Cinema Papers No.69 May 1988 by UOW Library

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CONTENTS 4

B R IE F L Y

S C H M O O Z IN G : A b e g in n e r ’s gu id e to L A -speak

T H E S O U N D O F M U S IC : A ustralian com p osers speak

M U S I C T W O : C am eron A llan talks

I A N B R A D L E Y S U M S U P : W here C raw fords is g o in g

M A K I N G A IR W A V E S: T h e netw ork shake-up

S E X 3 D E A T H A N D F A M IL Y M O V IE S : M o m m y , w h a t’s h a p p en in ’ on our screens?

R E V IE W S : B roadcast N e w s, The D ea d , The E verla stin g Secret F a m ily , The G ood F ather, H ouse O f G am es, The M a n From S n o w y R iv e r II, W a ll S treet, W arm N ig h ts On A S lo w M o v in g T rain, W ings O f D esire

B O O K S : Actor! Actor!

H I G H T A C K : In th e b e g in n in g are th e logos

P R O D U C T I O N S U R V E Y : W h o ’s m aking w h at in A ustralia

C E N S O R S H IP : T h e January and F ebruary d ecisio n s

B A C K PAGE: Film buff’s diary

CINFMA No. 69 Editor Philippa Hawker

Publisher Patricia Amad

Assistant Editor Kathy Bail

Art Director Mick Earls

Editorial Assistant/Subscriptions Susie Keratiotis

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.

AUSTRALIA AT CANNES 26

M I N E O V E R M A T T E R : A fter M alcolm , what?

T H E N A V IG A T O R : V in cen t W ard’s m ed ieval od yssey

H U N G R Y H E A R T : L u ig i A cq u isto and th e darker sid e o f love

P L E A S U R E D O M E S : A room w ith a v ie w

T H E C A N N E S O P E N E R S : A ustralian m o v ies at C an nes

N E W Z E A L A N D : F ilm s on sh ow

W H O ’S W H O : A ustralians on th e C roisette

P R O D U C T IO N BA R O M E T E R : A com p reh en siv e round-up o f film , telefeature and m in iseries activity in 1987

Signed articles represent the views of their author, and not necessarily those of the editor. While every care is taken with manuscripts and materials supplied to the magazine, neither the editor nor the pub lishers can accept liability for any loss or damage which may arise. This magazine may not be reproduced in whole or in part without the express permission of the copyright owner. Cinema Papers is 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. © Copyright MTV Publishing Limited, No. 69, May 1988

‘ Recommended price only.

Cover:

S te p he n K e a rn e y in Rikky And Pete

Cinema Papers is published with financial assistance from the AUSTRALIAN FILM COMMISSION and FILM VICTORIA

CONTRIBUTORS David Bennett is a lecturer in the English Department at Melbourne University. Raffaele Caputo is a freelance writer on film.

Anne-Marie Crawford is a filmmaker and writer based in Melbourne.

Liz Fell is a freelance journalist specialising in media and communications technology.

Felicity Foxx is a film composer. Freda Freiberg is a Melbournebased lecturer and writer on film.

Neill Gladwin is a member of Los Trios Ringbarkus, an actor and writer, and prematurely grey.

Jenni Gyffyn is a freelance music writer.

Fred Harden is a film and television producer specialising in special effects.

T H IS C A N N E S IS S U E o f C inem a P apers goes to press w ith a n u m b e r o f crucial q u estio n s a b o u t th e fu tu re o f th e A u stra lia n film in d u stry still u n resolved. T h e m o st im m ed iately pressing o f these is, o f co u rse, th e m eans by w hich m oney can be raised to en ab le film s to be m ade. In th e clim ate o f u n c e rta in ty a b o u t th e in d u s try ’s fu tu re , p ro d u c tio n has slow ed do w n , as can be seen fro m o u r p ro d u c tio n survey. In 1987, as o u r p ro d u c tio n b a ro m e te r show s, 43 fe a tu re film s, 12 m iniseries a n d 25 telefeatu res w ere m ade, w ith a to ta l b u d g e t o f alm o st $200 m illion. T his includes featu res like E v il A n g e ls an d C rocodile D u n d e e II, w hose progress will be anxiously m o n ito re d th ro u g h o u t th e in d u stry . N evertheless, 29 A u stra lia n film s will be seen at C annes this y ear, only slightly few er th a n th e 1987 to ta l. O f th o se 1987 film s, th e su b seq u en t success sto ry was u n d o u b te d ly Travelling N o r th . H ig h Tide, despite stro n g p e rfo rm an ces an d en th u siastic review s, did n o t m ak e an im p ressio n a t th e box office, an d several local film s th a t received a th e a tric a l release — T h o se D ea r D e p a rted , Sla te W yn & M e an d F re n c h m a n 's F a rm , fo r exam ple — cam e an d w ent w ith alarm in g speed. T he sta r o f th e 1987 A F I A w ard s, T he Year M y Voice B ro k e , w as originally p a rt o f a television p ack ag e, a n d n o t in ten d ed fo r th e a tric a l release. T his year a t C annes several A u stra lia n

film s have been singled o u t. T h e A u stra lia N ew Z e a la n d c o -p ro d u c tio n , T he N a v ig a to r, has b een selected fo r c o m p etitio n , as h as M aggie F o o k e ’s a n im ated sh o rt P leasure D o m e s. (Interview s w ith th e d irecto rs o f b o th film s a p p e a r in th is issue.) M erilee B e n n e tt’s sh o rt, A S o n g O f A i r (review ed in C in em a P apers 66), will b e seen in ‘U n C ertain R e g a rd ’. W hile film m ak ers co m p lain ed a b o u t th e u n c e rta in ty th a t d o m in a te d film fin an cin g , a very d iffe re n t k in d o f u n c e rta in ty has been evident in th e television in d u stry — th e d ifficu lty in keeping tra c k o f w ho ow ns w h at this w eek. In this e d itio n , Liz Fell sets o u t th e d etails o f th e n e tw o rk s’ b uying frenzy, a M o n o p o ly gam e th a t still is n ’t over. T h e degree o f c o n c e n tra tio n in m ed ia ow nership is a crucial q u e stio n fo r th e fu tu re o f th e film a n d television in d u stry in A u stra lia , as is th e related issue o f A u stra lia n co n te n t. C in em a P a p ers p lans to cover th ese m a tte rs in fo rth c o m in g editions. F inally, how are A u stra lia n film s review ed? In this issue, th e review ers o f The M a n F ro m S n o w y R iv e r II , T he E verlasting Secret F a m ily a n d W arm N ig h ts O n A S lo w M o v in g Train co nsider how these film s have b een received a n d view ed critically in this co u n try . F o r th e p ro d u cts o f this next p h ase o f A u stra lia n film m ak in g , it is v ital to have rig o ro u s, co m m itted , im ag in ativ e analysis.

Paul Harris is a Melbournebased film critic.

Brian Jeffrey is a freelance writer based in Canberra.

Shelley Kay is a Sydney writer

CREATIVE DEVELOPMENT FUND: FIRST ASSESSMENT OF 1988 T otal funding o f $490,184 was approved by the A ustralian Film Com m ission for 21 projects.

and film commentator.

W e s te rn A u s tra lia Peter Kemp is a freelance writer on film.

Ron Elliott: Just Deserts ($2,500) Steven Peddie: D eath D efying ($2,500) N o rth e rn T e rrito ry

Peter Lawrance is a freelance writer.

Anne McDonald is a freelance writer living in Sydney.

Adrian Martin is a freelance film critic.

Lorraine Mortimer is a lecturer in cinema studies at La Trobe University.

Mick Barker, R honda Foster: E xtinct B u t Going H o m e ($39,790) N e w S o u th W a le s

Lis A roney: M a ke M y D ay ($7,616) Simon C ooper: U ntitled L o ve Story ($14,180) M ark Davies, Penny Palm er: O ut To Lunch ($5,244) Benay Ellison: D ecoding The L in k ($19,300) John Evan Hughes: R a ft O f The M edusa ($68,789) Curtis Levy: Tour D e Force ($49,404)

V ic to ria

Lindsay C hristopher son: The In vited ($27,659) A nna K annava: Vanilla Essence ($12,872) M ichael Lee: P aradox O f The Cross ($1,863) Brian McKenzie: Coburg ($74,974) Bill M ousoulis: A fte r School ($18,365) Peter Tam m er: A t Last, The A m a zin g Flaus Film ($38,780) David Tiley, P aul Brown: Jo lim o n t ($42,000) Phillip Tyndall: In L a n d s O f Escape ($2,000) Dennis Tupicoff: The Bear ($55,728) Chris W indm ill, A nne-M arie C raw ford: Personal A d s ($2,620) S o u th A u s tra lia

Rick Cavaggion, Chris W illems: Son O f R om eo ($2,500) M argaret H aselgrove: Transaustralis ($1,500)

Michele Nayman is a writer currently based in Sydney.

Bruce Permezel is an illustrator and video editor.

Bill and Diane Routt are a couple of Melbourne academics. Tom Skotnicki is a finance journalist at The Herald.

4 — MAY CINEMA PAPERS

ST KILDA FILM FESTIVAL AWARDS • Certificates o f M erit: Painting The Town — Trevor G raham P orp h yria ’s L o v er — M urray Bartley, music Palisade — L aurie M clnnes, cinem atography Fully O rdained M ea t Pie — Film A ustralia M aking B iscuit — Sharon L aura • L ongford Cinem a A w ard: Pleasure D om es — M aggie Fooke

• K odak A w ard for C inem atography: With L o ve To The Person N e x t To M e — Ray Argali • Illum ination Films Prize: Australian S u m m er — M egan Sim pson • A ustralian Film T heatre Prize for Screenplay: D am sels B e D a m n ed — W endy Thom pson • Cinevex Prize: A Craven — A nne A lgar • M ayor’s Prize: C ustody — Film A ustralia • City o f St Kilda Prize: A Song O f A ir — Merilee Bennett

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THE SCENE BEHIND THE SCREENS. . . A FI E xhibition offers the best o f international program m es to a discerning A ustralian audience. ( ¡ ^ T H E I L L U S I O N O F L I F E — th e first in te rn a tio n a l a n im a tio n to u rin g ^ festiv al in A u s tra lia w ill fe a tu re th e very b e st o f in te rn a tio n a l a n d A u s tra lia n a n im a to rs — S v a n k m a je r, Q u a y B ro s, c o m p u te r, science Ç j* fic tio n a n d A u s tra lia n p ro g ra m m e s. J U L Y /A U G U S T ’88. Ç0

M I D D L E E A S T E R N a n d N O R T H A F R I C A N F IL M F E S T — p ro m ise s to b e o n e o f th e m o st in terestin g seaso n s ever p re s e n te d b y th e A F I. S E P T /O C T . A M I K I O N A R U S E R E T R O S P E C T I V E — h as been d escrib e d as J a p a n ’s “ H o w a rd H a w k s ” — tw e n ty film s fro m th is m a s te r o f J a p a n e s e c in e m a . O C T /N O V . A F I E x h ib itio n th a n k s th e F ilm a n d T elev isio n In stitu te (W .A .); th e S ta te F ilm C e n tre o f V ic to ria ; th e S o u th A u s tra lia n M e d ia R e so u rc e C e n tre ; E lectric S h ad o w s, C a n b e rra a n d th e D a rw in F ilm S o ciety fo r th e ir assista n c e in p re se n tin g A F I N a tio n a l to u rs . 213 Palmer Street DARLINGHURST NSW Ph: (02) 332 2111 Tlx: AA27286 FILMOZ FAX: (02) 331 7145

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6 - MAY CINEMA PAPERS

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Middriffini, an animated film in production by Sabrina Schmid

Sabrina Schmid’s short animated film Elephant Theatre won the Tom Berman Award at the 1988 Ann Arbor Film Festival in Michigan. Schmid says that after much preparation, cutting, drawing, pasting, measuring, calculating, the idea for the film emerged: One man has built a little

theatre which he can hold in the palm of his hand. It reveals a world of its own. Yet there remains one dream to be fulfilled: that some elephants will come to live in it. . . She is currently producing, directing and animating Middriffini, a tragicomedy.

COMPETITION RESULTS We had a good response to our This Is The Big Easy D artin’ com petition, in which readers had a chance to win a copy of Jim M cBride’s The Big Easy, courtesy of Seven Keys. O ur three winners are L. Baron, D iana Rosica and Ross Peters. The answer to the question, “ W hat is the nam e of Dennis Q uaid’s brother who appears in The Big E asy? ” is o f course Buddy Q uaid, who plays Justin in the film. Randy Q uaid, D ennis’s actor brother, does not m ake an appearance, but num erous contestants guessed that he might have. A small consolation prize is on its way to unsuccessful entrants.

THE 1988 ACADEMY AWARDS • • • • • • • • • • • • • • • • • • • • • • • • •

Best picture: The L ast E m peror Best director: B ernardo Bertolucci {The Last Emperor) Best actress: Cher (.M oonstruck) Best actor: M ichael Douglas ( Wall Street) Best supporting actress: O lym pia D ukakis {M oonstruck) Best supporting actor: Sean Connery {The Untouchables) Best original screenplay: Jo h n Patrick Shanley {M oonstruck) Best screenplay from another source: M ark Peploe and Bernardo Bertolucci {The L ast Em peror) Best foreign language film: B a b ette’s Feast (Denmark) Best editing: G abriela Cristiani {The L ast Emperor) Best m ake-up: Rick Baker {Harry A n d The Hendersons) Best original score: Ryuichi Sakam oto, David Byrne, Cong Su {The L ast Em peror) Best song: “ I ’ve H ad The Time O f My L ife” {Dirty Dancing) Best sound: The L ast E m peror Best visual effects: Innerspace Best art direction: Ferdinando Scarfiotti {The Last Emperor) Best cinem atography: V ittorio S toraro {The L ast Em peror) Best costume: Jam es A cheson {The L a st Em peror) Irving G. Thalberg A w ard: Billy W ilder Special achievem ent aw ard: sound effects editing team on R obocop G ordon E. Sawyer A w ard: sound specialist Fred Hynes Best docum entary feature: The Ten-Year Lunch: The W it A n d L egend O f The A lg onquin R o u n d Table Best docum entary short: Young A t H eart Best anim ated short: The M an W ho P lanted Trees Best live action short: R a y ’s M ale H eterosexual D ance H all

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C o n g ra tu la tio n s to a ll o u r p a s t a n d p r e s e n t s tu d e n ts w h o a re c o n tin u in g w ith e x c e lle n c e th e h ig h s ta n d a r d in M ake-u p a n d S p e c ia l E ffe c ts fo r o u r F ilm , T elevision , T h eatre, H igh F a sh io n a n d A r t/S c u lp tu r e , p lu s o th e r r e la te d a re a s o f e m p lo y m e n t fo r m a k e -u p a r tis ts .

Ever wanted to schmooze? Ever wondered about the best way to impact material? NEILL GLADWIN, who has been writing scripts Stateside, explores the language of the all-important deal.

To schmooze and die in L.A.

8 — MAY CINEMA PAPERS

McGuffin that propels that film . Some words have a Yiddish background, such as “ bebbitz” a word for complaining. “ Fish out of water” is a term that describes a film that involves a character out of place in a new environment. Crocodile D undee would be described in this way. Many words are used that are usually found in other fields. I ’m always fascinated at the use of words such as “ regime” and “ power” . Half expecting that they are political and military in feeling, it tends to show the state of the industry in the land across the sea. Oh to be a fly on the wall in some executive office, somewhere in Los Angeles, to be able to hear those conversations and that wonderful and colourful language that these quaint and all so friendly natives use . . . “ No, listen. I ’ve got this kid. He could be the next Rambo or Dundee. It’s a great original fish out of water. H e’s an awesome talent.” “ I ’ve read it — it’s a woofer.” “ Trust me. All we need is the shatter off the pot!” “ Look, would I he to you? We have the power to create something here. L et’s impact the material, douche bag. “ Don’t bebbitz. Let’s just do lunch

sometime with Charlie and he’U . . . “ H e’s a douche bag, a schmichael and you know it!” “ Yeh, ok he’s a real production slut.” “Anyway, I ’m outta here. Trust me. It’U be great.” “ Yeh, would I he to you?” Perhaps if it was translated, it would go something like this . . . “ Shut up I ’m talking to you. I ’ve just signed a new actor straight out of drama school and he can’t act, but he looks great. Actually, he looks nothing like Stallone or Hogan but we can seh him really weh to the right market.” “ I ’ve read your script, it’s a dog (of a movie).” “ Fuck you, get me the money!” “ I ’m lying through my teeth at you. I get real hom y talking about power like this. Show me the script and I ’h bum it like the last one.” “ Get off my back. W e’h buy Charhe a free lunch, talk him into . . .” “ I like the guy but he schmoozes too much — and so do you.” “ Yeh, he’s a sleazebag.” “ Excuse me, I ’ve got a fictitious appointment now. This will never work. Fuck you.” “ Yeh, fuck you too!” It ’s a wrap . . .

Bruce Permezel

It often occurred to me, as I sat in Los Angeles looking at the keys of my typewriter, that there was a strange, unknown language among the weird and mysterious race that lived in that land called Hollywood. The form belongs to the world of the executive and the agent in this land of wonder and plunder. Quite often I would find myself having to do a double take at the utterances made by this distant tribe. Perhaps the first word I learned, and it was a good word to know as well, was “ schmooze” . I remember wangling an invitation to the opening night party of S a tu rd a y N ig h t L iv e's new season. I was told that it would be a good idea if I schmoozed a while as everyone else would be. Not fully understanding this anthropological term, I watched the natives in action. “ Listen, I ’ve got to tell you this new season of your show is going to be the best. I tell you, it w ill make inroads into the television landscape! What do I do? Well, I ’ve got this project . . . ” And thus the schmooze. It seems to be the ability to get out into a crowd, no matter how big, and let every individual present know what it is you’re doing for the next two years. If you have been schmoozing well you may organise a time to either call or make an appointment. However, it is usually communicated something like this. “ . . . L et’s do lunch sometime. Yeh, w e’ll touch base soon . . .’’ It seems as if no one h a s lunch — they do lunch. They don’t phone somebody, they put a call in to so-and-so. And for some reason they want then to touch each other’s bases. A bit like Australians in Pine Gap I suppose. A fter a call has been put into another party, they may discuss how one deal is going to im p a ct another. If the negotiations are getting a little heated, they may refer to each other as douche bag. Then again if the deal is going well they may refer to each other as douche bag. Some terms I quite like. Such as “ The Abbey Singer” . This, so I ’m told, is the last shot of the day on the set, and is used by some directors to prolong the time until wrap. The word McGuffin was apparently coined by Hitchcock to describe the vehicle for a film. For example the Maltese falcon is the

PETER WILLARD SPEAKS As Peter said when he joined Cinefilm recently, “ I haven't got a lot to say. I’ve got a lot to do!” Peter sees his job as making a good film laboratory even better. The first thing he did was to bring Peter Wilson and Gary Keir with him to join the already experienced team at Cinefilm. And th a t’s just the start. Peter will be doing all the things that need to be done to give you the product, the facilities and the working environment that will exceed your expectations. He doesn’t want to get into too

much detail at this stage, except to say, ‘The one thing that really won’t change at Cinefilm is we’re still going to be the most competitive film laboratory and tape facility in town” Give Peter a call to find out what he’s up to at Cinefilm. We’re a great laboratory now and we’re going to get even better.

CFL FILM & VIDEO PTY. LIMITED 14-16 Whiting Street (P.O. Box 361) Artarmon, N.S.W. 2064 Australia Telephone (02) 439 4122 Telex AA73035

What’s the role of the composer in film, and what should it be? JENNI GYFFYN talked to composers Peter Best, John Clifford-White, Bruce Rowland, Bruce Smeaton and Paul Schutze about the sound (and the budget) of music.

John Clifford-White

Bruce Smeaton

Q: W h a t is y o u r m usical b ac k g ro u n d , and w h y did you d e c id e on c o m po sin g fo r film ? ROW LAND: I learned m usic for a co u p le of years as a kid, and ta u g h t m yself the rest, e xce p t fo r a cou rse I did for a year in c o n d u ctin g . I d o all m y ow n c o n d u ctin g , orchestration and a rra ng ing . C o m p o sin g for m ovies was som e th in g I w a nted to do; I’d been w riting jingles for ab ou t 12 years, and before that I used to w rite m usic for television. T h e re ’s m uch m ore m on ey in jingle w riting than in m ovies, and m uch less fatig ue and stress — pa rticularly stress! W ith films, I can w ait three m onths and never hear a note until that one tum ultu ou s da y w h ere I put m y hands up and c o n d u ct the orch estra and it all go es bang! W ith jingles, you get the job, the b rie f’s today, you do the jo b tom orrow , and then the day after that you send you r bill and 120 days later you get a cheque! I heard the y w ere m a king The M an From S now y River, rang G eoff [B urrow es] and said I w as interested. He sent m e — and nine other co m p o se rs — a script. I w rote a piece for it and w as lu cky en ou gh to get the job. To get into w riting m usic for films, y o u ’ve really got to learn all the different facets of m usic. T h e re ’s no point in just being a rock-a nd -ro ller saying, “ I’ll w rite rock and roll m usic for film .’ ’ In m y case, you have to be able to w rite a be lie vab le string quartet, a be lie vab le piece for S cot tish ba g p ip e , C hinese m usic, a bit of A fri can m usic, a be lie vab le sym phony, an Elton Joh n look-alike, A C /D C -so u n d in g stuff . . . y o u ’ve got to be able to do e ve ry thing. O therw ise, you b e co m e so p ig e o n holed and specialised that it’s im p ossib le to m ake a living in this country. The in d u s try ’s too small.

BEST: I have no m usical b a c k g ro u n d — I d id n ’t even d o m usic at school — but I was alw ays interested in it. I w ro te son gs w hile I w as still at school that w ere really dreadful, and w ere de riva tive of all the heroes of the d a y like D uane Eddy. W hen I left hom e and cam e to S ydn ey I d id n ’t play m usic m uch

Paul Schutze 10 - MAY CINEMA PAPERS

at all, and then I was out d rinkin g with som e of m y university mates, and som ething was on the ju ke b o x that I m ade disp a ra g in g rem arks about. S o m e b o d y said, “ Well if y o u ’re so b lo o d y sm art w hy d o n ’t you do be tte r?’ ’ There w as a lot of jo king co n ve rsa tion around the tab le ab o u t how the SunH e rald was running a son gw riting c o m p e ti tion, so I w ent hom e and kn o cke d off a few songs — and w on! I tho ugh t, “ Well, if it’s that easy I m ig ht as well keep do in g it!” I cam e out of a b a c k g ro u n d of jingles. Up until a co u p le of years ago, I guess I aver ag ed m ore than 200 a year. It’s m ore lu cra tive than m ovies. C om m ercials are an intel lectual exercise and a puzzle to solve. You give them you r best shot but you d o n ’t get em otionally in volve d the w a y you do with movies. S om ething like Bliss: e ve ryb o d y w ho w o rked on it felt as tho u g h th e y ’d been run over b a ckw a rd s by a steam roller w hen they cam e out of it because everyone was so d e d ica te d and interested. It w as ex hausting em otionally. That d o e s n ’t m ean you d o n ’t m ake the sam e kind of effort on a com m e rcial as you d o on a m ovie. It’s just that em otional dim ension ten ds to be la ck ing, or it’s less intense. I’d do ne a lot of w o rk fo r Phillip A dam s, and he and Brian R obertson had m ade a short film called J a c k A n d J ill w hich, for its time, was very interesting. Phillip asked me if I’d do som e m usic for that, and I did. He then w as p ro d u c in g The A dve nture s O f Barry M cK enzie, and sug ge ste d m e to B ruce B eresford and Barry H um phries. I’d been at university with Bruce, but that w a sn ’t re g a rd e d by him as any kind of qualification for m e to be in a position to w re ck his m asterpiece! So he d id n ’t w ant m e to do it, Barry d id n ’t w ant m e to do it, and w hat h a p p e n e d in the end w as that I tried to resign several tim es. B ruce w o uld have a cce p te d it happily, but Phillip w o u ld n ’t. In the end I actually w rote a song called The A d ve n tu re s O f Barry M cK enzie w hich I played to Barry H um phries, and he loved it. So that g o t the pressure off! C rocodile D u n d e e w as the first film I’ve ever actually go n e after, and I d id n ’t go after it because I knew it w as g o in g to be a success or an ythin g like that. They w ere in S ydn ey an d I was living in Portland. I never >

CINEMA PAPERS MAY — 11

< g o to in d u stry fu n ctio n s or read the in du stry press and I d o n ’t kno w an yon e else in the in du stry m uch, so I w as the last person to find out that the y w ere m aking a film called C ro co d ile D u n d e e . W hen I d id find out, it w as from s o m e b o d y w h o said tha t dozens of p e o p le had been a p p ro a c h e d and asked to su b m it songs, so I sent a fairly ch e e ky letter to S yd n e y saying, “ W hy have you a p p ro a c h e d e ve ry living and de ad A ustralian c o m p o s e r e xce p t m e ? ’ ’ I got a p h o n e call to say tha t th e y still h a d n ’t m ade a de cisio n a b o u t it, a n d th e y ’d kee p m e in m ind. Then six m on th s later the y rang m e and said w o u ld I c o m e to S yd n e y and talk to them , w h ich I did. A n d at the end of that day, w ith o u t a n y b o d y really saying a n y thing, I fo u n d m yself with the job.

SMEATON: I th in k p e o p le get into m usic for lots of d iffe re n t reasons. For som e it’s a totally em o tion al a n d in stinctive thing. O ther p e o p le find it’s an intellectual thing. They w a nt to play an in stru m en t and they d o n ’t actu ally care a b o u t m usic. W ith me, I thin k I w as fo rtu n a te to g ro w up in pre-tele vision M e lbo urne , and tha t m eans lots of radio. I fo u n d w h e n I w e n t to the U nited States m a n y years later tha t I knew m ore ab ou t bla ck jazz an d the history of m usic than alm ost a n yo n e I’d ever m et in the States. I used to play by ear. It never o c c u rre d to m e tha t you c o u ld actually train yourself. A n d then all of a sud de n, alm ost de spite m yself, I started to w o n d e r how m usic was put tog ether. That led m e into tryin g to un de rsta nd how other in stru m en ts w o rked . I started to d isco ve r m y true nature; I w a s n ’t a player but a writer, w h ich I never knew before. It w as a very u n p a lata ble th in g be cau se I’m a g re g a rio u s person, and the id ea of sitting in a room alone and w riting — I c a n ’t tell you how aw ful that was! But I started w riting, and in the p ro cess I then g ra d u a lly a cq u ire d the kna ck of be in g able to hear in m y head w hat I w rote do w n to a gre ater or lesser extent. I w as in the RAAF C entral Band. I learned to play a lot of in stru m en ts and even be ca m e interested in in stru m en ts I d id n ’t w a nt to play but w a nted to co m p o se for, and th e re fo re I had to learn the ir fin g e r ing. I started w riting jingles and did m ore than 25 00 of them . T here w a s n ’t a lot of m o n e y in w riting com m e rcia ls then. N o w ad ays, som e p e o p le are m aking $ 3 0 0 ,0 0 0 a year just by w riting jingles consistently, but w h en I w as there, it w as a ste p p in g stone into som e th in g else. I had this id ea that if I c o u ld on ly fuse a personal vision with a reliable te c h n iq u e and also learn a lot a b o u t the w o rld, I c o u ld p ro d u c e a diffe re nt sort of

m usic. I c o u ld help p e o p le to hear the w o rld in a new way. W ithout com m e rcials, I c o u ld never have d o n e films. I m et an A m e rica n at the A B C called C harlie Russell, w h o p ro d u c e d a series called Seven Little A ustralians. Instead of a tiny bla ck and w hite thin g, he felt the y should co n sid e r the w h ole w o rld a m arket, do it in co lo u r and as well as th e y could. Charlie had w o rke d with such p e o p le as Je rry G old sm ith and B ern ard F lerrm ann, and he had m e do the m usic for this. I did the m usic as well as I knew how. C harlie w as very g o o d at briefin g — he really knew w h at he w a nted. T here w as no con fusio n such as you get with m any A ustralian film m akers. Seven Little A ustra lia ns w o rke d well; I got an AFI aw ard for the m usic. I su rvived by jin g le w riting be cau se the b u d g e t was so dre ad fu l. P icnic A t H a n g in g R ock was another one — the b u d g e t was awful. From the re I pro g re sse d from one th in g to anothe r until finally I co u ld give up the jingles.

SCHUTZE: I w as a fo u n d in g m e m b e r of L a u g h in g H ands, on e of th e m o re su c c e s s ful exp e rim e n ta l M e lb o u rn e b a n d s of the early eighties. W e learned, w h ile d istri b u ting ou r m aterial a ro u n d A u stra lia an d E urope, tha t A u s tra lia ’s p o p u la tio n is not large en o u g h to s u p p o rt the kind of w o rk w h ich interested us. W e w ere better kn o w n in E uro pe than w e w e re at hom e. T ow a rds the end of that p e rio d w e w e re c o m m is sioned to w rite a score for R o ge r Scholes, w h o w as d o in g p o st-g ra d u a te film at S w in burne. The ba n d a d m itte d g e ne ral de feat soon after that, th o u g h I kep t in to u ch w ith R oger and w o rk e d on his d o c u m e n ta rie s and shorts. O ver the next fe w yea rs R o ge r w as stru g g lin g to get his first fe a tu re m a d e (R uby Rose literally to o k yea rs to realise), and I b e ca m e c o n v in c e d tha t the o n ly area I c o u ld w o rk in m u sica lly w h e re the m usic w o u ld be heard and serve som e p u rp o s e w as film.

CLIFFO RD-W HITE: I used to do rad io p ro d u ctio n s with a friend in high school w h o had a tap e recorder. I used to ch o o se the m usic for it, and pro g re sse d to m aking a stan dard 8 m ovie. M y te a ch e r su g g e ste d I have a shot at S w inb urne Film School. B ack then they had ab ou t 600 a p p lica n ts and only to o k in 15. They liked the film I did at school and I w as acce pted . I w as alw ays interested in film ed itin g and m usic, but I d id n ’t kno w w h ich I liked better. At film school, the le ctu rer said, “ H ands up eve ryon e w h o w ants to be a d ire c to r.’ ’ E ve ryb o d y puts their ha nd s up — e v e ry o n e ’s go in g to be a director. He notices this hand do w n at the back. “ W hy isn ’t you r hand up, J o h n ? ’ ’ “ Oh, I w a nt to w o rk in so u n d .” Of cou rse eve ryon e laughs. “ W hat do you w ant to w o rk in sound fo r? ” “ Well, if eve ryon e else is g o in g to be a director, th e re ’s got to be so m e b o d y to put the sou nd tra ck o n .” I started scoring short films, and d id a TV feature called Taxi. I w as 19 at the tim e and

How

m uch

in v o lv e m e n t d o

you h av e w ith th e d ire c to r o r p ro d u cer? SCHUTZE:

I sho uld po in t out tha t m y e xp e rie n ce is pretty lim ited. It started out ideally b e cau se I w as in vo lve d on R u b y Rose from the b e g in n in g . I read th e variou s dra fts of the scrip t and ta lke d at le ng th w ith the d ire cto r w a y be fore p re -p ro d u ctio n . By the tim e it w as ne ed ed , w e had a solid basis of co m m o n ideas w ith w h ich to talk a b o u t m usic. This w as ve ry im p o rta n t b e cau se it do es not fo llo w th a t a person w h o thin ks p ictu res will be a b le to co n v e y subtleties of his vision to a pe rson w h o thin ks m usical notes w ith o u t som e difficulty. I w e nt to the locations, ta lke d to th e cast, w a tch e d the ed itin g, assisted w ith the la yin g -u p of effects and so on. So I kne w fairly well w h at w as re q u ire d and, m ore im portantly, w h at w a s n ’t req uire d. T here is not a lot of m usic in tha t film b e ca u se it sim p ly is n ’t ap p ro p ria te .

SMEATON: It varies, d e p e n d in g on the relatio nship of th e film d ire c to r to the p ro d u c e r to th e e d ito r to th e film m a k in g p ro cess. If y o u ’re ta lkin g a b o u t a g u y w h o really do es treat film m a k in g as a c o lla b o ra tive thin g, he will w a n t a lot of input. It rather d e p e n d s o n w h e th e r y o u ’ re b e in g re g a rd e d as c o m p o s e r to p ro d u c e som e un d e rsco re , or as m usical d ire cto r. If y o u ’re m usical d ire c to r fo r th e film and y o u ’re g o o d e n o u g h to be e m p lo y e d for the jo b, the n y o u ’ re p ro b a b ly g o o d e n o u g h to be con sulte d. O n a rece nt tele visio n series I’ve d o n e fo r the A B C ca lled The A lie n Years (w h ich is ba sed on the b e a tin g u p of th e G erm an im m ig ra n ts d u rin g W o rld W ar I) all these th in g s have ju st h a p p e n e d . T here is a s e q u e n ce on b o a rd a ship. I w e n t out and rese arch ed th e p ro p e r m u sic fo r the pe rio d, an d the n o rg a n is e d it to be playe d by a g ro u p th a t c o u ld have be en typ ica l of that pe rio d. The film m a k e rs d id n ’t w a n t to s p e n d th e sort of m o n e y th e y p ro b a b ly sh o u ld have on an o rc h e s tra b e ca u se it w as not ju st th e co st of th e m u sicia n s but also th e co st of a set to ho use the m . It w as su p p o s e d to be th e first class d a n c in g The Adventures Of Barry McKenzie (Best)

12 - MAY CINEMA PAPERS

g o t $40 fo r it! I also go t a son g into th e A u s tralian Song A w a rds. A fte r S w in b u rn e I d id m usic e d itin g fo r C o p S h o p , so m e of The Sullivans, P riso ne r an d C a rs o n ’s Law.

m e he or she wants, then th a t’s som e th in g that has to be nu tte d out be fore I g o into the re c o rd in g studio.

Q: A re you g iv en s crip ts o r rough cuts w h e n you w rite m u sic fo r film ? ROW LAND: I’m give n a scrip t to start with and then I’m give n the film. T im ing is so intricate that you can on ly w rite to the finished e d ite d film , and I w o rk m y tim in gs totally to w h a t’s h a p p e n in g in the film. T here have been occa sio n s w h e re I've w ritten a piece of m usic and the d ire cto r has ed ited to it or shot to it, but very rarely. Crocodile Dundee (Best)

salon of a P & O liner in th e 1880s, and, be cau se it w as c h e a p la b o u r b a ck then, they w o u ld ha ve had a la rg e string orch e stra a n d not had to pay an ythin g m uch at all. H o w eve r, w e had to cu t it dow n. It’s b u d g e t priorities. H o w im p o rta n t is that scene? O n ce again, if y o u ’re talking to a film m a ke r w h o ’s in te rested in the filmm aking process, y o u ’ll sit d o w n and talk ab ou t these th in g s an d d o a trial costin g. If it’s too costly, a scen e m ay ha ve to be re structure d. T h a t’s c o lla b o ra tiv e film m a king . A n o th e r ty p e of film m a k in g is w h ere you get a p h o n e call on M o n d a y afte rn o o n from a p a nic-stricke n p ro d u c tio n assistant telling you that th e y ’ re sh o o tin g a p la y b a c k scene the fo llo w in g day, an d c o u ld the y po ssib ly have som e m usic. I th in k tha t if y o u ’ re g o in g to be e m ployed as m usical d ire cto r, you sh o u ld be in volve d in all sorts of a sp e cts of the film . If y o u ’re be in g e m p lo y e d as a com p ose r, you sh o u ld be in te rested regardless. W heth er the film m a k e r ch o o se s to involve you or not is a co m p le te ly d iffe re n t m atter.

ROW LAND: Very closely. I g o on location as often as I can. W hen I’m w riting, I like to discuss the sce n e with the dire cto r, and I’ll play ideas. T he m ost im p o rta n t th in g is to know that y o u ’re g e ttin g the rig ht feel for the scene. It has to be the rig ht em otional direction. C LIFF O R D -W H IT E : D e p e n d s on the actual person. S om e of the m will sp e n d a lot of tim e with you and say, “ This is w hat I want, and if y o u ’ve g o t a c o u p le of hours can w e g o th ro u g h the re co rd s n o w ? ” A nd som e of the m c o m e in an d say, “ Well, th e re ’s the show ! It’s not very g o o d but I kno w y o u ’ll h e lp it” , an d the n w a lk out! A n d then you lo ok at it an d say, “ N o w o n d e r they d id n ’t stay a ro u n d !”

BEST: N o rm ally I get a script, but usually th e re ’s not m uch po in t in re a d in g it be cau se on ce a shoot is over, the re are m ore blue pa g e s than an y other colour! A lm ost in va ria b ly you end up with so m e th in g that is n ’t w hat a n y b o d y entirely e x pected. S om e tim es it’s m uch better and som etim es it’s not. The m om e n t of truth usually co m e s w h en you see the first assem bly. W ith C ro co d ile D u n d e e , I w a tch e d that first rou gh cut that ran a b o u t 2_Vz hours, and I really en jo yed it. I sort of w a s n ’t e xp e ctin g to, but I did. A n d as I w o rke d on it and saw it m ore and m ore tim es, I got m ore and m ore b o re d w ith it. I’m sure Jo h n Cornell w o n ’t accu se m e of d isloya lty w hen I say that. T here isn 't a film aro u n d that you can see 50 0-6 00 tim es w ith o u t ge tting a bit bored. I had to keep re m in d in g m yself just w hat m y first response had been, and th a t’s w hat is valuable. It’s that first tim e you look at it. T h a t’s the on ly tim e m ost peop le are go in g to see it. SMEATON: T h e re ’s a lot of stuff said ab ou t this. The film that y o u ’re g o in g to base you r score on is d e cid e d by w hat they bring b a ck and how they cut it tog ether. If you read a script, th a t’s fine. H ow ever, y o u 'v e go t to be very careful h o w you read it so that you d o n ’t be com e the d ire cto r by proxy. If you read the scrip t as intensely and d e e p ly as you w ould, say, a short story or novel w here you re-create it in your head, then it’s like a b u cke t of co ld w ater in the face to see that the actual d ire cto r has d a red to interfere with you r vision. You create m ental blocks. I thin k you have to do som e pre-thinking. You also have to know w hat they w ant from the m usic. They dictate that. I thin k that m usic is the servant of the film, but I d o n ’t believe it sho uld be the slave.

Q: W h a t a b o u t th e b u d g e t you have to w o rk w ith in ? CLIFFO RD-W HITE:

It d e p e n d s on the project. There is a b u d g e t and it is w o rke d out, but the acco u n ta n ts usually d o n ’t tell you how m uch it is. T hey on ly let you know if y o u ’ve go n e ove rb o a rd . Film and television library disks of stock m usic cost ab ou t $40 per 30 seco nd s, so it sort of stacks up. For m usic ed itin g, I ch a rg e by the hour, but for sco rin g I give them a quote. H ow ever, it do es d e p e n d on the sub je ct m atter. I m ean, if som e on e w ants the Lo n d o n S ym p h o n y O rchestra, th e y ’ re g o in g to have to pay for it! If you qu ote $6000, y o u ’ve g o t to stress to them that th e y ’re not go in g to get an o rch estra for that!

SMEATON: A rule of th u m b overseas is that seven per cent of the b u d g e t go e s to m usic unless it’s a m ega-m illion b u ck m ovie. O ver here it's usually less than one per cent, w hich is w hy it’s so te rrib ly unfair w hen they bring in an overseas c o m p o s e r and allocate a ge n e ro u s b u d g e t an d an overseas-type fee. On A Town Like A lic e , it w as spo tte d and score d to im age like a feature film. In fact, I had a better b u d g e t in m an y w ays than I have had on som e A ustralian fea tu re films, because H enry C ra w ford, the p ro d u ce r, actually values the fun ction of m usic. T h e re ’s a very bad habit th a t’s g ro w n up in A ustralia as a result of jingles, and has drifted across to film m usic. A d ve rtisin g peop le will m ake a hu g e p ro d u ctio n out of go in g off to shoot en o u g h m aterial to m ake a 30-second com m e rcial. They ten d to say, “ Oh look, w e ’ve got $X ,0 00 for m u s ic !” This can e n co u ra g e a certain typ e of c o m poser to po cket the m on ey and do e ve ry thin g he can on a synthesiser. W hat perha ps should ha p p e n is that the c o m poser w orks for a fee, w h ich is quite separate from how m uch m on ey is ava il able to p ro d u ce the finished track. A re we talking ab ou t one banjo player or the Berlin P hilharm onic? S eventy m inutes or 10 m inutes of m usic? Even th in g s like co p y in g cha rge s can vary from alm ost no thin g up to $ 1 2 ,0 0 0 . The m inim um fee on a US film is $U S 50,000. Y ou’re also paid a separate fee for c o n d u ctin g , for orch e stra tin g and for p ro d u c in g the m usic. You are given a m usic editor w ho is resp on sible fo r the b u d g e tin g , sch e d u lin g etc. O ut here, un fo r tunately, idiots like m e started w riting film

BEST: V ery little. I d o n ’t th in k I’ve ever s u g gested to a d ire c to r or p ro d u c e r tha t so m e thin g be c h a n g e d fo r m y co n ve n ie n ce . If d ire cto rs like G illian A rm s tro n g are really interested, th e y ’ll ke e p rin g in g you up with ideas. W hen you a ctu a lly sp o t the film, then often th e y ’ve g o t fairly stro n g ideas, but you d o n ’t have to ta ke the m into acco un t. I’ve ig n o re d ple n ty of in stru ctio n s I’ve been given! O nce I’ve had all th e in p u t e v e ry b o d y can give me, it’s a ctu a lly tim e for m e to pull the te le p h o n e out of th e wall and start w ork. Then I just ha ve to lo ok at th e film , and it’s the film I’m be in g loyal to, not th e d ire c to r or the p ro d u c e r. If I feel th e re ’s g o in g to be an e n o rm o u s c o n flic t be tw e e n w h at I th in k the film ne e d s a n d w h a t th e d ire c to r tells A Town Like Alice (Smeaton)

CINEMA PAPERS MAY — 13

be ca u se th e film ke e p s g e ttin g re-cut and th e y have to ke e p c h o p p in g up all their effects a n d d ia lo g u e tracks. W hat y o u ’d id ea lly like to d o is m ix y o u r m usic to effects tra cks so you kn o w w h a t th e s o u n d editors are d o in g an d w h e re th e y ’ve d o n e som e th in g a d ve n tu ro u s or different. T h e re ’s a classic case in C ro co d ile D u n d e e w here th e re ’s a k a n g a ro o shoot. S ue go es to sleep in a s le e p in g bag, an d the next thing s h e ’s a w a ke n e d — I th in k she sits up in terror. I w as ju st using th e cu ttin g c o p y ’s sou nd w h ich w as a v a g u e m ixtu re of all the effects tha t w e re re c o rd e d live, an d a few that w e re th ro w n in to h e lp the m to cut. A nd so I im a g in e d tha t the se gu ys, w h o are just 50 m etres aw ay a n d all firin g th e ir 303s, have a w a ke n e d her w ith her hair on end. W e m ixe d the m usic th a t way, an d then we got in the re an d fo u n d tha t the sound e d itors had been in stru cte d to have all this noise in the dista nce . So the m usic w as in a p p ro p ria te , an d w e ha d to d o som e very hasty rem ixing an d fid d lin g to m a ke it work. But th e re ’s never e n o u g h tim e. I’m sure if you ta lke d to a n yo n e — de sig ners, cin e m a to g ra p h e rs, scrip tw riters, d irectors, every b o d y — th a t’s w h a t th e y ’d all say. There is n ’t e n o u g h tim e.

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The Picture Show Man (Best)

scores for next to nothing to help the in du stry get going, and w e m ad e a rod for ou r ow n backs.

BEST: T hey vary. Som etim es th e y ’re not bad and som etim es th e y ’re very bad! I did P icture S how M an 10 years ag o and had an all-up b u d g e t of $1 0 ,0 0 0 in clu d in g m y fee and all costs. On the other hand, I’ve just do n e a film called C u sto dy for Film A ustralia (w hich Ian M un ro d ire cte d and is a terrific telem ovie), and I had a total bu dg et, in clu d in g m y fee, of $3000. T here are still lots of film s being m ad e with small bu dg ets. Som etim es you d o them because you really like or respect the p e o p le w ho are m aking them , or you thin k it c o u ld be som e th in g very interesting.

SCHUTZE: It’d be extrem ely unusual for a c o m p o se r to get in before p re -p ro d u ctio n and be con sulte d as to, “ This is w hat w e thin k w e w ant in this film. W h a t’s it likely to c o st? ’ ’ W hat norm ally ha p p e n s is they say, “ This is how m uch m on ey w e have and this is w hat w e w a n t,’ ’ and if the tw o th in g s are c o m p le te ly irre co n cila b le y o u ’ve go t to try to fig u re it out som ehow. U nfortunately, because m usic is usually the last th in g in the chain of pro d u ctio n , it suffers badly. Q uite often y o u ’ll find that the p ro d u ctio n has che w e d into its co n tin g e n c y b u d g e t severely, and will then start using its m usic b u d g e t as its b a c k u p con ting en cy, and the m usic b u d g e t starts to disap pea r. W hen y o u ’re raising m o n e y fo r a film, pa rticularly in Australia, y o u ’re basically given a sum of m on ey w h ich is the m axi m um am o un t that you can c re d ib ly raise, and you then have to d ivid e it up. So the am o un t of m on ey allocated for m usic is not based at all on practical co n sid e ra tio n s of w h a t’s required.

Q: W h a t m ajo r d is a d v a n ta g e s do you e n c o u n te r as a film c om po ser? ROW LAND: I w o uld say the b ig g e st p ro b lem is be in g given very sho rt tim e in w h ich to p ro d u c e m usic. Also, the facilities w ithin re co rd in g stud ios for re co rd in g orch estras

are diabolical, because the re is n ’t the industry to su p p o rt it. In Los A ngeles, for exam ple, the re w o uld be 10 place s I c o u ld th in k of that are full-tim e orchestral re c o rd ing studios — big 40-foot ceilings, large e n ou gh to put 100-piece orch estras into — because tradition ally they do lots of that kind of music. Flere, re co rd in g studios have to be fle x ible to the extent tha t you have a jin g le in this m orning, this afternoon y o u ’ll have a film score in, then a rock and roll ba nd on the w eekend. W e tend to g o to a big orchestral hall like the R obert B la ckw o o d Flail out at M onash and reco rd the re to get aro un d the problem .

B ES T : The b ig g e st co m p la in t tha t I th in k all of us have got is insufficient tim e. The m usi cian is usually the person w h o is squ ee zed hardest be cau se h e ’s the last in the queue, and h e ’s squ ee zed fo r tim e an d bu dg et. I m ean, p e o p le say to you, “ It’s a fairly small b u d g e t but w e ’ve go t a fair bit in c o n tingency, so p ro v id e d w e d o n ’t have to claim on the in sura nce a n d w e d o n ’t get too m any w et w e athe r days, then th e re ’ll be a bit of extra d o u g h and w e ’ll sling it you r way.” A n d you kno w as you gaze at the ceiling w hile th e y say these th in g s that by the tim e you get to reco rd, the re have been wet w e a th e r days and th e re ’ve been p ro b lem s with cam eras, and th e y ’ve crash ed a co u p le of cars th e y d id n ’t th in k th e y w ere g o in g to crash, a n d th e y ’ve had to e m p lo y a d ia lo g u e co a ch w h o m th e y had to fly in from Lithuania, an d all th e b u d g e t’s gone! T here are w o n d ro u s exce ptio ns. T here are p e o p le like Tony B uckley w ho, after the m aking of Bliss, ca m e up to m e and said “ W e ’re really pleased w ith w h a t you did and w e ’ve m a n a g e d to save $ 5 0 0 0 ” (or w h ateve r it was) “ an d w e ’d like you to have it.” T h a t’s alm ost un h e a rd of! M ostly y o u ’re the last one, so all th e lost tim e an d lost or w asted d o u g h has re b o u n d e d en dlessly until it’s all on you. S om etim es y o u ’ve g o t as little as three w eeks with a fine cu t an d th a t’s really not very long. Y ou’ll g e t a film an d th e re ’ll be eigh t m on th s s p e n t in p ro d u c tio n a n d tw o m onths spe nt in p o st-p ro d u ctio n . A n d the sou nd e d itors are a lw ays ru n n in g late

C LIFFO RD -W H ITE: Oh yeh — money. I w as to ld as a te e n a g e r, “ If you w a n t to m ake m oney, b e c o m e a real estate a g e n t!” If y o u ’re a J o h n W illiam s y o u ’re g o in g to m ake a lot of m oney, an d it even to o k him 30 years to ge t w h e re he is. H e started off d o in g the th e m e to L o st In S p a c e ! The b ig g e s t pro b le m , ho w e ver, is getting the film late in the w h o le stag e an d having ve ry little tim e to d o the m usic. SCHUTZE: D e p e n d in g on h o w you see the role of m usic in film (and I d o n ’t thin k it is self-e vid ent or constant), th e co m p o s e r is in the u n iq u e po sitio n of co m in g to the film at a point w h e re it has started to exist out side of the dire cto r. It’s far e n o u g h dow n the tra c k to have its ow n lo g ic and style, and that m ig h t or m ig h t not be w h a t was a n ticip a te d in p re -p ro d u c tio n . If you have a g e n u in e interest in film as a m e d iu m then you m ay also have a m a jo r p ro blem . A g o o d deal of m usic w ritten fo r film in the eighties is in d is tin g u is h a b le from that w ritten in the last d e c a d e b e ca u se its co m posers w rite sco re s a b o u t film m usic, not scores fo r or a b o u t film itself. So film c h a n g e s an d d e v e lo p s (how ever slowly), an d the m usic stays in a sort of loop of d ia lo g u e w ith its ow n history. You need to know h o w a n d w h y film w orks. M ost of the film s I have w o rk e d on have w a n d e re d , d u rin g p ro d u c tio n , into different

The Tale Of Ruby Rose (Schutze)

14 - MAY CINEMA PAPERS

areas from th o se p la n n e d . A g o o d d ire cto r will realise this an d brief you acco rd in g ly. W hen y o u r in stru ctio n s are in a p p ro p ria te and ba sed on m aterial w h ich d id n ’t m ake it to the d a rkro o m , you ha ve the p ro b le m of w ritin g fo r w h a t you can see a n d the a u d i e n ce will see, or w ritin g fo r w h a t only the d ire c to r can see. A p o p u la r solution is s im p ly to w rite like B e rn a rd H e rrm a n n and h o p e no on e notices.

SMEATON: I have re c o rd e d at A b b e y Road, C.T.S. a n d O ly m p ic in Lo n d o n , Glen G lenn (now R e cord Plant “ M ” ), E vergreen a n d a c o u p le of lesser stud ios in Los A ng eles, an d in m y e xp e rie n ce , one of the b ig g e st p ro b le m s w e ’ve g o t out here is w e d o not have an y special orch estral re c o rd ing stud ios w ith g o o d room acoustics. T h e re ’s n o w h e re in A ustra lia tha t you can put a big o rch e stra an d m atch it up with g o o d e q u ip m e n t an d room acoustics. A n o th e r p ro b le m is tha t a lot of A ustralian dire cto rs are in c a p a b le of telling you w hat the y w ant. B riefing a co m p o s e r is not alw ays part of the ir craft skills. T he c o m po ser often has ve ry little con tro l ove r the m usical a p p ro a c h . This is o d d , b e cau se on the one ha nd y o u ’ re to ld tha t m usic is the last gre a t crea tive in p u t into a m ovie, and on the oth er ha nd you are not often treated as part of the film m a k in g process.

“ Gee, I really liked tha t m usic ove r the te n d e r love s c e n e ” , then I’d say, “ Sorry. I’ve do n e w ro n g .” It’s su p p o se d to be a part of the picture. B ern ard H e rrm ann w as asked w h at he th o u g h t m u s ic ’s role was, and he said, “ It should be an invisible sh ro u d that com e s out of the screen and links the p e o p le on the seats to w h a t’s on the scree n.” I th in k it gets b a ck to getting into the soul of the thing, not just fo llow ing the action. You p re ten d the thin g has a soul, and you get into the m oo d and the a tm o sp h e re — the psych e if you like.

ROW LAND: I th in k the re co g n itio n is g ro w ing. The in du stry here suffered very ba dly in the past be cau se of television. In the days of the G ru n d ys and the C raw fords,

ia t ro le d o you s e e m usic in th e s u c ce s s o r fa ilu re of , a n d d o y o u th in k th e com »ceives s u ffic ie n t re co g n ihis _ o r h e r c o n trib u tio n ? C LIFFO RD -W H ITE: The role m usic plays is hu g e — a b so lu te ly huge. T here are som e gre at film s th a t d o n ’t need m usic such as The Hill, w h e re you ge t the im pression th e re ’s m usic bu t th e re is n ’t. T h ro u g h o u t the m o vie in the b a c k g ro u n d is the s o u n d tra ck of soldie rs m a rch in g a ro u n d yelling ‘ H up! H e p !’ etc, w h ich is a kind of m usic. A n o th e r film that h a sn ’t g o t m usic but you th in k it has is H itc h c o c k ’s The Birds. B ern ard H e rrm ann take s the c re d it fo r that, and in a sense the re is a score be cau se the s o u n d tra c k is e le ctro n ic squeaks. H e rr m ann g o t into som e th in g that th e y had to p u t a stop to after a w hile be cau se he was e xp e rim e n tin g w ith sp e cific su b -so n ic tones. T here w e re som e tha t w o u ld m ake p e o p le cry, som e tha t w o u ld m ake p e o p le laugh, som e tha t w o u ld m ake p e op le d o w n rig h t suicidal. It w as a bit like s u b lim inal ad vertising, and eve ntua lly it w as s to p p e d b e cau se it w as co n sid e re d too d a n g e ro u s and u n pre dictab le . S om e p e op le are very ig n o ra n t a b o u t the im p o rta n ce of m usic to film, but som e are brilliant, like S tanley K ub rick. He m ig ht sp e n d fo u r to five years d o in g his projects, an d he sp e n d s as m uch tim e with the m usic as he do es with the picture. For years the film score r w as re g a rd e d as the g u y w h o co m e s to paint th e house w hen it’s finished. H ow ever, I d o believe tha t score rs are g e tting m ore re co g n itio n now adays. I w as really c o m p lim e n te d one d a y w h en som e on e said th e y d id n ’t hear th e m usic in m y show. T hey said, “ W hy d id n ’t you put any m usic o n ? ’ ’, and I said, “ It is th e re !” T h a t’s the best thin g that a sco re r can be told. If th e y no tice it and th e y ’re su p p o se d to — like th e th e m e — then great. But if th e y ’re not, and th e y say,

Picnic A t Hanging Rock (Smeaton)

the re w as no such thin g as live or spe cific m usic for television, and it set a terrib le precedent. W ith show s such as H o m icid e and Division 4, it just cam e straig ht off a disk, and the next w e ek y o u ’d hear the sam e thing. There w ere alw ays original effects d ro p p e d in — the only thin g that w as alw ays lacking was m usic. It put m usic b a ck an aw fully long w ay in this industry, but it’s now starting to ch a n g e with the ad ven t of specifically w ritten m usic for m in i series, d o c u m e n ta rie s a n d te le v is io n shows.

SCHUTZE: I really feel that the role of m usic in film needs to be reassessed. The division betw een score, am b ie nce, effects and even basic sound editing will (sooner or later) be com e m ore blurred, as it has in other music. The spe ed with w h ich this ha p p e n s will d e p e n d on the ability of d ire c tors gene rally to realise the e xtra o rd in a ry im p o rta n ce of m usic in film and to be co m e m ore cultu rally articulate. M usic has ch a n g e d in im p ortan t w ays in the last five years, particularly in the w ays it can be m ade. Few directors, esp ecially in A u s tralia, are aw are of the possibilities, and I th in k the y ow e it to their craft to take as m uch interest in m usic te c h n o lo g y as they d o in film stock and ca m e ra tech nolog y. It is pretty am azing that m ore skill, in ge nuity and general flair is b ro u g h t to bear in the ave rag e th ro w a w a y seven-m inute d a n ce single than on m ost m o d e rn fea tu re film scores.

necessarily som e th in g tha t w e have an y right to c o m p la in about. People are inter ested in w h at th e y ’re interested in, a n d no am o un t of b itch in g by the m usical p ro fe s sion is g o in g to m ake p e o p le ch a n g e the ir list of priorities w h e n th e y g o to see a m ovie. T hey go to see p a rticu la r actors, and the w o rk of p a rticular d irectors. T hey can be visually ravished, be ca u se th a t’s som e th in g they d o n ’t e xp e rie n ce an yw h e re else. You sit in the cin e m a and you lo ok at an en o rm o u s screen, so it’s natural that you pay a bit m ore attention to w h at the c in e m a to g r a p h e r ’ s b e e n d o in g , fo r exam ple, than you d o to w hat the m usician or the set d e s ig n e r’s been doing. It’s a sou rce of terrific frustration to m e that every single year w ith o u t fail in the S ydney M o rn in g H e ra ld w hen th e y rep ort the AFI aw ards, the y list the m ost am a z in gly ob scu re aw ard s but the y never list the m usic aw ards, and I th in k it has to be a reflection of how im p ortan t p e op le th in k it is. The positive side is tha t m an y of the directors are aw are of w h at a diffe re n ce m usic can m ake to their work. In E ngland th e re ’s been a bit of visibility that has co m e ab ou t as a result of the fact tha t a nu m b e r of co m p o se rs w h o had rep utatio ns as serious m usicians have d o n e scores for films. M ost of those scores I thin k w e re te rr ible because th e y ’ve been cre a tin g m usic rather than film com m u nica tion . I’m con stantly asked by p e op le w h e th e r I see the film before I do the m usic. T hey say to me, “ Oh, so y o u ’ve seen it th e n ? ” as th o u g h I m ig ht say, “ No I h a v e n ’t seen it. I’ve read the scrip t and then I just d id som e really nice m usic, and then so m e b o d y w histled it onto the sou nd tra c k .” But that indicates, I guess, the de pth of interest. I think we in the profession can all e xp e ct film review ers to show a little m ore interest in the craft, and it alw ays d isa p p o in ts m e w hen I read a film review w h ere all sorts of those craft aspects are not discusse d. I’m really interested w hen I read a film review to know w hether the costu m e s are g o o d and w h ethe r it's well d e sig n e d and w h ethe r it’s a g o o d m usic score and a g o o d sou nd mix. All those th in g s are interesting and a part of it, and I thin k it’s a re vie w e r’s jo b to talk ab ou t them as well. But th e y d o it in te r m ittently and dism iss it as well, and tha t c e r tainly d o e s n ’t help the rest of the p o pu latio n to d e ve lo p an ap pre ciatio n fo r w h at w e do. M ostly you r m u s ic ’s not noticed unless it’s loathed.

BEST: I thin k the only reason th e re ’s been a bit m ore attention paid to m usic in the US over the last few years is b e cau se the re have been hit re co rd s co m in g out of films, but I d o n ’t th in k this is re co g n itio n of the prim ary role of a m usician in a film . It’s not Bliss (Best)

CINEMA PAPERS MAY - 15

Cameron Allan is an articulate member of what is generally seen as a fairly quiet set: those who compose music for the screen* Since his feature debut at age 19 on Jim Sharman’s Summer O f Secrets, Allan’s career has spanned a wide variety of productions for both commercial TV and the ABC as well as film s for cinema release. Most recently he has worked on The Umbrella Woman, Landslides, the critically acclaimed documentary feature by Susan Lambert and Sarah Gibson, and Haydn Keenan’s Pandemonium. FELICITY FOXX talks to him about his side of the art.

Why do you work in film? Initially it was because I wanted to be a composer and writing for film seemed like the best way I could develop as a writer. The only real alternative is concert music. I got involved in that when I was still at high school but stopped pursuing it fairly quickly.

Don’t you find it frustrating as a film composer, having been a concert writer, that you no longer have an entirely free rein to compose exactly what you like? You’ve got much more freedom, much more.

But there’s a director, there’s an image. . . Sure, I have to be at the service of a direc tor to some extent, but I can write for whichever instruments I want. With a commissioned work, I am obliged to stick to the limited concert ensembles that are already set up.

But in many ways a film score is just another sort of commission, isn’t it? Lengthwise, moodwise, financially, it’s dictated. It doesn’t really make a difference. There are limitations in every area of art. The limitations in film scoring I just see as the practical side of the score. It’s just like writing a piece with a number of move ments. And the big difference in being a composer for film, rather than working on a film in any other capacity, is that at the end of it all, the film score exists inde pendently. And working in film frees me from having to use ensembles I don’t want to use, which means I can do what I’m more interested in — use the studio as a means of creating music instead.

I can’t believe you’ve never been frus trated with a scene you have to score. Sure I’ve been frustrated, but generally there are tricks you can pull to get there.

But as an artist it must annoy you that it becomes a matter of ‘getting there’, rather than doing something really fantastic. Who’s going to know it was you who made a bad scene work anyway? Music never saves a bad scene. If you do it for yourself, you can be happy. The artistic satisfaction comes from seeing it; your music, the direction, the film, as a whole.

So film scoring for you was more a

necessitated choice of career than a natural one? Absolutely. But film is also the only real art form of this century and I find that very attractive too. It’s the latest modern form of expression to involve many, many crafts. I can’t think of anything quite like it since the enormous European cathedrals they built.

When you decided to move into film, how did it happen for you? Peter Sculthorpe recommended me for a job he couldn’t do. That was a series for the ABC directed by Stafford Garner and I’ve been working with him ever since.

And what do you now see as the com poser’s role on a film? To try to make something that adds to the individuality of the film.

To do that, what factors do you have to take into account? You must be analysing more than just visuals. Oh yes, you’re concerning yourself with plot, characters, every nuance.

What were you particularly conscious of when you wrote the score to The Umbrella Woman? Everything I wrote for that film was taking the main character’s state of mind strongly into account. I think that was generally reflected in the darkness of the score. It’s a fairly pessimistic film really. That’s why it was such a challenge to work on. I got a very good reaction from the score too, in a purely musical sense. We released a 45-minute soundtrack LP with Virgin Records.

Speaking of soundtrack releases, how do you view the hit song in film soundtracks? I hate it. Don’t get me wrong, I really like pop songs. I've spent many years pro ducing them. But when you put a pop song with a picture it simplifies everything. You shouldn’t need to explain pictures with a song. The lyrics and individuality of the song draw too much attention to themselves. The audience should be free to interpret the ending of a film how they like, without it being written all through the end song. Certain lyrics with certain scenes can be very satisfying though.

Is there a type of picture you prefer to score? I don’t relate terribly well to domestic-type comedies, sitcoms. I actually prefer the art-film style.

You’ve

just finished

working

Pandemonium. Tell us about that

score. The score is really only consistent with the film’s structure. The music was worked on reel by reel, so that each reel has its own flavour. The director, Haydn Keenan, was very interested in bringing a mixture of elements into the score and in using a wide variety of musicians. So we had Nathan Waks, who is a member of the Sydney String Quartet, playing extrapola tions on Bach. Then we used the Sydney Welsh Choir — 30 voices — because Haydn wanted a choir. That was a com pletely different sound. Then there was some of that dark forties old-style under scoring; we’ve used sixties and seventies classic police movie music to accompany scenes with secret agents. There’s every possible type of sound in there.

It sounds rather like a cartoon with flashes of sound coming from every where, pushing it along at a really fast pace. There is that flavour to it, yes. We tried everything. We even had one statement of the main theme played on bagpipes. Haydn wanted them and I love their sound. The theme became amazingly creepy, they changed it so much.

The Australian film industry has been analysed from all angles. What is it like for a composer working on films in this country? Well, I think for anybody wno works on the post-production side of Australian films, low post-production budgets are a big frustration. It means that nobody gets a chance to make a film that is entirely bullet-proof and complete. Also there can be a big feeling of waning interest on some films as they enter music stage. I can appreciate that the novelty there is at shoot stage has worn off to a large degree, but films here are telescoped to their detriment in post-production in a way which doesn’t happen in certain other countries.

Where ideally would you work then? In Europe. It’s a question of balancing up lifestyle and what the country can offer you as far as work goes. I like places with beautiful paintings to look at. And in Europe they have a whole history of culture and storytelling behind them that we just don’t have here. More than any thing, I thing it’s important to surround myself with the sort of art I want to be creating, because I do see myself as an artist.

IAN BRADLEY DOES IAN BRADLEY can sum up the pluses and minuses of Crawfords with practised ease. Last year he carried out an assessment of the company for Ariadne Australia Limited. At the time he was with DEL, of which Ariadne had a 19.9 per cent share. When Ariadne bought Crawfords in October last year, Ian Bradley was made an offer he could not refuse — to carry out the recommendations he had made for the future of the company. He had been asked by Ariadne to assess Crawfords value and sug gest “tactics to restore it to its former glory”. “I was surprised by what I found,” he said. “People had sug gested it was moribund, an in significant force.” On the credit side, he said, he found Crawfords rich in assets and debt free, Flying Doctors had im-. proved enormously since the first series, a miniseries pilot with potential was in production, and everyone was very supportive. On the debit side, he said, were under utilised assets, like the vast build ing in Box Hill the company owned; a distribution network that sold only final product, with no involvement in presales or co-production; a top-heavy administra tion with too much collective con trol; and “a complete lack of in clination to take a risk”. Since his arrival at Crawfords, a sound stage has been rebuilt at the company’s Box Hill premises; post-production, mixing and edit ing facilities have been upgraded, and will be available for hire. The production company has been split in two, with one side focusing on local product and the other division concentrating on overseas presales and co-production, with Crawfords 2000-hour library as a useful negotiating tool in these deals. He is reluctant to discuss plans for future productions. The actorwriters from the cabaret comedy show, Wogs Out Of Work, are cur rently developing scripts, part of Bradley’s policy to recruit the per formers first. “ The Australian sense of humour is very good and univer sal, but by and large, with a couple of notable exceptions, the shows have been let down by the way they are directed and performed,” he says. “ There seems to be a school of acting that says if you shout loud enough and make funny faces you have to be funny, 18 - MAY CINEMA PAPERS

A s M e lb o u rn e p ro d u c tio n h o u s e C ra w fo rd s fa c e s y e t a n o th e r o w n e rs h ip c h a n g e , P H IL IP P A H A W K E R h e a rs fro m c h ie f e x e c u tiv e Ian B ra d le y a b o u t th e c h a n g e s h e has a lre a d y p u t in p la c e .

as opposed to the idea that if you emotionally involve your audience they will laugh and maybe cry with you. Therefore it seems to rhe that if you find people who have the proven ability to affect an audience in the way we require, again before you start spending your money, then you have a good chance of succeeding.” Crawfords will not be seeking money for development from funding bodies, he says. “Why tell rival producers what we’ll be doing?” He adds: “ I think it focuses the mind considerably if you’re actually spending your own money.”

The most significant changes he points to are: “a reduction of over heads; the decision to make our selves a much broader-based com pany, generating income not only from the production of local tele vision, but also from its numerous assets — obviously the key to that is the rebuilding of the studio. The way that that’s been done is indicative of what we’re going to do. We decided that three weeks after I’d taken over, and within two months we shot the first episode of The Flying Doctors there. We’re going to be spending about half a million to convert the studio, install lights and all the

other back-up equipment we’re putting in. “The fourth series of Flying Doctors which goes in there effec tively means that we haven’t risked anything, what we’ve acquired is an income-generating asset. I know it sounds like being a bookkeeper rather than a tele vision or film producer, but for the first six months or so in here that’s mostly what I have to do. “The priorities for me were to make the assets generate money, to put some long term development into operation; the third priority will be to look at the overseas dis tribution set-up — it has worked very well in some areas, and not very well in others — and to re adjust it to the realities of filmmaking these days. The realities obviously are that 10BA is no use to us, so we’re interested in presale and co-production partners, rather than 10BA agreements where we sell the product after we’ve made it.” There will be some of that type of risk-taking, he says. “If you’re making pilots, there’s an element of risk, and that’s another of the thoughts behind getting ourselves in a position where we have an integrated facility, because quite clearly if we make a telefeature that could become a series, we could shave $200,000 or $300,000 off the cost of that, because we have all the facilities here. “The reasons that we were able to do it was because we had the backing of a huge company like Ariadne and therefore injecting funds to create income was easy for us, but I think Crawfords had funds to do anything they wanted themselves. But that would have been the thinking behind it, that it’s very hard when you’re a small independent company to put in that kind of risk investment. We put it in, and obviously it’s shown results very quickly. “ There’s a clear decision that has to be made in our sort of busi ness and that’s whether you aim specifically for the American market or specifically for the UK and European market. “ Given the style of product that Crawfords has made and intends to make, the European market is much more attractive to us. With out reflecting on the past, we will be concentrating most of our effort on the UK and Europe.” He doesn’t feel too restricted by the Crawfords image, he says. “If

HIS SUMS you look at things they have done very well, like The Sullivans and Flying Doctors, they have always achieved remarkable production standards at a very low cost, and that division of product obviously has to stay, but there’s a limit to the value of it internationally. “The area that I think my par ticular expertise has been in is in filling that gap between film and television. Obviously th a t’s slightly more expensive. If you look at shows like The Great Bookie Robbery which only cost just over $500,000 an hour, it’s not very hard to see a situation where you can create that standard of production and still obtain sufficient presales to make it very viable. You have a longer build-up time and production time, so the two have to live hand in hand. “Perhaps our miniseries and telemovies may have a tougher edge than Crawfords has in the past, and certainly they will be designed specifically with the international market in mind, but that’s not to say that we will be forsaking our Australian nest, but the ideas have to be able to travel. The tradition will stay, and the future will broaden. “There are fundamental stories that are relevant to just about every community and those are the stories that obviously travel. Giving them a specific Australian flavour and locale is a plus rather than a minus, and that’s good for us, because I hate those shows that are placed in no country and no socio-economic or geographic environment. So it’s really a matter of using universal stories. “A lot of those stories that deal with fundamentals of survival, greed and love will travel. What won’t travel are stories that require a really specific knowledge of Australian history, geography and lifestyle. I don’t think we’ve got a shortage of ideas; it is a difference in thinking that before you actually start, you say, ‘How do I sell this in Germany, or the UK, or can I?’ Those are the realities these days. It’s a shame, but obviously we’d never make The Dismissal, which I thought was terrific, but it’s not the area we’re in; we’re a commercial pro duction house with large over heads and we need a specific type of product. “What we’re now looking at more than the miniseries, because the miniseries don’t give us enough long-term shelf life — they

play once, and that’s it — is to look more into the telefeature with series potential. That process has only recently started. So far, I’ve commissioned five scripts on that basis; they’re self-contained, but have the potential for a spin-off series. In genre, location and theme, they exploit the advantages of Australia, that are mostly exterior, but fit them into a story that overseas audiences will under stand. “ Our primary interest is, ‘Will this work in Australia?’ the second is, ‘Will it work overseas?’ and if it doesn’t, ‘Can we do it cheaply enough in Australia?’ and, if not, we have a problem. “Already a lot of the leading writers in Melbourne have ap proached us, a couple of them with interesting ideas, and most people in the television industry learned their craft at Crawfords, so it’s nice to see them coming back and giving us another go. “Most of the people working on long term projects are on staff, and most of the people who work on the short term will be hired in a freelance capacity, because we don’t want to take on an overhead with product when we’re not actu ally making the product. “Essentially the development process will be done this way. We don’t have a head of development apart from myself, we’re going out to the community at large to look for our ideas. Right from the start we’ve split it, so that it isn’t tradi tional Crawfords development, although a lot of the people have worked for Crawfords before. “You can’t rush this; there’s no reason to make anything you don’t think is worth making, and one of the reasons for constructing the studio and those other income generating resources is that we’re not in a position where we have to make something even if we don’t think it’s very good. To make these sorts of commissions in a fairly short time is to me more than satisfactory. If I equate with PBL, I don’t think that we com missioned more than seven or eight products in any given year, and I always thought we did extremely well if we commis sioned that many. “ O f that number, during my time there I think we made 13 or 14, which is a very high ratio between development and produc tion, and that’s the way I like it to be. I like to do most of the culling before I spend anything.”

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CINEMA PAPERS MAY - 19

MONDAY

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M A K IN G AIRWAVES Th e T V networks shake-up

TUESDAY

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Who ow ns w h a t in A u s tra lia n television ? LIZ FELL looks a t th e ta k e o v e r fren zy th a t has changed th e o u tlo o k for b ro ad castin g in A u s tra lia

TAKEOVER fever gripped the A ustralian TV broadcasting industry in 1987. In an atmo sphere that resembled an over heated auction, price tags placed on the top Sydney and Melbourne licences soared to $400 million and projected earnings reached fantastic multiples. By October, when the share market finally crashed, all but one of the major metropolitan broadcast licences and the majority of regional licences had changed hands at enormously inflated prices. The Australian TV industry is now dominated by three new cor porate owners who have business interests spanning shopping centre development, tourism, gold mining, brewing and telecom munications. Each owner has moved swiftly to take advantage of new TV ownership limits and establish US-style networking structures. Mindful of Australia’s small size in the increasingly global TV market, each has also established links with overseas networks and TV production studios to ensure a plentiful supply of broadcasting product. The frenzied scramble to buy up TV licences was triggered by a Federal Labor government policy decision to establish three com mercial TV networks across regional Australia. The powerful multi-media barons were granted permission to acquire any number of TV licences up to a ceiling of 60

per cent of the national audience, so long as they concentrated their power in only one mass medium. In the words of Federal Treasurer, Paul Keating, the aim was to create “Princes of Print, Queens of the Screen, and Rajahs of Radio”. The government’s new policy was tailor-made for Rupert Mur doch, whose American citizenship was proving incompatible with Australian law prohibiting foreign control over TV licences. Since there was no equivalent law pro hibiting newspaper ownership, Murdoch secured the govern ment’s blessing to make a foreign takeover bid for Australia’s largest multi-media group, the Herald and Weekly Times. The takeover turned into an auction which in volved almost all of Australia’s media barons. Murdoch opened with $1.85 billion; Holmes a Court’s Bell Group lifted the stakes to $2 billion; Murdoch countered with $2.4 billion; and John Fairfax Ltd made a late run with $2.5 billion. Murdoch emerged as the Prince of Australian Print media with a national newspaper chain control ling more than 60 per cent of metropolitan daily circulation. As part of the deal, he sold off his controversial TV assets which in cluded two Herald and Weekly Times TV licences and the major share in the two leading Network Ten licences.

M AJO R M ETR O PO LITA N T V O W NER SH IP Market

Commercial Network/Owner

TV Homes

Sydney

Seven (Skase), Nine (Bond), Ten (Lowy)

1,094,000

Melbourne

Seven (Skase), Nine (Bond), Ten (Lowy)

1,012,000

Brisbane

Seven (Skase), Nine (Bond), Ten (Haynes)

Adelaide

Seven (Skase), Nine (Lamb), Ten (Lowy)

370,000

Perth

Seven (Skase), Nine (Bond), Ten (Lowy)

336,000

20 — MAY CINEMA PAPERS

487,000

N ETW O R K N IN E — T V and B rew in g

In a spectacular move which tem porarily upstaged the Herald and Weekly Times auction, Network Nine boss, Kerry Packer, sold off his TV assets for more than $ 1 bil lion at the peak of the market. The purchaser was yachtsman Alan Bond who is said to have wanted a consolation prize after losing the right to challenge for the America’s Cup. When Bond decided to float his TV assets establish a third TV service in several months later, investors New Zealand. Bond Media has judged he had been a trifle over- also acquired a 50 per cent share generous and underwriters were in Papua New Guinea’s EM-TV, left to pick up a 27 per cent sub and a 27 per cent share in Hong scription shortfall. The crash Kong’s leading broadcaster, HKcreated further problems, and TVB. Both these holdings must be Bond Media stocks are currently reduced when the governments trading at a third of their original implement foreign ownership issue price. This has not stopped restrictions. Bond from acquiring new TV In Australia, Bond is well on the assets and assorted other new way to dominating both the com properties such as the Chilean mercial free-to-air and private paytelephone company, overseas gold TV markets. Bond Media owns mines and overseas breweries. the four leading Network Nine Meanwhile, Packer was the TV stations, a 20 per cent share in recipient of $750 million in cash, the Queensland remote TV $200 million Bond Media prefer licence, and PBL Marketing, ence shares — redeemable in 1990 Packer’s former company which — and a seat on the Bond Media holds rights to broadcast the highboard! rating TV cricket. In the newlyOne long-term Bond Corpora established private pay-TV net tion strategy is to establish a global work market, Bond has taken over communications network. In the interests of Holmes a Court Europe, it holds the major stake in and Packer to secure a monopoly British Satellite Broadcasting, over satellite-delivered subscrip which is franchised to provide tion services. direct broadcast satellite services, His Sky Channel narrow-casts and minor shares in TV-AM and sport and plenty of Bond beer World Television News. In the commercials to 3000 subscribing US, it is investigating opportuni hotels, motels, clubs, betting ties to invest in another direct shops and racecourses in Aus broadcast satellite venture which tralia, plus a few hotels in New could link in with the Network Zealand. Since there are no regula Nine TV facility based in Los tions specifying ownership or Angeles. In the Asia-Pacific cross-media limits for private pay region, it has announced plans to networks, Bond’s only barrier to buy an interest in TV-3, the con future expansion is satellite sortium awarded the warrant to capacity — and he has plenty of

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TV OR NOT TV? How would N etw ork’s Faye Dunaway fare in the tangled broadcasting webs of the eighties?

this. He has tied up all the suitable capacity on Aussat, making it virtually impossible for potential competitors such as Hoyts and Village-Roadshow to gain a foot hold in the present market. When the government lifts the moratorium on providing pay-TV to the public in 1990, Bond will be in a key position. In January, he made a bid for Movielink Corp., a small company supplying video tape entertainment to hotels and motels. If this succeeds, Bond Media’s Satellite Leisure Services subsidiary is expected to deliver a new movie service direct to sub scribing hotels. N ETW O R K TEN — T V and S hopping C e n tre s

Murdoch sold his two Network Ten TV stations to the Westfield Capital Corp./N orthern Star group headed by Frank Lowy, a major developer of regional shop ping malls in the US and Aus tralia. In a series of clever manoeuvres, Lowy (also known as Mr Shopping Centres) has spent nearly $1 billion establishing a coast-to-coast network which in cludes ownership of stations in Perth, Adelaide, Melbourne, Sydney, Canberra and several plum NSW regionals. He financed the deals through equity and some

long-term interest-free debt. Mur doch helped him along by keeping a 17 per cent stake — just over the maximum permitted a foreigner under Australian law. Lowy’s investments backfired in terms of share price when W C C / N o r t h e r n Star stock plunged 75 per cent from the 1987 peak after the crash. The North ern Star stations are currently valued about $260 million below cost, and Lowy has conceded that WCC is in a negative cash flow position. To reverse this flow, he may try to convert Northern Star into a Westfield subsidiary. Despite these setbacks, Lowy is pushing ahead. Network Ten has first right of refusal on product from Fox Film, Murdoch’s US subsidiary. It also has eight new Australian productions including a comedy, two new current affairs shows featuring some of Austra lia’s top TV journalists, Late Night Australia hosted by Don Lane complete with talk-back TV, a soap called Richmond Hill, and the Kennedy Miller series Dirtwater Dynasty. Some extra rating points may be picked up with the Network Ten affiliate in Brisbane acting as host broadcaster for Expo 88. But more important is the $10 million Lowy has spent securing the rights to broadcast the high-rating summer Olympic Games.

N ETW O R K SEVEN — T V and T o u rist R eso rts

When John Fairfax Ltd finally decided to sell its three Network Seven stations in Sydney, Mel bourne and Brisbane, the market for TV licences had commenced its slide. The three stations are now controlled by the Queensland-based Qintex group, headed by financial whiz kid and inter national tourist resort operator, Chris Skase. A former Fairfax journalist, Skase managed to negotiate an excellent deal with his old employer. He paid $780 million for the three Fairfax metropolitan licences — a price tag critics claimed was too low. In addition, his final interest-free payment of $285 million is not due till 1990. Another generous deal with the Bell group in March this year delivered the Perth and Adelaide licenses and pushed Qintex above the 60 per cent ownership limit. The government is under pressure to lift this limit to 75 per cent as originally planned. Otherwise, Skase must sell some assets and the most likely purchaser is the small regional TV operator, Paul Ramsay. Skase has relaunched the net work as the Australian Television Network (ATN) with a national audience reach of 90 per cent. In the north-east, Qintex owns

stations in Mackay and the Sun shine Coast which will eventually broadcast to the whole of regional Queensland. In the south-east, it has signed an affiliation agreement with Paul Ramsay’s new Prime network which will broadcast across all of regional NSW and Victoria. Ramsay has recently formed a joint production venture with New York-based D.L. Taffner Ltd. The new Australianbased company, Taffner-Ramsay Productions, will liaise with the Theatre of Comedy’s light enter tainment division in the UK and Pat Ferns Comedia in Canada to produce programming for the international market. Qintex America Ltd has secured 35 per cent of the Los Angelesbased Hal Roach Studios Inc. (HRI) which has a minor interest in two independent US TV stations. HRI has recently estab lished a joint production and dis tribution company with Robert Halmi, an independent producer based in New York. It is best known, however, for the contro versial colourisation process which it applies to old black and white movies and TV series. A deal with MCI-Universal gives HRI the rights to colour and dis tribute some 400 hours of MCI product until the year 2000. This will supplement the revenue HRI gains from colourising its library of more than 1000 titles. In the future, Network Seven viewers can expect to watch coloured versions of old US favourites such as McHale’s Navy, Leave It To Beaver, The Munsters, and Dennis The Menace. Austra lian productions include the soap, Home And Away, and John Farnham ‘live in concert’ from Skase’s Sheraton Mirage Gold Coast resort. He has even promised to deliver 285 hours of Australian content this year in contrast to the 104 hours required by the Austra lian Broadcasting Tribunal. The major loser in the Austra lian TV stakes was the highlygeared Bell group led by Robert Holmes a Court. Hacca missed out on the big TV league after refusing to pay inflated prices for licences early in the year. Then he got trapped by the new cross media rules which prohibit owner ship of a TV station and news paper with 50 per cent of its cir culation in the same market. After the October crash, he was left try ing to sell off $2 billion worth of assets including the two Network Seven affiliates in Perth and Adelaide. “We found ourselves in the eye of a cyclone,” he told shareholders at the annual meet ing in December. CINEMA PAPERS MAY — 21

Sex, death .

c c _ movies

Is there a new sexual morality evident in recent American cinema? SH E L L E Y K A Y checks out what's happening to the fam ily coupling and couples on screen.

“Some genres must evolve as swiftly as society is thinking about itself. . . . Hence genres can’t be defined/described in terms of formulae/stereotypes/preexisting structures; they accord as high a priority to twists; surprises; innovations, originalities, explorations of uncharted experience ( ‘creativity’). —

R a ym o n d D urgnat

I. ON-SCREEN SEX We are indebted to th at harbinger o f doom , D avid C ronen berg, for his chronicles o f th e dissolution o f sexual mores: Shivers, Rabid, The Brood, Videodrome and, recently, The Fly. Sex has becom e a problem in the space o f cinem a and, although m any eighties film s do not reflect the hysteria, horror and h u m o u r o f C ronenberg’s prodigious works, we get a sense o f their interrelatedness in extremis. (Com pare The Fly w ith Something Wild-, b o th begin as rom antic comedies b ut a ru p tu re in style gives way to a fatal climax w here the audience feels sym pathy for the deceased.) O n-Screen Sex is no longer one big easy: it is undergoing a

22 — MAY CINEMA PAPERS

process o f general deglam ourisation. It is deglam ourisation to the point o f graphic absurdity, w here varying degrees o f comedy, tension, death or disenchantm ent are associated w ith the sexual act: the kitchen scene in F atal Attraction-, the prim al-like flashback in Less Than Zero-, the aerobic contor tions o f The Fly, D ennis H o p p e r’s inhaler sequence in Blue Velvet-, m otel room bondage in Something W ild; the sleeping bag climax in R iv e r’s Edge-, The B ig E asy’s nervous tension against the bedpost; The Witches O f Eastwick in toto. It could be argued that O n-Screen Sex is being ‘hum anised’ b u t maybe it’s just being deterritorialised in one area in order for it to be reterritorialised in another. F o r instance, w hereas hysterical heterosexuality in A m erican film is m oving tow ards some rediscovery o f a new and purged coupling o f various charac ters (Something Wild, F atal Attraction), hom oerotic fringe films eulogising pleasure and enforcing an erotic aesthetic are finding a viable m arket place (Law O f Desire, M y Beautiful Laundrette). In these neoprom iscuous tim es th e re-evaluation o f popular

opinion concerning sexual activity rests w ith the A m erican m an and w om an’s ability to decide w hether or not to reinvent a functionary and pleasurable m onogam y w hich is based on a m utual zaniness/outlandishness, or to re-establish the suburban A m erican dream (S.A .D .). N o m atter w hat the choice, w e are assured o f a h ap p y ending as long as the couple are u n ited in th e ir quest: th e rom antic stationw agon ending to Something W ild; the m u tu al m arried bloodiness o f Fatal Attraction; th e re tu rn o f th e red robin in Blue Velvety the sm ug m oral im posure o f Less Than Zero; and, even w ithin the science fiction o f Robocop, th ere is a h in t th at th e bio-m echan ical cop will get a m ate in th e form o f a regenerated N ancy Allen.

II. IDENTITY CRISES IN W.A.S.P. TERRITORIES I f the venereal n ig h tm are o f th e seventies is consum m ated by the life-threatening disease o f th e eighties (I am referring to

A ID S) then we are living in a w orld stricken by fear. It is this fear that films like The Fly, Less Than Zero, Blue Velvet and Fatal Attraction exploit for entertainm ent value. But out o f this fear (a fear o f contracting the unknow n) ensues a crisis o f the yuppie-like identity: the genetic transform ation o f Jeff G oldblum into B rundlefly is the m ost extrem e exam ple o f this phenom enon; C harlie D riggs in Something W ild discovers he m ust give up his S.A .D . existence in order to find true happiness w ith L ulu/A udrey; Blair gives in to C lay’s m oral correctness in Less Than Zero; Jeffrey B eaum ont dis covers his subm erged self in Blue Velvet; and, in Fatal A ttrac tion, D an retreats to a suburban haven once the illusion o f free sex on the m eat m arket breaks dow n — not that D a n ’s haven is light years away from C ary G ra n t’s innocent escape in M r Blandings Builds H is Dream Housel a. Masculinity Metamorphosis N o th in g is w hat it appears to be. Am bivalence. Strangeness. Shifting roles to fit new equations in a changing sexual > CINEMA PAPERS MAY — 23'

The Fly (left); Blue Velvet (above); Fatal Attraction (right)

< climate. Som ething Wild, according to M aurizio Viano, “ cele brates the w ildness o f not being oneself all th e tim e, since the very notion o f being one self is a com m onsensical habit to be stopped”. T h u s C harlie D riggs throw s out his grey flannel suits and em barks on a new , nonetheless daggy w ardrobe that will set him apart from th e ever black-clad attire o f his anti thesis, Ray. W hereas C harlie relinquishes the suburban Am erican dream for a m ore delicious pleasure, D an from Fatal Attraction recedes into the dream because he cannot cope w ith som ething w ild (that is, the unrestrained sexuality Alex offers him ). D an is adam antly fixed in his role as husband/father/solicitor. B ut, like the character o f Cosmo Vitelli in John Cassavetes’ The K illing O f A Chinese Bookie, C harlie D riggs finally adm its he cannot live u p to the m ainstream role he has always expected to play. b. Single W om an /Sin gle M o th e r

Bar the m onogenetic L ouis G ossett Jr character in Enem y M ine, probably the m ost exciting single m other to em blazon the screen in the past few years has been Sigourney W eaver’s Ripley from Aliens. R ipley seems to p u t a cap on the cycle o f science fiction single m om s: Close Encounters, Starm an and The Terminator. She is pragm atic, apparently unem otional, actively resistant to im potent (masculine) authority and capable o f facing u p to prim al and psychological fears despite any threat to h er life such action m ight present. F or those w ho continue to im bue F atal A ttraction (and the destruction o f the G lenn Close character) w ith over-anxious significance I suggest they cast a th o u g h t to th e generation o f positive single w om an types/personalities in recent films: C atherine M ary Stew art in Dudes-, C h er in Moonstruck and Mask-, M elanie G riffith in Cherry 2000 and Something Wild; Rosanna A rquette in N obody’s Fool-, E llen B arkin in The B ig Easy-, M olly R ingw ald in The Pick-U p A rtist; M adonna in Desper ately Seeking Susan; M arilia Pera in M ixed Blood; Jennifer G rey in D irty Dancing-, H elen Slater in The Legend O f Billie Jean-, G ena R ow lands in Gloria; Joan Jett in Light- O f Day; and B onnie Bedelia in H eart L ik e A Wheel. See th e m ultiple 24 — MAY CINEMA PAPERS

strokes appear, w itness the new wom an: it’s not a hom o genous nightm are. M ost o f these characters w ant som ething and they get w hat they w ant, be it pow er, knowledge, sex, love, justice, fame or some com bination thereof. T h ey are definitely not rigid, little stereotypes. c. C h am eleon s an d the A b se n t F a th e r C om pare Seth B rundle’s intractable personality (as indicated by the five identical suits in his w ardrobe) to D aryl van H o rn e’s chameleon-like character in The Witches O f Eastwick (did you see his gaudy jackets and zany trousers, accompanied by fantasy outfits to suit the m om ent?). Seth B rundle, the rigid scientist, ultim ately becom es B rundlefly, a genetic trans form ation o f m an into O ther. D aryl van H orne, however, w ithstands the m ultiple magical assaults u p o n his body but is eventually relegated to the role o f passive (and near absent) father w hen the three recently liberated single mothers-cumcareer w om en-cum -w itches o f Eastw ick cage him in a prison o f m ultiple T V sets. As van H o rn e suggests in woe, “ Life is full o f m en ru n n in g around p u ttin g th eir dicks into things [is he com m enting on patriarchal relations?] b u t only women have the pow er.” M eaning w hat? T h a t D ad d y ’s not allowed to live here anym ore? Is th at w hy D a n ’s wife orders him to leave their suburban ‘paradise’ after he tells her about his ‘affair’ w ith Alex? O r is it m ore likely th at m en are rendered im potent against th e m aternal climax: H icks is unconscious w hile R ipley exterm inates the M am a A lien; D an watches as his wife kills Alex. (N ote well th at in B lue Velvet D orothy V allens’ on-screen m aternal jouissance scene is postponed un til b oth h er husb an d and F ran k Booth are dead.) d. The New Child T h e end to The Fly is a bit o f a cliff-hanger. ( The Fly: P art I I is on its way.) E ven i f V eronica’s pregnancy was an elaborate horro r effect, B rundle h ad sex w ith h er after his teleportation and consequential genetic bondage to th e fly. W ill Veronica’s baby be like R osem ary’s? A fter L arry C o h en ’s m urdering baby ram pages o f th e seventies {It’s Alive, I t Lives Again) and

the h o rro r ch ildren o f the sam e period (see The Exorcist I & II, Omen I & IT), m any eighties’ films are obsessed with lovable and/or com ical babies: Raising A rizona, B lind Alley, Nice Girls D o n ’t Explode, Three M en A n d A Baby, Baby Boom, and For Keeps. I f the technological revolution dictates changing and/or m utating identities th en it follows th at the children m anufac tured in th e next few years will be a bit like N ew t from Aliens'. survival oriented, m ildly androgynous, resistant to adult fairytales. In F atal A ttraction E llen appears m ore like a boy than a girl as she rehearses the p art o f a soldier for a school play (like a six-year-old St Joan?). In the Spanish film, L aw O f Desire, Ada chooses to revolt against h er n atural m other and opt for the transexual T in a w hose m aternal influence is graci ously received. T h ese kids are n ’t naive: they are little people sophisticated enough to love Pee W ee H erm an and would probably w onder why, for instance, th e ABC could conceive o f p u ttin g his show on in a late n ig h t slot w hile in America it’s program m ed as daytim e ch ild ren ’s TV.

III. A NEW, CLEAR FAMILY OR CENERIC PERMUTATION? So w hat does Pee W ee H erm an (the ‘luckiest boy in the w orld’) have to do w ith anything? W ell folks, A m erican kids are grow ing u p to be A m erican adults — a nightm are for some, a utopia-com e-true for others. G lancing around at the cinem atic indicators I get th e feeling w e’re dealing w ith a heterogeneous fam ily system — a surrealist one at that! (Echo a line from The L ost B o ys: “ G reat, it’s the bloodsucking Brady B u n c h ” .) G enre junkies have been going crazy trying to pigeonhole the new breed generic perm u tatio n s taking place w ithin A m erican cinem a (eg, E xtrem e Prejudice, Witches O f Eastwick, Fatal Attraction). Sim ilarly, A m erican cinem a is trying to get a hold on th e fu tu re o f th e A m erican fam ily and the results are, if anything, im pelling. A t a tim e w hen one m ight expect a contraction tow ards a p u rely m onogam ous and nuclear

arrangem ent in an AID S-free environm ent, the m ainstream and fringe film industries keep presenting us w ith com peting and viable alternatives: single m other households (Eastwick, B lind Alley)-, extended fam ilies/com m unities (Moonstruck, M ixed Blood, Suburbia)-, m ultiple parent childcare {Three Men A n d A Baby)-, im potent parents (R iver’s Edge, Over The Edge)-, revised nuclear family (Light O f Day)-, childless homes (One From The Heart)-, holy fam ily (Reborn); broken hom es (The Color Purple, Em pire O f The Sun); A m erica, hom e for the brave (Dudes, Pee Wee’s B ig Adventure, Bronco Billy). A regular pot p ourri o f choice w ith an em phasis on the notion that everything is perm itted as long as it provides basic values about caring, com fort, identity (and w ith that adaptability) as well as love, pride and a passionate life. H ow ever, films like Fatal Attraction w ould like us to believe that there is no hope for any set o f relations bar the m onogam ous, nuclear family. B ut let’s look at Fatal another way: the ru p tu re set u p in this film could m ark an end (for now) o f the blonde sex goddess. G lenn Close in her role as the O ther W om an (Alex) is b u t m ere parody o f a M arilyn M onroe m odel (the eternal O ther, p a r excellence). G lenn Close: threatening, vindictive, medusa-like; M arilyn M onroe: vulnerable, unthreatening, childlike. (In The Seven Year Itch T o m Ewell goes back to his wife, too.) B ut so w hat if A m eri can cinem a chooses to create a m onster and th en destroy her — w ho com plained w hen R ipley sent the M am a Alien into orbit? A nd anyway, doesn’t A drian L y n e’s last studied (but accusing) shot o f the family photo leave an ugly taste in your m outh? T h e suburban A m erican dream ? W ho can take it seri ously? M u rd erin g Alex was a necessary textual knot in the film b u t m orally the finger always points to M r and M rs S.A .D . (the M acbeths o f the eighties?). A nd finally, isn’t the sym pathy you feel for Alex not unlike that you have for the violent b u t charism atic Ray (another bathroom victim) in Something W ild or junkie-cum -prostitute Julian in Less Than Zero? L e t’s face it, Alex is just another victim (albeit contro versial) in the (hetero)sexual race to find a perfect partner. W hy all the fuss?

CINEMA PAPERS MAY — 25

Rikkyj Pete After Malcolm, which did for the tram what The Italian Job did for the Mini, and had reviewers rummaging through their thesauri in search of synonyms for ‘charming’ and ‘delightful’, what have the Nadia Tass-David Parker team been up to? Once more, actor-turned-director Tass and stills photographer-turnedscriptwriter-and-cinematographer Parker have co-produced a film that features an array of gadgets. PHILIPPA HAWKER finds out from David Parker why it isn’t Malcolm II. Cannes 1988 takes place a t a particu larly crucial tim e fo r the A ustralian film industry. While the representa tion is a little smaller than it has hem in past years, there is still a varied selection. We talk to Vincent Ward, director and writer o f The N avi gator, an intriguing journey into the present from the past which w ill he scremed in the official competition; D avid Parker, writer and cinemato grapher on R ik k y A n d P ete, suc cessor to M alcolm ; L uigi Acquisto, whose short film S pavan tapasseri has created a lot o f interest in his feature dehut, H ungry H eart; and Maggie Fooke, whose anim ation P leasu re D om es has hem selected to take p a rt in the short film competi tion. We present our guide to the A u s tralian film s in the m arket place, a who's who on the Croisette, a guide to the N ew Zealand movies on show, and a comprehensive guide to the film , telefeature and miniseries activity o f the past year.

“ ^ ^ ’m p retty sure th ere are a lot o f people out there going: m ‘L e t’s see i f they can do it again — and I hope they m can’t.’ I know from kicking around on film crews that people are like th at,” says D avid Parker, reflecting on the problem o f a successful debut film . “ Som e segm ents o f the in d u stry w ould like this film n ot to be the success that M alcolm was. T h e y feel, ‘H ow com e som eone can suddenly w rite a script, and his wife directs it and they m ake a film th a t’s successful w hen w e’ve been plugging away for 15 years?’ ” So, after M alcolm , w hat? It could easily have been Malcolm II. “ W e certainly h ad m any offers to rem ake it in the A m erican way, b u t we w ere quite affronted by it all. T h e film is quite dear to o u r hearts, and an influx o f m oney isn ’t neces sarily going to im prove it.” T h e next Parker-Tass film , R ik k y A n d Pete, moves from suburban M elb o u rn e to an outback m ining tow n. Instead of focusing on th ree people sharing a house, it has a cast o f 54 speaking parts. W hat it m ost obviously has in com m on w ith M alcolm is gadgets. W here th e first film had w astepaper baskets th at held u p banks and getaway cars th at split in two, this one features a co ntraption th at delivers new spapers as if they w ere paper planes and a m ining device th at is a cross betw een a m echanical S hetland pony an d a back hoe. Parker adm its th a t they h ad som e reservations about using contraptions again, “ I d o n ’t w ant us to be pigeonholed — all they can do is m ake film s about gadgets. In fact for N adia, n o thing could be fu rth e r from th e tru th . S h e’d m uch rather deal w ith actors. T h e y ten d to be m u ch less tem peram ental th an th e m echanical elem ents o f th e film .” Rikky and P ete are b ro th er and sister in th e ir late tw enties. P arker was p articularly keen to explore th e sibling relation ship, saying, “ I ’m interested in th e family. I th in k it’s some th ing m y generation m oved away from in th e Anglo-Saxon w orld, and I d o n ’t th in k we ever cam e u p w ith any replace m ent for it. B ro th er and sister as a lead relationship is not used very m u ch , p articularly in th e com m ercial cinem a.” W hen P arker and Tass w ere looking for finance, th ey found out why. In a lot o f cases, th ey w ere to ld th a t th e pair should be lovers or, failing th a t, one o f th em should be an Am erican. T h e obvious p roblem — an A m erican sister, an A ustralian

and mine over matter

RIKKY AND PETE: Stephen Kearney and Nina Landis

CINEMA PAPERS MAY â&#x20AC;&#x201D; 27

DIGGERS: Denis Lees, Bruce Spence and Bruno Lawrence

< b rother — could be solved by the girl having been a university student in N ew York for a couple o f years. T h ey stuck out for siblings, and an all-A ustralian cast, b ut they took a long tim e to cast the leads. T h e delay caused them some anxious m om ents. “ W e had the presale and we had to go out on a lim b w ith U n ited A rtists to convince them not to have any A m ericans in th e picture. W e felt, and we still feel, that a hybrid film doesn’t have th e same chance o f success as one that is pure. A nd to give them their due, they did have faith in us.” T h e casting problem s, P arker says, were tw ofold. “ I think th ere’s any n u m b er o f people w ho can play lovers or potential lovers, b u t to grasp the brother-sister relationship isn’t as straightforw ard. A nd I d o n ’t th in k th e re ’s a massive choice anyw here for leading m en and w om en in th at age-group. “ W e looked at a lot o f th e m ore experienced people and felt that none o f th em was rig h t for th e part. A nd there w eren’t a lot to choose from . T h e n N adia started to look at the people she th ou g h t had th e qualities w ith o u t the experience.” As Rikky, geologist, folksinger and the m ore practical o f the tw o, they cast N in a L andis, an actress w ith some television experience. As the w ithdraw n Pete, at odds w ith his father and the law, they decided on S tephen K earney, h a lf o f the com edy duo Los T rios R ingbarkus. H aving cast relatively inexperienced actors, they aim ed for a long rehearsal period. “ N adia arranged for an A m erican dram a teacher, C arol F ox-Prescott, to spend a week w ith the leads, b u t also w ith any o f th e o ther su p p o rt cast w ho w anted to be involved, w orking th ro u g h th eir characters and the act ing process in general, and I th in k th at helped a lot. She spent five weeks rehearsing w ith Steve, and three w ith N ina, before we started shooting. W e h ad an am azingly strong support cast — Bill H u n te r, B runo Law rence, Bruce Spence, R od W illiam s, R alp h C otterill — and we h ad to be really careful th at these parts d id n ’t sw am p th e leads.” Parker believes th at th e lack o f a screen actor tradition is a problem for A ustralian cinem a. “ T h a t’s th e area th at needs

28 — MAY CINEMA PAPERS

m ore developing, apart from th at old cry of, ‘T h e scripts, the scripts’, o f course,” he says. F o r him , it’s n o t so m uch the scripts: A ustralia lacks producers w ith the experience to guide a script th ro u g h all its stages, and m atch the personnel to it. H e and N adia Tass have chosen to take on th at role them selves. “ T h e hardnosed businessm an aspect is not in keeping w ith the creative process — th e re ’s a reason w hy there are different people doing those jobs. You’ve got to be unaffected by the knockback in th e m orning if y o u ’re w riting in the after noon. I t’s w earing, b u t w ith it comes peace o f m ind. You know w hat the deal is.” T h e script for R ik k y A n d Pete was not w ritten directly after Malcolm. T h ere was another one in betw een, w hich D avid P arker b rought to revised first draft stage before he shelved it. “ It was about a film crew, and I started seeing so m any films that w ere about the industry, about actors or singers, that I started to th ink it was a p retty strange direction to take — reflecting our industry rather th an society at large. I took some o f the characters and som e o f the film-within-a-film elem ents and p u t them into R ik k i A n d Pete, so i f I were to persevere w ith that one I ’d have to change it a b it.” Parker and Tass w ork together on “ the flow o f the film, w hat the psychological base should be, and th en weave a story around it” . F or R ik k y A n d Pete, they decided th at the brother and sister should come from an u p p e r m iddle class family, not from the w orking class like M alcolm . “ W ith them , we w anted to exam ine the idea that everything is clearcut. Just because th ey ’re well off, th at doesn’t m ean th ey ’re going to have an easy life. We w anted to exam ine the struggles that those people have, the questioning o f the values o f th at w hole class, b u t at all tim es to place th at as a base for comedy. I f you give it a base that has integrity and tru th about it, and build the com edy on that, it gives the audience m uch m ore than they expect.” T h e outback setting gave th e film a rich variety o f charac ters, he feels. “ I t’s crazy th at so m any films m ade in this country ignore the w eird and w onderful variety o f people here, specially in the outback. As we do in this film, you start to question norm ality, and you certainly start to question w hat you’re up to yourself, w hich is w hat Rikky and Pete go through.” Rikky and Pete leave M elb o u rn e for a m ining tow n and, briefly, Pete gets a job dow n a m ine. P arker h im self spent a year at M t Isa after he had d ropped out o f an engineering course in Q ueensland, and before he started a photography course. “ I was just in awe o f it,” he says o f the job. “ I ’d been to a private school, university, I ’d had vacation jobs at M yers — I ’d certainly never been a labourer.” T h ey film ed a scene dow n a m ine, 3200 feet under. “ It w ent am azingly sm oothly considering the difficulties that were involved. I t ’s only a sm all segm ent o f the film , b ut I think it’s im portant to show it. W hat comes out o f it in the film is that Pete decides th at th e re ’s got to be a b etter way, and he and his sister end u p starting th eir ow n m ine. She is a geologist, and finds a place w here there is ore that is easier to get at. H e devises a m achine th at, as they say in the film , does the w ork o f three. “ I t’s an odd-looking m achine, and I suppose th at in a prac tical sense it’s p retty questionable. It was extrem ely difficult to make, and I actually figured th at no one else has done it before. T h ey used w alking things in S ta r Wars, b u t they were models: the stresses are quite horrific w hen you try to make som ething th at w ill carry a person and walk. You d o n ’t realise how well-designed your legs are.” A lengthy testing program was carried out u p and dow n the street w here th eir produc tion office is situated. T h e next Parker-Tass project is not yet decided. A t the m om ent, P arker is looking at a script based in Beverly H ills, th at he says is “ really appealing” . A nd the experience o f R ik k y A n d Pete, w ith hardly a day in th e same location, has had some effect on his cu rren t script. “ W hat I ’m w ritin g now tends to be interior, in n er su b u rb an ,” he says ruefully.

CONG]

Agfa-Gevaert congratulate Kennedy Miller, Network Ten Australia, the east and crew of “The Year My Voice Broke”. Agfa is proud to be associated w ith this award-winning film. Director John Duigan, and Director of Photography, Geoff Burton, chose AGFA XT 125 and XT 320 film for the production. AGFA XT 125 is a medium speed colour negative film and XT 320 is a high speed colour negative. Both are used together w ithout any perceptible difference in photographic quality.

N E R N O R K T E N AUSTRALIA

AGFA XT 125 AND XT 320. “They reflect the best o f you.” A G F A ^ MELBOURNE 875 0222, SYDNEY 8 8 8 1 4 4 4 , BRISBANE 352 5522, ADELAIDE 42 5703 AND PERTH 277 9 2 6 6 . .,

Vincent Ward’s The Navi gator — A Medieval Odyssey travels between past and present, colour and blackand-white, dream and reality. MICHELE NAYMAN talks to director Vincent Ward about the film, a Cannes competitor.

Vincent W ard’s THE NAVIGATOR: Hamish McFarlane and (inset) scenes from the film

was 4 am in A uckland and the hoses were empty. ' T h e re was still h a lf a m ile o f road that had to be watered dow n if the sheen was going to be consistent. V incent W ard, w riter-director o f The Navigator, found some buckets. T h e rest o f the street was w atered by hand. “ One o f the elem ents o f the film I was trying to achieve,” he explains, “ was a look o f reflective surfaces in the 20th century, so th at things w ould have a translucence, an incandescence, a phosphorescence. I know I pay a lot of attention to detail. It drives everybody m ad.” “ T h ere are tim es,” says G eoffrey Sim pson, director o f photography, “ w hen you w ant to w ring his neck. But then you see the results, and th e results are very distinctive.” The N avigator is set in a C um b rian village in the n orth o f E ngland in 1348, at th e tim e o f the plague. C onnor, a village leader, retu rn s from a journey outside the village w ith tales o f mass death. T h e re is talk o f the need for a pilgrim age to raise a cross on the greatest cathedral in th e w orld before sunrise if 30 — MAY CINEMA PAPERS

the village is to be protected. C onnor and four other m en set out on this pilgrim age, guided by the dream o f a boy. G riffin, the child, tells his vision o f a tu n n el to the other side o f the earth and a cathedral there. T h e m en tu n n el th ro u g h the earth u n til they find the sewers o f a great city, from w hich they em erge into th e anti podean city o f A uckland in the late 20th century. U n til this point, the film is in high contrast black-and-w hite — “ to provide an alm ost docum entary-like feel o f w hat m ust have been a harsh and colourless existence,” W ard explains. In 20th century A uckland, the film explodes into colour. T h e differentiation o f place w orks well. W hat w orks less well, perhaps, is th e differentiation o f tim e. T h e narrative structure prepares us for the arrival in th e city on th e o th er side o f the w orld b u t there are no narrative clues as to w hy th e travellers should have jum ped 650 years in tim e. A t th e end o f th e film we find th at th e journey h ad been entirely G riffin ’s dream (in

o th e r w o rd s , h e h a d a d r e a m a b o u t fo llo w in g a d re a m ), b u t it is n ’t e x p la in e d t h a t th e d r e a m w a s a b o u t th e f u tu r e . T h e a u d i en c e h a s to ta k e it o n t r u s t. W h e n a s k e d a b o u t th is , W a r d te lls a s to ry h e h e a r d d u r in g tra v e ls in E c u a d o r f o u r y e a rs ag o . “ A m a n d r e a m e d o f a c ity th a t g litte r e d a n d r e f le c te d ,” h e sa y s. “ I n th a t p la c e n o w , th e r e is a s m a ll c ity o f c o r r u g a te d ir o n a n d g la ss. T h e th in g th a t s tr u c k m e w a s t h a t it w o u ld b e p o s s ib le fo r s o m e o n e w h o c a m e f ro m a n im p o v e r is h e d b a c k g r o u n d — u n lik e th e w e a lth y a n d in f lu e n tia l N o s tr a d a m u s — to h a v e s o m e th in g to c o n tr i b u te in te r m s o f p e r c e p tio n t h a t c o u ld b e v a s tly m o re a c c u ra te . M u c h o f w h a t is le a r n e d is f o rg o tte n . O n e a s su m e s th a t o n e is m o r e s u p e r io r th a n s o m e o n e 6 0 0 y e a rs a g o , b u t in m a n y a re a s w e k n o w le ss.” W a r d sa y s h e h a s tr ie d to m a k e th is p o in t in th e film b y p o r tr a y in g th e 2 0 th c e n tu r y c ity “ as s e e n th r o u g h m e d ie v a l ey e s in te rm s o f m u s ic a n d p a le tte .” “ T h e c o lo u rs a re m e d ie v a l — th e d e e p b lu e s o f th e m o to r

w a y a n d te le p h o n e lig h ts , p o lic e c a r lig h ts a n d th e b lu e s o f th e s u b m a rin e . T h e m u s ic — a n o r ig in a l s c o re b y D a v o o d T a b r iz i — h a s m e d ie v a l to n e s , r h y t h m a n d ra n g e . “ T h e film is a m e d ie v a l o d y sse y . I t ’s th e s to ry o f p e o p le m e e tin g th e ir a n c e s to rs , o f p e o p le m e e tin g th e ir d e s c e n d a n ts . I t ’s n a iv e , in v o lv e s a s u s p e n s io n o f d is b e lie f, is v e ry c h ild lik e . I w a n te d a se n s e o f w o n d e r .” T h e m o s t s tr ik in g th in g a b o u t th e film is its v is u a l ric h n e s s , its p a in te r ly fe e l, a n d so it c o m e s as n o s u r p r is e to f in d th a t W a r d o r ig in a lly tr a i n e d as a p a in te r . “ I b e c a m e a film m a k e r b y m is ta k e ,” h e say s. F o r e a c h film — h e ’s m a d e f o u r so f a r — h e d o e s a p a in tin g a n d w o rk s w ith s to r y b o a r d a r tis ts . F o r The Navigator, h e d id e x te n s iv e v is u a l r e s e a r c h in to h o w m e d ie v a l C e ltic m in e rs liv e d . A t o n e tim e d u r in g th e f o u r y e a rs h e w o rk e d o n th e film , h e e m p lo y e d a f u ll-tim e r e s e a r c h e r in E n g la n d . T h e re s e a r c h d i d n ’t s to p a t th e v isu a l. T h r e e a c c e n t co ach es w o rk e d w ith th e a c to rs to p r o d u c e th e p r o n u n c ia tio n a n d in f le c tio n o f C e ltic m e d ie v a l E n g lis h (“ s h a y ” fo r “ s h e ” , fo r e x a m p le , o r th e lo n g v o w e l in “ lo o k ” ). T h e r e s u lts are im p re s s iv e . A lso im p re s s iv e a re th e lo c a tio n s a n d th e s p e c ia l effects. T h e film w a s s h o t o v e r 10 w e e k s, b e tw e e n J u ly a n d S e p te m b e r 1987. E ig h t o f th o s e w e e k s w e re n ig h t sh o o ts . L o c a tio n s in c lu d e d th e to p o f th e N e w Z e a la n d S o u th e r n A lp s , w h e r e ac c e ss w a s b y h e lic o p te r , a n d a t th e to p o f M o u n t R u a p e h u . T h e tu n n e l sc e n e s w e r e f ilm e d 100 m e tre s u n d e r g r o u n d a t W a ito m o , in th e c e n tr e o f th e n o r th is la n d , w h e re ac c e ss w a s b y ro p e . W a r d d e c lin e s to ta lk a b o u t b u d g e t o th e r th a n to say th a t The Navigator h a d “ p r o b a b ly th e h ig h e s t b u d g e t o f a N e w Z e a la n d film to d a t e ” . T h e b u d g e t h a s b e e n e s tim a te d at $ A 4 ,3 0 0 ,0 0 0 (see Cinema Papers 6 6 , N o v e m b e r 1987). P ro d u c e d b y A re n a F ilm s , w ith th e F ilm I n v e s tm e n t C o r p o r a tio n o f N e w Z e a la n d , th e f e a tu re is a n A u s tr a lia n a n d N e w Z e a la n d c o - p r o d u c tio n , w ith th e a s s is ta n c e o f th e A u s tra lia n a n d N e w Z e a la n d F ilm C o m m is s io n s . The Navigator b e c a m e a c o - p r o d u c tio n in 198 6 w h e n J o h n M a y n a r d , th e p r o d u c e r , w a s u n a b le to ra ise th e n e c e s sa ry u n d e r w r i tin g in N e w Z e a la n d . “ T h is w a s d e s p ite p re -sa le s in th e U K , U S A a n d A u s tra lia w h ic h w e re a r e c o rd fo r a N e w Z e a la n d film ,” W a r d says. “ W e a p p r o a c h e d m o re th a n 120 c o m p a n ie s . A t th a t tim e , N e w Z e a la n d f in a n c ie rs w e re f in a n c in g a r o u n d $ N Z 4 0 m il lio n w o r th o f A m e r ic a n a n d E n g lis h sta g e p r o d u c tio n s . I n th e sa m e w e e k th a t o u r film fell o v e r, th e m a in fin a n c ie r w e w ere d e a lin g w ith f in a n c e d $ N Z 1 0 m illio n w o r th o f N e w Y ork p r o d u c tio n s th r o u g h ta x b r e a k s .” W a rd , w h o is 3 2 , m a d e h is film d e b u t in 1 9 7 8 w ith a 5 2 -m in u te f e a tu re c a lle d A State O f Siege, a d a p te d fro m a b o o k b y N e w Z e a la n d n o v e lis t J a n e t F ra m e . H is n e x t p ro je c t w a s a 4 5 - m in u te d o c u m e n ta r y c a lle d In Spring One Plants Alone, w h ic h a p p e a r e d in 1981 a n d w h ic h , w ith A State O f Siege, w a s s h o w n in six U S c itie s as w e ll as in N e w Z e a la n d . B o th film s w o n se v e ra l p riz e s . A State O f Siege w o n a g o ld m e d a l, sp e c ia l ju r y p r iz e , a t th e M ia m i F ilm F e s tiv a l a n d a g o ld e n H u g o a t th e C h ic a g o F ilm F e s tiv a l. In Spring One Plants Alone w a s c o -w in n e r o f th e G r a n d P r ix a t th e C in e m a d u R e e l in P a r is , a n d a s ilv e r H u g o w in n e r a t th e C h ic a g o film fe stiv a l. T h e film W a r d is b e s t k n o w n fo r, h o w e v e r, is Vigil w h ic h , in 1 9 8 4 , b e c a m e th e f irs t f ilm f ro m N e w Z e a la n d to b e a c c e p te d fo r c o m p e titio n a t C a n n e s . I t is still th e o n ly N e w Z e a la n d film e v e r to h a v e h a d th a t h o n o u r . T h a t film also w o n se v e ra l a w a rd s a n d is e x p e c te d e v e n tu a lly to m a k e a p ro fit. W a r d h a s w r i tte n (o r c o -w ritte n ) a n d d ir e c te d all o f h is film s b u t d islik e s th e w o rd a u t e u r b e c a u s e i t ’s F r e n c h . H e ’s h a p p ie r se e in g h im s e lf in a N e w Z e a la n d c o n te x t. “ I t ’s o n ly in th e la s t 10 y e a rs t h a t th e r e h a s b e e n a c o n c e r te d lo o k a t o u rs e lv e s in N e w Z e a la n d th r o u g h film ,” h e say s.

CINEMA PAPERS MAY - 31

After his acclaimed short, Spaventapasseri, Luigi Acquisto makes his feature debut with Hungry Heart. KATHY BAIL talks to him about his exploration of the damage that love can inflict.

The darker side r f L u ig i A c q u is to h a d th e c h o ic e , h is f irs t f e a tu re film w o u l d n ’t h a v e b e e n a b o u t lo v e . P e r h a p s a th r ille r , s h o t in b la c k a n d w h ite , e x p lo r in g th e d a r k e r sid e o f a city. B u t a y o u n g d ir e c to r -f o r- h ir e c a n n o t b e to o c h o o s y ; a n d in a n y case, y o u c a n e x p lo re a lo v e s to r y in a n y g e n re .

S o w h e n p r o d u c e r s R o s a C o lo s im o a n d R e g M c L e a n a p p r o a c h e d A c q u is to w ith th e s c r ip t o f H ungry H eart , th e c h a lle n g e w a s to se t d o w n h is id e a s , b u t w ith in c e r ta in p a r a m e te r s . H e sa w a n o p p o r tu n ity to m a k e a film a b o u t th e d a r k e r sid e o f lo v e , th e te n d e n c y o f r e la tio n s h ip s to re a c h a n im p a s s e . T h e b le a k a n d re c k le s s r e la tio n s h ip b e tw e e n S al (N ic k C a rra fa ), a d o c to r r e t u r n i n g to h is m o th e r ’s h o m e a fte r c o m p le tin g h is in te r n s h ip in th e c o u n try , a n d K a te ( K i m b e r le y D a v e n p o r t) , a c o u n t r y g ir l in n o c e n tly a d r if t in th e city, b e c a m e th e fo c u s o f th e film . U n lik e A c q u is to ’s c e le b ra te d s h o r t film , Spaventapasseri, th e m a in s tr a n d o f th e n a r r a tiv e is a b o u t se x u a l c o n flic t, a l th o u g h q u e s tio n s o f c u l tu r a l d iffe re n c e in e v ita b ly s u rfa c e in v a rio u s e p is o d e s . C u l tu r a l d is lo c a tio n w a s a t th e h e a r t o f th e e a rlie r film . S u b je c tiv e a n d m o r e p e r s o n a l in to n e , it sh o w s a c h i ld ’s v ie w o f a n e w c o u n t r y a n d e x p lo re s th e te n s io n s in a h o u s e h o ld s h a re d b y th e c h i ld ’s p a r e n ts a n d a n o th e r I ta lia n fa m ily w e ll s e ttle d in A u s tr a lia . A c q u is to w ro te , d ir e c te d a n d e d ite d Spaventapasseri in 1 9 8 6 as p a r t o f th e p o s t- g r a d u a te c o u rs e in f ilm a t S w in b u r n e . F o r A c q u is to , s c r ip tin g a n d d ir e c tin g go h a n d - in - h a n d a n d h e w e lc o m e d th e c h a n c e to d e v e lo p f u r th e r th e s c r ip t o f H ungry Heart: “ T h e r e w e r e a lo t o f th in g s a b o u t th e firs t d r a f ts ( w r itte n b y C o lo s im o , A n g e lo S a la m a n c a a n d J o sie A rn o ld ) t h a t I d i d n ’t fe e l c o m fo r ta b le w ith so th e y g a v e m e th e g o -a h e a d to r e w rite . I t ’s b e e n r e w r i tte n q u ite s u b s ta n tia lly . T h e f ra m e w o r k w a s k e p t to fa ith fu lly , b u t th e a c tio n , d ia lo g u e , id io s y n c ra c ie s a n d n u a n c e s , e v e n c h a r a c te r is a tio n s , te n d e d to c h a n g e . T h e p r o c e s s o f d o in g t h a t w a s g o o d ; R o s a w a s v e r y fle x ib le a n d s u p p o r tiv e . T h e r e s tr ic tio n w a s re a lly tim e . T h e f irs t d r a f t w a s r e w o rk e d in a c o u p le o f w e e k s a n d th e s e c o n d o v e r a p e r io d o f fiv e w e e k s th o u g h a lo t o f th a t w a s d u r in g p r e - p r o d u c tio n .” H e w a n te d to s ta r t p r o d u c ti o n w ith a tig h t s c rip t. T h e d ia lo g u e , p a r ti c u la r l y b e tw e e n th e tw o m a in c h a r a c te r s , is r e s tr a in e d , w ith a te n d e n c y to u s e v is u a l im a g e s o r s o u n d to c o n v e y e m o tio n . I t is, A c q u is to sa y s, a d e lib e r a te s tra te g y : “ D ia lo g u e is a n o t h e r te x tu r e a lo n g w ith v is u a ls a n d s o u n d a n d , i f a n y th in g , s h o u ld w o rk as a c o u n t e r p o in t r a th e r th a n r e in f o r c in g o r d o u b lin g u p o n w h a t w e ’re s e e in g . So i f y o u h a v e a s c e n e t h a t a p p e a r s to b e q u ite c a s u a l in te r m s o f w h a t th e c h a r a c te r s a re d o in g , y o u c a n h a v e te n s io n e s ta b lis h e d t h r o u g h w h a t t h e y a re s a y in g . I t ’s p r o b a b ly m o r e p o w e r fu l i f it h a p p e n s t h e o th e r w a y r o u n d ; i f y o u se e a te n s io n b e tw e e n

32 — MAY CINEMA PAPERS

th e c h a r a c te r s a n d y e t th e r e is a tr iv ia l o r h a r m le s s c o n v e r s a tio n h a p p e n in g b e tw e e n th e m . T h e r e is a d ia le c tic e s ta b lis h e d b e tw e e n w h a t y o u ’r e h e a r in g a n d w h a t y o u ’r e s e e in g a n d th a t c a n b e f u r t h e r e d th r o u g h t h e s o u n d s tr u c t u r e . “ T h e r e w a s a d e s c r ip tio n t h a t S a r tr e u s e d to d e s c rib e C a m u s ’ w o rk — a n d I ’m n o t c r e a tin g p a r a lle ls a t all b e tw e e n H ungry H eart a n d C a m u s ! — w h e n y o u r e a d The Outsider i t ’s as i f th e r e is a g la ss p a n e b e tw e e n y o u a n d th e a c tio n . S o th a t in a s e n s e th e a c tio n i t s e l f is q u ite c le a r b u t t h e s ig n ific a n c e o f it is o p a q u e . T h a t ’s t r u e o f H ungry H eart to a n e x te n t: th e a c tio n a n d th e v is u a ls a re q u ite s tr o n g in te llin g t h e s to r y b u t th e c h a r a c te r s ’ m o tiv e s a r e n ’t a lw a y s re v e a le d th r o u g h th e d ia lo g u e .” J a e m s G r a n t ’s c i n e m a to g r a p h y (o n e o f t h e d e lig h ts o f Spaventapasseri) g iv e s H ungry H eart th e p o lis h a n d v is u a l s o p h is tic a tio n t h a t is th e b a s is o f A c q u is to ’s a p p r o a c h . N o t th a t it a lw a y s s u c c e e d s ; t h e s p a rs e n e s s o r m in im a lis m o f th e d e s ig n a llo w s little r o o m f o r e r r o r in th e p e r f o r m a n c e s , b u t it is a r is k A c q u is to is p r e p a r e d to ta k e . “ O n e o f th e p r o b le m s I sa w s h o o tin g o n 16 m m w a s a te n d e n c y f o r th e f ilm to b e c o m e c la u s tr o p h o b ic in th e w a y t h a t it w a s f r a m e d ,” h e e x p la in s . “ I n o n e sc e n e w e r e m o v e d t h e e x tra s b e c a u s e th e y ju s t s e e m e d to b e in tr u s iv e . A lso , in th is f ilm I w a n te d to f o c u s o n th e c h a r a c te r s m o r e t h a n I d id in Spaventapasseri w h e r e th e r e is a g r e a te r te n d e n c y to lo c a te th e c h a r a c te r s w ith in a la n d sc a p e , o r a so c ia l a n d h is to r ic a l c o n te x t. T h e r e a re s till e le m e n ts o f t h a t s ty le in H ungry H eart (in th e la tte r p a r t it se e m s to o p e n o u t) b u t th e te n d e n c y w a s to fo c u s o n th e c h a r a c te r s m o r e d ire c tly . “ E v e n t h o u g h v is u a lly th e c h a r a c te r s a re o f te n th e fo c u s o f w h a t is g o in g o n , t h e r e ’s s till a d is ta n c e th e r e . I t ’s as i f t h e r e ’s a c lo se n e ss to th e c h a r a c te r s b u t n o t a n in tim a c y w h ic h p e r h a p s so m e p e o p le f in d u n c o m f o r ta b le o r u n s e ttli n g . P a r t o f th a t is t h a t th e c h a r a c te r s a r e n ’t a lw a y s c o n fe s s in g w h a t th e y a re fe e lin g ; a lo t o f it te n d s to w o rk in f a ir ly s u b tle w ay s, t h r o u g h m e ta p h o r , r e c u r r in g m o tifs , a n d te n s io n s . I th in k th e r e is a c e r ta in te rs e n e s s in th e f ilm .” I n d e e d , it is th e m o m e n ts w h e n t h e c h a r a c te r s b e g in to s h a re s to rie s o f th e p a s t, o f c h ild h o o d , t h a t t h e d ia lo g u e b e c o m e s d e n s e r ; c o n v e r s a tio n s a re a llo w e d to m e a n d e r. I t h a s b e e n n o te d t h a t in th e n o v e ls o f M a r g u e r i t e D u r a s th e firs t p o in t o f c o n ta c t f o r lo v e rs is to r e c o u n t t h e i r c h ild h o o d . “ I f i t ’s s ig n ific a n t p e r h a p s it is b e c a u s e o f t h a t , ” sa y s A c q u is to . “ O b v io u s ly it w a s a lso to g iv e s o m e s e n s e o f h is to r y to th e c h a r a c te r s .” H ungry H eart a m b itio u s ly a t te m p ts to te ll a n u m b e r o f s to rie s . T h r o u g h its e p is o d ic s t r u c t u r e , w e a re in tr o d u c e d to a g a lle ry o f c h a r a c te r s w h o a c c o u n t f o r t h e c o m ic , m o r e a b s u rd a s p e c ts o f th e n a r r a tiv e : V ito ( O s v a ld o M a io n e ) , t h e e c c e n tric g r a n d f a th e r w h o , w i t h e y e s s h u t t i g h t , r e g u la r ly p r e p a r e s fo r

of love d e a th in t h e m id d le o f th e r o a d o u ts id e th e c e m e te ry ; C h a rlie ( M a r k R o g e rs ), a p e t t y c r im i n t e n t o n s ig n in g u p S al; a n d M r O ’R y a n ( N o r m a n K a y e ) w h o a t te m p ts to c h a r m S a l’s m o th e r , M r s B o n o (D a s h a B la h o v a ) w i t h b la c k f lo w e rs a n d p u r p le p ro s e . A c q u is to fe e ls t h e h u m o u r , g e n e r a lly o ffe re d b y th e p e r i p h e r a l c h a r a c te r s , b a la n c e s t h e o p p r e s s iv e n e s s o f th e K a te /S a l r e la tio n s h ip : “ T h e o r ig in a l s c r ip t h a d a ll th e s e d iffe re n t c h a r a c te r s , m a y b e n o t in t h e s a m e f o r m o r d o in g th e sa m e th in g s as th e y a re d o in g n o w , a n d I n e e d e d to g iv e th e m a c e r ta in w e ig h t a n d tim e w i t h i n t h e f ilm a n d h u m o u r w as o n e w a y o f d o in g th a t. “ T h e o th e r r e la tio n s h ip s g iv e re s o n a n c e to th e c e n tra l th e m e o f th e f ilm w h ic h is th e te n d e n c y o f re la tio n s h ip s to re a c h a n im p a s s e , a p o i n t w h e r e th e y d o n ’t p ro g re s s a n y f u r th e r . T h a t s e e m s to b e t h e c a se w ith th e M r O ’R y a n a n d M r s B o n o c h a r a c te r s a n d a l th o u g h th e r e is n o s u g g e s tio n th a t a n y th in g is g o in g to e v e n tu a te , it is in a q u a lita tiv e ly d iffe re n t w ay. K a te a n d S a l’s r e la tio n s h i p is n o t r e fle c tiv e a t all o f th e d a m a g e it is d o in g to th e tw o p e o p le in v o lv e d , w h e re a s th e re is a c e r ta in m a t u r i t y w i t h M r O ’R y a n a n d M r s B o n o , a s u g g e s tio n o f s o m e s o r t o f g a m e - p la y in g .” W h ile th e p u b lic ity f o r H ungry H eart in s is ts th a t it is n o t a “ fla g w a v in g ” f ilm , t h e f ilm is n e v e r th e le s s in te n t o n w o rk in g a g a in s t s te re o ty p e s t h a t e x is t in c h a r a c te r is a tio n s o f m ig ra n t fa m ilie s . “ O n e o f t h e t h in g s w a s to s u g g e s t t h a t th e fa m ily h a d d o n e v e r y w e ll f o r i t s e l f in b u s in e s s w h ic h is o fte n th e case w ith c o n t e m p o r a r y m ig r a n t fa m ilie s w h o h a v e b e e n h e r e 20 o r 3 0 y e a rs ,” A c q u is to e x p la in s . “ W i t h th e m o th e r a n d so n , I n o t o n ly w a n te d to s h o w c o n f lic t b u t s o m e in tim a c y b e tw e e n th e tw o o f th e m . A ls o , h a v in g t h e fa m ily s p e a k in E n g lis h w as a n in te r e s ti n g c h o ic e , o n e t h a t I w a s n ’t in itia lly c o m fo rta b le w ith , b u t I t h i n k it w o rk s b e c a u s e it is a c o n te m p o r a r y film : th e g r a n d f a th e r ’s b e e n h e r e f o r 2 0 y e a rs , t h e k id s h a v e g ro w n u p . . . so i t ’s q u ite p r o b a b le th e y w o u ld s p e a k E n g lis h at h o m e . B u t in a f ilm lik e Spaventapasseri , to h a v e th e c h a ra c te rs s p e a k E n g lis h in a s ix tie s s e ttin g o f n e w ly -a rriv e d m ig r a n ts w o u l d ’v e r e in f o r c e d th o s e s te re o ty p ic a l im a g e s o f m ig r a n ts s p e a k in g in b r o k e n E n g lis h in a v e r y c lu m s y w ay.” A c q u is to is w o r k in g o n a s h o r t d o c u m e n ta r y fo r a n S B S se rie s p r o d u c e d in c o n j u n c ti o n w i t h t h e A u s tr a lia C o u n c il a n d h a s w r i t t e n a s c r ip t f o r a f e a tu r e f ilm tit le d T iny Details. N e x t tim e , h o w e v e r, h e w o u ld lik e to m o v e u p a g a u g e a n d s h o o t in 3 5 m m o r e v e n S u p e r 1 6 m m . A n d i f h e w a s to do a n o t h e r lo v e sto ry , h e ’s s u r e it w o u ld b e d if fe r e n t. “ I ’d s ta rt w ith a s it u a ti o n t h a t is p e r h a p s b le a k to b e g in w ith a n d m o v e to w a r d s s o m e th in g t h a t is m o r e o p tim is tic . I ’d p r o b a b ly d e a l w ith o ld e r c h a r a c te r s . T h o s e c h a r a c te r s a re s o m e w h e re b e tw e e n a d o le s c e n c e a n d a d u l th o o d . S o w h e n y o u s ta r t w ith th a t, t h e r e ’s o n ly o n e w a y to g o . . . ” HUNGRY HEART: Kimberley Davenport, Nick Carrafa, Osvaldo Maione (inset)

A dome of one’s own

Maggie Fooke’s animation, Pleasure Domes, has been selected to take part in the Cannes short film competition. KATHY BAIL talks to her about landscape, animation, imagination and the view from her room. PLEASURE DOMES: St Kilda baths

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W aggle F o o k e ’s s h o r t a n im a tio n , Pleasure Domes , / m f o r e v e ry o n e o f its e ig h t m in u te s , r e v e rb e ra te s o n

\ / B m a n y lev els: it is a p o r tr a it o f a c r u m b lin g se a sid e w J L s u b u r b b e in g o v e r ta k e n b y b u s in e s s ; a w itty re f e r

e n c e to H o lly w o o d ’s fa n ta s y im a g e o f th e R iv ie ra ; a g e s tu re to w a r d th e I m p r e s s io n is t p a in te r s a n d th e ir o b se ssiv e c o n c e rn w ith lig h t a n d c o lo u r; a r e m in d e r o f th e d o m e th a t C o le rid g e d r e a m e d ; a d is c o u rs e o n A u s tr a lia ’s r e la tio n s h ip to E u r o p e , a n d to th e A b o rig in e s ; a n d , u ltim a te ly , a s to ry w h o s e b e g in n in g m ig h t b e , “ o n e d a y as I w a s s ittin g o n m y b a lc o n y . . T h e v ie w f ro m F o o k e ’s th ir tie s - s ty le a p a r tm e n t o n th e S t K ild a f o re s h o re in s p i r e d h e r to d o th e se rie s o f w a te r c o lo u r d ra w in g s th a t m a k e u p th e film . I t also le d h e r to se ek o u t o ld p h o to g r a p h s o f th e p ie rs , th e p r o m e n a d e a n d th e b u ild in g s ( th e a tre s , sea b a th s , f u n fa irs) th a t h a d o n c e s to o d g r a n d ly in f r o n t o f h e r w in d o w . S h e p h o to c o p ie d a n d h a n d - c o lo u re d th e p h o to g r a p h s a n d a d d e d th e m to th e se rie s. S h e say s Pleasure Domes is a p e r s o n a l, in tr o s p e c tiv e film o n , n o t s im p ly h e r r e s p o n s e to o n e view , b u t th e n a t u r e o f la n d sc ap e : “ I t h in ts th a t o u r p e r c e p tio n o f la n d s c a p e is n e v e r d ir e c t b u t a lw a y s filte re d t h r o u g h a se t o f c o n s tru c ts , e ith e r p h y s ic a l o r p s y c h o lo g ic a l.” I n th e e lo q u e n t v o ic e o v e r u s e d in th e film , w e a re to ld th a t a lth o u g h th is is S t K ild a , w e c o u ld b e a n y w h e re ; th e v ie w is fa m ilia r b e c a u s e w e k n o w it f ro m a n u m b e r o f re a l a n d im a g in e d p la c e s. “ I o fte n sit h e r e lo o k in g o u t th e w in d o w a n d so m e n ig h ts I feel lik e I c o u ld b e a n y w h e re in th e w o rld ,” say s F o o k e . “ B u t I d o n ’t a c tu a lly m e a n a n y w h e re , a n y city. I t ’s th a t im a g e , th e R iv ie r a , H o lly w o o d , C a lif o r n ia n b e a c h e s . So K r i c H a n s c o m b e (th e w rite r ) lite ra lly u s e d th o s e w o rd s in th e s o u n d tr a c k : y o u d o n ’t m e a n a n y w h e re , y o u m e a n N ic e , C a n n e s . . .” T h a t id e a is th e tr ig g e r. T h e f ilm c o n tin u a lly o p e n s o u t, c u ttin g f ro m im a g e s o f m u s ic h a lls a n d th ir tie s d a n c e b a n d s to a se a sid e p a n o r a m a v ib r a n t w ith c o lo u r, fro m a m e d ita tio n o n h o w th e K o o r is s h a p e d th e la n d w ith s p ir itu a l r a th e r th a n m a te r ia l m e ta p h o r s to a s e q u e n c e o n g la m o u r as “ d e v io u s m a g ic ” . S e e m in g ly in f in ite , th e r e is a se n se o f p la y , a n d a s u g g e s tio n th a t th e “ I ” o f th e n a r r a tiv e v o ic e is a lw a y s s h iftin g . F o o k e c o m p le te d Pleasure Domes la s t y e a r as p a r t o f th e a n im a tio n c o u rs e a t S w in b u r n e , a c o u rs e w h ic h g a v e h e r “ tim e , ac ce ss to e q u i p m e n t a n d s o m e o n e to a n s w e r q u e s tio n s .” S h e also m a d e D ream , a film fo r w h ic h sh e h a d re c e iv e d f u n d in g b u t h a d h a d te c h n ic a l d if fic u lty p r o d u c in g . A n e a rlie r e x p e r im e n ta l f ilm m a d e w ith C h r is K n o w le s (w h o a r r a n g e d th e s o u n d tr a c k o f Pleasure Domes) a n d v a r io u s slid e in s ta lla tio n s w e re th e b a s is fo r th is w o rk . P a r tly b e c a u s e o f h e r a r c h ite c tu r a l b a c k g r o u n d , F o o k e h a s a n a d v e n tu r o u s a p p r o a c h to a n im a tio n te c h n iq u e s : “ I d o n ’t th in k th e p o s s ib ilitie s o f a n im a tio n h a v e b e e n to u c h e d . I th in k

34 - MAY CINEMA PAPERS

w e ’v e ta k e n tr a d i tio n a l s ty le s o f a n im a tio n , a n d f ig u re s a n d c h a r a c te r s , a n d s to p p e d th e r e . I h o p e w e c a n s ta r t u s in g d r a w n im a g e s — a n d t h a t ’s a f te r a ll, all it is — as w e ’ve b e c o m e u s e d to s e e in g th e m in g r a p h ic s o r p a in tin g . I h a v e d o n e a lo t o f la n d s c a p e a r c h ite c tu r a l d r a w in g a n d r e n d e r in g a n d I th i n k th e s e p a s t in te r e s ts h a v e c o m e th r o u g h in Pleasure Domes. I t a lso g a v e m e a c h a n c e to see m y o w n w o rk in so m e c o n ta in e d f o rm ; I h a v e n ’t s e e n t h a t b e f o r e .” F o o k e u s e d h u n d r e d s o f d r a w in g s fo r th e film ; fe w e r, h o w e v e r, th a n tr a d i tio n a l a n im a tio n b e c a u s e sh e u s e d “ s till” im a g e s . “ T h e slo w m e th o d ,” sh e e x p la in s , “ n o c o m p u te r sc re e n s! T h e m o v e m e n t is b a s ic a lly d o n e b y d is s o lv in g each im a g e in to its e lf, o r in to th e n e x t o n e . I t ’s a ll d o n e b y h a n d . E a c h tim e , I d is s o lv e d o u t o v e r 2 0 f ra m e s a n d d is s o lv e d b ac k in a g a in ; so I p u t th e im a g e u n d e r th e c a m e ra , s e a rc h e d fo r th e p a r t o f th e im a g e t h a t I w a n te d to f ilm , th e n film e d 20 fra m e s , d is s o lv in g o u t o n e a c h f ra m e . T h e m o v e m e n t co m es f ro m r e f r a m in g th e d r a w in g o r r e lo c a tin g th e c a m e ra . “ A lo t o f th e d e ta il in th e film , ta k e n f r o m th e c o lo u re d p h o to c o p ie s , is d o w n to w h a t ’s c a lle d 2 fie ld o r 2 in c h e s w h ic h is v e ry s m a ll. M o s t o f i t ’s s h o t o n 7 fie ld . I th in k th e b ig g e s t fie ld siz e I u s e d w a s 10. M o s t a n im a tio n is s h o t o n 12. “ W h a t fa s c in a te d m e w a s t h e t e x tu r e t h a t c o m e s fro m th e p h o to c o p ie s a n d th e w a te r c o lo u r , t h e d e ta ile d lin e , a n d y o u c a n o n ly g e t th a t w h e n y o u lo o k a t a d r a w in g in a m ic ro s c o p ic w ay .” W h ile f ilm m a k e rs g e n e r a lly se e k h ig h d e f in itio n a n d r e a lis m in a n im a g e , F o o k e h a s a p a s s io n fo r “ m a k in g th in g s in to t e x t u r e ” , r o u g h e n in g a n d a b s tr a c tin g im a g e s u n t i l th e y a re fa r r e m o v e d f r o m t h e o r ig in a l. M o s t o f th e o rig in a l a r t w o rk w a s d o n e o n p a p e r . H o w e v e r , th e o p e n in g se q u e n c e w h ic h in v o lv e d p a i n tin g o n to c e ll, u s e d liv e -a c tio n film . E a c h im a g e w a s s h o t tw ic e , g iv in g it a h a lf-s p e e d . L ik e th e im a g e s e q u e n c e s , th e s o u n d tr a c k w as la y e re d , e s ta b lis h in g , sa y s F o o k e , f u r t h e r a s s o c ia tio n s : “ C h ris K n o w le s c u t t h e s o u n d to t h e im a g e . H e in v e n te d th e s o u n d fo r th e d a n c e s e q u e n c e ; h e r e c o r d e d e x c e r p ts o f th ir tie s m u sic , lo o p e d d if fe r e n t p a r ts a n d p u t it th r o u g h th e s y n th e s is e r a n d m a n ip u la te d it. A ll o f th e s o u n d is ta k e n f r o m s o u n d r e c o rd in g s a n d a m b ie n t s o u n d e ffe c ts r e c o rd s th e n lo o p e d , so i t ’s p e r fe c t fo r th e im a g e s . T h e f ilm h a s a ‘b r e a t h i n g ’ t h a t c o m e s w ith th e r e p e titio n a n d a lso t h a t 2 0 -fra m e d is s o lv e w h ic h is p r e tty c o n s ta n t — i t ’s a lm o s t g o t a 1 s e c o n d b r e a th . T h e s o u n d p ic k s th a t u p b e a u tif u lly . B u t n o th in g w a s ‘c o m p o s e d ’; it w a s n ’t p la y e d a n d r e c o r d e d .” I t w a s, lik e th e v ie w f r o m th e b a lc o n y , in v e n te d .

Pleasure Domes: Animation: Maggie Fooke. Producer: John Bird, Swinburne. Sound: Chris Knowles. Text: Kric Hanscombe, Maggie Fooke. Narration (English and French): Julie Forsyth. French translation: Annie Fabulet. German translation: Erica Jacubassa. German narration: Sally Warburton. Assistance: Kate Cullity.

V executive music producers for

original score by Eddie Rayner original songs by Philip Judd additional songs by Crowded House, Keith Glass and the Honky Tonks, Blue Healers and new EMI UK signing Schnell Fenster. SMS is available to act as music consultants on your next project. For further information contact Chris Gough or Jim Mountford. S t u d i o M a n a g e m e n t S e r v ic e s P t y L td

643 Chapel Street South Yarra Victoria 3141 Australia Inter 613 2417483 Tax 8240370

T H E M E L B O U R N E C IN E M A T H E Q U E

Ph (0 3 ) 2 4 1 7 4 8 3

Motion Picture G uarantors Ltd .

FILMS ACROSS THE SPECTRUM POSTAL ADDRESS Screening highlights in '88 July 20 - Mumau G.P.O. BOX 5083 AA include: Sunrise MELB 3001 June 29 - Kurosawa's ENQUIRIES 03-3283329 Lower Depths Aug 24 - Truffaut Wiid Child Renoir's July 6 Aug 31 - Harold Lloyd's Diary of a Safety Last Chamber - Maid Oct 5 -

Film Noir Gun Crazy Big Combo

Nov 9 -

Hawks' Scarface

Motion Picture Guarantors are an international company providing completion bonds for more than 250 motion pictures ond television series in North America, Europe, Australia and N ew Zealand with budgets in excess of 250 million dollars. M .P .G /s Australasian operations have bonded 20 motion pictures with budgets of over 45 million dollars.

Nov 23 - Yakkety - Yak with Flaus Nov 30 - Sternbergâ&#x20AC;&#x2122;s Dishonoured with Dietrich

Melbourne, 75-83 High Street, Prahran, Victoria 3181 Telephone (03) 529 8852. Fax (03) 51 6449 14 Birch Avenue, Toronto, Canada M 4V 1C9 Telephone (416) 968 0 577 Telex 065-24697

M.RG/s Interest Is A lways To M ake The Deal W ork .

CANNES OPENERS INCIDENT AT RAVEN’S GATE Cars stop and start w ithout w arn ing, pets suddenly tu rn vicious, and now the Cleary house is a sm ouldering ruin, and th e resi dents have vanished. E ddie Cleary had been convinced th a t a strange presence was responsible for some o f the odd things th at had been happening around the district; now it looks as if he m ight have been right. Jon A rm strong and Sue R ichter w orked on the special effects for this film, w hich include a m utilated body crashing through the walls o f a house. • Director: Rolf de Heer. Producers: Rolf de Heer, Marc Rosenberg. Executive pro ducer: Antony I. Ginnane. Screenplay: Marc Rosenberg, Rolf de Heer. Director of photography: Richard Michalak. Pro duction designer: Judith Russell. Editor: Suresh Ayyar. Music: Graham Tardlf, Roman Kronen. Cast: Steven Vldler, Celine Griffin, Ritchie Singer, Vince Gil, Saturday Rosenberg, Max Cullen. Running time: 94 minutes

THE DREAMING A rth u r D ignam and P enny Cook play father and daughter in this th riller directed by M ario Andreacchio (Fair Game). D r Cathy T h o rn to n (Cook) begins to have disturbing dream s after she treats a young A boriginal girl who has been badly beaten up. A n A bori ginal bracelet, first excavated by her archaeologist father, becomes the centre o f a m ystery th at in volves m urder and the realisation o f her m ost troubling dreams.

CALL ME MR BROWN Scott Hicks and T erry Jennings have based their script on the famous 1971 Qantas bom b hoax. T h e m usic is com posed by Cam eron Allan (see story p i 6). • Director: Scott Hicks. Producer: Terry Jennings. Screenplay: Terry Jennings, Scott Hicks. Director of photography: Geoffrey Simpson. Editor: Andrew Prowse. Art director: Lisa Elvy. Music: Cameron Allan. Cast: Chris Haywood, Russell Kiefel, John Poison, Vincent Ball, John Frawley, Edwin Hodgeman, Bill Hunter. Running time: 90 minutes

CONTAGION A suspense thriller about a con tam inated m ind, w ritten and co produced by K en M ethold. T h e m usic is by Bruce Sm eaton (see

story plO). • Director: Karl Zwicky. Producers: Methold, Leo Barretto. Executive ducer: Tom Broadbridge. Associate ducer: Richard Rooker. Screenplay:

36 — MAY CINEMA PAPERS

Ken pro pro Ken

Methold. Director of photography: John Stokes. Editor: Roy Mason. Production designer: Richard Rooker. Music: Bruce Smeaton. Cast: John Doyle, Nicola Bart lett, Ray Barrett, Pamela Hawksford, Kathy Gaffney, Chris Betts, Jacqui Brennan. Running time: 90 minutes

TAKEOVER A high technology comedy about the relationship between a man and his com puter. D irector Robert M archand made the prizew inning short The Cellist and has the m ini series Fields Of Fire to his credit.

• Director: Mario Andreacchio. Pro ducers: Craig Lahiff, Wayne Groom. Executive producer: Antony I. Ginnane. Screenplay: Stephanie McCarthy, John Emery, Rob George. Director of photo graphy: David Foreman. Editor: Suresh Ayyar. Production designer: Michael Ralph. Cast: Arthur Dignam, Penny Cook, Gary Sweet, Kristina Nehm, Lawrence Clifford, Patrick Frost. Running time: 90 minutes

BODILY HARM

• Director: Rob Marchand. Producer: Phillip Emanuel. Associate producer: David Clarke. Screenplay: Peter Moon. Director of photography: Bob Kohler. Editor: Murray Ferguson. Art director: Patrick Reardon. Cast: Barry Otto, Anne Tenney, Wayne Cull, Paul Chubb, Alex ander Kemp. Running time: 90 minutes

In Bodily Harm, Colin Friels plays T om Stew art, an am bitious young reporter who investigates a strange story involving a young school teacher obsessed w ith th e death o f his young wife. H er death is linked to a series o f apparently u n related m urders and a police corruption enquiry. As T o m ’s involvem ent deepens, he becomes a m urder suspect and a potential m urder victim .

Cannes sales contact: Tom Broadbridge, Apartment 107, 52 La Croisette, Cannes.

• D irector: M ark Joffe. P roducer: Richard Brennan. Executive producers: Antony I. Ginnane, Errol Sullivan. Screen

play: Warwick Hind. Director of photo graphy: Ellery Ryan. Editor: Marc Van Buuren. Production designer: Roger Ford. Music: Christopher Neal. Cast: Colin Friels, John Waters, Bruno Law rence, Joy Bell, Chris Stalker, Kim Gyngell, Shane Briant. Running time: 95 minutes (approx)

BOUNDARIES OF THE HEART W endy H ughes, N orm an Kaye and Jo h n H argreaves star in this P eter Y eldham script set in a co untry tow n in the 1950s. H ughes plays Stella, to w hom A ndy (H argreaves) has been devoted for years. She has been playing him o ff against other men for years, and he finally decides to leave for Sydney and forget her. T h en other changes in Stella’s life force h er to make a decision that will change her life. H ughes and Kaye w ere associate producers on the project, and it was produced by H u g h e s’ h u sb a n d , P atric Juillet. • Director: Lex Marinos. Producer: Patric Juillet. Executive producer: Antony I. Ginnane. Screenplay: Peter Yeldham. Directors of photography: David Sander son, Geoff Simpson. Editor: Philip Howe. Production/costume designer: Melody Cooper. Music: Sharon Calcraft. Cast: Wendy Hughes, Norman Kaye, John Har greaves, Julie Nihill, Max Cullen, Michael Siberry, John Clayton, Robert Faggetter, Vivienne Garrett. Running time: 90 minutes

OUTBACK H orses, heroic riding feats, villain ous businessm en and rivalry in love are th e features o f this period piece, set in turn-of-the-century A ustralia. T u sh ka Bergen (A Place A t The Coast, Always Afternoon) plays Alice, a spirited 19-year-old w ho u n w ittin g ly causes tw o friends to becom e rivals. Ben Creed (Jeff Fahey) adventurer and entrepreneur, and Jack D onaghue (Steven Vidler) drover and poet, are th e p air com peting for her attention, and trying to help her save h er fam ous horse stud from being sold. A prom o reel will be available. • Director: Ian Barry. Producer: John Sexton. Executive producers: Antony I. Ginnane, Kent Lovell. Screenplay: John Sexton. Director of photography: Ross Berryman. Editor: Henry Dangar. Produc tion designer: Owen Paterson. Cast: Jeff Fahey, Tushka Bergen, Steven Vidler, Fred Parslow, Cornelia Frances, Michael Winchester. Running time: 100 minutes (approx)

Sales contact: International Film Management Limited, Level 4, 63 Stead Street, South Melbourne, Victoria. Ph: (03) 699 6133

WE’RE BEING SEEN AT CANNES AGAIN THIS YEAR. BODILY HARM, BOULEVARD OF BROKEN DREAMS, BOUNDARIES OF THE HEART, BREAKING LOOSE, CONTACT, DANGEROUS GAME, THE DREAMING, EMERALD CITY, INCIDENT AT RAVEN’S GATE, THE NAVIGATOR, OUTBACK, PANDEMONIUM, RIKKY & PETE, SONS OF STEEL, TWO BROTHERS RUNNING, and ZOMBIE BRIGADE are all being

shown at Cannes for the first time this year.

presented to world audiences at Cannes Film Festivals.

And they all have one thing in common: they were postproduced in Australia by the Colorfilm group of companies.

Our commitment to quality and service is behind every Australian production we have been associated with, no m atter where in the world they are showing.

We’re not newcomers to Cannes. Over the years Colorfilm has been responsible for the processing, sound mixing, grading and opticals for many successful Australian motion pictures

We’re proud to be w ith you at Cannes this year.

Q Colorfilm 60 YEARS OF CONTINUOUS SERVICE TO THE MOTION PICTURE INDUSTRY, WORLD WIDE. Colorfilm Pty. Ltd. 35 Missenden Road, Camperdown, NSW 2050, Australia. Telex: AA24545 Telephone: (02) 5161066

BOULEVARD OF BROKEN DREAMS

TWO BROTHERS, RUNNING

After 10 years o f success in H olly wood and on Broadway, w riter T o m G arfield (John W aters) returns to his A ustralian hom e land to pick up the pieces o f his life and win back the w om an he loves. W riter F rank H ow son also scripted Backstage, w hich starred L aura Branigan.

M oses Bornstein is a w riter, Jew ish and an unappreciated com edian. H is brother Ben is a high energy, com m ercially suc cessful toy salesm an, and w hen he comes to visit, a long sim m ering resentm ent begins to bubble.

• Director: Pino Amenta. Producer: Frank Howson. Executive producer: Peter Boyle. Screenplay: Frank Howson. Director of photography: David Connell. Editor: Phil Reid. Production designer: Otello Stolfo. Music: John Capek. Cast: John Waters, Penelope Stewart. Kim Gyngell, Nicki Pauli, Kevin Miles, Andrew McFarlane. Running time: 98 minutes

STRIKE OF THE PANTHER sequel to Day Of The Jason Blade (Eddie Stazak) continues his struggle w ith crim inal suprem o and m artial arts m aster Jim Baxter, culm inating in a m artial arts confrontation from w hich there can be only one victor.

The

Panther.

Day Of The Panther

AFRAID TO DANCE Afraid To Dance (formerly known as Letters) is a dark comedy about two young people whose quirky crim inal career climaxes w ith the theft o f a mailbag, but their lives are changed for ever by the con tents o f the letters they read: a videotape from a m an to his unborn child; a note from a small boy whose toy has broken; a tape from an aspiring singer-song

w riter; and a letter from a woman dying of cancer. ■ . r ' / Denny Lawrence. Producer: 1 -: Finlay. Executive producers: < Jennings. Juliet Grimm, r,. . ^aul Cockburn. Director of pnotoc - ;• , Sieve Arnold. Editor: Rictttim , Production designer: Jane No r..s M l “m u Neal. Cast: Nique Ne : ' ls Ul ■ ¡ones, Grigor Taylor, lin o row , t * Richards, Mervyn Drake, A m u L y re Running time: 90 mlnute-

• Director: Brian Trenchard-Smith. Pro ducer. Damien Parer. Executive pro ducers: Judith West, Grahame Jennings. Co-executive producer: Beverly Wood. Screenplay: Peter West. Director of photo graphy: Simon Akkerman. Editors: Kerry Regan, David Jaeger. Production execu tive: Juliet Grimm. Cast: Eddie Stazak, John Stanton, Jim Richards, Paris Jeffer son, Michael Carman, Zale Daniel. Running time: 85 minutes

• Director: Ted Robinson. Co-producer: Martin Cohen. Line producer: John Hipwell. Executive producer: Phillip Emanuel. Screenplay: Morris Lurie. Director of photography: Dan Burstall. Editor: Robert Gibson. Production designer: Leslie Binns. Cast: Tom Conti, Liz Alexander, Ritchie Singer, Martin Lewis, Asher Keddie, Mark Zandle. Running time: 90 minutes

DAY OF THE PANTHER Jason Blade (Eddie Stazak) and L inda A nderson are two W est erners who earn the privilege o f attending the legendary P anther School o f M artial Arts. T h ey cross the path o f a drug boss, and L inda is m urdered. Jason then swears to avenge her death. • Director: Brian Trenchard-Smith. Pro ducer: Damien Parer. Executive pro ducers: Judith West, Grahame Jennings. Co-executive producer: Beverly Wood. Screenplay: Peter West. Director of photo graphy: Simon Akkerman. Editors: Kerry Regan, David Jaeger. Production execu tive: Juliet Grimm. Cast: Eddie Stazak, John Stanton. Rowena Wallace, Jim Richards, Paris Jefferson, Bill McCluskey. Running time: 85 minutes

Sales contact: Overview Films Limited, Hammer House, 7th floor, 113-117 Wardour Street, London W1V 3TD, UK. Ph: (01) 439 7491

BACHELOR GIRL D ot (Lyn Pierse) is single, Jewish and 32, w ith 82 pot-plants to sup port and one-and-a-half stage plays to her name. K arl (Kim Gyngell) is a divorced barrister, eager for com m itm ent. H e ’s a distraction that keeps D ot away from her work, and the deadline is looming for the episode o f the T V soap she is w riting. W riter and director Rivka H artm an examines the problem s o f the single girl and her typew riter.

As Time Goes By

AS TIME GOES BY B runo Law rence, Ray B arrett and N ique N eedles star in this com edy about an encounter betw een a surfer and an alien in the A ustra lian outback. T h e alien (played by M ax Gillies) is a tim e-traveller called Joe Bogart whose spaceship is disguised as a 1940s diner: his craft is being sought for sinister purposes by com peting villains,

38 — MAY CINEMA PAPERS

and M ike (N ique Needles) has to change the course o f tim e to save a life. • Directed and written by Barry Peak. Producer. Chris Klely. Director of photo graphy: John Ogden. Editor: Ralph Strasser. Production designer: Paddy Reardon. Music: Peter Sullivan. Cast: Bruno Lawrence, Nique Needles, Ray Barrett, Marcelle Schmitz, Mitchell Faircloth, Deb Force. Running time: 96 minutes

• Director: Rivka Hartman. Producer: Ned Lander. Associate producer: Trevor Graham. Screenplay: Rivka Hartman, Maggie Power, Keith Thompson. Director of photography: John Whitteron. Editor: Tony Stevens. Art director: Ro Cooke. Music: Burkhart von Dallwitz. Cast: Lyn Pierse, Kim Gyngell, Jan Friedl, Bruce Spence. Doug Tremlett, Ruth Yaffe. Running time: 85 minutes

CONTACT Jo K ennedy (Starstruck, Wrong World) stars as M itch , a h air dresser whose energy and o ptim ism attracts weaker friends. She meets Rex (the ubiquitous N ique Needles) wild, charism atic and homeless, and they fall tu m u ltu ously in love. But will their rela tionship survive after he is sent to

Contact

jail? W riter and director M ary C a lla g h a n m ade th e h ig h ly regarded short fiction film Greet

ings From Wollongong. • Directed and written by Mary Calla ghan. Producer: Chris Oliver. Director of photography: Ray Argali. Editor: Tony Stevens. Art director: Kerrie Brown. Music: Graham Bldstrup. Cast: Jo K enn edy, N ique N eedles, R obert Menzles, Toni Scanlan, Shane Connor, Ian Mortimer, Anna Phillips. Running time: 95 minutes

Sales contact: Kim Lewis Marketing, 257 Coventry Street, South Melbourne, Victoria. Ph: (03) 690 4389

For acquisition or information contact: Rosa Colosimo 22 Hanover Street Fitzroy 3065 Victoria Australia Ph: (03) 417 2593

BLOWING HOT & COLD Stars: P e te r A d a m s a n d J o e D o lc e w ith K a te G o rm a n , E lsp e th B a lla n ty n e , B ru c e K ane. J A C K is a m a n w ith a m is s io n to s a ve SALLY. W ill N IN O , o f all p e o p le , b e a b le to h e lp him ? AN ACTION COMEDY

HUNGRY HEART Stars: N ic k C a rra fa a n d K im b e rle y D a v e n p o rt w ith L isa S c h o u w , N o rm a n K aye, D a s h a B la h o v a , O s v a ld o M a io n e . S A L falls in lo ve w ith K A T E w h o lives w ith J A N E w h o is a lso in lo ve w ith K ATE . M R O ’R Y A N lo ve s S A L ’s m u m a n d V IT O still loves his w ife . . . A FILM ABOUT RELATIONSHIPS, LOVE & OBSESSIONS

DAMNED WHORES & EVIL BITCHES S tars: R o w e n a M o h r, T a rq u in P in q u in , A le x a n d ra H olt, C in d y Lee, A n g ie G ig lio tti A d o c u m e n ta ry w h ic h in c o rp o ra te s d ra m a tic re -e n a c tm e n t, a rc h iv a l m a te ria l a n d c o n te m p o ra ry fo o ta g e to tra c e th e s to ry o f p ro s titu tio n in A u s tra lia fro m 1 7 8 8 to 1 988. A DRAMATISED DOCUMENTARY

W m m m

syndicate are hot on the fugitives’ trail. D irector C raig L ah iff has also directed the th riller Coda. • Director: Craig Lahiff. Producer: Terry Jennings. Executive producers: Ron Saunders, Craig Lahiff. Screenplay: Craig Lahiff, John Emery. Director of photo graphy: David Foreman. Editor: Denise Haratzis. Art director: Derek Mills. Cast: Bill Hunter, Mary Regan, Gary Sweet, Jim Holt. Running time: 92 minutes

JILTED W riter and director Bill B ennett shot Jilted on Fraser Island, the tropical resort w here his five m ain characters undergo changes that will affect their lives forever. Jennifer C lu ff plays H arry , the w oman who is the catalyst for change: R ichard M oir, T in a Bursill, Steve Jacobs and H elen M utkins are the staff on the resort w ith w hom she comes into con tact. Jilted is even more o f an actors’ film than B ennett’s second im p ro v ised featu re, Backlash, although this tim e he is sticking closely to the script.

Fever

FEVER Bill H u n ter plays Jack, a country cop who survives a shootout to find him self in possession o f the proceeds o f a huge drug deal. H e decides to keep it so that he and his young wife can start a new life

to g eth er, b u t he retu rn s to surprise her w ith a young lover. In the ensuing struggle, the lovers believe they have killed Jack, so they dum p his body, take the money and run. H e is still alive, however, and he and the drug

• Directed and written by Bill Bennett. Producers: Bill Bennett, Jenny Day. Director of photography: Geoff Simpson. Editor: Denise Hunter. Music: Michael Atkinson. Cast: Richard Moir, Jennifer Cluff, Helen Mutkins, Steven Jacobs, Tina Bursill. Running time: 93 minutes

RIKKY AND PETE

Looking for distribution in the Asia Pacific Region?

H usband-and-w ife team D avid Parker and N adia Tass follow their feature debut Malcolm w ith this tale o f a brother and sister who leave their com fortable M el bourne hom e to seek their fortunes in an outback m ining tow n (see

story p26). • Director: Nadia Tass. Producers: Nadia Tass, David Parker. Associate producer: Timothy White. Executive producer: Bryce Menzies. Director of photography: David Parker. Screenplay: David Parker. Editor: Ken Sallows. Production designer: Josephine Ford. Cast: Stephen Kearney, Nina Landis, Tetchie Agbayani, Bill Hunter, Bruno Lawrence, Bruce Spence, Lewis Fitz-Gerald. Running time: 95 minutes

SEBASTIAN AND THE SPARROW Sebastian And The Sparrow is the story o f a friendship betw een two teenagers from opposite sides of the tracks. Sparrow is the son o f a s o ld ie r w h o r e t u r n e d fro m national service w ith a V ietnam ese wife, b u t he has been separated from his parents for a long time. Sebastian is the child o f w ealthy parents, b u t he is cut off from them and bored w ith his predict able existence. T h e tw o boys becom e friends over the videogame they b o th excel at, and em bark on a search for Sparrow ’s m other w hich takes them as far afield as the N u llarb o r Plain and the coastline o f the G reat A ustra lian Bight. • Directed, written and produced by Scott Hicks. Associate producer: Darryl Sheen. Director of photography: David Foreman. Editor: Pip Karmel. Production designer: Anni Browning. Cast: Alex ander Bainbridge, Jeremy Angerson, Robert Coleby, Elizabeth Alexander, Vin cent Gil, John Clayton. Running time: 91.5 minutes

Sales contact: J.C. Williamson Film Distributors Pty Ltd, 65 Berry Street, North Sydney, NSW. Ph: (02) 957 1555

• Directed and written by Rod Hay. Pro ducer: Phillip Avalon. Executive pro ducer: Eric Jury. Director of photography: Richard Michalak. Editor: Ted Otton. Music: Jan Preston. Cast: Peter Phelps, Vince Martin, Abigail, Angela Kennedy, Sandra Lee Paterson, Tom Richards, David Ngoombutjarra. Running time: 90 minutes

Sales contact: Avalon Film Corporation Studio, 29 Mitchell Street, McMahons Point, NSW. Ph: (02) 92 4776

Sales contact: Cascade Films (Australia) Pty Ltd, 24 Lang Street, South Yarra, Victoria. Ph: (03) 820 1577

BREAKING LOOSE

EDUCATION .TRAINING .ARTS

Oceania Media Network GPO Box1391, Sydney 2001 Australia Phone 02 264 3529 Fax 02 264 8021

P roducer Phillip Avalon’s 1973 film Summer City was notable for the debut o f M el G ibson. Breaking Loose is a follow-up, telling the story o f a young and rebellious student who tries to come to term s w ith him self by visiting his m other’s hom e town. H e doesn’t find life any easier there, and the film climaxes w ith a confrontation w ith the misfits o f the tow n, w hen his girlfriend is taken hostage. Breaking Loose

40 - MAY CINEMA PAPERS

Announcing the Qantas/Cinema Papers Young Filmmakers Award It’s a chance to be an attachment on a m ajor overseas production for up to 10 weeks, with fares provided by Qantas and expenses to the value of $ 8 ,0 0 0 .

Open to filmmakers under the age of 35 on 31 December 1988 who are Australian citizens. For the first year of this award, entry will be confined to filmmakers who have directed at least one 30-minute film on 35mm, 16mm, or broadcast quality 1"/BVU, and have acted in a m ajor creative capacity — producer, director, writer, cinematographer, editor or composer — on at least three other productions. Write for further information and entry form to Cinema Papers, 43 Charles Street, Abbotsford 3067

T H IS A W A R D H A S B E E N M A D E P O S S IB L E BY T H E G E N E R O U S S U P P O R T O F T H E A U S T R A L IA N F IL M C O M M IS S IO N , F IL M V IC T O R IA A N D T H E N E W S O U T H W A L E S F IL M C O R P O R A T IO N .

Number 1 (January 1974): David Williamson, Ray Harryhausen, Peter Weir, Antony Ginnane, Gillian Armstrong, Ken G. Hall, The Cars That Ate Paris. Number 2 (April 1974): Censorship, Frank Moorhouse, Nicolas Roeg, Sandy Harbutt, Film under Allende, Between The Wars, Alvin Purple. Number 3 (July 1974): Richard Brennan, John Papadopolous, Willis O’Brien, William Friedkin, The True Story Of Eskimo Nell. Number 10 (September-October 1976): Nagisa Oshima, Philippe Mora, Krzysztof Zanussi, Marco Ferreri, Marco Bellochio, gay cinema. Number 11 (January 1977): Emile de Antonio, Jill Robb, Samuel Z. Arkoff, Roman Polanski, Saul Bass, The Picture Show Man. Number 12 (April 1977): Ken Loach, Tom Haydon, Donald Sutherland, Bert Deling, Piero Tosi, John Dankworth, John Scott, Days Of Hope, The Getting Of Wisdom. Number 13 (July 1977): Louis Malle, Paul Cox, John Power, Jeannine Seawell, Peter Sykes, Bernardo Bertolucci, In Search Of Anna. Number 14 (October 1977): Phil Noyce, Matt Carroll, Eric Rohmer, Terry Jackman, John Huston, Luke’s Kingdom, The Last Wave, Blue Fire Lady. Number 15 (January 1978): Tom Cowan, Francois Truffaut, John Faulkner, Stephen Wallace, the Taviani brothers, Sri Lankan cinema, The Ihshman, The Chant Of Jimmie Blacksmith. Number 16 (April-June 1978): Gunnel Lindblom, John Duigan, Steven Spielberg, Tom Jeffrey, The Africa Project, Swedish cinema, Dawn!, Patrick. Number 17 (August-September 1978): Bill Bain, Isabelle Huppert, Brian May, Polish cinema, Newsfront, The Night The Prowler.

Number 18 (October-November 1978) : John Lamond, Sonia Borg, Alain Tanner, Indian cinema, Dimboola, Cathy’s Child. Number 19 (January-February 1979) : Antony Ginnane, Stanley Hawes, Jeremy Thomas, Andrew Sarris, sponsored documentaries, Blue Fin. Number 20 (March-April 1979): Ken Cameron, Claude Lelouch, Jim Sharman, French cinema, My Brilliant Career. Number 22 (July-August 1979): Bruce Petty, Luciana Arrighi, Albie Thoms, Stax, Alison’s Birthday. Number 24 (December 1979-January 1980): Brian Trenchard-Smith, Ian Holmes, Arthur Hiller, Jerzy Toeplitz, Brazilian cinema, Harlequin. Number 25 (February-March 1980) : David Puttnam, Janet Strickland, Everett de Roche, Peter Faiman, Chain Reaction, Stir. Number 26 (April-May 1980): Charles H. Joffe, Jerome Heilman, Malcolm Smith, Australian nationalism, Japanese cinema, Peter Weir, Water Under The Bridge. Number 27 (June-July 1980): Randal Kleiser, Peter Yeldham, Donald Richie, Richard Franklin’s obituary of Alfred Hitchcock, the New Zealand film industry, Grendel Grendel Grendel. Number 28 (August-September 1980): Bob Godfrey, Diane Kurys, Tim Burns, John O’Shea, Bruce Beresford, Bad Timing, Roadgames. Number 29 (October-November 1980): Bob Ellis, Uri Windt, Edward Woodward, Lino Brocka, Stephen Wallace, Philippine cinema, Cruising, The Last Outlaw. Number 36 (February 1982): Kevin Dobson, Brian Kearney, Sonia Hofmann, Michael Rubbo, Blow Out, Breaker. Morant, Body Heat, The Man From Snowy River.

Number 37 (April 1982): Stephen MacLean, Jacki Weaver, Carlos Saura, Peter Ustinov, women in drama, Monkey Grip. Number 38 (June 1982): Geoff Burrowes, George Miller, James Ivory, Phil Noyce, Joan Fontaine, Tony Williams, law and insurance, Far East. Number 39 (August 1982): Helen Morse, Richard Mason, Anja Breien, David Millikan, Derek Granger, Norwegian cinema, National Film Archive, We Of The Never Never. Number 40 (October 1982): Henri Safran, Michael Ritchie, Pauline Kael, Wendy Hughes, Ray Barrett, My Dinner With Andre, The Return Of Captain Invincible. Number 41 (December 1982): Igor Auzins, Paul Schrader, Peter Tammer, Liliana Cavani, Colin Higgins, The Year Of Living Dangerously. Number 42 (March 1983): Mel Gibson, John Waters, Ian Pringle, Agnes Varda, copyright, Strikebound, The Man From Snowy River. Number 43 (May-June 1983): Sydney Pollack, Denny Lawrence, Graeme Clifford, The Dismissal, Careful He Might Hear You. Number 44-45 (April 1984): David Stevens, Simon Wincer, Susan Lambert, Street Kids, a personal history of Cinema Papers. Number 46 (July 1984): Paul Cox, Russell Mulcahy, Alan J. Pakula, Robert Duvall, Jeremy Irons, Eureka Stockade, Waterfront, The Boy In The Bush, The Woman Suffers, Street Hero. Number 47 (August 1984): Richard Lowenstein, Wim Wenders, David Bradbury, Sophia Turkiewicz, Hugh Hudson, Robbery Under Arms. Number 48 (October-November 1984): Ken Cameron, Michael Pattinson, Jan Sardi, Yoram Gross, Bodyline, The Slim Dusty Movie.

Number 49 (December 1984): Alain Resnais, Brian McKenzie, Angela Punch McGregor, Ennio Morricone, Jane Campion, horror films, Niel Lynne. Number 50 (February-March 1985): Stephen Wallace, Ian Pringle, Walerian Borowczyk, Peter Schreck, Bill Conti, Brian May, The Last Bastion, Bliss. Number 51 (May 1985): Lino Brocka, Harrison Ford, Noni Hazlehurst, Dusan Makavejev, . Emoh Ruo, Winners, The Naked Country, Mad Max: Beyond Thunderdome, Robbery Under Arms. Number 52 (July 1985): John Schlesinger, Gillian Armstrong, Alan Parker, soap operas, TV news, film advertising, Don’t Call Me Girlie, For Love Alone, Double Sculls. Number 53 (September 1985): Bryan Brown, Nicolas Roeg, Vincent Ward, Hector Crawford, Emir Kusturica, New Zealand film and television, Return To Eden. Number 54 (November 1985): Graeme Clifford, Bob Weis, John Boorman, Menahem Golan, Wills And Burke, The Great Bookie Robbery, The Lancaster Miller Affair, rock videos. Number 55 (January 1986): James Stewart, Debbie Byrne, Brian Thompson, Paul Verhoeven, Derek Meddings, The Right-Hand Man, Birdsville, tie-in marketing. Number 56 (March 1986): Fred Schepisi, Dennis O’Rourke, Brian Trenchard-Smith, John Hargreaves, stunts, smoke machines, Dead-End Drive-In, The More Things Change, Kangaroo, Tracy. Number 58 (July 1986): Woody Allen, Reinhard Hauff, Orson Welles, the Cinematheque Française, The Fringe Dwellers, Great Expectations: The Untold Story and The Last Frontier. Number 59 (September 1986): Robert Altman, Paul Cox, Lino Brocka, Agnes Varda, the AFI Awards, The Movers.

CINEMA PAPERS PUBLICATIONS Number 60 (November 1986): Australian Television, Franco Zeffirelli, Otello, Nadia Tass, Bill Bennett, Dutch Cinema, Movies By Microchip. Number 61 (January 1987): Dogs In Space, Alex Cox, Roman Polanski, Howling III, Philippe Mora, Martin Armiger, film in South Australia. Number 62 (March 1987): Screen Violence, David Lynch, Cary Grant, The Story Of The Kelly Gang, ASSA conference, Production barometer, film finance. Number 63 (May 1987): Gillian Armstrong, Antony Ginnane, Chris Haywood, The Sacrifice, Elmore Leonard, Landslides, Troy Kennedy Martin, Pee Wee’s Big Adventure, Jilted. Number 64 (July 1987): Nostalgia, Dennis Hopper, Mel Gibson, Vladimir Osherov, Insatiable, Brian TrenchardSmith, Chartbusters. Number 65 (September 1987): Angela Carter, Wim Wenders, Jean-Pierre Gorin, Derek Jarman, Gerald L’Ecuyer, Gustav Hasford, Poor Man’s Orange, AFI Awards. Number 66 (November 1987): Australian screenwriters, Cinema and China, James Bond, James Clayden, Video, Who’s That Girl, De Laurentiis, New World, The Navigator. Number 67 (January 1988): The Year My Voice Broke, John Duigan, George Miller, Jim Jarmusch, Soviet cinema — Part I, women in film, shooting in 70mm, Send A Gorilla, filmmaking in Ghana. Number 68 (March 1988): Ghosts Of The Civil Dead, Martha Ansara, Feathers, Ocean, Ocean, Channel 4, Soviet cinema — Part II, Jim McBride, Glamour, nature cinematography.

The Documentary In Australian Film □ $5.00

Motion Picture Yearbooks □ 1980 $10.00 □ 1981/82 $10.00

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F I L MS

F ROM

he Australian film industry has pleasure in inviting you to view

the latest Australian feature films screening at Cannes.

Date: 11-23 May Office: 8th floor, Residence du Festival, 52 La Croisette, Cannes Phone: (92)98.67.39 Fax: (92) 98.67.41 Contact: Australian Film Commission Phillip Adams, Sue Murray, Gary Hamilton, Victoria Treole

A U S T R A L I A THE AUSTRALIAN FILM COMMISSION SYDNEY (Head Office) 8 W est Street, North Sydney, N S W 2060, Australia Ph: (02) 925 7333 Tlx: AA25157 FICOM Fax: (02) 959 5403 LONDON Victory House, 99-101 Regent Street, London W l, UK Ph: (01) 734 9383 Tlx: 28711 AUSFILM G Fax: (01) 434 0170 LOS ANGELES Suite 615, 9229 Sunset Blvd, Los Angeles, CA 90069, USA Ph: (213) 275 7074 Tlx: 691355 FICOM LSA USA Fax: (213) 859 8371 AUSTRALIAN MOVIES FLY

Lo/uvras THE SPIRIT O F AUSTRALIA

hero involve the blasting o f a V iet nam W ar M em orial, tu rn in g the w ar d ea d in to b lo o d -c ra z e d m onsters. • Director: Barrie Pattison. Producer: Carmelo Musca. Executive producer: Les Lithgow. Screenplay: Carmelo Musca, Barrie Pattison. Director of photography: Alex McPhee. Editor: Tang Thien Tai. Pro duction designer: Julie Anne Mills. Music: John Charles, Todd Hunter. Cast: John Moore, Khym Lam, Geoff Gibbs, Leslie W rig h t, A dam A. W ong, R obe rt Faggetter. Running time: 90 minutes

Dangerous Game

DANGEROUS GAME Form er stunt perform er Peter W est has tu rn ed to screenw riting, working on not only the Panther series, but also this thriller whose principal setting is a departm ent store after hours. Five university students break into the store as a joke, not realising that they have been followed by a crazed police man who has been harassing and scaring them for some tim e. As the night goes on, he isolates each one on a separate floor, and proceeds to h unt them all down.

Sales contact: Smart Egg Pictures, Silver City House, 62 Brompton Road, London, SW3 1BW, UK. P h :(01) 581 1841 Arinya Film Distributors, 323 William Street, Perth, WA. Ph: (09) 328 8977

SHAME Deborra-Lee F urness stars as Asta, m otorcycle rider and lawyer, taking tim e out to try to come to term s w ith the law. A m inor acci dent forces her to stop in an isolated country tow n w here gang rape and intim idation breed a con spiracy o f silence. D irector Steve Jodrell also directed Tudawali, starring E rnie Dingo.

• Director: Stephen Hopkins. Producers: Judith West, Basil Appleby. Executive producer: Robert Mercieca. Screenplay: Peter West. Director of photography: Peter Levy. Editor: Tim Wellburn. Produc tion designer: Igor Nay. Music: Les Gock, Steve Ball. Cast: Miles Buchanan, Marcus Graham, Steven Grives, Sandie Lillingston, Kathryn Walker, John Poison. Running time: 98 minutes

• Director: Steve Jodrell. Producers: Damien Parer, Paul D. Barron. Executive producer: David Thomas. Associate pro ducer: Pru Donovan. Screenplay: Beverly Blankenship, Michael Brindley. Director of photography: Joseph Pickering. Editor: Kerry Regan. Production designer: Phil Peters. Music: Mario Millo. Cast: DeborraLee Furness, Tony Barry, Simone Buchanan, Gillian Jones, Peter Aanensen, Margaret Ford, David Franklin. Running time: 110 minutes

Sales contact: Quantum Films, 16th floor, 10 Queens Road, Melbourne, Victoria. Ph: (03) 267 1644

Sales contact: Barron Films, 3 Ventnor Ave, West Perth, WA. P h :(09)321 5924

HUNGRY HEART

GHOSTS . . . OF THE CIVIL DEAD

In L uigi A cquisto’s feature debut as a director, Sal (Nick Carrafa) returns to his parents’ home after com pleting his internship as a doctor in the country. H e meets Kate (K im berley D avenport) and an unconventional relationship develops between them (see story P32).

In C entral Industrial Prison, an ultra-m odern ‘new generation’ m axim um security prison set in the m iddle o f the desert, events are set in train that will lead to a dram atic ‘lockdow n’. D irector John H illcoat and producer Evan

• Director: Luigi Acquisto. Producers: Rosa Colosimo, Reg McLean. Screen play: Josie Arnold, Angelo Salamanca, Rosa Colosimo. Director of photography: Jaems Grant. Editor: Courtney Page. Music: Separate Tables, David Bridie, John Phillips. Cast: Nick Carrafa, Dasha Blahova, Kimberley Davenport, Norman Kaye, Osvaldo Maione, Mark Rogers, Lisa Schouw. Running time: 96 minutes

English make their feature debut, after a string o f highly regarded rock clips. • Director: John Hillcoat. Producer: Evan English. Screenplay: Nick Cave, Gene Conkie, Evan English, John Hillcoat, Hugo Race. Directors of photography: Graham Wood, Paul Goldman. Editor: Stewart Young. Production designer: Chris Kennedy. Music: Nick Cave, Blixa Bargeld, Mick Harvey. Cast: Dave Field, Mike Bishop, Chris de Rose, Nick Cave, Dave Mason, Kevin Mackey. Running time: 93 minutes

Sales contact: Evan English, 302 Lower Heidelberg Road, East Ivanhoe, Victoria. Ph: (03) 49 4365

SONS OF STEEL G ary K eady takes directin g , w ritin g and m usic d irectio n credits in this tale o f a peace activist rock singer, Black Alice, who is catapulted into the future and then returns to save the world from nuclear destruction.

PANDEMONIUM A pagan passion play set under and on the shores o f Bondi Beach, where a beautiful m ute virgin from Ayers Rock turns up in an old am usem ent arcade. D irector and co-writer H aydn K eenan also directed Going Down. T h e m usic is by Cam eron Allan (see story

pl6). • Director: Haydn Keenan. Producers: Alex Cutler, Haydn Keenan. Executive producer: Patric Juillet. Screenplay: Haydn Keenan, Peter Gailey. Director of photography: David Sanderson. Editor: Paul Healy. Production designer: Melody Cooper. Music. Cameron Allan. Cast: David Argue, Amanda Dole, Esben Storm, Arna-Maria Winchester, Rainee Skinner, Kerry Mack. Running time: 95 minutes

Sales contact: Tra La La Films Ltd, 3rd level, 757 George Street, Sydney, NSW. Ph: (02) 281 4466

• Directed and written by Gary Keady. Producer: James Michael Vernon. Direc tor of photography: Joe Pickering. Editor: Amanda Robson. Production designer: Grahame (Grace) Walker. Music: Gary Keady. Cast: Rob Hartley, Roz Wason, Dasha Blahova, Ralph Cotterill, Mark Hembrow. Running time: 96 minutes

Sales contact: Cinema 100, 2 Alua Close, North Manly, NSW. Ph: (02) 938 4237 Pandemonium

TH E CATALOGUE YOU CAN’T AFFORD TO BE W ITH O UT T H E 1987 F IL M V IE W S C U M U L A T IV E CA TA LO G U E O F A L L N E W F IL M S AND V ID E O S AVAILABLE IN A U ST R A L IA , IN C L U D IN G E D U C A T IO N A L T IT L E S , IS N O W O N SALE. For only $30 for institutions and $20 for individuals you can have a resource m anual that lists all the new films and videos produced in Australia or brought in from overseas, during 1987, and from where they are available for rent, sale, or free borrowing. This includes educational tides, listed u n d er category headings, m anagem ent training titles, feature films, docum entaries, shorts and home video releases. For every title listed you are given the telephone num ber and address of the distributor. T H IS U N IQ U E A N D C O M P R E H E N S IV E C A TA LO G U E IS O V E R 110 A4 PAGES IN L E N G T H . E A C H E N T R Y IN C L U D E S T H E F O L L O W IN G IN F O R M A T IO N : • P R O G R A M M E T IT L E • D IR E C T O R /P R O D U C E R • C O U N T R Y O F O R IG IN • Y EA R O F C O M P L E T IO N • R U N N IN G T IM E • F O R M A T • D IS T R IB U T O R (IN C L U D IN G A D D R ESS A N D T E L E P H O N E N U M B E R ) • SYN O PSIS O R D E R N O W : IN S T IT U T IO N S $30.00 IN D IV ID U A L S $20.00 N A M E ________________________________________________________

Sales contact: Rosa Colosimo, Lion’s Den Productions, 22 Hanover Street, Fitzroy, Victoria. Ph: (03)417 2593

ADDRESS. _______________________________________PO S T C O D E .

ZOMBIE BRIGADE

SEN D C H E Q U E O R M O N E Y O R D E R , PAYABLE T O F IL M V IE W S T O P O B O X 204, A L B E R T PA R K , V IC . 3204 E N Q U IR IE S PLEA SE C A L L (03) 531 2086

G rotesque goings-on in a small country tow n, w hen developm ent plans for a them e park based on the exploits o f a m ajor com ic book Ghosts . . . Of The Civil Dead

CINEMA PAPERS MAY — 43

NEW ZEALAND AT CANNES N ew Z ealand has a strong pres ence on the C roisette this year w ith six new features screening, as well as the A ustralian/N ew Zea land co-production The Navigator (see story p30). C hallenge C orporation has a package o f three films: A Soldier’s Tale, The Leading Edge and Illus trious Energy. D irected and p ro duced by L arry P arr, A Soldier’s Tale is set in w ar-torn France and stars G abriel B yrne as a B ritish soldier w ho falls in love w ith a F rench w om an (M arianne Basler) facing a death sentence. In The Leading Edge an A m erican skipatroller enters the w o rld’s to u g h est endurance test. It is directed by M ike F irth and produced by Barrie E verard. T h e goldfields o f C entral Otago in 1890 are the backdrop to Illustrious Energy, a story o f two C hinese m iners striving to im prove their lot. P ro duced by D on R eynolds and directed by Leon N arbey, it is an o ffic ia l co -v e n tu re w ith th e C hinese C o-production C orpora tion, and stars Shaun Bao, who m ade 15 films in Beijing before settling in Australia. In Mauri, director M erata M ita set out to present “ a M aori p er ception o f the w orld” . Shot in a predom inantly M aori com m unity on the N o rth Island’s East Coast,

it is about an escaped convict who assumes the identity o f a dead man. C o-producer w ith M ita is G eoff M u rp h y , w ith w hom she w orked as actor and cultural adviser on Utu. Send A Gorilla is the first feature from D orothee P in fo ld ’s Pinflicks com pany. D irected by M elanie Read ( Trial Run), it is a com edy about three w om en w ho w ork for a singing-telegram service. It stars P erry Piercy, K ath erin e M cR ae and C arm el M cG lone. Bad Taste, directed and p ro

duced by P eter Jackson, com bines black com edy, h o rro r and science fiction in a story o f aliens seeking hum an flesh for an inter-galactic fast-food chain!

• Energy Source International: Peter Sainsbury, Sue Thompson. 140 Le Raphael Apartments, Rue Henri Ruhl, Cannes.

• Film Investment Corp. of NZ:

C O N TA C TS :

Gary Hannam, Vincent Ward, John Maynard.

• New Zealand Film Commission: David Gascoigne,

• Pinflicks: Dorothee Pinfold, Melanie Read, Katherine McRae.

Jim Booth, Lindsay Shelton, Rhys Dyson. Second floor, Residence Festival, 52 La Croisette, Cannes. • Challenge Corporation: Larry Parr, Paul Davis, Sarah Waller. Rooms 104 & 105, Hotel Martinez, 76 La Croisette, Cannes.

• WingNut Productions: Peter Jackson, Tony Hiles.

• South Pacific Distributors: Kerry Robins, Grahame McLean.

• New Zealand’s market stand in the Palais: Number 20.

WHO’S WHOs THE AUSTRALIAN CONTINGENT Lyn McCarthy, Dendy Cinema, Palais Lumiere.

Mark Manion, CML Films. Mark Poole, Mark Poole Communications, Orion Baie de Cannes.

Antony I. Ginnane, International Film Management, Hotel du Cap.

Terence McMahon, International Film Management.

Richard Brennan, Smiley Films, Hotel Gallia.

Jill Coverdale, Smiley Films, Hotel Gallia.

Basil Appleby, Death Watch Productions.

Robert Mercieca, Quantum Films. Andrena Finlay, producer, Afraid To Dance. Al Clarke, Beyond Limited. Kim Lewis, Kim Lewis Marketing,

James Vernon, Cinema 100.

Alan Stiles, Seven Keys Films.

Chris Oliver, producer, Contact.

Roz Wason, Sons Of Steel.

John Dingwall, JD Productions,

David Hannay, producer, cl- Jo

Gary Keady, director, Sons Of Steel.

Hotel Gallia.

Dreier, ADN Associates, Carlton Hotel.

Shane Higgs, Carlton Movie

Rob Hartley, Sons Of Steel.

House, Hotel Gallia.

Rosa Colosimo, Lion’s Den

Lionel Midford, Lionel Midford

Robyn Watts, Film Australia, Hotel

Productions.

Publicity, Hotel Mondial.

Gallia.

Terry Ohlsson, J.C. Williamson.

Phillip Emanuel, Phillip Emanuel Productions, Hotel Roc.

Ron Saunders, Film Australia,

Tom Broadbridge, Premiere Film Marketing, Apartment 107, 52 La Croisette.

Patrie Juillet, Boundaries Of The Heart, Tra La La Films. Wendy Hughes, Boundaries Of The Heart.

Hotel Gallia.

Richard Toltz, Mise En Scene. Patricia Lhuede, Mise En Scene. Sue Murray, Australian Film Commission, Hotel Suisse.

Gary Hamilton, Australian Film Commission, Hotel Suisse.

Stewart Chilton, J.C. Williamson. Paul Riomfalvy, chairman, New South Wales Film Corporation. Danny Collins, marketing and sales executive, NSW Film Corporation.

Victoria Treole, Australian Film

John Sexton, Outback.

David Stratton, Variety

Commission, Hotel Montfleury.

correspondent.

Frank Howson, Boulevard Films.

Phillip Adams, Australian Film Commission, Hotel Majestic.

correspondent.

Peter Boyle, Boulevard Films. David Parker, Cascade Films.

15 rue des Beiges.

Nadia Tass, Cascade Films.

Evan English, Outlaw Values

Carmelo Musca, CM Film

Pressanna Vasudevan, Australian Film Commission, Hotel Suisse. Selena Crowley, Australian Film Commission, Hotel Montfleury.

Marketing.

Productions.

John Maynard, producer, The Navigator, Sofitel Mediterranee.

Phillip Avalon, Avalon Films,

Vincent Ward, director, The Navigator, Sofitel Mediterranee.

Productions, 15 rue des Belges.

Hotel Athenee.

Scott Hicks, The Kino Film Co.,

David Jowsey, Platypus

Orion Baie de Cannes.

Productions, Acapulco Hotel.

Natalie Miller, Sharmill Films, Gray

44 - MAY CINEMA PAPERS

Kaki Kirby, J.C. Williamson. Suzie Hoste, J.C. Williamson.

Blake Murdoch, Variety Rea Francis, publicist. Paul O’Neile, managing director, Hoyts Entertainment.

Jonathan Chissick, president, film

John Richardson, Kestrel Film

division, Hoyts Corporation.

Hotel Carlton.

International Ltd, La Residence, Ave Albert.

Alan Finney, Village Roadshow

Bryce Menzies, Seon Film

Chris Mcilrath, Unlimited Vision,

D’Albion Hotel.

Corporation.

Robert Ward, Filmpac, Montfleury Hotel.

Frank Cox, Newvision, Hotel Sofitel-Mediterranee.

OFFICIAL SELECTION IN COMPETITION CANNES 1988 A RACE AGAINST TIME. A CHILD'S, VISION. A SEARCH FOR SURVIVAL INTO THE TWENTIETH CENTURY A R E N A F IL M A N D T H E F IL M IN V E S T M E N T C O R P O R A T IO N O F N E W Z E A L A N D LTD IN A S S O C IA T IO N W IT H T H E N E W Z E A L A N D F IL M C O M M IS S IO N A N D T H E A U S T R A L IA N F IL M C O M M IS S IO N PRESENT

THENAVICATOR:A MEDIEVALODYSSEY AFILMBYVINCENTWARD W IT H B R U C E LYO NS. C H R IS H A Y W O O D .H A M IS H M CFARLANE, M A R SH A LL N A PIER . P A U L L M N G S T O N .N O E L A P P L E B Y CO -P R O D U C ER G A R Y H A N N A M

PR O D U C E D B Y JO H N M A Y N A R D

DIRECTED BY V IN C E N T W A RD

INTERNATIONAL SALES

<i ü ü .

AT GANNESr NEWZEALAND:"V / _

LINDSAYSHELTON, NEWZEALAND FILM COMMISSION, 2ND FLOOR, RESIDENCE FESTIVAL, 52LACROISETTE.:; TEL. 93 383560.

LINDSAYSHELTON^ NEW ZEALAND FILM COMMISSION, ' \ ; P.O. BOX 11546, TEL(64 4) 859 754. TLX. NZ30386 FILMCOM;

BAR02V1ETER

A total of 83 features, miniseries and telefeatures were produced in the hectic 1987 calendar period with budgets totalling nearly $195 million. This represents an increase of about $20 million from the previous year. One trend at the bottom end of the economic scale is the emergence of low-budget features, shot on videotape and aimed at the video market (B ra in B la s t , H o t Ic e , The B o a rd ro o m ).

The astounding increase in telefeature production is likely to become a continuing trend due to the present uncertain state of feature financing, forcing producers to take on low-risk projects which can quickly recoup costs, double as television pilots, and, in rare instances, fluke a successful cinema release in the tradition of F ra n and The Y e a r M y V o ice B ro k e .

One significant factor in the increased production activity is the presence of multi-title packages such as the Australian Children’s Television Foundation T o u c h The S u n series, producer James Vernon’s T o m o rro w ’s N e w s , comprising eight actionoriented telefeatures, and several low-budget horror features assembled by producer David Hannay. The ABC continues to increase its involvement with various co-producers (Smiley Films, Revcom etc). Budget figures, displayed in the charts, have been supplied to Cinema Papers by producers. Where producers did not want budgets published, those productions are marked N/A in the budget column. In most cases, budgets were supplied “ off the record’’, enabling the accurate computing of overall figures and averages.

THEATRICAL FEATURES Total number produced 43 Total budget $110,393,000 Average budget $2,567,279

MINISERIES_______________ Total number produced 12 Total budget $39,350,000 Average budget $3,279,166

TELEFEATURES___________ Total number produced 25 Total budget $30,900,000 Average budget $1,236,000

Paul Harris

46 - MAY CINEMA PAPERS

H E A T

R I C A L

F E A T

TITLE (Production company/Producer/Director) Afraid To Dance (Seidell Pty Ltd/Andrena Finlay/Denny Lawrence) As Time Goes By (Monroe Stahr/Chris Kiely/Barry Peak) Bachelor Girl (Yarra Bank Films Pty Ltd/Ned Lander/Rivka Hartman) Bodily Harm (Smiley Films Pty Ltd for International Film Management Ltd/Richard Brennan/Mark Joffe) Boulevard Of Broken Dreams (Boulevard Films/Frank Howson/Pino Amenta) Boundaries Of The Heart (Tra La La Films for International Film Management Ltd/Patric Juillet/Lex Marinos) Brain Blast (The Mindless Entertainment Corporation/Stephen Stockwell/Andy Nehl) Breaking Loose (Avalon Films/Phil Avalon/Rod Hay) Bushfire Moon (Entertainment Media Pty Ltd/Peter Beilby, Robert Le Tet/George Miller) Candy Claus (Yoram Gross Film Studio Pty Ltd/Yoram Gross/Yoram Gross) Compo (Sunrise Picture Co./Nigel Buesst/Nigel Buesst) Contact (Tru-Vu Pictures Pty Ltd/Chris Oliver/Mary Callaghan) Contagion (Reef Films Ltd/Leo Barretto, Ken Methold/Karl Zwicky) Crocodile Dundee II (Kakanda Pty Ltd/John Cornell/John Cornell) Dangerous Game (Virgo Productions/Judith West, Basil Appleby/Steven Hopkins) The Day Of The Panther (Virgo Productions, TVM Studios, The Mandemar Group/Damien Parer/Brian Trenchard-Smith) Dead Calm (Kennedy-Miller/George Miller, Terry Hayes, Douglas Mitchell/George Miller) Dot In Good Old Hollywood (Yoram Gross Film Studio Pty Ltd/Yoram Gross/Yoram Gross) The Dreaming (Genesis Films P iy Ltd for International Film Management Ltd/Craig Lahiff, Wayne Groom/Mario Andreacchio) The Everlasting Secret Family (Indian Pacific Films Pty Ltd for International Film Management Ltd/Michael Thornhill, Sue Carleton/Michael Thornhill) Evil Angels (Evil Angels Films Pty Ltd/Verity Lambert/Fred Schepisi) Fever (Genesis Films Pty Ltd/Terry Jennings/Craig Lahiff) Ghosts Of The Civil Dead (Correctional Services Inc./Evan English/John Hillcoat) Hungry Heart (Lion’s Den Productions for Chancom Ltd/Rosa Colosimo, Reg McLean/Luigi Acquisto) Incident At Raven’s Gate (Acquabay Pty Ltd for International Film Management Ltd/Marc Rosenberg, Rolf de Heer/Rolf de Heer) Jilted (Mermaid Beach Productions/Bill Bennett, Jenny Day/Bill Bennett) Kadaicha (David Hannay Productions Pty Ltd/David Hannay, Charles Hannah/James Bogle) The Man From Snowy River II (Snowy Two Productions/Geoff Burrowes/Geoff Burrowes) The Man Who Lost His Head (Chair Films/James Clayden/James Clayden) Mullaway (Ukiyo Films [International] Pty Ltd for International Film Management Ltd/D. Howard Grigsby/Don McLennan) Out Of The Body (David Hannay Productions P iy Ltd/David Hannay, Charles Hannah/Brian Trenchard-Smith) Outback (John Sexton Productions P iy Ltd for Burrowes Film Group Pty Ltd and International Film Management Ltd/John Sexton/lan Barry) Pandemonium (KFM Pandemonium P iy Ltd/Alex Cutler, Haydn Keenan/Haydn Keenan) Rikky And Pete (Cascade Films/Nadia Tass, David Parker/Nadia Tass) Sebastian And The Sparrow (The Kino Film Co. Ltd/Scott Hicks/Scott Hicks) Sons Of Steel (Jet Films/James Vernon/Gary Keady) The Strike Of The Panther (Virgo Productions, TVM Studios, The Mandemar Group/Damien Parer/Brian Trenchard-Smith) Takeover (Phillip Emanuel Productions/Philllp Emanuel/Rob Marchand) The Thirteenth Floor (David Hannay Productions Pty Ltd/David Hannay, Charles Hannah/Chris Roache) Two Brothers Running (Phillip Emanuel Productions/Phillip Emanuel/Ted Robinson) Where The Outback Ends (Barron Films in association with Falcon Films Pty Ltd/Pamela Borain/Stasch Radwanski)

U R E S

BUDGET

PRINCIPAL PHOTOGRAPHY

N /A

S e p te m b e r

N/A

A p ril

$693,0 0 0 $ 3 ,400,000 N/A

M arch O cto b e r A u g u st

$ 3 ,500,000

S e p te m b e r

N /A

S e p te m b e r

N /A

O cto b e r

N /A

M ay

N /A

A ugust

$150,000

O cto b e r

N /A

O cto b e r

N/A

Ju n e

N/A

A u g u st

$ 5,000,000

O cto b e r

N/A

M arch

N /A

—

N /A

N o ve m b e r

$ 2 ,200,000

$2,500,000

O cto b e r

F eb ru a ry

N /A

O cto b e r

N /A

F eb ru a ry

$1,68 0 ,0 0 0

A u g u st

N/A

A u g u st

$2,50 0 ,0 0 0

Ju n e

N /A

F eb ru a ry

N/A

N o ve m b e r

$8,70 0 ,0 0 0

M arch

N /A

N o ve m b e r

$ 3 ,000,000

N o ve m b e r

N/A

N o ve m b e r

$7,30 0 ,0 0 0

September

N/A $4,000,000

J a n u a ry

$700,000 N/A

A ugust A ugust

November

N/A N/A

March September

N/A

November

N/A

August

$1,500,000

November

The Year My Voice Broke (Kennedy-Miller/Terry Hayes, George Miller, Douglas Mitchell/John Duigan)

N/A

Zombie Brigade (CM Film Productions/Carmelo Musca/Barrie Pattison)

N/A

November

TITLE (Production company/Producer/Director)

BUDGET

PRINCIPAL PHOTOGRAPHY

The Alien Years (Revcom, ABC, Resolution Films Pty Ltd/Ray Alchin/Donald Crombie)

$ 5 ,2 0 0 ,0 0 0

A ugust

Always Afternoon (Afternoon Pictures Pty Ltd/Henry Crawford/David Stevens)

$ 4 ,3 0 0 ,0 0 0

M a rc h

The Dirtwater Dynasty (Kennedy-Miller/George Miller, Douglas Mitchell, Terry Hayes, Barbara Gibbs-line producer/Michael Jenkins, John Power)

N /A

—

Dusty (Kestrel Films [International] Ltd/John Richardson/Colin Budds)

N /A

J a n u a ry

Emma (Anro Productions Pty Ltd for Multi-Films Investments Ltd/Ross Matthews, Ann Chapman/Gil Brealey)

$ 3 ,0 0 0 ,0 0 0

O c to b e r

Fields Of Fire — The Sequel (Palm Beach Pictures [FOF] Pty Ltd/David Elfick, Irene Korol/David Elflck, Rob Marchand)

$ 3 ,7 5 0 ,0 0 0

O c to b e r

Hill’s End (Revcom Productions Pty Ltd/Noel Price/Di Drew)

$ 2 ,6 0 0 ,0 0 0

J u ly

Poor Man’s Orange (Anthony Buckley Productions/Anthony Buckley/George Whaley)

N /A

Spit McPhee (Revcom Productions Pty Ltd in association with Network Nine/Noel Price/Marcus Cole)

$ 2 ,8 0 0 ,0 0 0

Sugar And Spice (LJ Productions Ltd/Frank Brown, John Gauci/John Gauci)

$ 2 ,9 0 0 ,0 0 0

Stringer (ABC, McCann International/John Edwards/Kathy Mueller, Chris Thomson, Ken Cameron) The True Believers (Roadshow, Coote and Carroll, ABC/Matt Carroll, Sandra Levy/Peter Fisk)

TITLE (Production company/Producer/Director)

F e b ru a ry S e p te m b e r S e p te m b e r

N /A

August

$ 3 ,6 0 0 ,0 0 0

A ugust

BUDGET

PRINCIPAL PHOTOGRAPHY

The Board Room (Falcon Films Pty Ltd/Pamela Borain/Brian Phillis) Captain Johnno (J’Elly Ballantyne Productions for ACTF/Jane Ballantyne/Mario Andreacchio)

N /A

August

N /A

S e p te m b e r

Colonial Cavalry (Somerset Film Productions/Jan Tyrrell, James Vernon/Rob Stewart)

N /A

—

Crooksnatchers (Somerset Film Productions/Jan Tyrrell, James Vernon/Marcus Cole)

N /A

—

The Clean Machine (Kennedy-Miller/George Miller, Terry Hayes, Douglas Mitchell/Ken Cameron)

N /A

—

Custody (Film Australia/-—/Ian Munro)

$ 2 8 5 ,0 0 0

A p ril N ovem ber

Devil’s Hill (Syme Entertainment Pty Ltd, ACTF/Jill Robb/Esben Storm)

N /A

The Gift (Illumination Films for ACTF/Tony Llewellyn-Jones/Paul Cox)

N /A

N ovem ber

Hot ice (Falcon Films Pty Ltd/Pamela Borain/Brian Phillis) Knuckle (Somerset Film Productions/Jan Tyrrell, James Vernon/Lex Marinos)

N /A

S e p te m b e r

N /A

M ay

The Kokoda Trail Of Damien Parer (Kennedy-Miller/George Miller, Terry Hayes, Douglas Mitchell/—)

N /A

—

The Lizard King (ABC in association with Revcom/Jan Chapman/Geoffrey Nottage)

N /A

F e b ru a ry

A Matter Of Convenience (ABC in association with Revcom/Noel Price/Ben Lewin)

N /A

M a rch

Olive (ABC, AFC, Smiley Films/Richard Brennan, Julie Monton/Stephen Wallace)

N /A

M ay

Outback Vampires (Somerset Film Productions/Jan Tyrrell, James Vernon/Colin Eggleston)

N /A

F e b ru a ry

Peter And Pompey (Lea Films Pty Ltd, ACTF/Margot McDonald/Michael Carson)

N /A

June

Pieta (Ebony Films/Ann Darrouzet/Monique Schwarz) Pigs Will Fly (Somerset Film Productions/Jan Tyrrell, James Vernon/Sophia Turkiewicz)

$ 5 7 5 ,0 0 0 N /A

M a rc h J a n u a ry

Princess Kate (Unthank Films Pty Ltd for ACTF!Antonia Barnard/Geo'rge Ogilvie)

N /A

S e p te m b e r

Rock And Roll Cowboys (Somerset Film Productions/Jan Tyrrell, James Vernon/Rob Stewart)

N /A

A p ril

Sisterly Love (Australian Screen Associates/Peter Du Cane/Mark de Friest)

N /A

S e p te m b e r

N /A

A ugust

Topenders (Syme Entertainment Pty Ltd, ACTF/Jill Robb/Jackie McKimmie) Tudawali (Barron Films/Paul Barron, Julia Overton/Steve Jodrell) A Waltz Through The Hills* (Barron Films/Paul Barron, Roz Berrystone/Frank Arnold) The Riddle Of The Stinson (Kennedy-Miller/George Miller, Terry Hayes, Douglas Mitchell/Chris Noonan)

$ 7 5 0 ,0 0 0 $ 1 ,8 2 5 ,0 0 0 N /A

M a rc h O c to b e r —

‘ Produced as a telefeature for the local market and a miniseries for foreign territories.

TITLE (Production company/Producer/Director) The Navigator (Arenafllm Pty Ltd, Film Investment Corporation of NZJJohn Maynard/Vincent Ward)

BUDGET $ 4 ,3 0 0 ,0 0 0

PRINCIPAL PHOTOGRAPHY J u ly

A u s tra lia -N e w Z e a la n d fe a tu re

Down And Under (Pro-image Television Pty Ltd in association with Atlantic/Kushner-Locke/Christopher Slatter/Rob Stewart)

N /A

D ecem ber

A u s tra lia -U S A te le fe a tu re

The First Kangaroos (Roadshow, Coote and Carroll, Channel 4/Moya Iceton/Frank Cvitanovich)

$ 3 ,4 0 0 ,0 0 0

M a rc h

$ 4 ,3 0 0 ,0 0 0

M a rc h

A u s tra lia -U K te le fe a tu re

Always Afternoon (Afternoon Pictures Ltd/Henry Crawford/David Stevens) M in is e rie s c o m m is s io n e d b y S B S T e le v is io n a n d p re -s o ld to G e rm a n T e le v is io n

CINEMA PAPERS MAY - 47

• Broadcast News • The Dead • The Everlasting Secret Family • The Good Father • House Of Games • The Man From Snowy River II • Wall Street • Warm Nights On A Slow Moving Train • Wings Of Desire

48 - MAY CINEMA PAPERS

• THE EVERLASTING SECRET FAMILY W h e n a film is d e r id e d b y its firs t p u b lic w ith as m u c h r e lis h as The Everlasting Secret Family h a s b e e n , th e n it is a s u r e sig n t h a t th e w o rk w a r r a n t s a se c o n d lo o k . U n f o r tu n a te l y th is m a y n o t b e p o s s ib le , fo r its c r itic a l fa ilu re w ill p r o b a b ly s e n te n c e it to a s h o r t life. T h is la te s t c o lla b o r a tio n o f F r a n k M o o r h o u s e a n d M ic h a e l T h o r n h i ll h a s b e e n d is m is s e d as “ c o n fu s e d , in e x p lic a b le a n d a m a t e u r i s h ” , “ s a d ly m is c o n c e iv e d ” a n d “ a la b o u r e d a d a p t a t i o n ” w h ic h “ fails to w o rk o n a n y le v e l” . I t h a s c e r ta in ly p r o v e d to b e g e n u in e ly , if n o t f a s h io n a b ly , p r o v o c a tiv e . I n fa c t w h a t h a v e b e e n n a m e d as its fa ilin g s a r e a lso its p o in ts o f s ig n ific a n c e . C e rta in ly , th e f ilm ’s in te n tio n s a r e n o t a lw a y s cle a r. I t s e e m s to slip in a n d o u t o f v a r io u s th e m a t ic a n d sty listic p o s i tio n s , m o v in g a t d if f e r e n t tim e s a r o u n d th e e d g e s o f m e lo d r a m a , iro n y , s e rio u s d r a m a a n d h ig h c a m p . I t p r o v id e s n o r e a s o n fo r d o in g so. I n t e n d e d b y M o o r h o u s e to b e a c o n s tr u c tio n o f a n i m a g in a ry , m e ta p h o r ic a l w o rld , it h a s b e e n se e n b y o th e rs as s u p e rf ic ia l a n d rid ic u lo u s . W i th n o p r i o r k n o w le d g e o f its c ritic a l r e c e p tio n I r e a d The Everlasting Secret Family as a r e f re s h in g ly id io s y n c r a tic ir o n y a n d w a s e n t e r t a i n e d a n d a m u s e d — s o m e tim e s b y m y o w n a r o u s a l. T h e c o n f u s io n s u r r o u n d i n g th e w o rk c a n b e r e a d as p r o o f o f its m a k e r s ’ i n e p titu d e a n d a r e a s o n to d is m is s it. B u t c o n f u s io n s u r r o u n d i n g a n e w w o rk o f a r t, r e g a rd le s s o f its a u t h o r s ’ in te n tio n s , is a u s e fu l s ti m u la n t, a s ig n t h a t ris k s a re b e in g ta k e n a n d r e a s o n e n o u g h to d e e m The Everlasting Secret Family w o rth y o f m o r e a t te n t io n th a n it h a s b e e n p a id . T h e m o s t o b v io u s ris k th e f ilm m a k e r s to o k w a s th e s u b je c t m a t t e r th e y c h o se . T h e e r o tic ( o r p o r n o g r a p h ic ) is n o ta b le b y its a b s e n c e fro m A u s tr a li a n l it e r a tu r e a n d film . W e h a v e p r e f e r r e d to e n jo y its lo c a tio n in e x o tic o v e r s e a s la n d s c a p e s , r a t h e r th a n to d e a l w ith th e s u b je c t o n o u r h o m e g r o u n d , as if o u r a b ility to ta k e it, a n d o u r a r o u s a l, s e rio u s ly h a s d e p e n d e d o n th e s u b je c t’s p la c e m e n t e ls e w h e re . A u s tr a li a n film still se es its e lf as th e h o m e o f th e r e a l — a n d w h ile e x c u r s io n s h a v e b e e n m a d e in to th e s p ir itu a l ( Picnic A t Hanging Rock) a n d b iz a r r e (Bliss, The Cars That Ate Paris) th e s h a d o w y e n c lo s u r e s o f th e e r o tic a n d G o th ic im a g in a tio n s h a v e b e e n k e p t b e h in d c lo se d d o o rs . T h o r n h i l l ’s film is

th e firs t m a j o r a t t e m p t to r e v e a l s u c h a n i m a g in a r y w o rld . A r ic h a n d c h a r m i n g s e n a to r , p la y e d w ith w o n d e r f u l i r o n y b y A r t h u r D ig n a m , is a m e m b e r o f a s e c r e t a n d rig id ly h ie r a r c h ic a l s o c ie ty o f p r e t t y y o u th s a n d p o w e r fu l m e n e n t h r a lle d b y th e c o n j u n c tio n s o f r itu a l, d is c ip lin e a n d illic it a r o u s a l. “ E c s ta s y , se c re c y , s ile n c e ” is th e B r o t h e r h o o d ’s m o tt o . T h e fa n ta s y , lik e p o r n o g r a p h y its e lf, is c o r n y a n d th e a tr ic a l. W h e n it is p la c e d in th e c o n te x t o f a n A u s tr a li a n v e r s io n o f a n u p p e r class, it s e e m s p a r ti c u la r l y d if fic u lt to a c c e p t. T h e m a s k e d b r o th e r s , tip t o e in g o v e r c ro s s e d s w o rd s b e n e a t h a c a n o p y o f ro s e s , lo o k lik e t h e y ’d b e m o r e a t h o m e o n th e s q u a s h c o u r t. B u t r a t h e r th a n r e je c tin g th is c lu m s i n e s s in th e film , it is m o r e u s e fu l to c o n s id e r in w h a t w a y s it re v e a ls th e p r o b le m s in p o r t r a y i n g th e p a r t i c u l a r c o n d i tio n s o f th e e r o ti c /G o th ic /p o r n o g r a p h ic im a g in a tio n s in A u s tr a li a n c o n te x ts . C o n s id e r e d as a s e rio u s ly d r a m a t i c stu d y , th e film a p p e a r s a m a te u r i s h . H o w e v e r , if w e see it as a n a t t e m p t to d e p a r t f ro m film ic c o n v e n tio n s c o m m o n ly a s s o c ia te d w ith a n A u s tr a li a n sty le o f r e a lis m , it b e c o m e s a c a u s e fo r c e le b ra tio n . T h e f ilm ’s r h y th m is j e r k y a n d ir r e g u la r . S c e n e s a r e d r a w n o u t to u n re a lis tic le n g th s o r c u t s h o r t b y u n e x p e c te d fa d e s to b la c k . D ia lo g u e is d e lib e r a te ly s tilte d a n d p u n c t u a t e d b y th e a tr ic a l s ta m m e r s a n d sile n c e s. T h e L o v e r ’s n a r r a t i o n is p u r e p u r p le . T h e a c tin g is m a n n e r e d a n d n o n e o f th e c h a r a c te r s is g iv e n e n o u g h flesh a n d b lo o d to in v ite a u d ie n c e s y m p a th y . W i th th e e x c e p tio n o f th e c h a u f fe u r, n o o n e is nam ed. T h e c h a r a c t e r s ’ d is ta n c e f r o m e a c h o th e r ( th e i r in te r a c tio n s s e e m e d m o r e r itu a lis tic th a n re a l) a n d o u r s e lv e s g iv e s th e m a q u ir k y k in d o f p o is e a n d u s th e sp a c e to d e te c t iro n ie s : T h e B e a u tifu l L o v e r c o q u e ttis h ly lifts h is s h ir t b e fo re th e S e n a t o r s e a te d in h is S e n a t o r ’s c h a ir a n d sa y s, “ D o y o u th in k m y b u m h a s d r o p p e d ? ” T h e S e n a t o r is s ile n t. T h e L o v e r r e p e a ts h is q u e s tio n . T h e S e n a t o r p a u s e s . H e lig h tly c a re s s e s h is c h in w ith g r a c e fu l fin g e r s . “ Y o u r b u m , ” h e r e p lie s , d e a d - p a n . T h e r e is a n o t h e r p a u s e . H e te lls th e L o v e r to go a n d p u t h is p a n t s o n . T h e sc e n e a b r u p tl y e n d s . I t is e r o tic a n d a n t i e ro tic . I t is m a n n e r e d a n d ir o n ic a l. I t is n o t m e a n t to b e r e a l . . . ' S o m e tim e s , h o w e v e r, o n e i s n ’t q u ite s u r e a n d th is m a k e s The Everlasting Secret

F A M IL Y T IE S : H e a th e r M itc h e ll a n d P a u l G o d d a rd

CINEMA PAPERS MAY - 49

< Family a n ea sy ta rg e t. B u t d e s p ite th e fact th a t M o o r h o u s e a n d T h o r n h i l l ’s c o lla b o ra tio n w as n o t c le a rly re a lis e d , th e y to o k im p o r ta n t risk s. T h e film , te e te r in g p r e c a rio u s ly o n th e e d g e o f se v e ra l th in g s , c a n n o t b e ea sily c a te g o r ised . T h a t c ritic s h a v e felt th e n e e d to sim p ly w rite it o ff as “ b a d a r t ” is a sig n th a t it c o u ld w ell b e d u g u p w ith re lis h in th e f u tu re . L e t ’s h o p e The Everlasting Secret Family w ill n o t b e f o re v e r b u r ie d . A nn e M c D o n a ld THE EVERLASTING SECRET FAMILY: Directed by Michael Thornhill. Producer: Michael Thornhill. Co-pro ducer: Sue Carleton. Executive producer: Antony I. Ginnane. Screenplay: Frank Moorhouse. Director of photography: Julian Penney. Music: Tony Bremner. Editor: Pam Barnetta. Cast: Arthur Dignam (Senator), Mark Lee (Youth), Dennis Miller (Eric), Heather Mitchell (Senator’s Wife), Paul Goddard (Son), John Meillon (Judge), Beth Child (Pottery woman). Production com pany: Indian Pacific Films Pty Ltd for International Film Management Ltd. Distributor: Filmpac. 35mm. 89 minutes. Australia. 1987.

m u c h la te r in th e film , h is w o rd s , “ w h e n y o u ’re d e p r e s s e d , o r y o u ’v e j u s t b e e n fire d fro m y o u r j o b , ta k e s o m e th in g . A n y th in g . So y o u c a n a s s e rt y o u r s e lf ” , p a ra lle l th e a d v ic e o f D r L itt a u e r . I n th e ir r e la tio n s h ip to M a r g a r e t, D r L it ta u e r a n d M ik e m i r r o r o n e a n o th e r ; b u t th is is o n ly o n e in a w h o le e n s e m b le o f o th e r m ir r o r - im a g e s . B u t c o n s id e r th is as w ell: l e t ’s sa y y o u w a n t to p la y a tric k . T y p ic a lly , in o r d e r fo r it to p a y o ff th e tr ic k h a s to c o n c e a l its e lf as a tric k . I n r e tr o s p e c t, th is is The Sting. N o w im a g in e y o u p la y a tric k , b u t a t th e sa m e tim e as i t ’s b e in g p la y e d y o u e x p la in th e m e c h a n ic s o f th e tric k . T h is is House Of Games. F ro m th e ir v e ry first e n c o u n te r , M ik e p r o c e e d s to se d u c e M a r g a r e t in to a c o n g a m e , n o t n e c e s sa rily b y h is p ro fic ie n c y in th e g a m e , b u t b y h is e x p la n a tio n o f it. I f all th is b e g in s to s o u n d lik e it h a s

• HOUSE OF GAMES T o say House O f Games is a d id a c tic in t r o d u c tio n to th e w o rld s o f p sy c h o lo g y a n d th e a r t o f a g o o d co n is to im p ly th a t w rite r - d ir e c to r D a v id M a m e t h its h is a u d ie n c e o v e r th e h e a d w ith h is n o tio n th a t th e tw o a re e x p lic itly m a r r ie d . T h is is p re c is e ly w h e re th is film tra v e ls , u s in g th e d e v ic e o f a p s y c h o lo g is t w h o d e a ls w ith h e r ‘c a s e s ’ b y d a y a n d is lu r e d in to a c o m p le x c o n g a m e in h e r s p a re tim e (m o s tly n ig h t). I f o n e is g a m e e n o u g h o n e c o u ld say House O f Games is a film d o n e w ith m ir r o r s , fo r it a c h ie v e s w h a t it d o es th r o u g h a sp e c ia l k in d o f s le ig h t-o f-h a n d . W h a t e m e rg e s in House O f Games is a d e lib e r a te se rie s o f m ir r o r im a g e s — c h a r a c te r s , p h y s ic a l lo c a tio n s , p ro fe s sio n s a n d d r a m a tic s itu a tio n s a re set in a k in d o f r e v e rs e r e la tio n to o n e a n o th e r , as if h e ld u p to a m ir r o r . T h e m o s t n o ta b le is th e fig u re o f p sy c h o lo g ist M a r g a r e t F o rd ( L in d s a y C ro u s e ) a t th e b e g in n in g a n d a t th e e n d o f th e film . In b o th in s ta n c e s she is s to p p e d b y a d m ir e r s to a u to g r a p h h e r b o o k , Driven:

Compulsion And Obsession In Everyday Life. In th e first sh e is d re s s e d in a d a r k su it, h e r lo o k is th a t o f a p ro fe s s io n a l w o m a n , h e r m o v e m e n ts a r e in d u s tr io u s . I n th e se c o n d , th e sc en e c u lm in a te s w ith a c lo se -u p o f h e r sm ile. It is a sm ile o f s a tis fa c tio n , o f a s s e r tio n — h e r a ttir e , u n lik e th e b e g in n in g , is flo ra l, m o re lib e r a tin g . T h e re s p e c tiv e sc en e s a re a lm o s t o f tw o d iffe re n t w o m e n . T o ta k e a n o th e r, le s s n o t a b l e e x a m p le : a f te r h a v in g j u s t v is ite d a p a tie n t, M a r g a r e t F o rd is d is tu rb e d e n o u g h to d isc u ss th e v a lu e o f h e r w o rk w ith h e r frie n d a n d m e n to r , D r L itt a u e r (L ilia S k a la ), a sc en e in w h ic h M a r g a r e t lets slip th e w o rd “ p r e s s u r e s ” in s te a d o f “ p le a s u r e s ” in d is c u s s in g h e r w o rk . H e r m e n t o r ’s re s p o n s e b e c o m e s a d is c o u rs e o n th e n e e d fo r M a r g a r e t to re la x a n d sto p w o rr y in g , in d e e d to ta k e so m e “ p le a s u r e s ” fro m life r a th e r th a n “ p r e s s u r e s ” . S im ila rly , M a r g a r e t ’s c o n - a rtis t lo v e r M ik e (J o e M a n te g n a ) se rv e s as h e r m e n to r in th e ‘o t h e r ’ w o rld . I n a sc en e G U N C R A Z Y : L in d s a y C ro u s e s h o w s h e r h a n d

50 - MAY CINEMA PAPERS

b e e n d e lib e r a te ly s ta g e d , th e n th e film d o e s little to d is p e l s u c h a fe e lin g . I n d e e d , d ir e c to r M a m e t a p p e a r s to h a v e little in te r e s t o u ts id e th e m e c h a n ic s o f th e g a m e , o r g a m e s p la y e d . T h e film ta k e s th is to s u c h a n e x te n t th a t it te n d s to w e d g e f u r th e r th e d is ta n c e b e tw e e n a u d ie n c e a n d a c tio n . W h a t y o u h a v e th e n is a n e v e r m o r e p e r f e c te d tr ic k , fo r th e c o n is n o t th e tric k itself, b u t its e x p la n a tio n . M ik e se d u c e s M a r g a r e t b y la y in g all th e in g r e d ie n ts o f th e g a m e b e fo re h e r ; h e sh o w s h e r th e h a n d , as it w e re , b e fo re p r o c e e d in g to d e a l it. A s M ik e e x p la in s a t o n e p o in t, th e e s se n c e o f th e c o n g a m e is in “ g iv in g y o u m y c o n f id e n c e ” . A s sim p ly as in a c a r d g a m e , w e a r e fed th e ru le s ; w e k n o w p re c is e ly w h ic h c a r d s th e d e c k h o ld s , w e e v e n ( if M ik e is to b e b e lie v e d ) k n o w th e a p p r o x im a te o r d e r th e y w ill b e d e a lt o u t: w h a t w e re c e iv e ,

w h a t h e re c e iv e s , w h a t h e w ill p la y , w h a t sh e w ill p la y . A n d b y n o c o in c id e n c e M a r g a r e t F o r d , th e r e p r e s s e d , in d u s tr io u s p r o fe s s io n a l, w ill m e e t h e r d a r k e r sid e . Y et M a m e t te n d s to h it u s o v e r th e h e a d w ith th is k in d o f b r illi a n t a s s e m b la g e . F o r if y o u d o n ’t g e t it th e firs t tim e , y o u ’ll g e t it th e n e x t tim e , o r th e tim e a f te r th a t. B u t o n e h a s to r e m e m b e r th a t each con (a n d each con ex p la in e d ) is a m i r r o r fo r a n o t h e r m o r e e la b o r a te o n e . I n th is c o n te x t it is in te r e s ti n g to n o te th e w a y sp a c e a n d lo c a tio n s a r e u tilis e d , in tw o sc e n e s in p a r ti c u la r . T h e film m o v e s q u ite d e lib e r a te ly f ro m s ta rk sc e n e s b e tw e e n d o c to r a n d p a t ie n t se t in h o s p ita l o r c o n s u ltin g ro o m s w ith w h ite b a c k d r o p s to th e m o r e h e ig h te n e d lo c a tio n s o f h o te ls , b a r s a n d , o f c o u r s e , th e H o u s e o f G a m e s . O n e is s ta r k a n d h a r s h , th e o th e r e la b o r a te a n d s o p h is ti c a te d . B u t as M a r g a r e t F o r d is d r a w n in to th e d e n o f in iq u ity w e a r e s ig n ifi c a n tly d ir e c te d to w a r d s sp a c e s w ith in sp a ce s; as sh e is d r a w n fro m th e s tr e e t to th e b a r in s id e , w e b e c o m e a w a re o f o th e r ro o m s b e y o n d . T h e c o n c e r n w ith sp a c e is e m p h a s is e d la te r in a n o t h e r b a r w h e n M a r g a r e t n o te s in h e r d ia ry , “ th e n e c e s s ity o f d a r k p la c e s fo r d a r k t r a n s a c tio n s ” . O n c e in s id e th e H o u s e o f G a m e s , h e r v ie w b e c o m e s d ir e c te d (b y M ik e ) in to th e r o o m b e y o n d th e b a r to th e f ig u re o f th e fa t g a m b le r , fo r sh e is to p la y a ro le a n d to b e lu r e d f u r th e r in to a c o n g a m e . I n s id e th e r o o m , h e r v ie w is d ir e c te d to w a r d p a r ti c u la r o b je c ts o r g e s tu re s w h ic h a r e n o t w h a t th e y se e m : th e fa t g a m b le r p la y in g w ith h is r in g (w h ic h is s u p p o s e d to b e a s ig n a l to call h is b lu ff); a g u n w h ic h is a c tu a lly a s q u ir t g u n w h ic h allo w s M a r g a r e t to call th e w h o le sc e n e as a b lu ff. T h e se c o n d sc e n e , in w h ic h th e u s e o f sp a ce a n d M a r g a r e t ’s p e r c e p tio n o f it a re in te g r a l, is as p a r t o f a m o r e e la b o r a te c o n w h ic h m ir r o r s p re c is e ly th e e a r lie r sc e n e a t th e H o u s e o f G a m e s . O n c e a g a in sh e fin d s h e r s e lf ‘c o in c id e n ta lly ’ in v o lv e d w ith M ik e in a n $ 8 0 ,0 0 0 sc a m a g a in s t a (s u p p o s e d ly ) u n k n o w n a n d u n s u s p e c tin g v ic tim . I n a h o te l r o o m in w h ic h th e c o n - a rtis ts M a r g a r e t a n d th e s u p p o s e d v ic tim h a v e j u s t c o n c lu d e d a tr a n s a c tio n , M a r g a r e t ’s v ie w o f th in g s , as in th e e a r lie r sc e n e , is d ir e c te d to w a r d sp a c e s w ith in sp a c e s: sh e sees th e b a t h r o o m b e y o n d th e h o te l r o o m w h e re th e s u p p o s e d v ic tim is se e n to c a r r y a g u n a n d is r e la y in g in f o r m a tio n to h is s u p p o s e d fellow p o lic e o ffic e rs o u ts id e . T h e d iffe re n c e , h o w e v e r, is t h a t M a r g a r e t fails to r e c o g n is e th e m e c h a n ic s o f th e c o n w h ic h h a v e a lre a d y b e e n la id o p e n to h e r. L ik e a c a r d g a m e in w h ic h th e d e a le r le a n s to w a r d a c e r ta in p la y e r w h e n th e sta k e s a r e a t th e ir o p tim u m , House O f Games' fin a l tr ic k is to le a n a c e r ta in w a y to o , w h ic h , in effec t, u p s e ts th e s ta te o f p la y w e h a v e b e e n le d to w a r d . T h e ‘w e ’ is im p o r ta n t in th is c o n te x t, b e c a u s e , as h a s b e e n e s ta b lis h e d , th e film p la y s u s t h r o u g h o u t to o . I n th is re s p e c t, it is im p o r t a n t to ta k e

a c c o u n t o f th e fin a l s e q u e n c e a t th e a i r p o r t w h e n , a f te r d is c o v e r in g sh e h a s b e e n c o n n e d , M a r g a r e t p u lls a g u n o n M ik e . T h e sc e n e re c a lls th e e a r lie r ( m o re c o m ic a l) c a r d sc e n e w h e re M a r g a r e t calls th e fa t g a m b le r ’s b lu f f (th e g u n th a t is a s q u ir t g u n ). W h a t p a sse s b e tw e e n th e m , h o w e v e r, is a c u r io u s ro le re v e rs a l. O n e c o u ld sa y it is M a r g a r e t w h o is a c tu a lly a tte m p tin g to call a b lu ff, fo r w h e n sh e p u lls th e g u n , sh e lo se s th e g a m e , sh e “ c r u m b s th e p la y ” as M ik e sa y s. Y et, sh e also w a n ts M ik e to b e g fo r h is life. B u t h e w o n ’t b e g , a n d w ith e a c h p u ll a t th e tr ig g e r, h e d e fia n tly a sk s, “ T h a n k y o u sir. M a y I h a v e a n o t h e r ? ” M ik e a n d M a r g a r e t a r e in d e e d th e m ir r o r - im a g e s o f o n e a n o th e r a n d , fo llo w in g M i k e ’s a d v ic e a b o u t a s s e r tin g o n e se lf, M a r g a r e t a c tu a lly ‘ta k e s ’ M ik e . S h e is a b a d g irl; e a r lie r sh e d e s c rib e d M ik e as th e “ b a d m an” . B u t in th e se n se th a t M ik e i s n ’t c a llin g a b lu ff, th e film is M a r g a r e t ’s g a m e . I n th e ir e x c h a n g e a t th e a ir p o r t, M i k e ’s w o rd s “ y o u ’re a w h o re , y o u ’re a n a n im a l, y o u ’r e a m o n s t e r ” , a re th e p re c is e w o rd s o f M a r g a r e t ’s o th e r m ir r o r - im a g e , h e r sick, fe m a le p a tie n t: a g irl, w h o a t o n e p o in t, d e s c rib e s h e r d r e a m to M a r g a r e t, a d r e a m in w h ic h th e g ir l’s f a th e r calls h e r a “ w h o r e ” , a n d in w h ic h sh e d e s c rib e s a n “ a n i m a l” , a “ m o n s t e r ” th a t sh e n a m e s a “ l r i g ” . L r ig s p e lt b a c k w a rd s is g irl. B u t M a r g a r e t ’s g a m e is o n e in w h ic h sh e fails, o r r a th e r o n e in w h ic h sh e c a n n o t p la y b y th e ru le s . T h e e sse n c e o f th e c o n g a m e is “ I g iv e y o u m y c o n fid e n c e ” , h e n c e , h e r w o rd s , “ I g a v e y o u m y t r u s t ” b e fo re sh e sh o o ts M ik e . T h u s , w h e n M a r g a r e t sh o o ts M ik e sh e sto p s p la y in g b y th e ru le s ; a n d it is w h e re th e film te n d s to a s c rib e th e n o tio n th a t if y o u g e t b e a te n y o u p u ll a n o t h e r tric k . U n f o r tu n a te ly , in th is c a se , it a p p e a r s to b e a n o t h e r in s ta n c e o f h o w ‘c le v e r ’ th is film is. R affaele C aputo a n d P eter L a w ra n ce HOUSE OF GAMES: Directed by David Mamet. Pro ducer: Michael Hausman. Screenplay: David Mamet. Director of photography: Juan Ruiz Anchia. Production designer: Michael Merritt. Music: Alaric Jans. Editor: Trudy Ship. Cast: Lindsay Crouse (Margaret Ford), Joe Mantegna (Mike), Mike Nussbaum (Joey), Lilia Skala (Dr Littauer), J.T. Walsh (The Businessman), Willo Hausman (Girl with book). Production company: Orion. Distri butor: Villaqe Roadshow. 35mm. 100 minutes. USA. 1987.

• THE MAN FROM SNOWY RIVER II P a r t T w o o f The M an From Snowy River d o e s n o t h a v e th e s a m e to n g u e -in -c h e e k to n e as P a r t O n e . I t c o u ld b e b e c a u s e G e o r g e M ille r w a s n o t in v o lv e d as c o d ir e c to r th is tim e , o r b e c a u s e th e A u s tr a lia n e c o n o m ic c lim a te is g r im m e r n o w th a n it w a s in 1 9 8 2 . F o r G e o f f B u rro w e s, so le p r o d u c e r a n d d ir e c to r o f P a r t T w o , A u s s ie b u s h m y th o lo g y is a s e rio u s b u s in e s s in w h ic h h e h a s v e s te d in te r e s ts o f m o r e t h a n o n e k in d . H e is n o t a lo n e . W h e th e r o r n o t th e y in v e s te d th e ir m o n e y in th is film , m a n y A u s tr a

lia n s s h a re h is e m o tio n a l a n d c u ltu r a l a t ta c h m e n t to lo c a l fo lk lo re — a n d to th e A u s tr a lia n D r e a m r a t h e r th a n th e D r e a m tim e . C u l tu r a l s n o b s ( m o s t film re v ie w e rs in c lu d e d ) h a v e a lw a y s d is m is s e d th e h o rs e o p e r a w ith a s n e e r; a n d it is so e a sy fo r th e m to sc o ff a t th e a r c h e ty p a l n a r r a ti v e c o m p o n e n ts o f th is p a r ti c u la r h o rs e o p e r a . H e r o lo v e s g irl; h e r o lo v e s h is h o rs e s ; h e r o lo se s g irl; h e r o lo ses h is h o rs e s ; h e r o is a s s is te d b y m a g ic a l h e lp e r — a w ild h o rs e ; h e r o d e fe a ts h is riv a lc u m -v illa in , a n d is r e - u n ite d w ith h is p r in c e s s - b rid e a n d h is h o rs e s . T h is is th e n a r r a ti v e s tr u c t u r e o f th e folk ta le , as o u tlin e d b y V la d i m ir P r o p p . S im u lta n e o u sly , h e r o in e lo v e s b o y ; h e r o in e lo v es f a th e r; h e r o in e re je c ts s u ito r p r e f e r r e d b y f a th e r a n d c h o o se s b o y sh e lo v es; f a th e r re je c ts h e r o in e ; f a th e r re le n ts a n d a c c e p ts h e r o ; h e r o in e is r e u n it e d w ith h e ro a n d fa th e r. T h is is th e n a r r a ti v e s tr u c tu r e o f th e m e lo d r a m a , w h ic h is in te r tw in e d w ith t h a t o f th e folk ta le . T h e s tr u c tu r e s a re f a m ilia r a n d p e r v a d e p o p u la r c u ltu r e . W h e n a llie d w ith s p e c ta c u la r s c e n e ry a n d s p e c ta c u la r h o rs e c h a se s, th e y m a k e fo r liv e ly a n d e n jo y a b le p o p u la r e n t e r ta i n m e n t . T h e h e r o a n d h e r o in e a r e th e sa m e c h a r a c te r s p la y e d b y th e s a m e a c to rs as in P a r t O n e . O n c e a g a in , th e h e r o in e ’s d e s ira b ility a n d p lu c k y p e r s o n a lity a re c o m p a r e d to th o s e o f a filly. O n c e a g a in , th e h e r o is a w k w a r d as a r o m a n tic lo v e r b u t g ra c e fu l o n h o r s e b a c k . T h e fa c t th a t h e c a n m o r e c o n v in c in g ly e x p re s s affec tio n fo r h is h o r s e t h a n fo r h is g irl, a n d c o n v e y m o r e d is tre s s a t th e loss o f h is h o rs e th a n a t th e loss o f h is g irl, is c h a r a c te ris tic o f th e c o n v e n tio n a l A m e r ic a n w e s te rn h e r o as w ell as th e le g e n d a ry A u ssie o u tb a c k h e r o , so T o m B u r lin s o n c o u ld b e sa id to p e r f o r m to ty p e . I n th e W ild W e s t a n d th e A u s tr a li a n O u tb a c k , m e n a t e a se w ith w o m e n a r e u s u a lly s u sp e c t — g re a s y v illa in s w h o m y o u c a n ’t tr u s t. T h e r iv a l fo r th e h e r o in e ’s a ffe c tio n s, a n d v illa in o f th is film , is lik e w ise s m o o th a n d g re a sy , a n d m o r e o f a m a tin e e id o l in h is a p p e a r a n c e th a n th e h e r o . T h e r e is also a class c o m p o n e n t o p e r a tin g h e r e , as it d id in p r e - w a r H o lly w o o d (e sp e c ia lly W a r n e r B r o th e rs film s) a n d V ic t o r i a n m e lo d r a m a . T h e h u m b le h e r o , la c k in g th e p riv ile g e s o f e d u c a tio n a n d w e a lth , m u s t o v e rc o m e th e m a c h in a tio n s o f p o w e rfu l in d iv i d u a ls th r o u g h d o g g e d d e t e r m in a tio n a n d s u p e r io r p r a c tic a l skills. T h e p o p u la r a u d ie n c e r e a d ily id e n tifie s w ith th e h e r o ’s b a ttle a g a in s t th e c o r r u p t a n d th e p riv ile g e d , a n d c a n v ic a r io u s ly e n jo y re v e n g e a g a in s t th e ir o p p r e s s o r s th r o u g h th e t r iu m p h o f th e h e r o . I n th e c u r r e n t so c io -e c o n o m ic s itu a tio n , in w h ic h th e p o w e r o f th e A u s tr a li a n m id d le classes h a s b e e n s e rio u s ly e r o d e d , a n d g o v e r n m e n t a p p e a r s to b e a b e tti n g r a t h e r th a n r e s tr a in in g th e g r e e d o f B ig B u s in e s s , y o u d o n ’t h a v e to b e a m e m b e r o f th e tr a d itio n a l w o rk in g c la s s to fe e l o p p re s s e d a n d e x p e r ie n c e p le a s u r e a t th e d e fe a t o f th e c o r r u p t a n d th e p r iv ile g e d . I n P a r t T w o , A m e r ic a n a c to r B r ia n >

CINEMA PAPERS MAY — 51

< D e n n e h y re p la c e s K ir k D o u g la s as th e h e r o in e ’s fa th e r. H is p h y sic a l b u lk a n d d r a m a tic p re s e n c e r e m in d m e o f O r s o n W elles. I f D o u g la s c a rrie s a s so c ia tio n s w ith th e w e s te rn , D e n n e h y ev o k e s m e m o rie s o f th e B ig D a d d y in th e ste a m y fa m ily m e lo d r a m a s se t in th e p la n ta tio n s o f th e D e e p S o u th . T h e sc rip t, h o w e v e r, re in s h im in as a c h a ra c te r, m a k in g h im to o b e n ig n fo r a fu ll-b lo o d e d B ig D a d d y . F o r th o se o f u s w h o a re in te r e s te d in p s y c h o a n a ly tic re a d in g s o f Film, w e c o u ld say th a t th e o e d ip a l c o n flic t o f th e h e r o in e is n o t su ffic ie n tly d r a m a tis e d a n d to o p e r f u n c to r ily so lv e d , w h ile th e B lack S ta llio n p ro v id e s a d ra m a tic a lly effectiv e id to th e h e r o ’s eg o . U n q u e s

tio n a b ly th e r e is a se x u a l im b a la n c e h e re . I n th e m a in , h o w e v e r, th is film g e n e r a te s e x c ite m e n t th r o u g h th e c h o r e o g ra p h y o f h o rs e m o v e m e n ts . T h e n u m e r o u s ch a se s o n h o rs e b a c k a r e i n c lin e d to go o n a b it to o lo n g , b u t in th e p ro c e ss th e loss o f n a r r a ti v e su sp e n se is m a d e u p fo r b y a g a in in ic o n ic p le a s u re — as h a p p e n s in th e m u s ic a l, w h e re th e n a r r a tiv e is c o n s ta n tly in te r r u p te d b y s p e c ta c u la r so n g a n d d a n c e ro u tin e s . H e r e to o w e e x p e rie n c e a m a rv e llo u s sp e c ta c le o f m o v e m e n t a n d en e rg y . I f w e th in k o f th e h o rs e o p e r a as a d e s c rip tiv e r a th e r th a n a d ism issiv e te rm , re la te it to th e g e n re o f th e m u s ic a l, a n d a p p r e c ia te th a t it b r in g s

in to p la y b o th n o s ta lg ic a n d u to p ia n d e s ire s in th e c o m m u n ity (a s n o te d b y R i c h a r d D y e r in h is essay, ‘E n t e r t a i n m e n t a n d U t o p i a ’), w e c a n e n jo y th is film w ith o u t fe e lin g g u ilty — o r p a t r o n isin g it. F reda Freiberg THE MAN FROM SNOWY RIVER II: Directed by Geoff Burrowes. Producer: Geoff Burrowes. Executive pro ducers: John Dixon, Dennis Wright, John Kearney. Screenplay: Geoff Burrowes and John Dixon. Director of photography: Keith Wagstaff. Production designer: Leslie Binns. Music: Bruce Rowland. Editor: Gary Woodyard. Cast: Brian Dennehy (Harrison), Sigrid Thornton (Jessica), Tom Burlinson (Jim), Peter Cummins (Jake), Rhys McConnochie (Patton Snr), Bryan Marshall (Hawker), Mark Hembrow (Seb), Nicho las Eadie (Patton Jnr), Wyn Roberts (Priest), Peter Browne (Reilly). Production company: The Burrowes Film Group. Distributor: Hoyts. 35mm. 100 minutes. Australia. 1987.

• BROADCAST NEWS M a n y o f u s J a m e s L . B ro o k s fa n s w e re p r o b a b ly h o ld in g o u t h ig h h o p e s fo r h is n e w c o m e d y Broadcast News. H e r e it is, th e la te s t film fro m t h a t ta le n t w h o n o t o n ly d e liv e r e d th e p o w e rfu l re s o n a n c e s o f th a t m a rv e llo u s m o v ie , Terms O f E n dearment, b u t w h o also c r e a te d a n d co l la b o r a te d o n w h a t is p r o b a b ly th e v e ry b e s t s itu a tio n c o m e d y se rie s e v e r, The

Mary Tyler Moore Show. R e s u lt? S o m e e v e n m o r e c o m p le x te rm s o f e m o tio n a l e n d e a r m e n t m a d e lig h tly (very lig h tly ) lik e a b le b y in s e r tin g th e m in to a k in d o f s e rio u s , d r a m a tic c in e -v e rs io n o f The Mary Tyler Moore Show. T o m is q u o te o n e o f th e m a jo r c h a r a c t e r ’s s m a r t sid e c ra c k s: “ S ex a n d te a rs! T h is m u s t b e Broadcast News . . .” I f th a t r e a d s lik e a g lib r e s p o n s e to th is o ffe rin g fro m o n e o f A m e r ic a ’s m o s t g e n u in e ly g ifte d n e w film m a k e r s , th a t se n se o f d is a p p o in tm e n t c o u ld c o m e fro m a c o n v ic tio n t h a t th e e n te r p ris e s h o u ld ’v e w o rk e d o u t so m u c h b e tte r. T h e p r e m is e is p r o m is in g e n o u g h . A n a m u s in g p r e - c r e d its tr ip ty c h s p o tlig h ts te llin g m o m e n ts fro m th e a d o le s c e n t liv e s o f th r e e y o u n g s te rs g ro w in g u p in d iffe re n t p a r ts o f A m e r ic a a t v a r io u s sta g e s d u r in g th e 1 9 6 0 s. G o o d -lo o k in g slo g g e r T o m lite ra lly tells h im s e lf o v e r a n d o v e r a g a in to tr y h a r d e r . C o c k y , s u p e rio r s m a rta s s A a r o n a n n o u n c e s to fellow s tu d e n ts fro m a h ig h sch o o l g r a d u a tio n p o d iu m t h a t “ I th a n k y o u a n d I fo rg iv e y o u ” . F lu s te re d , p r e o c c u p ie d a d o le s c e n t J a n e c o n f r o n ts h e r d a d , c o r r e c tin g h im o n h is v a g u e m is u s e o f th e w o rd “ o b s e s s iv e ” . T h e s e fa te d th r e e b e c o m e T o m (W illia m H u r t ) , A a r o n ( A lb e r t B ro o k s) a n d J a n e ( H o lly H u n t e r ) , a d u lt p r o ta g o n is ts in a lo v e tr ia n g le t h a t g ets fo rm e d w ith in th e p a r a m e te r s o f a T V n e tw o r k n e w s show . J a n e ’s a n a ttr a c tiv e , id e a listic p r o d u c e r , h o v e r in g b e tw e e n r e p o r te r A a r o n ’s c o m p a s s io n a te J e w is h b r a in in e s s a n d p r e s e n te r T o m ’s h u n k y , W a s p y b r a w n . P u b lic a n d p e r s o n a l p o li tic s to b e p la y e d o u t as a b itte r -s w e e t e ig h tie s re v is io n o f th o s e fa b u lo u s classic n e w s p a p e r c o m e d ie s o f th e th ir tie s a n d fo rtie s, g o ld e n g o o d ie s lik e Libeled Lady, Too Hot To Handle a n d H is Girl Friday.

52 — MAY CINEMA PAPERS

O r fo r M T M ju n k ie s , M a r y ( a n d m o r e t h a n a b it o f R h o d a ) , T e d a n d M u r r a y r e w r it o n th e la rg e s c re e n as J a n e , T o m a n d A a r o n . L o v e ly stu ff. S o lid ca st. H u g e p o te n tia l. T e ll u s m o r e . N o c a n d o . T h e r e ’s n o t a lo t m o r e to te ll sin c e th e film d o e s n ’t re a lly te ll u s to o m u c h m o r e th a n th o s e c h ild h o o d fla sh b a c k s so d e ftly su g g e st. W h e r e a s B r o o k s ’ Terms O f Endearment b e g in s w ith a sk e tc h a n d p r o c e e d s to c o lo u r it in , to flesh it o u t d r a m a tic a lly a n d th e m a tic a lly , Broadcast News v i r t u ally tu r n s in to th e o b je c t o f its i n t e r p r e t in g g a z e . N a m e ly , a se rie s o f n o w fu n n y , n o w s a d h u m a n in te r e s t p ie c e s in a p r im e tim e n e w s show . O r , to c ite a g a in fro m th e m o v ie ,, all t h a t th e film fin a lly a p p e a r s to c o m p ris e is th e s ta c k e d se t o f tid ily c o lla p s in g p ic to g r a m d o m in o p ie ce s th a t fall in to c h a in - r e a c tin g p la c e to re v e a l o n e fla t, tw o - d im e n s io n a l im a g e , o n e p r e tt y c o s m e tic p ic tu r e — a n ite m u s e d b y H o lly H u n t e r ’s fe isty J a n e in a le c tu r e to p ro fe s s io n a l c o lle a g u e s a b o u t w h a t th e y shouldn’t b e sh o w in g . J u s t as F ra n c o is T r u f f a u t ’s Day For Night k e p t th r e a te n i n g to c lo n e in to its u ltr a c o n v e n tio n a l f ilm -w ith in -th e -film Meet Pamela, so Broadcast News m ig h t b e ca lle d Meet Jane, Tom A nd Aaron — i t ’s tr a p p e d , in fe c te d b y th e s y m p to m s it p r e te n d s to expose. T h is u n s e t t l i n g b u s in e s s o f th e m o v ie ’s p lo t c a llin g its ta r g e te d k e ttle , th e T V n e w s in d u s try , b la c k , re a c h e s a n ir re v o c a b le , p r o b le m a tic p o in t to w a rd s th e e n d o f th e n a r r a ti v e . T h is p iv o ta l c r u n c h c o m e s w h e n J a n e , in f o rm e d b y A a r o n , d isc o v e rs th a t T o m h a s c o m m itte d w h a t sh e ( and the movie) w o u ld w ish u s a u to m a tic a lly to c o n s id e r as a n e th ic a l c r im e , a n u n f o rg iv e a b le a c t o f m o r a l d is h o n e s ty e x p o s in g p ro fe s s io n a l a n d p e r s o n a l b e tra y a l. A n d it j u s t d o e s n ’t w a s h , n o t so m u c h o n g r a n d ly h u m a n is tic te r m s , o u ts id e th e film , b u t m o r e so within the story, s im p ly a n d so lely as a c re d ib le , d r a m a tic d e v ic e . F o r so m e p e o p le ( in c lu d in g J a n e ) T o m ’s s h o c k in g m a lp r a c tic e m ig h t r e n d e r h im a n e v e n m o r e a p p e a lin g c y n ic a l, e n te r p r is in g , g o - g e ttin g m e d ia c o n m a n . A n d s u re ly fo r J a n e , w h o h a s b y n o w c la w e d h e r w a y to th e h e ig h ts as th e firs t fe m a le N e w s B u r e a u C h ie f, T o m ’s e x p o s e d m is d e m e a n o u r , c o m p a r e d to w h a t s h e ’s se e n a n d b e e n th r o u g h in th e n e tw o r k ju n g le , c o u ld lo o k m ig h ty ta m e a n d fo rg iv e a b ly m ild . I t ’s also a n e x tre m e ly c lu m s y a n d c r u d e w a y o f r e m i n d in g u s th a t J a n e w a s in itia lly set u p as a r ig h t- o n , s in c e re d o g o o d e r. Y et, fo r m o s t o f th e r u n n i n g tim e , w h a t w e see is a h y p e d - u p , in s e c u re , r o m a n tic c a r e e r w o m a n , d r a w n to th e u n d e n ia b le c h a r m s o f a h a n d s o m e , s im ila rly a m b itio u s w o rk c o l le a g u e . A n d th e r e v e rs io n b a c k i s n ’t p e r s o n a lity c h a n g e , c h a r a c te r d e v e lo p m e n t o r e v e n e m o tio n a l n a iv e te . I t ’s s tr u c t u r a l s c h iz o p h r e n ia , slo p p y s c re e n w ritin g . B y c o n tra s t, A lb e r t B ro o k s ’ s e n s i tiv e ly in te g r a te d A a r o n m a y a s w ell b e in a n o t h e r m o v ie , h a v in g m u c h f u n w ith

A N C H O R S AW AY: W illia m H u rt

slick o n e -lin e rs a n d p u n c h y p u td o w n s . H e ’s a la rg e r, b ig g e r-b e llie d v a r ia tio n o n th e fa s t-ta lk in g , a m o ro u s ly th w a r te d te e n n e r d p o r tr a y e d b y th e lik e s o f A n th o n y M ic h a e l H a ll a n d J o n C r y e r in J o h n H u g h e s p r o d u c tio n s su c h as Sixteen Candles a n d Pretty In Pink. T h e r e ’s im m e n s e sco p e in A a r o n ’s I-lo v e -y o u -b u ty o u - d o n ’t-lo v e -m e fix o n J a n e a n d th e ir s itu a tio n p ro v id e s a few g e n u in e , s h in in g m o m e n ts (e sp e c ia lly h is m e n tio n o f w a n tin g tw o J a n e s , o n e as a frie n d , to ta lk to a b o u t h o w m u c h h e lik e s th e o th e r). B u t A a r o n ’s d ile m m a r e g a r d in g J a n e is all te a s in g to u c h e s a n d q u ic k q u ip s , g a in in g so m e c o v e ra g e a n d little e x p lo ra tio n . So th e te n d e r n e s s a n d c o m ic d e p th o f B ro o k s ’ im p re s s iv e p e r f o rm a n c e is all h u m o r o u s ly d re s s e d u p w ith n o w h e re , p lo tw ise , to go. Y o u lo o k fo rw a rd to A a r o n ’s sc en e s b e c a u s e h e se e m s to h a v e c o m e fro m a m u c h m o re in te r e s tin g p la c e th a n th is so-so m o v ie . W illia m H u r t ( not o n e o f th is re v ie w e r ’s fa v o u rite a c to rs) d o e s w h a t h e c a n w ith a d iffic u lt, u n d e r w r itte n ro le , a m a le e d itio n o f th e d u m b b lo n d e w h o g r a d u ally le a rn s a few c ru c ia l c a r e e r - s a v in g tr a d e tric k s. T o m ’s o c c a s io n a l th ic k h e a d e d p a u s e s , w h ic h m a s q u e r a d e as c o n te m p la tio n , a re b e a u tifu lly p u t o v e r b y H u r t a n d th e a n x io u s in tr o d u c to r y p itc h to J a n e ( “ I ’m n o g o o d a t w h a t I ’m b e in g a success a t ” ) rin g s j u s t th e r ig h t n o te , tr u e to a Y u p p ie s t u d ’s selfd e p r e c a tin g c o m p la c e n c y . H o lly H u n t e r a tte m p ts a fe rv e n tly p itc h e d , g u tsy p o r tr a y a l w h ic h o fte n clicks v e ry n ic e ly in d e e d , g iv e n th e r o le ’s u n r e s o lv a b le sp lits a n d sh ifts. W h e n o n e o f h e r b o sse s sa rc a s tic a lly r e m a rk s th a t it m u s t b e v e ry n ic e fo r h e r to feel so s m a r t a n d sh e w e a rily a n s w e rs b a c k , “ N o , i t ’s a w fu l,” th e c o m m e n t a lo n e is a lm o s t w o rth th e p ric e o f a d m is sio n . H e r s ta c c a to ra g e in th e le a d - u p to a h ila rio u s ly L u b its c h e a n d o o r -f ra m in g g a g in v o lv in g T o m a n d h is f a th e r is e q u a lly d e lic io u s. I n le s s e r ro le s, L o is C h ile s ( r e m e m b e r th e B e e k m a n P la c e b e a u ty in The Way We Were?) is b e w itc h in g as J e n n if e r , a n o ld e r o th e r w o m a n

a n d J a c k N ic h o ls o n is h is c u s to m a ry d ia b o lic a l, d a g g e r - g r in n in g se lf as th e s h o w ’s s ta r a n c h o r m a n . So m a n y p e rfe c tly re a lis e d th in g s in su c h a n im p e rfe c tly c o n c e iv e d p a c k a g e , Broadcast News is fin a lly c ro w n e d b y a c a p -o ff “ s u r p r is e ” c o d a w h ic h c o m e s o n k in d a c u te , k in d a c o rn y , k in d a fo rg e t ta b le . A n d k in d a G a llic , in th a t n u d g in g iro n ic w a y w e a s so c ia te w ith so m a n y F re n c h c h a r a c te r c o m e d ie s o f th e 60s a n d 70s, fro m R o h m e r a n d S a u te t th r o u g h to B e rri a n d L e lo u c h . T h is is o b v io u sly e ig h tie s H o lly w o o d c a r e e r c o m e d y w ith a soupcon o f tendresse, tristesse, g o o d o ld ironie a n d all t h a t etojfe. T ra n s la tio n : th e e n d in g su ck s a n d sin k s lik e th e fla tte st o f fa lle n souffles. B u t, o v e ra ll, i t ’s still e a rly d a y s a n d th e re a re c e rta in ly f u r th e r jo y s to b e h a d fro m th e m a n w h o b r o u g h t u s su c h ric h c h a r a c t e r s as S h ir le y M a c L a i n e ’s A u r o r a a n d D e b r a W i n g e r ’s E m m a in Terms Of Endearment, n o t to m e n tio n th e w o n d e rfu l ro le s h e c r e a te d fo r J i l l C la y b u r g h , B u r t R e y n o ld s a n d C a n d ic e B e rg e n in A la n J . P a k u la ’s u n d e r r a te d Starting Over. T h e s e tw o m o v ie s in d ic a te th a t J a m e s L . B ro o k s d o e s n ’t n e e d to c o n c e p tu a lly go h o m e to M a r y R ic h a r d s a n d frie n d s (o r to th e Taxi cre w ) n o m a tte r h o w m u c h h e ’d lik e to . M a ry an d T ed an d M u rra y an d S ue A n n e N iv e n s a n d M r G r a n t (re -p la y e d h e r e as E rn ie b y R o b e r t P ro s k y ) w ill all b e fin e , e n d u r in g a n d c h e ris h a b le T V o rig in a ls . N o n e o f th e m n e e d s to b e r e c o n s tru c te d as th e m a k e -s h ift p e ris h a b le film ic re -w rite s p r e s e n te d in Broadcast News. E n jo y th e film fo r w h a t it is, b u t d o sta y tu n e d ! P eter K e m p BROADCAST NEWS: Directed by James L. Brooks. Producer: James L. Brooks. Executive producer: Polly Platt. Co-producer: Penney Finkelman Cox. Screen play: James L. Brooks. Director of photography: Michael Ballhaus. Production designer: Charles Rosen. Music: Bill Conti. Editor: Richard Marks. Cast: William Hurt (Tom Grunick), Albert Brooks (Aaron Altman), Holly Hunter (Jane Craig), Robert Prosky (Ernie Merriman), Lois Chiles (Jennifer Mack), Joan Cusack (Blair Litton), Peter Hackes (Paul Moore), Jack Nicholson (Anchor man). Production company: 20th Century-Fox. Distri butor: Fox-Columbia. 35mm. 131 minutes. USA. 1987.

CINEMA PAPERS MAY — 53

Perhaps we are not the ones to review this film , for it is certain we cannot see it. We cannot see it for the mist in front of the screen, a mist of tears and of the past, his mist and theirs and yours and The last film of a man who was made (and made of himself) a legend. What can be said of it that will not be either idolatrous or mean? Consider the portent of our opening paragraph: all words now are self-conscious — graveside speeches. Everyone knows what must be spoken now, and why it should be that way. One finds oneself caught in a maudlin auteurism, something whispering behind each image: “ This is his last film. Look. And, dear God, wouldn’t he have wanted it this wayr Yes, he would. A film he might wish to call his best. Wouldn’t we all? The insidious whispering goes on: “But who, or what, is this that has so aptly orchestrated its own passing? The Grand Old Dad? The Hollow Man? Jack Pumpkin Head?” And we remember the fights. Nineteen sixty-seven and American cinema is in the balance. Surely

they drank whiskey and went after big fish, while we gagged on absinthe or Dr Pepper and dreamed of a man who stole a ferris wheel. A t any rate, they claimed for him the American soul, matching his sprawling gestures and cavernous mouth with the breadth of their critical ambition. We did not believe in souls (we were not animists). We did not even believe in America, and we wanted more termites at the feast, nibbling our hearts out. He was a fool, a grandiose, grandiloquent fool. And we, we were the fool killers. He bought a castle in Ireland, and they visited him there (they took him a sweatshirt with a picture of Bogart on it, drawn by our father). And all of that seemed fitting enough. Their names were Flynn and McCarthy and who knows what else, and he was a professional Irishman, born in Nevada, nurtured on the stage, which is where he got that strange, husky, mock-poetic accent from. He had no mother, you know, always grasping for the breast. His father gave him declamation lessons instead. This film is his testament to Ireland as well. A gift of gratitude

for being the place he had imagined all his life, that is, a homeland for itinerant players. The voice hisses: “ This is the Irish cinema that never will be. These accents, these gestures, these turns of phrase. This keen-eyed love.” And one of us runs backwards 35 years. There is a little rosary of lamentation that used to be heard in Dublin, about how the Irish had fared on the screen. Caricatures made by IrishAmericans: drink and sentimentality (you know who we mean: him who changed his name from Feeney). Out of myself watching this film now, I am in the midst of a crowded theatre. Greying men in tuxedos, smelling of spirits and cologne. Women like pillows, all shiny and soft. Faces blurred, but all familiar in the cozy dark. Someone sniffs. A man three seats away has his hand to his eyes. Then the film is over and the harp music dies and we are all up on our feet and there is such a noise! Yes, like the ocean. People are climbing on their seats, but I have to leave them now. I am flying up, past the gods and they are still applauding, still applauding, they will never stop applauding, they are so happy. You won’t believe this, but it is true. Flynn and McCarthy or one of them made a movie, as amateurs of the cinema are liable to. It was a short film, made from a short story. Yes, it was. It was T h e D e a d . We watched it one excruciating afternoon. In it there was

much serious talk and an undersea cast over the interiors. We wanted not to be there. Whatever we said was a lie. “ Well John, would you like to see our movie?” “Certainly boys. Nothing would give me greater pleasure.” “ We think yo u ’ll like it. We made it from James Joyce’s T h e D e a d . ” “ That shows good taste, boys. Very good taste. Somewhere in the mist before this movie another film is unspooling in which awkward young people speak with dull American accents and the walls are green. A very bad movie. One of us watches the movie and the other reads the book. But when the mist closes in, it becomes a fog, perhaps one of those yellow Dublin fogs stained with coal dust to heritage colours, and it billows over the page, bringing two kinds of past with it, rolling into eyes and ears and mouth. What affection and what generosity is here! A warmth and tolerance we cannot imagine Joyce ever possessed. For Joyce, of course, T h e D e a d was hardly the past. For him the objects, the wallpaper, the clothing were not so important. What was important was the death-in-life, while here it is the life-in-death: the charm, the vitality, the poetry and music. There is no poem by Lady Gregory in Joyce’s T h e D e a d . There is no political rally to go to instead of eating. There is no epiphanic song (two lines and rudeness only). There is no lost cabby from Aran. And the film is, then, as much about what is gone and

P O R T R A IT S O F T H E A R T IS T S : J a m e s J o y c e , J o h n H u s to n , A n g e lic a Huston

• THE GOOD FATHER

what is yet to come as it is about the who confound themselves with us. In 1941 he made his first film as a director, and in the end of that film the music rises and the shadows move as Bogart tells Astor that, although he loves her, he must give her to the police. The words are the same as the ones in Dashiell Hammett’s book (or as near as need be), but the feeling is entirely different. A rustling dryness, a coldness that has nothing to do with despair, has been expunged. Indeed

the death that Hammett saw is in Huston’s film replaced by dying. And so it is here too, or so it is in the mist in front of the screen, criss-crossed with whispers that come from where we cannot tell. We might have seen a film , but perhaps we were the wrong ones to ask to see it. Somehow we have found here only vague memories, nothing but memories. B ill a n d D ian e R o u tt THE DEAD: Directed by John Huston. Pro ducers: Wieland Schulz, Chris Sievernich. Executive producer: William J. Quigley. Screenplay: Tony Huston. Director of photography: Fred Murphy. Production designer: Stephen Grimes. Music: Alex North. Editor: Roberto Silvi. Cast: Anjelica Huston (Gretta), Donal McCann (Gabriel), Rachael Dowling (Lily), Cathleen Delany (Aunt Julia), Helena Carroll (Aunt Kate), Ingrid Craigie (Mary Jane). Production company: Liffey Films. Distributor: Filmpac. 35mm. 83 minutes. USA/UK/West Ger many. 1987.

T h e c lo sin g sh o t o f The Good Father h a s its s o lita ry a n ti- h e r o s ip p in g c la re t, fra m e d b y e m p ty flo w e rb e d s, in th e b a r b e d w ire se c lu sio n o f h is n e w b a c h e lo r p a d g a r d e n . F re e d o m in th e lib e ra l b o u rg e o is se n se o f e m o tio n a l a u to n o m y a n d m a te r ia l self-su fficien cy , th e v ig n e tte u n s u b tly su g g e sts, is its o w n b a r r e n p ris o n . E ith e r d e s p ite o r b e c a u s e o f its s tu d ie d p sy c h o lo g ic a l re a lis m , The Good Father is a so cial issu e m o v ie w h ic h is fin a lly u n c e rta in o f w h a t th e issu e s a re . M ik e N e w e ll’s n e w film ta k e s its g e n e ric b e a r in g s fro m B ritis h so cial re a lis t c in e m a w h ic h flo u ris h e d in th e o p p o s itio n a l c u l tu r a l c lim a te o f th e six ties. Its p r o ta g o n ist ta k e s th e b e a r in g s o f h is se x u a l id e n tity fro m th e sa m e c o m b a tiv e e r a o f th e ‘se x u a l r e v o lu tio n ’ a n d s tu d e n t ra d ic a lis m . B o th a re u n s u r e o f th e ir ro les in th e c h a n g e d c o n d itio n s o f th e e ig h tie s. L ik e N e w e ll’s d ire c tio n , h is p ro ta g o n is t is m o s t co ck ily c o n fid e n t w h e n c o n t e n d in g w ith c a r ic a tu r e d a n ta g o n is ts — m o s t c o n fu se d a n d d if fuse w h e n s e e k in g re s o lu tio n s o f a p e r v asiv e se n se o f a lie n a tio n . The Good Father s a n a to m y o f m id d le class, m id -life d is illu s io n m e n t fo cu ses on th e p a r e n th o o d w h ic h p u ts m a le se x u a l id e n tity in to c r is is . B ill H o o p e r (A n th o n y H o p k in s ) , o n e -tim e s tu d e n t ra d ic a l a n d n o v e lis t manque, n o w in h is fo rtie s o n a £ 2 3 ,0 0 0 in c o m e as a p u b lis h e r ’s m a r k e tin g e x e c u tiv e , fin d s a fo cu s fo r h is f r u s tr a te d a g g re ssio n in th e ro le o f d isp o s se sse d f a th e r — e s tra n g e d fro m h is so n b y a w ife w h o se se x u al in d e p e n d e n c e w as le g itim is e d b y th e fe m in ism h e h im s e lf o n c e p ro fe sse d . D is p la c e d as h u s b a n d a n d fa th e r b y h is w ife ’s lo v e r, H o o p e r fin d s h is se lf-im a g e m ir r o r e d in th e d is tre s s o f a w e e p in g school te a c h e r h e m e e ts a t a p a rty . R o g e r M ile s ( J im B r o a d b e n t) h a s lo st h is y o u n g so n to h is w ife w h o h a s left h im fo r a le s b ia n lo v e r, w ith w h o m she p la n s to e m ig r a te to A u s tr a lia . V ic a r i o u sly w o rk in g o u t h is o w n a n g e r, H o o p e r b e c o m e s th e Ia g o -e s q u e evil g e n iu s in a n u n d e r h a n d c u s to d y su it w h ic h r e tu r n s p a r e n ta l c o n tro l o f M ile s ’ c h ild to h is fa th e r. W h a t The Good Father in v ite s u s to m is ta k e a t its o u ts e t fo r a s y m p a th e tic p o r tr a it o f th e m a le c a su a ltie s o f th e ‘se x u a l r e v o lu tio n ’ p ro v e s in s te a d to b e a p ro g re s s iv e d e m y s tific a tio n o f a n e ig h tie s b a c k la s h a g a in s t th e fe m in ism o f th e six ties. T h e first o f se v e ra l u n m a s k in g s w ith w h ic h th e film su b v e rts th e e a sy id e n tific a tio n s o f its o p e n in g is H o o p e r ’s tig h t-lip p e d a d m is s io n to h is frie n d th a t h e le ft h is o w n so n a n d w ife b y c h o ice . O ffe re d a se c o n d c h a n c e a t fa th e rh o o d b y h is y o u n g m is tre s s , H o o p e r la te r la y s th e b la m e fo r h is m a r r ia g e ’s fa ilu re o n th e b ir th o f h is ch ild : “ A ll th e lo v e t h a t ’s g o in g , th e y ta k e it all — th e y su c k y o u d r y .” T h e le a st su c cessfu l o f th e f ilm ’s d e v ic e s o f p sy c h o lo g ic a l r e a lis m is a r e c u r r e n t n ig h tm a r e s e q u e n c e in w h ic h H o o p e r s tru g g le s

a g a in s t g la d w r a p p e d su ffo c a tio n b y th e n u c le a r fa m ily a n d g u iltily s tra n g le s h is o w n so n . H is ro le o f d isp o s se sse d fa th e r se em s as h o llo w as th a t o f fre e -w h e e lin g b a c h e lo r w h ic h h e a tte m p ts to re c re a te in p o lo -n e c k e d m o to r-c y c le d a s h e s a lo n g L o n d o n b o u le v a r d s to th e a c c o m p a n i m e n t o f a six ties r o c k ’n ’ro ll s o u n d tr a c k . R e c o u rs e to a s tu b b o r n ly p a tria r c h a l law p ro v id e s n o s o lu tio n s to th e p r o b le m o f r e d e fin in g m a le -fe m a le , fa th e r-c h ild re la tio n s h ip s ‘a f te r ’ fe m in is m . W h ile th e c h a r a c te r o f M ile s — H o o p e r ’s te m p o r a r y m a le ally in th is re s ta g e d b a ttle o f th e sexes — d e v e lo p s fro m ch ild lik e p a s siv ity th r o u g h s e lf-a sse rtio n to a r e n e g o tia tio n o f h is p a te r n a l id e n tity , H o o p e r h im s e lf r e m a in s in th e sa m e s p e c ta to r ia l r e l a t i o n to e m o tio n a l in tim a c y as h e h a s to th e p o la ris e d classp o litics o f T h a t c h e r ’s B r ita in w ith w h ic h N ew ell sp a rin g ly c o lo u rs in th e b a c k g r o u n d o f h is p sy c h o lo g ic al d r a m a . T h e re la tio n b e tw e e n e m o tio n a l fo re g r o u n d a n d social b a c k g r o u n d is te asin g ly in d e te r m in a te in N e w e ll’s d ir e c tio n . A n e a rly sc en e o f th e film show s m id d le -c la ss p ro fe ssio n a ls in th e ir fo rtie s w a tc h in g T V n e w sc lip s o f th e r io tin g u n e m p lo y e d th r o u g h th e ir w in e glasses a t a p a rty . T h e c o m b a tiv e e n e rg ie s o f th e six ties g e n e ra tio n o f s tu d e n t ra d ic a ls , th e film seem s to im p ly , h a v e tu r n e d in w a rd in th e e ig h tie s o n a n e m o tio n a l p o w e r-s tru g g le b e tw e e n th e sexes. A t th e sa m e tim e , th e film su g g e sts th e p sy c h o lo g ic a l le g a c y o f th e a g o n istic school o f g e n d e r re la tio n s in w h ic h its p r o ta g o n i s t’s s e x u a lity w as fo rm e d d u r in g th e six tie s. A n o v e r s ta te d m o m e n t in H o p k in s ’ o th e rw is e p e r su a siv e p e r f o rm a n c e o f th e ro le is his p o r tra y a l o f H o o p e r ’s c o n fu sio n in th e face o f h is y o u n g g ir lf rie n d ’s u n ru ffle d w illin g n e ss as lo v e r. T r e m b li n g u n c o n tro lla b ly o v e r h is s h irt b u tto n s , H o o p e r e x p la in s th a t fo r h is o w n g e n e r a tio n , lo v e -m a k in g , lik e e v e ry th in g else, w as “ all a r g u m e n t a n d n e g o tia te d s e ttle m e n ts ” . H is in g r a in e d se lf-d e fe n siv e ness is in c o m p a tib le w ith b o th th e e m o tio n a l re sp o n sib ilitie s o f p a r e n th o o d a n d th e e m o tio n a l fre e d o m s w h ic h th e se x u a l re v o lu tio n s u p p o se d ly w o n fo r its g e n e ra tio n . The Good Father is th e s h re w d e s t t r e a t m e n t y e t o f a th e m e w h ic h p ro m is e s to p re o c c u p y c o n te m p o r a r y c in e m a . F o r all its d e m y s tify in g in sig h ts in to m a le se x u ality , th o u g h , th e film u n w ittin g ly m a rg in a lis e s w o m e n ’s e x p e rie n c e in its e x c lu siv e fo cu s o n m a s c u lin ity -in -c ris is . T h e p e rsp e c tiv e s o f its fe m a le c h a ra c te rs a re left u n e x p lo re d ; fe m in is m is little m o re th a n c a r ic a tu r e d ; m a le e x p e rie n c e d o m in a te s c e n tre -s ta g e . D is tin c tiv e ly m a s c u lin e , m id d le -c la ss a n d m id d le a g e d th o u g h H o o p e r ’s crisis is sh o w n to b e , h is e x p e rie n c e h a s b e c o m e th e r e p r e s e n ta tiv e o n e fo r b o th sexes b y th e e n d o f th e film . N o se x u a l re la tio n s h ip is sh o w n to la st; m a le a n d fe m a le c h a ra c te rs alik e end p a rtn e rle s s a n d e m o tio n a lly iso la te d . I n p ro je c tin g its a n a to m y o f m id -life m e la n c h o ly o n to a L o n d o n w in te r o f >

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le a f-s trip p e d tre e s a n d fa d in g y ello w lig h t — w ith fla sh b a c k s to a s p r in g tim e v ig n e tte o f e x p e c ta n t m o th e r h o o d — The Good Father im p lic itly ‘n a t u r a lis e s ’ th e a lie n a tio n s it e x p lo re s, as if th e ir d e e p lo g ic w e re fin a lly to b e fo u n d in th e in e v ita b le e x p e rie n c e o f a g in g . D a v id B en n ett THE GOOD FATHER: Directed by Mike Newell. Pro ducer: Ann Scott. Screenplay: Christopher Hampton from the novel by Peter Prince. Director of photography: Michael Coulter. Production designer: Adrian Smith. Editor: Peter Hollywood. Cast: Anthony Hopkins (Bill Hooper), Jim Broadbent (Roger Miles), Harriet Walter (Emmy Hooper), Frances Viner (Cheryl Langford), Simon Callow (Mark Varda), Miriam Margolyes (Jane Powell), Joanne Whalley (Mary Hall). Production com pany: Greenpoint Films for Film Four International. Dis tributor: Newvision. 35mm. 90 minutes. UK. 1986.

•WALL STREET O liv e r S to n e ’s Wall Street is a b o u t th e u n b r id le d m a te r ia lis m , m a n ip u la tio n a n d c o r r u p tio n th a t c h a r a c te r is e d sh a re m a rk e ts d u r in g th e b u ll r u n . I t is th is b a c k d r o p th a t p ro v id e s th e m o s t p o w e r ful im a g e s o f th e film . B u d F o x ( C h a r lie S h e e n , w h o also s ta rr e d in S to n e ’s Platoon) is p a r t o f th e in flu x o f in e x p e r ie n c e d so -c a lle d ‘a d v is e rs ’ in to th e m a r k e t. A co lleg e g r a d u a te , h e h a s g r a v ita te d to th e m a rk e t like so m a n y o th e r y u p p ie s se e k in g th o se d u a l s ta tu s sy m b o ls, a P o rs c h e a n d a n E a s t M a n h a t t a n a p a r tm e n t. T w o y e a rs o u t o f co lleg e , F o x is a lre a d y su ccessfu l b y m o s t p e o p le ’s s ta n d a r d s . A n a c c o u n t e x e c u tiv e w ith a W a ll S tre e t b r o k in g firm , h e m a d e $ 3 5 ,0 0 0 in h is first y e a r o u t a n d $ 5 0 ,0 0 0 in h is se c o n d . B u t th e re a lity is th a t h e s p e n d s h is d a y cold c a llin g , w o rk in g h is w ay th r o u g h th e te le p h o n e b o o k u n d e r c o n s ta n t p r e s s u r e to m e e t h is q u o ta o f s h a re sales. M a in ta in in g a lifesty le b e y o n d h is m e a n s h e re m a rk s , o n ly h a lf in je s t: “ A m e r ic a n E x p re s s h a v e g o t a h it m a n lo o k in g fo r m e . ” A n d h e still tu r n s to h is f a th e r C a r l ( M a r tin S h e e n ), a m a in te n a n c e w o rk e r w ith a n a irlin e , fo r th e o d d lo a n . B u t F o x is d e te r m in e d to b e a ‘m o v e r a n d s h a k e r ’, to d is tin g u is h h im s e lf fro m th e ro w s o f o th e r s a le s m e n in th e c a v e r n o u s d e a lin g ro o m . T h e i r fre n e tic a n d fra g ile e x iste n c e is d o m in a te d b y th e d a ily v a g a rie s o f a s e e m in g ly ir r a tio n a l m a rk e t. F o x ’s h e ro is th e h ig h -fly in g c o r p o r a te r a id e r G o rd o n G e k k o ( M ic h a e l D o u g las). F o x c a n p r o v id e c h a p te r a n d v e rse o n G e k k o ’s p re v io u s tr iu m p h s , d e a ls o n w h ic h h e h a s m a d e h u n d r e d s o f m il lio n s. I f o n ly h e c a n se c u re G e k k o as a c lie n t fo r th e firm th e n h e to o w ill b e a ‘p la y e r ’. F o x h a s b e e n h o u n d in g G e k k o ’s s e c re ta ry fo r m o n th s to o b ta in a n in t e r view . H is b r e a k c o m e s w h e n h e sh o w s u p o n G e k k o ’s b ir th d a y w ith a b o x o f C u b a n c ig a rs. H e g ets a n a u d ie n c e in G e k k o ’s ju m b o - s iz e d office a n d su g g e sts se v e ra l c o m p a n ie s as p o te n tia l in v e s t m e n ts . G e k k o rid ic u le s h is r e c o m m e n d a tio n s . R e a lis in g h is a u d ie n c e is ra p id ly c o m in g to a n e n d , F o x re v e a ls

th a t h is f a t h e r ’s a irlin e h a s re c e iv e d a f a v o u ra b le r u lin g o n a c o u r t ca se w h ic h h a s n o t y e t b e e n m a d e p u b lic . I t m a rk s th e b e g in n in g o f th e s e d u c tio n o f B u d Fox. G e k k o re c o g n is e s F o x ’s d e s p e r a tio n a n d its p o te n tia l fo r p ro fit. F o r F o x it is a ta s te o f p o w e r as th e n e w s o f th e c o u r t case b re a k s a n d th e p ric e o f th e sto c k ra p id ly rise s. F lu s h e d w ith su c ce ss, F o x re c e iv e s a c h e q u e fo r $1 m illio n fro m G e k k o to b e p la c e d o n d e p o s it w ith th e firm . A n d b y w a y o f a c e le b ra to r y g e s tu r e G e k k o se n d s a h ig h - p ric e call g irl to F o x ’s a p a r tm e n t. I f a n y o th e r p o r te n t o f im p e n d in g d o o m is r e q u ir e d , it c o m e s w h e n sh e ask s h im a b o u t th e p ro s p e c ts fo r H e w le tt P a c k a r d as sh e u n z ip s h is fly in th e b a c k o f a lim o u s in e . W a ll S tre e t is v e ry m u c h a n u n r e c o n s tr u c te d m a le b a s tio n . T h e e n o r m o u s eg o s o f th e m a le ‘p la y e r s ’ a p p e a r s to d e m a n d a n u n q u e s tio n in g sh a llo w n e ss fro m th e ir w o m e n c o m p a n io n s . B u t th e o n e - d im e n s io n a l p o r tr a y a l o f th e se w o m e n is n o t o n ly to ta lly u n s y m p a th e tic — so m e w o u ld sa y it b o r d e r s o n m is o g y n y . F o x ’s r o m a n tic in te r e s t in th e film is p r o v id e d b y D a r y l H a n n a h . A f o rm e r lo v e r o f G e k k o , sh e h a s u s e d h is p a t r o n ag e to f u r th e r h e r c a r e e r as a n in te r io r d e c o ra to r. A sk e d w h a t sh e w o u ld w a n t if she c o u ld h a v e a n y th in g in th e w o rld , she re s p o n d s : a p a i n tin g b y T u r n e r , a p e rfe c t c a n a r y d ia m o n d , w o rld p e a c e a n d th e b e s t o f e v e r y th in g . I t o n ly in p a r t reflec ts th e s tu p id ity o f th e q u e s tio n .

h im s e lf, is as a c le a n s in g a g e n t fo r m o r i b u n d c o r p o r a te c a p ita lis m , h e c la im s. A d d re s s in g a m e e tin g o f s h a re h o ld e r s o f a ta k e o v e r ta r g e t G e k k o c h a n ts “ G re e d is g o o d , g re e d is r ig h t, g re e d w o rk s .” H e a d d s : “ G re e d w ill n o t o n ly sav e T e ld a r P a p e r b u t also th a t o th e r m a l fu n c tio n in g c o r p o r a tio n , th e U S A .” T h e t r u th , as G e k k o la te r a d m its , is th a t th e m a r k e t is a z e ro s u m g a m e : fo r e v e ry w in n e r th e re is a lo ser. O n e o f th e f ilm ’s s tr e n g th s is th a t it p r o v id e s a c le a r e x p o s itio n o f th e p ro c e ss b y w h ic h m a rk e ts a re m a n ip u la te d a n d f o rtu n e s m a d e . W a ll S tre e t is a g ia n t r u m o u r m ill w ith a c o n s ta n t a n d r a p id flow o f i n fo rm a tio n a n d d is in fo r m a tio n , g e n e ra lly in itia te d in o r d e r to a c h ie v e a d e s ire d re s u lt. T h e ‘m ill’ lin k s n o t o n ly b r o k e r s , b u t c o r p o r a te e x e c u tiv e s , m e r c h a n t b a n k e r s , fin a n c ia l jo u r n a l is ts , c o m m e r cial la w firm s , c h a r te r e d a c c o u n ta n ts a n d m a jo r in v e s to rs . T h e in d u s tr ia l e s p io n a g e , s e c re t c o m m is s io n s , o v e rse a s n o m in e e c o m p a n ie s ( d e s ig n e d to c o n c e a l th e r e a l o w n e rs h ip o f s h a re s) a n d d o u b le d e a lin g is o n ly o n e sid e o f th e ‘g a m e ’ b u t it h a s b e e n a p a r tic u la rly s ig n ific a n t a s p e c t o f w o rld e q u ity m a rk e ts d u r in g th e r e c e n t b u ll r u n . T h e re c e n t c o lla p se o f s h a re m a r k e ts

T h e s tro n g e s t m o m e n ts o f th e film u n d o u b te d ly b e lo n g to G e k k o as h e slow ly re v e a ls th e re a lity o f W a ll S tre e t to h is n e w -fo u n d p r o te g e . T h e c h a r a c te r o f G e k k o is lo o se ly b a s e d o n I v a n B o e sk y , W a ll S tr e e t’s k in g o f th e a r b i tr a g e u rs (a b r e e d o f in v e s to r w h o h a s a n u n c a n n y a b ility to b u y , a n d th e n sell a t a m u c h h ig h e r p ric e ). B o e sk y w as fin e d $ 1 0 0 m illio n a n d la te la st y e a r se n t to ja il fo r th r e e y e a rs fo r b re a c h e s o f e x c h a n g e re g u la tio n s r e la tin g to in s id e r tr a d in g . G e k k o is th e c r e a tio n o f th e n e w W a ll S tre e t w h ic h h a s o v e r tu r n e d tr a d itio n a l in v e s tm e n t c rite ria . T h e fo cu s o n s h o rt te rm g a in s m a k e s in sid e in f o rm a tio n , r a th e r th a n a n a ly sis a n d r e s e a rc h , th e m a r k e t ’s m o s t v a lu e d c o m m o d ity . C o m b in e d w ith a n e w a ttitu d e o n th e p a r t o f th e b a n k s , w h ic h a re m o v e rs o f m o n e y , r a th e r th a n r a tio n e r s o f f u n d s , it a llo w e d o p e r a to rs lik e G e k k o to in d u lg e in e v e r m o re a m b itio u s p la y s. G e k k o in itia lly a tte m p ts to c o n v in c e F o x th a t th e re is n o co st a tta c h e d to h is ru th le s s p u r s u it o f m o n e y a n d p o w e r. I t h a s a c e r ta in sim p listic a p p e a l; w h o m d o es it h u r t if G e k k o h a s access to in f o rm a tio n n o t a v a ila b le to th e re s t o f th e m a r k e t a n d m a n ip u la te s it to m a k e a p ro fit? B u t as th e film d e v e lo p s a n d it b e c o m e s c le a r th a t h is a c tiv itie s affect b o th th e m a n a g e m e n t a n d w o rk e rs o f th e c o m p a n ie s in w h ic h h e is in v o lv e d , G e k k o e s p o u se s a fo rm o f so c ial d a rw in ism . G re e d , c h a ra c te r is e d b y G e k k o G R E E D IS T H E C R E E D : M ic h a e l D o u g la s ta lk s dollars,

56 - MAY CINEMA PAPERS

w ith its k n o w n a n d a n tic ip a te d effects o n th e g e n e ra l e c o n o m y h a s d e m o n s tr a te d th e im p o r ta n c e o f th e s e issu e s to th e w id e r c o m m u n ity . T h e w e a k lin k in th e film is B u d F o x . A t n o tim e d o e s h e g e n e r a te a n y g e n u in e r a p p o r t w ith a n y o f th e o th e r c h a r a c te r s o r th e a u d ie n c e . A s h e slow ly c o m e s to a re a lis a tio n o f w h a t G e k k o re a lly r e p r e sen ts a n d h o w h e h a s a llo w e d h im s e lf to b e u s e d a n d c o r r u p te d , h e is m e a n t to a p p e a r a s o m e w h a t tr a g ic fig u re : a b a sic a lly d e c e n t k id e x p o s e d to u n n a tu r a l stre s se s a n d te m p ta tio n s . B u t th e d r a m a tic p o te n tia l is n e v e r re a lly d e v e lo p e d , it ra p id ly d e te r io r a te s in to m e lo d r a m a . T h e c h a r a c te r o f G e k k o is m u c h m o re finely d r a w n a n d M ic h a e l D o u g la s g iv es a f irs t-ra te p e r f o rm a n c e . B u t in C h a rlie S h e e n ’s d e fe n c e , D o u g la s is g iv e n m u c h b e tte r m a te r ia l to w o rk w ith . S ta n le y W e is e r a n d S to n e (w h o w e re r e s p o n s ib le for th e sc rip t) d is p la y m o r e in s ig h t in to th e s in g le -m in d e d r a id e r th a n th e c o n fu sed a n d g r a s p in g y o u n g b ro k e r. T h is is b o r n e o u t w ith th e s tr o n g c h a r a c t e r isa tio n o f a n o t h e r ra id e r, S ir L a r r y W ild m a n (T e re n c e S ta m p ) w h o se c o n fro n ta tio n w ith G e k k o is a h ig h lig h t. Wall Street, fo r all its fa u lts , p ro v id e s a

f a s c in a tin g g lim p se in to th e w o rld o f h ig h f in a n c e a n d th e e n tr e p r e n e u r s , so m e w o u ld say r ip -o ff m e r c h a n ts , w h o h a v e b e e n g u id in g its d e s tin y . A n d th e re is n o d o u b t th a t d e s p ite th e ir g r u b b i n e ss, th e se la rg e r- th a n -life c h a ra c te rs h a v e a c e r ta in a n a rc h is tic a p p e a l. Tom Skotn icki WALL STREET: Directed by Oliver Stone. Producer: Edward R. Pressman. Co-producer: A. Kittman Ho-. Screenplay: Oliver Stone, Stanley Weiser. Director of photography: Robert Richardson. Production designer:Stephen Hendrickson. Music: Steward Copeland. Editor: Claire Simpson. Cast: Charlie Sheen (Bud Fox), Michael Douglas (Gordon Gekko), Martin Sheen (Carl Fox), Terence Stamp (Sir Larry Wildman), Sean Young (Kate Gekko), Daryl Hannah (Darien Taylor). Production company: Edward R. Pressman Productions. Distri butor: Fox Columbia. 35mm. 124 minutes. USA. 1987.

• WINGS OF DESIRE T h e first im a g e - s o u n d e v e n t in Wings Of Desire (th e b la c k a n d w h ite close u p o f a h a n d w r itin g o n a p a g e ) in tr o d u c e s u s to lev els b o th in v itin g ly a b s tra c t — p h ilo so p h ic a l id e a s c o n c e r n in g life, in n o c e n c e , b e in g , so u l, lo v e — a n d in s is t e n tly c o n c re te : th e te x tu r e o f m a te ria ls (v o ic e , p a p e r , p e n ) a n d th e p re c is io n o f th e ir c re a tiv e tr a n s c r ip tio n o n to film . I t ’s h a r d e n o u g h to s p e a k a d e q u a te ly o f th e a b s tra c t le v els — so te n ta tiv e , g e n tle

a n d b r a v e — a n d so e a sy to c o n s u m e o n e s e lf r h e to ric a lly d e f e n d in g th e m a g a in s t a n a r m y o f u n k in d a n d m is r e a d in g c ritic s, th a t e v e n th e fo n d e s t lo v e r o f th e film m ig h t n e v e r to u c h o r te stify to its fo rm a l b e a u ty a n d g re a tn e s s . P e r h a p s th e w rite r s h o u ld p r o c e e d as W e n d e r s d o e s, slow ly a n d s u re ly — fro m th e tr e m b lin g d e ta il to th e h e te r o g e n e o u s w h o le , fro m th e s u b lim e f ra g m e n t to th e p r o fo u n d g e n e ra lity . T h is to o sh o rt re v ie w o ffers o n ly o n e m o m e n t a n d a few id e a s fro m Wings Of Desire. A t th e c ro s s ro a d s o f th e film a n d th e tr a je c to ry o f its c h a r a c te r s : tw o a n g e ls in v isib le to m o r ta l ey e s, D a m ie l (B ru n o G a n z ) a n d C a ssie l ( O tto S a n d e r ) , b e s id e th e B e rlin W a ll. D a m ie l is a b o u t to cross o v e r in to m o r ta l life, in se a rc h o f th e e x p e rie n c e o f e a r th ly lo v e , a n d a w o m a n , M a r io n (S o lv e ig D o m m a r tin ) . A s th e tw o m e n ta lk fo r th e la st tim e , tra c e s o f a n o th e r w o rld s u d d e n ly e r u p t o n th e su rfa c e o f th e film : a b u r s t o f c o lo u r, a b u r s t o f m u s ic . D a m ie l h a s left f o o tp rin ts in th e sn o w . A la te r a l c a m e ra m o v e m e n t sw ee p s o u r g a z e a s id e to th e rig h t — a r o u tin e p o lic e p a tro l is ta k in g p la c e — a n d th e n b a c k ; n o w C a ssie l h o ld s th e lim p b o d y o f D a m ie l in his a rm s. T h e se c o n d m o v e m e n t o f th e film b e g in s. T h e r e is a c in e m a o f tw ilig h t, a c in e m a o f h a lf liv e s, h a lf liv e d . T h is c in e m a tr a d itio n a lly b e lo n g s to th e p e rs o n w id e -e y e d a t th e w in d o w , k e y h o le o r m o v ie s c re e n — th e s tr a n g e r in p a ra d is e . O u tw a rd ly p a s s iv e , th e s tr a n g e r in fac t w a tc h e s a n d lis te n s a n d th in k s fu rio u s ly ; a n d h e o r she y e a rn s . T h e r e is n o ‘b e y o n d ’ to w h ic h d e a th m ig h t re le a se th e s tr a n g e r ; th e v isio n o f e a rth ly , e a r th y life, j u s t o v e r th e re , is all th e h e a v e n o n e c o u ld e v e r d e s ire . T h e c in e m a o f W im W e n d e r s , u p to a n d i n c lu d in g Paris, Texas, is p e r h a p s th e s in g u la r c o n te m p o r a r y e m b o d im e n t o f a tw ilig h t v isio n , p a in e d a n d a t o n e re m o v e . T h e first h a lf o f Wings Of Desire in b la c k and w h ite s u m m a ris e s W e n d e r s ’ sto ry so fa r. T h e a n g e ls a re m e ta p h o r s fo r th e c o n d itio n o f h a lf life. A s th e v ir tu a l ey es a n d e a rs o f th e c in e m a tic a p p a r a tu s , th e y p a r ta k e o f th a t e sp e c ia lly p o ig n a n t h a lf life w h ic h is th e lo t o f film m a k e r a n d film s p e c ta to r alik e: to see a n d h e a r all, w ith p a r tic u la r c la rity a n d in s ig h t, y e t n e v e r to to u c h life o r in te r v e n e in its u n fo ld in g . R a y m o n d D u r g n a t sa id o f W e n d e r s at th e tim e o f Paris, Texas (in Studio Inter national D e c e m b e r, 1 9 85), “ F in ally , p e r h a p s , h e is a R o m a n tic as a n c ie n t as H e rz o g . H is m o d e r n th e m e s . . . m a sk th e p o e tic a n g s t o f th e E g o is tic S u b lim e .” The “ m o d e r n th e m e s ” s k e tc h e d in th e first few m in u te s o f Wings Of Desire — a m o s a ic o f u r b a n a lie n a tio n , f r a g m e n ta tio n , d e s o la tio n — in d e e d p ro v id e o n ly th e ‘g r o u n d ’ fo r th e tr a n s c e n d e n c e t h a t lo v e e v e n tu a lly b r in g s to th e s a d , s o lita ry eg o . (G a ssie l a t o n e p o in t e v e n re le a se s a lite ra l cry o f “ p o e tic a n g s t” .) T h e film a s p ire s to a v e rita b le transfiguration — fro m h a lf life to fu ll life, re fle c tio n to a c tio n , tw ilig h t >

CINEMA PAPERS MAY - 57

< to s u n ris e . T h e ‘r e a l w o r ld ’, w ith its co l le c tiv e m e la n c h o lic m is e ry , is le ft b e h in d as D a m ie l p ro c e e d s d ire c tly “ F ro m H e r to E te r n i t y ” (a N ic k C a v e s o n g in th e film ) — d iss o lv e d in th e fa m ilia r W e n d ers tr a n s i t lo u n g e o f te m p o r a r y , d is tin c tly u n d o m e s tic sp a ce s: p la c e s o f q u ie t a n d m o b ile m a g ic lik e lib ra ry , n ig h tc lu b , r u in , film se t, a ir p o r t, c irc u s, s tre e t . . . A lo n g w ith th is ro m a n tic is m o f tra n s c e n d e n c e c o m e s a d r e a m o f one ness, d iv in e fu sio n : a m a r r ia g e , o n th e p o litic a l- h u m a n is t le v e l, o f th e ‘tw o B e rlin s ’ (E a s t a n d W e s t o f th e W a ll) as m u c h as, o n th e s p ir itu a l p la n e , D a m ie l a n d M a r io n — A d a m a n d E v e o f a N e w A ge. Y et in th is film , th e tw o h a lv e s o f w h ic h ta lk to e a c h o th e r w ith su c h e q u a lity , a n d e n tw in e a r o u n d e a c h o th e r w ith su c h affe c tio n a n d re sp e c t fo r e a c h o th e r ’s a u to n o m y — as d o th e lo v e rs — s o m e th in g b e s id e s tr a n s c e n d e n c e a n d o n e n e ss is su re ly p r e s e n t, so m e o th e r d e e p c lu s te r o f m o o d s , id e a s, s u g g e s tio n s . A n in s p e c tio n o f e v e ry s e e m in g b in a r y o p p o s itio n in Wings O f Desire — a n g e l/h u m a n , m a n /w o m a n , h a lf life /fu ll life, a c tio n /re fle c tio n , m e la n c h o ly /jo y — w ill u n c o v e r th e su p p le w is d o m o f a n u n d e r ly in g sy stem o f e c h o e s, p a r a d o x ic al c o m p a ris o n s , r e c ip ro c a l e x c h a n g e s — m e d ia te d p e r h a p s m o st s tr ik in g ly b y P e te r F a lk , th a t a c to r ‘p la y in g h im s e lf (classic g u a r a n te e o f a ‘re a lity e ffe c t’) w h o is re v e a le d to b e , ‘in f a c t’, a fallen a n g e l. W e n d e r s m a y d r e a m o f a n d e v e n go so fa r as to r e p r e s e n t o n e n e ss, b u t w h a t h is film m a te ria lly d e m o n s tra te s o v e r a n d o v e r in its s tr u c tu r e a n d fo rm is a p ro fo u n d ‘tw o n e s s ’ m u ltip lie d to a n in fin ity o f d iffe re n c e : fro m “ th e d o z e n s o f m ic ro -fic tio n s w h ic h h a v e n o less im p o r ta n c e th a n th e sto ry o f B r u n o G a n z a n d S o lv eig D o m m a r t i n ” (A la in P h ilip p o n , Cahiers du Cinema 4 0 0 , O c to b e r 1987), to C a s s ie l’s o b s tin a te re s is t a n c e to th e p re v a ilin g m o v e m e n t o f tr a n s f ig u r a tio n , re fu s in g F a lk ’s h a n d a n d c a llin g b a c k in to th e film , a t its o p e n e n d , th e v is io n a ry m e la n c h o ly o f th e old ‘s e e r ’ ( C u r t B ois). D iffe re n c e in v a d e s also th e v e ry lo o k a n d s o u n d o f th e film , tr a n s f o r m in g it in to a h e te r o g e n e o u s e n s e m b le fa r r e m o v e d fro m th e se a m le ss gloss o f th e ty p ic a l a r t- h o u s e film . I t p lu n d e rs th e e x tre m e s o f d is a rm in g ly ‘n a i v e ’ im a g e ry (a r a d ia n t face s u p e rim p o s e d o n c lo u d s) a n d e x tre m e ly s o p h is tic a te d ‘a v a n t g a r d e ’ te c h n iq u e s . T h e film d isp la y s its p ro c e sse s o f r a n d o m im p r o v is a tio n (th e sk e tc h -s c rip t w as in a c o n s ta n t s ta te o f flu x , so m e k ey c h a ra c te rs b e in g a d d e d a fte r s h o o tin g h a d a lre a d y b e g u n ) — m u ltip ly in g d iv e rse e le m e n ts a n d fo llo w in g e a c h o n e d o w n its o w n c o u rs e , su c h as P e te r H a n d k e ’s c o n tr ib u tio n o f a b e a u tif u l ‘t e x t’ th a t is a t all tim e s c le a rly re c ite d , m a rk e d a n d p r e s e rv e d in th e film as p re c ise ly te x t. T h e r e is a b r e a t h ta k in g p la y o f r h y th m , to n e , r e g is te r a n d te x tu r e c h a n g e s — a h e te r o g e n e ity a lte r n a te ly ‘le t lo o s e ’a n d th e n d r a w n in b y p o w e rfu l, n o d a l a r tic u la tio n s o f im a g e a n d s o u n d , su c h as th e m o m e n t w h e n

58 — MAY CINEMA PAPERS

G assiel ‘c u ts ’ th e s o u n d m ix fro m c a c o p h o n y to tr a n q u illity s im p ly b y p u tti n g h a n d to e a r. O n e is te m p te d still f u r th e r b y th e e x tr a o r d in a r ily g e s tu ra l, n o n p sy c h o lo g ic a l p e rfo rm a n c e s o f G a n z a n d S a n d e r to call Wings O f Desire a tr u e e x a m p le o f th e ‘essay f ilm ’. T h e e ssa y in c lu d e s , a m o n g m u c h else, a m e d ita tio n o n sto rie s — o n th e p o s s i b ility o f te llin g n e w sto rie s, a n d o n a n e w w a y o f te llin g th e m . T ra d itio n a lly , fo r W e n d e r s , n a r r a tiv e h a s a lw a y s b e e n a sa d a ffa ir, in a u g u r a te d b y d is e q u ili b r iu m , e s c a la tin g to v io le n c e a n d in e v it ab le d e a th . T h e a n g e ls ’ m y th ic a l ta le o f th e m a n w h o b e g a n h u m a n h is to ry b y ‘b r e a k in g th e c irc le ’ a n d r u n n in g f u n c tio n s as a su g g e stiv e s u m m a r y o f W e n d e r s ’ p e s sim is m fro m h is e a rlie s t sh o rts (o n e w h ic h sh o w s re p e a te d ly leg s r u n n in g , a g u n , b lo o d ) to The State Of Things (w h e n th e ‘p lo t’ s ta rts , th e h e ro m u s t d ie ). Wings Of Desire seek s fo r a n d fin d s, in th e n a m e o f w o rld p e a c e , a fo rm o f n a r r a tiv e w h ic h is g e n tly d r iftin g , n o n e s c a la tin g . A n d , a lth o u g h W e n d e r s also re fin d s a circ le — th e circ le w h ic h D o m m a r t in fo rm s as sh e sp in s in th e a ir — th e fig u re is n e ith e r sta tic n o r im p e r is h a b le , a n d la y s n o c la im to a s p a c e -tim e o f ‘p r e - h is to r y ’. W ith all its s e p a ra te p a r ts th a t m o v e a n d c o n v e rse w ith e a c h o th e r, th a t allo w m u tu a l d iffe re n c e a n d th u s c h a n g e , Wings Of Desire is tr u ly a film “ to b e c o n t in u e d ” . A nn e-M arie C raw ford a n d A d ria n M a r tin WINGS OF DESIRE: Directed by Wlm Wenders. Pro ducers: Wlm Wenders, Anatole Dauman. Executive pro ducer: Ingrid Windisch. Associate producer: Joachim von Mengershausen. Screenplay: Wim Wenders, Peter Handke. Director of photography: Plenry Alekan. Art director: Heidi Ludi. Music: Jurgen Knieper. Editor: Peter Przygodda. Cast: Bruno Ganz (Damiel), Solveig Dommartin (Marion), Otto Sander (Cassiel), Curt Bois (Homer), Peter Falk (Peter Falk). Production company: Argos Films/Road Movies/WDR. Distributor: Dendy Cinema. 35mm. 130 minutes. FranceA/Vest Germany. 1987.

• WARM NIGHTS ON A SLOW MOVING TRAIN B o b E llis h a s sa id th a t w e d o n o t g et p lo ts in A u s tr a lia . T h e c o u n tr y is to o b ig fo r p lo ts. P lo ts , h e say s, “ c o m e o u t o f c la u s tr o p h o b ia ” . Y et w e d o n o t g et m u c h o f a p lo t in Warm Nights On A Slow Moving Train, th o u g h th e c la u s tro p h o b ia in th e c o n s tric te d p a s sa g e w a y s o n th e M e lb o u rn e - S y d n e y E x p re s s is n ic e ly c o n v e y e d . Y u ri S o k o l’s c in e m a to g r a p h y a n d P e te r S u lliv a n ’s m u s ic h e lp c re a te s o m e th in g o f th e a m b ie n c e th a t th e f ilm ’s w o n d e r f u l ly s u g g e s tiv e title p ro m is e s u s. C u rio u s ly , Warm Nights is a w r i te r ’s film w h ic h m u s ic , c in e m a to g ra p h y a n d p e r f o r m a n c e m a k e a w o rth y a tte m p t to re sc u e . T h e f ilm ’s c e n tr a l fig u re , p la y e d b y W e n d y H u g h e s (fo r w h o m Warm Nights is a k in d o f sh o w c a se ) is, w e a r e to ld , as m a n y p e o p le as sh e w a n ts to b e . A te a c h e r b y d a y (in a C a th o lic sc h o o l), sh e w o rk s th e tr a i n o f a w e e k e n d , to s u p p o r t th e d r u g h a b i t o f h e r b r o th e r (L e w is F itz - G e r a ld ), o n c e a p r o m is in g s p o rts h e r o , n o w c o n fin e d to a w h e e lc h a ir in a H o u s in g C o m m is s io n fla t. S h e is a k in d

o f c o u s in to D ia n e K e a t o n ’s c h a r a c te r in

Looking For M r Goodbar, b u t m o r e a n e v e ry w o m a n / g o o d - h e a r te d p ro s titu te . E a c h m a n , sh e sa y s, “ w a n ts a n im a g e to b rie fly lo v e ” , a n d sh e g iv e s th is to h im , fo r c a sh , u n til th r e e in th e m o r n in g , w h e n sh e tu r n s b a c k in to a v u ln e ra b le h u m a n b e in g , w h o , lik e th e re s t o f u s, r u n s th e ris k o f in v o lv e m e n t. H u g h e s ’ cool b e a u ty is th e fo cu s a n d th r e a d o f th e film , as h e r c h a r a c te r tr a n s f o r m s fo r n e w c u s to m e rs . J o h n C la y to n , as th e fa lle n -fro m -s u c c e s s -a n d d o m e s t i c - h a p p i n e s s f o o tb a ll c o a c h ; N o r m a n K a y e , as th e r e tir e d tr a v e llin g s a le s m a n w h o h a s f o u n d G o d b u t d o e s n ’t t u r n a g o o d th in g d o w n w h e n h e ’s o n to it; a n d R o d Z u a n ic , p la y in g th e y o u n g a r m y r e c r u it w ith a to u c h o f re b u ffe d m e n a c e , all d o w ell w ith in th e c o n s tra in ts o f th e s c rip t a n d th e c h a r a c te r clich e s w ith w h ic h th e y a r e h a n d i c a p p e d . S te v e J . S p e a rs g lo w s w ith u n r e c u p e r a te d six tie s sc ru ffin e ss, and P e te r W h itf o r d e v e n d o e s w ell as th e fig u re w e ’v e b e e n p r e s e n te d w ith so m a n y tim e s b e fo re , th e p o r tly , m id d le a g e d , u n lu c k y -in -lo v e h o m o s e x u a l. I n s e r tio n s fro m th e w o m a n ’s d a y tim e life b r e a k u p th e tr a i n d ia lo g u e s . P r e s u m a b ly sh e is a n a r t te a c h e r . W e see c h ild re n , s u g g e s tio n s o f ‘in n o c e n c e ’ , p r a y in g , s c u lp tu r e s o f n u d e s a n d a n a e s th e tic is e d , re lig io u s ly -s a n c tio n e d s e n s u a lity . T hese s c e n e s, h o w e v e r, r e m a in s o m e h o w e x te r n a l. T h e y a re sto c k p ic tu r e s im p o r te d f ro m o u ts id e , n o t in fle c te d in a n y o r ig in a l o r e n r ic h in g w ay. W e also see H u g h e s a n d h e r b r o th e r h a v in g g o o d , a n d th e n b a d tim e s , w h e n h e k n o w s s o m e th in g is g o in g w ro n g in h e r life a n d th a t h e h a s had enough o f h is . F i t z - G e r a l d ’s m e n a c e , as h e u se s h is c h a ir as a w e a p o n o f r e s e n tm e n t a n d f r u s t r a tio n , m a k e s u s th in k s o m e th in g f r ig h te n in g w ill e v e n tu ally h a p p e n . ( E v e n J o h n F la u s ’ b r ie f a p p e a r a n c e as a ta x i d r iv e r w h o p ic k s u p and a d d r e s s e s / c o m m e n ts u p o n th e w o m a n , n ic e ly s u g g e sts a m e n a c e th a t n e v e r e r u p ts .) H u g h e s , as h e r b r o th e r su g g e sts, d o e s h a v e a p r o b le m . H e r s tr a n g e b u t r o u tin e life h a s b e e n t u r n e d u p s id e d o w n b y a m y s te r io u s s tr a n g e r ( C o lin F rie ls ). W h a t p lo t d e v e lo p m e n t o c c u rs , h in g e s o n h is e n tr y in to h e r life. W e see h im se v e ra l tim e s , w a tc h in g h e r , c a lc u la tin g . F in a lly , w h e n sh e s u r r e n d e r s to h is s u r Warm p ris e se x u a l a t ta c k /e m b r a c e , Nights, fo r a b r ie f m o m e n t, b e c o m e s h o t. B u t th is m o m e n t, a n d th e few scen es w ith F rie ls a f te r th is , c a n n o t c o n v in c e u s th a t H u g h e s , b e s o tte d b y th is m is le a d in g ly w id e -e y e d i n t r u d e r , w o u ld b e c o m e a k ille r fo r h im . F o r a g o o d s u m o f m o n e y , it is p ro p o s e d th a t sh e m u r d e r a m id d le - a g e d , w o m a n is in g , le ft-le a n in g p o litic ia n . E v e r y o n e is to g a in . T h e r e w ill b e o n e less ‘d a n g e r o u s ’(!) p o litic ia n a r o u n d , sh e a n d h e r b r o t h e r w ill b e c o m fo rta b le a n d th e s tr a n g e r w ill h a v e g o tte n h is m a n . H u g h e s h a s g lim p s e d F rie ls w ith a n o t h e r w o m a n b u t c le a rly h o p e s th a t th e m o n e y w ill n o t b e h e r o n ly r e w a r d .

C a n w e r e a lly b e lie v e th is b e a u tif u l, g o o d - h e a rte d p r o s titu t e b e c o m e s v u l n e r ab le fro m th e tim e o f th e s t r a n g e r ’s firs t w e lc o m e a s s a u lt to th e p o in t w h e r e sh e w ill k ill fo r h im ? W e h a v e h a d n o h in t o f c a llo u s n e ss in h e r — q u ite th e o p p o s ite . W o u l d n ’t sh e h a v e w a n te d to k n o w j u s t a little m o r e a b o u t th e p o litic ia n b e fo re k illin g h im b e c a u s e h e r lo v e r sa y s h e sh o u ld b e k ille d ? ( E v e n if sh e h a s h a d ‘r e a l’, d ir ty sex w ith h im ; sh e d o e s n o t th in k o f h e r s e lf as a ‘w h o r e ’ , sh e sa y s — o n ly w ith h im .) F o r th e s to ry to w o rk o n m o re th a n a m e c h a n ic a l le v e l, w e to o co u ld h a v e k n o w n m o r e a b o u t th e m u r d e r v ic tim . I n s te a d , w e h a v e th e g e s tu re s o f a ty p e a n d a m ilie u a n d h e is m a d e to d e liv e r, p o n d e r o u s ly , so m e o f

th e w o rs t lin e s in th e film . I t h a s b e e n sa id th a t th e p r o d u c e r s c u t Warm Nights fro m 130 to 90 m in u te s . T h e sk e tc h in e ss r e f e r re d to h e r e m ig h t p a r tly r e s u lt fro m th a t. W e ’v e b e e n to ld th a t h u m o u r a n d p la y fu l q u ir k in e s s h a v e d is a p p e a re d . I w o u ld h a v e e n jo y e d m o r e tim e o n th e slo w -m o v in g tr a i n . B u t I w o u ld n o t w a g e r th a t th e film c o u ld b e r e s c u e d b y th e r e s to r a tio n . Its p ro b le m s c a n n o t all b e la id a t th e fe e t o f a n e d ito r. T h e v e ry c o n c e p tio n o f th e film h a s to o m u c h th a t is s e c o n d h a n d b u ilt in to it. T h e film s o m e h o w d o e s n o t c o m e to g e th e r, as a whole it d o e s n o t ‘p e r f o r m ’. Warm Nights ta k e s u s a w a y fro m A u s tr a lia n film as b e a u tif ie d ‘h is t o r y ’, sp a c e o f lo st in n o c e n c e . It w o u ld n o t g et

P a u lin e K a e l’s ‘se al o f Good Housekeep ing1 a w a rd , w ith w h ic h sh e th r e a te n s safe, u n tr o u b lin g , w e ll-m a d e A u s tr a li a n film s. T h is b r in g s m e to a fin a l n o te o n th e ro le o f th e lo c a l c ritic o f A u s tr a li a n film s. B e c a u se o f th e d iffic u ltie s o f a sm a ll in d u s tr y a n d g iv e n th e still p r e v a le n t a t titu d e th a t fo re ig n is b e t te r , so m e c ritic s tr y — in d e e d se e m to feel m o ra lly b o u n d — to c o m p e n s a te fo r th e o d d s s ta c k e d a g a in s t o u r w rite r s , d ir e c to rs a n d p e r f o rm e r s . T h is c a n le a d , a t its w o rs t, to a p a tr o n is in g d o u b le - s ta n d a r d , lik e r e s e rv in g k in d ly w o rd s fo r a p o o r c o u s in o r a c h a r ity p a tie n t. B u t if A u s tr a lia n film s a re w o rth ta lk in g a b o u t, a n d th e y a re , it s h o u ld b e in th e sa m e la n g u a g e th a t w e u se to ta lk a b o u t ‘o th e r p e o p le ’s p ic tu r e s ’. S u c h d is c u s s io n c a n o n ly e n h a n c e th e v a lu e w e a tta c h to A u s tr a lia n film s. I t s h o u ld h e lp o p e n u p , r a th e r th a n close d o w n , a n d p la c e o n th e d e fe n siv e , a liv e ly A u s tr a lia n film c u ltu re . Lorraine M ortim er WARM NIGHTS ON A SLOW MOVING TRAIN: Directed by Bob Ellis. Producers: Ross Dimsey and Patric Juillet. Executive producers: William T. Marshall, Peter Sher man, Robert Ward. Screenplay: Bob Ellis and Denny Lawrence. Director of photography: Yuri Sokol. Produc tion designer: Tracy Watt. Music: Peter Sullivan. Editor: Tim Lewis. Cast: Wendy Hughes (The Girl), Colin Friels (The Man), Norman Kaye (Salesman), John Clayton (Football coach), Lewis Fitz-Gerald (Brian), Rod Zuanic (Young Soldier), Steve J. Spears (Singer), Grant Tilly (Politician), Peter Whitford (Steward), Peter Sullivan (Plano-playing steward), Chris Haywood (Stationmaster). Production company: Western Pacific Films. Distributor: Filmpac. 35mm. 90 minutes. Australia. 1987.

•RECENT RELEASES A S u p p le m e n ta ry G u id e M a rc h : • T h e P u rsu it O f H ap p in ess (AFI) • R usskies (Village R oadshow ) • T h e S urfer (F ro n tie r Films) • J u lia A nd J u lia (H oyts) • S urvival Q u est (V illage R oadshow ) • M o o n stru ck (U IP ) • E m pire O f T h e Sun (V illage R oadshow ) • H id in g O u t (H oyts) • O v erb o ard (U IP ) • R ep en tan ce (H oyts) • T h e C ouch T rip (V illage R oadshow ) • Ironw eed (Village R oadshow ) • Less T h a n Zero (Fox C olum bia) • 101 D alm atian s (Village R oadshow ) • B atteries N ot In clu d ed (U IP ) • T eenw olf Too (Film pac) • V ice V ersa (Fox C olum bia) • Police A cadem y 5 (V illage R oadshow ) • C an n ib a l T ours (R o n in ) A p ril: • N ightflyers (V illage R oadshow ) • H ousekeeping (V illage R oadshow ) • Som eone To W atch O v er M e (Fox C olum bia) • T h e Sacrifice (S harm ill Film s) • T h e W oo W oo K id (V illage R oadshow ) • S outh O f T h e B order (D avid B rad b u ry /R o n in ) • W hite M isch ief (Fox C olum bia) • Baby Boom (U IP ) • A M o n th In T h e C o u n try (Village R oadshow ) • G ood M o rn in g V ie tn a m (Village R oadshow ) • Slam D ance (H oyts) • H e ’s M y G irl (V illage R oadshow ) • E ddie M u rp h y — R a w (U IP ) • C o p (Film pac) LOVE IS BLIND: Wendy Hughes and Colin Friels in the course of a warm night CINEMA PAPERS MAY - 59

b o o k

r e v i e w

ACTOR! ACTOR! • T H E IN T E R N A T IO N A L D IC T IO N A R Y O F F IL M S A N D F I L M M A K E R S : A C T O R S A N D A C T R E S S E S e d ite d by J a m e s V in so n (M a c m illa n , 1986, I S B N 0 333 4 5 8 9 6 6, rrp $35 p b ). • B R A N D O : T H E U N A U T H O R I Z E D B I O G R A P H Y by C h a rle s H ig h a m ( S id g w ic k & J a c k s o n /M a c m illa n , 1987, I S B N 0 283 99501 7, rrp $ 2 9 .9 5 h b ). • C H A R L O T T E R A M P L IN G : W IT H C O M P L IM E N T S I n tro d u c tio n b y D irk B o g a rd e (Q u a rte t, 1987, I S B N 0 7043 2642 6, rrp $6 5 .9 5 h b ). • M I C K E Y R O U R K E b y B a rt M ills (S id g w ic k & J a c k s o n / M a c m illa n , 1988, I S B N 0 283 9 9 5 2 0 3, rrp $ 1 9 .9 5 p b ).

F O U R v ery d iffe re n t b o o k s a b o u t a c to rs ra n g in g fro m th e su b lim e to th e m e tic u lo u s . T h e I n te r n a tio n a l D ic tio n a r y O f F ilm s A n d F ilm m a k e r s is th e la tte r, th e th ir d v o lu m e in a v ery u se fu l series: 670 p ag e s o f a c to rs fro m A b b o t, B u d to Z h a o , D a n , each w ith b r ie f b io g ra p h ic a l d e ta ils; a list o f ro le s, in c lu d in g th e n a m e o f th e c h a ra c te r p la y e d ; a b ib lio g ra p h y ; a n d a n e v a lu a tiv e essay f ro m a c ritic o r a c a d e m ic (w e g et th e likes o f R o b in W o o d , S tu a r t M . K a m in sk y , J e a n in e B a sin g e r, A n th o n y S lide a n d R o g e r M a n v e ll). T h e list in c lu d e s n o t o n ly E n g lish , A m e ric a n a n d E u ro p e a n a c to rs , b u t also a fa ir sp rin k lin g o f E a s t E u ro p e a n a n d A sia n p e rfo rm e rs . A s a re s e a rc h to o l, th is is o b v io u sly d en se a n d d e ta ile d , a n d th e b ib lio g ra p h ie s in p a r tic u la r w ill b e a n ex c ellen t re so u rc e . T h e re a re a few m issp ellin g s — K a th e rin e H e p b u r n , R o b e rt D e N e ro , T h e D a ir y O f A n n e F r a n k , fo r e x a m p le — w h ic h a re a little u n n e rv in g to fin d . T h e e v a lu a tiv e essays v a ry in a p p r o a c h a n d in te re st — n o t su rp risin g w ith th e n u m b e r o f d iffe re n t w rite rs e n g a g e d o n th e p r o je c t. I t ’s n o t ju s t a q u e s tio n o f sp a c e , a lth o u g h th is is o b v i o u sly a f a c to r. E rn e s t B o rg n in e is o n e o f th e s h o rte s t en trie s, w ith f o u r p u n c h y p a r a g ra p h s , w h ile so m e o f th e m o re e x p e ri en ced essay ists a c h ie v e th e c o m p re s s io n u su a lly d isp la y e d by th o se c a llig ra p h e rs w h o w rite th e L o r d ’s P ra y e r o n a p o sta g e s ta m p , a n d c a n d o w o n d e rs w ith 500 w o rd s. N o n e o f th e m ach iev e th e su g g e stiv e b re v ity o f a w o rk like D a v id T h o m s o n ’s B io g ra p h ic a l D ic tio n a r y O f T h e C in e m a , b u t th a t is n o t th e k in d o f w o rk th a t th is d ic tio n a ry sets o u t to be. W h a t d o es it say a b o u t th e su b je c ts o f th e se o th e r b o o k s? M ick ey R o u rk e d o e s n ’t m a k e it a t all. N e ith e r d o e s C h a rlo tte R a m p lin g . A n d B ra n d o ? A c c o rd in g to S te p h e n L . H a n s o n , “ H is d e lin e a tio n o f his c h a ra c te rs in th o s e e a rly film s as u n iq u e re p re se n ta tiv e s o f th e u n d e rb e lly o f A m e ric a n so c iety th ro u g h his o w n in te r p re ta tio n o f m e th o d a c tin g ca u se d h im to be re g a rd e d as a ‘m u m b lin g s lo b ’ b y a n u m b e r o f film c ritics. H is p sy c h o lo g ic a l a p p r o a c h to e s ta b lish in g a c h a ra c te r d o e s, in fa c t,

Marlon Brando

60 — MAY CINEMA PAPERS

Mickey Rourke

Charlotte Rampling

b u ild u p o n h e s ita n t (n o t n e c e s sa rily m u m b lin g ) sp e ec h p a tte r n s th a t h in t a t a s u p p re s s e d p o w e r t h a t c a n a b r u p tly b u r s t f o r th in to v io le n c e .” F o r H a n s o n , it is th e r e v o lu tio n a ry s p irit o f Z a p a ta th a t is th e k ey to B r a n d o ’s la te r ro le s, even J o r -E l in S u p erm a n . In C h a rle s H ig h a m ’s u n a u th o ris e d b io g ra p h y , V iva Z a p a ta ! is th e m o v ie w h e re M a rlo n B ra n d o lo s t h is c o n ta c t len ses, b ro u g h t h is ra c c o o n o n se t, d id n ’t h a v e a n a f f a ir w ith J e a n P e te rs a n d d id n ’t g e t o n p a r tic u la rly w ell w ith A n th o n y Q u in n . T h e b lu rb d e sc rib e s th is b o o k as “ ric h ly a n e c d o ta l” w h ich is a g e n e ro u s w ay o f sa y in g th a t h e h a s b e e n a b le to in te rv iew a lo t o f p e o p le w h o h a v e w o rk e d w ith o r k n o w n M a rlo n B ra n d o a n d th e y h a v e n o t b e e n a b le to te ll h im a n y th in g th a t a d d s u p to very m u c h . S o m e o f th e sto rie s o f B r a n d o ’s c h ild h o o d a re in te re s t ing w h e n re la te d to h is m o n o lo g u e in L a s t T a n g o In Paris', b u t a p a r t fro m th e “ ric h ly a n e c d o ta l” m a te ria l, w e h a v e to deal w ith se n te n c e s lik e, “ W h e n h e w a lk e d in to s o m e o n e ’s p sy c h e he le ft his m a rk f o re v e r ” ; “ O n ly G e n e K elly in m u sica ls m a tc h e d h im as a re v o lu tio n a ry in s ty le ” ; “ T h e s o u n d o f M a rlo n te a rin g M a ria S c h n e id e r’s u n d e r p a n ts as h e m o u n te d h e r c a u se d in s ta n t sh o c k w a v e s .” M ic k e y R o u r k e , w h o se s u b je c t h a s a lso b e e n f o n d o f h e s ita n t sp e ec h p a tte r n s , c o u ld n o t b e d e s c rib e d as ric h ly a n e c d o ta l. It is a b o o k fo r a f a n , a n u n a s h a m e d p a tc h w o r k q u ilt o f in f o rm a tio n , q u o te s f ro m rev iew s, b its f ro m in te rv ie w s a n d p le n ty o f p h o to s . I t ’s a n e ffic ie n t c u t-a n d -p a s te jo b . C h a rlo tte R a m p lin g is o n e o f th e few a c tre sses fo r w h o m R o u rk e h as h a d a g o o d w o rd . C h a r lo tte R a m p lin g : W ith C o m p lim e n ts , is s h o r t o n g o o d w o rd s itse lf: it h a s a c o n trib u tio n f ro m N a g is a O s h im a , ‘C a llig ra p h y f o r C h a rlo tte R a m p lin g ’ (n o t tr a n s la te d ) a n d a b r ie f ‘p o r t r a i t ’ f ro m D irk B o g a rd e , b u t th e b u lk o f th is ex p e n siv e , s le n d e r b o o k is p h o to g r a p h s , fro m h e r m o d e l p o r tfo lio in 1963 to se a sid e p o se s a t C a n n e s to stills fro m T h e N ig h t P o r te r to H e lm u t N e w to n p o r tra its . O n v irtu a lly ev ery p a g e , h e r eyes d o m in a te th e im a g e. D irk B o g a rd e calls h e r g az e “ t h a t L o o k ” a n d re fe rs to “ th e p o w e r o f th o s e w o n d e rfu l eyes: g re e n , w id e, a p p a lle d ” , a d d in g , “ I h av e seen th e g lo w in g e m e ra ld eyes c h a n g e to ste el w ith in a se c o n d , o r, o n th e o th e r h a n d , f a d e g e n tly to th e s o fte s t, te n d e re s t, m o st d o e -e y e d b ra c k e n b r o w n w h e n , in th e c o m p a n y o f h e r h u s b a n d , h e r c h ild re n , v e ry clo se f rie n d s , sh e h a s ta k e n h e r p la c e as ‘M o th e r ’ a t a fa m ily c e le b r a tio n .” F o rtu n a te ly , in m o s t cases h e r g az e is c o n s id e ra b ly m o re e lo q u e n t. A s th is b o o k te stifie s, i t ’s a sh a m e th a t th e su b lim e p o ssib ilitie s o f th e L o o k h a v e n o t b e e n d e a lt w ith b e tte r , b y w rite rs o r film m a k e rs .

P h ilippa H aw ker

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TEC H N IC A L ITIE S

For

Channel

10,

marks the spot. For

the ABC, it’s infinity.

FRED HARDEN looks

at the hows and whys

of TV network logos,

focusing

A ustralian

recent

progress

te c h n o lo g y

and

design.______________ 62 — MAY CINEMA PAPERS

TELEVISION station promotion idents, the short, 10-to-15 second animated logos accompanied by the station’s theme music, leap out at us every hour or more, cutting through the mix of station voiceover announcements over the end credits of programs, ads, and promotions for forthcoming programs. If they are good, we watch them with interest. After a time, they become a familiar visual background that we just accept without thinking. Because of the repetition, the logos have traditionally relied on visual complexity to maintain viewer interest, and as soon as computercontrolled film animation became readily available, the streaks, glows and blurs took over our screens. Animation houses everywhere added computer controls to their animation stands to capitalise on the fad for logos zooming up into position leaving trails, and edges with sparkling highlights. Soon true computer generated graphics became the easiest way to provide the movement and gloss within the deadlines that the advertising agencies wanted. In addition, broadcast television certainly didn’t want to look any less exciting than the ad breaks. The easiest

method of obtaining these effects was to buy a package from one of the US networks and “ insert your logo here’ ’. There were rumblings from the local production houses but they were silenced by the statement that “ we didn’t have the technology to do it here” , and in most cases that was true. But the times have changed, along with the station logos, and there are now enough facilities with state of the art equipment and creative talents to drive them to satisfy any client interested in getting a competitive result. This year’s crop of logos should be a turning point in the design for Australian television broadcasting and in particular the new station identity that The Video Paint Brush Co. (VPB) has produced for the Australian Broadcasting Corporation. It is a sophisticated blend of illustrated and retouched photographic backgrounds (with some excellent natural texture photos by Mark Lang), 35mm movie film shot by John Child, and the infinity/sine wave ABC symbol in the most realistic of glass 3D graphics. The technical background to this production is the basis of this article but there is a wider implication that I would like to see discussed.

B IC E N T E N N IA L M Y O P IA It is a reflection of the schizophrenic nature of Australian broadcasting that in spite of the stated intention of each of the stations to give us a service that reflects our local, even regional identity, some of them continue to slavishly copy the American station promos and idents, even using the same music intros for news etc. A traveller from the States would be quite at home, if a little amused. Sometimes this amusement is carried to ridiculous extremes. One of the preBicentennial projects that I was involved in was a request to adapt a US network promo which was a dramatically-lit motion control camera move around the Statue of Liberty, choreographed to a score by John Williams for which the Australian network had the rights. The local version was to be, wait for it, a statue of Captain Cook holding his telescope under one arm — a statue that has been quietly oxidising away in a Sydney park. Hardly a national icon like the Statue of Liberty, we suggested. Mercifully, someone must have agreed, because I haven’t seen it on air. At least they did ask an Australian company to quote on it, but it illustrates the point almost to absurdity.

Jim Blomfield, Nine Network’s promotions manager, recently agreed to the need to invest in some Australian research and developm ent1. “ If we are going to get the industry going,” he said, “ we must expect that some funds go towards R&D.” However Lorraine W illison, Ten Network’s creative director, felt that the corporate “ new im age” , the X and TEN logo designed by Carl Needham, would be best produced by California Film, a specialist broadcast design house in the US. The resulting glass look was com puter animated at a company called Rhythm and Hues in Los Angeles. Willison said, “ We felt the best technical back-up at this time could be obtained in the US for the production of the network ID.” However she was quick to add, “ we use local facilities for a whole range of back-up pieces — in particular, we are currently working with Sonicvision.” Seven Network also went offshore to US designer Harry Marks for its new ID. Graham Donald, Seven’s promo director, explained that Marks preferred to work with Pacific Data Images in the US and commented that, “ Unfortunately, it makes the price a bit high because of the exchange rate.” The ‘Let’s celebrate ’88’ and red, white

and blue background with Southern Cross stars maintains the 7 within a circle but adds some patriotism for the Bicentennial year. Like Ten, however, the network needs the back-up from local companies for the everyday promo material. The Video Paint Brush Co. has produced some of this material, with most of the titles and variations coming from Custom Video in Sydney, Seven’s video production facility. Donald admits that there is competition between networks to produce the best station idents, feeling that it was important to have a classier image and higher profile than the country stations. “ Although,” he added, “ I don’t know how much the viewers care.” To me it’s surprising that, at a time when the call to develop our Australian industry is thought to be the only way we can survive economically, two of the four major networks don’t consider it a priority. This is even more myopic as it is the commercial television stations that make their money from the advertising dollars of Australian manufacturers and Government campaigns such as “ True Blue” . The Nine network and the ABC are to be congratulated. And the ABC must be particularly happy about its decision.

D E S IG N IN G FOR A S M A LL SC R EEN While Technicalities is tuned more to the hardware side of the film and television industry, there are a number of points about the design of the new ABC station promos that are of interest. I should say that I have worked with most of the staff of VPB over the years and have a bias toward their ‘design before technology’ approach, even if it often seemed a waste of talent to have a designer drawing frame by frame matte shapes on a commercial job! If my own bias is evident then it’s not surprising that the ABC awarded The Video Paint Brush Co. Sydney the task of completely redesigning the station ‘look’ . Almost everyone working on the project had at one time worked at the ABC. Creative director Michael Murray set up the ABC graphics departm ent’s first Quantel Paintbox. As the national art director for ABC News, he became very familiar with the Quantel hardware. In 1985 he joined Stephen Smith, the general manager, to start The Video Paint Brush Co. Sydney in a small room at Videolab (in its old location next to the ABC in Artarmon). The other designers

involved in the ABC project include Lynne Cartwright, who as a senior designer at the ABC won awards for her title designs for S w e e t & S o u r, D a n c in g D a z e and E d g e O f T he W e d g e . Now at VPB, she is working with the head of design David Patton. Patton was one of the early pioneers of computer paint systems in the US and has a creditable list of Emmy and other design awards. The producer on the project was Graeme Giblin, who spent 16 years at the ABC and was head of promotions and special projects producer there. In all they created an environment that the ABC would certainly feel comfortable with, and a strong knowledge of the needs of the Corporation. It also demonstrates that with no other source of designers trained on digital hardware such as the Paintbox, the broadcast stations have provided the best training ground for the commercial computer graphics production companies being established around the country. IS T H E R E A R T IN B R O A D C A S T IN G ? Michael Murray asked the question at the launch of the new designs at the ABC, deciding that “ Art is an irony

CINEMA PAPERS MAY - 63

< in broadcasting. Its creation is by nature a slow and painstaking process. While broadcasting has fine-tuned its ability to be instantaneous, broadcast design has essentially remained in the dark ages. Using traditional tools, it has struggled to keep up with the demands for immediacy and speed. Computer graphics is a simple matter of broadcast design catching up. “ However, the challenge of designing for television has not been diluted by the array of solutions the new technology presents. In fact the problems have been complicated by the temptations of movement and surface gloss as easy solutions for every problem.” This has led, he said, “ to ignoring a good many of the classical areas of design in favour of what is available with the latest software or in vogue overseas. This has manifested itself in a style of design which has a tendency towards the intangible, the super real or grandiose. The concept of chrome floating in space will inevitably go the way of the ubiquitous ‘grid’ of a few years ago. The important thing is to replace it with a new approach to design itself, rather than another cure-all solution for any problem. “ The new design explores the possibilities of more combinations of technology, although not necessarily always high tech. We use live action film, photography, illustration, typography and collage with computer animation and are critical of where these types of solutions will apply.” In the new ABC series of promotions they have found the balance. N U T S A N D BOLTS IN T H R E E D IM E N S IO N S Chris Godfrey is head of 3D 64 - MAY CINEMA PAPERS

design at The Video Paint Brush Co. Sydney. He started his television career at GTV9 in Melbourne and I worked with him when he was an editor at AAV Melbourne. In Sydney, he was the first operator of the Quantel Harry system and attracted by the challenge of 3D animation he has shown a natural blend of creativity and an understanding of the technology. While he owes much to the other experienced computer graphic people at VPB, the latest ABC glass logo has been his biggest project. The previous computer animation piece by The Video Paint Brush Co. for the ABC was the ‘marble’ clapperboard on a background of bright animated graphic shapes on black. Unfortunately it doesn’t fit in with the new image although it is still an attractive and clean piece of computer animation. The computer ‘models’ for the background were the last job that Sally Pryor did before she left to go to Integrated Arts2, and this was one of the first jobs that Chris Godfrey did as three-dimensional designer at VPB. Terry Dyer was the designer at the ABC, and with input from VPB designer Ian Thompson the end result was put together over three weeks. I began a discussion with Godfrey by asking him to compare what was available in Australian computer graphics and the relative strengths of the systems. The Video Paint Brush Co. has a number of IRIS minicomputers made by US company Silicon Systems. Like most computers, the hardware in itself is not all that remarkable; it needs software to make it do anything and good software to help the designers achieve their objective. “ XYZap, who did the Nine logo, have been writing their

own software from day one. This has been an advantage in that they have absolute control over each job but it means that each time they have to start from scratch or find some way to link a number of different existing bits together. VPB chose a different approach, with Wavefront software running on the IRIS.” Wavefront Technologies3 is a Santa Barbara company that about six months ago bought all the software developed by Bob Abel, one of the pioneers in computercontrolled ‘motion graphics’ on film and pure threedimensional computer graphics. The company sells a graphics software program package that is an “ open architecture system” where the clients can write in their own software sections. The basis of this is a Model/Preview/Render system. You ‘m odel’ the shape, put it into preview to animate it and then use their rendering program to render it, fill it in with all the surface details, light and shade etc. “ The variables that we have,” Godfrey said, “ are that we can put in ‘shell’ commands to refer back to channels in the preview files. We can animate colours, animate interpolation between different models so that we can do shape changes over a particular time. We can even get into the rendering now which is quite amazing. Jon McCormack in our Melbourne office has just written a neon program for us. Jon did a computer science course at Melbourne University, four years of computer graphics, which is great because Swinburne used to be the only course available and even that was lightweight. Brian Curtis, who is one of the computer animators at The Video Paintbrush Co. Sydney was a lecturer at that first Swinburne course.”

O P E N IN G T H E A R C H IT E C T U R E “ The good part about the open architecture system is that we have variables that we can write in and substitute. After each frame is rendered we can now automatically enter a new set of variables so that we can push and prod the system a little harder. Of the other systems — Alias, Vertigo, and Symbolics — only Symbolics gives you more of the open feel where you can actually interpolate between objects, animate lights and change their direction, their level and intensity, make them a spot or not etc. . . . “ W e’ve also found that there are a lot of things that you can do like put in negative lights which give the effect of giving you black highlights. One of the projects we are working on in Melbourne at the moment is for Smarties and because they are little round dollops, we are actually going to focus black lights onto the floor which gives the effect of shadows. Normally we would have to do a version of the picture with just the shadows, a shadow roll and then matte the object over the to p.”

B EY O N D T H E SU R FA CE OF T H IN G S To add textures and surface details to the moving threedimensional image VPB has developed some very clever techniques that save computer tim e and allow a greater visual complexity. For example, If a surface is going to be timber-grained, then a piece of wood or reference photo might be scanned into the Paintbox and retouched or modified by the paint system until the designer is happy with the colours and textures. This flat surface with its own

SINE HERE: The ABC’s sine wave symbol takes shape in five stages

shadows and highlights is then transferred to the IRIS minicomputer that does the three-dimensional animation. Godfrey explains, “ We have a grid in the Quantel Paintbox that we can grab and that frame is then translated into a file that can be used by the computer system. It’s called an RLE (Run Length Encoded) image file. Whereas the Paintbox computer needs to address each pixel (the smallest image point) in a frame individually; if the screen was black then it would say pixel one is black, pixel two is black, pixel three is . . . etc., with an RLE image you can say the next frame is 20,000 pixels by black. This takes a bit longer to read in and out but is much faster to manipulate.” B U M P IN T H E L IG H T This image is still a 2D texture and to make it behave in depth, VPB has two methods, known as “ scale a bum p” and colour texture mapping. Basically they involve taking the image of the textured surface and sticking it on a flat surface of the computer model or stretching it, wrapping it around curves etc. Once it’s attached to each of these texture vertices, when the whole thing moves the texture follows. There are other things that can be done to make it even more realistic. ‘Bump texture’ notes the changes in video luminance and uses the basic rule that the angle of incidence equals the angle of reflection and gives shading over the particular polygon. (The computer uses a system of discrete geometric shapes to make up an image and computes where each of these move from frame to frame. This is how it simulates where highlights and shadows would be as an object moves.) This makes an object that is really just flat have a shading

of light on it when turned on its side. It is also affected by other lights and reflections in the scene. VPB also has a “ bump m ultiplier” which actually deepens, softens or sharpens up the effect. G LA SS Y-EYE D The Scaler function within the Wavefront software is basically for transparency — the higher the luminance level the more opaque it looks and the lower the more transparent. Godfrey said, “ The problem with glass is that if you have a stationary highlight and a glass vase is turning around, where the glass gets to a zero transparency then the highlight w on’t show up. There is nothing there to see it in. So that’s why we had such a hard time doing the ABC logo in glass. We had agreed to do the job and we were waiting on a software update from the States that would handle glass and it didn’t arrive until early January. W e’ve since written our own in Melbourne because we found we could do it better. “ The ABC glass is a Wavefront glass plus. Imagine a scale of zero to one, and you drop the transparency down to about .1. Once you do that any highlights you put on it go very dark and muddy. So the new glass program allows everything to remain fully transparent apart from the highlights. If you hold a piece of glass in a black room with one light on it all you can see is the highlight. We made a very light bluey reflective map and placed it over the transparent object, then the highlights were added on top again. We found that to maintain the glass look of it we had to make the bevelled edges quite dark but fully opaque.” While the actual animation of the logo only took Godfrey

about three hours, the job took a little over a month and a half. The rendering times were very long because they were going to assemble the glass logo over different backgrounds on “ Harry” . (See the article on the Quantel “ Harry” fully digital editing studio system in C in e m a P a p e rs 61 January 1987.) To do this they needed to make matte shapes that were different from anything they had worked with. Godfrey explained that they ended up with a full animation of a completely opaque matte, its positive the glass look with the solid bevels, another bevel run to key over, then a highlight run. All these were combined on Harry and he emphasises that without it the job wouldn’t have looked half as good. Godfrey has the advantage of having been an editor and using a lot of mixers and Harry he knows what will and won’t key. By this time Dave Patton had already made up the backgrounds and had approved the look of the logo. Once it was in Harry’s digital store the long process of assembling the levels began. The digital key system in Harry is very clean and flexible and allows multiple layers to be assembled without the usual generation loss of videotape. Combined with the disk drive storage of Harry, VPB has the first of the two Sony digital VTRs in the country, allowing almost any length of program to be stored and replayed. The process is complicated; if you have any experience of film opticals then the procedure has direct analogies, yet it all has the immediacy of video. “ We started,” Godfrey said, “ by offsetting our matte roll and half keying it in black to make a shadow roll for the logo. Once we had that we blew the result up by 4 per cent and then took our matte roll and

keyed our enlarged result plus the shadow back into our original. This gave us an expanded centre piece that made it look like we were getting refraction through the glass with a shadow drop on it. (We had eliminated the more conventional glass approach of ray tracing as being too expensive in our initial planning.) “ We then chose a colour from the background that they were going over, and we keyed the logo over the total background using that colour which gave it a total tint that made it feel as if it was picking up the background colour. We then keyed the highlights back into it to give it the hot spots, keyed our bevel roll and, on top of everything else, added a slight red or blue tint over that bevel to make it more glassy. And we did that for 15 versions. The first one took about two days of playing around to reach the right formula and now we can produce further versions fairly quickly.” Godfrey thinks the main advantage of VPB’s ABC work is “ that you won’t see the same one every day, so it doesn’t wear out. In order of what’s on air now, I like ours, then XYZap’s Channel Nine ID which has enormous strength; the attention to detail, the colour range and everything is superb. I think they did some ray tracing which you see in the bars that move across. They have multiple versions but they are only different in reflections of the towns that they are for. The strength of Dave Patton’s design is that each of the ABC’s is different. “ I think it’s important that people realise that it’s not just a computer thing and that it’s pretty rounded. If you have a look at things that look like computers, like Channel 10’s, well . . . Computers are still not good enough to give you >

CINEMA PAPERS MAY — 65

the ultimate in results. It’s still pushing a large barrow up a big hill.” R EFLEC TIN G TH E F U TU R E ‘‘At SIGGRAPH (the US showcase of computer graphics and related hardware) last year I saw a lot of the advance software for the systems and one of the trends is to add a lot of movement things. You can dial in, for example, the centre of a ball and then change the centre of mass so that as it rolls it wobbles. It is a very hard thing to animate out of your own mind, but it points the way that most computer animation is heading, towards what they are calling ‘procedural animation’. ‘‘An example is a short animation piece called R e d ’s D re a m made by Pixar (the George Lucas-owned computer graphic facility in the US). It is about a small unicycle. The animator will dictate the movements of the bike in terms of backwards and forwards, back a little bit, forward a bit and so on of someone balancing on it. The new animation process will then handle the movement of the wheel, its rotation, the spokes etc. This is the way we will start going, where you can add things like the effect of gravity so that you can ‘throw ’ an object straight ahead and dial in the amount of ‘gravity’ you want and it will fall at that rate. We are hoping that the new major release of Wavefront software that is due in a few months will have that sort of thing in it, but no one is saying.” T H E A U S T R A L IA N D IL E M M A OF JO B S FOR T H E REEL VPB admits that having its own R&D department is expensive, and it must be hard to get value from just the image the department presents to outside clients. It does, however, give the company the chance to say to clients, if you come up with a particular concept then they can write the software to make it work. Godfrey agrees: ‘‘This is heavily cost-related but it’s much better than walking into the Bosch system and asking ‘Can you do this?’ and having to say no. That’s the end of the conversation.” It is the same with everybody, software development is expensive, FOUR OF A KIND: The ABC logo 66 — MAY CINEMA PAPERS

even the overseas companies are still doing jobs for the demo reel. Computer graphics is one of the areas of production where you must do jobs like the station IDs that have high prominence to potential clients. Perhaps if you were in America subsidising keyjobs might pay off because the market is just so much bigger. Here, if we lose two jobs like Channel 7 and Channel 10 to production companies out of the country, it’s criminal. It w on’t help the American research and development and it’s certainly not helping us here. And from what I can see, the results are particularly bland — a year of the Seven and X logos and I’ll be quite bored. We originally started off our love affair with computers by saying that this was “ Computer Anim ation” . A slightly different thing to computer graphics and somewhere along the way we lost, but are now returning to ‘Anim ation’. As Godfrey said, “ Everyone is finding that their systems can do the glitz and now it’s more a matter of the subtleties of moving the object, which is what animation is really about. If you’ve got a stick figure that’s well animated it’s a lot better than a logo that falls flat on its bum, no matter how pretty it is. We are trying to blend that into our search for the look rather than the technique. It is the design that will eventually win out.” FOOTNOTES 1. B ro a d c a s t , Vol3 No2 March 1988. “Bright New Identities” by Camilla Mowbray. 2. Sally Pryor and Andrew Quinn were the stars of the first course in Computer Graphics offered in Australia, at Swinburne College in Melbourne. They were both promptly offered jobs at Cranston Csuri, a top US computer graphics facility, and VPB lured them back to Australia. They set a lot of the computer style of VPB in the early years and are now both working on a Supercomputer project for a company called Integrated Arts. The parallel processing computer will apparently integrate real time video editing and computer graphics. 3. Chris Godfrey said further on their relationship with Wavefront Technologies: “We are a beta release site for Wavefront Technologies. Wavefront are the best of a variable bunch. It’s a hard thing to do computer graphics at any time. They are naturally highly protective of their source code. If we could open that up we could be changing things to suit our own applications much more, but it’s fair that they protect their investment in writing it. We have talked about selling back to them some of our software developments and have helped them with a couple of programs such as the Scitex scanning. (This allows a VPB computer-generated image to be output to a high resolution frame.)

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H a n n a h D o w n ie P h o to g ra p h y ..................................................G a e ta n o M a rtin W a rd ro b e d e s ig n e r .......................................M ic h e le L eo na rd d ito r .................................................M ic h a e l C o llin s C o -p ro d u c e r....................................................... L a szlo B a b aErci W a rd ro b e s u p e rv is o r............ L u c in d a M cG u ig a n P ro d, d e s ig n e r................................P hil C h a m b e rs B u d g e t...........................................................$ 3 m illio n P ro p s b u y e r...........................................................P e te r F o rb es Co L e n g t h ....................................................................... 105 m in u te s m p o s e r................................... T a sso s lo a n n id e s S ta n d b y p r o p s ...................................B a rry K e n n e d y A sso c, p ro d u c e r........................ P e te r B a in -H o g g G a u g e ...................................................................3 5m m S p e cia l e ffe c ts .....................................................S te v e C o u rtle y THE BACKSTREET GENERAL P ro d, m a n a g e r...............................Y vo n n e C o llin s S h o o tin g s t o c k ..................................E a s tm a n c o lo r A sossttro e d it o r s .................................................... J e n n ife r H o rtin , P ro d, s e c re ta ry .................................................. T a n ia P a te rn S y n o p s is : It is a p o w e rfu l love sto ry in vo lvin g P rod, c o m p a n y ........... A v a lo n F ilm C o rp o ra tio n A p ril W a rd D ire c to r’s a s s is ta n t......................................... S o n ya P e m b e rto n th re e p e o p le c a u g h t up in p sych o lo g ic a l P ro d u c e r............................................... P h illip A va lo n C o s tu m e d e s ig n e r .......................................... L o u ise F a n n S inogu n d e d it o r ........................................................... R o b G ib so n tro u b le b e tw e e n tw o c u ltu re s and b e tw e e n p ast S c rip tw rite r.......................................D e n is W h itb u rn E sd itin g a s s is ta n t.................................................. A p ril W a rd L e n g th ..........................................................................90 m in u te and p re se n t. A s th e film a p p ro a c h e s th e clim a x E d ito r........................................................... A lla n T ro tt S tu n ts c o - o r d in a to r ...........................................F ra n k L e n no n G a u g e ...................................................................3 5m m o f th e sto ry, th e b itte r sw e e t s tra n d s o f lo ve a nd E xec, p ro d u c e r.........................................E ric J u ry S till p h o to g ra p h y ...............................................V iv ia n Z in k S y n o p s is : A p s y c h o lo g ic a l b a ttle b etw e en th e frie n d s h ip , th e e le m e n ts o f p a st and p re se n t, C a s tin g ..........................Fa ith M a rtin & A sso c ia te s W ra n g le r......................................... E v a n n e C h e sso n tw o is o la te d b o rd e r g u a rd s of The Zone. a re d ra w n to g e th e r to m a ke a v e ry m o vin g, S till p h o to g ra p h y ................................... T o n y N o la n B est b o y ............................................................... ...B re tt K e e p in g sa tis fy in g co n c lu s io n . P u b lic ity ...............................................L io n e l M id fo rd R u n n e rs ................................ K im B rin k m a n (P rod), L a b o r a to ry .....................................................C o lo rfilm T im P o rte r (U nit) B u d g e t ........................................................$3 ,5 0 0 ,0 0 0 SOMETHING GREAT P u b lic ity .................................................... A n n e W rig h t L e n g th ........................................................9 3 m in u te s C a t e r in g .....................................C h ris S m ith , Feast (The Les Darcy Story) G a u g e ....................................................................35m m L a b o r a to ry ..................................................... C o lo rfilm P rod, c o m p a n y ............................. B o u le va rd Film s S y n o p s is : The Backstreet General is b a se d on B u d g e t.......................................................................... $ 2 m illio n P ro d u c e r...............................................................F ra n k H ow so n th e s ta g e p la y b y P h illip A v a lo n . T h e le a d e r o f a L e n g th .......................................................................... 90 m in u te s D ir e c to r............................................................ R ich a rd F ra n klin sm a ll tow n m o to rc y c le g ro u p is c o n s c rip te d G a u g e .................................................................... 3 5m m S c rip tw rite r..........................................................F ra n k H ow so n in to th e a rm y. H is life s ty le a nd v a lu e s are S h o o tin g s t o c k .................................................... 5 29 5, 529 7 E xec, p ro d u c e rs .......................A n to n y I. G in na ne , d ra w n a he ad th ro u g h a se rie s o f in c id e n ts in C a st: W a rre n M itc h e ll (S tan ), B ill K e rr (R uss), P e te r B oyle th e w a r zo ne . DOT IN SPACE M a rtin V a u g h a n (E ric), R u th C ra c k n e ll (A lice), P rod, m a n a g e r..................................... D a ryl S he e n c o m p a n y ................................................. Y o ra m G rossM a d g e Ryan (M a rg a re t), P a tric k T h o m p s o n P u b lic ity ............................................................... L ion e l M id foProd, rd F ilm S tu d io P ty Ltd (B re tt), P en n e H a c k fo rth -J o n e s (C aro l), S te ve CINDERELLA’S SECRET L e n g th .......................................................................120 m in u te s P ro d u c e r............................................................ Y o ra m G ro ssJa c o b s (D e te c tiv e ), L is a R h o d e s (Ja ckie ). G a u g e .................................................................. 35m m P rod, c o m p a n y ........... Y o ra m G ro ss F ilm S tu d io D ir e c to r...............................................................Y o ra m G ro ssS y n o p s is : Kokoda Crescent, a b itte r-s w e e t S y n o p s is : The tru e s to ry of th e tria ls a nd P r o d u c e r ..............................................Y o ra m G ro ss S c rip tw rite r............................................................Jo h n P a lm ce or m e d y d ra m a , is th e s to ry o f fiv e e ld e rly s u r triu m p h s o f A u s tra lia ’s g o ld e n boy of b oxin g A n im a tio n d ire c to r............................ R a y N o w la n d A sso cia te p ro d u c e r.......................................S a n d ra G ro ssviv o rs o f th e W o rld W a r II g e n e ra tio n , a n d th e ir w h o fell fro m g ra ce as a re su lt of W o rld W a r I’s S c rip tw rite r............................................ L e o n a rd Lee A n im a tio n d ire c to r..............................................A th o l H e nrye n d u rin g frie n d s h ip , lo y a lty a n d c o u ra g e . S ta n , co n s c rip tio n h yste ria and w a s re su rre cte d as a A ssoc, p ro d u c e r................................S a n d ra G ro ss M u s ic ........................................................................G uy C rossR u ss a nd E ric d is c o v e r a w e b o f d ru g d e a lin g , h ero, w h e n he d ie d in M e m p h is, lone ly, M u s ic .........................................................G u y G ro ss P rod, s u p e rv is o r..........................................J e a n e tte T o m sp o lice c o rru p tio n a nd in d iffe re n t a u th o ritie s b e w ild e re d and re vile d at th e a ge o f 21. L e n g th ....................................................... 80 m in u te s Prod, m a n a g e r............................. J a c k i G o o d rid g e th ro u g h a fa m ily tra g e d y . T h e a p a th y th e y G a u g e ....................................................................35m m A sst e d it o r ........................................S te p h e n H ayes e x p e rie n c e u ltim a te ly fo rc e s th e o ld c o m S y n o p s is : T h e s to ry b o rro w s c h a ra c te rs and L e n g th ......................................................................... 80 m in u te msa n d o s to ta k e th e la w in to th e ir o w n h a n ds. THE VERY BEST e ve n ts fro m p o p u la r fa iry ta les. It c re a te s a G a u g e ...................................................................3 5m m P rod, c o m p a n y .................................C a ra van Film s fa s c in a tin g ta le o f love, m y s te ry a nd m irth. S y n o p s is : Dot fin d s h e r w a y in to an A m e rica n P ro d u c e r.......................................T o n y M. C a ra van sp a ce sh ip w h ich la nd s h e r on a w a r to rn p lan e t LINDA SAFARI D ir e c to r............................................. P au l F. H o lla nd of R o un d s and S qu a res. S c rip tw rite r................................. T o n y M. C a ra van P ro d, c o m p a n y ...................S o u n d s ta g e A u s tra lia HEAVEN TONIGHT A ssoc, p ro d u c e r.............................. Jo h n H a rris, J r L im ite d /M T V E n te rp rise s M u sic c o -o rd in a to r......................................... M M A P ro d u c e r...............................................................F ra n k H ow son P ro d u c e r...........................................T ib o r M e sza ros KOKODA CRESCENT B u d g e t.......................................................... $3 m illio n S c rip tw rite rs ....................................F ra n k H ow son, D ir e c to r s ............................................................G y o rg y G at, L e n g th ......................................................................... 90 m in u te s A lis te r W e b b P rod, c o m p a n y .............................. P h illip E m a n u e l Ja n o s K ato na G a u g e ..................................................................3 5m m E xec, p ro d u c e r...................................... P ete r B oyle P ro d u c tio n s L im ite d S c rip tw rite rs ............................................................... A. C o pe r, y n o p s is : A m e ric a n ro ck su p e rsta r, Jim P u b lic ity ................................................................Lion e l M idfoSrd D ist. c o m p a n y ............. O v e rv ie w F ilm s (L o n d o n ) G y G at, and P la d a r P ty L td (S yd ne y) L e n g th ....................................................................... 100 m in uS tete s e le , m y s te rio u s ly d isa p p e a rs w h ile re c o rd R. R o zgo n yi, in g an a lb u m in S ydn e y. An in v e s tig a tio n u n P ro d u c e r...............................................................P h illip E m a n u e l Jo a n A m b ro se , G a u g e .................................................................. 35m m co ve rs a 4 0 ,0 0 0 -ye a r-o ld A b o rig in a l c o m m u n ity D ir e c to r..................................................................... T e d R o b in so n T ib o r M e sza ros S y n o p s is : Heaven Tonight te lls the tru e sto ry b e n e a th U lu ru w h ic h p ro vid e s s a n c tu a ry for S c rip tw rite r............................................P a tric k C o o k o f th e A u s tra lia n ro ck scene. B ase d on th e n o v e l............................................ Linda Safari m a n k in d ’s a c c u m u la te d kn o w le d g e and art. B ased on th e o rig in a l id e a b y ..........P a tric k C o o k P h o to g ra p h y ....................................................... J o s e f P ojak P h o to g ra p h y ........................................ Dan B u rs ta ll S o u n d r e c o r d is t ...................................... R ic C u rta in S o u n d re c o rd is t............................ S yd B u tte rw o rth C o m p o s e rs ................................................................. R.S ziko ra, MANIFEST DESTINY WIZARD OF AUSSIE E d ito r ...................................................... R o b G ib so n C .S . B o g d a ’ n, P ro d u c e r...........................................................P a n te lis R o u ssa kis P rod, d e s ig n e r..................................... L e slie B in n s (W o rkin g title ) G . B erkes, D ire c to r..............................................................P a n te lis R o u ssa kis E xec, p ro d u c e r...................................................P h illip E m a n u e l M. Fenyo, P rod, S c rip tw rite r......................................................P a n te lis R o u ssa kis c o m p a n y ............Y oram G ro ss Film S tu d io Line p ro d u c e r....................................................... J o h n H ip w e ll A. B o d n a ’r, P r o d u c e r ............................................ Y o ra m G ross P h o to g ra p h y ................................K w o k Y in C h e u n g P rod, c o -o rd in a to r............................................L e sle y P a rk e r G . S ze n tm ih a ly i A n im a tio n d ire c to r........................... R ay N ow la nd C o m p o s e r............................................ R a y S h e rid a n B u sin e ss m a n a g e r........................R e b e c c a M a rks E xec, p r o d u c e r s ..........................H a n n a h D ow n ie, S c rip tw rite r............................................L eo na rd Lee A sst d ir e c t o r ............................. S te p h e n S to c k w e ll U n it m a n a g e r................................. J u s tin P lu m m e r E n d re F lo ria n A ssoc, p ro d u c e r...............................S a n d ra G ro ss A rt d ire c to r............................................. R o b e rt B oyd L oca tion m a n a g e r.......................................... M u rra y F ra n cis P ro d, m a n a g e r s ..............................D a vid D ow n ie, M u s ic .........................................................G uy G ross C o stu m e d e s ig n e r............................ J u d y M o rg an P rod, s e c re ta ry ..............................................A m a n d a C ritte n d e n E n d re S ik L e n g th .......................................................80 m in u te s T e ch , a d v is e rs .......................G re g o ry B a rr D avid, P rod, a c c o u n ta n t................ G e m m a R a w s th o rn e P ro d, a c c o u n ta n t.................................. B o b S h a rp M a th e w H a rd m a n G a u g e .................................................................. 35m m P rod, a s s is ta n ts ............................ G re tc h e n C o ok, 1 st a sst d ire c to rs ........................................ M a rg a re t P rior, S y n o p s is : In th is a d a p ta tio n of F ra n k B a u m ’s Lab. lia is o n ............................................M a rk F a rra r M o n ik a L a c k m a n n Z. B on ta Wizard Of Oz D o ro th y la nd s in A u s tra lia and L e n g th ........................................................ 90 m in u te s 1st asst d ir e c to r .......................................... P hil R ich S c rip t e d it o r ......................................Jo a n A m b ro se m e e ts its stra n g e and d e lig h tfu l in h a b ita n ts — G a u g e ..................................................... S u p e r 16m m 2nd asst d ire c to r.................................................... P .J. V o e te n S c rip t a d v is e r............................................. J o h n Fisk K a n g a ro o , K oala, C o cka to o , e tc — w ith w h om S h o o tin g s t o c k ....................................................... Fuji 3rd asst d ir e c t o r ..................... C h ris tia n R o b in so n C a s tin g ....W a te rm e lo n V a lle y P ro d u c tio n s (WA) she sets o ff to fin d “ O pa l C ity " . S y n o p s is : T h e sto ry o f a g e n e tic s c ie n tis t C o n tin u ity ............................................................... L ynn P o y nSteoru n d e d it o r ...............................................................S. K alm an o b se ssed w ith d is tillin g v io le n c e in to a d ru g. C a s tin g ........................................................................ Liz M u llinMaix r e r ............................................................................. S. K a lm a n F o cu s p u lle r ......................................................F e lic ity S u rteM e su sica l d ir e c t o r s .................................. T. K o e s a ’ k, THE ZONE C la p p e r/lo a d e r..................................................A d rie n S e ffrin K evin P ee k SHADOWS AND WOMEN P ro d, c o m p a n y ..................... M e d ia W o rld P ty Ltd K ey g r ip ....................................................................P au l T h o mSptill s o pn h o to g ra p h y .......................................... I. B artó k P rod, c o m p a n y ...........S o u n d sta g e A u s tra lia Ltd P ro d u c e r s ......................................... Jo h n T a to u lis, A s s t g r ip ............................................................. D a m o n M e rrym A na imn a tio n d ir e c to r ............................................J a n o s K ato na D ist. c o m p a n y .................................. O b je c tiv e Film C o lin S outh G a ffe r........................................................................ M a tt S la tteDry ia lo g u e d ire c to r................................... T o n i E vans S tu d io C o m p a n y D ir e c to rs ............................................ Jo h n T a to u lis, B oo m o p e ra to r.............................................S u e K e rr E n g lish d ia lo g u e .................................................P e te r G e ffe ry P ro d u c e r.......................................... T ib o r M e sza ros C o lin S outh A rt d ire c to r........................................................... S tu a rt M e n zie T esc h , a d v is e r ............................................. Ron S im s

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68 — MAY CINEMA PAPERS

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I A full listing of the features, telemovies,

documentaries and shorts now in pre-production,

production or post-production in Australia.

P re -p ro d u c tio n re s e a rc h ....................R u th C u lle n L ism o re , N e w S o u th W a le s: U n it A s h o o tin g on S yd n e y H a rb o u r: D ire c to rs .............................................................. J e n n y K en d le, P au l T a it D ir e c to r.................................................S u e C o rn w e ll P h o to g ra p h y ....................................... S te ve M a so n A B C C rew s S ou n d re c o r d is t.................................M a x H e n sse r A B C lia is o n ...........................................................A n n e C h iv e rs C a m e ra a s s is ta n t..............................A d ria n S e ffrin B la ck film u nit: U n it B s h o o tin g in S yd n e y — A b o rig in a l m a rch : P ro d u c e r...................................................J im E ve re tt D ir e c to r...................................................................... P at FiskeD ir e c to r...................................................B e rn ice D a ly P h o to g ra p h y ......................................................... E rika A d d is 1st asst d ire c to r..........................................G le n D a ly AGAINST THE INNOCENT C a m e ra a s s is ta n t.................................. J o E rskin e P h o to g ra p h y .......................................................... P au l T u rn e r, P ro d, c o m p a n y ................................. F ilm A rt Doco H e le n D a llo w S ou n d re c o r d is t...................................................... P at Fiske P ro d u c e r............................................................R ic h a rd J o n eUs n it C s h o o tin g in h o sp ita ls, S ydn e y: S o u n d r e c o rd is ts .............................................R o b e rt M cK a y, D ire c to r................................................................... D a ryl D e lloDra ire c to r................................................. J e n i T h o rn le y G e o ff K nix S c rip tw rite rs ..........................................................D a ryl D elloPrah,o to g ra p h y ...........................................Ja n e C a stle P ro d, a s s is ta n ts ..................................................C h ris C ia n ta r, J e n n y H o ckin g S o u n d re c o rd is t...........................................S u e K err A n d re w M c C ly m o n t A n o rig in a l id ea b y ..............................................D a ryl D elloUran,it D s h o o tin g in P a ra b u rd o o , W e ste rn A B C cre w s M e lb o u rn e — sh o o tin g in D u n o lly J e n n y H o ckin g A u stra lia : a nd T a rn a g u lla : P h o to g ra p h y .................................................. V la d im ir K ro mDairs e c to r............................................................ G ra h a m C h ase P ro d u c e r.............................................................. M a rtin G o d d a rd S o u n d re c o r d is t....................................M a rk T a rp e y P h o to g ra p h y ........................................................K e rry B rowPn h o to g ra p h y ..............................................R o d C o ats E d ito r........................................................D a ryl D e llo ra S ou n d re c o rd is t................................... R a n d e ll Eve S ou n d re c o r d is t...................................................... Ian G re g a n C o m p o s e r................................................P au l S h u tze U n it E s h o o tin g in S yd n e y — B o n d i B ea ch : P rod, a s s is ta n t.................................................... J a n e D a vid son E xec, p ro d u c e r.....................................D a ryl D e llo ra D ir e c to r .................................................................... N e d L a n dD e ire r c to r........................................T o n y S te in b re c k e r P ro d, m a n a g e r............................. Ian W a n s b ro u g h P h o to g ra p h y ............................................P h illip B ull P h o to g ra p h y ........................................................D a rio S a lp ie tro P ro d, a c c o u n ta n t.................................................. A la n D redSge ou n d re c o rd is t...................................... P au l F in la y S ou n d re c o rd is t...................................................... C o r L am ers 1st a sst d ir e c t o r s ...................................Te ss Flynn, C a m e ra a s s is ta n t............................................... A n n e B en zie A B C c re w — sh o o tin g w ith h o m e le s s p e o p le : R ic h a rd J o n e s U n it F s h o o tin g in S y d n e y ’s w e s te rn su b u rb s D ire c to r.................................................................... N ic k T o rre n s THE MAN WHO LOST HIS HEAD C a m e ra o p e ra to r.......................... Jo h n C u m m in g and K in g s C ross: P h o to g ra p h y .......................................................... P au l C o s te llo C a m e ra a s s is ta n t............................ K a ttin a B ow ell D ist. c o m p a n y ......................K im L ew is M a rk e tin g D ir e c to r ...................................................................R u th C u lleSno u n d re c o rd is t............................................. G u n th e r E rico lo K ey g r ip ................................................R o ry T im o n e y D ire c to r............................................. J a m e s C la yd e n P h o to g ra p h y ........................................................ D a vid K na uRs e s e a rc h ...............................................................B e lla Q u in ce G a ffe r................................................... R o ry T im o n e y S c rip tw rite r...................................... P hil M o th e rw e ll S ou n d re c o rd is t...................................................C h ris B o llard F o u r C o rn e rs c re w — s h o o tin g A b o rig in a l B oo m o p e ra to r.............................. C ra ig W a lm s le y B ased on th e o rig in a l id ea C a m e ra a s s is ta n t...........................P e te r C o le m a n m a rch : A rt d ire c to r..........................K aren V on B a m b e rg e r b y ....................................................Ja m e s C la yd e n U n it G sh o o tin g in A lice S p rin g s: D ire c to r/re p o rte r................................... T o n y J o n e s A sst a rt d ire c to r.................................................. P ip p a G re en E d ito r ................................................... G a iy H illb e rg D ir e c to r...............................................................D e n n is O ’ R oPuhrke o to g ra p h y .......................................... C h ris D oig, A sst e d it o r ............................................................. P iers D o u gPla s to g ra p h y ..................................................... D e n n is O ’ R o urke C o m p o s e rs ........................................ M a rtin F ried el, ho W a yn e H a rve y S tu n ts ....................................................................A rth u r H o a S d le S te ve C u m m in g s , o uyn d re c o rd is t....................................................G a ry K ild ea S ou n d re c o rd is ts ................................................C h ris A ld e rto n , S till p h o to g ra p h y .............................................J a n u s z M o linUski A n d re w P e n d le b u ry, n it H s h o o tin g in M e lb o u rn e — Sun Herald P e te r G ra ce R u n n e r....................................................................Fio n n S kio ntis O llie O lse n ew sp a p e r: B e ta ca m cre w s: P u b lic ity ............................................................... J e n n y H o ckin A ssoc, p r o d u c e r ...................................... K im L ew is D irge c to rs ........................................................... S h a ro n C o n nCoally, m e ra .................................................................J e n n y M e a n y C a te rin g ........................................................ Lee Read Prod, a c c o u n ta n t..........................F ra n L an in g e n T re v o r G ra ha m S o u n d re c o r d is t............................................... J a m e s K este va n L ig h tin g c a m e ra p e rs o n .................................J a m e s C la ydLeanb o ra to ry ....................................................... C in e ve x P h o to g ra p h y .............................................. R a y A rg a li C a m e ra ............................................................B re n d a n S ha w B u d g e t........................................................... $ 1 3 1 ,0 0 0 M u sica l d ir e c t o r ................................ M a rtin F ried el C a m e ra a s s is ta n t............................M a n d y W a lk e r S ou n d re c o rd is t............................................. A n d re w K n ig h t L e n g th ..........................................................................75 m in uSteosu n d re c o rd is t............................................S te p h e n V a u gDhire M u sic p e rfo rm e d b y ..................S te ve C u m m in g s, a n c to r/re c o rd is t................................. J e n n F e ra y G a u g e ....................................................................16m m A n d re w P e n d le b u ry, U nit I s h o o tin g in C a irn s: C a m e ra .....................................C a th e rin e M ra c in ia k S h o o tin g s t o c k ........................................ 7 8 3 1 ,7 2 9 2 D ir e c to rs .............................................................C a ro le S kla n, O llie O lse n, P rod, a s s is ta n t.................................................. L o u is e M e lo v C a st: M a rg a re t C a m e ro n (M o n ik a S ch le y e r/U IJo h n H u g h e s D ire c to r/c a m e ra o p e r a to r .......P e n n y M cD o n a ld M a rtin F rie d e l N ico s L a th o u ris (Tim M a cK e n zie ), Jo h n M ix e r.......................................................................S te ve B u rg erike), ss P h o to g ra p h y .........................................J a e m s G ra n t S ou n d re c o rd is t.................................................. L u cia S o u n d re c o rd is t............................... M a x B o w e rin g S till p h o to g ra p h y .................................................... B ill H e nsoHno w a rd (R ich a rd ), R o bin C u m in g (H osta ge ), V id e o 8 cre w : L o u ise S m ith (B a rte n d e r, S a rah ), P a m e la Rabe U n it J s h o o tin g in P ort P irie: D ire c to r/c a m e ra o p e ra to r..........D e b b ie S to th a rd P u b lic ity ...................................................... K im Lew is (Y o u n g A ca d e m ic ), T e ri 7 M c D e rm o tt (The D ire c to r............................................... K arin A ltm a n n E d itin g a s s is ta n ts ................................. M a rk P erry, M ixed a t........................................................S o u n d firm S e n a to r), F ra n cis B ell (B rig a d ie r D e B on da g e), P h o to g ra p h y ....................................................... Leig h T ilso n H a rrie t M cK e rn L a b o ra to ry ........................................................C in e ve x S ou n d re c o r d is t....................................M a rk T a rp e y S ync ru s h e s ........................................................... M itz i G o ld m a n Lab. lia is o n ................................................................ Ian L e tc hTeer rry O ’ B rie n (A d ria n), A le x M e n g le t (K arl H se in m a n n ). U n it a s s is ta n t........................................ K en F e w ste r L a b o r a to ry ................................................... C o lo rfilm , L e n g th ..........................................................................90 m in u te S y n o p s is : O v e r th e la st 10 y e a rs A u s tra lia has U n it K s h o o tin g in M o rn in g to n P e n in su la : C in e ve x, G a u g e ....................................................................3 5m m d e ve lo p e d a s o p h is tic a te d a n ti-te rro ris t n e t D ir e c to r...........................................................C h ris tin e S a m m e rs M o vie la b Cast: P hil M o th e rw e ll (W a lte r H ey), M a rie H oy w o rk. L ittle is kn o w n a b o u t it, fe w w o u ld kn ow P h o to g ra p h y ........................................................ D avid N o ake s lia is o n ..........................................................M a rtin H oyle Lab. (R ub y H ow ), J a n F rie d e l (D r E liza b e th H e a r fo r in s ta n c e th a t $ 30 m illio n w a s s p e n t on it in S o u n d re c o r d is t.................................................. S ean M e ltze L ern g th ..........................................................................90 m in u te s ing), P e te r G re e n (C olin F lo w e r), G re g C a rro ll 1986 alon e . W h o are th e te rro ris ts ? A re th e re C a m e ra a s s is ta n t............................................. C a th y C h a m G baeurs g e ....................................................................16m m (H ug o R ich a rd s), V a l K irw a n (M u rie l C h ap p ), a ny a nd d o w e nee d th is ‘c o u n te r-te rro ris m ’? U n it L s h o o tin g in A d e la id e : S h o o tin g s t o c k .............................. 7 2 9 1 ,7 2 9 2 Jo h n M u rp h y (M ic k e y Dud). M o n ik a S c h le y e r vis its A u s tra lia a nd raise s D ire c to r.......................................M a rio A n d re a c c h io Synopsis: W a lte r H e y w a ke s up o ne m o rn in g th e se a n d o th e r q u e s tio n s a b o u t th e d e v e lo p P h o to g ra p h y .......................................................R o g e r D a rlin g w ith o u t his h ead. Fro m th e n on w h e n e v e r BLOWING HOT AND COLD m e n t of th e ‘s e c u rity -S ta te ’ . S ou n d re c o rd is t......................................................Don W a lk e r W a lte r v e n tu re s o ut, he lo ses h is c ra n ia l g rip . U n it a s s is ta n t..................................................... K ristin W h itcProd, o m b ec o m p a n y ........C o lo s im o F ilm P ro d u c tio n s W a lte r se e k s a c u re fro m D r E liza b e th . T h e Dist. c o m p a n y ........................ O c to p u s W o rld w id e U nit M sh o o tin g in P erth : g ood d o c to r a d m its W a lte r in to th e m ission , M e d ia E n te rp ris e s D ir e c to rs ................................................................ J a c k D avis, w h e re he e m b a rk s on a stra n g e jo u rn e y . A P ro d u c e r.................................................................R o sa C o lo sim o M a d e lo n W ilk in s b iza rre a d v e n tu re in c o m ic m a d n e ss. AUSTRALIA’S DAY D ire c to r...................................................M a rc G ra cie P h o to g ra p h y ........................................................P e te r K ordyl S c rip tw rite rs ...................................R o sa C o lo sim o , P rod, c o m p a n y ...............................V e la te H o ld in g s S ou n d re c o rd is t..................................................... B ob H a yes R eg M cL e an C a m e ra a s s is ta n t................................................M a rk E d g e c o m b e P ro d u c e r............................................. G ra e m e Isaac Help us make this produc P h o to g ra p h y ........................................J a e m s G ra n t A d d itio n a l m a te ria l c o n trib u te d — C o -p ro d u c e r/ tion survey as complete as S ou n d re c o rd is t..................................................... Jo n W ilk in s o n T im e la pse p h o to g ra p h y , S y d n e y H a rb o u r: s u p e rv is in g d ir e c t o r ............................. P at Fiske E d ito r...............................................................N ick Lee possible. If you have some C o -s u p e rv is in g d ir e c to r ...........D e n n is O ’ R o urke C a m e ra a s s is ta n t.................................... M ike K elly P h o to g ra p h y ......................................................... M a tt B utleE r,xec, p ro d u c e rs .................................. K e vin M o o re, E d ito rs ............................................... D e nise H a sle m , thing which is about to go Reg M cL e an , T im L itc h fie ld R ey C a rlso n into pre-production, let us S ilv io B a ttisti, A sso c, p ro d u c e r..................................................A n n a G rie ve M t Isa, Q u e e n sla n d : know and we will make sure R o sa C o lo sim o P rod, c o -o rd in a to r.................... K ris tin S a n d e rso n D ir e c to r ................................................................... D ick M a rks it is included. Call Kathy Bail P rod, s u p e rv is o r..................................................R o sa C o lo sim o P ro d, m a n a g e r.................................................... A n n a G rie ve S ou n d re c o rd is t................................ R o ly M cM a n is on (03) 429 5511, or write to U n it m a n a g e r..................................... R a ch e l E vans P ro d, a c c o u n ta n t...........................................B a rb a ra B rowCna m e ra a s s is ta n t........................................ B en N o tt P rod, s e c re ta ry .................................... A u d re y A uld her at Cinema Papers, 43 F in a n cia l c o n tr o lle r .........................D a vid B arne s P ro d u c tio n ............................................................. Jo a n S a n ke y P rod, a c c o u n ta n t................................Reg M cL e a n P ro d, a s s is ta n ts ............................... F ra n k H aines, S tra h a n , T a sm a n ia : Charles Street, Abbotsford, Prrod, a s s is ta n t................................................... M a ria S tra tfo rd P ru e A da m s, D ire c to r.............................................................. G o rd o n T a ylo Victoria 3067. C ris tin a Pozzan, S ou n d re c o rd is t.............................................. G o rd o n T a y lo1st r a sst d ire c to r........................................... S tra c h a n W ils o n C o n tin u ity ...................................J o a n n e M cL e n n a n C a th y H e nke l P h o to g ra p h y ................................................ P e ta H ill

S p e cia l e ff e c t s ....................... H u n g a ria n F ilm Lab P u b lic ity ................................................ P e te r J e ffre y, P. S z a n to S tu d io s ................................ S o u n d s ta g e A u s tra lia , T ra x S tu d io s, H o llo -L a s z lo S tu d io H u n g a ro to n , M T V L ig h t E n te rta in m e n t D ept, IPV , A B C M ixed a t ............................ H u n g a ro to n , S o u n d firm L a b o ra to ry ...........H u n g a ria n F ilm Lab C o m p a n y B u d g e t.......................................................$ 2 .2 m illio n 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 ...................................E a s tm a n c o lo r S y n o p s is : Linda Safari is a s to ry o f in trig u e , a ctio n , a d v e n tu re , m y s te ry a nd ro m a n ce , c o m b in in g h u m o u r and h e ro is m , w ith ro ck ’ n ’ roll m u sic fo r a u d ie n c e s o f a ll age s. T h e h e ro in e is Lind a , a p o lic e w o m a n w ith “ In te rp o l” , w ell kn ow n fo r h e r “ T a e K w on D o ” a nd lin g u is tic s kills. S e ve ra l s to rie s o p e ra te s im u lta n e o u s ly and th e p ro ta g o n is t a lw a ys w in s a g a in s t g re a t odd s, w ith o u t g u n s, in h e r fig h t a g a in s t o rg a n ised in te rn a tio n a l c rim e a nd te rro ris m .

F E A T U R E S

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The Film Editing Bench /ir/tM' 1

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For many years there has been one name that has set the standards by which all film editing benches are measured,

That name is Steenbeck, and in Australia, Steenbeck is sold and serviced by Amber Technology. So for the best in film editing benches, talk to Amber. Cnr Skyline Place & Frenchs Forest Road, Frenchs Forest, NSW 2086, Australia. Telephone (02) 9751211, Fax (02) 9751368. AJAS 30P042

CINEMA PAPERS MAY — 69

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W e n d y H u x fo rd C lin to n B risk A rt d e p t a s s t..........................................C a th y S o u th G a f f e r ...................................................... M ick M o rris E le c tr ic ia n ................................................ C h ris F le e t A rt d e p t lia iso n (C e n tra l A u s tra lia )....................... P a t T h o m p s o n B oo m o p e ra to r.................................................... G e rry N u c ifo ra C olds tu m e d e s ig n e r .......................B ru c e F in la y s o n A rt d e p t m a n a g e r................................................. K ate H ig h fie M a k e -u p ........................................... N o rik o S p e n c e r C o s tu m e d e s ig n e r ........................ A n th o n y Jo n e s H a ird re s s e r.................................... C h e ry l W illia m s M a k e -u p .................................................... J u d y L ove ll M a k e -u p /h a ir to M s S tr e e p ............. R o y H e lla n d H a ird re s s e r......................................J a n Z e ig e n b e in 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 rto n C o s tu m e c o -o rd in a to r s ...........S h a u n a F le n ad y, C o s tu m e m a k e rs .......................... S a n d ra C ic h e llo , G a b rie l H e a le y Jo a n S c riv e n C o s tu m ie r s ............................................L u cy M o ra n, J u lie B rya n t, S ta n d b y p ro p s ...................................... C h ris J a m e s M el D ykes S ta n d b y p ro p s a s s t ...................M ic h a e l M e rc u rio S ta n d b y w a rd ro b e ............................... R o byn E llio t P ro p s b u y e rs /d re s s e rs ........................ V iv W ils o n , J ill E de n , P ro p s b u y e rs ........................................................ M a rk D aw so n, M ic h a e l R u m p f, L issa C o ote B ria n D u s tin g , S ta n d b y p ro p s ................................................. G e o rg e Z a m m it P e te r F o rb e s S p e c ia l e ffe c ts s e q u e n c e ......................................................... S te ve C o u rtle A sy, s t b u y e r/d re s s e r...................... A s h le y S c h e p is i A 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 g e C in e ffe c ts C h o re o g ra p h y .......................................................R o ss C o le m Da r anu g h ts p e rs o n s ......................P h illip S c h m e n itz , S o ft fu r n is h in g s ...............................................A n d re a B urns J e ff T h o rp S e t d e c o ra to r...................................................... F ra n k F a lc oCnoenr s tru c tio n m a n a g e r...................... W a y n e A lla n C o n s tru c tio n m a n a g e r ............................B ill H ow e C o n s tru c tio n a s s t s ...........................M a rk S c h u ltz , J ie n H o n g , S c e n ic a r t is t ................................................ E ric T o dd M ic h a e l H a ll, G ra p h ic a r t is t ........................ W e n d y K w ia tko w ski A n n e F o w le r C a rp e n te rs ...............................................................B ob P aton, L e a d in g h a n d ................................. B re n d a n M u lle n F ra n k P h ipp s, S te ve H u xta b le , M o d e l m a k e r....................................... H a m is h H icks D a n n y B u rn e tt C a rp e n te rs ............................................... A lla n G oo d , C o n s tru c tio n h a n d .................... R o b e rt P o d h a js k y Ian B a xte r, A DIFFICULT WOMAN D ra fts p e rs o n ......................................... M ike B rid g e s R a y T a y lo r, (W o rkin g title ) G le n C h ris te n s e n , A s s t e d it o r .............................................J u lia G e lh a rd P ro d , c o m p a n y ......................................J e th ro Film s B a rry M u ir, 2 nd a sst e d ito r...................................................... Ja n e M a g u ire P ro d u c e r.................................................................. B ob W e isS o u n d e d ito r ................................................G re g B ell R ic h a rd O very, D ir e c to r ...................................................... B en L ew in T im E ise m a n , E d itin g a s s is ta n t......................R u fu s M c C ra tc h e tt S c r ip tw r ite r s ............................................ B en Lew in, A la n W a d e , S tu n ts s e q u e n c e c o -o rd in a to r........... G u y N o rris B ob W e is G e o rg e S o tiro p o u lo s S till p h o to g ra p h y ....................................V iv ia n Z in k B ase d on th e o rig in a l id ea O p tic a ls .......................................................... C o lo rfilm S c e n ic a r t is t ............................................................... Ian R ic h te r b y .................................................... M a c G u d g e o n , T u t o r .................................................... H ila ry M o xo n P a in te r’s a s s t ............................................................ L iz M e ye rs BODILY HARM B ob W e is B e st b o y ........................................................Jo h n Lee S e t fin is h e r s ...........................................T o n y P ilio tis , P ro d, c o m p a n y ................................................ S m ile y Film sP h o to g ra p h y ............................................ Y u ri S o ko l R u n n e rs .................................................. V ic k y R o pe r, G u s L ob b, S o u n d re c o rd is t...................................................Jo h n P h illip s P ty L im ite d fo r A d a m S m iy ie ls k i M a rk S h ie ld s B ro w n E d ito r.............................E d w a rd M cQ u e e n -M a so n In te rn a tio n a l F ilm M a n a g e m e n t L im ite d A rt d e p t ru n n e r..................................................... M a rk T a y loCr u ttin g ro o m a s s t.................................................J o h n R o u ch P ro d, d e s ig n e r ...................................J o n D o w d in g D ist. c o m p a n y ............H e m d a le F ilm C o rp o ra tio n U n it p u b lic is t.................................................... S h e lle y N e lleBr ru sh h a n d ............................................................. A le x M a ta g i C o m p o s e r...................................P au l G ro b o w s k y (T h e W o rld e x c lu d in g A u stra la s ia ), C a t e r in g .......................................................... M a rik a 's C a te P rinogs t-p ro d u c tio n .................................................. P e te r B e ilb y, L in e p r o d u c e r ........................... M a rg o t M cD o n a ld H e m d a le -G in n a n e A u s tra lia L im ite d S tu d io s ..........................R a le ig h P ark, K e n sin g to n J a n e W a lk e r (F ilm h o u s e ) P ro d, c o -o rd in a to r...................................... C h ris tin e H a rt L a b o r a to ry .....................................................C o lo rfilm (A u stra la sia ) S o u n d e d it o r s ............................... B ru c e L a m s h e d , ro d, m a n a g e r.................................................. S im o n R o seLab. n th a llia is o n ........................................D e n ise W ilso n P ro d u c e r...........................................................R ic h a rd B re nnPan C ra ig C a rte r, D ir e c to r.................................................................. M a rk Jo ffe U n it m a n a g e r ................................................... N e ville M a soBnu d g e t ....................................................... $ 2 ,8 3 1 ,7 3 8 O liv ia R u zic, S c rip tw rite r.................................................... W a rw ic k H in d L o c a tio n m a n a g e r .............................................. Jo h n S u h rG a u g e ................................................................... 3 5m m G le n N e w n h a m P ro d, s e c re ta ry .................................. L isa H a rriso n B ased on th e o rig in a l id e a S h o o tin g s t o c k ........................................5 29 5, 5 24 7 A s s is ta n t e d it o r s ..................H e a th e r M c D e rm o tt, b y ..................................................................W a rw ic k H in d P rod, a c c o u n ta n t.............................. J im H a jico sta C a s t: Jo h n H a rg re a v e s (C olin R o ge rs), R o byn K a te J a m e s P h o to g ra p h y ........................................................ E lle ry Ryan 1st a sst d ir e c t o r ................................................... T o m B u rsta N ell vin (K a te R o ge rs), C h ris H a yw o o d (M ike M c A s s e m b ly e d it o r .................................................. P e te r C a rro d u s nd a sst d ir e c to r ...................................P au l H e a le y S o u n d re c o rd is t............................................. A n d re w R a m a2ge C o rd ), N ico le K id m a n (H ele n ), R u th C ra c k n e ll S o u n d a s s is ta n ts ...............................A n n a B re slin , 3 rd asst d ir e c to r ................................S te p h e n S aks (E la in e R oss), D e n n is M ille r (M a lc o lm B en n et), E d ito r.............................................. M a rk V a n B u u re n J a m e s H a rv e y C o n t in u it y ................................................... J e n n iT o s i N ic h o la s H a m m o n d (Ian W a ll), M ic h e lle T o rre s P ro d, d e s ig n e r........................................ R o g e r Ford V id e o e d it o r ................................................. R o s e m a ry C o x P ro d u c e r’s a s s is ta n t.............A n n e -M a rie G askin (K a th M itc h e ll), E lla S co tt (P e n n y R ogers), E xec, p ro d u c e rs ....................... A n to n y I. G in na ne , S o u n d t r a n s f e r s ............................................. E u g e n e W ils o n C a s tin g ......................... L iz M u llin a r & A sso c ia te s H a yd o n S a m u e ls (S am R ogers). E rro l S u lliva n T ra v e l s e r v ic e ......................E n te rta in m e n t T ra ve l C a m e ra o p e ra to r...........................................V la d im ir O sh eSro v o p s is : A s c rip tw rite r a nd his p u b lis h e r w ife yn A sso c, p r o d u c e r ................................. J u lie M o n to n T ra n s p o rt m a n a g e r .............................................J o h n C h a se F o cu s p u lle r ..........................................................C h ris C a in 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 A s s t tra n s p o rt m a n a g e r............M ic h a e l M c In ty re M ixed a t....................................................... S o u n d firm C la p p e r/lo a d e r...................................................K a th y C h a m b e rs and 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 A s s t v e h ic le c o - o r d in a to r ................P h illip H e a le y L a b o r a to ry .....................................................C o lo rfilm K e y g r i p ......................................................... Ian P ark d ile m m a s . T ra n s p o rt c o -o rd in a to r.............. C a m e ro n B a rn e tt Lab. lia is o n ....................................................... D e nise W o lfso n A s s t g rip ................................................ A lis ta ir R e illy H e a vy h a u la g e ....................................................F ra n k M a n g a n o B u d g e t....................................................... $ 3 ,4 0 0 ,0 0 0 G a f f e r ................................................ R ich a rd Law es U n it d r iv e r .............................................B ria n G ilm o re G a u g e ................................................................... 3 5m m B oo m o p e ra to r....................................................... R ay P h illip s D r iv e r s .........................................................A n n e J o lly , 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 A rt d ir e c to r ...........................................N ic H e p w o rth EVIL ANGELS S h a ro n A n d e rs o n , C a st: C o lin F rie ls (T o m S te w a rt), J o h n W a te rs C o s tu m e d e s ig n e r.....................................A p h ro d ite K on d os M a rk B o w e n , P ro d, c o m p a n y ............................ E vil A n g e ls F ilm s (M o rris M a rtin ), B ru n o L a w re n c e (R ay B irch ), M a k e -u p ..............................................................K irste n V e yse y Ian B u tle r, P ro d u c e r...............................................................V e rity L a m b e rt J o y B ell (C la u d in e ), C h ris S ta lk e r (A lle n ), K im H a ird re s s e r................................................... R o c h e lle Ford P e te r C a n n a rd , D ir e c t o r ....................................................................Fre d S c h e p is i G y n g e ll (M ic k ), S h a n e B ria n t (S te p h e n W a rd ro b e s u p e rv is o r................................A n je Bos S te v e C ro c k e tt, S c rip tw rite r.........................................................R o b e rt C a sw e ll E n d e rby), C a z L e d e rm a n (V ivia n E nd e rby), S ta n d b y w a r d r o b e ........................ M a rg o t L in d sa y P e te r C u llin , B ase d on th e b o o k b y ........................ J o h n B ryso n S a n d y G ore (B a rb a ra H e m sle y), M a rise W ip a n i P ro p s b u y e r ..................................................... A n d re a J o h n s to n S c o tt D e n n is, P h o to g ra p h y .............................................Ian B a k e r (S uzie). S ta n d b y p ro p s ......................................................C h ris Ja m e s M u rra y M a lo n e y, S o u n d re c o r d is t....................................G a ry W ilk in s 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 S p e c ia l e ff e c t s .................................................... B ria n P ea rce M a rk M u g g e rid g e , E d ito r ............................................................................J ill B ilc o c k o us p u rs u it o f o b s e s s iv e love. S et d e c o ra to r............................................... J ill Eden D e an P erry, P ro d, d e s ig n e r s ............................ W e n d y D ickso n , S tu n ts c o -o rd in a to r............................................C h ris A n d e rs o n R o b R ic h a rd s o n , G e o rg e L id d le S tu n ts ................................ N e w G e n e ra tio n S tu n ts CELIA A lis o n R o bb , C o m p o s e r......................................... B ru c e S m e a to n S till p h o to g ra p h y ...............................A la n M itc h e ll E xec, p ro d u c e rs .........................................M e n a h e m G o la n , K e n R o bb , P ro d, c o m p a n y ....... .S eon F ilm P ro d u c tio n s B e st b o y ............................................L a n ce J o h n s o n S tra c h a n W ils o n , D ist. c o m p a n y ......... Y o ra m G lo b u s ...................................H oyts R u n n e r.................................................. M a rcu s H u n t P ro d u c tio n e x e c u t iv e .......................................... R o y S te v e n s C liv e Y o u n g .................G o rd o n G le nn , P ro d u c e r s ................ C a te r in g ............................................................... S w e e t S e d u c tio n T im o th y W h ite P ro d, c o -o rd in a to r.................................. S u e J a rv is T e c h n ic a l s u p e rv is o r......................S te v e M a rrin e r L a b o ra to ry ....................................................... C in e ve x D ir e c to r ..................... ........................ A n n T u rn e r P ro d, m a n a g e r.....................................................C a ro l H u g hSetill s p h o to g ra p h y .....................................V iv ia n Z in k Lab. lia is o n .......................................... Ian A n d e rso n S c rip tw rite r............... ........................ A n n T u rn e r U n it m a n a g e rs ...........M ic h a e l B a tc h e lo r (M elb .), S a fe ty o ffic e r.......................................................... A rc h R o b e rts L e n g th ...................................100 m in u te s (a p p ro x.) P h o to g ra p h y ............ ......... G e o ffre y S im p so n T ic C a rro ll (N T) S e c u rity ...........................................................A S G A R D G a u g e ................................................................... 3 5m m .................... Lloyd C a rric k S o u n d r e c o r d is t..... A s s t u n it m a n a g e r.............E m m a S c h o fie ld (N T) U n it n u rs e (M e lb o u r n e )..................................... J u n e S a v a g e S h o o tin g s to c k .................................F u ji 8 5 1 1 ,8 5 1 4 E d ito r.......................... ......................K en S allow s L o c a tio n m a n a g e r s ..............T o n y L e a ch (M elb .), U n it n u rs e ( N T )................................................ M a g g ie M c K a y C a s t: J u d y D a vis (N in a /G e o rg ia ), J u lia B la ke P ro d , d e s ig n e r........ .....................P eta L aw so n R o b in C lifto n (N T) W r a n g le r........................................ E v a n n e C h e s s o n (E liza b e th ), Jo h n B ach (K a rlin ), M a rsh all C o m p o s e r.................. ..........................C h ris N eal P ro d, s e c re ta ry .................................................S e re n a G a ttu T suot o r .....................................................................R a c h e l E va n s N a p ie r (Le M at), A le x M e n g le t (Lazio). E xec, p ro d u c e r....... .................B ryce M e n zies A c c o u n ta n t..............................E liz a b e th A n d e rs o n C o a c h ..................................................................... P e te r T u llo c h S y n o p s is : W h o w a s G e o rg ia ? — A m o th e r? A A s s o c , p r o d u c e r .... ........................ Ian P rin gle P ro d, a c c o u n ta n t............................................. J e n n y V e rdB on e ,st b o y .................................................................. C h ris F le e t p h o to g ra p h e r? A n e n ig m a ? H o w d id sh e die? P ro d , s u p e rv is o r...... .................... L yn d a H o use C a tch 1-2-3 R u n n e r.................................................Ifc a D ra g ic e v ic W h o kn e w h e r th e n ? — W h o kn e w h e r at all? P ro d , c o -o rd in a to r.. ..................S ue S te p h e n s A c c o u n ts a s s ts .................................................. C e lin e R o b ita R eille s e, a rc h e rs ............................................................ S u e E llis, U n it m a n a g e r........... ...........L eig h A m m itz b o ll A n n e T w e e d a le C h ris tin a N o rm a n EMERALD CITY L o c a tio n m a n a g e rs ..................D a niel S ch a rf, 1st a sst d ire c to r...................................................S te ve A n d re P uwbslic ity .....................T h e R e a F ra n c is C o m p a n y L eig h A m m itz b o ll 2 nd a sst d ir e c t o r s ..................................................P hil P a tteUrsnoitnp, u b lic is t ..................................................... M a ria n P ag e P ro d, c o m p a n y ..................L im e lig h t P ro d u c tio n s P ro d , a c c o u n ta n t... .................. M o n ik a G eh rt, T o b y P ea se in a ss o c ia tio n w ith th e C a t e r in g ...................................... C h ris S m ith , F e a st M a n d y C a rte r, 3 rd a sst d ir e c t o r .............................J a n in e S c h e p is i S tu d io s .............................. A u s tra lia n F ilm S tu d io s N S W F ilm C o rp o ra tio n M o n e y p e n n y S e rvice s 3 rd a sst d ire c to r P ro d u c e r..................................................... Jo a n L on g L a b o ra to ry ........................................................ C in e v e x P ro d , a s s is ta n t............ ................ E le a n o r B ilsto n (C e n tra l A u s tra lia ).......................................... J o h n M e reLdeith D ir e c to r............................................ M ic h a e l J e n k in s n g t h ........................................................................ 1 20 m in u te s 1st a sst d ire c to r........... .......................... P hil Jo n e s S c rip tw rite r...........................................................D a vid W illiaAm s sstodnire c to rs .................................................. M e la n ie T u rnG e r,a u g e .................................................................... 3 5 m m 2 nd a sst d ir e c t o r ........ ................... C h ris O d g e rs B ase d on th e p la y b y ........................................D a vid W illia m s o n T o n y F a e h se C a s t: M e ry l S tre e p (L in d a y C h a m b e rla in ), S a m C o n tin u ity ..................... ........................ J u lie B ate s C o n tin u ity .............................................................. L in d a R a y N e ill (M ic h a e l C h a m b e rla in ). P h o to g ra p h y .........................................P au l M u rp h y S c rip t c o n s u lta n t........ ..........................S ue S m ith P ro d u c e r’ s a s s is ta n t........................................H ila ry M a y S o u n d r e c o r d is t .................................... B en O sm o C a s tin g ........................... .......L iz M u llin a r C a stin g c to E d ito r .........................................................................N e il T h u mDpire s to n r’s a s s is ta n t............................................ J a k k i M a n n MULLAWAY C a m e ra o p e r a t o r ....... ......... G e o ffre y S im p so n P ro d , d e s ig n e r.................................................... O w e n W illiaCma ss tin g .............................................................F o rca st, F o c u s p u lle r s ............... .................. M a rtin T u rn e r, C o m p o s e r.................................................. C h ris N e al R h o n d a S c h e p is i 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) S te ve M cD o n a ld E xtra s c a s tin g ......................................................... S u e P a rk e r P ro d , c o -o rd in a to r...............................J u lia R itch ie P ty L im ite d fo r C la p p e r/lo a d e r........... ......................S o n ia L e b e r C a m e ra o p e ra to r..................................................... Ian J o n e s P ro d , m a n a g e r.................................... B re n d a P am In te rn a tio n a l F ilm M a n a g e m e n t L im ite d K e y g r ip .......................... ...........B re n d a n S h a n le y id e o o p e ra to r.........................................................J im D u n wDoist. o d ie U n it m a n a g e r............................................... R o xa n n e D e lbV a rre c o m p a n y ......... H e m d a le F ilm C o rp o ra tio n A s s t g r ip s ....................... ......................G e o ff E llio tt, L o c a tio n m a n a g e r............................P e te r L a w le ss F o cu s p u ll e r ......................................................... L e ig h M cK e n z ie (T h e W o rld e x c lu d in g A u s tra la s ia ), C h ris to p h e r S te ve n so n C la p p e r/lo a d e r.....................................................P e te r W h ite P ro d u c e r’s s e c re ta ry ...................... P e n n y A ttfie ld H e m d a le -G in n a n e A u s tra lia L im ite d 2 n d u n it p h o to g ra p h y . .................... J a e m s G ra n t 2 n d c a m e ra a s s t/S te a d ic a m ..........................G e o ff H a ll P ro d , a c c o u n ta n t............................. D a vid B arne s, (A u s tra la s ia ) G a ffe r............................... ................... T re v o r T o u n e C a m e ra m a in te n a n c e ................S c o tt B a c k h o u s e F ilm c e n ts P ro d u c e r....................................D. H o w a rd G rig s b y B e st b o y ........................ .............. W e rn e r G e rla c h 1 st a s s t d ire c to r..................................... C h ris W e b b K e y g r ip .............................................................G ra h a m L itc hD fieirld e c to r..............................................D on M c L e n n a n B o o m o p e ra to r............. ..............C h ris G o ld s m ith 2 nd a s s t d ir e c t o r ............................................... H e n ry O s b oArn s set g r ip s ......................................................... R ic h a rd A lla rdSic e , tw rite r........................................ J o n S te p h e n s c rip C o s tu m e d e s ig n e r..... ..................... R o se C h o n g 3 rd a s s t d ire c to r................................. M a ria P h illip s M a rk R a m sa y, B ase d o n th e n o ve l b y ....................B ro n N ic h o lls M a k e -u p ........................ ..................... C a ro ly n N o tt C o n tin u ity ................................................... J o W e e ks G a ry C a rd e n P h o to g ra p h y .............................Z b ig n ie w F rie d ric h H a ird re s s e r................... ...................... C a ro ly n N o tt G a f f e r ....................................................................... M ic k M o rris C a s tin g ..................................A lis o n B a rre tt C a s tin g S o u n d r e c o r d is t ............................... L lo y d C a rric k W a rd ro b e s u p e rv is o r. .........................P h il E ag le s E le c tr ic s ............ ............................................ J o h n Lee E xtra s c a s tin g ...................................J u d ith C ru d e n S u p e rv is in g e d ito r.................. Z b ig n ie w F rie d ric h

70 - MAY CINEMA PAPERS

S ta n d b y w a rd ro b e ..................................G a il M a yes B u y e rs /d re s s e rs ..................................M u rra y K elly, H a rve y M a w so n A rt d e p t r u n n e r ................................... D a n a e G u n n S ta n d b y p ro p s ..........................................B ria n L an g S p e c ia l e ff e c t s ................................. P e te r S tu b b s, V isu a l E ffe c ts H o b ya h c h o re o g ra p h y ..................B ru n o A n n e tta H o b ya h e ffe c ts & d e s ig n .................... N ik D o m in g S e t c o n s tru c tio n .................... S c re w e d a nd G lu ed S to ry b o a rd a r t is t .......................... M a g g ie G e d d e s T u to rs ....................................................... L iz S e d m a n , R o b b ie A s h u rs t-E m e ry E dg e n u m b e r in g ..........................O liv e r S tre e to n A sst e d it o r .......................................... J e n n ife r P rice S o u n d e d it o r ..................................... P e te r B u rg e ss E d itin g a s s is ta n t........................... J e n n ife r H o rto n S tu n ts c o -o rd in a to r......................C h ris A n d e rs o n S tu n ts ................................ N e w G e n e ra tio n S tu n ts S till p h o to g ra p h y ..............................G re g N o ake s, T o m P so m o tre g o s W r a n g le r .............................................A n im a l A cto rs R u n n e r .............................................L isa C h a m b e rs P u b lic ity ..................................S cop e — J o h n N ico ll C a te r in g ............................ ...............K ris tin a F o h lich L a b o ra to ry ...............................................................V F L Lab. lia is o n ............................................ B ru ce B ra un L e n g th ..................................................... 97 m in u te s G a u g e ..................................................................35m m S h o o tin g s t o c k ............................ 5 24 7, 5 29 5, 5297 C a s t: R e b e c c a S m a rt (C elia), N ic h o la s E adie (R ay), M a ry a n n e F a h e y (Pat), V ic to ria L o n g le y (A lice ), W illia m Z a p p a (John). S y n o p s is : Celia is a s to ry o f c h ild h o o d , o f m o n ste rs a nd d re a m s.

E d ito r ................................................................ N ic k Lee M u s ic p e rfo rm e d b y ......................................... A rf A rf P ro d , d e s ig n e r...................................................P a tric k R e a rdLoanb o ra to ry .................................................................V F L E xe c, p r o d u c e r ...........................A n to n y I. G in n a n e B u d g e t............................................................... $ 2 7 ,0 0 0 P ro d , c o -o rd in a to r........................................C h ris tin e G a llaLg eh n e rg t h ......................................................... 3 0 m in u te s P ro d, m a n a g e r ................................................ A n d re w W is e m G aanu g e ..................................................................... 1 6 m m U n it m a n a g e r ....................................................... S te v e E w in gSsy n o p s is : T h e c o n te n t o f th is film w ill be L o c a tio n m a n a g e r...............................................S te v e E w in gbsa s e 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 P ro d , s e c r e ta r y ...................................................... F ra n O ’ D o in n o gthheu efiftie s w ith a s ta n d a rd 8 film c a m e ra . P ro d , a c c o u n ta n t..............................................R o b e rt T h re aFdugrth o lde r m a te ria l w ill b e g a th e re d o n th re e 1 st a s s t d ir e c t o r ......................................................B o b D o n a se ld spoanra te trip s to B a ra d in e , a tim b e r v illa g e in c e n tra l N S W . T h e film w ill e x p lo re th e la n d 2 n d a s s t d ir e c t o r ........................................Ian K e n n y sca p e , h is to ry a n d m y th o lo g y o f th e a re a. 3 rd a s s t d ir e c to r .......................B re n d a n C a m p b e ll C o n tin u ity ........................................... C h ris tin e L ip a ri C a s tin g .......................................................... G re g A p p s BITTER SURRENDER C a s tin g c o n s u lta n ts .................................................L iz M u llin a r (W o rk in g title ) C a s tin g C o n s u lta n ts

Film Studio and Production Offices for Hire

E x tra s c a s tin g ...........................................................J o n S te p h Peronds, c o m p a n y ....................... P lu n g e P ro d u c tio n s F o c u s p u lle r ...........................................................C h ris C a in P r o d u c e r s ................................................A n n S h a rle y , F ra n c e s c a d a R im in i C la p p e r/lo a d e r................................................. A n d re w S c o tt K e y g r ip ................................................................... P e te r K e rs hDairwe c to r ................................................L o u is e H u b b a rd A s s t g r ip .............................................................M ic h a e l M a d igSacnrip tw rite rs ............................................A n n S h a rle y , F ra n c e s c a d a R im in i G a f f e r ...................................................................... D a v id P a rk in s o n o to g ra p h y ...........................................................E rik a A d d is B o o m o p e ra to r...................................................... C h ris G o ld sPmh ith o un n d r e c o r d is t ............................................ S u e K e rr C o s tu m e d e s ig n e r......................................... J e a n n ie C a m eSro E d ito r .............................................C a th e rin e M u rp h y M a k e -u p ................................................. M a g g ie K o le v C o m p o s e r.................................................................. T im J o n e s 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 P ro p s b u y e r..........................................................M a rita M u s sEe xe tt c, p r o d u c e r s ................................... A n n S h a rle y , F ra n c e s c a d a R im in i ■Standby p r o p s .........................................................T im B ro w n in g A sns o c , p ro d u c e r............ L iz W illia m s o n (S ta g e 1) S e t d e c o ra to r.....................................................H a rv e y M a w so A rt d e p t r u n n e r ....................................................... M a x T h o mParo s d u c e r’ s a s s is ta n t..............H a rris o n A n d e rs o n A s s t e d it o r .........................................................A n n e tte K e lly M u s ic a l d ir e c to r ....................................................... T im J o n e s u s ic p e rfo rm e d b y .......C a lc u tta R a n g e rs C lu b D u b b in g e d it o r ............................................... S te p h e n L a m bM e th S o u n d e d it o r ............................... C a th e rin e M u rp h y S till p h o to g ra p h y ............................. V irg in ia R o u se S till D ia lo g u e c o a c h ....................................................... J o n S te p h e n sp h o to g ra p h y ..............................L o re tta H yn e s Ru B e st b o y ...................................................................D a ryl P e a rso n n n e r .................................................L iz W illia m s o n 2 nd e le c t r ix ...........................................................S tu a rt C ro mLbaieb o r a to r y ............................................. U -T e l P ty Ltd B u d g e t ............................................................. $43 ,35 1 R u n n e r ........................................................J a c k W h ite L e n g t h ..........................................................29 m in u te s S tu d io s ...............................A u s tra lia n F ilm S tu d io s G a u g e ............................................................... B e ta c a m L a b o ra to ry .........................................................C in e v e x L ab . lia is o n ................................................................. Ian A n d eS rsyonno p s is : A d o c u m e n ta ry a b o u t w o m e n w h o d o n o t live w ith th e ir c h ild re n . It lo o k s a t th e B u d g e t .........................................................$ 3 ,0 0 0 ,0 0 0 b eslie 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 L e n g t h ........................................................................... 9 4 m in u te 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 G a u g e .....................................................................3 5 m m a b o u t s e c re c y a n d c o llu s io n w ith in fa m ilie s a nd 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 c o m m u n itie s . P e rs o n a l te s tim o n ia ls fro m fiv e 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 w o m e n w h o h a v e re lin q u is h e d c h ild re n fo r (S teve ), K y m a ra S to w e rs (Jo d ie ), B ra d le y K il a d o p tio n re v e a l th e p ric e s o m e w o m e n m u st p a tric k (A la n), B ill H u n te r (D ad ), S u e J o n e s p a y fo r tra n s g re s s in g th e s e x u a l c o d e s . (M u m ), J u n o R o x a s (G u id o ), D o m in ic S w e e n e y (Jim ), M a ry C o u s ta s (H e le n ). 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 of 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 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 ritic a lly ill.

BLACK JACK’S LAST MISSION

P ro d, c o m p a n y ............................T a ra P ro m o tio n s (D iv is io n o f B lu e s c o p e A s s o c ia te s ) in a s s o c ia tio n w ith OUTBACK L ig h th o u s e P ro d u c tio n s (D iv is io n o f T a s m a n ia n F ilm C o rp o ra tio n ) P ro d , c o m p a n y ...................................... J o h n S e x to n P ro d u c e r................................................................. S te v e B ird s a ll P ro d u c tio n s P ty L im ite d fo r D ir e c to rs ...............................................S te v e B ird s a ll, T h e B u rro w e s F ilm G ro u p R u s s e ll G a llo w a y P ty L im ite d a nd S c r ip tw r ite r ............................................................S te v e B ird s a ll In te rn a tio n a l F ilm M a n a g e m e n t L im ite d P h o to g ra p h y ................................ R u s s e ll G a llo w a y D ist. c o m p a n y ........... H e m d a le F ilm C o rp o ra tio n S o u n d r e c o r d is t .........................J o h n S c h ie fe lb e in (T h e W o rld e x c lu d in g A u s tra la s ia ), E d ito r................................................R o ss T h o m p s o n H e m d a le -G in n a n e A u s tra lia L im ite d P ro d, m a n a g e r................................S a n d ra B ird s a ll (A u s tra la s ia ) P r o d u c e r ................................................................. J o h n S e xtoCno n tin u ity .................................................C o lin G ru b b C a m e ra a s s is ta n t............................................ W a y n e C o w e n D ire c to r............................................................Ian B a rry S c rip tw rite r............................................................. J o h n S e x toRne s e a rc h ................................................................S te v e B ird s a ll L a b o ra to ry .........................................................C in e v e x P h o to g ra p h y ....................................R o ss B e rry m a n T e le c in e .................................................................. Ilo u ra S o u n d r e c o r d is t ....................................... B en O sm o E d ito r ...................................................................... H e n ry D a n gBaur d g e t .............................................................$ 1 2 0 ,0 0 0 L e n g t h .......................................................55 m in u te s P ro d, d e s ig n e r................................O w e n P a te rs o n G a u g e ..............................................16 m m to 1 " v id e o E xec, p ro d u c e rs .......................A n to n y I. G in n a n e , S h o o tin g s t o c k ............................ 7 2 9 1 ,7 2 9 2 , 7 2 9 7 K e n t L ove ll S y n o p s is : A trio o f a d v e n tu re rs d is c o v e rs th e L in e p ro d u c e r...................................... S u A rm s tro n g in ta c t w re c k o f a W o rld W a r 2 B -1 7 b o m b e r in L a b o r a to ry ......................................................C o lo rfilm 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 Lab. lia is o n .....................................D e n is e W o lfs o n , G u in e a . T h e p la n e is id e n tifie d as “ B la ck W a y n e D u n s ta n J a c k ” , o n e o f th e m o st fa m o u s F ly in g F o rt B u d g e t ........................................................ $ 7 ,3 0 0 ,0 0 0 re sse s in th e S o u th w e s t P a c ific . T h e p ilo t is G a u g e .....................................................................3 5 m m lo c a te d in C a lifo rn ia a n d , a fte r 4 4 ye a rs, 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 e c id e s to re tu rn to N e w G u in e a to b e re u n ite d 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 w ith , a n d th a n k , th e N a tio n a ls o f th e v illa g e (A lic e ), S te v e n V id le r (D o n a g h u e ), F re d w h o h e lp e d re s c u e h is c re w w h e n th e p la n e P a rs lo w (R ic h a rd s ), C o rn e lia F ra n c e s (C a ro w e n t d o w n . U s in g a rc h iv a l fo o ta g e , s p e c lin e ), M ic h a e l W in c h e s te r (R u p e rt), R ic h a rd ta c u la r la n d a n d u n d e rw a te r s e q u e n c e s , th is is M o ir (T h o m p s o n ), S h a n e B ria n t (A lle n b y), th e th e n -a n d -n o w s to ry o f th e p e o p le , p la c e s 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 ). a n d e v e n ts s u rro u n d in g “ B la c k J a c k ’s ” la st 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 fall m is s io n . in lo ve w ith th e s a m e w o m a n in th is h is to ric a l s a g a se t in th e A u s tra lia n o u tb a c k at th e tu rn o f th e c e n tu ry . BOY MEETS GIRL

Avalon Film Corporation 29 Mitchell Street North Sydney Available now for hire Daily or Weekly rates Phone: Susan or Caggs (02) 92 4776 Fax: (02) 922 6081

yUTTJJü 35m m & 16m m N egative C utting

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\CHRIS ROWELL PRODUCTIONS 11 /

DOCUMENTARIES

P ro d , c o m p a n y ..................................................... A B C D ist. c o m p a n y ........................................................A B C P r o d u c e r ............................................B ru c e B e ls h a m D ir e c t o r s ...........................................B ru c e B e ls h a m , J e n n y B ro c k ie S c r ip tw r ite r /r e p o r te r ....................... J e n n y B ro c k ie R e s e a rc h ......................................M a rg a re t M u rp h y , H e le n G re e n w o o d

AUSTRALIAN EXPLORERS P ro d , c o m p a n y ............................. J o tz P ro d u c tio n s P ro d u c e r s .................................................................T o m Z u b rywc k i, w G il S e rin e D ir e c to rs ................................................................... T o m Z u b ry c k i, G il S e rin e P h o to g ra p h y ............................................................ J o e l P e te rs o n S o u n d re c o rd is t......................................................T o m Z u b ry c k i E d ito r................................................................G il S e rin e B u d g e t ............................................................. $ 1 1 0 ,0 0 0 L e n g t h .......................................................... 5 0 m in u te s G a u g e ...................................................................... 1 6m 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 : A u s tra lia s e e n th ro u g h th e e y e s o f a g ro u p o f A m e ric a n to u ris ts .

PRODUCERS

Help us make this produc tion survey as complete as possible. If you have some thing which is about to go into pre-production, let us know and we will make sure it is included. Call Kathy Bail BARADINE on (03) 429 5511, or write to P ro d , c o m p a n y ........................A rc a n a P ro d u c tio n s her at Cinema Papers, 43 P ro d u c e r............................................................. M ic h a e l B u c k le y Street, Abbotsford, D ir e c t o r .............................................................. M ic h a e l B u c k leCharles y S c r ip t w r it e r ........................................................M ic h a e l B u c k leVictoria y 3067.

MASCARADE — a team of experienced, highly trained makeup designers and makeup artists geared to produce the face, the look, the feel you need . . . for film, television, theatre, video and still photography. MASCARADE — competent specialists in Period Makeup — very natural “ No-Makeup” look, Special Effects Makeup, Fantasy, Prosthetics. MASCARADE — the Makeup Agency in Melbourne for all makeup needs. The agency has grown from the unique Metropolitan School of Theatre Arts, established in 1984 to ensure the highest standard of training for future makeup artists. Enquiries for Agency and School: Shirley Reynolds on (03) 266 2087 or (AH) (03) 68 3435.

S o u n d r e c o r d is t ...................................................... S u e M c C a u le y E d ito r....................................................................M ic h a e l B u c k le y

JW W W VW W W W W W CINEMA PAPERS MAY — 71

P R O D U C T I O N S

E d it o r ..........................................................L ily S te in e r C a m e ra a s s is ta n ts .......................J u d e W o o d sid e , S o u n d re c o rd is t................................. P a u l K u ro n y a B ased on an o rig in a l id e a b y ...... J e n n y B ro ckie P ro d, a s s is ta n t.............................. J a y n e C a tte rin a C h ris C ia n ta r, P h o to g ra p h y .......................................... M a rk S p ic e r, E d ito r......................................................B ria n S e m p le L ig h t in g ............................................R o b M c C u b b in , H e le n B arro w , D a n ie l S h a w E xec, p ro d u c e r....................................M u rra y T ra v is N e v ille S ta n le y S o u n d e d ito r ........................................................T a n ia B row P n ro d, c o -o rd in a to r................................A n n e C h iv a s P au l C o s te llo , P re s e n te r...................................................L ily S te in e r M ix e r...................................................................... O liv e r J u n kP e ro r d, m a n a g e r......................................................D o lly M a rtin M lk e T w e m lo w M ixed a t............................................... A B C , G o re H ill C a m e ra a s s is ta n t.............................................. D a n ie l S h a wL e n g t h ........................................................18 m in u te s S o u n d r e c o rd is ts ........................M a rio P e lle g rin o , G e o ff K rix, L a b o r a to ry .....................................................C o lo rfilm A s s t e d it o r ............................................................ T a n ia B ro w G n a u g e .............................................................. B e ta c a m yd n go ep s is : A p ro g ra m d e s ig n e d to e n c o u ra g e L e n g th ..........................................................................3 0 m in uM te six e r ...................................................................... A n n ie C o c kSs e G u n te r E rico li, h ig h s c h o o l s tu d e n ts to c o n tin u e w ith p h y s ic s G a u g e ....................................................................16m m G u n tis S ics N a r r a t o r .......................................... A n g e la P e a rm a n s tu d ie s . It lo o ks at fiv e a re a s o f p h y s ic s , e x E d ito r ..........................................................................D es H o rnS e y n o p s is : T h e s to ry o f th e V ie tn a m v e te ra n s ’ L e n g th ......................................................... 30 m in u te s p la in s b a s ic p rin c ip le s a n d th e ir re le v a n c e to W e lc o m e H o m e P arad e, h eld In S yd n e y, told E xec, p ro d u c e r................................................. M u rra y T ra vis G a u g e .................................................................... 16m m fro m th e p o in t o f vie w o f th re e p e o p le m ost d a ily life , fu tu re te c h n o lo g y a nd jo b p ro s p e c ts . A s s o c , p ro d u c e r..........................M a rg a re t M u rp h y S y n o p s is : T h e s to ry o f a re m a rk a b le w o m a n , to u c h e d by It. O ne of a s e rie s o f five on A u s tra a nd h e r life -lo n g m is s io n to b rid g e th e g ap P ro d, s u p e r v is o r ........................ M a rg a re t M u rp h y lian c e le b ra tio n s . b e tw e e n b la c k a nd w h ite A u s tra lia n s . P ro d, c o -o rd in a to r............................... A n n e C h iva s A POST-WAR HISTORY OF SUKIYAKI P ro d, m a n a g e r......................................................D o lly M a rtin IN MELBOURNE P ro d, s e c r e ta r y .................................................... J a n e H e a ly THE LABI SISTERS CELEBRATIONS: MARDI GRAS P ro d, c o m p a n y ..................................................G o sh u F ilm s C a m e ra a s s is ta n ts ................................................R on Foley, (W o rkin g title ) P ro d u c e r......................................... J o h n T sa m b a z is D ist. c o m p a n y ......................................................R o n in F ilm s K evin M ay, D ire c to r............................................J o h n T sa m b a z is P ro d u c e r s ............................................S o lru n H o aa s, P rod, c o m p a n y .....................................................A B C A n d re w M cC ly m o n t, P h o to g ra p h y .................................H a ns H e in d rich , K a re n F o le y D lst. c o m p a n y ....................................................... A B C D a n ie l S h a w G a rry M a u n d e r D ire c to r................................................................. S o lru n H o a a s rd A sst e d ito r.......................................................... R e n a ta C rossP ro d u c e r............................................................. M a rtyn G o d dSaou D ire c to rs .............................................................M a rtyn G o d d a rd ,n d re c o rd is t..................................................R a lp h S te e l S c r ip t w r it e r .........................................................S o lru n H o aa s M u sic p e rfo rm e d b y .......................................... V in c e Jo n e s E d ito r................................................J o h n T sa m b a zis S u e C ram , B ase d on th e o rig in a l id e a b y .......S o lru n H o a a s N a r r a to r .............................................. J e n n y B ro ckie L e n g th .........................................................25 m in u te s S te p h e n B u rsto w P h o to g ra p h y .................................... P e te r Z a c h a ro v O p tic a ls ...........................................................C o lo rfilm G a u g e ....................................................................16m m P h o to g ra p h y ............................. M ich a e l T w e m lo w , S o u n d r e c o r d is t ...................G re tc h e n T h o rn b u rn M ixe d a t....................................................................A B C S h o o tin g s t o c k .................................................... 7291 P au l T u rn e r, E d ito r .................................................. S te w a rt Y o u n g L a b o r a to ry ..................................................... C o lo rfilm 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 hom e L a u re n ce M cM a n u s, P ro d , m a n a g e r.................................................... K a re n F o le y L e n g th ................................................. 4 x 30 m in u te s w ith a C a th o lic , it se ts a p re c e d e n t fo r her N ic k M a cb ea n L a b o ra to ry ................................................................ V F L G a u g e .................................................................... 16m m y o u n g e r s is te rs to d o th e sa m e and cre a te s S o u n d re c o r d is ts ................................ G u n tis S ics, B u d g e t ............................................................ $ 1 4 3 ,4 0 0 S h o o tin g s t o c k ....................................... K o d a k N eg. p ro b le m s fo r h e r Je w is h a b id in g p a re n ts. Jo h n G arw o od L e n g th ...........................................................................5 0 m in u te s S y n o p s is : F o u r d o c u m e n ta rie s lo o k in g at E d ito r .........................................................Jo h n P le ffe r G a u g e .....................................................................16m m c o u rts h ip a nd ro m a n c e w ith in d iffe re n t age E xec, p ro d u c e r.................................................M u rra y T ra vis S h o o tin g s t o c k ......................................................7 2 9 7 g ro u p s . F ilm e d a ro u n d A u s tra lia and to be te le LOCAL CONTACT R e s e a rc h ..................................................................S ue C ram S y n o p s is : T h e s to ry o f J a p a n e s e w o m e n w h o ca st on A B C T V in J u n e 1988. P ro d, c o m p a n y ................................................B rillia n t F ilm sm a rrie d A u s tra lia n s e rv ic e m e n a fte r W W II — P ro d, m a n a g e r..................................... D o lly M a rtin rond u c e r...............................................B ria n D o u g la s h ow th e y s e ttle d in to A u s tra lia n s o c ie ty w ith P ro d u c e r's a s s is ta n t..........................................J a n e D a vidPso th e ir h u s b a n d s a n d c h ild re n , th e ir d iv o rc e s , C a m e ra a s s is ta n t............................................. D a niel S ha wD ir e c to r................................................. B ria n D o u g la s CELEBRATIONS: THE BAND w uo n rth A s s t e d ito r.............................................................D avid B o d gSecr rip tw rite r........................................................ P a tric k E d g ere io n s , re lig io u s b e lie fs , jo b s a n d in v o lv e P ro d, c o m p a n y .....................................................A B C P h o to g ra p h y ............................................C h ris R eed m e n t w ith th e J a p a n e s e re s ta u ra n t tra d e in M ixe d a t............................................... A B C , G ore H ill P ro d u c e r.................................................. D ia n n e P arr S o u n d re c o r d is t..................................................G e o ff S p u rre L a b o r a to ry .....................................................C o lo rfilm M ell lb o u rn e . D ir e c to r .....................................................D ia n n e P arr L e n g th ......................................................................... 30 m in u C teos m p o s e r............................................................A d ria n P e rto u t B ase d on th e o rig in a l id e a b y ........... D ia n n e P arr P ro d, c o -o rd in a to r...................................F io n a K in g G a u g e ....................................................................16m m READING AUSTRALIAN FILM P h o to g ra p h y .......................................B re tt R a m sa y K e y g r ip ............................................................... A d ria n K o rtu s S h o o tin g s t o c k .............................................E a stm a n S o u n d re c o rd is t.................................. Lee F a u lk n e r A rt d ir e c t o r .............................................................. R o b M cL ePoro d d , c o m p a n y ........................... D e a k ln U n iv e rs ity S y n o p s is : T h e sto ry of th e S yd n e y G ay M a rd l E d ito r ........................................................................ B ra d M c C ry s ta l M e d ia U n it M a k e -u p ............................................................B a rb a ra H a rrin g to n G ra s fro m the p o in t of vie w o f th re e g a y p e o ple: E xec, p ro d u c e r................................... M u rra y T ra vis P grotodnu c e r s ..............................................................P e te r Lane, H a ird re s s e r..................................................... B a rb a ra H a rrin a y o u n g m an fro m th e c o u n try, a w o m a n S e rie s p ro d u c e r................................................ M a rtyn G o d d a rd G ra e m e K in ro s s S m ith P o s t-p ro d u c tio n s u p e rv is o r.......M ic h a e l C h u rc h s c u lp tre s s a nd a d o c to r w h o is also an A ID S A ss o c , p ro d u c e r........................................... M a rg a re t M u rp h y T itle d e s ig n e r ...................................................... D a vid W o n D g ire c to r....................................................... P e te r L an e p a tie n t. O ne o f a se rie s o f five on A u s tra lia n P ro d, m a n a g e r....................................... D o lly M a rtin S c rip tw rite r............................................. J o h n O ’H a ra S tu d io s .................................................................... V T C , V ic to ria c e le b ra tio n s . P ro d, a s s is ta n ts ............................................. J o a n n e H a rve y, S o u n d re c o rd is t....................................................T e rry B e n n e tt M ixe d a t .......................C o m p le te P o s t-P ro d u c tio n C a ro l J o h n s o n E d ito r.................................C a ro lin e C o le s D e -V e le z L e n g th ........................................................30 m in u te s GETTING THE JOB M u s ic a l d ir e c t o r ..................................................B a rry S p a n ie r P ro d, m a n a g e r.........................................V a l A rth e y G a u g e ..............................................................1 " v id e o P rod, c o m p a n y .................... M in is try of E d u ca tio n P ro d, s e c re ta ry ....................................................... S u e A n d e rs o n M u s ic p e rfo rm e d C a s t: J a m e s M e lc h o ir (S teve ), M a ry ro s e C u sP r o d u c e r ...................................................................L ily S te inke e rlly (K elly), A n g e lo S a la m a n c a (Jim ), P au l b y ................................ E xpo C ity M a rc h in g B an d L ig h tin g c a m e ra p e rs o n .......................................N e al T e p e r r L e n g th .......................................................................... 30 m in uDteirse c to r ..................................................................... L ily S te inFela P re s e n te r.............................................................. S ig rid T h o rn to n h e rty (Fran k). S c rip tw rite r...........................................................A n n e B o u rke G a u g e .............................................................V t" v id e o T e c h , s u p e rv is o r.................................................. J o h n C h a n d le S y n o p s is : In th e a g g re s s iv e w o rld o f m e d ia P h o to g ra p h y ............................W a rre n O . T h o m a s C a s t: B a rry S p a n ie r (C o -o rd /D ire c to r E xpo L e n g t h ...........................................................................2 7 m in u te s re la tio n s , F ra n k — a C E S S e n io r M a n a g e r, S o u n d re c o rd is t................................................. D avid H u g h e s B an d ), D o ug Isaa c (P e rc u s s io n d ire c to r), S co tt G a u g e ............................................................... 1 " v id e o g u id e s h is te a m th ro u g h th e rig o u rs a nd E d ito r ..........................................................................L ily S te in e r R ic e ( P e r c u s s io n is t) , C a ro ly n M c A lis te r S y n o p s is : S ig rid T h o rn to n p re s e n ts th is p ro d e m a n d s of in te r-p e rs o n a l c o m m u n ic a tio n M a k e -u p ...............................................................Ja y n e C a tteprin (C la rin e t), L yn d o n C a rg e r (M e llo p h o n e ), M a rtin g ra m on w a y s o f re a d in g A u s tra lia n film . It illu s ro bale m s — re s u ltin g in a h ig h m e d ia p ro file L e n g th ..........................................................................25 m in ufo ters the v a rie ty o f s e rv ic e s th e y c a n o ffe r! M a c a u le y (S o u sa p h o n e ), D a ryl B o w e rs (P e r tra te s th e use o f c re a tiv e a n d te c h n ic a l d e c i G a u g e ..............................................................B e ta ca m s io n s w h ic h c o n v e y m e a n in g to th e v ie w e r. c u s s io n ), S c o tt S tra c h a n (B a n d L e a d e r, C a st: J o a n n a W e ir, J e n n ife r J a rm a n W a lke r, T ru m p e t), B ro n w yn J o h n s to n (P icco lo ), A le x E x tra c ts fro m A u s tra lia n film s a re u se d to h ig h lllo n a K o m e sa ro ff, L ynn e R u th ve n , M a n jke C o o lin g (T ru m p e t), B re tt D e n g a te (P e rcu ssio n ). lig h t th e m e s s u c h as g e n d e r, liv in g on th e MATTHEW FLINDERS’ AUSTRALIA M a n n, J u d ith P e n fo ld , M a ry Rose C a sey, R uth S y n o p s is : T h e E xp o ’ 88 C ity M a rc h in g B and frin g e a nd g ro w in g up. P ro d, c o m p a n y ...............A to Z C o m m u n ic a tio n s Y a ffe , S a m a n th a C a rte r, J e re m y K ew ley, Tim b rin g s to g e th e r 65 yo u n g m u s ic ia n s fro m P ty L im ite d B ell, M a rita W ilc o x , W e n d y M e d d in g s, A n n ie a ro u n d A u s tra lia to le ad th e E xp o O p e n in g D ay D ist. c o m p a n y .............................R a d io p la y P ty Ltd Fiu m e . P a ra d e on 30 A p ril a nd fro m th e n on p ro v id e THE SHADOW OVER EAST TIMOR P ro d u c e rs .............................................................. J a c k S m ith , S y n o p s is : A d ra m a tis e d d o c u m e n ta ry w h ic h m u ch o f th e e n te rta in m e n t d u rin g th e six P ro d, c o m p a n y ..................................S h a d o w Film s A n d re w Z ie lin s k i a im s to in c re a s e co n fid e n c e a nd s k ills w h en m o n th s o f E xpo , b o th on a nd o ff th e E xp o site . D ist. c o m p a n y ................ A u s tra lia n F ilm In s titu te D ire c to r......................................... A n th o n y B ow m an p re s e n tin g fo r in te rvie w , fro m a d m in is tra tio n T h is d o c u m e n ta ry fo llo w s th e s e y o u n g m u s i P ro d u c e rs .........................................D e n n is F re n ey, S c rip tw rite r............C re e d C h ris to p h e r O ’H a n lo n p o s itio n s to p rin c ip a l s e le c tio n . It g ive s h e lp fu l c ia n s a nd th e ir c o n d u c to r th ro u g h a u d itio n s , J a m e s K e ste ve n , P h o to g ra p h y ....................................... A le x M cP h ee a d vice a nd g u id a n c e th ro u g h d ra m a tis a tio n re h e a rsa ls , s e ttlin g and liv in g to g e th e r in B ris M a n d y K in g S ou n d re c o rd is ts ................................................ C h ris Izzard, a nd in te rv ie w s w ith w o m e n w h o h ave gon e b a n e to th e ir b ig day, th e o p e n in g o f E xp o ’88. D ire c to rs ............................................D e n n is F re n ey, Rod Pascoe, th ro u g h th e in te rv ie w p ro cess. O n e o f a se rie s o f fiv e on A u s tra lia n c e le b ra J a m e s K e ste ve n , D avid Innis tio n s. M a n d y K in g E d ito r...................................................Ro ss S im m o n s I CAN’T STOP NOW — S c rip tw rite rs ..................................................... D e n n is F re n ey, E xec, p r o d u c e r ............................A n d re w Z ie lin s k i EDDIE AZZOPARDI J a m e s K e ste ve n , A sso c, p ro d u c e r.....................................J a c k S m ith CELEBRATIONS: THE DAY THEY P ro d, c o m p a n y .................................................... A B C M a n d y K in g P ro d, c o -o rd in a to r...................................... A d rie n n e M a rd en FIRED THE GUN P h o to g ra p h y ........................................... M a n d y K in g D ist. c o m p a n y ....................................................... A B C P rod, m a n a g e r.............................................A d rie n n e M a rd en P ro d, c o m p a n y .................................................... A B C Sw o u n d r e c o r d is t ............................................... J a m e s K este ve n P ro d u c e r........................................... R ich a rd W a lk e r U n it m a n a g e r.....................................................A d ria n B risto P ro d u c e r..............................................................M a rtyn G o d dDairrd E d ito r ................................................................... J a m e s K este ve n e c to r.............................................. R ich a rd W a lk e r 3 rd a sst d ir e c to r ...............A n n e M a rie H o rn im a n D ire c to rs ............................................................. M a rtyn G o d d C o m p o s e r .............................M a rtin W e s le y S m ith Sacrd rip, tw rite r....................................... R ich a rd W a lk e r C o n tin u ity ...........................A n n e M a rie H o rn im a n T o n i S te in b re c k e r M u s ic p e rfo rm e d b y ..........M a rtin W e s le y S m ith P h o to g ra p h y ...............................M ich a e l T w e m lo w S c rip t a s s is ta n t............................ S im o n M a tth e w s P h o to g ra p h y ..........................................R o d C o ats, S o u n d re c o rd is t..................................... G u n tis S ics a rra to r............................................................A m a n d a C o llin g e C a m e ra o p e ra to r.................................................. A le x M cP hNee D a rio S a lp ie tro E d ito r..................................................... B ria n S e m p le M ixe d a t ......................................................... A u d io lo c , S y d n e y C a m e ra a s s is ta n t............................................... Jo h n O gd e n S o u n d re c o rd is ts ................................................... C o r L am ers, E xec, p ro d u c e r................................... M u rra y T ra vis L a b o ra to ry ............................................................... C F L K ey g rip .................................................P hil S h a p ie ra Ian C re g e n P ro d, c o -o rd in a to r............................... A n n e C h iva s B u d g e t............................................................. $ 5 0 ,0 0 0 G a f f e r ........................................... P ete r R ich a rd so n E d ito r ......................................................... C h ris to p h e r S p u rr P ro d, m a n a g e r....................................... D o lly M a rtin L e n g th .........................................................38 m in u te s M a k e -u p ..................................................V iv M e p ha m E xec, p ro d u c e r................................................. M u rra y T ra vis C a m e ra a s s is ta n t............................................. D a niel S ha wH a ird re s s e r.............................................V iv M e p ha m G a u g e ............................................ 1 " C fo rm a t v id e o R e s e a rc h ...................................................................S u e C ra m Slm h o o tin g s t o c k .................. S u p e r 8 K o d a c h ro m e , A s s t e d it o r ..............................................T a n ia B ro w n W a rd ro b e ................................................................... J o M a lco P ro d, m a n a g e r s ................................... D o lly M a rtin , N a r r a to r ............................................................. A n g e la P ea rm B e ta ca m , 1 6m m P an r o p s ............................................................................Jo M a lco lm R ich a rd C a m p b e ll L e n g th ......................................................................... 30 m in u S tetill s p h o to g ra p h y .................... J a c q u i S te ve n so n , S y n o p s is : T h e firs t A u s tra lia n d o c u m e n ta ry to P ro d u c e r’s a s s is ta n ts ....................................... J a n e D a vid Gso a ung, e ................................................................... 16m m c o m p re h e n s iv e ly e x a m in e th e e ve n ts In E ast G e o rg e F a rre ll R ich a rd C a m p b e ll T im o r s in c e th e m ilita ry in va sio n b y In d o n e sia S y n o p s is : F o r 17 ye ars E d d ie A z z o p a rd i has R u n n e r................................................................... D a vid J e n k in s C a m e ra a s s is ta n ts ........................... M a rk L a m b e ll, in D e c e m b e r 1975. b ee n s e e k in g ju s tic e . H is to ta l c o m m itm e n t has P u b lic ity .................................... E liza b e th K e rrid g e C a m e ro n M ille r c o s t h im d e a rly b ut he re m a in s as d e te rm in e d U n it p u b lic is t ...........................................S usa n Bell A s s t e d ito r...............................................................S a sa V ita cas e k ever. L e n g th ..........................................................................48 m in u te s SYDNEY HARBOUR L e n g th .......................................................................... 30 m in u te s G a u g e ..................................................................16m m G a u g e ................................................................... 16 m m P ro d, c o m p a n y ..............F ly in g S ta rt P ro d u c tio n s I CAN’T STOP NOW — RAY HYDE S h o o tin g s t o c k .................................................K od a k S h o o tin g s t o c k ............................................. E a stm a n P ro d u c e r....................................................C h ris to p h e r S w e e n e y C a st: M ich a e l M u n d e ll (M a tth e w F lind ers), P ro d, c o m p a n y .................................................... A B C S y n o p s is : T h e s to ry o f A u s tra lia D a y 1988 in D ire c to r...................................................... C h ris to p h e r S w e e n e y C re e d C h ris to p h e r O ’H a n lo n (G e o rg e Bass), D ist. c o m p a n y ....................................................... A B C tw o v e ry s m a ll c o u n try to w n s — T a rn a g u lla a nd S c r ip tw r ite r .............................................. C h ris to p h e r S w e e n e y S im o n M a tth e w s (B a s s ' S erva n t), A le x a n d e r P ro d u c e r................................................ A s h le y S m ith D u n o lly, in V ic to ria . T h e s e to w n s re p re s e n t P h o to g ra p h y ..................................... P ie te r d e V rie s, H all (Y o u n g M a tth e w F lin d e rs). P h o to g ra p h y .......................... L a u re n ce M cM a n u s a s p e c ts o f A u s tra lia w h ic h h a ve b e e n lo st e ls e H a n s H e id ric h n o p s is : T h e sto ry w ill re tra ce p a rts of S o u n d re c o r d is t.................................................. J o h n G a rwSoyod w h e re b u t w h ic h — g o o d a nd b ad — are at th e S ou n d re c o r d is ts ...............................G ra n t Y o u n g , E d ito r ................................................................ Q u e n tin J o h n F solin n d e rs ’ life , u n fo ld in g his vo ya g e s w ith fe llo w h e a rt o f b e in g A u s tra lia n . O n e o f a se rie s of B o b P e ck E xec, p ro d u c e r....................................M u rra y T ra vis e x p lo re r, G e o rg e B ass, w h o sh o w e d th a t a fiv e on A u s tra lia n c e le b ra tio n s . E d ito r.................................................T im W o o d h o u s e la rg e e x p a n s e o f w a te r s e p a ra te s T a s m a n ia P ro d, c o -o rd in a to r............................... A n n e C h iva s A sso c, p r o d u c e r ..................................R o b yn S m ith fro m th e re st o f A u s tra lia . U sin g h is to ric m aps, P ro d, m a n a g e r....................................... D o lly M a rtin P ro d, s u p e rv is o r...................................... P a u l R o s e r th e p ro d u c tio n w ill also re tra ce F lin d e rs ’ 1802 C a m e ra a s s is ta n t........................... J u d e W o o d sid e CELEBRATIONS: THE LAST MARCH C a m e ra a s s is ta n t......................... A n d re w B irb a ra jo u rn e y w h e n he sa ile d fro m P ort J a c k s o n to S o u n d e d it o r .........................................G e o ff M o se ly N eg. m a tc h in g ............ C h ris R o w e ll P ro d u c tio n s P ro d, c o m p a n y .................................................... A B C c h a rt th e E a ste rn A u s tra lia n c o a st a nd th e G u lf N a r r a to r ..........................................A n g e la P ea rm an N a rra to r..................................................P h illip H in to n P ro d u c e r.............................................................M a rtyn G od dLard e n g th ............................................ 30 m in u te so f C a rp e n ta ria on h is c irc u m n a v ig a tio n o f A u s S till p h o to g ra p h y ............................... P e te r S o ln e s s D ir e c to rs ........................................ M a rtyn G od d a rd , tra lia . It w ill lo o k a t th e im p a c t th is fa r-s ig h te d G a u g e ................................. 16m m T itle d e s ig n e r ........................................... F ra n B u rke R ich a rd C o rfie ld , e x p lo re r and n a v ig a to r had on A u s tra lia n S y n o p s is : R a y H yd e is a m an d e vo te d to the M ix e d a t ...........................................................C o lo rfilm A s h le y S m ith h isto ry. m e m o ry o f tw o s u n ke n b a ttle s h ip s and th e m en L a b o r a to ry ..............................................................A tla b P h o to g ra p h y ......................... L a u re n ce M cM a n u s, w h o se rve d and d ie d in th e m . L e n g th .........................................................46 m in u te s W a y n e H a rle y, G a u g e .................................................................... 1 6 m m B rya n H all PHYSICS IN THE WORLD I CAN’T STOP NOW — 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 o u n d re c o rd is ts ................................................. Jo h n G a rw o od , AROUND US S y n o p s is : T h is film lo o k s a t a d a y o f life on SANDRA HOLMES N ic k W o o d , P ro d, c o m p a n y .......................................... M in is try of S yd n e y H a rb o u r. It te lls th e s to ry o f th e p e o p le M a rio P e lle g rin o P ro d, c o m p a n y ..................................................... A B C E d u c a tio n (V ic to ria ) a nd th e p la c e s a ro u n d o n e o f A u s tra lia ’s b e st E d ito r.....................................................B ria n S e m p le D ist. c o m p a n y ........................................................A B C P r o d u c e r .................................................. L ily S te in e r kn o w n la n d m a rk s . It Is b e in g film e d w ith tw o E xec, p ro d u c e r.................................. M u rra y T ra v is P ro d u c e r........................................................... R ic h a rd W a lk e r D eirre c t o r ..................................................... L ily S te in e r c re w s o v e r s ix d a y s u s in g tw o d ire c to rs , h e li A s s o c , p ro d u c e r.......................................... M a rg a re t M u rpD h yir e c to r.............................................................. R ic h a rd W a lk P ehro to g ra p h y ....................................R o b M c C u b b in c o p te rs , th e b lim p , a s u b m a rin e a s w e ll as th e P ro d, m a n a g e r s .................................................. S a lly G je d ste , tw rite r........................................................R ic h a rd W a lk S cd rip u nwd re c o rd is t.............................. N e v ille S ta n le y y a c h ts a n d o th e r v e s s e ls th a t u se th e h a rb o u r. D o lly M a rtin P h o to g ra p h y .................................................... M ic h a e l T w eSmolo

72 — MAY CINEMA PAPERS

WARDROBE • MAKE-UP VANS • CAMERA TRUCKS • CAST VANS • PROPS VANS •

UNIT VEHICLES • TRACKING VEHICLES

PROUD TO BE SUPPLYING: • 4 Day Revolution • Rainbow Warrior • Kokoda Crescent • A Long Way From Home • Australian Break

FOR THE SUPPLY OF ALL FILM PRODUCTION TRANSPORT CONTACT DAVID SUTTOR ON (02) 436 3191 3 1 8 WILLOUGHBY ROAD, NAREMBURN, SYDNEY

STATION WAGONS • SEDANS • HI-ACE VANS « 4 X 4 TOYOTA LANDCRUISERS • ACTION VEHICLES • TRAY TOPS • BUSES

S o u n d re c o rd is t........................................................ L ee F a u lk n e r P h o to g r a p h y ................................. M ic h a e l W illia m s E d ito r .............................................J e a n e tte M c G o w n E d ito r.....................................................B ru c e R e d m a n S o u n d r e c o r d is t.................................................... M a rk T a rpPero y d, m a n a g e r...........................S tirlin g M c W h irte r E d ito r .................................................................. J ill H o lt P ro d, s e c re ta ry .................................................... M o ira W e bC e ro m p o s e r................................................................... L ee F a u lk n e r E xe c, p r o d u c e r ........................................... A F C /Q F C C o m p o s e r..............................................P a u l S c h u ltz e 1 st a s s t d ir e c t o r ........................ M a rk D. C h a p m a n P ro d , a s s is ta n t..................................................... H e le n W h itfie ld P ro d , m a n a g e r s ..................................................... S a lli E n g eCla e r, o n dtin u ity .................................... J e a n e tte M cG o w n M ic h a e l M c M a h o n C a s tin g c o n s u lt a n t s .........................................E la in e H o lla2nndd u n it d ir e c t o r ..................................................B ru c e R e d m a n C a m e ra a s s is ta n t...................................................M a x H ig g in s 1 st a s s t d ir e c t o r ................C a th e rin e B irm in g h a m & A s s o c ia te s C o n tin u ity ................................M a rg u e rite R e n e h a n C a m e ra a s s is ta n t................................................ C ra ig L u ca2sn d u n it p h o to g r a p h y .......................................R o g e r B ra d b u ry S o u n d e d it o r ........................................................ B ru c e R e d m a n C a s tin g ..................................................................... T o n y A y reK s ,e y g r ip .................................................. F ra n k B iffo n e E d itin g a s s is ta n t...................................................A n n e R e d m a n M ic h a e l M c M a h o n , B o o m o p e ra to r.............................P e te r M c P h e rs o n S till p h o to g ra p h y ................................................ R o g e r B ra d b u ry S a lli E n g e la n d e r A rt d ir e c to r ...................................................J o F o rsyth C a m e ra a s s is ta n t................................. S o n ia L e b e r A s s t a rt d ir e c t o r ................................................... T e rry M u rpTheyc h , a d v is e rs ...........................................A la n F ro st, J u lia n M a th e r G a f f e r ........................................................T o n y R e ad M a k e -u p .............................W e n d y S to c k d e n -B ro c k A rt d ir e c to r ...........................................................S te v e n J o n eCsa-Er pv e a n ste r ........................................................G e o ffre y S te hC n a t e r in g ................................................................... V ic k i M a th e r M ix e d a t ................................................................... A B C , B ris b a n e A s s t a rt d ir e c t o r .....................................e X d e M e d ic i M u s ic p e rfo rm e d b y ........................................P ic tu re M u s ic C o s tu m e c o - o r d in a to r .............................. A la n a H ill E d itin g a s s is ta n t.................................................. C h ris P ate L n a b o r a to r y ...................................................... C o lo rfilm B u d g e t ....................................................................$ 5 0 0 0 M a k e -u p .................................................................. C in d y F e rrie C re a te r in g .............................................. K a y F itz p a tric k L e n g t h ............................................................................ 15 m in u te s W a r d r o b e ..............................................................J o rg ia V a n dL eanbbour rg a to r y ..................................................... C o lo rfilm S o u n d e d it o r .................................................... J ill H o lt G a u g e ..................................................................... 1 6m m L ab . lia is o n ..................................... W a rre n K e e ve rs S h o o tin g s t o c k ..........................................7 2 9 1 ,7 2 9 2 M ix e r ........................................................................B ru c e E m eBryu d g e t ............................................................... $ 8 6 ,0 7 6 S till p h o t o g r a p h y ............................................. S te v e n G o w Le r, e n g t h ........................................................................... 4 8 m in uCteass t: C h ris F ro s t, B ra d T u rn e r. S y n o p s is : S k y d iv in g is a ll a b o u t fa llin g . R o ckG a u g e .....................................................................1 6m m T ib o r H e g e d is (T rip le E x p o s u re ) c lim b in g is a b o u t not fa llin g . T h e y s h a re o ne D ia lo g u e c o a c h .................................................... P e te r M u rpShhyo o tin g s t o c k ............................. A X 8 5 2 4 , A8521 th in g — th e th r ill o f th e firs t tim e ! P u b lic ity ...........................................F io n a R o b e rts o n C a s t: S ea n M e e (H a rry K ea n e), S a lly M c C a t e r in g ..................................................................D a v id M o rro Kw e n, z ie (H a rry ’s M o th e r), J u lie n n e H u tle y (L o rn a ), B ill F re n c h (H a rry ’s F a th e r), S u sa n C a th e rin e D a vie s D w y e r (L o rra in e K e a n e ), P e te r S m ith (H a rry S tu d io s ................... M e lb o u rn e T h e a tre C o m p a n y CRANE th e boy). L a b o ra to ry .........................................................C in e v e x P ro d , c o m p a n y ................................... S m ith S t F ilm s L ab . lia is o n ..................................................................Ian A n d eSrs yn oo n p s is : A m a n , re c e n tly re le a s e d fro m a D is t. c o m p a n y .....................................S m ith S t F ilm s 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 g irl. B u d g e t ................................................................$ 8 0 ,9 9 9 P r o d u c e r ..............................................M a rg a re t A n n e S m ith L e n g t h ............................................................................ 3 0 m in u te s D ir e c to r ................................................ M a rg a re t A n n e S m ith G a u g e ......................................................................1 6m m MR WRIGHT S c rip tw rite r......................................... M a rg a re t A n n e S m ith S h o o tin g s t o c k ...................................................... 7291 P r o d u c e r ......................................... F io n a C o c h ra n e In s p ire d b y th e w o rk o f C a s t: C a itlin J o n e s (S te lla ), F io n a R u te lle D ir e c to r ............................................ L o u is e H u b b a rd A u s tra lia n a r t is t ............................................ J e ffre y S m a(B rt e tty), K a rin a L o s c h e r (L o re tta ), E u g e n ia S c rip tw rite r..................................... L o u is e H u b b a rd P h o to g ra p h y ....................................................B re n d o n Y o u nFgra g o s (V e ro n ic a ), J a m ie M c G a a n (W illie ), G u y P h o to g ra p h y ............................................. E rik a A d d is S o u n d r e c o r d is t .....................................................L ia m E ga nH u d s o n (R o g e r B e a u tifu l), A n d re w D a d d o S o u n d r e c o r d is t .................................................. P h ilip H e a le y E d ito r .................................................... M a th e w T u c k e r (J a m e s D), P a u l M c D e rm o tt (E d d ie ), J o h n R e dA.D.B. — DISCRIMINATION E d ito r ...........................................................M a rk A tk in C o m p o s e rs ..............................................................C o lin W a tslic o nh, (L o re n z o ), B ra d C o x (A lis ta ir). U n it m a n a g e r ....................................................... P e te r J o rd a n (W o rk in g title ) J im C o n w a y S y n o p s is : Cruel Youth is a m a rria g e b e tw e e n P ro d , a s s is t a n t ...................... C h ris tin e G a lla g h e r P ro d, c o m p a n y ........................................................ F ilm A u s tra lia P ro d , m a n a g e r............................... M a rtin G u in e s s th e o re tic a l e x a m in a tio n o f th e F a s h io n p h o to 1 st a s s t d ir e c t o r ...................................................... S u e B ro o k s P r o d u c e r ...................................................... Ian M u n ro 1 st a s s t d ir e c t o r ............................. M e g a n S im p s o n g ra p h a n d a h ig h ly s ty lis e d a b s u rd is t c o m e d y , F o c u s p u lle r ........................................................M a n d y W a lk e r D ir e c to r ......................................................... Ian M u n ro 2 n d a s s t d ir e c t o r s .................... A n d re w A re s tid e s , a little lik e ’T h e P e rils o f P a u lin e ’ . C la p p e r /lo a d e r ...................................................J u s tin B ric k ie C h ris tin e E a d e S c rip tw rite r........................................................ P a m e la W illia m s G a f f e r ...................................................................... D a ryl P e a rso n C o n t in u it y ............................................ G illia n S te y n e E xe c, p ro d u c e r................................... T ris tra m M ia ll THE HIDDEN HAND B o o m o p e r a t o r ................................................. C h a rlie S a n d fo rd S c rip t e d ito r s ............................................ U lla R yg h e , A ss o c , p ro d u c e r...............................................P a m e la W illia m s A rt d ir e c t o r ................................................ W a in F im o P ro d u c e r..................................... P a n te lis R o u s s a k is A n d re w J a c o b P ro d, c o -o rd in a to r.......................................... C a tio n a M c M illa n D ir e c t o r ...................................................... R o b in G o ld A rt d e p t a s s t ...........................................................J a n e K a rs la k e C o n s u lta n t................................................................. B e e R e y n o ld s P ro d, m a n a g e r..........................................Ian A d k in s M a k e - u p .............................V iv ie n n e M a c g illic u d d y L ig h tin g c a m e ra p e rs o n ...............................B re n d o n Y o u nSgc r ip tw r ite r s .............................................R o b in G o ld , U n it m a n a g e r ................................................. C a trio n a M c M illa n P e te r M o rg a n L e n g t h .........................................................30 m in u te s C a m e ra o p e r a to r ........................................... B re n d o n Y o u n g P ro d , s e c r e ta r y ........................................................ B e v C o n ra d s e n B a s e d on th e s h o rt s to ry G a u g e .................................................................... 16m m C a m e ra a s s is t a n t ....................................................T im T h o m a s P ro d, a c c o u n ta n t............................... A lb e rt W o n g b y ..................................................................N a th a n ie l H a wSthhoorn o tin e g s t o c k ........................................7 2 9 1 ,7 2 9 2 S e c o n d c a m e ra a s s is ta n t..................................J o h n G ilb e rg C a s t in g .............................................................. F o rc a s t P h o to g r a p h y .......................................K riv S te n d e rs , C a s t: A lic e G a rn e r, D a vid S w a n n , V ic to ria B e s t b o y ......................................................................G u y H a n c o c k P u b lic ity .......................................................J a n e G le n A n th o n y C la re R o w la n d . B e s t g ir l.............................................................C h ris tin e E a d e M a rk e tin g & p r o m o tio n s ............D e b ra M a y rh o fe r S o u n d re c o r d is ts .............................................. R o b e rt B o ydS, y n o p s is : A s c h o o lg irl’s m e m o rie s o f a c ru s h M a k e - u p ..................................................................D a v id Q u rz , L e n g t h ......................................................... 9 4 m in u te s E m ily L a n g s to n -S ta p p on a te a c h e r. G a b rie l M itz a c k , G a u g e .................................................................1 6m m E d ito r................................................................... P a n te lis R o u s s a k is a n d th e S y d n e y S c h o o l o f M a k e -U p Cast: G ra c e P a rr (L e titia R a m o s), P a tsy P ro d , d e s ig n e r .........................................R o b in G old N e g . m a tc h in g ................................................C o lo rfilm S te p h e n (J e s s ic a W in te rs ), V ic H a w k in s (D r C o m p o s e r .............................................................. P h ilip B u rc h m o re TREVOR ISLAND M u s ic p e rfo rm e d b y ............................................C o lin W a ts o n , K elly), B re n d o n H ig g in s (M a x B a rlo w ), C a lo y E x e c , p ro d u c e r s ............................................. P a n te lis R o u s s a k is , J im C o n w a y , P im e n ta i (M a rio R a m o s), P e n n y S te h li (M a tro n P ro d u c e r.................................................... J o h n T a y lo r R o b in G o ld , H a nu m a n Das W ilc o x ), A lla n M c F a d d e n (N o rm a n S a v ille ), D ire c to r...................................................... J o h n T a y lo r J u d y M o rg a n S o u n d e d ito r ..................................................... M ic h e lle C a ttle R u p e rt B u rn s (K e v in R u s s e ll). A s s t d ire c to r........................................................ R o b e rt B o ydS c rip tw rite r...............................................J o h n T a y lo r A d d itio n a l e d it in g .....................A n d re w A re s tid e s Synopsis: T h e Custody d o c u -d ra m a has C o n t in u it y ............................................................K im b e l H a n nN, a rra tio n re c o rd e d b y ................ G a ry C o n s ta b le , M ix e r .........................................................G e o ffre y S titt s h o w n it is p o s s ib le to m a k e c o m p e llin g te le J o h n F re n c h T o rq u il M a c N e a l S till p h o to g r a p h y ........................ M o n ic a P e lliz z a ri v is io n in v o lv in g s o c ie ty ’s m o re c o n tro v e rs ia l E d ito r..........................................................J o h n T a y lo r C a s tin g ........................................................ R o b in G o ld O p t ic a ls .......................................... J o h n C u m m in g s in s titu tio n s . T h is te le m o v ie , m a d e in th e s a m e F o c u s p u lle r .........................................................L y n d e l D e anP ro d, d e s ig n e r .......................................J o h n T a y lo r T itle d e s ig n e r..................................................C h ris tin e S m ith s ty le as Custody, e x a m in e s s o m e o f th e is s u e s C o m p o s e rs ........................................ D a vid C ro s b ie , C a m e ra a s s is t a n t ............................................. J a m e s C o n fo s M ix e d a t ...................................................................... F ilm A u s tra lia o f d is c rim in a tio n b y te llin g th e s to rie s o f tw o J o h n T a y lo r K e y g r ip .....................................................................J o h n C o rle y L a b o r a to r y .......................................................C o lo rfilm ca s e s re fe rre d to th e N S W A n ti-D is c rim in a tio n M u sica l d ire c to r...................................... J o h n T a y lo r 2 n d u n it p h o to g ra p h y ....................................M itc h e ll P ap i L a b . lia is o n ......................................W a rre n K e e v e rs B oa rd . A rt d ir e c to r ......................................................... H o w a rd C ru mMpu s ic p e rfo rm e d b y ....................... D a v id C ro s b ie , B u d g e t ................................................................ $ 5 9 ,0 0 0 J o h n T a y lo r, A s s t a rt d ir e c t o r ................................................... P h ilip S tic k le n L e n g t h .......................................................... 28 m in u te s P h ilip L a yto n , M a k e -u p .........................................................................J o S e w e ll, G a u g e ...................................................................... 1 6m m A la n F o w le r A.G.P.S. G e o rg in a P h ilp o tt S h o o tin g s t o c k ....................................................K o d a k W a rd ro b e ................................................................. J u d y M o rgSaonu n d e d it o r ..........................................................J o h n T a y loPrro d , c o m p a n y ........................................................ F ilm A u s tra lia C a s t: R o b e rt N o b le (R o n ), M a y a P o tte r A n im a tio n ............................................................... J o h n T a y lo r N e g . m a tc h in g .......................................................T o n y G ru m m e ls D ist. c o m p a n y ..........................................................F ilm A u s tra lia (B e a tric e ), J o e P e tru z z i (F re d ), B o b H o rn e ry S o u n d e d it o r .......................................................R o b e rt B oydS tu d io s ............................................‘Q w ik lik ’ S tu d io s P r o d u c e r .................................................................... R o b M c A u le y (A rth u r), N ic h o la s F la n a g a n (M ik e ), J o h n L e y M ixe d a t ........................................................ S o u n d firm D ir e c to r.........................................................Ian H o st N a rra to r.............................................................. M ic h a e l P a te (S tu a rt), M a ry -L o u S te w a rt (M a ry ), A n d re w F ilm e d a t ........................................T h e F u n n y F a rm S till p h o to g ra p h y .................. M a rjo rie M a c k in to s h S c r ip t w r it e r ................................................ Ian H o st J a c o b (W h ite T h u g ), M ic h a e l T h o m p s o n R u n n e r ................................................................ E d w in a H a yeLsa b o ra to ry ................................................................ V F L R e s e a rc h e r................................. J o s e p h in e P h illip s (A b o rig in e ), P a u l W e in g o tt (S a m m y ). C a te r in g .................................................................... J u d y M o rg B a nu d g e t.............................................................. $ 3 1 ,2 8 4 P h o to g r a p h y ...........................................A n d y F ra ser S y n o p s is : R o n W a ts o n is 4 5 , m a rrie d , a nd L e n g th ........................................................................... 12 m in u A tensim a tio n .................................................D o n E za rd L a b o r a t o r y ........................................................C in e film w o rk s as a c ra n e d riv e r a t S y d n e y ’s G le b e L ab . lia is o n ............................................................. M a rk F a rraGr a u g e .....................................................................1 6 m m E xe c, p r o d u c e r ................................. P a u l H u m fre ss Is la n d C o n ta in e r T e rm in a l. D riv in g h is h u g e L e n g t h ............................................................................ 2 2 m in u S tehso o tin g s t o c k ......................................................7291 P ro d , m a n a g e r ..................... A lis o n W o th e rs p o o n m a c h in e u p in th e s k y is R o n ’ s raison d'etre. V o ic e c h a r a c te r is a tio n s : R ic h a rd H e a ly (T h e G a u g e ..................................................................... 3 5 m m P ro d, a s s is t a n t ..........................M ic h a e l R o g o w s ki F ro m th e c a b in h e re lis h e s h is m o m e n t o f M an), J a n e L e w is (T h e Lad y), D a n n y N a sh S h o o tin g s t o c k ...................................................... 5 2 4 7 P ro d , s e c r e ta r y .................... A m a n d a E th e rin g to n p o w e r a n d h is v ie w o f th e d w a rfe d h u m a n (T h e P ilo t/A S e a g u ll), D a vid C ro s b ie (A S e a C a s t: P e te r M o rg a n , R ic h a rd B lig h , K a ti V a ri, P ro d , a c c o u n t a n t ................................. N e il C o u s in s b e in g s b e lo w . B u t w h e n R o n ’s w ife le a v e s h im g ull). E ric T u s c ia , S h irle y S h e p a rd , C e d ric M c P u b lic is t..................................................... J a n e G le n a n d h e d is c o v e rs h is b ro th e r-in -la w Is a w h ite S y n o p s is : T re v o r a n d h is o w n e rs p a ra c h u te L a u g h lin . M a rk e tin g & p r o m o tio n s .............. S te v e M c M illa n c o lla r c ro o k , th e u n fa irn e s s o f th e p o litic a l a nd o n to a d e s e rte d is la n d w h e re th e M a n d e c id e s S y n o p s is : Is it p ro v id e n c e o r c h a n c e th a t Synopsis: P ro m o tio n a l p ro g ra m fo r th e A u s tra e c o n o m ic s tru c tu re s b e g in to h a u n t h im . B e in g to ru n a c a rp a rk , th e L a d y an a irp o rt, a nd o ffe rs a p ro m is e o f w e a lth , lo v e a n d d e a th ? A ll lia n G o v e rn m e n t P u b lis h in g S e rv ic e e m p h a s a lo n e in th e s k y n o w b e c o m e s a n ig h tm a re . T re vo r, to s u b ju g a te th e lo c a l s e a g u lls . A ll is w ith in a s in g le h o u r o f a y o u n g m a n ’s life . is in g s k ills , a b ilitie s a n d s e rv ic e s o f th e q u ie t u n til a p la n e c a rry in g a lo a d o f c a rs is o rg a n is a tio n . fo rc e d to la nd . CRUEL YOUTH

1 s t a s s t d ir e c to r s ................................S c o tt F e e n e y, D a v id T u n n e ll R e s e a rc h ....................................J e n n ife r C u m m in s P ro d , m a n a g e r..................................... A n n e C h iv a s P h o to g ra p h y ......................................... M a rc S p ic e r, H e le n B a rro w C a m e ra a s s t s ........................................... R o n Fo le y, B re tt J o y c e S o u n d re c o rd is ts ......................................G e o ff K rix, M a rio P e lle g rin o E d ito rs ...................................................P a u l C a n tw e ll, J o h n P le ffe r L e n g t h ................................................10 x 3 0 m in u te s Synopsis: A s e rie s o f o v e rla n d e x p e d itio n s a c ro s s N o rth e rn A u s tra lia w ith b u s h fo o d a nd s u rv iv a l e x p e rt L es H id d in s .

S H O R T S

GOVERNMENT FILM PRODUCTION

FILM

THE LONELY ONES

P ro d , c o m p a n y ......................... B ig a n d L ittle F ilm s P ro d , c o m p a n y ..........................................T u lla F ilm s P ro d u c e r s .......................................S a lli E n g e la n d e r, UPS AND DOWNS P ro d u c e r...................................... M a rk D . C h a p m a n M ic h a e l M c M a h o n , P rro d u c e r s ............................................. L e e F a u lk n e r, D ir e c to r................................................................... D a vid G la z ie T o n y A y re s B ru c e R e d m a n S c rip tw rite r............................................................ D a vid G la z ie r D ir e c t o r .....................................................................T o n y A y re s D ir e c t o r ................................................. L e e F a u lk n e r S c r ip tw r ite r ..............................................................T o n y A y rePs h o to g ra p h y ........................................ S te p h e n F ro s t P h o to g r a p h y ....................................... J u lia n M a th e r S o u n d re c o rd is t......................................K ie ra n K n o x B a s e d o n th e o rig in a l id e a b y ............. T o n y A y re s

AUSTRALIA

BOOMALLI P ro d , c o m p a n y . D ist. c o m p a n y .. D ir e c to r.............. S c rip tw rite r....... P h o to g ra p h y ....

.F ilm A u s tra lia F ilm A u s tra lia .M ic h a e l R ile y .M ic h a e l R ile y ....... R o s s K in g

CINEMA PAPERS MAY — 73

P R O D U C T I O N U R V Y S o u n d re c o rd is ts ..................... N o e l C u n n in g to n , R o d n e y S im m o n s E xec, p ro d u c e r...............................P a u l H u m fre s s P ro d, m a n a g e r .................... A lis o n W o th e rs p o o n P ro d, a s s is ta n t......................... M ic h a e l R o g o w s k l P ro d, s e c re ta ry .................... A m a n d a E th e rin g to n P ro d, a c c o u n ta n t................................ N e il C o u s in s P u b lic is t....................................................... J a n e G le n M a rk e tin g & p ro m o tio n s ............. S te ve M c M illa n Synopsis: A p ro g ra m a b o u t A u s tra lia n u rb a n 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 te m p o ra ry and tra d itio n a l a rt fo rm s .

E d ito r...........................................................R o n T a y lo r E xec, p ro d u c e r................................ P au l H u m fre s s P ro d, m a n a g e r.................................... R o n H a n n a m P ro d , a c c o u n ta n t.................................... L ea C o llin s P u b lic is t....................................................... J a n e G le n M a rk e tin g & p ro m o tio n s .............S te v e M c M illa n L e n g th ........................................................ 60 m in u te s Synopsis: T h e te n th p ro g ra m in th e F ilm A u s 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 A u s tra lia n B ic e n te n n ia l A u th o rity . T h is e p is o d e d e a ls w ith liv in g to g e th e r w ith in th e s o c ia l e n v iro n m e n t a n d is c o m p ile d u s in g fo o ta g e fro m F ilm A u s t r a lia ’ s e x is tin g p ro g ra m m a terial.

THE INSIDERS (YOUR FIRST TAX RETURN)

RADIO REDFERN

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 P ro d, c o m p a n y ....................................F ilm A u s tra lia P ro d u c e r s ...............................................S h a ro n B ell, D ist. c o m p a n y .....................................F ilm A u s tra lia M a d e lin e M c G ra d y P ro d u c e r.......................................... S u sa n L a m b e rt D ir e c to r.................................................................. G e o ff B u rto n D ir e c to r.....................................................K a rIZ w ic k y P h o to g ra p h y .........................................................G e o ff B u rto n S c rip tw rite r....................................... S te v e J o h n s to n P h o to g ra p h y ........................................................ A n d y F ra seSro u n d re c o rd is ts ............................K e vin K e a rn e y, L eo S u lliva n, S o u n d re c o rd is t................................... H o w a rd S pry J o h n B a yle s E d ito r .......................................................... R o y M a so n E d ito r ..................................................S te w a rt Y o u n g E xec, p ro d u c e r.................................. R on S a u n d e rs P ro d , m a n a g e r....................................................P e te r B ro wE n xe c, p ro d u c e r.............................................. T ris tra m M ia ll P ro d , s e c re ta ry ................................................. R o b yn B ria isP ro d , c o -o rd in a to r.................... G le n d a C a rp e n te r P ro d , m a n a g e r.......................................... Ian A d k in s P ro d, a c c o u n ta n t............................ G e o ff A p p le b y COO-EE P ro d , s e c re ta ry ...................................... K a th y G ra n t 1st a sst d ir e c to r ........................ C o rrie S o e te rb o e k P ro d , a c c o u n ta n t...............................................A lb e rt W o n g P ro d, c o m p a n y ....................................................... F ilm A u s tra lia 2 nd a sst d ire c to r.............................V a rc h a S id w e ll ECONOMY P u b lic ity ....................................................... J a n e G le n D ist. c o m p a n y ........................................................ F ilm A u s tra lia C o n tin u ity ................................................... L in d a R ay M P ro d, c o m p a n y ....................................................... F ilm A u s tra lia P r o d u c e r ...............................................................G e o ff B arne s K e y g r ip ....................................................................R o b M o rg ana rk e tin g & p ro m o tio n s ................................ M a rtin W o o d ixe d a t .................................................................... F ilm A u s tra lia D ist. c o m p a n y ........................................................ F ilm A u s tra D ir e c to r .............................................. G ra h a m C h a se E lelia c tr ic ia n ................................................................. Ian B osmMan L a b o r a to ry .....................................................C o lo rfilm P ro d u c e r....................................................J a n P un ch S c rip tw rite r........................................G ra h a m C h a se B oo m o p e ra to r................................. P au l H a n c o c k L e n g th .......................................................................... 50 m in u te s D ire c to r................................................................. J u d ith A d a m s odnire c to r.........................................M ic h a e l R alph P h o to g ra p h y ........................................J o h n H o skin g A rt S c rip tw rite rs ............................................ J a n P un ch , G a u g e ....................................................................16m m S ou n d re c o rd is t..........................R o d n e y S im m o n s A s s t a rt d ir e c t o r .......................... B ro n w y n F ra n k lin J u d ith A d a m so n S h o o tin g s to c k ...................................................... E CN E d ito r .................................................................G ra h a m C h ase M a k e u p ............................................... D e re k D e niese S y n o p s is : T h e film is an o b s e rv a tio n a l d o c u E xec, p ro d u c e r................................ P au l H u m fre s s E xec, p r o d u c e r ................................................... G e o ff B arn e s W a rd ro b e ....................................M a rg a rita T a sson e P ro d, m a n a g e r....................................................... R on H a n nMaums ic a l d ire c to rs ............................................. R o b e rt S cott,m e n ta ry b a se d on R a d io R e d fe rn a nd th e P ro d, c o -o rd in a to r..................C a trio n a M a c M illa n e ve n ts in w h ic h S y d n e y ’s A b o rig in a l and P ro d, a c c o u n ta n t.................................... L ea C o llin s P ro d, m a n a g e r..................................... Ron H a n n a m J o h n S le ith P a c ific Isla n d p e o p le In vo lve th e m s e lv e s U n it m a n a g e r....................................................... F ra n k H a inPe su b lic is t......................................................J a n e G le n M ix e r ...................................................... F ilm A u s tra lia d u rin g th e firs t h a lf o f 1988. T h e p ro g ra m M a rk e tin g & p ro m o tio n s .............. S te ve M c M illa n P ro d, s e c r e ta r y ..........................M a rg a re t C re w e s S till p h o to g ra p h y ........................... S a n d y E d w a rd s en in v o lv e s A b o rig in a l a nd A n g lo -A u s tra lia n film P u b lic ity ...................................................... Ja n e G len P ro d, a c c o u n ta n t...................................................N e il C o u sLin s g th ........................................................ 60 m in u te s Synopsis: T h e e le v e n th p ro g ra m in th e Film m a ke rs. S tu d io s .................................................. F ilm A u s tra lia C a m e ra a s s is ta n t.....................................J im W a rd A u s tra lia se rie s c o -p ro d u c e d w ith th e A u s tra M ixe d a t .................................................F ilm A u s tra lia P u b lic ity ...................................................... J a n e G le n ROADS TO XANADU lia n B ic e n te n n ia l A u th o rity . T h is e p is o d e d e a ls M a rk e tin g & p ro m o tio n s ................................ M a rtin W ood M a rk e tin g & p ro m o tio n s .............. F ra n c e s c a M u ir w ith th e e c o n o m ic e n v iro n m e n t a nd s a tis fy in g c o m p a n y .................................. F ilm A u s tra lia L e n g th ..........................................................................2 0 m in uP terod, s L a b o ra to ry ................................................................C F L A u s tra lia n n e e d s viz re so u rce s, e n e rg y , a g ri Dist. c o m p a n y ....................................F ilm A u s tra lia G a u g e ...................................................................V id e o L e n g th ..............................................1 te le v is io n h o u r c u ltu re , in d u s try e tc a nd is c o m p ile d u sing C a s t: B en M e n d e ls o h n , Z o e C a rid e s, P aul P ro d u c e r................................................................. J o h n M e rso n G a u g e .................................................................... 16m m fo o ta g e fro m F ilm A u s tra lia ’s e x is tin g p ro g ra m G le e so n , B e rn a rd L e d g e r, Lisa P eers, T h o m a s D ire c to r.................................................D a vid R o b e rts S h o o tin g s t o c k ....................................E a s tm a n c o lo r m a terial. Z e n ta i, D a vid B ra cks, D a vid G ib son . S c rip tw rite rs ....................................... J o h n M e rso n, 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 a u d ie n c e . T h is film ta k e s an h is to ric e ven t, a 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, a nd b le n d s it in a liv in g -c a m e ra , re a l-life style to c o m 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 tra lia n e th o s — m a te s h ip . T h e G ilg a n d ria n s b ic e n te n n ia l e ven t.

DJUNGGUWAN AT GURKA’WUY (PART I & PART II) P rod, c o m p a n y .................................. F ilm A u s tra lia Dist. c o m p a n y ....................................F ilm A u s tra lia P ro d u c e r..................................................... Ian D u n lo p D ire c to r........................................................ Ian D u n lo p P h o to g ra p h y ......................................... D e an S e m le r S o u n d re c o rd is t......................... R o d n e y S im m o n s E d ito r s .......................................................Ian D u nlop , S h a ro n B ell E xec, p ro d u c e r.................................. T ris tra m M iall P rod, m a n a g e r.......................................... Ian A d k in s M a rk e tin g & p ro m o tio n s o ff ic e r ...............D e b ra M a y rh o fe r P rod, a c c o u n ta n t................................. Jo h n R u ssell E d lto r/d lre c to r........................................ S h a ro n B ell L e n g th ................................................. 2 x 5 0 m in u te s Synopsis: A cla n le a d e r in v ite s F ilm A u s tra lia to re co rd th e firs t c e re m o n y to be h eld a t his new cla n h o m e la n d s e ttle m e n t In n o rth e a st A rn h e m L an d. T h e film s s h o w th e o rg a n is a tio n a nd 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 p o ra ry s e ttin g a nd e xp lo re th e s ig n ific a n c e of th e cla n h o m e la n d m o ve m e n t.

GOING STRONG P rod, c o m p a n y ...................................F ilm A u s tra lia P ro d u c e r............................................ J e b b y P h illip s D ir e c to r...................................................M ai T e n n a n t E d ito r ............................................. M a rth a B ab in e a u E xec, p ro d u c e r................................. R on S a u n d e rs A ssoc, p ro d u c e r.................................... H e le n S te e l 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 R e s e a rc h ............................. D o n n a N o rto n -L o d g e , R o sa lin d G ille sp ie M a rk e tin g & p ro m o tio n s o ff ic e r ................. D e b ra M a y rh o fe r F u n d in g ........................................... F ra n c e s c a M u ir L e n g th ........................................................30 m in u te s C a st: R o g e r C lim p so n , H a zel P h illip s, T a n ya H a le sw o rth , Red H a rriso n , C h in Yu W illia m s, Ja m e s D ib b le. S y n o p s is : A w e e k ly m a g a zin e s h o w a im e d at the A u s tra lia n o ver-50 age g ro u p , a nd te le c a s t on S B S and th e S even n e tw o rk.

S y n o p s is : A n e d u c a tio n a l d ra m a m a d e fo r th e A u s tra lia n T a x a tio n D e p a rtm e n t s h o w in g sch o o l le a ve rs and o th e r yo u n g p e o p le h ow to fill o u t th e ir firs t tax re tu rn .

D a vid R o b e rts B ased on th e o rig in a l Idea b y .......................................................................... J o h n M e rso n E xec, p r o d u c e r ................................................... G e o ff B a rn e s P ro d, m a n a g e r....................................................... A n n F o lla n d Fro a. s e c re ta ry ............................ M a rg a re t C re w e s NATIONAL MUSEUM OF AUSTRALIA P ro d, a c c o u n ta n t.................................................J o h n R u ssell P ro d, c o m p a n y ...................................................... F ilm A u s tra liatu re r e s e a rc h e r.......................................... E m m a G o rd o n P ic D ist. c o m p a n y ........................................................Film A u s tra P lia u b lic is t.......................................................J a n e G le n P ro d u c e r............................................Pau l H u m fre ss M a rk e tin g & D ire c to r....................................................................... Ian H o st p ro m o tio n s o ff ic e r ................... F ra n c e s c a M u ir P h o to g ra p h y ......................................................... R oss K ing 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 E xec, p ro d u c e r................................Paul H u m fre ss ta ke s a n e w lo o k at th e d y n a m ic in te rc h a n g e P ro d, m a n a g e r...............................................V irg in ia P ascoe b e tw e e n A s ia a nd E u ro p e in th e m o d e rn w o rld . P ro d, s e c re ta ry .................... A m a n d a E th e rin g to n T h e c o n v e n tio n a l vie w s a b o u t th e re la tio n s h ip P ro d, a c c o u n ta n t................................N e il C o u sin s b e tw e e n s c ie n c e ,' te c h n o lo g y a n d so c ie ty , P u b lic ity ................................................................. J a n e G le n w h ic h c o n tin u e to sh a p e o u r p e rc e p tio n s of 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 ro g re ss, are s c ru tin is e d a nd re -e va lu a te d . L e n g th ........................................................10 m in u te s T h e se rie s has b e e n p re -so ld to th e A B C , Synopsis: U p d a te of p ro g ra m s h o w in g th e W G B H B osto n a n d th e B BC . 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 C a n b e rra a nd its n ew a c q u is itio n s .

S.A. MUSEUM

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 NEW HOUSING TECHNOLOGY HELLFIRE PASS D ir e c t o r ...............................L o rra in e M a fi-W lllia m s P ro d, c o m p a n y ...................................................... F ilm A u s tra S clia rip tw rite r........................L o rra in e M a fi-W illia m s P rod, 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 liac, p ro d u c e r.............................. P au l H u m fre s s E xe D ist. c o m p a n y ......................................................A B C (P re-sale) D ir e c to r......................................................Ron T a y lo r P ro d, m a n a g e r ....................A lis o n W o th e rs p o o n P ro d u c e r...................................................... T im Read S c rip tw rite rs .....................................P au l H u m fre ss, P ro d, s e c re ta ry ....................A m a n d a E th e rin g to n D ir e c to r.............................................G ra h a m C h ase S o n ia H u m p h re y P ro d , a c c o u n ta n t................................ N e il C o u s in s P h o to g ra p h y ......................................... K e rry B row n P re s e n te r.......................................S o n ia H u m p h re y P u b lic is t....................................................... J a n e G le n S ou n d re c o rd is t..............................................R o d n e y S im m o n s P h o to g ra p h y ............................................ R o ss K ing M a rk e tin g & p ro m o tio n s .............S te v e M c M illa n E d ito r ................................................................G ra h a m C h ase S o u n d re c o rd is ts ............................................... T o lvo Lem be S yr,n o p s is : A o n e -h o u r film fo r T V a b o u t tra d i E xec, p ro d u c e r..................................T ris tra m M iall G e o ff W ilso n , tio n a l a b o rig in a l art, p a in tin g s , to a s a nd a rti DROVING ’88 A ssoc, p ro d u c e r..................................C a lvin M ille r N o el C u n n in g to n , fa c ts , th e a rtis ts a nd th e ir c u ltu re s , to c o in c id e P rod, P ro d, c o m p a n y ....................................................... F ilm A u s tra lia m a n a g e r......................................... Ian A d k in s R o d n e y S im m o n s w ith th e e x h ib itio n “ T o te m ic L a n d s c a p e s ” , th e P rod, D ist. c o m p a n y ........................................................ F ilm A u s tra lia a c c o u n ta n t.............................. A lb e rt W o n g E d ito r.......................................................... R on T a y lo r la rg e s t-e v e r a b o rig in a l a rt c o lle c tio n to le a ve its P yrod, a s s is ta n t....................................................M e ryl Ja c k s o n P ro d u c e r................................................................... D on M u rra E xec, p ro d u c e r..................................................... P au l H u m fre sse la n d . It w ill to u r U S A In 1 9 8 8/8 9. h o m S till p h o to g ra p h y ..................... R o b e rt M cF a rla n e D ir e c to r...................................................P au l H a w ke r P ro d, m a n a g e r.................... A lis o n W o th e rs p o o n M a rke tin g & S c rip tw rite r/re s e a rc h e r.................... P au l H a w ke r P ro d, s e c re ta ry ....................A m a n d a E th e rin g to n SEVEN YEARS ON E xec, p ro d u c e r.............................................. T ris tra m M iall p ro m o tio n s o ff ic e r ............... D e b ra M a yrh o fe r P ro d, a c c o u n ta n t.................................................. N e il C o u sin s (W o rk in g title ) L e n g th ......................................................................... 50 m in uPteusb lic is t.....................................................Ja n e G len P ro d, c o -o rd in a to r.................... G le n d a C a rp e n te r P ro d, m a n a g e r...........................................Ian A d k in s P ro d , c o m p a n y ....................................................... F ilm A u s tra lia M a rk e tin g & p ro m o tio n s ..............S te ve M cM illa n P ro d, s e c re ta ry .......................................K a th y G ra n t D ist. c o m p a n y ........................................................ F ilm A u s tra lia Synopsis: A fre sh lo o k at n e w h o u s in g te c h n o P ro d, a c c o u n ta n t............................................... A lb e rt W o n gTHE HISTORY OF THE AUSTRALIAN P r o d u c e r s ........................................................... G illia n A rm s tro n g , lo g y m a d e fo r te le v is io n and c o m m is s io n e d by TRADE UNION MOVEMENT P u b lic ity .......................................................J a n e G len T ris tra m M ia ll th e D e p a rtm e n t o f H o u sin g a nd C o n s tru c tio n . M a rk e tin g & p ro m o tio n s ................................ M a rtin W o o dP ro d, c o m p a n y ...................................................... Film A u s tra lia D ir e c to r.................................................................G illia n A rm s tro n g L e n g th .......................................................................... 50 m in uD teist. s c o m p a n y ........................................................Film A u s tra lia P h o to g ra p h y ...................................... S te v e A rn o ld , G a u g e ................................................................... 16m m P r o d u c e r ....................................................J a n e t B ell M a lc o lm R ic h a rd s PARLIAMENT HOUSE/ S h o o tin g s to c k ......................................................ECN D ire c to r.................................................................... T o m Z u b ry c k i S o u n d re c o rd is t..................................T o iv o L e m b e r Synopsis: A te le v is io n d o c u m e n ta ry on th e THE BUILDERS S c r ip tw r ite r ............................................................T o m Z u b ry c k i E d ito r................................................................ N ic h o la s B e a u m a n la st g re a t c a ttle d rive . R e s e a rc h e r........................................................ M a re e D e loP fski E xec, p ro d u c e r.............................................. T ris tra m M ia ll rod, c o m p a n y ................................. F ilm A u s tra lia P h o to g ra p h y .......................................................... J o e l P e teP rso P ro d, c o -o rd in a to r.......................................... G le n d a C a rp e n te r rond u c e r............................................. R o n S a u n d e rs EYES OPEN DREAMING S o u n d re c o r d is t.................................................... M ax H e n sse P ro d , m a n a g e r.......................................... Ian A d k in s D irer c to r..................................................... Ian W a lk e r E dliaito r ........................................................................ R a y T h o m U n it m a n a g e r s ........................................................K a y P a vlou , S ac srip tw rite r...............................................Ian W a lk e r P ro d, c o m p a n y .......................................................F ilm A u s tra E xec, M a rd i K e n n e d y h ossto g ra p h y ............................................ R o ss K in g, D ist. c o m p a n y ........................................................ F ilm A u s tra lia p ro d u c e r..................................................... P au l H u mPfre P ro d , m a n a g e r....................................................... N e ll C o u sin s P ro d, s e c r e ta r y .................... B e v e rle y C o n ra d s o n K e rry B ro w n D ire c to r............................................................ P eta H ill P rod, s e c re ta ry ....................A m a n d a E th e rin g to n P ro d, a c c o u n ta n t............................................... A lb e rt W o n g S ou n d re c o rd is ts .............................. H o w a rd S pry, S c rip tw rite r.................................................... P eta H ill A s s is ta n t e d it o r .................................................... G a ry O ’ G ra d y C a m e ra a s s is t a n t .................... D a vid W o lfe -B a rry R o d n e y S im m o n s E xec, p ro d u c e r................................ P au l H u m fre s s P u b lic is t......................................................J a n e G len 2 n d u n it p h o to g ra p h y ...................................... R o g e r D o w lin g E xec, p ro d u c e r................................. R o n S a u n d e rs P ro d, m a n a g e r .................... A lis o n W o th e rs p o o n M a rk e tin g & p ro m o tio n s ..............S te v e M c M illa n N e g. m a t c h in g ....................................................... F ilm A u s tra lia P rod, m a n a g e r........................................G e rry L etts P ro d, s e c re ta ry ....................A m a n d a E th e rin g to n S y n o p s is : B ased on In te rvie w s w ith tra d e M u s ic p e rfo rm e d b y ........................................... M a rk M o ffa t P rod, s e c re ta ry ..................................R o b yn B ria is P ro d, a c c o u n ta n t................................ N e il C o u s in s u n io n is ts w h o p la ye d a p a rt In c re a tin g th e S o u n d e d it o r ............................................................T im W o o d h o u s P rod, a c c o u n ta n t............................. G e o ff A p p le b y P u b lic is t....................................................... J a n e G len h is to ry o f th e m o v e m e n t o r w h o a re in vo lve d in E d itin g a s s is ta n ts .....................T im W o o d h o u se, S y n o p s is : A s tu d y o f th e d e s ig n a nd b u ild in g M a rk e tin g & p ro m o tio n s .............. S te v e M cM illa n issu e s o f c ru c ia l re le va n ce to u n io n s to d a y. A n d re w B a rn e s o f the n ew P a rlia m e n t H o u se in C a n b e rra Synopsis: A T V film a b o u t P e tfo rd tra in in g T h e film is b e in g m a d e fo r th e A C T U and M ix e r ................................................................... G e o rg e H a rt w h ic h is to be c o m p le te d fo r th e B ic e n te n a ry fa rm in N o rth Q u e e n s la n d a nd th e w o rk of 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 T itle d e s ig n e r .....................................L ib b y B la in e y ce le b ra tio n s. G e o ff G u e s t w h o fo u n d e d th is e s ta b lis h m e n t A u th o rity . P u b lic ity ...................................................................J a n e G le n fo r th e tra in in g a nd re h a b ilita tio n o f y o u n g M a rk e tin g & p r o m o tio n s .................................M a rtin W o o d a b o rig in a ls fro m th e w e lfa re a n d c h ild re n ’s M ix e d a t ................................................F ilm A u s tra lia I’M NO CHICKEN ca re in s titu tio n s . PASSPORTS L a b o r a to ry ..................................................... C o lo rfilm P ro d, c o m p a n y ...................................................... Film A u s tra lia c o m p a n y ...................................................... F ilm A u s tra P rod, L lia e n g th .......................................................................... 9 0 m in u te s D ist. c o m p a n y ........................................................F ilm A u s D traist. lia c o m p a n y ........................................................F ilm A u s tra lia G a u g e .....................................................................16m m D ir e c to r.................................................. M a rtin D a le y FILM AUSTRALIA’S AUSTRALIA P ro d u c e r...................................................D on M u rra y S h o o tin g s to c k .......................................................E C N S c rip tw rite r........................................... M a rtin D a le y D ire c to r....................................................................... Ian H o st S y n o p s is : E le ve n y e a rs a g o G illia n A rm s tro n g Film Australia’s Australia is a s e rie s o f 12 v id e o E xe c, p ro d u c e r..............................P au l H u m fre s s S c rip tw rite r...............................................Don H a rle y p 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 m a d e a film a b o u t th e liv e s o f th re e 1 4 -ye a r-o ld P ro d, m a n a g e r .................... A lis o n W o th e rs p o o n P h o to g ra p h y ........................................................P e te r V is k owv ic h in g cla s s A d e la id e g irls . S e ve n y e a rs a go sio n note s. It Is a c o -p ro d u c tio n b e tw e e n Film o rk P ro d, s e c re ta ry ....................A m a n d a E th e rin g to n E d ito r........................................................................... Ian H o st a fo llo w -u p film w a s m a d e , a b o u t th e s a m e A u s tra lia a nd th e N a tio n a l E d u c a tio n p ro g ra m P ro d, a c c o u n ta n t............................... N e il C o u s in s E xec, p ro d u c e r..................................................... P au l H u m fre s se g irls , lo o k in g a t w h e re th e ir live s w e re o f th e A u s tra lia n B ic e n te n n ia l A u th o rity . th re P u b lic is t.......................................................J a n e G le n P ro d, m a n a g e r....................................................... Ron H a n n a lem a d in g th e m a n d to w h a t e x te n t th e ir y o u th fu l M a rk e tin g & p ro m o tio n s ............ S te v e M cM illa n P u b lic is t..................................................................Ja n e G le n h o p e s h ad b e e n re a lis e d . Seven Years On is a COMMUNITY S y n o p s is : T h e d o c u m e n tin g o f a u n iq u e M a rk e tin g & p r o m o tio n s ..............S te v e M c M illa n th ird film w ith th e s a m e th re e g irls . P ro d, c o m p a n y .......................................................F ilm A u s tra lia e x p e rim e n t in w h ic h s e n io r c itiz e n s fro m L e n g t h ................................................................... 18-20 m in u te s D ist. c o m p a n y ........................................................ F ilm A u s tra v a lia rio u s re tire m e n t h o m e s e n ro l a t a B a n ksto w n Synopsis: A h u m o u ro u s film p ro d u c e d fo r th e P ro d u c e r.....................................................J a n P un ch c o lle g e a nd w ith th e h e lp o f s tu d e n ts fro m th a t D e p a rtm e n t o f F o re ig n A ffa irs e x p la in in g th e STORYMAKERS 3 D ir e c to r................................................................... G re g R e a dcin g g e d o c u m e n t th e ir p e rs o n a l h is to ry in o lle fin e r p o in ts o f o b ta in in g a ‘ n e w ’ A u s tra lia n S c rip tw rite rs .............................................J a n P un ch , p o e tic a nd d ra m a tic fo rm c u lm in a tin g in a P ro d, c o m p a n y .................................. F ilm A u s tra lia p a s s p o rt a n d w h a t s te p s s h o u ld be ta k e n to G re g R e a d in g th e a tric a l p e rfo rm a n c e o f th e s e sto rie s. D ist. c o m p a n y ....................................F ilm A u s tra lia re p la c e o n e if it is lo st o ve rse a s.

74 — MAY CINEMA PAPERS

D ir e c to r.....................................................A v iv a Z ie g le r S c r ip t w r it e r ............................................ A v iv a Z ie g le r S to rie s r e s e a r c h e r .............................. U rs u la K o lb e P h o to g ra p h y .......................................... D a v id K n a u s E x e c , p r o d u c e r ................................ P a u l H u m fre s s P ro d , m a n a g e r .................... A lis o n W o th e rs p o o n P ro d , a s s is t a n t .......................... M ic h a e l R o g o w s k i P ro d , s e c r e ta r y ....................A m a n d a E th e rin g to n P ro d , a c c o u n t a n t ................................ N e il C o u s in s P u b lic is t .........................................................J a n e G le n M a rk e tin g & p r o m o t io n s ..............S te v e M c M illa n Synopsis: D is c o v e rin g th e m a n b e h in d m a n y b o o k s w r itte n fo r s c h o o l c h ild re n , C o lin T h ie le .

S c rip tw rite r......................................J o h n A rm s tro n g E x e c , p r o d u c e r .............................. S a lly S e m rfie n s L e n g t h .............................................................9 m in u te s Synopsis: A c o m b in a tio n o f liv e a c tio n a n d a n i m a tio n is u s e d to in fo rm p rim a ry s c h o o l c h ild re n a b o u t th e w a te r c y c le .

FOREST PRACTICES

E xe c, p r o d u c e r s .............................. R u s s e ll P o rte r, A n d re w W is e m a n S c r ip tw r ite r ................................................ D a v id T ile y L e n g t h ......................................................... 2 0 m in u te s Synopsis: A d o c u m e n ta ry w h ic h e x p la in s th e n e w c o d e o f fo re s t p ra c tic e s w h ic h w ill b e in tro STORYMAKERS 4 d u c e d in V ic to ria d u rin g th e s e c o n d h a lf o f th is P ro d , c o m p a n y .........................................................F ilm A u s tra ye alia r. D is t. c o m p a n y .......................................................... F ilm A u s tra lia D ir e c t o r ................................................... M a rtin D a ie y LEGAL AID S c r ip tw r ite r ............................................ M a rtin D a le y E xe c, p r o d u c e r s .............................. R u s s e ll P o rte r, S to rie s r e s e a r c h e r ..............................U rs u la K o lb e A n d re w W is e m a n E x e c , p r o d u c e r ....................................................... P a u l H u m fre s s rip two rite P ro d , m a n a g e r ....................................................A lis o n W o thSecrs po n r............................................ C a ro le S kla n L e n g t h ......................................................... 12 m in u te s P ro d , a s s is t a n t .................................................M ic h a e l R o g o w s k i A v id e o d e s ig n e d to in fo rm th e P ro d , s e c r e ta r y ...............................................A m a n d a E th eSynopsis: rin g to n g e n e ra l p u b lic a b o u t th e s e rv ic e s o f th e L e g a l P ro d , a c c o u n t a n t .................................................... N e il C o u s in s A id C o m m is s io n . P u b lic is t ........................................................J a n e G le n M a rk e tin g & p r o m o t io n s .............S te v e M c M illa n D is c o v e rin g th e c re a tiv e a n d p ra c tic a l s id e o f c h ild r e n ’s b o o k illu s tra tio n s .

Synopsis:

MINISTRY OF HOUSING — STAFF INDUCTION VIDEO

S c rip tw rite r.................................................. S u e M o g g TO ABSENT FRIENDS E xec, p r o d u c e r ..................................R u s s e ll P o rte r P ro d , c o m p a n y ........................................................ F ilm A u s tra lia L e n g t h .................................................. 1 0-12 m in u te s D ist. c o m p a n y ..........................................................F ilm A u s tra lia Synopsis: T h e a im o f th e film is to a c q u a in t D ir e c t o r .................................................................... P e te r M c L e a n 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 S c r ip tw r ite r ............................................................. P e te r M c L e a n m a n y a n d v a rie d b ra n c h e s a n d fu n c tio n s o f th e P h o to g ra p h y .................................................R o ss K in g M in is try o f H o u s in g as a w h o le . S o u n d r e c o r d is ts ........................N o e l C u n n in g to n , H o w a rd S p ry E x e c , p r o d u c e r ....................................................... P a u l H u m fre sNEIGHBOURHOOD s MEDIATION P ro d , m a n a g e r ....................................................A lis o n W o th e rs p o o n CENTRES P ro d , a s s is t a n t ................................................ M ic h a e l R o g o w s k i E x e c , p r o d u c e r s ............................. R u s s e ll P orte r, P ro d , s e c r e ta r y ....................A m a n d a E th e rin g to n A n d re w W is e m a n P ro d , a c c o u n t a n t ................................. N e il C o u s in s S c rip tw rite r........................................R ic h a rd K e d d ie C a m e ra a s s is ta n ts ................................. J o h n S co tt, L e n g t h ......................................................... 12 m in u te s R o b y n P e te rs o n Synopsis: A d o c u m e n ta ry w h ic h w ill e x p la in G a ffe rs ........................................... B o rc e D a m c e v s k i, th e w o rk in g o f n e ig h b o u rh o o d m e d ia tio n J o n a th o n H u g h e s c e n tre s a nd h o w lo ca l c o m m u n itie s c a n b e n e fit G rip ........................................................... D o n A n d re w s fro m th e m . P u b lic is t ........................................................ J a n e G le n M a rk e tin g & p r o m o t io n s ............. S te v e M c M illa n F ilm in g o f P a u la D a w s o n ’s h o lo g ra m fo r a N e w Y e a r’s E ve p a rty fro m c o n 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 A d e la id e F e s tiv a l.

Synopsis:

OLD PEOPLE’S HOUSING S c r ip tw r ite r ................................................C h ris K irb y E xec, p ro d u c e r.................................. R u sse ll P o rte r L e n g th ...................................... 20 m in u te s (a p p ro x .)

WELFARE (W o rk in g title )

RECYCLED WATER

CORRECTIVE SERVICES INDUSTRIES

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E xe c, p ro d u c e r s .................................. S a n d ra L evy, J o h n H a m b le y A s s o c , p r o d u c e r .............................. R o ss D im s e y P ro d , c o m p a n y ..........................C o lo rb u rs t P ty L td P ro d , m a n a g e r................................................L o rra in e A le x a n d e r E x e c u tiv e p r o d u c e r ......................... P e te r D im o n d P ro d u c e r.................................................................. R o ss W e b P b ro d, a c c o u n ta n t.............................................. R o b e rt T h e a d g o ld D ir e c to r.....................................................................R o ss W e b 1st b a s s t d ire c to r................................J a m e s O a s tle r 2 S c rip tw rite r............................................................L y n n e B ro a dn d a s s t d ir e c to r ........................ R ic h a rd V a n ’t R ie t A rt d ir e c t o r ...................................................D a le M a rk P ro d , m a n a g e r....................................................... J o a n R u b ie C o s tu m e d e s ig n e r.................................. J im M u rra y E d ito r............................................................R o b in H a y S y n o p s is : In 1948 L a u re n c e O liv ie r a n d V iv ie n L ig h tin g c a m e r a p e r s o n ................. P h il D o n n is o n L e ig h w e re th e w o r ld ’s m o s t c e le b ra te d lo v e rs ; C o m p u te r a n im a tio n ................... S c o tt M a s lo w s k i he th e g re a te s t a c to r o f th e a g e , s h e o n e o f P o s t-p ro d u c tio n ........................ C o lo rb u rs t P ty L td H o lly w o o d ’s b ig g e s t s ta rs . W h y th e n a t th e L e n g t h .........................................................14 m in u te s v e ry h e ig h t o f th e ir c a re e rs d id th e y tu rn th e ir G a u g e ...............................................................B e ta c a m b a c k s on fa m e a n d fo rtu n e to to u r A u s tra lia fo r Synopsis: P ro d u c e d fo r th e S ta te L a n d In a y e a r w ith th e O ld V ic T h e a tre ? fo rm a tio n C o u n c il, th is v id e o d e m o n s tra te s th e o p e ra tio n o f a la n d in fo rm a tio n s y s te m in N e w S o u th W a le s . A d a ta b a s e is th e c e n tre o f a n e t DAVE ALLEN SHOW w o rk o f la n d in fo rm a tio n fo r g o v e rn m e n t and P ro d, c o m p a n y ................................... A T N 7 S y d n e y p riv a te o rg a n is a tio n s . P o te n tia l u s e rs in c lu d e P ro d u c e r.....................................................................K ris N o b le to w n p la n n e rs , re a l e s ta te a g e n ts , p ro p e rty D ir e c to r........................................................................K ris N o b le d e v e lo p e rs , s o lic ito rs a n d s o c ia l re s e a rc h e rs . S c rip tw rite rs ...........................................................D a ve A lle n , P e te r V in c e n t, DRUG AND ALCOHOL TRAINING A n g e la W e b b e r, A da m B ow en, VIDEOS (6) K e n S tirlin g P ro d , c o m p a n y ...................................... M in ti P ty L td E xe c, p r o d u c e r s ..............................A la n B a te m a n , P r o d u c e r .............................................P e te r R. S m ith Pat C ondon D ir e c t o r ................................................P e te r R. S m ith P ro d , s u p e rv is o r........................ A s trid F rie d e ric h s S c rip tw rite r......................................... D a vid O ’ B rie n P ro d , m a n a g e r..................................................B rig itte Z e is ig P ro d, m a n a g e r............................S a n d ra A le x a n d e r S E d ito r .................................................................... D e n is e H a ra tscisrip t e d ito r................................. C h ris G re e n w o o d L e n g th ................................................. 4 x 6 0 m in u te s L ig h tin g c a m e ra p e rs o n ................ C ra ig W a tk in s P o s t-p ro d u c tio n ..........................................T e le v is io n M a k eGrsa u g e .....................................................................V id e o C a s t: D a ve A lle n (P re s e n te r). L e n g th ...................................................... 6 x 3 m in u te s S y n o p s is : Irish c o m ic D a ve A lle n b rin g s h is G a u g e ............................................................... B e ta c a m d is tin c tiv e s e n s e o f h u m o u r to A u s tra lia . Synopsis: T h e s e s ix d ra m a tis e d v ig n e tte s

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e a c h d e p ic t a c o n fro n ta tio n a l s itu a tio n in w h ic h w e lfa re o ffic e rs m ig h t fin d th e m s e lv e s . T h e y w ill be u se d in tra in in g s e s s io n s a n d a re o p e n e n d e d so as to trig g e r d is c u s s io n re g a rd in g a v a rie ty o f re s p o n s e s . T h e y w e re p ro d u c e d fo r th e N S W D e p a rtm e n t o f Y o u th a n d C o m m u n ity S e rv ic e s .

P ro d , 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 s .............................. R u s s e ll P o rte r, D ir e c to r ......................................................... Ian M u n ro A n d re w W is e m a n R e s e a rc h .................................... C o n A n e m o g ia n n is S c rip tw rite r.....................................K a th y A rm s tro n g E x e c , p r o d u c e r ................................ P a u l H u m fre s s L e n g t h ......................................................... 12 m in u te s P ro d , m a n a g e r......................................................... R o n H a n nSynopsis: am A d o c u m e n ta ry w ith th e p rim a ry aim P u b lic is t........................................................ J a n e G le n o f o v e rc o m in g re s is ta n c e w ith in in d u s try a nd M a rk e tin g & p r o m o tio n s ...............S te v e M c M illa n a g ric u ltu re to th e id e a o f re c y c lin g w a te r. DRUG EDUCATION VIDEOS (3) L e n g t h ................................................. 6 x 3 0 m in u te s Synopsis: A p ro p o s e d s e rie s o f s ix p ro g ra m s P ro d, c o m p a n y ..........................V e c to r P ro d u c tio n SALINITY th a t w o u ld ra is e is s u e s , in c re a s e th e a u d i P ty Ltd P ro d , c o m p a n y ............... Y ork S tre e t P ro d u c tio n s e n c e ’s a n x ie ty a n d m a k e v ie w e rs a w a re o f th e P ro d u c e r....................................J o n a th a n C le m e n s P ro d u c e r........................................................R o b S c o tt m a n y w e lfa re p ro b le m s th a t e x is t a n d s u g g e s t D ir e c t o r .............................................R o g e r H u d s o n D ir e c to r................................................................... L e ig h T ils o nP ro d , m a n a g e r .............................. B e th w y n S e ro w a lte rn a tiv e s y s te m s o f d e a lin g w ith th e s e p ro b E xe c, p r o d u c e r .................................................R u s s e ll P o rteEr d it o r ................................................P e te r S o m e rv ille le m s o f th e u n d e rp riv ile g e d b o th w ith in A u s E d ito r ....................................................................... L e ig h T ils o nL ig h tin g c a m e ra p e rs o n .................. G ra e m e R oss tra lia a n d o v e rs e a s . C a m e ra o p e r a t o r ................................................ L e ig h T ils o nP o s t-p ro d u c tio n ............................T ra m B ro a d c a s t L a b o ra to ry ........................................................C in e v e x L e n g th L e n g t h ................ 1 x 30 s e c o n d s , 1 x 6 0 s e c o n d s " D o in g It R ig h t” ................. 10 m in u te s 3 0 se cs Synopsis: T w o c o m m u n ity s e rv ic e a n n o u n c e " A M a tte r O f C h o ic e ” .......13 m in u te s 3 0 s e cs m e n ts a im e d a t u rb a n a u d ie n c e s to a le rt th e m "W in n in g W a y s " .................................12 m in u te s to th e th re a t o f s a lin ity a n d its p o te n tia l im p a c t G a u g e ...............................................................B e ta c a m o n th e q u a lity o f life in o u r to w n s a nd c itie s . Synopsis: T h ro u g h d ra m a tis a tio n , th e s e th re e v id e o s — fo r 5-9 y e a r o ld s , 9 -1 3 y e a r o ld s and 1 3-17 y e a r o ld s — p o rtra y in th e ir s to rie s p e e r STREETS AHEAD g ro u p a n ti-d ru g p re s s u re . T h e m e s s a g e is E xe c, p r o d u c e r s ............................ R u sse ll P o rte r, c o v e rt ra th e r th a n o v e rt a n d th e v id e o s a re A n d re w W is e m a n e n te rta in in g as w e ll as in fo rm a tiv e . P ro d u c e d S c r ip tw r ite r .......................................K a re n B o n c z y k fo r th e N S W D e p a rtm e n t o f E d u c a tio n , w ith L e n g t h ......................................................... 12 m in u te s fu n d in g fro m th e N a tio n a l C a m p a ig n A g a in s t AM I DOING IT SAFE? Synopsis: A v id e o w h ic h w ill illu s tra te v a rio u s D ru g A b u s e , th e p ro g ra m s w ill g o in to a ll N S W a s p e c ts o f a n e w tra ffic s a fe ty e d u c a tio n p ro P ro d , c o m p a n y .....................................M u s ic a l F ilm s p u b lic s c h o o ls . g ra m , a n d d e m o n s tra te h o w th e p ro g ra m ca n E xe c, p r o d u c e r ..................................................R u s s e ll P o rte r D ir e c t o r s ............................................................ C ris tin a P o z abne, in te g ra te d in to an e x is tin g c u rric u lu m .

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R a y A rg a li S c rip tw rite r..................................... B rid g e t G o o d w in P h o to g r a p h y ....................................................... M a n d y W a lk e r S o u n d re c o rd is t.....................................P h illip H e a ly L e n g t h .......................................................... 2 7 m in u te s Synopsis: A n in fo rm a tiv e lo o k a t th e le v e l o f k n o w le d g e a b o u t th e A ID S v iru s , e s p e c ia lly w ith in th e a g e g ro u p 1 0-25 ye a rs .

BIKE EDUCATION E xe c, p ro d u c e r s ..............................R u s s e ll P o rte r, A n d re w W is e m a n S c r ip t w r it e r ....................................... K a re n B o n c z y k L e n g t h .......................................................... 12 m in u te s Synopsis: A v id e o p ro v id in g in fo rm a tio n o n th e n e e d fo r b ik e e d u c a tio n p ro g ra m s in s c h o o ls , a n d to s h o w te a c h e rs , p a re n ts a n d c o m m u n ity g ro u p s h o w to d e v e lo p th e s e p ro g ra m s .

DIGGING MELBOURNE P ro d , c o m p a n y ................................. W a rn e r/D a lto n E x e c , p r o d u c e r s ...............................R u s s e ll P o rte r, A n d re w W is e m a n D ir e c t o r ................................................... J o h n H u g h e s S c rip tw rite r...............................................C la ire J a g e r L e n g t h ........................................................2 7 m in u te s Synopsis: A n e x a m in a tio n o f th e a rc h a e o lo g ic a l e x c a v a tio n s c u rre n tly u n d e rw a y at th e to p e n d o f M e lb o u rn e .

DR PLUGHOLE P r o d u c e r ................................................ R a c h e l D ix o n D ir e c to r ..............................................J o h n A rm s tro n g

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P ro d , c o m p a n y ................... C a ro u s e l P ro d u c tio n s P ty L td P ro d u c e r.................................................................D a v id P ric e D ir e c to r....................................................................D a v id P ric e S c r ip tw r ite r .......................................... G ra n t H ig g in s E d ito r..........................................................................J a c k S w a rt DARLINGS OF THE GODS L ig h tin g c a m e ra p e rs o n .................. L a u rie G ilb e rt P o s t-p ro d u c tio n ..............V is u a le y e s P ro d u c tio n s P ro d, c o m p a n y .................A B C /E u s to n F ilm s L td / L e n g th ...............................................................................9 m in u te s S im p s o n Le M e s u rie r F ilm s P ty L td G a u g e ............................................................... B e ta c a m P r o d u c e r ..................................... R o g e r Le M e s u rie r Synopsis: P ro d u c e d fo r th e N S W D e p a rtm e n t D ir e c t o r ............................................ C a th e rin e M illa r o f C o rre c tiv e S e rv ic e s , th is v id e o s h o w s th e S c rip tw rite rs ................................... R o g e r S im p s o n , v a rie ty o f e m p lo y m e n t (eg, c a rp e n try , m e ta l G ra e m e F a rm e r w o rk , g a rd e n in g , c le a n in g , c o o k in g ), a v a ila b le B a se d on th e b o o k b y ................. G a rry O ’C o n n o r to p ris o n e rs s h o u ld th e y c h o o s e to w o rk w h ile P h o to g r a p h y .......................................ia n W a rb u rto n in p ris o n . P ro d, d e s ig n e r .................................... C o lin G e rs c h

DOT AND THE KANGAROO TV SHOW P rod, c o m p a n y .................................................. Y o ra m G ro ss F ilm s tu d io P ty L td P r o d u c e r ............................................................. Y o ra m G ro s s D ir e c to r ................................................................ Y o ra m G ro s s S c rip tw rite r......................................M a rc ia H a tfie ld A sso c, p ro d u c e r.............................................. S a n d ra G ro s s L e n g th ...............................................13 x 3 0 m in u te s G a u g e ............................................................................1 " v id e o Synopsis: P ilo t fo r a 1 3 -p a rt te le v is io n s e rie s fe a tu rin g a c o m b in a tio n o f a n im a tio n a n d live a ction .

EDENS LOST

P ro d , c o m p a n y .......M a rg a re t F in k F ilm s P ty L td in c o -p ro d u c tio n w ith A B C a nd C e n tra l In d e p e n d e n t T e le v is io n P LC D ist. c o m p a n y ....................... C e n tra l In d e p e n d e n t T e le v is io n P LC P r o d u c e r ...............................................M a rg a re t F in k D ir e c to r................................................... N e il A rm fie ld S c r ip t w r it e r ........................................... M ic h a e l G o w B ase d on th e n o ve l b y .......S u m n e r L o c k e E llio tt E d ito r ..............................................................B ill R u sso P ro d, d e s ig n e r ................................J a n e t P a tte rs o n E xec, p ro d u c e r s .................................. S a n d ra Levy, T e d C h ild s A ss o c , p r o d u c e r ............ ........S te p h e n O ’ R o u rk e P ro d , m a n a g e r ................ .................. C a ro l C h irlia n P ro d , s e c r e ta r y ............... F ra n ç o is e F o m b e rta u x P ro d , a s s is ta n t................. .................... L y n n P o y n te r THE MOVIE QUIZ 1 st a s s t d ir e c to r ............... ....S c o tt H a rtfo rd -D a v is 2 nd a s s t d ire c to r............ ..................... W e n d y G ra y P ro d , c o m p a n y ..........M u lti M e d ia P re s e n ta tio n s C P ro d u c e r....................................................................N e il B ro w n o n tin u ity .......................... ....................L y n n P o y n te r D ir e c to r.......................................................................N e il B ro wCn a s tin g ............................... ..................J e n n ife r A lle n C a s tin g a s s t...................... .................... Ire n e G a s k e ll E d ito r ................................................ G ra n tle y S h a n k s L ig h tin g c a m e ra p e rs o n ....................................D a v id W ils oLnig h tin g c a m e ra p e rs o n ........................J e ff M a lo u f C o s tu m e d e s ig n e r .......... ....................Q u e n tin H o le N a r r a to r ...................................................... D a v id Lyle M a k e -u p ............................. ............C h ris tin e B a lfo u r P o s t-p ro d u c tio n ..............................P ro Im a g e E C V W a rd ro b e .......................... ............ W e n d y F a lc o n e r L e n g t h .........................................................12 m in u te s P ro p s b u y e rs ................... ..............A d ria n C a n n o n , G a u g e ............................................................... 1 " v id e o C o lin B a ile y Synopsis: P ro d u c e d fo r th e P o w e rh o u s e , th is C o n s tru c tio n m a n a g e r. .......................L a u rie D o rn in te ra c tiv e v id e o on la s e r d is c is in tw o p a rts : a S et d e c o ra to r................... ....................R o b e rt H u tc h H o lly w o o d q u iz a nd a q u iz a b o u t e a rly A u s tra S o u n d e d it o r ................... ........................ E rik a M o ss lia n film s . F o u r c h o ic e s a re g iv e n fo r e a ch P u b lic ity ............................. ...G e o rg ie B ro w n (A B C ) q u e s tio n ; th e v ie w e r s e le c ts a n s w e rs on a L e n g th ................................ .................3 x 5 2 m in u te s to u c h p a d a n d is to ld w h e th e r th e y a re c o rre c t G a u g e ................................. .................................. 1 6m m o r not.

P ro d , c o m p a n y ..........M u lti M e d ia P re s e n ta tio n s P ro d u c e r......................................................N e il B ro w n D ir e c t o r ...............................................................M ic h a e l G a rric k STYLE P ro d u c tio n m a n a g e r........................................ N a o m i M itc h e ll FLYING WHITE ANT E d ito r ................................................................. G ra n tle y S h a nPkro s d u c e r.................................................................P e te r C a lla s D ir e c to r....................................................................P e te r C a lla s(The Story of the Aboriginal Painter L ig h tin g c a m e ra p e rs o n .................... D a v id W ils o n Albert Namatjira) C o m p o s e r............................................E d d y J o k o v ic h A rtw o rk ................................................D a v id W h itta m A n im a tio n ............................................................... P e te r C a llaP s ro d, c o m p a n y ...........................D o n F e a th e rs to n e C h e m is t ............................................. F re d e ric A b b o tt L a b o r a to ry ......................................................................T ra n s film P ro d u c tio n s P o s t-p ro d u c tio n .............................. P ro Im a g e E C V L e n g th ..............................................................................4 m in u P terse - s a le ................... L o n d o n W e e k e n d T e le v is io n L e n g t h ..........................................................12 m in u te s G a u g e .................................................................... V id e o P r o d u c e r ....................................... D o n F e a th e rs to n e G a u g e ....................................................... 1 " v id e o ta p e Synopsis: P ro d u c e d fo r th e P o w e rh o u s e , th is D ir e c to r ..........................................D o n F e a th e rs to n e Synopsis: P ro d u c e d fo r th e P o w e rh o u s e , th is is a v id e o d is c in tro d u c tio n to th e S ty le e x h ib i L e n g t h ..........................................................9 0 m in u te s in te ra c tiv e v id e o o n la s e r d is c is se t in a 1 9 3 0 s tio n a t th e P o w e rh o u s e w h ic h is d e liv e re d on G a u g e .....................................................................1 6 m m c h e m is t s h o p . T h e v ie w e r u s e s th e to u c h p ad fo u r s y n c h ro n is e d m o n ito rs . Im a g e ry , re fle c t Synopsis: T h e s to ry o f th e A b o rig in a l a rtis t to ‘t e ll’ th e c h e m is t w h a t is w ro n g a n d th e in g s ty le o f th e 18 th , 19 th a n d 2 0 th c e n tu rie s , is A lb e rt N a m a tjira w h o s e re m a rk a b le ta le n t c h e m is t p ro d u c e s re m e d ie s fro m th e e ra fo r d ra w n fro m e x h ib itio n o b je c ts , fa b ric s , a rc h iv a l m a d e h im a c e le b rity a n d e v e n tu a lly le d to h is th e a ilm e n t. A ll th e re m e d ie s a re in th e c h e m is t m a te ria l a n d g ra p h ic s . a b a n d o n m e n t a n d d o w n fa ll. s h o p e x h ib itio n in th e P o w e rh o u s e .

CINEMA PAPERS MAY - 75

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U C T I O N U R V Y

S y n o p s is : S e t in th e 1960s, th e s e rie s re vo lve s P u b lic ity ...........................................V ic to ria B u c h a n P ro d, a c c o u n ta n t.............................. C y n th ia K e lly C a t e r in g ..................................................... T u c k T ru c k a ro u n d th re e s is te rs a nd th e ir fa m ilie s . A s th e 1st a sst d ir e c t o r ........................R u sse ll W h ite o a k 2 nd a sst d ir e c to r ...............................D e b o ra h K lik a c h a ra c te rs a d d re s s th e issu e s o f th e tim e s , S tu d io s ................................... A B C F re n c h s F o re st, th e ir live s a nd re la tio n s h ip s a re th ro w n in to tu r M a x ’s S tu d io s C o n tin u ity .................................... R h o n d a M cA vo y m o il b y th e ra p id s o cia l c h a n g e s w h ic h M ix e d a t................................................. A B C G o re H ill C a s tin g .................................................J e n n ife r A lle n o c c u rre d a t th a t tim e . C a s tin g a s s is ta n t...................... M a u re e n C h a lto n L a b o r a to ry ..................................................... C o lo rfilm Lab. lia is o n ............................... R ic h a rd P io rk o w s k i C a m e ra o p e ra to r...............................................R o g e r L a n s e r B u d g e t........................................................................$ 1 6 m illio n 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 L e n g th .............................................................................. 6 h o u rs C a m e ra a s s is ta n t............................................ R o b e rt F o ste AROUND r THE WORLD IN 80 DAYS G a u g e ................................................................... 3 5 m m , v id e o K ey g r ip ................................................................... J o h n H u n tin g fo rd P rod, c o m p a n y ................................. B u rb a n k F ilm s S h o o tin g s t o c k .................................. E a s tm a n c o lo r A sst g rip ............................................... G a rry B u rd e tt P ro d u c e r...................................................R oz P h illip s C a s t: G a ry B u s e y (T o n y O ’ N e ill), R e b e c c a G a f f e r ........................................... T im M u rra y -J o n e s S c rip tw rite r............................................L e o n a rd Lee G illin g (A n g ie Fox), J a im e F a b re g a s (B e n E le c tr ic ia n s ......................................K en P e ttig re w , B ased on th e n ove l b y ...................... J u le s V e rn e B alam o ), D in a B o n n e v ie (C e lie B alam o ), R ic h a rd G ra n t E d ito rs ...............................................P e te r J e n n in g s , L a u ric e G u ille n (C o ry A q u in o ), J a m e s H a n d y B oo m o p e ra to r.................................. M a rk B o w y e r C a ro lin e N e ave (M ike H e se ltin e ), R u b e n R u s tia (F e rd in a n d JUNGLE BOOK M a k e -u p ..................................................................... J iri P avlin, E xec, p r o d u c e r ..................................... T o m S ta ce y M a rco s), T e s s ie T o m a s (Im e ld a M a rco s). J e n n i B oe h m P rod, c o m p a n y ............Y o ra m G ro ss F ilm S tu d io P rod, c o -o rd in a to r.................................. J o y C ra ste S y n o p s is : A Dangerous Life d ra m a tic a lly re W a r d r o b e ............................................E lsie R u sh to n P ro d u c e r............................................................ Y o ra m G ross P rod, m a n a g e r......................................... R o d d y Lee cre a te s th e c o m p le x a nd tu rb u le n t e v e n ts in D ir e c to r ...............................................................Y o ra m G rossW a rd ro b e a s s t ................... S te p h a n ie H a m m o n d P rod, a c c o u n ta n t...........................A n d re w Y o u n g th e P h ilip p in e s fro m th e a s s a s s in a tio n o f N in o y P ro ps b u y e r........................................................... T o n y C ro nC ina s tin g ........................................................J o y C ra ste S c rip tw rite r............................................ L e o n a rd Lee S ta n d b y p r o p s ...................................R o y E a g le to n C a m e ra o p e ra to rs .............................................. G a ry Page,A q u in o u n til th e fle e in g o f th e M a rc o s e s a fte r B ase d on th e n ove l b y ................................R u d ya rd K ip lin g th e ‘p e o p le p o w e r’ re v o lu tio n in 1 98 6. T h e S p e cia l e ffe c ts ................................... P e te r L e g g e tt T a n y a V is k itc h C o m p o s e r................................................................ G uy G ro ss s to ry is to ld th ro u g h th e e y e s o f tw o fic titio u s S et d e c o ra to r................................................... S a n d ra C a rrin g to S to rynb o a rd ......................................... S te v e L u m le y A ssoc, p ro d u c e r............................................. S a n d ra G ro ss c h a ra c te rs , T o n y O ’N e ill — A m e ric a n te le S tu n t c o -o rd in a to r.................................................G u y N o rris T im in g .........................................................Je a n T ych P rod, c o -o rd in a to r....................................... J e a n e tte T o m s n jo u rn a lis t — a n d A n g ie F o x — A u s tra lia n S till p h o to g ra p h y ................................................B a rry G a u nLte n g th ......................................................................... 5 0 m in u visio te s P rod, m a n a g e r............................. J a c k i G o o d rid g e p h o to -jo u rn a lis t w o rk in g in th e re g io n . P u b lic ity ............................................. G e o rg ie B ro w n G a u g e ....................................................................16m m A sst e d it o r ...................................................... S te p h e n Hayes Cnd a te r in g ............................................ A & B C a te rin g S h o o tin g s t o c k .....................................................7291 A n im a tio n d ire c to r................................................ R a y N o w la S tu d io s .................................... A B C F re n ch s F o re st S y n o p s is : T h e c la s s ic ta le o f P h ilia s Fogg THE FLYING DOCTORS G a u g e ...................................................................3 5m m fOiixed a t ...................................A B C F re n ch s F o re st w h ose b et to o k him a nd his re lu c ta n t s e rv a n t Synopsis: A m o d e m d a y te e n a g e v e rsio n of P ro d, c o m p a n y ................... C ra w fo rd P ro d u c tio n s L a b o r a to ry ..................................................... C o lo rfilm P a sse p a rto u t a ro u n d th e w o rld in 80 days. R u dya rd K ip lin g ’s Jungle Book in w h ich th e (S e rie s) P ty Ltd B u d g e t ........................................................$ 5 ,0 0 0 ,0 0 0 a n im a ls a re h ip a nd M o w g li d riv e s a c o n v e rt P ro d u c e r.........................................O s c a r W h itb re a d L e n g th ................................................2 x 105 m in u te s ib le . P ilo t fo r a te le v is io n se rie s. A DANGEROUS LIFE D ir e c to rs .......................................... B re n d a n M a h e r, G a u g e .................................................................... 16m m M a rk C a lla n , P ro d, c o m p a n y .......................... A y e r P ro d u c tio n s S h o o tin g s t o c k ....................................E a s tm a n c o lo r C o lin B u d d s , THE KEYS TO PARADISE D ist. c o m p a n y ........................................F ilm A c c o rd , C a s t: P a tric k B e rg in (M ic h a e l M cG u rk), Lisa M a n d y S m ith , H B O (U S), P ro d, c o m p a n y ................ A m a lg a m a te d P ortm an H a rro w (E ile e n M cG u rk), K ris te n G re e r (S ean M a rk d e F rie s t A B C (A u stra lia ), M cG u rk), E llio tt G o u ld (C a lla g h a n ), B rya n M a r P ro d u ctio n s Z e n ith (UK) S c rip tw rite rs ................................... D e n is e M o rg a n , D ist. c o m p a n y ..................... A m a lg a m a te d G lo ba l s h a ll (K e nn ed y), D e b o rra -L e e F u rn e ss (K a th y), T o n y M o rp h e tt, P ro d u c e r.................................................................... H a l M c E lro y T V S ervice s M ax C u lle n (Q u in n). L u is B a yo n a s, L ine p r o d u c e r ..........................................................T im S a n d e rs P ro d u c e r s ........................................ A la n B a te m a n, S y n o p s is : C o n te m p o ra ry th r ille r se t in B e lfa s t M ic h a e l J o s h u a , D ire c to r..........................................R o b e rt M a rk o w itz V ic to r G lynn and S y d n e y w h ic h d e a ls w ith th e co n se S h a n e B re n n a n S c rip tw rite r...................................D a vid W illia m s o n S c rip tw rite r......................................... W illia m K e lle y q u e n c e s of a d e c is io n b y a m e m b e r o f th e Irish P h o to g ra p h y ......................................................J a m e s B a rtleP h o to g ra p h y ........................................... R o n H a g e n , E xec, p ro d u c e r s ............................ A la n B a te m a n, R e p u b lica n A rm y to b e tra y his su p e rio rs . B a rry W ils o n S o u n d re c o rd is t...................................................... T im Lloyd V ic to r G lynn S o u n d re c o r d is ts ............................ M a lc o lm R o se, E d ito rs ..............................................T o n y K ava n ag h, Synopsis: A th rille r se t in th e F a r E ast c o n ALL THE WAY J o h n M c K e rro w M ike H o n e y c e rn in g a fa th e r’s d e te rm in e d a tte m p t to free P rod, d e s ig n e r ................................................. M u rra y P ic k nEedttito rs ...............................................L in d s a y P a rke r, h is so n w h o h as been se n te n c e d to d e a th row P ro d, c o m p a n y .................. C ra w fo rd P ro d u c tio n s B ill M u rp h y P ro d u c tio n c o n s u lta n t.............. C h ris tin e B e ra rd o in a B a n g k o k p ris o n fo r d ru g tra ffic k in g . D ist. c o m p a n y ....................C ra w fo rd P ro d u c tio n s A ssoc, p r o d u c e r ......................................R a y B ro w n E xec, p ro d u c e r s ..........................H e c to r C ra w fo rd , P ro d u c e r...................................................Bill H u gh e s Ian C ra w fo rd , P o st-p ro d , s u p e r v is o r .....................J o h n H o lla n d s D ire c to rs (in c lu d e )............................ M a n d y S m ith , T e rry S ta p le to n P ro d, c o -o rd in a to r s ............................................. K ym N e w m a n , REALMS OF GOLD M a rcu s C ole, H ila ry M a y P rod, s u p e rv is o r.................................... V in c e S m its R u ssell W e b b, P ro d , c o m p a n y ......................... K in g c ra ft A u s tra lia P ro d, m a n a g e rs ...................................................J o h n W in tePr,ost-p ro d , s u p e rv is o r................ S u e W a s h in g to n P ino A m e n ta , P ty L im ite d (co -p ro d u ctio n w ith R o s e m a ry H u d so n P ro d, c o -o rd in a to r................................. G in a B la ck G a ry C o n w a y T e lie s y n , C a rd iff) ve l c o -o rd in a to r....................................... M a lc o lm R oss P ro d, m a n a g e r................................. R a y H e n n e s s y S c rip tw rite rs ......................................................... Leon S a u nTdra e rs, D ist. c o m p a n y ................................J .C . W illia m s o n U n it m a n a g e r........................................................J o h n D o w nUien it m a n a g e r ................................... A n d re w O liv e r P e te r K in lo ch , and S 4C L o ca tio n m a n a g e r...........................M a u ric e B u rn s L o ca tio n m a n a g e r ..................................C lin t W h ite S h e ila S ib ley, P ro d u c e r............................................. T e rry O h lsso n P ro d, s e c re ta ry .................................................. S a n d y S te vePnro s d, s e c re ta ry .............................. C a ro l M a tth e w s E ve re tt De R o che D ir e c t o r ....................................................P aul T u rn e r Ptro d, a c c o u n ta n t..........................K e vin P lu m m e r F in a n c ia l c o n tr o lle r ............................................K e vin W rig h B ase d on an o rig in a l id ea S c r ip tw r ite r ................................... H o w a rd G riffith s 1st P ro d, a c c o u n ta n t................................................ C h ris R o b so n a s s t d ir e c t o r s .......................... S te w a rt W rig h t, b y ....................................................T e rry S ta p le to n E xec, p ro d u c e r s ............................. T e rry O h lsson , J a m ie L e slie , P h o to g ra p h y .......................................................F ra n k H a m A mcocnt da s s is ta n ts ................................................S h a ro n Ja c k s o n , D ilw yn Jo ne s K a th H a y d e n N a o m i W h ittin g S o u n d re c o r d is t.............................J o h n W ilk in s o n L e n g th ......................................................90 m in u te s 2 nd a sst d ir e c to r s ........................................... A u re lia G in e vra , 1st a sst d ire c to r................................................... B ria n G id d e n s E d ito rs ...............................................L in d sa y P arker, Synopsis: A fa st-m o v in g ‘ fa c tio n a l’ ta le of a P e te r N a th a n 2 nd a sst d ire c to r................................................ S te v e S ta n n a rd A ile e n S o lo w ie j W e ls h m in iste r, his b ro th e r a nd his s iste r-in C o n tin u ity ............................................... T a ra F e rrie r, 3 rd a sst d ire c to r......................C h ris to p h e r R ym a n P ro d, d e s ig n e r.....................................................S a lly S h e p h e rd law , w h o b e co m e in vo lve d in th e g re a t g old Anne W ent 2nd u n it d ir e c t o r .................................A n d re w C la rk C o m p o s e r............................................ A s h le y Irw in rush o f e a rly co lo n ia l A u stra lia . S to ry e d it o r ......................................G w e n d a M a rsh C o n tin u ity ............................................................ E m m a P ea ch E xec, p ro d u c e r.......................................Ian B ra d le y P ro d u c e r’s a s s is ta n t...................................B ro n w e n S to k eSsc rip t e d ito rs ..................................T o n y M c D o n a ld , P ro d, s u p e rv is o r.................................... V in ce S m its C a s tin g .................................................................... F a ith M a rtin , A n n e B ea ch , P ro d, c o -o rd in a to r............................. K a th y M o o re TANAMERA J a m e s L au rie , J a n H a rfie ld P ro d, m a n a g e r....................................... C h ris P age L ine p ro d u c e rs ....................................................... Ja n B la die r, C a s tin g ....................................................................... J a n P o n tife x S a n d ra L ee P a tte rs o n U n it m a n a g e r....................................C o lin M cL e an D avid Lee C a stin g c o n s u lta n ts .................. F e n to n -F e in b e rg , F o cu s p u lle r s ........................................................C ra ig B a rd e n , L o ca tio n m a n a g e r............................. N eil M cC a rt D ire c to rs ................................................................ Jo h n Pow er, F a ith M a rtin & A s s o c ia te s G a ry B o tto m le y P ro d , s e c re ta ry ...................................Ju lie B urto n K evin D o bson C a m e ra o p e ra to r....................................................J e ff M a loC u fla p p e r/lo a d e rs ........................................................Ian P h illip s , P ro d, a c c o u n ta n t...............................J e ff S h e n k e r P rod, d e s ig n e r................................................ G e o rg e L idd le K im J o n s s o n P ro d, a s s is ta n t.............................................. K im a n ie H a m 2nd e is tecra m e ra o p e r a to r .......................................... P au l P a n d o u lis E xec, p ro d u c e rs ...................................................... Ian H o lm e s, K ey g rip s ................................................................ C ra ig D u s tin g , F o cu s p u ll e r .......................................................... G a ry R u ssell 1st asst d ire c to rs ................................... P hil Jo ne s, T e d C h ild s, C la p p e r/lo a d e r........................................... C o lin K e rr K e rry B o yle H a m ish M cS p o rra n D on B attye K ey g rip s ................................................................... T im H a rris, A s s t g r ip s ................................................... L e ig h T a it, 2 nd a sst d ir e c t o r ..............................R o b b ie V isse r P ro d, m a n a g e r...................................................... D a le A rth u r B a rry M cG in n W a y n e M itc h e ll C o n tin u ity .......................................... L ynn D a nzey, P ro d , a c c o u n ta n t............. M o n e y p e n n y S ervice s G a ffe r.................................................................... M a rtin P e rroGtta ffe rs ......................................................... B ill J o n e s , J u lie B ates, 1st a sst d ir e c to r ......................... A d ria n P ic k e rs g ill E le c tr ic ia n s .........................................................P ie rre D rion , G a ry P lu n k e tt C a rm e l T o rca sio C o s tu m e d e s ig n e r............................................ J e n n y A rn o tt T im H a rris B oo m o p e ra to rs ....................... S te p h e n H a g g e rty , S to ry e d it o r ......................................................A n d re w K e n n e d y G e n e ra to r o p e r a to r ............................. J o h n C la rke C o lin S w a n C a s tin g ..............................................G ra h a m M o o re B oo m o p e ra to r.............................. M a rk V a n K oo l A rt d ir e c t o r ....................................................... A n d re w R e ese K ey g r ip ...............................................R ob H a n sfo rd A sst art d ire c to r....................................................L e ig h E ic h le r A rt d ire c to rs ................................................J u lie B ell, A sst g r ip ....................................................Rod S ho rt S te v e n G ow C o s tu m e d e s ig n e r ...............................C la re G riffin G a ffe r.........................................................L ex M a rtin A sst a rt d ir e c to r s ........................................... A n d re w H a rris, M a k e -u p ............................................ V iv R u s h b ro o k , E le c tric ia n .............................................R oy P ritc h e tt R o byn W illia m s , B ra d S m ith B oo m o p e ra to r....................................G re g N e lso n D ia n n W a jo n H a ird re s s e rs .......................................... L isa J o n e s , A rt d ir e c to r .......................................... B ria n D u sting C h ris tin e M ille r A s s t a rt d ire c to r...................................................... P hil E ag leCso stu m e d e s ig n e r............................... D a vid R ow e M a k e -u p ...........................................C h ris tin a E h le rt, W a rd ro b e s u p e rv is o r............................. K e e ly E llis C o s tu m e d e s ig n e r ............................................ C la re G riffin Ron B assi, W a rd ro b e s t a n d b y ............................................. A n n a B a u lc h , M a k e -u p ................................................................A n n a K a rp in ski, M a rjo ry H a m lin R a c h e l N o tt Liz H a rp e r S p e cia l fx m a k e -u p ............................................... B o b M cC a Prro ro pns b u y e r............................................................. K a te M u rra y H a ird re s s e rs ..................................... P au l P a ttiso n, W a rd ro b e .............................................................. B a rry L u m le S yta n d b y p r o p s ..........................................P au l K ie ly, F io n a R e e se -Jo n es W a rd ro b e a s s ts ....................................................... P ia K ryg e r, G e o rg in a C a m p b e ll W a rd ro b e ............................................. M a rio n B oyce H e a th e r L a u rie S e t d e c o ra to rs ..................................K e rith H o lm e s, ACT OF BETRAYAL W a rd ro b e a s s ts ...................................... C a th y Farr, S e a m s tre s s ........................................... S u e B e a g le y D a rre n J o n e s , G ayle M ayes P ro d, c o m p a n y ................................................... A B C , B ra d K in g, P ro ps b u y e r..................................................... R o lla n d P ike P ro ps b u y e r s ...................................S u sa n G la v ic h , G riffin P ro d u c tio n s /T V S W a y n e C h ip p e rfie ld J o h n S ta ffo rd S ta n d b y p ro p s ..................................................... B ria n L ang, D ist. c o m p a n y ................G riffin P ro d u c tio n s /T V S S ta n d b y p r o p s .....................................................P e te r M o ro n e y, S et c o n s tru c tio n ...............................G o rd o n W h ite S im o n C a rte r P ro d u c e r s ...............................................R a y A le hin , R u sse ll B u rto n , S o u n d e d it o r .................................................G e o ff H ill C h o re o g ra p h y ................................ T o n y B a rtu ccio N ick E vans Jo h n K in g, E d itin g a s s is ta n t............................................ M ic h a e l C a rd e n S et d e c o ra to rs ................................... Ja m ie L egge, D ir e c to r ............................L a w re n c e G o rd o n C la rk S te ve B u rn s M ix e r .................................................................. A n d re w Jo b s o n S o u li L ivid a tis, S c rip tw rite rs ...........................................N ic k E vans, A rt d e p t c o -o rd in a to r...........................P e n n y L an g B e st b o y s ............................................C o n M a ncuso, C o lin R o be rtso n M ic h a e l C h a p lin A rt d e p t fin a n c ia l P e te r R ya n S e t c o n s tru c tio n ............................... G o rd o n W h ite P h o to g ra p h y ........................................ P e te r H e n d ry c o -o rd in a to r................................................... P a d d y R e a rd o n R u n n e r..................................................... A n d re w B u ll S o u n d e d ito r...........................................A n n e C a rte r S o u n d re c o rd is t.................................. P e te r B a rb e r S et d e c o ra to rs .................................................. R o b e rt H u tc h Cina steo rnin , g ..............................L o c a tio n O n e C a te rin g S tu n ts c o -o rd in a to r.........................................N .G .S . E d ito r............................................................... Lyn S o lly T o n y W illia m s D ia lo g u e c o a c h ..................................P e te r T u llo ch S tu d io s ................................. C ra w fo rd P ro d u c tio n s P ro d, d e s ig n e r..................................... M a rcu s N o rth M ixe d a t ............................................................ C in e v e x B est b o y s .............................................................. P ete r R yan,S ta n d b y p a in t e r ........................... S tu a rt M cC a u le y D e s ig n e r................................................ C o lin R u d d e r C a r p e n te r ............................................................... L yall S m ithL e n g th ............................................... 2 4 x 4 7 m in u te s P e te r S co tt C o m p o s e r........................................ B ru ce S m e a to n S et c o n s tru c tio n ................................................L a u rie D o rn G a u g e .................................................................... 1 6m m R u n n e r......................................K e ith W ra y M cC an n E xec, p ro d u c e rs ................................. S a n d ra Levy, A sst e d ito rs ................................N ic o le La M a cch ia , S h o o tin g s t o c k .........................................7 2 9 1 ,7 2 9 2 P u b lic ity ............................................M a ry H e nn e ssy M ic h a e l D e akin H e le n H o rn C a te r in g .......................................S w e e t S e d u c tio n s 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 ), L iz P ro d, m a n a g e r..................................... D e n n is K ie ly N e g. m a tc h in g ................... N e g . C u ttin g S e rv ic e s B u rch (D r C h ris R a n d a ll), L e o n o re S m ith (K a te S tu d io s ..................................................................G TV 9 L o ca tio n m a n a g e r..............................V al W in d o n S o u n d e d ito rs .................................................S te p h e n H o peW , e llin g s ), B ru c e B a rry (G e o rg e B a x te r), P at M ixe d a t................................C ra w fo rd P ro d u c tio n s P ro d, s e c re ta ry ......................... K e rrie M a in w a rin g N o e l C a n trill, E viso n (V io le t C a rn e g ie ), R e b e c c a G ib n e y G a u g e ................................................................... V id e o P e te r P u rc e ll C a s t: R o w e n a W a lla c e (E la in e S e ym ou r), (E m m a P lim p to n ), M a u rie F ie ld s (V ic B u c k le y ), A s s t m ix e rs ............................................................. A la n A n d re w , y (N a n c y B u c k le y ), P e te r O ’ B rie n V ala rth J ealla P e te r S u m n e r (P h illip S e ym o u r), B en M e n d e l T o n y P op le , (S a m P a tte rso n ), G e o rg e K a k in ia ris (D .J.). so h n (L in d s a y S e ym o u r), D a n ii M in o g u e P e te r H a ll S y n o p s is : A R o ya l F ly in g D o c to r s e rv ic e is (P e n e lo p e S e ym o u r), D e n n is M ille r (R ay S cott), S tu n ts c o -o rd in a to r........................................... G ra n t P ag elo c a te d in th e o u tb a c k to w n o f C o o p e rs M a g g ie M illa r (L o m a S cott), M a rtin S a cks (A lan S till p h o to g ra p h y ............................G a ry J o h n s to n C ro s s in g . T h e tw o d o c to rs , G e o ff S ta n d is h a nd S cott), L isa H e n s le y (C h ris tin e S co tt), D o m in ic R e s e a rc h e r.......................................W e n d y B en so n 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 M cD o n a ld (B a rry S cott), D ia n a D a vid so n B est b o y .................................................................. L u k e H o b bms e d ic a l c h a lle n g e s , b u t a ls o w ith th e s m a ll (M a d e la in e V a u g h a n ), N ik k i C o g h ill (T e rry R u n n e r ............................................................. C a ro lin e G ro se c o m m u n ity in w h ic h th e y live . O 'R o u rk e ), V in ce C o lo s im o (Joe B ia nch i).

FUTURETROUPERS

P rod, c o m p a n y ...................................B rillia n t F ilm 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 ug la s S c rip tw rite r......................................... B ria n D o u g la s S c rip t e d it o r ...............................P a tric k E d g e w o rth P u b lic ity ...............................................L io n e l M id fo rd L e n g th ................................................. 6 x 60 m in u te s G a u g e .............................................................. 1 " v id e o Synopsis: In th e n e a r fu tu re an o u t-o f-w o rk th e a tre tro u p e in a d v e rte n tly p re v e n ts th e p ira c y o f A u s tra lia 's p o w e r s o u rc e b y a m ost d e vio u s and d e a d ly o rg a n is a tio n .

TELEVISION

P R O D U C T I O N

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76 — MAY CINEMA PAPERS

E x e c , p ro d u c e r s ........................... J o h n L u s c o m b e , W a r d r o b e ............................................... R ita C ro u c h , THE FOUR MINUTE MILE A LONG WAY FROM HOME M ik a e l B o rg lu n d F ra n c e s c a B ath P ro d , c o m p a n y .................C B S e v e n P ro d u c tio n s P ro d , c o m p a n y ....... R o a d s h o w , C o o te & C a rro ll/ A ss o c , p r o d u c e r s ..........................B re tt C le m e n ts , W a rd ro b e a s s t ............................. B ro n w y n D o g h ty & C e n tre F ilm s L td in S te v e K ra n tz P ro d u c tio n s (U S A ) P h illip T a n n e r, P ro p s b u y e r s ................................ P h ilip C u m m in g , c o -p ro d u c tio n w ith th e A B C & B B C S u p e rv is in g p r o d u c e r ........................................M o ya Ic e to n M ic h a e l C a u lfie ld F io n a S c o tt P ro d u c e r s ..............................................E rro l S u lliv a n , D ir e c t o r ..................................................J e rry L o n d o n P ro d , m a n a g e r ....................................... L iv ia H a n ic h S ta n d b y p r o p s .........................S h a ry n R o s e n b e rg , P o m O liv e r S c rip tw rite r...................................................................B ill K e rb y L o c a tio n m a n a g e rs ..............................................M a ry H o m e r, A n th o n y B ro d e ric k D ir e c to r.................................................. J im G o d d a rd B a se d o n a tru e s to ry M ic h a e l L a n ig n e , S e t c o n s tru c tio n ............................A lis te r T h o rn to n S c r ip tw r ite r .............................................................D a v id W illia m s o n P h o to g r a p h y ...................................J u lia n P e n n e y A n n e S te p h e n s o n M u s ic a l d ir e c to r .................................. M ik e P e rja n ik P h o t o g r a p h y ...............................................................Ia n W a rb u rto n S o u n d r e c o r d is t ..................................................... N o e l Q u in n P ro d, s e c r e ta r y .................................J e n n y C o u s te r R u n n e rs .................................................. J a n e O g d e n , S o u n d r e c o r d is ts ..................................................T o n y D ic k e n s o n , P P ro d , a c c o u n ta n t................................................ H e le n S tro n g ro d , d e s ig n e r .............................. B ria n T h o m p s o n K ate S a u n d e rs G re g W ig n a ll P ro d u c e r’s a s s is ta n t.........................................C a th y L a w reEn xe c ec, p r o d u c e r s ................................. M a tt C a rro ll, S tu d io s ............................................. A T N C h a n n e l 7 E d ito r s ......................................................................... K e n P e a rc e , S te v e K ra n tz A s s t e d it o r ..............................................A lic ia G a vin S h o o tin g s t o c k ....................................................V id e o B a rrie M u n ro P ro d , c o -o rd in a to r s ............B a rb a ra R in g (A u st.), N e g . m a tc h in g .............................................. C o lo rfilm C a s t: R o g e r O a k le y (T o m ), V a n e s s a D o w n in g P ro d , d e s ig n e r ...................................................... T ra c y W a tt N ic k K ra n tz (U S A ) M u s ic p e rfo rm e d b y ........... T w ilig h t P ro d u c tio n , (P ip p a ), A le x P a p p s (F ra n k ), S h a ry n H o d g s o n E x e c , p ro d u c e r....................................................... R o s s D im s e y P ro d , s u p e rv is o r..............................S te p h e n J o n e s (C a rly), H e le n a B o z ic h (Lyn), A d a m W illits K e vin B a yle y, A s s o c , p r o d u c e r ...................................................... R o d A lla n T ra n s p o rt m a n a g e r ....................... R ic h a rd C a rro ll M u rra y B u rn s, (S te ve n ), K a te R itc h ie (S a lly), N ic o lle D ic k s o n P ro d , c o - o r d in a t o r .................................................. G a il M e illo n U n it m a n a g e r...................................................... E m m a S c h o fie ld C o lin B a y le y (B o b b y ), S h e ila K e n n e lly (F loss), F ra n k L lo yd P ro d , m a n a g e r....................................................M a rio n P e a rc e S e n io r r e s e a r c h ..............................................E le a n o r W a ls hL o c a tio n m a n a g e rs ............ P h illip R o o p e (A u st.), (N e v ille ), J u d y N u n n (A ilsa ), R a y M e a g h e r (A lf). U n it m a n a g e r .......................................................... F ra n L u g t P a tric ia B lu n t (H o n g K o n g ) R e s e a rc h ................................................................... T im V in c e n t, 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 P ro d , s e c r e ta r y ................................................J a c q u ie L a m b P ro d , s e c re ta ry ................................S e re n a G a ttu s o S h a y n e C o llie r th a t fo llo w s th e liv e s o f T o m a n d P ip p a P ro d , a c c o u n ta n t............M o n e y p e n n y S e rv ic e s , S u p e rv is in g p ro d u c e r’s S o u n d e d ito r .......................................... M a rk T a n n e r F le tc h e r, th e ir fo s te r c h ild re n a n d th e re s id e n ts F ra n L a n ig a n s e c r e ta r y ....................................J e a n n ie W illia m s M ix e r ........................................................ J o h n S a y e rs o f th e s e a s id e to w n o f S u m m e r B ay. T h e y 1st a s s t d ir e c t o r .................................. M a g g ie G o lle r P ro d, a c c o u n t a n t .............................J e n n y V e rd o n , A s s t m ix e r........................................................Ian G ra y b a ttle d a ily v ic is s itu d e s a n d triu m p h s as th e y 2 n d a s s t d ir e c t o r ...................................................R o s s A lls o p C a tc h 1-2-3 P u b lic ity ............................................ F ra n c e s c a M u ir s e a rc h fo r th e ir p la c e in th e su n . 3 rd a s s t d ir e c t o r ......................................... N e il P ro u d 1sts a s s t d ir e c t o r .......................................................B o b D o n a ld s o n M ix e d a t .............................................................. B e y o n d F a c ilitie C o n t in u it y .......................................................... A n n e tte R e e d 2 n d a s s t d ir e c t o r ........................................ Ia n K e n n y L a b o r a to r y .................................................... C o lo rfilm P ro d u c e r’s a s s is ta n t........................................L o u is e O ’ N e il L ab . lia is o n ........................................................ D e n is e W o lfs 3o rd n , a s s t d ir e c to r ..............................................B re n d a n C a m p b e ll HOUSE RULES C a s t in g .............................................................. F o rc a s t, C o n t in u it y ..............................................D a p h n e P a ris W a y n e D u n s ta n P ro d , c o m p a n y .................................................... A B C D in a M a n n , R e s e a rc h e r........................................................... J e u n e P ritc h a rd L e n g t h ................................................2 0 x 46 m in u te s D ist. c o m p a n y ....................................................... A B C C a ro lin e E llio tt C a s tin g .................................................F o rc a s t P ty L td G a u g e .................................................................... 16m m C a s tin g a s s t .................................................................J o R ip p oPnro d u c e r..................................................... A la n H a rd y E x tra s c a s tin g ..............................B o w e n & B u rg e s s S h o o tin g s t o c k ........................................A g fa X T 125 D ir e c t o r s .............................................. G a ry C o n w a y, B ro k e n H ill c a s tin g .......................................... B o b b ie P ic k u p C a m e ra o p e r a t o r ..............................................R u s s e ll B a c o n C a s t: B re tt C le m e n ts , P h illip T a n n e r, G a ry P e te r D o d d s, C a m e ra o p e r a t o r .................................................S te v e M a so n F o c u s p u lle r ............................................................. G re g P a ris h W h o , L o u is e W a lla c e . P au l M o lo n e y, F o c u s p u lle r s ..........................................................S a lly E c c le s to n , C la p p e r /lo a d e r .......................................................M a rk L a m b le S y n o p s is : Just For The Record is an a ctio n M a n d y S m ith G a ry P h illip s K e y g r i p .................................................................. M a rtin L a m p itt a d v e n tu re , m a g a z in e fo rm a t w h ic h c o m b in e s C la p p e r/lo a d e rs .............................................. D u n c a n T a y lo r, G a f f e r ................................................................... A n d re w H o lmSecsrip tw rite rs ....................................S h a n e B re n n a n , d o c u m e n ta ry tre a tm e n t w ith film c lip -s ty le . P e te r H e p w o rth , R ic h a rd B ra d s h a w E le c tr ic ia n ................................. P e te r R o s s b o ro u g h V in c e G il, K e y g r ip ................................................ L e s te r B is h o p B o o m o p e r a t o r ...........................................................Ian C re g a n C a s s a n d ra C a rte r, A s s t g r ip s .............................................G a rry L in c o ln , C o s tu m e d e s ig n e r .............................................A lw y n H a rb o tt THE LAST RESORT P e te r H e rb e rt, D a n n y L o c k e tt M a k e - u p ............................................... Ian L o u g h n a n , B ill G a rn e r, P ro d, c o m p a n y .....................................................A B C G a ffe r ...........................................................................R e g G a rs id e T h e lm a H a n s o n J o c e ly n M o o rh o u s e , D ist. c o m p a n y ....................................................... A B C E le c tr ic ia n s ...................................... A la n D u n s ta n , W a r d r o b e ............................................................ V a le rie N e ls o n R ic k H e ld , P r o d u c e r ............................................. J a n C h a p m a n G a ry H ill P ro p s b u y e r ...................................N o rm J o n e s -E llis G a lia H a rd y, D ir e c t o r s .............................................G e o ff N o tta g e , B o o m o p e r a t o r .................................................... V ic to r G e n tile S p e c ia l e ffe c ts .......................................................... R o d C la c k J o h n R e eve s, R o n E llio t, A rt d ir e c to r s ............................................................. N ic k M c C a llu m , S y n o p s is : The Four M inute M ile is th e s to ry o f D e n is e M o rg a n , M ik e S m ith , R o B ru e n -C o o k a th le tic a c h ie v e m e n t th r o u g h p e rs e v e ra n c e . In M ic h a e l J o s h u a K a te W o o d s , A s s t a rt d ir e c t o r .................M ic h a e l S c o tt-M itc h e ll th e e a rly fiftie s a th le te s a ro u n d th e w o rld S e rie s c r e a to r s .............................. B a rb a ra B ish o p , C o lin E n g le t, A rt d e p t c o o r d in a to r ................................................. DiH e n ry s tru g g le d to p ro v e m a n c o u ld ru n a m ile in le ss P e te r F isk S h a n e B re n n a n , C o s tu m e d e s ig n e r ...............................................A n n a S e n io 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 a nd S c r ip t w r it e r s ......................................... L o u is N o w ra , A la n H a rd y, M a k e -u p /h a ir s u p e r v is o r ............ L e s le y R o u v ra y m e d ia b e lie v e d m a n c o u ld p u s h h im s e lf no B e rt D e lin g , P e te r H e p w o rth , S n r m a k e -u p a s s t ............................................... A d e le W ilc o x fu rth e r. T h e y w e re w ro n g . T im G o o d in g , J o h n R e e ve s M a k e -u p a s s t ............................................................ S u e M a ta k G a b rie lle L ord, L ig h tin g d ir e c to r s ...................................... C liv e S ell, C o s tu m e s u p e r v is o r ........................................ L o u is e W a k e fie ld J o h a n n a P ig g o t, N o el Q u irk , W a rd ro b e a s s t ..................................................... P a u la E k e ric k HEY DAD — Series 4 L e o n S a u n d e rs R o n C ro m b P ro p s b u y e rs / P ro d , c o m p a n y .............. G a ry R e illy P ro d u c tio n s B ase A u d io .........................................................................G a ry S c h u ltz , d on th e o rig in a l id e a b y ..........L o u is N o w ra se t d re s s e rs .......................................K e rri B ro w n , D ist. c o m p a n y ............... P re -s a le S e v e n N e tw o rk S e n io r d e s ig n e r ..................................................L a u rie J o h n s o n B la ir B u rt, G le n J o h n s o n , P ro d u c e r................................................................... G a ry R e illy A s s o c , p r o d u c e r ..................................W a y n e B a rry S te p h e n W ith e ro w R o b e rt D e in , D ir e c t o r ..................................................................... S a lly B ra dV y /T e d it o r s ............................................G a ry W a ts o n , P ro d, m a n a g e r .....................................D a vid Y o u n g A n n e tte R e id , S c rip tw rite rs ............................................................G a ry R e illy, K en T y le r, A s s t p ro d , m a n a g e r............................J a n e P e p p e r M a rk D a w so n J o h n F la n a g a n P ro d , s e c r e ta r y ..............................E lis a b e th G ilro y M ik e W a llis S ta n d b y p r o p s ................................................... R o b e rt M o x h a m B a s e d o n th e o rig in a l id e a b y ............. G a ry R e illy P ro d , d e s ig n e r ....................................................... P au l C le v ePlaro n d , a s s is ta n ts ............................................S u z a n n e B ro wA n ,s s t s ta n d b y p r o p s ..........................................R o b e rt S lin g s b y P h o to g ra p h y .......................................................... S te v e B ra c kD e s ig n e rs ............................................ F ra n k E a rle y, G e o rg e K n ig h tly , S e t c o n s tru c tio n m a n a g e r................A la n F le m in g S o u n d re c o r d is t........................................................ J im A s tle y P e n n y C a rro ll, M a x N ic o ls o n , P ro p s m a k e r ..................................................... M ic h a e l G o o d w in E d ito r ........................................................................ G a rry B u rn s Leanne Kenna C h ris F o rb e s M o d e l m a k e r .................................... J e n e lle H a n n a n C o m p o s e r ................................................................ M ik e P e rjaCnoikm p o s e r...............................................................P e te r S u llivA a sn s t d ir e c t o r s ................................. G a ry S te p h e n s , S c e n ic a r t is t ....................................... D a v id T u c k w e ll E x e c , in c h a r g e o f L a n c e M e llo r, E xe c, p ro d u c e r...................................................... R o ss D im s e y S e t f in is h e r ........................................................... S h a n e F o rre s t p r o d u c t io n .......................................A la n B a te m a n S c o tt H a rtfo rd -D a v is P ro d, m a n a g e r....................... M a rg a re t G re e n w e ll D ra u g h ts m a n /m o d e l m a k e r......D u n c a n S te m le r D ir e c to r’s a s s is t a n t ..............................................J u lie H a n nParo h d, s e c r e ta r y .................................A n n e G ra h a m 2 nd a s s t d ir e c t o r s ........................... K a rin K re ic e rs , D r a u g h ts m a n ........................................................P e te r S a v a g e P ro d u c e r’s a s s is t a n t ......................................... K a th y L a n g 1st a s s t d ir e c t o r s ................................................. J o h n M a rk h a m , D o ro th y B a ke r, A rt d e p t a s s t .......................................... A n g u s T a ttle L ig h t in g ................................................................R u s s e ll P h e g a n A li A li, T o n y T ils e A rt d e p t r u n n e r ..................................... D a v id J o y c e F lo o r m a n a g e r ..................................................... J a m ie S te v e n s B ill S m ith e tt S c rip t s u p e r v is o r ..................................................C a ro l W illiaGmres e n s m a n ..........................................G re g T h o m a s V is io n s w it c h e r .....................................R o n n ie H ic k s 2 n d a s s t d ir e c t o r s ............................................M a rio n M cL e R o de,s e a rc h e r.........................................................K ris te n D u n pSheyt b u ild e rs ...................................M a u ric e M u s ta rd , T e c h n ic a l d ir e c t o r .................................................... P a t B a rte r C a s tin g ................................................ J e n n ife r A lla n , N e il P ro ud A n d re w G a rd in e r, M a k e -u p ...................................................................... S u e L e o nP a rd Ire n e G a s k ill ro d u c e r’s a s s is ta n ts .................... S a lly a n n H a ll, M ic h a e l R o u t, W a r d r o b e ......................................... T h e re s e R e n d le S u e C ro n in , S o u n d ................................................... W a y n e K e a le y D a v id S te n n in g S e t d e c o r a t o r .................................................... G o rd o n B ro w n A id e e n S te v e n s o n L ig h tin g d ire c to r........................................J e ff B ro w n C a rp e n te r s ....................................B ru c e T re v e th ic k , S e t ...........................................................K e n G o o d m a n C a s t in g ...................................................... D in a M a n n, L ig h tin g c o n s o le ...........................................N ic V e rz i A n th o n y B a rd o lp h P u b lic ity ............................................................. R h o n d a D a w s o n J o R ip p o n C a m e ra s ...............................................R ic h a rd B o n d , S ta n d b y w a r d r o b e ...............................................P e te r B e va n S tu d io s ................................................. A T N C h a n n e l 7 C a m e ra o p e ra to rs ........................ J o h n P a u lo v ic h , T o n y C o n n o lly , W a rd ro b e a s s t....................................................D a v in a M a x w e ll L e n g t h ................................................2 2 x 3 0 m in u te s G a ry D yke, M ik e O s b o u rn e , W a rd ro b e c o - o r d in a to r .....................................A n n ie C a rte r G a u g e ..................................................................... V id e o G re g W ild e n P e te r R o b so n M a k e -u p /w a rd ro b e f a c ilit ie s ............K e v in B ry a n t 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 K e y g r ip .................................................... M a x G a ffn e y V is io n m ix e r......................................... Joan Swan D r iv e r s ........................................................... R o ss B e il, G re g o r (B e tty W ils o n ), C h ris M a y e r (S im o n B o o m o p e r a to r ........................................G a ry L u n d V is io n c o n t r o l...........................................A lf S a m p e ri M ik e G rim a , 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 ra h M a k e -u p /h a ir d r e s s in g .................P a d d y O p w a ld , D e s ig n e rs ............................................ F re y a H a d le y, K en a n d A lis o n R o b b 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 D e n is e G a ko v G ra h a m J o h n s o n S e c u rity .................................................................... S c o tt B ro w n (N u d g e ). W a rd ro b e ..................................R h o n d a S h a llc ro s s , C o s tu m e d e s ig n e r .....................C a ro l N e e d h a m P r o je c tio n is t............................................N o rm W a d d y S y n o p s is : S itu a tio n c o m e d y b a s e d o n a V a le rie N e lso n M a k e -u p .........................................C h ris tin e B a lfo u r, N u rs e .................................................................... M a g g ie M c K a y w id o w e d fa th e r try in g to ra is e h is th re e c h ild re n P ro p s b u y e r s ............................................N o rm E llis, G a rry S u itz, F ilm s c h o o l a t t a c h m e n t ..............G re g W o o d la n d w ith th e h e lp o f th e fa m ily ’s c ra z y c o u s in . B re n t M c D o n a ld C a te O ’ D o n o g h u e L e g a l a d v is e r......................................J u s tin F le m in g S ta n d b y p r o p s .................................. A n d re w B est, W a rd ro b e s u p e rv is o r................................... C a ro lin e S u ffie Eld d itin g a s s is ta n t................................ V ic k i A m b ro s e D a vid N o rm a n W a r d r o b e .......................................... M ira n d a B ro ck, S tu n ts c o - o r d in a to r ............................................... G u y N o rris P u b lic ity ............................................... G e o rg ie H o w e R o la n d o C a n o HOME AND AWAY S till p h o to g ra p h y ................................G re g N o a k e s S tu d io s ................................................................ A B V -2 W a rd ro b e a s s t s ............................... S u s a n P a lm e r, W r a n g le r ................................................................... D a le A s p e n P ro d , c o m p a n y ................................ A T N C h a n n e l 7 L e n g t h ................................................26 x 50 m in u te s M ic h e lle L e tte rs R u n n e r......................................................................... Ifc a D ra g ic e v ic D ist. c o m p a n y ...................................A T N C h a n n e l 7 S h o o tin g s t o c k ................................................. V id e o P ro p s b u y e r s .................................... M e rv y n A s h e r, P u b lic ity ............... P ru e M a c S w e e n & A s s o c ia te s P ro d u c e r..................................................J o h n H o lm e s S y n o p s is : T h e s to ry o f an a v e ra g e s u b u rb a n Ian A n d re w a rth a U n it p u b lic is t ......................................P a t B o w e rin g S c rip t e d it o r ..........................................................B e v a n Lee fa m ily W h o se m o th e r b e c o m e s a p o litic ia n b y S ta g in g a s s ts ................................. P e te r F itz g e ra ld , C a te r in g ................................................K a o s C a te rin g B a s e d o n th e o rig in a l id e a a c c id e n t. A n to n C a n o n , S tu d io s ............................................................... P y ra m id S tu d io s b y .........................................................A la n B a te m a n G re g B u sh L a b o r a to ry ......................................................C o lo rfilm E x e c , p r o d u c e r ...................................A la n B a te m a n S V F X ...................................................... B ria n M c C lu re Lab. lia is o n ......................................................... W a y n e D u n s ta n A s s o c , p ro d u c e r................................... P e te r A s k e w JUST FOR THE RECORD G r a p h ic s .................................................................D a vid W e b tenr g th ...................................................2 x 9 3 m in u te s Ls e P ro d , s u p e rv is o r.........................A s trid F rie d e ric h s F ilm re s e a rc h .....................................................M a rily n V e itnGikasu g e .....................................................................3 5 m m P ro d , c o m p a n y ............... B e y o n d C o P ro d u c tio n s P ro d , c o - o r d in a t o r ....................................K a te D e lin S o u n d a s s ts ...................................................... J o a n n e D o b b ie S h ,o o tin g s t o c k ......................................... 5 2 4 7 , 5 2 9 5 P ty L td /A C o u p le 'A C o w b o y s P ro d , m a n a g e r ........................................................ L is a F itz p a tric k S te v e B a ile y C a s t: J u lie C h ris tie (B a rb a ra B a rlo w ), J o h n P ro d , a c c o u n t a n t ............................................ J a n e e n F a ith D fuist. ll c o m p a n y .......B e yo n d In te rn a tio n a l P ty Ltd idbeeo ta p e ...............................................................K a th y H in c P liffe , n (K e v in B a rlo w ), H u g o W e a v in g (G e o ff o iso P r o d u c e r ................................................................. J o h n L u s c oVm P ro d , a s s is ta n t................................... E d w in a S e a rle R o ss D e la fo rc e C h a m b e rs ), R o b in R a m s a y (W ilf B a rlo w ), Dm ir e, c to r s .................................................................. B re tt C le m e n ts , 1 st a s s t d ire c to rs ................................................M a rtin M o w la S till p h o to g ra p h y ............................ V irg in ia S p e a rs J e re m y S h a d lo w (C h ris B a rlo w ), N o a h T a y lo r P h illip T a n n e r, M ic h a e l A ilw o o d , P u b lic ity ...............................................G e o rg ie B ro w n (A n d re w B a rlo w ), M o u c h e P h illip s (M ic h e lle Jo hn Luscom be, G ra h a m M u rra y B a rlo w ), V ic to r B a n e rje e (K a rp a l S in g h ), S a ra h L e n g th ..................................................3 x 5 0 m in u te s S im m o n V o n W o lk e n s te in 2 n d a s s t d ir e c t o r s ................................ S h a n e G ow , J e s s ic a P a rk e r (R a c h e l G o ld m a n ). C a s t: K a te F itz p a tric k (E liz a b e th P a rk e r), K ris B a se d o n th e o rig in a l id e a G ra n t B ro w n S y n o p s is : T h e s to ry o f th e a rre s t a n d tria l o f M c Q 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 b y ............................................................................ B re tt C le m e n ts , C o n t in u it y ......................................................... F ra n c e s S w a n , K e vin B a rlo w a n d G e o ff C h a m b e rs fo r d ru g P h illip T a n n e r (L o u is e S h a n n o n ), P a u l C h u b b (H ila ry D a vis), K a re n M o o re tra ffic k in g a n d th e e ffe c t o n th e ir fa m ilie s . 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 P h o to g r a p h y ..........................................K e n A rlid g e , S c rip t a s s is t a n t .................................... A n th o n y E llis 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 J a m ie T h o m p s o n , C a s tin g ..................................................... In e s e V o g le r 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), P h ilip p e C h a rlv e t C a s tin g c o n s u lt a n t s ......................................... M a u ra F a y NEIGHBOURS 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 L ig h tin g d ir e c to r s .................................................D a v e M o rg S a no,u n d r e c o r d is ts ................................. S te v e B est, R ic k C re a s e r, (E m m a P a rke r), S a ra n D e lin g (C a le P a rke r), M itc h L an e, P ro d , c o m p a n y ..........................G ru n d y T e le v is io n M a rk T a n n e r M u ro (Y u k io A ra k a w a ). D a v e M u tto n P r o d u c e r ............................................... M a rie T re v o 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 . D ir e c to rs ................................................ T o n y O sicka , A rt d ir e c t o r .................................................................K e n M c C aEndnito rs .......................................................J o h n K u b ic , T o m O ’ F la h e rty 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 C o s tu m e d e s ig n e r.....................M ic h a e l C h is h o lm G a ry C o n w a y , 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 S te v e M a n n, M a k e - u p ................................................................E la in e H o rtoCn ,o m p o s e rs ........................... T w ilig h t P ro d u c tio n s , M u rra y B u rn s, C a ro lin e L e tte lo y a ltie s b e tw e e n th r e e s is te rs w h e n th e y a re K e n d a l F la n a g a n K e vin B a yle y, fo rc e d to liv e to g e th e r fo r a y e a r a n d a d a y in a S c rip tw rite rs ..................................................... V a rio u s H a ird re s s e r s ................................D a v id J e n n in g s , C o lin B a y le y d ila p id a te d s e a s id e h o te l. B a se d on th e o rig in a l id e a b y ......... R e g W a ts o n G e o rg in a B u sh

CINEMA PAPERS MAY - 77

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C o n tin u ity ...................................................L iz B a rto n S o u n d re c o rd is ts ................................ K eith H arp er, 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 C a s tin g ........................................................M a u ra F a y P e te r Say, W ilk in (P a u lyn e ), S im o n C h ilv e rs (F licke r), A rk y F o cu s p u lle r.............................................. G re y R yan G ra n t V o g ie r, M ic h a e l (F u lvio ), K a ty B rin so n (L is a B lake). C la p p e r/lo a d e r................................... K a th ry n M illis B ru ce F in d la y S y n o p s is : T h e tria ls a nd trib u la tio n s o f s tip e n K e y g r ip ............................................G e o rg e T s o u ta s P ro d, d e s ig n e r.................................................... S te ve K e lledr ia r y c o u rt m a g is tra te M ic h a e l A lo y s iu s A s s t g r ip .................................................. J o J o h a n s e n C o m p o s e r ( th e m e )............................................. T o n y H atchR a ffe rty. G a ffe r.......................................................... R o b Y o u n g E xec, p ro d u c e r.......................................................Don B attye B oo m o p e ra to r...............................S te v e V a u g h a n E xec, in c h a rg e o f p ro d u c tio n ............P e te r P in ne THE RAINBOW WARRIOR A rt d ir e c to r ...................................... J o c k M c L a c h la n P ro d , c o -o rd in a to r................................R e ita W ils o n ABOUT OUR PETS CONSPIRACY M a k e -u p .................................. A m a n d a R o w b o tto m A s s t p r o d u c e r .................................................A n d re w H ow ie ro d, c o m p a n y ....................................... C o ra l F ilm s P ro d, c o m p a n y ................................................ G o ld e n D o lp hPin H a ird re s s e r............................. A m a n d a R o w b o tto m P ro d, m a n a g e r................................................. S to ttie In te rn a tio n a l P ty Ltd P ro d u c tio n s W a rd ro b e c o -o rd in a to r..........................R o b in H all D ire c to rs ’ a s s ts ..........................................M a ria n n e G ray, P ro d u c e rs .......................................R ic h a rd R o o ke r, D ist. c o m p a n y ..................................................E n e rg y S o u rce W a rd ro b e b u y e r ....................................J e n n y M iles L in d a W ilson , R ic k H a rp T e le v is io n Ltd P ro ps b u y e rs ..........................................................J o c k M c L a c h la M a rcu s G e o rg ia d e s D ire c to rs ......................................... R ic h a rd R o o ke r, A n d re w S h o rt P ro d u c e r......................................... R o b e rt J. L oa de r S c rip t s u p e r v is o r ......................................R a y K olle R ick H a rp D ir e c to r.................................................................. C h ris T h o m so n S ta n d b y p r o p s .......................................J o h n D a n ie l S c rip t e d it o r s ..................................Y s a b e lle D ean, P h o to g ra p h y ...........................................................A la n M a rtin S c r ip tw r ite r .......................................D a vid P h illip s A s s t e d it o r ..............................................L o u is e Inn e s W a y n e D oyle E xec, p ro d u c e r............................................... N o rm a n W yn n P h o to g ra p h y ....................................A n d re w L esn ie S o u n d e d ito r............................................... L ee S m ith C a s tin g ......................................................... Ja n Russ, Pa re s e n te r................................................................ T in a D a ltoEnd itin g a s s is ta n t.............................................. N o le e n W e s tc o m S o u n d re c o rd is t.....................................................P au l B rin c t Ja n e D a niels L e n g th ..............................................26 x 30 m in u te s E d ito r...................................................L in d s a y F ra ze r S tu n ts c o -o rd in a to r................................G u y N o rris C a m e ra o p e r a to r s ............................ Jo e B a tta g lia , Goaoudg e ................................................................... V id e o P ro d , d e s ig n e r......................................................L a rry E a stw S till p h o to g r a p h y ................................. S te ve B ra ck K en M u lh o lla n d , S u p e rv is in g p ro d u c e r.......................................S te ve K n a pSmyanno p s is : A fu n b u t in fo rm a tiv e d o c u m e n ta ry B est b o y ................................................................. P e te r M a lo n e y R o ss C ra b tre e , p re s e n tin g a d iffe re n t p e t e a ch w e e k. E xec, p r o d u c e r s ........................ P e te r S a in s b u ry , R u n n e rs ................................................... G a ry J o n e s, J e ff B ig gs, A la n B a te m a n B a rt G ro e n M a rk C o llin s, A sso c, p r o d u c e r ......................... D o ro th y P in fo ld P u b lic ity ......................................... R h o n d a D a w so n M a rk A lle n THE AUSTRALIAN BREAK P ro d, c o -o rd in a to r....................... M a ry-Ja n e Y e a ts L a b o r a to ry ............................................................. A tla b F lo o r m a n a g e rs ...................................R ay L ind sa y, P ro d, m a n a g e r ................................................ N a re lle B a rsby P ro d, c o m p a n y .............................. M is ty h ill P ty Ltd Lab. lia is o n ............................................... Ian R u sse ll B ob V illin g e r, L o ca tio n m a n a g e r.......................... M a u d e H e ath P ro d u c e r......................................... H a rle y M a n n e rs L e n g th ........................................................ 9 4 m in u te s P e te r H in d e, P ro d, a c c o u n ta n t............ M o n e y p e n n y S ervice s, D ir e c to r............................................ C h ris L a n g m a n G a u g e .....................................................................16m m A la n W illia m so n V al W illia m s S c r ip tw r ite r ............................................................J o h n M isto S h o o tin g s t o c k ...................................................K o d a k L ig h tin g s u p e rv is o rs ................. S tu a rt De Y o u n g , 1st a sst d ir e c t o r ..................C a ro ly n C u n n in g h a m S to ry e d ito r.................................... P e n n y C h a p m a n 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 cLyde n M a the so n, C o n tin u ity ........................................................... J a c k ie S u lliv a n P h o to g ra p h y .................................... B re tt A n d e rs o n F a rla n e ^ C o s te lli), K im K re ju s (B o n n ie ), S h a n e Rod H a rb o u r C a s tin g ........................................................................Liz M u llin r n d re c o rd is t...................................................... P hil K erosB ria n t (¿o li S co a n e ), G ra h a m R o u se (M ack), Sa ou M a k e -u p .................................... W illia m M cllva n e y, C a m e ra o p e ra to r................................................S te ve W in d o n E d ito r ......................................T h e E d itin g M a c h in e C a s s a n d ra D e la n y (C h e ri), J o e B u g n e r L ois J o rg e n se n 2 nd u n it p h o to g ra p h y .......................................S te ve W in dPoro n d, d e s ig n e r......................................................R o ss M a jo(C r ru s h e r H a rris), J o h n O ’ B ria n (D a n n y), D a vid H a ird re s s e rs ...............................D a vid H e n d e rso n , A rt d ir e c t o r ............................................................B ria n E d m o n d s E xec, p ro d u c e r s ................................................... M a tt C a rro ll, L yn ch (F le tc h e r), R o b e rt T a y lo r (G o ttlie b ), D avid V a w s e r A la n B a te m a n A n g e la K e n n e d y (K y lie ), B a r ry D o n n e ly W a r d ro b e ...........................................................M a n d y S ed eCwoies ,tu m e d e s ig n e r.............................................H e le n H o o p e r M a k e -u p .........................................V io le tte F o n ta in e B u sin e ss a ffa irs m a n a g e r ..................................K im V e c e ra (L e n n ie ), J o h n B o n n e y (A stili), L is a T a y lo r J u lia n n e Jo na s, M ixe d a t ......................................................S o u n d firm P ro d, m a n a g e r......................................................J u lie F o rste (Bra m b l), R o sie J o n e s (S h a ro n ), P a tric k W a rd P a m e la H a llig a n L a b o r a to ry ....................................................C o lo rfilm U n it m a n a g e r................................. H u g h J o h n s to n (S h ee dy), D a vid B ra c k s (T o n y, th e D a zzle r), P ro p s b u y e r......................................... M a rk G riva s L e n g th ..................................................2 x 96 m in u te s L o ca tio n m a n a g e r.............................................. C h ris Jo n e G s e ò rg ie S tirlin g (M rs V a u g h a n ), P a t B is h o p S ta n d b y p r o p s ......................R ic h a rd W illia m s o n , G a u g e ................................................................... 3 5m m P ro d, s e c re ta ry ............................ R o w e n a T a la c k o (W hitte n). S ue B irja c S ynn o p s is : A d ra m a tis a tio n o f th e e v e n ts s u r P ro d, a c c o u n ta n t...............................................C a tch 1-2-3,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 u s ic e d it o r .....................................................W a rre n P ea rso ro u n d in g th e s in k in g o f th e G re e n p e a c e ve ssel J o n G o ld s m ith se 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 . O ff-lin e e d it in g ..................... T h e E d itin g M a ch in e thme s 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 1st a sst d ir e c t o r ..............................................R ich a rd C le n d in n e n V is io n s w itc h e r.................................................. J e n n y W illia u ly 1985 b y a g e n ts o f th e F re n ch G o v e rn 2 nd a sst d ire c to r................................................J a m ie C ro o ks T e ch , d ire c to rs ............................................... H o w a rd S im oJns, BLACK ARROW m ent. 3 rd a sst d ire c to r................................................ N a o m i E n fie ld P ete r M e rin o , P rod, c o m p a n y .................................B u rb a n k F ilm s C o n tin u ity ....................................... K ristin V o u m a rd B a rry S haw , P ro d u c e r....................................................R o z P h illip s C a s tin g c o n s u lta n ts .......... M a ize ls & A s s o c ia te s P e te r C oe RICHMOND HILL S c rip tw rite r.............................................P au l L e a do n C a m e ra o p e ra to r.......................... B re tt A n d e rs o n R u n n e r ......................................C a m e ro n S tra ch a n P ro d, c o m p a n y ...........G ru n d y T e le v is io n P ty Ltd Based on th e nove l Fo cus p u ll e r ......................................... T ra c y K u b le r C a te r in g ................................................H e le n Lou ers P ro d u c e r................................................... P h ilip E ast b y ...................................R o b e rt L o u is S te ve n so n C la p p e r/lo a d e r.....................................P hil M u rp h y P o s t-p ro d u c tio n ......................A T V -10 M e lb o u rn e D ire c to rs ......................................... P e te r A n d rik id is , E d ito rs ............................................. P e te r J e n n in g s , K ey g r i p .....................................................R a y B ro w n 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 R u ssell W e b b, C a ro lin e N e ave A sst g rip s ........................................................ Ian B ird , M in o g u e (C h a rle n e M itch e ll), Ja s o n D ono va n R od H ardy, E xec, p r o d u c e r ..................................................... T o m S ta c e y W a rre n G rie e f (S c o tt R o binso n ), A la n D ale (Jim R obinso n ), A lis te r S m art, P rod, c o -o rd in a to r.................................J o y C ra ste G a ffe r............................................. M a lc o lm M cL e a n A n n e H a d d y (H ele n D aniels), S te fa n D e nn is M a rk P iper, P ro d, m a n a g e r........................................R o d d y Lee E le c tric ia n ........................................... D a ryl P ea rso n (P a u l R o b in s o n ), E la in e S m ith (D a p h n e J u lia n P rin qle G e n e ra to r o p e r a t o r ............................................J o h n O ’ B rie n P rod, a c c o u n ta n t...........................................A n d re w Y o u n g C la rke ), P au l K ea n e (D es C la rke ), G u y P ea rce S c rip tw rite rs .................................................... V a rio u s B oo m o p e ra to r........................................ D a vid Lee C a s tin g .......................................................................J o y C ra s te (M ike Y o u n g ), A n n ie Jo n e s (Ja n e H arris). S crfp t e d it o r s .........................................................R ick M aier, C a m e ra o p e ra to rs .................................G a ry P age, A rt d ire c to r................................................K im D a rb y S y n o p s is : Love ’em o r h ate ’ em , b u t e ve ry M a ry D a g m e r D avies T a n y a V is k itc h A s s t a rt d ire c to r.................................................... J a n e M u rp h y 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 . . . S to ry e d ito r............................................................ Jo h n C o u lte C or stu m e d e s ig n e r.............................................. J e a n T u rn S b utollry b o a rd ...............................................G le n L o ve tt 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 B ased on th e o rig in a l id e a b y ......... R eg W a tson M a k e -u p .............................................................. L e sle y V a n d e rw a lt T im in g ......................................................... J e a n T ych in g b a c k the c u rta in to re ve al th e in trig u e and S ou n d re c o rd is ts ...............................M ick O ’ B rie n, A s s t m a k e -u p .......................................... A n n F o rd a y L e n g th .......................................................5 0 m in u te s p a ssio n s o f A u s tra lia n fa m ilie s . . . a nd th e ir J e ff R u d d e r C o stu m e a r t is t .....................................A n d re a H ood G a u g e ...................................................................1 6m m n e ig h b o u rs . E d ito r ...................................... T h e E d itin g M a ch ine B u y e r.................................................................R o sa le a H o odS h o o tin g s t o c k ..................................................7291 P ro d, d e s ig n e r.................................................... L eo re RoseW a rd ro b e a s s t...................................................M a n d y V u k sSaynnoovpics is : S et in th e tim e o f th e W a r o f th e C o m p o s e r (th e m e )..........................................A sh le y Irw in P ro ps b u y e rs .............................................B ill B oo th, R o ses o u r h ero D ick S h e lto n d is c o v e rs th e real RAFFERTY’S RULES — Series V E xec, p ro d u c e r.......................................................Don B a ttye id e n tity o f th e B la c k A rro w . M a x B a rtle tt P ro d, c o m p a n y ...............................A T N C h a n n e l 7 E xec, in c h a rg e o f p ro d u c tio n ...........P ete r P inne C u t te r ................................................S h e ryl P ilk in to n D ist. c o m p a n y ..................................A TN C h a n n e l 7 A ssoc, p r o d u c e r ........................... M a rg a re t S la rke C o s tu m ie rs ...........................................................H e le n M a the r, P ro d u c e r........................................... R o b e rt B ru n in g P ro d, c o -o rd in a to r............................................Ro byn M cK a y INDEPENDENT COMPANY L a u ra J o c ic D ir e c to r s ................................... G ra h a m T h o rb u rn , P ro d, m a n a g e r...................................................L yn d a W ilk in s onnd b y p r o p s .................................................... P e te r M o yes S ta P ro d, c o m p a n y ..................................................M e d ia W o rld R ic P e llizze ri, A s s t d ire c to rs ........................................................R oss H a m ilto nn, d b y w a rd ro b e ........................ J u lie M id d le to n S ta P ro d u c e r s ..............................................................Jo h n T a to u lis , K evin D o bso n , M e g an D ow nes, S c e n ic a r t is t s ........................................C h ris to R e id , C o lin S ou th P in o A m e n ta M a rg o t S n e llg ro ve P e te r C o llia s D ire c to r...................................................................C o lin S ou th S c rip tw rite rs ............................ V a rio u s , in c lu d in g : C o n tin u ity ................................................... S te p h a n ie R ich aSrd e ts,c o n s tru c tio n .......................................L ip s S tu d io S c rip tw rite rs ........................................................P h illip D a lkin , D a vid A lle n , A lis o n Ely, S tu n ts c o -o rd in a to r.............................................. G u y N o rris C o lin S o u th J o h n U p ton , C a itlin K irk p a tric k H o rs e m a s te r................................................... G ra e m e W a reB ased on th e b o o k b y ........ S ir B e rn a rd C a llin a n T im G o o d in g , C a s tin g .....................................................................S u e M a n gReur n n e r..............................................Lyn H e n d e rs o n P h o to g ra p h y ....................................................... L eig h T ils o n D a vid M a rsh , C a s tin g a s s is ta n t.......................... K irstin T ru s k e tt C a te r in g .................................................O u t T o L u n ch S ou n d re c o r d is t.................................................. S e a n M e ltz e r N ic h o la s L a n g to n , C a m e ra o p e ra to rs ................................D a vid Levy, S tu d io s ......................................................................M a x S tu d io s E d ito r ................................................................. M ic h a e l C o llin s C h ris R o ach e , C live W a lke r, M ixed a t.................................................................. A tla b C o m p o s e r................................... T a s s o s lo a n n id e s S u e C a s triq u e , S te ve G ray, L a b o ra to ry ............................................................. A tla b E xec, p ro d u c e r................ A n n e B a s s e r (S B S -T V ) M a rk S tile s, Ian G o rd o n , B u d g e t.........................................................$ 4 m illio n P ro d, m a n a g e r............................................... Y v o n n e C o llin s M ic h a e l C o ve W a yn e S tyle s L e n g th ............................................................................. 4 h o u rsP ro d, s e c re ta ry ......................... T a n ia P a te rn o s tro B ase d on th e o rig in a l id e a b y .............. B en L ew in S o u n d s u p e r v is o r ......................... S te p h e n S m ith G a u g e ....................................................................16m m D ire c to r’s a s s is ta n t................. S o n ya P e m b e rto n P ro d , d e s ig n e r ............................................... B e rn a rd H id e s L ig h t in g ....................................................T o m C arey, C a st: N ikki C o g h ill (H a n n a h ), B e rn a rd H ill 2nd u n it p h o to g ra p h y ................. S te ve F lo u n d e rs C o m p o s e r........................................... M ike P e rja n ik A d ria n O be rn (R eslin), Lloyd M o rris (O ’ R e illy), R ic h a rd M o ir B oo m o p e r a to r .....................................................C h ris R o la n d E xe c, p ro d u c e r..................................................... A la n B a te m a n A rt d ire c to r...................................... P am M illb o u rn e (H og an ), J o h n D o yle (C ra n sto n ), C o n o r M cD erM a k e -u p ................................................................ K e ryn C a rte r P ro d, m a n a g e r..................................N e n e M o rg an W a rd ro b e s u p e rv is o r.................. A m a n d a G ro om m o ttro e (D a rra g h ), W ill U p jo h n (K e illy ), W a rd ro b e .......................................................... J e a n n e O m lo r L o ca tio n m a n a g e r.......................... P e te r W a rm a n M a ke -u p s u p e rv is o r......................... P e g g y A rn o ld A n th o n y O ’ K e e ffe (W ilso n ), K e lly D in g w a ll P ro p s ..................................................................... D a vid V a s s ilio u P ro d, s e c r e ta r y ................................C a ro lin e B la ck H a ird re s s e rs ...........................W a rre n H a nn e m a n, fS e a n). S p e cia l e ffe c ts ....................................................... P au l W illia m s P ro d , a c c o u n ta n t.........................J a n e e n F a ith fu ll G ail E d m o n d s S y n o p s is : T h e s to ry o f t h e ' “ C a ta lp a ” c o n D ia lo g u e c o a c h ................................J o e C o n s a b le s P ro d, a s s is ta n t..........................................F io n a H ile W a r d ro b e ........................................... K ate B oa lsch , sp ira cy, w h e n a g ro u p o f Irish p o litic a l p ris o n R e s e a rc h ...........................................K a re n B o n c z y k 1st a sst d ire c to rs ..............................S o re n J e n se n , P ip H a in , e rs in c a rc e ra te d in F re m a n tle G a o l in th e la te N ic R e yn o ld s T ra n s la tio n s .......................................................S a d a o S eno, B e lin d a B u rke 1800s w e re b ro ke n o u t b y Iris h /A m e ric a n s y m 2 n d a s s t d ire c to r................................C a th ie R o den R ick T a n a k a S ta n d b y p r o p s ................ G a b rie lle G ru b a n o v ic h , p a th ise rs. C o n tin u ity ............................................ P ip S p ils b u ry , R u n n e r............................................................... M ic h a e l N a sse r Lee B ulgin , P am W illis L e n g th .......................................................................... 60 m in u te s R o b e rt Rasa S c rip t e d it o r ........................................................L o u ise H o m e G a u g e .............................................. 1 6 m m /B e ta c a m S e t d re s s e rs ...................................................... D a riu s H a d d a d i, C a s tin g .................................................................. H e le n S a lte r S h o o tin g s t o c k ..................................................K o d a k BARRACUDA S te ve B u rto n C a s tin g c o n s u lta n t...........................................M a u ra Fay C a st: S te ve H u tc h is o n (C a llin a n ), C ra ig A le x M u sic e d ito r.......................................................... G a ry H a rd m a n c o m p a n y ........... A m a lg a m a te d B a rra c u d a P rod, L ig h tin g d ir e c t o r ................................................. D a ve M o rg an a n d e r (B a ld w in ), R ic h a rd A s p e l (C alve rt), D a vid V isio n s w it c h e r ...................................................... E ve D ono va n P ro d u c tio n s C a m e ra o p e r a to r ................................................. Jo h n C a tt W ilso n (C h a p m a n ), Red S y m o n s (R oss), N e il T e ch , d ire c to rs ..................................T im C a va n a h , D ist. c o m p a n y ......................A m a lg a m a te d G lo b a l K ey g r ip ..........................................A n d re w B a rra n ce G la d w in (D un kle y), S te ve K e a rn e y (P a rke r), P e te r W h ite P r o d u c e r ..........................................................B a rb a ra G ib b s G a ffe r...................................................................... P e te r R u sse ll 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 n n e r................................................ Ja n e lle G ra ce D ire c to r.....................................................................P in o A m e n ta B oo m o p e r a to r ........................................................P hil Jo n e s 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 u b lic ity ................................................. N e tw o rk Ten S c rip tw rite rs ........................................... P h ilip R yall, A rt d ir e c to r ....................................................... R ic h a rd H o b b s a 3 5 0 -stro n g g u e rilla u n it w h ic h c o n ta in e d C a te rin g ...............................................T a s te B u d d ie s K e ith T h o m p s o n M a k e - u p ...................................................................... J o S te ve n s a b o u t 15,0 00 Ja p a n e s e in e a s te rn T im o r in S tu d io s .......................................................C h a n n e l 10 P h o to g ra p h y ....................................... D a vid C o n n e ll H a ird re s s e r........................................................ J a m e s M a ta m is P o s t-p ro d u c tio n ......................................... O m n ico m S o u n d re c o rd is t..............................................A n d re w R a m 1942. a ge Independent Company is a d o c u m e n ta ry W a rd ro b e ................................................................... Lyn L o n d o n 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 C a s t: R o b e rt A le x a n d e r (F ra n k H a ckett), P au la E d ito r ...................................R ic h a rd F ra n c is -B ru c e W a rd ro b e a s s t........................................... M a d e le in e C u lle n viva l d u rin g th is p e rio d . D u n ca n (Ja n e t B rya n t), T im E lston (W arre n P rod, d e s ig n e r ................................................A n d re w B la x la n d P ro p s b u y e r .........................................................C a th y F in la y B rya n t), M a rc G ra y (A n d re w R yan), R oss C o m p o s e r.................................................. C h ris N e al S ta n d b y p ro p s ................................... D a lla s W ils o n H ig g in s (D an C o ste llo ), M a g g ie K irk p a tric k (Ivy LOVE SHED E xec, p ro d u c e r s ..............................A la n B a te m a n , A rt d e p t ru n n e r .................................................. D a n ie l B u rn s H a cke tt), A m a n d a M u g g le to n (C o n n ie R yan), V ic to r G lyn n P ro d u c e r............................................................. D e n ise H a re M u sica l d ire c to r.................................................... M ike P e rja n ik D in a P an o zzo (Jill W e b ste r), A s h le y P aske A s s o c , p ro d u c e r................................................L o u ise H o m e D ir e c to r ..............................................................G e o rg e E va tt A u d io d ir e c t o r s .......................................................P hil T ip e n e , (M a rty B rya nt), G w e n P lu m b (‘ M u m ’ Foote), P ro d, c o -o rd in a to r...................................D ix ie B e tts A rt d ir e c t o r ..........................................S a b in a M o o re M a tth e w D orn F e lic ity S o p e r (S u sa n M ille r), E m ily S ym o n s P ro d, m a n a g e r............................................... B a rb a ra G ib bSs c rip tw rite r....................................................... G e o rg e E va tt S tu n ts c o - o r d in a to r .......................................... F ra n k L e n no n (A n ne C o stello). U n it m a n a g e r........................................................J o h n H e rfoPrd h o to g ra p h y ..............................................P h illip B ull T e c h , d ire c to r............................... D a ve M c C u llo c h S y n o p s is : T h is n ew A u s tra lia n s e ria l b a re s th e L o c a tio n m a n a g e r.............................................R o b yn C liftoEnd ito r........................................... G le n n A u c h in a c h ie P u b lic ity ......................................... R h o n d a D aw so n p riv a te live s o f th e re sid e n ts o f an o u te r-c ity P ro d, a c c o u n ta n t.............................................J a n in e F a ith fu C ols tu m e d e s ig n e r ........................D ia n n e B rid s o n C a te rin g ................................................................. G e rry B illin g a re a a nd in vo lve s p e o p le fro m e ve ry w a lk of P ro d, a s s is ta n t.............................J u s tin S tu rz a k e r 1 st a s s t d ir e c t o r ...............C a th e rin e B irm in g h a m S tu d io s ........................................................C h a n n e l 7 life . T h e y all h a ve s e c re ts — ro m a n tic and 1st a sst d ir e c t o r ................................................... K e ith H e yg a C atem e ra a s s is ta n t................ F ra n c is c o J. V id in h a M ixe d a t ..................................................................A tla b d ra m a tic . Richm ond Hill te lls th e sto rie s o f a 2 n d a s s t d ire c to r.....................................................P .J. V o e te n y g rip ............................................. A n d re w G la s e r Ke L e n g t h ..........................................................................4 7 m in u te s c o m m u n ity . 3 rd a sst d ir e c t o r ......................................................P ru A d a m s e c ia l e ffe c ts c a v e s ...................J a m e s H u g h e s S p G a u g e ........................................................................... 1 " v id e o

TELEVISION

P O S T -P R O D U C T IO N

78 — MAY CINEMA PAPERS

S o u n d r e c o r d is t ................................. N ic k H o u s e g o B o o m o p e ra to r...................................... R o se C o a te s C o n tin u ity ........................................W e n d y C h a n d le r M a k e -u p /h a ir d r e s s e r............. A n n e tte M c K e n z ie S ta la c tite c a v e a r t is t .........................B ill M c M a h o n C a v e p o t s ............................................... S a n d ra H a re S p e c ia l e ffe c ts fa ll s e q u e n c e .................G re g R a y S c rip t e d it o r ...........................................D e n is e H a re C a s tin g c o n s u lta n t......................................... F o rc a s t S tu d io s .......................... S u p re m e S tu d io s , S y d n e y L a b o r a to ry ....................P ro Im a g e (E C V ), S y d n e y G a u g e ................................1 " v id e o , 1 6 m m , v id e o 8 Cast: K im D e a c o n (M a ry), J o s s M c W illia m (W a lla c e ), R a y M e a g h e r (R a y), R o w a n W o o d s (D e s e rt Ray). Synopsis: H e ’s lo o k in g b a c k w ith y e a rn in g ; s h e ’ s fig h tin g fo r fu tu re c h a n g e s — a fa m ilia r w a te rs h e d fo r lo v e rs , th a t R ay, a lo n e d e s e rt w a n d e re r, c o u ld n ’t re m e m b e r ’til o n e d a y he a c c id e n ta lly fa lls d e e p in to M a ry a n d W a lla c e ’s s e c re t h id e a w a y — a n e tw o rk o f b e a u tifu l c a v e s — a n d re -d is c o v e rs is o la tio n , je a lo u s y , s e lf-d e c e it, o b s e s s io n , s e n tim e n t a n d s illy s q u a b b le s . A m id s t e a rth q u a k e s a n d tre m o rs w e re a lis e th e p ro b le m w a s n ’t o u t th e re , it w a s d e e p in s id e — a c la u s tro p h o b ic s a tire o f p re fe rre d e x p e c ta tio n s o f life a n d lo ve .

ONCE UPON A BREWERY

H I' P L I S i i l i 6 S Films examined in terms of the Customs (Cinematograph Films) Regulations as States’ film censorship legislation are listed below. An explanatory key to reasons for classifying non-“G” films appears hereunder: Frequency Infrequent S (Sex)............................................... V (Violence)...................................... L (Language) .................................. O (Other) ...........................................

Title

i i i i

Producer

J A N U A R Y

Explicitness/lntensity

Frequent

Low

f f f f

Country

1988

P ro d , c o m p a n y ............................... S T W C h a n n e l 9 / C o m m e rc ia l P ro d u c tio n s P r o d u c e r s ................................... D e re k S e a b o u rn e , P h il D u ffie ld D ir e c to r....................................................................D e re k S e a b o u rn e S c rip tw rite rs ...............................R o b D o d d e m e a d e , D e re k S e a b o u rn e P h o to g ra p h y ......................................................A n d re w G a te ly S o u n d r e c o r d is t..................................D e a n T o lh u rs t E d ito r ............................................................................R a y S h a wDemocracy: M . R u b e tz k i, A u s tra lia , 75 m in s , E x e c , p ro d u c e r................................... T re v o r W r ig h t F ilm A u s tra lia , L(i-m-j) P ro d , s e c r e ta r y .................................. K a re n C o llin s Empire Of The Sun: S . S p ie lb e r g /K . 1 st a s s t d ir e c t o r ............................ D o n n a S h e p h e rd K e n n e d y /F . M a rs h a ll, U S A , 1 52 m in s , V illa g e E x e c , p ro d u c e r’s a s s is ta n t..........S a n d ra G ib s o n R o a d s h o w C o rp o ra tio n , Vfi-m-j) 0 (a d u lt conC a s t in g ...................... F ro g P ro m o tio n s & B u lls h o t cepts) L ig h tin g d ir e c t o r ......................W a lly F a irw e a th e r Goodbye Darling: R . W o n g , H o n g K o n g , 9 3 C a m e ra a s s is ta n t................................... K a rl M ie th e m in s , C h in a to w n C in e m a , 0 (sexuai allusions) K e y g r ip .............................................. K a re l A k k e rm a n L(i-l-g) A s s t g r ip .................................................................. D a v id C ro s sLa Famiglia: F. C o m m itte d , Ita ly, 1 29 m in s , A Z G a f f e r .....................................................D a rry l B in n in g F ilm D is trib u to rs , L(i-l-j) 0 (a d u lt concepts) B o o m o p e ra to r....................................G le n n D a v ie s Pursuit Of Happiness, The: M . A n s a ra , A u s A rt d ir e c t o r ........................................... K e lv in S e x to n tra lia , 8 3 m in s , A F I D is trib u tio n , O fadult con M a k e -u p ..................................................... K a re n S im s cepts) Lfi-l-g) W a r d r o b e ..............................................D e n is e N a p ie r To Err Is Humane: P a ra g o n F ilm s , H o n g S e t c o n s t r u c t io n ..................................................D a v id B o a rdKm o nagn, 8 9 m in s , C h in a to w n C in e m a , V(i-l-g) R u n n e r ............................................................... G e m m a S e a b0o(a u rn d ueit theme) P u b lic ity .............................................. S T W C h a n n e l 9 Woo Woo Kid, The: G . A d e ls o n /K . M a ck, C a te r in g ..........................................................H e a th e r’s H u tchU S A , 9 8 m in s , V illa g e R o a d s h o w C o rp o ra tio n , S tu d io s .................................................................... S T W 9 Lfi-l-g) O fsexual allusions, adult concepts) B u d g e t ................................................................ $ 9 6 ,0 0 0 L e n g t h ........................................................2 2 m in u te s G a u g e ................................................................ B e ta c a m C a s t: M ic h a e l C a rm a n (D u n c a n ), M a g g ie Amazon Women On The Moon: R. W e is s , W ild e -W e s t (B a rm a id ), M a u rie O g d e n (D riv e r), U S A , 8 2 m in s , U n ite d In te rn a tio n a l P ic tu re s , A n n e R o n c h i (T o u r g u id e ), D o n H a lb e rt (D on ). 0 (a d u lt concepts) 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 Aria: D. B o yd , U K , 9 6 m in s , V illa g e R o a d s h o w n in g s o f o n e o f th e w o rld ’ s m o s t m o d e m C o rp o ra tio n , Vfi-m-j) Sfi-m-j) O fdrug use) b re w e rie s — B o n d B re w in g . Code Name Flash: Fu C h i, H o n g K o n g , 92 m in s , K w a n g T . M o k , Vff-m-g) Flowers In The Attic: S. L e v in /T . F rie s , U S A , RAW SILK 9 2 m in s , V illa g e R o a d s h o w C o rp o ra tio n , P ro d , c o m p a n y ........................... T e le v is io n H o u s e 0 (a d u lt concepts) P r o d u c e r ...................................................J o h n Y o u n g Good Morning Vietnam: L. B re z n e r/M . J o h n D ir e c to r.......................................................... G re g D e e so n , U S A , 121 m in s , V illa g e R o a d s h o w C o r S c rip tw rite r.........................................K e ith A b e rd e in p o ra tio n , Lfi-m-j) O fadult concepts) P h o to g ra p h y ......................................... B a rry W ils o n Hamburger Hill: M . N a s a tir/J . C a ra b a ts o s , S o u n d r e c o r d is t ..................................... C h ris Izza rd U S A , 1 07 m in s , F ilm p a c H o ld in g s , Vff-m-g) E d ito r .......................................................................G ra n t F e n n L(f-m-g) A s s o c , p r o d u c e r ................................. E w a n B u rn e tt Hollywood Shuffle: R. T o w n s e n d , U S A , 81 P ro d , c o -o rd in a to r..................................................S u e E va n sm in s, H o y ts D is trib u tio n , L(f-m-j) P ro d , m a n a g e r .................................... E w a n B u rn e tt Home Is Where The Hart Is: J. E c k e rt, U S A , U n it m a n a g e r..........................................P a u l M u rp h y 8 3 m in s , F ilm p a c H o ld in g s , L(i-m-g) L o c a tio n m a n a g e r .................................... M a rk F a rr Mr Vampire III (m a in title n o t s h o w n in E n g P ro d , a c c o u n ta n t................ C h ris tin e P h a e d o n o s lish ): P a ra g o n F ilm s , H o n g K o n g , 9 2 m in s, 1 st a s s t d ire c to r....................................................... R o b K e w leCyh in a to w n C in e m a , V(f-m-g) O(horror) 2 n d a s s t d ir e c t o r ...................................................T ris h C a rn eNative y Son: D. S ilv e r, U S A , 112 m in s , F ilm p a c C o n t in u it y ..........................................K a y H e n n e s s y H o ld in g s , Vfi-m-j) O fadult concepts) C a s tin g ....................................................... G re g A p p s , Sammy And Rosie Get Laid: T. B e v a n /S . R a dL iz M u llin a r C a s tin g clyiffe, U K , 101 m in s , C o m m u n ic a tio n s A n d T e c h n ic a l d ir e c t o r .......................... B a rry M a n g o n i E n te rta in m e n t, Lfi-m-j) S(i-m-j) V(i-m-j) F o c u s p u lle r ............................................... P au l T ille y Shy People: M . G o la n /Y . G lo b u s , U S A , 1 17 K e y g r i p ............................................J o h n C u m m in g s m in s , H o y ts D is trib u tio n , L(i-m-g) Vfi-m-j) A s s t g r ip ........................................................R o d S h o rt 0(drug use) G a ffe r ................................................ R ic h a rd T u m m e l Stepfather, The: J. B e n s o n , U S A /C a n a d a , 89 B o o m o p e r a t o r .....................................................P e rry D w yem r in s , N e w v is io n F ilm D is trib u to rs , V(i-m-g) A rt d ir e c t o r ..............................................................M a ry H a rrisSfi-m-g) L(i-m-g) A s s t a rt d ire c to r/p ro p s b u y e r...............P hil E a g le s Throw Momma From The Train: L. B re z n e r, C o s tu m e d e s ig n e r ............................. M a rio n B o y c e U S A , 8 5 m in s , V illa g e R o a d s h o w C o rp o ra tio n , M a k e -u p /h a ir d r e s s e r.................... A n n a K a rp in s k i L(i-m-g) V(i-m-j) W a rd ro b e s ta n d b y ................................... C a th y F a rr Tiger’s Tale, A: P. D o u g la s , U S A , 9 7 m in s, W a rd ro b e a s s t .................................... J e a n S a y n e r F ilm p a c H o ld in g s , L(i-m-g) 0(sexual allusions, S ta n d b y p r o p s .................................... D a rry l P o rte r adult concepts) S p e c ia l e f f e c t s ................................... B ria n P e a rce Wall Street: E. P re s s m a n , U S A , 1 22 m in s , F o x H e a d d r e s s e r .......................................S im o n C a rte r C o lu m b ia F ilm D is trib u to rs , L(f-m-j) S(i-m-j) D r e s s e r.............................. H a m is h A ld e rs o n -H ic k s O fdrug use) A rm o u re r................................................B ria n H o lm e s Weeds: B. B a d a la to , U S A , 119 m in s , H o yts M u s ic a l d ir e c to r .................................................... R o ss B u rto D n is trib u tio n , L(f-m-j) Vfi-m-j) S(i-m-g) S tu n ts c o -o rd in a to r.....................C h ris A n d e rs o n Wish You Were Here: S. R a d c ly ffe , U K , 89 B e s t b o y ....................................................................J o h n L e a v emr in s , V illa g e R o a d s h o w C o rp o ra tio n , S(i-m-j) 3 rd e le c t r ic s ..................................... A d a m W illia m s Ofsexual allusions) R u n n e r ....................................................................... B e n B ra n cWith o Time To Kill: J. C la y d e n , A u s tra lia , 71 C a te r in g .................................................... B a n d e A id e m in s , R o n in F ilm s , L(f-m-g) V(f-m-g) L e n g t h ..........................................................90 m in u te s G a u g e ...............................................................1 " v id e o C a s t: D a v id A rg u e (P e rry), N ik k i P a u l (K ate), F ra n k G a lla c h e r (J o h n s o n ), J o h n H e y w o o d Better Tomorrow II, A (m a in title n o t s h o w n in (J a c k ), C o lin H a y (P a rk e r), A ria n e H u b a y (R o x E n g lis h ): T . H a rk , H o n g K o n g , 1 0 4 m in s, a n n e ), R o b e rt M o rg a n (K e lly). C h in a to w n C in e m a , V(f-m-g) S y n o p s is : R aw Silk fe a tu re s th e d ia m e tric a lly Walker: L. O ’ B rie n , U S A , 9 4 m in s , U n ite d o p p o s e d p u rs u its o f th e ‘s ilk ’ b a rris te r, K ate In te rn a tio n a l P ic tu re s , V(f-m-g) B ra d b u ry a n d th e ‘ ra w ’ s tre e t s m a rt s o lic ito r, P e rry . T h e ra d ic a l y o u n g la w y e r P e rry is fra m e d o n a b ru ta l m u rd e r c h a rg e . P e rry d e fe n d s h im s e lf a g a in s t th e b r illia n t fe m a le b a rris te r, K a te B ra d b u ry . S p a rk s fly a n d e m o tio n s ru n h ig h as th e tru th is re v e a le d .

Films Registered W ithout Deletions

• PG (Parental Guidance)

• M (For Mature Audiences)

• R (For Restricted Exhibition)

I I I I

Medium

Purpose High

Justified

Gratuitous

h h h h

j j ) i

g g g g

m m m m

Submitted length

Applicant

Reason for Decision

For Keeps?: J. B e ls o n /W . C o b le n z , U S A , 95 m in s , F o x C o lu m b ia F ilm D is trib u to rs , L(i-m-g)

Films Board of Review

O fadult theme)

Eddie Murphy Raw

(a): R. W a c h /K . W a y a n s , U S A , 9 0 m in s , U n ite d In te rn a tio n a l P ic tu re s , D e c is io n R e v ie w e d : C la s s ify R b y th e F ilm C e n s o rs h ip B o a rd . D e c is io n o f th e B o a rd : C o n firm th e d e c is io n o f th e F ilm C e n s o rs h ip B o a rd . (a) P re v io u s ly s h o w n o n D e c e m b e r 1 9 8 7 list.

Ground Zero:

M . P a ttin s o n , A u s tra lia , 109 m in s , H o y ts D is trib u tio n , Lfi-m-g) Vfi-m-j) (m a in title n o t s h o w n in E n g lis h ): In -G e a r F ilm P ro d u c tio n C o m p a n y , H o n g K o n g , 9 3 m in s , K w a n g T. M o k , Vfi-m-g)

Haunted Cop Shop, The Ofhorror)

Jenatsch:

L im b o F ilm s , S w itz e rla n d /F ra n c e , 9 7 m in s , L u n a F ilm s , Lfi-m-j) Sfi-m-j) Vfi-m-j) Jimmy Reardon: R . S c h w a rtz , U S A , 9 0 m in s , V illa g e R o a d s h o w C o rp o ra tio n , Sfi-m-j) Lfi-m-g)

O fadult concepts)

Killer Instinct:

C . S a n tia g o , U S A /T h e P h ilip m in s , F ilm p a c H o ld in g s , Vff-m-g)

p in e s , 9 3

FEBRUARY

1988

Films Registered W ithout Deletions • G (For General Exhibition) Territory Adventures:

T re k a b o u t F ilm s , A u s tra lia , 9 0 m in s , H e lm u t K u m m e r Whales Of August: C . P fe iffe r/M . K a p la n , U S A , 91 m in s , C o m m u n ic a tio n s a n d E n te rta in m ent

Sfi-m-g) L(f-m-g)

Lonely Passion Of Judith Heame, The: P. N e ls o n /R . J o h n s o n , U K , 1 16 m in s , C o m m u n i c a tio n s a n d E n te rta in m e n t, O fadult concepts) Mala Noche: G . V a n S a n t, U S A , 75 m in s , A u s tra lia n F ilm In s titu te , Sfi-m-j) Lfi-m-j) O fadult concepts)

Matewan:

P. R a js k i/M . R e n z i, U S A , 1 32 m in s, F ilm D is trib u to rs , Vfi-m-j) Ofadult

N e w v is io n

concepts)

Max Headroom:

P. W a g g , U K , 6 0 m in s , V a l h a lla H o ld in g s , Vfi-m-j) O fadult concepts) M irages Of Love: K ir g h iz f ilm / T a d z h ik film /G a n e m film /S o v e x p o rtfilm , U S S R , 9 7 m in s, T ra d e R e p re s e n ta tiv e o f th e U S S R , Vfi-m-j)

Ofnudity)

Nightflyers:

As Time Goes By: C .

K ie ly , A u s tra lia , 9 7 m in s, V a lh a lla H o ld in g s , Vfi-m-j) S(i-l-j) L(i-l-g) Cannibal Tours: D . O R o u rk e , P a p u a N e w G u in e a , 7 0 m in s , R o n in F ilm s , Ofsexual allu

R. J a ffe , U S A , 8 7 m in s , V illa g e R o a d s h o w C o rp o ra tio n , Lfi-m-g) Vfi-m-g) O . R u n z e /M . J a rle g a n , W e s t G e rm a n y /F ra n c e , 1 03 m in s , A u s tra lia n F ilm in s titu te , O fadult concepts) Nowhere To Hide: A . H a m o ri, U S A , 88 m in s, V illa g e R oadshow C o r p o r a t io n , Vff-m-g)

sions)

Lfi-m-g)

• PG (Parental Guidance)

Dead, The:

W . S c h u lz -K e il/C . S ie v e rn ic h , U S A /U K /W e s t G e rm a n y , 81 m in s , F ilm p a c H o ld in g s , O fadult concepts) Eighth Happiness (m a in title n o t s h o w n in E n g lis h ): R. W o n g , H o n g K o n g , 89 m in s, C h in a to w n C in e m a , L(i-i-g) O fadult concepts) Golden Swallow: A la n & E ric F ilm s , H o ng K o n g , 9 6 m in s , C h in a to w n C in e m a , V(i-m-j) Hello Again: F. P e rry, U S A , 95 m in s , V illa g e R o a d s h o w C o rp o ra tio n , O fadult concepts) Masques: M . K a rm itz , F ra n c e , 9 9 m in s , F ilm p a c H o ld in g s , Lfi-m-j) O fadult concepts) Messenger Boy (m a in title n o t s h o w n in E n g lish ): M o s film S tu d io P ro d u c tio n , U S S R , 9 7 m in s, T ra d e R e p re s e n ta tiv e o f th e U S S R ,

Lfi-l-j) Ofadult concepts)

Repentance:

S tu d io G ra z ia /S o v e x p o rt, U S S R , 150 m in s , H o yts D is trib u tio n , O fadult concepts) Russkles: M . L e v in s o n /S . R o s e n fe lt, U S A , 96 m in s, V illa g e R o a d s h o w C o rp o ra tio n , Ofdrug

reference) Lfi-l-g) Vfi-l-j) S e p te m b e r: R. G re e n h u t, U S A , 8 0 m in s, V illa g e R o a d s h o w C o rp o ra tio n , O fadult conCGptS) Single Woman Would Like To Meet, A: K ie v F ilm S tu d io P ro d u c tio n , U S S R , 8 6 m in s , T ra d e R e p re s e n ta tiv e o f th e U S S R , O fadult concepts) Vice Versa: D. C le m e n t/I. L a F re n a is , U S A , 98 m in s, F o x C o lu m b ia F ilm D is trib u to rs , Lff-l-g)

Ofadult concepts)

Wings Of Desire: W . W e n d e rs /A . D a u m a n , W e s t G e rm a n y /F ra n c e , 1 28 m in s , D e n d y C in e m a , Lfi-m-j) O fadult concepts)

• M (For Mature Audiences) Amnesty Decree

(m a in title n o t s h o w n in E n g lis h ): N o t s h o w n , H o n g K o n g , 8 7 m in s , K w a n g T. M o k, Vfi-m-g) Sfi-m-g) Backfire: D. R is s n e r, U S A , 9 2 m in s , N e w v is io n F ilm D is trib u to rs , Sfi-m-g) Vfi-m-g) Lfi-m-g) Bellman & True (e d ite d v e rs io n ): M . W e a rin g /C . N e a m e , U K , 111 m in s , C o m m u n ic a tio n s a n d E n te rta in m e n t, Lfi-m-j) Vfi-m-j) O fadult con

cepts)

Novembermond:

Outsiders, The: N o t s h o w n , T a iw a n , 9 9 m in s, A u s tra lia n F ilm In s titu te , Sfi-m-j) Vfi-m-j) Ofadult theme)

Planes Trains And Automobiles: J . H u g h e s , U S A , 9 4 m in s , U n ite d In te rn a tio n a l P ic tu re s , Lfi-m-g)

Que He Hecho Yo Para Merecer Esto?: T e s a u ro S .A ./K a k tu s S .A ., S p a in , 101 m in s , A u s tra lia n F ilm In s titu te , Sfi-m-j) Lfi-m-j) Ofadult

concepts, drug use)

Rosary Murders, The:

R. L a u re l, U S A , 104 m in s , N e w v is io n F ilm D is trib u to rs , O fadult con

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

Rouge: P a ra g o n F ilm s , H o n g K o n g , 9 3 m in s, C h in a to w n C in e m a , Sfi-m-g) O fdrug use, adult concepts)

Shadows Of The Peacock: J. 92

m in s,

V illa g e

S c o tt, A u s tra lia , R o a d s h o w C o rp o ra tio n ,

Sfi-m-j) Lfi-m-j)

Shame (e d ite d v e rs io n ): D. P a re r/P . B a rro n , A u s tra lia , 90 m in s , B a rro n F ilm s , Lfi-m-j) Vfi-m-j) O fadult theme)

She’s Having A Baby: m in s,

U n ite d

J. H u g h e s , U S A , 1 06 In te rn a tio n a l P ic tu re s , Lfi-m-j)

Sfi-m-j) Ofadult concepts)

Stranded:

S . R o s e n fe lt/M . L e v in s o n , U S A , 81 m in s, H o yts D is trib u tio n , Vfi-m-g) J. V e rn o n /F . S h ie ld s , A u s tra lia , 90 m in s, F ro n tie r F ilm s , Vfi-m-j) Ofnudity,

Surfer, The:

sexual allusions)

Survival Quest:

R. Q u e z a d a , U S A , 9 5 m in s , R oadshow C o r p o r a t io n , Lfi-m -g)

V illa g e

Vfi-m-g)

Unbearable Lightness of Being, The: Z a e n tz ,

USA,

1 68 m in s ,

S. H o y ts D is trib u tio n ,

Sfi-m-j) Ofnudity)

White Mischief: C o lu m b ia

F ilm

S. P e rry , U K , 105 m in s , F o x D is trib u to rs , Sfi-m-j) O fadult

concepts) Vfi-m-j) Lfi-m-g)

You’re My Destiny: A & E F ilm s , H o n g K o n g , 90 m in s, C h in a to w n C in e m a , Lfi-m-g) Vfi-m-g)

Dragons Forever:

• R (For Restricted Exhibition)

Dudes:

Curse:

G o ld e n H a rv e s t, H o n g K o n g , 91 m in s , C h in a to w n C in e m a , Vff-m-g) H . J a ffe /M . T e ja d a -F lo re s , U S A , 89 m in s , V illa g e R o a d s h o w C o rp o ra tio n , Lff-m-g)

Vfi-m-g)

Flag Of Honour (m a in title n o t s h o w n in E n g lish ): N o t s h o w n , H o n g K o n g , 102 m in s , K w a n g T . M o k , Vff-m-g)

A n g le Jo , H o n g K o n g /T h e P h ilip p in e s , 85 m in s, Y u E n te rp ris e s , S(f-m-g) Ofhorror) R. S h a y e /G . O ls o n /M . M e ltz e r, U S A , 9 7 m in s , H o y ts D is trib u tio n , Vff-m-g) Near Dark: S. J a ffe , U S A , 9 3 m in s , V illa g e R o a d s h o w C o rp o ra tio n , Vff-m-g) Ofhorror)

Hidden, The:

CINEMA PAPERS MAY — 79

FI LM B U F F ’S D A B ! BRIAN JEFFREY presents our indispensable

1977: A sneak preview of Star Wars at a San Francisco theatre is well-received, al though 20th Century-Fox executives are sceptical about its chances of success. Within four months, the film will gross SUS100 million.

2 1927: 3 1969:

Maureen O’Sullivan, memorable as ‘Jane’ oppo site Johnny Weismuller in MGM Tarzan films, born, Roscommon, Ireland

Actor Ray Barrett born, Brisbane Karl Freund, director of photography (The Good Earth, 1937), dies, Santa Monica, California

4 1897:

One hundred and thirty nobles and notables of France are among some 180 people who perish in a fire at a charity bazaar in Paris. The conclusion that the seat of the blaze was a primitive motion picture show has a drastic effect on patronage of motion pictures in Europe — especi ally among the upper classes

1916: John Dunning, film edi tor (Show Boat, 1951; Raintree County, 1957; Ben Hur, 1959), born, Los Angeles

6 1902:

Max Ophuls (Max O ppenheim er), director, born, Saarbrücken, Germany

1923: Anne Baxter born,

7 8 1909:

1928:

Sydney’s Regent cinema opens with The Flesh And The Devil, starring Greta Garbo and John Gilbert

1902: David O. Selznick, pro

ducer, born, Pennsylvania

Pittsburgh,

1932:

Universal Studios’ Frankenstein opens, Capitol Cinema, Sydney

14 1900:

Billie Dove (Lillian Bohney), billed as ‘The American Beauty’ during Hollywood silent era

15 16

1911: The Glaciarium, Mel bourne becomes the first cinema in the world to present a double bill of feature-length films

1904: Etienne-Jules Marey, French inventor and pioneer of cinematography, dies, Paris

1894: Lothar Mendes, direc tor (The Man Who Could Work Miracles, 1936), born, Berlin

2 1899:

Lotte Reiniger, ani mator, usually with silhou ettes (The Adventures Of Prince Achmed, 1926), born, Berlin

17 1967:

Brian Davies’ The Pud ding Thieves, a key work of Melbourne's ‘Carlton School’ alternative cinema move ment, premieres, St Kilda Palais

18 1963:

Pedro Armendariz, top Mexican star who appeared in many Hollywood and Euro pean films, suicides in UCLA Medical Centre, where he had been admitted with lymph cancer

3 1932:

Australasian Films Ltd goes into liquidation. Cinesound P ro d u ctio n s Ltd formed to take over filmmaking activities, and British Empire Films Ltd formed to handle distribution

1895: First film screened to a

1914: John Hubley, one-time animator for Disney Studios (including on Snow White, Fantasia), co-creator of Mr Magoo at UPA, later an in d e pendent (M o o n b ird , 1959), born, New York City

4 1911:

Gordon Dines, director of photography (The Blue Lamp, 1950; The Cruel Sea, 1953), born, London

5 1902:

Walter Plunkett, cos tume designer (Stagecoach, 1939; Gone With The Wind, 1939), born Oakland, Cali fornia

19 1949:

John Duigan, director (The Year My Voice Broke, 1987), born, Hartney Witney, Hampshire

1909: Errol Flynn (Errol Leslie T h o ms o n Flynn) born, Hobart, Tasmania

21 1933:

Original and only negative of Von Sternberg’s A Woman Of The Sea aka Seagulls or The Sea Gull (1926), which was shown once but never officially released, burned in presence of witnesses. The film was an attempt by its producer, Charles Chaplin, to launch E dna P u r v i a n c e as a dramatic actress.

22 1983:

6 1980:

23 1930:

7 1965: 8 1930:

22 1906:

9 1927:

Tal Ordell’s only fea ture, The Kid Stakes, pre m i e r e s , Wi n t e r g a r d e n Theatre, Brisbane

23 1915:

1982: Rainer Werner Fass

24 1930: 25 1937:

John Marley, actor perhaps best remembered as the man who wakes to find a horse’s head in his bed in The Godfather (1972), dies, Los Angeles First Australian-made ‘talkie’, Fellers, has its press screening, Arcadia Theatre, Sydney. Only the last reel had dialogue.

24 1925:

Mai Zetterling, actress and director, born, Vasteras, Sweden

Rank Film Productions announces it will cease film production, blaming high interest rates and soaring inflation

Judy Holliday (Judith Tuvim) dies, New York Bo Gunnar Widerberg, director (Elvira Madigan, 1967), born, Malmo, Sweden

25 1983:

Twentieth Century-Fox Studios’ Return Of The Jedi grosses $US6,219,929 on its opening day — the all-time first-day record

born, Balham, England Shooting commences on Hitchcock’s The Man Who Knew Too Much

writer (The Sundowners, 1960; Funny Girl, 1968 — from her play), born, Brook lyn, New York

paying audience, 153 Broad way, New York

1892: Margaret Rutherford

12 1955:

1915: Isobel Lennart, screen

Michigan City, Indiana

First dramatic film to be made wholly in Los Angeles, The Power Of The Sultan, begins its three-day produc tion

1975: Ken Hannam’s Sun day Too Far Away premieres, opening Sydney Film Festi val, State Theatre

17 1911:

1986: Ryan O’Neal’s son, Griffin, charged with man slaughter following a boating accident in which Gian Carlo Coppola, son of director Francis Ford Coppola, is killed. (O’Neal will later be convicted of a lesser charge.)

27 1971:

Chips Rafferty (John Pilbean G offage) dies, Sydney

28 1902:,

Luis Cesar Amadori, Argentinian director (Car men 1943), at height of renown during Peron regime, born, Pescara, Italy

1903: Sheridan

1939: Michael J.

Pollard (Michael J. Pollack), actor memorable as C.W. Moss in Bonnie And Clyde (.1967), born, Pacific, New Jersey

31 1916:

Bert Haanstra, Dutch d o c u m e n ta ry film m a ke r (Glass, 1958), born, Holten, Holland

Gibney,

(/ Am A Fugitive 11 screenwriter From A Chain Gang, 1932; The Story Of Louis Pasteur, 1936), born, New York City

Norma Shearer) dies, Wood land Hills, California

Dennis Price (Dennistoun Franklyn John RosePrice) born, Twyford, Eng land Claude Chabrol, direc tor, born, Paris MGM’s Captains Cour ageous, starring Spencer Tracy and Freddie Bartholo mew, released

26 1915:

Douglas Fairbanks signs 10-week contract with Triangle Film Corporation, thereby launching his film career

13 1920:

27 1935:

14 1895:

28 1909:

Actor Eiji Okada (Fliroshima Mon Amour, 1959; The Ugly American, 1963), born, Japan Cliff Edwards, nick named Ukulele Ike, memor able as voice of Jiminy Cricket in Disney’s Pinocchio (1940), born, Hannibal, Missouri

29 1904:

Gregg Toland, director of photography (Citizen Kane, 1941), born, Charle ston, Illinois

binder, director, found dead of heart failure induced by drug abuse, in his Munich flat

Buddy Adler, pro ducer, one-time head of 20th Century-Fox, born, New York City

1917: Al ‘Lash’ La Rue, star of low-budget westerns in which he used a five-metre bullwhip as a weapon, born, Michigan

16 1906:

Actress Ona Munson, best remembered as Belle Watling in Gone With The Wind (1939), born, Portland, Oregon

Eugene Lauste, in ventor who developed and perfected Edison’s Kinetoscope and Dickson’s Bio graph projector, dies, USA Eric Ambler, novelist and occasional screenwriter (The Way Ahead, 1944 — from his story; The Cruel Sea, 1953), born, London

29 1967:

Jayne Mansfield (Vera Jayne Palmer) killed in auto mobile accident, near New Orleans

30 1953:

Vsevolod llarionovich Pudovkin, master of Soviet silent cinema, dies, Riga, USSR

K e ith W a g s ta ff: D ire c to r o f P h o to g ra p h y

G e o ff B urro w s: D ire c to r and P ro d u c e r %

3Sting impression m cinema riiston ;v

Outside Mann's ChineseTheatre in H o lly w o o d the signatures

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