some theoretical concentration camp for Suspected Sexual Objectifiers or Convicted Body Imagists. It simply appears that this is how Fosse’s immense choreographic and directorial skills have chosen to employ the particular talents of particular individuals to interpret a particular song. Or that is to say parts (including body parts) of Minnelli and Grey serve an overall theme in ‘The Money Song’. Their considerable energies are moulded and managed by Fosse to make performative means reach an informative end.

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It’s the showing as much as the show that for Fosse must go on . . . What choreographer Robert Alton, Fred Astaire and Judy Garland achieve in the ‘Swells’ routine comes across as significantly different. To begin with, the whole affair is filmed using what had become recognised as Astaire’s trademark, namely the performing figures in top-to-toe medium long shot producing a unity, which is further reinforced by the impression (and often the actual occurrence) of seamless flow, of being staged in one continuous take. There’s a notable absence here of Fosse’s virtuoso inter- and intra-cutting technique, where the frame cuts up into an ever-changing frieze of other shots, either related or unrelated to the main dance action, allowing for the effects of fragmentation. In its place, what we see is what we get: Fred and Judy going through a vaudevillian turn against a conventional painted backcloth. Most of any virtuosity involved is up to them to perform for us without lightning edits or multiple camera angles. Aside from the song’s quite arbitrary theme that you can be happy being poor by pretending you’re not, the number’s uninterrupted show-it-like-it-goes wholeness of execution permits the undeniable pleasure of witnessing two great stars sock it to us. In torn rags and faded patches they mug about and camp it up, displaying the full riches that the glamour of their talent together affords. This isn’t “ bits” of Astaire and Garland prismatically piecing out a map of a larger thematic mosaic, grand scheme or Big Idea. This is the entire lovely thing that happens when he prances erect in battered top hat and dusty polka dot bow tie and she ducks down and around, grabbing attention with low down shimmies and hammy, winking toothless smiles. It’s the real thing and not necessarily the “ reality” thing that Fosse claims he was trying to inject into the cinemusical genre, where he has, in his own words, “ generally tried to make the musical more believable” .6 And watch how Fred watches Judy, how generously he ‘gives’ the scene to her. Not standing back, mind you, but participating, responding, using the carriage and bearing of their bodies within the number to stress, inflect, change, in fact, edit, the routine. If Fosse evidently revels in the flinty cross cutting glories of montage, then the Astaire mode utilises self-propelling mise en scene to express the special glamour of his musical whirl. The transition in film history from Astaire to Fosse glamour can be seen to reflect a parallel shift in art history which moves from classical Renaissance perspective (man as the measure of all things) to dislocating, distorting expressionism, abstraction and surrealism (man as un-measurable part of many, many things). Fred Astaire, as has been often noted, functions as a kind of twirling, animated version of Leonardo da Vinci’s perfectly

dimensioned ideal man, the figure placed within a geometrically divided circle which is itself framed by a square, or if we so choose, a cinema screen. Bob Fosse’s choreographic canvas covers an ambitious palette spanning the darkened eyes, pallid countenances and violent emotionalism associated with, say, Edvard Munch, to the twisted hips, poking buttocks, splayed fingers and generally dismembered carnality paraded in the spotlit dreamscapes of Salvador Dali. The Astaire mode is a definite style (a way of aesthetically meeting and matching the world, as is). The Fosse strands trace out a certain stylisation (a way of turning around and making a different world, which may or may not be). This question of scale and proportion might suggest how Astaire glamour shifts so easefully across to dimensions of unquestionable radiance while Fosse glamour seems “ merely” fixated at the level of razzle dazzle. Speaking scientifically/poetically, forces are said to radiate and disperse energies in equal distribution when the dynamic source is centrifugal, when rays emit from a crucial core. In other words, Astaire glamour could appear to radiate, to be a radiant glamour due to the phenomenon of an ever-present, governing principle which sustains ratio and guides the differentials of frequency and speed. And that quintessential dynamic principle must, of course, be Fred Astaire — his is the music that makes him (and others) dance. Within this contextual sphere, Fosse functions as a high-flying piece of flotsam or jetsam, a mass of startling details that don’t quite make a whole. Why else do Fred and Ginger in the ‘Bouncin’ the Blues’ rehearsal tap from The Barkleys O f Broadway (1949) project a luminescence and zest that the ‘On Broadway’ audition sequence in Fosse’s All That Jazz can only meet with the perspiration of anxious hopefuls straining to match the demands of A Chorus Line-Up? (Or do they and the segment just get wasted from the exhausting cleverness and pressure of Alan Heim’s editing tour-de force?) Why do we remember, can never forget, the brow-to-brow bonding of ‘The Carioca’ from Flying Down To Rio (1933) and the crossing arcs of stretched arms in ‘The Piccolino’ from Top Hat (1935) when the ephemeral spark of the Pompeii Club’s ‘Rich Man’s Frug’ in Sweet Charity (1969) has long since dimmed? How come the utter simplicity of ‘By Myself’ in The Band Wagon (1953) seems to say (and do) so much more (and so much less) about solitude, ego and mortality than the whole phantasmagorical Kamikaze fireworks finale of ‘Bye Bye Life’ in All That Jazz? In looking at Fosse versus Astaire glamour are we finding a vital link between glamour that goes and glamour that grows? Do Fosse and Astaire respectively affirm and negate the 19th century Romantic novelist Ouida’s dictum: “ I know how quickly the glamour fades in the test of constant intercourse” ?7

KISS ME KATE: Bob Fosse far left, with Tommy Rail, Bobby Van, Ann Miller

Given his superlative natural radiance, can fabulous Fred ever really die? And was bright Bob, even alive, in perpetual peril of outdazzling himself, of being Fosse-lised in his own mesmerising, fetishising modernity? Perhaps the formidable dance (and former film) critic Arlene Croce (author of the acclaimed Fred Astaire A nd Ginger Rogers Book) might assist with a few observations to help clear up at least some of the enigmas surrounding Astaire, Fosse and Hollywood Glamour: On Fosse [His] method of closing down and hugging the figure so that the only way it can move is by isolating and preciously featuring anatomical parts makes it a good vehicle for narcissistic display and slithering innuendo.8 On Astaire Passion — the missing element in just about every ‘sexy’ duet that has been attempted since — is usually confused with emoting and going primitive. With Astaire and Rogers it’s a matter of total professional dedication; they do not give us emotions, they give us dances and the more beautifully they dance, the more powerful the spell that seems to bind them together.9 When the curtain went up on an Astaire dance . . . the experience was so dazzling the only sane response was gratitude to film for having brought it into existence.10 1. Arlene Croce, The Fred Astaire And Ginger Rogers Book, Vintage Books, New York, 1972, p14 2. Rudy Behlmer (ed), Memo: From David 0. Selznick, Avon Books, New York, 1972, pp82-3 3. Pauline Kael, Deeper Into Movies, Atlantic-Little, Brown, Boston-Toronto, 1975, p28 4. David Thomson, A Biographical DictionaryOf The Cinema, Seeker & Warburg, London, 1980, p20 5. ibid. p524 6. Interview with Glenn Loney in After Dark magazine quoted by Greg Faller, The International Dictionary Of Films And Filmmakers, vol. 2, Macmillan, Chicago, 1984, p196 7. Ouida, Field In Bondage, 1863, p97 8. Arlene Croce, Afterimages, Alfred A. Knopf, New York 1978, p183 9. ibid. p436 10. ibid. p435 For Terry Owen. (With thanks to Felicity Collins, Anna and Peter Dzenis, Jill Niquet, Lorraine Mortimer, Bill Routt, Rick Thompson and Michael Wilkie.)

CINEMA PAPERS MARCH - 27

T H E IV IR O N ! “The great show is as furtive, and as bound by loneliness, as every voyeur’s pleasure must be” — David Thomson I think there are two kinds of cinephiles (film buffs), or perhaps two conflicting tendencies within every true, serious buff. On the one hand, a deep attraction to states of solitude; and on the other, a celebration of community. The movies allow, and encourage both tendencies. I can go home and have sad dreams about Once Upon A Time In America as if the film had been made only for me; and I can also whoop it up with the gore hounds at a matinee of Evil Dead II. I have a suspicion that as critics become more dedicated and ‘professional’ — as they alienate themselves from the Hoyts theatre complex and end up dividing their time between secluded preview rooms, the VCR and their writing desk — melancholy inexorably sets in, and the whole experience of film becomes intensely ‘privatised’. Of all the great writers on film, David Thomson seems to me also the most melancholy. He cultivates his sense of solitude, and pursues it relentlessly through each film, motif or star that comes into his view. Whether writing about telephones or moustaches, Cary Grant or Warren Beatty, Wetherby or Mike’s Murder, Thomson sees in each the signs of a sad shadow play: lack of fulfilment, loss, separation, desperation. No matter what fleeting joy or whimsy flickers across the screen, for Thomson it is all ghosted by a recognition of an unavoidable, solitary end. Although one could fairly object that Thomson ends up ‘rigging’ most of his subjects in order to produce such a reading (and what film criticism doesn’t ultimately do just that?), there’s no doubt that he is the most eloquent spokesperson for the melancholic aspect of the filmgoing experience. Prospective readers of Warren Beatty: A Life And A Story should be forewarned of that which Thomson lays on the table in the first few pages of the book: this is a ‘biography’ by someone who has never met, spoken to or corresponded with his subject/ Thomson’s trick, in fact, is to write about Beatty as if he is already dead. This corresponds to the book’s ideas about stardom and glamour alike: the screen actor as ghost, myth, blank screen upon which the viewer projects his or her own tortured desire. We cannot ever know the ‘real’ Beatty; he exists only as a fiction of the imagination. This lengthy exploration by

28 - MARCH CINEMA PAPERS

ÆAN IN T H E C M A SK Thomson of the key tenets of what could justly be termed his theory of popular film — a theory of desire and imagination — will delight cinéphiles in tune with this not-so-hidden agenda; but it may well disappoint readers in search of a more conventional, and conventionally informative, biography. There are in fact two books in one — the ‘life’ and a ‘story’, a novel which runs in alternate chapters with the biography. Thomson offers his story as a reflective counterpoint to Beatty’s life, “ a part fit for him to play” (p5). It concerns a naive outsider to the movie world, a writer named D, being brought into the mysterious, duplicitous kingdom of a reclusive superstar, Eyes. This literary gambit (or conceit) does not work as well as it should for Thomson, and it weighs the book down mightily. The ‘story’ is somewhat monotonous and lifeless — coming to it straight after reading Rudolph Wurlitzer’s not dissimilar novel about New Hollywood, Slow Fade, I found myself wondering whether it is a rule of the genre for the innocent narrator to have his cock sucked by the producer/star’s secretary by page 25. In the context of the parallel parts, this story fails particularly insofar as, while trying to expand and delve more deeply into the themes thrown up by Beatty’s stardom (particularly the sinister Howard Hughes-style secrecy), it ends up merely ‘illustrating’ and reiterating them, over and over. Another reason the ‘story’ doesn’t work is that, finally, I don’t think Thomson is too good at stories. He understands them and their magic — he even provides his own version of Fitzgerald’s famous “ I’m just making pictures” lesson from The Last Tycoon — but his deepest sensibility lies elsewhere. For Thomson, rattling good yarns are only important for the moments of reflection they create, the pauses, the echoes. Movies always provide a sad revelation for him; he cherishes the dark, frozen moments of silent watching, waiting and listening. The cinema — and particularly the cinema based on a system of glamorous stars — is a spectacle of interiority, of private thoughts and hovering, luminous faces (here Thomson meets the very different theorist Jean-Louis Schefer, for whom films reveal “the unknown centre of ourselves” ). The subject of the book is Beatty (rather than Jack Nicholson or A1 Pacino) because he is an actor who “ prefers to be invaded by the perplexity of a moment” , who arouses doubt and speculation whilst performing/being,

rather than one who ‘projects’. Thomson is fond of the notion of ‘worrying’ — and Beatty is someone who ‘worries at’ his roles, rendering them strangely opaque and ghostlike. It has to be said that, because of Thomson’s affinity for the ‘pregnant’, frozen moment, the most successful counterpoint he provides to the ‘life’ is not the ‘story’ but the immaculately selected, and often tantalisingly mysterious still photographs — everything from Beatty’s face at its most inscrutable to haunted highway vistas. The book comes equally alive when both the ‘biography’ — and the numerous reflections on what it is to write biography — give way to what Thomson does best and what few biographers can do at all: the analysis of films. In a few brief pages, Thomson brings Lilith, The Parallax View, Mickey One and McCabe And Mrs Miller alive in ways and from angles that one has never read or imagined before. Thomson can grasp in a truly exciting way the interplay of an actor’s contribution, the part he or she has been called upon to play, the persona that has accrued to the star, and the total semantic field of the film as a film — where all this holds together and where it flies apart. When it comes to the question of glamour in the cinema, I think there are two traditions. The first would be signified for me by the chapter in Robert Benayoun’s book on Buster Keaton called The Mask O f Glamour, a letter of love truly without limits. For Benayoun, Keaton’s face is a mask, a perfect work of flesh, an imperishable image. Age cannot wither him, nor custom stale his infinite variety . . . In Alfred Appel’s Signs O f Life, a rather darker variation on the theme of the mask works itself out: the mask as facade, as the picture of Dorian Gray, the real decay and the real complexity lying beneath the surface. Thomson falls somewhere between the two traditions, playing them against each other. His ‘story’ gives full vent to the grim ironies, the fatal contradictions of the condition of stardom. But his interest in the ‘life’ is the emotion of someone fully seduced, who sees in the face of the actor, and the fancy it inspires, “ the ultimate transcending of history” . For Thomson, transcendence too undoubtedly leads, in the end, to pure melancholy. But for me, for you? We are not through yet with the cultural complexities of desire and imagination. Adrian Martin Warren Beatty: A Life And A Story by David Thomson (Seeker & Warburg/Australasian Publishing Company, 1987, ISBN 0 436 52015 X, hbk, $29.95 rrp)

CINEMA PAPERS MARCH - 29

S HORT S

PETER CRAVEN ruffles some Feathers and JOHN CONOMOS gets deep about Ocean, Ocean. few years ago the American short story writer Raymond Carver briefly visited this country and his fiction, which is admired by such Australian writers as Helen Garner and Elizabeth Jolley, has enjoyed quite a vogue in Australia since that time. Carver is a meticulous craftsman who celebrates succinctly and with compassion the travails of lower middle America and not just in any narrow economic sense. Carver's America is an America without glamour and without prestige, a world of little people getting by as best they can. The authority of his writing comes from the dignity with which he invests common life at its shabbiest. His style is crystalline: it traces the ups and downs of the tough life with a delicacy of understated cadence. I suspect he appeals to Australians so much because of his understatement, his ability to touch on the experience of the nearly inarticulate and his complete lack of social pretension. It makes sense that someone should have had the idea of turning Carver's story Feathers into a short Australian movie. The world of Carver's fiction has a real resemblance to that all too rarely seen suburban world as it was represented in Stephen Wallace's Love Letters From Teralba Road and it's not hard to imagine the early Stephen Wallace, or perhaps the Jane Campion/Helen Garner team producing small masterpieces which translated Carver into the language Australian cinema needs so much: an idiom which would be implicit and rapid, realistic without the circumstantial dross of naturalism. Unfortunately this doesn't happen with Feathers as John Ruane directs it. Carver's story is about a man and woman who visit a couple in the country and end up changing their lives. The story represents Carver at his most laconic and its punch comes from its last page and the retrospective light it casts. There's a fat ugly baby and a pet peacock and a fair amount of daunting domestic bliss but everything in the story is laconically epiphanic, it never strains towards symbolism. And the

30 — MARCH CINEMA PAPERS

FEATHERS: Neil Melville as Bert

stylistic consistency ensures that the surprising conclusion has its own inevitability. John Ruane's Australianised version both adapts the story to imagined Australian conditions (which is fine) and transcribes the residuum of Carver's action and dialogue with a Visconti-like slavishness — and somehow this misfires. Part of the trouble is that Carver's homogeneous poor white world (which is devoid of any sense of class) suffers an odd seachange through a needless bout of Australian self-consciousness and social unease. In the story the contrast is between the domestic, countrified couple with child and pet and their free-ranging foils. In the film this somehow gets entangled with something suspiciously like the Life Style issue. The upshot is that Jack Games Laurie) and Fran (Rebecca Gilling) look as though they have escaped from the nearest advertising agency to visit their hick friends Bert (Neil Melville) and Olla (Julie Forsyth) — whereas much of the point of the action comes from the fact that the two couples have occupied two corners of precisely the same world. The subtle gap in the story between the breeders and the childless couple gets dressed out in the least subtle kind of social distinction and all

the signals seem wrong. Where the short story is told in the first person in a tone of sustained naivete which wins the reader over to a point from which two perspectives blur, the film inevitably makes the audience identify with the embarrassment of the city-slickers. Feathers is certainly a film with its heart in the right place. The opening scenes with the city couple, concentrating the visual interaction between them, are vigorous and enticing. And the visual ploy of keeping the couples in the one frame initially and then individuating and isolating is intelligent and might well have been very satisfying but the script and the acting bog things down. Rebecca Gilling as Fran does have the advantage of looking like "a big tall drink of water” which is how Fran is described in the story, but she plays the part in the muted Australian plain style that one associates with the daily soaps -r- ‘ she insinuates that she's an attractive, sympathetic woman, equal to anything and with no more depth than she needs. Both James Laurie as Jack and Neil Melville as Bert lay on the ocker he-man stuff with fair skill but as though they had to characterise the vulgarity of their characters rather than simply be ordinary blokes. (Either of them could benefit from

watching Jack Thompson on a good day.) In the part of the wife in the country, Julie Forsyth seems to me quite simply wrong. She plays the role in that Carltonised rustic whine which she has used on Melbourne stage audiences as everything from Lady Macbeth to Madame Ranevskaya. Oddly enough it doesn't work in "realistic” cinema either; even though she's playing a country woman the effect is both wooden and mannered. Feathers has the advantage of its ambition. The countryside around Ballarat is used to splendid effect in all its frosty blues and sunlit golds. A smattering of moments work with a real freshness and panache and the all important peacock is quite a performer. But when it all comes down to it Feathers is a very interesting piece of film which does not quite come alive. It was shown with Megan Simpson's An Australian Summer, a short film with less exalted pretensions. A piece of journeywork by a director recently out of film school, this was little more than a memoir with images. It showed, however, almost inadvertently (because the attempt to fictionalise was so slender), some kind of refraction of the low key Australia that Feathers needed to come to terms with.

1CÜ O

ccasionally we encounter a new film which reaffirms the waning belief that it is still possible to create a cinema of fresh images and sounds that connect to the heart — a cinema of precision and intensity shedding light on the human condition. The film I'm referring to is Keiran Finnane's Ocean, Ocean — an AustralianFrench 16mm co-production — whose importance for our local filmmaking scene will, I believe, increase with the passage of time. Ocean, Ocean is a highly accomplished work of ambiguity and silence that exhibits a rare filmic sensibility at home with the main narrative and stylistic conventions of the European art film as a distinct mode of cinematic discourse. Ocean, Ocean's authorial expressivity centres on an impressive ability to manipulate the visual language of the art cinema, so that in effect, we have a work that approximates Bresson's definition of his own sublime cinema as 'cinematography'. That is to say, a cinema which rejects the banal lies of most of our mainstream cinema which is, according to the French filmmaker, no more than photographed theatre. Ocean, Ocean is a splendid instance of his description of cinematography as "a writing with images in movement and with sounds” . There may be some who will see Ocean, Ocean as simply a faithful reproduction of the key formal and thematic configurations of the art cinema. And there may be others who may object to its 'ideologically unsound' story of a young woman having a relationship with an elderly man. Both positions, I

AUSTRALIAN SUMMER: Anne Tenney and Alan Lovell

The Melbourne F

contend, are misleading in the light of the evidence on the screen. Ocean, Ocean is a brave and imaginative work whose sombre colours indicate an emotional world where its lonely characters seek understanding in a universe of indifference. This is not to say that the film is without humour. On the contrary, witness the early sequence staged around a serene lake where we see the heroine pursued by an amorous young man who is limping because his shoes are too small. I say "brave” because the film is genuinely experimental in concept and execution. It is a work that dares to take risks, the biggest risk being the writer-director's willingness to create a work of great refinement that belongs and contributes to an unmistakably original cinematic topography enunciated by Resnais, Duras and Bresson. Finnane gives us haunting scenes of characters and their ambiguous relationships in a world that is at the same time alluring and impenetrably mysterious. She seeks out new refreshing options in the relation of image to sound. But sound in this case, excluding Felicity Foxx's apposite mournful music, is silence, a silence which speaks of our solitude and pain in a world of fleeting happiness. The film's characters seem to be happier ensconced in the warmth of their dwellings. The world outside is both beautiful and sad, a place only fit for passing through, as we are reminded in one of the work's pivotal scenes, where the heroine visits her other lover at his office. Ocean, Ocean possesses several fine and understated performances. Helen Manning is engagingly credible as the pensive heroine; Pierre Vial as her aged companion is equally sensitive in his role and his finely sculptured face is, on several occasions, embraced by a slow moving camera. This is a tender work of faces, gestures and doubt. Bernard Ballet as the heroine's other companion is particularly memorable. His expressive face reflects a quiet wisdom of someone at peace with the world. Ocean, Ocean is a mature work of abundant conceptual and technical accomplishment. It knows what it wants to say and how best to say it. It is a film of beauty and sadness, of stillness and compassion. Australian cinema is richer for it.

il m

e s t iv a l

THE MELBOURNE FILM FESTIVAL HAS AVAILABLE LIMITED NUMBERS OF HISTORICAL FESTIVAL PROGRAMMES FROM 1953-1987. MANY OF THESE ARE NOW COLLECTORS’ ITEMS. PRICES RANGE FROM $5.00-$10.00 DEPENDING ON YEAR, PLUS POSTAGE AND PACKAGING. ORDER FORMS ARE AVAILABLE FROM: MELBOURNE FILM FESTIVAL 2ND FLOOR PO BOX 2760EE 0R 41 A’BECKETT ST MELBOURNE 3001 MELBOURNE 3000 OR RING (03) 663 2954 DURING BUSINESS HOURS FOR DETAILS ON HOW TO ORDER.

TO ADVERTISE IN

CINEMA R in g Patricia Amad: M elbourne 4 2 9 5511

T he Sydney Film & Video Event

CALL FOR CONTRIBUTIONS T he Sydney F ilm & Video E vent w ill take place a t the C hauvel C inem a over 6 nights d u rin g A p ril/M a y 88. T he Sydney Super 8 F ilm Group is interested in view ing contributions in the follow ing gauges: Super 8, 16m m , 3 5 m m , VH S, Video 8. B oth international a n d A u stra lia n m aterial w ill be considered.

Deadlinefor contributions is A pril 1/88.

The Sydney Super 8 Film Group PO Box 424 Kings Cross 2011 (02)332 4674 Assisted by The Australian Film Commission CINEMA PAPERS MARCH — 31

What can Australia '

learn from Brttain^s -’"f-f *p 1 | vp P ||p |£ I -p}' ’ >£*//

Channel 4? Plenty, argues HUW EVANS.

M o st people in th e film and television industry will be fam iliar with the origins of C h an n el 4 in th e U K and with the various attem pts over the past d eca d e to achieve som ething sim ilar in Australia. In fact g enesis of the concept occurred in the tw o countries at very much the sam e tim e. In th e case of C h an n el 4 it was th e A nnan C o m m itte e on th e Future of B roadcasting b etw een 19 7 4 and 19 77 w hich laid out th e gen eral philosophy and structure of th e Fourth C h an n el largely on th e basis suggested to th e C o m m ittee by b ro ad caster and w riter A nthony Sm ith. Sm ith argu ed th at th e new channel should be . . placed outside the existing competitive strategy, outside the BBC/IBA duopoly . . . wedded to a different doctrine from existing broadcasting authorities, to a doctrine of openness rather than to balance, to expres sion rather than to neutralisation, C o n s id e ra b le a rg u m e n t a n d co m prom ise n everth eless had to be worked through in th e five years betw een A n n a n ’s report and th e start of transm is sion by C h an n el 4 late in 1982.

32 - MARCH CINEMA PAPERS

I d o n ’t think I need to detail C hannel 4 ’s subsequent p erfo rm an ce other than to point out th at in th e last British financial year to M arch 1987, C h an n el 4 not only m et its au d ience targets with a range of program s and films which h ave received international critical acclaim , but also billed close to £ 1 6 0 million worth of ad ver tising and returned a profit of around £20 million to the m ainstream com m ercial operators who fund it. A lm ost ev eryo n e had, of course, d eclared in 19 82 that the concept co u ld n ’t' and w ou ldn ’t work. So well is it working now that the discussion turns on c u f ^ | f § f loose or even privatising it. In the sa m e ye ar in which m m & k| returned his findings (1977), th e a M ^ B Man Labor Party adopted, as part of its policy on arts and com m unication, a plan to establish w hat one of its c r e Q t H K Phillip A dam s, had dubbed “ T h e G a lle ry ” . This w as to be a television service which concerned itself wi1h pro gram s w hich w ere e d u c a tio n a lM a n d fostered a national cultural identity. It would support th e A ustralian film- .and

television industry and, like C h an n el 4, would act in the m arket only as a pub lisher of program s — th at is, it would m ake none of its own Labor, h o w e v e r w as riot th en in office,: and the concept w as overtaken by the F raser G ovem m entV^decisiorf to b f ¡ p § l | ^ the scope of m ultilingual program m ing then being u nd ertaken on radio stations

2EA creating a m ulticultural television service, now S B S T V whichlb'qgari rrig u la r transa mission bn O cto b er 2 4 f§ S § é / W e should in no^way* s e b ^ ^ S p ^ ^ e J exigencies which prom pted th e establish m ent o f S B S . . ^ T h e point; is, b f C h an n el 4 qption^with ^Whjcrii en h an ce m en t of the charter, structure and^ resource’s of increased p io g ram supply from the in d e p e n d e n t i b i ^ u c t i o f i ^ s e q t q ^ ^ i f i non-“ iri-hous&L’ sourcj ' M I ^ ^ ^ ^ ^ ^ ^ ^ S I 'think it is im portant to be aw a re of the q u jte d e s u lto ry tre atm e n t S B S has had to

put up with at the hands of successive G overnm ents. H e re is a b rie f c h ro n ic le . 1975

R a d io s ta tio n s 2 E A a n d 3 E A e x p e rim e n ta l tra n s m is s io n .

1976

A B C re q u e s te d to p ro v id e a p e r m a n e n t e th n ic b r o a d c a s tin g s e rv ic e .

1977

R e q u e s t to A B C w ith d ra w n b y a F ra s e r G o v e r n m e n t e x a s p e r a te d b y th e A B C ’s in d iffe re n t re s p o n s e a n d th e S B S e s ta b lis h e d .

1980

G o v e rn m e n t p ro p o s e s “ In d e p e n d e n t a n d M u ltic u ltu ra l B ro a d c a s tin g C o r p o ra tio n (IM B C ). S e n a te re fe rs le g is la tio n to S ta n d in g C o m m itte e on E d u c a tio n a n d th e A rts w h ic h re c o m m e n d s a g a in s t p ro c e e d in g . S B S T V p ro c e e d s u n d e r th e ru d im e n ta ry p ro v is io n s o f th e B ro a d c a s tin g a n d T e le v is io n A c t.

1981

G o v e rn m e n t la tio n .

1983

C o n n o r C o m m itte e o f R e v ie w o f th e S B S e s ta b lis h e d .

1984

C o n n o r re p o rt re c e iv e d .

abandons

IM B C

b e g in

le g is

1986 G o v e rn m e n t a n n o u n c e s e s ta b lis h m e n t (M a rc h ) o f S p e c ia l B ro a d c a s tin g C o rp o ra tio n , an in d e p e n d e n t s ta tu to ry a u th o rity to re p la c e th e S B S a s re c o m m e n d e d by C o n n o r a n d th e S B S its e lf in its s u b m is s io n to C o n n o r’ s in q u iry . 1986 (Ju ly)

C o r p o r a tio n p ro p o s a l a b a n d o n e d . M e rg e r o f A B C a n d S B S a n n o u n c e d to a c h ie v e c o s t s a v in g s — all d o n e v e ry s u d d e n ly in th e b u d g e t c o n te x t.

1987

L e g is la tio n to m e rg e A B C a n d S B S d e fe a te d in th e S e n a te . Is s u e re fe rre d a g a in to th e S ta n d in g C o m m itte e on E d u c a tio n a n d th e A rts .

if|$ 3 7

(J u s t p r io r to th e J u ly e le c tio n ) G o v e rn m e n t a b a n d o n s m e rg e r. S e n a te S ta n d jp g C o m m itte e , n o t to b e o u td o n e , re c o m m e n d s a m a lg a m a tio n s h o u ld p ro c e e d .

/198,7

(J u s t a fte r th e e le c tio n ) N e w M in is te r G a re th E v a n s a n n o u n c e s G o v e rn m e n t - is r e -e x a m in in g o p tio n s in c lu d in g a p p ro p ria te ly a d a p te d ” C h a n n e l 4 s tru c tu re , a m a lg a m a tio n w ith A B C , o r a s y e t-u iy d e n tifie d a lte rn a tiv e s .

It m a y b e u s e fu l, at th is p o in t, to re fe r b rie fly to th e re p o rt o f th e firs t in q u iry by th e S e n a te C o m m itte e on E d u c a tio n and th e A rts w h e m it c o n s id e re d (an d re c o m m e n d e d a g a in s t) th e le g is la tio n to c re a te th e n e w T V s e rv ic e a n d tu rn th e S B S in to th e In d e p e n d e n t M u ltic u ltu ra l B ro a d c a s t ing C o rp o ra tio n , as p ro p o s e d by th e F ra s e r G o v e rn m e n t a n d th e th e n M in is te r, T o n y S ta le y. T h e re p o rt w a s p re s e n te d to th e S e n a te m o re th a n s e v e n y e a rs a g o in A u g u s t 1980 s h o rtly b e fo re S B S T V b e g a n . . A t p a g e 15: T h e S B S in its e v id e n c e e x p re s s e d g re a t ^ ^ OTpa j p ^ p ^ t h e IM B C ’s a b ility to p ro v id e a ^ p a B ^ ^ ^ ^ ^ b n a l s e rv ic e th a t m a tc h e s or th a t o f th e c o m m e rc ia l ® % ro a d c a s te rs £ > r th e A B C . . .

.2,8'the C o m m itte e says: ^ ^ ^ ^ ^ ^ n c e r n e d th a t th e m o v e m e n t s a ^ p ^ S ^ ^ ^ ^ rm a n e n t in tro d u c tio n (ie th e ~IM B G J U ^ ^ e tn g m a d e w ith o u t th e n e c e s s a ry M p re jifm n a ry .p re p a ra tio n th a t w o u ld e n s u re its

success. ( . . . ) ^ S /T h e e v id e n ft|ffih a s n o t s h o w n th a t th e p rog ^ ^ ^ d ^ p i:o g irs [E h m in g p o lic ie s w ill n e c e s s a rily in a c h ie v in g a w o rth w h ile § in f e r c u lt u r a t ^ e x c h a n g e b e tw e e n th o s e ••j3eo'p{e v a rio u s e th n ic c o m m u n itie s ^ a i S S t i s S f f i a lia n s o c ie ty a t la rg e .

M u ltic u ltu ra lis m a s e n v is a g e d b y th e IM B C w o u ld s e e m to d e p e n d u p o n th e p o p u la rity o f fo re ig n la n g u a g e p ro g ra m s w ith E n g lis h s u b titlin g — a p o lic y th a t o n th e b a s is o f e v id e n c e re c e iv e d is o p e n to q u e s tio n a n d h e n c e a p o lic y w h ic h w ill n e e d c o n s id e ra b le e x p e rim e n ta tio n .

T h a t e x p e rim e n ta tio n is s till g o in g on. T h e fa c t is, h o w e ve r, th a t s in c e th e in c e p tio n o f e th n ic a n d m u ltic u ltu ra l b ro a d c a s t ing in A u s tra lia , a d e fin e d lo n g -te rm role, o rg a n is a tio n a l s tru c tu re a n d fu n d in g m e c h a n is m fo r th e S B S ha ve p ro ve d e lu s iv e to s u c c e s s iv e G o v e rn m e n ts an d M in is te rs . T o m e it is p la in e n o u g h : th e p ro g ra m fo c u s is s o m e w h a t to o n a rro w ; th e U H F tra n s m is s io n s yste m a lie n a te s it fu rth e r fro m its p o te n tia l a u d ie n c e ; and no t n e a rly e n o u g h m o n e y is b e in g s p e n t on A u s tra lia n -m a d e p ro d u c t. S o it is e n c o u ra g in g th a t th e ne w M in is te r sh o u ld n o w be p re p a re d to lo o k to th e U K C h a n n e l 4 te le v is io n m o d e l fo r p o s s ib le s o lu tio n s to s o m e o f th e S B S ’s p ro b le m s . O n e c a n n o t a rg u e w ith his e x p re sse d v ie w th a t th in g s s im p ly c a n n o t be a llo w e d to c o n tin u e as th e y are. M o st re c e n t su rv e y s s u g g e s t th a t, on a raw ra tin g s ba sis, S B S T V is a c h ie v in g an a ve ra g e sh a re o f little m o re th a n 1 p e r c e n t o f th e v ie w in g a u d ie n c e . T a k e n to g e th e r th e m e tro p o lita n c o m m e rc ia l s e r v ic e s g e n e ra lly a c h ie v e c lo s e to 90 p e r cen t. T h u s th e e ffe c tiv e n e s s o f u s in g “ m u lti c u ltu ra l” te le v is io n as p re s e n tly p ro v id e d by S B S T V to a c h ie v e a s ig n ific a n t d e g re e of “ in te rc u ltu ra l e x c h a n g e ” ha s to be s e rio u s ly q u e s tio n e d . P ut s im p ly : no a u d i en ce, no in te rc u ltu ra l e x c h a n g e . I re a lise th a t so m e of th e s e ju d g e m e n ts m ay see m s trid e n t in th e fa c e o f th e h igh d e g re e o f c o m m itm e n t and c re a tiv ity e v id e n ce d by S B S T V s in c e its in c e p tio n . W ith in its b u d g e ta ry an d te c h n ic a l lim ita tio n s S B S T V has s h o w n its e lf w illin g to be e x p e rim e n ta l an d in n o v a tiv e . It has a ttra c te d c o n s id e ra b le in te re s t a b ro a d . Its s u b -titlin g u n it e n jo ys a h igh in te rn a tio n a l re p u ta tio n and has s u c c e s s fu lly re n d e re d m u ch im p o rta n t n o n -E n g lis h film a n d te le visio n p ro d u c t a c c e s s ib le to A u s tra lia n an d o th e r E n g lis h -s p e a k in g a u d ie n c e s . Y e t it is th is v e ry d e p e n d e n c e fo r re a so n s o f c o s t upon o ve rs e a s s o u rc e s fo r so m a n y o f its p ro g ra m s w h ic h has c a u s e d S B S T V ’s m u ltic u ltu ra l fu n c tio n to be p e rc e iv e d by m u ch of th e w id e r c o m m u n ity as e s s e n tia lly fo re ig n , fra g m e n te d , and u n re la te d to even a p lu ra lis tic v ie w o f th e A u s tra lia n c u ltu ra l id e n tity . T h e d a n g e r in a llo w in g s u c h a p e rc e p tio n to b e c o m e e n tre n c h e d is th a t th e p o lic y o f m u ltic u ltu ra lis m w ill its e lf be m a rg in a l ised, g h e tto -ls e d an d u ltim a te ly s u b ve rte d . T h e c lu e to b ro a d e n in g th e “ m u lti c u ltu ra l” p ro g ra m p h ilo s o p h y lies in th e a p p ro a c h to th e w id e r q u e s tio n o f c u ltu ra l id e n tity . A p a p e r by D r P e te r S h e ld ra k e , fo rm e rly D ire c to r o f th e A u s tra lia n In s ti tu te o f M u ltic u ltu ra l A ffa irs (n o w th e O ffic e o f M u ltic u ltu ra l A ffa irs ) c o n ta in s th e fo llo w in g o b s e rv a tio n : . . . a k e y is s u e is th a t m u ltic u ltu ra lis m is o fte n s p o k e n a b o u t a s if it d e a lt o n ly w ith ‘e th n ic ’ c u ltu ra l is s u e s . A c a d e m ic e x a m in a tio n o f c u ltu re s u g g e s ts th a t id e n tity , a n d th e c u ltu ra l b a s is fo r th is , c o m e s fro m a p e rs o n ’s s im u lta n e o u s m e m b e rs h ip o f s e v e ra l o v e r la p p in g b u t d iffe re n t g ro u p s . E a c h p e rs o n in o u r s o c ie ty b e lo n g s g ro u p s c h a ra c te ris e d o n th e b a s is

to of

FILMS THAT BEAR THE SIGN OF 4: Comrades (top) My Beautiful Laundrette (middle) Vagabond (bottom).

e th n ic ity , g e n d e r, c la s s , o c c u p a tio n , g e o g ra p h y , e tc. A n a p p ro a c h to m u ltic u ltu ra lis m w h ic h ig n o re s th e s e g ro u p s , a n d th e ir c o n tri b u tio n to id e n tity , w ill b e b o th in a d e q u a te a n d in e ffe c tiv e .

I w o u ld w a n t to ad d a fu rth e r d im e n s io n to th e c h a rte r of a b ro a d c a s te r c o m m itte d to su ch a v ie w o f “ c u ltu ra l id e n tity ” — and th a t is th e d im e n s io n of a s se rtio n . F or it s e e m s to m e p o in tle s s to c re a te s u c h a te le v is io n s e rv ic e u n le ss it u n d e rta k e s a d y n a m ic c u ltu ra l an d so c ia l role. B la n d p a s s iv ity in th e fa c e o f ra cism , s e x is m , so cia l in ju s tic e , p o w e r e lite s, in te lle c tu a l re d u c tio n is m a n d h o m o g e n e ity fo r h o m o g e n e ity ’s s a k e is no t m u c h o f an a g e n d a . A fte r all, th e A u s tra lia n c o n te m p o ra ry c u ltu re in all its d iv e rs ity is e m e rg in g at p re c is e ly th e sa m e tim e as te c h n o lo g y an d c o m m e rc e im p e l us to w a rd s g lo b a l ism . U n le ss w e p ro v id e o u rs e lv e s w ith s tru c tu re s w ith in w h ic h to a c h ie v e a c o n fid e n t e x p re s s io n o f o u r c u ltu re at th e n o n -m a in s tre a m as w e ll as th e m a in s tre a m le ve ls, o u r c o n trib u tio n s to g lo b a l c u ltu re a re m o re lik e ly to be te c h n o p ro fe s s io n a l an d a c c o m m o d a tin g . A lth o u g h th e w o rk I u n d e rto o k fo r th e A F C d e v e lo p e d a n o tio n a l b u d g e t, p ro g ra m e x p e n d itu re p ro file an d s o m e co ste q u iv a le n t a d v e rtis in g e s tim a te s fo r an S B S /C h a n n e l 4 h y b rid , m u c h w ill d e p e n d up o n th e p a ra m e te rs id e n tifie d b y th e D e p a rtm e n t o f C o m m u n ic a tio n s w o rk in g p a rty e s ta b lis h e d la st y e a r by th e m in is te r >

CINEMA PAPERS MARCH - 33

*This paper was given at the second annual SPAA con ference, held at Surfers Paradise in December last year.

_ MARCH CINEMA PAPERS

Sandy Edwards

to d e v e lo p p o lic y o p tio n s in th is are a. T h e re w ill need to be m o re d is c u s s io n , c o n s u lta tio n and s tru c tu ra l d e v e lo p m e n t b e fo re a c o n c e p t o f th is kin d ca n be tra n s la te d in to re a lity. A n u m b e r of th re s h o ld q u e s tio n s w ill ha ve to be a d d re s s e d . F irstly, w h a t sh o u ld w e m ea n w h e n w e ta lk of m u ltic u ltu ra lis m in te le v is io n ? H o w do w e d e a l, in th a t c o n te x t, w ith s u c h p ro g ra m o b je c tiv e s as in n o v a tio n , e x p e ri m e n ta tio n , s o p h is tic a tio n , style , e d ito ria l in d e p e n d e n c e , th e ta rg e tin g o f g e n e ra l o r s p e c ific -in te re s t a u d ie n c e s as w e ll as g e n e ra l an d s p e c ific -in te re s t a d v e rtis e rs ? S e c o n d ly , sh o u ld w e a p p ro a c h th e q u e s t io n o f m u lti//'n g u a / t e le v is io n s e p a ra te ly ? A re th e re d e s ira b le q u o ta s w e s h o u ld se e k to m e e t an d, if so, ho w s h o u ld th e y be a c c o m m o d a te d w ith in e ith e r th e S B S o r th e w id e r te le v is io n sy s te m ? T h ird ly , in w h a t w a ys w ill th e c re a tio n of th is s e rv ic e im p a c t up o n o u r o th e r te le v is io n s e rv ic e s an d can w e no w ta k e o th e r s p e c ia l ste p s to e n s u re th a t o th e r d e s ir a b le b ro a d c a s tin g p o lic y o b je c tiv e s are a c h ie v e d ? (F o r e x a m p le , can w e, in th e o ve ra ll m a n a g e m e n t o f o u r te le v is io n se rv ic e s , a c c o m m o d a te a m e a s u re o f p u b lic o r c o m m u n ity a cce ss te le v is io n ? S h o u ld w e try to c o u n te r th e c e n tra lis a tio n o f p ro d u c tio n in S yd n e y ? Is th e re a c a se fo r th e s p e c ia l p ro v is io n of e d u c a tio n a l te le v is io n m a te ria l? S h o u ld n o t th e c h a rte r o f th e A B C be m a d e m o re ro le -s p e c ific an d its s tru c tu re re fin e d a c c o rd in g ly ? S h o u ld th e re be m o re o r le ss re g u la tio n o f c o m m e rc ia l p ro g ra m m in g an d sta tio n o w n e r sh ip ? ) F o u rth ly , w h a t o th e r fu tu re o p tio n s lie a h e a d c o n s e q u e n t up on te c h n o lo g ic a l a d v a n c e o r o th e r fa c to rs . If PAY T V is ju s t a ro u n d th e c o rn e r, fo r e xa m p le , w h a t so rt o f life e x p e c ta n c y w o u ld a c h a n n e l o f th e kin d w e ha ve be e n d is c u s s in g a c tu a lly ha ve? I re a lis e th a t th e re is a d a n g e r h e re of p o sin g so m a n y q u e s tio n s (and th e re are a g re a t m a n y m ore ) th a t o n e lo se s s ig h t of th e o rig in a l o b je c tiv e . T h e re a lity is, o f c o u rs e , th a t in th e m a tte r o f te le v is io n p o licy, th is a n d o th e r A u s tra lia n G o v e rn m e n ts have s h o w n th e m s e lv e s to be m a rk e d ly m a n ip u la tiv e . In te le v is io n and p o litic s , e v e ry th in g is n o w p e rc e iv e d to be c o n n e c te d to e v e ry th in g else. T h is p ro p o s a l w ill g e n e ra te bo th e n th u s ia s m an d re sista n ce . It w ill re q u ire g o o d w ill, p a tie n c e , c a n d o u r, an e n th u s i asm fo r c u ltu ra l an d c re a tiv e d iv e rs ity an d a se n se o f re a lis m to n e g o tia te its m a n y m e rits a n d re so lve its d iffic u ltie s . B ut u lti m a te ly I ha ve to s a y I th in k it is th e b e st o p tio n at th is tim e . It is b e st b e c a u s e it w ill p ro v id e us w ith a q u a lita tiv e d iv e rs ity of te le v is io n p ro gra m c h o ic e in w h a t is o v e rw h e lm in g ly a h o m o g e n e o u s , m a in s tre a m m a rke t. It is b e st b e c a u s e it w ill h a rn e s s and use e ffic ie n tly re s o u rc e s w h ic h at p re s e n t a re u n d e ru tilis e d a n d b rin g th e p ro d u c tio n o f n o n -m a in s tre a m p ro g ra m s in to a m o re m a rk e t-re la te d e n v iro n m e n t. B u t m o s t im p o rta n tly it is b e st b e ca u se it c o u ld g iv e us an o p p o rtu n ity to e m b a rk on th e c o n fid e n t c e le b ra tio n in te le v is io n o f A u s tr a lia ’s c o n te m p o ra ry c u ltu ra l id e n tity in m o re th a n ju s t its p o p u la r d im e n s io n . A n d th a t w ill c h a n g e us all fo r th e b e tte r.

David Rose puts w riters first. As com m issioning editor a t Channel 4, he has been responsible for m ore than 100 film s, from The D ra u g h ts m a n ’s C o n tra c t to W e th e rb y and P la y in g A w ay, w hich have helped revitalise the UK film industry. He becam e a founder m em ber of Channel 4 a fte r 25 years a t th e BBC, as dram a editor a t Birm ingham and before th a t as producer of dram a series, including Z C a rs. In this in te rv iew w ith HUNTER CORDAIY, he talk s about the im pact of Channel 4, script funding, and a trusting partnership betw een finance and independent film m akers. T h e n a m e s C h a n n e l 4 , an d Film F o u r In te rn a tio n a l b rin g w ith th e m a s ta m p o f q u a lity on th e s c re e n an d also a s e n s e th a t E n g lish film p ro d u c tio n is n o w d iv id e d in to tw o c o n v e n ie n t p e rio d s . . . b e fo re a n d a fte r C h a n n e l 4. Yes, I’m aw are of this an d it’s e n orm o usly he arten ing the w ay C han nel 4 has in v ig o r ated the British cinem a. It certainly w as at a low eb b; e m p lo y m e n t w as ve ry low in 1980-81 w h en w e started an d the n soared so q u ic k ly it b e ca m e ha rd to get the ca m e ra m a n o r e d ito r you w a nted . W e w ere filling a gap, of course, a n d it w a s n ’t ju st a qu estio n of jobs, th e re w as a h u g e gu lf betw een th e film in d u stry and television, an d w e ’ve clo sed th a t gap. N o w I th in k it’s a real p a rtn ersh ip, p a r ticularly in th e w a y th e tale nt flow s across the tw o in du stries — w rite rs a n d d ire cto rs are m a kin g film s a n d not th in kin g to o m uch if it’s fo r c in e m a o r television, th e y ’ re m aking films, and ce rta in ly 95 pe r ce n t of th e film s w e ’ re m a kin g n o w have the atrical potential. As

y o u ’v e

s a id ,

C hannel

h as

d ra m a tic a lly a lte re d th e re la tio n s h ip b e tw e e n te le v is io n an d c in e m a . F ilm s a re n o w a u to m a tic a lly lin k e d to te le v is io n , fro m th e b e g in n in g , w h e re a s in th e p a s t th a t c o n n e c tio n c a m e m u ch la te r . . . C h a n n e l 4 h as c h a n g e d th e s e q u e n c e h a s n ’t it? In q u ality an d co n te n t th e y ’ re ab solutely linked. T h e re ’s h a rd ly a film b e in g m a d e in Britain to d a y th a t has not g o t television m oney, up fro nt, assisting it to be m ade. T elevision m o n e y has held to g e th e r an e n o rm o u s n u m b e r of film s th a t oth erw ise w o u ld not have been m ade. A n d th is h as c h a n g e d th e ‘ lo o k ’ o f te le vis io n in th e p ro ces s? Yes, it has. The P lay F or Today, a n d the Video Play are ha vin g a h u g e s tru g g le to survive on television. I’m su p p o rtin g six o n e-h our v id e o plays a n d w e ’ll be scre e n ing them shortly. I’m p a rticu la rly h a p p y a b o u t this b e ca u se each on e is from a w rite r new to television. P e rh ap s o n e o r tw o of the m will g o on a n d w rite scre e n p la ys an d g ive som e th in g to c in e m a later. T here are still som e tele visio n plays, but the

o p p o rtu n itie s fo r film a re so m u ch g re a te r a n d th e a u d ie n c e p e rce ive s a film as so m e th in g a g re a t deal rich e r tha n television stu d io dram a. C h a n n e l 4 p ro d u c e s v e ry d is tin c tiv e film s . . . is th e re a ‘C h a n n e l 4 film ’ , do yo u h a v e a s ig n a tu re ? I th in k it’s ve ry d ifficu lt to say. Firstly, ou r b u d g e ts are on th e low sid e — w h e n w e first w e n t to air o u r ta rg e t w a s 20 fea tu re film s a year. It’s d ro p p e d to 16 this year s im p ly b e ca u se the p ro d u c tio n costs have co m p le te ly o u ts trip p e d th e bu dg et. In Y ear O ne I ha d £6 m illion to su p p o rt 20 features. T hat g a ve m e an a ve ra g e of £ 3 0 0 ,0 0 0 . T o d a y th e a ve ra g e cost is £1.2 m illion an d m y b u d g e t is £ 9 1/2 m illion. The reasons fo r th e early lo w costs w e re tha t w e w e re new, w e w e re e n g a g in g in d e p e n d e n t p ro d u c e rs fo r th e first tim e, an d it w as a h o n e ym o o n pe rio d. W e are try in g to s u p po rt lo w b u d g e t film s — th a t d o e s n ’t m ean c h e a p film s — a n d w e lo ok very clo sely at the b u d g e ts so w e kn o w it’s pra ctical and th e m o n e y is on th e screen, not in lush lim ousines. W h a t, fo r y o u , is an in d e p e n d e n t film m a k e r? A n in d e p e n d e n t is a p ro d u c tio n c o m p a n y, a p ro d u ce r, lin ke d p o ssib ly w ith a director, w h o has his o r her ow n c o m p a n y an d is entirely in d e p e n d e n t of th e c o m m e rcia l co m p a n ie s an d th e BBC. Y ou m ig h t call the w riters a n d d ire cto rs ‘fre e la n c e ’, but th e y are in d e p e n d e n t. W hen w e ca m e into the field w e w e re ve ry a n xio us th a t the in d e p e n d e n t se cto r w o u ld g ro w and thrive be ca u se b e fore 1980 in d e p e n d e n ts had h a rd ly a n y o p p o rtu n ity fo r the ir w o rk to be seen on B B C o r ITV. W h y w a s th a t? I w o rk e d fo r th e BBC. It m a d e e co n o m ic sense, you ha ve staff, staff ag ree m ents, a n d you belie ve th a t by e m p lo yin g you r staff on all th e p ro g ra m s in th e best poss ib le w a y you are m a kin g e c o n o m ic sense. O f co u rse yo u ha ve a m u ch gre a te r d e g re e of ed itorial co n tro l ove r the p ro g ra m m ake rs if you ha ve the m in-house. W e set ou t fro m th e b e g in n in g at C hannel 4 to c o m m issio n in d e p e n d e n ts w h ile ke e p in g at a rm ’s length. I kno w J e re m y Isaacs has a lw ays been ve ry keen tha t w e sh o u ld co m m issio n p e o p le w ith a ve ry cle a r u n d e rs ta n d in g as to w h a t the y w e re g o in g to m a ke fo r us, the n th e y ’d g o aw ay a n d d o it . . . In m y e xp e rie n ce it h a s n ’t qu ite w o rk e d like that. H o w d o e s e d ito ria l C h a n n e l 4?

c o n tro l

w o rk

In fe a tu re film s w e will o n ly m ove w hen w e ’ re satisfied w ith th e script, th a t it is w ith in th e ‘last to u c h ’ of b e in g satisfactory. W e ha ve 2 0 0 0 scrip ts to c h o o s e from each year, in o n e fo rm o r another, a n d w h en y o u ’re selectin g 15 fro m 2 0 0 0 you sim p ly g o w ith th e p ro je ct yo u can see m ost cle a rly a n d you be lie ve in, th e on e tha t e xcite s you. In co n tra ctu a l te rm s w e have scrip t a p p ro va l, a p p ro v a l of th e dire cto r, key crew , and cen tra l castin g; w e have acce ss to th e shoot, a cce ss to th e rushes, acce ss to th e ro u g h cut, a n d w e have fin e cu t a p p ro va l. In m o re tha n 100 film s w e ’ve never a ctu a lly h a d a n y a rg u m e n ts a b o u t th e fin e cu t a p p ro v a l b e ca u se w e have re sp e ct fo r th e p e o p le w h o m a ke o u r films.

W e will arg ue , an d p e rsu a d e as ha rd as w e like but fina lly it’s the w o rk of th e film m a ke r and tha t m ust be resp ected . C o m rade s is an inte restin g exa m ple. It w as one of th e first scrip ts on m y d e sk in 1981 tha t I read. C o m rade s runs fo r three hours an d som e say it ne ed s to be that length, oth ers say shorter. Bill D o ug las to o k a long tim e e d itin g th e film an d th e re w as a lot of discussio n. In the en d it w as his film an d w e stood by him. W e ’ve ne ver insisted tha t a d ire c to r ke e p o n e scen e an d d ro p another, be ca u se it’s the ir in d ivid u a lity w e ’re lo okin g f o r . . . A n d film m a k e rs w ill tru s t y o u b e c a u s e o f th a t a ttitu d e . Yes, th a t’s the key. W e seem to ha ve built up a strong b o n d of trust. Can w e ta lk a b o u t th is tru s t in p a rtn e r sh ip b e tw e e n fin a n c e an d film m a k e r . . . h o w d o e s it w o rk fo r w rite rs ? A t its purest w e com m ission a scrip t from a w rite r and I th in k it is im p o rta n t th a t th e trust of C hannel 4, the authority, is p la ce d in one co m m ission in g editor. T here have been e xp erience s in the past, say at the BFI P ro d u ction Board, w h ere a g ro u p reads scripts and finally arrives at a decision, and the re m ust be a qu estio n as to w h e th e r a d e g re e of risk and a d ve n tu re g o e s out the w in d o w if a pro je ct is passed ove r so that an a g ree m ent can be rea che d m ore easily on another. The sam e a p p lie d to th e then Film F inance C o rpo ra tion . I w e lco m e the fact that British S creen has now been fo rm e d and Sim on Relph is ru n ning that and as far as I kno w it really is his de cisio n as to w h at film s he go es with. The sam e a p plies to C hannel 4. I have to m ake th e decisions. T here are a n u m b e r of new w riters and w e c a n ’t alw ays give a co n tra ct for a screenplay, so w e m ig ht ad vise to have a treatm e nt first. W h a t so rt o f fin a n c e w o u ld yo u g iv e? W e ’d pay £ 2 0 0 0 for a treatm ent. A n d a s c re e n p la y ? The m in im um is £ 1 2 ,5 0 0 . . . up to the a cce p ta n ce of the final draft, plus a n othe r 50 per cent on p rincip al p h o to g ra p h y, so fo r m ost s c rip ts w e e a rm a rk a b o u t £2 5,000. H o w m a n y s ta rts an d fin is h e s in o n e ye ar? I a s k th is b e c a u s e o fte n th e re is a p ro b le m w h e n a c u ltu re is b a s e d on th e n o tio n o f s u c c e s s , y e t in c re a tiv e w o rk th e lev el o f fa ilu re is o fte n v e ry c o n sp ic u o u s . If a s c rip t g e ts in v e s tm e n t an d it d o e s n ’t w o rk th e n th a t is s e e n as a ‘b a d ’ d e c is io n . . . W hen the scrip t of M y B e a u tifu l L a u n d re tte o r P laying A w a y is rea dy w e b u d g e t it, an d put 100 per cen t of th e m o n e y in. I th in k y o u ’ve g o t to d e c id e to g o w ith a scrip t or not, if so, then you b a ck it an d en sure it goes into p ro d u ctio n . I kn o w th a t sou nd s easy but the re are som e film s w h e re w e ’ve had to lo ok a ro u n d fo r oth e r m o n e y too, but w e ’ve fo u n d it q u ic k ly an d w e h a v e n ’t sp e n t m on ey fin d in g that m oney! W e co n sid e r ab o u t 2 0 0 0 pro je cts a year, and of co u rse a nu m b e r of scrip ts are c o n sid ere d com p le te , but w h e n w e 'v e g o n e ah ea d w ith a p ro je ct b o u g h t in th a t w a y w e usually ask fo r m ore w o rk on th e script. If w e are interested in an unsolicited scrip t the n w e b u y it. I th in k it is o n ly rig ht tha t w e sho uld sho w a positive interest in th e scrip t

by bu yin g it, an d tha t m ea ns p a yin g a p ro d u c e r to m ake the a rra n g e m e n ts w ith the w rite r to a cq u ire the script, so th e re ’d be som e m on ey fo r the legal side of th e c o n tra ct and p e rh a p s £ 1 0 0 0 fo r the p ro d u ce r. W e keep th e d e v e lo p m e n t d o w n as lo w as w e can as I d o n ’t see the po in t of sp la sh ing yo u r m on ey until y o u ’re a b so lu te ly sure y o u ’ve go t the scrip t you w ant. This yea r w e m ig h t co m m ission 12 o r 16 scre e n p la ys a n d I’ll be very satisfied if th re e of tho se w ent into pro d u ctio n . Y o u ’ve s im p ly g o t to give w riters the o p p o rtu n ity to write, p a y them to d o it. The scrip t cost is such a sm all sum in the overall b u d g e t, and it’s sensible to kee p it low be cau se you hear of such vast sum s be in g sp e n t in A m e ric a on screenplays, w h ich seem s to m e u n n e ce s sarily generous. C an you ta lk a b o u t C h a n n e l 4 ’s e x p e ri e n c e w ith c o -p ro d u c tio n s ? W e d o som e, not m any. W e d id on e a few years ag o called A S on g F or E urope based on the story of Stanley A da m s, w h o w o rke d for the Swiss chem ical c o n g lo m e ra te H o ff m an La Roche. It w as a story that m o ve d from S w itzer land to Italy, F rance and E ng la nd. M ost of the tim e w e w e re ab le to cast, ge nu ine ly, Italians w h o sp o ke English, as the y d id in the real story, and the re w e re o n ly tw o scenes that w ere subtitled. So, h a p p ily it w as English la n g u a g e but b e yo n d tha t w e detest d u b b in g , w e hate it, and w ith very few e xce ptio ns w e have no thin g b u t s u b titles. There a re n ’t m a n y true c o -p ro d u ctio n s, but w e have a reciproca l a rra n g e m e n t with ZD F w h ere w e put the sam e a m o u n t of m on ey into each o th e r’s film s and screen them . A lot of our fu n d in g is w ith British Screen, th o u g h w e d id give A g n e s V a rd a m on ey to co m p le te V a g a b o n d from rou gh cu t by pre -p u rch a sin g th e U K the atrical rights. Do yo u th in k y o u ’re c re a tin g a n a tio n a l im a g e w ith C h a n n e l 4 film s? I thin k m an y of the w riters a n d dire cto rs are de aling with sub je cts w h ich th e y ’re fam iliar with, with pa rticular sense of tim e and place, so the y will be p e rce ive d as ‘B ritish ’ films, from th e outside. I’ve no d o u b t w e have b ro u g h t to British cin e m a a kind of film that w as not a ro u n d be fore 1980. M ayb e it’s m ore serious, an d the y ce rtainly leave the au d ie n ce with som e th in g to ca rry aw ay with the m oth er than the slushy ad ve n tu ro u s tales w e are so often invited to vie w w h ich live for the m o m e n t but d o not give us a n yth in g to th in k about. I a s ke d th e q u e s tio n b e c a u s e it is p e r c e iv e d th a t C h a n n e l 4 is p ro d u c in g a s ig n ific a n t n u m b e r o f film s w h ic h h a v e c o m e to re p re s e n t th e c u rre n t im a g e o f E n g la n d . A u s tra lia n film fin a n c in g is to a la rg e d e g re e s u p p o rte d by g o v e rn m e n t a g e n c ie s c h a rg e d w ith th e ta s k o f c re a tin g an A u s tra lia n c in e m a , an A u s tra lia n im a g e . P e rh a p s th is is in s tin c tiv e an d n o t co n sc io u s ? It’s not conscious. I th in k y o u ’ve go t to g o fo r the very best tale nt and I th in k som e of th e best exp ression is on co n te m p o ra ry subjects. W riters w riting a b o u t w h at the y know , dire cto rs co n ve yin g to us viv id ly and e n erg etically w h at society is to d a y. T hat will actually d o th e jo b . Y ou c a n ’t p re scrib e a national cinem a, it can on ly p o ssib ly em erge.

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Barfly Black Cannon Incident Can’t Buy Me Love Cry Freedom The Family Fatal Attraction Made In Heaven Manon Des Sources Planes, Trains And Automobiles Rita, Sue And Bob Too Sherman’s March Tampopo 28 Up

• CRY FREEDOM Perhaps the most fascinating aspect of R ich ard A tten b o ro u g h ’s Cry Freedom is the effect that it will have on South A frican audiences, if they are ever allowed to see it. T e c h n ic a lly , this e x tra o rd in a rily m oving and mostly factual account of a young black radical leader, Steve Biko, and the blinkered white new spaper editor whom he re-educates, D onald W oods, has been cleared by P re to ria ’s censors for screening from April. But it is not up to the censors to ju dge a film ’s political im pact. T h a t is for the Botha G overnm ent to decide. W hatever the artistic m erits and dem erits of this long and som etim es lavish production, it is certain that for South A fricans of all colours this is em otional, social and, above all, political dynam ite. If ever a country lent itself as a subject for close cinem atic exam ination, South Africa, w ith all its w onders and horrors, is it. O ddly, after all this tim e, Cry Free dom is alm ost alone in striving to m ake a definitive m oral statem ent on apartheid in a form with international mass appeal. A ttenborough, closely advised by W oods, on whose book Biko the script is largely based, starts Cry Freedom by dem olishing a replica of the C rossroads squatter cam p near C ape Tow n and, along with it, any doubt that this film will treat the white authorities kindly. Indeed, the actors who portray the security police enjoy a cliched ugliness that seems excessive to anyone who has not seen the real thing. Y et even Jo h n T h a w ’s Police M inister K ruger, who is accurately portrayed as telling a ruling N ational P arty rally that B iko’s death “ leaves m e cold” , gets a chance to rattle off a few historical justifications for the A frik an er’s fiercely defensive attitude. T haw , who seems never to have recovered from being a television detec tive, is m ade up to resem ble a short, fat C ary G ra n t w ith big, black-rim m ed spectacles and an accent that m ust make Jim m y K ru g er tu rn in his grave. T w o things film m akers never seem to get right are South A frican accents and dum m y new spaper front pages. A tten borough is no exception in Cry Freedom, on either count. B ut the two m ain characters, K evin K lin e’s W oods and D enzel W ash in g to n ’s Biko, are superbly cast and for the m ost p art convincing, accents and all. W oods, by all accounts, is m uch m ore ebullient th an K lin e’s p o r trayal and W ash in g to n ’s evocation of Biko is a little too saintly for comfort. T hese are details, how ever, and they

fail to detract from W oods’ transform a tion from w hat Biko calls “ a white liberal who clings to all the advantages of the white w orld” to one who in the end is prepared to sacrifice the white South A frican way of life — and m ore — to let the tru th about B iko’s ghastly death come out. W hat is particularly notable is that the W oods character never loses his alm ost naive anti-heroism ( “ I was shaking like a leaf,” he says after ordering police off his p ro p e rty at g u n p o in t) w hile m anaging to dom inate the film — some would say at B iko’s expense. Biko, apart from the occasional re ap p earan ce in flashback form , is whisked off to his death in a police L and R over halfway through the film, leaving W oods to record his death as a m arty r,

CRY FREEDOM: Kevin Kline and Denzel Washington

only to suffer the sam e b an n in g order that sought to silence his black friend. T he rem ain d er of the story concerns W oods’s decision to flee South Africa and his attem pt to do so while disguised as a Catholic priest, a segm ent which falls back on ju st a little too m uch con trived em otion, h u m o u r and d ram a to m ake the break from Biko’s dark suffer ings an altogether com fortable one. T his is the stuff of a hearty contro versy: is the film about Biko or W oods? W hat is A ttenborough playing at? T h ere will be some who find the sudden con centration on a white South A frican family agonising over its future an indulgence. But A tten b o ro u g h ’s intention seems essentially positive. N ot all white South Africans support apartheid; those who

do can be convinced to change their m inds. Some m ay even actively assist in its downfall. Is this the effect that A ttenborough is trying to achieve? Cry Freedom, like any big-budget film, is a com prom ise between an artist’s conscience and an acco u n tant’s bottom line. T his produc tion has to play in Peoria as well as in Pretoria, and the white W oods fam ily’s lengthy escape is probably a com m ercial necessity. A ttenborough could counter this criticism by saying that there is no use in producing a m oral m asterpiece if no one goes to see it, and he would have a point. T he result is a film which is partly a political testim ony, partly a ‘Boys’ O w n ’ adventure, partly an educational docum entary. As a blend it is difficult to

c o n tro l, m ak in g the m o n u m e n ta l Soweto m assacre re-enactm ent near the end almost an “ oh, and by the way . . intrusion. But see the attention to detail: brought to life is the fam ous press photo graph of a schoolgirl, face contorted in grief, ru n n in g with a dead sibling; there in its callousness is the security police m en leaning out of a car window to shoot a fleeing child in the back, which is precisely w hat was happening then — and, for all we know since the in tro duction of blanket censorship, w hat is still happening right now. Cry Freedom is an unapologetic indict m ent of the w orld’s only institutional ised system of racial discrim ination. In its final m om ents, however, it has the ability to reach out even into the heart of A ustralia’s cosy conscience with a list of m any of those South Africans — white, coloured, Asian as well as black — who have died in police custody, with each nam e followed by an official explana tion: “ fell against ch air” ; “ fell down stairs” ; or, perhaps most sinister of all, “ no official explanation” . Gould this be a list of A borigines who have suffered a sim ilar fate in one of the w orld’s proudest democracies? In this film, A ttenborough has given everyone som ething to think about. Graham B arrett CRY FREEDOM: Directed by Richard Attenborough. Producer: Richard Attenborough. Co-producers: Norman Spencer, John Briley. Executive producer: Terence Clegg. Screenplay: John Briley from Donald Woods’ books Biko and Asking For Trouble. Director of photography: Ronnie Taylor. Editor: Lesley Walker. Pro duction designer: Stuart Craig. Cast: Kevin Kline (Donald Woods), Penelope Wilton (Wendy Woods), Denzel Washington (Stephen Biko), Kevin McNally (Ken), John Thaw (Kruger), Timothy West (Captain Devett). Production company: Marble Arch. Distributor: UIP. 35mm. 157 minutes. UK. 1987.

• MADE IN HEAVEN T ears, which seem to appear so spon taneously, are, we think, m ost often con ventional responses to conventional situations. O ne of us rem em bers listen ing to a sentim ental song while shaving some years ago, glancing into the m irror and seeing his face streaked with tears he had not known he was shedding. T he response was Pavlovian, to all intents and purposes involuntary. T his is one reason why the com m onplace distinc tion between ‘sen tim en t’ and ‘senti m entality’, or good and bad tears, seems so m isguided. It is only another distinc tion between U s and T hem , good taste and bad, one style and another. Made In Heaven is a sentim ental film. This m eans that some people will think >

CINEMA PAPERS MARCH -

< it is all too m uch like a com m ercial for toilet pap er and that some of those who cry will be asham ed. It is a film in the line of Seventh Heaven, or Zoo In Budapest, or Peter Ibbetson, a film of paten t falsity, of m anipulation, of lies better than truth. T h ere are no ‘re a l’ characters or situations in this film. E verything in it is impossible. In Made In Heaven the cam era glides constantly, forw ard, then backw ard, to and fro — a slow waltz of cam era, a swaying and retu rn in g , sailing, hesita ting, until it is finally the m ovem ent itself which is im p o rtan t, not w hat is revealed by the m oving. Style then, and not substance, surfaces and not w hat we pretend lies b eneath them . A nd the surfaces them selves are care fully, too carefully, decorated in to d ay ’s colours, toned to designer taste (even the opening, in black and w hite, points to trendy fashion). T his too, in tim e, will add its charm to the whole, w hen those colours, those patterns, are no longer what one tries to escape, but rath er w hat we try to rem em ber — w hat was it like then, how did it feel, w hat did people dream of? T he film is one of resem blances, feel ings, dream s. T h e story is a trap. A young m an (T im othy H u tto n ) dies and finds his true love (Kelly M cGillis) in heaven. T hey are retu rn ed to life on earth, with less than a lifetim e to find each other again or lose their love for ever. T h e story is a trap because it seems to be, ‘classically’, about desire and loss and searching. M oreover, it is a m a n ’s desire, loss and search which preoccu pies us. But to read it this way is to fall into the trap of ignoring this film ’s m anifest artifice and its obsessive stylisation. T his is no story. It is a dance, a configuration. T h ere is no loss here, for only one ending — reconciliation — will complete the figure. No desire, then, for desire is d ependent upon loss. No search, for the finding is foreordained. Instead, the film teases. Like the cam era, which is its substitute, the film advances and w ithdraw s, plays with the possible and discards it, leaving for its ending only w hat cannot be. N othing in this story betw een the arb itrary (deliber ately unm otivated) separation of the lovers and th eir arb itrary (wholly coinci dental) reunion qualifies as a narrative ‘ev en t’, which is to say there is no story here — m erely a set of ‘incidents’, happenings w ithout narrativ e signifi cance, actions w hich have no b earing on how the story tu rn s out. So this is why we call it a dance rath er than a story and why we say the story is a trap. A nd this is why this sentim ental film, this film of conventional em otion, is told in such an unconventional and disquieting way. T ransitions are ab ru p t, elisions of tim e and space are u n explained, which has the dual effect of em phasising th at indeed there is nothing of consequence separating the lovers (or that the tim e-space of heaven is not w hat we are used to) and that w hat we are w atching is only a w ay of filling in the 38 -

MARCH CINEMA PAPERS

tim e until they are brought together again. In the process we becom e acutely aware of place. Place is our only m eans of u n derstanding w hat is going on, and we learn to flick our eyes across the screen, picking up clues, constructing where and when we are, looking into and beyond w hat is pushed up front, to see surprises, lagniappe*, in the m argin. T h a t is, we too begin to pay intense attention to w hatever is incidental, insignificant; to enjoy the billed (and unbilled) guest appearances, the bizarre and banal circum stances in which the lovers find themselves, the twists of action which do not eventuate (strings of inarticulate m ight-have-beens com ple m enting the capricious here-and-now that we do see). In short, perhaps, to see the movie rather than read the story. A nd, obligingly, Made In Heaven responds by m aking its places sharp and clear, creating with wonderful econom y a sense of inhabited spaces. M ore than that, its unnecessary incidents are, by and large, interesting and entertaining, sentim ental and outrageous. W hen the film is — abruptly and predictably — over, certain kinds of looking and show ing have played themselves through, sentim entality has been invoked in what m ight once have been called unsenti m ental ways, feeling has prevailed over logic as expression over content. W e d o n ’t w ant to be too extrem e about this (even the length of this review is extrem e for us: do we have som ething to explain?). Made In Heaven is awfully slick, awfully yuppie now. N ot your thing, very likely. It alm ost was not ours. Yet, finally there is the senti m entality of it, the evocation of m ean ingless tears. — T hey order, we think, this m atter better in the movies — B ill and Diane R ou tt MADE IN HEAVEN: Directed by Alan Rudolph. Pro ducers: Raynold Gideon, Bruce A. Evans, David Blocker. Screenplay: Bruce A. Evans and Raynold Gideon. Director of photography: Jan Kiesser. Editor: Tom Walls. Production designer: Paul Peters. Music: Mark Isham. Cast: Timothy Hutton (Mike Shea/Elmo Barnett), Kelly McGillis (Annie Packert/Ally Chandler), Maureen Stapleton (Aunt Lisa), Ann Wedgworth (Ann ette Shea), James Gammon (Steve Shea), Mare Winningham (Brenda Carlucci), Don Murray (Ben Chandler), Timothy Daly (Tom Donnelly), Emmett Humbird [Debra Winger] (Emmett Humbird), Lucille [Ellen Bar ki n] ( Luci l le). P ro d u c t i o n c o m p a n y : Rudolph/Blocker. Distributor: Village Roadshow. 35mm. 102 minutes. USA. 1987. ‘ This is a word you might have missed in Down Sy Law when that fat nasty cop says it to Tom Waits just before he looks into the boot of his car. It's a New Orleans term which means the extra little piece of candy the shop keeper throws in as a bonus. It’s a useful word and deserves wider circulation.

• TAMPOPO Jap an ese audiences love to laugh at their own foibles. Shochiku in the 1920s —and later T oho in the 1930s — built up their com pany assets by ch urning out a steady supply of slapstick comedies. W hen O zu started w ork at Shochiku, he served his directorial apprenticeship w orking on studio comedies largely

com posed of a string of gags. T hey were called ‘nonsense film s’. D u rin g the thirties producer K ido Shiro added a social realist com ponent to the comedy. P e rh a p s in flu e n c e d by C h a p lin ’s successful form ula, he developed the Shochiku studio genre — a m ixture of comic gags with sentim ental stories about the com m on people. T h e comedy was diluted or deepened, depending on your point of view. M ansaku Itam i, the father of Tam p o p o ' w riter-director, was a popular w riter-director of comic sam urai films in the thirties. Long before W oody Allen started m aking m ovies, his clumsy heroes bungled their way to success in love and war. H is son, Ju z o Itam i, has come late to directing, after a career as an actor and film critic. H is directorial debut film, The Funeral, was a runaw ay com m ercial success in J a p a n — and well received at overseas film festivals. It leavened its social com m ent with a sprinkling of comic gags. Tampopo, on the other h and, m arks a retu rn to an earlier type of com edy — little social com m ent, less n arrative continuity and m ore gags. A lternatively, its pastiche of movie conventions, structural frag m entation, m ultiplicity of m ini-stories, in d iscrim in ate satire and anarchic hu m o u r could be seen as m arks of the p o s t-h u m a n is t if n o t p o stm o d e rn sensibility . . . L ik e its p re d e c e s s o r, Tampopo provides the audience w ith a learning experience as well as plenty of gags. T his tim e it is the art of m aking ‘ra m e n ’ (Japanese noodle soup) th at the film teaches us; in the form er film, we learnt all about the custom s and rites of Jap anese funerals. H ow ever, unlike The Funeral, Tampopo's lesson is em bedded in a narrative which is constantly in ter rupted by a succession of different ru n n in g gags — providing num erous exam ples of crazy gourm ets. T he central story is a parody of Shane, the most popular A m erican w estern in Ja p a n . A handsom e stranger arrives in tow n, helps a poor widow and her son out of a tight spot, teaches them both to becom e self-sufficient an d , though tem pted to assum e the roles of h usband and father, eventually m oves on. In this case, the hero does not ride a horse but drives a truck; and, instead of teaching h er to becom e a successful farm er, he teaches h er to becom e a successful noodle chef. T h e w estern connection is underlined by the h e ro ’s dress — he wears a cowboy hat and boots at all tim es — and the horns th at decorate the roof of his truck . . . T he gags interspersed throughout the film concern a completely different set of characters in a variety of locations. Some constitute mock m ini-lessons of culinary art. T here is an aged guru who waxes poetical-philosophical on the art of eating ram en; a Jap an ese m istress of etiquette who form ally and unflinch ingly teaches a class of young lady diners how to eat spaghetti w ithout slurping; a homeless derelict who produces the

perfect om elette on the ru n from the police. T h en there are the bad-taste gags — ones w orthy of M el Brooks. A dying m other on orders from h er husband rises from her bed and cooks h er family a last m eal; an elderly sick m an who overindulges in taboo food is saved from choking to death by having his stom ach evacuated by a vacuum cleaner; the child of health-food freaks is force-fed ice-cream by a stranger. A series of gags ru n n in g through the film involves a high-class gangster and his moll who com bine gourm anderie with their love play, producing m o u th w atering sex with egg yolks, oysters and other delicacies. In the film ’s prologue, before introducing the film, this same gangster character addresses us directly, w arning us th at he cannot bear m em bers of the audience who crunch noisily d u rin g the screening of films and disturb his concentration. As gourm et dining is as m uch a cult in M elbourne as it is in Tokyo, one m ight have expected this film to find an appreciative audience here. However, the lack of laughter from the audience at the film ’s preview — reportedly also at later com m ercial screenings — suggests a certain resistance to it on the p art of M elbourne audiences. Perhaps an art house cinem a is not the right location for this fragm ented farce — the audience comes w ith the w rong expectations. M o re ’s the pity, because this film tickles the palate at a fraction of the cost of a meal at a gourm et restaurant. Itam i is m aking a career in films by c o n c e n tra tin g on b re a d -a n d -b u tte r issues. A fter disposing of death and dining, his latest film satirises the Jap an ese passion for tax evasion. I w onder how that will go dow n here. I fear it will sink to the bottom of the harb o u r like a lead balloon. Freda Freiberg TAMPOPO: Directed by Juzo Itami. Producers: Juzo Itami, Yasushi Tamaoiki, Seigi Hosogoe. Screenplay: Juzo Itami. Director of photography: Masaki Tamura. Editor: Akira Suzuki. Art director: Takeo Klmura. Music: Kunihiko Murai. Food design: Izumi Ishimori. Cast: Tsutomu Yamazaki (Goro), Nobuko Miyamoto (Tampopo), Koji Yakusho (Man in white suit), Ken Watanabe (Gun), Rikiya Yasuoka (Pisken), Kinzo Sakura (Shohei), Mampei Ikeuchi (Tabo), Yoshi Kato (Master of ramen making). Production company: Itami Productions/New Line Producers. Distributor: Ronin. 35mm. 114 minutes. Japan. 1984.

• MANON DES SOURCES “ Le destin ca n ’existe p as!” D estiny does not exist. T his is the answ er given by C esar Soubeyran-L e P ap et (Yves M o ntan d ) to U golin (D aniel A uteuil), as the past catches up w ith them . T his defiance of the gods is not uttered dram atically by a G reek hero, b u t by a com m on m an who has built his fortune and who w ants his n am e passed on to future generations. T o achieve his last goal, he tries to convince his only su r viving relative, U golin, to m arry. T his is the startin g point to the second

part of the dram a, which begins 10 years after the events of Jean De Florette. D irector C laude Berri w anted to call the second part of his cinem atographic diptych, La Force Du Destin, the force of destiny, inspired by V e rd i’s opera, whose musical them e is that of the film. W ith Manon Des Sources, he recreates a G reek tragedy which follows all the rules of classical dram a. In a classical tragedy, a n u m b er of elem ents are crucial: the gods, a crim e, a perp etrato r of the act, a chorus which represents the collective conscience, knowledge, an instrum ent of revenge, and a m essenger of the gods for the final revelation. T he scene is set. All the elem ents are in place: the action will follow its inevit able course, and if we are fam iliar with the p attern of classical tragedy, we can anticipate the various stages of its developm ent. U golin experiences an all-consum ing passion for M anon, the daughter of Je a n de Florette, the m an he helped destroy. H e will hope for h er love, he will plead for his, and will be destroyed by her h atred , taking C e sa r’s hopes and dream s in his trail of destruction. Fate catches up with the culprits. Even if M a n o n ’s discovery of the source of the spring and h er revenge stretches credibility, it is part of a pre-ordained sequence of events. A crim e has been com m itted, in which everyone in the village had a part. A tonem ent m ust be m ade, and punish m ent handed out. T h e perpetrators of the crim e are exposed publicly, and so is the collective guilt. U golin com m its suicide, and with him dies the last hope for the nam e Soubeyran to be carried on. W orse is to come for C esar, when he talks to an old friend, D elphine (Yvonne G am y), and the nam e of Florette comes up once again. T his tim e, it is confirm ed th at she and C esar were once lovers. D u rin g the conversation, it is gradually

revealed to C esar that h er child J e a n de Florette, the m an whose ru in and death he caused, was his son. H e not only realises w hat could have been, but the full m onstrosity of his crim e is revealed to him and to us, as he realises that he is the cause of his own son’s death. It is the O edipal form ula in reverse. C esar, who had proclaim ed that destiny did not exist, recognises the hand of fate. C laude Berri has retained in his tre a t m ent of the characters the balance he achieved in the first film. W e, the spec tators, identify with M a n o n ’s revenge, and yet we feel the poignancy of U golin’s hopeless passion, and the destruction of C esar. T he words of the French playw right Je a n A nouilh, who used a great n u m ber of classical them es in his work, come to m ind. H e explained the m echanism of classical tragedy, saying that unlike m elodram a, where you have villains and heroes, “ . . . in a classical tragedy, everyone is innocent. T he characters are acting out a p art dictated by forces beyond their co n tro l.” T he last scenes of the film, where C esar watches from afar the w edding of his grand-daughter, never daring to approach her, are heartbreaking. It is on him that the final episode of the tragedy will focus: his confession, his su rren d er ing to death, and the m oving last letter he writes for his grand-daughter. T he last shot of the film shows his hand half-open, clasping the em blem s of his love: a comb, a letter, and a neck lace, symbolising the happiness fate took from him . T his last im age confirms Claude B erri’s first choice of title: “ La Force D u D estin” . B e rn ’s films have renew ed a French cinem atic tradition from the pre-w ar cinem a. T he South of France, con trasted with Paris, represented w hat the bush symbolised in the A ustralian >

CINEMA PAPERS MARCH — 39

< cinem a of the thirties. T h e antagonism and contrast was not ju st the opposition betw een u rb a n and rural ways of life and perception, it was betw een the South and the N orth and betw een Paris and M arseilles. T h e regional an tag o n ism tow ards P aris, felt in literature since the French R evolution, expressed itself with h u m o u r, colour and force in the “ M eridional C in e m a ” . T h e South of France was the place w here the weary traveller or ad v en tu rer could stop and start again, w here the w rongdoer could atone for his past sins, and find his con science. Daniele K em p MANON DES SOURCES: Directed by Claude Berri. Executive producer: Pierre Grunstein. Associate pro ducer: Alain Poire. Screenplay: Claude Berri, Gerard Brach. Director of photography: Bruno Nuytten. Editors: Genevieve Louveau, Herve de Luz. Art director: Bernard Vezat. Music: Jean-Claude Petit. Cast: Yves Montand (Cesar Soubeyran, ‘Le Papet’), Daniel Auteuil (Ugolin Soubeyran), Emmanuelle Beart (Manon Cadoret), Hippolyte Girardot (Bernard Olivier), Margarite Lozano (Baptistine), Elisabeth Depardieu (Aimee Cadoret), Yvonne Gamy (Delphine). Production company: Renne Productions/Antenne 2 TV France/Films A2/DD Productions (Paris)/RAI TV2 (Rome)/Television Suisse Romande (Geneva). Distri butor: Greater UnionA/illage Roadshow. 35mm. 120 minutes. France/ltaly/Switzerland. 1986.

• THE BLACK CANNON INCIDENT R ed norm ally m ay be the colour of passion, b u t in this stylish black comedy from C hina, it is the colour of alarm . First alarm: A distracted-looking m an enters a telegraph office and pushes a form across the counter at the clerk: “ Black C an n o n m issing. 301. F in d .” T he clerk, sniffing espionage, alerts the Public Security B ureau — discreetly, of course. Second alarm: T h e PSB tracks down the sender of the m ysterious cable to his workplace and inform s the P arty C o m m ittee in control there of the problem . T he suspect is a single, m iddle-aged, G erm an-speaking engineer nam ed Zhao Shuxin. A quiet, dedicated w orker, Zhao has never caused any trouble nor

done anything suspicious, but that, the com m ittee m em bers conclude, is no reason to presum e innocence. W ithout telling him why, they rem ove Zhao from the jo b of interpreting for a G erm an technical adviser who is overseeing the in stallatio n of im p o rted in d u strial equipm ent. T he G erm an, who is also in the dark as to the com m ittee’s motives, protests that Z h ao ’s replacem ent, a tour guide, is incom petent as a technical translator. T he fact the foreigner is so bent on having Zhao back with him m akes Zhao even m ore suspicious in the com m ittee’s eyes. W hen the factory m anager actually has the audacity to suggest to the Party C om m ittee that it approach Zhao directly to ask the m eaning of his strange teleg ram , the c o m m itte e ’s refusal insinuates an O rw ellian logic into the tale: that couldn’t be done, it’s ex plained, for it would imply distrust, and C h in a ’s current policy is to trust its intellectuals. Investigation is concern; secret investigation m eans never having to say y o u ’re sorry. Third alarm: T he tru th is revealed in a small parcel. Zhao is exonerated. Reds and oranges dom inate the urban-industrial landscape of The Black Cannon Incident. D irector H u an g Jian x in explained his colour scheme to L on d o n ’s Time Out this way: “ W henever we could, we highlighted the colour red. R ed signifies anxiety. It is also used for w arning signals.” In The Black Cannon Incident, the w arning signals are clearly flashing for C hinese society itself. T he environm ent in which this u n usual story unfolds is recognisably C hinese, but also abstract, surrealistic — an idealised vision, one m ight say, of a m odernising and m odernised People’s Republic. T he Party C om m ittee meets to discuss the troublesom e case of their prize engineer and his m ysterious cable in a sterile white room dom inated by a giant black wall clock, whose hands silently glide through the passing hours. U n n a tu rally long indoor corridors

swallow and distort the people who pass through them ; gigantic m achines with no obvious function hegem onise the screen. T he clean, m odern look of New C hina in The Black Cannon Incident ex cludes any hint of poverty or m aterial backw ardness, the twin bogeym en ritu ally dragged out and flogged in C h in a w henever the ruling C om m unist P arty needs a scapegoat for its own m istakes. (W itness the current tendency in C hina to shift the blam e for the C ultural Revolution from pow er struggles to “ feudal tendencies” .) So w hen things go w rong, and they go very trag i comically w rong here, it looks like the blam e m ust rest with the system itself — the system of all-mighty P arty C o m m it tees, with their sticky-beaked m eddling in personal affairs, pathological concern for secrecy, security hysteria, and barely-suppressible xenophobia. If y o u ’re w ondering how such pointed political satire could have been m ade in C hina in the first place, p art of the answ er lies in the studio which produced The Black Cannon Incident: the X i’an Film Studio. Since 1983, the studio has been ru n by W u T ianm ing. A m iddleaged film m aker, W u plays the role of patron saint and protector to younger, innovative film m akers like H u a n g Jian x in . “ T he young directors w ant freedom ,” W u has said, “ and th a t’s what I give th e m .” The Black Cannon Incident was aw arded best film of 1985 by the M inistry of Broadcasting, Film and Television. D irector H u an g Jian x in , who m ade the film, his first, at the age of 32, was nom inated for Best D irector in the G olden R o o ster A w ards (C h in a ’s Oscars) that year, and the film ’s lead actor, Liu Zifeng, who portrays the character of Zhao with an alm ost Woody. Allen-esque quality, won a G olden R ooster for Best Actor. I t ’s not a seamless film, how ever, and several scenes seem mystifyingly out of place, like one in which Zhao goes to see a nightclub act. O n the stage, a singer gyrates wildly through the disco song ‘Ali B aba’ while a team of blankly sm iling young wom en in red m iniskirts thrust and bum p to the music. W hen a pair of youths several rows behind Zhao stand up to boogie along, however, they are prom ptly arrested. T here is a con nection, b ut it’s difficult to discover w ithout know ing that, shortly before the film was m ade, W ham gave a concert in Peking at which police hauled in people who danced in the aisles. T his was m uch discussed by young urbanites who wryly observed that there was a message in this: those on stage (a C hinese p u n for those in power) can act as wildly as they like, b ut the audience should never, ever assume the same privilege for itself. L in da J a ivin

THE BLACK CANNON INCIDENT: Pawn movie

40 — MARCH CINEMA PAPERS

THE BLACK CANNON INCIDENT: Directed by Huang Jianxin. Screenplay: Li Wei. Director of photography: Wang Xinsheng. Cast: Liu Zifeng (Zhao Shuxin), Gao Ming (Li Renzhong), Gerhard Olschewski (Hans Schmidt). Production company: Xi’an Film Studios. Distributor: Ronin. 35mm. 102 minutes. China. 1985.

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E ttore Scola’s gentle and hum orous inspection of a bourgeois fam ily from the tu rn of the century to the eighties is a finely orchestrated w ork, rich in subtle rhythm s and detailed tex tu red images that speak of an alm ost C hekhovian sensitivity about its subject m atter. But despite its notew orthy perform ances and directorial assurance, this m ovie is all dressed u p w ith now here to go. N ot that it suffers from the elephantine pictorial excesses of the w orst form of the E u ro pean art m ovie of the seventies and early eighties — Scola is too intelligent a film m aker to indulge in such banality. But the m ovie is lim ited in the sense that it does not preoccupy o n e ’s im agination in any appreciative sense of the term . O ne c a n ’t say th at The Family lacks conceptual and visual clarity or th at it is crippled by tiresom e cliches. U ltim ately, The Family disappoints because it does not take any large creative risks w ith its potentially interesting m aterial. Scola’s sen tim en tal h u m a n ita ria n is m , a u g m ented by an atm ospheric rom antic score and a constantly inquisitive cam era eager to explore the faces of his characters and th eir cluttered room s in the hope of revealing th eir souls, is a problem . A nd there is a continuous m etaphorical urge to form ulate a picture of a fam ily’s history over three genera tions as representative of the h u m an condition. T his, too, spoils the m ovie in so m any u n fo rtu n ate ways. Scola’s propensity to sentim entalise his sharply n u anced story line tends to take over the m ovie. It tends to over shadow some of The Family's better qualities: its im pressive com positional unity and sensitive perform ances. V it torio G assm an is particularly good as C arlo, a m elancholic self-centred p ro fessor of literatu re. W h at we see throughout this tenderly observed movie is C a rlo ’s destiny being forged by the traditions and internal logic of the E u ro pean extended family. Tw o o ther exceptional perform ances need m entioning. Fanny A rd an t as A d ria n a , the in d e p e n d e n t concert pianist who is C a rlo ’s sister-in-law , is quite rem arkable. T h e ir long-term desire for each other is finally consum m ated after some 30 years in a scene of extrem e anguish and hesitation, charac terised by effective W ag n erian storm effects. T h en there is Philippe N oiret, a perform er of m asterly refinem ent, in a small cam eo role. C arlo, an arg u m en ta tive soul, gets involved in a ridiculous discussion w ith N o ire t’s character about the finer points of Italian and French culture. The Family does not belong to the experim ental avant-garde end of the E uropean a rt film as characterised by the highly individualistic works of A ntonioni, R esnais or G od ard — works noted for th eir n arrativ e am biguities and subjective realities of characterisa tion. Instead, w hat we see is a far m ore traditional art m ovie, em bodying some

of the m ore m ain them atic and stylistic conventions of the classical narrative cinem a that are based on its cause and effect logic of narrativ e representation. The Family does not entirely eschew some of the definitive critical ideas of the E uropean art m ovie, such as psycho logically com plex characters concerned with their own em otions and loosely defined narratives th at go against the classical conceptions of tim e and space located in m ainstream n arrative cinem a. T h e m ovie does display these features, b u t in a m uch m ore subdued form. W hat we do experience is Scola’s use of certain narrative and visual devices which are central to his filmic sensibility and have been identified by R olando C aputo and G erard H ayes in their help ful review of one of the d irector’s m ore recent popular and critical successes, Le Bal (Cinema Papers 50, F ebruary-M arch, 1985). Like Le Bal, the action of The Family occurs w ithin the confines of one locale — in this case, it’s G assm an ’s la rg e fam ily a p a rtm e n t. In th is herm etically sealed universe we follow the countless personal events that consti tute the com plex history of his family — a history of dom estic calm and tu r bulence which parallels the m ore public socio-political history of 20th century Italy happening outside the apartm ent. This larger history of fascism, w ar, the cold w ar, the student unrest of the sixties and the subsequent two decades of reces sion has been virtually displaced. It is barely glimpsed except for the occa sional shot from one of the ap artm en t windows, where we see workers going to work, children playing or an organ grinder entertaining a few people. R adio, television and new spapers are also occasionally shown dissem inating inform ation on this alm ost absent

history of a nation undergoing the tu r moil of m odern life. T h u s Scola fore grounds a m ore intim ate popular history as represented by the ongoing intricate activities of his characters bound by their com m on familial ties. T he movie deploys several neat situa tions (arguably too neat in term s of its own closure) essential to its underlying them e which can be sum m ed up as “ family life ju st keeps going o n ” , thanks to the inherent regenerative powers of the extended family. At the start of the m ovie, we m eet a large family preparing for a group portrait. (G assm an’s character is a baby at this point.) T he portrait comes back to us in the m ovie’s concluding scenes, only this tim e C arlo is 80 years old and sits w here his grandfather sat in the original p o r trait that opens up Scola’s work, after the first of several elaborate travelling shots dow n the a p a rtm e n t’s long corridor. T he notion of the extended family as a site for repetition and growth is em blem atised by a series of short scenes that occur before the concluding p ortrait sequence. C arlo ’s grandson is seen opening the ap artm en t’s front door to m any old and new m em bers of the family. W hatever its faults, The Family is well structured and perform ed. Its greatest sin is that it hesitates to engage in a m ore probing exam ination of its subject m atter. T, n J o h n Conom os THE FAMILY: Directed by Ettore Scola. Producer: Franco Committed. Screenplay: Ruggero Maccari, Furio Scarpelli, Ettore Scola. Director of photography: Ricardo Aronovich. Editor: Francesco Malvestito. Pro duction designer: Luciano Ricceri. Music: Armando Tro vagli. Cast: Vittorio Gassman (Carlo/Carlo’s grand father), Fanny Ardant (Adriana), Stefania Sandrelli (Beatrice), Philippe Noiret (Jean-Luc), Cecilia Dazzi (Young Beatrice), Jo Champa (Young Adriana). Produc tion company: Les Films Arlane-Cinemax-FR3 Films Production-Massfilm S.R.L.-Cinecitta’S.p.A-RaiUno. Distributor: AZ. 35mm. 127 minutes. France/ltaly. 1987.

ÜÛ - Ì

• THE FAMILY

THE FAMILY: Scola’s tale of the century

CINEMA PAPERS MARCH - 41

ìgethér brker,

HARE TODAY, GONE TOMORROW: . Michael Douglas and a doomed rabbit

42 -

MARCH CINEMA PAPERS

Fatal Attraction starts out as a romantic comedy, suddenly becomes a suspense thriller and, in its final scenes, changes course again to opt for horror. As in Play Misty For Me, a classic of the femalerevenge cycle of thriller films, the revenge of the spurned woman becomes more horrifying as the narrative progresses. Fatal Attraction is a very successful thriller, a story of psychological disturbance which has the power to grip and chill its audience even in scenes which use hackneyed con ventions of the horror genre and one overthe-top scene which is pure schlock. A fan of both Hitchcock and Chabrol, the direc tor, Adrian Lyne (Flashdance, 9 A Weeks) has learnt his lessons well although without the brilliance and originality of his mentors. However, compared with Psycho, major problem does arise from the fact that it uses the device of generic rupture in order to seduce and terrify its audience. If Fatal Attraction had made it clear from the beginning that it was a horror film, then the audience could have settled back : for a night of thrills and chills. Woman as monstrous-feminine is a conventional ■: figure of the horror film {Repulsion, The Exorcist, Sisters, Rabid, Shivers) and of literature (the madwoman of Gothic novels), and myth (Medusa, the Sirens). But Fatal Attraction is duplicitous, wearing the garb of an adult, social issue film, then i m that of a suspense thriller in order to blur its true nature — and as a result, the issues at stake — until the last half hour when its horrific skeleton is fully revealed. Conse quently, much of the horror (particularly the rabbit scene) that is generated towards the end seems misplaced; it does not develop logically from the character of Alex, as initially established, but rather from the conventions of the horror film which are imposed on the narrative towards the end. Most important, the film’s multiple generic format means that as the Alex (Glenn Close) figure is trans formed into a man-eating monster audi ence sympathy for her point of view is lost; this would be fine if the film had not initially given the erroneous impression that it was about to deal seriously with her position as the ‘wronged woman’. Feminists are justified in arguing th; Alex’s position as the ‘wronged woman unfairly presented. On one level, the narrative is a female revenge fantasy expression of every woman’s anger wl she finds that she really is just a one-nii stand. The problem is that the events portrayed from the man’s point of view, not the woman’s. Contrary to Lyner denials, the Alex persona does represent a negative portrayal of the independent woman. She is made to mouth feminist slogans about “ sex for its own sake” and independent “ adult relationships” and ■:■ ^ -Cr'' - : ' . .vt;

RAGT I O N

then she is transformed into a knifewielding maniac who all along really only wanted a home, husband and family. When she begins her prolonged attack on Dan (Michael Douglas) and his yuppie family (beautiful wife, adorable daughter and cute dog) and begins to undermine his role as male protector, the audience are audibly hissing her. “ I think people have found the film very scary,” says Lyne . . . “ The last 25 minutes of the film, if you see it with 500 or 600 people in America, is very extraordinary. They scream and they yell and they shout at the screen to Michael Douglas to get the Hell up there and kill her. It’s almost like a lynch mob!” {Age, “ Entertainment Guide” , 22.1.1988, p i) If it is a lynch mob then one is tempted to take the analogy further and argue that as in all lynchings the victim has not had a fair trial — she may even be innocent. Adrian Lyne claims that the film is also presented from her point of view but his comments indicate that he has a very superficial understanding of notions of identification. Lyne stresses that he empathised with his heroine: “ When she comes to his office and offers him tickets to a show, I find it heartbreaking. And when she’s alone in her loft, clicking the light on and off while he’s having fun at the bowl ing alley with his friends . . . She’s totally desolate. Whatever she does, I think she really loves the m a n .” (Datebook, 20.9.1987, p22) In the interview from which these comments are taken, Lyne appears to think that because the film elicits these responses it is also shot, in part, from her point of view. Lyne is con fusing filmic point of view, which clearly belongs to Dan Gallagher (he is present in nearly all scenes, the subjective shots are largely his, or his family’s) with emotional identification. Lyne’s pity really amounts to nothing more than patronisation. Certainly, there are moments when one’s sympathies are with her but these are only fleeting. The strongest argument for identi fying with Alex is that the alternative is pretty distasteful. If we don’t side with her, then we are left with Dan who is basically dishonest, weak and uninteresting. Judging from audience response, however, he is far more sympathetic than Alex. Or perhaps he only becomes truly sympathetic when his family comes under threat. The decision to make Dan Gallagher married and the father of an adorable little girl (the Clint Eastwood persona in Play Misty For Me does not have a family) works brilli antly to push audience sympathies com pletely onto Gallagher’s side. Fatal Attraction pretends to be a sophisti cated film about a one-night stand; it is really about the male fear and fantasy of woman as ‘castrating bitch’. From the first moment when we see Alex Forrest with her blonde hair swept high from her forehead and floating around her face in serpentine curls we are reminded of a Medusa or

Medea. Even the first comment about her, made by Dan’s legal buddy, Jimmy (Stuart Pankin), alludes to the Medusa legend. When she returns his flirtatious comment with a cold stare, he whispers under his breath to Dan: “ If looks could kill!” Later, Dan even makes a joke to Alex about ‘looking’: “ I ’m not saying anything . . . I ’m not even going to look.” Such a figure is not new to the cinema. Since the silent period, male scriptwriters and directors have been making films about the notori ous femme fatale, the woman who threatens first to seduce and then devour her helpless victim. She usually breaks up his home and family on her journey of destruction. We can trace her cinematic evolution from the blood-sucking vamp of the silent period to the femme fatale of forties film noir to the monstrous-feminine of the modern horror film. Alex is everywoman — seen from a male viewpoint. Her image is constructed to represent at least five male fantasies, fantasies which overlap but nevertheless are clearly recognisable. Firstly, she is woman-as-witch, sent from Hell to weave a spell over her victim while offering him the pleasures of Paradise. Then, she becomes ‘the tragic woman’; like Madame Butter fly, she would prefer to commit suicide rather than stand in his way or lose him to another. Thirdly, she is the Liberated Woman, the woman who, according to the myth, appears to be independent and happy on the surface but underneath is desperate for a man. Fourthly, she is the notorious femme fatale, the cold, cruel woman who uses her sex to trap men in order to destroy them. Finally, she is the monstrous-feminine, woman as ‘other’, unclean, abject, a creature who lives out side the boundaries of civilisation and who must be destroyed. In short, Alex comes direct from Hell. Hence, the setting of her apartment in the wholesale meat district where the butcher’s fires burn through the night. Hence, her Medusa-like appearance. Hence, her fatal powers. She is larger than life. Witch, Medusa, Monster, the Black Widow Spider who devours her mate after copulation. The difference is that Alex Forrest, although a version of the femme fatale, is actually in love with her man. Unlike her sisters of the night, she is not totally cold and calculating. She is in part femme fatale and in part, like Madame Butterfly, a passionate, obsessed woman. Her repre sentation is drawn from the passionate lover of the woman’s melodrama and the femme fatale of film noir. Thus, the Alex Forrest persona represents a weird hybrid figure; a conglomerate of different aspects of woman concentrated in one — a total fantasy figure. It is this side to her charac ter, this difference in relation to the femme fatale which holds the key to a fuller inter pretation of the film and the exact nature of its ‘fatal attraction’.

Because Alex is a creation of male fantasy, she comes to represent all things to Dan; most significantly, she signifies a figure onto whom Gallagher displaces his underlying fears and anxieties about life, women and marriage in general. She is the ‘other side’ of his wife, Beth (Anne Archer) — that part of his wife which drew him into marriage and happy families in the first place. Initially, Dan only wanted a one-night stand. Alex represents the possi bility of an escape, an opportunity for Dan to flex his genitals. The problem is that Alex falls in love — he doesn’t. She wants a commitment. She wants to know where she stands, particularly after she learns she is pregnant. She begins to sound like a prospective wife. Dan’s decision to have a sexual relationship with Alex clearly sug gests that he is a little fed up with the dull routine of marriage. The last thing he wants is another ‘wife’. The words which tumble from Alex’s lips, her initial desperate actions to keep Dan with her, are cliched in the extreme. She pleads with him, attempts suicide, tells him she is pregnant. He even replies with the stock comment: “ How do you know it’s mine?” It is as if Dan, nine years after his marriage, is invoking a nightmare about the forces which trapped him in the first place. Alex signifies woman at her most desperate, most clinging, most threatening. She is not simply every married man’s nightmare. She is every man’s nightmare. She is also rejected by most female mem bers of the audience probably because she comes to represent that aspect of woman which is held up to extreme ridicule in our society, a woman who can’t get a man — a figure with whom no self-respecting female would wish to identify. For the special pre view sessions of Fatal Attraction, the Russell Street cinemas segregated the audiences. Apparently the female audience was far more vocal in its abuse of Alex than the male audience. Perhaps the women spec tators felt more threatened when Alex began to attack the family. Cries of “ You bitch!” reverberated through the cinema. Alex becomes a social pariah, the clinging, demanding, dangerous woman, the woman who has spoilt the game because she refuses to abide by what Dan refers to as ‘the rules’. She signifies what men often describe as the ‘suffocating’ side of woman — the side which threatens their notions of ‘manhood’, that is, the free, independent, footloose male. But Dan is already married, his independence already under mined.

It is no accident that these events occur just as Dan is about to make a momentous change and move to the country where life appears to be even more dreary. Even though the film represents Dan’s married life as perfect, there is (regardless of whether or not the director intended this), ^

CINEMA PAPERS MARCH - 43

HAIR TODAY, GORGON TOMORROW: Glenn Close of the stony gaze

a plastic feel to the packaged bliss, some thing nauseous about married yuppiedom. Initially Dan saw Alex as an ally, someone who would provide excitement and pleasure — even if only for a weekend. Once Alex fails to deliver the goods, she comes to signify more than the ‘other side’ of Dan’s wife; through a process of dis placement she begins to represent a darker ¡aspect of his own unconscious. Like the femme fatale of the forties (also a male fantasy), Alex begins to destroy the ‘family’ itself — something which Dan, in his darkest dreams, may wish to happen but could never admit. Significantly, she threatens the key icons of the happy family: family car, pet, child, wife, hus band, home. (No doubt a video game is already on the drawing board.) She is, finally, the scapegoat for all of Dan’s anxieties and fears about women. If Dan, like his film noir counterpart, had actually been given a darker side to his personality, he would have been more interesting. There is, however, a sugges tion that the marriage lacks passion. After the book launch, Dan appears to want to make love to his wife but his daughter has taken his place in the marital bed. On another occasion, lovemaking is inter rupted by the telephone. These small details, however, are never explored further. At one point Dan confesses that although Madame Butterfly is his favourite opera, as a boy he was terrified by the suicide scene and climbed under ' the theatre seat to avoid watching. It would appear that his fear of passionate female emotions has haunted him throughout life. But the film never explores his character further. The Dan Gallagher persona is onedimensional, bland, superficial. Any anxieties he might feel are never developed; rather they are displaced onto the persona of Alex. Fatal Attraction . borrows from the conventions of both the family melodrama and film noir but lacks the complexities and intelligence of both. The film’s way out is simply to opt for horror which it does very efficiently, and, effectively. Ironically, however, the. final, terrifying scene does make some interest ing, (probably unintentional) points through the visual and narrative parallels it draws between the two women.

Both women are beautiful, both are in love with Dan, both fight desperately t<F keep Dan. In the final scene, when Beth is in the bathroom preparing to take a hot m bath, she rubs the steam from the mirror.:/* Instead of seeing her own reflection sh e. sees the face of Alex; Alex is her alter ego, her Doppelgänger revealed for an instant in the mirror. In the end, she carries out the murder of ‘the other woman’ which Alex had planned to enact. Ironically, Dan attempts to drown Alex in the bath which was intended for his wife, Beth. Part of the reason for the pitch of emotional intensity which is generated at the end of Fatal Attraction is that the parallels between the two women are most clearly drawn here. Both are strong, unstoppable, fatal. Both are capable of killing to get what they want. And they both want Dan. Thus, the final shot of the happy family portrait becomes ironic not because it suggests that ‘nothing will be the same again’ but rather because it states that ‘everything will be the same again —- forever and ever’. The final bathroom scene is also power ful because it draws on images and motifs . which are central to the horror genre, par ticularly those of water, knives and blood — classic images associated with birth. The motif of a woman drowning or of women associated with water runs through myth (the lorelei), art {The Birth of Venus), and literature {Hamlet) as well as film {Psycho, Vertigo, The Shining, Carrie, The Singing Detective). These instances signify either moments of birth or death, but in both the association of woman and water always signifies, at a deeper level, the processes of birth. In the horror film, woman some- i times rises from the waters in a new and. frightening form. The climax of Fatal Attraction, its images of water, blood and knife, draws much of its power from these mythic associations. The shot of blood run ning down a woman’s leg is also a central motif of the horror film, suggesting death, birth, menstruation, castration. The bathrroom scene also refers back to the scene with the rabbit — another death which occurs in association with a knife, blood and water. The death which Dan hoped for early on, of course, was that of their unborn ‘child’, which — if it existed — would also have died in the bath. When Dan attempts to drown Alex, he is trying to murder not simply a woman who. is- ‘ threatening his life but also ‘a woman and her child’ (Alex/his wife/all women?) |— the origin of his daily nightmare. A more appropriate — and honest —r title for the film may well have been, Fatal Women, subtitled .— ‘Fantasy Of A Trapped Hus band’. , Barbara Creed

• BARFLY It is said that Barfly's director, Barbet Schroeder, desperately wanted to make this film. He spent seven years trying to get the project off the ground. Finally, he went into the Los Angeles office of C annon and told a secretary that unless M enahem Golan agreed to see him, Schroeder would cut off one of his own fingers, then and there. He got his appointment. He made his movie. Apocryphal or not, it is a story that fits perfectly one of Barfly's tenets: art comes from suffering. T here’s a comple mentary idea that people who offer rewards or m aterial comfort to an artist are actually offering destruction. These notions are undoubtedly present in the life and work of Charles Bukowski, who wrote the screenplay for Barfly, but they are undercut by a certain black humour. Marco Ferreri’s Bukowski adaptation, Tales Of Ordinary Madness, took it in deadly earnest and missed the perverse streak in these chronicles of Los Angeles low life available, for the most part, in high-priced paperback editions from Black Sparrow Press. In Barfly, the playfulness and the m anipulation are there, particularly in Mickey R ourke’s performance. I t’s a d elica te ly in g ra tia tin g p o rtra y a l, m annered and restrained at the same time, finding physical equivalents for those manipulations and contradictions: a sham bling, stiff-backed arthritic gorilla walk, a sudden lurching ugliness that can be transformed by a half-smile, a hushed, sardonic aside.

FATAL ATTRACTION: Directed by Adrian Lyne. Pro- i ducers: Stanley R. Jaffe and Sherry Lansing. Screen- i pjay: James Dearden. Director of photography: Howard > Atherton. Editor: Michael. Kahn. Production designer;^ Mel Bourne. Music:' Maurice' Jarre'. Cast: Michael J Douglas (Dan Gallagher),'Glenn Close (Alex Forrest); - . Anne Archer (Beth Gallagher),-Ellen Hamilton Lätzen"* (Ellen Gallagher),'. Stuart Pankin,, (Jimmy)';' Ellen Foley -* (Hiidy), Fred' Gwynne (Arthur).,Production company, ± Jaffe/Lansmg. Distributor UIP 35mm 119 minutes. USA 1987 ,. * i

BARFLY: Mickey Rourke succumbs to the Muse and the

44 — MARCH CINEMA PAPERS

O n another level, R ourke and fellow barfly Faye D unaw ay are giving us a parallel account of the relationship between art and suffering: the actor w ho’s prepared to be pudgy, the actress who will endure greasy hair. Som etim es they seem to have come from another tim e and place, an era w hen Hollywood could slum it with charm and style; they are in the gutter, and we are looking at the (movie) stars. T his im pression is probably helped by the fact that in its odd way, Barfly is a fairy story, filled with tem ptations, quests, trials, princesses and rituals, with true love at the end of the rainbow , or the b ar of the G olden H o rn . H enry catches sight of W anda (Faye D unaw ay) across a not very crowded barroom and says wonderingly, “ She looks like a dis tressed goddess.” F ortunately, she drinks like a suffering artist. T hey are draw n together, then pulled apart by infidelity: she betrays him for a bottle of whisky, he is lured into the bed of Tully, a W ASP princess m agazine editor with a taste for low life prose and low life prose writers. H er presence dem on strates another axiom of the Barfly w orld: tru e artists sim ultaneously affront and attract the bourgeois, who w ant to acquire (and therefore corrupt) them and their work. T he elegant Tully wants to give H enry m oney, security and a place to live so that he can create in peace, not understanding that peace is the most disruptive thing she could offer him . In the end, the lightness of Barfly is

both its saving grace and its stum bling block. C harm only takes us so far; the downtown b ar where most of the action is set becomes as cosy and fam iliar as Cheers, punctuated by bouts of T om and Je rry violence, graced by distressed goddesses and drunks who ju st happen to be geniuses. P hilippa H aw ker BARFLY: Directed by Barbet Schroeder. Producers: Barbet Schroeder, Fred Roos, Tom Luddy. Executive producers: Menahem Golan, Yoram Globus. Director of photography: Robby Muller. Editor: Eva Gardos. Pro duction designer: Bob Ziembicki. Cast: Mickey Rourke (Henry Chinaski), Faye Dunaway (Wanda Wilcox), Alice Krige (Tully Sorenson), Jack Nance (Detective), J.C. Quinn (Jim), Frank Stallone (Eddie). Production com pany: Cannon/Coppola/Golan-Globus. 35mm. 99 minutes. USA. 1987.

• PLANES, TRAINS AND AUTOMOBILES T here is only one question you should ask of any comic work, and only one condition it should satisfy: did it make you laugh? A pplication of this criterion makes evaluation very easy and the difference between good and bad, suc cessful and failed, very clear. I can, therefore, report with complete certainty that Planes, Trains And Automobiles is a good film, yes, and I would even go further: it is a great film. H ere, how ever, my judgem ent becomes more speculative as the criterion has not yet been tried, nonetheless I am quite sure that it would make my m other laugh and

possibly even my father. (Isn ’t there som ething smelly and repellent about a comedy that excludes, that is elite?) But what room does this leave for the critic whose realm is precisely the ques tionable, doubtful and grey? N one: and there is its triu m p h and ultim ate sophistication — the attainm ent of the magical zero degree. J o h n H ughes directs J o h n C andy farting in bed next to Steve M artin and I piss myself. T here is nothing left over, the m om ent fulfills and exhausts itself in its unfolding. This accounts for most of the film and would have done as a review if it were not for the fam iliar H u ghes’ sentim ental streak, one that centres on bonding, the bonds of family and com panionship. In Planes, Trains And Automobiles it sur faces a num ber of tim es, particularly at the end. These m om ents m ight be dis missed as breathing spaces in the chain of gags if it were not for the feeling that though it m ight not always be present, that sentim entality is never far away, or it will be there in some inverted form. Those inversions are the flights of o ut rageous cruelty and nastiness H ughes allows h im self— always to comic effect. H e will violate the very values the film will finally affirm and in so doing m ake them the m ore convincingly felt. T o give you an example of this, but w ithout giving away any of Planes, Trains And Automobiles, le t’s look at a scene from Vacation which H ughes wrote and which has m any similarities to Planes. Chevy Chase and family are driving across A m erica on holiday. For a part of the journey they have an aunt with them who they are returning hom e. T he old wom an is completely obnoxious. Along the way she dies. So as not to upset the children, she is tied, sitting upright with rigor m ortis, onto the roof rack. W hen they arrive at her destination there is no one home to receive the corpse so it is left at the back door with a note attached. Film has hardly ever been so scurrilous, yet at the end of Vacation it is the sanctity of family that Chevy Chase invokes and which, however farcically, prevails. In Planes, Trains And Automobiles the relationship between Steve M artin and Jo h n C andy is, for the m ost part, abusive and always in the one direction: the one resisting the o th er’s need, strangely insistent, for com pany and desire to be friendly. Slowly, very slowly, an understanding develops and where there is understanding, accept ance follows. Raffaelle Traviato

e booze

PLANES, TRAINS AND AUTOMOBILES: Written, directed and produced by John Hughes. Executive pro ducers: Michael Chinich and Neil Machlis. Director of photography: Don Peterman. Production designer: John Corso. Music: Ira Newborn. Editor: Paul Hlrsch. Cast: Steve Martin (Neal Page), John Candy (Del Griffith), William Windom (Chairman), Lyman Ward, Nicholas Wyman, Ben Stein, Larry Hankin, Charles Tyner, Dylan Baker, Eddie McClurg, John Randolph Jones, Michael McKean, Martin Ferrero, Lalla Robins, George O. Petrie, Carol Bruce, Richard Herd, Diana Douglas, Olivia Burnette, Matthew Lawrence (Journey Acquaintances). Production company: Hughes Enter tainment Production/Paramount Pictures Corporation. Distributor: UIP. 35mm. 94 minutes. USA. 1987.

CINEMA PAPERS MARCH — 45

• CAN’T BUY ME LOVE T h e final scene of Can’t Buy M e Love has R o nnie M iller, after his popularity am ong the “ cool cliq u e” is pulverised in one swoop, back w here he was at the beginnin g of the film — m ow ing C indy M a n c in i’s front law n. B ut w here at the opening his status was no h igher than th at of law n boy, this tim e, as one character observes, “ he is in S ib eria” . N either “ cool” n o r “ geek” , R o n n ie is in a veritable no m a n ’s land. H is T shirt, how ever, has p rin ted on it an im age of the solar system an d right into the centre of th a t swirl o f stars point the words, “ Y ou are h e re ” . I t ’s evidently a joke am ong the n erd y and therefore intelligent class o f senior h igh; b u t it also stands as a m etap h o r of R o n n ie ’s love for C ind y , for these w ords point to his heart.

CAN’T BUY ME LOVE: Patrick Dempsey and Amanda Petersen get fiscal

Y et w hat lurks in an d aro u n d this love is the question of breaking through social barriers. C indy (A m anda P eter son) is the po p u lar cheerleader of the cool clique, and, im portantly, she dresses to be popular. R o nnie (Patrick D em psey), on the other h an d , is a nerd, and as his close friend, K en n eth (C o u rt ney G ains), rem inds him , “ this is senior high w here jocks are jocks, cheerleaders are cheerleaders and us . . . w e’re u s” . A ccording to K en n eth , this is the order of things, b ut it’s an o rd er w hich R onnie cannot accept or un d erstan d . H is desire to be p opular, and therefore his desire for C indy, harps back to a tim e at elem entary and ju n io r high w hen divi sions like this never existed. Can’t Buy M e Love is a film which juggles a n u m b er of things at once, and one of them is econom ics — the law of supply and dem and. As the title sug

gests, the only m eans R o n n ie has of breaking th ro u g h the b a rrie r into po p u larity is to buy into it. H is chance arrives in a shopping m all scene: R o n n ie has $1000 to buy a telescope, and while peering th rough his prospective p u r chase he spots C indy, in distress, attem pting to b arg ain for a new dress priced at $1000. R o n n ie offers C indy the m oney which she needs to replace secretly h er m o th e r’s prized dress, which she has dam aged. In exchange, she m ust p reten d to be his girlfriend for a m onth, thus en su rin g his popularity. So far it’s fairly simple: R o nnie has som ething C indy w ants, C indy has som ething R o n n ie w ants. M oreover, w h at’s involved here with the telescope reinforces a series of motifs about C indy and the stars. R o nnie can be called a kid astronom er, a stargazer m ore precisely, or som eone looking beyond his lot. T h u s, as he peers through the telescope, C indy is his star. In an o th er scene, for exam ple, after his fall from grace and while attem p tin g to get C indy on the phone, a sign over his bed reads, “ Let the stars get in your eyes” . A n other has both C indy and R onnie on the last leg of their (supposedly) fake rom ance gazing at the m oon: R o nnie recites in a curiously poetic and scientific fashion his descrip tion of the m oon, on which C indy com m ents, “ T h e m oon . . . it isn ’t m ysteri ous or rom antic anym ore. Y ou h a v e n ’t spoiled it, y o u ’ve ju st changed a little .” T his scene an d C in d y ’s words are p ertinent enough, for if R o nnie is suc ceeding in changing his status and his m ilieu, C indy is significantly changing h er values. T his is m ade clear w hen at the film ’s second p arty sequence — in contrast to the first w here she surrep ti tiously borrow s her m o th e r’s dress, p re tends it’s hers, an d ruins it — C indy adm its to h er friends th at she is w earing her m o th e r’s clothes. W h at the title also suggests, how ever, is th at b u ying into popularity is indeed at loggerheads w ith love. F or as C in d y ’s values change, from following the p re tensions of the cool clique to respect for a certain type of individuality, so do R o n n ie ’s values change as his po p u larity increases — his loyalty to his form er friends begins to flag, and he neglects his love for C indy. T h e film could n ot m ake this change any m ore pointed th an in the scene of the d ark ened science classroom w here an educa tional film is being screened. As the film rolls, R o n n ie is seated b ehind K en n eth , and at first, given the conditions of the classroom , it seems strange to find R onnie still w earing his sunglasses. K enneth, in a w hisper, reprim ands R onnie for neglecting th eir traditional S aturday night card gam e; w hen an e x p e c te d re sp o n se d o e s n ’t co m e, K en n eth reaches over an d lifts R o n n ie ’s shades to discover to his chagrin that R onnie is far aw ay in d ream land. T h e classroom screening, m oreover, is a film about the m oon. T h u s, although the scene is apparently ab out loyalty to

o n e ’s friends, it equally concerns R o n n ie ’s love for C in dy because, once again, she is em phatically figured in the scene th ro u g h a celestial m otif. W h at initially began as a com m on goal — gaining popularity and gaining C in d y ’s love — is now broken into two conflicting notions. P erhaps this is w hat is m ean t by R o n n ie and C in d y ’s p e n chant for finding “ cracks” in the m oon. T h e film plays one off against the other; in the scene m entioned, C indy becom es identified, not necessarily in the sam e class as nerds, b u t, like the nerds, on the o ther side of popularity. Can’t Buy M e Love will evidently pull R o n n ie in two different directions w hen there can only be room for one. F or instance, in the school hallw ay w hen C indy approaches R onnie to appraise h er new poem , “ Broken M o o n ” , he is split betw een C indy and the sexual interest expressed by anoth er female colleague only a few paces away. A little later the film repeats a sim ilar incident in the school hallway, this tim e w ith K enneth. R on n ie is chasing K en n eth in a desperate attem pt to m ake up for throw ing a shit-bom b at K e n n e th ’s house in a H allow een p ran k w ith his jock friends. A t the precise second th at K en n eth exits the fram e R o n n ie ’s jock friends en ter it, and R onnie switches m ode and m ood, yell ing after K en n eth w ith a quick change of subject. U p to this point in the film R onnie has been try in g to play out a cute balancing act, at tim es confusing the contradictory notions. P erhaps here lies the significance of the sign on his fath er’s fifties station w agon, a sign R onnie has on occasion covered over w hen on a date. It reads, “ T ic, T ac, T ile ” . I t ’s the trad em ark of his fa th e r’s occupation, b u t by recalling the gam e it could stand as m etap h o r of R o n n ie ’s m oral predicam ent — “ T ic, T ac, T oe, here I go, w here I stop I do not k n o w .” Like m any a teen m ovie there is a m oral lesson to be learn t here. B ut the film does not seem overtly concerned by the m oral in and of itself. In fact, it’s fairly straightforw ard, simple and rath er naive — the title, after all, does indeed say it all. Instead, Can’t Buy M e Love is m ore deeply fascinated w ith how one arrives at it thro u g h a series of ironic character m isunderstandings, or mism a tc h in g s o f c o n fro n ta tio n s a n d exchanges which are the source of so m uch hum iliation. In a sense, Can’t Buy M e Love is so fascinated by hum iliation th at one could and should call it a com edy of h u m ilia tion, w ith every character, or re p re sentative character, h um iliated to one degree or another. O n e of the m ost tell ing instances is w hen C indy is hu m ili ated in a scene w here R o n n ie term inates their (supposedly) fake rom ance thro u g h a (supposedly) fake arg u m en t in front of the whole school: R o n n ie plays out a role while C indy takes his cutting rem onstrations to h eart. W h at is even m ore interesting, how ever, is how this scene is in ways sim ilar to th eir rom antic encounter the night before. W hen

R onnie says to C indy, as they gaze up at the m oon, “ W e need to talk. H ow are we going to do it. I ’m new at this, so we need to rely on your experience,” C indy interprets it as the next step to fu rth er ing th eir rom ance w hen in fact R onnie is asking about how they will term inate the rom ance before their friends. T h e next day at school w hen C indy says to R onnie, “ W e need to talk ” , R onnie im m ediately and m istakenly launches into acting out his role, w hen C indy was actually about to redress their situation. T aken from this angle — a series of refracted angles — Can’t Buy M e Love in stinctively owes a great deal to the teen m ovie genre at the same tim e as its d ram a of situations tends to pull away from the genre. If, like a personal civil w ar, the film pulls R onnie in two direc tions, then in form al term s, Can’t Buy M e Love seems to be similarly u n d er two influences (possibly lunar). If its charac ters are easily typed, if its prem ise is not significantly im aginative, and if its con cluding lesson is fairly standard, then w hat is m ost to be appreciated is the way Can’t Buy M e Love charts out its symbolic

elem ents; the way it schem atises its m etaphors is of an order that cannot be easily let go of, or underestim ated. In short, w h a t’s fascinating is how simple and yet com plicated a film Can’t Buy M e Love is. Raffaele Caputo CAN'T BUY ME LOVE: Directed by Steve Rash. Pro ducer: Thom Mount. Co-producer: Mark Burg. Execu tive producers: Jere Henshaw, Ron Beckman. Screen play: Michael Swerdlick. Director of photography: Peter Lyons Collister. Editor: Jeff Gourson. Production designer: Donald L. Harris. Music: Robert Folk. Cast: Patrick Dempsey (Ronald Miller), Amanda Peterson (Cindy Mancini), Courtney Gains (Kenneth Wurman), Seth Green (Chuckie Miller), Tina Caspary (Barbara), Devin Devasquez (Iris), Darcy de Moss (Patty). Produc tion company: Apollo Pictures. Distributor: Village Road show. 35mm. 94 minutes. USA. 1987.

• RITA, SUE AND BOB TOO H ark in g back to the B ritish C arry O n (after sex) m ovie of the late sixties, replete with big breasts and views of n a k e d b u m s ra is e d th ro u g h car windows, Rita, Sue A nd Bob Too lives up to its blurb as a baw dy com edy.

RITA, SUE AND BOB TOO: George Costigan, Michelle Holmes and Siobhan Finneran get down

CINEMA PAPERS MARCH -

N ot as serious as M y Beautiful Laundrette n o r as actively rom antic as Letter To Brezhnev, Rita, Sue And Bob Too at tim es barely escapes Benny Hill country, b u t it is funny, and th e re ’s a kind of interesting tension betw een the solid exuberance of the girls and their function as conventional objects of a m ale desire. In this com edy the w om en are as openly ran d y as the boys, and you can tell the story from their point of view, so this female forthrightness isn ’t ever quite contained by a lim iting expression aro u n d m en. It all begins w hen Bob follows his wife’s orders to drive the two babysitters hom e. R ita and Sue are two teenagers from the adjacent housing estate. T h e y ’re well-developed girls who w ear short skirts and enjoy cream cakes and dancing. T h e y ’re two weeks short of finishing school. N ot m uch goes on for them. T hey accept B ob-bulging-eyes’ offer of a drive on the m oors, and allow him to teach them about ‘rub b er jo h n n ie s’ and the reclining seat. After this, R ita and Sue c a n ’t w ait for their regular ‘ju m p ’ w ith Bob, and entertain us and the Y orkshire neighbourhood in their quibbles about the practice of this sport. O f course, B ob’s wife has to go, taking the children w ith her, b u t not before we learn th at three of h er siblings are divorced and we see as fine a p er form ance of ‘the conceited, frigid b itch ’ as the script dem ands. T h e poor w om an was u n d er the m isapprehension that once a week was expecting too m uch of her. T h e re ’s the sort of vaudeville con frontation betw een concerned parties that the m oral intrigue requires, but it’s the characters, especially the girls, that lift the film onto the edge of satire and, to use anoth er o f the film ’s blurbs, bite and b re a k the elastic th a t pulls T h a tc h e r’s knickers down. A ndrea D u n b a r, the screenw riter, still lives on the B radford estate she w rote about in Rita, Sue And Bob Too. At 26, un m arried and w ith three kids all with different fathers, D u n b a r’s politics, sexual and otherw ise, can be m enac ingly savage. S ue’s father is usually too d ru n k to do up his fly, otherw ise you know h e ’d be out for incest, and the fum bling sweet Pakistani boy Sue briefly sees turns instantly into an aggressive shit w hen his ow nership of Sue is threatened. (But R ita kicks him in the balls.) T h e girls m ove together, walk p u r posefully aro u n d the ‘u rb a n w asteland’ and walk fast, presum ably to keep warm . D espite the cam era train ed on their rolling breasts, they exude a cer tain independence, strength and pow er well in excess of th eir pleasure for Bob. B ob’s so dependent on his ‘h ard o n ’ h e ’s pu tty in the insatiable girls’ hands. D u n b ar says it’s im possible for girls like R ita and Sue to escape the housing estates, b u t escape they do — into B ob’s house and w ithout doing the dishes or getting a jo b . 48 _ MARCH CINEMA PAPERS

T h e re ’s a wonderful scene where the two, p art of a pack of schoolgirls, to u r a m useum , and they m arch through the streets, a barely contained force of u n depressed, if untapped, m ilitant energy. T h e y ’re almost A m azonian, prepared to confront anyone or anything that criticises their right to do as they please. T he use of narrative device ja rs a bit at tim es, but the film ’s m ode is typically one of perform ance, and the tension between the perform ance and the event is where any critique of T h a tc h e r’s Britain up N orth comes through. T he irrepressible enthusiasm of the girls and their refusal to work for low wages on training schemes makes them som ething of a force to be reckoned with, despite their drab environm ent and lack of options. I t ’s R ita and S ue’s story, and it’s at their convenience that the characters fall away, if th ey ’re not shaken off like the Pakistani boy, Aslam, by the resilient solidarity R ita and Sue share. R ita and Sue will share a m an if h e ’s m an enough to m anage, and th ey ’ll have a good tim e, for however long, at B ob’s (D ick’s or H a rry ’s) expense. T he film begins with S ue’s d runkard father staggering comically hom e from the pub, and ends with Sue and R ita on either side of B ob’s bed. You get the feeling that m aybe the girls will stay a team and bring up their kids together in a house like D unbar. A new kind of family. For R ita and Sue, love isn’t like it is in the cinem a for girls, and th a t’s all to the good. Dena Gleeson RITA, SUE AND BOB TOO: Directed by Alan Clarke. Producer: Sandy Lieberson. Co-producer: Patsy Pol lock. Executive producer: Oscar Lewensteln. Screen play: Andrea Dunbar, based on her plays The Arbor and Rita, Sue And Bob Too. Director of photography: Ivan Strasburg. Music: Michael Kamen. Editor: Stephen Singleton. Cast: Michelle Holmes (Sue), Slobhan Finneran (Rita), George Costlgan (Bob), Lesley Sharp (Michelle), Willie Ross (Sue’s father), Patti Nicholls (Sue’s mother), Ghir Kulvindar (Aslam). Production company: Film Four International in association with British Screen and Umbrella Entertainment. 35mm. 95 minutes. UK. 1987.

• SHERMAN’S MARCH • 28 UP T here are cable lines connecting Sher man ’s March and 28 Up from either side of the A tlantic: conjecture and the ideal. W hen Jackie, the anti-nuclear activist in Sherman’s March, shows us a m onum ent which com m em orates the w ar dead and carries the directive for its survivors ( “ Prize tru th , beauty, love, harm ony w ith the infinite” ) she reveals the con cern of each film — signs of the times. T he m essage is that if one is to say any thing at all, there are m any obstacles and im possibilities which m ust also be stated. As parallel instances of the docum en tary reflecting national character, the two films are endlessly interesting for their circum navigation of lives rath er than lifestyles; yet as films produced in a

context of ‘New B ritish’ or old guard cinem a verite gurus from the sixties, they stand out as perversities. 28 Up began as a T V docum entary in 1963, exam ining the lives and aspira tions of 14 seven-year-old children; since then, M ichael A pted has revisited his subjects every seven years. W hile his use of the television m edium as a vast storage vault of cultural history to be re arranged and re-edited every seven years m akes 28 Up seem rath er anachronistic, his clients are not. T hey have fictional counterparts in films where class relations are discussed on finer levels — Rita, Sue And Bob Too, M y Beautiful Laundrette — where it has not been enough to ask why or how Miss Bloggs from M anchester came to land in this or that socio-economic trap, but rath er how she exploits it daily to get her pleasure out of life. T his omission is a frequent stum bling block for A pted, particularly when he is talking to women. H e is reluctant to pull back and try some free associative questioning, or pick up some tips from Ross M cElw ee’s bedside m anner. M cElwee plays the wild card in this game of h u m an statistics and case studies. Sherman’s March, which calls itself a film about an im probable search for love, is full of the confessions that A pted would love to have, but then again the ‘h ero in e’ of the film is the film m aker and not his hotly pursued subjects. O u r m an behind the cam era is living the long-term dream of the cinem a verite m ovem ent in A m erica, adhering to an orthodoxy concerning spectatorscreen relations set dow n by purists such as Je a n R ouch. It is a devoutly religious m ethodology which takes as a condition of viewing the expectation that the viewer will tune in to the subject with mystical affinity and total credulity — a kind of cult of the cine-eye. T he cult has grown, diverting its sm all-tim e focus for a while with large-scale close-ups like Nashville or, m ore recently, True Stories. For too long the life and dream s of the ‘average A m erican’ have lain u n d er the shroud of R eagan/S pringsteen plati tudes which seek to elevate ‘ordinary people’. T he effect is very m uch the same at the other end of the movie spectrum , in films like Beth B ’s Salvation — ordinary folks live in Hicksville with their nasty, m oney-driven hobbies, New R ight religion and undying patriotism . Sherman’sMarch issues a new directive, not only for his fellow film m aking fanatics, b u t for H ollywood films too. I t ’s a retu rn to m any camps: provincial ism, am bition of the “ I ’m gonna get to Broadw ay” variety, a reunion w ith the star system. Full of ‘im possibilities’, Sherman’s March seems to be telling us w hat it is that cannot be filmed, cannot be rep re sented, in any m ore than a passing reference. At the beginning of the film, we are told that it is about the im possi bility of love in an era of nuclear p ro liferation. Y et every w om an M cElwee

28 UP: Tony gets set to climb the greasy pole

meets is treated as a prospective p artner, not a lover, all p art of the film ’s obvious jokes about m atchm aking and p re arranged childhood fantasies of char acter developm ent and com patibility. (Is this the m an, I w onder, that G erm aine G reer holds prom ise for — the male who speaks girls’ talk.) R om antic instinct is what is supposed to keep the film in full swing, but its excesses prevent it being the great opus on love and the malefeminist perspective that would m ark it as single-m inded. Sexual digression is cleverly covered up — he “ c a n ’t seem to stop filming P a t” , and w hen she leaves, McElwee lam ents that there is no m ore film to film, she’s chosen the chance of a Burt Reynolds movie over a starring role in his picture. In order to clear up that re la tio n s h ip (like all his fem ale encounters, its always unfinished, th ere’s always m ore to pore over) the Reynolds look-alike is inserted, in what could only be described as m iraculous coincidence or divine will. L ater, the real Reynolds is tracked down, and the fake is ‘corrected’, for this is not a film about illusions. T he second impossibility: the in adequacy of a film about war, the danger of being exposed as a perpetrator of penile fantasy and, finally, the im possibility of retracing S h erm an ’s trek of destruction through the south as a kind of barom eter of social opinion about global warfare. T here is also the notion that history m ay repeat itself or that the ‘southern w o m an ’ was w hat really led to S h erm an ’s tragic non-recognition by both N orth and South, a kind of avowal of the fem inine which S h erm an ’s superiors took a dim view of and for which S outherners b randed him a rapist. M cElwee treads on shaky ground on this issue, with am using results. T here are very few m en in Sherman’s March. T h eir lives, naturally enough for someone whose tape recorder is not acti vated at m om ents of extrem e male sexual neurosis (when P a t’s exercising, m inus her underw ear, or when K aren is leaving to be with her ex after McElwee has just told us that she was the u n touch able golden girl) are of little interest to our ‘hero in e’. But when they show up, they are exposed as willing collaborators in a m uch larger fake scenario: the first time in a Scottish H ighland dem onstra

tion of “ strength and virility” which McElwee cunningly pursues in his con stant com m ents on ‘en tertain m en t’; the endless historical re-enactm ents; the fashion show. T h e re ’s also som ething desperate in the need to get his women into certain locations: ponds, forests, lakes, m ountain tops. As for the several boyfriends, his rivals in love, it is not necessarily significant that they are silenced in the film, because Sherman’s March is a film about one-to-one rela tions nam ely, McElwee and his chosen subjects. They happen to be naturally dom inating w om en, and Sherman’s March is not a film which gives the wimp the voice. T here is the impossibility of m aking another Sunless, although it has clearly been an influential experience for a film m aker who likes to dabble in revela tions, insom nia, som nam bulism , and then departs back to Boston to teach film and start again. T he dream s of the HBomb tests, the sleepless nights after failure to make headway with his infatuation,-the other world of the isola tionists who insist the governm ent is not strong enough in the face of the Com m ies, who m ust take their survival into their own hands and prepare for the arrival of the holocaust — this is M c Elwee the ethnographic film m aker, the anthropologist who m ight be com m is sioned by G ranada television, or even P eter W atkins, to follow up these m ortal enemies of the state and the disarm a m ent lobby. But the beauty of all the political statem ents in Sherman’s March is that they are cushioned by a profundity of equally obsessive loyalty to personal com m itm ent. Didi, the M orm on girl with the voice like an angel, says “ We are in the latter days where the signs of the times are all around u s .” It is a lovely epigraph for Sherman’s March. McElwee repeats the M arker m otto by calling the shots and putting in a few of his favourite personal things, vestiges of the life he filmed in order to have a life: B urt Reynolds, a plastic rhinoceros and a load of available women. Possibly it is the absence of a hero in 28 Up which deprives it of the edge it should have, but th ere’s also too m uch of M ichael A pted the docum entary m aster and not enough of A pted the m an with the burning question. An exam ination of class relations in the con text of m aturing and hum an evolution m ust, it seems, take on a stern, jo u rn a listic tone to be of any cultural worth. Sure, these people are fascinating for their contradictions, m isjudgem ents and cocky childhood predictions, but A pted conducts the interviews like laboratory tests with the control being ‘norm al society’: kids, a career, a steady job, a hom e to go to. T he responses are not predictable, but they confirm the film ’s entire contention that class systems are com atising Britain. 28 Up’s great strength is that its raw m aterial is bottomless, but it is not given freedom of expression. T he film casts a long shadow of perm anency over the

lives it reveals, unlike the lives in Sher man’s March which move, reflect, absorb and drift in and out of view. T he people in 28 Up are dogged by their livelihoods, their innocence corrupted by the com prom ises of adulthood. T h e best m om ents are the totally out-of-line responses: a recollection of riding a horse or seeing a star kicking a goal, or one of the three girl schoolmates answ er ing an A pted question by saying that they “ never think about it, only when you come around every seven years” . Suddenly it daw ned on me why I w asn’t enjoying this film. Its whole rela tion to its audience is tied to. the notion that we are somehow w atching bits and pieces of our own lives on screen, it is the shared experience which A pted is after, the fix on collective guilt, the irresponsibility of a supposedly uncaring welfare state. T here is no room in A pted’s philosophy for cynics or un-. believers, and people like Neil are coerced into explaining their social dys7 function with a medical diagnosis. -.A n o th e r p resum ably ‘g o o d ’ life turned up when we journeyed to A us tralia, following Paul, the little boy who w ouldn’t eat his greens. A lthough he d id n ’t know w hether his prospects would have been better in E ngland or A ustralia, his wife and A pted certainly did. T he images spoke for him in a steady stream of rom antic cliches, show ing social constrictions set free in wide open spaces and classless enterprise. Finally 28 Up, for all its m eanderings into the b eh av io u ral p a tte rn s of ‘norm al’ folk, is both a fake and a disturbing peephole. Vikki Riley SHERMAN’S MARCH: Directed and produced by Ross McElwee. Cinematography, editing, sound: Ross Mc Elwee. Production company: Ross McElwee Produc tions. Distributor: AFI. 16mm. 155 minutes. USA. 1986. 28 UP: Directed and produced by Michael Apted. Executive producer: Steve Morrison. Director of photo graphy: George Jesse Turner. Editors: Oral Norrie Ottey, Kim Horton. Sound: Nick Steer. Production com pany: Granada Television. Distributor: Newvision. 16mm. 133 minutes. UK. 1985.

• RECENT RELEASES

A Supplem entary G uide Ja n u ary :

•D irty Dancing (Filmpac) •Straight To Hell (AZ) •Flowers In The Attic (Village Roadshow) •Family Business (Hoyts) •Amazon W omen O n The M oon (UIP) •T he Running M an (Village Roadshow) •T h e Principal (Fox Columbia) F e b ru a ry :

•Law O f Desire (Newvision) •Dancers (Hoyts) •T hree M en And A Baby (Village Roadshow) •Stakeout (Village Roadshow) •Suspect (Fox Columbia) •T he Good Father (Newvision) •O rphans (Village Roadshow) •Wall Street (Fox Columbia) •T he Everlasting Secret Family (Filmpac) •N uts (Village Roadshow) •M aid To O rder (Village Roadshow) *This list is subject to change by distributors.

CINEMA PAPERS MARCH -

The Man From Snowy River

NATIONAL FICTIONS by Graeme Turner (Allen and Unwin, 1986, hb ISBN 868618586, $24.95 rrp, pb ISBN 8686 1842X, rrp $12.95). “ Australia offers a new beginning not because it is a kind of paradise, but, on the contrary because it is purgatorial, the place of the ordeal which reveals the possibilities which may emerge from the pain and the mastery which may emerge from submission.” — Veronica B rady, q u o te d in Turner, p 5 2

N a tio n a l F ic tio n s is b o th a te x tb o o k a n d a s u s ta in e d a rg u m e n t. A s a te x tb o o k it c a re fu lly o u tlin e s its th e o re tic a l a ss u m p tio n s a n d th e ir so u rc e s. A s a n a rg u m e n t it d ra w s o u t p o in ts o f c o n n e c tio n b e tw e e n tr a d itio n s in A u s tr a lia n lite ra ry c ritic ism a n d re c e n t film c riticism . A n d as a re a sse ssm e n t o f th e s ta n d - o f f b e tw e e n th e ra d ic a l n a tio n a lis t a n d th e m e ta p h y sic a l a sc e n d a n c y a p p ro a c h e s to c u ltu re in A u s tr a lia , it p ro p o s e s so m e n ew c o n n e c tio n s b e tw e e n so m e o ld d ic h o to m ie s. T u rn e r ta k e s th e c a te g o ry o f n a rr a tiv e as th e p o in t o f m e d ia tio n b e tw e e n A u s tr a lia n film a n d lite ra ry tr a d itio n s . H e p ro p o s e s th a t n a rra tiv e s a re in th e b u sin e ss o f re so lv in g c u ltu ra lly sp ecific c o n tr a d ic tio n s , a n d th a t th e p a tte rn s o f m e a n in g w h ich re c u r in film a n d lite r a tu re a re a rtic u la tio n s b f th e id e o lo g ic a l b eliefs a n d v alü es w h ic h c o n s titu te A u s tr a lia n c u ltu re . O n e o f T u r n e r ’s o b je c tiv e s is to id e n tify th e d o m in a n t c o n so la tio n s o ff e re d b y A u s tr a lia n n a rra tiv e s to th e p ro b le m s o f A u s tr a lia n ex p e rie n c e . H e su rv ey s a w id e ra n g e o f w ritin g s a n d film s to su g g est th a t: “ th e c o m m o n se n se n o tio n s o f A u s tr a lia n e x p e ri en ce (as b e in g h a rs h b u t w o rth w h ile , elicitin g re a listic e x p e c ta tio n s o f a m o d e s t level o f su rv iv a l r a th e r th a n ro m a n tic o r n a iv e n o tio n s o f tra n s c e n d in g o n e ’s p h y sic a l c o n d itio n s ) a n d th e c o m m o n s e n s e n o tio n s o f th e ‘A u s tr a lia n ty p e ’ (as re s o u rc e fu l, to u g h , p o sse ssin g a n in d e p e n d e n c e a n d in d iv id u a lis m th a t d o es n o t p re c lu d e a sen se o f c o m m u n ity a n d ‘m a te s h ip ’) a re c o n so lin g in v e n tio n s .” (p l4 3 ) T u rn e r-re a c h e s th is c o n c lu s io n a n d d ra w s o u t its im p lic a tio n s in f o u r sta g e s. H is firs t ste p is to c h a lle n g e th e R o m a n tic o p p o s i tio n b e tw e e n S o ciety a n d N a tu re w h ic h p ro p o s e s th a t th e se a rc h f o r H arm o n y w ith n a tu r e in A u s tr a lia is d o o m e d ’ b e c a u se o f th e h a rs h n e s s a n d h o s tility o f th e la n d . In te rm s o f th is o p p o s itio n , th e ra d ic a l n a tio n a lis t tr a d itio n sees th e la n d as o ffe rin g th e

50 — MARCH CINEMA PAPERS

th r e a t o f is o la tio n b u t a lso th e p ro m ise o f fre e d o m . T h e m e ta p h y sic a l a sc e n d a n c y tr a d itio n sees th e th r e a t in te rm s o f b a n a lity a n d s p iritu a l s ta rv a tio n , a n d th e p ro m ise in te rm s o f sp iritu a l tra n sc e n d e n c e . T u rn e r a rg u e s th a t th e d ic h o to m y itse lf is th e p ro b le m b e c a u se th e e lisio n o f c u ltu re in to n a tu r e p re -e m p ts calls fo r c h a n g e . I f th e A u s tr a lia n la n d s c a p e is o n e o f e n tr a p m e n t by its v ery n a tu r e , th e n th e o n ly o p tio n is th e p ra g m a tic o n e o f su rv iv al. T u rn e r uses th e m e ta p h o r o f im p ris o n m e n t to d e v elo p th e n ex t sta g e o f h is a rg u m e n t th a t: “ th e rig o u rs a n d d iffic u ltie s o f th e n a tu r a l la n d s c a p e to g e th e r w ith th e so c ia l sy stem o f c o n v ictism . . . p ro v id e u s w ith th e a lib i th a t w e n e e d to a c c e p t th e sta tu s q u o in a so c ie ty w h e re th e r e a re s tro n g p h y sic a l, so cial a n d h eg e m o n ic re a s o n s f o r d o in g s o .” (p52) T h e id e n tific a tio n o f im p ris o n m e n t o r c o n v ic tis m as th e c e n tra l p a ra d ig m f o r th e d e p ic tio n o f th e se lf in A u s tr a lia n n a rra tiv e , su b s titu te s th e A m e ric a n p r o ta g o n is t’s q u e st w ith th e A u s tr a lia n p r o ta g o n is t’s o rd e a l o f exile. I f su rv iv a l b e c o m e s th e c e n tra l g o a l, th e n m e a n in g b e c o m e s p ra g m a tic , b a s e d o n a sce p ticism a b o u t so cial change. T u rn e r a rg u e s th a t th e lo o se ly s tru c tu r e d , o p e n -e n d e d n a r r a tives o f th e 1970s fe a tu re film d e p e n d o n th e in v o c a tio n o f h is to ry to give m e a n in g to o th e rw ise in tra c ta b le situ a tio n s like th e s h e a r e rs ’ s trik e in S u n d a y T o o F a r A w a y : “ O u r n a rra tiv e s h a lt ju s t b e fo re (h e fe e lin g o f a b s u rd ity , w ith o u t fu lly a c c e p tin g it; th e y a re a rre s te d a t a ‘p re -e x iste n tia l m o m e n t’ a d m ittin g th e w ith d ra w a l o f m e a n in g a n d , v a lu e b u t w ith o u t in v e n tin g a re p la c e m e n t f o r w h ic h th e y m a y a c c e p t re s p o n s ib ility .” (p80) T h e d o m in a n t view o f p o w e r re la tio n s b e tw e e n th e se lf a n d A u s tr a lia n so c ie ty p ro p o s e s th e fu tility o f a c tio n a g a in s t th e sta tu s quo. T h e th ir d ste p in T u r n e r ’s th e sis m a in ta in s t h a t th e ch o ic e o f th e m o d e o f c h a ra c te ris a tio n in A u s tr a lia n n a rr a tiv e s re la te s to a p a rtic u la r view o f th e se lf. T h e d o c u m e n ta ry re a lism o f m u c h film re p re s e n ts c h a ra c te rs as ty p e s . T h e y a c t as m e to n y m s fo r so m e a s p e c t o f A u s tr a lia n life , re v e a lin g a scep ticism a b o u t in d iv id u a lis m a n d th e u n iq u e n e s s o f th e self. T h e lite ra ry c o n v e n tio n o f m a te s h ip d e p e n d s u p o n a r e p r e s e n ta tio n o f c h a ra c te r w h ic h is id e o lo g ic a lly o p p o s e d to t h e in d iv id u a l a n d w h ic h u n d e rm in e s th e r a d ic a l p o te n tia l o f th e n a tio n a lis t m y th o f in d e p e n d e n c e . A c o m m itm e n t to c e rta in k in d s o f in d e p e n d e n c e m a s k s a b a sic su s p ic io n o f d iffe re n c e a n d in d iv id u a lity . , T h e fin a l sta g e o f T u r n e r ’s a rg u m e n t ta k e s u p th e c o n fla tio n o f m a te s h ip , n a tio n a lis m a n d th e m y th o f in d iv id u a lism . F o r

T u r n e r , ‘th e n a t i o n ’ p e rf o rm s se v e ra l fu n c tio n s : it p ro v id e s th e a lib i f o r lo w e rin g th e th r e s h o ld o f p e rs o n a l e x p e c ta tio n s ; it is th e o b je c t o f th e a rg u m e n ts a r o u n d th e im a g e o f c o n v ic tism ; a n d it p ro v id e s th e s u p p o r tin g m y th o lo g y f o r th e c o n v e n tio n o f m a te sh ip a n d th e re p r e s e n ta tio n o f c h a ra c te r. In film a n d fic tio n it is th e b u s h le g e n d o f th e 1890s th a t p ro v id e s th e p a ra d ig m fo r th e re p r e s e n ta tio n o f n a tio n a lis m . A c c o rd in g to T u r n e r , n a tio n a l is m ’s a c c o u n t o f th e A u s tr a lia n p re d ic a m e n t is p o sitiv e , even c e le b ra to r y , w h ile th e p o p u la r su ccess o f T h e M a n F ro m S n o w y R iv e r in d ic a te s t h a t th e n a tio n a lis t m y th h a s e le m e n ts w ith in it th a t m a y b e su b v e rsiv e o f th e ru lin g o rd e r . In th e c o n c lu d in g c h a p te r, T u r n e r ’s h id d e n a g e n d a b eg in s to e m e rg e . H e id e n tifie s tw o tr e n d s in film a n d w ritin g w hich a p p e a r to o ff e r a lte rn a tiv e a n d c o n tr a d ic to r y m o d e ls o f A u s tr a lia n e x p e rie n c e . T h e c ritic a l fo c u s o n u r b a n , so c ia l a n d p o litic a l s u b je c ts in film , a n d th e fo r m a l in flu e n c e o f fa n ta s y , m e ta fic tio n a n d T a b u la t io n ’ in w ritin g , su g g e st to T u rn e r th e p ro g re ssiv e p o ss ib ilitie s o f re a lis m a n d th e fa b le fo r th e p ro d u c tio n o f c o u n te r-h e g e m o n ic m e a n in g s . T h is p re s c rip tiv e h a n k e rin g fo r a c le a r d e m a r c a tio n b e tw e e n p ro g re ssiv e a n d re a c tio n a r y te x ts is a d e a d g iv e a w a y t h a t T u r n e r ’s p r o je c t is firm ly b o u n d in to th e A lth u s s e ria n m o m e n t o f 1970s film c ritic ism . T u r n e r p re -e m p ts th e m o s t o b v io u s c ritic a l re sp o n se s to his p r o je c t b y sp e llin g o u t its lim ita tio n s in b o th th e in tro d u c tio n a n d th e c o n c lu s io n . B y ta k in g th e c u ltu r e as h is p rim a ry s u b je c t, he fo c u se s o n sim ila ritie s r a th e r th a n d iffe re n c e s b e tw e e n te x ts. T h e re s u lt is a m o n is tic m o d e l o f fo r m a n d m e a n in g in A u s tra lia n n a rr a tiv e . It te n d s to re d u c e in d iv id u a l te x ts to th e a p p lie d m o d e l, p r o d u c in g a c lo se d sy ste m w h e re b y a n e n o rm o u s ra n g e o f film s a n d b o o k s a re p lu n d e r e d fo r th o s e e le m e n ts w h ich c o n sti tu te th e d o m in a n t m y th s o f A u s tr a lia n n e s s . A lth o u g h T u r n e r ta k e s g re a t p a in s to d e v e lo p his a rg u m e n t s y s te m a tic a lly , th e c o n n e c tio n s th a t h e fin a lly m a k e s b e tw e e n th e r e p r e s e n ta tio n o f th e m a jo r c o n tr a d ic tio n s o f A u s tr a lia n e x p e ri e n ce a n d th e ir p ra g m a tic re s o lu tio n s , la c k co g e n c y . H is claim t h a t th e s e m e a n in g s fo r m a p a tte r n th a t re v e a ls th e d o m in a n t id e o lo g y o f th e c u ltu re b e c o m e s ev en less co n v in c in g . T h e re seem s to b e little p o in t in p ro d u c in g a u n ifie d c h a ra c te ris a tio n o f th e c u ltu re — as o n e w h ic h is a d d re s s e d b y th e b u sh le g en d o f th e 1890s, w ith o u t c o n s id e rin g th e c o n d itio n s fo r th e c irc u la tio n o f n a tio n a lis t m y th s. A s T u r n e r sa y s, ju s t b e c a u se a m essag e is sen t, d o e s n ’t m e a n it h a s b e e n re c e iv e d . T u r n e r ’s c u ltu ra l n a tio n a lis m p ro d u c e s a b lin d sp o t w hich tr a n s f o r m s a p ro lif e r a tio n o f c u ltu re s in to th e c u ltu re , a n d w hich a ss u m e s th a t A u s tr a lia n n a rr a tiv e s h o ld A u s tr a lia n au d ie n c e s c a p tiv e b y v irtu e o f g e o g ra p h ic a l b o u n d a rie s . It w o u ld b e te m p t in g to d ism iss T u r n e r ’s in v e n tio n o f a n a tio n a l id e o lo g y as a M a rx is t a n a c h ro n is m , b u t th a t w o u ld b e to tu r n a b lin d eye to at le a s t tw o b ig e v e n ts: th e B ic e n te n n ia l a n d C ro c o d ile D u n d e e . O n e p la c e w h e re N a tio n a l F ic tio n s c o u ld c la im so m e c u rre n c y is in th e g ro u n d s w e ll o f d e b a te s o v e r A u s tr a lia n n e s s , o c c u rrin g in re la tio n to th e p ro b le m o f fig u rin g o u t in te rv e n tio n s in to th e B ic e n te n n ia l c e le b ra tio n s o f a c o lo n is a tio n p ro c e ss fo u n d e d o n c o n v ic tis m . T u r n e r ’s id e n tif ic a tio n o f a re c u rrin g th e m a tic o f im p ris o n m e n t, su rv iv a l a n d p ra g m a tic m o v e s, a c ro ss a w h o le b o d y o f film a n d w ritin g , b e c o m e s m o r e c o n v in c in g w h e n w e see th e sa m e p r e o c c u p a tio n s c ro p p in g u p in B ic e n te n n ia l p o litic s, a n d in re c e n t c ritic ism d e v o te d to a sin g le film . M e a g h a n M o r r is ’s o p u s o n C ro c o d ile D u n d e e 1, o p e n s u p q u e s tio n s o f lo c a l re sp o n se s to g lo b a l s itu a tio n s , te a s in g o u t c o m p le x re la tio n s b e tw e e n th e p o si tiv e fo rc e o f a “ c o m e d y o f f r o n tie r s a v o ir -fa ir e ” a n d re a c tio n a ry ra c ia l a n d sex u al m y th s. T u r n e r ’s b o o k e n a b le s u s to see th e e x te n t to w h ic h C ro c o d ile D u n d e e d e riv e s fr o m a n d m o d ifie s ce r ta in te n d e n c ie s in lo c a l n a rr a tiv e s . N a tio n a l F ic tio n s ra ise s th e q u e s tio n o f w h e th e r m e ta p h o rs o f im p ris o n m e n t a n d exile a re “ a c c u ra te d ra m a tis a tio n s o f th e w ay in w h ic h a p o litic s o f su rv iv a l a n d a c c e p ta n c e m a n a g e s to w in th e a ss e n t o f th e c u ltu r e ” . I f T u r n e r ’s s tu d y h a d b e e n less c o m m itte d to c o m in g u p w ith a to ta l sy ste m o f e x p la n a tio n fo r a c u ltu re im b u e d w ith th e “ s h e ’ll b e rig h t, m a t e ” a p p ro a c h to a d v e rsity , it m ig h t h a v e ta k e n tim e to s p e c u la te o n th e p ro g re ssiv e p o te n tia l o f th e p o litic s o f su rv iv a l w h ic h it leav es so u n e x a m in e d . T h e d riv e to to u c h o n a b r o a d ra n g e o f b o o k s a n d film s, a n d to in c o r p o r a te th e m all in to a sin g le e x p la n a to ry p rin c ip le , m itig a te s a g a in s t th e re a lly in te re s tin g q u e s tio n s to d o w ith h is to ry , fo rm s a n d m e a n in g s w h ic h T u r n e r ’s b o o k leav e s to o n e sid e. F elicity C ollins 1. M eaghan M orris, “ T ooth and Claw: Tales o f Survival and C rocodile D u n d e e " , A r t & T ext 25, June-A ugust, 1987.

Soundtrack Albums New and unusual soundtrack recordings from our large range $14.99 (LP) $18.99 (LP) $33,00 (CD) $18.99 (LP) Islands In The Stream (Goldsmith) $33.00 (CD) $18.99 The Sicilian (Mansfield) $18.99 Dark Eyes (Lai) $18.99 (LP) Walker (Strummer) $18.99 (LP) Heaven's G ate (Mansfield) $18.99 (LP) Hoosiers (Goldsmith) $16.99 (LP) Police (Górecki) $18.99 (LP) No Man's Land (Poledouris) $18.99 (LP) Wall Street (C opland)/Salvador (Delerue) $33.00 (CD) $18.99 (LP) Sea Hawk (Korngold) newly recorded $33.00 (CD) $18.99 (LP) Running Man (Faltermeyer) $33.00 (CD) $18.99 (LP) John Huston's The Dead (North) $33.00 (CD) $18.99 (LP) Flowers In The Attic (Young) $33.00 (CD) Near Dark (Tangerine Dream) $18.99 (LP)/$33.00 (CD) Suspect (Kamen) $ 18.99 (LP)/$33.00 (CD) Empire Of The Sun (Williams) Extreme Prejudice (Goldsmith)

READINGS — SOUTH YARRA 153 Toorak Road — 267 1885 (Books, LPs, CDs, Cass.) & 73/75 Davis Avenue — 266 5877 (Secondhand LPs & Cass.) Mail Order: P.0. Box 434, South Yarra, Vic. 3141. We are always interested in purchasing collections of recordings.

DENNIS QUAID "Inner Space”

ELLEN BARKIN NED BEATTY "Tender Mercies”

"Network”

KINGS ROAD ENTERTAINMENT PRESENTS DENNIS QUAID ELLEN BARKIN 'T HE BIG EASY” NED BEATTY MUSIC SCORE BY BRAD FIEDEL FILM EDITOR MIA GOLDMAN WRITTEN BY DANIEL PETRIE, JR. PRODUCED BY STEPHEN FRIEDMAN DIRECTED BY JIM McBRIDE [S K T ] c '« tow«*»hciiihünoum m mfutm'im u

CINEMA PAPERS MARCH — 51

CLOSE-UP Jim M cBride Tells It Like It Is IF Y O U D ID N ’T get hooked on The B ig E a sy during its theatrical release last year, you’d be crazy not to catch it on video. Harking back to the most passionate screen rom ances, this latest film from the director of B re a th le ss, Jim M cBride, would give anyone palpitations. Y o u ’ll see it once and w ant to be seduced by Ellen Barkin, Dennis Q uaid and the am bience of N ew O rleans over and over. T h e dialogue is delicious and the extraordinary repartee betw een Barkin and Quaid is heightened by sensual Cajun tunes that sw eep you through moods of longing and lam e n t, carnival and celebration. If it all sounds too good, th ere are m ore than a few dedicated M cB ride followers to back it up: those who know the work of this once ‘underground’ Am erican director from the days of D a v id H o lz m a n ’s D ia ry when he first collaborated with L.M . Kit Carson. M ad e for $ 2 5 0 0 in 1967, D a v id H o lz m a n ’s D ia ry takes as its prem ise G od ard ’s line “ C inem a is truth 2 4 fram es a seco n d ” and records the mixed-up daily life of its central character in all its banality. T he initial im age for the film w as of “ a guy with a cam era on his shoulder filming him self in a m irror” and it continues to m ark a significant m om ent in the deb ate about the line between d ocum entary and fiction. Eleven years later, M cB ride and Carson conceived the opening shot for B re a th le s s : “ a rockabilly punk juking around in front of a V eg as casino at su n se t.” S et in contem porary LA, it w as inspired by A B o u t D e S o u ffle (1960) and w as their “ reckless p ayb ack” to G odard. Starring Richard G ere (who gives a nervously en ergetic, m esm erising perform ance as hustler Jesse Lujack) and V alerie Kaprisky (an 18-year-old unknown, spotted in a group photo torn from a French m agazine), B re a th le s s w as a stylish entry into Hollywood, recognised by th e critics but not the box office. Before this feature, M cB ride worked sporadically, editing, writing screenplays, revising screenplays (S am Fuller’s The B ig R e d One), driving cabs, travelling. And there w ere other films: M y G irlfrie n d 's W e dding (1968), Glen A n d R anda (1971), P ictu re s F o r L ife ’s O th e r S ides (1971) and H o t Times (1974), a porno movie which was picked up by distributors with more eagerness than the previous three films. “ All my friends in

It’s been three years since B r e a th le s s and as a reviewer* put it, it’s always a long time between drinks for you. What’s happened in that period? Are there any new projects we don’t know about and can you tell us about any? Sure, there are zillions . . . T h a t’s kind of the w ay life is here. You try to have four or five different things going and hope that one of them will happen. But if you’re talking specifically about the period betw een B re a th le s s and The B ig E asy — I’m trying to rem em ber, it w as so long ago — I did a screenplay called The C h a lle n g e r with Kit Carson, who wrote B re a th le ss with m e, and it w as based on a screenplay by another guy, an English guy whose nam e I d on ’t recall at the m o m e n t. . . How much do you w ant to know about any of these things?

Whatever you can tell us. You have something of a following here, a critical following. I do! Y o u ’re kidding. How funny. T h a t’s very nice.

It seems the state of affairs in Hollywood is very difficult "Adrian Martin, Filmnews, October 1987.

52 — MARCH CINEMA PAPERS

Italy and France and G erm an y h ave seen it,” said M cBride, “ w hereas my other films are almost impossible to s e e .” But then there is The B ig E asy. N ew O rleans, w here we learn that folks have a certain w ay of doing things, is the backdrop for this rom ance/thriller. Dennis Q uaid plays the charm ingly brash police lieutenant, Rem y M cSw ain. H e ’s from a long line of cops and breezes through his job. M cS w a in ’s on the inside. W hen assistant district attorney A nne Osborne (Ellen Barkin) arrives to investigate alleged police corruption, the tables are slowly turned. S h e ’s from the outside. And th e re ’s the magic: the process of these two negotiating for love draws you in, spins you around, and leaves you sighing for more. M ore of Q u a id ’s cajoling and teasing, his beguiling yet innocent play; m ore of Barkin’s contradictory signs —■her prim responses, her vulnerability, her courage to show desire, unease, em barrassm ent. The B ig E a sy is about the difficulties, the craziness, and the fears engendered by love. But th ere is the other side, other moods: it gives you grins, glances, giggling, and toy “ gators” that are m eant to m ake up for the heartache. Am idst films that m ake love look so easy, M cB ride is not afraid to “ tell it like it is” . On top of this, the supporting actors add the spunk and vitality that helps to shift the m urder plot into the background. Each is given the chance to develop a quirky attribute, a w ay of injecting interest beyond their im m ediate function in the narrative: Lisa Ja n e Persky, the sm art and sassy Detective M cC abe, delivers som e of the best ‘w ise g uy’ lines; the late Charles Ludlam as the eccentric d efen ce attorney, Lam ar, am uses with every roll of the eye; and Ned Beatty is perfect as the classic Southern cop looking for a winner. In their own way, they have the tables turned on them too. M cB ride considers him self a collaborator; for him, it’s all about pointing people in th e right direction. “ I’m not the kind who imposes this absolute vision,” he has said, “ I give them a general kind of thesis, tone — an attitu de.” In The B ig Easy, he certainly got it right. In this interview, he explains h o w . ... R a ffa e le C a p u to a n d K a th y B a il

for you. I guess that’s for commercial reasons. Although your films are released commercially — B r e a th le s s and T h e B ig E a s y — just the same, they seem to be at odds with, or unacceptable to, the mainstream. For instance, B r e a th le s s and, I suspect, T h e B ig E a s y , took some time before receiving a commercial release. Why is that? B re a th le ss w asn ’t a movie that w as well-loved in Hollywood. In fact, it was about three years before I got a chance to m ake another movie. The B ig E a sy w as the first project that anyone ever offered me, to be a director-for-hire, so to speak. I was very anxious to work and very grateful for the chance even though the original screenplay w as n ’t som ething that I felt really strongly about. It w as very different from the w ay the movie ended up. It took a year betw een the tim e The B ig Easy was finished and the tim e it actually got released com m ercially here. I c a n ’t really explain it. T he producer showed it to all the m ajor distributors and they all kind of responded the sam e w ay and said, “ It’s a nice little movie but I don’t know how to sell it.” T he producer w as very unhappy and thought w e had a disaster. H e kept w anting us to shoot a new ending and try to

foreign culture, the French in this case, and because of it they were “ returned home” . Do you feel this has been the way with your own films? At least it seems to be the case with D a v id H o lz m a n ’s D ia ry .

find ways of making it more “ app ealing ” but we couldn’t figure out what the problem with it was. But it w asn’t like “ W e hate this movie . . . If you just change this sc en e” then suddenly it would be all right. It was just met with this kind of indifference. W e didn’t have any big stars, a big commercial hook or anything and in fact the producer was going to try and distribute it himself. It was terribly depressing because it was going to open in a couple of cities in the South and we were sure it was just going to disappear. Then, that January, about a year ago, th e re ’s a film festival in Park City, Utah, th a t’s run by Robert Redford’s Sundance Institute, and w e tobk the movie up there and David Puttnam saw it (this is when he was head of Colum bia) and he liked it and bought it and released it — it turned out to be quite successful! Before that, it was a disaster, after, it was a success, who can explain it?

But that whole idea of being discovered by a foreign culture and then returning home, for me that seems to be built in to your films. B r e a th le s s , in particular, because it is a remake of a French film which remakes the American gangster movie. I’m not so sure about T h e B ig E asy. Maybe in a more general sense the film appears to be foreign to its own culture.

In the interview you did with Joseph Gelmis ( T h e F ilm 1974) you mention reading it becoming reacquainted with American movies. People like Howard Hawks, Nicholas Ray or Anthony Mann were discovered by a

The B ig E asy certainly looks to be exotic here. I think that is a lot of its appeal ultimately . . . Having discovered movies through a kind of intellectual prism — the no u ve lle vague and the Am erican underground — my first interest was in ‘art’ movies, let’s say, and it w asn ’t until after I’d learnt about the

D ir e c t o r A s S u p e r s ta r , Penguin, C a h ie r s d u C in e m a and through

I think th at’s very much because I was coming from a generation of young Am erican film m akers who discovered American movies through the French. It’s like the French discovering Shakespeare through Orson W elles!

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French New W ave and Antonioni, Fellini, Bergm an, Eisenstein, not to mention a whole background in docum entary films, cinem a verite, and the Am erican underground, it w asn ’t until I absorbed all of that stuff that I got to classic Am erican m ovie-m aking. So I learnt backwards, I guess. By the sam e token, my career has followed that peculiar track, in the sense that I started out making very specialised art movies and in recent years have tried to find a m ore m ainstream voice to speak with.

Let’s move on to a particular element in your films — the music. In both B r e a th le s s and T h e B ig E a s y the selection of music is singularly appropriate to the narrative development. For instance, in B r e a th le s s the selection of songs reflects the character’s psychological state. It also fits in with a notion of popular culture which pervades B r e a th le s s — cars, comics, clothes, certain movies and, of course, the music — and in a sense they are all throwaway elements. Did you say throw aw ay elem ents? I d on ’t throw them away!

No, I mean they’re popular. But th e y ’re classic too. I think the music is classic, the books, the cars. I’m trying to find a w ay now to m ake distinctions betw een high and low art, so to speak. I think that ultimately when you step back from all that stuff certain things remain, certain classical values pervade popular culture and high culture and th e y ’re not so far apart.

But the way the music functions in T h e B ig E a s y is different from B r e a th le s s in that it is pertinent to the region, New Orleans, culturally and historically. M aybe the difference is this: in B re a th le ss w e created an imaginary, sem i-fantasy kind of cultural context that the characters lived in — the fantasy of Los Angeles, the fantasy of a life of rock’n ’roll. But it w as still basically trying to put the story in a rich world. In the case of The B ig Easy, that was southern Louisiana and in B re a th le s s it was an imaginary LA. How ever, in a sense, The B ig E a sy is just as much an im aginary New O rleans. For exam ple, there a re n ’t any Cajuns in New Orleans, Cajuns are generally country people. So we created an im aginary world w here two different kinds of music co-existed but it’s not really true.

That’s why you don’t really represent New Orleans, or you represent it differently. We don’t see a great deal of New Orleans. There are a couple of landmarks — “ Tipitina’s” and “ Antoine’s” — but New Orleans is invoked as a state of mind or a mood. Exactly. It really is like that to a certain extent. W e took all of our cues from the reality but it was a heightened and selective reality that w e ultim ately showed.

What kind of input do you, personally, have in the music of the films? You seem to give it a great deal of thought. Y ea h . Music is one of m y great preoccupations in life. I think there is a great deal that movies and music have in common, abstract qualities. W hen you can find a w ay to fuse them or m arry them , you can create som ething very rich.

You also seem to avoid the popular approach which sees soundtracks constructed from pop songs for the sole purpose of what appears to be commercial gain. T h a t’s true. W e had a really hard tim e trying to find som eone to put out the soundtrack of The B ig E asy. I think they expected to sell about 2 0 ,0 0 0 in the first order and they sold 1 0 0,00 0 in two w eeks. Am azingly, it’s been selling very well. It did n ’t com e out until several w eeks after the film in the States. W e felt bad about that but it’s doing well. People seem to like it a lot. But the idea of constructing a soundtrack that

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has surefire com m ercial appeal . . . that d oesn’t interest me that much. I think the music that I like generally has some kind of com m ercial appeal! I try to do things that people will like. I d on ’t deliberately try to be obscure. T h e re ’s a whole range of music beyond the Top 40 that I think people love to hear but they d on ’t get a chance very often. I never felt any conflict about the music w e w ere using or any pressure from som ebody else to use m ore com m ercial music.

That scene where Remy turns around to Annie and sings that song really surprised me. It felt odd that this character should sing — it seems to be an aside to the film. But at the same time, it is very appropriate because he is attempting to endear himself once again. It gives the scene a double-edge. It doesn’t seem as though it was scripted. It w as n ’t in the original screenplay. T he original screenplay was set in Chicago and I worked with a writer-collaborator Jack Baran. W e reset it in New O rleans and introduced the musical context of it very deliberately.

I remember reading that for B r e a th le s s there was initially a problem with Richard Gere coming to terms with his character but finally it happens. It seems to indicate that you work intensively with your actors. Was that the case with T h e B ig E a s y ? That story about Richard is true but it happened w ay before we actually started making the movie. That was the process I had to go through with him in order to convince him to work with m e on the movie. He had been working with another director who had a very different idea of w hat the character should be like. (M cB ride and Carson wrote the script for B re a th le ss although two directors began working on it before Orion appointed M cBride director.) At the beginning, Richard found it difficult to see it in a new and different way. It was mainly through showing him pictures of Jerry Lee Lewis that I got him around to the idea of w hat this character m eant to me. M ore than anything, it’s an attitude and it took a while for us to connect about that. O nce w e did, then he was totally with it and extrem ely inventive within that approach. M y experience working with the actors on The B ig E asy was the best experience I’ve ever had with actors in my life, and I don’t have a whole lot of experience with actors. I find the idea of working with actors very challenging. I used to find it very scary. But in this movie we had an ensem ble of wonderful actors. W e also had this odd situation w here we had a script which was in a constant process of change. The whole tim e w e w ere re-writing the script to m ake it set in New O rleans, and making all the other kinds of changes, w e w ere in pre-production for the movie. W e had to start on a certain date. In fact, the re-writing kept going on all through the making of the movie. I took the position that w e had to bring the actors into the creative process and so I invited them to participate and m ake suggestions and w e would try in rehearsals to improvise.

In T h e B ig E a s y there seems to be something similar to the incident with Gere where you showed him pictures of Jerry Lee Lewis. I read that you showed the cast H is G irl F rid a y in order to cut corners on the script. T h a t’s right but not so much to cut corners. On a pragmatic level, w e had a very long script and I did n ’t w ant it to be a long, slow movie so by showing them H is G irl F rid a y I wanted to infuse them with that kind of spirit. W e had a gam e w here w e w ere always com peting to m ake it faster and funnier. It worked out great because all the actors really got into it. Very much beyond that, Dennis, I think, stood out more than anybody else, throwing him self into the role and the whole atm osphere of the city. H e was trem endously inventive

and cam e up with some wonderful stuff. I have to credit him as a collaborator on the screenplay in a way.

There’s been the implication that because the Dennis Quaid character, Remy, is so smooth and charming, and is so good at what he does, and Annie is so vulnerable, that the sexual politics of the film are suspect or questionable. I tend to read it the other way round because I find Remy an incredibly innocent and naive figure. For instance, when his brother reveals to him that he knew his father was on the take, Remy is blind to all that. Would you agree with that? I much prefer your interpretation!

It also relates to all that stuff about family and to his job because he sees the police department as family as well. More important, he doesn’t have the knowledge Annie has; she is less innocent than he is because of what she knows. T h a t’s an interesting thought! On one level, I could say to you very pragm atically w e w ere stuck with this story about this basically arrogant and obnoxious guy who did a lot of bad things and som ehow realised they w ere bad at the end and becam e a good guy. That was a very awkward position to be in and one of the big struggles in making the film was to find the proper tone for him and the proper w ay to be able to love him and still be able to judge him. It was a delicate process, feeling our w ay through that. Dennis was a tremendous help in that way. But you’re right, we wanted to give that sense, and it’s quite true, it’s very much the w ay it is down there in New Orleans . . . I lived in Brazil for a year w here everything is done under the table and sideways, never through official channels. It’s kind of the sam e in New Orleans. T h e re ’s a way of doing things which is not necessarily right or wrong and if you grow up with that it’s possible to ignore the moral implications of w hat you do. T h a t’s the w ay w e tried to see Remy. It takes som ebody from outside and a series of events for him to see his life in a moral context. T h a t’s the idea and if we follow your interpretation it works.

It’s very similar to the Italian cultural experience. T h a t’s funny because the character originally was Italian.

Are there any new projects in the works and can we expect to see them soon? Yes. This is the most am azing thing about my life because I’ve basically been som eone w ho ’s a long tim e between movies — or drinks — and suddenly I’m having pictures offered to me. I got a lot of attention after The B ig Easy. I’m actually involved in three different projects all of which I think are really exciting and all of which I think will eventually get m ade. O ne of them is called E lektra A ssa ssin and it’s based on a comic book by Frank Miller. It’s quite brilliant and wonderful. I collaborated on the screenplay with Kit Carson. T he next one is based on the autobiography of Chuck Barris who was a very fam ous gam e show host (The G ong Show). This is a very bizarre autobiography, a mixture of reality and fantasy th at’s quite extraordinary. Jack Baran and I have just finished that screenplay. I work som etim es with Kit and som etim es with Jack. T h e y ’re both long-standing collaborators. I enjoy working with both of them . T he most current thing is a project about Jerry Lee Lewis which Dennis Quaid is going to star in. W e ’re doing it for Orion and w e ’re just about to start writing the screenplay. W e ’re supposed to shoot it this sum m er. T h e y ’re the three things I’m involved in now. I’m excited about all of this — I’d be happy to do any one tomorrow. The Big Easy is a Seven Keys release.

Slick is the name and slick is the game. PAUL KALINA looks at the philosophy behind the slick, the cover on a video that makes it stand out in a crowd. A H O L O G R A M of a skull inside a television set beckons viewers to The Video D ead. Another video shows a wraith haloed in silver blue rays, while yet another carries the line “ She makes m oney between her legs . . . and spends it up her arm s .” To paraphrase the cover line that accom panies the hologram, look w hat’s living inside your video shop. “ The video cover is one of the most important aspects to consider in the successful marketing of videos,” says M arina Andrian of RCAColum bia Pictures-Hoyts Video. “ From trade to consumer, the video cover must have impact with capital ‘I’, as it is the first im age that a video dealer or renter is faced with when they are buying or hiring a vid eo .” W hen distribution com pany representatives sell dealers new releases, their w ares are displayed on the covers. R oadshow ’s marketing supremo M ark Patterson says he can sell 1500 em pty boxes on the basis of the cover. It’s a m atter of enticing renters who might not know anything about a film with a w rapper measuring a m ere 22 by 32 centim etres, only half of which is visible while it stands on the shelf. “ T he major concern,” says Steve Scerri of Prem iere Hom e Entertainm ent, “ is how it will appear on the shelf next to another.” ‘Slicks’, as they are called in the trade, have got the video industry covered. The word perfectly conjures the ingenuity that goes into the sleeves which differentiate the contents of one plastic box from another. Scerri has overseen the production of w hat he claim s is “ the w orld’s first musical box” for H o b o ’s C hristm as.

Like musical greeting cards, the video case plays a tune when opened. For D eath B efore D ish o n o u r, he initiated a holographic im age that gives the effect of motion. The three-dim ensional hologram of a skull inside a television set on the cover of The Video D e a d prompted congratulatory letters from producer and director Robert Scott. As for novel designs, the slick of The W raith is one of, if not the most, dazzling yet. The three-dim ensional im age of an arm our-clad figure bathed in haloes of shimmering, reflective beam s was achieved by printing onto different grades of foil. It was produced overseas as the facility is not available locally. And with sales of m ore than 10,000, The W raith has becom e the largest selling video release of an independent com pany — though P ala ce’s Marilyn Bates insists that this be seen in the overall context of an extensive marketing cam paign. At the other extrem e are theatrical successes, as well as movies like C ro co d ile D undee and E. T. (the latter not yet available on video) >

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< which would probably sell out of brown p aper bags. Says M arina Andrian, “ Usually, however, if a film has experienced strong theatrical success, one does not suggest major changes to video cover artwork that mirrors the artwork used in its theatrical ca m p aig n .” Contractual and corporate obligations largely determ ine how distributors m arket videos in Australia. As an international corporation, RC A-Colum bia-H oyts, which derives product from com panies like Colum bia Pictures, Orion, Cannon and Hoyts, has predeterm ined contractual obligations. T hese obligations include a ‘blueprint’ on w hat is possible or not in the m arketing field and are determ ined by the film studios who own the copyright of the film. Changes involve tam pering with a copyrighted product and this is w here difficulties arise. Until as recently as D ecem ber 1986, the local distribution arm of W alt Disney Studios had its hands tied by the parent com pany in Burbank, and w ere not allowed to m ake changes to the marketing material it was supplied. At present, the local distributor of Touchstone and Disney product has a fair am ount of input in making changes to slick designs, although approval must always be sought. W hen Lucy Hlucan felt that the slick of Tin M en failed to mention com edy, her only recourse . w as to include cover lines taken from reviews that highlighted that aspect of Barry Levinson’s film. On the other hand, she was perm itted to alter Tough G uys to suit the

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local market. Approval was also granted on E rnest Goes To C am p, to play down the presence of Jim Varney, whose popularity in Am erica is not m atched locally. In w hat must be one of the most fastidious contracts in movie history, the slick of O u tra g e o u s F ortune had to position Bette Midler to one side of Shelley Long. W hen C E L released L a b yrin th it was bound to use Bill H enson’s design of a girl jumping through the labyrinth, even though it was felt that its orientation toward children detracted from the more adult appeal of its star actor David Bowie. According to M aria Benedetti at CEL, a more “ m ature” sell emphasising David Bowie, who was touring Australia at the time, would have been preferable. W oody A llen ’s water-tight contracts include controls over artwork used in marketing cam paigns and extend to international video releases. M arina Andrian, who has overseen the release of H a n n ah A n d H e r S isters and R adio D ays, believes that “ this inflexibility on not being able to change ‘key’ artwork does not render success stories for A llen’s pictures when they become videos because the ‘look’ that works for territories such as A m erica and Europe may be totally unsuitable for A ustralia.” Proof of the power of a slick, and the need to shape cam paigns for the local m arket, occurred when the first three films of Karl Lorimar Telepictures w ere released in Australia. Following consultations with the parent over the unsuitable designs, the slick of B lo o d A n d O rchids

was reworked, resulting in sales that exceeded expectations by several hundred. With the large num ber of video releases w here distributors are not bound to producers, the slick (and subsequent sell) will depend primarily on the distributor’s marketing ‘flair’ and the materials available. Invariably there will be an ‘overseas sell’ to fall back on, but says Scerri, “ if it doesn’t look like it will work, it will be redesigned.” Prem iere certainly covered all the bases when it produced a double-sided slick for G eoff M urphy’s Utu. The “ smart marketing concept” , as Scerri puts it, pitched the film to two different types of viewer. O ne side depicts a “ very action adventure sell” , the other an “ arty type sell” . (The latter utilised three superimposed transparencies to depict a tatooed Maori whose hair blended into the branches of a tree and sky in the background.) And, says Scerri, “ Let’s face it, Double Bay is a different area to Parram atta.” He says that dealers w ere recom m ended to turn the cover a ro u rid a s soon as dem and d ro p p e d / Mike Patterson suggests that the ingredients of a good slick are that it “ look like a movie, not a m agazine or book” ; that it contain a single point of reference; that it be bright and contain key elem ents of the film. Colour, says M arina Andrian, plays an enormous part in the visual appeal of a video cover. Ideally, the image used on a slick will be strong enough to

attract attention — the hook, one might say — while also capturing the essence of the film. For instance, the slick of Alan Rudolph’s Trouble In M in d com bines superim posed images of its star Kris Kristofferson and a city skyline (culled from a photo library) with a cover line drawn from the film ’s dialogue. The challenge, says M aria Benedetti, was to elicit the film ’s distinctive mood without making it look too much like an ‘art film ’ , which in the video trade is the seal of death. In the rare instance of when material is designed before seeing the film, Benedetti maintains that “ a fe e l” for the film can usually be extracted from Variety reviews, clippings, festival and market reports. W here no suitable material has been supplied, illustrations, studio shots and the resources of photographic . libraries are used. According to video industry veteran Alan Tibbitts, in the past many ‘R ’-rated sex films cam e from the US in cardboard packaging which could not be used locally. Covers w ere subsequently m ade from photographs of models who had no association w hatsoever with the film itself. Som etim es these studio shots can be comically inappropriate. T h e 1982 David Puttnam -produced S e cre ts (part of the F irs t Lo ve series), featured on its cover a shot of a girl on a bed in stockings and suspenders. For a ‘P G ’ rated film described as a “ delightful com edy of innocent ad o lescen ce” , the im age is hardly an accurate representation. Tibbitts explains that he “ thought it

would depict the most provocative a s p e ct” of the film. But by their very nature, advertising hooks depend on exaggeration. T h e snappy cover line on D o g s In S p a ce — ‘‘Th e film they tried to ban” — is hardly accurate. The controversy raged over whether it should be given an ‘R ’ or an ‘M ’ certificate. Cover lines, says Scerri, ought to be ‘‘short, sharp advertising copy that gets straight to the point. T h e front cover catch should have the least num ber of words to describe the film in the best possible light.” T h e cover of / S p it On Y our G rave reads “This w om an has just cut, chopped, broken and burned five men beyond recognition — but no jury in A m erica would ever convict h e r.” Patterson adm its that the cover line of H a n n a D. — ‘S he makes m oney betw een her legs . . . and spends it up her arm s’ — trod a fine line. In order to highlight the film ’s extreme elem ents (teenage drug abuse and prostitution), it was a m atter of neither “ underachieving the sell” , nor offending the public. Scerri defends criticism of the cover of G irl S c h o o l S cre a m e rs — heads chopped by m eat axes — claiming that it’s an accurate representation of the film, and that it c a n ’t possibly mislead potential viewers. The notion of not misleading the custom er was recently turned into a particularly calculating and shrewd m arketing ploy. Like M ondo C ane and the two S h o ckin g A s ia films, S w e e t A n d S ava g e is a brutally realistic, no-holds-barred shockum entary. T h e cover carries a letter ‘w arn ing ’ the viewer of the gruelling footage contained in the film. It’s a ploy that can be seen as socially responsible, but it is also a challenge and a lure. Recently, it has been suggested that video covers carry a w arning, especially where the film contains scenes considered to be violent. By draw ing attention to the fact, such a warning could becom e a m arketing ploy to sensationalise such material. And besides, w hat impact could official wording have, com pared to the blinding force of those slicks?

Straight To Hell

ON V I E W

A p a rt fro m th e o b v io u s b lo ckb u sters like The F ly and P e g g y S u e G o t M a rrie d , w h a t’s n ew in th e v id e o store? PA UL K A L IN A and RAFFAELE C A PU TO lo o k a t p e s to W esterns, o cc u lt th rille rs and H ansel and G retel inversions.

IT IS not clear what to m ake of Alex C o x’s claim that S tra ig h t To H e ll (Palace) was intended as “ a light-hearted rehearsal for W alker” . At best, it might suggest that his most recent film will right the wrongs of the earlier one. On the other hand, despite the tongue-in-cheek final credit promising a sequel called B a c k To H ell, the possibilities seem stiflingly limited. S tra ig h t To H e ll is not so much a spaghetti W estern as a parody of one. H ere the down-and-out bandidos and winos are played by cool rock stars, including Joe Strum m er, Dick Rude, Cait O ’Riordan and Elvis Costello, as well as Jim Jarm usch and the ubiquitous Dennis Hopper. (M any of them w ere also cast in W alker.) Throughout, they project the im age that is de rig u e u r for rock stars — cool, detached, nonchalant. At the sam e tim e, Cox clearly intends S tra ig h t To H e ll to be m ore than a spaghetti W estern, treating the genre with a fair dose of spoofy irreverence. T h e loosely knit

narrative, concerning a pack of irreverent robbers who stumble into a ram shackle town, is punctuated with intertitles, skits and anachronism s, like a w om an who wears an aerobics outfit beneath her dusty trenchcoat. D IR E C T E D by Karen Arthur (The R ape O f R ic h a rd B eck, M a fu C age, R eturn To Eden), L a d y B e w a re (Roadshow) has had a brief theatrical run before its video debut. But it seem s we are not going to see the film that Arthur originally intended to m ake about the “ psychological rape” of a wom an who is so victimised that she leaves the town w here she lives. Arthur has distanced herself from the film, which took eight years and m any studios to get m ade. Arthur reportedly told the producers, who w anted to see violence in the film, “ I’m trying to m ake a film about psychological violence, not physical violence. “ They thought it w as too tough,” she told A m e ric a n Film recently. “ So they tore

every shred of it apart, reconstituted it back into dailies, and m ade their m ovie.” D E B U T IN G on video, and also accom panied by a draw n-out production history is S tre e t S m a rt (R C A -C olum bia Pictures-Hoyts Video). David Freem an based his screenplay on his tim e as a journalist at N e w York m agazine, when, he confesses, he m ade up stories. “ I cooked up a lot of colourful feature stories about odd people in N ew York: muggers, bag ladies (now called ‘the hom eless’), and various showbiz h angers-on,” he adm itted. O ne of those Hollywood ‘properties’ that has been around since 1979, it was finally taken on and film ed last year by Cannon. For the Cannon boys, S tre e t S m a rt was the only w ay to get Christopher R eeve to m ake S u p e rm a n IV\ if they let him do it, he would agree to play the man of steel one more time. Jerry Schatzberg (P a n ic In N eedle P ark, The S e d u c tio n O f J oe Tynan) w as signed on as director. F ree m a n ’s screenplay is a fanciful but still credible exploration of w hat happens when a journalist fabricates a story. By chance, the concocted story about a pimp closely resem bles the facts about a real-life pim p who is on trial for a m urder for which there is no conclusive evidence. T h e pim p’s law yer decides to subpoena the journalist’s notes, knowing that they cannot be produced, and predicting that the ensuing confusion will benefit his client. >

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This tactic could even force a constitutional crisis if the journo stands by the First A m endm ent and refuses to confess he m ade the story up. It’s the sort of issue that G eoffrey Robertson would put to the panel of a H yp o th e tica l. Or, according to Freem an, “ It’s a hard tough movie about a rascal who tries to take the low road and gets in over his h e a d .” But S tre e t S m a rt does not always follow its prem ises to their logical ends. Instead, it focuses on the wiles of a thoroughly despicable journalist who finds himself turned on by the seedy life of the underworld. Though his motivation is never clear, it’s evident from the very start that ambition has m ade a m onster of him when he puts his lover in jeopardy by using her as bait for a pimp on whom he hopes to write a story. To this guy, sleaze and crim e m ake great human interest stories — S tre e t S m a rt is also the nam e of a T V show on which he presents ‘cu te’ newsreel items about graffiti artists who have taken to the spraycan instead of the knife. They also fuel his every fantasy, until ‘real’ events over which he has no control threaten the safety of his cushioned middle-class standards. Despite several gaping plot holes and a tendency to romanticise the very notions that the film otherwise strives to subvert, S tre e t S m a rt evokes the sickening yet enticing allure of power and its counterpart, corruption. S ch atzb erg ’s depiction of the New York low life is grim and com pelling, while Morgan F ree m a n ’s perform ance as a vile and violent pimp is hauntingly m em orable.

A F T E R a brief outing in cinem as late last year, The B e lie ve rs (RC A-Colum bia Pictures-Hoyts Video), John Schlesinger’s occasionally hokey, occasionally effective supernatural thriller, has m ade a hasty segue to video. Arriving in the city after an ‘accid en t’ claim s the life of his wife, a psychologist (Martin Sheen) finds that rational positivist thinking w on ’t account for som e of the m ore freakish aspects of life in New York.

58 - MARCH CINEMA PAPERS

Initially, at least, The B e lie ve rs is reminiscent of the work of Larry Cohen, w here lurking evil is never glimpsed, but constantly suggested. Here, there are brutal, gory murders, a ‘virus’ that eats aw ay the mind and body, and a social order pervaded by depravity. Then the film starts to link the supernatural to archaic tribal practices, and treads a fam iliar path of hokey pokey voodoo rituals. T H E C B S -F O X Marilyn Monroe collection will be available for rental and purchase. T here are eight films in the package: H o w To M a rry A M illio n a ire , B u s S top, The S even Year Itch , G entlem en P re fe r B lo n d e s, N ia g a ra , M o n k e y B u sin e ss, L e t’s M a ke Love and R iv e r O f N o R etu rn . T he last four titles w ere previously unavailable on video. At much the sam e time, W arners will release her last film, The M isfits. P.K. T H E R E are a couple of impressive nam es attached to D e m o n s 2 (Palace) — Dario Argento as producer and Lam berto Bava (son of Mario Bava) as director. T hese nam es have been at the vanguard of som e of the most

legendary nightm are visions in the Italian horror trade: Argento, since the late sixties with films like D eep Red, S usp iria and Inferno; Bava with his debut film, M a ca b re . Unfortunately, D e m o n s 2, like its predecessor, fails to impress. T h e film ’s starting point is a fam iliar voiceover prologue which tells of the centuries-old prediction that cam e true in the theatre of D em ons, providing an excuse to repeat sets of situations from the first movie. Like D em o n s, a film-withina-film device gets the ball rolling. But unlike the original, the device is so confused that it cannot effectively match events in one with events in the other. D e m o n s 2 is highly derivative in its effects, borrowing the effect of a demon pushing him self through a T V set from A N ig h tm a re On E lm S tre e t and a creature from G rem lins. It is unfortunate that Argento and Bava, who have in the past spearheaded som e original effects, have settled for borrowing all too quickly from other sources. D O LLS (Vestron) owes no visible debt to H .P. Lovecraft, but it nonetheless retains the tongue-in-cheek spirit of the

earlier R e -A n im a to r and F rom B e yo n d , both inspired by Lovecraft. In this case, the successful blend of hum our and horror in the exploitation mould should be credited to the stable and craft combination that works under the auspices of Charles B and’s Em pire Pictures — producer Brian Y u zn a and director Stuart G ordon. D olls takes further inspiration from G rim m ’s fairy tales, in particular H a n s e l A n d G retel. T he film involves an elderly couple, the Hartw ickes, who appear to be dollm akers, but are actually witches. Their peculiar profession can offer comfort and, for the young or young at heart, the prospect of living out their im aginary world — it’s H a n s e l A n d G retel in reverse. But if you have the wrong attitude towards childhood, your fate is not as pleasant. Judy, the G retel of the piece, im agines her discarded Teddy transform ed into a vengeful, ferocious grizzly that tears away at her father and stepm other. D olls is not as gory as ReA n im a to r or F rom B e yo n d , but it’s still as chilling. For this, it probably owes a good deal to the fanged dolls who rip Jane Fon d a’s flesh in B a rb a re lla . R.C.

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How long does it take to film the world’s largest flower opening?* * : What do you do when you miss an all-important rainforest copulation^ 3: sequence? FRED HARDEN investigates the trials and technical! solutions of Australia’s foremost mature cinematographer.

It’s a sign (I’m sure you’ve noticed) of the growing visual/cinematic sophistication of the television audience that in natural history documentaries we no longer accept the human observer’seye-view of things. W e expect a certain standard of camera placement, movements and technical quality. Similarly there is no tolerance for the difficulty in showing the mating habits of the Lesser Noddy by covering with a few words of commentary. Show us and surprise us, we cry. Among the many examples of film technique that I enjoy showing to advertising creative people is the work of Oxford Scientific Films, famous for documentary natural history techniques that could be applied to TV commercial and feature production.1 It’s an interest that is shared by a lot of special effects companies. They hold innovators like. Oxford Scientific up as the best example of technical application used to expand the boundaries of what is possible to show on screen. Film can compress or expand time, discover things our eyes could never see alone, make patterns of behaviour meaningful (or discover things we cannot understand). It finds application nowhere greater than in programs such as David Attenborough’s BBC series, L ife O n E a rth and the forthcoming T ria ls O f L ife , which set incredible standards for the filmmakers to show things never seen on screen before. Like the previous series, the new program will have an Australian name on the credits, that of Mantis Wildlife Films, behind which are the talents of photographer and

journalist Densey Clyne and photographer and cinematographer Jim Frazier. I have known of the work of Frazier for some time; he is a friend of Peter Purvis from Oxford Scientific who has visited and lectured here, and Andrew Mason from Mirage Effects speaks highly of him.2 I have been trying to catch him between travels for some time and the following is only a frustratingly brief look at his ideas and work. The conversation was as packed with examples from each of his productions as his workshop studio was with unique equipment. Frazier has been associated with biology ali his life. His father had large collections of . butterflies and beetles and Frazier’s earliest memories I are of being out in the bush with him.. He was also aware that his father’s interests had labelled him at the time as | ‘eccentric” . Yet he is grateful and has never regretted this built-in interest in natural history; believing that what goes with it is a sixth sense Tor animal and insect .behaviour that has allowed him to become as successful as he is at his work. He has observed over the years that | “ even good cameramen who attempt wildlife cinematography don’t really make it without the interest in natural history first.” In addition to his childhood interests, his first job as a technician in the zoology department of the University of New England gave him a grounding in chemistry, physics, and continued his knowledge of natural history — knowledge that he calls on today. Leaving university, he established his own business, in partnership with university friends, in biological supplies

for schools. With the offer M a If* job at the Australian Museum as the Chief P re p a ra to r'c ljt Exhibitions, he moved to ‘W Sydney. It was during the , seven years at the Museur% . that he developed an interest, in photography that had b e e p ^ awakened by his now parlner, Densey Clyne. He looked /" 0 § N towards cinematography with';^^B the advantage of the te c h n jt^ tfM background but, practically, *4 was approaching it blind, learning from magazines and i | | h books, not realising that he : had chosen to start with the most difficult area — micro ‘ and macro. He remembers the bewilderment, wondering l “ why I couldn’t do as simple ¿ J i thing as a pan, and why your mBSm heartbeat would invariably 1 9 shake a steady zoom at high 1 9 magnification.”

B EG IN N E R ’S LU C K Having lived in the country all his life, he found the move to- * | | | | the city was hard. Clyne had • * ' j | helped him settle in and while J 9 visiting her one day, he was, introduced to Vincent Serventy and Bob R a y m o n | ^ ^ S who were doing Shell’s ' ¡p 9 H A u s tra lia , a pioneering Australian TV documentary * series which influenced the ' yt work of a lot of people at the \ time. Vincent Serventy had been ^ trying to talk Clyne into shooting, on movie, some of the beautiful macro stills she had taken. There was an | | 9 h S H opportunity in the series for some insect and spider footage and Serventy and I Raymond didn’t want to tackle •-‘il it. They asked Clyne but s lm 9 wasn’t keen because the ^ equipment was too heavy and-^ 9 she wanted to stick to stills. "I '* * 9 was cheeky and said why * ”9 don’t we have a go together.’ j Frazier said.

lent us his old l l , and the first shot was a spider Pinopis, the net-casting The first footage was I thought, ‘Hey this But it was beginner’s bit of footage after over- or underexposed, had tramlines d_pvyn them, or spots or J^lptetyeS. Nothing went right ^ for a long time; each time the *■ siworkprint came back we would literally break out in * teafs. Bob Raymond was very about it, he kept giving § us film and said, ‘Just .^.-‘persevere’, and I’m ever i \ grateful for that.” m b m Applying his training, he ¿¡p-then started to analyse the' results technically and *J||L overcame the problems with H what wasiprimitive equipment. IP ; 'He developed his own techniques, Jike the use of a ft rubber band around the pan jP F ih a n d le and zoom to smooth ' ’4< out the heartbeat. Finding that ' f he couldn’t use the stock items that normal camera * ¿¿operators applied to their |& rwork, he adapted and ^ bastardised for each ' ^ application. He continues to j i v'. c)o because,-jhe explains, '?Tstill can’t buy the'things I . need off the shelf. This means building and modifying which I „¿r. knew from experience was too fB F expensive^tbTiave done Jllifutside.” He now has a workshop well equipped with small lathes, and drill presses m fe, etc. ^ W m . ;„From those early days it •Z has been, as much an w evolution of equipment as of photographic style for Frazier.

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magnifications of a butterfly egg that were greater than people had said were possible, and would still give a good image. I was told that I should use bellows instead of diopters and I tried and tried. I remember engraving the exposure step adjustments on the bellows. But you really need to just start shooting with our kind of subjects and those calculations took too much time. You haven’t got time to take your eye off the eye-piece to make those •adjustments. i ‘‘The main thing that I’ve concentrated on with my gear is that if I see something, the camera is always loaded, and I can be filming in 10 seconds flat. That’s correct exposure and focused, and with wildlife you have to be that speedy.” The evolution of Frazier’s equipment has culminated in a sophisticated motorised optical bench for doing very precise movements at high ^ magnifications. Built on a small lathe bed, it is controlled by heavily geared motors and micrometer adjustments. Frazier says “ It was built first for Life On Earth, and it has paid for itself many times oyer.” With a laugh, he says it is portable, “ in that it breaks down into six suitcases! After carting it around for a few years I’ve built a single-cased version that looks like a large microscope, which I now use for field work.” When he is filming on the run it can be set up on the bonnet of the car and all the motors work from the camera batteries.

B BU ILDING E Q U IP M E N T , K - AND A REPUTA TIO N I

NEW SU B JE C TS , NjEW TE C H N IQ U E S

This hasiihyolved using 1‘ / standard equipment but “^ fc ^ lte rin g it in some fashion. IB ilfeOne example of this is his ^ ^ H ^ m fiG ju e in glueing diopters JjSi^straight on the surface of the IB p e n s . } ^,, He;did this when, he m explained, “ I Was, looking for

Each hew subject seems to call for new techniques. For Attenborough they produced a lot of sequences that at the time were very innovative and are today remarkable, only because they were the first. Such is the speed with which we move from being<Wide-

Jim Frazier

eyed, to a critical audience. “W e shot things like the water-holding frogs,” Frazier explained, “ where we had to devise for the first time ways of getting underground to show how these frogs outlived nine-year droughts. It also involved David Attenborough squeezing one of the frogs and getting water out and drinking it. At that time I was also experimenting with improving tracking shots with the subjects. For the frill necked lizard on Life On Earth I only managed to run behind the animal chasing it and it was still pretty good film. I’ve since learnt enough about the animal that I can film it from any angle. I did a big sequence for National Geographic and when it was shown in Japan I think it must have been the thing that sparked the craze. They used that séquence as advertising in their promotion across the States-” , While it’s obviously impossible to take a Louma crane onto their locations, it is just thait flexibility that is required. Frazier has built a very portable lightweight >

< crane, he says “that fits together in five minutes. It sits on the tripod but it’s a boom arm with a difference. It performs like a miniature Louma and it has extraordinary movement that the Louma doesn’t. There are extra movements that are possible at the camera head and built-in automatic corrections to overcome the natural arc you’d get when doing forward swings with it, by panning the camera head. “ I use the crane a lot to go from one subject to another when doing linking or bridging shots. You can track small endoscope lenses along the ground following small animals through foliage, you can go from above ground to underground. There’s a shot of a green iguana in Life On Earth where I thought it would be good to do a move from the sunny to the shaded side of the branch. So I pointed the camera inwards, put the fulcrum point under the branch and floated the camera under the branch around to the opposite side of the animal. It was a terrific movement and the BBC loved it. “ My first experience was tying the camera to a stick and I did tracking shots of blue tongue lizards like that, tracking by angling the camera downwards to a pre set position and walking beside them. The crane now does all that. Devices like Steadycam I’ve found are not only too expensive but almost useless for my kind of work. It would be hard for a one or two man band to pull off a Steadycam shot quickly in the bush. I’ve found that your elbow is as good as a Steadycam. Hold your arm out at 90 degrees to your body, and you can run all day and the camera weight in your hand and the elbow is enough to smooth out the up and down motion of your body. I find I do most of my tracking shots that way.”

T H E B E A U T Y OF FILM A N D TH E C O M IN G OF VID E O He uses H16 EL Bolex cameras almost exclusively, a choice he spends much time justifying to camera operators “who seem horrified that I’m not using something more expensive. In the field the Bolexes are extraordinary; apart from the noise, they offer far more than the other ‘sophisticated’ cameras like Aaton and Arri. I can put any

62 - MARCH CINEMA PAPERS

lens I like on a Bolex. In seconds it can switch speeds even to time lapse, and I find that I vary the speed a lot depending on the degree of magnification and size of the animal. I have instant exposure readings with the through-the-lens metering of rod lenses, endoscopes etc. that don’t have diaphragms in many cases. “ For most of our work the noise doesn’t matter, and for a lot of it we need more than one camera and I can afford that with Bolexes. I have four electronic Bolex ELs and three others that I use for different situations. Imagine having seven Arri SRs! Despite the talk about registration pins, I’ve done comparisons with other cameras when intercutting the images, and the Bolex has never given me image steadiness problems and a lot of our material has been blown up to 35m m .” “Today we are talking about most of the audience seeing the results on video, but there are still a lot of theatrical releases around. The Film Australia work I’ve just done on cane toads is having a cinema release at the opera house. I did about 99 per cent of the camera work on that and for the sync sound talking heads we used an Aaton. To fit some of my strange lenses to the Aaton we had to remove the metering system, but it’s impossible to tell where the cameras change over.” This prompted me to ask if he was considering using video cameras when so much of the market was for broadcast. Frazier is enthusiastic about the quality of the smaller cameras he had seen, but said, “ Unfortunately, the BBC people are not interested unless you use one-inch which is hardly a field format (they won’t accept Betacam) and prefer film. The advantages for us of video would be instant viewing of rushes in the field, while you’ve got the chance to redo something. The others are silence and low light capability. The low light is a huge problem, for instance, shooting in rainforests. Against this you don’t have high speed or time lapse capability, which is probably only a matter of time. I think it’s remiss of places like the BBC not to consider work on video because all their work goes out on the television

INSIDE STORY: Using the endoscope to film inside the stomach

The Watchers Of Dar

screen and you d o n’t need quality better than that of som e of the sm all cam e ras I’ve seen. “ For us it would certainly cut the cost of getting wildlife footage; there is still this shooting ratio that people try to stick to for wildlife film. Mine is between 10:1 and 12:1. That w as considered exorbitant once, but the B B C have actually gone higher for som e productions, 15:1 to 20:1 is not unreasonable e sp e cially if you are shooting high speed. That runs aw ay with more, e sp e cially with natural history. The re is no given time to turn on, or know when som ething will happen. “ I like film, but there are a lot of d isad va n tag e s for our kind of work. Videotape would m ake endo sco pe work very interesting for exam ple. To be able to get into m uch darker situations, down fine holes etc. I think there is a place for both, I’ve alw ays thought that w e’ve got to be prepared to m ake a transition very so o n .” Am ong his other c am e ras is a Photosonics A ctionm aster 16mm high speed cam era. Frazie r sa y s “ T h e B B C dem ands a lot of high speed, as well as a lot of time lapse. It m eans you have to be a ja c k of all trades and good at them all. T h e equipm ent flexibility is useful for the com m ercials we get a s well. Yo u m ay rem em ber the M onbulk com m ercial with a strawberry ripening in time lapse, with a pan during it. It took two m onths to pull off the strawberry, from flower to fruit. There is a nice shot of a bee com ing in to land on the flower and then you se e the flower droop and form into fruit, go down to ground and ripen. T h e setup just to do that w as really com plex. “ W e ’ve done a lot of time lapse now and I really enjoy it. I’ve just done 800 feet of time lapse of clo uds for Film Australia a s they had nothing in their library, and I know they’ve already sold several shots within a w eek of getting it.” PR O JE C TS A N D PROBLEM S T h e S h e ll se rie s w as a critical and popular su c c e s s, and they had ultimately com e up with the go od s for Bob Raym ond, so C ly n e very boldly approached the then New South W ales Film Com m issio n for funding for two film s. O ne w as about sp ide rs called Aliens Among Us w hich won a lot of aw ards

around the world. It w as picked up by the B B C and has had a lot of T V show ings. B e c a u se of its s u c c e s s the B B C told F ra zie r and C ly n e about their early plans for Life On Earth and aske d if they could do som e work on it. “ No one realised the s u c c e s s that program would b e ,” Fra zie r said. “ After those early film s we cut our teeth in a serio us w ay on Life On Earth a s professionals. W e had a lot of fun with the two earlier film s (the se co n d film is called The Garden Jungle). I w as still w orking at the m useum at the time so I spent w eekends and nights on it. I w as glad when daylight sa vin g cam e in b e cau se it let me leave the m useum , head up to D e n se y ’s place and have more hours of daylight behind the cam era! A lot of the sp ide rs and insects were more active at night anyw ay so it suited the film better to work into the night.” For the Life On Earth project they had a visit from David Attenborough and the production crew who briefed them on what they wanted and were then given very m uch a free hand. T h e y spent two months in Borneo and then went to C alifornia to film the sym biotic relationship of the y u cca moth and plant. From there they cam e back and covered a wide area of Australia. Mantis Film s contributed more than an hour of on screen material. Frazier rem em bers it a s “ a lot of work and great fun. Th e y paid us well and we have probably done more work now for the B B C than anyone e lse .” Although they didn’t contribute much to the second series, the Living Planet, they went to Sum atra and photographed the w orld’s largest flower, which the B B C wanted to show opening in time lapse. That presented Frazie r with technical problem s becau se it happens high in the trees in dense jungle, aw ay from any electrical power. Frazier worked out beforehand a way of film ing the huge three-foot wide flower w hich took three d a ys to open. “ I d e cid e d ,” he said, “ to use two cam e ras in ca se som ething went wrong, and I’ve got a very good electronics technician who helped m ake a batteryoperated device that ran the lights and the cam era. We built a huge black plastic tent over the flowers which elim inated the problem s of fluctuating daylight. And we literally filmed it in the d a rk.” >

CINEMA PAPERS MARCH — 63

*m am m

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T jU B liig W

CLOSELY WATCHED CRANES: The home-made (“ better than a Louma” ) crane in use for a sequence on water-holding frogs

T h e technical problem s they could handle: it w as cam ping in the jungle w hich w as the terrifying experience for them, a s there were tigers and rogue elephants around. TR EE S IC K N E S S AND D ISC O M FO R T W hile not trying to stress the ph ysical difficulties in his work, Frazier m entions such m om ents offhandedly. The stories are alm ost told against him self rather than in an attempt to deter competitors. “ R e ce n tly,” he said “ I got very se a sic k 75 feet up in a tree in North Q ueensland, sw aying in the wind. It w as motion s ic k n e s s .” He continues, “ We probably do a lot more cra zy things than most film m akers, otherwise you do n ’t get the se q u e n ce s on those anim als. Most film m aking is in controlled situations until you get to natural history. I g u e ss that my early experience gives me insight into, and som e em pathy with the anim al. Being able to read what a subject is going to do, know ing the anim al when you switch the cam era on is our greatest asset. Without that you produce superficial films. And the time for that has gone. T h e B B C people w on’t accept that kind of program , they want things in depth, with lots of behaviour. And they want it all! T h e y don’t want the cam era sw itched on after the action is started. “ I’ve been told that we are also the m odels of a lot of wildlife cam eram en out there, there’s us and Oxford Scientific Film s, and we set the early trends and in m any w ays we have m ade a rod for our own b acks. There are now m any people out there doing natural history who are in m any w ays doing it better. There are som e brilliant gu ys out there and at the risk of so un ding repetitive, without exception they have this early training in natural history.” 64 _ MARCH CINEMA PAPERS

EN D O S C O PES A N D E T H IC S Am ong the projects that Frazie r has contributed w as one for Doug Stan le y of Nom ad Film s about in vitro fertilisation. On this film he spent time at the Queen Victoria Hospital in Melbourne and at M onash U niversity w orking with the m edical team. It w as an experience that had a profound effect on him. He d e scrib e s how he w as “ in operating theatres putting end o sco p e s into w om en’s sto m ach s, film ing live hum an stuff under the m icroscope. It imparted som e strong fee lings on me that have rem ained. I still end up in tears when I se e the film and hear the m usic. That film also taught me a lot about what you can or c a n ’t do ethically. “ T h e B B C has a policy of being very tough about how you treat the su b jects in front of your cam era, and how m uch stress you place on the an im als and things you are film ing. T h a t’s one of the reason s we love the B B C , it has ethics and integrity. O ne of the greatest jo ys is to be able to film som ething and to let it go free, and you know you h a ven ’t dam aged it. It’s little heart might have been pum ping a bit, but that’s all. “ It’s not easy; I’ve had to develop a lot of sp e cia l cool light so u rces. I rem em ber that my lights cooked a butterfly e gg once. I sat there waiting for hour after hour for this caterpillar and it w as roasted. It w as one of the very first le sso n s over seventeen years ago and I can rem em ber I w as devastated. I took a look at what lights we had; turning them on only when needed which w as inconvenient so I started to look at infra red reflectors and so on. Now I have a whole lot of thin gs for different situations that keep the heat right off. It also helps keep the su bject from craw ling off b e cau se it’s

uncom fortable, e sp e cially when you are looking for natural behaviour. Every subject is different and has different thin gs it will react to.” He co n clu d e s with a story about how he stopped a shoot on a Ja p a n e s e production that he w as w orking on a s an adviser b e cau se they were just getting too rough on the anim al. He said to them, “ T h a t’s it a s far as I’m concerned, we either stop film ing and you let the anim al go or we take a break and have lunch, and please, let the anim al calm down! And they did just that. It’s very hard to tell that to a crew that are all geared up to shoot; co m m ercials are the worst, often there is very little thought for the an im al.” DEEP FOCUS B a sic m echanical construction is one thing, but most people would stop short of building their own lenses; Frazie r again approached it with the need for sp ecialisation that ruled out existing gear. To get down spider holes or into hollow trees he is faced with problem s that most cam eram en never encounter. Without any training in optics he has m ade up his le n se s from trial and error. “ It’s not just a matter of p erspective,” he insists, “ it’s where the anim als are. And you have to get down to their level. S o I’ve built up a whole range of le n se s that all do different things; they are very m uch periscope-type lens but my own system — I’ve concentrated on getting extraordinary depth into my im ages. The difficulty in using the com m ercial e ndoscope le n se s3 outside in standard lighting conditions is that they are all about f22 with high speed film and u se le ss in low light. My le n se s are ach ieving that at com fortable light levels. There is a shot I did in the moth film that is f2.8 at a 60th. T h is is a shot in the rainforest w here there is a drop of water in the foreground and the flooded stream in the background. T h o se are the situations I encounter so the equipm ent has to be adapted to that.” ' W alking around his w orkshop studio, Fra zie r had a story to tell about each item he picked up, a great shot that it enabled him to m ake. It is a s if these sh ots becom e part of the equipm ent, and although som e are m ade sp ecifically for an application

most are modified again to serve another. A sm all handwritten label stu ck to the barrel of one field scarred tube s a y s “ green fro g” , nam ed, F ra zie r sa y s, “ for a honey of a shot in S o u n d s L ike A u s tra lia with a green frog on a stick with all this water and dead trees in the background — everyone com m ents on it. It’s a deep fo cu s wide an gle but without g ro ss distortion.” H is pride in the deep fo cu s ability has an elem ent of awe in the face of a m agic that he is not sure how he has conjured up. He d o e sn ’t talk about how difficult it is to use the le n se s’ deep fo cu s ability without the extra sh a rp n e ss adding m e ssy background clutter and detail. W hen it is used it is for a reason, like the dram atic shot in the funnel web sp ider film w here the spider is big in foreground, clo se to the lens and children are playing aw ay in the background, the fo cu s holding the link between them. Alm ost never rem oved from the optical shooting bench is a T e s se v a r lens system adapted from a m onocular m icroscope. It has a diaphragm in it, a 5:1 zoom and a range of m agnifications. It will go from a minute sca le on a butterfly’s wing to a 1:1 ratio. T h is is so m uch a standard piece of equipm ent that Frazie r c a n ’t e n visa ge film ing without it. “ I use a lot of strange o p tics,” he said, picking up another right-angled tube. “ T h is happens to be an eyepiece from a m icroscope, or I can take it off and use my favourite lens, a 10mm Sw itar, or I can go 55mm on there. I’ve got one that is even lower than that, the centre of the lens (here about one inch from the end) is even too high for som e th in g s.” P ickin g up another, he g o e s on, “ T h is one gets a whole lot lower, and I can bury it in the ground. There is a shot in S o u n d s Like A u s tra lia using this w here the ants are literally running up and looking at you at their eye level, and D en se y is w alking past the a n ts’ nest in fo cu s in the background. “ The re is another shot in the toad film w here som eone advocated a m onum ent to the can e toad, like the dog on the tuckerbox, so we decided to shoot one. W e got a stuffed toad and had som eone m ake a decorative base for it. We went and sat it in C a irn s in a park and with this lens it looks enorm ous a s if som eone

could walk up to it and It would tower over them, yet the cars and the buildings In the background are in focus. Because you have all that depth it allows you to pull off all those trick shots with miniatures. “ The BBC invited us to do the first work and set the standards on David Attenborough’s new series and we have preceded all the other shooting by six months. W e thought about what we could do to get the standard high and we took a trip through a green ants’ nest. W e have uncovered a whole lot of new behaviour including a butterfly that is impervious to the ants and actually eats them, living in the nest. The green ant is quite a vicious ant — I must have got thousands of stings doing that sequence. W e were using this sort of endoscope with a sheath of fibre optics around it that pours a whole lot of light out beside the lens. W e also used a lot of fibre optics lights pushed into the nest itself. I built barriers around the lens coated with an anti-ant goo to try to stop them crawling up into the eye-piece. Those are the sorts of problems we face, like shooting in water and coming out with legs all bloody from leeches, mosquitoes and sand flies . . . it’s all part of the down side of our business.” After talking about the economics of long shoots waiting for events, I asked Jim whether he continued to work because it was still a pleasant way to make a living. He paused before he replied, “ It’s actually not a good way to make a living at all. People are always offering to carry our bags. W e work twice the hours that normal filmmakers would. If something happens at 3am then you have to be there. Like a lot of filmmakers we get sick of living out of suitcases; aeroplanes and motel rooms are all the same after a while. “ I’ve just spent 30 days sitting 100 feet up a tree peering out a hole in a hide in rainforest to get a sequence for David Attenborough and I’ve got everything except the very important copulation at the end of the sequence. You actually get pretty dejected after a while. You think, why am I here, am I reading the subject wrong? You try and figure out shortcuts to ease the boredom. This particular bird has several stumps that he used to display himself on.

So we went about eliminating most of them so that he would use the one in front of the camera. He became very tame — we could poke our heads out of the hide and say ‘Look here buster, do your thing’ and he’d stay put. Unfortunately the females he’d coax in, won’t. W e ’ll get the footage, because the name of the game is perseverance, but we have to go back. I had to come home and it happened on the day I left. This so often happens that I’ve always wanted to write a book titled, ‘You should have been here last week’. I can cite dozens of stories where we should have been there last week and it’s a difficult thing to organise, commitments, travel, long distances and when you have seasonal and weather barriers. “ W e rely on a network of field information, of friends in the field that keep their eyes on things and give us the important clues as to when to arrive at a place to get what we want. Their local knowledge of weather is better than just watching a weather map as they have the local seasonal knowledge. The difference for us can be several points of rain that may make or break when we go somewhere. A lot of the things we have to get for David Attenborough’s Trials Of Life are crammed into the September, October, November period, while we sit here over winter. The criteria of providing new and interesting material also means that you are limited.” Footnotes 1. Can you remember the shot in Alan Parker’s film The Wall where Bob Geldof’s disintegrating sanity is shown with a macro photographic dolly from his Mickey Mouse Watch along his arm? Or the maggots devouring his head? This and other slow motion sequences were shot by Oxford Scientific Films. They also shot the crystal tunnel background for Dorothy’s fall in The Return To Oz and more. 2. Frazier has been helping Mirage partner and special effects cinem atographer Paul Nichola, with his Kodak sponsored 3-D film project. They are using two endoscope lenses adapted to give a 3-D macrophotography view in stereo! 3. Endoscope lens. A long rod like periscope principle lens designed for scientific, medical and architectural use. Often fitted as a supplementary lens it allows the lens to be inserted into holes and still gives a wide angle view from the end. Architects can move it around a model of their building and obtain a human point of view. For medical use it usually has a sheath of fibre optics that allow light to illuminate the subject from its tip.

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CINEMA PAPERS MARCH — 65

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K a rl Z w ic k y B o om o p e ra to r.............................. C h ris G o ld sm ith A rt d ire c to r ..........................................................R o b e rt B o ydM a k e -u p .................................................C a ro lyn N ott C o stu m e d e s ig n e r .......................................A n th o n y J o n eSs c rip tw rite rs .......................................... P a ul H o gan, T e ch , a d v is e rs .......................G re g o ry B a rr D a vid, H a ird re s s e r........................................... C a ro ly n N o tt M a k e -u p ................................................................. J u d y Love ll K a rl Z w ic k y M a th e w H a rd m a n W a rd ro b e ............................................... R o se C h o n g C o stu m e c o -o rd in a to r..................................S h a u n a F le n P a dhyo to g ra p h y .........................................J o h n S tokes L e n g th ........................................................ 90 m in u te s C o s tu m ie rs ............................................................L u c y M oraSn,o u n d r e c o r d is t................................D a vid G la sse r W a rd ro b e s u p e rv is o r............................................P h il E a gles G a u g e ..................................................... S u p e r 16m m S ta n d b y w a rd ro b e ................................................ G a il M ayes J u lie B ry a n t E d it o r ................................................. R o y M ason S h o o tin g s t o c k ........................................................F u ji B u y e rs /d re s s e rs ..............................................M u rra y Kelly,S ta n d b y w a rd ro b e ............................................R o b yn E llio tt P rod, d e s ig n e r ................................................. D a rre ll Lass S y n o p s is : T h e s to ry o f a g e n e tic s c ie n tis t H a rve y M aw son P ro p s b u y e r ..........................................................M a rk D a w son E xe c, p ro d u c e r...........................T o m B ro a d b rid g e o b se sse d w ith d is tillin g v io le n c e in to a d ru g . S ta n d b y p r o p s ..................................................... B ria n Lan gS ta n d b y p ro p s ................................................. G e o rg e Z a m Lin m ite p ro d u c e r....................................... L yn n B a rke r S p e cia l e f fe c t s ..................................................V is u a l E ffe cts, S o ft fu rn is h in g s ...............................................A n d re a B u rnP s rod, c o - o rd in a to r......................................... D e b b ie S a m u e ls PANTHER III P e te r S tu b b s S e t d e c o ra to r...................................................... F ra n k F a u lk Unneitr p ro d , m a n a g e r............................ B a rb i T a y lo r H o b ya h e ffe c ts & d e s ig n ......................................N ik D o mSincge n ic a r t is t ................................................E ric T o d d U n it m a n a g e r...................................................... H u g h Jo h n sto n P rod, c o m p a n y ...........V irg o P ro d u c tio n s & T V M G ra p h ic a r tis t .........................W e n d y K w ia tko w ski L o ca tio n m a n a g e r ............................... S u zi P a rke r D ist. c o m p a n y ......................................................V irg o U S AH o b ya h c h o re o g ra p h y .................................... B ru n o A n e tta C a rp e n te rs ................................................ B o b P a to n , P ro d u c e r...............................................................J u d ith W e stG ra p h ic a rtis t........................................ D a vid W o n g P ro d , a c c o u n ta n t............................................. E la in e C ro w th e r S to ryb o a rd a r t is t ............................................ M a g g ie G e d d es F ra n k P h ip p s, A c c o u n ts a s s t ..................................J u a n ita P a rke r S c r ip tw rite r ...........................................................P e te r W e st S te ve H u x ta b le 1st a sst d ire c to r ................................... B o b H o w ard E xe c, p r o d u c e r ................................................. J u d ith W e stC o n s tru c tio n .................................S c re w e d & G lu e d o n s tru c tio n h a n d ....................R o b e rt P o d h a js k y 2 n d a sst d ire c to r .....................................................Ian F reem an S tu n ts c o -o rd in a to r............................................ P e te r W e stE d g e n u m b e r in g ...............................................O liv e r S tre eCto M u s ic ..................................................................... C h ris N ealC o n s tru c tio n m a n a g e r ......................................... B ill H o w e3 rd a s s t d ir e c t o r ...................................................G u y C a m p b e ll F ig h t c o -o rd in a to r..............................J im R ic h a rd s S o u n d t ra n s fe r ...............................E u g e n e W ilso n D ra fts p e rs o n ...................................................M ic h a e l B rid gCeos n tin u ity ................................................... ...M e la n ie B row n P o s t-p ro d u c tio n ................................................... TV M E d itin g a s s is ta n t................................................J e n n y P riceA sst e d ito r ............................................................. J u lia G e lh F ao rdcu s p u lle rs ........................................................ B rad S h ie ld s, G a u g e ....................................................................16m m 2 d asst e d ito r ..................................................... J a n e M c G u ire D u b b in g e d it o r ....................................................P e te r B u rg enss C a s t: E d d ie S ta sza k, J im R ich a rd s. T o n ti C o n n e lly S osu n d e d ito r ............................................... G re g B e ll S till p h o to g ra p h y ................................................. G re g N o a ke C la p p e r/lo a d e r........................ R ic h a rd B ra d sh a w A d d itio n a l s t ills .......................T o m P s o m m e tre g o E d itin g a s s is ta n t....................... R u fu s M c C ra c h e tt C a m e ra a tta c h m e n t.............. S im o n H a m m o n d SOMETHING GREAT T u to rs ......................................................L iz S e d m a n , S till p h o to g ra p h y ................................... V iv ia n Z in k K e y g r ip .............................................. R o b in M org an (The Les Darcy Story) M e la n ie G u in e y T u to r.............................................. P e g g y T h o m p s o n A s s t g r ip .....................................R o b b y va n A m ste ll W ra n g le r......................................... C h ris tin e P o w ell B e st b o y .......................................................J o h n Lee P rod, c o m p a n y ............................. B o u le v a rd F ilm s S p e c ia l fx p h o to g r a p h y .................S te v e C o u rtle y B e st b o y ..........................................W e rn e r G e rla ch R u n n e r..................................... M a rk S h ie ld s -B ro w n P ro d u c e r...............................................................F ra n k H o w son G a ffe r ................................................. R ich a rd C u rtis R u n n e r ..............................................E le a n o r B ilsto n A rt d e p t r u n n e r..................................................... M a rk T a y loBro om o p e ra to r.........................G ra h a m M cK in n e y D ir e c to r ............................................................ R ic h a rd F ra n klin U n it p u b lic is t.........................................................J o h n N ic o U ll n it p u b lic is t.................................................... S h e lle y N e lleAr rt d ire c to rs .......................................................... M a rc R yan, S c rip tw rite r..........................................................F ra n k H o w so n C a te rin g ........ ...................................K ris tin a F ro h lic h C a te r in g .......................................M a rik a ’s C a te rin g E xec, p ro d u c e rs .......................A n to n y I. G in n a n e , D ia n a R e yn o ld s L a b o ra to ry ...............................................................V F L S tu d io s ..................................................R a le ig h P a rk P e te r B o yle A rt d e p t c o -o rd in a to r........................................... S u zi P a rke r L e n g th ......................................................................... 9 7 m in uBteusd g e t ...................................................... $ 2 ,8 3 1 ,7 3 8 P rod, m a n a g e r..................................... D a ryl S h e e n S P F X m a k e -u p ..............................D e ry c k d e N iese G a u g e ...................................................................35 m m P u b lic ity ................................................................L io n e l M id foG rda u g e ................................................................... 35m m M a k e -u p /h a ir s u p e rv is o r........... D e ry c k d e N iese S hs o o tin g s t o c k ................................... E a stm a n c o lo r S h o o tin g s t o c k ....................................... 5 2 9 5 , 5 24 7 L e n g th .......................................................................120 m in u te H a ird re s s e r.......................................................... T o n y M e re d ith C a s t: R e b e c c a S m a rt (C elia), N ic h o la s E a d ie C a s t: J o h n H a rg re a ve s (C o lin R o g e rs), R o b yn G a u g e .................................................................. 3 5 m m S ta n d b y w a rd r o b e ............................................A n n ie P e a co ck (Ray), M a rya n n e F a h e y (Pat), V ic to ria L o n g le y N e vin (K a te R o g e rs), C h ris H a y w o o d (M ike W a rd ro b e s u p e rv is o r .............M a rg a rita T a sso n e S y n o p s is : T h e tru e s to ry o f th e tria ls a n d M cC ord), N ico le K id m a n (H e le n ), R u th C ra c k (A lice). P ro p s b u y e r..........................................................C o lin L ucre triu m p h s o f A u s tra lia ’s g o ld e n b o y o f b o xin g S y n o p s is : Celia is a s to ry o f ch ild h o o d , o f ne ll (E la in e R oss), D e n n is M ille r (M a lco lm S ta n d b y p r o p s ....................................................P e te r M oyes w h o fe ll fro m g ra c e as a re s u lt o f W o rld W a r I’s m o n ste rs a n d d re a m s , d e a th a n d love, th e B e n n e tt), N ic h o la s H a m m o n d (Ian W a ll), E d itin g a s s is ta n t...M a ry J a n e S t V in ce n t-W e |ch c o n s c rip tio n h y s te ria a n d w a s re s u rre c te d as a M ic h e lle T o rre s (K a th M itch e ll). b u rn in g d e s ire fo r a p e t ra b b it a n d th e in a b ility hero, w h e n h e d ie d in M e m p h is, lo n e ly, S tu n ts ..... ......................................... B e rn ie Le d g e r to u n d e rs ta n d w h e n a n ti-c o m m u n is t b ig o try S y n o p s is : A s c rip tw rite r a n d h is p u b lis h e r w ife b e w ild e re d a n d re vile d at th e a g e o f 2 1 . A r m o u re r.............................................................. B a rry CockinoS la b e ls b e st frie n d s a s B o g e ym e n . s tru g g le w ith th e te m p ta tio n s o f w e a lth , p o w e r V e h ic le c o - o r d in a to r ................... A d a m P in n o cks a n d h a rb o u r fro n ta g e s . A c o m e d y a b o u t m o ra l C a m e ra tru c k ............................................................B ill H a m m o n d WIZARD OF AUSSIE d ile m m a s. N u rs e ................................................................ .....J u lie T iso (W o rkin g title ) S a fe ty o f fic e r ....................................B e rn ie L e d g e r Help us make this produc LINDA SAFARI P ro d , c o m p a n y ............ Y o ra m G ro s s F ilm S tu d io S till p h o to g ra p h y ............................ C o rrie A n co n e tion survey as complete as P r o d u c e r ............................................................ Y o ra m G ro ss P rod, c o m p a n y ...................S o u n d s ta g e A u s tra lia B e st b o y ........................................... ...K irk B ro m a g e possible. If you have some A n im a tio n d ire c to r............................. R a y N o w la n d L im ite d /M T V E n te rp ris e s R u n n e rs .........................................................G a b rie lle D unn, S c rip tw rite r............................................ L e o n a rd Lee thing which is about to go P ro d u c e r.......................................... T ib o r M e sza ro s N ig e l B ro a d b rid g e A sso c, p ro d u c e r............................................. S a n d ra G ro ss D ir e c to r s .................................................G y o rg y G at, P u b lic ity ............................................... L io n e l M id fo rd into pre-production, let us M u s ic ........................................................................G u y G ross _ . J a n o s K a to n a C a te rin g .................................................................C o lin J a co b u s know and we will make sure P u b lic it y ................................................................ U s h a H a rris S c rip tw rite rs ................................................A . C o p e r, S o u n d tra n s fe r s ..................................................A tla b A u s tra lia it is included. Call Kathy Bail L e n g th ........................................................80 m in u te s G y G at, S o u n d p o s t-p ro d u c tio n ..............J o h n D e n n iso n , on (03) 429 5511, or write to G a u g e ...................................................................3 5 m m R. R o zgonyi, Tony Vaccher her at Cinema Papers, 43 S y n o p s is : In th is a d a p ta tio n o f F ra n k B a u m ’s J o h n A m b ro se , L a b o ra to ry ............................................................ A tla b 3b e Wizard Of Oz D o ro th y la n d s in A u s tra lia and Charles Street, Abbotsford, T ib o r M e sza ro s L e n g th ......................................................................... 90 m in u te s m e e ts its s tra n g e and d e lig h tfu l in h a b ita n ts — B a sed on th e n o v e l............................................LindaSafariG a u g e ................................................................... 35m m Victoria 3067. K a n g a ro o , K o a la , C o c k a to o , e tc — w ith w h o m P h o to g ra p h y .......................................................j 0Zs e P o jakS h o o tin g s t o c k ..................................................K o dak s h e s e ts o ff to fin d " O p a l C ity ” . S o u n d r e c o r d is t..................................................... R iCC u rtaC ina s t: T a m b ly n Lo rd , C ra ig P e a rce , J o h n

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PRE-PRODUCTION

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P R O D U C T I O N

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C T R V

A fu ll lis tin g o f th e fe a tu re s , tele rh o v ie s , d o c u m e n ta rie s a n d s h o rts n o w in p re -p ro d u c tio n , p ro d u c tio n o r p o s t-p ro d u c tio n in A u s tra lia .

G oddon, K e lly D in g w a ll, J o a n n a L o ckw o o d , G erard M cG u ire , F ra n k M cN a m a ra , J o h n C la y to n , L o u is e C u lle n . J o s e p h D ic k e r, T iffa n y D o w e a n d L e a th e r. Synopsis: A fa st-p a ce d y o u th th rille r s e t at a h olida y re so rt w h e re h ig h s ch o o l s tu d e n t Ja so n s tu m b le s u po n a s e rie s o f h o rrific m u rd e rs.

U n it m a n a g e r.........................................D o ug S m ith P rod, s e c re ta ry ....................................... C la re G ale Prod, a c c o u n ta n t...................K a th y M o n tg o m e ry, L o ca tio n m a n a g e r.............................................B ria n B e aton Prod, a c c o u n ta n t.......................................... M ich a e l Boon W e a rn e & Co. P rod, s e c r e ta ry ................C a ro lie n van d e r G aag Prod, a s s is ta n t.................................................... J o h n B la ckB o o k k e e p e r................................. M ja n c h e n G lo ve r P rod, a s s is ta n t................................................ R o b b ie M cP hee 1st a sst d ir e c t o r ............C a ro ly n n e C u n n in g h a m 1st asst d ire c to r .......................................................Ian P age 1st a sst d ire c to r............................................... G e ra ld Letts 2nd asst d ire c to r ..........................M a rk C h a m b e rs 2nd asst d ir e c t o r ...........................C ris tin a P o zzan 2 n d a sst d ire c to r.................................................. PaulW ood3rd asst d ire c to r........................... T h e re s a P a rke r C o n tin u ity ........................................................... A liso n Ely C o n tin u ity ........................................... J a n P ia n to n i C o n tin u ity ................................................................ S u e W ile yFocu s p u lle r ..................................... M a n d y W a lk e r F ocu s p u lle r........................................S te ve P e d d ie S crip t e d ito r...................................D e nis W h itb u rn Key g r ip ............................................P e te r L e d g w a y C la p p e r/lo a d e r.............................................V a ssa n t Rau C a s tin g ......................... Faith M a rtin & A sso cia te s G a ffe r ................................................M a rk G ilfe d d e r Key g r ip ................................................................ L eigh S a n dC ow a m e ra o p e ra to r................................ J o h n B ro ck B o om o p e ra to rs .....................................................S u e K err, A sst g r ip .....................................D o ug K itch in g m a n Focu s p u lle r .........................................................M a rk S u lliva n K a te K a hili 2nd u nit p h o to g ra p h y .......................................C o lin H a w ke C la p p e r/lo a d e r..................................................... P a ul S u lliva n d ire c to r......................................... K e rrie B row n A rt G a ffe r.................................................D a rryl B in n in g s Key g r ip ........................................................... G ra h a m Y o u nA g sst a rt d ire c to r................................ A m a n d a H u n t B o om o p e ra to r...........................G avin C u m m in g s A sst g r ip ............................................................. D a n n y Lo ckeSttto ryb o a rd a rtis t........................... K ate B ro a d b e n t A rt d ire c to r .........................................J u lia n n e M ills G a ff e r ....................................................................G e o ff M aineH a ir/m a k e -u p ..................................A n n e tte A d a m s M a k e -u p ................................................................L id d y R e ynB o ld s o p e ra to r................................C h ris R o w la nd oom S ta n d b y w a rd r o b e ............................. K a th y M oyes W a rd ro b e .......................................... V icki de P razer A rt d ire c to r ........................................... A n d re w Paul S ta n d b y p ro p s /c o n s tru c tio n ....M a th ia s G o e b e r W a rd ro b e a s s t ....................................................T rish R o binso A rt nd ep t c o -o rd in a to r.............. A la n a h O ’S u lliva n BODILY HARM A sst e d ito r ................................. J a c q u e lin e M u n ro P ro p s .......... .................................... N ig e l D e ve n p o rt T e c h n ic ia n ................................B re n d a M a cK e n zie S till p h o to g ra p h y ............................J a m e s H e a le y Prod, c o m p a n y ................................................ S m ile y Film s P rops b u y e rs .................................................... D e nise G o w d y M a ke -u p /h a ir a s s is ta n t.................................. N ico le S o rb B y e st b o y .........................................P a ul N a rkie w icz P ty L im ite d fo r R u n n e r............................................................. R ich a rd G o rd W o na rd ro b e s u p e rv is o r......................................je n n y C a m pRbuenlln e r...............................................T h ie rry L ep ers in te rn a tio n a l F ilm M a n a g e m e n t L im ite d C a te rin g .......................................................... M u sta rd C a te rin S tagn d b y w a rd ro b e .................................. P ia K ryg e r E xtras c a s tin g ..................................E xtra s A g e n cy Dist. c o m p a n y ...........H e m d a le F ilm C o rp o ra tio n L a b o ra to ry .................................................... M o vie la b P rops b u y e r...................................................... R ow an M cK ePnuzie b lic ity ....................................................K im Lew is, (The W o rld e x c lu d in g A u stra la sia ), Lab. lia is o n .........................................................K e lvin C ru mApsst lin p ro p s b u y e r.................................................Luke H o bbs A n d re w P ike H e m d a le -G in n a n e A u s tra lia L im ite d B u d g e t.......................................................... $85 5 ,0 0 0 S ta n d b y p ro p s ................................................ M a rcu s E rasm C us a te rin g .......................... S h o o t T h ro u g h C a te re rs (A u stra la sia ) L e n g th ........................................................................ 90 m in u te S ps e cia l e ffe cts c o -o rd in a to r.......N e ville M axw ell L a b o ra to ry ...................................................C o lo rfilm P ro d u ce r........................................R ic h a rd B re n n a n G a u g e .................................................................. 35m m Set d re s s e r................................................ J u d y K e lly L e n g th ....................................................... go m in u te s D ire c to r..................................................................M a rk J o ffe S h o o tin g s t o c k ................................................. K o dak S ce n ic a r t is t .......................................S h a n e Forest G a u g e ..................................................................3 5 m m S c rip tw rite r.................................................... W a rw ic k H in d C a st: G e o ff G ib b s (M a yo r R a nsom ), John B rush h a n d ....................................... A le x S e a b o rn e C a st: Jo K e n n e d y (M itch), N iq u e N e edle s Based on th e o rig in a l id ea M oore (Jim m y), M a g g ie W ild e -W e st (M ad am L a b o u re rs .....................................................C h ris tia n T rin d(Rex), e r, R o b e rt M e n zie s (Y aw n). b y .................................................................W a rw ic k H in d Rita). P h ilip C a rro ll S y n o p s is : Contact is a lo w -re n t, p o p -c u lt lo ve P h o to g ra p h y ........................................................E lle ry R yan S y n o p s is : G ro te sq u e e ve n ts o c c u r in an A u s Set co n stru ctio n story. Sound re c o r d is t........................ A n d re w R a m ag e tra lia n o u tb a c k co u n try tow n w h en an ill-co n m a n a g e r....................................... R ob R icke tso n E d ito r............................................M a rk V a n B u u re n sid e re d d e ve lo p m e n t tu rn s th e a re a ’s warA sst e d ito r......................................... D a n n y C o o p e r Prod, d e s ig n e r....................................... R o g e r Ford CROSSING d ea d in to bloo d -cra ze d m onsters. M e c h a n ic .......................................... M a rtin S h ie ld s Exec, p ro d u c e rs .......................A n to n y I. G in n a n e , Prod, c o m p a n y ............................................. S e rp e n t Film s S o und/ E rrol S u lliva n P ro d u c e rs ..........................................................H e c to r M a la ca ria , p o s t-p ro d u c tio n ..... R o g e r S a va g e /S o u n d firm Assoc, p r o d u c e r ..................................................J u lie M o n to n Evan S h a p iro D u b b in g e d ito r.............. N icky R o lle r/S o u n d firm BOULEVARD OF BROKEN DREAMS Prod, m a n a g e r..................................................... J u lie F o rste r D ire c to rs ............................................................ H e cto r M a la ca ria , E d itin g a s s t......................................S te p h e n H ayes P rod, c o m p a n y .............................B o u le va rd F ilm s U nit m a n a g e r.................................. H u g h J o h n s to n Evan S h a p iro A n im a l h a n d le r .................................................... D ale A sp in Dist. c o m p a n y .........................B ra vo In te rn a tio n a l Location f in d e r ......'.................................R u th C a tlin S tunts c o -o rd in a to r..........................................G le n n R u e hSlacnrip d tw rite rs ............................... H e cto r M a la ca ria , D istrib u to rs/H o yts (S ta g e w rig h t P ty Ltd) Evan S h a p iro C a m e ra rental lia is o n ...................... R o g e r B a ile y P ro d u c e r.............................................................. F ra n k H o w son Prod, s e c re ta ry .............................R o w e n a T a la c k o S o u n d re c o rd is t.................................. M itc h e ll H a rt Rta e nta l c a r s u p p lie r................D avid S u tto r/O ra n a D ire c to r...................................................................P ino A m e n Prod, a c c o u n ta n t...............................J ill C o ve rd a le E d ito rs ...........................................H e cto r M a la ca ria , S a fe ty re p o rt....................................G e o rg e M annix A sst a c c o u n ta n t.............................................. D o n n a M itch S e llc rip tw rite r.........................7 ...........F ra n k H o w son E va n S h a p iro S e t n u rs e .............................................. W e n d y B oon B ased on an o rig in a l idea 1st asst d ire c to r .................................................. E u an K e d d ie C o m p o s e r........................................ S im o n S h a p iro S till p h o to g ra p h y ............................B re tt C o ch ra n e 2nd asst d ire c to r............................................... J a m ie C ro o ks b y ....................................................................... F ra n k H o w son P rod, m a n a g e r ................................G le n n W a tso n B est b o y ................................................................G re g A lle n P h o to g ra p h y .......... , ..........................D avid C o n n e ll 3rd asst d ir e c t o r ................................... S a ra h Lew is P rod, a s s is ta n t................................ T ra ce y S teele P u b lic ity ...........................L ionel M id fo rd P u b licity S o u n d re c o r d is t........................... A n d re w R a m a g e C o n tin u ity ................................................... P a m W illis 1st a sst d ire c to r .............................C la u d ia B o la n d U n it p u b lic is t..................................... L io n e l M id fo rd E d ito r..............................................................Ph il Reid C a s tin g ................................................M ich a e l L ynch C a s tin g ..........................................H e c to r M a la ca ria , C a te rin g ............................... M are e M a n ifo ld /M M K P rod, d e s ig n e r.......................................... T e l S to lfo C asting c o n s u lta n ts .......... F o rca st C o n s u lta n ts E va n S h a p iro Lka b o ra to ry ...................................................C o lo rfilm C o m p o s e r............................................................. J o h n C a p e E xtras c a s tin g ......................V irg in ia E ve rin g h a m C a m e ra o p e ra to r ...............................................P e te r M cD o n a ld W o lfso n Exec, p ro d u c e r...................................................P e te r BoyleLab. lia is o n ...........................D e nise C a m era o p e ra to r.......................D a vid W illia m s o n g r ip .............................................A d a m S h a p iro Bru d g e t........................................................................ $2 m illio Key n A ssoc, p r o d u c e r ................................................ B a rb i T a ylo Focus p u lle r ..........................................T ra c y K u b le r G a ffe r .................................................A d a m S h a p iro Prod, c o -o rd in a to r.........................................S im o n e Dole L e n g th ........................................................................ 90 m in u te s C la p p e r/lo a d e r........................................................P h il M u rp h y C o stu m e d e s ig n e r.............................. J a c k ie C hu G a u g e ................................................................. 35m m Key g r ip .................................................................B a rry H a n seUnn it m a n a g e r...................................................... J o h n S u h rC a st: P e te r P h elps, A b ig a il, M a k e -u p ...................................................................S u e S tra a ss V in c e M artin, A sst g r ip ...............................................................M a rtin F o rsteLro ca tion m a n a g e r............................................... P a ul H e aley S till p h o to g ra p h y ............................................. S e rg io M a la ca ria an P rod, a c c o u n ta n t.......................................... B e lin d a W illiaSm s d ra Lee P a tterso n, D a vid N g o o b u m ja rra , G a ffe r........................................................ S im o n Lee A n im a tio n ............................................................. P e te r M cD o n a ld A n g e la K e n n e d y, T o m R ic h a rd s , S h a n e Prod, a s s is ta n t....................................................Lynn H ow son E le c tric ia n s ....................................... P e te r B u shby, L e n g th .........................................................................80 m in u te s C o nnor, J o h n C la yto n , C h ris to p h e r G reaves, 1st asst d ire c to r .............................. J o h n P o w d itch R ob Low e G a u g e ...................................................................S u p e r 16m m Dee K rainz, S h a ro n T a m lyn , K a te G ru so vin . 2 n d asst d ir e c t o r .......................M ich a e l M cIntyre Boom o p e ra to r ................................S c o tt R a w lin g s C a st: N e il G ra n t (A dam ), M a rk S h a w (S teven), S y n o p s is : A y o u n g m an sets o ff on a jo u rn e y 3rd asst d ire c to r ........................ C a m e ro n B a rn e tt Art d ire c to r ............................................La u rie Faen Zoe W illia m s (T ru di), M a rk F ish e r (M ich a e l), to fin d his o rig in s and d isco ve rs n o t o n ly his C o n tin u ity ........................................................... J e n n y Tosi Art de p t r u n n e r ....................................L uke P a ra ta B rian V ica ry (M r C oal), V a n e ssa W illia m s p ast but th e m u rd e re rs o f his fa th e r and g ra n d S crip t e d ito r...................................................... A lis te r W ebb W ardro be s u p e rv is o r...............L o u ise W a k e fie ld (S cie n ce te a ch e r), R o ss W illia m s (S te v e n ’s C a s tin g ...................................................................G re g A p p sfather. M a k e -u p ...................................... W e n d y S a in s b u ry m oth er), L e o ne S p e rlin g (A d a m ’s m oth er), A ri C a stin g c o n s u lta n t................................ Liz M u llin a r H a ird re s s e r................................J o n a th a n M a lo n e S p e rlin g (B radle y). Focu s p u lle r ........................................................ G re g R yan CLAIM No. Z84 S tandb y w a rd ro b e ..............................P e te r B e van S y n o p s is : A sto ry o f frie n d s h ip . T h is film lo o ks C la p p e r/lo a d e r.....................................T e rry H o w ell W ardro be b u y e r................................................. P a u la R yan P rod, c o m p a n y ..............................................S u n rise P ictu in reto th e m in d s o f tw o stu d e n ts in th e ir la st days Key g r ip .......................................................G e o ff Full D resser/asst b u y e r............................................. J u lie P u g lisi C o m p a n y P ty Ltd at hig h sch o o l. A d a m a n d S te ve n p e rc e iv e th e ir G a ffe r........................................................ R ob Y o u n g C u tte r/s e w e r.................................. L o ris P e rrym a n P ro d u c e r...............................................................N ig e l B u esst p la ce in th e system in a ve ry e s o te ric w a y. A rt d ire c to r...............................B e rn a d e tte W yn a ck Props b u ye rs/se t d r e s s e r s ...........D o n n a B row n, D ire c to r................................................................. N ig e l B u e sst M a k e -u p .................................A m a n d a R o w bottom E u g e n e Intas S c rip tw rite r............................................................. A b e P ogos W a rd ro b e ...................................... C h e ryl M cC lo u d DANGEROUS GAME S tandb y p r o p s ..................................................... C o lin G ib soPnrops b u y e rs ....................................................... D a ryl M ills, P h o to g ra p h y ...............................V la d im ir O sh e ro v Standb y c a rp e n te r....................... W ill S o e te rb o e k S o und r e c o r d is t.................................................... Ray B o seP lyrod, c o m p a n y ......................... V irg o P ro d u c tio n s B ria n D u stin g Dist. A sst e d ito r............................................. J e n n y H icks ria nc o m p a n y ...........................In te rn a tio n a l Film S ta n d b y p ro p s .................................................... B ria n Lang E d ito r ...................................................................N u b a r G h a za M a rke tin g (LA) D u bbing e d ito r.............................. K a rin W ittin g to n A ssoc, p ro d u c e r.......................................... M a tth e w Love ring S e t d e c o ra to r.......................................................T rish K e ating P ro d u c e rs ............................................ J u d ith W e st, D u bbing a s s t.........................................P h il D ickso n Prod, m a n a g e r......................................Jo a n n e Bell S till p h o to g ra p h y ................................................ G re g N o akes B a sil A p p le b y 2nd d u b b in g a s s t................................................. R ick Lisle Best b o y ............................................................... P e te r M olonProd, s e c re ta ry ..................................................D ia n e R eece ey a s s is ta n t.................................................... M a rk Lan e D ir e c to r ............................................. S te ve H o p kin s Still p h o to g ra p h y .....................R o b e rt M c F a rla n e P u b lic ity ...............................................................Lionel M id foProd, rd S c rip tw rite r.............................................. P e te r W e st 1st asst d ir e c t o r ...........................................M a tth e w Love rin g Best b o y ................................................. Pat O ’ Farre ll L a b o ra to ry ................V icto ria n F ilm L a b o ra to rie s B a sed on th e o rig in a l id ea C a m e ra a s s is ta n t............................. T e rry H o w e lls R u n n e r.............................................Lyn H e n d e rso n Lab. lia is o n ............................................B ru ce Braun b y .....................................................M ich a e l R a lph C a te rin g .................................................J a n e n e L u ff G a ffe r .................................................................... P e te r S co tt B u d g e t......................................................$1 .9 m illio n P h o to g ra p h y ............................................ P e te r L evy M ixed a t .......................................................S o u n d firm Boom o p e ra to r..........................C la yto n Ja co b so n L e n g th ............................................... 95-100 m in u te s S o u n d r e c o r d is t.................................P h illip K eros A rt d ire c to r............................................................Fim o L a b o ra to ry .................................................... C o lo rfilm G a u g e ..................................................................35m m E d ito r .................................................. T im W e llb u rn A sst a rt d ire c to r................................................V a n d a Lab. lia is o n .................................... D e n ise W o lfso n S h o o tin g s to c k ..................................E a stm a n co lo r P rod, d e s ig n e r .............................................Igor Nay P rops b u y e r ..................................... J a n e C a rsla ke B u d g e t.......................................................$ 3 ,4 0 0 ,0 0 0 C a st: Jo h n W a te rs (Tom G a rfie ld ), P e nelo pe C o m p o s e r................................................ Les G o ck C a te r in g ............................................ R o slyn W a lk e r G a u g e ...................................................................3 5 m m S te w a rt (H elen G arfie ld), Kim G yn g e ll (Ian M c E xec, p r o d u c e r ................................................R o b e rt M e rcie ca L a b o ra to ry .............................................................. V F L S hooting s to c k ..................... K o d a k E a s tm a n c o lo r K enzie), N icki P a uli (S u zy D a niels), K e vin M iles L e n g th ........................................................................ 75 m in u A tesst s p r o d u c e r ....................A n d re w M a rtln -W e b e r Cast: C o lin F rie ls (Tom S te w a rt), J o h n W a te rs (G eo ff Bo rm an), Ross T h o m p so n (C a m e ro n P rod, m a n a g e r...................................................C a th y F la n n e ry G a u g e .................................................................. S u p e r 16m m (M orris M artin), B ru n o L a w re n ce (R ay B irch), W rig h t), A n d re w M c F a rla n e (J o n a th a n Lovell). U n it m a n a g e r...............................................R o xa n n e D e lb a rre S h o o tin g s t o c k .................................................... 7291 Jo y B e ll (C laudin e), C h ris S ta lk e r (A llen), Kim S y n o p s is : A co n te m p o ra ry d ra m a se t In L o ca tio n m a n a g e r.................................................K im A n n in g G y n g e ll (M ic k ), S h a n e B r ia n t (S te p h e n C a st: J e re m y S ta n fo rd (P aul), E liza b e th M e lb o u rn e , Los A n g e le s a n d N e w Y o rk. It te lls P rod, s e c re ta ry ......................... J u lie tte V a n H e yst C ro cke tt (G ina), B ru ce K e rr (D avid), C h ris Enderby), C a z L e d e rm a n (V ivia n E n derby), th e s to ry o f th e fic tio n a l c h a ra c te r Tom P rod, a c c o u n ta n ts .............................M ic h e le Day, B a rry (C arlo), R o w an W o o d s (Tom ), P e ter Sandy G o re (B a rb a ra H e m sle y), M a rise W ip a n i G a rfie ld , A u s tra lia ’s m ost s u c c e s s fu l w rite r, J a n e C o rd e n , H o skin g (V ince), Leo R e gan (E ddie), C liff (Suzie). w h o re tu rn s to his h o m e la n d a fte r 10 years o f M o n e y p e n n y S e rvice s N e ate (B radle y), D a rryl E m m e rso n (G eorge). S y n o p s is : A th rille r d e a lin g w ith th e m u rd e r B ro a d w a y and H o llyw o o d a ccla im . 1st asst d ire c to r .............................. K e ith H e yg a te S y n o p s is : A d ry c o m e d y se t in th e o ffice s o f ous p u rsu it o f o b se ssive love. 2 n d asst d ire c to r.................................................P e te r V o e te n th e S ta te C o m p e n sa tio n B o ard . 3rd a sst d ire c to r................................................. M a ria P h illip s THE BODYCOUNTERS BREAKING LOOSE C o n tin u ity .................................................................. J o W e e ks CONTACT (ZOMBIE BRIGADE) P rod, c o m p a n y .................................. A va lo n Film s S crip t e d ito r ........................................................ D a vid G roo m c o m p a n y ................T ru-V u P ictu re s P ty Ltd P ro d u c e r............................................................. P h illip A va loProd, n Prod, c o m p a n y ....................C M Film P ro d u ctio n s C a m e ra o p e ra to r .............................B ill H a m m o n d Dist. c o m p a n y ........................... R o n in F llm s/A B C D ire c to r.......................................................... R od Hay Dist. c o m p a n y .............. A rin y a F ilm D is trib u to rs , P a n a g lid e / P ro d u c e r................................................................C h ris O liv e r 2 n d ca m e ra o p e r a t o r ............... G e o ff W h a rto n S c rip tw rite r................................................... R od Hay C in e m a E n te rp rise s, D ir e c to r ................................................................. M a ry C a llaFocu g h a ns p u lle r ...................................... C o n ra d S la ck P h o to g ra p h y ................................R ich a rd M ich a la k S m a rt E g g P ictu re s S c rip tw rite r...........................................................M a ry C a llaCg la h apnp e r/lo a d e r............................................... R ic h a rd B ra d s h a w S o u n d re c o rd is t.................................... Bob C layton P ro d u ce r......................................... C a rm e lo M u sca P h o to g ra p h y ..........................................................R a y A rg a li E nd ito r ............................................................T e d O tton D ire c to r................................................................ B a rrie P a ttiso C a m e ra a s s is ta n t................................................ K a te P rin d iv ille S o u n d r e c o r d is t..................................................... P a t Fiske C o m p o se r................................................J a n P reston S crip tw rite r..........................................................B a rrie P a ttiso n K e y g r ip ................................................................. T o n y L a rkin s E d ito r............. :......................................T o n y S te ve n s E xe c, p r o d u c e rs ........................................E ric Jury, Based on th e o rig in a l id ea A sst g r ip s .......................................... K e rry Ja c k s o n , P rod, d e s ig n e r ..................................................K e rrie B row n J a m e s M ic h a e l V e rn o n b y .......................................................................B a rrie P a ttiso n R o u rke C ra w fo rd -F le tt C o m p o s e r....................................................... G ra h a m B id stru c o -o rd in a to r............................ M ich a e l Davis P h o to g ra p h y ..........................................................A le x M cP hPerod, e G ap ff e r ................................................ R ick M c M u lle n Prod, m a n a g e r................................................... A n n a G rie ve Prod, m a n a g e r...............................................A n d re w M orse Sound re c o rd is t........................... H u g h C le v e rle y E le c tric ia n s ............................. D a rre n M c L a u g h lin , L o c a tio n /u n it m a n a g e r................................... R o g e r M onk U n it m a n a g e r......................... S te p h e n M a cagna n E d ito r................................................T h a i T a n g T ie n g P a ul B o o th , L o ca tion m a n a g e r........................................... B e van C h ildP s rod, s e c re ta ry ....................................................... P ip B row n Prod, m a n a g e r..............................F ra n c e s W a lk e r M a tth e w In g lis

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P R O D U C T I O N S U R V E Y B o om o p e ra to r..........................................D a vid Lee Cld a rp e n te rs ......................................................D a m ie n S a lm o n , C a te rin g ............................................................C a fe 87 Key g r ip ........................................................... G ra h a m L itc h fie R u sty C h illc o tt A rt d ir e c t o r ................................................ Ian A lle n S tu d io s .................................................. R a le ig h P a rk A sst g r ip s ........................................................R ic h a rd A lla rd ic e , S e t c o n s tru c tio n ..............................................A lis ta ir Knox, A rt d e p t a s s t ............................................P a u lG o rrie M a rk R a m say, M ixe d a t ........................................................C o lo rfilm D ean S u lliva n A rt d e p t a d m in is tra to r.........................P e n n y Lan g G a ry C a rd e n L a b o ra to ry ...................................................C o lo rfilm A sst e d ito r ......................................R o se m a ry J o n e s C o stu m e d e s ig n e r.................... C o lle tte D ln n ig a n Lab. lia is o n ..................................... D e n ise W o lfse n G a ffe r ....................................................... M ick M orris M u sica l d ire c to r ....................................................N ick C a ve C o stu m e c o -o rd in a to r................S h a u n a F le n a d y B u d g e t..................................................... $ 4 .7 m illio n E le c tric s ....................................................... J o h n Lee M u sic p e rfo rm e d b y ........................................... N ick C ave, M a k e - u p .......................................................... M ic h e le C o chLra e n g th ......................................................95 m in u te s G e n e ra to r o p e ra to r...........................B re tt K e e p in g M ick H a rvie, H a ird re s s e r..................................................... M ic h e le C o chGraanu g e ........................................35 m m (P a n a visio n ) Boom o p e ra to r ....................................................M a rk W a siu ta k B lix a B a rg e ld M a ke -u p a s s t ........................................................A le x G a leC a zzi a st: M iles B u ch a n a n (D a vid F orrest), M a rcu s A rt d ire c to r s ........................................D a le D u guid , S o u n d e d ito r ........................................D ean G aw en S ta n d b y w a rd ro b e .............................. R o byn E llio tt B ria n E d m o n d s G ra h a m (Ja ck H a yw a rd ), S te ve n G rive s E d itin g a s s is ta n ts ............................. P e te r C la n cy, W a rd ro b e a s s t....................................................F io n a N ico ils (P a trick M urp hy), S a n d ie L illin g s to n (Ziggy), A sst art d ire c to rs ..................... J o h n P ryce -Jo n e s, R e x W a tts P rops b u y e rs .......................................................... Lon Lu cinKi,a th ryn W a lk e r (K a th ryn ), J o h n P o ison (Tony). P h il D rake M ix e r ................................................... R o g e r S a vage M iv B rew er S y n o p s is : T h e te rro r o f c o n fin e d m a yh e m c o n A rt d e p t c o -o rd in a to r.................. W e n d y H u xfo rd S tu n ts c o -o rd in a to r................................. B ill S ta ce y S ta n d b y p r o p s ....................................................P e te r M oyes fro n ts five te e n a g e u n i stu d e n ts in a d e p a rt C o stu m e d e s ig n e r ...................... B ru ce F in la yso n S till p h o to g ra p h y .................................................P o lly B o rla n d , S ta n d b y p ro p s a s s t.............................................B ryn W h itie m ent sto re w ith a p sy c h o tic p o lice m a n . M a ke -u p ..........................................N o rik o S p e n ce r P e te r M iln e S p e c ia l e ffe cts c o -o rd ...................................... D a vid Y o u n g H a ird re s s e r................................... C h e ry l W illia m s A n im a tio n ............................................................... R ob H o w a rd S p e cia l fx a s s ts ......................................... R ick B est, W a rd ro b e s u p e rv is o r/s ta n d b y ..........J u lie B a rton D ialo gue c o a c h ....................................................... Ian W atson EVIL ANGELS W ils o n S ta rr C o stu m e m a k e r ........................... S a n d ra C ic h e llo V id e o a d v is e r...................................................... S te ve M a rin e r G ra p h ic d e s ig n e r............................................. A liso n W in d m ill c o m p a n y ............................E vil A n g e ls Film s S ta n d b y p ro p s .................................... C h ris J a m e s P rod, e st b o y ............................................A n d re w M arro n D isp la y c o n s u lta n t....................G le n n M cD e rm o tt S ta n d b y p ro p s a s s t ...................................... M ic h a e l M e rc uBrio P ro d u c e r............................................ V e rity L a m b e rt P u b lic ity .......................................... M ira n d a Brow n, S ce n ic a r t is t .............................................................B ill M alcolm P rops b u y e rs /d re s s e rs ........................................V iv W ilson, D ir e c to r ................................................ F red S ch e p isi C a p a P ro d u c tio n s C a rp e n te rs .......................................................... D a vid R o bson, J ill Eden, S c rip tw rite r....................................... R o b e rt C a sw e ll C a te rin g ...........................................S im o n e & C a th y M ich a e l Hill, M ich a e l R u m pf, B ased on th e b oo k b y ....................................... J o h n B ryson L a b o ra to ry ...............................................................V F L G o rd o n M cIntyre, B ria n D u stin g P h o to g ra p h y .............................................. Ian B a ke r Lab. lia is o n ............................................ B ru ce B raun P a u l W h itte r, A sst S o u n d r e c o r d is t.................................................. G a ry W ilkin s b u y e r/d re s s e r......................A s h le y S ch e p isi B u d g e t...................................................... $ 1 ,6 8 0 ,0 0 0 F ra n k Sa vage, rt d e p t v e h ic le c o - o r d in a to r ......... J a m ie L e g ge E d it o r ..........................................................................J ill B ilcoAck L e n g th ...................................................................... 100 m in u te s D a vid S cott, D ra u g h ts p e rs o n s ..................... P h illip S ch e m n itz, P rod, d e s ig n e rs .............................................. W e n d y D ickson, G a u g e ...................................................................3 5m m B ro n w yn Parry, J e ff T h o rp G e o rg e L id d le S h o o tin g s to c k ..................................................K o d a k 5 29 7 R o b e rt A n d e rso n C o m p o s e r........................................................... B ru ce S m eCa otonnstru ctio n m a n a g e r..................................W a yn e A lla n C a st: Dave M ason (Lilly), C h ris D e R ose M odel m a k e rs .................................................P a u lin e G re b eErt, Le a d in g h a n d ................................ B re n d a n M u lle n xec, p ro d u c e rs ..........................M e n a h e m G olan , (G reschne r), M ike B ish o p (H ale), N ick C a ve J o h n S e arle, M odel m a k e r.......................................H a m ish H icks Y o ra m G lobu s (M aynard), B o g d a n K o ca (W a ych e k), K e vin Kim H ild e r Cn a srp e n te rs ........................................................... A lla n G ood, P ro d u ctio n e x e c u tiv e ..........................................R o y S te ve M a cke y (G lover), Ian M o rtim e r (Jack), Dave D r a u g h ts p e rs o n s ................................................. S u e B a xteProd, r, Ian B a xter, c o -o rd in a to r................................................S u e Ja rvis Field (W enzil). F io n a S co tt Ray T aylor, Prod, m a n a g e r................................................... C a rol H u g h e s S y n o p s is : Ghosts is th e s to ry o f C e n tra l In d u s A sst e d ito r ......................................................... Ja n in e C h ia lvo G len C h riste n se n , U n it m a n a g e rs ...........M ich a e l B a tc h e lo r (M elb.), tria l P riso n — th e m ost m o d e rn d e sig n in m a xi C o n s tru c tio n m a n a g e r..................................... H u g h B a te u p B a rry M u ir T ic C a rro ll (NT) m um s e c u rity te ch n o lo g y. A “ N e w G e n e ra C o -co n stru ctio n m a n a g e r................W a lte r S p e rl S ce n ic a r tis t .............................................Ian R ich te r A sst u nit m a n a g e r............. E m m a S c h o fie ld (NT) tio n ” fa c ility . It is th e s to ry o f th e live s o f th e C o n s tru c tio n la b o u r e r ........................... S e an Lan g S e t fin is h e r s ........................................T o n y P iliotis, L o ca tion m a n a g e rs ............. T o n y Lea ch (M elb.), in m a te s, in p a rtic u la r, o f se ve n m a jo r c h a ra c S teel f a b r ic a to r ................................................W a lte r B ron G us Lobb, R o bin C lifto n (NT) te rs and o f th e e ve n ts th a t le ad up to 25 C o n s tru c tio n d e p t r u n n e r ..............J o n a th o n C a rl A d a m S m iy ie ls k i P rod, s e c re ta ry ............................... S e re n a G a ttu so O cto b e r — th e d a y of th e lo ckd o w n . S e t p a in te rs ..................................... M a rtin B ru ve ris, C un,ttin g room a s s t............................................... J o h n R ouch P rod, a c c o u n ta n t.............................................J e n n y V e rdo M a tt C o n n o rs, S o und e d ito r ...................................................... B ru ce Lam sh e d C a tch 1-2-3 P e ta B lack, A ssista n t e d ito r s ................. H e a th e r M cD e rm o tt, A c co u n ts a s s ts .......................... C e lin e R o b ita ille , KADAYCHA Des K e e n a J a m e s M a n ch e A n n e T w e e d a le Prod, c o m p a n y ........D a vid H a n n a y P ro d u ctio n s S o u n d e d ito r............................................................L es Fid d e1st ss asst d ire c to r................................................. S te ve A n d re T ravel w s s e r v ic e ......................E n te rta in m e n t Tra ve l D ist. c o m p a n y .............. P re m ie re F ilm M a rke tin g A sst s o u n d e ffe cts e d ito r ............S im o n S m ith e rs T ra nn,sp o rt m a n a g e r........................................... J o h n C h a se 2nd asst d ire c to r s .................................................P h il P a tterso P r o d u c e rs ........................................................... D a vid H a nnay, S tu n ts c o -o rd in a to r............................... P e te r W e st A sst tra n s p o rt m a n a g e r........... M ich a e l M cIn tyre T o b y P ease C h a rle s H a n n a h A sst s tu n t c o -o rd in a to r...................... J im R ich a rd s 3rd asst d ire c to r .............................................. J a n in e S ch eTpra isin sp o rt c o -o rd in a to r..............C a m e ro n B a rn e tt S tu n ts p e rfo rm e rs ......................... Jo e S ch w a ig e r, o c to r.................................................J a m e s B o g le C o n tin u ity .............................................................L in d a Ray H e avy h a u la g e ...................................................F ra n k M an g aDnire S c rip tw rite r..........................................Ian C o u g h la n P h il M eacham P ro d u ce r s a s s is ta n t....................................... H ila ry M ay U n it d r iv e r ........................................... B ria n G ilm o re S a fe ty o f fic e r ....................................A rt T h o m p so n D riv e rs ...................................................................A n n e Jo lly, P h o to g ra p h y ....................................................... S te ve W in d o n D ire c to r's a s s is ta n t..............................J a k k i M ann S o u n d re c o rd is t.................................................... Pam D u n n e A r m o u r e r ...........................................R o b e rt C o le b y S h a ro n A n d e rso n C a s tin g ........................................................... Forcast, S till p h o to g ra p h y ................................................... Jim T o w n le y S till p h o to g ra p h y ..............................................V ivia n Z in k E d ito r................................................................. A n d re w A riste d e s R h o n d a S ch e p isi P rod, d e s ig n e r...................................... D a rre ll Lass U n it n u r s e ........................................................... C a th y S te p hEextras n S a fe ty o ffic e r.........................................................A rch R o b e rts c a s tin g ........................................S u e P a rke r C o m p o s e r..................................P e te r W e s th e im e r M e rch a n d is in g c o -o rd in a to r......... N a n cy S tro n g U n it n urse (M e lb .)...............................................J u n e S a vage C a m e ra o p e ra to r.....................................Ian Jo n e s E xec, p ro d u c e r......................... T o m B ro a d b rid g e C a t w ra n g le r......................................................... V e ra S teven U n it n urse (N T )................................ M a g g ie M cK ay V id e o o p e ra to r..............................J im D u n w o o d ie L ine p ro d u c e r.......................................................Lynn B a rke r B e st b o y ................................................................ S e an C o n wFocu a y s p u lle r ..................................L eigh M cK enzie W ra n g le r.......................................................... E va n n e C h esson R u n n e r..........................................S a ch a R o d rig u e z T u t o r ...................................................................R a chel E va nsP rod, c o -o rd in a to r...........................................L e sle y P a rke r C la p p e r/lo a d e r...................................... P e te r W h ite Prod, m a n a g e r.................................................... J u lia R itch ie A rt d e p t ru n n e r........................................B izzi Bodi C o a c h ................................................................... P e te r T u llo ch 2nd c a m e ra a s s t/S te a d ic a m ...............G e o ff H all P u b lic ity .................................. T h e W rite -O n G rou p B est b o y ................................................................ C h ris F leet P rod, s e c r e ta ry ............................................... D e b b ie S a m u e ls C a m e ra m a in te n a n c e ..............S co tt B a ckh o u se P rod, R u n n e r...................................................................... Ifca D ra g ice vic a c c o u n ta n t............................................. E la in e C ro w th e r R e s e a rc h e rs .......................................................... S u e Ellis, 1 st asst d ire c to r................................................. D e uel D roog an 2nd asst d ire c to r ..................................................P a ul G rin d e r C h ris tin a N o rm a n C o n tin u ity ........................................ M e la n ie B row n P u b lic ity ..................... T h e R ea F ra n cis C o m p a n y C a stin g c o n s u lta n t............................. C a rrie Z ive tz U n it p u b lic is t ........................................M arian P age Focu s p u lle r .......................................................... P a ul P a n d o u lis C a te rin g ................................................. C h ris S m ith C la p p e r/lo a d e r..............................R o g e r J o h n s to n S tu d io s .............................. A u s tra lia n Film S tu d io s Key g r ip ........................................................... Ian B ird L a b o ra to ry ..................................................... C in e ve x Gsa ffe r ...................................................................A lle y n M e a rn s L e n g th ...................................................................... 120 m in u te B oom o p e ra to r ...................................... M a rk W a rd G a u g e ..................................................................3 5m m A rt d ire c to r..................................... D ia n a R e yn o ld s C a st: M e ryl S tre e p (L in d y C h a m b e rla in ), Sam S P FX m a k e -u p /h a ir....................D e ryck de N iese N e ill (M ich a e l C h a m b e rla in ). M ake-up a tta c h m e n t ...I..................................S a ra h B a ile y W a rd ro b e s u p e rv is o r....................................... F io n a S p e n ce GHOSTS S ta n d b y w a rd ro b e ............................................D in a h M itch e ll (W o rkin g title ) W a rd ro b e a s s t....................................................... S u e C o rm a c k S ta n d b y p r o p s ................................................ R o b b ie C a m p b e ll Prod, c o m p a n y .................. C o rre ctio n a l S e rvice s A sst s ta n d b y p r o p s ..................................C a th e rin e M a rtin (F ilm P ro d u ctio n s) Inc. S p ecial e ffe c ts ................................ N e ville M axw ell D lst. c o m p a n y .............................................H e m d a le S o u n d p o s t-p ro d u c tio n ..... C o u n te rp o in t S o u n d P ro d u c e r................................................................ Evan E n g lish E D ire c to r.................................................................. J o h n H illco adt itin g a s s is ta n t...........................L o u ise J o h n so n S till p h o to g ra p h y ..........................B re tt C o ch ra n e , S c rip tw rite rs .............................................N ick C ave, C o rrie A n a co n e , G ene C o n kie , C la re M cL e lla n d E va n E n g lish , F ig h t c o -o rd in a to r.................................G ra n t P age J o h n H illco a t, S a fe ty o ffic e rs ................................................. W a yn e P leece, H u g o R ace P a ul L e n non B a sed on th e o rig in a l id ea b y .........................................................................J o h n H illcoNa u t rs e ............................................................J u lie T iso B e st b o y ........................................................... M ich a e l W ood P h o to g ra p h y .........................................................P a ul G o ld m a n R u n n e r...............................................................D e b b ie A tk in s S o u n d re c o rd is t...........................B ro n w yn M u rp h y E d ito r................................................................ S te w a rt Y o u nU g n it a tta c h m e n t....................... N ich o la s A tkin so n P re m ie re Film M a rke tin g Prod, d e s ig n e r.............................. C h ris K e n n e d y a tta c h m e n t........................... N ig e l B ro a d b rid g e A sst to prod, d e s ig n e r ............... V ic to ria H o b d a y P u b lic ity ............................................................... Lio n e l M id fo rd E xec, p r o d u c e r ...................................................Evan E n g lish A sso c, p ro d u c e r..........................M ich a e l H o p kin s C a te r in g ................................................................Food Fetish, Prod, m a n a g e r............................ D e nise P a tie n ce D o u g la s B eale, Prod, c o -o rd in a to r.................................... M ic k Bell R ich a rd M cD o n a ld P rod, s e c re ta ry ............................................C a rm e lla B yrn eL a b o ra to ry ............................................................A tla b P rod, a c c o u n ta n ts .......................................... J e n n y Davies, L e n g th .........................................................................90 m in u te s M ich a e l C o lch e e d a s G a u g e ...................................................................3 5m m 1st asst d ire c to r........................................P h il Jo n e s S h o o tin g s t o c k ..................................................K o dak 2nd asst d ire c to r................................................. L u cy M cL aCreanst: Z o e C a rid e s, T o m J e n n in g s , E ric O ld fie ld , D e b o ra h K e n n e d y, F io n a G a u n tle t, 3 rd asst d ir e c t o r ..........................N ik k i V u ille rm in N a ta lie M cC u rry, K e rry M cK ay, B ru ce H u ghes, C o n tin u ity ...............................................T a ra F e rrie r C a s tin g .................................................................. L u cy M cL aSreanra, D a kin, N ich o la s Ryan, T e rry M a rkw e ll. S y n o p s is : A se rie s o f u n e x p la in e d te e n a g e P o lly B o rla n d , m u rd e rs o c c u r in an e xc lu s iv e re sid e n tia l S te ve H a rd m a n d enve lo p m e n t, a c c o m p a n ie d by w id e s p re a d A c tin g re h e a rsa l d ire c to r .....................................Ian W a tso re p o rts o f d is tu rb m g d re a m s in v o lv in g A b o ri L ig h tin g d e s ig n e r ............................G ra e m e W o o d g in a l ritu a ls and sym b o ls. F ocu s p u lle r ..................................S te ve M cD o n a ld C la p p e r/lo a d e r.....................................S o n ia L eb er Key g r ip ........................................................ M ic k Bell G rip ....................................................................M ich a e l M ad ig a nTHE MAN WHO LOST HIS HEAD G a ffe r...................................................................... R o ry T im o n y c o m p a n y .......................................R o n in Film s Deist. B oom o p e ra to r...................................................S te v e V a u g P h arond u c e r............................................................ J a m e s C la yd e n Set d e s ig n /c o n s tru c tio n ........... M a c g re g o r Knox, D ire c to r...............................................................J a m e s C la yd e n Shane Aum ont Based on th e o rig in a l id e a b y ....J a m e s C la yd e n M a k e -u p ........................................V ic M a c g illic u d d y S o und re c o r d is t..................................................G a ry H illb e rg P ro s th e tic s .............................................N ik D o m in g E d it o r ......................................................................G a ry H illb e rg H a ird re s s e r..................................................... G e o rg e H u xleCyo m p o s e r................................................O llie O lse n W a rd ro b e .............................................................K a re n E ve reLttig h tin g c a m e ra p e rs o n ............... J a m e s C la yd e n S ta n d b y w a rd r o b e ........................................ B e ve rly Ja sp eMr u sic p e rfo rm e d b y ............................ O llie O lsen S e t d re s s e r.................................... H u g h M a rc h a n t S till p h o to g r a p h y ................................. B ill H e n so n S ta n d b y p r o p s ....................................................D e an S u lliva n b lic ity ....................................................K im Lew is Pu S ta n d b y w a lls ...............................D a m ie n S a lm o n M ixed a t .................................................... S o u n d firm

In the January 1988 edition o f “ C inem a P apers” a production list for the film “ T he 13th F lo o r” was published. T he credit for C asting C onsultant Shauna C row ley was om itted.

bum j a 35m m & 16m m N egative C utting

\CHBIS ROWELL PRODUCTIONS I 68 - MARCH CINEMA PAPERS

WARDROBE • MAKE-UP VANS • CAMERA TRUCKS • CAST VANS • PROPS VANS • UNIT VEHICLES • TRACKING VEHICLES

FOR THE SUPPLY OF ALL FILM PRODUCTION TRANSPORT CONTACT DAVID SUTTOR ON (02) 439 4590 ^ STATION WAGONS • SEDANS

318 WILLOUGHBY ROAD, NAREMBURN, SYDNEY

PROUD TO BE SUPPLYING: • Crocodile II • Rikki and Pete • Emma • Dirtwater Dynasty • W illesee’s Australia e Hills End

HI-ACE VANS • 4 X 4 TOYOTA LANDCRUISERS • ACTION VEHICLES • TRAY TOPS

BUSES

L a b o ra to ry ....................................................... C in e v e x L e n g th .........................................................9 0 m in u te s S h o o tin g s t o c k .....................................................7291 C a s t: P h il M o th e rw e ll (W a lte r H ey), M a rie H o y (R u b y H o w ), P e te r G re e n (C o lin B e n ch -R o o t), J a n F rie d e l (D r E liz a b e th H e a rin g ), G re g C a rro ll (R u g o " L e g s ” R ic h a rd s ), J o h n M u rp h y (M ic k e y D id), T o m E c k e rs le y (B e n T o e -N e a r), D a in e H a ll (R o se C h u tn e y ), V a l K irw a n (M u rie l C h a p p ). S y n o p s is : T h e n ig h tm a ris h a d v e n tu re s o f a rtis t W a lte r H e y w h o w a k e s u p o n e m o rn in g w ith o u t h is h e a d . A b iz a rre jo u rn e y in to c o m ic m a d n e ss.

P ro d , c o - o r d in a to r ............................L e s le y P a rk e r M a c h in is ts .....................................................K a th e rin e J o h n sCtolanp, p e r/lo a d e r ................................................... K a th y C h a m b e rs P rod, m a n a g e r A n n V e itch C a m e ra a tta c h m e n t......................C o rrin e W a tso n (p re -p ro d u c tio n )............................... J u lia R itc h ie P ro p s b u y e r s .......................................................... S u e M a ybK u ry, e y g r ip .............................................................B re n d a n S h a n le y P ro d , m a n a g e r J o c k M c L a c h la n A s s t g r ip ...............................................................N e v ille C a m e ro n ( p ro d u c tio n ) ....................................... B a rb i T a y lo r S ta n d b y p r o p s ...............................L e a n n e C o rn is h G a ffe r ..................................................... Ian D e w h u rs t P rod, s e c r e t a r y .............................D e b b ie S a m u e ls S p e c ia l e ffe c ts ................................N e v ille M a xw e ll B e st b o y ...................................................N ic k P a yn e P ro d , a c c o u n ta n t......................... E la in e C ro w th e r S to ry b o a rd a r tis t.................................................S te v e L yo n sG e n e ra to r o p e r a t o r .......................... T im M o rris o n A c c o u n ts a s s t.....................................L in d a W h ite ly S e t d e c o ra to r.................................. A le th e a D e a n e B o om o p e ra to r......................................................C h ris G o ld s m ith 1st a s s t d ir e c t o r ................................ J a k e A tk in s o n A rt d ire c to r (B ro k e n H i ll ) .......G ra e m e D u e s b u ry S e t f in is h e r ......................................F ra n k F a lc o n e r 2 n d asst d ire c to r ............................... D a n ie lle Lass B ru sh h a n d ..............................................................N ic k W a lk A e rrt d e p t c o -o rd in a to r............................R ike K u lla c k 3 rd a sst d ire c to r ................................ D e b b ie A tk in s F o re m a n ........................................................ J o n a th o n E n e mCaorks tu m e d e s ig n e r..................................................P h il E a g le s C a s tin g lia is o n ................................. L e s le y J e n k in s C a rp e n te rs ........................................................... S te ve H u x taMb le a k, e -u p ......................................... R o s a lin a d a S ilv a F o c u s p u lle r .............................................. R o d H in d s H a ird re s s e r............................................................. W illi K e n ric k R o b e rt P a to n , C la p p e r/lo a d e r .....................................M itc h e ll P a p i W a rd ro b e a s s t........................... A m a n d a R a m a g e F ra n k P h ip p s K e y g r ip ................................................... R o b M o rg a n S e t c o n s tr u c tio n ..................................................... P h il W o rthA rt d e p t a s s t (M e lb o u rn e ).................. D a rre n H a rt G a ff e r .................................................. R ic h a rd C u rtis C o n s tru c tio n r u n n e r ..........................................D a vid A tk in sP ro p s b u y e r ......................................................A n d re a J o h n s to n MULLAWAY B o om o p e r a t o r ................................ M a rk v a n Kool S ta n d b y p r o p s ....................................... J o h n S ta b b A rt d e p t r u n n e r ............................................. G e o ffre y G u iffre A rt d ir e c t o r ................................................ M a rc R ya n P ro d , c o m p a n y ........ U k iy o F ilm s (In te rn a tio n a l) A s s t c a rp e n te r................................................... R o b e rt P o d hS ap jsekcyia l e f f e c t s ...................................................V is u a l E ffe c ts S P FX m a k e -u p / S P F X c o -o rd in a to r.............................................. P e te r S tu b b s P ty L im ite d fo r A s s is ta n t e d ito rs .................................... E m m a Hay, h a ir s u p e rv is o r..........................D e ry c k d e N ie se In te rn a tio n a l F ilm M a n a g e m e n t L im ite d R igs c o n s tru c tio n m a n a g e r ................................. Ian M c L a y A la n D u n g e y S o u n d p o s t- p ro d u c tio n .............. J o h n D e n n is o n , D ist. c o m p a n y .......... H e m d a le F ilm C o rp o ra tio n C o n s tru c tio n a s s t...............................................A a ro n B e a u c a ire S a fe ty c o -o rd in a to r/ A sst (T h e W o rld e x c lu d in g A u s tra la s ia ), TonyV accher s a fe ty s u p e rv is o r...........................................R o c k y M cD o n a ld e d it o r ........................................................ V irg in ia M u rra y E d itin g a s s is ta n ts .........................A lle n W o o d ru ff, M u s ic c o - o r d in a to r .............................................C h ris G o u g h , H e m d a le -G in n a n e A u s tra lia L im ite d H o rse s tu n t c o -o rd in a to r..................H e a th H a rris S tu d io M a n a g e m e n t S e rvice s P e te r M cB a in (A u s tra la s ia ) H o rse m a s te rs .................................... H e a th H a rris, S till p h o to g r a p h y .......................... C o rrie A n a c o n e S o u n d e d ito rs ...................................................... F ra n k L ip so n , P r o d u c e r.................................... D. H o w a rd G rig s b y A lle n F itz s im m o n s C ra ig C a rte r D ir e c to r ..................................................................... D o n M c L eBnensta nb o y ........................................... K irk B ro m m a g e A sst to h o rs e m a s te rs ................................... K ris tin e S h u g g S c r ip tw rite r ..........................................J o n S te p h e n s S a fe ty re p o rt................................... G e o rg e M a n n ix S tra p p e r.............................................................L e a n n e B ru ceS tu n ts c o -o rd in a to r........................................... G le n n R u e h la n d B a se d on th e n o ve l b y .....................B ro n N ic h o lls P u b lic ity ............................................... L io n e l M id fo rd W ra n g le rs ......................................................... L in d s a y F e lto nS, t u n t s ................................ N e w G e n e ra tio n S tu n ts R u n n e r (M e lb o u rn e ).......................... K ris K o slo vic C a te r in g ................................................... F io n a A n g e l P h o to g ra p h y ............................. Z b ig n ie w F rie d ric h J o h n R o d n e y, P u b lic ity ..................................................S u z ie H o w ie S o u n d r e c o r d is t ...................................................Llo y d C a rric L ekn g th .........................................................90 m in u te s B a rry C h ris to p h e rs o n , C a te rin g ........................................ S w e e t S e d u c tio n / a uh g e ....................................................................3 5 m m S u p e rv is in g e d ito r ...................................... Z b ig n ie w F rie dGric G a ry A m o s (D rive r), T im b a le (M e lb o u rn e ), E d it o r ................................................................N ic k Lee S h o o tin g s t o c k ...................................................K o d a k C a s e y T u rn e r, S te v e & M a rg o t’s (B ro k e n H ill) C ao snt: M a rk H e m b ro w , T e s s a H u m p h rie s , P ro d , d e s ig n e r.................................................. P a tric k R e a rd B ru c e K u h n e r, M o b ile p ro d u c tio n f a c ilitie s ............. K e vin B rya n t H e le n O 'C o n n o r, C a rrie Z iv e tz , M a ry R e gan, E xe c, p r o d u c e r ...........................A n to n y I. G in n a n e G re g B e n n e tt (C a su a l) L aeb o ra to ry ...................................C o lo rfilm /C in e v e x L in d a N e w to n , J o h n C la y to n , J o h n L ev. M a ra i P ro d , c o -o rd in a to r.................. C h ris tin e G a lla g h e r W ra n g le r a tta c h m e n t.......................................M ic k o O ’ B yrn B u d g e t..........................................................................$ 4 m illio n G e ra rd , S a lly H u d so n , S h a n e B ria n t. P ro d , m a n a g e r ............................A n d re w W is e m a n W a g o n m a s te r .................................... P e te r Y o u n g L e n g th ........................................................ 95 m in u te s S y n o p s is : O u t o f th e b o d y th e re ca n be U n it m a n a g e r ......................................S te v e E w in g s S till p h o to g ra p h y ................................ J im S h e ld o n S h o o tin g s t o c k ................................... E a s tm a n c o lo r d a n g e r. D a v id G aze, an u n w ittin g a stra l L o c a tio n m a n a g e r..............................S te v e E w in g s N u rs e ................................................N ic o la J o h n s to n C a s t: S te p h e n K e a rn e y, N in a L a n d is, T e tc h ie tra v e lle r g o e s o n e s te p to o fa r . . . a n d fin d s P ro d , s e c r e ta ry ........................ F ra n O ’ D o n o g h u e A r m o u r e r ............................................... R o b e rt C o lb y A g b a y a n i, B ill H u n te r, B ru n o L a w re n ce , B ru c e h im s e lf p rim e s u s p e c t in a s e rie s o f d e m o n ic P ro d , a c c o u n ta n t.................... R o b e rt T h re a d g o ld D r iv e r s ....................................................A lis o n C o o p , S p e n ce . e rs. 1 st a s s t d ir e c t o r ..................................................... B o b D o n amldusrd on G ra e m e H a yes, S y n o p s is : Rikky And Pete is th e s to ry o f a 2 n d a s s t d ir e c t o r ...................................................... Ian K e n n y A n d re w M o la be ro th e r a n d s is te r liv in g in c h a o s in M e lb o u rn e 3 rd a s s t d ire c to r .......................B re n d a n C a m p b e ll OUTBACK V e t............................................................................ P e te r M o n ro d C o n tin u ity .......................................... C h ris tin e L ip a ri B e st b o y .................................................................P e te r M a lo n euye to o v e rb e a rin g p a re n ts , ro m a n tic e n ta n g le P rod, c o m p a n y .....................................J o h n S e xto n mo e C a s tin g ..................................................................... G re g A p p s R u n n e r ...................................................................... L is a H a rris n n ts and P e te ’s u rg e to p ro v o k e th e p o lice . P ro d u c tio n s P ty L im ite d fo r W h e n th in g s g e t to o h o t, th e y h e a d fo r a n o u t C a s tin g c o n s u lta n ts ............................. L iz M u llin a r C a te r in g ....................................... M a rik a J a n a v ic iu s T h e B u rro w e s F ilm G ro u p b a c k m in in g to w n w h e re th e y e m b a rk on a C a s tin g C o n s u lta n ts C a te rin g a s s t ............................................... Lou H o ck P ty L im ite d and z a n y b u t lu c ra tiv e v e n tu re . E x tra s c a s t in g ...................................J o h n S te p h e n s L a b o ra to ry ..................................................... C o lo rfilm In te rn a tio n a l F ilm M a n a g e m e n t L im ite d F o c u s p u lle r .......................................................... C h ris C a in D ist. c o m p a n y ...........H e m d a le F ilm C o rp o ra tio n Lab. lia is o n .................................... D e n is e W o lfs o n , C la p p e r/lo a d e r.................................... A n d re w S c o tt W a y n e D u n sta n SONS OF STEEL (T he W o rld e x c lu d in g A u stra la sia ), K e y g r ip ................................................ P e te r K e rs h a w B u d g e t ........................................................$ 7 ,3 0 0 ,0 0 0 H e m d a le -G in n a n e A u s tra lia L im ite d P ro d , c o m p a n y .............................................J e t F ilm s A s s t g r ip ......................................... M ic h a e l M a d ig a n G a u g e ....................................................................3 5 m m (A u s tra la s ia ) D ist. c o m p a n y ..................................................C in e m a 100 S h o o tin g s to c k ..................... K o d a k E a s tm a n c o lo r G a ff e r ......................................................................D a vid P a rk in P sr oo n d u c e r ................................................J o h n S e xto n P ro d u c e r............................ J a m e s M ic h a e l V e rn o n C a s t: J e ff F a h e y (C re e d ), T u s h k a B e rg e n B o o m o p e ra to r......................................................C h ris G o ld sDmire ithc to r........................................................... Ian B a rry D ire c to r.................................................................... G a ry K e a d y (A lic e ), S te v e n V id le r (D o n a g h u e ), F red C o s tu m e d e s ig n e r .....................J e a n n ie C a m e ro n S c r ip tw rite r ............................................ J o h n S e xto n S c r ip tw rite r ............................................................ G a ry K e a d y P a rslo w (R ic h a rd s ), C o rn e lia F ra n c e s (C a ro M a k e -u p ................................................. M a g g ie K o le v P h o to g ra p h y .................................... R o ss B e rry m a n P h o to g ra p h y ..................................... J o e P ic k e rin g line), M ic h a e l W in c h e s te r (R u p e rt), R ic h a rd W a rd ro b e s t a n d b y ..................M a rg o t M c C a rtn e y S o u n d r e c o r d is t ...................................... B e n O sm o S o u n d r e c o r d is t ............................... P a u l R a d c liffe M o ir (T h o m p so n ), S h a n e B ria n t (A lle n b y), P ro p s b u y e r.........................................................M a rita M u s sEe tt d it o r ....................................................H e n ry D a n g a r E d it o r ................................................................A m a n d a R o bson D re w F o rs y th e (Ive rso n ), S a n d y G o re (M a u d e ). S ta n d b y p r o p s ........................................................T im B ro w P n ro in gd , d e s ig n e r ................................ O w e n P a te rso n P rod, d e s ig n e r ..................................G ra c e W a lk e r S y n o p s is : T w o m e n o f o p p o s in g v ie w p o in ts fa ll S e t d e c o ra to r.................................................... H a rv e y M a w so n c, p ro d u c e rs ........................A n to n y I. G in n a n e , E xe E xe c, p r o d u c e rs ..................C h a rle s W a te rs tre e t, in lo ve w ith th e sa m e w o m a n in th is h is to ric a l A rt d e p t r u n n e r .......................................................M a x T h o m a s K e n t Lo ve ll K la u s S e llin g e r a gnags e t in th e A u s tra lia n o u tb a c k a t th e tu rn o f A s s t e d it o r .............................................A n n e tte K e lly L in e p ro d u c e r.............................................................S u A rm sstro A sso c, p ro d u c e r................................................ P e n n y W a ll D u b b in g e d ito r ............................S te p h e n L a m b e th P rod, c o -o r d in a to r ...............................................V ic k i P o p pth leew ceell n tu ry . P rod, c o -o rd in a to r...........................................M a g g ie L a ke S till p h o to g ra p h y ............................................ V irg in ia R o u se P ro d , m a n a g e r............................................G ra n t H ill P ro d , m a n a g e r.................................. B rig itte Z e is ig D ia lo g u e c o a c h .......................................................J o n S te p hUennits m a n a g e r ....................................................N e v ille M a so n RIKKY AND PETE U n it m a n a g e r .................................... F ra n k M a n le y B e st b o y ..................................................................D a ryl P e a rso U nnit a s s is ta n t.........................................J a n e R ic h te r L o c a tio n m a n a g e r .............................................. A rn ie C u s to P ro d , c o m p a n y ............................... C a s c a d e F ilm s 2 n d e le c tr ix .......................................................... S tu a rt C ro mLboiec a tio n m a n a g e r ........................ D a vid M a la c a ri P rod, s e c r e ta ry ......................................... F io n a H ile A u s tra lia P ty Ltd R u n n e r ...................................................... J a c k W h ite 2 n d u n it lo c a tio n m a n a g e r............M ik e M cL e a n P ro d u c e rs ............................................................. D a vid P a rkePr,rod, a c c o u n ta n t.................................................... L e a C o llin s S tu d io s ..............................A u s tra lia n F ilm S tu d io s P rod, s e c r e t a r y ............................A m a n d a S e llin g A c c o u n ts a s s t ................................................... T ra c e y H yd e N a d ia T a ss L a b o ra to ry ........................................................ C in e v e x P ro d , a c c o u n ta n t...............G e m m a R a w s th o rn e , 1st a s s t d ir e c t o r ........................... P e te r F itz g e ra ld D ir e c to r ..................................................... N a d ia T a ss La b . lia is o n .................................................................Ian A n d e rs o n M o n e y p e n n y S e rvice s S c r ip tw rite r ...........................................................D a v id P a rk e2rn d a s s t d ir e c t o r ..................................................N ik k i L on g B u d g e t ........................................................$ 3 ,0 0 0 ,0 0 0 A s s is ta n t a c c o u n ta n t...............................J ill S te e le 3 rd a sst d ire c to r ................................... S te v e M o ra n B a se d on th e o rig in a l id e a L e n g th ........................................................9 4 m in u te s 1st a s s t d ir e c t o r ......................................... J o h n W ild b y ......................................................................... D a vid P a rk eCr o n tin u ity ...................................... J u d y W h ite h e a d G a u g e .................................................................... 35 m m 2 n d a sst d ire c to r...........................B re tt P o p p le w e ll P h o to g ra p h y ........................................................D a v id P a rk eFro c u s p u lle r .................................. L a u rie K irk w o o d S h o o tin g s to c k ......................K o d a k E a s tm a n c o lo r 3 rd a s s t d ir e c t o r ...................................... T e rry K in g S o u n d r e c o r d is t .................................................. L lo yd C a rricCkla p p e r/lo a d e r .....................................................M a rk Z a g e r C a s t: N a d in e G a rn e r (M u ll), C ra ig M o rris o n C o n tin u ity ................................................................ A n n W a ltoEnd ito r..........................................................................K e n S a llo w K se y g r ip ............................................G e o rg e T s o u ta s (S teve), K y m a ra S to w e rs (Jo d ie ), B ra d le y K il C a s tin g .............................................................. M ic h a e l Lyn chP, rod, d e s ig n e r........................................... J o s e p h in e F ord A sst g r ip ....................................................................... J o J o h a n s o n p a tric k (A la n ), B ill H u n te r (D ad), S u e J o n e s R a e D a vid so n G a ffe r ........................................................C ra ig B ry a n t C o m p o s e rs ...............................................P h il J u d d , (M u m ), J u n o R o xa s (G u id o ), D o m in ic S w e e n e y C a s tin g c o n s u lta n ts ..................................... F o rca st B o o m o p e ra to r....................................................S h a n e W a lk e r E d d ie R a y n o r (Jim ), M a ry C o u s ta s (H e le n ). E xtra s c a s tin g ......................................................... S u e E d w aErd A rt d ir e c t o r ...............................................................R o b R o b in s o n xes c, p r o d u c e r ................................B ry c e M e n zie s S y n o p s is : A w itty a n d c o m p a s s io n a te s to ry o f C a m e ra o p e r a t o r ........................... R o ss B e rry m a n C o s tu m e d e s ig n e r ..............................................P ro fit P itch A sso c, p ro d u c e r..............................T im o th y W h ite a te e n a g e g irl c o m in g to te rm s w ith h e r fa m ily F o cu s p u lle r .......................................................... B ria n B re h ePnrod, y c o -o rd in a to r...........................S u e S te p h e n s T h in k in g P ty Ltd a n d h e rs e lf w h e n s h e le a rn s th a t h e r m o th e r is C la p p e r/lo a d e r....................................................G le n n C o g aPnrod, m a n a g e r................................................... L y n d a H o u se M a k e -u p .......................................... B rita K in g s b u ry c ritic a lly ill. C a m e ra d e p t a tta c h m e n t......................P e te r S to tt P ro d u c tio n a s s t s ............................................E le a n o r B ils to H n ,a ir d re s s e r ....................................B rita K in g s b u ry K e y g r ip ..........................................................T o n y H a ll W a r d ro b e .............................................................J e n n y M ile s J o d y L a w ra n c e A s s t g r ip ..................................................................G re g T u o hLyo ca tio n m a n a g e r....................L e ig h A m m itz b o ll W a rd ro b e a s s t ........................ N ic h o la B ra ith w a ite OUT OF THE BODY G a ffe r..................................................................L in d s a y F o o teU n it a sst ( M e lb o u rn e )...................................... R o g e r S e lle cPkro p s b u y e r ......................................................... D a v id B o w d e n P ro d , c o m p a n y ........ D a vid H a n n a y P ro d u c tio n s 3rd e le c tr ic s ......................................S im o n S te w a rt L o ca tio n a s s t (B ro k e n H ill) ............. D ia n n a F e rry S ta n d b y p ro p s ..................................................... H a rry Z e tte l D ist. c o m p a n y ...............P re m ie re F ilm M a rk e tin g G e n n y o p ./4 th e le c tr ic s ........................... B re tt H u ll P rod, a c c o u n ta n t............................ M a n d y C a rte r, S p e c ia l e f f e c t s .................................. M o n ty F ie g u th P r o d u c e rs .......................................... D a v id H a n n a y, B o om o p e r a t o r ................................J a c k F rie d m a n M o n e y p e n n y S e rv ic e s A s s t e d ito r ............................................. S te lla S a vva s C h a rle s H a n n a h A c c o u n ta n t........................................................ M o n ik a G e h rtN e g. m a tc h in g .........W a y n e D u n s ta n (C o lo rfilm ) A rt d ir e c t o r ..............................................S te w a rt W a y D ire c to r............................... B ria n T re n c h a rd -S m ith A s s t a rt d ir e c t o r ................................................J a m e s L yn n 1st asst d ire c to r ....................................................T o n y M a h oSo od u n d e d ito r ........................................................... P a u l R a d c liffe d a s s t d ire c to r .................... H a m is h M c S p o rra n A rt d e p t c o - o r d in a to r ............................................S u e O u g h2anm S c r ip tw r ite r ................................... K e n n e th G . R o ss S tu n ts c o -o r d in a to r .............................................. G u y N o rris C o s tu m e d e s ig n e r ..............................................T e rry R ya n3 rd a s s t d ir e c t o r ....................... A n d re w M e rrifie ld P h o to g ra p h y ..............................................K e vin L ind S till p h o to g r a p h y ..........................P e te r F ig e ta k is , C ogn tin u ity .................................. K a rin d a P a rk in s o n M a k e -u p ............................................................. F e lic ity B o w rin S o u n d r e c o rd is t........................................ T im L lo yd H e n rie tta B u tle r P ro d u c e r’s a s s is ta n t......................................M a g g ie B ro w A n en im a tio n ...................................... F lic k s A n im a tio n H a ird re s s e r.......................................................... Z ig g y E d it o r .................................................B ria n K a v a n a g h W a rd ro b e s u p e r v is o r ......................................... K e rri B a rn eCtta s tin g ....................................................... N a d ia T a ss P ro d , d e s ig n e r .......................................D a rre ll L a ss O p tic a ls ..................... R o g e r C o w la n d (C o lo rfilm ) E xe c, p r o d u c e r ........................... T o m B ro a d b rid g e S ta n d b y w a r d r o b e ...............................................K a te G re e nC a m e ra o p e ra to r ................................................ D a vid P a rk eBr e st b o y ...................................................M a tt S la tte ry W a rd ro b e a s s t.................................................A n d re w S h o rtF o cu s p u lle r ....................................... R e x N ic h o ls o n L in e p r o d u c e r ........................................ L y n n B a rk e r R u n n e r............................................ T o rq u il M a c n e a l

CINEMA PAPERS MARCH - 69

P R O P U C T I O I S T S U R V E Y C a te rin g ................................................. K e rry Fetzer, J a m ie d e H aan M ixed a t ......................................................... C o lo rfilm L a b o ra to ry .................................................... C o lo rfilm Lab. lia is o n .....................................D e n ise W o lfso n B u d g e t......................................................$ 3 ,0 0 0 ,0 0 0 L e n g th ...................................................... 90 m in u te s G a u g e ...................................................................3 5m m S h o o tin g s t o c k .......................................5295, 5247 C a st: R o b e rt H a rtle y (B la c k A lice ), J e ff D u ff (Secta), D a sh a B la h o va (H ono r), M a rk Hem b ro w (M ai), E liza b e th R ich m o n d (D jard), Roz W ason (H ope), R a lp h C o tte rill (K arzoff), W ayne S n e ll (Ex). S y n o p s is : A fu tu ris tic a d v e n tu re se t to p o w e r fu l h e a vy m eta l ro c k ’ n ’ roll m u sic. F a n ta sy and s c ie n ce fic tio n are b o u n d to g e th e r b y a b an d of like a b le , o ld -fa sh io n e d heroes.

E d ito r...................................................... C a th M u rp h y C o m p o s e r..................................................T im J o n e s E xe c, p r o d u c e rs .................................A n n S h a rle y, F ra n c e s c a d a R im in i A sso c, p ro d u c e r............Liz W illia m s o n (S ta g e 1) P ro d u c e r’s a s s is ta n t............. H a rriso n A n d e rso n M u sica l d ire c to r....................................... T im J o n e s M u sic p e rfo rm e d b y .......C a lc u tta R a n g e rs C lu b S o u n d e d it o r ........................................C a th M u rp h y S till p h o to g ra p h y ............................. L o re tta H yn es R u n n e r ............................................... Liz W illia m s o n L a b o ra to r y ........................................... U -Tel P ty Ltd B u d g e t........................................................... $43,351 L e n g th ........................................................29 m in u te s G a u g e ............................................................. B e ta ca m S y n o p s is : A d o c u m e n ta ry a b o u t w o m e n w h o d o n o t live w ith th e ir c h ild re n . It lo o ks at th e b e lie fs g e n e ra te d b y a s o c ie ty w h ic h p ro m u l g a te s a n a rro w d e fin itio n o f m o th e rh o o d . It is a b o u t s e c re c y and co llu s io n w ith in fa m ilie s and c o m m u n itie s . P e rso n a l te s tim o n ia ls fro m five w o m e n w h o ha ve re lin q u is h e d c h ild re n fo r a d o p tio n reveal th e p ric e so m e w o m e n m ust p ay fo r tra n s c e n d in g th e s e xu a l co d e s.

C o m p o s e r.......................................... A d ria n P e rtout P rod, c o -o rd in a to r................................. F io n a K ing Key g r ip ...............................................A d ria n K o rtu s A rt d ir e c t o r .........................................R ob M cLeod M a k e -u p ....................................B a rb a ra H a rrin g to n H a ird re s s e r............................. B a rb a ra H a rrin g to n T itle d e s ig n e r ...................................... D a vid W o n g S tu d io s ...................................................V T C V icto ria M ixe d a t ...................... C o m p le te P o st P ro d u ctio n P o st-p ro d u ctio n s u p e rv is o r.......M ich a e l C h u rch L e n g th ....................................................... 30 m in u te s G a u g e ............................................................ 1" vid e o C a s t: J a m e s M e lc h o ir (Steve), M a ryro se C u s k e lly (K elly), A n g e lo S a la m a n c a (Jim ), Paul F la h e rty (Fra nk). S y n o p s is : A d ra m a tise d tra in in g vid e o d e m o n stra tin g lia iso n p ro to co l fo r a g o v e rn m e n t a g e n cy and th e m edia.

C a m e ra o p e ra to r.............................. D a rre ll B row n B u d g e t.......................................................... $ 3 5 2 ,5 0 0 L e n g th ...................................................... 1 x 52 m ins, 3 x 26 m ins, 3 x 7 m ins G a u g e ............................................. 1 6 m m /B e ta ca m S h o o tin g s to c k ....................K o d a k E a stm a n 7 24 2 S y n o p s is : Portraits is a se rie s o f d o c u m e n ta rie s c e n tre d on p e o p le w h o p u rs u e u n u su a l, u n e xp e cte d a n d c re a tiv e life s ty le s b o th a t w o rk and play. T h e p ro file s h ave a ttra c te d th e in te re st o f E u ro p e a n T e le visio n as p a rt o f A u s tra lia ’s B ice n te n n ia l.

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P rod, c o m p a n y ...................................B rillia n t Film s P ro d u c e r............................................. B ria n D o u g la s D ire c to r................................................B ria n D o u g la s S c r ip tw rite r ....................................................... P a tric k E d g e w o rth MATTHEW FLINDERS’ AUSTRALIA P h o to g ra p h y ............................................C h ris Reed THE 13th FLOOR S o u n d re c o r d is t................................G e o ff S p u rre ll P rod, c o m p a n y .............. A to Z C o m m u n ic a tio n s C o m p o s e r........................................... A d ria n P e rto u t P ty L im ite d P rod, c o m p a n y ........D a vid H a n n a y P ro d u ctio n s P rod, c o -o rd in a to r..................................F io n a K in g D ist. c o m p a n y ................. A to Z C o m m u n ic a tio n s D ist. c o m p a n y .............. P re m ie re F ilm M a rke tin g K e y g r ip ...............................................A d ria n K o rtu s P ty Lim ite d P r o d u c e rs .........................................D avid H a nnay, A P ro d u c e rs ............................................................. J a c k S m ith, rt d ir e c t o r ............................................R o b M cL e o d C h a rle s H a nnah M a k e -u p ........................................................... B a rb a ra H a rrin g to n BLACK JACK’S LAST MISSION A n d re w Z ie lin s k i D ire c to r..................................................................C h ris R o ache H a ir d re s s e r .................................................... B a rb a ra H a rrin g to n D ire c to r........................................A n th o n y B o w m an S c r ip tw rite r ..........................................................C h ris R o ache P rod, c o m p a n y ............................T a ra P ro m o tio n s T itle d e s ig n e r ...................................... D a vid W o n g S c rip tw rite r............C reed C h ris to p h e r O ’H a n la n P h o to g ra p h y ...................................................... S teve P rim e (D ivisio n o f B lu e sco p e A sso cia te s) S tu d io s ................................................... V T C V ic to ria P h o to g ra p h y ......................................A le x M cP hee S o u n d re c o rd is t.................................................... PaulB o lg e r in a s s o c ia tio n w ith M ixe d a t .......................C o m p le te P o st P ro d u c tio n S o u n d re c o rd is ts ................................................C h ris Izzard, E d ito r..................................................................... P e te r M cB ain L ig h th o u s e P ro d u ctio n s P o st-p ro d u ctio n s u p e rv is o r.......M ic h a e l C h u rch R od Pa scoe, S u p e rvisin g e d ito r......................B ria n K a va n a g h (D ivisio n o f T a sm a n ia n Film C o rp o ra tio n ) L e n g th ........................................................ 30 m in u te s D a vid Innis Prod, d e s ig n e r..................................................D a rre ll LassP ro d u c e r............................................................... S te ve B ird sa ll G a u g e ............................................................. 1 " vid e o E dll,ito r.............................................. Ross S im m o n s E xec, p ro d u c e r.......................... Tom B ro a d b rid g e D ire c to rs ...............................................................S te ve B ird sa C a s t: M a ry D e la h u n ty (P re se n te r), M a rcu s E xe c, p r o d u c e r ...........................A n d re w Z ie lin s k i L ine p ro d u c e r.......................................L ynn B a rke r R u sse ll G a llo w a y O ’ L o u g h lin (S han e), A n d re w G re e n (Stan), A sso P rod, c o -o rd in a to r............................ Le sle y P a rke r S c rip tw rite r..........................................................S te ve B ird sa ll c, p ro d u c e r....................................J a c k S m ith n n a M cC ro ssin (Sally). P rod, c o -o rd in a to r......................................A d rie n n e M ardA en P rod, m a n a g e r.................................................... J u lia R itchPieh o to g ra p h y ................................R u sse ll G a llo w a y S Prod, m a n a g e r............................................ A d rie n n e M ard eny n o p s is : A d ra m a tis e d tra in in g v id e o d e m o n P rod, s e c r e ta ry ...........................D e b b ie S a m u e ls S o u n d re c o r d is t........................J o h n S c h ie fe lb e in s tra U n it m a n a g e r....................................................A d ria n B risto w tin g th e p ro to c o l fo r d e a lin g w ith p ro b le m Prod, a c c o u n ta n t....................... E la in e C ro w th e r E d ito r..............................................Ross T h o m p so n clie n ts and se n s itiv e issu es. 3rdll asst d ire c to r ............... A n n e M arie H o rn im a n A ccts a s s is ta n t...................................................L in d a W h ite P ly rod, m a n a g e r................................................ S a n d ra B ird sa C o n tin u ity ........................... A n n e M arie H o rn im a n P rod, a s s is ta n t................................................. L e sle y J e n kCinosn tin u ity ...............................................C o lin G ru b b SUGAR WITH CLASS S crip t a s s is ta n t......................... S im o n M a tth e w s C a m e ra a s s is ta n t........................................... W a yn e C o w en 1st asst d ire c to r ................................... Ian A s trid g e C allm e ra o p e ra to r................................................. A le x M cP hee P rod, c o m p a n y ..................................... S c o p e Film s R e s e a rc h ..............................................................S te ve B ird sa 2 n d asst d ire c to r ................................ C h a rlie R evai C a m e ra a s s is ta n t.............................................. J o h n O gden P r o d u c e r ................................................ J a n e S cra g g C o n tin u ity .................................................................. Jo R offeL a b o ra to ry ....................................................... C in e ve x Key g r ip ................................................P h il S h a p ie ra D ir e c to r .................................................E d w in S cra g g T e le c in e ................................................................ Ilo u ra C a s tin g c o n s u lta n t....................S h a u n a C ro w le y G a ff e r ........................................... P e te r R ich a rd so n S c rip tw rite r..........................................E d w in S cra g g Focu s p u lle r ..........................................................M ike K e llyB u d g e t...........................................................$ 1 2 0 ,0 0 0 M a k e -u p ................................................................... V iv M epham P h o to g ra p h y ....................................... E d w in S cra g g C la p p e r/lo a d e r............................................. E d m u n d M ilts L e n g th ........................................................55 m in u te s H a ird re s s e r.............................................................. V iv M epham S o u n d re c o rd is ts ...........................R o b e rt C u tch e r, G a u g e .........................................................l6 m m t o 1 " vid e o Key g r ip ................................................. C o lin T u llo ch W a rd ro b e ...................................................................J o M alcolm P e te r M o o r S h o o tin g s to c k .............................7 2 9 1 ,7 2 9 2 , 7 29 7 G a ffe r ...................................................... D oug W ood P r o p s .......................................................................... J o M a lco lm E d it o r ................................................... E d w in S cra g g S y n o p s is : A trio of a d v e n tu re rs d is c o v e rs the B oom o p e ra to r .................................T o n y K e esing S till p h o to g ra p h y ....................J a c q u i S te ve n so n , U n it m a n a g e r...........................................Ivo r Bo w en in ta ct w re c k o f a W o rld W a r 2 B -17 b o m b e r in A rt d ire c to r .......................................................... P e te r D avies G e o rg e F a rrq ll C a m e ra a s s is ta n ts ..........................................S im o n W o o d s, d e e p w a te r o ff th e c o a s t o f re m o te P a p u a N e w A rt d e p t a s s t .........................................................G re g C la rke R u n n e rs ...............................................................D a vid Je n kin s, P a u la S o u th G u in e a . The p la n e is id e n tifie d as “ B lack B u y e r.......................................................................P e ta Law son M a rk M cM a n u s B o om o p e ra to r.....................................................G re g M u rp h y J a c k ” , one o f th e m ost fa m o u s F lyin g F ort S P FX m a ke -u p / P u b lic ity ..................................... E liza b e th K e rridg e M u s ic ......................................................S a le & W e lsh resses in th e S o u th w e st P a cific. T h e p ilo t is ha ir s u p e rv is o r........................ D e ryck d e N iese U n it p u b lic is t ......................................... S u san Bell L a b o ra to ry ............................................................ A tla b lo cate d in C a lifo rn ia and, a fte r 44 years, M ake-up a tta c h m e n t............................. S u e M ata k L e n g th ......................................................48 m in u te s L e n g th ......................................................................... 20 m in u te s d e cid e s to re tu rn to N e w G u in e a to be re u n ite d H a ird re s s e r....................................... T o n y M e re d ith G a u g e ................................................................. 16m m G a u g e ................................................................... 16m m w ith , a n d th a n k , th e N a tio n a ls of th e v illa g e W a rd ro b e ...........................................R o sa le a Hood S h o o tin g s t o c k ................................................ K o dak S h o o tin g s t o c k .................................................... 7291 P rops b u y e r ......................................................... T o n y H u n tw h o h e lp e d re scu e his c re w w h e n th e plane C a st: M ich a e l M u n d e ll (M a tth e w Flinde rs), S y n o p s is : A g ro u p o f ch ild re n , b o re d at th e low w e n t d o w n . U sin g a rc h iv a l fo o ta g e , s p e c S ta n d b y p r o p s ................................. A la n M a n n in g C reed C h ris to p h e r O ’ H a nlan (G e o rg e Bass), sta n d a rd o f film s s h o w n in th e ir sch o o l, se t ta c u la r la n d a n d u n d e rw a te r se q u e n ce s, th is is S p e cia l e ffe c ts ................................. A la n M a n n in g S im o n M a tth e w s (B a s s ’ S e rvan t), A le x a n d e r a b o u t re d e s ig n in g o n e to c o m p ly w ith th e ir o w n th e th e n -a n d -n o w s to ry o f th e pe o p le , p la ce s E d ge n u m b e re r........................................ Liz Irving H all (Y o u n g M a tth e w Flin d e rs). sta n d a rd s. T h e sto ry, fo r th e 13 to 15 y e a r age and e ve n ts s u rro u n d in g “ B la c k J a c k 's ” last S o und p o s t-p ro d u c tio n ..............J o h n D e nniso n, S y n o p s is : T he s to ry w ill re tra ce p a rts of g ro u p , c o ve rs th e o p e ra tio n o f th e A u s tra lia n m issio n . Tony V accher F lin d e rs ’ life, u n fo ld in g his vo ya g e s w ith fe llo w s u g a r in d u stry, w ith m o re a cce n t on g ro w in g M a ke -u p /w a rd ro b e v a n .................... M o vie M o b ile e xp lo re r, G e o rg e B ass, w h o sh o w e d th a t a and g e o g ra p h y th a n on re fin in g and e n d uses. FIRST BORN — C a m e ra v e h ic le .......O ra n a C a r & T ru c k R e nta ls la rg e e xp a n se o f w a te r s e p a ra te s T a sm a n ia T h e fin is h e d p ro d u c tio n w ill be re le a se d to all S a fe ty o ffic e rs ................................................. W a yn e P leece,The Life and Times of Jack Davis fro m th e rest of A u stra lia . U sin g h is to ric m aps, s c h o o ls th ro u g h e d u c a tio n d e p a rtm e n ts as Paul Len non P rod, c o m p a n y ..................................................... Z e st Film sth e p ro d u ctio n w ill also retrace F lin d e rs ’ 1802 p a rt of a c o m p le te te a c h in g p a cka g e . S a fety re p o rt.................................. G e o rg e M a n n ix P ro d u c e r............................................................... R e ne R o elofs jo u rn e y w h e n he sa ile d fro m P ort J a ckso n to N u rs e ............................................................J u lie Tiso c h a rt tn e E a ste rn A u s tra lia n co a st and th e G u lf D ire c to r.................................................................. R e ne R o elofs THE TOP HALF S till p h o to g ra p h y ...................... C la re M cC le lla n d o f Cna, rp e n ta ria on his c irc u m n a v ig a tio n o f A u s S c rip tw rite rs ........................................................ K e ith C h e sso (W o rkin g title ) B e st b o y .......................................S te p h e n C a dm a n R e n e R o e lo fs tra lia . It w ill lo ok at th e im p a ct th is fa r-sig h te d R u n n e r................................................D e b b ie A tkin s Prod, c o m p a n y ................. ABC e xp lo re r and n a vig a to r had on A u stra lia n P h o to g ra p h y ........................................ A le x M cP h e e U n it a tta c h m e n t.................................... V ic k y R o per Dist. c o m p a n y .......................................................A BC h istory. S o u n d r e c o r d is ts .............................H u g o de V rie s, P u b lic ity ...............................................................L io n e l M idford Exec, p ro d u c e r....................A n d re w Lloyd J a m e s O tto H o rsch C a te rin g .................................................................C o lin Ja c o bEudsito rs ................................................ R e ne R o elofs, S e ries p r o d u c e rs .....................................T im C la rk, NINETY PERCENT MEN L a b o ra to ry .................................................................90 m in u te s D a vid L e o n a rd D ick F o kke r Prod, c o m p a n y ....................................C o o ra Film s G a u g e ..................................................................35m m D ire c to rs .....................................................T im C la rk, E xec, p r o d u c e r................................................... R e ne R o elofs Dist. c o m p a n y ...............................A R H S V ic. D iv./ S h o o tin g s t o c k .................................................K o dak D a vid Leo n a rd , A sso c, p r o d u c e r ..................................................J a c k D a vis C o o ra Film s C a s t: L isa H e n sle y, M ira n d a O tto, Tim D a vid T u n n e ll, P rod, m a n a g e r .................................................C a rn ie R izzo P ro d u c e r.............................................................R o g e r S e cco m b e M cK e n zie , J e ff T ru m a n , V ic R o oney, T o n y A s h le y S m ith Prod, s e c re ta ry ................................... E lle n V e rh a a r D ire c to r............................................................... R o g e r S e cco m b e B la cke tt, M ich a e l C a ton . 1 st a sst d ire c to rs .............................. S co tt Feeney, P rod, a s s is ta n t................................... E lle n V e rh a a r S c rip tw rite r.........................................................R o g e r S e cco m b e S y n o p s is : A te rrify in g s e cre t on th e 13th flo o r D a vid T u n n e ll J a c k D a v is ’ a s s is ta n t.................M a d e lo n W ilke n s P h o to g ra p h y ...................................................... R o g e r S e cco msbeea rc h .................................. J e n n ife r C u m m in s a w aits tw o yo u n g rebels w h o d e c id e to sq u a t in R e A d d itio n a l p h o to g ra p h y .................. N ie ls v .'t Hoff, S o und re c o r d is t.............................................. R o b e rt K e rton th e p rim e lo ca tio n w ith m illio n -d o lla r vie w s. Prod, m a n a g e r.................................... A n n e C h iva s D ick F o kke r E d ito r ................................................................... R o ger S e cco e g ra p h y ........................................ M a rc S p icer, P hmobto A rt d ire c to r .........................................E lle n V e rh a a r M llu s ic ................................................... T h e L a rrika n s H e len B a rro w N eg. m a tc h in g ..............................................W a rw ic k D risco P ro d u ctio n lia is o n ................................H e len G oltz C a m e ra a s s ts .......................................... Ron Foley, S o u n d e d ito rs ................................... H u g o d e V rie s, A d d itio n a l p h o to g ra p h y ....................B ria n W itte , B re tt Jo yce D ick F o kke r R ob M a cL e n n a n , S o u n d re c o rd is ts ..................................... G e o ff Krix, R o stru m p h o to g ra p h y .....................................A n n ie O chse H o w a rd S e cco m b e , M a rio P e lle g rin o T itle d e s ig n e r.........................................................D ick F o kke r J e rry S m id t E d ito rs .................................................Paul C a n tw e ll, R u n n e r................................................................. C a th y C h e sso n J o h n P le ffe r L a b o ra to ry .....................................................M o vie la b (W A)A d d itio n a l s o u n d .......................................... H o w a rd S e cco m b e S o u n d e d ito r.....................................................R o b e rt K e rton L e n g th .............................................. 10 x 3 0 m in u te s Lab. lia is o n ......................................................... K e lvin C ru m p lin S till p h o to g ra p h y .............................................R o b e rt Kerton S y n o p s is : A se rie s o f o v e rla n d e x p e d itio n s L e n g th .......................................................5 5 m in u te s BARADINE R e search a s s is ta n c e ..........................................R a y Bruce, a cro ss N o rth e rn A u s tra lia w ith b u sh fo o d and G a u g e ................................................................... 16m m P rod, c o m p a n y ......................A rc a n a P ro d u c tio n s Ian J e n k in su rviva l e x p e rt Les H id d in s. P ro d u c e r...........................................................M ich a e l B u c kSlehyo o tin g s t o c k .......................................7 2 9 1 ,7 2 9 2 A rc h iv e a s s is ta n c e ...................................... D o u g la s K idd, D ir e c to r ............................................................ M ich a e l B u c kSleyyn o p s is : A p a rtly d ra m a tis e d d o c u m e n ta ry C o o ra F ilm s VOYAGE OF THE GREAT b yo u t th e life a n d w o rk o f W e s t A u s tra lia n S c rip tw rite r......................................................M ic h a e l B u c kale L a b o ra to ry .............................................................. V F L A b o rig in a l sp o ke sm a n , p o e t a n d p la y w rig h t SOUTHERN ARK S o u n d re c o r d is t.................................................... S u e M c C a u le y L e n g th .........................................................................50 m in u te s J a c k Davis. P rod, c o m p a n y ................................... S o u th e rn A rk E d ito r................................................................. M ich a e l B u c k le y G a u g e ...................................................................16m m M u sic p e rfo rm e d b y ........................................A rf A rf M o tio n P ictu re s S h o o tin g s to c k ....................E a stm a n 7 2 9 1 ,7 2 9 2 , L a b o ra to ry ...............................................................V F L D ist. c o m p a n y ..................................... T en N e tw o rk/ THE LABI SISTERS A g fa XT 320 P u b lic M e d ia T e le v is io n C h ica g o B u d g e t............................................................. $ 2 7 ,0 0 0 o p s is : A c e le b ra tio n fo r th e B ic e n te n a ry of P ro d u c e r................................................................ J o h n T sa mSbyanzis P ro d u c e r................................................J im B re n n a n L e n g th ......................................................................... 30 m in uDteire s c to r.................................................................. J o h n T sa mth o fte n unsu n g c o n trib u tio n o f th e ra ilw a y be a zis G a u g e ................................................................... 16m m D ire c to r.......................................... J a m e s L in g w o o d en , and w o m e n o f A u s tra lia to th e d e ve lo p P h o to g ra p h y ....................................................... H a ns H e in dmrich S c rip tw rite rs .......................................R e g M o rriso n , S y n o p s is : T h e c o n te n t o f th is film w ill be m e n t o f o u r co u n try. G a rry M a u n d e r base d o n m a te ria l s h o t b y th e film m a k e r's a u n t R o b M o rriso n S o u n d re c o rd is t.....................................R a lph S teel P h o to g ra p h y .................................... H a n s H e id rich in th e fiftie s w ith a s ta n d a rd 8 film ca m e ra . E d ito r...................................................................... J o h n T sa m b a zis PORTRAITS F u rth e r m a te ria l w ill be g a th e re d on th re e S o u n d re c o r d is t......................................M ike P ip e r L e n g th ...................................................... 25 m in u te s Prod, c o m p a n y ....................T a im a c S B S (P erth )/ s e p a ra te trip s to B a ra d in e , a tim b e r v illa g e in E d ito rs ................................................ K e vin M cLean, G a u g e ...................................................................16m m L ie u ra c (P aris) c e n tra l N S W . T h e film w ill e x p lo re th e la n d J o n H o lm e s S h o o tin g s t o c k ....................................................7291 Dist. c o m p a n y .......................................T .F .1 /C a n a l/ sca p e , h is to ry a n d m y th o lo g y o f th e area. P rod, m a n a g e rs ..........................C h ris tin a P o rter, S y n o p s is : W h e n M a rg a re t m o ve s o u t o f h om e a n d D E M D P ro d u ctio n s J a n e Buckm an w ith a C a th o lic , it se ts a p re c e d e n t fo r her P ro d u c e r...........................................................R u sse ll Jo rd aPnrod, a s s is ta n t..................................... J u lia n P o rte r yo u n g e r s is te rs to d o th e sa m e and c re a te s BITTER SURRENDER D ire c to r............................................................M ich e lle D e C o uest G n e ra l a s s is ta n ts .............. M ic h a e l B a m b a ca s, p ro b le m s fo r h e r Je w ish a b id in g pa re n ts. (W o rk in g title ) S c rip tw rite r....................................................M ic h e lle D e C o u st M ike K e lly P rod, c o m p a n y ...................... P lu n g e P ro d u c tio n s P h o to g ra p h y ................................................. S te p h a n Z a p aTzim n ik e la pse p h o to g r a p h y .............. S im o n C a rro ll, LIAISON S o u n d re c o r d is t.................................................D o ug H a m p to n P r o d u c e rs ................................................................A n n S h a rle y, H a n s H e id rich P rod, c o m p a n y ................................ B rillia n t Film s E d ito r..................................................................R o la n d S m ith F ra n c e s c a d a R im in i S p e c ia l e ffe c ts /a n im a tio n ................M ike C a rro ll, Paro E xec, p r o d u c e rs ....................Fra n co is Le Bayon, D ir e c to r .....................................................................Lou H u b b rdd u c e r............................................ B ria n D o ugla s M ike A b b o tt D ire Ross M cD o n a ld S c rip tw rite rs ........................................................... A n n S h a rle y, c to r...............................................B ria n D o ugla s M u sica l d ir e c t o r .............................. G ra h a m R evel S c r ip tw rite r .......................................................P a tric k E d g eA wsso o rthc, p r o d u c e r .................................................K e ith S a g gPeursb lic it y .................................................D ic k W o rd le y F ra n c e s c a d a R im in i P h o to g ra p h y ...........................................C h ris R eed P h o to g ra p h y ............................................ E rik a A d d is P rod, c o -o rd in a to r.............................................. J u lie La tchTeam p e p o s t-p ro d u c tio n ........................... N e tw o rk 8 S o u n d r e c o r d is t...............................G e o ff S p u rre ll Prod, a c c o u n ta n t.................. M ie n e ke M cD o n a ld S o u n d r e c o r d is t...........................................S u e K e rr L a b o ra to ry .............................. C F L Film a n d V id e o

DOCUMENTARIES

70 - MARCH CINEMA PAPERS

L ab . lia is o n ...................................... P a m e la P a d d o n B u d g e t ............................................................$ 5 5 0 ,0 0 0 L e n g th .................................................. 3 x 4 4 m in u te s G a u g e .............................16 m m s h o o t, 1 " ta p e e d it S h o o tin g s t o c k ........................................ 7 2 9 1 ,7 2 9 2 C a s t: R o b M o rris o n (P re s e n te r). S y n o p s is : A d o c u m e n ta ry s e rie s tra c in g th e e v o lu tio n o f th e A u s tra lia n c o n tin e n t th ro u g h its g e o lo g y , p la n ts a n d a n im a ls , b a s e d o n th e b o o k The Voyage Of The Great Southern Ark by R e g M o rris o n .

S H O R T S ANABELLA (W o rk in g title ) P rod, c o m p a n y ............ .Im a g e S y n c P ro d u c tio n s P r o d u c e rs .................... ......................D a rre l S to ke s, M ic h a e l A n d re D ire c to rs ........................ ....................M ic h a e l A n d re , L u is D a S ilv a S c r ip tw rite r ................... ........................ K a th ry h B ird B a sed on th e o rig in a l id e a b y .................................. .................... M ic h a e l A n d re P h o t o g r a p h y ............ ....................... D a rre l S to k e s E d ito r .............................. ......................S te p h e n A m is P rod, d e s ig n e rs .......... ......................D a rre l S to ke s, M ic h a e l A n d re C o m p o s e r.................... ...................B a rry C a m p b e ll P rod, m a n a g e r .................................... L u is D a S ilv a C a m e ra o p e ra to r........ ......................S te p h e n A m is A rt d ire c to r .................... ........................ K a th ry n B ird M a k e -u p ........................ .................... L e a n n e P rin ce V is u a l e ffe c ts d e s ig n . ......................D a rre l S to ke s, M ic h a e l A n d re L a b o ra to ry ................................................................V F L L e n g th ........................................................ 15 m in u te s G a u g e .................................................................... 16m m S h o o tin g s t o c k ........................................ 7 2 9 1 ,7 2 9 2 S y n o p s is : T h e ye a r is 1888. A t th e m o m e n t of d e a th , th e v e n g e fu l Is a b e lle w ills h e r s p irit in to h e r s is te r’s d o ll, “ A n a b e lla ” . 1988. J a m ie , 19, co n fin e d to a w h e e lc h a ir, live s th ro u g h his s is te r’s e x p e rie n c e s — te ie p a th ic a lly s h a re d . In le a rn in g to w a lk a g a in h e c o m e s c lo s e r to his s is te r a n d th e tw o are in s e p a ra b le . . . u n til sh e d is c o v e rs “ A n a b e lla ” .

DEATH OF GOD

L ig h tin g c a m e ra p e rs o n ..............................M a tth e w R e es C a m e ra a s s is ta n t ............................................... P e te r D o w e S till p h o to g r a p h y ................................................ P e te r D o w e L a b o ra to ry ........................................................ C in e v e x B u d g e t..................................................................$ 3 ,5 6 0 L e n g th .........................................................10 m in u te s G a u g e .....................................................................16m m S h o o tin g s t o c k ..................................................... 7291 C a s t: L lo yd F le m in g (G uy). S y n o p s is : S o m e tim e s w h e n yo u lo o k a t s o m e th in g it s e e m s to c o m e fro m w ith in you. A n d w h e n y o u ’ re n o t lo o k in g , th e th in g s th a t h a p p e n w o u ld b re a k y o u r h e a rt, so u l, b o d y. B u t th e n th e re ’s th e tie s th a t b in d . . .

Personal service in skilful public relations, publicity and promotion. Plus the experience to achieve results, reactions and responses you cannot get through the usual channels.

IDENTITIES P ro d , c o m p a n y ................... R W & J L P ro d u c tio n s D ir e c to r ...................................... J a c e k L u k a s z e w ic z S c rip tw rite r................................J a c e k L u k a s z e w ic z B a sed on th e o rig in a l id e a b y ....................................................... M a rc in W o ls k i P h o to g ra p h y .......................... R ic h a rd W e rk h o v e n S o u n d re c o rd is ts .................. R ic h a rd W e rk h o v e n , P e te r W a ts o n E d it o r .......................................... J a c e k L u k a s z e w ic z P ro d , s u p e rv is o r............................K a te rin a L a g io s C a m e ra o p e ra to rs ................J a c e k L u k a s z e w ic z , R ic h a rd W e rk h o v e n , S te p h e n W e a z M a k e -u p ........................................... C a rlo s R o m eo , A g n ie s z k a S p ira d e k L e n g th .........................................................16 m in u te s G a u g e ...............................................1 6 m m , % ’’ ta p e C a s t: C a rlo s R o m e o , C a th e rin e K in se lla , H a lin a G o le b io w s k a , A le k s a n d e r S te fa n o v ic , W ie s la w S ie n k ie w ic z , E ric a F o w le r, M a re a F o w le r, P e te r W a ts o n , S a ra h W e rk h o v e n , S u s a n W e rk h o v e n , J o a n n a L u k a s z e w ic z , A g n ie s z k a S p ira d e k , K a ta rz y n a W o jc ic k a , A g n ie s z k a Z m u d a , R ic h a rd W e rk h o v e n . S y n o p s is : T h e w o rld o f p re -p ro g ra m m e d fu tu re fo r p e o p le . M a n ’s c h ild h o o d m e m o rie s c h a n g e his d e s tin y .

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D ir e c to r ................................................. D a vid C a e sa r P h o to g ra p h y ...................................... D a vid C a e sa r E d ito r .......................................................... M a rk P e rry C o m p o s e r ...............................................D a vid B rid ie M ix e r...................................................R o b e rt S u lliv a n L a b o ra to r y ..................................................... C in e film L e n g th ........................................................25 m in u te s G a u g e ...............................................................35 m m S h o o tin g s t o c k ........................................8514, 8511 S y n o p s is : A sty lis e d lo ok at th e n o tio n of h o u sin g .

P ro d , c o m p a n y .........................G e o ff C lifto n F ilm s D ist. c o m p a n y ........................................................C F D P r o d u c e r ................................................................G e o ff C lifto n D ir e c to r .................................................................. G e o ff C lifto n THE LONELY ONES S c r ip tw rite r ........................................................... G e o ff C lifto n P ro d , c o m p a n y ........................................ T u lla Film s P h o to g ra p h y ................................ S a ra h B o rs e llin o , P r o d u c e r.....................................M a rk D. C h a p m a n G e o ff C lifto n D ir e c to r ................................................ D a vid G la z ie r E d it o r ...................................................................... G e o ff C lifto n S c rip tw rite r..........................................D a vid G la zie r C o m p o s e rs .................................................A n d re Leu P h o to g ra p h y ....................................... S te p h e n Frost P a u l B a m b u ry S o u n d r e c o rd is t................................................ K ie ra n K n ox E xe c, p r o d u c e r.......................................................A F C E d ito r............................................Je a n e tte M cG o w n L a y te x a r tis t........................................................... Izabo P rod, m a n a g e r..........................S tirlin g M c W h irte r C o s tu m e d e s ig n e r....................... J u s tin e P e a rsa ll P ro d , s e c re ta ry .................................... M o ira W e b e r M a k e -u p ...........................................T ris h B e s s e lin g 1st a sst d ire c to r ........................M a rk D. C h a p m a n S p e c ia l e f fe c t s .....................................................G e o ff C lifto n C a s tin g c o n s u lta n ts ........................................E la in e H o lla n d N e g. m a tc h in g ........................C lo d a g h A s h b u rn e r & A s s o c ia te s M u s ic p e rfo rm e d b y ............................... A n d re Leu, C a m e ra a s s is ta n t............................................... C ra ig Luca s P a u l B a m b u ry A rt d ire c to r .................................................................. J o F o rsyth S till p h o to g ra p h y ...............................M ic h e l B ro u e t A s s t a rt d ir e c t o r .................................T e rry M u rp h y A n im a tio n ............................................ G e o ff C lifto n M u s ic p e rfo rm e d b y ......................... P ic tu re M u sic D ra m a t u t o r ....................................................M a rg a re t K e m p L a b o ra to r y .....................................................C o lo rfilm M ix e d a t .................................... P a lm e r L a n e S tu d io Lab. lia is o n ....................................................... W a rre n K e evers L a b o ra to r y ..................................................... C o lo rfilm B u d g e t.............................................................. $ 8 6 ,0 7 6 Lab. lia is o n ......................................W a rre n K e e ve rs L e n g th ..........................................................................48 m in u te s B u d g e t...............................................................$ 3 0 ,0 0 0 G a u g e ....................................................................16m m L e n g th .........................................................2 0 m in u te s C a s t: S e a n M e e (H arry), J u lie n n e H u tle y G a u g e .....................................................................16m m (Lorna). S h o o tin g s t o c k ......................................... 7 2 9 1 ,7 2 9 2 S y n o p s is : A m an, re c e n tly re le a s e d fro m a C a s t: L is a R a y so n , Ian H o u s to n -S h a d w e ll, K a y s a n a to riu m , b e frie n d s a lo n e ly p re g n a n t girl. R o ffey. S y n o p s is : A n e x p re s s io n is tic a n im a te d a n d liv e -a c tio n w o rk . G o d is m u rd e re d b y d is s a tis LOVER BOY fie d s p irits w h o d e m a n d a m o re d e m o c ra tic P rod, c o m p a n y ................L o ve r B o y P ro d u c tio n s h e a v e n ly re ig n . P r o d u c e r..............................................................D a n ie l S c h a rf

GLORIOUS DAY P rod, c o m p a n y ............... In n e rs e n s e P ro d u c tio n s P r o d u c e r ..............................................B ill M o u s o u lis D ir e c to r ................................................ B ill M o u s o u lis S c r ip tw rite r ..........................................B ill M o u s o u lis P h o to g ra p h y .......................................... M a rk Z e n n e r S o u n d re c o rd is t..................................M a rk La R o sa E d ito rs .................................................. B ill M o u s o u lis , M a rk Z e n n e r 1st asst d ire c to r ................................. M a rk La R o sa

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D ir e c to r ........................................................... G e o ffre y W rig h t S c r ip tw rite r .................................................... G e o ffre y W rig h t P h o to g ra p h y ...................................................M ic h a e l W illia m s S o u n d r e c o r d is t .................................................. M a rk T a rp e y E d it o r .......................................................... G ra n t Fen n C o m p o s e r...............................................................J o h n W h ite A sso c, p r o d u c e r ......................................................Ian P rin g le P rod, m a n a g e r ..................................................... E lis a A rg e n z io P rod, a c c o u n ta n t..............................M o n ik a G e h rt 1st a s s t d ire c to r........................................... S tra c h a n W ilso n C o n tin u ity ........................................V ic to ria S u lliv a n C a s tin g ........................................................ G re g A p p s C a s tin g c o n s u lta n ts ............ L iz M u llin a r C a stin g C a m e ra o p e ra to r ........................................... M ic h a e l W illia m s C a m e ra a s s is ta n t........................................... K a ttin a B o w e ll G a ffe r.................................................... R o ry T im o n y B o om o p e ra to r ..............................C ra ig W a lm s le y A rt d ire c to r ............................................J o d y B o rla n d A s s t a rt d ir e c t o r ....................G e o rg in a C a m p b e ll M a k e - u p ..........................................G e o rg e H u xle y, J o rg ia V a n d e n B e rg, V ic k i F rie d m a n H a ird re s s e rs ..................................G e o rg e H u xle y, J o rg ia V a n d e n B e rg, V ic k i F rie d m a n A s s t e d ito r....................................... G u y S u th e rla n d S tu n ts c o -o rd in a to r............................C h ris P e te rs S till p h o to g r a p h y ............................... C h ris A d a m s R u n n e r....................................................C h ris A d a m s C a te rin g ................................................. P e te r C o o le y L a b o ra to ry ....................................................... C in e v e x Lab. lia is o n ........................................... Ian A n d e rs o n G a u g e ....................................................................1 6m m S h o o tin g s t o c k .....................................................7291 C a s t: G illia n J o n e s (S ally), N o ah T a y lo r (M ick), P e te r H o s k in g (Lex), B e v e rle y G a rd in e r (M rs

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CINEMA PAPERS MARCH - 71

P R O D U C T I O N U R V Y S ta n le y), B ria n W o rth (M r S tanley), B e n M e n d e lso h n (G az), A lic e G a rn e r (R hon da), D a n ie l P o llo ck (D uck), J o h n C o n ca n o n (Dean), L u ke A rm s tro n g (C hris). S y n o p s is : S e x and d e a th in th e w e ste rn su b u rb s.

Prod, a s s is ta n ts ............................................... C a th y F ields, S c rip tw rite r.................................. P a m e la W illia m s P rod, a c c o u n ta n t................................ N e il C o u s in s E rich R e ich e l E xe c, p ro d u c e r..............................................T ris tra m M iallC a m e ra a s s is ta n t.......................................J im W a rd C o n tin u ity ............................................................ C a th y C h id dAysso c, p ro d u c e r......................... P a m e la W illia m s P u b lic ity .......................................................J a n e G len C a m e ra a s s is ta n ts ....................... C ra ig A d d iso n , M a rke tin g & p ro m o tio n s ..............F ra n c e s c a M u ir P rod, c o -o rd in a to r..................... C a tio n a M cM illa n M ike K e lly L a b o ra to ry ............................................................... C F L P rod, m a n a g e r......................................... Ian A d k in s M a k e -u p .......................................... Z a ra F itzg e ra ld L e n g th ............................................. 1 te le v is io n h o u r U n it m a n a g e r .............................C a trio n a M c M illa n M u sic p e rfo rm e d b y ...............T h e B irth d a y P a rty P rod, s e c re ta ry ............................... B e v C o n ra d se n G a u g e ................................................................... 16m m S till p h o to g ra p h y .....................................................B illW a ttsP rod, a c c o u n ta n t.............................................. A lb e rt W o nS MIDDRIFFINI g h o o tin g s to c k ................................... E a s tm a n c o lo r T itle d e s ig n e r....................................................... B re tt B o w er S y n o p s is : A d o c u m e n ta ry fo r a g e n e ra l T V C a s tin g ............................................................. F o rca st P ro d u c e r..........................................S a b rin a S ch m id L a b o ra to ry ....................................................C o lo rfilm a u d ie n ce . T h is film ta k e s an h is to ric e ve n t, a P u b lic ity ...................................................... J a n e G len D ire c to r............................................ S a b rin a S ch m id B u d g e t............................................................. $1 4 ,2 0 0 c o n te m p o ra ry re -e n a c tm e n t o f th a t e ve n t, and M a rke tin g & p ro m o tio n s .......... D e b ra M a y rh o fe r S c rip tw rite rs ...................................................S a b rin a S ch m id , L e n g th .......................................................... 6 m in u te s b le n d s it in a liv in g -c a m e ra , re a l-life s tyle to B u d g e t.......................................................... $ 3 6 8 ,8 2 6 G re g o ry P ryor c om G a u g e ...................................................................16m m L e n g th ......................................................................... 94 m in u te s m e n t on th a t e lu s iv e c o n s ta n t o f th e A u s B ased on th e o rig in a l idea S h o o tin g s t o c k .................................................... 7291 tra lia n e th o s — m a te sh ip . T h e G ilg a n d ria n s G a u g e ................................................................... 16m m b y .................................................S a b rin a S ch m id b ic e n te n n ia l e ven t. C a st: B re n d a n H ig g in s, T o n i S ca n la n , Paul C a s t: G ra ce P a rr (L e titia R a m os), P a tsy SFX, a tm o s ...................................J o n M cC o rm a ck Flanaga n, D avid W e n h a m . S te p h e n (J e ssica W in te rs), V ic H a w k in s (D r E d ito r .............................................. S a b rin a S ch m id S y n o p s is : A n ig h tm a ris h a c c o u n t o f how one Kelly), B re n d o n H ig g in s (M a x B a rlow ), C a lo y C o m p o s e r....................................................... Ian C o x DARCY’S STORY m an is fin a lly fo rce d to fa ce and o ve rco m e his P im e n ta l (M a rio R a m os), P e n n y S te h li (M a tro n A n im a tio n /ro stru m in a d e q u a cie s in a m o m e n t o f re b irth . W ilco x), A lla n M cF a d d e n (N o rm a n S aville), c a m e ra o p e ra to r....................... S a b rin a S ch m id P rod, c o m o a n y ......................................................Film A u s tra lia R u p e rt B u rn s (K evin R u ssell). Neg m a tc h in g ...............................W a rw ic k D risco ll D ist. c o m p a n y ....................................................... F ilm A u s tra lia S y n o p s is : The Custody d o c u -d ra m a has M u sic p e rfo rm e d b y ...............................................Ian Cox D ire c to r............................................. B o b K in g s b u ry sh o w n it is p o s s ib le to m a ke c o m p e llin g te le TREVOR ISLAND S o u n d e d ito rs ................................................ S a b rin a S ch m id , S c rip tw rite r.......................................B o b K in g s b u ry D a vid A tk in s o n P ro d u c e r................................................................J o h n T a ylovrisio n in v o lv in g s o c ie ty ’s m o re co n tro v e rs ia l P h o to g ra p h y ...................................................A x o lo ty l C h a ra c te r vo ic e s .......................................... G re g o ry P ryor,D ire c to r.................................................................. J o h n T a yloinr s titu tio n s . T h is te le m o v ie , m a d e in th e sa m e S o u n d r e c o r d is t............................................ A x o lo ty l M e rryn G ates S c rip tw rite r...........................................................J o h n T a ylosrty le as Custody, e xa m in e s so m e o f th e issu es E d ito r ................................................................A x o lo ty l A n im a tio n ........................................ S a b rin a S ch m id P h o to g ra p h y ........................................................J o h n T a yloorf d is c rim in a tio n by te llin g th e s to rie s o f tw o E xe c, p ro d u c e r............................ G e o ffre y B a rne s ca se s re fe rre d to th e N S W A n ti-D is c rim in a tio n T itle d e s ig n e r..................................S a b rin a S ch m id N a rra tio n re co rd e d b y ................. G a ry C o n sta b le Prod, m a n a g e r.............................V irg in ia P rid h a m Board. S o und re co rd in g E d ito r...................................................................... J o h n T a ylo r Prod, s e c re ta ry ........................... M a rg a re t C re w e s s tu d io s ..................... Film S o u n d tra c k A u s tra lia Prod, d e s ig n e r .................................................... J o h n T a ylo r Prod, a c c o u n ta n t................................................J o h n R u sse ll A.G.P.S. M ixed a t .......................................................S o u n d film C o m p o s e rs ....................................... D avid C ro sb ie , M a rke tin g & L a b o ra to ry .......................................................C in e ve x J o h n T a ylo r p ro m o tio n s o f fic e r ....................F ra n c e s c a M u ir P rod, c o m p a n y ...................................................... Film A u s tra lia B u d g e t............................................................. $3 0 ,9 6 5 M usical d ire c to r...................................................J o h n T a yloDist. r c o m p a n y ........................................................Film A u s tra S plia e cia l fx p h o to g ra p h y ............................... A xo lo tyl L e n g th ......................................................................... 16 m in u te s M usic p e rfo rm e d b y ...................... D a vid C rosbie, P ro d u c e r.............................................P a ul H u m fre ss D u b b in g e d ito r........................................................ Les F id d e ss G a u g e ...................................................................16m m J o h n T aylor, D ire c to r.......................................................................Ian H o st S tu d io s .................................................................... Film A u s tra lia S h o o tin g s to c k .......................................... 7291 ECN P h ilip Layton, P h o to g ra p h y ......................................................... Ross K ing L e n g th ......................................................................... 15 m in u te s S y n o p s is : “ H m m m . . . w h e n you clo se yo u r A la n F o w le r E xe c, p r o d u c e r.................................P a u l H u m fre ss S y n o p s is : A n a n im a tio n p ro g ra m m e co m m is e ye s . . . . ’ ’ s p e c u la te s N o b o d y -E ls e , th u s S o und e d ito r ........................................................J o h n T a yloPrrod, m a n a g e r...............................................V irg in ia P a scoe sio n e d b y A .D .A .B . to sh o w A u s tra lia n s , in an e vo kin g a d re a m in R e b e c c a ’s m in d , w h e re A n im a tio n ............................................................. J o h n T a yloPrrod, s e c re ta ry .................... A m a n d a E th e rin g to n e n te rta in in g m a n n e r, how , w h e re and w h y A u s u n fo ld s th e s to ry o f G ro sm o n d , su p p o s e d ly a S tu d io s ...........................................‘Q w ik lik ’ S tudios P rod, a c c o u n ta n t................................N e il C o u sin s tra lia h a s a d e ve lo p m e n t a ssista n ce pro b un yip, and his w h a c k in g ta il and m a n y teeth. M ixed a t...................................................... S o u n d firm P u b lic ity ................................................................. J a n e G len g ram m e. G ro sm o n d la m e n ts th e lo ss o f M id d riffin i, th e L a b o ra to ry .............................................................. V F L M a rke tin g & p ro m o tio n s ............. F ra n c e s c a M u ir ca u se o f his g re a te st to o th a ch e . M id d riffin i’s B u d g e t............................................................ $3 1 ,2 8 4 L e n g th ........................................................10 m in u te s m yste rio u s id e n tity is e ve n tu a lly re vealed, and DJUNGGUWAN AT GURKA’WUY L e n g th ........................................................................ 12 m in uS teysn o p s is : P ro m o tio n a l p ro g ra m fo r th e A u stra h e r s p e c ta c u la r re tu rn d e lig h ts G ro sm o n d . An (PART I & PART II) G a u g e .................................................................. 16m m lia n G o v e r n m e n t P u b li s h in g S e r v ic e a n im a te d tra g ico m e d y. S h o o tin g s t o c k ....................................................7291 e m p h a s is in g s k ills, a b ilitie s a n d s e rvice s o f th e Prod, c o m p a n y ......................................................Film A u s tra lia V o ic e c h a ra c te ris a tio n s : R ich a rd H e a ly (The o rg a n isa tio n . Dist. c o m p a n y ....................................................... F ilm A u s tra lia M an), J a n e Lew is (The Lady), D a n n y N ash P ro d u c e r................................................................... Ian D u n lo p OUT OF NOWHERE (The P ilot/A S e agull), D a vid C ro sb ie (A S e a D ire c to r...................................................................... |an D u n lo p P ro d u c e r..........................................................P a n te lis R o ussakis gull). AIRPORT COMPILATION P h o to g ra p h y .........................................D ean S e m le r D ir e c to r ................................................................ R obin G old S y n o p s is : T re vo r and his o w n e rs p a ra ch u te S o u n d re c o rd is t....................... R o d n e y S im m o n s Prod, c o m p a n y ..................................F ilm A u s tra lia S c r ip tw rite r s .......................................................R obin G old,onto a d e se rte d isla n d w h e re th e M an d e cid e s E d ito rs ...................................................... Ian D u nlop , Dist. c o m p a n y ................................... F ilm A u s tra lia P e ter M org an to run a ca rp a rk, th e L a d y an a irp o rt, and S h a ro n B e ll P ro d u c e r.................. ...........................G e o ff B arnes P h o to g ra p h y ......................................................... K riv S te n dTerevor, rs, to s u b ju g a te th e lo cal se a g u lls. A ll is E xec, p ro d u c e r................................ T ris tra m M iall D ire c to r.....................................................S tan D a lby A n th o n y C lare q u ie t un til a p la n e c a rry in g a lo a d o f ca rs is Prod, m a n a g e r........................................................ Ian A d k in s S c r ip tw rite r .............................................S tan D a lb y S o u n d re c o rd is t............................................... R o b e rt Boyd force d to land. M a rke tin g & E d ito r.........................................................S tan D a lby C o m p o s e r....................................P h ilip B u rch m o re p ro m o tio n s o f fic e r ................. D e b ra M a yrh o fe r E xec, p r o d u c e r ................................. G e o ff B a rne s 1s t asst d ir e c t o r ..................................................C o lin K e rr UPS AND DOWNS P rod, a c c o u n ta n t................................................J o h n R u ssell Prod, m a n a g e r...................................R on H a n n a m C o n tin u ity ......................................................... K im b e l H ann E d ito r/d ire c to r....................................... S h a ro n B e ll Prod, e r, s e c re ta ry .......................... M a rg a re t C rew es C a m e ra a s s is ta n t............................................ L yn d a l DeanP ro d u c e rs ................................................................ Lee F a u lkn B u d g e t....................................... $ 1 8 0 ,0 0 0 (a p p ro x.) Prod, a c c o u n ta n t............................... N e il C o u sin s B ru c e R e dm a n K e y g r i p ............................................ P h ilip S tickle n L e n g th ................................................2 x 5 0 m in u te s A sst e d ito r......................................... C la re W illia m s D ir e c to r ............................................... Lee F a u lk n e r A rt d ire c to r....................................... H o w a rd C ru m p S y n o p s is : A cla n le a d e r in v ite s F ilm A u s tra lia L e n g th ...................................................... 3 0 m in u te s o to g ra p h y ......................................J u lia n M a th e r M a k e - u p .......................................................... A n n e tte M cK ePnhzie to record th e firs t c e re m o n y to be held at his G aeurg e ..................................................................16m m W a rd ro b e ...............................................................J u d y M org S ano u n d re c o rd is t......................................................Lee F a u lkn new cla n h o m e la n d s e ttle m e n t in n o rth e a st S y n o p s is : A p ro g ra m p ro d u ce d fo r th e D e p a rt E d ito r................................................... B ru ce R e dm a n S till p h o to g ra p h y .................M a rjo rie M a ckin to sh A rn h e m Land. T h e film s sh o w th e o rg a n is a tio n m nent e r o f H o u sin g and C o n s tru c tio n fo r g e n e ra l C a te rin g ................................................................. J u d y M org C ano m p o s e r.................................................................Lee F a u lk and p e rfo rm a n c e o f a c e re m o n y in a c o n te m d e p a rtm e n ta l and c lie n t use c o m p ile d fro m E xec, p r o d u c e r ..........................................A F C /Q F C L a b o ra to r y ..................................................... C in e film p o ra ry s e ttin g and e xp lo re th e s ig n ific a n c e of e xistin P rod, a s s is ta n t................................................... H e le n W h itfie ld g m a te ria l and fe a tu rin g th e new B ris L e n g th .........................................................................25 m in u te s th e cla n h o m e la n d m o ve m e n t. ban e in te rn a tio n a l airpo rt. 2 n d u n it d ire c to r ............................. B ru c e R e d m a n G a u g e ...................................................................35m m C a m e ra a s s is ta n t................................................. M ax H ig g in s S h o o tin g s t o c k ............................................ E a stm an 2nd u n it p h o to g ra p h y ..................................... R o g e r B ra d b uTHE ry C a st: G e o ra ie S te rlin g , Don Pa scoe, P e ter AUSTRALIAN TRADE UNION EUROPEAN TRADE MARKETS S o u n d e d ito r .......................................................B ru ce R e d m a n M o rg a n , R ich a rd B ligh , Kati V a ri, E ric T u scia . MOVEMENT P rod, c o m p a n y ..................................Film A u s tra lia E d itin g a s s is ta n t................................................. A n n e R e dm a n S y n o p s is : Is it p ro vid e n ce o r ch a n ce th a t Prod, c o m p a n y ................................... Film A u s tra lia Dist. c o m p a n y ...................................Film A u s tra lia S till p h o to g ra p h y ...............................................R o g e r B ra d b u ry o ffe rs a p ro m ise o f w e a lth , love and d e a th ? A ll Dist. c o m p a n y .................................... Film A u s tra lia P ro d u c e r..................................................................D on M u rra y T e ch , a d v is e rs ......................................... A la n Frost, w ith in a s in g le ho u r o f a yo u n g m a n ’s life. P r o d u c e r....................................................J a n e t Bell D ir e c to r .......................................................... B o b H ill J u lia n M a th e r S c rip tw rite r.................................................... B o b H ill C a te r in g .................................................................V ic k i M a thDeire r c to r................................................. Tom Z u b ry c k i S c rip tw rite r......................................... T o m Z u b ry c k i P h o to g ra p h y ......................... R ich a rd B a illie -M a ce M ixe d a t .................................................................A B C , B risb a n e PESTO: A DEATH SENTENCE S o u n d re c o rd is t................................ G e o rg e C ra ig E d it o r .................................................... Ray T h o m a s L a b o ra to ry .................................................... C o lo rfilm P rod, c o m p a n y ...............................B la c k o u t Film s E d it o r ..................................................... R o bin A rc h e r E xec, p r o d u c e r ........................................ Ja n e t Bell B u d g e t................................................................. $ 50 00 P ro d u c e rs ..............................................................J o h n N ico ll, E x e c .p ro d u c e r................................................... G e o ff B a rn e s L e n g th ......................................................................... 15 m in uPterod, s m a n a g e r....................................N e il C o u sin s S te ve n R o b in so n P rod, Prod, s e c re ta ry ............................................ A m a n d a E th e rin g to nm a n a g e r...................................................... A n n Fo lla n d G a u g e ................................................................... 16m m D ire c to rs .................................................................J o h n N ico ll, P rod, A sst e d ito r ............................................................. G a ry O ’G ra d y s e c re ta ry ........................... M a rg a re t C rew es S h o o tin g s t o c k ........................................ 7 2 9 1 ,7 2 9 2 S te ve n R o b in so n P rod, a c c o u n ta n t................................................J o h n R u sse ll C a s t: C h ris Frost, B rad T u rn e r. S y n o p s is : B a sed on in te rvie w s w ith tra d e S c r ip tw rite r s ........................................................ J o h n N icoll, M a rke tin g & S y n o p s is : S ky d iv in g is all a b o u t fa llin g . Rocku n io n ists w h o p la ye d a p a rt in c re a tin g th e S te ve n R o b in so n p ro m o tio n s o f fic e r ....................F ra n c e s c a M u ir c lim b in g is a b o u t not fa llin g . T h e y sh a re one h isto ry o f th e m o ve m e n t o r w h o are in vo lve d in P h o to g ra p h y .................................... J a m e s C la yd e n L e n g th ..................... 2 x 30 m in u te s /2 x 7 m in u te s th in g — th e th rill o f th e firs t tim e ! issu es o f c ru c ia l re le va n ce to u n io n s today. S o u n d r e c o r d is t...................................................G a ry G rb a va c S y n o p s is : T h is p ro g ra m w ill p ro file th e p ro b T h e film is b e in g m ade fo r th e A C T U and E d it o r ............................................. S te ve n R o b in so n le m s fa cin g th e A u s tra lia n b u sin e ss p erson fu n d e d b y th e A u s tr a lia n B ic e n te n n ia l P rod, d e s ig n e r .....................................................K e lly A ltke n w h en e x p o rtin g to E u ro p e a n m a rke ts. The A u th o rity. C o m p o s e r.................................................M a rk F e rry se rie s is a key p a rt o f th e A u s tra d e s tra te g y to P rod, m a n a g e r................................S a ra h J o h n so n deve lo p an e x p o rt c o n s c io u s c u ltu re in th e P rod, a s s is ta n ts .............................. A n to n ia B runs, A u stra lia n b u sin e ss co m m u n ity. BOOMALLI S a ra h F a ir P rod, c o m p a n y ................................... F ilm A u s tra lia C a s tin g c o n s u lta n ts .................................. A d rie n n e D o lp h in , Dist. c o m p a n y .....................................F ilm A u s tra lia P h ilip p a H a w ke r FILM AUSTRALIA’S AUSTRALIA P ro d u c e r................................................................. P a ul H u m fre ss C a m e ra a s s is ta n t..............................................C ra ig W e lsh D ire c to r.............................................................M ic h a e l R ile yFilm Australia's Australia is a s e rie s o f 12 vid e o M a k e -u p ..............................................................N o rm a L o n g ia ru S c rip tw rite r...................................................... M ich a e l R ile yp ro g ra m s fo r s c h o o ls w ith s u p p o rtin g d is c u s S p e c ia l/s till p h o to g ra p h y ......................................BillH e n so n P h o to g ra p h y ......................................................... R o ss K ingsio n notes. It is a c o -p ro d u c tio n b e tw e e n Film T itle d e s ig n e r ...........................................M ick E a rls Ain u sgtra S o u n d re c o rd is t....................................................N o e l C u n n to nlia and th e N a tio n a l E d u c a tio n p ro g ra m A.B.A. COMPILE B e st b o y .................................................................T e rry M onro f th E xe c, p r o d u c e r..................................................... P a ul H u mofre sse A u s tra lia n B ice n te n n ia l A u th o rity . L a b o ra to ry ....................................................... C in e ve x P rod, c o m p a n y ...................................................... Film A u s tra lia m a n a g e r...............................................V irg in ia P a scoe P rod, L e n g th ......................................................................... 2 0 m in uD teist. s c o m p a n y ........................................................F ilm A u s tra LEARNING U nlia it m a n a g e r................................... L o rre tta F ish e r G a u g e ....................................................................16m m P ro d u c e r................................................................. P a ul H u mPfre ss s e c re ta ry .............................................A m a n d a E th e Prod, c o m p a n y ................................. F ilm A u s tra lia rod, rin g to n S h o o tin g s t o c k ........................................ 7 2 9 1 ,7 2 9 2 D ire c to r.................................................. K arl M cP hee D ist. c o m p a n y ...................................F ilm A u s tra lia P rod, a c c o u n ta n t.................................................. N e il C o u sin s C a s t: S te ve n R o b in so n (T he J o u rn a lis t), A lic e S c rip tw rite r........................................................... P e te r LuckP u b lic ity ................................................................. J a n e G lenP r o d u c e r................................................... J a n P u nch G a rn e r (Ja n e A n n e P a ttin g to n ), B ill G a rn e r (M r E d ito r............................................... G e ra ld in e C ro w n D ire c to r..................................................................G re g R e a d in g M a rke tin g & p ro m o tio n s .............. F ra n c e s c a M u ir P a ttin g to n ), S te ve n S m ith (Ita lia n R e sta u C o m p o s e r................................................................ R o y N ichLo e lso n gn th .................................................................. 20-3 0 m in uStecsrip tw rite rs ........................................... Ja n P u nch, rate ur), A lis s a G u l (A n to n e lla M e d ici), Je a n E xec, p r o d u c e r..................................................... P a ul H u mSfre ss G re g R e a d in g y n o p s is : A p ro g ra m a b o u t A u s tra lia n urban K itso n (F e lic ity H a rris), P h il M o th e rw e ll (D r P rod, m a n a g e r...............................................V irg in ia P a scoe E xec, p r o d u c e r .................................G e o ff B a rn e s A b o rig in a l a rtis ts d e riv in g in s p ira tio n fro m c o n J a m e s Lofti), G re g B ro w n (S ch o o lte a ch e r). P rod, s e c re ta ry .................... A m a n d a E th e rin g to n P rod, m a n a g e r.................................. R on H a n n a m te m p o ra ry and tra d itio n a l a rt fo rm s. S y n o p s is : W h e n J a n e A n n e P a ttin g to n w a s Prod, a c c o u n ta n t................................N e il C o u s in s P rod, s e c re ta ry ........................... M a rg a re t C re w e s fo u n d d e a d in a ra t-in fe s te d b o a rd in g h o u se in N a rr a to r ................................................. H e n ri S ze ps Prod, a c c o u n ta n t..................................................N e il C o u sin s COO-EE St K ild a , it is d o u b tfu l w h e th e r a n y o f h e r fa m ily P u b lic ity ................................................................. J a n e G len L e n g th .........................................................................60 m in u te s o r frie n d s w o u ld h ave re c o g n is e d her. T h e P rod, c o m p a n y ...................................................... F ilm A u s tra M a rke tin g & p ro m o tio n s .............. F ra n c e s c a M u ir G alia u g e ..................................................................16m m s w e e t y o u n g fa c e o f a 17-ye a r-o ld had c h a n g e d D ist. c o m p a n y ....................................................... F ilm A u s tra L e n g th ..................................................15-18 m in u te s S ylia n o p s is : T h e e ig h th p ro g ra m in th e Film A u s to th e fin a l d e a th m a sk o f a s tre e tw is e p u n k in P r o d u c e r ........................................... G e o ff B a rn e s S y n o p s is : P ro g ra m a im e d at in te rn a tio n a l c o n tra lia ’s A u s tra lia s e rie s c o -p ro d u c e d w ith th e fiv e b rie f y e a rs. T h is d o c u m e n ta ry in v e s tig a te s D ir e c to r ............................................................G ra h a m C h a se fe re n ce s to be h e ld in A u s tra lia d u rin g 1988 A u s tra lia n B ic e n te n n ia l A u th o rity . It d e a ls w ith th e c a u s e o f J a n e ’s d e a th . S c rip tw rite r..................................................... G ra h a m C h a se s h o w in g va rio u s a s p e c ts o f A u s tra lia a n d th e th e s o cia l e n v iro n m e n t a n d le a rn in g a b o u t life, P h o to g ra p h y ........................................................ J o h n H o skin A u s tra lia n pe o p le . fo rg e xa m p le , s o c ia lis a tio n , c e le b ra tio n , th e S o u n d re c o rd is t..............................................R o d n e y S im m s faomnily, c h ild h o o d tra in in g , fo rm a l e d u ca tio n . SHEDDING SKIN E d it o r ................................................................G ra h a m C h a se A.D.B. — DISCRIMINATION E xistin g Film A u s tra lia p ro g ra m s a re used. P ro d u c e r................................................................. D a le S a d le r E xe c, p r o d u c e r ...................................................G e o ff B a rn e s (W o rkin g title ) D ire c to r....................................................................D a le S a d le r P rod, c o -o rd in a to r................. C a trio n a M a cM illa n lia m a n a g e r.......................................................R on H a n n a m S c r ip tw rite r ............................................................D a le S a d lePrrod, c o m p a n y ...................................................... Film A u s tra USING THE LAND P rod, P r o d u c e r.....................................................Ian M u n ro P h o to g ra p h y ...................................... Jo e l P e terson U n it m a n a g e r...................................................... F ra n k H a in ePsrod, c o m p a n y ..................................Film A u s tra lia E d ito r........................................................................Dale S a d leDr ire c to r....................................................... Ian M u n ro P rod, s e c r e ta ry ........................... M a rg a re t C re w e s Dist. c o m p a n y ...................................Film A u s tra lia

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72 - MARCH CINEMA PAPERS

A U S T R A L IA

P r o d u c e r .................................................... J a n P u n ch th e R e d C ro s s in h e lp in g in th e m a n y a s p e c ts S o u n d re c o rd is t...................................................... K e n H a m S moounndd re c o rd is t..........................P a u l H a rrin g to n D ire c to r............................................J u d ith A d a m s o n o f A u s tra lia ’ s c o m m u n ity life. E d ito r ................................... W e n d y C la rk e E d ito r .........................................................D ia n a P rie st S c r ip tw rite r ....................................J u d ith A d a m so n E R u s s e ll P o rte r E xe c, p r o d u c e r....................................................... R o n S a u n dxec, e rs p ro d u c e r.................... E xe c, p r o d u c e r ..................................G e o ff B a rn e s NATIONAL MUSEUM OF AUSTRALIA P ro d , m a n a g e r .................................................... P e te r B ro wPnrod, c o -o rd in a to r................W e n d y C la rk e P rod, m a n a g e r................................... R on H a n n a m D o u g M u rra y Un P ro d , c o m p a n y ...................................................... F ilm A u s tra liait m a n a g e r ................................................... V a rc h a S id wNe all rr a to r ..................................l U n it m a n a g e r.......................................................P e te r B ro w n L e n g th ......................................V . . 10 m in u te s P ro D ist. c o m p a n y ........................................................F ilm A u s tra liad , s e c r e ta ry ..................................................R o b yn B ria is P ro d , s e c r e ta ry .......................... M a rg a re t C re w e s G ba yu g e ............................................ ...:.B V U B e ta ca m P ro d , a c c o u n ta n t................................................ G e o ff A p p le P r o d u c e r ............................................ P a u l H u m fre s s P ro d , a c c o u n ta n t.................................N e il C o u s in s S y n o p s is : A v id e o c o n c e rn in g th e c o n tro l o f 1s t a s s t d ire c to r ...................................... K a te S to n e D ire c to r............................................................ Ian H o st M a rk e tin g & e ro sio n on b u ild in g a n d .c o n s tru c tio n sites, 2 n d a sst d ir e c t o r ....................................K e rry R e a y P h o to g ra p h y .............................................. R o ss K in g p ro m o tio n s o f fic e r ...............................F ra n c e s c a M u ir a 3rd a s s t d ire c to r s ................................................ S e a n T w e e dloien,g ro a d w a ys a n d in o th e r a re a s w h e re th e E xe c, p r o d u c e r ................................ P a u l H u m fre ss L e n g th ..........................................................................6 0 m in u te s n a tu ra l c o m p a c tio n a n d c o n to u r o f th e so il has P e te r W a rm a n P ro d , m a n a g e r ...............................................V irg in ia P a scoe Synopsis: Ecology is th e c o m p a n io n p ro g ra m b ee n a lte re d b y m a n ’s e n d e a v o u rs . C o n tin u ity .................................. M a rg o t S n e llg ro v e P ro d , s e c r e ta ry ...................A m a n d a E th e rin g to n to th e Natural Environment p ro g ra m a n d d e a ls C a s tin g ................................ S a n d ra Lee P a tte rs o n P ro d , a c c o u n ta n t................................ N e il C o u sin s w ith h u m a n in te ra c tio n w ith th e e n v iro n m e n t, C a s tin g c o n s u lt a n ts ....... F a ith M a rtin & A sso c., MINISTRY OF HOUSING — P u b lic ity ......................................................J a n e G len la nd use, la n d a b u se , in d u s try , c itie s , and E xtra s C a s tin g M a rk e tin g & p ro m o tio n s .............. F ra n c e s c a M u ir STAFF INDUCTION VIDEO p o llu tio n . P us p p e t m a k e r ........ B e v e rle y C a m p b e ll-J a c k s o n L e n g th ..........................................................................10 m in u te S c rip tw rite r..................................................S u e M o g g P u p p e te e r...............................................................R o ss B ro w n in g S y n o p s is : U p d a te o f p ro g ra m s h o w in g th e E xec, p ro d u c e r................. ................R u s s e ll P o rte r C a m e ra a s s is ta n t.......................................... M iria m a M a ru s ic m u s e u m ’s n e w d e v e lo p m e n t p la n fo r th e s ite in K e y g r ip ................................................................. P h illip S ta inLeern g th .................................................10-12 m in u te s C a n b e rra a n d its n e w a c q u is itio n s . S y n o p s is : T h e aim o f th e film is to a c q u a in t A s s t g r ip s ........................................ M itc h P a tte rso n , FULLY ORDAINED MEAT PIE re c e n tly a p p o in te d s ta ff to th e M in is try o f th e D a vid T re g e a r NEW HOUSING TECHNOLOGY m a n y a n d va rie d b ra n c h e s a n d fu n c tio n s o f th e P ro d , c o m p a n y .................................. F ilm A u s tra lia E le c t r ic ia n s ................................... C h ic M c D o n a ld , M in is try o f H o u sin g as a w h o le . P ro d , c o m p a n y .......................................................F ilm A u s tra lia D ist. c o m p a n y ....................................F ilm A u s tra lia D e re k N e il D ist. c o m p a n y ........................................................F ilm A u s tra P r o d u c e r ......................................................J a n e t B e ll B olia om o p e r a t o r ....................................................... J o e S p in e lli P ro d u c e r................................................................. P a u l H u m fre OLD PEOPLE’S HOUSING D ire c to r................................................... G illia n C o o te A rtsds ir e c t o r .............................................................J a n e N o rris D ire c to r...................................................... R on T a y lo r S c r ip tw r ite r ........................................... G illia n C o o te A s s t a rt d ir e c t o r .................................................A lis o n S p a rk S c r ip tw rite r ..............................................C h ris K irb y E d ito r .......................................................... R on T a y lo r P h o to g ra p h y ......................................Jo e l P e te rso n , M a k e - u p ...........................................................M ic h e lle M ye rs E xec, p r o d u c e r................................................R u s s e ll P o rte r E xe c, p r o d u c e r ........................................ J a n e t B e ll A n d re w F ra s e r S ta n d b y p r o p s ......................................................T e rry S ta n L toenn g th ..................................... 20 m in u te s (a p p ro x.) P ro d , m a n a g e r................................................V irg in ia P rid hAa sst m e d ito r ......................................................... C a rm e l K illin S o u n d r e c o r d is ts ....................... B ro n w y n M u rp h y, P rod, s e c r e ta ry ...................A m a n d a E th e rin g to n M ax Hensser V id e o e d it o r .........................................................A n to n H o ra k SALINITY P rod, a c c o u n ta n t.................................N e il C o u sin s E d it o r ................................................................... D e n is e H a sle m P o s t-p ro d u c tio n ..................................................... V T C P rod, c o m p a n y ............. Y o rk S tre e t P ro d u c tio n s M a rk e tin g & p ro m o tio n s .............. F ra n c e s c a M u ir E xe c, p r o d u c e r ..........................................J a n e t B e ll S till p h o to g r a p h y ............................................. R o slyn S h a rp P ro d u c e r........................................................R o b S c o tt S yen o p s is : A fre s h lo o k at ne w h o u sin g te c h P ro d , m a n a g e r ................................................V irg in ia P a sco T itle d e s ig n e r .......................................................... D o n E za rd D ir e c to r ......................................................... R o b S co tt n o lo g y m a d e fo r te le v is io n and co m m is s io n e d P rod, a s s is ta n t......................A m a n d a E th e rin g to n C a te r in g ..................................... L o c a tio n C a te rin g , E d it o r .............................................................R o b S co tt P rod, a c c o u n ta n t...................................................N e il C o u sby in sth e D e p a rtm e n t o f H o u sin g a n d C o n s tru c T a k e O n e C a te re rs tio n . E xe c, p ro d u c e r................................................R u s s e ll P o rte r C a m e ra a s s is ta n ts ............................A n n e B e n zie , M ix e d a t ...................................................... A u d io Loc C a m e ra o p e ra to r ............................................... L e ig h T ilso n M a n d y W a lk e r B u d g e t.............................................................. $ 9 0 ,0 0 0 PARLIAMENT HOUSE/ M ixe d a t ........................................................La b s o n ic s A s s t e d ito r .................................................................E rin S in c la ir L e n g th .............................................. 22 x 3 0 s e co n d s L a b o ra to ry ....................................................... C in evex S y n o p s is : T h e s tru g g le fo r th e o rd in a tio n of THE BUILDERS G a u g e ....................................................................V id e o L e n g th ................ 1 x 30 se c o n d s, 1 x 60 s e c o n d s w o m e n in th e A n g lic a n C h u rc h . C a s t: J e re m y S h a d lo w , K ris B id e n k o , N o ah P rod, c o m p a n y .................................. Film A u s tra lia G a u g e ...............................................1 6 m m , 1 " vid eo P ro d u c e r...................................................................R on S a u nTdaeylo rs r, S a lly M c K e n zie , B e va n W ilso n . S y n o p s is : T w o c o m m u n ity s e rv ic e a n n o u n c e S y n o p s is : A c o m m u n ic a tio n e d u c a tio n a l D ir e c to r ...................................................... Ian W a lk e r GETTING IT RIGHT BACK HOME m e n ts a im e d at u rb a n a u d ie n c e s to a le rt th e m d ra m a s h o w in g th e ill-e ffe c ts o f d ru g a n d S c rip tw rite r................................................Ian W a lk e r to th e d im e n s io n o f th e th re a t o f s a lin ity , a n d its P ro d u c e r....................................................D on M u rra y a lc o h o l a b u s e a im e d a t th e 10-14 y e a r o ld age P h o to g ra p h y ............................................. R o ss K in g , p o te n tia l im p a c t on th e q u a lity o f life in o u r D ir e c to r ....................................................P a u l H a w k e r g ro u p . D e vise d a n d fu n d e d b y th e R o ta ry K e rry B row n to w n s a n d citie s. S c rip tw rite r.............................................P a u l H a w k e r C lu b s o f M o sm a n a n d B a lm o ra l. S o u n d r e c o rd is ts .............................. H o w a rd S p ry, P h o to g ra p h y ........................................K e rry B row n R o d n e y S im m o n s S o u n d r e c o rd is t.................................. H o w a rd S p ry E xe c, p ro d u c e r................................. R on S a u n d e rs STORYMAKERS 3 E d ito r ...................................................... L in d y K ru g e r P rod, m a n a g e r.........................................G e rry L etts P rod, c o m p a n y .......................................................F ilm A u s tra lia E xe c, p r o d u c e r ................................... G e o ff B a rn e s P rod, s e c re ta ry ..................................R o b yn B ria is D ist. c o m p a n y ........................................................ F ilm A u s tra lia P ro d , m a n a g e r....................................... A n n F o lla n d P rod, a c c o u n ta n t............................. G e o ff A p p le b y P r o d u c e r ............................................ P a u l H u m fre s s P ro d , s e c r e t a r y ........................... M a rg a re t C re w e s S y n o p s is : A s tu d y o f th e d e s ig n a n d b u ild in g D ire c to r....................................................A v iv a Z ie g le r P ro d , a c c o u n ta n t.................................................. N e il C o u soinf s th e n e w P a rlia m e n t H o u se in C a n b e rra S c r ip tw r ite r ........................................... A v iv a Z ie g le r A s s t e d ito r ........................................................... D im ity G re gw sohnic h is to be c o m p le te d fo r th e B ic e n te n a ry E xe c, p r o d u c e r ................................ P a u l H u m fre s s P u b lic ity ....................................................... J a n e G le n ce le b ra tio n s. P rod, m a n a g e r ................................................V irg in ia P a sco e M a rk e tin g & p ro m o tio n s ............ F ra n c e s c a M u ir P rod, s e c r e ta ry .................... A m a n d a E th e rin g to n L e n g th .........................................................3 0 m in u te s POWER OF THE P rod, a c c o u n ta n t................................. N e il C o u sin s G a u g e ................................................................... 16m m S to rie s r e s e a rc h e r..............................U rs u la K o lb e LIGHTNING BROTHERS S h o o tin g s t o c k ................................... E a s tm a n c o lo r P u b lic ity ....................................................... J a n e G len S y n o p s is : T h e fin a l e p is o d e in th e se rie s P rod, c o m p a n y ..................................F ilm A u s tra lia BOTTOM LINE M a rk e tin g & p ro m o tio n s ..............F ra n c e s c a M u ir Overseas And Undersold e x a m in e s ho w D ist. c o m p a n y ................................... F ilm A u s tra lia P rod, c o m p a n y ......................... A rtra n s a B u s in e s s A u s tra lia h as th e lo w e st le vel o f m a n u fa c tu rin g P r o d u c e r .............................................................. J a n e t B e ll L e n g th .........................................................20 m in u te s C o m m u n ic a tio n s S y n o p s is : D is c o v e rin g th e m an b e h in d m a n y e x p o rts in th e d e v e lo p e d w o rld . It is c ru c ia l th a t D ire c to r................................................D a vid R o b e rts P r o d u c e r ................................................... T o n y C o yte b o o k s w ritte n fo r sc h o o l c h ild re n , C o lin T h ie le . e x p o rte rs g e t it rig h t b a c k h o m e b e fo re s e ttin g S c r ip tw rite r s ................................. M ic h a e l B a lso m , D ire c to r....................................................... B ria n F au ll o ff o v e rs e a s . T h e film s h o w s o u ts ta n d in g D a vid L ou rie P rod, m a n a g e r..............................J u s tin e H a w k in s e x a m p le s o f A u s tra lia n m a n u fa c tu re d e x p o rts P h o to g ra p h y ......................................A n d re w F ra se r C a m e ra o p e r a t o r .................................R o b D u p e a r TALL SHIPS a n d lo o ks at o u r lo n g te rm p ro s p e c ts on th e S o u n d r e c o rd is t.................................H o w a rd S p ry P o s t-p ro d u c tio n ..............C u s to m V id e o A u s tra lia w o rld m a rke t. P rod, c o m p a n y ...................................................... Film A u s tra E d ito rs .................................................. D a vid L ou rie, L lia e n g th ......................................................3 2 m in u te s P ro d u c e r...................................................................... R.M cC a u le y Ray T h o m a s G a u g e .............................................................. B e ta c a m l E xe c, p r o d u c e r .................................................. J a n e t Bell R e s e a rc h e r........................................................... J u d y M e n cze S y n o p s is : A re c o rd o f a s ta g e p e rfo rm a n c e , GOING STRONG E xe c, p ro d u c e r..................................T ris tra m M iall P ro d , m a n a g e r ...............................V irg in ia P a scoe th is p ro g ra m o rig in a te d th ro u g h a p ro c e s s o f P rod, m a n a g e r......................................... Ian A d k in s P ro d , s e c r e ta ry ....................A m a n d a E th e rin g to n P ro d , c o m p a n y ...................................F ilm A u s tra lia p la y b u ild in g w h ic h in vo lve d a ll m e m b e rs o f th e Prod, s e c r e ta ry .................... B e v e rle y C o n ra d se n P rod, a c c o u n ta n t.............................N e il C o u sin s P r o d u c e r .............................................J e b b y P h illip s M o b T h e a tre . E a ch s c e n e d e p ic ts a d ru g P rod, a c c o u n ta n t................................ A lb e rt W o n g C a m e ra a s s is ta n t............................. R o d n e y H in d s D ir e c to r ...................................................M ai T e n n a n t re la te d s itu a tio n p re s e n te d in a s ty lis e d fo rm ; M a rke tin g & E d it o r .............................................. M a rth a B a b in e a u th e re is a b a s ic o u tlin e , b u t th e a c tu a l p e rfo rm M u s ic p e rfo rm e d b y ......................G o n d w a n a la n d p ro m o tio n s o f fic e r ................. D e b ra M a y rh o fe r E xe c, p ro d u c e r.......................................................R on S a u nD d eire rsc to r o f p o s t-p ro d u c tio n .......M ic h a e l B a lso m a n c e is a d -lib b e d b y a g ro u p o f d e d ic a te d B u d g e t...........................................................$ 2 7 0 ,7 0 4 A sso c, p r o d u c e r .................................... H e le n S teel p a ro le e s a n d o th e r n o n -p ro fe s s io n a ls . T h e M ix e r.......................................................................G e o ff S titt L e n g th .................................................... 55 m in u te s vid e o is u se d b y th e P ro b a tio n a n d P a ro le S e r P ro d u c e r’s a s s is ta n t...............J e n n y M id d le m is s N a rr a to r ................................................... E rn ie D in g o S y n o p s is : A d o c u m e n ta ry a b o u t th re e yo u n g R e s e a rc h ..............................D o n n a N o rto n -L o d g e , vice o f th e N S W D e p a rtm e n t o f C o rre c tiv e S e r L e n g th ......................................................8 .5 m in u te s A u s tra lia n s s a ilin g o u t in tw o m a g n ific e n t R o s a lin d G ille s p ie S y n o p s is : A s h o rt e x p lo rin g th e m a g n ific e n t v ic e s in its a n ti-d ru g c a m p a ig n . R e s tric te d boats, th e “ D a r M lo d z ie z y ” fro m P o la n d and d is trib u tio n . ro ck p a in tin g s a s s o c ia te d w ith th e m yth o lo g y M a rk e tin g & th e “ E a g le ” fro m th e U S A , to A u s tra lia . S a il o fo th p ro m o tio n s o f fic e r ........................................D e b ra M a y rh fe er L ig h tn in g B ro th e rs, n o rth o f K a th e rin e in tra in in g a n d th e T a ll S h ip s E ve n t h a s b e e n ru n th e N o rth e rn T e rrito ry . C e re m o n ie s re la tin g to F u n d in g ........................................... F ra n c e s c a M u ir DOGGO GOES TO COURT n in g in th e N o rth e rn H e m is p h e re fo r m any th e s e p a in tin g s , w h ic h ha ve n o t b ee n p e r L e n g th ........................................................ 30 m in u te s P rod, c o m p a n y .............. V is u a le y e s P ro d u c tio n s years; o u r A u s tra lia n e v e n t m a rks th e firs t tim e fo rm e d fo r fo rty ye a rs, have b ee n re co rd e d , C a s t: R o g e r C lim p s o n , H a ze l P h illip s , T a n y a P r o d u c e r .................................................................J o a n E va tt an e ve n t of th is m a g n itu d e has b ee n s ta g e d in w ith an o rig in a l D o lb y s o u n d tra c k fro m G o n d H a le sw o rth , R e d H a rriso n , C h in Y u W illia m s , th e S o u th e rn H e m isp h e re . D ire c to r.................................................M a rk L a m p re ll w a n a la n d fe a tu rin g d id g e rid o o p la ye r, C h a rlie J a m e s D ib b le . S c r ip tw rite r ............................................................ M a rk S tile s M cM a h o n . S y n o p s is : A w e e k ly m a g a z in e sh o w a im e d at P rod, m a n a g e r......................................................R u th E va tt th e A u s tra lia n o ve r-5 0 a g e g ro u p , a n d te le c a s t TO ABSENT FRIENDS E d ito r ...................................................................... F io n a S tra in on S B S a n d th e S e ve n n e tw o rk. L ig h tin g c a m e ra p e rs o n ......................................J a c k S w a rt P ro d , c o m p a n y ................................ F ilm A u s tra lia D ist. c o m p a n y ..................................Film A u s tra lia A n im a tio n ...................................... J o llific a tio n F ilm s ROADS TO XANADU HELLFIRE PASS P o s t-p ro d u c tio n / P ro d u c e r............................................ P a ul H u m fre ss P rod, D ir e c to r .............................................. P e te r M cL e a n la b o r a to ry .................... V is u a le y e s P ro d u c tio n s P rod, c o m p a n y .......................................................F ilm A u s tra lia c o m p a n y .................................. F ilm A u s tra lia D ist. D ist. c o m p a n y ...................................................... A B C (P re-sa le) c o m p a n y ....................................F ilm A u s tra lia S c rip tw rite r........................................P e te r M cL e a n L e n g th ...............................18 m in u te s 30 s e c o n d s P ro d u c e r.................................................................J o h n M e rso P ro d u c e r......................................................T im R e ad P nh o to g ra p h y ..........................................................R o ss K in g G a u g e ..............................................................B e ta c a m D ire c to r................................................ D a vid R o b e rts D ir e c to r ............................................................ G ra h a m C h a se S o u n d r e c o rd is t........................... N o e l C u n n in g to n S y n o p s is : T h ro u g h d ra m a tis a tio n a n d a n im a P h o to g ra p h y ........................................................K e rry B rowS n c rip tw rite rs ........................................J o h n M e rso n , E xe c, p r o d u c e r ................................ P a u l H u m fre s s tio n , th is vid e o , p ro d u c e d fo r th e L e g a l A id D a vid R o b e rts S o u n d re c o rd is t.............................................. R o d n e y S im m o n s P rod, m a n a g e r ............................... V irg in ia P a sco e C o m m is s io n o f N S W , te lls y o u n g p e o p le th e ir B a sed on th e o rig in a l id e a E d it o r ................................................................ G ra h a m C h a se P rod, a c c o u n ta n t................................ N e il C o u s in s rig h ts if th e y a re p ic k e d u p b y p o lic e a n d /o r if n d , a s s is ta n ts ...................A lis o n W o th e rs p o o n , E xe c, p ro d u c e r..............................................T ris tra m M ia ll b y ..........................................................................J o h n M erso P ro th e y fin d th e m s e lv e s in re m a n d o r g o in g to E xe c, p r o d u c e r ...................................G e o ff B a rn e s A ss o c, p r o d u c e r ..................................C a lv in M ille r A m a n d a E th e rin g to n co u rt. P ro d , m a n a g e r....................................................... A n n F o llaP n du b lic ity .................................................................. J a n e G len P rod, m a n a g e r..........................................Ian A d k in s P rod, a c c o u n ta n t.............................................. A lb e rt W o n gP rod, s e c r e ta ry ........................... M a rg a re t C re w e s M a rk e tin g & p ro m o tio n s .............. F ra n c e s c a M u ir WHAT WILL THEY BE LIKE? — P rod, a s s is ta n t.................................................... M e ry l J a c k sPorod, n a c c o u n ta n t................................................ J o h n R u sse Le ll n g th ................................................ 2 5 -3 0 m in u te s AN EDUCATION IN TOURISM S till p h o to g r a p h y ......................R o b e rt M c F a rla n e M a rk e tin g & S y n o p s is : F ilm in g o f P a u la D a w s o n ’s h o lo P ro d , c o m p a n y ...................T h e P ro d u c tio n T e a m M a rk e tin g & p ro m o tio n s o f fic e r ....................F ra n c e s c a M u ir g ra m fo r a N e w Y e a r’s E ve p a rty fro m c o n P r o d u c e r ....................................................................P ru C o lv ille p ro m o tio n s o f fic e r ........................................D e b ra M a y rh o fe r s tru c tio n to th e fin a l s h o w in g in A d e la id e a t th e S y n o p s is : A fo u r-p a rt se rie s fo r te le v is io n th a t D ir e c to r ..............................................................R o d n e y L o n g B u d g e t..........................................................$ 1 8 0 ,0 0 0 A d e la id e F e stiva l. ta ke s a n e w lo o k a t th e d y n a m ic in te rc h a n g e S c r ip tw rite r ................................................................ Ian F o rsyth L e n g th ..........................................................................5 0 m in u te b estw e e n A s ia and E u ro p e in th e m o d e rn w o rld . P rod, m a n a g e r.....................................K a re n M ye rs T h e co n v e n tio n a l v ie w s a b o u t th e re la tio n s h ip E d ito r .................................................. J o h n C a m e ro n b e tw e e n s c ie n c e , te c h n o lo g y a n d s o cie ty, HISTORY OF THE RED CROSS L ig h tin g c a m e r a p e r s o n ...............J o n M a tth e w s w h ich c o n tin u e to s h a p e o u r p e rc e p tio n s of P ro d , c o m p a n y .......................................................F ilm A u s tra lia P o s t-p ro d u c tio n ............................ T ra m B ro a d c a s t p ro g re ss, are s c ru tin is e d a n d re -e va lu a te d . D ist. c o m p a n y ........................................................F ilm A u s tra lia L e n g th ...........................................................................15 m in u te s T h e s e rie s h a s b ee n p re -so ld to th e A B C , P r o d u c e r ..................................................................P a u l H u m fre s s G a u g e .............................................................. B e ta c a m W G B H B o sto n a n d th e B B C . D ir e c to r ..................................................................... K a rl M cP h e e S y n o p s is : P ro d u c e d fo r th e T o u ris m C o m m is S c rip tw rite r...............................................................K a rl M cP h e e sio n o f N S W , th is v id e o , fo r sc h o o l c h ild re n SAY NO TO DRUGS E xe c, p r o d u c e r ......................................................P a ul H u m fre ss Y e a rs 7-10 (12-16 ye a rs o ld ) is an a w a re n e s s P rod, m a n a g e r ............................................... V irg in ia P a sco ra is in g p ro g ra m a b o u t th e m a n y a s p e c ts of Pe ro d , c o m p a n y ....................................................... F ilm A u s tra lia P ro d , s e c r e ta ry .................... A m a n d a E th e rin g to n to u ris m . W ith te e n a g e rs fro m K e ira H ig h D ist. c o m p a n y ........................................... M o s m a n & P ro d , a c c o u n ta n t.................................................. N e il C o u s in s S ch o o l p la y in g a ll p a rts , a ‘b a n d ’ fro m a B a lm o ra l R o ta ry C lu b s GREEN ENGINEERING P u b lic ity .................................................................J a n e G len P r o d u c e r .............................................................. S u sa n L a m b e rt ‘c o u n try s c h o o l’ v is its th e s c h o o l a n d all s p e n d P ro d , c o m p a n y .......................S o u th P a c ific V id e o M a rk e tin g & p ro m o tio n s .............. F ra n c e s c a M u ir th e tim e v is itin g to u ris t p la c e s o f in te re s t in D ir e c to r .....................................................J u lie M o n e y D ir e c to r ...........................................S te p h e n C o ze n s L e n g th ..........................................................10 m in u te s W o llo n g o n g a n d th e s u rro u n d in g a re a . T h e S c r ip tw rite r ....................................... J o h n P a tte rs o n c rnip tw rite r ...............................................la in M cK a y S y n o p s is : P ro g ra m a b o u t th e c u rre n t ro le o f fin a le is a c o n c e rt g iv e n b y th e v is itin g b a n d . P h o to g ra p h y ...........................................................J o e l P e te S rse

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P R O D U C T I O N S U R V E Y P rod, a c c o u n ta n t............M o n e y p e n n y S e rvice s, S ta n d b y p r o p s .....................................P e te r M oyes RAINBOW WARRIOR F ran L a n ig a n S ta n d b y w a rd ro b e .........................J u lie M id d le to n P rod, c o m p a n y ..... G o ld e n D o lp h in P ro d u ctio n s 1st asst d ir e c t o r .............................................. M a g g ie G o lle r S c e n ic a r tis ts ..................................... C h ris to R eid, P e te r C o llia s 2nd asst d ir e c t o r .................................................R o ss A lls oD p ist. c o m p a n y ....E n e rg y S o u rce T e le visio n Ltd P r o d u c e r........................................ R o b e rt J. Lo a d e r 3 rd asst d ire c to r .................................................... N e il P roud S e t c o n s tru c tio n ...................................... L ip s S tu d io D ir e c to r .................................................................C h ris T h o mSso C o n tin u ity ............................................A n n e tte R eed tunn ts c o - o r d in a to r .............................................. G u y N o rris S c r ip tw rite r ..........................................D avid P h illip s H o rs e m a s te r................................................... G ra e m e W are P ro d u c e r’s a s s is ta n t...................................... L o u ise O ’ Neil P h o to g ra p h y .................................................. A n d re w Lesn ie C a s tin g ............................................................Forcast, R u n n e r.............................................. L yn H e n d e rs o n S o u n d re c o rd is t....................................................PaulB rin ca DARLINGS OF THE GODS D in a M ann, Cta te rin g ............................................... O u t T o L u n ch E d ito r.................................................. L in d s a y F razer S tu d io s .................................................... M a x S tu d io s C a ro lin e E llio tt P rod, c o m p a n y ............... A B C /E u s to n F ilm s L td / P rod, d e s ig n e r.....................................................La rry E a stwMood C a m e ra o p e ra to r............................................R u sse ll B a con ixe d a t ..................................................................A tla b S im p s o n Le M e s u rie r F ilm s P ty Ltd S u p e rv is in g p ro d u c e r......................................S te ve K n a p m Focu s p u lle r.......................................................... G re g P a rish L aabno ra to ry .............................................................A tla b P r o d u c e r .................................... R o g e r Le M e s u rie r xe c, p ro d u c e rs ........................P e ter S a in sb u ry, C la p p e r/lo a d e r.....................................................M a rk La m bEle B u d g e t...........................................................$ 4 m illio n D ir e c to r ............................................C a th e rin e M ille r A la n B a te m a n K e y g r ip ............................................................... M a rtin L a m p itt L e n g th ............................................................................. 4 h o u rs S c rip tw rite rs ...................................R o g e r S im p so n , A sso c, p r o d u c e r ........................................... D o ro th y P in fo G ld a u g e ....................................................................16m m G a ffe r................................................ A n d re w H o lm e s G ra e m e F a rm e r P rod, c o -o rd in a to r..................... M a ry J a n e Y e a ts E le c tric ia n ................................P e te r R o ssb o ro u g h S y n o p s is : T h e s to ry o f th e “ C a ta lp a ” c o n B a sed on th e b o o k b y ................. G a rry O ’C o n n o r rod, m a n a g e r ................................................N a re lle B a rsbsp y ira cy, w h e n a g ro u p o f Irish p o litic a l p ris o n Boom o p e ra to r ........................................................ Ian C re gP an P h o to g ra p h y ..................................Ian W a rb u rto n P rod, m a n a g e r ( N Z ) .........................J a n e G ilb e rt ers in ca rc e ra te d in F re m a n tle G a o l in th e late C o stu m e d e s ig n e r ......................... A lw y n H a rb o tt P rod, d e s ig n e r ...................................C o lin G e rsch L o ca tio n m a n a g e r.............................M aude H eath 1800s w e re b ro ke n o u t b y Iris h /A m e ric a n sy m M a k e -u p .............................................Ian L o u g h n a n , E xe c, p ro d u c e rs ................................ S a n d ra Levy, P rod, a c c o u n ta n t............M o n e yp e n n y S e rvices, T h e lm a H a n so n p a th ise rs. J o h n H a m b le y Val W illia m s W a r d ro b e .......................................................... V a le rie N e lso n A sso c, p r o d u c e r................................ Ross D im se y 1st asst d ir e c t o r ................. C a ro lyn C u n n in g h a m P ro p s b u y e r ...............................N o rm J o n e s-E llis P rod, m a n a g e r........................L o rra in e A le x a n d e r C o n tin u ity .......................................................... J a c k ie S u lliva n S p e c ia l e ffe c ts ..........................................Rod C la ck 1st asst d ire c to r ........................ J a m e s L ip sco m b e ACT OF BETRAYAL C a s tin g ...................................................................... Liz M u llin a r S y n o p s is : The Four Minute Mile is th e sto ry of 2nd asst d ire c to r .......................R ic h a rd V a n ’t R iet C a m e ra o p e ra to r............................................... S te ve W in d oPnrod, c o m p a n y ...................................................A B C , a th le tic a ch ie v e m e n t th ro u g h p e rs e v e ra n c e . In S y n o p s is : In 1948 L a u re n c e O liv ie r a n d V ivie n G riffin P ro d u c tio n s /T V S 2nd u n it p h o to g ra p h y ......................................S te ve W in d o n th e e a rly fiftie s a th le te s a ro u n d th e w o rld L e ig h w e re th e w o rld ’s m o st c e le b ra te d lo vers: A rt d ire c to r ........................................................... B ria n E d m oDnist. d s c o m p a n y ............... G riffin P ro d u c tio n s /T V S s tru g g le d to p ro ve m an co u ld run a m ile in le ss he th e g re a te s t a c to r o f th e age, sh e o n e of P r o d u c e rs ................................................R a y Ale h in , C o stu m e d e s ig n e r............................................ H e len H o o p e r th a n fo u r m in u te s. T h e m e d ic a l p ro fe s s io n and H o lly w o o d 's b ig g e s t sta rs. W h y th e n at the N ick E va ns M a k e -u p ........................................ V io le tte Fon ta in e m e d ia b e lie ve d m an co u ld p u s h h im s e lf no ve ry h e ig h t o f th e ir ca re e rs d id th e y tu rn th e ir D ir e c to r ...........................L a w re n ce G o rd o n C la rk M ixe d a t .......................................................S o u n d firm fu rth e r. T h e y w e re w ro n g . b a cks on fa m e a n d fo rtu n e to to u r A u s tra lia for S c r ip tw rite r s .......................................................... N ick E vans, L a b o ra to ry ....................................................C o lo rfilm a ye a r w ith th e O ld V ic T h e a tre ? M ich a e l C h a p lin L e n g th .................................................2 x 60 m in u te s P h o to g ra p h y .........................................P e te r H e n d ry G a u g e ...................................................................16m m FUTURETROUPERS DOT AND THE KANGAROO S o u n d re c o rd is t.................................................. P e te r B a rb e r S y n o p s is : A d ra m a tis a tio n of th e e ve n ts s u r Prod, c o m p a n y .................................B rillia n t Film s E d ito r...............................................................Lyn S o lly TV SHOW ro u n d in g th e s in k in g o f th e G re e n p e a ce vessel P ro d u c e r............................................ B ria n D o ugla s P rod, d e s ig n e r....................................M a rcu s N o rth th e R a in b o w W a rrio r in A u c k la n d H a rb o u r in Prod, c o m p a n y ................................................. Y o ra m G ross D ire c to r............................................... B ria n D o ugla s D e s ig n e r................................................C o lin R u d d e r J u ly 1985 by a g e n ts o f th e Fre n ch G o ve rn F ilm s tu d io P ty Ltd S c rip tw rite r........................................ B ria n D o ugla s E xec, p ro d u c e rs ................................. S a n d ra Levy, m ent. P ro d u c e r ........................................................... Y o ra m G rossS crip t e d ito r .............................. P a trick E d g e w o rth M ic h a e l D e akin D ir e c to r .............................................................. Y o ra m G rossP u b lic ity ..............................................Lionel M id fo rd P rod, m a n a g e r..................................... D e n n is K ie ly S c rip tw rite r.................................... M a rcia H a tfie ld L e n g th .................................................6 x 60 m in u te s REALMS OF GOLD L o ca tio n m a n a g e r.................................................. V a l W in d o n A sso c, p ro d u c e r.............................................S a n d ra G ross G a u g e ............................................................ 1 " vid e o P rod, c o m p a n y ......................... K in g c ro ft A u s tra lia P rod, s e c re ta ry .................................................. K e rrie M a in w a rin g L e n g th ............................................. 13 x 30 m in u te s S y n o p s is : In th e n ea r fu tu re an o u t-o f-w o rk Pty L im ite d (c o -p ro d u ctio n w ith Prod, a c c o u n ta n t................................ C y n th ia K e lly G a u g e ......................................................................... 1" vid eoth e a tre tro u p e in a d v e rte n tly p re ve n ts the T e lie syn , C a rd iff) 1st a sst d ire c to r ....................... R u s s e ll W h ite o a k S y n o p s is : P ilo t fo r a 13-part te le v is io n se rie s p ira cy of A u s tra lia ’s p o w e r so u rce by a m ost Dist. c o m p a n y ................................J.C . W illia m s o n 2 n d asst d ire c to r .......................................... D e b o ra h K lika fe a tu rin g a c o m b in a tio n o f a n im a tio n and lived e vio u s and d e a d ly o rg a n isa tio n . and S4C C o n tin u ity ........................................................ R h o n d a M cA vo y action. P ro d u c e r.............................................T e rry O h lsso n C a s tin g ............................................................ J e n n ife r A lle n D ir e c to r ...................................................Paul T u rn e r C a stin g a s s is ta n t........................................ M a u re e n C h a lto n HOUSE RULES S c r ip tw rite r ..................................................... H o w a rd G riffith C as m e ra o p e ra to r ............................. R o g e r L a n se r EDENS LOST P rod, c o m p a n y ....................................................A B C E xec, p r o d u c e rs ................................................T e rry O hlsson C la,p p e r/lo a d e r......................... C h a n ta l A b o u c h a r P rod, c o m p a n y ..................... M a rg a re t F in k Film s P ro d u c e r................................................. A lla n H a rd y D ilw yn Jo n e s C a m e ra a s s is ta n t............................ R o b e rt F o ste r P ty Ltd in c o -p ro d u c tio n w ith A B C and S e rie s c r e a to rs ............................. B a rb a ra B ish o p , L e n g th .................................................... 90 m in u te s Key g r ip .................................................................. J o h n H u n tin g fo rd C e n tra l In d e p e n d e n t T e le v is io n PLC S h a n e B re n n a n , S y n o p s is : A fa st-m o vin g ‘fa c tio n a l’ ta le o f a A sst g r ip ................................................G a rry B u rd e tt D ist. c o m p a n y ........ M a rg a re t F in k F ilm s P ty Ltd A lla n H a rdy, W e lsh m in iste r, his b ro th e r and his sister-inG a ff e r .......................................... T im M u rra y-Jo n e s P r o d u c e r ............................................. M a rg a re t Fink P e te r H e p w o rth , law , w h o be co m e in vo lve d in th e g re a t go ld E le c tric ia n s ..................................... Ken P e ttig re w , D ire c to r.................................................. N e il A rm fie ld J o h n R e eves rush of e a rly c o lo n ia l A u stra lia . R ic h a rd G ra n t S c r ip tw rite r ...........................................M ich a e l G ow E xec, p ro d u c e r....................................R o ss D im se y B oom o p e ra to r.....................................................M a rk B o w ye r B a sed on th e nove l b y .......S u m n e r Lo cke E llio tt P rod, m a n a g e r......................M a rg a re t G re e n w e ll C o stu m e d e s ig n e r................................................. J im M u rra y E d it o r ............................................................B ill R u sso C a s tin g ................................................................... D in a M ann THE SEARCH FOR THE WORLD’S M a k e - u p .................................................................... J iri P a vlin , P rod, d e s ig n e r ..............................J a n e t P a tte rso n S y n o p s is : A 2 6 -p a rt c o n te m p o ra ry fa m ily MOST SECRET ANIMALS J e n n i Bo ehm E xe c, p ro d u c e rs ........................... J o e S krzyn ski, series. Prod, c o m p a n y ...................................... W e s tb rid g e Film sW a r d ro b e ........................................... E lsie R u sh to n S a n d ra Levy, W a rd ro b e a s s t ................... S te p h a n ie H a m m o n d P ro d u c e r.......................................J o n a th a n M. S h ift T e d C h ild s P rops b u y e r...........................................................T o n y C ro n in D ire c to r............................................. P e te r C a m p b e ll JUNGLE BOOK A sso c, p r o d u c e r ............ ........S te p h e n O 'R o u rk e S ta n d b y p r o p s ....................................R o y E a g le to n S c rip tw rite r..................................T o n y C a va n a u g h P rod, c o m p a n y ............Y o ra m G ro ss F ilm S tu d io P rod, m a n a g e r................ ..................C a rol C h irlia n S p e cia l e ffe c ts .................................... P e te r L e g g e tt P h o to g ra p h y ..........................................Jo h n C a rte r P ro d u c e r ........................................................... Y o ra m G ross P rod, s e c r e ta ry ............... F ra n ç o is e F o m b e rta u x E d it o r .....................................................................P e te r C a rroSdeut sd e c o ra to r...................................................S a n d ra C a rrin g to n D ir e c to r ..............................................................Y o ra m G ross P rod, a s s is ta n t................ ................... Lyn n P o yn te r S till p h o to g r a p h y ............................................... B a rry G a u n t Prod, c o -o rd in a to r..............................Je n i C le ve rs S c rip tw rite r............................................L e o n a rd Lee 1st asst d ire c to r .............. ....S c o tt H a rtfo rd -D a v is P u b lic ity ............................................ G e o rg ie B ro w n Based on th e nove l b y ............................... R u d ya rd K ip linLge n g th ............................................................... 1 3 x 3 0 m in u te s 2 nd asst d ire c to r............. .................... W e n d y G ra y C a te rin g ............................................A & B C a te rin g G a u g e ........................................................ BV U vid e o C o m p o s e r............................................................... G u y G ross C o n tin u ity ......................... ................... Lyn n P o yn te r S tu d io s ................................... A B C F re n c h s F orest S y n o p s is : A m u sica l in tro d u c tio n to the A ssoc, p ro d u c e r.............................................S a n d ra G ross L ig h tin g ca m e ra p e rso n . .......................J e ff M a lo u f M ixe d a t .................................. A B C F re n c h s F o re st Prod, c o -o rd in a to r.......................................J e a n e tte Tom sw o rld s a n im a ls. C o stu m e d e s ig n e r......... ...................Q u e n tin H ole L a b o ra to ry .................................................... C o lo rfilm P rod, m a n a g e r.............................Ja cki G o o d rid g e W a rd ro b e .......................... ............W e n d y F a lco n e r B u d g e t ....................................................... $ 5 ,0 0 0 ,0 0 0 A sst e d ito r ..................................................... S te p h e n H ayes P ro p s b u y e rs .................... ............. A d ria n C a n n o n , L e n g th ............................................... 2 x 105 m in u te s A n im a tio n dire cto r'................................................Ray N o w la nd C o lin B a ile y G a u g e ................................................................... 16m m P u b lic ity ............................................................... U sh a H a rris S o u n d e d it o r .................... .......................E rika M oss S h o o tin g s t o c k ................................... E a s tm a n c o lo r G a u g e ..................................................................35m m P u b lic ity ............................. ..G e o rg ie B row n (A B C ) C a st: P a tric k B e rg in (M ic h a e l M cG u rk), Lisa S y n o p s is : A m o d e rn d a y te e n a g e ve rsio n of L e n g th ................................ ................ 3 x 5 6 m in u te s H a rro w (E ile e n M cG u rk), K riste n G re e r (S ean R u dyard K ip lin g ’s Jungle Book in w h ich the G a u g e ................................. ................................16m m M cG urk), E llio tt G o u ld (C a lla g h a n ), B rya n M a r a n im a ls a re hip a n d M o w g li drive s a co n v e rt s h a ll (K enn edy), D e b o rra -L e e F u rn e ss (K athy), ible. P ilo t fo r a te le v is io n series. M ax C u lle n (Q uinn). FLYING WHITE ANT S y n o p s is : C o n te m p o ra ry th rille r se t in B e lfa st (The Story of the Aboriginal Painter THE AUSTRALIAN BREAK and S yd n e y w h ic h d e a ls w ith th e c o n s e A LONG WAY FROM HOME Albert Namatjira) q u e n ce s o f a d e cis io n b y a m e m b e r o f th e Irish P rod, c o m p a n y ..............................M is ty h ill P ty Ltd P rod, c o m p a n y ........R o adshow , C o o te & C a rro ll R e p u b lica n A rm y to b e tra y his s u p e rio rs . P rod, c o m p a n y ......................................................D o n F e a th n er ................................................J e rry Lon don P ro d u c e r......................................... H a rle y M a n n e rs Deirrsto e c to P ro d u ctio n s D ire c to r............................................C h ris L a n g m a n S c rip tw rite r............................................................... B ill K e rby P r e -s a le ...................L o n d o n W e e ke n d T e le visio n S c r ip tw rite r ...........................................................J o h n M isto P rod, d e s ig n e r .............................. B ria n Th o m so n AROUND THE WORLD IN 80 DAYS P ro d u c e r ..................................................................Don F e a th rsto ne S to ry e d ito r...................................P e n n y C h a p m a n Eexe c, p ro d u c e rs ................................M a tt C a rroll, Prod, c o m p a n y ................................ B u rb a n k F ilm s D ir e c to r .....................................................................D on F e a th e rsto n e P h o to g ra p h y ....................................B re tt A n d e rso n S te ve K rantz P L e n g th ........................................................ 9 0 m in u te s S o u n d r e c o rd is t......................................................P h il K e ros ro d u c e r................................................ R oz P h illip s L in e p ro d u c e r..................................................... M oya Iceton S c rip tw rite r............................................Le o n a rd Lee G a u g e ...................................................................16m m P rod, s u p e rv is o r.......................................... S te p h e n JoneEs d it o r ..................................... T h e E d itin g M a ch in e S y n o p s is : T h e s to ry o f th e A b o rig in a l a rtis t P rod, c o -o rd in a to r........................................B a rb a ra R ing P rod, d e s ig n e r ..................................................... R o ss M a joBr ased on th e novel b y ...................... J u le s V e rn e Ell,d ito rs ........................................... .'. P e te r Je n n in g s, A lb e rt N a m a tjira w h o se re m a rk a b le ta le n t E xe c, p ro d u c e rs ...................................................M a tt C a rro U n it m a n a g e r ..........................................................T ic C a rro ll C a ro lin e N e ave m ade him a c e le b rity a n d e v e n tu a lly le d to his A la n B a te m a n L o ca tio n m a n a g e rs ..... P h illip R o ope (A ustra lia ) Era xec, p r o d u c e r .................................................... T o m S ta ce y a b a n d o n m e n t a n d d o w n fa ll. B u sin e ss a ffa irs m a n a g e r ................................. K im V e c e P a tric ia B lu n t (M alaysia ) P rod, c o -o rd in a to r.................................................J o y C ra ste P rod, m a n a g e r............. r..................... J u lie F o rste r P rod, s e c re ta ry .............................. S e re n a G a ttu so P rod, m a n a g e r........................................R o d d y Lee P rod, a c c o u n ta n t............................................. C a tch 1-2-3,U n it m a n a g e r................................. H u g h J o h n s to n Prod, a c c o u n ta n t.......................................... A n d re w Young L o ca tio n m a n a g e r.............................. B e van C h ild s THE FOUR MINUTE MILE J e n n y V e rdo n L o ca tio n s c o u t .................................................... C h ris J o n eCs a s tin g ......................................................................J o y C ra ste 1st a sst d ire c to r ............................. B o b D o na ld so n P rod, c o m p a n y ................ C B S e ve n P ro d u c tio n s C a m e ra o p e ra to rs .................................G a ry Page, P rod, s e c re ta ry ........................... R o w e n a T a la c k o 2 n d asst d ire c to r ...................................... Ian K e nny & C e n tre F ilm s L td in T a n y a V is k itc h P rod, a c c o u n ta n t.............................................. C a tch 1-2-3, L in e p ro d u c e r’s s e c re ta ry ......... J e a n ie W illia m s c o -p ro d u c tio n w ith th e A B C & B B C S to ry b o a rd ....................................... S te ve L u m le y J o n G o ld sm ith C a s tin g ........................................................... Forcast, P ro d u c e rs ........................................... E rro l S u lliva n , T im in g ......................................................... J e a n T y c h 1s t asst d ir e c t o r ....................R ich a rd C le n d in n e n M ich a e l Lynch P o m O live r e n g th ...................................................... 50 m in u te s 2nd asst d ire c to r............................................... J a m ie C ro oLks E xtras c a s tin g .......................B o w en & B u rge ss, D ire c to r................................................J im G o d d a rd 3 rd a sst d ire c to r................................................N a o m i E n fieG lda u g e ...................................................................1 6m m L e sle y B u rg e ss S c rip tw rite r.......................................................... D a vid W illia m s o n S h o o tin g s t o c k .................................................... 7291 C o n tin u ity ......................................K ris tin V o u m a rd A urtrto d ire P h o to g ra p h y .............................................................Ian W a rb n c to rs ........................... N ich o la s M cC a llu m , S y n o p s is : T h e c la s s ic ta le o f P h ilia s Fogg C a stin g c o n s u lta n ts ...........M a ize ls & A s s o c ia te s R oC ook S o u n d r e c o r d is ts ................................................T o n y D icke n so n , w h o se bet to o k him a n d his re lu c ta n t se rva n t C a m e ra o p e ra to r.......................... B re tt A n d e rso n A s s t a rt d ire c to r ................M ich a e l S c o tt-M itch e ll G re g W ig n a ll Pra sse p a rto u t a ro u n d th e w o rld in 80 days. Focu s p u lle r ........................................................ T ra c y K u b le C o,stu m e d e s ig n e r ................................T e rry R yan E d ito rs ...................................................................... K e n P e arce C layp p e r/lo a d e r........................................................P h il M u rp h y M a ke -u p s u p e rv is o r ....................................... L e sle y R o uvra B a rrie M u n ro K e y g r i p ......................................................R a y B row n P rod, d e s ig n e r.................................................... T ra c y W a ttP ro p s b u y e r ......................................... K e rri Brow n BARRACUDA A sst g r ip s ........................................................Ian B ird , P ro E xe c, p ro d u c e r.....................................................R o ss D im se y p s b u y e r/d re s s e r........................................ C h ris L eo pard W a rre n G rie e f P rod, c o m p a n y ............A m a lg a m a te d B a rra c u d a A sso c, p r o d u c e r ....................................................R o d A lla nP rop m a k e r.................................. M ich a e l G o o d w in P ro d u c tio n s P ty Ltd S e t c o n s tru c tio n .................................................. A la n F le mGinagffe r ...............................................................M a lco lm M cL e a n P rod, c o - o r d in a to r ................................G a il M e lllo n n c o m p a n y .....................A m a lg a m a te d G lo b a l D ist. M o d e l m a k e r................................................... J e n e lle H a n nEale n c tric ia n ............................................................. D a ryl P e arso P rod, m a n a g e r................................. M a rio n P e a rce B oom o p e ra to r..........................................D a vid Lee Lin e p r o d u c e r ................................... B a rb a ra G ib b s U n it m a n a g e r ........................................................ F ran L u g t D ra u g h ts m a n ................................................. D u n ca n S te m le r A rt d ire c to r ..... ........................................... K im D a rb y D ire c to r....................................................................P in o A m e n ta P rod, s e c r e ta ry .............................................. J a c q u ie La m A b rt d e p t a s s t .........................................A n g u s T a ttle A s s t a rt d ire c to r ...................................J a n e M u rp h y S c r ip tw rite r s .......................................... P h ilip R yall, R u n n e r............................................... Ifca D ra g ice vic C o s tu m e d e s ig n e r.............................................. J e a n T u rn b u ll K e ith T h o m p s o n L a b o ra to ry .................................................... C o lo rfilm M a k e -u p .................................. L e sle y V a n d e rw a lt P h o to g ra p h y ........................................................D a vid C o n n e ll L e n g th ................................................4 x 6 0 m in u te s C o s tu m e a r t is t ................................................A n d re a H o odS o u n d r e c o r d is t............................................. A n d re w R a m a g e G a u g e .................................................................. 35m m B u y e r................................................................ R o sa le a H oodP rod, d e s ig n e r ...............................................A n d re w B la xla n d S h o o tin g s to c k ................................... E a s tm a n c o lo r W a rd ro b e a s s ts ........................ C o u rtn e y G ib so n , E xec, p r o d u c e rs .................................................. A la n B a te m a n , S y n o p s is : T h e sto ry o f th e a rre st and tria l o f M a n d y V u k s a n o v ic V ic to r G lyn n K e vin B a rlo w and G e o ff C h a m b e rs fo r d ru g P ro p s b u y e rs .............................................B ill B o o th , A sso c, p ro d u c e r................................. L o u ise H o m e tra ffic k in g a n d th e e ffe c t it had on th e ir M a x B a rtle tt P rod, c o -o rd in a to r................................ D ix ie B e tts fa m ilie s.

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74 - MARCH CINEMA PAPERS

R o d Z u a n ic (R o d H u n te r), C la u d ia K a rva n S c rip tw rite r.............................................. F ra n k L u p o (E m m a P a rke r), S a ra n D e lin g (C a le P a rke r), P h o to g ra p h y ..........................................G e o ff B u rto n M u ro (Y u k io A ra ka w a ). S o u n d re c o r d is t................................... B o b C la y to n P rod, d e s ig n e r s ............................... H e rb e rt P in te r, S y n o p s is : T h e y th o u g h t th e y h a d e v e ry th in g . T o n y C o w le y T h e y fo u n d th e y h a d n o th in g . A 3 0 -p a rt c o n te m p o ra ry s a g a a b o u t b e tra y a l a n d s h iftin g P rod, c o -o rd in a to r.............................M a g g ie L a ke lo y a ltie s b e tw e e n th re e s is te rs w h e n th e y a re P rod, m a n a g e r................................... J u lia O v e rto n fo rc e d to live to g e th e r fo r a y e a r a n d a d a y in a P rod, s e c r e t a r y .............................S a m T h o m p s o n d ila p id a te d se a s id e h o te l. P rod, a c c o u n ta n t................ J e n n ife r d e s C h a m p s 1st a s s t d ire c to r .................................M a rk E g e rto n 2 n d a s s t d ir e c t o r ..............................P h il P a tte rs o n THE LEAGUE OF LUCARD 3 rd a s s t d ir e c t o r ...............................J o h n M e re d ith C o n tin u ity ...........................................J e n n y Q u ig le y P rod, c o m p a n y ...........................M a s te rp ie c e F ilm P ro d u c tio n s C a s tin g .............................................................. F o rca st C a m e ra o p e ra to r.......................... D a vid F o re m a n P r o d u c e r ..................................................................A .D . S m y th e F o cu s p u lle rs ................................ L a u rie K irkw o o d , D ir e c to r .................................................................... A .D . S m yth e J o h n F o ste r S c r ip tw rite r s ...............................C h a rle e n S m yth e , C la p p e rs /lo a d e rs ................................. J a n e C a stle , A .D . S m yth e L y d d y va n G ye n A sst d ire c to r .......................................................R o b e rt S m yth e K e y g r ip ...................................................B ru c e B a rb e r L a b o ra to r y ....................................................C o lo rfilm G a ffe r....................................................... Ian P lu m m e r L e n g th ..............................7 x 22 m in u te s (p la n n e d ) A rt d ir e c t o r ............................................ S te w a rt W a y G a u g e ...................................................................1 6m m S h o o tin g s to c k .F u ji A X 8 5 2 4 , K o d a k 7 2 9 1 ,7 2 9 2 A sst a rt d ir e c t o r ..................................... R o se W ise S y n o p s is : T h e p ilo t fo r an o ld -fa s h io n e d c h ild A rt d e p t r u n n e r s .................................... B izzi B o d d i, B ru c e T a y lo r re n ’s m y s te ry a n d a d v e n tu re . A m b ro se ' L u ca rd is a y o u n g in v a lid p e n s io n e r w h o m o u ld s a M a k e -u p ..................................................N ik k i G o o le y a ns g o f lo ca l c h ild re n in to a fo rm id a b le le a g u e H a ird re s s e r.............................................................P a u l W illiagm a n d to g e th e r th e y so lve th e m y s te ry o f th e lo c a W a rd ro b e s u p e rv is o r .........................C a th y H a in e P ro p s b u y e rs ..........................................................S a m R ic k atio rdn, o f tre a s u re h id d e n In th e w ild e rn e s s o u t S u e M a y b u ry sid e th e ir to w n . W ith th e su d d e n d e p a rtu re o f S ta n d b y p r o p s ....................................D a lla s W ils o n L u c a rd c o m e s a p le a s a n t s u rp ris e fo r his g a n g . S p e c ia l e ffe c ts c o - o r d in a to r ..................B ria n C o x S p e c ia l e ffe c ts m a k e - u p ...............B o b M cC a rro n NEIGHBOURS S p e c ia l e ffe c ts ..................................................... C h ris M u rra y, D a vid H a rd ie , P rod, c o m p a n y ......................... G ru n d y T e le v is io n D a vid Y o u n g P r o d u c e r .............................................. M a rie T re v o r S e t d e c o r a t o r ......................................................H e le n M cA sDkire ill c to rs ............................................... T o n y O sicka , G a rry C o n w a y, M o d e l m a k e rs ....................................... D ic k W e ig h t, S te ve M a n n , T o r L a rso n , K e n d a l F la n a g a n W a rre n B e a to n BLACK ARROW HEY DAD S csrip tw rite rs ....................................................V a rio u s R u n n e r....................................................................A n n a D e a kin (S e rie s 4) P rod, c o m p a n y ................................ B u rb a n k F ilm s C a te r in g .............................................................J o h n n y F a ithB fuallse d on th e o rig in a l id e a b y ......... R e g W a tso n P ro d u c e r................................................. R o z P h illip s P rod, c o m p a n y ..............G a ry R e illy P ro d u c tio n s S o u n d re c o rd is ts ................................K e ith H a rp e r, L a b o ra to r y .................................................... C o lo rfilm S c rip tw rite r............................................ P a u l Le a d o n D ist. c o m p a n y ...............P re -s a le S e ve n N e tw o rk P e te r Say, L e n g th ........................................................ 2 x 2 h o u rs B a sed o n th e nove l P ro d u c e r..................................................... G a ry R e illy G ra n t V o g le r, G a u g e ................................................................... 35 m m b y ...................................R o b e rt L o u is S te ve n so n D ir e c to r ................................................................... S a lly B ra dCy a s t: J o e C o rte se , M a rya m D ’A b o . B ru c e F in d la y E d ito rs ...............................................P e te r J e n n in g s , S c rip tw rite rs .......................................................... G a ry R e illy, P rod, d e s ig n e r .................................................... S te ve K e lle r S y n o p s is : A s c ie n c e fic tio n a d v e n tu re . C a ro lin e N e a ve J o h n F la n a g a n C o m p o s e r (th e m e )............................................. T o n y H a tch E xe c, p r o d u c e r ...................................... T o m S ta ce y B a sed on th e o rig in a l id e a b y .............G a ry R e illy E xe c, p ro d u c e r.......................................................D o n B a tty e THE LAST RESORT P rod, c o -o rd in a to r................................................. J o y C ra ste P h o to g ra p h y ............................................S te ve B ra c k E xec, in c h a rg e o f p ro d u c tio n ............P e te r P in n e P rod, m a n a g e r........................................ R o d d y Lee S o u n d r e c o r d is t...................................................... J im A s tlePy rod, c o m p a n y ................................................... A B C P rod, c o -o rd in a to r............................ J a y n e R u sse ll P rod, a c c o u n ta n t.............................A n d re w Y o u n g E d ito r ...................................................................... G a rry B u rn D s ist. c o m p a n y ........................................ .............. A B C P rod, m a n a g e r...............................................S to ttie C a s tin g ....................................................................... J o y C ra ste C o m p o s e r............................................................... M ike P e rjaPnrik o d u c e r ............................................ J a n C h a p m a n D ire c to rs ’ a s s t s ..........................................M a ria n n e G ray, C a m e ra o p e ra to rs .............................................. G a ry Page,E xe c, in c h a rg e o f D ir e c to r s ............................................G e o ff N o tta g e , L in d a W ilso n , T a n y a V is k itc h R o n E llio t, p r o d u c tio n ..........................................................A la n B a te m a n M a rc u s G e o rg ia d e s S to ry b o a rd ............................................................. G le n L o ve tt M ike S m ith , D ire c to r’s a s s is ta n t............................................ J u lie H a n n a h S c rip t s u p e r v is o r .......................................R a y K o lle T im in g ......................................................... J e a n T ych K a te W o o d s, P ro d u c e r’s a s s is ta n t............................ K a th y Lan g S c rip t e d ito r s ................................................ Y s a b e lle D e an, L e n g th ........................................................50 m in u te s C o lin E n g le t L ig h t in g ..............................................................R u s s e ll P h e g a n W a y n e D o yle G a u g e .................................................................. 1 6m m F lo o r m a n a g e r................................................... J a m ie S te veSncsr ip tw rite r s ........................................ L o u is N o w ra , C a s tin g ...................................................................... Ja n Russ, S h o o tin g s t o c k ................................................. 7291 B e rt D e lin g , V is io n s w itc h e r.................................................. T a n y a D ja m in J a n e D a n ie ls S y n o p s is : S e t in th e tim e o f th e W a r o f th e T im G o o d in g , T e c h n ic a l d ire c to r ................................................... P a t B a rte r C a m e ra o p e ra to r s ............................J o e B a tta g lia , R o ses o u r h e ro D ic k S h e lto n d is c o v e rs th e real G a b rie lle Lord, M a k e -u p .................................................................... S u e L e o n a rd K e n M u lh o lla n d , id e n tity o f th e B la ck A rro w . J o h a n n a P ig g o t, W a r d ro b e ........................................ T h e re s e R e n d le R o ss C ra b tre e , L eo n S a u n d e rs S e t d e c o ra to r ................................................... G o rd o n B ro w n J e ff B ig g s, S e t .............................................................................. Ken G o o d B m a a sed n o n th e o rig in a l id e a b y ..........L o u is N o w ra M a rk C o llin s, THE FLYING DOCTORS S onu n d ................................................... W a y n e K e a le y P u b lic it y ............................................................R h o n d a D a w so M a rk A lle n .C ra w fo rd P ro d u c tio n s P rod, c o m p a n y . S e n io r d e s ig n e r .................................................L a u rie J o h nFslo o no r m a n a g e rs ...................................R a y L in d sa y, S tu d io s ............................................. A T N C h a n n e l 7 (S e rie s) P ty Ltd A sso c, p r o d u c e r ..................................W a y n e B a rry L e n g th .............................................. 2 2 x 3 0 m in u te s B o b V illin g e r, ..........O s c a r W h itb re a d P ro d u c e r............ G a u g e ................................................................... V id e o P rod, m a n a g e r .................................... D a vid Y o u n g P e te r H in d e , ...........B re n d a n M aher, D ire c to rs ............ A s s t pro d , m a n a g e r............................J a n e P e p p e r C a s t: R o b e rt H u g h e s (M a rtin K e lly), J u lie M c A la n W illia m son C h ris L a n g m a n , P rod, s e c r e t a r y ..............................E lis a b e th G ilro y G re g o r (B e tty W ilso n ), C h ris M a y e r (S im o n L ig h tin g s u p e rv is o rs ................. S tu a rt D e Y o u n g , C o lin B u d d s, K e lly), S im o n e B u c h a n a n (D e b b ie K e lly), S a rah P rod, a s s is ta n ts ...........................................S u z a n n e B ro w n , L yd e n M a th e so n , P a u l M o lo n e y, G e o rg e K n ig h tly , M o n a h a n (J e n n y K e lly), C h ris to p h e r T ru s w e ll R od H a rb o u r C a th e rin e M ille r, L yn n P o yn te r, (N u d g e ). M a k e -u p .................................... W illia m M c llv a n e y , M a rk D e frie st Leanne Kenna S y n o p s is : S itu a tio n c o m e d y b a se d o n a L o is J o rg e n s e n ............D e n ise M o rg a n , S c rip tw rite rs A sst d ire c to r s ................................. G a ry S te p h e n s , w id o w e d fa th e r try in g to ra ise his th re e c h ild re n H a ird re s s e rs ...............................D a vid H e n d e rso n , S h a n e B re n n a n , L a n c e M e llo r, w ith th e h e lp o f th e fa m ily ’s c ra z y c o u s in . D a vid V a w se r T o n y M o rp h e tt, S c o tt H a rtfo rd -D a v is W a r d ro b e ...........................................................M a n d y S e d e w ie , L eo n S a u n d e rs, 2 n d a s s t d ir e c t o r s ...............................................K a rin K re ice rs, J u lia n n e J o n a s, L u is B a yo n a s, HOME AND AWAY D o ro th y B a ker, P a m e la H a llig a n P e te r K in lo ch , T o n y T ils e P rod, c o m p a n y ............................... A T N C h a n n e l 7 P ro p s b u y e r......................................... M a rk G riva s P e te r H e p w o rth , S c rip t s u p e rv is o r .................................................C a ro l W illia D lst. c o m p a n y ..................................A T N C h a n n e l 7 Sm ta sn d b y p r o p s ......................R ic h a rd W illia m s o n , M ic h a e l J o s h u a R e s e a rc h e r....................................................... K ris te n D u n p h y P ro d u c e r................................................ J o h n H o lm e s S u e B irja c ............ B re tt A n d e rs o n , P h o to g ra p h y ....... C a s tin g ................................................J e n n ife r A lla n , S c rip t e d ito r .............................................. B e va n Lee M u s ic e d ito r .....................................................W a rre n P e a rso n Ron Hagen Ire n e G a s k ill B a se d on th e o rig in a l id e a b y .......A la n B a te m a n O ff-lin e e d itin g ..................... T h e E d itin g M a ch in e ..............M a lc o lm R ose, S o u n d re c o rd is ts L ig h tin g d ire c to r....................................... J e ff B ro w n E xe c, p ro d u c e r..................................A la n B a te m a n V is io n s w itc h e r .................................................. J e n n y W illia m s J o h n M c K e rro w L ig h tin g c o n s o le ..........................................N ic V e rzi P rod, s u p e rv is o r.................... A s trid F rie d e ric h s T e ch , d ire c to rs ............................................... H o w a rd S im o n s, ............ L in d s a y P a rke r, E d ito rs ................... C a m e ra s ............................................. R ic h a rd B o n d , P ro d , c o - o r d in a to r ..................................K a te D e lin P e te r M e rin o , B ill M u rp h y T o n y C o n n o lly , P ro d , m a n a g e r.......................................................L is a F itz p a tric k B a rry Sh aw , ..........H e c to r C ra w fo rd , E xe c, p ro d u c e rs . M ik e O sb o u rn e , P ro d , a c c o u n ta n t..........................Ja n e e n F a ith fu ll P e te r C o e Ian C ra w fo rd , P e te r R o b so n P ro d , a s s is ta n t.....................................J a n e O g d e n R u n n e r ...................................... C a m e ro n S tra c h a n T e rry S ta p le to n V is io n m ix e r....................................... B ru c e W ils o n , C a s tin g .................................................... Inese V o g le r C a te r in g ................................................H e le n L o u e rs .................... V in c e S m its P rod, s u p e rv is o r... Joan Sw an C a s tin g c o n s u lta n t................................. M a u ra Fay P o s t-p ro d u c tio n ......................A T V -1 0 M e lb o u rn e ......................G in a B la ck P rod, co -o rd in a to r. A rt d ir e c t o r ...............................................................Ken M cC aVnisnio n c o n t r o l..........................................A lf S a m p e ri C a s t: A n n e C h a rle s to n (M a d g e M itch e ll), K ylie ...................... C h ris P age P rod, m a n a g e r ..... M a k e - u p ..............................................................E la in e H o rtoD n ,e s ig n e rs ...........................................F re ya H a d le y, M in o g u e (C h a rle n e M itch e ll), J a s o n D o n o va n ..............A n d re w O live r, G ra h a m Jo h n s o n U n it m a n a g e rs ....... C a ro lin e L e tte (S c o tt R o b in so n ), A la n D a le (J im R o b in so n ), R o b e rt V is s e r H a ird re s s e rs ........................................................D a vid Je n n C in og s tu , m e d e s ig n e r........................ C a ro l N e e d h a m A n n e H a d d y (H e le n D a n ie ls), S te fa n D e n n is ...............M a u ric e B u rn s L o ca tio n m a n a g e r M a k e -u p ........................................ C h ris tin e B a lfo u r, G e o rg in a B u sh (P a u l R o b in s o n ), E la in e S m ith (D a p h n e ............ C a ro l M a tth e w s G a rry S u itz P rod, s e c re ta ry ..... W a r d ro b e .................................... M ic h a e l C h ish o lm C la rke ), P a ul K e a n e (D es C la rke ), G u y P e a rce ................... J e ff S h e n k e r P rod, a c c o u n ta n t., W a rd ro b e s u p e rv is o r.................................. C a ro lin e S u ffie P ro p s b u y e r s ..............................P h ilip C u m m in g , (Mldike Y o u n g ), A n n ie J o n e s (J a n e H a rris). ...R ic h a rd C le n d in n e n , W a r d ro b e ..........................................M ira n d a B ro ck, 1st a s s t d ire c to rs .., F io n a S c o tt S y n o p s is : Lo ve ’em o r h a te ’e m , b u t e ve ry S te w a rt W rig h t, R o la n d o C a n o S ta n d b y p r o p s ........................S h a ryn R o se n b e rg , o n e ’s g o t ’e m : n e ig h b o u rs . R a m sa y S t r e e t . . . R a y H e n n e ssy W a rd ro b e a s s t s ..............................S u sa n P a lm e r, A n th o n y B ro d e ric k th e s ta g e fo r an e x c itin g d ra m a s e r ia l. . . d ra w ............A u re lia G in e vra , M ic h e lle L e tte rs 2 nd asst d ire c to r s . S e t c o n s tru c tio n ............................................... A lis te r T h o rn to n in g b a ck th e c u rta in to reveal th e in trig u e a n d P e te r N a th a n M u s ic a l d ire c to r ....................................................M ike P e rjaPnro ik p s b u y e r s ...................................M e rv y n A s h e r, p a s s io n s o f A u s tra lia n fa m ilie s . . . a n d th e ir ...................T a ra F e rrie r, Ian A n d re w a rth a , C o n tin u ity ................ S tu d io s ............................................... A T N C h a n n e l 7 n e ig h b o u rs . C a rm e l T o rc a s io A d ria n C a n n o n G a u g e ................................................................... V id e o ................... J a n P o n tife x S ta g in g a s s ts ............................... P e te r F itz g e ra ld , C a s tin g ..................... C a s t: R o g e r O a k le y (Tom ), V a n e s s a D o w n in g ONCE UPON A BREWERY A n to n C a n o n , ................ C ra ig B a rd e n , F o cu s p u lle r s ......... (P ip p a ), A le x P a p p s (F ra n k), S h a ryn H o d g so n G re g B u sh R o sie C a ss (C arly), H e le n a B o zich (Lyn), A d a m W illits P ro d , c o m p a n y ............................ S T W C h a n n e l 9 / S V F X ..................................................... B ria n M c C lu re ..........G a rry B o tto m le y, (S te ve n ), K a te R itc h ie (S ally), N ic o lle D ickso n C la p p e r/lo a d e r s ... C o m m e rc ia l P ro d u c tio n s Ian P h illip s G ra p h ic s ................................................................D a vid W e bPsrte (B o b b y), S h e ila K e n n e lly (F loss), F ra n k Lloyd o dr u c e rs ................................... D e re k S e a b o u rn e , F ilm re s e a rc h .................................................... M a rily n V e itn ik s ...............C ra ig D u stin g , (N e ville ), J u d y N u n n (A ilsa), R a y M e a g h e r (Alf). K e y g rip s .................. P h il D u ffie ld K e rry B o yle S o u n d a s s ts ..................................................... J o a n n e D o b b , c to r..........................................D e re k S e a b o u rn e S y n o p s is : A w a rm a n d a m u s in g fa m ily d ra m a Die ire S te v e B a ile y ..................... L e ig h T a te , th a t fo llo w s th e live s o f T o m a n d P ip p a S c rip tw rite rs ..............................R o b D o d d e m e a d e , A s s t g r ip s ................ V id e o ta p e ............................................................. K a th y H ln c liffe , W a yn e M itc h e ll F le tch e r, th e ir fo s te r c h ild re n and th e re sid e n ts D e re k S e a b o u rn e R o ss D e la fo rc e ....................... B ill Jo n e s, o f th e s e a s id e to w n o f S u m m e r B a y. T h e y P h o to g ra p h y .....................................................A n d re w G a te ly G a ffe rs ...................... S till p h o to g ra p h y ............................V irg in ia S p e a rs G a ry P lu n k e tt b a ttle d a lly v ic is s itu d e s a n d triu m p h s as th e y S o u n d re c o r d is t................................ D e a n T o Ih u rs t P u b lic ity .............................................G e o rg ie B ro w n ..................... C o lin S w an s e a rc h fo r th e ir p la ce in th e sun. E d it o r .............................................................R a y S h a w B o o m o p e ra to r....... ...............A n d re w R e ese L e n g th ..................................................3 x 5 0 m in u te s E xe c, p ro d u c e r..................................................T re v o r W rig h t A rt d ir e c t o r ............. ...................... Len B a rre tt C a s t: K a te F itz p a tric k (E liz a b e th P a rke r), K ris P rod, s e c r e ta ry ..................................................K a re n C o liin s A s s t a rt d ire c to r..... INVADER .................... C la re G riffin M cQ u a d e (J e n n ife r S h a n n o n ), N e ll S c h o fie ld 1 st a s s t d ire c to r ...........................D o n n a S h e p h e rd C o s tu m e d e s ig n e r ...........V iv R u sh b ro o ke , (L o u ise S h a n n o n ), P a u l C h u b b (H ila ry Davis), E xe c, p ro d u c e r’s a s s is ta n t..........S a n d ra G ib so n M a k e -u p ................... P ro d , c o m p a n y ........................ H o y ts P ro d u c tio n s / B ra d S m ith W yn R o b e rts (E x e te r S h a n n o n ), C la ris s a K a ye C a s tin g ......................F ro g P ro m o tio n s & B u lls h o t T riS ta r In te rn a tio n a l ......................L is a Jo n e s, M a so n (K a th le e n S h a n n o n ), J o e P e tru z z i (T o n y L ig h tin g d ir e c t o r ...................... W a lly F a irw e a th e r H a ird re s s e rs ........... P ro d u c e r..................................................J o h n A s h le y S u e K e lly W o lff-F e rra g o ), L o e n e C a rm e n (M e g a n S m a ll), C a m e ra a s s is ta n t...................................................K a rl M ie th e D ire c to r................................................. R ic h a rd C o lla

P ro d , m a n a g e r................................................B a rb a ra G ib bW s a rd ro b e s u p e rv is o r ..............................K e e ly E llis U n it m a n a g e r ........................................................ J o h n H e rfo Wrd a rd ro b e s ta n d b y ............................ A n n a B a u lch , A s s t u n it m a n a g e r .........................J u s tin P lu m m e r R a ch e l N o tt L o c a tio n m a n a g e r............................................. R o b yn C liftoPnro p s b u y e r .......................................... R o lla n d P ike P ro d , a c c o u n ta n t............................................. J a n in e F a ithSfu ll ta n d b y p r o p s ...........................................P a u l K ie ly A s s t a c c o u n ta n t...............................................L e a n n e F a ithSfu e llt d e c o ra to r s ................................. S o u li L iv a d itis , 1s t a s s t d ir e c t o r ................................. K e ith H e yg a te D a rre n J o n e s, 2 n d a s s t d ire c to r .....................................P .J. V o e te n L e ig h E ich le r, 3 rd a s s t d ir e c t o r ..................................... P ru A d a m s D a rc y C h e n e , C o n tin u ity .................................................. L iz B a rto n B ra d K in g C a s tin g ....................................................... M a u ra Fay S e t c o n s tru c tio n ................................ G o rd o n W h ite F o c u s p u lle r .............................................G re g R ya n S o u n d e d ito r ................................................ G e o ff H ill C la p p e r/lo a d e r ................................................K a th ry n M illisE d itin g a s s is ta n t.................... C a th e rin e A n g e lic o G a ffe r ......................................................................... R o b Y o u nMgix e r .................................................A n d re w J o b s o n B o om o p e ra to r................................. S te v e V a u g h a n B e st b o y s ............................................ C o n M a n cu so , A rt d ire c to r ..................................... A n d re w B la x la n d P e te r R yan M a k e - u p ................................. A m a n d a R o w b o tto m R u n n e r..................................................... A n d re w B u ll W a rd ro b e c o -o rd in a to r........................ R o b b ie H a ll C a te r in g .......................................S w e e t S e d u c tio n s W a rd ro b e b u y e r .............................................J. M ile s S tu d io s ............................................. G T V C h a n n e l 9 W a rd ro b e s t a n d b y ............................................. F io n a N ic hM o lls ixe d a t ................ C ra w fo rd P ro d u c tio n s P ty Ltd P ro p s b u y e rs .................................J o c k M c L a c h la n , L a b o ra to ry ....................................................... C in e v e x A n d re w S h o rt L e n g th ..............................................24 x 4 7 m in u te s S ta n d b y p r o p s ......................................................J o h n D a n ie G la u g e ....................................................................16m m S till p h o to g r a p h y ............................................... S te v e B ra cSkh o o tin g s t o c k .....................................................7291 B e st b o y ...............................................P e te r M a lo n e y C a s t: R o b e rt G ru b b (D r G e o ffre y S ta n d is h ), Liz R u n n e r s .................................................................. G a ry J o n eBs,u rc h (D r C h ris R a n d a ll), L e o n o re S m ith (K ate B a rtG ro e n W e llin g s ), B ru c e B a rry (G e o rg e B a xter), Pat U n it p u b lic is t.................................................... R h o n d a D a w E sovison n (V io le t C a rn e g ie ), R e b e c c a G ib n e y C a te rin g ..................................................... J a n in e L u ff (E m m a P lim p to n ), M a u rie F ie ld s (V ic B u ckle y), L a b o ra to r y .......................................................... A tla b V a l J e lla y (N a n c y B u ckle y), P e te r O ’ B rie n L e n g th .......................................................................... 9 4 m in u(S team s P a tte rso n ), G e o rg e K a k in ia ris (D .J.). G a u g e ................................................................... 16m m S y n o p s is : A R o yal F lyin g D o cto r se rv ic e is C a s t: D e n n is M ille r (A b b o tts o n ), A n d re w M clo ca te d in th e o u tb a c k to w n o f C o o p e rs F a rla n e (C o ste lli), K im K re ju s (B o n n ie ), S h a n e C ro ssin g . T h e tw o d o c to rs , G e o ff S ta n d is h and B ria n t (Z o li S co a n e ), G ra h a m R o u se (M a ck). C h ris R a n d a ll, n o t o n ly c o n te n d w ith th e S y n o p s is : C o n te m p o ra ry p o lic e a c tio n s to ry m e d ica l c h a lle n g e s , b u t a lso w ith th e sm a ll s e t a ro u n d S y d n e y H a rb o u r a n d its e n v iro n s . c o m m u n ity in w h ic h th e y live.

CINEMA PAPERS MARCH - 75

P R O D U C T I O U S T S U R V E Y K e y g r ip ............................................ K a re l A k k e rm a n F e lic ity S o p e r (S u sa n M iller), E m ily S ym o n s S to ry c o n s u lta n t...........................................G e o ffre y D u ttoS n e t c o n s tru c tio n (S y d n e y )................... L ip s S tu d io A sst g r ip ................................................................ D a vid C ro ss(A n n e C o ste llo ). A rt d e p t r u n n e r s A d a m H a m m o n d (S ydne y), P ro d u c e r’ s s e c r e ta ry ...................... A n g e lin a S ifis G a ff e r ...................................................D a rry l B in n in g S c o tt M itc h in s o n (lo ca tio n ) S y n o p s is : T h is ne w A u s tra lia n s e ria l b a re s th e C a s tin g ....................................................................... Liz M u llin a r B o o m o p e ra to r.................................. G le n n D a vie s A s s t e d ito r s ...............................A lis o n M c C ly m o n t, p riv a te live s o f th e re sid e n ts o f an o u te r-c ity C a s tin g C o n s u lta n ts D e b o ra h R e id A rt d ire c to r ..........................................K e lvin S e xto n a re a and in vo lve s p e o p le fro m e ve ry w a lk of E x tra s ’ c a s t in g ................................J u d ith C ru d e n M a k e -u p .................................................... K a re n S im s N e g. m a tc h in g .....................................K u tth e K a p e r life . T h e y a ll ha ve se cre ts — ro m a n tic and F o cu s p u lle r......................................D a rrin K e o u g h W a rd ro b e ............................................................D e n ise N a p ie M u s ic a l d ir e c t o r ....................................M a rk M o ffa tt d rra m a tic . Richmond Hill te lls th e s to rie s o f a C la p p e r/lo a d e r................................ K a th ry n M illiss c o m m u n ity . S p e c ia l e f fe c t s ................................................... S te v e V o lich K e y g r ip .................................................................B ru c e B a rb eSro u n d e d it o r ...................................... M ic h a e l J o n e s Set c o n s tr u c tio n ......................... D a vid B o a rd m a n S a fe ty c o -o rd in a to r/ A sst g r ip ......................................... G a ry S h e a rs m ith s tu n ts c o - o r d in a to r ..................C la u d e L a m b e rt R u n n e r ......................................G e m m a S e a b o u rn e G a ffe r...................................................... Ian P lu m m e r P u b lic ity .............................................S T W C h a n n e l 9 S a fe ty o ffic e r s .................................................... R a n g i N iko ra , 3rd e le c tric s / C a te r in g .............................................................. G riffe n C a te re rs R ic A n d e rs o n g e n e o p e ra to r ................................................S te v e H a rris S tu d io s .................................................................. S T W 9 S t u n t s ............................................. C la u d e L a m b e rt, B o om o p e ra to r ..............................C a th e rin e G ross B u d g e t.......................................... $ 9 6 ,0 0 0 Ian L in d , A rt d ir e c t o r ............................................. R o b e rt D e in R ic A n d e rs o n L e n g th ........................................................ 2 2 m in u te s A rt d e p t c o - o rd in a to r...................... Di H e n ry G a u g e ........................................... B e ta ca m A rt d e p t a s s is ta n t............................................. S im o n D o b bS intill p h o to g ra p h y ...........................B ria n M c K e n z ie C a s t: M ic h a e l C a rm a n (D u n ca n ), M a g g ie C o stu m e d e s ig n e r........................................G ra h a m P u rceDllr a fts p e rs o n .................................. A lk y A v ra m id e s C o stu m e s u p e rv is o r................ H e a th e r M cL a re n A c tio n v e h ic le s ............................................ R ic P e tro W ild e -W e s t (B a rm a id ), M a u rie O g d e n (D river), THE ALIEN YEARS A rt d e p t r u n n e r ................................................... P e te r L ittonA c tio n v e h ic le s d r iv e r ..........................................P a u l N a ylo r A n n e R o n ch i (T o u r gu id e ). P rod, c o m p a n y ....................A B C /R e s o lu tio n F ilm M a k e -u p ................................................. V iv M e p h a m T u to rs ....................................................................S u sa n H illa ry, S y n o p s is : A c o m e d y th a t tra c e s th e b e g in P ty Ltd K a re n S a n d e r H a ird re s s e r........................................................... J o a n P e tch n in g s o f o n e o f th e w o rld ’s m o st m o d e rn Dist. c o m p a n y ............................................... R e vcom A u s tra lian d b y w a rd ro b e ....................... D e vin a M a xw e ll S ta U n it n u r s e ................................................................ S u e S h e a d b re w e rie s — B o n d B re w in g . P ro d u c e r................................................... R a y A le h in M odel m a k e r ......................................................J e w e ll G re e nM U /W R /G re e n ro o m d r iv e r .............. Ian F re e m a n D ire c to r.............................................................. D o n a ld C ro mPbro iep s b u y e rs .................................................B lo sso m F lint, R u n n e r..............................................L y n d ie M e n ke n RAW SILK S c r ip tw rite r ..........................................................P e te r Y e ld h a m A n n e tte R eid R u shes r u n n e r............................... S a ra h W illm o re P rod, c o m p a n y ......................................... T e le v is io n H o u se P h o to g ra p h y ........................................ P e te r H e n d ry S ta n d b y p ro p s ..............................G e o rg e Z a m m itt P u b lic ity .............................................................. S h e lly N e lle r, D ist. c o m p a n y ................................... N in e N e tw o rk S o und r e c o rd is t..................................................P e te r B a rb C e ra rp e n te rs ........................................ M ich a e l R out, T h e W rite O n G ro u p P r o d u c e r ................................................................ J o h n Y o u nEgd ito rs .............................................T o n y K a vanagh, J e ffre y B ro a d fie ld , C a te r in g ................................ D a vid & C a ssie V a ile , D ire c to r......................................................... G re g Dee Lyn S o lly C o n M u sta rd , O u t T o L u n ch S c rip tw rite r............................................................ K e ith A b e rd e in Prod, d e s ig n e r ................................... Q u e n tin H ole G e o ffre y H in s b y C a te rin g a s s is ta n ts .................N ic h o la s A lim e d e , P h o to g ra p h y ........................................................ B a rry W ils oCno m p o s e r........................................................... B ru ce S m e a to n S e t c o n s tru c tio n ..............................D a n n y B u rn e tt D a vid M a rs h a ll E d it o r ..........................................................G ra n t Fen n E xec, p ro d u c e rs .................................S a n d ra Levy, E d itin g a s s is ta n t..............................W a yn e H a yes S tu d io s ............................................ P y ra m id S tu d io s P rod, d e s ig n e r......................................................M a ry H a rris G e o ffre y D a n ie ls D u b b in g e d ito r ..................................Z s o lt K o lla n yi M ixe d a t ..................................................... S o u n d firm E xe c, p r o d u c e rs ..................................J o h n Y o u n g , A sso c, p ro d u c e r .............................P e te r Y e ld h a m E ffe cts so u n d e d ito r .......................A n d re w P la in L a b o ra to ry ............................................................... C F L Lyn B a yo n a s P rod, s u p e rv is o r............................. ! ..D e n n is K iely A tm o s s o u n d e d ito r .....................J a m e s M a n ch e Lab. lia is o n ........................................ K e vin A c k ro y d A sso c, p r o d u c e r ..........................C. E w an B u rn e tt U n it lo ca tio n m a n a g e r..........................................V a l W in dAo tm n o s a s s t.................................. B rig itte D e la c ro ix T a p e h o u s e ................................................... V id e o la b P rod, c o -o rd in a to r................................................. S u e E va ns Prod, s e c r e ta ry ........................K e rrie W a in w a rin g D ia lo g u e a s s t................................... R o b e rt W e rn e r T e le c in e o p e ra to r..................................................S u e W ils o n P rod, m a n a g e r ............................ C. E w an B u rn e tt B u d g e t o f fic e r .................................... C y n th ia K e lly W ra n g le r ............................................ G ra h a m W a re B u d g e t...................................................................$ 3 .7 5 m illio n 1st asst d ire c to r......................................................R o b K e w le1st y asst d ire c to r ..............................................R u sse ll W h ite o a k B e st b o y .............................................G ra n t A tk in s o n L e n g th ........................................................2 x 2 h o u rs C o s tu m e d e s ig n e r .............................M a rio n B o yce 2nd asst d ire c to r ............................................... S te ve S ta n nRaurdn n e r ............................................J o h n M cD o n a ld C a s t: K ris M c Q u a d e (E lsie), M e lis s a D o c k e r M u s ic a l d ire c to r................................................... R o ss B u rtoCn o n tin u ity ............................................E m m a Peach C a te rin g ..............................................J o h n F a ith fu ll (D usty), A n n e L o u is e L a m b e rt (K ate), T o d d P u b lic ity .................................................................G TV 9 C a s tin g ................................................ J e n n ife r A lle n B u d g e t......................................................$ 5 ,5 8 9 ,5 6 7 B o yce (B lu e y), J o s e p h S p a n o (F ra n co ), O llie S tu d io s ......................................................... T e le v is io n H o u se C a stin g a s s t ............................. M a u re e n C h a rlto n H a ll (Tiny), J o h n J a rra tt (Ja cko ), H a ro ld L e n g th ............................................. 2 x 120 m in u te s B u d g e t ........................................................... $ 5 0 0 ,0 0 0 C a m e ra o p e ra to r..............................R o g e r Lan ser G a u g e .................................................................. 35 m m H o p kin s (W h a cka ), P e ta T o p p a n o (G ina), L e n g th ..........................................................................9 0 m in u te s s p u lle r ....................................... R o b e rt F oster Focu S h o o tin g s to c k ..................... K o d a k E a s tm a n c o lo r D a n n y S im m o n d s (S h o rty). G a u g e ................................................................... V id e o C la p p e r/lo a d e r........................ C h a n ta l A b o u c h a r S y n o p s is : B a sed on th e s to ry o f E m m a E liza S y n o p s is : T h e se q u e l to Fields Of Fire is s e t in C a s t: D a vid A rg u e , T in a B u rsill. Key g r ip .......................................J o h n H u n tin g fo rd C oe, an A m e rica n -S a m o a n w o m a n w h o se t up th e c a n e g ro w in g c o u n try o f N o rth e rn Q u e e n s S y n o p s is : Raw Silk fe a tu re s th e d ia m e tric a lly G a ff e r ......................................... T im M u rra y-Jo n e s a h uq e tra d in q e m p ire in th e S o u th P a cific last la nd in th e la te 194 0s w ith th e m a in c h a ra c te rs o p p o s e d p u rs u its o f th e ‘s ilk ’ b a rris te r, K a te E le c tric ia n s .................................................... R ic h a rd G ran t, ce n tu ry. fro m th e firs t s e rie s a d ju s tin g to p o s t-w a r life. B ra d b u ry (T in a B u rs ill) a n d th e ‘ra w ’ stre e t Ken P e ttig re w S o m e o f th e Ita lia n c a n e -c u tte rs c o n s o lid a te s m a rt so lic ito r, P e rry (D a vid A rg u e ). T h e Boom o p e ra to r................................... M a rk B o w yer (m o st th ro u g h ha rd w o rk , b u t s o m e th ro u g h th e FIELDS OF FIRE — THE SEQUEL ra d ic a l y o u n g la w ye r P e rry is fra m e d on a C o stu m e d e s ig n e r............................W e n d y C h u ck b la ck m a rke t). T h e re s u lt is o n -g o in g fric tio n b ru ta l m u rd e r ch a rg e . P e rry d e fe n d s h im s e lf M a k e -u p ................................................................... J iri P avlin, P rod, c o m p a n y ....................P a lm B e a ch P ic tu re s b e tw e e n th e in c re a s in g m ig ra n t p o p u la tio n a g a in s t th e b rillia n t fe m a le b a rris te r, K a te J e n n i B o ehm (FO F ) P ty Ltd (p a rtic u la rly th e Ita lia n c o m m u n ity ) a n d th e ir B ra d b u ry . S p a rk s fly a n d e m o tio n s run h ig h as W a rd ro b e ....................................................... M ira n d a B rock, Dist. c o m p a n y ............Z e n ith P ro d u c tio n L im ite d su sp ic io u s A u s tra lia n c o u n te rp a rts . th e tru th is re vealed. W e n d y F a lc o n e r P ro d u c e rs ...............................................D a vid E lfick, P ro p s.....................................................P e te r B ra n ch , Ire n e K o rol THE GEMINI N ico le M itch e ll, D ire c to rs ................................................ D a vid E lfick, RICHMOND HILL P rod, c o m p a n y ...................................... L ig h t Im a g e P e te r F itzg e ra ld R o b M a rch a n d P ro d u c e rs .......................................R ick C a va g g io n , P rops b u y e rs ..................................... M e rvin A sh e r, S c rip tw rite r.................................. P a tric ia J o h n s o n P rod, c o m p a n y .......... G ru n d y T e le v is io n P ty Ltd T o n y C ro n in M a rtin G o rd o n S to rylin e b y .......................................... D a vid E lfick, P r o d u c e r ....................................................P h ilip East D ir e c to r .................................................................... S u e R ic h te r S p e cia l e ffe c ts /a rm o u re r............... P e te r L e g g e tt R o b M a rch a n d D ire c to rs ......................................... P e te r A n d rik id is , D e s ig n e rs ........................................................ M a rcu s N o rth,P h o to g ra p h y .............................. F ra n k H a m m o n d S c r ip tw rite r ..............................................................S u e R ic h te r R u sse ll W e b b , Col Rudder An o rig in a l id e a b y ................................G e s tu re s — S o u n d re c o rd is t................................. P a u l B rin c a tt Rod H ardy, T h e a tre o f th e D e a f (S o u th A u stra lia ) Neg. m a tc h in g ................................. P a m e la T oo se E d it o r ............................................ S tu a rt A rm s tro n g A lis te r S m art, S o u n d e d ito r s ............................La w rie S ilve rstrin , S o u n d re c o rd is t...................................D e s K e n e a lly P rod, d e s ig n e r.................................... R on H ig h fie ld M a rk P iper, S a n d i E yles E d ito r......................................................... S u e R ic h te r C o m p o s e rs .......................................... M a rk M o ffa tt, J u lia n P rin q le M ix e r....................................................................... M a rk W a lk e r P rod, m a n a g e r.................................M a rtin G o rd o n S c rip tw rite rs .................................................... V a rio u s W a y n e G o o d w in S tu n ts c o -o rd in a to rs ............... R o cky M cD o n a ld , P rod, s e c re ta ry ..............................M a rjo rie S tro u d E xec, p ro d u c e r.......................M a rg a re t M a th e so n S c rip t e d ito r s .......................................... R ick M aier, G u y N o rris P rod, a c c o u n ta n t...........................J o h n B rin k m a n P rod, m a n a g e r ...............................P e rry S ta p le to n M a ry D a g m e r D a vies S till & A s s o c ia te s P rod, c o -o rd in a to r............................. S h a ro n M ille r S to ry e d ito r............................................................J o h n C o u lte r p h o to g ra p h y ............................ G a ry J o h n s to n H o rs e m a s te r.................................................. G ra h a m W areU n it m a n a g e r...................................... P h il U rq u h a rt 1s t asst d ir e c t o r ........................................ R a y Q u in t B a sed on th e o rig in a l id e a b y ......... R eg W a tso n C o n tin u ity ............................. ...H e a th e r O xe n h a m P un,b lic ity .............................................G e o rg ie B row n Loca tio n S o u n d r e c o rd is ts ................................................ M ick O ’B rie L ig h tin g c a m e ra p e rs o n ...................................B ru c e R e a d y C a te r in g ............................................ A & B C a te rin g m a n a g e rs ...............M a ria n n e W itz ig (lo ca tio n ), J e ff R u d d e r S tu d io s ....................................A B C F o re st S tu d io s C a m e ra o p e ra to r ...............................................B ru ce R e a d y P h il U rq u h a rt E d it o r ...................................... T h e E d itin g M a ch in e Key g r ip .................................................R o b C u tc h e r P rod, d e s ig n e r....................................................Leo re R oseM ixe d a t ...................................A B C F o re st S tu d io s U n it a s s is ta n t......................................A la n W ilc o c k C o m p o s e r (th e m e )......................................... A sh le y Irw inL a b o ra to ry .................................................... C o lo rfilm Prod, s e c r e ta ry .................................................. B a s ia P la cG h eacffe k i r ....................................................................... T o m M o o d y B u d g e t.......................................................$ 5 ,8 0 0 ,0 0 0 E xe c, p ro d u c e r...................................................... Don B a ttye P rod, a c c o u n ta n ts .................................... R o se m a ry H all,A rt d ire c to r ................................ L ib b y U n d e rw o o d L e n g th .................................................6 x 50 m in u te s A sst a rt d ir e c t o r .......................R e n a ta C a lla g h a n E xe c, in c h a rg e o f p ro d u c tio n ........... P e te r P in n e M o n e y p e n n y S e rvice s G a u g e .................................................................. 35m m M a k e -u p ..................................... F io n a R h ys-Jo n e s A sso c, p r o d u c e r ...........................M a rg a re t S la rke P rod, a s s is ta n t................... J e n n ife r d e s C h a m p s S till p h o to g ra p h y ............................... D a vid B ish o p P rod, c o -o rd in a to r........................................... R o byn M cKSahy o o tin g s to c k ................................... E a stm a n co lo r 1s t asst d ire c to r ..................................B o b H o w a rd B u d g e t............................................................. $ 8 0 ,0 0 0 P rod, m a n a g e r......................................................D ale A rth C u ra st: J o h n H a rg re a ve s (W illia m ), V icto ria 2nd asst d ire c to r .......................................Ian K e n n y L o n g le y (E lizabeth), J a n e H a rd e rs (E dith), Kim L e n g th ......................................................................... 2 7 m in u te s A s s t d ire c to rs .................................. R o ss H a m ilto n , 3rd asst d ir e c t o r ..............................G u y C a m p b e ll K rejus (M artha), C h risto p h W a ltz (S tefan ), Tom G a u g e .........................................B e ta ca m , 1" vid e o M egan D ow nes, 2 n d u n it d ire c to r...............................R o b e rt A lc o c k Je n n in g s (H arry), N ick T a te (N o rth ), Jo n a th a n C a s t: ‘G e s tu re s — T h e a tre o f th e D e a f (SA). M a rg o t S n e llg ro ve C o n tin u ity ..........................................J a c k ie S u lliv a n Sw eet (M cV eigh ), J o h n A lle n (Lucas), A lfre d y cn koip s is : A s to ry o f d e a f frie n d s . C o m m u n ic a C o n tin u ity ..............................S te p h a n ie R ich a rd s, P ro d u c e r’s a s s is ta n t........................................B a s ia P la cS he Bell (H a rp u r), K laus S c h u lz (G erhardt). tio n s w ith in th e d e a f c o m m u n ity a re e xp lo re d A n n ie C a sey, C a s tin g ............................................... C h ris tin e K in g S y n o p s is : S e t at th e tu rn o f th e c e n tu ry , th is as a se rie s o f d ile m m a s u n fo ld fo r o n e o f th e C a itlin K irk p a tric k S to ryb o a rd a r tis t ............................... R o b e rt A lc o c k se rie s is a b o u t th e d a u g h te r o f a S yd n e y p o li girls. C a s tin g ....................................................Su e M a n g e r C a m e ra o p e ra to r 2 n d u n it ............... B o b H a w kin s tic ia n w h o elo p e s w ith a y o u n g G e rm a n C a s tin g a s s is ta n t.........................K irstin T ru s k e tt S o u n d re c o rd is t 2 n d u n it .................................. P a u l G le e so n C a m e ra o p e ra to r s ............................................D a vid Levy,m ig ra n t to th e B a ro ssa V a lle y to s ta rt a vin e Focu s p u lle r s ...................................... R o ss E m ery, HILLS END yard. C live W a lke r, P e te r T e ra ke s P rod, c o m p a n y ...................R e vco m P ro d u c tio n s S te ve G ray, C la p p e r/lo a d e r................................ .K a trin a C ro o k P ty Ltd Ian G o rd o n , Key g r ip .............................................. R o ss E rickso n EMMA D ist. c o m p a n y ...........R e vco m T e le v is io n P ty Ltd W a yn e S tyle s A s s t g r i p ..................................... D a rrin B a lla n g a rry P rod, c o m p a n y .........................A n ro P ro d u ctio n s Pn ro d u c e r.....................................................N o el P rice S o u n d s u p e rv is o r .......................... S te p h e n S m ith G a ffe r .....................................................................P e te r O ’ B rie P ty L im ite d fo r D ir e c to r ........................................................... D i D rew L ig h t in g ..................................................................T o m C arey, B e st b o y ............................... J o h n B ryd e n -B ro w n M u lti F ilm s In ve stm e n ts L im ite d S c rip tw rite r............................................................ N o e l R o b in so n A d ria n O bern G e n e ra to r o p e r a t o r ........................T o m R o b in so n Dist. c o m p a n y .............................F rie s D is trib u tio n Based on th e nove l b y .........................................Ivan S o u th a ll A rt d ire c to r ......................................P am M illb o u rn e B oom o p e ra to r...................................................... P a u l G le e so n C o m p a n y, Inc./ C o s tu m e d e s ig n e r.......................................A m a n d a G roo m A s s t a rt d ire c to r ............................................. R ic h a rd H o b bPs h o to g ra p h y .............................. D a n n y B a tte rh a m In te rn a tio n a l Film M a n a g e m e n t Ltd S o u n d M a ke -u p s u p e rv is o r........................................P e g g y A rn o ld D e sig n a s s is ta n t...................................................A lk y A vra m id e s re c o rd is t............................S id B u tte rw o rth (T he W o rld e x c lu d in g A u stra la sia ), H a ird re s s e rs ...........................W a rre n H a n n e m a n , C o stu m e d e s ig n e r.............................................H e le n H o o pEedr ito r...............................................P ip p a A n d e rso n rod, A n ro P ro d u c tio n s P ty L im ite d G a il E d m o n d s M a k e -u p .............................................................V io le tte F o n taPin e d e s ig n e r.................................................... B ria n T h o m so n (A u stra la sia ) W a r d ro b e ...............................................................K a te B o a lsch , H a ird re s s e r........................................................ P a sca l S a te tE xec, p ro d u c e r...................................................G e o ff D a n ie ls A sso c, p r o d u c e r .............................................S a n d ra A le x a n d e r P ro d u c e rs ............................................................... A n n C h a pHmaair/m n , a k e -u p a s s is ta n ts .............................C a ro ly n N o tt, P ip H a in P rod, m a n a g e r....................................................A n n e B ru n in g R o ss M a tth e w s S ta n d b y p r o p s ................G a b rie lle G ru b a n o vich , R o g e r G a u d io P rod, c o -o rd in a to r..............................F fio n M u rp h y D ir e c to r ................................................. Jo h n Banas Lee B u lg in , C o s tu m e s u p e rv is o r..............................Lyn A ske w U n it m a n a g e r...................... R ich a rd M o n tg o m e ry R o b e rt R asa S c r ip tw rite r s .......................................................... R o b C h a pCmo a n , m e c o n s tru c tio n s tu P rod, s e c re ta ry .....................................A n n i G ru n e r Ann Chapm an S e t d re s s e rs ...................................................... D a riu s H a d d a d i, s u p e rv is o r ...........................................................R ita C ro u ch P rod, a c c o u n ta n t...................................................J o n G o ld sm ith , S te ve B u rto n P h o to g ra p h y ..........................................G e o ff B u rto n C o s tu m e c o n s tr u c tio n ................E liza b e th N e a te , C a tc h 1-2-3 M u s ic e d ito r...........,.......................... G a ry H a rd m a n S o u n d r e c o r d is t ..................................................R o ss L in to n H e le n D yke s rod, V isio n s w itc h e r ...................................................... Eve D o novan E d ito r................................................. W a y n e Le C los P ro p s b u y e rs .........................................................S a m R ickaPrd , a s s is ta n t............................................. K a trio n a B u tle r 1st a sst d ire c to r..............................................M ich a e l F a ra n d a T e ch , d ire c to rs .................................T im C a va n a h , P rod, d e s ig n e r .......................................N e il A n g w in D a vid T re th e w e y, 2nd asst d ire c to r .......................... R o b in N e w ell M a rk S to n e h a m D a vid M cK ay, E xe c, p ro d u c e rs ....................................................R ob C h a p m a n , 3rd a sst d ire c to r................................ N a o m i E n fie ld M a rk D a w son A n to n y I. G in n a n e R u n n e r ............................................... J a n e lle G ra ce P u b lic ity ................................................. N e tw o rk T en P rod, c o - o r d in a to r ............................. L iz z ie H a g a n S ta n d b y p r o p s ................................................... D a lla s W ilsoCno n tin u ity ............................................... N ik k i M oors C a stin g c o n s u lta n ts ............................Liz M u llin a r P rod, m a n a g e r............................. S a lly A yre -S m ith C a te rin g ............................................. T a s te B u d d ie s A s s is ta n t s ta n d b y p r o p s ........ .Ja m e s M c T e ig u e C a m e ra o p e ra to r .............................................D a n n y B a tte rh a m U n it m a n a g e r............................ C h ris to p h e r J o n e s S p e c ia l e f fe c t s ........................................ B ria n C o x, S tu d io s .......................................................C h a n n e l 10 L o ca tio n m a n a g e r........................................... M a u d e H e ath F o cu s p u lle r s .........................................C h ris to p h e r C ole, P o s t-p ro d u c tio n ......................................... O m n ico m D a ve H a rd ie P rod, s e c r e ta ry .................................................... S a m T h o m o ic n a r tis t ............................................. B ill U n d e ry S cp es n M a rtin T u rn e r C a s t: R o b e rt A le x a n d e r (F ra n k H a cke tt), P a u la C la p p e r/lo a d e r................................................... D a vid S c a n d o l Prod, a c c o u n ta n t.......................................... M ic h e le d ’A rce S cy, e n ic p a in te r...................................S im o n C la yto n D u n ca n (Ja n e t B ryant), T im E lsto n (W a rre n C a tc h 1-2-3 K e y g r ip ................................................................. D a ve N ic h o lls C o n s tru c tio n m a n a g e r (lo c a tio n )..........B ill H o w e B ryant), M a rc G ra y (A n d re w R yan), Ross C a rp e n te rs ( lo c a tio n )..................... J o h n G ra n g e r, A sst g r ip .................................................................T o b y C o p p in g 1st a sst d ire c to r ........................M ic h a e l B o u rc h ie r H ig g in s (D an C o ste llo ), M a g g ie K irk p a tric k (Ivy G a ffe r............ ..............................................P a t H a gen 2 n d asst d ire c to r...............................P e te r K e a rn e y L a rry S a n d y, H a cke tt), A m a n d a M u g g le to n (C o n n ie Ryan), W a rw ic k M ille r, B oom o p e ra to r............................................. S u e K e rr 3 rd a sst d ir e c t o r ................ T o b y C h u rc h ill-B ro w n D in a P a n o zzo (Jill W e b ste r), A s h le y P a ske A rt d ire c to r .................................................... N ic h o la s M cC a llu m C o lin P a in e C o n tin u ity ........................................................... A lis o n G o o d w in (M a rty B ryant), G w e n P lu m b (‘ M u n v Foote),

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C o s tu m e d e s ig n e r .................................J e n n ie T a te P r o d u c e rs .....................................P a m e la V a n n e c k , E w a rt (Jo h n N o rto n ), R a ch e l W a rd (V iv ia n B u llP rod, m a n a g e r ................................ P a u la B e n n e tt M a k e -u p ..........................................A n n ie H e a th c o te R o n S a u n d e rs P rod, c o - o rd in a to r...........................E d w in a N ic o lls w in k e l), L o rn a L e s le y (M a ry M a c K illo p ), L in d a H a ir d re s s e r ...................................A n n ie H e a th c o te D ir e c to r s ................................................... G il B re a le y, U n it m a n a g e r ........ C h ris tia a n H o p p e n b ro u w e rs C ro p p e r (L o la M o n te z), R o b e rt W illo x (Ja ck W a rd ro b e s ta n d b y ................ ............M a rg o W ils o n K e vin D o b so n , L o c a tio n m a n a g e r .......................... C h ris W illia m s S im p s o n ), P e te r P h e lp s (Les D a rcy), O d ile Le W a rd ro b e a s s t ..................................T o n y A s s n e s s R o d H a rd y, P rod, s e c r e ta ry .......................................A n n l G ru n e r C le z io (L o ttie Lyell), C h ris to p h e r S to lle ry (E rro l P ro p s b u y e r s ..................................... L is a A tk in s o n , M a rk C a lla n , F lyn n ), S c o tt B u rg e s s (C lyd e F e n to n ), H e le n P ro d , a c c o u n ta n t.......................................... T h e re s e T ra n M a rk D a w so n , Ian G ilm o u r, M u tk in s (B e tty C u th b e rt), R h ys M c C o n n a c h ie P rod, a s s is ta n t..................................K a trio n a B u tle r D a v id M cK a y, M ic h a e l C a rs o n , (Ja ck D a vey), B ill K e rr (G o rd o n B e n n e tt). 1 st a sst d ire c to r ......................................S tu a rt W o o d S a n d ra M a rs h a ll B e n L e w in , 2 n d a s s t d ire c to r ...................................................J o h n T itle y S y n o p s is : Michael Willesee’s Australians is a S ta n d b y p ro p s ...... ............................... G ra n t Lee S te p h e n W a lla ce , d ra m a s e rie s o f m o n u m e n ta l e ve n ts, u n s u n g C o n tin u ity ...........................................K a y H e n n e s s y S p e c ia l e ffe c ts ...............................S te v e C o u rtn e y K a th y M u e lle r, C a s tin g ......................................L iz M u llin a r C a s tin g h e ro e s a n d b u rie d s u rp ris e s o f h is to ry fro m S e t d r e s s e r ....... .................................. G le n J o h n s o n J o h n P o w er, L ig h tin g c a m e ra p e rs o n .................. J u lia n P e n n e y A u s tra lia ’s p e n a l b e g in n in g s to th e p re s e n t S c e n ic a r tis t......................................D a v id T u c k w e ll d ay. H e n ri S a fra n , F o cu s p u lle r ....................................S a lly E c c le s to n C o n s tru c tio n m a n a g e r......................................G e o ff H o w e G e o rg e W h a le y , C la p p e r/lo a d e r.................................D u n c a n T a y lo r A s s t e d ito r ...................................................:S te p h a n ie F la c k G e o rg e O lg iv ie K e y g r i p .................................................. G e o ffre y F u ll NO MORE SECRETS S o u n d e d it o r ..................................A s h le y G re n v ille S c r ip tw rite r s .................................... T o n y M o rp h e tt, A s s t g r ip ...........................................A n d re w G la s s e r P ro d , c o m p a n y ........................ T V Ed P ro d u c tio n s S tu n ts c o - o r d in a to r .........................B e rn ie L e d g e r A n n e W h ite h e a d , G a ffe r ................................................G ra h a m M u ld e r — M in is try o f E d u c a tio n , V ic to ria S t u n t s .................................................. B e rn ie L e d g e r R o g e r M cD o n a ld , B o o m o p e ra to r....................................... D a v id W h ite D ist. c o m p a n y .....................M in is try o f E d u c a tio n S till p h o to g ra p h y ................................ J im T o w n le y , J o h n U p to n , A rt d ire c to r..................................... D e rric k C h e tw y n P r o d u c e r .......................................................Iv a n G a a l B ria n M c K e n z ie J o h n M isto , C o s tu m e d e s ig n e r...................... A n n ie B e n ja m in D ir e c to r ..........................................................Ivan G aal W ra n g le r ..................................................................D a le A sp in A n n e B ro o ksb a n k, Msa k e -u p ....................................................T ris h G lo v e r S c r ip tw r ite r ............................................................J o h n R e e ve B e st b o y ................................................................. C ra ig S yke s P e te r S c h re c k , H a ir d re s s e r ............................................................. P a u l W illia m s B a se d on th e o rig in a l id ea R u n n e r...........................................................S e b a s tia n T h a w G e o ffre y A th e rd e n , W a rd ro b e ................................... L u c in d a M c G u ig a n b y ...............................B o u v e rie S tre e t T IE T e a m A rt d e p t r u n n e r ................................................... D a v id J o y c e D e n is e M o rg a n , S ta n d b y w a rd ro b e ........................ B a rb ra Z u s s in o S o u n d re c o r d is t................................ D a vid H u g h e s A rt d e p t a t ta c h m e n t ........................................ A n g u s T a ttle W a rw ic k H in d , S e a m s tre s s ...........................................R a n d a S a a d a E d it o r s .......................................................... Ivan G aal, D ra u g h ts m e n .................................... P e te r B a rtle tt, J o h n L o n ie A s s t a rt d ire c to r/ W a lly M a rin c e l Ian E m p so n S c rip t e x e c u tiv e .................................S u e M a ste rs p ro p s b u y e r ................................ H e le n M a c a s k ill C o m p o s e r........................................... S u sa n Y a rd le y M u ra l a r tis t........................................... R o ss W a lla c e B u s in e s s a ffa ir s .....................................K im V e c e ra A s s t p ro p s b u y e r ........................... M u rra y G o sso n L ig h tin g c a m e r a p e r s o n ............................. S te p h e n S ko k G re e n s ................................................ G re g g T h o m a s S ta n d b y p ro p s ...........................................J a m e s C o x P h o to g ra p h y ........................................... J a n K e n n y, C a m e ra o p e ra to r...........................................S te p h e n S ko k P a in te rs ........................................... P e te r M c G re g o r, S e t c o n s t r u c tio n ....................................J o h n P a rk e r M a rtin M cG ra th C a m e ra a s s is ta n t............. S p iro E co n o m o p o u lo s A n d re a O v e ra ll, C o n s tr u c tio n .................................................... A n d re w G a rd in e r S o u n d r e c o r d is t .................................... N o e l Q u in n G a ff e r ................................................... J o h n D e F azio M a rtin B ru v e ris S tu n ts c o - o r d in a to r .........................................C la u d e L a m b e rt E d ito rs ....................................................K e rry R e gan, M a k e u p ............................................................... J a y n e C a tte rln a C o n s tru c tio n r u n n e r .........................C h e s H a lic k y B e st b o y ...................................................R ic h a rd B u rr D a v id J a e g e r, M u s ic a l d ire c to r s .................................T e rry N o one, C a rp e n te rs ..................................... D a vid S te n n in g , R u n n e r ......................................................................N ic k A tk in s o n A ile e n S o lo w e ij, J o e P a o la ccl R o g e r B ig g s, P u b lic ity .......................................................... W rite -O n P u b lic ity S tu a rt A rm s tro n g M ix e r ........................................................................P e te r P a la n ka y D a v id R o b so n , C a te r in g ...................................................................K a o s C a te rin g P ro d , d e s ig n e r ....................................... R o ss M a jo r M ix e d a t ...................................................................V T C (V icto ria ) G a ry C a m e ro n , L a b o ra to r y ......................................................C o lo rfilm C o m p o s e rs ............................................. P e te r B e st, L a b o ra to ry ...............................................................V T C (V icto ria ) T im H ig g in s , Lab. lia is o n ........................................................ D e n is e W o lfs o n M a rio M illo , L e n g th .......................................................................... 2 8 m in u te s P e te r M ille r, L e n g th ................................................. 8 x 3 0 m in u te s W illia m M o tzin g , G a u g e ................................................................... V id e o D a n n y R o llsto n , G a u g e .....................................................................16m m S im o n W a lk e r, C a s t: C h a rle s T in g w e ll (G ra n d p a ), M a g g ie P a u l W h itte r S h o o tin g s t o c k .........................................7 2 9 1 ,7 2 9 2 C h ris N eal M illa r (M u m ), A m a n d a J o h n s to n (Jade), D a rre n N u rs e .............................................. S a n d ie S tru d w ic k E xe c, p ro d u c e rs ...........................M a tth e w C a rro ll, C a s t: S ir J o h n M ills (F yfe M a c P h e e ), P h illip A m o s (T e rry), S p iro s L a m b o p o u lo s (Pip), T u to r s ............................................................................J o K e n n e d y, H a n c o c k (S p it M a cP h e e ), E ls p e th B a lla n ty n e G re g C o o te , D e n n is G ill (M r H a ye s), B ill C o llin s (M r V a rna ), K a re n S a n d e rs (G ra ce T re e ), J o h n B a ch (J a c k T re e ), L in d a R o b in H u g h e s, E m m a W h ite (M aria). S e c u rity ..................................................L u k e H o b b s, C ro p p e r (B e tty A rb u c k le ), R a y M e a g h e r (F ra n k M ic h a e l W ille s e e S y n o p s is : A te le v is io n d ra m a e x p lo rin g th e T a s i S ve g a A r b u c k le ) , C h r is t o p h e r P e a r m a n (B e n P ro d , s u p e rv is o r..........................................A d rie n n e R ead S a fe ty o f f ic e r s ................................................. C la u d e L a m bPe ro rt,d , m a n a g e rs ..................................................... S u e W ild ,w a y c h ild re n ca n be m a d e to k e e p “ s e c re ts " A rb u c k le ). a n d th e im p o rta n c e o f a d u lts lis te n in g to and R ic A n d e rso n S y n o p s is : T h e s to ry o f S p it M a c P h e e c e n tre s L y n d a W ilk in s o n a c k n o w le d g in g c h ild re n so th a t m a tte rs c a n be P u b lic it y .......................................... W rite -O n G ro u p on th e m o ra l a n d re lig io u s a ttitu d e s o f th e A u s P ro d , c o -o rd in a to rs ..................... V a n e s s a B row n, d e a lt w ith b e fo re th e y b e c o m e s e rio u s and U n it p u b lic is t.................................. S h e rry S tu m m tra lia n c o u n try to w n o f S t H e le n s in th e 193 0s. A n n e tte P a tte rso n lo n g -la s tin g p ro b le m s. C a te r in g ..............................K e vin V a rn e s C a te rin g T h e to w n is p o la ris e d b y v a rio u s fa c tio n s w h o L o c a tio n m a n a g e r..........................................P a tric ia B lu n t L a b o ra to r y ..................................................... C o lo rfilm s e e k to b e c o m e y o u n g S p it’s b e n e fa c to rs U n it m a n a g e r.........................................................M a rk N ixo n Lab. lia is o n ......................................D e n is e W o lfs o n RAFFERTY’S RULES w h e n he b e c o m e s an o rp h a n , an is s u e w h ic h is P ro d , a c c o u n ta n t............................. P a u l H o p k in s , B u d g e t ........................................................$ 2 ,6 0 0 ,0 0 0 (S e rie s IV) fin a lly re s o lv e d in c o u rt. C a tc h 1-2-3 L e n g th ..................................................6 x 3 0 m in u te s 1 st a s s t d ir e c t o r s ..................... A d ria n P ic k e rs g ill, P ro d , c o m p a n y ............................... A T N C h a n n e l 7 G a u g e .................................................................... 16m m C o rrie S o e te rb o e k D ist. c o m p a n y .................................. A T N C h a n n e l 7 STRINGER S h o o tin g s t o c k ...................................................K o d a k 2 n d a s s t d ire c to r .................................................... Ken M o ffaPt r o d u c e r ............................................... P o sie J a c o b s C a s t: M a d g e R ya n (M iss G o d w in ), J o h n N o b le 3 rd a s s t d ire c to r ..............................A d a m S p e n c e r D ir e c to r s ..........................................................G ra h a m T h o rbPuro rnd, , c o m p a n y .......A B C /M c C a n n In te rn a tio n a l (M r B en F id d le r), M a re e D 'A rc y (M rs F id d le r), D ist. c o m p a n y ........ A B C /M c C a n n In te rn a tio n a l C o n tin u ity ..........................................S ia n F a to u ro s, M ike S m ith , C la y to n W illia m s o n (A d ria n F id d le r), J a s o n P r o d u c e r............................................. J o h n E d w a rd s K ris tin V o u m a rd K e vin D o bson D e g io rg io (P a u l M ace), E m m a F o w le r (G u s s ie D ire c to rs ............................................. K a th y M u e lle r, P ro d u c e r’s a s s is ta n t.................C a ro lin e B o n h a m S c r ip tw rite r s ........................................... D a vid A lle n , M ace), K a th e rin e C u lle n (F ra n c e s M cD o n a ld ), C a s tin g ................................... M a iz e ls & A s s o c ia te s C h ris T h o m s o n , J o h n U p to n , C a itlin P ro c te r (M a is ie J o h n s o n ), H a yd o n F o c u s p u lle r ............................... C a lu m M c F a rla n e K e n C a m e ro n T im G o o d in g , S a m u e ls (H a rv e y C o llin s), K e ith E is e n h u th C la p p e r/lo a d e r .................................................. A lis o n M a xw e ll S c rip tw rite rs ..................B illy M a rs h a ll-S to n e k in g , D a vid M a rsh , (B u tc h B u ch a n a n ). K e y g r ip ..............................................B re tt M cD o w e ll S te v e W rig h t, N ic h o la s L a n g to n , S y n o p s is : A n a c tio n a d v e n tu re s to ry in w h ic h a A s s t g r ip ....................................................... J o h n T a te C h ris to p h e r Lee C h ris R o a ch e , s to rm is o la te s a g ro u p o f c h ild re n fro m th e ir P h o to g ra p h y ........................................... J e ff M a lo u f G a ffe r .....................................................................D e re k J o n e s J o h n M isto, fa m ilie s a n d d e v a s ta te s th e s m a ll to w n o f H ills S o u n d r e c o r d is t ..................................... G u n tis S ic s B o o m o p e r a t o r ..................................V ic to r G e n tile S u e C a s triq u e , E n d . T h e c h ild re n are fo rc e d to fa c e a d v e rs ity E d it o r s ............................................... M ic h a e l H o n e y, A rt d ir e c t o r ..........................................C a ro lin e P o lin C h ris P e a co ck, a n d h a rd s h ip a n d c o n fro n t th e p ro b le m o f A s s t a rt d ire c to r ................................... J a n e M u rp h y B ill R u s s o K e n R o ss, s u rviva l. P ro d , d e s ig n e rs .......................... M u rra y P ic k n e tt, A rt d e p t c o - o r d in a to r .................. C a th rin e C o u p e r J u s tin F le m in g A rt d e p t r u n n e r s ................................................. D e ke D vre ce J a n e t P a tte rs o n , B a,se d o n th e o rig in a l id e a b y .............. B e n Lew in C a th y S ilm D a n ie l M o rp h e tt P ro d , d e s ig n e r ............................................... B e rn a rd H id e s INDEPENDENT COMPANY o m p o s e r ........................................ M a rtin A rm ig e r C o s tu m e d e s ig n e r .............................................. J e a n T u rn C b uollm p o s e r ...............................................................M ik e P e rjaC n ik P ro d , c o m p a n y ..................................................M e d ia W o rldM a k e -u p /h a ir s u p e r v is o r .............L e sle y R o u vra y E xe c, p r o d u c e r ..................................................... A la n B a te mEaxe n c, p r o d u c e r .....................................S a n d ra L e v y P r o d u c e rs .............................................................. J o h n T a to uM lisa, k e -u p ......................................... S h e rry H u b b a rd , P ro d , m a n a g e r .................................................... N e n e M o rg aPnro d , m a n a g e r ..................................C a ro l C h irlia n A d e le W ilc o x C o lin S o u th P ro d , s e c r e t a r y ............................................. C a ro lin e B la ckU n it m a n a g e rs .................................. C lin to n W h ite , T e rry B a y lis s H a ird re s s e r.................................M ic h e le J o h n s to n D ire c to r................................................................... C o lin S o u th P ro d , a c c o u n ta n t.................................................. P a u l P a rk e r P ro d , s e c r e ta ry ..................................................... J a n e P e p p e r S c rip tw rite rs ........................................................ P h illip D a lkinW, a rd ro b e s u p e rv is o r................ C h ris s ie A d a m s P ro d , a s s is ta n t..................................B a rb a ra L u ca s C o s tin g c le r k .................................................... A n n e tte G o v e r W a rd ro b e a s s t s ................................ R o sa lie H o o d , C o lin S o u th 1st a s s t d ire c to r s ............................. S o re n J e n s e n , 1st asst d ir e c t o r s ................................W a y n e B a rry, A n d re a H o o d , B a se d on th e b o o k b y ........ S ir B e rn a rd C a llin a n N ic R e yn o ld s C o u rtn e y G ib s o n Jn r, G a ry S te p h e n s P h o to g ra p h y ........................................................L e ig h T ils o n 2 n d a sst d ire c to r................................................ C a th y R o d e n M a n d y V u k s a n o v ic S o u n d r e c o r d is t ...................................................S e a n M e ltz e r 3 rd a s s t d ir e c t o r ..................................................P e te r W a rm2annd a s s t d ir e c t o r s ..............................................L a n c e M e llo r, K a rin K re ic e rs E d it o r ................................................................. M ic h a e l C o llinCs u tte rs .............................................S h e ryl P ilkin to n , C o n tin u ity ............................................................... T in a B u tle r C o n tin u ity ......................................R h o n d a M c A vo y, H e le n M a th e r C o m p o s e r....................................T a s s o s lo a n n id e s S c rip t e d it o r s .....................................................L o u is e H o m e, A n th e a D e a n , S ta n d b y w a rd r o b e ..............................L a u ra J o c ic E xe c, p r o d u c e r ................ A n n e B a s s e r (S B S -T V ) D e n n y L a w re n c e L y n n P o y n te r C a s tin g .................................................................. H e le n S a lte r P ro d , m a n a g e r ................................................Y v o n n e C o llinPs ro p e rty m a s te r.........................................B ill B o o th C a s tin g ................................................. J e n n ife r A lle n P ro p s b u y e r ................................J o y c e M c F a rla n e L ig h tin g c a m e ra p e rs o n ........................... J o h n C a tt P ro d , s e c r e ta ry .........................T a n ia P a te rn o s tro C a s tin g a s s is ta n t .................................................Ire n e G a s k e ll S ta n d b y p r o p s ................................L e a n n e C o rn is h G a ffe r......................................................................D a vid M o rg a n D ire c to r’s a s s is ta n t.................S o n y a P e m b e rto n L ig h tin g c a m e ra p e rs o n ...................... J e ff M a lo u f S p e c ia l e f fe c t s ................................... A la n M a x w e ll,' B o o m o p e r a t o r ......................................... P h il J o n e s 2 n d u n it p h o to g ra p h y ...............S te v e F lo u n d e rs F o cu s p u lle r ...........................................................G a ry R u s s e ll C h ris M u rra y B o o m o p e r a t o r .....................................................C h ris R o la n d A rt d ire c to r ........................................................... J u d ith H a rve y C la p p e r/lo a d e r ....................... A n d re w M c C ly m o n t S c e n ic a r t i s t ....................................... P e te r C o llia s M a k e - u p .....................................................J o S te ve n s M a k e -u p ...................................................K e ry n C a rte r 2 n d u n it c a m e ra a s s t........................... P a u l D o n e y B ru s h h a n d s ............................... A d a m B ro m h e a d , H a ird re s s e r........................................................ J a m e s M a ta m is W a r d ro b e ...........................................................J e a n n e O m lo r A la n B ro w n W a rd ro b e ...................................................................Lyn L o n d oGnr ip s ......................................................A la n T re v e n a , P r o p s ...................................................................... D a vid V a s s ilio u C a rp e n te rs ........................................D a rre n P h illip s , P a u l L a w re n c e W a rd ro b e a s s t ...........................................M a d e le in e C u lle n S p e c ia l e ffe c ts ........................................................P a u l W illia m s P e te r L yn ch P ro p s b u y e r .........................................................C a th y F in la y2 n d u n it p h o to g r a p h y ..........................................P a u l C o s te llo D ia lo g u e c o a c h ............................... J o e C o n s a b le s G a ff e r .....................................................................M a rtin P e rro tt S e t c o n s tr u c tio n ..................................L ip s S tu d io s S ta n d b y p r o p s ......................................................J a n e P a rke r R e s e a rc h ...........................................K a re n B o n c z y k le c t r ic ia n s ...........................................P ie rre D rio n , M u s ic a l d ire c to r .................................................... M ike P e rjaEn ik T r a n s la tio n s ....................................................... S a d a o S e no,C o n s tru c tio n s u p e r v is o r .................. W a y n e A lla n C o n s tru c tio n m a n a g e r......................K e vin K ild a y T im H a rris S tu n ts c o - o r d in a to r .......................................... F ra n k Le n n o n R ic k T a n a k a B o o m o p e ra to r........................................S c o tt T a y lo r P u b lic it y ............................................................R h o n d a D o w aon R u n n e r................................................................ M ic h a e l N a s s S e ro u n d s u p e rv is o r ........................M ic h a e l T h o m a s D egs ig n a s s t ...............................................K a re n L an d E ffe C a te r in g .......................................................... M a rik a ’s C a te rin L e n g th ...........................................................................60 m in u te s c ts e d ito r ........................................... D e ri H a d le r C o s tu m e d e s ig n e r ........................................... L o u is e F a n n in g S tu n ts c o -o rd in a to rs /s a fe ty ..... B e rn a rd L e d g e r, S t u d io s ........................................................ C h a n n e l 7 G a u g e ............................................... 1 6 m m /B e ta c a m M a k e -u p ........................... ...................... S u z ie C le m o G ra n t P a ge M ix e d a t ..................................................................A tla b S h o o tin g s t o c k .................................................. K o d a k W r a n g le r s .........................................G ra h a m W a re , W L e n g th .......................................................................... 47 m in u te sa r d r o b e ............................................ E ls ie R u s h to n , C a s t: S te ve H u tc h is o n (C a llin a n ), C ra ig A le x E va n n a B ra n d B a rry L u m le y G a u g e ..............................................................1 " v id e o a n d e r (B a ld w in ), R ic h a rd A s p e l (C a lve rt), D a vid B e st b o y ................................................. Ian B o sm a n W a rd ro b e a s s t ......................................S u z a n a C ik o C a s t: J o h n W o o d (M ic h a e l R a ffe rty), C a th e rin e W ils o n (C h a p m a n ), R e d S y m o n s (R oss), N e il R u n n e r.......................................................... R o ss B e ll P r o p s ..................................................... R o y E a g le to n , W ilk in (P a u lyn e ), S im o n C h ilv e rs (F licke r), A rk y G la d w in (D u n kle y), S te v e K e a rn e y (P a rke r), P u b lic ity ....................................................... C h a n n e l 9 P e te r M o ro n e y, M ic h a e l (F u lvio ). W ilk ie C o llin s (L e g g a tt), G a ry A d a m s (L a id la w ). R u s s e ll B u rto n C a te r in g ..............................................F e a st C a te rin g S y n o p s is : T h e tria ls a n d trib u la tio n s o f s tip e n S y n o p s is : T h e 2 /2 In d e p e n d e n t C o m p a n y w a s P ro p s b u y e r s ........................................ C o lin B a ile y , S t u d io s ................................................... M A X S tu d io s d ia ry c o u rt m a g is tra te M ic h a e l A lo y s iu s a 3 5 0 -s tro n g g u e rilla u n it w h ic h c o n ta in e d M ix e d a t ...............................................F ilm A u s tra lia Ian A n d re w a rth a R a ffe rty. a b o u t 1 5 ,0 0 0 J a p a n e s e in e a s te rn T im o r in S e t d r e s s e r s ..........................................J u lie P u g lis i, L a b o ra to r y ............................................................. A tla b 194 2. Independent Company is a d o c u m e n ta ry T a p e p o s t-p ro d u c tio n h o u s e .................. O m n ic o n T im T u lk SPIT MacPHEE d ra m a w h ic h tra c e s th e s to ry o f th e u n it’s s u r A s s t s e t d r e s s e r ................................................. S tu a rt H ic k s o n B u d g e t .................................................$ 9 ,2 1 5 m illio n v iva l d u rin g th is p e rio d . P rod, c o m p a n y .......R e vco m P ro d u c tio n P ty Ltd S o u n d e d it o r s .......................................J u lia W rig h t, L e n g th ............................................... 13 x 60 m in u te s D ist. c o m p a n y ...........R e vco m T e le v is io n P ty Ltd G a u g e ............................ 16 m m sh o o t, 1 " ta p e e d it E rik a M oss, P ro d u c e r...................................................... N o e l P rice S h o o tin g s t o c k ......................................... 7 2 9 1 ,7 2 9 2 D e s H o rn e MICHAEL WILLESEE’S D ir e c to r ................................................... M a rc u s C o le E d itin g a s s is ta n ts ........................................ M a rg a re t B e n so n , C a s t: M ic h a e l W ille s e e (P re se n te r), J o h n AUSTRALIANS S c r ip tw rite r ............................................ M o y a W o o d H e id i K e n e s s e y B a sed on th e n o ve l b y .................J a m e s A ld rid g e P ro d , c o m p a n y ....................................... R o a d sh o w , S o u n d e d itin g a s s t s ........................... P a u l H a ye s, P h o to g ra p h y ....................................................... J u lia n P e n n e y C o o te & C a rro ll P ty L td , J o n a th a n C h a m p , S o u n d r e c o r d is t ......................................................P h il T ip e n e T ra n s M e d ia P ro d u c tio n s P ty Ltd, S tu a rt M ille r, E d it o r ...................................................................... K e rry R e a g a n F ilm A u s tra lia E ric W h ite P ro d , d e s ig n e r ............................... D a vid C o p p in g D ist. c o m p a n y ..........................................R o a d sh o w , M ix e rs ....................................................... S te v e H o p e , E xe c, p ro d u c e r....................................................G e o ff D a n ie ls C o o te & C a rro ll P ty Ltd, P e te r P u rc e ll A sso c, p r o d u c e r ...................... S a n d ra A le x a n d e r T ra n s M e d ia P ro d u c tio n s P ty Ltd T e le c in e g r a d in g ...................................... C h ris S to tt

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CINEMA PAPERS MARCH — 77

P R O D U C T I O N S ! S U R V E Y S tu n ts c o -o rd in a to r D o u g la s ‘ R o c k y ’ M cD o n a ld S tu n ts ............................................ T h e S tu n t A g e n c y S till p h o to g ra p h y ..............................M a rtin W e b b y G r a p h ic s ..................................................A n n C o n n o r G e n e ra to r................................................ J o h n C la rke P u b lic ity ............................................ G e o rg ie B row n C a te rin g ..........................................T h e K a te rln g Co. S tu d io s ............................................... A B C , G o re Hill M ixe d a t..............................................A B C , G o re H ill L a b o ra to r y ....................................................C o lo rfilm L e n g th ................................................ 8 x 50 m in u te s G a u g e ................................................................... 16m m Cast: D e rric k O ’C o n n o r (F ra n k “ S trin g e r” B u ch a n a n ), N ic h o la s P a p a d e m e trlo u (Y a n n isL S u sa n L yo n s (Laura), L y n e tte C u rra n (V alerie). Synopsis: B u rn t o u t w a r c o rre s p o n d e n t c o m e s to S y d n e y s e e k in g a s im p le life, b u t b e co m e s c a u g h t up w ith a y o u n g G re e k ta x i d riv e r/w o u ld be ro ck sta r/w o u ld b e a n y th in g th e re ’s a d o lla r

Focu s p u lle r........................................R o m an B a ska (H e rb e rt V. E va tt), J o h n B o n n e y (R o b e rt M enzle s), V a le rie B a d e r (M a ry A lic e E vatt), C la p p e r/lo a d e r........................... K a th y C h a m b e rs Key g r ip .................................................................... Ken C o n nTora r c y M a n n (Tess R oss), J o a n B ru c e (P a ttle M enzle s), M a lco lm R o b e rts o n (Id ris W illia m s), 2nd u n it p h o to g ra p h y ................................. B re n d a n Lave lle H a ro ld H o p k in s (E d g a r R oss), N ic k T a te (Les G a ffe r .......................................................... M ike M ato B oom o p e ra to r.................................................R o b e rt L u d wH iga ylen), G a ry F ile s (F re d Daly). S y n o p s is : The True Believers d e a ls w ith M a k e -u p ..............................................J a y n e B u rn s va rio u s e ve n ts in th e p o litic a l h is to ry o f A u s W a rd ro b e ........................................................ M ich e le L eo nard Set d r e s s e r ......................................................R ich a rd S trin gtra e rlia b e tw e e n 1945 a n d 1955. P u b lic ity ....,......................... S u zle H o w ie P u b licity C a te rin g .........................................S w e e t S e d u ctio n A WALTZ THROUGH THE HILLS M ixed a t ........................................................... H e n d o n S tu d io s P rod, c o m p a n y ............................ B a rro n F ilm s Ltd L a b o ra to ry ...................................C in e v e x /M o v ie la b Dist. c o m p a n y ...............................B a rro n F ilm s Ltd Lab. lia is o n ......... Ian A n d e rs o n /K e lv in C ru m p lln P sro d u c e rs .................................... ...P a u l D. B a rron, L e n g th .........................................................................96 m in u te R oz B e rrysto n e G a u g e ...................................................................16m m D ire c to r.................................................. F ra n k A rn o ld S h o o tin g s t o c k ..................................................K o dak S c r ip tw rite r ........................................................... J o h n G o ld s m ith Cast: A le x is A n th o p o u lo s (C h risto s), R e na B a sed on th e n o ve l b y ........................................G .M . G la skln F ra n g io u d a kis (H elen), C o n Laras (Con), P h o to g ra p h y ........................................................ J o h n M cL e a n • G (For General Exhibition) N ich o la s H a tjla n d re o u (N lkos), V ic k i S e rb o s S o u n d re c o rd is t.......................................B o b H a yes (S ophia), Ken J a m e s (C live M iller), F ra n cis Bell E d ito r ............................................................G e o ff H a ll Baby Devil, The (sa id to be m a in title not (Tom B ull), P e te r F le m ln g h a m (P eter), B a riy SUGAR AND SPICE P rod, d e s ig n e r......... ......................... H e rb e rt P in te r s h o w n in E n g lis h ): T a llln n f llm , U S S R , D lckin s (B us d rive r), M a rg a re t Ford (Vera), Bill C o m p o s e rs ..........................................................G a rry M cD o n a 2ld 0 ,8 4 .6 8 m , T ra d e R e p re s e n ta tiv e o f U S S R P rod, c o m p a n y ........................LJ P ro d u c tio n s Ltd M cC lu sky (G eorge). L a u rie S to n e Benji The Hunted: B. V a u g h n , U S A , Dist. c o m p a n y ........................ R e vco m T e le v is io n / E xe c, p r o d u c e r ............................. P a ul D. B a rro n LJ M e rch a n d is in g 2386.41 m, V illa g e R o a d s h o w C o rp o ra tio n P rod, c o -o rd in a to r.................................... T o n i L ush P r o d u c e rs ............................................F ra n k B row n, Bushfire Moon: P. B e llb y /R . Le T e t, A u s tra lia , THE TRUE BELIEVERS P rod, m a n a g e r.......................................................D e b C o p la n d J o h n G a u ci, 2 6 8 8 .1 4 m , V illa g e R o a d s h o w C o rp o ra tio n P rod, c o m p a n y ......... R o a d sh o w C o o te & C a rro ll U n it m a n a g e r .................................................... S im o n H a w kin s L o u ise H all Chernobyl A Chronicle Of Difficult Weeks D ist. c o m p a n y ...........R o a d s h o w C o o te & C a rro ll L o ca tio n m a n a g e r................................... R o se W ise D ire c to r..................................................... J o h n G auci (said to b e m a in title n o t s h o w n in E n g lish ): E xe c, p r o d u c e rs ...................................M a tt C a rro ll, P rod, s e c re ta ry ................................... S h a rry n S co tt S c rip tw rite rs ......................................... M a ry W rig h t, S a n d ra Levy P rod, a c c o u n ta n t........................................... R ic h a rd S p e a r U k ra in ia n D o c u m e n ta ry Film S tu d io , U S S R , A lla n H o p g o o d , D ir e c to r ....................................................... P e te r F isk 1 53 6.08 m , T ra d e R e p re s e n ta tiv e o f U S S R 1st a sst d ire c to r .............................S tu a rt F re e m a n John W ood, S c rip tw rite rs .............................................. B o b E llis, 2 n d asst d ir e c t o r ................................................ C h ris L ynch Chipmunk Adventure, The: R. B a g d a s a rla n , B ria n W rig h t S te p h e n R a m se y US A , 2 0 5 7 .2 5 m , H o yts D is trib u tio n 3rd asst d ire c to r.......................P e te r J. A rm s tro n g P h o to g ra p h y ................................................C live S e ll S o u n d re c o rd is t............................... W a y n e K e aly C o n tin u ity ........................................................L a rra ln e Q u in n e llHail! Hail! Rock ‘N’ Roll: S. B e n n e tt/C . B e rry, S o u n d re c o rd is t................................................. P h illip S tirlin g E d it o r .................................................. G ra h a m T ic k le C h ild re n ’s c a s t in g .............................................. J o h n R a p se yUS A , 3 2 9 1 .6 0 m , U n ite d In te rn a tio n a l P ic tu re s E d ito r .................................................... S te ve n C o lye r P rod, d e s ig n e r...............................G e o ff W e d lo c k C a m e ra o p e ra to r ................................................ J o h n M cL e a nSome Fine Thursday: G o rk y S tu d lo s/S o vP rod, d e s ig n e r.................................................. C a ro le H a rve y C o m p o s e r........................................W illia m M o tzln g Focu s p u lle r ................................M a rc E d g e co m b e P rod, s u p e rv is o r ................................. F ra n k B row n e x p o rtfllm , U S S R , 2 1 3 9 .5 4 m , T ra d e R e p re L lh e p r o d u c e r ...........................S te p h e n O ’ R o u rke C la p p e r/lo a d e r...................................... N ic S a d d le r P rod, c o -o rd in a to r.......................................... T ra c e e M cC a b e s e n ta tiv e o f U S S R P rod. exe c, fo r R C C ........................ B e rn a rd T e rry K e y g r ip .................................................................. K a rel A k k e rm a n P rod, a c c o u n ta n ts ............... D ia n n e D e n n e m a n , T e c h n ic a l p ro d u c e r..........................B ru c e L lebau A sst g r ip ................................................................ D a vid C ro ss M cL e a n P a tte rso n • PG (Parental Guidance) P rod, m a n a g e rs ................................. J u d y M u rp h y, 2 n d u n it p h o to g r a p h y .....................................S im o n A kk e rm a n 1st a sst d ir e c t o r ......................................................S lg E lm u tis D a vid Y o u n g G a ffe r .........................................................................P h ilG o lo m b ic k 2nd asst d ire c to r ............................................A n d re w M itch e ll Boys, The: L e n film S tu d io , U S S R , 2 5 7 8 .4 2 m , U n it m a n a g e r....................................................A d ria n C a n nEole n c tric ia n s ............................................................. T im D u ffy, 3rd asst d ire c to r .............................................R u e b a n T h o m a s T ra d e R e p re s e n ta tiv e o f U S S R , Vfi-m-j) Ofadult P rod, s e c r e ta ry ............... F ra n c o is e F o m b e rta u x J o M e rc u rlo C o n tin u ity ................................................................ S ail! E n g le n d e r concepts) P rod, a c c o u n ta n ts ..............................................J u d y M u rpB h oom y, o p e ra to r.......................................... D a vid S e ll L ig h tin g a s s t...................................................A n th o n y T u llo c h D a vid Y o u n g , A sst a rt d ir e c t o r s .........................................M a tth e w N e lson, Cry Freedom: R. A tte n b o ro u g h , U K /Z im b a b C a m e ra o p e ra to r ..................................P h il C ross C a tch 1-2-3 w e, 4 3 0 6 .5 1 m , U n ite d In te rn a tio n a l P ictu re s, A le x D ixon C a m e ra a s s is ta n t......................................L a w re n c e B a lmPerod, r a s s is ta n ts ......................................... E liz a b e th S te p to e stu , m e d e s ig n e r................................ N o el H o w ell V(i-m-j) L(i-l-j) Ofadult theme) Co Key g rip s ............................................................... B a rry Brow n, G e o rg e K ig h tly M a k e -u p ................................................... K a re n S im s Gaby A True Story: P. P e rry, U S A , 3 0 4 4 .7 3 m , Ken C o n n o r, 1st asst d ire c to r .,................. S c o tt H a rtfo rd -D a vls H a ird re s s e r.............................................K a re n S im s Fox C o lu m b ia Film D is trib u to rs , S(i-m-j) Ofadult T o n y H all 2 n d a sst d ire c to rs ............................. W e n d y G ray, W a r d ro b e ................................................ L isa G a le a concepts) A sst g r ip s ................................. A rth u r M a n o u sa kis, T o n y T llse P ro p s b u y e r/s e t d r e s s e r ................................. H e in z B o e ck Housekeeping: R. C o le s b e rry , U S A /C a n a d a , Ian Po rter, 2 n d u n it d ire c to r.................................... K a te W o o d s A sst se t d re s s e r............................A ld ls B e rn ste in s G re g T u o h y 3 0 9 9 .5 9 m , Fox C o lu m b ia Film D is trib u to rs , C o n tin u ity ..................................................... E liz a b e th S te p to e n d b y p r o p s .....................................P e te r M a rlo w S ta G a ffe r...................................................................... T o n y R e ade Ofadult concepts) S c rip t e d ito r ............................................................ S u e M a ste S rs p e cia l e ffe c ts .................................................. N e v ille M a xw e ll G e n e ra to r o p e r a t o r ..........................................B ru c e T o w e Month In The Country, A: K. T ro d d , UK, Crs a s tin g ............................................... J e n n ife r A lle n , C a rp e n te rs ..........................................................R o g e r S ta p le s, M a k e -u p ........................................................... P a tric ia Payne 2 6 0 5 .8 5 m , V illa g e R o a d s h o w C o rp o ra tio n , K a te W o o d s J o h n W llm o t W a rd ro b e ...............................................................R o se C h o n g Ofadult concepts) C a s tin g a s s is ta n t..............................Ire n e G a ske ll S e t c o n s tru c tio n ..............................................C h a rlie S ta p le s W a rd ro b e s u p e rv is o r......................................J e s s ie F o u n ta in L ig h tin g d ir e c t o r ................................P e te r K n e vltt Nad Nlemnem: E. O rz e s z k o w e v , P o land , A sst e d ito r................................................J u lie G ra n t P r o p s ........................................................ A d e le F le re C a m e ra o p e ra to r s ..........................P e te r R o bson, N eg. m a tc h in g ..............................................W a rw ic k D risco ll 4 8 8 2 .5 4 m , P o lish C o n s u la te G e n e ra l, Ofadult A sst d e s ig n e r ............................M ic h a e l A n d e rso n M u rra y T o n kin , concepts) P o st-p ro d u ctio n s u p e rv is o r........... D a vid R a p se y S o u n d a s s t.............................. R a y P h illip s R ich a rd B ond, S o u n d e d ito rs ..................................................... D a vid F osd lck,Oci Ciornie (Dark Eyes): S. B e n d ic o /C . T u t o r .. ., .................................... R o b e rt M u d d ym a n T o n y C o n n o lly P e te r P ritc h a rd C u cch l, Ita ly/U S S R , 3 2 0 9 .3 1 m , F llm p a c H o ld S till p h o to g ra p h y ...............................T ib o r H e g e d is V is io n m ix e r s .....................................B ru c e W ils o n / E d itin g a s s is ta n ts ..............................................C in d y Evans, in gs, Ofadult concepts, sexual allusions) T e ch , a d v is e r........................................................ J o h n P a rke r (S te ve H a rrin g to n & C h ris Lyn ch Princess Bride, The: A . S c h le m a n /R . R e in e r, L e n g th .............................................. 20 x 30 m in u te s R od W a rd e ll O B ’s) M ix e r ............................................................ K im Lord G a u g e ............................................................. B e tacam UK, 2660.71 m, F ilm p a c H o ld in g s, Vfi-l-g) C C U .......................................................... A lf S a m p e ri S tu n ts c o -o rd in a to r............................................... Z e v E le fth e rio u S y n o p s is : T h e s e rie s te lls th e s to ry o f tw o Romance Of Book & Sword, The (sa id to be V isio n c o n tr o l......................................... T e d T u rn e r S t u n t s ....................................................................... R o b G re e n o u g h y o u n g g irls c o m in g to a la rg e c o u n try to w n to title not s h o w n in E n g lish ): N o t sh o w n in E n g in e e rin g ...................................... R u sse ll W o o d S till p h o to g ra p h y ..................................................S k ip W a tk in s c o n tin u e th e ir e d u c a tio n . S e t in th e 1920s, E n g lish , H o n g K o n g , 2 3 3 1 .5 5 m , K w a n g T. K e y g r ip ............................................... J o h n V e rb o o rt O p tlc a ls ........................................ O p tic a l & G ra p h ic ea ch e p is o d e w ill p e rta in to th e ir a d ve n tu re s M,ok, Vfi-m-j) A sst g r ip s ...............................................W illy D olan, T u to rs ..................................................................C o n n ie M e rcu rio and m isa d v e n tu re s to ld In a h u m o ro u s and S la v K o va le n ko Scarecrow: A M o s fllm P ro d u c tio n , U S S R , C a th e R o gers, a c tiv e m a n n e r. T h e c o n c e p t of th e v e n tu re L ig h tin g a s s is ta n ts ............................... N ic k V e rzl, 3 4 2 8 .7 5 m , T ra d e R e p re s e n ta tiv e o f U S S R , J o h n R a p se y g ive s us th e o p p o rtu n ity fo r fu n a n d e n te rta in Les L u ka s Ofadolescent theme) Lfi-l-j) Vfi-l-j) R u n n e r......................................................... J u lie S im s m e n t b u ilt a ro u n d a c a s t o f d e lig h tfu l B o om o p e ra to r s ............................... R o ss W ilso n , Summerspell: L. S h a n k lin /J . D ’A n to n lo , US A , P u b lic ity ...................................................T e s s a B o ye r ch a ra cte rs. M ic h a e l R o b in so n , C a te r in g ........................................................... M u sta rd C a te rin 2 g 5 2 3 .5 6 m , S ta te F ilm C e n tre o f V ic to ria , S te v e B a ile y S tu d io s .....................................................S o u n d s ta g e A u s tra lia Ofadult concepts) D e s ig n e rs ..................................... G re g o r M cL e a n , M ixe d a t....................................................... A B C P e rth TOUCH THE SUN — DEVIL’S HILL Tale Of Ruby Rose, The: B. M e n zle s/A . W is e J u lie B e lle L a b o ra to ry .................................................... M o vle la b S e rie s pro d , c o m p a n y ............A C T F P ro d u c tio n s m an, A u s tra lia , 2 7 4 3 .0 0 m , S e on F ilm P ro d u c A s s is ta n t d e s ig n e r s ..................................... A n d re w H a rris, Lab. lia is o n ..........................................................K e lvin C ru m p lln P rod, c o m p a n y .................... S ym e E n te rta in m e n t tio n s, Ofadult concepts) L isa E lvy B u d g e t.................................................................. $ 1 .8 3 m illio n P ty Ltd C o s tu m e d e s ig n e r ......................................... J o la n ta N e jmLaenn g th ....................................................................... 117 m in u te sThree For The Road: H. J a ffe /M . E n g e lb e rg , P ro d u c e r........................................................J ill R o bb US A , 2 3 8 6 .4 1 m , V illa g e R o a d s h o w C o rp o ra C o stu m e a s s is ta n t............................................A n n ie M a rsh G aallu g e ...................................................................1 6m m D ire c to r.................................................. E sb en S torm tio n , Lfi-l-g) Vfi-l-j) Ofadult concepts) M a k e -u p ......................................................... C h ris tin e E h le rt, S h o o tin g s to c k ..................... K o d a k E a s tm a n c o lo r S c r ip tw rite r ......................................... D a vid P h illip s H a n n a F lse ro va Wild Pigeon, The: K a z a k h film S tu d lo s /M o s C a st: D an O ’ H e rllh y (Tom C a se le y), E rnie P rod, m a n a g e r............................ E liza b e th S ym es W a r d ro b e ............................................... R on D u tto n fllm S tu d io s, U S S R , 2 6 8 8 .1 4 m , T ra d e R e p re D in g o (F ra n k S m ith ), A n d re J a n s e n (A n d y S y n o p s is : S a m c o m e s fro m th e city, b u t w h en W a rd ro b e a s s t s .......................... L ln d y A in s w o rth , s e n ta tiv e o f U S S R , Ofadult concepts) Dean), T in a K e m p (S a m m y D ean), G e o ffre y his m o th e r is III and his fa th e r a w a y w o rk in g he M a n l W lc h m a n A tk in s (B e rt T h o m p so n ), M a g g ie W ild e W e st Is se n t to s ta y w ith his co u s in B a d g e ’s fa m ily P ro p s ..........................................................................D o n P a ge(M o lly T h o m p so n ), M ich a e l C a rm a n (S gt • M (For Mature Audience) on th e ir re m o te fa rm in T a s m a n ia ’s ru g g e d P ro p s b u y e rs ......................................................P a d d y M a cDRoanwalln ld ,g ), R o b e rt F a g g e tte r (D a ve B ro w n ), Ken so u th -w e st. B a d g e c a n ’t sta n d his c o u s in ’s S u sa n G la vich C o lb u n g (D a n n y W a n d i), M a w u yu l Y a n th a la Amazing Marriage Customs: Lon S e n H in, d isd a in fo r th e b u sh , b u t th e g lo rifie d ta le s of S ta n d b y p ro p s ..................................................... C h ris R ym awnu, y (M a ry S m ith). C h in a , 2 4 4 1 .2 7 m , C h in a t o w n C in e m a , c ity life m a ke him w o n d e r if he s h o u ld spen d A la n W illis S y n o p s is : T h e s to ry is s e t in 1954. A n d y and Ofsexual allusions) his life in th e w ild e rn e ss. W h e n th e tw o boys S p e c ia l e ffe c ts ..................................................... J o h n N e a leS a m m y (tw o y o u n g c h ild re n ) live in a s m a ll ha ve to g o and lo ok fo r a m issin g h e ife r In th e Belly Of An Architect, The: C. C a lle n d e r/W . S e t d e c o ra to r s ................................................ S a n d ra C a rrin , to w n . T h e y b e c o m e o rp h a n e d a n d d is c og utonntry bush , th e y b e co m e se p a ra te d fro m th e o thers D o n o h u e , UK , 3 1 2 7 .0 2 m , H o yts D is trib u tio n , R ic h a rd K e n n e tt c o v e r th e y w ill be p la ce d Into se p a ra te o rp h a n and fin d th e y ha ve to w o rk to g e th e r if th e y are Sfi-m-j) Ofadult concepts) S c e n ic a r tis t ............................................................Pa ul B ro c age k le bs. a nTko avoid th is , th e y run a w a y to E n g la n d to re trie ve th e h e ife r a n d g e t b a ck to th e fa rm Big Brother, The: S. L i/B . T u n g , H o n g K o n g , C a rp e n te r..................... A B C W o rk s h o p , G o re H ill to jo in th e ir g ra n d p a re n ts . O n th e w a y, th e y are sa fe ly. 2 5 2 3 .5 6 m , C h in a to w n C in e m a , Vfi-m-g) S e t c o n s tru c tio n ......... A B C W o rk s h o p , G o re H ill b e frie n d e d b y F rank, a y o u n g A b o rig in a l, w h o .Big Shots: J. M e d ju c k /M . G ro ss, US A , A s s t e d ito r ............................................................C a th y F o stehre lp s th e m re a ch th e ir g oa l. M u sica l d ir e c t o r .......................... W illia m M o tzin g 2 4 4 1 .2 7 m , V illa g e R o a d s h o w C o rp o ra tio n , TOUCH THE SUN — THE GIFT M u sic p e rfo rm e d b y ................... W e s t A u s tra lia n Vfl-m-j) Ofanti-social concepts) WESTWARD HO S e rie s pro d , c o m p a n y ............A C T F P ro d u c tio n s S y m p h o n y O rc h e s tra Can’t Buy Me Love: T. M o u n t, US A , P rod, c o m p a n y ...........................Illu m in a tio n F ilm s P rod, c o m p a n y ..............................................B u rb a n k Film s 2 5 2 3 .5 6 m , V illa g e R o a d s h o w C o rp o ra tio n , S o u n d e d ito r ......................................G le n n H e a to n D ist. c o m p a n y ....................A u s tra lia n C h ild re n ’s S o u n d e f f e c t s ...................................................... T o n y P o pleP ro d u c e r................................................ R oz P h illip s Lfi-m-g) T e le v is io n F o u n d a tio n M ix e r ......................................................................G le n n H e a toSnc rip tw rite r........................................... P a ul Lea don City Girl: S tra w b e rry F ilm s, H o n g Kong, P ro d u c e r..............................T o n y L le w e llyn -Jo n e s N a rra to r..................................................................K e vin G o ls bByased on th e nove l b y ...............C h a rle s K in g sle y 2 4 6 8 .7 0 m , K w a n g T. M ok, Sfi-l-g) Vfi-m-g) D ire c to r.......................................................... P a ul C o x S till p h o to g r a p h y ................................................B a rry G a u nEt d ito rs .............................................. P e te r Je n n in g s, Couch Trip, The: L. G o rd o n , U S A , 2 6 0 5 .8 5 m , S c rip tw rite rs ................................................P a ul C ox, C a ro lin e N e ave G ra p h ic s .....................................................................B ill S yke s, V J e ff P e ck E xe c, p r o d u c e r .................................................... T o m S ta ce y illa g e R o a d s h o w C o rp o ra tio n , Lfi-m-g) Ofadult A la n H o n d o w concepts) P h o to g ra p h y .....................................N in o M a rtin e tti P rod, c o -o rd in a to r.................................J o y C ra ste T itle d e s ig n e r .................................... A n n ie C o n n o r Dirty Dancing: L. G o ttle lb , U S A , 2 7 4 3 .0 0 m , S o u n d r e c o r d is t ..............................R u sse ll H u rle y Prod, m a n a g e r....................................... R o d d y Lee T e ch , a d v is e r .................................... H e c M c M illa n E d it o r ..................................................R u sse ll H u rle y P rod, a c c o u n ta n t........................... A n d re w Y o u n g F ilm p a c H o ld in g s, Ofadult concepts) B e st b o y ............................................................. C e c ille P rod, d e s ig n e r.......................................................P a u l A m mRitz C a s tin g ........................................................J o y C ra ste e sbeoall rc h ....................................... D a n a C h ra stln a , Eat The Rich: T. V a n R e llim , U K , 2 4 4 1 .2 7 m , E xe c, p ro d u c e r................................. P a tric ia E d g a r C a m e ra o p e ra to rs .................................G a ry P age, K ris te n D u n p h y A Z F ilm s, Lff-m-g) Vfi-m-g) T a n y a V is k ltc h A sso c, p r o d u c e r ...............................G e o ff D a n ie ls F ilm re s e a rc h e r.............................. W e n d y B e n so n Fatal Attraction: S. Ja ffe /S . L a n sin g , US A , S to ry b o a rd .......................................................... S te ve Lyons 3 1 8 1 .8 8 m , U n ite d In te rn a tio n a l P ic tu re s , P rod, s u p e rv is o r...................... S a n th a n a K. N a ldu U n it p u b lic is t................................... G e o rg ie B row n T im in g ......................................................... J e a n T y c h P rod, m a n a g e r.............................. S u s ie C a m p b e ll C a te r in g .............................................. A & B C a te rin g Vfi-m-g) Sfi-m-j) L e n g th .........................................................................5 0 m in u te s P rod, a s s is ta n t.............................. G e o rg in a N a idu S tu d io s ..........................................A B C T V , G o re H ill G a u g e ................................................................... 16m m Prod, s e c r e ta ry ....................................K e rry H u rle y M ixe d a t ........................................A B C TV , G o re H ill S h o o tin g s t o c k .................................................... 7291 P rod, a c c o u n ta n t............................................A n to n y S h e pBhuedrdg e t......................................................................$ 3 .6 m illio n S y n o p s is : A m ya s s a ils th e h ig h s e a s to re scu e L e n g th .................................................. 8 x 5 2 m in u te s 1st a sst d ire c to r ................................ F io n a E a g g e r b e a u tifu l R o se fro m th e e vil c lu tc h e s o f Don G a u g e ...................................................................V id e o C o n tin u ity ...........................................J o M cL e n n a n G uzm a n. C a s t: Ed D e v e re a u x (C h ifle y), S im o n C h llv e rs C a m e ra o p e r a t o r ............................N in o M a rtin e tti

78 -

MARCH CINEMA PAPERS

NOVEMBER

Films Registered Without Deletions

1987

EHS0 RSHIP LISTINGS Special Conditions Films examined in terms of the Customs (Cinematograph Films) Regulations as States’ film censorship legislation are listed below.

Bellissima (d): S. D ’A n g e lo , Italy, 130 m ins,

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

Low

Medium

/ /

f f f f

I I I I

m m m m

S(Sex).............................................. V (Violence)..................................... L (Language)................................. O (Other).......................................... Title

Explicitness/lntensity

Infrequent

i i

Producer

Country

Song Of The Spring Pony: K. K u w a ya m a ,

M iller, US A , 2 6 0 5 .8 5 m , V illa g e R o a d sh o w C o r pora tio n , L(i-m-g) V(i-m-g) Hellraiser (e d ite d v e rs io n ): C. F igg, US A , 241 3.84 m , V illa g e R o a d s h o w C o rp o ra tio n ,

J a p a n , 106 m ins, C u ltu re C e n tre

430 6.51 m ,

Fox C o lu m b ia

F ilm

D is trib u to rs ,

V(i-m-j) Ofadult concepts) Maurice: I. M e rc h a n t, UK, 3 7 8 5 .0 0 m , V illa g e R o a d sh o w C o rp o ra tio n , 0(adult concepts) Night On The Town, A (a): D. H ill/L . O bst, USA, 2 7 9 7 .8 6 m , V illa g e R o a d s h o w C o rp o ra tion, L(i-m-g) Princess Fragrance (sa id to be title n o t sh o w n in E n g lish ): N o t sh o w n , H o n g K o n g , 2 4 9 6 .1 3 m , K w ang T. M ok, V(i-m-j) Road Warriors: P. T o n g , H o n g K o n g , 2 55 0.99 m , C h in a to w n C in e m a , V(i-m-g) Spiritual Love: J. M ak, H o n g K o n g , 2 4 1 3 .8 4 m , C h in a to w n C in e m a , V(i-m-g) O(horror) Suspect: D. S h e rko w , US A , 3 3 1 9 .0 3 m , Fox C o lu m b ia Film D is trib u to rs , V(i-m-j) Lfi-m-g) Tampopo (Dandelion): N o t sh o w n in E n g lish , Japa n, 3 0 4 4 .7 3 m , R o n in F ilm s, S(i-m-j) Vfi-m-j) Terroriser (16m m ): T zo u W e n H w a i/H s u Kuo Liang, T a iw a n , 1 1 4 0 .8 8 m , C h in e s e C u ltu ra l C entre, Vfi-m-g) 0(adult concepts) Tough Guys Don’t Dance: M. G o la n /Y . G lobus, US A , 2 9 0 7 .5 8 m , H o yts D is trib u tio n ,

V(i-m-g) S(l-m-g) L(i-m-g) Ofdrug use) (a)

Change

title :

P re v io u s ly

Adventures In Babysitting

s h o w n as in C in e m a

P a p e rs 67, J a n u a ry 1988

• R (For Restricted Exhibition) Blood Diner: J. M a slo n , U S A , 2 3 0 4 .0 0 m , F ilm pac H o ld in g s, O(horror) V(f-m-g) China Girl: M. N o zik, U S A , 2 3 8 6 .0 0 m , F ilm p a c H o ld in g s, V(f-m-g) L(f-m-g) Fatal Beauty: L. K ro ll, U S A , 2 8 2 5 .2 9 m , U n ite d In te rn a tio n a l P ictu re s, Vff-m-g) L(f-m-g) Ghost’s Lover (sa id to be title n o t s h o w n in E n glish): K o & A s s o c ia te s , H o n g K o ng, 249 6.13 m , K w a n g T. M ok, S(i-m-g) Ofexploitatlve nudity) Hellraiser: C. F ig g , US A , 2 4 9 6 .1 3 m , V illa g e R o a d sh o w C o rp o ra tio n , V(f-m-g) O(horror)

Films Registered With Deletions

Films Refused Registration Nil

DECEMBER

1987

Films Registered Without Deletions • G (For General Exhibition) Asterlx Vs. Caesar: Y. P iel, F ra n ce , 75 m ins, F ilm p a c H o ld in g s

Big Joys Small Sorrows (m a in title not sh o w n in E n g lish ): M . W a kita , Ja p a n , 126 m ins, J a p a n In fo rm a tio n a n d C u ltu re C e n tre Lost In The Wilderness: N o t sh o w n , J a p a n , 135 m in s, J a p a n In fo rm a tio n a n d C u ltu re C e ntre

In fo rm a tio n

and

Torasan’s Island Encounter: S h o o h k iv P ro d u c tio n , J a p a n , 100 m ins, J a p a n In fo rm a tio n and C u ltu re C e n tre

g g g g

3 Men And A Baby: T. F ie ld /R . C o rt, US A , 101 m ins, V illa g e R o a d sh o w C o rp o ra tio n , 0(drug references) L(i-l-j) Baby Boom: N. M eyers, US A , 110 m ins, U n ite d In te rn a tio n a l P ictu re s, L(i-l-j) Ofadult concepts) Congratulatory Speech: A. S h o ch iku P ro d u c tion, J a p a n , 89 m ins, J a p a n In fo rm a tio n and C u ltu re C e n tre , Ofadult concepts) Crazy Spirit: W . C h a n g /C h a o Y u a n Lin, H ong K ong, 86 m in s, K w ang T. M ok, V(i-m-j) Dancers: M. G o la n /Y . G lo b u s, US A , 96 m ins, H o yts D is trib u tio n , L(i-l-g) Ofsexual innuendo) Don, The Incredible Dog: T. S h in o sh im a , J a p a n , 99 m ins, J a p a n In fo rm a tio n C e n tre ,

Reason for Decision

Less Than Zero (a): J. A v n e tt/J . K e rn e r, US A, 96 m ins, Fox C o lu m b ia Film D is trib u to rs , * * * Like Father Like Son: B. G ra ze r/D . V a ldes, US A, 99 m ins, Fox C o lu m b ia Film D istrib u to rs, Lfi-m-g) Maid To Order: H. J a ffe /M . E n g e lb e rg , US A, 92

• PG (Parental Guidance)

m ins,

V illa g e

R o a d sh o w

C o rp o ra tio n ,

Lfi-m-g) Night On The Town, A: D. H ill/L . O bst, US A, 102

m ins,

V illa g e

R oadshow

C o rp o ra tio n ,

Lfi-m-g) N o M a n ’ s L a n d : J. S te rn /D . W o lf, US A , 106 m ins, V illa g e R o a d sh o w C o rp o ra tio n , Lff-m-g)

Vfi-m-g) Ofanti-social behaviour) No Regret: Fu K w o k L ue n, H o ng K o ng, 96 m ins, K w ang T. M ok, Vfi-m-g) Ofadult con cepts) N u ts : B. S tre isa n d , US A , 112 m ins, V illa g e R o a d sh o w C o rp o ra tio n , Ofadult concepts)

Ofsexual allusions) Moonstruck: N. J e w is o n /P . P a lm e r, US A , 102 m ins, U n ite d In te rn a tio n a l P ictu re s, Ofadult concepts) Lfi-l-j) Mr. Handsome (m ain title n o t s h o w n in E n g

Vfi-m-j) Orphans: A. P a ku la , US A, 115 m in s, V illa g e R o a d sh o w C o rp o ra tio n , Ofadult theme) Lff-m-j) Overboard: N o t s h o w n , US A, 115 m ins, U n ite d In te rn a tio n a l P ictu re s, Sfi-m-j) Prince Of Darkness: L. F ranco, US A , 98 m ins, Fox C o lu m b ia Film D is trib u to rs , Vfi-m-g) Lfi-m-g) Ofhorror) Prison On Fire: C. C h a n g , H o ng K o ng, 99 m ins, C h in a to w n C in e m a , Vff-m-g) Lfi-m-g) Split Of The Spirit: Lo W e i, T a iw a n , 91 m ins, C h in e se C u ltu ra l C e n tre , Vfi-m-g) Ofhorror) Straight To Hell: E. F e lln e r, UK , 86 m ins, P a lace E n te rta in m e n t C o rp o ra tio n , Vfi-m-g) Surrender: A. S p e llin g /A . G re ism a n , US A , 95 m ins, H o yts D is trib u tio n , Ofadult concepts) Teen Wolf Too: K. B a te m a n , US A , 92 m ins, F ilm p a c H o ld in g s, Vfi-m-g) Whiteteeth And Biackskin: N o t sh o w n ,

lish): J. C h ia n g , H ong Kong, 93 m ins, C h in a

T aiw an , 94 m ins, C h in e s e C u ltu ra l C e n tre ,

to w n C in e m a , Ofadult concepts) Lfi-m-g) Taipei Story: N ot show n, T a iw a n , 115 m ins, C h in e se C u ltu ra l C e n tre , Vfi-l-j) Lfi-l-g) Ofadult concepts) Wonder Women (said to be title n o t s h o w n in

(a) See also u n d e r F ilm s R e g iste re d W ith o u t D e le tio n s F or R e stricte d E xh ib itio n — R — and F ilm s B o a rd of R e vie w

V(i-l-g) Ofadult concepts) Flunk-Out Heroes, The: L on g S h o n g P ictu re s, T aiw an , 98 m ins, C h in e se C u ltu ra l C e n tre ,

L(i-m-g) V(f-l-i) He’s My Girl: L. T a y lo r-M o rto rff/A . S ch a p iro , US A, 104 m ins, V illa g e R o a d sh o w C o rp o ra tion, L(i-l-j) Ofsexual allusions) Leonard — Part 6 : N ot sh o w n , US A , 89 m ins, F o x C o lu m b ia F ilm D is trib u to rs , Vfi-l-g)

E n g lish ): D & B Film s C o m p a n y, H o ng K ong, 97 m in s, C h in a to w n C in e m a , Ofadult concepts)

Vfi-m-g) Lfi-m-g)

• M (For Mature Audiences) Anna: Y. B o g a ye vicz/Z . D e vine, US A, 100 m ins, F ilm p a c H o ld in g s, Ofadult concepts) Belinda: B. K a b rie l, A u stra lia , 93 m ins, F o n ta n a P ro d u ctio n s, Vfi-m-g) Lfi-m-g) Ofadult con cepts) Born In East L.A.: P. M a cG re g o r-S co tt, US A, m in s ,

U n ite d

In te r n a tio n a l

P ic tu re s ,

Lff-m-g) Broadcast News: J. B ro o ks, U S A , 132 m ins, Fox C o lu m b ia F ilm D is trib u to rs , Ofadult con cepts) Lfi-m-j) Departure: C. S u li/B . K a va n a g h , A u stra lia , 92 m ins, C in e a u st, Vfi-m-j) Flower Floating On The Sea, The: C e n tra l M o tio n P ictu re C o m p a n y, T a iw a n , 91 m ins, C h in e se C u ltu ra l C e n tre , Ofadult concepts,

drug use) Fortune Hunters (m ain title n o t sh o w n in E n g lish ): C. Lam , H o n g K o ng, 88 m ins, K w ang T. M ok, Vff-m-g) Sfi-m-g) Hiding Out: J. R o th b e rg , U S A , 99 m ins, H o yts D is trib u tio n , Lfi-m-g) Vfi-m-j) Hours Of Wedlock, The: Y. O ka d a /S . M iyasa ka /S . H a ta G oshi, J a p a n , 102 m ins, Ja p a n In fo rm a tio n and C u ltu re C e n tre , Ofadult con

Summer Night, With Greek Profile, Almond Eyes And Scent Of Basil (d): G. M in e rvin i, Italy, 95 m ins, Ita lia n A rts F e stiva l S o c ie ty

Wrestler, The (e): Y le is ra d io /F in n is h B ro a d ca stin g , F in la n d , 87 m ins, F e stiva l o f P erth (d) S p e c ia l c o n d itio n s : (1) T h a t th is film /ta p e w ill not be e x h ib ite d in a n y S ta te in c o n tra ve n tio n to th a t S ta te ’s la w re la tin g to th e e x h ib itio n o f film s. (e) S p e c ia l c o n d itio n s : (1) T h a t th e film be e x h ib ite d o n ly as p a rt o f th e 1988 B H P A u s tra lia n T e le v is io n F e stiva l at th e U n iv e rs ity o f W e s te rn A u s tra lia b e tw e e n th e p e rio d c o m m e n c in g on th e 13th d a y o f F e b ru a ry 1988 a n d e x p irin g on th e 14th d a y of F e b ru a ry 1988 (b o th d a ys in clu sive ); (2) T h a t th e film be e x h ib ite d not m o re th a n tw ic e in th e c o u rs e o f th e fe s tiv a l; (3) T h a t th e film , if im p o rte d , be e x p o rte d w ith in six w e e ks o f th e c o n c lu s io n o f th e fe stiva l.

• R (For Restricted Exhibition) Eddie Murphy Raw: R. W a c h /K . W a ya n s,

84 Nil

Gratuitous

j j j j

Applicant

Hearts Of Fire: R. M a rq u a n d /J . A lw a rd /J.

O(horror), V(f-m-g) S(i-m-g) Hotel Colonial: I. B a rm a k, Italy, 2 9 0 7 .5 8 m , F ilm p a c H o ld in g s, V(i-m-g) L(i-m-g) Ofdrug use, adult concepts) Last Emperor, The: J. T h o m a s , Ita ly/C h in a ,

Justified

h h h h

Submitted length (m)

Ja p a n

Purpose High

Ita lia n A rts F e stiva l S o cie ty Bread (e): Israel TV , Israe l, 8 5 m ins, F e stiva l of P e rth Catherine (e): T h a m e s T e le v is io n In te r na tio n a l, UK , 81 m in s, F e stiva l o f P erth Chronicle Of A Death Foretold (d): Y. C a sser/F . V o n B u re n , Ita ly/F ra n ce , 109 m ins, Ita lia n A rts F e stiva l S o cie ty Dark Eyes (d): S. B e n d ic o /C . C u c c h i, Italy, 117 m ins, Ita lia n A rts F e stiva l S o c ie ty Desert Of The Tartars, The (d): N o t show n, F ra n c e /lta ly , 140 m in s, Ita lia n A rts Fe stiva l S o cie ty Family, The (d): F. C o m m itte d , Ita ly/F ra n ce , 130 m in s, Ita lia n A rts F e stiva l S o c ie ty Girlfriends, The (d): G. A d d e ssi, Italy, 104 m in s, Italian A rts F e stiva l S o cie ty Gold-Rimmed Glasses, The (d): L. P e sca ro lo , Ita ly /F ra n c e /Y u g o s la v ia , 110 m ins, Ita lia n A rts F e stiva l S o cie ty Green Light For Us Now, A (e): K o rea n B ro a d c a stin g S yste m , S e o u l, K o rea , 59 m ins, Fe stiva l o f P erth II Generale Della Rovere (d): M. Ergas, Ita ly/F ra n ce , 137 m ins, Ita lia n A rts Fe stiva l S o cie ty Interview, The (d): I. M oussa, Italy, 105 m ins, Italian A rts F e stiva l S o c ie ty Iron Crown (d): N o t sh o w n , Italy, 100 m ins, Italian A rts F e stiva l S o cie ty La Dolce Vita (d): G. A m a to , Ita ly/F ra n ce , 173 m ins, Ita lia n A rts F e stiva l S o cie ty Long Live The Lady (d): G. C e re d a , Italy, 115 m ins, Ita lia n A rts F e stiva l S o cie ty Scab (e): Y o rk s h ire T e le v is io n , UK, 90 m ins, Fe stiva l o f P erth Scarfe On Scarfe (e): BB C , UK , 60 m ins, Fe stiva l o f P erth

US A, 90 m ins, U n ite d In te rn a tio n a l P ictu re s,

Lff-m-g) Ofadult concepts) Full Metal Jacket (b): S. K u b rick, US A, 116 m ins, V illa g e R o a d sh o w C o rp o ra tio n , Lff-m-j) Vff-m-j) La Leydel Deseo: El D eseo, S.A ., S p a in , 102 m ins, N e w visio n Film D is trib u to rs , Ofadult concepts, drug abuse) Sfi-m-j) Less Than Zero (c): J. A v n e tt/J . K e rn e r, US A, 96

m ins,

Fox

C o lu m b ia

Film

D is trib u to rs ,

Ofdrug abuse) Long Arm Of The Law Saga Two (title not sh o w n in E n g lish ): N o t s h o w n in E n g lish , H ong K o ng, 86 m ins, C h in a to w n C in e m a , Vfi-m-g) Running Man, The: T. Z in n e m a n /G . L in d e r, US A, 100 m ins, V illa g e R o a d sh o w C o rp o ra tio n , Vfi-m-g) Surf Nazis Must Die: R. T in n e l, US A , 80 m ins, S e ven K e ys Film s, Vfi-m-g) Lfi-m-g) Yume-Chiyo: Y. O k a d a /M . S a to h /S . S akag a m i/K . S a ito h , J a p a n , 124 m ins, Ja p a n In fo rm a tio n a n d C u ltu re C e n tre , Ofexploitative

nudity) Vfi-m-g) (b) S e e a lso u n d e r F ilm s B o a rd o f R e vie w (c) S ee also u n d e r F ilm s R e g iste re d W ith o u t D e le tio n s F o r M a tu re A u d ie n c e s — M — and F ilm s B o ard o f R e vie w

cepts) House Of Games: M. H a u sm a n , US A , 100 m ins, V illa g e R o a d s h o w C o rp o ra tio n , Lfi-m-g) Vfi-m-j) Le Grand Chemin (The Big Highway): P.

Hearty Response, A: R o ve r KC T a n g , H ong

H o m m a is/J. Le P e tit, F ra n ce , 104 m ins, H o yts D is trib u tio n , Sfi-m-j) Ofadult concepts)

Ofgratuitous sexual violence)

Films Refused Registration Kong,

m in s ,

G o ld e n

Reel

F ilm s ,

Films Board of Review China Girl (f): M. N o zik, US A , 87 m ins, F ilm p a c H o ld in g s, * * * D e cisio n R e vie w e d : C la s s ify R b y th e F ilm C e n s o rs h ip Bo ard D e cisio n o f th e B o a rd : C o n firm th e d e cis io n of th e F ilm C e n s o rs h ip B oard Full Metal Jacket (g): S. K u b ric k , US A , 116 m ins, V illa g e R o a d sh o w C o rp o ra tio n , * * ’ J u ly 1987: D e cisio n R e vie w e d : C la s s ify R b y th e Film C e n s o rs h ip Bo ard D e cisio n o f th e B o a rd : C o n firm th e d e cis io n of th e Film C e n s o rs h ip B o ard D e ce m b e r 1987: D e cisio n o f J u ly 1 98 7 c o n firm e d Less Than Zero (h): J. A v n e tt/J . K e rn e r, US A , 96 m ins, Fox C o lu m b ia Film D is trib u to rs , * * * D e cisio n R e vie w e d : C la s s ify R by th e Film C e n s o rs h ip B oard D e cisio n o f th e B o a rd : D ire c t th e Film C e n s o r s h ip B o ard to C la s s ify M. (f)

See a lso u n d e r F ilm s R e g iste re d W ith o u t D e le tio n s F o r R e s tric te d E xh ib itio n — R — N o ve m b e r 1987 (g) See a lso u n d e r F ilm s R e g iste re d W ith o u t D e le tio n s F or R e s tric te d E x h ib itio n — R. T h is c o n firm s n o tice p u b lis h e d in sp e cia l g a ze tte S 3 6 7 o f 31 D e c e m b e r 1987 (h) S ee also u n d e r F ilm s R e g is te re d W ith o u t D e le tio n s F or R e s tric te d E xh ib itio n — R — and F o r M a tu re A u d ie n c e s — M

CINEMA PAPERS MARCH - 79

BRIAN JEFFREY presents our indispensable

FILM BUFF’ DIARI 1984: Jackie Coogan dies, from heart failure and kidney ailments, Santa Monica, Cali fornia. A popular child per former from the age of 16 months, he played the urchin in Chaplin’s The Kid (1921). His parents misappropriated his childhood earnings of more than $4 million, leading to the introduction of the socalled Coogan Act, which set up court-administered trust funds to safeguard the interests of juvenile per formers.

15 16 17

1940: Bernardo Bertolucci, director, born, Parma, Italy 1906: Brigitte Helm (Gisele Eve Schittenhelm), actress memorable for her debut in F ritz L a n g ’ s M e tro p o lis (1926), born, Berlin

1905: Robert Donat born, W ith in g to n , M anchester, England

1932: Paramount's Dr Jekyll And Mr Hyde, starring Fredric March and Miriam Hop kins, opens at Sydney’s Prince Edward Theatre

1980: Australian-born Holly wood actress Louise Lovely (Louise Lehman, aka Louise Carbasse) dies, Tasmania

1911: Jean Harlow (Harlean Carpentier) born, Kansas City, Missouri

1982: World premiere of The Man From Snowy River, Star Cinema, Mansfield, Victoria

19 75 : C h a rle s C h a p lin knighted, Buckingham Pal ace, London

2Ï

1982: John Belushi found dead from a drug overdose, C h atea u-M arm o nt Hotel, Hollywood

1985: Media magnate Rupert M u rd o ch a c q u ire s h a lf interest in Twentieth CenturyFox Film Corporation in $US250 million deal

1906: Comedian Lou Cos tello (Louis Francis Cristillo) born, Paterson, New Jersey

1987: Waldo Salt, screen writer (Taras Bulba, 1962; M idnight Cowboy, 1968; Coming Home, 1978), dies, Los Angeles

1896: Otto Heller, director of photography (His Majesty O’Keefe, 1953; Richard III, 1955; Alfie, 1966), born, Prague

1928: S y d n e y ’s Regent Theatre opens with The Flesh And The Devil, starring Greta Garbo and John Gilbert

1892: A rthur H onegger, composer (Gance's Napo leon, 1926), born, Le Havre, France

1931: W a rn e r B ro th e rs Studio releases 42nd Street, starring Warner Baxter and Bebe Daniels

1945: Jim Sharman, director (The Rocky Horror Picture Show, 1975; The Night The Prowler, 1979), born, Sydney

1898: Henry Hathaway, director (Lives Of A Bengal Lancer, 1935; Call Northside 777, 1948; True Grit, 1969), born, Sacramento, California

1 9 7 5 : S u sa n H a y w a rd (Edythe Marrener) dies, of a brain tumour, Los Angeles

-------------- :—

1899: Nita Naldi (Anita D onna Dooley), actress memorable as the temptress opposite Valentino in Blood And Sand (1922), born, New York City

1933: Charles Chauvel’s first sound film, In The Wake Of The Bounty, premieres at Sydney’s Prince Edward Theatre

1941: Almost a year before the United States will officially enter the Second World War, James Stewart becomes the first major screen star to sign up with the armed forces

23 24

1910: Akira Kurosawa, direc tor, born, Tokyo, Japan

1921: S im one S ig n o re t (Simone Kaminker) born, Wiesbaden, Germany

1909: Chips Rafferty (John William Pilbean Goffage), born, Broken Hill, NSW

1897: Gloria Swanson (Gloria Josephine Mae Swenson) born, Chicago, Illinois

1987: Maria von Trapp, former nun whose life and family were inspiration for the play and film The Sound Of Music, dies, Copley Hospital, Morrisville, Vermont

1901: Ub Iwerks, animator who designed Mickey Mouse for the Disney studios, born, Kansas City, Missouri

1986: Harry Ritz, leader and last surviving member of the Ritz Brothers, nig h tclu b comedians who appeared in many musicals of the 1930s (On The Avenue, 1937; The Goldwyn Follies, 1938), dies, of pneumonia, San Diego, California

1937: Warren Beatty (Warren Beaty), born, Richmond, Vir ginia

1939: Volker Schlondorff, director, born, Wiesbaden, Germany

1------------------ -------------- H Ü ------ -

1959: Raymond Longford, d ire c to r, dies, S ydn ey, having spent his final years as a night watchman on the waterfront

3 4

1924: Marlon Brando born, Omaha, Nebraska

1958: Lana Turner’s boy friend, Johnny Stompanato, is stabbed to death in her Beverly Hills home. Her daughter, Cheryl, is later ac quitted on the grounds of ‘justifiable homicide’ 1926: Roger (William) Corman, producer-director who became 'King of the B Pic tures’ in the 1950s, born, Los Angeles 1936:

U niversal

Studios

Flash Gordon, star 6 release ring Larry (Buster) Crabbe

16 17

1927: Abel Gance’s Napo leon prem ieres, Theatre National de I’Opera, Paris

1898: E.Y. ’Yip’ Harburg, lyri cist, often in partnership with composer Harold Arlen (The Wizard Of Oz, 1939; Cabin In The Sky, 1943), born, New York City

1965: Linda Darnell receives fatal burns in a house fire while trying to rescue her host’s daughter, Glenview, Chicago 1932: Omar Sharif (Michel born, Alexandria, Egypt___________________

10 Shalhoub)

ÏT

1947: Chaplin’s Monsieur Verdoux premieres, Broad way Theatre, New York

1922: Comedian Roscoe 'Fatty' Arbuckle acquitted of the rape and murder of actress Virginia Rappe in September 1921

14 15

1947: Barragan Toscano, Mexican director/cinematographer whose pioneering efforts led to a legacy of foot age showing everyday life in Mexico between 1897 and 1920, dies, Mexico City. His daughter, Carmen, used much of the footage in Memorias De Un Mexicano (1950)

1897: Ralph Dawson, film editor (A Midsummer Night's Dream, 1935; The Adven tures Of Robin Hood, 1938; The High And The Mighty, 1954), born, W estboro, Massachusetts

1979: C inep le x, largest cinema complex in the world, with 18 separate theatres, opens at Toronto Eaton Centre, Canada 1909: A walk-on part in Her Biscuits marks Mary Pickford's entry to motion pic tures

20 First

.1874: Billy Bitzer (Johann Gottlob Wilhelm Bitzer), lead ing cam e ram a n clo se ly associated with D.W. Griffith (Birth Of A Nation, 1915; In tolerance, 1916), born, Roxbury, Massachusetts

1949: Meryl Streep (Mary Louise Streep) born, Basking Ridge, New Jersey

1986: Crocodile Dundee premieres at Hoyts Centre, Sydney, then opens at 72 cinemas across Australia

1934: Shirley MacLaine (Shir ley MacLean Beaty) born, Richmond, Virginia

1972: George Sanders sui cides with an overdose of sleeping tablets, Barcelona

1984: May McAvoy, actress, who starred with Al Jolson in The Jazz Singer (1927), dies, Sherman Oaks, California

1900: Walter Lantz, animated cartoon producer and creator and voice of Woody Wood pecker, born, New Rochelle, New York

1917: Robert Anderson, playwright/screenwriter (Tea And Sympathy, 1956; / Never Sang For My Father, 1970), born, New York City

1894: Rondo Hatton, charac ter actor who suffered from a disease which distorted his face, skull, hands and feet and was thus typecast in horrific roles, memorable as. The Creeper in Sherlock Holmes And The Pearl Of Death (1944), born, Hargerstown, Maryland

1912: Eve Arden (Eunice Quedens), born, Mill Valley, California

1932: Anthony Perkins born, New York City 1899: Curtis (Kurt) Bernhardt, director (The Blue Veil, 1951; M iss S a d ie T h o m p so n , 1953), born, Worms, Ger many

1914: George W. Davis, art director (All About Eve, 1950; The Robe, 1953; How The West Was Won, 1963), born, Kokomo, Indiana

and Jean Rogers

1940: Paul Cox, director, born, Venlo, Netherlands

CV N E t ^

if II T ' i ,r Ïin J PROUD TO BE ASSOCIATED WITH

* O j;V * 0 *

THE MAN FROM SNOWY RIVER I Keith Wagstaff: Director o f Photography

Geoff Burrows: Director and Producer

The name Eastman Kodak has been associated with more awardwinnifig films at the Cannes Film Festival, than any other. Which is hardly surprising when you consider that we've been in the business of making films ever since the film business began. So were able to offer a range of six specialized films to suit all your technical requirements. No matter how challenging they may be. 19

One good film deserves another, i

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