Cinema Papers No.70 November 1988

R egistered by A ustralia Postp ub licatio n No. VBP 2121

NOV 1988 issue 70

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No. 70 Editor Philippa Hawker

Publisher Patricia Amad

Publishing assistant/subscriptions Susie Keratiotis

Design and typesetting Lucas Seater Design Pty Ltd

Technical editor Fred Harden

Office cat Sylvester

Founding publishers Peter Beilby Scott Murray Printed by York Press Ltd. Distribution by Network Distribution Company, 54 Park Street, Sydney, NSW 2000.

Signed articles represent the views of the 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 publishers 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 c o p y rig h t owner. C in e m a P a p e rs is published every two months by MTV Publishing Limited, 43 Charles Street, Abbotsford, Victoria, Australia 3067. Telephone (03) 429 5511. Telex: AA 30625. Reference ME 230.

C O N TR IB U TO R S K A TH Y BAIL is a freelance writer and editor

INA BERTRAND '- lectures at La Trobe University's Media Centre

BEVERLY BLA N KEN SH IP is co-writer of Shame

M ICHAEL BR IN D LEY is co-writer of Shame

RAFFAELE C A P U TO is a freelance writer on film

JA N CHANDLER is a post-graduate student at La Trobe University

MARY C O LB ER T is a freelance writer and researcher living in . Sydney

FRED HARDEN is a film and television producer specialising in special effects

M ELINDA H O U S TO N is a freelance writer on film

LINDA JA IV IN is a freelance writer based in Canberra

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B R IE F L Y F I L M A U S T R A L I A : New directions G I L L I A N A R M S T R O N G : Three times three E V I L A N G E L S : Fred Schepisi talks W E S C R A V E N : The horror, the horror J O H N W A T E R S : From sleaze to tease A L C L A R K : B .I .G . plans V I E W P O I N T : What's in a Croc?

R E V I E W 'S : As Time Goes By, Boulevard O f Broken Dreams, Colors, Ngati, Red Sorghum, The Tale Of Ruby Rose, The Unbearable Lightness O f Being, The Whales O f August S T E V E J O D R E L L : Talking Shame S H A M E : The screenplay, part one.

T E C H N I C A L I T I E S : Something old, something new ..

A F T A W A R D S : Contestants and controversy P R O D U C T I O N S U R V E Y : Who’s doing what, where P R O D U C T I O N R E P O R T : Moon struck C E N S O R S H I P : March to July decisions B A C K P A G E : Film buff's diary

BRIAN JE F F R E Y is a freelane writer based in Canberra

PAUL K A LIN A is a freelance writer based in Melbourne

BRIAN M cFARLANE is a lecturer in English at the Chisholm Institute and author of Australian Cinema 1970-1985

ADRIAN M ARTIN is a freelance writer on film

BRON SIBREE is a freelance writer based in Perth

S TE V E J . SPEARS is a Sydney writer

C H R IS TIN A THOM PSO N is a freelance writer based in Melbourne © Copyright MTV Publishing Limited.

No. 70 November 1988.

^Recommended price only.

Coven Meryl Streep in Evil Angels

Cinema Papers is published with financial assistance from the

Australian Film Commission

CINEMA PAPERS NOVEMBER— 1

B

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The new chief executive of the Australian Film Commission is Daniel Rowland. He has been an executive of Energy Source International, an international film production and finance company, whose projects include Rainbow Warrior Conspiracy and A Star Is Torn.

In the early 1980s he was chief executive of Metro Television in Sydney and later helped establish the Centre for Technology and Social Change.

Jenny Sabine, former manager of the Melbourne base of the Australian Film, Television and Radio School, is the new head of Swinburne's Film and Television Department.

Apologies to Bruce Smeaton, for incorrectly listing him as the composer of Contagion in the last issue of Cinema Papers. mMmmmmmmmmmmmmmmmimmmmmmmmmmmgwmmsmmmmmwmmmmmmmmmmmmmmm

The winners of the Australian Writers’ Guild's 21st Awgies were: Best script: Olive (Anthony Wheeler) Best original telemovie: Olive (Anthony Wheeler) Best screenplay: The Year My Voice Broke (John Duigan) and Afraid To Dance (Paul Cockburn) Best stage play: Emerald City (David Williamson) Best television serial episode: Licensed To Kill from A Country Practice (Judith Colquhoun) Best television series episode: Prejudice And Pride from Rafferty's Rules Best television adaptation: Spit McPhee (Moya Wood) Best documentary: Science And Fraud (Norman Swan) Best children's original: The Hand On Your Shoulder from The Henderson Kids II (Roger Moulton) Best children's adaptation: Hating Alison Ashley (Richard Tulloch) Best TIE/Community Theatre: Talking To GrandmaWhileThe World Goes By (Richard Tulloch) Best TV situation comedy: The Surprise from Mother And Son Best comedy revue/sketch: How Green Was My Caclus II (Doug Edwards) Best comedy: The Butcher's Son (Norman Neeson) 2— NOVEMBER CINEMA PAPERS

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Best radio adaptation: The Feet Of Daniel Mannix (Barry Oakley) Best radio original: The Chronon Separator (Kevin Nemeth) Best unpublished script (Monte Miller Award): Started Out Fine (Robyn Sinclair) Dorothy Crawford award: Ray Lawler Fred Parsons award for outstanding contribution to comedy: Ken Shadie Special award for services to the Guild: Richard Lane The 1988 Australian Teachers of Media (ATOM) Awards went to: Animation: The Wheelie Wonder Social issues, children's: Live To Ride Social issues, general: Nice Coloured Girls Science and nature, general: Cane Toads - An Unnatural History Documentary, general: Beautiful Lies Narrative, children's: Double Take Narrative, general: Damsels Be Damned Tertiary, childrens: Looking For Space Things Tertiary, general: Looking For Space Things Australian, general: The Nights Belong To The Novelist Jury Prize: Cane Toads - An Unnatural History Highly Commended were: Animation, general: Air Pirates Of The Outback Narrative, general: Machinations Tertiary, general: Speed Graphic, Smacks And Kicks Social Issues, general: A New Lease On Life The Lung Goodbye Overseas, children's: Left Out Innovative, general: Insatiable, Making Biscuit With this issue, Cinema Papers introduces the first of what will be a number of changes to come. We publish part one of Michael Brindley and Beverly Blankenship's screenplay for Shame, the Barron Films production, directed by Steve Jodrell, starring Deborra-Lee Furness and Tony Barry. This is a final draft, rather than a release script.

Cinema Papers plans to publish scripts regularly.

The feature on the Film Finance Corporation has been held over un til the next issue,

PRICK UP YOUR EARS Ten Cinema Papers readers can win a copy of the video Prick Up Your Ears, the story of the life and death of playwright Joe Orton (directed by Stephen Frears and written by Alan Bennett) and a copy of Orton's Complete Plays, courtesy of CEL and Heinemann Australia. The video of Prick Up Your Ears is not available for purchase.

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W IL D L Y F U N N Y

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B B C. CRITICS

To win the Joe Orton double package, all you have to do is answer one simple question: for what offence did Orton serve a jail sentence?

Send your answer to Cinema Papers, 43 Charles Street, Abbotsford, Victoria 3067. The first 10 correct entries will be the lucky ones.

PRICK UP YOUR EARS: Gary Oldman as Joe Orton with his Loot

MODERN IM AGE MAKERS ASSOCIATION (MIMA) PRESENTS

EXPERIMENTA A major Australian Exhibition of Art Film and Video MELBOURNE NOVEMBER 18-27 Cinema program at the State Film Theatre, 1 Macarthur Street, East Melbourne

PROGRAMS OF LOCAL FILMS AND VIDEOS INCLUDE: FRACTURES: Fragmented forms and tough visions from Marcus Bergner, Ashley Scott, Frank Lovece ...

NEW TECHNOLOGY, NEW MEDIA, NEW WORLD: Images of future shock and how to live with it, from Jill Scott, Fran Dyson & Anna Munster, Peter Callas, John Hughes ...

MAGICAL NARRATIVES: The world transformed by lyricism and desire. Sabrina Schmid, Anne-Marie Crawford, Sue McCauley, John Conomos & Mark Jackson ...

PREMIERES: An extra special night of premieres from Chris Knowles, Paul Winkler, and Michael Lee's long-awaited PARADOX OF THE CROSS. THE BERLIN APARTMENT: A two-screen presentation by Arthur and Corinne Can trill.

COMEDY::- Yes, the avant garde can be funny too. Chris Windmill, Maj Green & Ewan Cameron ...

PLUS NIGHTS OF MUSIC, TRAVEL, SEX AND VIOLENCE ...

____ ___________________________ AND FROM NEW YORK______________________________ HOWARD GUTTENPLAN from Millenium presents a program of 1980s American avant garde work never seen before in Australia by Su Friedrich, Robert Breer, Stan Brakhage and others with a program of American avant garde film from the 1980s.

And also - Flm and Video Performances and Installations at City Gallery, 200 Gertrude Street and ACCA. Brochures with full program details will be available early in November. For more details ring (03 ) 663 1953.

MIMA IS FUNDED BY THE AUSTRALIAN FILM COMMISSION AND FILM VICTORIA. EXPERIMENTA IS STAGED WITH ASSISTANCE FROM THE VICTORIAN MINISTRY FOR THE ARTS.

CINEMA PAPERS NOVEMBER— 3

FILM AUSTRALIA'S NEW FACE

FILM AUSTRALIA HAS ADDED "PTY LTD" TO ITS NAME. MARY COLBERT PROFILES THE NEW ORGANISATION. Film Australia is used to change. Its 72-year history has been marked by great fluctuations of fortune as the production house was renamed and shuffled from one government department to another. From 1 July, the addition of "Pty Ltd" to its name heralds a distinctive new phase as a registered Commonwealth-owned company, a separate entity from the Australian Film Commission, under whose mantle it has functioned since 1975.

No longer subject to the financial and staffing restrictions of the Australian public service (designed more for departments dealing with policy rather than projects) the company can now adopt a new focus more closely linked to the film and television industries, hiring most of its creative staff as freelancers on a contract basis.

With support from government in three-yearly contracts at $15 million (for each period) no longer straitjacketed by financial year ramifications, the company will now have greater flexibility to plan long term, encourage other avenues of raising finance and liaise on future co­ productions.

"We are now subject to the financial disciplines which follow from company status. It allows us to make much better use of our money and also means for the first time that we have to balance the books," comments Robin Hughes, previously general manager, now managing director.

The company is to be governed by a Board of Directors under the chairmanship of David Gonski, a corporate lawyer (also a self-confessed film buff who was involved in setting up 10BA tax concessions with the AFC) and managing director of Westfield Capital Corporation.

"We hope to be able to blend business acumen with artistic and creative flair," says Gonski. Selection of board members by Gary Punch, then Minister for the Arts, reflected a balance of these interests: Noni Hazlehurst (actress and director), Suzie Carleton (publican), Bruce Petty (cartoonist and filmmaker), Hilary McPhee (partner of McPhee Gribble publishing house), Mark Burrows (financier), Hal Myers (marketing/PR), and one more staff member to be elected when recruiting is completed.

Hughes is particularly delighted with the addition of 'whizz' Bob Taylor (for 14 years director of finance and corporate services at the Australia Council) as manager of administration and finance. "It's difficult to find someone who could preside over the 4— NOVEMBER CINEMA PAPERS

transfer of an organisation from public service finance system to a commercial one and Bob has had a great deal of experience in both areas," explains Hughes.

The Cinderella-like transformation is a far cry from the uncertain, if not moribund direction in which the facility seemed to be heading three years ago when Hughes undertook what Phillip Adams called "mission impossible".

She felt she "knew what to do with it" and after an initial period of re­

FILM AUSTRALIA: David Gonski and Robin Hughes

organisation went on to create an impressive record. Over the last two years production output and marketing revenue doubled, and several films won artistic acclaim locally and overseas. Yet the future still looked bleak when the review of 1986-87 presented its recommendations in a comprehensive report. Three out of four options suggested closure of the facility, the fourth a continuation on a reduced basis with less money and fewer staff.

The current solution came from an unexpected source - Cabinet. The idea of forming a Commonwealthowned company was proposed by Treasurer Paul Keating, and other members of the Review Committee of Cabinet, impressed by quality of product, gave it their support.

"It represents a pioneering attempt on the part of government to resolve the problems that face similar cultural bodies trying to operate effectively in the public sector, and may serve as a model for resolution of problems that exist elsewhere," commented Gonski.

Says Hughes: "The resolution and transition did present some difficulties as any major change does when one is trying to take care of interests of individuals. And we were trying to minimise distress." Thirty-seven staff accepted the redundancy package offered by the AFC, though many were still eligible to re-apply on a freelance basis. Amicable resolutions were found, Hughes admits, but she's relieved the period is behind her and that the company can now look to the future.

It is anticipated the company will be serviced by 85 permanent staff, with freelancers complementing the total to about 150 staff at any given time. Of course, production schedules will modify these figures somewhat.

The management team which spearheaded Film Australia to its current success will remain basically unchanged. Macek Rubetzki is in policy and production planning, Robyn Watts is head of marketing (with an increased back-up team) and there are four executive producers: Janet Bell, Ron Saunders, Tristram Miall and a more recent addition, Paul Humphress. Though the company still retains responsibility for film and video requests from Commonwealth departments and agencies, netting it contracts of more than $3 million per year, generally the new focus will be on more commercial markets, especially television. "We will be looking to put much of that work into the industry," adds Hughes.

More involvement will be sought on co-productions domestically, as happened with Transmedia on the successful Willesee's Australians and internationally, as was the case with BBC and WGBH Boston on Roads To Xanadu. As a result of successful collaboration on the above project Film Australia has been requested to provide a significant Australian content component on a large-scale environmental series, State Of The World.

One of the major thrusts for new activity is drama, as a means to reach large audiences, raise awareness on matters of social and national significance and place the product in the marketplace. Delighted with the success of Custody, Film Australia is now working on Prejudice, working closely with the Anti-Discrimination Board. A miniseries is also on the drawing board.

Yet documentaries will still retain a significant place in the company's priorities. About to enter production is a series of six half-hour documentary essays on changing attitudes to welfare. The market is another area the company feels a responsibility to expand. Profits from the more commercially oriented projects will be (as in the past) channelled into experimental and innovative work.

When I interviewed Robin Hughes for this publication 18 months ago, she stated that she would be happy to move on and hand over to someone else once her contract was up in August this year. Now, as this new era begins, having experienced the "labour pains" she feels a compulsion to see the "new baby" onto its feet.

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G illian A rm strong and three tim es three In Bingo, Bridesmaids And Braces, Gillian Armstrong returns to the three women she first filmed 12 years ago for Film Australia in Smokes And Lollies and four years later in 14's Good, 18's Better.

Is 26 better still? PHILIPPA HAWKER reports. osie plays bingo with her daughters as a means of relaxation from the two jobs she holds down. Kerry has to face rituals she never dreamed of when she decides to marry Neil. And at 26, Diana is still wearing braces on her teeth: she had her jaw broken and reset in her quest for dental perfection. Twelve years ago, brash, open, knowing, naive, they talked about the futures they imagined for themselves: at that stage it was not really bingo, bridesmaids and braces.

Gillian Armstrong did hot mean to embark on a longitudinal study. But at 14, the three girls who confided in her about their families, their make-up routines and their attitude towards pregnancy all spoke with emphasis about the age of 18. They felt it was a critical time, and Armstrong wanted to find out what it really held for them.

After that "I felt it was probably worth doing another part, and I thought that the next age of significance was 25," she says. The filming of High Tide delayed her by a year, but the wait enabled her to capture the wedding preparations of Kerry, an elaborate and emblematic, if logistically demanding, conclusion to the film.

The obvious comparison for the series is 28-Up, Michael Apted's famous human chart of the British class system, where 12 children from different social, economic and geographical backgrounds are visited every seven years, their lives examined, and the system that produced them evaluated. Gillian Armstrong has deliberately avoided seeing the series but feels, from what she has heard, that hers has a different outlook.

Certainly Apted has a more defined structure, a tighter framing of his subjects. His approach is sociologicalmathematical, although the people he films sometimes resist his equations. He also tracks the lives of a group of three girlfriends, but fails to get very far with them. Of all his subjects, they are the most distant, the most resistant to selfanalysis; partly, one suspects, because Apted himself does not find the minutiae or their lives interesting and does not succeed in seeing them as individuals.

There is something dismissive about his approach to them and they respond with an equal lack of interest.

While her enterprise started as a oneoff film, Armstrong now feels strongly about the value of the project. "After the second one I got feedback that it had quite a strong social importance." She

J

6— NOVEMBER CINEMA PAPERS

describes a visit to Canberra to lobby for the film industry, where she found politicians like Bill Hayden, Susan Ryan and John Dawkins preferred to quiz her about 14's Good, 18’s Better.

What audiences carry from the film, Armstrong believes, is a picture of three bright but bored girls, and an education system that has failed them. She feels the series has value if it can break down people's perceptions "about other Australians, 'ordinary' families ... Seeing people and their lives, the decisions that they've made, their hopes and dreams is the most effective kind of lesson.

"It has power as a social and teaching tool... if it can give insights into who we are and what we think, what it's like to live in this country. You can see what happens to people through lack of choice, fate, coincidence."

Picking up the thread after eight years was not easy. The women were reluctant to participate this time around, and they were also, Armstrong says, more aware of the way in which they could be presented, more conscious of the workings of the media in general. In particular, Josie, who at 18 had two children and a failed marriage, did not want to appear again. "But she felt the film had social worth, and she wanted to show people that her life was working out," Armstrong says. Josie's fatalistic acceptance of misery in earlier years has been replaced by a determination to find happiness and security this time.

Armstrong spent time with them discussing the areas the film would touch on, then shot in November and December last year. The editing took six months. "Documentaries are written afterwards," Armstrong says. As one would expect, there were sensitive areas that were touched on, and difficult decisions to be made about what to leave in. Diana reluctantly discusses her attitude to abortion, and Armstrong pushes her to explain why it has changed. Diana, put on the spot, evades an answer, but addresses her questioner by name, with exasperation: it is quite clear that she does not want to spell it out on camera. Armstrong thought long and hard about the inclusion of this sequence, she said. This film will be more widely seen than the previous two,

and there will be more publicity for the three women than before, something which concerns her a little.

Josie's father did not want to take part, but finally agreed to appear, briefly, without speaking. When he arrived, however, "he started talking and it all came pouring out. Ultimately he wanted to have his say about the relationship," Armstrong says. He and Josie confront each other in a brief but telling evocation of love, frustration, a desire to set the record straight.

Making use of the unexpected is crucial to this kind of documentary. "It's difficult for someone like me who is used to a lot of visual control," Armstrong says. "In a documentary you're in the hands of the camera operator. I spent time finding someone who was sympathetic to the girls and had a good eye - who would pick the same shots I would."

She shot mostly with a crew of three, some of whom had filmed Josie, Kerry and Diana at 18. Kerry's "Girls Night Out", the "does party" that involved bus trips to five discos in one night, was the major technical problem. A gaffer and a best boy were used in the disco and wedding sequences: the bus was prelit, and the disco scenes involved frantic scrambles to set up, film, then make it to the next venue. The culmination of the

BINGO, BRIDESMAIDS AND BRACES: Kerry, Josie, Diana and Gillian (left to right)

night, according to K erry's friends, would be a trip down to the beach, where lovingly-prepared buckets of slop would be thrown over her. The crew spent an afternoon on the pre-light, a generator was hired, but Kerry passed out before the last stage of her ordeal. All we see is a brief interview with her girlfriends - beautifully lit.

Armstrong says she would like to continue the project, adding "If we don't all fall out after this film". She is already thinking ahead. Diana and Josie have daughters, Kerry plans to start a family soon. In Bingo, Bridesmaids And Braces, there is a sequence where Josie's elder child, Rebecca, watches her mother put on her make-up; it's an intriguing image of their faces, together in the mirror, looking for differences, looking for similarities, anxious and absorbed. It is also a glimpse forward to the point where Armstrong hopes to end the series - with the daughters, at the age of 14.

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CINEMA PAPERS NOVEMBER— 7

HOW DO YOU BRING THE STORY OF MICHAEL AND LINDY CHAMBERLAIN TO THE SCREEN? DIRECTOR FRED SCHEPISI, TALKS ABOUT PRIVATE MOMENTS, PUBLIC REALITIES AND DINGOS TO PHILIPPA HAWKER

Fred Schepisi emphasises that Evil Angels is not a 'Movie'.

Fie does a lot with those two syllables: he frames the word in contemptuous inverted commas, then expels it from his mouth with disdain. Despite the film's budget and its scale and its subject matter and its cast, all of which guaranteed it headlines, speculation, gossip and media attention on an unprecedented scale, one of the things he was aiming 8— NOVEMBER CINEMA PAPERS

for, he says, was the feel of a home movie. And there are no inverted commas around that last word.

He wants it to seem like a home movie, he says, "not in the sense of cheap, or corny, or amateur-looking, but for people to have the feeling, this is actually happening'. I wanted it to be something you experienced.

I wanted the feeling that you were involved in the event."

FRED SCHEPISI

Evil Angels takes its name and its origins from John Bryson’s book, which established, with an air of passionate detachment and a fund of exhaustive detail, a convincing case for a miscarriage of justice in the (now quashed) conviction of Lindy Chamberlain for the murder

acquaintance with the case. "But I was astounded by the passion and vehemence with which people held their opinions. Even very intelligent people would have a rational argument, examine the facts, and despite everything would end up saying, 'She did it."'

Schepisi was approached: he read the book and spoke to producer Verity Lambert several times about directing it, but always said no. "I thought it might be impossible to do the subject justice in a film," he says. "I might in the end be as guilty as the media have to be, in their brevity, of the very things I would be examining. I thought that to do the subject justice it would probably need six hours of television.

"I also thought, it's one thing to discuss a subject like this, it's another thing to present it as a film. What new light am I going to shed on this situation? Trial by media, trial by gossip, miscarriage of justice, we've seen and read many stories like that does the world really want another one? How could I do it differently? Not just for the sake of it, but why would you want to go and see it?

"Verity said, 'Oh, you just don't know how to do it, that's the problem, you haven't found a way.' And that was true," Schepisi says, with a smile.

"Bryson's book shows you how a lot of things were coloured by the media. But it doesn't tell you, and it doesn't purport to tell you, anything about the Chamberlains. As it was expressed to me by my composer, Bruce Smeaton, for him, there's a black hole in this book. That is in no way to denigrate it, but I believed that the Chamberlains had to be in the film.

"The film is the book and the Michael (SAM N EILL) and Lindy (M ERYL STREEP) Chamberlain pictured private lives of the Chamberlains, so it leaving the court in Evil Angels. becomes a film of personal drama. You of her baby, Azaria. Bryson showed how the get involved in their story, in what it must have presentation of evidence in court, the been like for them; it's saying, 'This could be you.' interpretation of those proceedings in the media, "Here are two people who were, if you like, and an extraordinary surge of collective national somehow caught on a railway track, and a train superstition and rumour led to a widespread bore down on them. When the smoke and the perception of her guilt. dust cleared, and the noise died down, you Putting all that on the screen was going to be realised that the train had fallen apart, but the a different story. Shuttling between Australia and people were still standing. That's how I saw the story." the United States, Schepisi had a passing

CINEMA PAPERS NOVEMBER— 9

With that in mind, and with Meryl Streep interested, Schepisi took another look at the project and, he says, found another way of doing it.

"What it is, basically, is the public perception and the private reality. The whole film is about that, and the whole structure is about that. You

always have that little twist ... We didn't badger them and we didn't spend too much time with them, because we had to keep doing it on the basis of the facts."

This does not mean the Dragnet simplicity of a single authorised version. "Their facts, the

Michael (SAM NEILL) receives strength and comfort from Lindy (MERYL STREEP) during the trial, in Evil Angels.

get deeply involved with their private lives, and deeply involved with what is happening in the public arena at the same time, and with what the public perception is."

The only way to examine the private lives of the Chamberlains was to go directly to them. "[Screenwriter] Robert Caswell spent a lot of time researching and a lot of time with them personally. Subsequently I met them, and Meryl met them and Sam [Neill] met them and we talked, having done a lot of study and research.

We asked questions, and then we asked tougher questions. Then I wrote something for myself, a kind of psychological profile, which they read, although they weren't meant to. It was only a guide for me, a way of sorting something out, but I think it helped them to tell us more."

What they were looking for from the Chamberlains was an account of "those things in private moments that are always surprising, sometimes in their ordinariness, but which 10— NOVEMBER CINEMA PAPERS

media's facts, the police facts - we've tried to present it all. and let it speak for itself."

The approach is exemplified, he says, by the handling of a speech Michael Chamberlain made on the night Azaria disappeared. "It was a difficult speech, it was religious, and some people found it very cold. Michael had one version of it, Lindy another, the people who were there had another still. Sam and I were trying to sort this out, and he came on and did something I thought was too emotional. Then I realised that every perspective was correct, once you combined them. If someone had lost their baby, and you didn't realise he was a minister of religion and a grief counsellor accustomed to urging people to pray, his speech might seem to you to be an odd one. It was an important thing to establish that reality was a combination of many points of view. We had to be very careful not to go for a specific point of view; this film is not Lindy’s point of view".

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Similarly, facts can be set in a new context. turn people's stomachs, it could come out Lindy Chamberlain's inquest wear, a different cutesie-pie and Disney. outfit every day, sent many media commentators "But people will be astounded by Sam Neill, into a kind of "Fashion on the Field' frenzy. It was playing someone who tried to be strong and had taken as an indication of her self-centredness a lot of faith and had great emotional difficulty and callousness. "All those dresses were handling the situation - it's a completely different borrowed. Use the public role for him. And Meryl has perception, use the private truly caught what made reality - that's what it's all people react in the way about. they did to Lindy, yet she "We did a lot of additional shows you what a bad research, going through the judgment that was and transcripts, etc. We had a manages to make you team of researchers, and understand the real Robert Caswell, who wrote person." the first draft, spent a lot of Schepisi says, more than time with many different once, that the film is telling people. I spent time with people, "It could happen to Barker [the prosecution you." Of the Chamberlains, lawyer] and Kirkham and he says that there were Phillips [the defence things that people "would lawyers] so between all of consider off-centre, like us we managed to talk to a their religion - a lot of people and get their respectable, ordinmary, side of the story." decent, middle-class Inevitably, recreating religion, in fact.

Kirkham (BRENDAN H IG G IN S ) demonstrates the action of events for the film led them "But nobody ever reacts a dingo's jaws using a doll during the trial, in “Evil Angels". all to reassess things they to tragic circumstances and had taken for granted or not thought to question public pressure in the way they would like to in accounts of what happened on the night of think that they would. And we judge people on a Azaria's disappearance. Shooting scenes with a 30-second telecast, when they're nervous, or dingo, for example, training it with a doll, being deluged with questions, or what we're Schepisi describes how it would "stand there looking at is being manipulated or taken out of with its neck held up, doing everything it was not context - yet we come to firm conclusions. supposed to do, carrying what we thought was "That sort of thing is so easy to do. The 10.2 lb, but which was actually 10.2 kg ... And Americans were doing a trailer, and they were the young actor who was playing [the using something in a dramatic way, and I said, Chamberlain's four-year-old son] Reagan, during 'I'm sorry, I'm just not going to let you do that, the scene where Meryl's rushing in and out of you cannot take that out of context,' because the tent, tearing the place apart, and the that is one of the things we are criticising, the camera's rushing in and out, and it's complete use of dramatic licence to pump up a story. pandemonium, he fell asleep for about threeThat's where the problem started." quarters of an hour. Just as Reagan was At the same time, Schepisi says, lengthy supposed to have. It was one of those things that explication didn't work. "If people explained sounded unlikely, but it happened." things to one another, or questioned things, For those who see the film, the greatest you'd put that in. But what I found was that the revelation will be the strength of the more we tried to put those kinds of things in, the Chamberlain's faith, Schepisi believes. "That more the more rejected them, it looked like we was the unshakeable thing, their Seventh Day were making excuses.

Adventism, the thing they were most criticised "You're rooted in reality, every time you try to for, and it will be the thing that will be most take flight, your feet are stuck in the mud, You reconsidered," he says. He was concerned, he can't take licence because you're dealing with adds, to find the best way to portray their people's lives. It can be difficult to make that live religious conviction. "If we did it wrongly it could as a film."

12— NOVEMBER CINEMA PAPERS

The other difficulties included the need to terrible quandary. In the end, people were very rebuild everything, as the camping areas and co-operative, but we felt the most aggravation in motels near Ayers Rock have disappeared, and Alice Springs." the courtrooms were in use. Much of the night At this stage, Evil Angels is two hours long. shooting took place in a huge shed. Schepisi is "We arrived at what we thought was it, and then full of praise for production designers George with previews in America and other reactions, we Liddle and Wendy Dixon, realised that it would and director of photography delight some people and Ian Baker for the look of the we wanted it to reach more film, moving between studio than that. It forced us to and arduous Northern relook at it, to free Territory locations, where ourselves from the quantity shooting took place in dust of facts. I want people to storms and 42 degree heat. get sucked into a story and Northern Territory then get carried away reaction to the filmmaking that's all I want people to was, Schepisi says, do. I want them to get "wonderfully ambivalent. involved and go on that There was a resentment journey... Our best and suspicion about the achievement is that it is subject matter, but on the deceptively simple, and I'm other hand, it was a 'Movie' fighting to keep it like that - Meryl Streep was in it. all the way."

You could see people in this A dingo emerges from the Chamberlain tent in the camping ground of Ayres Rock, in "Evil Angels".

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CINEMA PAPERS NOVEMBER— 13

W ES

- C R A V I N G WES

C R A V E N

T A L K S

R E S P E C T A B I L I T Y TO

A D R I A N

The Serpent And The Rainbow is not a Fans of your work know the problems you 've had particularly auspicious pretext for meeting in maintaining total control over some of your Wes Craven. As he admits in the following interview, the assignment was more or less a films, particularly The Hills Have Eyes II. How much say did you have during the making of job of work for him. All the same, the film The Serpent And The is full of fleeting ideas, grace Rainbow ? notes, and enticing hints of larger unexplored structures I had a fair amount of control that are food enough for the towards the end of the process Craven fan. of writing the script, not a great There is always a deal of control initially. When I dazzlingly systematic and came into the project the film discriminate intelligence at was already on its second work in even the least writer, and that writer was on successful Craven film (of his second draft. So it was one which there have been a few of those situations where I was since L ast House On The Left hired more as a director than as andThe Hills Have Eyes, a writer- director or as an excepting of course the great A auteur if you will. On the other Nightmare On Elm Street). As a hand, as the process wore on, I film about voodoo, Serpent is had more and more of a hand rather bizarrely caught in it. It was a process where I Wes Craven between exploitational hokum was coming into a larger group and realist authenticity (the latter quality, at of people that normally would not be least, of which Craven is very proud: working with someone from my background.

"People can look at the film 20 years from These were mainstream studio people taking now and say it's really accurate, because we a shot on me because they'd seen how well decided not to distort anything"). But certain Nightmare had done, and they'd seen my felicitous threads stand out: the keen way Twilight Zone work. But at the same time they Craven plots the action along a continuum were a little bit suspicious and reluctant from 'white' to 'black' magic; the De Palmaabout giving me too much responsibility over like concentration on the hero's point-ofthe script. Then as it wore on and they began view subjectivity spiralling by degrees into to see what my abilities were they said 'OK, a vertigo of blind alleys and dark passages; you can write all the dream hallucination the splendid narrative games with events sequences'. It stayed that way for quite a that rhyme and answer each other (most while. The final turning point was just before jollily in the gruesome castration imagery); shooting when the writer came down to Haiti the hints of dark ambiguity and to rewrite major portions of the script and to ambivalence underlying all routine life complete the third a ct. He ran into a situation events, from an effete society dinner party where he said a little bit too glibly after to rapturous love making. Not everything interviewing a black musician that he'd like in the film makes clear sense: Bill Pullman's to be initiated into voodoo. The man said narration as the adventurer-scientist-hero 'well, you will be'. In 10 days the writer went often seems redundant or merely glib; and from being completely lucid to being the precise attitude we are meant to adopt completely mad and had to be shipped back towards him is still an irritatingly open to the United States. He subsequently woke question at the film's close. Clearly, Craven up and was completely clear was trying to pull a lot of competing headed again, but he attention-factors together in the script, on wouldn't come back to Haiti the set, and well into the editing.

So at the very end I was His comments on what he does betray a given the responsibility not similar functioning schizophrenia: he is only of directing but of comfortable when talking hard-nosed writing - a bit late for my filmmaking 'shop', and equally so when he tastes, but still I rewrote the switches to his old pre-filmmaking entire third act and did a literature teacher mode (valuing in his films complete dialogue polish. themes like personal responsibility and the The end product was quite a individual against authority); but asking bit under my influence. It him to find the points where the two might was not the same as if I had meet proves not so easy. designed the script from the Even his attitude towards the horror very beginning. There were genre (and this is reflected in the things I would have strangeness of Serpent) seems increasingly changed. I would have had ambivalent: he appreciates the form as an everybody decide what they art and a craft, but his respectful references wanted a little bit more to projects based more in 'consensus reality' clearly. Because there was and surface authenticity perhaps betray a some ambivalence on the wish to touch ground more generally part of the picture as to regarded by liberal American culture as whether it was specifically 'serious' and respectable'. It is a roughly designed to scare people, or whether it was similar story with some of the other meant to inform in a totally realistic way. filmmakers of his generation and ilk - De There were moments when I thought of not Palma with The Untouchables particularly. putting the line 'A Wes Craven Film' in the Although Craven is not the kind to ever credits, since it doesn't in its essence represent dismiss his own past marvels as 'schlock', my entire view of things. fans may wonder just where his good If I had my total choice I would have had intentions are leading him. a script pure and simple about the search for 14— NOVEMBER CINEMA PAPERS

M A R T I N

the drug, and not even created the whole business of Peytraud and the conflict between these two men - even though everything about Peytraud is thoroughly researched. I like the film a lot, it gave me a much bigger palette and allowed me to deal with things that are based in consensus reality a lot more than I ever had a chance before. But it still tends to rely heavily on the darker aspects of voodooism. I think that all of us, by the time we left Haiti, were somewhat conflicted about doing a film that showed it as a scary place, because you want very much to help that place out however you can.

Your film distinguishes between good and bad uses of voodoo. Is the idea ofafascistic police chief with power over the souls of the dead purely melodramatic, or is it based on reality?

It is very much based on reality. The situation in Haiti was that nobody could ever control the countryside. All of the leaders that came after the French (and in fact the French had the same problem) could control the big cities and the plantations but they couldn’t control the rural areas. They always had problems with revolutionary activity in those areas and that's where eventually the slave revolt gained its strength. The blacks would strike at the plantations or at the cities and then go back into the deep countryside and nobody would even pursue them because they just wouldn't come out again.

What 'Papa Doc' Duvalier d id , realising that completely, was to go in and subvert the priests of voodoo whom the people in the countryside gathered around. He corrupted enough of them that he could make his secret police out of them. Once he had done that the secret police not only knew where the people lived, but where their souls were.

Duvalier could threaten not only to take a man's life but also his soul. A man like Peytraud is exactly the sort of psychopath that was operating.

There is a striking line of dialogue where the Louis Mozart character says to the hero Dennis as he gives him the voodoo powder, 'Make sure they remember my name'.

What is the significance of that?

It was something said to us hundreds of times by everybody from men like Mozart to little girls selling necklaces. They had this extraordinary habit of saying 'remember my name'. The first thing the Haitians say to you, especially if they're trying to sell you something or if they want to be your guide, is their name, and the funny thing is that they'll make up an American name like Charles. Then for the rest of the day they'll say 'remember my name'. It’s very poignant.

As we were leaving Haiti for the last time we constantly had people calling after us to remember their names, so when we were making the film it just was a very natural thing to have the scene of this man wanting to be remembered. I think the Haitians have a very profound sense that in some way they

are part of some strange twilight zone where The Serpent and the Rainbow was over it's possible to see a group of filmmakers with they are not really seen. That's why they are three hours long in its first cut, so it had to be strong affinities: yourself, George Romero, David allowed to get so poor and so utterly completely disassembled and put back Cronenberg, Larry Cohen and Brian De Palma. devestated, because nobody really thinks of together, missing a lot of parts, and There seemed a shared commitment to busting them that much. The Haitians feel that very restructured. Then there were overlays of open all sorts of political and ideological acutely and want to be known, as a nation sound: three different composers, two questions - patriarchy, the legacy o f Vietnam, and as a people and as different mixes in two and so on. And they all worked in the horror individuals. different places, and a genre. These filmmakers subsequently took all The other line Mozart has tremendous amount of sorts of different trajectories, some right away that's very significant is where changing of where scenes from that radical beginning. What about you? he says that it's hard when were in the context of the Obviously I will answer that question in you can't tell the difference film. The scene in the hotel, sympathy to my higher self and say that, of between good and evil for instance, when he finds course, I haven't sold out. But I have done anymore; but after a while the pig in the wall was things that I didn't attach much importance to that's the beginning of real originally much earlier. at all. In my mind the television movies-offreedom. Many of the people the-week I did were basically just jobs. I had One of the most sensitive that we m et, you could not no intellectual investment in them commentators on your work say 'this is a good man', and whatsoever. In retrospect I'm sorry I did is Robin Wood, in the articles you could never say 'this is a them. I didn't realise they were distributed so collected in his book bad man'. They were both widely in other countries!

H ollyw ood From Vietnam good and bad. The Haitians in But as far as remaining radical - 1 would To Reagan. Do you think general move very easily back put Nightmare On Elm Street solidly on the Wood intellectualises your and forth between actions that cutting edge of the exploration of family films too much? we consider evil and actions relationships and personal responsibility. I we consider heroic. It's just Back when I was teaching think The Serpent And The Rainbow is right part of their nature. They humanities, it always out there challenging everything from the don't see things in terms of role of the United States in the Caribbean to good and evil, but in terms of NIGHTMARE ON ELM STREET 2: fascinated me about Mark Patton shows his hand Shakespeare, in relation to the assumption that western science and a whole. the scholars that wrote religion are considered superior to anything about him, how much he provided for the In sharp contrast to Nightmare On Elm Street, of African origins. So I still feel like I'm out Cathy Tyson as the main female character groundlings. I don't mean to say this in a there doing outrageous things. I don't think patronising way, but you must be aware that Marielle has a rather passive position in the I've ever been quite as blasphemous again as a large part of your support comes from action, particularly at the end.

I was in Last House On The Left, but I feel that people who are not looking at your films as doing it again would be exploitational. To It was a problem for m e, and we struggled an intellectual exercise. On the other hand, as depict violence quite that extreme only needs as much as possible to give her real an adult and as an artist you should be to be done once. In certain'cases there needs autonomy in that last act. But it was putting your own highest intelligence into it to be a scream of outrage. disappointing to me. Ultimately it was the as well. So that in an ideal piece, whatever it In some cases directors do some really story of a hero who in this case happened to is, it should be accessible on any level. I think significant works within the horror genre and be male, but as soon as you have th at... I Mozart in music is like that. People are then, for whatever reasons, care to move on. mean for instance nobody would complain starting to hear him as easy listening without They shouldn't be obliged to do only the about Nightmare On Elm Street that the any idea of the complexity or brilliance of it. same sorts of works for the rest of thenboyfriend ends being passive, because males On the other hand, you can study Mozart at careers. To the directors themselves I think it are so typically cast as the active. When genius level for the rest of your life and can become somewhat repetitious. I'm sure they're not it doesn't seem like a big deal, never quite plumb what he did.

De Palma, after doing Body Double and others because they certainly get their fair shake, I think it should be the same way with a as part of the genre, wanted to move into whereas with women you feel as if you're horror movie. A good horror movie should more mainstream, socially acceptable things. slipping back into the old attitude. be a visceral piece of art, and it should have But The Untouchables is still a film very much Some of that was just beyond my an interior structure that is extremely well about personal integrity and standing up to control. We tried in those last few moments to thought through. I could write a book about entrenched corruption. That's completely give her some real significant action. When what I feel about Nightmare On Elm Street as a legitimate. I'm very suspicious of the she wakes up and says 'no', its the beginning study in consciousness and responsibility. But academics that think that you always have to of the change for Dennis. Generally, she is a it should also grab be out on the fringes very powerful woman, constantly telling him people by the only doing screams what's really going on, she's a Ph.D and she's throats and slam of outrage, things also voodooan. She has immense strength them against the that will totally throughout the film. It's just in those last few wall, if they're offend the middle moments that she does become passive, and there for a class. It's not that is unfortunate. rollercoaster ride. necessarily the That's just my When John Sayles was in Australia publicising essence of art. It's one approach; I try to Matewan he often tipped his hat to you as a of the things that art do it an entire genre craftsman, and cited The Serpent And should do from time thing. It's like The Rainbow as a film full of inventive to time, but it doesn't voodoo in a way, solutions to formal and scripting problems. How have to be the only at one moment important is filmmaking craft to you? thing. It certainly is entirely visceral not a test of the Very much. When I first started learning film, down to people validity or lack of I was studying and working with a man drinking blood, validity of an artist. named Roger Murphy who has since left the NIGHTMARE ON ELM STREET 3 Dick Cavett dancing in business. He was really gifted, and he had a A final point for the Robert Englund and Zsa Zsa Gabor possession, falling lot of things he would say in the editing room music buffs. Did you down on the that really have stuck with me my whole pick Diamanda Galas to supply the voices o f the ground and rolling in the dust; whilst other career . One thing he told me was that there dead in The Serpent And The Rainbow? other aspects of it are ancient and thoroughly are no magic solutions; the essence of good thought through, very sophisticated and Yes. My sound editor introduced me to her editing is beating the shit out of the material. quite wise. That's what anything you do work, and I said, "If she fives on this planet I Just keep cutting it, and cutting it, and should be, it should have that depth to it. A want her!" It turns out she's a fan of cutting it until it works, and never stop good horror movie should stand up for 20 or Nightmare On Elm St.reet. When she walked trying different solutions. It's not like you go 50 years by intelligent analysis. into the first recording session she yelled at through in one great swoop and make the me: "You gave me nightmares!"

Looking back to the early 1970s, as Wood does, film fit. Films are like enormous puzzles.

CINEMA PAPERS NOVEMBER— 15

If John Waters has one regret in life, it's that he wasn't a Buddy Deaner: "Sure. As a teenager I was a guest on this Baltimore show. I even won the twist contest with Mary Lou Raines (one of the queens of The Buddy Deane Show) at a local country club. But I was never a Deaner. Not a real one. Not one of the Committee members, the ones chosen to be on the show every day - the Baltimore version of the Mousketeers, 'the nicest kids in town', as they were billed.

The guys who wore sport coats with belts in the back from Lee's of Broadway (10 per cent discount for Committee members), pegged pants, pointy-toe shoes with the great buckles on the side and 'drape' (greaser) haircuts that my parents would never allow. And the girl Deaners, God, 'hair-hoppers' as we called them in my neighbourhood, the ones with the Etta gowns, bouffant hairdos and cha-cha heels. These were the first role models I knew. The first stars I could identify with. Arguably the first TV celebrities in Baltimore. "* Just one of the many obsessions of filmmaker John Waters, only this one has made it to the screen, in lurid and hilarious detail. Hairspray is about the same kind of TV dance party - The Corny Collins Show - a forties MGM musical lifted into the early sixties and twisted. All is squeaky clean until one of the show's biggest fans, Tracy Turnblad (Ricki Lake) auditions. She is over-weight, opinionated, always in trouble at school for "hairdo violations" and looks just like her mother, Edna, played by the inimitable Divine. A rebel with a cause, Tracy outmanoeuvres teen queen Amber Von Tussle (Colleen Fitzpatrick) and eventually wins viewers' hearts with her radical social views, her new dances and her revolutionary hairdos.

As a commentator on the more bizarre side of lower middle-class America, Waters is notorious. Revelling in the Golden Age of Trash, he has flaunted his taste for junk culture in films like Mondo Trasho, Pink Flamingos, Female Trouble and Polyester (filmed in John Waters "odorama"). But Hairspray is the first film he has made that is "literally like a memory", a wildly nostalgic step back to Baltimore, 1962.

The smooth-talking Waters, immaculately dressed with pencil-thin moustache, says the sixties decade is close to his heart. Buddy Holly, Bill Haley, the Supremes, Annette Funicello and Frankie Avalon were the rock'n'roll stars of the day; teenagers were dancing the Mashed Potato, the Waddle, the Locomotion, the Bug, the New Continental and the Madison. Waters endearingly recreates the eccentricities and gimmicks of this period - his version of a teen flick, with an historical edge.

JOHN WATERS: FROM SLEAZE TO TEASE "I always wanted to sell out. The problem is that nobody wanted to buy me."

That's John Waters' story and he's sticking to it.

KATHY BAIL talks to the filmmaker who put the more in Baltimore and the less in tasteless.

16— NOVEMBER CINEMA PAPERS

Mourning the loss of "shock value", he doesn't envy John Hughes attempting to speak to today's generation: "I don't see today's kids coming up with anything new. I mean stretch denim! They're imitating the stuff we did which is so depressing. Why aren't they shocking us? Why aren't they getting on their parents' nerves? They're straighter than their parents."

HAIRSPRAY: Mink Stole and Shawn Thompson

Devotees of Waters' earlier films may even perceive a certain mellowing (Hairspray has already attracted a wider audience) but for Waters it's part of the movie game.

Hairspray almost happened in a Hollywood studio," he explains, with amusement. "It got up two levels and then what always happens is the main head of the studio rents Pink Flamingos, watches it with his wife in a Beverly Hills screening room at 10 in the morning, and ... it's the worst resume I could have. It gets me in the door and then pushes me out; it's a Catch 22. As one guy said to me, 'give us a film we can admit we like'. They like them in private but corporately they can't. I don't know. Since Hairspray came out, all the studios want to talk."

But why Hairspray? "There's some differences with my previous films," Waters claims. "The humour is the same though. It's a comedy about civil rights starring a fat girl, a man playing her mother, Sonny Bono, Debbie Harry, Pia Zadora - not exactly what Hollywood's going to give me the rubber stamp for. But it's a personal story with a lot of

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affection for the characters. I don't think it is a put-down at all. Polyester was. And that’s why Polyester didn't work in mid-America because they didn't think it was funny; they were saving their money to buy that furniture. The response was 'What's funny about that house!"'

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I I I I r i IT i i n i CINEMA PAPERS NOVEMBER— 17

In his home town of Baltimore, Waters has the celebrity status that once belonged to the Buddy Deaners: his "bad taste" is affectionately regarded as good taste. "No, I'm not from Hollywood!" he insists. "Baltimore is where I work.

I'm away a lot but it's where my oldest friends are, my apartment, my home. It's a very eccentric city, 60 per cent black, a lot of rednecks, a severe style and a severe sense of humour. Even the mayor has a sense of humour. When Hair spray opened in Baltimore he proclaimed it John Waters Week. You have to laugh there. A lot of people have come to Baltimore after seeing my film and say I wasn't exaggerating! I glorify the parts of Baltimore the Chamber of Commerce tries to hide. They don't want tours to go where I want to take them!"

Another Baltimore boy, and Waters' partner-in-crime, was the late Divine. Waters describes him as old friend, business partner, confidant, and co-conspirator, "the best actor I ever worked with; he knew how to say what I wrote." Waters gave him his name and the "glamorous" Jayne Mansfield-type image.

He is credited in most Waters' films: as Jackie Kennedy in Eat Your Make-Up (1968); as a hit-and-run driver in Mondo Trasho (1969); as Lady Divine in Multiple Maniacs (1970); as Babs Johnson in Pink Flamingos (1972); as Dawn Davenport and Earl Peterson in Female Trouble (1974); and as housewife Francine Fishpaw in Polyester (1981).

Divine intervention takes on a different meaning in Hairspray; it takes few words, simply a look, from this extraordinary actor for the audience to crack up. Edna's visit to Mr. Pinky's shop for overweight women ("The Hefty Hideaway") with-her daughter Tracy is unforgettable.

Aside from a performance by Divine, Waters doesn't believe in a formula for comedy. It's unpredictable, unexpected. "I did four drafts of the script and the final version is almost exactly what the movie is," he says.

"When I first put a movie together it is always too long.

With comedy I think you need to shoot more because something might be very funny by itself in a scene but when you put it next to something else it doesn't work. So I always shoot too much."

H A IR S P R A Y : Pia Zadora digs Allen Ginsberg

For Hairspray, the selection of music provided a working structure. Waters started with his favourite records: "I have all those 45s in my closet. After two martinis, I sometimes used to do the Madison with my friends at three in the morning. I played the music when I

was writing the script. I'd get up and play a record and visualise the scene. I picked the music first. They're all real songs. They were all real dances. The title song was redone but all the others were real things that really happened. Most people can't believe it: I mean, the Roach!

"It was hard to get some of the music. We had a music supervisor working for eight months; it cost US$450,000.

It's a paper chase. The music has been sold so many times since the first release to obscure companies that have gone out of business and you have to make so many deals. It was complicated, though I got what I wanted, except for one which cost US$40,000 for 30 seconds. That was Sam Cooke's "Cha Cha Cha". It was robbery."

One of the major credits in Hairspray goes to hair designer Christine Mason. "She did those hairdos for real," claims Waters, who, envious of Christine's archival knowledge of different styles, has also become something of an expert in the field: "In Baltimore whatever hairdo you had at 17 you wear for the rest of your life. There are still women with those hairdos in Baltimore and they get used to that height. For them, it's the only way to look pretty when it's really a bizarre look. It's uncomfortable.

You have to wrap your hair in toilet paper every night.

One woman said to me proudly 'It stays in two weeks.'

Two w eeks!... I love it just before they go to the beauty parlour at the end when it's collapsing and you can see it sticking o u t!... Debbie Harry was great! She had hairdo injuries in the movie. That wig she wore had metal supports in it. It was so heavy her head was bleeding!"

It should be added that all this frivolity comes with a "serious message". Like its model The Buddy Deane Show, The Corny Collins Show is exclusively white. Tracy Turnblad's crusade is for racial integration; inspired by the wonderful Motormouth Maybell (Ruth Brown), she becomes a leader of the movement, her crowning as Miss Auto Show 1963 a symbolic victory for blacks.

"You can't get anybody's attention by preaching. That's the quickest way to get somebody to leave the theatre," says Waters. "If anyone can make me laugh I basically like them and will listen to them. I don't trust anybody who doesn't have a sense of humour about themselves. That and their shoes: that's how I judge people. If they have good shoes and if they can laugh they're OK ..."

John Waters is quick-witted, always ready with a oneliner (Marshall McLuhan would have appreciated his style). He is obsessive; his obsessions, he says, can change daily: Patty Hearst, teaching in prison, Christmas, the National Enquirer, murder trials, Marguerite Duras, The Buddy Deane Show, Pia Zadora, William Castle (King of the Gimmicks), Ovaltine, shoes, Hollywood, Lindy Chamberlain (after a taste of the publicity for Evil Angels at the Cannes Film Festival)...

He is unashamedly voyeuristic: "I love to watch people, you know. I can be here and look at any person and be curious. What's their sex life like? Are they nice to their mother? What are their hidden fears? Do they make money? Anything. It's really none of my business. I'm a very nosy person. But that's how you can write - by basically being curious about things."

The next project, another obsession, is in development.

"I'm just thinking it up," says Waters. "I haven't begun to write it yet. It curses a project if you start talking about it before you've done it; I mean you've got to talk about it so much after you do it! It's going to be a comedy. I’d love to have Lana Turner in it. She's the last real movie star. I like movie stars who like to have their picture taken, not the ones who hide from the press. Why did they become movie stars? I don't get it!" * Crackpot: The Obsessions of John Waters (Vintage Books)

18— NOVEMBER CINEMA PAPERS

A R C H

I V E

The National Film and Sound Archive in Canberra has been granted additional Resources during 1988/89 to accelerate its program for preservation of Australian National Film Heritage.

Experienced Personnel are required in the follow­ ing areas: Motion Picture Printing (B&W) Motion Picture Processing (B&W) Quality control/checking

Positions are available for an initial period until June 30th 1989, on a contract basis, with a possibility of further extention for suitable personnel.

Salary will be within the salary range of $20,951$22,892 pa depending on previous experience.

For further information contact Mr C. Swinbanks on (062)67 1711.

ABI-908016-6

A CALL FOR CONTRIBUTIONS — a rtic le s , p h o to e s s a y s , c ritiq u e s , re v ie w s , g r a p h ic s , d is c u s s io n p ie c e s , m e d ita tio n s , ru m in a tio n s , o b s e rv a tio n s , th o u g h t- p r o v o k in g c o n c a te n a tio n s ...

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CINEMA PAPERS NOVEMBER— 19

aymond Chandler in Melbourne, in Sydney in Brisbane ... With Al Clark as head of production at the Beyond International Group (BIG), the thriller is a genre certain to be represented on the company's production slate.

As author of the book Raymond Chandler In Hollywood, Clark feels that Sydney, at least, has enough back alleys and dimly-lit street corners to be the setting for a good urban thriller. It would need to be done with the meticulous sense of place found in a Peter Corris story, a portrait of a rough, sprawling and bright city, Recent films like Grievous Bodily Harm and Dangerous Game have set out to reinvent the urban landscape, and it is this mythologising of the Australian city that interests Clark.

"I'd like to make movies in Australian cities that are as mysterious and evocative as, say, Chinatown was of LA or Mona Lisa was of London and really explore that fantastic architecture, and the light. To someone from the Northern hemisphere, there's a cleanliness and a brightness about a sunny Australian city that suggests all kinds of extraordinary thingss. While 1think the outback hasn't been portrayed with enough mystery, Australian cities haven't very much either."

Even the most hard-boiled producer cannot fail to be captivated by the country and its unique atmosphere." Although the rural landscape of Australia has been quite well explored, certainly the desert one has often been done too literally," admits Clark. "It's interesting that the two most evocative films about the outback remain, in 1988, two films made in 1971 by overseas directors: Nicolas Roeg's Walkabout and Ted Kotcheff's Wake In Fright. I would find it exciting to make movies in Australia with directors who are likely to be surprised and inspired by the landscape."

This is the gaze of a producer and a foreigner, an extremely keen observer looking for potential. Clark joined Beyond in February this year, after working for the British film and record production company Virgin, where he held various positions, including director of publicity, creative director, head of production and director of acquisitions. As executive producer of Secret Places, Absolute Beginners, Gothic and Captive , and co-producer of 1984 and Aria, he brings an international perspective characteristic of the expanding Beyond group.

R AL CLARK THINKS BIG

Al Clark

AL CLARK WANTS TO LIBERATE AUSTRALIAN CINEMA FROM THE TYRANNY OF THE MINISERIES WHICH, HE ARGUES, HAS HAD A DETRIMENTAL EFFECT ON LOCAL PRODUCTION. WITH THE BEYOND INTERNATIONAL GROUP, HE WILL SOON BE SHOWING US WHAT HE WOULD DO INSTEAD. KATHY BAIL REPORTS. 20— NOVEMBER CINEMA PAPERS

Clark's brief is to establish a feature film division, a relatively new area for the company that has made its name in television, most notably with Beyond 2000, a slick, wide-eyed science and technology program that is now screened in more than 50 countries. While company directors Phil Gerlach and Mikael Borglund have already produced one feature film, Cassandra, in 1986, Clark's appointment was an indication of a more long-term commitment to feature production.

"When I was asked to do the job it was on the understanding that Beyond was going to be as involved in feature films as it is currently in TV," Clark explains. "My function was to find the movies to make and supervise their making. The intention is to make around four films a year, Initially with a budget ceiling of US$5 million, simply to spread our risk over as wide a number of films as possible, rather than stake it on a single movie.

"If you're going to start a new division of an already successful company, you want it to prosper. You can't be reliant on a single success. It also gives us an opportunity to vary the rhythm and the scale of the films, vary where they're made. For example, Beyond's films will be made wherever they need to be made - and no less than half of them In Australia.

"We view ourselves as a Sydneybased production company which will function all over the world.

Regardless of whether the films are made in Australia or elsewhere, they will be made only when we feel what we're doing can compete with a parallel movie from anywhere in the world. I see no point in making films that either reflect local life back at the people who lead it (this is the function of television) or which concentrate on folksy, middle-of-the-road entertainment which people don't go out to see anymore because they can stay home and see that. What I'd like to do is not allow the barometer to be, 'Is this an Australian movie?', but rather, 'Is this a movie worth making?"'

In terms of finance, little exists in terms of policy (although at the time of writing, this applies to many production companies awaiting guidelines from the new Film Finance Corporation). Clark says the company can finance films on its own, particularly where a project is developed from an inital three-line idea to the screen. In some cases, he will look to collaborate with another Australian company or an overseas company. "It depends, of course, on

the amount of interest in a film," he says. "There may be an occasion when we can sell to a Hollywood major, if it's a film we've taken to a stage where it's going to be attractive to them."

Clark emphasises the importance of maintaining a presence at overseas markets. He was at Cannes this year (with a bundle of scripts he kept carefully undercover) and plans to attend the next American Film Market. "You need this sort of focus," he says. "I'll be going to the AFM regularly, simply because we have an apartment in Los Angeles.

Increasingly, a Sydney-based production company has to spend periods of time in LA. There's no substitute for being there, no matter how sophisticated your office communications system. It's the same with London and visits to Europe."

The marketing of Australian films has indeed become more sophisticated in the eighties, with the producers targetting sections of a world market rather than banking on the sale of a film because it is 'Australian'.

However, as Clark notes, hitting on the right formula requires delicate negotiation: "I'm not advocating the kind of bogus internationalism which was the hallmark of Lew Grade's productions in the seventies - Raise The Titanic! for example. You can see the strings being pulled: You drag in an American, a French actress, a Dominican director, put it all together like you would in a laboratory.

"I'm not saying that making films isn't a science as well as an art, but it is not a science upon which you can force elements. There is either a rightness about what you're doing or a wrongness that no amount of cosmetic attention can put right. I'm advocating getting the right actor for the part, and if they happen to be American then that's who you should get. I'm very concerned that there should be no confusion between the kind of international filmmaking I'm advocating and the kind that is simply to do with embroidery. The latter doesn’t interest me in the slightest: the former interests me a lot."

Clark argues that the Australian film of the late seventies and eighties that has most affected world cinema is Mad Max. "There have been more rip-offs of this than any other film," he says. "My favourite is Mad Max 2.

Mad Max betrayed its low budget and Mad Max: Beyond Thunderdome betrayed its excessively high budget.

The second one was absolutely perfect. I think it is the only really extraordinary film that Australia has produced: it was so striking, it provided the springboard for countless imitations. That's the kind of cinema that, when you strike upon it, is the most exciting of all.

"Crocodile Dundee is a good movie because it has half a dozen really good jokes built around a character who is genuinely engaging.

That's another path to follow ..."

Post-1 OBA, Clark hopes there will

Absolute Beginners: an earlier big picture from Al Clark

be a "focusing of intention" in the Australian film industry. He says the demise of 10BA was timely, and that its two greatest drawbacks were becoming worse. Firstly, the restrictions placed on a producer in terms of who they could and couldn't employ lessened the chance of selling internationally or obtaining a high level of presale. Secondly, a system controlled by brokers was likely to lead to too many inferior films that had no reason for existing - not even for a domestic market which was unable to support them.

However, he believes that there have been advantages. "Initially, 10BA created the opportunity for a lot of people to make films and many of them have gone on to make better films," says Clark. "It hasn't actually done any individual any harm. The only harm that it has done is that it created a tidal wave of movies where the question, 'Who is going to see this?' has not been asked. As a result, it must be replaced with a system of supports that is much more to do with commercial interests, although not a disregard for artistic considerations it would be really boring if everybody was making half-assed, cut price

versions of kung fu movies.

"The cost of a film has to be tailored to who you think is going to see it. There's no point in making a film unless you are confident that it is as good as its competitors. I'm suggesting a bit of realism, a desire to make the industry prosper, because it doesn't just revolve around Crocodile Dundee or its biannual counterpart, it revolves around a potency in Australia cinema, a clear notion about what's going to work."

Clark's plans are clearly for the big screen rather than the small; while the company continues to develop television product, he intends to keep his distance. He has a theory about Australian television which makes him cautious, or perhaps keen to lay new groundwork.

Australian drama, he claims, has been monopolised by the TV miniseries. "The miniseries is so important proportionally in the total amount of drama produced in Australia every year that I think it's become the yardstick by which everything else is measured.

Aesthetically, that's a problem, because you can't view a movie as a contracted miniseries. If it is a movie then it has to have speed, shine, mobility, persuasiveness, comprehensibility. If it's a miniseries it has to work as TV drama, and be full of characters that people want to watch the night after. Although the excellence to which everyone aspires is similar, the actual mechanics of reaching it are different. The benevolent tyranny of the miniseries has created a lack of tension in a lot of Australian films. If you’ve been ' working on miniseries for a number of years, it's quite difficult to adjust to the needs of movies.

"My instinct at the moment is that the really good new Australian directors are not going to come from theatre or television, they're going to come from commercials and pop promos. What this will lead to in some cases is empty-style movies but, on the other hand, it will crank up the flash and self-confidence of these pictures. If you're dealing with a genre that's so reliant on these qualities, like the thriller, better to have it directed by a commercials' director who learns how to get performances than somebody who is only interested in performances and literally points the camera at them. That doesn't create any fizz."

CINEMA PAPERS NOVEMBER— 21

VIEW POINT

Hogan's Heroics STEVE J. SPEARS claims to be the only person in Australia who prefers C rocodile D undee II to its predecessor. Here's why.

I didn't like Croc I very much at all. I mean, I got i t ...

Tarzan goes to NY; Boy Meets Girl; "Now that's a knife"; Hoges had muscles and looked heroic; Linda had buttocks that were a delight to behold etc ... but even though I got it, it seemed to be a rather long series of sketches - The P au l H ogan Show on wide screen.

I never liked The P au l H ogan S how either. It seemed to be mostly Benny Hill meets Increasingly Exhausted Gag Writers.

And yet, and yet, I like Paul Hogan. I loved his A Current A ffair stuff, the Winfield and Fosters stuff later on, I liked his work in Anzacs, I like his interviewee style - laid back and "let's not get too excited fellas". I thought his Academy Award opening speech was a polished gem and I agreed with every word in his 60 M inutes shaft at the media.

Even though I have never met him, I grew up with Hogan and I relish his success. As for shtupping Linda ... wouldn't you. And even if you wouldn't, ain't no one's business but theirs and the family'sSo, it was with apprehension that I went to see Croc II. If the first one left me virtually stone-faced and decidedly un-uplifted, then I'd probably need to arm myself for the sequel (which, to put it mildly, has not been acclaimed as much) with poison pen and a vomit bag.

And guess what? I loved it. I think I'm the only person in Australia who thought that Croc I was a crock and Croc II was a little diamond. Sure, the plot creaks in spots and some of the devices are iffy, but this movie moved me because, unlike most Oz movies, this film is about something. It's a comedy-thriller about love.

Mick and Sue don't actually make love, but oh, boy, when they even look at each other it's damn near pornographic.

There's a scene in NY when one of Mick's friends gently hints that Linda might be dead. Mick's face becomes both hard and confused; if the bad guys have killed her, then their other crime is that they have killed love. It's also clear that (a) Mick will avenge this and (b) Paul Hogan's dramatic acting skills have never been sharper.

But it's about another sort of love, too. Mick Dundee is in love with people. And Paul Hogan - as co-writer and executive producer - is in love with Oz blacks.

For all the slamming that it's got from the 'intellectual' cinema press, this is one of the few mainstream Oz movies that doesn't patronise or ennoble blacks. In Mick's world, folks are folks. Near the end of the movie, when he's in trouble, he sends out a distress call to some friends who come along and give him a hand. The friends are black and - it is strongly suggested - his tribal brothers.

But this mob isn't a bunch of Tontos "kemo-sabe-ing" to the Great White Man. They're as dangerous, capable and witty as Mick is himself. A couple of scenes to illustrate.

22— NOVEMBER CINEMA PAPERS

Paul Hogan

Ernie Dingo and his grumpy mate are guarding some bad guys. Ernie's mate pokes one of the villains in the stomach and mutters something. Linda enquires what that was all about. Ernie calmly says that his friend wants to know if he can eat the fat one. Then, with perfect timing, Ernie's face breaks into a big grin, wide as the sky, and he winks slowly. The joke's on you; loosen up, whitey, we're all in this together.

Ernie's disgruntedly mate is chomping on a fried bat.

Someone asks him whether he is really enjoying that.

"Nah," says the sourpuss, "needs garlic.�

There's an earlier scene in New York where Mick's being chased by a drug dealer with a gun. Two Japanese tourists who don't know Mick come to his aid with some highkicking karate. Why did these men risk their lives to save him? They did it because it's the sort of thing that Mick himself would have done - if someone's in trouble, give 'em a hand.

In the present climate of Asian-bashing, with Howard and the Lib/Nats threatening everything from turning back the yellow hordes to tearing up any treaty that we might eventually (and belatedly) sign with the Oz blacks, this movie is a timely tonic.

The two NY Japanese tourists decided that Mick Dundee was Clint Eastwood. They're partly right. Mick and Hogan might be too embarrassed to say it, but the message in Croc I I was: "Make my day; be kind to one another."

P.S. I laughed a lot.

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If you are planning a documentary for completion in 1989 or 1990 and wish to apply for a conditional pre-purchase, please ensure that treatment, budgets, CVs for key personnel and a note o f likely delivery date reach me no later than 31ST OCTOBER 1988. Final decisions will be made by 16th December 1988.

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CINEMA PAPERS NOVEMBER— 23

BOULEVARD OF BROKEN DREAMS 7.11 am in Tinseltown. Wake up the to the speedy DJ. Play back the messages on the answering machine.

Everybody wants something. Jump in the Mercedes coupe. Rodeo Drive and Sunset Boulevard. Michael Jackson and Mickey Mouse in stars on the sidewalk. And the Hollywood sign, up there on the hill, reminding us all where we are.

Tom Garfield (John Waters) has inhabited this world for 10 years, but it hasn't left a trace on his accent.

He's a playwright and a screenwriter, with a truckload of awards and the hottest producers in Hollywood hanging on his every word. But at the opening of Boulevard Of Broken Dreams, he's heading back to the country he left a decade ago - back to Melbourne. "I can't keep running away from the past," he says. So, with his Lacoste t-shirt, Gauloises and Vuitton luggage, he heads for the the suite with the white piano at the Regent Hotel.

The white piano is one of the many tangible signs of Tom Garfield's success. He's much more sought after than John Garfield, and almost as widely known as Garfield the Cat. He's on the cover of Rolling Stone.

His name is familiar to Melbourne taxi drivers. The man at the hotel desk recognises him after a 10-year absence. His play, The Human Heart,

24— NOVEMBER CINEMA PAPERS

is playing to packed houses at the Athenaeum.

So what is he doing back in town?

He has come back to reclaim the wife and child he lost three years ago, when his obsession for work and his dependence on alcohol drove them away. But his insistent approach frightens off his wife, Helen (Penelope Stewart). She is involved in what she sees as a 'safe' relationship, and she doesn't want it threatened by his return.

His wife might not want to see him, but the world does. Theatre producer Geoffrey Bormann (Kevin Miles), in an overblown pantomime performance, bails him up and cons him into giving a press conference, where he talks of the playwright as surrogate mother. "I sell my children to strangers," he says, explaining to a hostile fourth estate why he hasn't seen the Broadway production of The Human Heart, and won't be going to the Melbourne one. Then he announces that he has sold his last offspring - he won't be writing any more plays.

But Suzy Daniels (Nicki Pauli), the female lead in The Human Heart, slips under his defences and prevails on him to come to the show, a twohander with costumes out of Noel Coward and a set out of a Tia Maria ad, if the glimpse we see is anything to go by. The packed house gives it a massive standing ovation, and Garfield slips backstage to tell her that she's a star.

Wife and child are not the only aspects of the past he has to reclaim.

There is also Ian McKenzie (Kim Gyngell) best friend and colleague in the salad days of Melbourne alternative theatre - shown in blackand-white flashback, with John Waters in a shaggy Alan Bates wig.

McKenzie is a writer, but he has stayed faithful to the aesthetics of a poor theatre: he's a long way from the suite with the white piano. Gyngell plays him as self-consciously lowlife, jumpy, self-deprecating, but tempted

by Garfield's offer: the treatment that Hollywood producers are pressing Garfield to write, McKenzie is to take on instead.

Will success spoil Ian McKenzie?

We are not to know. We know, most definitely, what it has done to Tom Garfield. John Waters' performance catches the polished desperation of his character: but the pressures of fame are spelled out with the utmost gravity, and the symbols of success seem, paradoxically, to be advertisements for it.

Philippa H a w k e r B O U LE V A R D OF B R O K E N D R E A M S : directed by Pino Amenta. Producer: Frank Howson. Executive producer: Peter Boyle.

S creenplay: Frank Howson. D irector of photography: David Connell. Editor: Phil Reid.

P roduction d esigner: Tel Stolfo. Sound recordist: Andrew Ramage. M usic: John Capek. Cast: John Waters (Tom Garfield), Penelope Stewart (Helen Garfield), Nicki Pauli (Suzie Daniels), Kim Gyngell (Ian McKenzie), Jacinta Stapleton (Jessie Garfield), Kevin Miles (Geoff Bormann), Ross Thompson (Cameron Wright), Andrew McFarlane (Jonathon Lovell).

Production com pany: B oulevard Films.

Distributor: Hoyts. 35mm. 97 mins. Australia.

1988.

THE UNBEARABLE LIGHTNESS OF BEING Philip Kaufman is a director without what we have come to recognise (in however woolly a fashion) as 'personality'. He is one of those filmmakers notable not for who he is (an auteur), but rather for something he does. Kaufman is a body snatcher, a simulator. Almost every project he undertakes seems poised ominously in relation to a pre-existing film, filmmaker or film type. Thus he works over an old classic (Invasion Of The Body Snatchers, appropriately enough); a grand, dead genre (The Great Northfield Minnesota Raid)] a current sub-genre ( The Wanderers); or a cultural sensibility (Hawksian heroics in The Right Stuff). The tone is one neither of rapt homage (Lucas) nor righteous critique (Altman).

Instead, a coolness, a steely sense of satisfaction for having reproduced precisely all the right surface moves.

No 'soul', perhaps. But something curious and certainly postmodern nonetheless: a nagging sense of the abyss between the original and the copy, an inadvertent exaggeration of all the now/then or here/there differences that undermine the naive gesture of reproduction.

The Unbearable Lightness Of Being is a fake European Art Movie, made by an American. It is a completely monstrous, in fact obscene artefact. One has never seen anything so horrifically obsequious: the Czech accents, the actors and cinematographer from Ingmar Bergman's troupe, the young Godardian actress who is made up like Anna Karina, the three hours of running time ... and the endless arch gazes under heavy eyebrows, the pithy quotable lines ("Life is rather... light"), the dreamy autumnal colours, the symbolic inserts, the throwaway moments of 'Bunuelian' humour supplied by Bunuel's scriptwriter. The film is truly an offence to one's memory of The Right Stuff (which was, among other things, a model adaptation, whereas this is a disgraceful one). Yet there is a sense in which this unbearable film, because it is so unnatural, throws into relief that cultural item we call the art house movie, pointing up that in fact it is a cultural item like any other, a genre like any other, an act of market

Sabina (LE N A O LIN ) in a scene from the film

exploitation like any other.

I find it hard to experience this film (cringingly) as anything but a relentless procession of art cinema gestures, signs, poses. Young Tereza (Juliette Binoche) who stands for the innocent life force (like the proletarian postie in The Sacrifice): watch her 'unaffectedly' skip, stumble and blush. Passionate Artist Sabina (Lena Olin): a telling moment of pathos as she pauses before her image multiplied and splintered in the broken mirrors of her art. Suave prick Tomas (Daniel Day Lewis): follow him as identification figure from snobbish superiority (Tereza: "I'm reading Anna Karenina by Tolstoy"/Him: "Oh, that Anna Karenina") via cool understanding and resistance (politics as individualist ethics) to empathetic lovingness - a voyage from lightness to heaviness, uncommitment to commitment, and black roll-neck jumpers to loosefitting, nature-coloured rural wear.

This is an art film where 'the State' is a table-full of old, ugly men; and 'liberation' is expressed in a band switching from the Czech original of "The Carnival is Over" to a jazz-rock jam. And then there's the 'eroticism'.

When I hear people fresh from this film mention 'eroticism' -- taking the opportunity to hail (as did Time) its miraculous 'return' to cinema - 1reach for my revolver. For this is pure coffee table eroticism, of the kind served up by art cinema continuously for three and a bit decades. (Given any chance, I'm sure the-film's characters would gladly get down to it on a coffee table, preferably in front of a mirror, and with bowler hats on.) The film's eroticism is equally a matter of

gestures, signs and poses indomitably static and glossy. The much acclaimed scene of Sabina and Tereza's photo session, with its frisson of implied lesbianism, and its right-on assertion of a sisterly vibe which the roll-neck prick will never comprehend, is a veritable locus classicus of delicately liberal art cinema pussy­ footing. No energy or heat here - just choreography.

We have also been hearing, ad nauseam, that Unbearable is a film 'about' that perennial (very real and serious) chestnut of 'the personal and the political' - how (in this case) love and sex interact with/reflect/are determined by larger historical forces and social contexts. The most one could truly say is that the film merely (in George Alexander's memorable phrase) "fondles the articulation" between the personal and the political, simply issuing a vague wave in the direction of the relevant connections. This, too, is something in which art cinema today (Bliss; Family Viewing, Sammy And Rosie Get Laid) has been trading for three and a bit decades. Gaga reviewers enslaved to the art house ethos tend to fall straight in line, continuing the relay fondling. To do so, they deploy a barrage of smart sounding, charmingly paradoxical x-and-y equations: "a film about the inextricable, unknowable links between love and hate, art and life, rebellion and commitment, the individual and society ..." To say this much and then stop dead is usually bluff enough.

Kaufman himself may have spoken the first and last word on the matter when he disarmingly stated

CINEMA PAPERS NOVEMBER— 25

that Unbearable "is not a political film". Yet the fact is that the film itself clearly wants to have it both ways gesturing towards the political context whilst finally elevating the personal above It as the only thing that really matters. Take the whole section concerning Tereza's adventure as a hot political photographer during the street scenes of the Prague Spring.

The sound and fury of real history is there all right (in crowded long and mid shots), but over and above it is the celebration of spunky little Tereza herself (In extreme close up): seeing, daring, darting in and out of it all. Her dexterity as metteur en scene seems ominously to echo that of Kaufman himself: look at how artfully he restages famous news photos of the event, spectacularly freezing them in black and white at the moment of truth!

Tereza's photos lead to a grave consequence: they are used within the fiction to identify and imprison political dissidents. Yet this is scarcely rendered significant as a political fact; only an individual moral trauma for Tereza as she reels and faints. Then she wakes up elsewhere - the film is off on a new track, and those prisoners are but a dramatic memory, a temps fort in the flow. The political is consistently reduced to a merely spectacular backdrop. This logic Is the mirror inverse of Sammie And Rosie. There, personal exchanges are viewed misanthropically as insignificant, irrelevant fumblings In the midst of state oppression and street resistance; here, the notion that 'love will find a way' through the muck and chaos of the political is validated and valorised (the ending, in particular, is pure B//ss-style middle class escapism). Both versions of the personal/political relation seem to me equally debilitating, conservative and obscene: art cinema in a nutshell.

Adrian M artin T H E U N B E A R A B L E L IG H T N E S S OF B E IN G : d ire cte d by Philip Kaufman.

Producer: Saul Zaentz. Executive producer: Bertil Ohlsson. Associate producer: Paul Zaentz. Screenplay: Jean-Claude Carriere, Philip Kaufman, based on the novel by Milan Kundera. D irector of photography: Sven Nykvist. Editor: Walter Murch. Production designer: Pierre Guffroy. Sound: Chris Newman. Cast: Daniel Day Lewis (Tomas), Juliette Binoche (Tereza), Lena Olin (Sabina), Derek de Lint (Franz), Erland Josephson (The A m bassador), Pavel Landovsky (Pavel), D onald M offatt (C hief Surgeon), Daniel O lb rych ski (In te rio r M inistry o ffic ia l).

Production company: Orion. Distributor: Hoyts.

35mm. 171 minutes. USA. 1988.

26— NOVEMBER CINEMA PAPERS

RED SORGHUM With his directorial debut, Red Sorghum , it looks like Zhang Yimou, who once rode the crest of the Chinese cinema's iconoclastic New Wave, has now coasted safely onto the shores of respectability. Zhang, who previously was best known abroad as the cinematographer for Yellow Earth, is certainly the Chinese film industry's success story of the year. The year began in September 1987, when the Tokyo film festival judges awarded the prize for Best Actor to the 37-year-old filmmaker for his role in Old Well, his first-ever appearance on screen. In February, Red Sorghum had its international premiere at the Berlin film festival, where it captured the top award, the Golden Bear. And now Zhang is a Golden Boy, profiled, written about and praised in strait-laced official forums, such as the People's Daily. â– Although critics on China's unchic radical fringe attack the film for straying from the straight and narrow path of socialist realism, most members of the cultural establishment seem to like Red Sorghum well enough. Perhaps one reason is that it is the first major film

by China's younger generation of directors which makes no attempt to be provocative or politically controversial. Zhang Yimou freely acknowledges that, unlike Yellow Earth and other films of the Chinese NewWave, Red Sorghum contains no "hidden" messages; there's "not much", he says, to read between the lines.

What Red Sorghum does have is the kind of poor-peasant exotica which seems to titillate the fantasies of ideologically-correct art house audiences the world over, and enough sex and rowdiness to appeal to the ideologically-unconcerned masses in China itself. It features bandits, lepers, sex, drink, Japanese soldiers, violence, bravery, and a lovely new starlet in the lead role.

Like Yellow Earth, the story begins with a rural wedding, complete with what since Yellow Earth have become all the usual set pieces: stentorian music, skeins of red cloth and an unhappy bride. There is also some noticeable stylistic continuity with Yellow Earth, for example, the use of direct, close, frontal shots, particularly In scenes involving rituals

of some kind; the actors line up and perform for the camera.

The story of Red Sorghum, however, lurches along at an awkward pace, a romance one minute, a bandit tale the next, and, in the end, a propaganda-like tribute to the heroic spirit of the Chinese people. The characters, as in Yellow Earth, tend to be ciphers, rather than well-rounded personalities, although In Red Sorghum they don't seem to stand for anything at all. The men act like rowdy adolescents, and the woman is little more than a male fantasy. A beautiful virgin, she gives herself to a man who has terrorised her by chasing her through the fields with a mask over his head - when he lifts the mask and she sees it's a fellow with whom she once exchanged one or two glances of mutual appreciation, she smiles and sinks to the ground, ready for ravishing. Not long afterwards, this wild young thing turns into the masked man's faithful wife and the mother of his child. When I told Zhang that I found all this a bit distasteful, particularly the egregious elements of rape in the "seduction", he responded by laughing heartily and expressing surprise. "I never thought of it that way," he said. "We Chinese men really are chauvinists, aren't we?"

According to Zhang, the whole point of the film is to show what Chinese people could be like if they would stop living in their characteristically repressed fashion, if they followed their natural instincts Instead of culturally-programmed conservative mores. In Red Sorghum, he says, "people love, they hate, they live their lives with zest and passion." He confesses that, personally, he doesn't dare do this sort of thing himself because "society doesn't allow It. If you try to live like that in China, you won't live long.

They might not kill you physically, but they'd kill you spiritually. But why shouldn't people enjoy their lives?"

Linda Jaivin RED SORGHUM: directed by Zhang Yimou.

Screenplay: Chen Jianyu, Zhu Quan, Mo Yan. Director of photography: Gu Changwei. Music: Zhao Jiping. Art direction: Yang Gang. Cast: Gong Li (The Bride), Jiang Wen (The Sedan Carrier), Liu Ji (The Child), Ji Chunhua (The Bandit Chief). Production company: Xi'an Film Studios. Distributor: Ronin. 35mm. 90 minutes.

China. 1988.

THE WHALES OF AUGUST Nothing very much happens in The Whales of August, in the way that nothing very much happens in a Chekhov play. That is, the surface of the lives it depicts is disturbed only by the minutiae of everyday living and the deeper currents which threaten crisis are ultimately deflected, leaving the surface nevertheless subtly changed.

In Lindsay Anderson's film, the lives that matter are those of two old sisters, Sarah (Lillian Gish), hopeful and romantic, and Libby (Bette Davis), blind and acerbic, living out their daily rituals on an island off the coast of Maine. Sarah tends the garden and prepares meals and, in the film's "crisis", wonders if she can go on looking after Libby who "was always a difficult woman at the best of times", according to their cheerful, flirtatious neighbour Tisha (Ann Sothern). The crisis passes when Libby gives in to Sarah's yearning for a picture window, a gesture to the future, and two gnarled hands reach out to each other across the screen.

In the superlative last segment of the film, the two old ladies walk slowly down to the point, wondering if the whales have all gone. "You can never tell," is Libby's quietly life-affirmative answer.

If this sounds like sentimentality, that is my fault. Sweetness and strength, not sentimentality, are the film's hallmarks. Anderson, the director of If... and O Lucky Man, is not interested in a variation of On Golden Pond. He offers old age without quavers or quaintness, and without compromise in the sense that there are no young people to offer obvious contrast and no attempt to smarten up the film's pace, which is unhurried but never slow. The pace is mimetic of the lives represented, and pause and stillness are as important as movement.

The film's control of mise-en-scene is masterly, whether of the warm, beautifully lit, pine-panelled interiors or of the serenely lovely exteriors. In the former, the camera moves with unfussy fluency to rest upon the relics of a lifetime; in the latter the moonlight shimmers on and shadows drift across the waters of the bay in ways that are instinct with drama rather than mere pictorialism. The eye is

wedding to her long-dead husband, again and again struck by the sheer and Davis's stroking her face with the beauty of the compositions, but it is a locket and strand of hair of her late beauty that tells us about the lives lived in this place, not just the result of • husband are as moving as anything either has ever done. formal virtuosity.

It is not often the cinema offers Ann Sothern, Vincent Price, as a actresses in their eighties full-length Russian emigre of romantic if doubtful roles, let alone roles which do them provenance, and Ford alumnus, Harry so much honour. Neither has had Carey Jr, as a local handyman, • such an opportunity in nearly 40 provide the most engaging support to years and they rise magnificently to the two incomparable performances the occasion. Anyone interested in at the film's core. the cinema's acting traditions will From Lillian Gish and Bette Davis, want to see The Whales of August, so Anderson has wrought performances will anyone interested in seeing the which miraculously and aptly seem to spectacle of life subtly transformed sum up their whole careers. The fact into the stuff of drama. of their belonging to two different acting generations and traditions Brian M cFarlane one the greatest silent screen actress, the other arguably the greatest talkies star - is made to work in the film's T H E W HALES OF AUG UST: directed by favour, as are their on- (and off-) Lindsay Anderson. Producers: Carolyn Pfeiffer, Mike Kaplan. E xecutive producer: Shep screen personae. The endurance Gordon. Screenplay: David Berry, from his play. and purity one associates with Gish, Director of photography: Mike Fash. Editor: the tenacity and abrasiveness of Nicolas Gaster. Sound: Donald Summer. Cast: Davis, are at the service of roles Bette Davis (Libby Strong), Lillian Gish (Sarah Webber), Vincent Price (Mr Maronov), Ann which draw on both and which extend Sothern (Tisha Doughty), Harry Carey Jr them in ways that are beautiful to (Joshua Bracket), Frank Grimes (Mr Beckwith). watch. Gish's celebration by Production company: Alive Films. Distributor: candlelight, with a glass of port and CEL. 35mm. 90 minutes. USA. 1987. rose, of the anniversary of her

TH E W HALES OF AUGUST: Lillian Gish and Bette Davis

CINEMA PAPERS NOVEMBER— 27

NGATI "During the early invasions," writes Barry Barclay, director of Ngati, "there was the musket... And that musket was in the hands of others. Today there is a new musket - the camera ...

And worldwide, the new musket is controlled by the majority invader culture." Ngati is the first feature film to have been written, directed and co-produced by Maoris - in fact, it's the first such film by an islander group.

There are only three million people in New Zealand and recent estimates put the Maori population at around 10 per cent. It was with some difficulty, then, that Barclay put together not only a predominantly Maori cast, but a technical crew which was not predominantly Pakeha (white). There wasn't a single Maori film editor or camera operator to be found, and the only two sound people who were Maori were tied up in television. In the end, Barclay ran a short course for unemployed Maoris in Hawke's Bay, and trained his own technicians.

It seems like a lot of trouble to go to; it begins to look like a kind of dogmatism, but the backdrop for this film is overtly political, even if the film itself is not.

Ngati, which means "tribe" in Maori, is set in a little East Coast town after the return of the Maori Battalion, about 1848. It's a prodigal son story which takes place during the period of greatest change in Maori lifestyle, perhaps, since the introduction of the

28— NOVEMBER CINEMA PAPERS

musket. Mass migration to the cities, changes in technology, centralisation of industries - in short, modernisation in all its glory, hits the town of Kapua and the conflicts which emerge are not only between Pakeha and Maori but between Maori of one generation and Maori of another.

There are several subplots to the story. The first concerns the arrival of Greg Shaw (Ross Girven) who was born in Kapua and raised in Australia.

His father has sent him back for reasons which are not entirely clear to him, although they are no mystery to anyone else in town. Greg's subsequent discovery of his roots and the radical shift in values it precipitates are, while central to the film, among its least convincing aspects.

He arrives as an insensitive, bigoted "typical Aussie loudmouth", with attitudes as inappropriate as his suit and tie. Among his first and most memorable comments is a line about how the "Abos" back in Australia are "thick as fenceposts". But by the time he gets on the bus to leave again he is proclaiming, somewhat piously, "I thought I was sent here to teach the natives something about the outside world. I've been a bit stuck up. I was the pupil."

It's all a bit too gee-gosh simple.

But from an abstract point of view the "Maorisation" of the Pakeha - a different kind of assimilation - is an interesting solution to the problem of racial relations.

The other strands of the main narrative - which bear similarly on the

issue of culture clash - are more solid.

One concerns a little boy who is dying of leukaemia and the question of whether he should be treated traditionally with prayer or dosed with Pakeha medicine in the form of pills.

Another has to do with the closure of the local freezing works, which the white masters say they can no longer afford to run, but which Kapua cannot afford to lose.

Wi Kuki Kaa (who played Te Wheke's brother in Utu) puts in a tremendous performance as Iwi, father of the dying boy and saviour in the economic crisis. He, like Greg, goes through a softening in the course of the film. We encounter him first as a staunch conservative, whose distrust of the doctor's diagnosis is exceeded only by his distrust of the station manager's word.

Among his biggest problems, however, is his daughter Sally (Connie Pewhairangi) who has moved back to the city with a head full of modern notions and a marked disrespect for the old ways. From Iwi's point of view, Sally represents all that is going wrong with the world; from Sally's perspective, Iwi manifests the kind of narrow-mindedness and superstition that is keeping the Maoris out of the stream of progress. .There is no meeting place for those two on the futile battleground of the boy's incurable sickness. But when it comes to Kapua’s economic selfdetermination - Iwi's willingness to work with the Pakeha, Sally's commitment to stay with her people there is room for reconciliation.

The objective of Barry Barclay and scriptwriter and associate producer Tama Poata was to show Maori life through the eyes of Maoris with as little intervention on the part of the Pakeha as possible. It is worth noting that the film was produced by John O'Shea, who has produced many of Barclay's previous documentaries, including the six-part series Tangata Whenua. And it has been suggested that the New Zealand Film Commission, which partly financed the film, might have been reluctant to commit itself to an all-Maori project without the support of a veteran like O'Shea.

Certainly these kinds of concerns are not fantastic. When he was making Tangata Whenua Barclay kept secret his membership in the radical political group Nga Tamatoa, "because it would have been difficult to maintain funding for Tangata Whenua if the television hierarchy had had any inkling that Nga Tamatoa was in any way involved behind the scenes".

It should be stressed, however, that for all the heavy ideology that surrounds this film (Poata describes the script explicitly as "a 'statement' of struggle from the indigenous people of New Zealand") it is not a heavy film.

It is a gentle film. When Ngatitook first prize at the Taormina Film Festival it was praised for, among other things, "the beauty of its images and the precise description of its characters". While it is undoubtedly lovely to look at, its triumph is surely in the delicacy of the relationships which are established. And this is even more surely the result of Barclay and Poata's determination to keep the project in the hands of those whose lives it was meant to express.

As one of the characters in Kapua says, when asked how they handle trouble in a one-constable town (where the constable doubles as a barman, no less): "We're all related anyway. It's easier to handle family."

C hristina Thom pson NGATI: directed by Barry Barclay. Producer: John O'Shea. Associate producers: Craig Walters, Tama Poata. Screenplay: Tama Poata.

Director of photography: Rory O'Shea. Editor: Dell King. Art director: Matthew Murphy. Sound: Robert Allen. Music: Dalvanius. Cast: Tuta Ngarimu Tamati (Uncle Eru), Ngawai Harrison (H ine), Wi Kuki Kaa (Iw i), O liver Jones (Ropata), Ross Girven (Greg Shaw), Johnny Coleman (Drover), Connie Pewhairangi (Sally).

Production company: Pacific Films. Distributor: Australian Film Institute. 35mm. 89 minutes.

New Zealand. 1987.

AS TIME GOES BY On the release of Rikky And Pete, Nadia Tass and David Parker spoke of their preference for making light films about serious subjects, rather than serious films about light subjects. An admirable sentiment, but one rarely realised effectively. As Time Goes By attempts neither. Barry Peak has made a light film about a very silly subject, and seems to have had a marvellous time doing it. The film throws together aliens and surfers, rednecks and astrophysicists, dust, lice and the ozone layer in a variety of bizarre combinations. A cruel but fair policeman and an independent woman rancher are added as stabilisers, and the whole thing is set in motion by two chicks in a yellow Kombi.

in which its various pieces work together, or fail to work. Its potential is often squandered by poor acting, direction or the weakness of the script.

As the alien, Max Gillies is disappointing: his non-stop, hypedup Hollywood babble sits uncomfortably beside the casual, off­ beat humour of the rest of the script, and the juxtaposition provokes more gritting of teeth than uncontrollable laughter. The same is true of Cheryl (Deborah Force), inhabitor of the Kombi, who continually relives an assortment of past lives.

A sentimental sub-plot concerning a father-son reunion contains all sorts of possibilities for mawkish disaster, but it manages to avoid them all thanks largely to Bruno Lawrence's very dry performance.

There is a certain self-reflective quality about the film, a recognition of its own silliness and improbability.

This recognition flavoured the whole story, but rarely became obtrusive or self-conscious. It merely invited us to join in the fun.

And fun is what As Time Goes By is all about. It removes itself entirely from anything real, social, political or contentious. Like Joe Bogart's Diner (alias the alien's spaceship) it just sets itself down in the middle of the desert and begins a benevolent manipulation of the local population, initiating loops and chains of action and reaction. Along the way it toys with ideas of science and ignorance, bigotry, reality and time - but these concepts are just toys. They are picked up, rattled around for a few laughs, and then discarded. The film also draws on a variety of genres Westerns (apple pie and spaghetti), science fiction and common filmic notions of the Australian comedy. It is simply a cheerful, innocent, inoffensive comedy - flawed, certainly, but still funny.

M elinda Houston

AS T IM E GOES BY: Max Gillies

The film tells the story of Mike the Surfer (Nique Needles), summoned to the remote north to keep an appointment with an alien (Max Gillies). On the way he meets the aforementioned policeman and rancher, played by Bruno Lawrence and Marcelle Schmitz (respectively, if not respectfully), and the rest of the narrative is concerned with their unlikely adventures. Perhaps the most curious thing about the film is the way

AS T IM E GOES BY: directed by Barry Peak.

Producer: Chris Kiely. Executive producer: Phillip J. Dwyer. Screenplay: Barry Peak.

Director of photography: John Ogden. Editor: Ralph Strasser. Production designer: Paddy Reardon. Sound: Steve Haggerty, Tim Chau.

Music: Peter Sullivan. Cast: Bruno Lawrence (Ryder), Nique Needles (Mike), Max Gillies (Joe Bogart [The Alien]), Ray Barrett (J.L. Weston), Marcelle Schmitz (Connie Stanton), Mitchell Faircloth (James McCauley), Deborah Force (Cheryl), Christine Keogh (Margie). Production company: Monroe Stahr. Distributor: The Other Films. 35mm. 95 minutes. Australia. 1987.

CINEMA PAPERS NOVEMBER— 29

COLORS "There's these two bulls sitting on a grassy knoll overlooking a herd of Jerseys, and one bull says to the other, 'Hey Pop, why don't we run down and fuck one of those cows. ? ' But the papa bull says, 'No son, let's walk down and fuck 'em all.' " Hodges to McGavin C olors.

There's a precariously shaky but indivisible connection in Colors between sex and police work and professionalism. And it reaches out to the extent that even the very possibility of making a collar or busting street gangs is almost synonymous with sex. The bull story is one example of many, and one which points out two divergent" attitudes toward dealing with the LA streetgangs, the Crips and the Bloods. The young bull obviously stands for Danny McGavin (Sean Penn), the brazen new hot-shot of the special LAPD CRASH unit who, with his jumped-up zeal, has a lesson to learn; the papa bull is the older and wiser Bob Hodges (Robert Duvall) who wants to "fuck 'em all".

But in all of this Colors appears to be looking for more. It tends to bring together two distinct practices, not only in the sense of one as metaphor for the other, but as something beyond metaphor because indivisible. As another example, it's not by chance that in one extraordinary sequence involving a drug bust, the sequence opens with McGavin checking on his looks in the rear-vision mirror of the police car, and culminates with his point-of-view shot of a naked woman as she is led away handcuffed. In this sense, police work isn't only like sex, it is sex. So where things appear clearly demarcated, as with the Crips and the Bloods, or the difference between police procedure as espoused by Hodges and McGavin, there is also a lot which comes across in a kind of blur.

One hopes that the reason for this ’blur' is that there's more to Colors than a well-worn police story. But one isn't quite certain what this 'more' might be all about, or where to pin it down exactly. The bull story, for instance, brings Colors full circle when, after Hodges's death in the final stage of the film, McGavin, with his lesson learnt, sees the need to re­ tell the story to his new partner,

30— NOVEMBER CINEMA PAPERS

COLORS: Sean uncharacteristically Penn-sive

another recruit with a hot-shot mentality. But this leaves one with neither a sense of finality nor one of change - only an endless return of the same.

It is as though the more the film attempts to isolate matters,the more it tends to blend them. The first indication of this comes with the police chief's speech to the special CRASH unit at the beginning of the film. "They fly their colours, we'll fly ours," he says, referring to the wearing of uniform, implying, however, that organically they are one, as in the relation of the 'parts' to the 'whole'. This is made clearer later in the film when McGavin's unscrupulous treatment of a pusher and his questioning of Hodges's allegiance - "You better decide which side you're on" - is met with the countercharge, "The world's, and I'm in it, and what you're doing in it I don't like."

Yet the same can be said the other way around. The more the film tends to blend things (essentially through the figure of Hodges and the attempt to circumvent the escalation of violence) the more it pulls them apart.

For there is another sense in which Colors comes full circle. The opening credit sequence features a spray-can effect which fills the screen with red and over the top appears the title, Colors. Held for a few split seconds, the red begins to emerge, slowly and effectively, from beneath the title, and it doesn't just sit, it starts to drip, like blood. Put this in a frame with Hodges's death and you discover a similar effect or pattern alongside the spray can. When Hodges is shot in the chest and McGavin rips open Hodges's blue police shirt - his colours apparent - what is revealed is a single red dot against an all white Tshirt. Indeed, almost the whole scene is completely bathed in white - the bright white light

of the police helicopter and Hodges's T-shirt - except for the little dot of blood that markedly sits there. But, as the scene continues with Hodges in the throes of death, that little dot of blood also slowly and effectively grows and then starts to drip down his side.

What marks this circle, however, is that where (in the previously mentioned scene) there is a return of the same, this time there is a definite sense of finality; and, once again the (indivisible) sexual element of Colors, though not immediately apparent, plays its part. Hodges's death not only brings us back to the title sequence, but shoots us back to the scene of the police chief's speech to members of the CRASH unit, for when the police chief delivers the line, "There's blood flowing in the streets and we're here to stop up the flow," McGavin's mocking comment is, "We sound like a box of Tampax." A comment which literally (re)produces itself with Hodges's blood flowing from the white T-shirt.

Colors , then, is really all one colour, it's red and it's the colour of blood. But, accordingly, death is not necessarily where contrary relations resolve themselves, it's also where they begin - lines of demarcation are redrawn. All one would have to think of is the eerie smile that emerges on Frog's face as Hodges lies dying: Frog, a gang member who had established a trusting relationship with Hodges.

Paradoxically, things are not what they appear to be, and yet they very much are what they are. I think where Colors can be best summed up perhaps lies with the figure of Luisa (Maria Conchita Alonso), the sweet Chicana homegirl McGavin makes love to. In a scene where McGavin staggers off in disbelief after discovering she is selling her sex to the homeboys, she stands firm and calls out after him, "This is me too, McGavin".

R affaele Caputo C O L O R S : d ire cte d by Dennis Hopper.

Producer: Robert H. Solo. Screenplay: Michael Schiffer. Director of photography: Haskell Wexler. Editor: Robert Estrin. P roduction designer: Ron Foreman. M usic: H erbie Hancock. Cast: Sean Penn (Danny McGavin), Robert Duvall (Bob Hodges), Maria Conchita Alonso (Luisa Gomez), Randy Brooks (Ron Delaney), Grand Bush (Larry Sylvester), Don Cheadle (Rocket), Gerardo Mejia (Bird), Glenn Plummer (High Top). Production company: Orion. Distributor: Village Roadshow. 35mm.

120 minutes. USA. 1988.

THE TALE OF RUBY ROSE At around the time when, according to The Tale Of Ruby Rose, Ruby was meeting and marrying Henry, the first Australian feature film to exploit the beauties of the rugged Tasmanian highlands was being produced Louise Lovely's Jewelled Niqhts (1925).

This was a romantic melodrama of a society heiress who ran away from a forced marriage. It was directed by its star, an Australian actress newly returned from success in Hollywood, determined to use her experience as the basis for a career in Australian film production. For the role, Miss Lovely's golden curls were tied severely back and hidden so she could pass as male in the all-male world of the osmiridian miners. In a typically romantic resolution, her disguise (which never fooled the audience for a moment) was eventually penetrated by the man with whom she had fallen in love: he then rescued her from that environment and restored her to her

skins of trapped possums and wallabies. Gem has difficulty coming to terms with Henry's pragmatic philosophy that "things grow and you kill them". Ruby copes well with such realities, but struggles with other demons. The isolation and the privation of living under such extremes of climate and terrain are captured by a spectacular visual style (director of photography Steve Mason), which has been critically acclaimed both within Australia and abroad.

In this primitive environment the naive and barely-literate Ruby has only myth and incantation to protect her against her greatest fear - the dark. The film takes up her story in 1932, at a point where her defences have become inadequate, and traces her journey back to the village of her origins, in a search for the knowledge that will free her from fear.

In Ruby's experience, men have always controlled access to knowledge - and have not necessarily shared it. Henry did earlier teach her to read, but her father withheld knowledge of her mother and grandmother, and even Henry is now withholding information about his

T H E TALE OF RUBY ROSE: Chris Haywood and Melita Jurisic

rightful place in society as his wife (and potentially the mother of his children).

Ruby Rose's life in the wilderness is not nearly so simple, nor her problems so easily resolved. She and her husband Henry live with their adopted son Gem in a slab hut under the Walls of Jerusalem, insulated from all but occasional contact with the outside world. Despite the grandeur of their surroundings, they eke out a subsistence livelihood by selling the

plans for the farm, which prevent him from using precious planks to make her the toilet with a seat which she craves. She cannot depend on men to save her: Henry is merely irritated by her waste of flour in attempts to exorcise the demons. So she saves herself. She chooses to undertake her journey, the perils of several dark nights in the open now outweighed by her desperate need.

In contrast to the men, women share what knowledge they have.

Ruby teaches Gem, but, more significantly, her physical journey takes her to the grandmother she has never met and the knowledge that has been withheld from.her. The scene where the two women share a bath symbolises Ruby's spiritual rebirth giving her strength to accept the past and to return home without fear.

As Ruby, Melita Jurisic's beauty is covered under layers of dirt and home-spun garments - a disguise no more effective than that of Louise Lovely 40 years earlier. The cliche of beauty transcending its surroundings may account for the accusations or sentimentality which have surfaced in some reviews. Other reviewers have reacted positively to the emotional impact of the film. It won four critics prizes at the 1987 Venice Film Festival (including best actress for Melita Jurisic), and in the 1987 AFI Awards it was nominated for Best Film and Best Director and won Best Original Music.

Ideologically, The Tale Of Ruby Rose and Jewelled Nights may be very different, but they are uncomfortably alike in the response they have elicited from major distributors. Louise Lovely hawked her film around before finding a reluctant distributor, lost money on it and retired from production embittered by the experience.

Initially, the producers of Ruby Rose were even less successful, as no major distributor was prepared to accept the challenge of marketing it.

So they toured Tasmania with the film, and saw it released at the State Film Theatre, Melbourne, and at the Chauvel Cinema, Sydney. The large and appreciative audiences which the film has attracted wherever it has been shown will hopefully make the distributors regret their shortsightedness, and encourage Roger Scholes to continue making films that please audiences.

Ina B ertrand and Jan C handler T H E TALE OF R UB Y ROSE: directed by Roger Scholes. Producers: Bryce Menzies and Andrew Wiseman. Executive producer: Basia Puzska. A ssociate producer: Ian Pringle.

S creenplay: Roger S choles. D irector of ph o to g ra p h y: Steve Mason. P roduction designer: Bryce Perrin. Sound: Bob Cutcher.

Music: Paul Schutze. Cast: Melita Jurisic (Ruby Rose), Chris Haywood (Henry Rose), Rod Zuanic (Gem), Martyn Sanderson (Bennett), Sheila F lorance (G randm a). P roduction company: Seon Films/Antony I Ginnane and FGH. D istrib u to r: Seon Films. 35m m .101 minutes. Australia. 1987.

CINEMA PAPERS NOVEMBER — 31

Steve Jodrell, director of Shame, talks to BRON SIBREE about the film, his plans for the future, and why he thinks theatre directors make good film directors.

Steve Jodrell, actor/director of both stage and screen, is superstitious about speaking of film projects until they are finished. Not superstitious in a darkly medieval sense, he explains; it's just that he thinks people tend to "mouth off a little too much, too early".

Jodrell admits to more than a sneaking ambition to write his own projects and then call in the 'big men', the 'professionals', to help craft and shape the ideas. But he does not like to be called a writer, although he has done his fair share.

A director remains a director, and cannot always choose his own projects, maintains Jodrell, who would like to initiate his own films, rather than wait for projects to come his way. "It's just that it's important to be in charge of one's own creative destiny," he says. He quotes the dictum, "If you can achieve 60 per cent of your vision, then you should be happy with what you do," adding with disarming candour, "I kind of hover between the 30s, 40s and 50s."

Two years ago, when he felt there was nothing available which interested him, he declared, "I will not touch another project unless it's something I'm proud to be associated with. To make a film takes between six and 18 months of your life, and it takes so much emotional energy - you have to be happy with the project... Shame is a film I am proud of," he says, emphatically but carefully.

Remote rural Western Australia is the setting for Shame. A young, selfpossessed city barrister, Asta Cadell (Deborra-Lee Furness) rides into the small town of Ginborak, and is forced to stay for a short time, waiting for parts for her damaged motorbike. She discovers the secret which the town does not want revealed: rape is occurring, and no one is prepared to press charges. Asta's anger is provoked, and her sympathy aroused, by the plight of 16-year-old Lizzie (Simone Buchanan).

Talking about the reasons that drew him to the film, Jodrell says, with deliberation: "I'm very, very anti­ institution. I'm against any institutionalised activity which tends to diminish personal responsibility - anything at all that favours a group ethic and negates individuality. My first film, The Bucks P arty, was, I hope, trying to investigate what happens to a group of Australian men when they are put together - why do they act like that?

"Without trying to be pretentious about the issue, because I know a lot of bucks' parties are nothing these days: why do normal people with good strong hearts act like animals when they are with a group of men? I suppose when it came to shame, there was a reflection of that: why do people subscribe to community attitudes about rape?

Why should the person who is raped immediately be treated with suspicion?"

32— NOVEMBER CINEMA PAPERS

His preoccupation with themes of individuality remains, and he still adheres to the philosophy of holding out for just the right project. At this stage, he says, he is working on three for Barron Films.

"Ever since I did Shame I've been fascinated by bikes, by the power and sensuality seen in bikes." One film is about a man who enters formula bike racing. Tentatively titled Flick Of The Wrist, it is only in the early stages, he insists, and is not so much a bike film as an adventure and a romance. He also admits to a burning passion to direct comedy, and there is one in the pipeline, although he will say little more than that.

But the project in the most advanced stages of development is a thriller called Father, written by Tony Cavanaugh and Graham Bell. A New South Wales family is shattered when a woman comes into their lives and accuses the elderly father of being a Nazi war criminal.

"It's not so much about Nazi war crim es," Jodrell stresses. "It's to do with a person who may have done something in his past, and whether that person should be accountable for the rest of his life." The other issue that the film deals with, he says, is the ease with which a person's reputation can be tarnished without proof."

Most scripts suffer, he §ays, "because they never get turned over to the director to be honed and re-honed. That collaborative process is essential. I really believe in working very closely with the writer Steve Jodrell ^ long before the film goes into pre-production.

"I'm a great believer in writers. I think scriptwriters are highly underestimated in Australia and America. Shame is a good film because it is an excellent script."

Jodrell retains a commitment to theatre, a background he believes is helpful to a director. Working (as an actor) with John Duigan on the Kennedy Miller production, Fragments Of War, confirmed this for him. The majority of directors, he says, come from a cinematographic background and lack the close experience of handling actors which the theatre gives.

"Duigan has that close control because of his background in theatre."

Once described as "fiercely parochial", Jodrell does not share the view that the Western state will become a filmmaker's paradise. He believes that the local industry has survived in spite of itself. "But because of that there is a tenacious attitude filmmakers have there that I find really delightful, and a youthful enthusiasm and love of the industry that I don’t find a lot on the East coast."

Despite all advice and inducements to leave Perth, Jodrell has chosen to stay. "I would hate to be cast in heroic terms, he says. "Basically I think I was too scared to leave.

Anyway now I think it's become an arrogant thing.

Wouldn't it be lovely if the East just came to the West for once."

THE CINEMA PAPERS AUSTRALIAN FILM CALENDAR FOR 1989 Twelve memorable Images from more than a decade of Australian cinema.

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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,

Picture Show Man.

The

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,

Of Anna.

In Search

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 Irishman, The Chant Of Jimmie Blacksmith.

Number 16 (April-June 1978): Gunnel Llndblom, John Duigan, Steven Spielberg, Tom Jeffrey, Swedish cinema,

The Africa Project, 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,

Number 37 (April 1982): Stephen MacLean, Jacki Weaver, Carlos Saura, Peter Ustinov, women in drama,

Monkey Grip.

Number 49 (December 1984): Alain Resnais, Brian McKenzie, Angela Punch McGregor, Ennio Morricone, Jane Campion, horror films,

Number 19

Number 38

Number 50

Child.

Dimboola, Cathy’s

Niel Lynne.

(January-February 1979) : Antony Ginnane, Stanley Hawes, Jeremy Thomas, Andrew Sarris, sponsored documentaries,

(June 1982): Geoff Burrowes, George Miller, James Ivory, Phil Noyce, Joan Fontaine, Tony Williams, law and insurance,

(February-March 1985): Stephen Wallace, Ian Pringle, Walerian Borowczyk, Peter Schreck, Bill Conti, Brian May,

Number 20

Number 39

Number 51

Blue Fin.

(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,

Birthday.

Stax, Alison’s

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,

Stir.

Chain Reaction,

Far East.

(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 26

Number 42 (March 1983): Mel Gibson, John Waters, Ian Pringle, Agnes Varda, copyright,

Water Under The Bridge.

Number 43 (May-June 1983): Sydney Pollack, Denny Lawrence, Graeme Clifford,

(April-May 1980): Charles H. Joffe, Jerome Heilman, Malcolm Smith, Australian nationalism, Japanese cinema, Peter Weir,

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,

Timing, Roadgames.

Bad

Number 29

(October-November 1980): Bob Ellis, Uri Windt, Edward Woodward, Lino Brocka, Stephen Wallace, Philippine cinema,

Last Outlaw.

Cruising, The

Number

36 (February 1982): Kevin Dobson, Brian Kearney, Sonia Hofmann, Michael Rubbo,

Blow Out, Breaker Morant, Body Heat, The Man From Snowy River.

Strikebound, The Man From Snowy River.

Dismissal, Careful He Might Hear You.

The

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The Last Bastion, Bliss.

(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,

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Number 46 (July 1984): Paul Cox, Russell Mulcahy, Alan J. Pakula, Robert Duvall, Jeremy Irons,

Number 56 (March 1986): Fred Schepisi, Dennis O’ Rourke, Brian Trenchard-Smith, John Hargreaves, stunts, smoke machines,

Number 47 (August 1984): Richard Lowenstein, Wim Wenders, David Bradbury, Sophia Turkiewicz, Hugh Hudson,

Number 58 (July 1986): Woody Allen, Reinhard Hauff, Orson Welles, the Cinematheque Française,

Eureka Stockade, Waterfront, The Boy In The Bush, The Woman Suffers, Street Hero.

Robbery Under Arms.

Number 48

(October-November 1984): Ken Cameron, Michael Pattinson, Jan Sardi, Yoram Gross,

Bodyline, The Slim Dusty Movie.

Dead-End Drive-In, The More Things Change, Kangaroo, Tracy.

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, Nadia Tass, Bill Bennett, Dutch Cinema, Movies

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Dogs In Space,

Howling III,

Number 62

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Kelly Gang,

The Story Of The

Number 63 (May 1987): Gillian Armstrong, Antony Ginnane, Chris Haywood, Elmore Leonard, Troy Kennedy Martin,

The Sacrifice, Landslides, Pee Wee’s Big Adventure, Jilted.

Number 64

(July 1987): Nostalgia, Dennis Hopper, Mel Gibson, Vladimir Osherov, Brian TrenchardSmith, Chartbusters.

Insatiable,

Number 65 (September 1987): Angela Carter, Wim Wenders, Jean-Pierre Gorin, Derek Jarman, Gerald L ’ Ecuyer, Gustav Hasford, AFI Awards.

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The Year My Voice Broke, Send A Gorilla,

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CINEMA PAPERS NOVEMBER— 33

SHAME

BY MICHAEL BRINDLEY SYNOPSIS fuelled by a lot of beer, frustration and When her motorcycle is damaged in an hate, a drunken mob, led by the very AND almost silly road accident - avoiding a boys LIZZIE charged, is attacking the BEVERLY BLANKENSHIP sheep - traveller ASTA CADELL finds CURTIS home and garage. herself stuck in a small and isolated country town. The ASTA and LIZZIE manage to break out on ASTA's place is pretty normal, although there isn't a lot of work motorcycle and make it to the Police Station. LIZZIE is left around, except at the local Meatworks ... But ASTA also there, to bring the police, while ASTA goes back to help finds a town where groups of young men terrorise the TIM and NORMA. Back at the CURTIS place, the attackers streets at night - terrorise and worse. The CURTIS family, have fled, taking NORMA and the tow truck with them. owners of a small garage where ASTA repairs her TIM has been beaten almost insensible. ASTA and TINA motorcycle, have been affected: daughter LIZZIE was take off at once to search for NORMA Deborra-Lee Furness raped the night before ASTA's arrival. Well, that's and an answering mood of anger has tough, that's sad - but ASTA's position grown amongst the women. The word seems to be to mind her own spreads. There are search parties out business, get the bike fixed ahead of the police. Meanwhile, the and move on ... ASTA Police Station is empty and LIZZIE gradually, however, becomes ventures out onto the street, only to aware of a conspiracy of be grabbed by DANNY and silence in the town.

ANDREW and driven off into the It seems a sort of gang rape night. Down by the river, CUDDY is a regular thing, but the arrives on the scene as ASTA, TINA woman's "shame", the and the enraged townspeople penalties, "legal" and illegal, descend on the other boys who've meted out to those who been about to hurt old NORMA. complain, ensure the safety, even And where is LIZZIE? The the popularity, of the young men. police don't know ...

Meanwhile, a particular group, It's nearly dawn when led by a good-looking bloke, DANNY and ANDREW, DANNY, finds ASTA, the claiming ignorance and attractive, lone stranger, an innocence, are driven up to the interesting challenge - until they Police Station. With a huge are rebuffed and their interest turns crowd of townspeople looking to hate. ASTA, it emerges, is a on, ASTA loses control and disillusioned barrister, "burnt-out" beats the truth out of DANNY. She is and cynical about the Law. What she the first to find LIZZIE, dead. The town turns out to sees in the town only confirms her gawk at the tragedy. NORMA accuses the town, but cynicism. But ASTA is a fighter - she CUDDY accuses ASTA. Is she satisfied now? A large can't help herself. A real sense of justice and a very shortgroup of women stands with ASTA and TINA speaks for fuse temper draw her in: she sees some townspeople's them. No, they're not satisfied - not by a long way ... unsuccessful attempts to stand up for themselves; she is PRINCIPAL CHARACTERS IN THE FILM forced to defend herself.

WAL CUDDY, the local police sergeant, is at first ASTA CADELL - about 30, a criminal lawyer, an idealist. amused, then made anxious by ASTA. And then, despite LIZZIE CURTIS -16, smart, full of life, a factory worker.

TIM CURTIS - LIZZIE's father, runs a petrol station. her disinterested stance, the plight of LIZZIE CURTIS and a plea from LIZZIE'S grandmother, NORMA, hold ASTA NORMA CURTIS - about 60, TIM's mother, LIZZIE's grandmother; a factory worker. one more day, even though the motorcycle is fixed and the TINA FARREL - about 35, factory worker. way out is clear ... LIZZIE is fascinated by ASTA, by her self-possession, her sophistication and her courage. ASTA SERGEANT WAL CUDDY - about 50, the top policeman in the town. offers no advice, but LIZZIE watches as ASTA stands up for herself and for LIZZIE. Emboldened by ASTA's CONSTABLE GAVIN - about 25, CUDDY's assistant.

DANNY FISKE - about 25. example, and in the face of town gossip and her father TIM's real fears, LIZZIE decides to lay charges.

ANDREW RODOLPH - about 21, University student.

The boys are arrested, but are quickly out on bail. One MRS RODOLPH - ANDREW'S mother, about 45, town's leading citizen, owns the local Meatworks. of the boys is ANDREW RODOLPH, the son of the woman who almost owns the town, the woman who tries to buy WAYNE MORGAN, ROBERT LAWRENCE, BRUCE SULLIVAN, BRIAN and LIZZIE off - and fails. Now, a perverse and frightening solidarity has been bred amongst the men of the town.

LITTLE STEVE HEMMINGWAY - all members of DANNY FISKE's bunch.

TIM is attacked in the local pub. Threats are made.

Women of the town, particularly old NORMA's friends DULCIE, RITA, BERYL, SHIRL, PATTI, FAY, EILEEN and OTHERS - factory workers. and TIM's girlfriend TINA, watch developments with a heightening anxiety as a long, hot Saturday afternoon ROSS - a 'roo shooter, about 35, married to PENNY ROSS - factory worker. moves into the wilds of Sat-ur-dee night... ASTA takes out an injunction against the boys, but she knows that may be GARRY - TIM CURTIS' mechanic. a futile gesture. Something about ASTA's steel frightens MATRON - 45-50, from the local hospital. the boys - especially when she tells them calmly that this VARIOUS TOWNSPEOPLE: LORNA, SUZIE, MELINA, BETTY THE BARMAID, time they're going to jail... ASTA and LIZZIE have become a threat, the Enemy and the scapegoats of male DAVE (LORNA's BROTHER), MR FISKE, MR and MRS resentment. Other girls, knowing what LIZZIE is doing, HEMMINGWAY, MR MORGAN, MR and MRS SULLIVAN. find the nerve to spurn the boys. By pub closing time, 34— NOVEMBER CINEMA PAPERS

SHAM E 1. EXT. O P E N R O A D . D AY

A black leather-clad figure on a big motorcycle appears, a dot in the distance of the open road. The figure draws closer. The big engine purrs in the still, open countryside. The motorcycle runs past us. The rider is ASTA CADELL, but for the moments she is anonymous inside the bike helmet.

T IT L ES .

2A . EXT. R O A D F R O M G IN B O R A K /T H E T O W N . D A Y/D U SK .

The sun is low in the sky. We see the whole township of Ginborak sitting below. On the road to the town, an ant-like figure is accelerating towards it.

2B . EXT. G IN B O R A K M A IN STREET. DAY. LATE A F T E R N O O N T IT L E S C O N T IN U E O V ER :

The wide, flat main street of Ginborak stretches away from us - a run of the mill, slightly rundown country town main street: a pub, a post office, a couple of hanks, the shops, hat-brims of their shady awnings against the sun. The Police Station, the Milk Bar, cottages and sheds, all a little dusty and sun-bleached, and the blur and the mirage of the mid­ afternoon heat shimmering along the blacktop.

At the pub, a FEW DRINKERS idly watch as ASTA cruises past.

A couple of cars driven by WOMEN (MEATWORKERS) draw to a stop outside the supermarket. DRINKERS move toward the WOMEN and are seen to ask them for money - a transaction performed with bad grace on both sides .

Further down the street, a number of ABORIGINALS lounge in the shade of the Milk Bar's awning.

The town appears to be not much more than a strip, built either side of the main road.

A couple of dogs snooze in the afternoon sun.

3. EXT. C U RTIS P LA C E . P E T R O L P U M P S . D A Y/D U SK

Low angle midshot behind ASTA as she stands by her bike watching LIZZIE, a pretty girl of about 16, filling ASTA's petrol tank. LIZZIE is being very careful as she's obviously dressed to go out - nice frilly dress, high-heeled shoes, some makeup and her hair done. Beyond LIZZIE and ASTA but only glimpsed - the slightly rundown Curtis place.

As the camera tracks in tighter: L IZ Z IE

Where's the rest of you?

L IZ Z IE

See ya.

NORMA gets to the pumps, her interest divided between her granddaughter driving off and the customer, ASTA. NORMA peers at the dial of the pump NORM A

(AFTER LIZZIE) Don't be too late darlin'.

(TO ASTA) That’s $5.47. You got that?

ASTA

(SLIGHTLY SURPRISED) Yes The camera up now, so we see: ASTA by the pumps getting out her money, NORMA watching the sports car drive off down the road.

SCENES 4 ,4A DELETED 5. EXT. R O A D W IT H BLIN D CU RV E. N IG H T.

The back of a road train as seen from ASTA's P.O.V. as she catches up to it. The truck is weaving somewhat and throwing up a lot of dust on the unsealed road. The truck carries large cardboard boxes. We can dimly make out the words "KANGA DINNER - PET FOOD” and "RODOLPH MEATWORKS. ASTA notches down a gear and goes wide, getting past the bulk of the swaying truck in seconds. Now she's ahead of the truck, leaving it behind. She approaches a blind curve. Again she notches down a gear to take the curve. She comes round the curve. There's a sheep standing right in the centre of the road.

ASTA brakes sharply, skids, avoids the sheep and keeps going, straight off the curve. The big bike careers over the rock-strewn ground, with ASTA fighting to stop it and keep it upright. The bike goes over on its side and slides to a stop, the engine stalling. At the same moment the sheep ambles off the road and the truck roars round the curve and disappears off into the night.

ASTA looks after it, her curses and expression of fury hidden by her helmet. She stands a moment, getting her breath, then hauls the bike upright. She gets astride it. She presses the start button - and the bike leaps forward and stalls again. It’s jammed in gear. ASTA curses, squeezes at the clutch lever and kicks savagely at the gear lever. There's a sickening crunch and the gear lever bends. ASTA gets off with another curse and pushes the bike over. She kicks it. It lies there.

ASTA,a small figure beside her damaged bike in the moonlight of the wide, indifferent plain.

A STA

Mm? L IZ Z IE

Rest of The Pack.

A STA

There's only me. Sorry.

L IZ Z IE

(MOCK SYMPATHY) Oh well... never mind.

A STA

Look, I can do this if you're worried about your clothes ...

L IZ Z IE

(JOKEY) Oh, these old things ... it's what all the petrol pump girls’re wearing this year.

A STA

(LAUGHS) Oh, yeah?

ASTA gets the air pump and begins to check her tyre pressures as: L IZ Z IE

Oh yeah. No - I'm off to a dance down the club in a minute. Nothing special, just thought I'd dress up a bit, you know?

6. INT. R O D O L P H M EAT W O R K S . DAY

The machinery of the factory clanks and roars. There are conveyor belts bearing the carcasses of kangaroos - skinned and unskinned - trolleys, huge vats, boning tables. Kangaroos are being skinned, boned and butchered.

7. EXT. R O D O L P H M EA T W O R K S. DAY

A number of unadorned corrugated iron buildings surrounded by a cyclone wire fence. Over the gate a sign reads: RODOLPH MEAT PROCESSORS PTY LTD. A Positions Vacant board is blank: No vacancies.

It's a still and hot afternoon. A number of MEN, the husbands or boyfriends or fathers of the women meatworkers, hang about near the gates - some on foot, some leaning against the fence or against vehicles or squatting in the dust, talking, looking at newspapers or just staring into space. Some of them just sit in their vehicles. One has a car radio on and the plangent strains of an aching Country'n'Westem ballad waft on the hot, still air. Most smoke, a few drink beer and throw the cans into the scrub.

A STA

Uh-huh.

At the same time, a dusty yellow sports car is pulling in off the road.

The driver is ANDREW. He waves at LIZZIE. The camera is pulling back and up as: L IZ Z IE

(TO THE CAR) Hey! (TURNS TOWARDS THE HOUSE) Gran! Gran...

AN DREW

Come on Lizzie!

LIZZIE’S grandmother, NORMA, an older biddy in an apron, comes out of the house and across to the pumps. LIZZIE gives her a wave and half runs across to the car.

CINEMA PAPERS NOVEMBER— 35

SHAME Now the camera's craning up as the WOMEN start to come out of the factory. Some move to their MEN, others have their own vehicles, such as DULCIE, who climbs into a battered ute, and RITA and FAY who have climbed into RITA's car. SHIRL and PATTI move through the gate, SH1RL moving slowly with her bulk on swollen ankles. TINA and NORMA come by together. NORMA is red-eyed but no longer crying. SHIRL catches TINA's eye and gives her a sad smile - which TINA acknowledges.

PENNY ROSS walks through the WOMEN alone. Some glances at her, but no one speaks to her. MEN look with a sort of hard curiosity at PENNY. She keeps her eyes down and her chin is trembling. But she keeps going, setting off alone along the dusty road. TINA and NORMA watch this, then move on. NORMA curses under her breath. Then as DULCIE's ute moves past them, TINA does a jokey hitch-hiker's gesture and DULCIE, with MEATWORKER #1 already in the cabin, pulls up.

As TINA and NORMA clamber into the back of the ute, the white Mercedes, a sunglassed MRS RODOLPH at the wheel, noses through the gate, honks peremptorily, then moves off at speed, raising a cloud of dust.

Then WOMEN and MEN step back, eyes squinting against the dust.

A MAN makes a desultory two-finger gesture at the back of the car.

The Mercedes rumbles along the gravel road into town. Up ahead, ASTA's damaged bike, jammed in first gear, limps along. The white car swings wide around the slow-moving bike and continues on.

ASTA nursing her engine, the car's dust swirling round her.

A sign reads: "GINBORAK. Pop. 22,537." Someone has scrawled an addition: "And sinking fast."

8. EXT. G IN BO RA K . D A Y/A FTERN O O N

A high-angle wide shot reveals the tiny object of the rider and bike limping across the bridge and into the main street.

9. EXT. H O T EL, M A IN STREET, SH O PS. D A Y/A FTERN O O N

Towards the end of the main drag is the pub. Across the wide street is a row of old shops, some older ABORIGINALS in the shade of the awnings.

The DRINKERS, nearly all male, look as though they've been there all day. Most of them have. Waiting for a breeze, waiting for anything ...

But now the attention of some of the DRINKERS is caught by some movement down the main street: a motorcycle, its RIDER moving at snail's pace down the main street toward them.

The motorcycle comes to a stop outside the pub. Its engine stalls.

Amateur mechanics diagnose the bike's problems. The bike goes onto its side stand. The DRINKERS watch idly. ASTA stretches stiffly. The black helmet is pulled off. And now the whole crowd looks.

Long hair falls down ASTA's back. Oblivious to the stares of the drinkers, she rubs her dusty and grimy face.

ASTA gets off the bike and looks around at the crowd of DRINKERS. She smiles in a general, friendly sort of way.

Among the crowd are: DANNY and his boys, WAYNE, BOBBY, and LITTLE STEVE; one of the town's 'bikies', BRIAN. But for now, they are all just faces in the crowd, which parts a little as ASTA goes up onto the raised footpath and through to the main entrance of the pub.

From places in the crowd come "well, whadderyerknow?" sort of murmurs. Some younger ones move for a closer look at the bike as we cut to: 10. INT. PU B LIC BAR. A FTERN O O N /D A Y

ASTA stands at the bar. With a sort of flabbergasted suspicion, BETTY the barmaid puts a tall lemon squash in front of ASTA. ASTA thanks her with a smile and drains it off in one hit.

There are murmurs from the crowd. Some of the more openly curious MEN - such as WAYNE and BOBBY - have come in from outside to see what happens. But comments come out of a silence; a woman being in the bar is a rare thing.

ASTA puts the glass down, looks at BETTY. Then: ASTA

D'you have rooms here?

BETTY

What - to stay?

ASTA

Yes - probably just for the one night.

M A N IN CRO W D OSV You can sleep at my place, love - any time...

ASTA ignores this and other interjections, but good-humouredly.

BETTY

OVERLAPPING. Dunno why you'd want to stay here ...

36— NOVEMBER CINEMA PAPERS

And now, unseen by ASTA, SERGEANT CUDDY has entered and is moving through the crowd to the bar.

A N O T H ER M A N IN TH E CR O W D

OSV

I got a spare bed, sweetheart ...

CUDDY gives a pained look at the MEN, as if to say: "Now this is a young lady, you blokes, so mind your language ..."

ASTA turns to look up at CUDDY as: CU D D Y

Righto, Bett. (To ASTA) Having a bit of trouble, are you dear?

ASTA seems to bristle at his well-meant but patronising, 'fatherly' tone. She smiles, but the smile is tight - and dangerous.

11.

EXT. H O TEL FR O N T V ER A N D A H /STR EET. A FTER N O O N /D A Y

ASTA precedes CUDDY out of the Public Bar's doors - but not by much: he's right with her, a 'protective' and 'fatherly' arm lightly round her shoulders.

And as they emerge, CUDDY murmurs to her: CU D D Y

... you wouldn't want to stay in a rough joint like this ... (ASTA LOOKS AT HIM, "OH?") No - it's - uh no place for a - uh ...

ASTA

No place for a lady.

CU D D Y

Eh? Yeah. That's right. Now. Prob'ly Tim Curtis'd be the man to see for your bike. Straight down here - you take a left, then a right and you - uh ASTA

Can't miss it?

There are plenty of MEN - including DANNY and his BOYS listening in. Most of them are rather enjoying ASTA's replies.

CUDDY's face loses its 'kindly' smile.

CUDDY

That's right ASTA nods "Thanks" and goes down to her bike, puts on her helmet.

The MEN and BOYS line the verandah and steps.

With difficulty, she gets the sick engine started. As: BRIA N

Need a push, darling?

ASTA

No, thank you.

BRIA N

Didn't mean with the bike. . .

Laughter. ASTA looks back at the line of grinning faces - and CUDDY's is one of them.

The engine, jammed in gear, starts - and with a jerk.ASTA takes off immediately in a less than dignified departure, followed by yells, whistles and applause.

12.

E X T TH E CURTIS PLA CE. A FTER N O O N /D A Y

But it's quiet off in the back street in which the run-down service station which is "Curtis Motors". Beyond the unshaded petrol pumps, there's a corrugated iron shed, strongly built, but its paint peeling, very close to a pokey, single-storey cottage. ÂŽ' 13.

INT. CURTIS PLA CE. TH E W O RK SH O P. A FTER N O O N /D A Y

ASTA stands by her machine, her eyes still adjusting to the gloom of the interior. There's room for three or four cars, but the steel frame walls and floor are crowded, if tidy.

By a workbench, TIM CURTIS's mechanic, GARRY is hanging tools onto the shadowboard and giving ASTA an irritating smile.

An old radio plays Country'n'Western music softly.

G ARRY

Not today, sweetheart. Bit late.

ASTA

Well. . . Could 1use some of your tools?

G ARRY

(LAUGHS) Wha- ? (CALLS) Hey,Tim...

TIM (OSV) Yeah, I heard.

TIM CURTIS slides out from under a. truck and gets to his feet. His grease-smeared face seems exhausted: he seems preoccupied, almost in pain.

SHAM E A ST A

Oh, hello.

She smiles. He looks back at her: not hostile, just sizing her up.

T IM

Know what you're doing?

A STA

More or less. . . Yes. T IM

Hm. All right. Don’t make a mess and put things back where you find them.

A STA

Thanks.

GARRY shrugs. Boss can do what he wants with his tools. ASTA starts to take the luggage paniers off the bike. GARRY just stands there, unashamedly staring at this phenomenon: a woman is gonna work on a bike?

TIM still stands there, as if lost in thought. Then he looks at his wrist watch and then out to the street.

T IM

Time you were knocking off, Garry.

GARRY shrugs again. He sneaks a look at TIM and a nasty little smile crosses his face. Then he picks up a little airways bag and goes. We hear a trail bike chatter off away down the street.

ASTA opens the seat of the bike and gets out a pristine workshop manual in a sealed plastic pack, plus the bike's own toolkit. We can tell from the look on her face that she's a little daunted and not looking forward to the task ahead. She looks across to TIM suddenly as the Country'n'Westem music stops dead: TIM has switched off the radio. She just hears: T IM

(MUTTERS TO HIMSELF) Ahh, that's better ...

But now, in the quiet, he doesn't go back to work. He goes and stands in the double doorway and looks up, then down, the quiet street, as if watching.

ASTA crosses to the workbench and the shadow board, carrying her manual. Grimly, she contemplates the range of tools ...

14. EXT. C U R TIS P L A C E R E A R C O U R T Y A R D /SL EE PO U T .

EA R LY E V E N IN G

Still and quiet in the rear courtyard. The workshop fluoros throw a rectangle of light out the rear door. Crickets off in the scrub. ASTA stands at a pair of old concrete laundry tubs set against the rear wall of the workshop and under a grimy, barred window. She's getting a drink of water and splashing some on her face. She's stripped down to riding pants and shirt now, has grease to her elbows and on her face. She turns from the tubs with a sigh. She wipes the water off her mouth - which only adds a further grease smear. Then she sees a small two-roomed fibro sleepout on the other side of the courtyard: a laundry and a small sleeping area.

She hears the sound of a powerful engine turning into the workshop and powerful headlights beam out the rear door and window into the courtyard. Half hidden by shadow, ASTA looks through the grimy window to:

15. INT. C U RTIS P LA C E . T H E W O R K SH O P. EA R LY E V EN IN G

Seen from ASTA's P.O.V. outside the rear window of the workshop: NORMA is helping LIZZIE out of the passenger door of the tow truck.

TINA is there, with a small overnight bag and a toilet bag. LIZZIE the girl we and ASTA saw previously, full of life, smiling, laughing, is now dressed in a shapeless cardigan too big for her, a blouse and old jeans; her pretty little face is blank - it's as if she's not quite there. She keeps her eyes down, not looking at anything.

Then ASTA makes out TIM; he’s hovering somehow, looking at LIZZIE and not looking at her, awkward, tense, useless, chewing the inside of his bottom lip. He steps back out of the way - almost as if keeping a distance between himself and ... what? The injured?

Through this, keeping more tears under control, NORMA keeps up a soothing flow of words - as she helps LIZZIE down, then keeps an arm around her waist as they move towards the the house.

ASTA, outside, feeling awkward herself, simultaneously the intruder and the spy, not knowing whether to stay tactfully where she is or go in as if nothing were happening, half hears: NORM A

See - here we are ... Safe home, love ... Now - Teen's got your things ...

Just you hang onto me - that's it ... Need a good rest, that's all ... That's what the doctor said ... (A LOOK AT TIM ON THIS) ... It's all right ...

Soon be tucked up in your own bed ...

And they've gone into the house. TIM hangs back, scratching his head as if bewildered. ASTA stands where she is another moment, then shrugs. None of her business, anyway.

She re-enters the workshop and crosses back to her bike. TIM has not followed the others into the house but stands in the office. ASTA crouches back to the machine, amidst tools and parts spread out neatly on some sacking.

TIM turns and comes across to ASTA and crouches near her. ASTA looks at him, but he's looking at the bike and the parts on the ground. He picks up a part and turns it over in his hands.

TIM

Nice. They do a nice job on these, the Nips ...

A STA

(UNCERTAIN) Yes ...

T IM

You've damaged the winding, eh? By the look (PAUSES) Sure no parts for one of these round here. Have to send down to Perth.

A STA

How long'll that take?

TIM

Hm - dunno. Could be here by tomorrow night, could be longer.

ASTA

Terrific.

TIM

Yeah, well... Like a clock ... Beautiful.

A STA

Yes. (PAUSE) use it tonight?

Mr Curtis ... I was wondering ... that sleepout ... could I

TIM

(STARTLED) Er ... well... S'pose you could ...

ASTA

(QUICKLY) I mean - I'll pay for it.

And as she says this, she sees his eyes stray toward the house. TIM sees her look and: TIM

No. No, no - no trouble. I'll - uh - just tell my mother.

16 IN T/EX T. C U RTIS P L A C E . S LE E P O U T / R E A R C O U R T Y A R D . N IG H T

ASTA puts down her sleeping bag; helmet and motorcycle paniers. She flips out the rolled up mattress, then sinks onto the bed, bounces a couple of times to feel the springs, then bends to pull off her bike boots. She wriggles her toes with pleasure. She reaches out for her jacket and finds a half-eaten packet of peanuts in a pocket. Hungrily, she starts to eat the peanuts.

Then she hears the back door of the house flung open. ASTA leans forward, then stands. Through her doorway, she can see across the CINEMA PAPERS NOVEMBER— 37

SHAME courtyard to the rear of the house - and there's NORMA coming out of the back door, carrying a towel and some bedding. But NORMA pauses and says back into the house: NORM A

(ANGRILY) Godalmighty, Tim ...!

Then she slams the screen door and comes briskly across the courtyard.

ASTA gets up and grins sheepishly as NORMA enters - standing there in her socks, face covered with grease smears and mouth full of peanuts. NORMA looks ASTA up and down, glaring at her.

NORM A

M E LIN A

Yeah. (SARCASTIC) It's where the elite meet feat.

ASTA grins and leans on the counter - and then finds WAYNE and BOBBY, two of DANNY's boys, either side of her, hassling MELINA. And GARRY, the mechanic, scrubbed up to a slightly less oily state, is right behind her. And another guy, a Ginborak biker, BRIAN, is pushing through as well - after lifting a girl about 14, SUZIE, up to sit on the table. SUZIE watches everything with a wide-eyed giggle, as: BRIA N

Hey - where's the burgers, Mel? Come on, baby - go, go, go.

WAYNE

Oh ...you.

And two more with egg to go, Mel.

ASTA

MELINA goes, flipping patties, slipping buns into the toaster, breaking another couple of eggs onto the hot fat...

Hello.

NORM A

Hmph. Well, out of the way.

She dumps the bedding onto the mattress, obviously about to make up the bed. ASTA, so hungry that she's now licking the salt out of the bottom of the peanut packet, stops her.

ASTA

I can do that.

NORM A

Hungry, are you? Well, we can't feed you. Sorry but we're too ... busy.

ASTA

It's quite all right. Really. 1 can ... Anyway thank you.

NORM A

Yeah. Right then. Go easy on the water.

NORMA turns and goes straight out, back to the house, without a backward glance. ASTA slumps onto the bed again and looks out the flyscreened windows. ASTA, bone-weary, makes herself get up. She opens one of her paniers and upends it onto the bed.

17. EXT. G 1NBORAK M A IN STREET. TH E M ILK BA R. N IG H T

ASTA rounds a corner into the yellow lighted main street. She’s showered and changed into a fresh T-shirt, jeans and sneakers. Solitary cars and motorbikes cruise up and down, apparently aimlessly, sometimes tooting to each other, sometimes yelling abuse or greetings.

ASTA passes a few shops. Normal, country town shops, chemist, drapers, boots and saddles, feed store. Some ABORIGINAL PEOPLE sit along the footpath - some in the gutter, others squatting against the shop fronts. The boom-ba-boom of the milk bar juke box grows louder.

Under the milk bar's awning there are a fair number of YOUNG PEOPLE, male and female, hanging about. A line of motorbikes at the kerb, old cars with kids sitting in them or on them, eating, drinking, smoking, talking. Most blatantly interrupt their conversations to stare at the stranger as she enters the milk bar.

18 INT. TH E M ILK BA R. N IG H T

The interior is hot and brightly lit, well-populated with younger KIDS, quite a number of lounging young MEN, a YOUNG FAMILY and an older MUM and DAD in separate booths. The place is old-fashioned: wood panels, central tables and booths along the walls. There's an old jukebox as well as the newer video games and pinball machines. An elaborately lettered sign over the door at the back reads: "OUR MOTTO: CIVILITY & CLEANLINESS." ASTA takes the place in. Pretty typical. What used to be called "the Greeks" back in the '50s and into the '60s. But the only Greek in evidence tonight is the teenage girl behind the counter, MELINA, who seems to be running the whole show: dancing up and down in front of the hotplates where a mass of meat patties, eggs, bacon and onions sizzle, trying to keep up with the orders.

The counter already has a line of hungry customers, but ASTA finds a space and has to lean forward and speak distinctly to make herself heard over the din.

WAYNE, BOBBY, GARRY and BRIAN kill time by staring at ASTA, nudging each other, laughing and whispering comments about ASTA to each other. But it all just looks like chiacking - a lot of undirected energy on display. ASTA tries to ignore them. She looks over the other CUSTOMERS in the place.

At a centre table there’s a solid young bloke called DAVE, methodically eating his way through a plate of steak, chips and salad.

Across from him is his sister, LORNA, a pale girl of about 17 who'd be attractive if she lifted her head and smiled. LORNA's pushed her food away, half-eaten. DAVE and LORNA look as if they're just minding their own business, eating their tea - we mightn't even notice them amongst the others - but we will in a moment.

Meanwhile, ASTA turns back to find BOBBY looking her right in the eye. BOBBY is a bit of a funnyman ...

B O BB Y

Guh-day. (A "SUAVE" SMILE) ASTA

(COLDLY) Hello.

She turns her back on him and watches MELINA. The BOYS glint at each other a little in response to ASTA's coolness.

WAYNE loses interest in ASTA and steps back from the counter.

BR IA N

'Ey, Wayne - you get me burger? Gonna play the machines ...

WAYNE

Sure, mate.

BRIAN wanders off. That leaves WAYNE, BOBBY and GARRY with ASTA. We stay with them.

G A RRY

Y'know - 1 gotta admit - she scrubs up all right...

WAYNE

For an older chick ...

B O BB Y

Looks kinda butch in them trousers, but. Wonder how she'd go in a dress?

BOBBY mimes a woman in a low-cut dress, smoothing it over the hips and so on. Then he leans on the counter, his face close to ASTA's.

B O BB Y

Hey, butch - you own a dress?

ASTA

(LOOKS HIM UP AND DOWN COOLLY) Not in your size.

A hamburger with everything and a chocolate malted - when you can manage it ...

GARRY and WAYNE do "lah-de-dah" expressions at ASTA’s educated voice but they're still laughing, like everyone else within hearing. BOBBY scowls at ASTA. She regards him utterly dead-pan - then turns away as if he's ceased to exist.

But now everyone’s attention is drawn elsewhere. That fellow DAVE is on his feet, looking angry and has a handful of BRIAN'S shirt. Still seated at the table, LORNA is watching terrified, a hand over her mouth.

ASTA gives the kid a smile. MELINA nods and grins back - grateful for the smile, grateful for being spoken to like a human being.

Didn't mean to knock your bloody chair.

ASTA

A STA

You this busy every night?

38— NOVEMBER CINEMA PAPERS

BR IA N

DAVE

Yeah? Well, you can say you're sorry.

SHAME BRIAN stays cool - he knows his mates are with him. And indeed, BOBBY and WAYNE are already moving up, as: B R IA N

Nah - 1 don't say "sorry", Davey-boy. Sorry. (LOOKS AT LORNA) What's got into him, Lorn? He upset about something?

D AVE

(TWISTING WAYNE'S SHIRT, PUSHING HIM) Shut up!

W AYN E

Jeez, Dave - can't a bloke even talk to your little sister no more?

B R IA N

They're too good for us, Wayne.

BO BBY

(DEEP VOICE, GORILLA IMITATION) Hey, Big Dave ... Uh-uh-uh-uh ...

WAYNE, GARRY and little SUZIE think BOBBY is a scream. The place has gone quiet now: only the saccharin melody from the jukebox plays on. DAVE already knows he's lost - but he turns on BOBBY, face hard, fists clenched.

LORN A

(HALF GETTING UP, A CATCH IN HER VOICE) Dave ...

B R IA N

19.

EXT. T H E M IL K B A R . T H E M A IN STREET. N IG H T

WAYNE, BRIAN, BOBBY, SUZIE are grouped round some new arrivals: DANNY FISKE, ANDREW RODOLPH, LITTLE STEVE HEMMINGWAY and BRUCE SULLIVAN. GARRY hangs round the edges, not really part of it, but listening in. DANNY and LITTLE STEVE sit up on the boot of the Fairlane. ANDREW stands by DANNY. We're seeing this with ASTA as she emerges from the Milk Bar. There's talk, with expressive gestures, of what went on inside. ASTA feels herself being looked at again. DANNY laughs.

ASTA steps out of the Milk Bar doorway and moves along the footpath. She sips her milkshake calmly. She stops at the next shop and looks at the window display. She hears footsteps behind her and turns.

DANNY stands there. He has a nice friendly smile. Beyond him, the others now seem to be talking among themselves.

ASTA gives him a look of enquiry - "Yes?" DANNY

Hi. A STA

Hello.

DANNY

(RELAXED) So you found Tim Curtis's all right?

How are you doing Lorn? Don't see you around much lately ... Doing anything Sat'd'y night, Lorn?

Hmm?

DAVE swings a clumsy punch at BRIAN and hits him hard in the shoulder. The move brings the fray to within a metre of ASTA.

At the pub - heard Sergeant Cuddy telling you how to get there.

ASTA draws back involuntarily. Little SUZIE draws her legs up out of the way and giggles, having a great time.

DAVE goes to swing another punch, but WAYNE grabs his arm, stopping the blow. BRIAN pushes an open palm into DAVE's face. DAVE staggers back - and in a flash BOBBY grabs him from behind, pinning his arms. DAVE struggles, but he's held.

On ASTA: her fists clench and her jaw sets. For a moment, we almost think she may intervene, but she wills herself to relax - and even deliberately looks away.

Now BOBBY's got DAVE and WAYNE is right beside him. BRIAN steps up close and speaks right into his face.

B R IA N

I could spread you all over this bloody shop, mate.

M E L IN A

If yous dick'eads are gonna fight, will yous do it outside - thank you?

BRIAN balls a fist - as if he'll punch the helplessly pinioned DAVE right in the gut. LORNA cries out. But instead, BRIAN gives DAVE a "friendly" but hard slap on the cheek. DAVE winces. He's frightened now - and humiliated. BRIAN steps back, grinning.

BOBBY releases DAVE and pushes him hard toward LORNA, almost knocking him into her, as: BO BBY

Better take big brother home now, Lorn.

GARRY

Past his bedtime anyway, isn't it?

And amidst laughter, DAVE, too ashamed to even lift his eyes, pushes through the crowd and out into the street. LORNA looks back just long enough for us to see the sheer hatred in her eyes - and then she goes after DAVE. M E L IN A

A STA

DANNY

A STA

Oh. Right. Yes, I found it.

DANNY

Your bike jammed in first, was it?

A STA

Second.

DANNY

Oh, gawd - and the heat like it was today ... (WHISTLES) ASTA is puzzled: he seems different from the others. He has a really nice smile. She smiles back, still tentative, but curious.

DANNY

Yeah. Anyway - we're just going down the pub. Wondered if you'd like to join us.

ASTA

Thank you, but no. It has been a very long day and ...

DANNY

Go on. Just a quick one?

ASTA

(POLITE) No, really. Thanks.

DANNY

Just trying to be friendly ...

ASTA

Yes - but - well... Goodnight. (TURNS TO GO) DANNY

I'll see you around maybe.

A STA

Righto - now that's it! Not turning this place into some boxing ring!

Maybe (SMILES) Goodnight.

No one takes much notice of MELINA. Somehow, in all this, she's managed to wrap more burgers, including ASTA's, and slap them on the counter.

Outside now, seen through the open door, an old Ford Fairlane is backing into the kerb, its powerful V-8 engine throbbing. WAYNE, BOBBY and BRIAN seem to've been waiting for this new arrival. They start to move out...

BRIAN scoops up his and SUZIE's burger and slaps down money as:

She walks off, leaving him standing there. She knows he's still looking at her. She keeps walking, sucking on her milkshake. Then behind her, she hears laughter. She can't help glancing back. LITTLE STEVE is walking behind her in a lah-de-dah parody of a 'feminine' walk. Somebody whistles. Then ASTA hears:

W AYN E

(TO ASTA) See ya round, Butch ASTA just looks at him. Not if she can help i t ...

BRIAN grabs SUZIE and moves out with WAYNE, BOBBY and GARRY tagging along. ASTA pays for her food, nods thanks to MELINA - who rolls her eyes to heaven - and moves out too. Out the door to:

D A N N Y (OSV) Righto - cut it out. Leave her alone.

ASTA keeps walking. Behind her, she hears the doors of the Fairlane slam. Its engine starts. It pulls out and comes after her. ASTA quickens her pace. Now she's lit by the car's headlights. With difficulty she stops herself breaking into a run.

She's approaching a corner. She turns the corner. The Fairlane continues on up the main street, towards the pub.

ASTA relaxes. For a moment she thought... She walks on.

CINEMA PAPERS NOVEMBER— 39

SHAME 20. INT/EXT. CURTIS PLACE. SLEEPOUT/ REAR COURTYARD. NIGHT The view out onto the moonlit scrub, seen through the flyscreen windows of the sleepout. The view is ASTA's. She's perched on the corner of the little table, chewing at the last of her hamburger - no doubt cold by now.

ASTA hasn't turned the light on - there's scarcely any need with the brightness of the moon. She sighs, gets off the table, stands there, restless, undecided. The scene at the milk bar has hardly relaxed her, despite the weariness of earlier. Through her open doorway, she can see there's a light on in the house. So what?

She's made the bed up. Her few possessions are spread on the floor and little table. With another sigh she stands and takes a step toward the door.

At the same moment, across at the house, the screen door crashes open. ASTA hears footsteps on the house's back verandah. Then she hears, plainly in the night stillness: TIM (OSV) Look - maybe she led ’em on. Everyone knows what goes on at these dances.

TINA (OSV) For God's sake! She's your own daughter!

No reply - presumably from TIM. Again, ASTA is caught - eavesdrop or just carry on as if nothing is happening?

ASTA takes the next step and out her doorway. She sees TINA standing at the top of the back steps, glaring down at TIM who's standing at the bottom, turned away from TINA, his face lost in the shadows.

TINA notices ASTA. Their eyes meet across the space of the courtyard.

Abruptly TINA turns and goes back inside, slamming the screen door shut behind her.

ASTA looks across at TIM. Then walks briskly to the gate in the courtyard fence and disappears out into the scrub.

A moment's pause. Then TIM slowly and heavily climbs the steps back up to the back door. He puts his hand on the handle ... but lets it fall. He turns and looks out over the scrub himself, his face still lost in shadow, but his figure, silhouetted against the interior light, shows a man alone with a crushing weight.

The murmur of NORMA's voice from inside the house - we can’t make out the words. Then, loudly:

LIZZIE (OSV) I can hear every word you're saying, you know!

The sound of running feet inside the house - and suddenly the screen door bursts open again and LIZZIE herself appears, dressed only in a summer nightie.

N O R M A (OSV) Lizzie! Lizz-ie! Sweetheart...

LIZZIE and TIM look at each other for a moment.. But TIM doesn't reach out to her. He turns his face away from her.

LIZZIE runs - down the steps across the courtyard, through the gate and away into the moonlit scrub. It seems to hurt her to run, but she runs, thudding and crashing through the low brush.

NORMA bursts out of the house and looks at TIM He just stands there.

21.

EXT. SCRU B. R EA R O F CURTIS H O U SE. N IGHT.

LIZZIE running hard across the flat,which is dotted with abandoned car bodies and low scrub. She is panting and crying, running wilkdly, LIZZIE slips behind a car body, hiding, then sinks to the ground, leaning against the tyre, her knees drawn up, gasping for breath. She lifts her head and gasps with fear as she realises somone is standing in the scrub nearby. Then a quiet, reassuring voice comes out of the darkness.

ASTA

It's all right. It's OK ...

LIZZIE

(DRAWN BACK AGAINST THE BANK) I thought ... You're the ... My name's,,, Tell them to stop .. They just go on and on ...

Lizzie slumps forward and cries. Tentatively, ASTA crouches beside her, then puts an arm around her.

The sound of more running feet and then the beam of a torch hits ASTA and LIZZIE. TIM and TINA stand looking at them. TIM's embarrassed, TINA suspicious and protective.

2. IN T/EXT. CURTIS PLA CE. TH E W O R K SH O P /P ET R O L PU M PS. DAY

Next morning. Dazzling sunlight out through the double doors, the heat already like a wall out there. Inside, that Country'n'Western music is playing. The big motorcycle is disembowelled: parts and tools are laid out neatly on the piece of sacking.

ASTA is in the doorway of TIM's little corner office, listening as TIM speaks on the phone.

TIM

(INTO PHONE) Well, have you got parts for that model or not? What?

Well, that's why I’m ringing. (ROLLS HIS EYES TO ASTA, MUTTERS) Gawd strike me. (INTO PHONE) Yeah, you check, mate ... Righto ...

TIM waits. ASTA waits - with increasing frustration. The sound of a carhorn as a police car pulls up at the pumps.

TIM

Gazza ... Pumps G ARRY

Righto, righto ...

GARRY tears himself away from a car engine and goes out to the petrol pumps. Out there, CUDDY has climbed out of the car, stretches and strolls casually towards the workshop.

Meanwhile: TIM

(INTO PHONE) Yeah, I'm here ... You have? Right, now I need 'em out here mate ... Ginborak ... Yeah. My customer is in a hurry, yes ... Yeah, yeah. Are you in charge there, son?

CUDDY into the workshop now, nods and smiles "Good morning" to TIM and ASTA. TIM

(INTO PHONE) Well, put me onto your boss .. I will hang on, yes ...

(COVERS MOUTHPIECE) G'day, Wal. TIM's greeting to CUDDY isn't friendly, just flat - and he avoids CUDDY'S eye. ASTA wanders away towards her bike. CUDDY on top of everything else...

CUDDY

How you going Tim? How's the family?

TIM

They're all right. I'm - uh - I'm on the phone, Wal. 40— NOVEMBER CINEMA PAPERS

SHAM E CUDDY

Sure. Well that's good to hear. I'll just have a word with the lass.

And he wanders over to ASTA - who isn't working, just staring at the bike's innards. GARRY leaves the petrol pump running and mooches back to lean in the doorway, watching and listening unashamedly. ASTA glances up at the bulk of CUDDY leaning over her, then back to her engine. CUDDY seems very relaxed: he takes out the makings and rolls a smoke, as: CUDDY

Tim's looking after you, is he?

A STA

Yes, thank you.

CUDDY

Yes, well, visitors are always welcome in Ginborak.

A STA

(A TOUCH OF SARCASM) Well, I'm very relieved to hear that.

ASTA crouches back to the bike as if dismissing him. But he stands there. And at the same time: T IM

(INTO PHONE) Ah, g'day ... Yeah. 1 was ringing about ... Ah, he told you ... That's right...

CUDDY

You must handle that machine pretty well.

A STA

Hmm CUDDY

(AFTER A PAUSE) Travelling alone, eh?

A STA

Apparently.

T IM

(INTO PHONE) On the train tonight? Rightio, then ... Good. Ahm what'll it cost? Uh-huh ...

CUDDY

Don't yous have people wondering where you are?

A STA

I know where I am.

CUDDY

(CHUCKLES) S'pose you do TIM (INTO PHONE) Good on you. Thanks. Bye. (HANGS UP) Miss Cadell?

Train tonight. Going to cost you a bit.

A ST A

Thought it might.

CUDDY

All fixed up, then? eh? Put a bit of a hole in your holiday, though, eh?

A STA

Mm..

ASTA looks past CUDDY to an old bicycle hanging on the wall.

GARRY

We asked her for a beer last night, Sarge. But she wouldn't be in it.

CUDDY

You check my oil and water, Gazza?

GARRY

(EXITING) Righto, righto.

CUDDY

So - what're you going to do with yourself all day?

A ST A

(ALMOST THROUGH CLENCHED TEETH) I better think of something ...

(BRUSHES PAST CUDDY) Excuse me ... (TO TIM) Could I borrow that bike?

TIM

Eh?

CUDDY

You want to go somewhere? I'll give yous a lift... No trouble ...

A STA

(TO TIM) Please?

TIM

Well... if you like. (LOOKS OUTSIDE) Gonna be a hot one ...

23.

EXT. B IT U M E N R O A D . DAY

A narrow bitumen road. Old telephone poles stand at odd angles, strands of wires fall to the ground. ASTA is pedalling slowly along the road on the creaky old bicycle. She's wet with sweat, but singing happily to herself in the eerie stillness. She comes to a downward slope and lets the bike run, taking her feet off the pedals.

An extreme WIDE SHOT. The bike wobbles. She stops. In the distance we faintly hear: A STA

Shit!

Some crows fly overhead. ASTA begins to walk, wheeling the disabled bike.

Then the sound of a truck engine, drawing closer. From out of nowhere a small truck comes bouncing and rattling toward her.

ASTA looks around the emptiness, suddenly nervous. The truck passes her and stops. It backs up until it is right beside her. The driver, ROSS, is a weathered man in his early thirties. He looks her up and down, his face expressionless.

R O SS

G’day. Hot? 24.

IN T/TRA V ELL1N G . R O SS 's T R U C K & P.O.V.'s. DAY

The old pushbike rattles around on the tray of the truck. It's a 'roo shooter's truck, still bloodstained from the killing of the night before.

There are racks and hooks on a frame for hanging the kangaroo carcasses, spotlights mounted on the cabin and a .303 rifle mounted behind the seat.

ASTA relaxes in the passenger seat, glad to be riding. ROSS hums to himself tunelessly. ASTA glances at him, sizing him up. He seems all right. She attempts conversation A STA

I'm lucky you came along. (PAUSE, NO RESPONSE) Yes, that bike was a bit more than I bargained for.

R O SS

(A SHORT LAUGH) Looked like it.

Then silence again. ROSS just drives, seeming to have no interest in her at all. But now, calmly, with no change of expression, ROSS takes the truck off the sealed road and onto a dirt track. ASTA sits up straight and looks at him.

A STA

You are going into town?

R O SS

Eh? Oh, yeah. Yeah, yeah. We'll get there.

ASTA looks back: the sealed road recedes behind them, then disappears. ASTA looks at ROSS: he's humming to himself again. ASTA decides to go along with it, but she sits more upright. Now she notices him glancing at her, as if sizing her up, sussing her out.

R O SS

What're you doing out this way? Just sort of looking around?

A STA

Yes - 1 s'pose - something like that...

ROSS nods at this - as if she's said something all right and quite sensible. He draws the truck to a stop now, looking out his window to a small dam where a few sheep are drinking. Nearby, in the shade of some trees, there's a large chicken wire cage inside which are a couple of crows, trapped, flapping around a piece of rotting kangaroo carcase.

A STA

Is this your place?

R O SS

What? No. This is the boss's place. Mrs Rodolph. All hers. She owns most of it round here.

ROSS pulls his rifle off the rack behind the seat and gets out of the truck.

CINEMA PAPERS NOVEMBER— 41

SHAME 25.

EXT. STAND O F TR EES, C R O W TRAP. DAY

Carrying his rifle, ROSS goes across to the crow trap. ASTA gets out and checks in other directions: they seem to be quite isolated. ASTA shades her eyes from the sun. At the crow trap, ROSS shoots the crows.

ASTA's face: she doesn't want to look. ROSS returns to the truck. He looks across to ASTA. RO SS

(GRIM) Waste of bullets. Bloody pests. They attack the lambs.

He gets back into the cabin and stows the rifle. He starts the engine.

RO SS

You coming or not?

ASTA climbs in too. Behind her head, the muzzle of the rifle. The truck lurches forward.

26.

IN T/TRA V ELLIN G . R O SS ’s T R U C K & P.O.V.'s. DAY

RO SS

Not much to see in Ginborak, is there? The Meatworks ... (PAUSE) My wife - she works at the Meatworks. You work?

ASTA

Yes - sort of an office job.

RO SS

Ah, yeah. (PAUSE) I'm a 'roo shooter, m'self. (PAUSE) Ah, well - can't complain. Most blokes round here got nothing.

ASTA

Yes - there seems to be a lot of unemployment.

RO SS

(SUDDENLY ALMOST FIERCE) Well, it's none of your worry, is it?

ASTA

Erhm - no ... I s'pose ... So - you work at night?

RO SS

Yeah - at night.

He has reached the turnoff onto the sealed road. Now he looks at her with great earnestness. He takes a breath as if about to say something important, then stops.

A car and two bikes sweep past on the main road, distracting his attention.

DANNY's Fairlane, DANNY at the wheel, LITTLE STEVE beside him, fishing rods and towels tied to the roof rack. After a second two motorcycles follow the Fairlane: WAYNE with BOBBY riding pillion, and on the other BRIAN. ROSS stares grimly at them as he turns onto the sealed road. The two bikes slow right down to keep pace with the truck.

WAYNE looks up to ROSS and ASTA with a friendly grin.

WAYNE

(TO ASTA) G'day Butch!

BO BB Y

Hey, Ross. How's Penny these days?

ROSS's face sets. He brakes and pulls the wheel to the right, causing WAYNE to brake and slew into the gravel. ASTA is thrown back against the window by the sudden swerve. ROSS hurls himself out of the truck and runs toward WAYNE and BOBBY. BRIAN has stopped and turned his bike back toward the action. A hundred metres further down the road, DANNY brings the Fairlane to a stop. ASTA opens her door to get out...

42— NOVEMBER CINEMA PAPERS

27. EXT. ROAD. DAY ROSS hurls himself at WAYNE and BOBBY. WAYNE is forced to drop his bike to defend himself from ROSS's flailing blows. In an instant, BRIAN is off his bike and he too joins in.

Foreground: ASTA watches a moment. She winces, then sits back in the truck cabin, deliberately turned away from the fight. The Fairlane backs up beside the truck and stops. DANNY and LITTLE STEVE look enquiringly at ASTA, then get out of the car. ROSS is being overwhelmed: three on one. Yells, grunts, curses.

ASTA watches DANNY. He's neither joining in, nor stopping it. He's just standing there, hands on his hips, shaking his head. ASTA stands out onto the running board. ROSS is on the ground and BOBBY is putting the boot in.

ASTA All right - isn't that enough?

They stop, panting. ROSS got some blows in and the RIDERS show a few signs. As for ROSS himself, he lies on the ground, belly heaving, breath coming in choking gasps.

BRIAN (TO DANNY) He's a bloody madman!

DANNY nods agreement, then shakes his head at the funny things people do. He looks at ASTA, as if to include her in his wonderment, but she ignores him and moves across to ROSS. DANNY Yeah - anyway, leave him. Go on - see you in town.

The RIDERS exchange a look and a shrug, then walk to their bikes.

As the bikes roar off - LITTLE STEVE giving them a wave - DANNY walks over to ASTA and ROSS. ROSS is in a very bad state: his face cut and bruised, one eye swelling shut, and when ASTA tries to sit him up it seems some ribs may be broken. He looks at her dumbly, a great shame in his eyes.

DANNY crouches by ASTA and ROSS. DANNY Better get him home. Come on, mate ...

DANNY reaches out to help ASTA lift ROSS, but ROSS flinches away and glares at DANNY, his good eye blazing. DANNY shakes his head and gives a gesture of helplessness. He grabs LITTLE STEVE and they go to the Fairlane and drive off.

ASTA looks at ROSS. He hangs his head, ashamed. With a lot of effort, she gets him to his feet and helps him to the truck.

Way down the road, now, the Fairlane is a dot in the distance.

28.

INT/TRAVELLING. ROSS's TRUCK & P.O.V.'s DAY ASTA drives the truck. They're on the edge of town now. ROSS sways back and forth in his seat. He seems to be almost crying.

ROSS Y'see, she used to go down the Club, when I was working ... Can't blame her for that much, can you? My Penny, she likes a bit of company, that's all ... few laughs ... few drinks ... Well, she likes a good time ... why not?

Well, they give her that all right... Stupid bitch! ... And then ... and then ... she tries to lay charges ... People said, "Charges? Penny Ross?

Everyone knows she ... she ..." Oh, Jesus ... This’s six months ago ... but she still ...We'll be sitting there having tea and she'll just ... start cryin' ... and I tell her, "It's all right, Pen ... it's all right... But she ... she ...

SHAM E ASTA is affected by his emotion, but she sighs and shakes her head.

R O SS

Well, what’s a man supposed to do? Blokes look at me in the street, down the Club ... Laughing ...

A ST A

Yeah, yeah ... Where do you live?

R O SS

(SHAKES HIS HEAD) No. Go to the Meatworks. Take a left here. . .

He points. ASTA shrugs: he is a madman. But she takes a left.

29.

ASTA sees MRS RODOLPH give him a rather pained look. And now ROSS's wife, PENNY is emerging from the machines, accompanied by DULCIE, and with TINA tagging along. SHIRL and PATTI drift a bit closer, each carrying some flattened cartons so as to look as if they're working.

D U LC IE

(A HALF-HEARTED SHOW FOR THE BOSS'S BENEFIT) Come on, you other girls - back to work now. There's nothing to see ...

As soon as PENNY sees ROSS, she cries out and her brisk walk turns into a run to him. She crouches by him, holding him and crying.

EXT. R O D O L P H M E A T W O R K S . L O A D IN G BAY. D AY

The rattle and clank of the machinery inside is the only sound in the hot stillness as ROSS's truck squeaks to a stop outside the loading bay of the Meatworks. Some distance away, a yellow sports car is parked by the white Mercedes sedan. As soon as the truck stops, ROSS wrenches open the door and slides to the ground. ASTA gets out on her side and moves straight to the rear of the truck. She grabs the bicycle and begins to haul it off. She looks at ROSS. He is leaning heavily against the front mudguard of the truck. He's in pain. He lets go of the mudguard and takes a step toward the factory doors. He staggers, almost falls and then stands swaying perilously.

ASTA grimaces, sighs heavily and goes to him. She puts an arm around him and supports him into the factory. He leans on her gratefully.

30.

INT. R O D O L P H M E A T W O R K S . DAY

ROSS and ASTA come down the steps to the loading bay and onto the . factory floor. This takes them past SHIRL and PATTI, working near the loading bay. They both exchange a look and work slower, keeping an eye on developments.

Now DULCIE sees ROSS and ASTA and moves over to them at a shambling trot. She screws up her face when she sees ROSS's injuries.

D U L C IE

God in heaven, Ross - what're you ...?

R O SS

Want my wife, Dulce ...

D U L C IE

(AN ANXIOUS LOOK ROUND FOR THE MAN ON THE CATWALK, THEN) Yeah - all right. Wait here.

DULCIE trots off into the machines. ASTA helps ROSS sit down on the loading bay steps. She looks around. The factory roars on as usual, drowning any awareness yet of ROSS and ASTA's arrival. We make out TINA, BERYL and RITA among the WOMEN. Having taken things in, ASTA decides she can go. She gives ROSS a gesture of farewell and goes to ascend the steps past him. But he reaches up and grabs her hand, looking up at her with his good eye. ROSS has decided ASTA is his "mate".

ASTA grimaces, but she stands there - with ROSS holding her hand like a child.

Then ASTA sees that a well-dressed woman, MRS RODOLPH, and her son, ANDREW, are approaching.

ASTA, the stranger - at least to MRS RODOLPH - gets a curious once­ over, then MRS RODOLPH looks to ROSS. M RS RO D O LPH

(CONCERNED) Ross ... goodness me - we have been in the wars ... What happened?

She goes to him, bending over him. ROSS looks at the floor, mumbling: R O SS

Nuthin'... I'm all right. Just come to get me wife.

MRS RODOLPH gives ASTA a look of enquiry, but ASTA just shrugs, as if to say, "You heard him, he wants his wife." Now RITA has seen something's up and is drifting closer. MRS RODOLPH sees her.

M RS RO D O LPH

Rita, darling? Could you get the first aid box for Ross?

R O SS

Said I’m all right!

MRS RODOLPH flutters a hand at RITA - "Don’t worry about that then ... RITA shrugs and looks curiously at ASTA. At the same time, ANDREW tugs at his mother's sleeve, turning her to him. They’re close enough for ASTA to hear: AN DREW

Mum - 1 got to go. Money?

M R S R O D O LP H

Dulcie ... (BECKONS HER CLOSER) Norma Curtis and Lizzie off again today?

D U LC IE

(QUICKLY) Rang in sick, Mrs Rodolph ... Some kind of tummy wog, I think...

AN DREW

(NODS TOWARDS PENNY IN A DISINTERESTED WAY) Looks like she's going to want the day off as well, Mum ...(SHRUGS) ROSS being supported to his feet by PENNY and ASTA. He struggles free and takes a few unsteady steps toward ANDREW and MRS RODOLPH. R O SS

You ought to control that boy of yours, Mrs Rodolph.

Mrs Rodolph sighs wearily, shaking her head, and turns away.

RO SS

He needs a good thrashing ... Him and his mates ...

M RS R O D O LPH

(HER BACK TO HIM, COLD) Don’t start all that again, Ross.

RO SS

You both think you can do what you like to us.

M R S R O D O LP H

I'd be very careful what I said, Ross - if I were you.

And she clicks her tongue, having no wish to continue this ridiculous conversation ...

R O SS

(ANOTHER COUPLE OF STEPS) You stop and listen to me, you bitch.

He looks as if he is going to step in front of her, to make her listen ...

But now ANDREW punches him in the stomach. ROSS, already weakened, crumples and goes down on the puddled floor ... A scream from PENNY...

ASTA moves fast, on an instinct of rage ...

And. in a blur, before anyone knows what's happening, ASTA whacks ANDREW a stinging blow across the face. He cries out, as much in shock as pain ...

Reactions: TINA - open-mouthed; RITA - fists clenched herself; SHIRL gives PATTI a delighted nudge - "Hit him again ...!"

ANDREW clutches his stinging face. He makes a move toward ASTA, but MRS RODOLPH stills him with a gesture.

MRS RODOLPH looks hard at ASTA. M R S R O D O LP H

Who the hell are you?

But ASTA looks straight back at her - the only woman in this factory who can at this moment. ASTA gives a brief laugh - "Huh" - as if she sees right through MRS RODOLPH (ASTA has met MRS RODOLPHS before).

Then she turns on her heel and mounts the loading bay steps to go.

Out there, in the blinding light of the car park, she can be seen angrily hauling the bicycle off the back of the truck as, foreground: M RS R O D O LPH

Dulcie - tell the office that these two (PENNY and ROSS) are to be paid off.

D U LC IE

Oh, Mrs Rodolph ... What - now?

M RS R O D O L P H

I don't want to see either of them again. (to be continued) CINEMA PAPERS NOVEMBER— 43

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Volume 10: The films of the Silent Era, those made between 1910 - 1936.

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Volume 13: 1986 Annual. The films of 1985, library edition.

Volume 14: 1987 Annual. The films of 1986, library edition.

Volume 15: 1988 Annual. The films of 1987. library edition.

including alternative titles, with full indexing and photographs, with full indexing and photographs, with full indexing and photographs,

The com plete 15 volumes are now availab le in Australia for $1464, freight free.

Volumes 13, 14 and 15 are availab le separately for $138 each, freight free.

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Each MOTION PICTURE GUIDE entry contains full details of : *.Year rp,ease * Original running time * Production com pany * Releasing com pany * Cast and roles Production Credits * Genre * Colour or b&w * MPG rating Plus full synopsis, analysis and anecdotal reviews.

Everything you’ll ever need to know about motion pictures!

1988

iMOTlON PICTURE ANNUAL

SPECIAL PAPERBACK O FFE R For a limited period, Thorpe is offering a free copy of the 1988 Motion Picture Annual to all purchasers of the complete 15-volume Motion Picture Guide. Act now!

The 1988 Motion Picture Annual offers, in 320 pages, full details of over 400 films released in 1987. Fully illustrated with over 300 photographs. Separately, the paperback 1988 annual is available for only $26.00, post free.

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CineBooks

SOMETHING OLD, SOMETHING NEW? AFTER THE DUST HAS SETTLED, AND THE PROMOTIONAL HYPE HAS DIED AWAY, WHATS REALLY NEW IN THE TECHNICALITIES AREA? FRED HARDEN LOOKS BACK AT SMPTE. Sound & Vision '88, the third international conference of the Australian section of the Society of Motion Picture and Television Engineers (SMPTE), had a particularly positive air about it, apparent even in a two-day visit. I lost one valuable equipment viewing afternoon as a guest on a long panel discussion at which, considering the disjointed thoughts that I had to offer, I should have been looking and asking questions. The audience would have appreciated it as well!

For this year, Dominic Case from Colorfilm took over the reins of chairman from Peter Bowlay of VTC. Again, the organisation of the conference program and the exhibition went smoothly, with more than 50 conference papers presented and 90 or so companies exhibiting equipment. The atmosphere of uncertainty about the future of the Australian industry was certainly not carried into the show and television equipment, at least, seemed to be selling, judging from the "Purchased by ..." stickers. It made me think that the engineers have the easier task. Their research and development will continue to be funded, because all the companies are looking to the future. It's the endusers who have to keep up with the day-to-day realities, such as how to afford things.

In a way, that thought was behind the Sound & Vision '88 theme, "The challenge of changing technology".

As Dominic Case pointed out, the pushes for higher resolution television and higher quality for film through new formats and faster film frame speeds are now real issues on which decisions must be made. We should thank the Australian section of SMPTE for bringing the discussion to us, as we are normally so isolated from the technical developments.

THE TIME GUARDIAN: special effects on show at SMPTE

CONFERENCES AND PAPERS As always, topics and standards of papers were mixed. The SMPTE is made up of engineers working for companies of very different sizes, and all of them are looking to these events to promote their own products or development path. There were some sessions that provided overviews of development, and were intended to balance the commercial tendency of the fair. The panel on High Definition Television Systems, on which I sat, was an example of this. This year, the big companies like Sony and Ampex had technical background papers on the development of the digital video systems, particularly the D2 standard (more of this later). A list of all the papers presented and how to get copies of them is available from SMPTE (address below), but here are some that caught my attention.

Among the Australian companies was Fiimlab Engineering,with details of their new Colormaster 2000 colour analyser: this is a CCD sensor system on a flatbed film transport table, using an AT computer to process the image colour information digitally. Fairlight Instruments unveiled their MFX audio post­ production system. Designed to work in with the big Fairlight III CMI, it has wider application as a totally digital audio post-production system, allowing timecode-based dialogue and effects to be accurately layered.

With the large amounts of RAM and a big hard disk it can handle complete reels of feature audio production with infinite flexibility.

Some of the other local papers were hardly new or exciting: lowbudget slide transfers (Digital Imaging Australia), budget Amiga graphics for non-broadcast (E. Stefanou & Assoc.), and the application of motion control software from Apogee in the U.S. by Samuelsons in Sydney, for a computer controlled hot head.

There were a lot of technical papers about satellite broadcasting and distribution systems, using digital processing techniques. Visual presentations included Andrew Mason from Mirage Effects showing the best bits of The Time Guardian the special effects - and short films that opened each session showing some historical moments of TV, such as the 1938 Movietone newsreel of John Logie Baird in Australia.

One of the gems was paper No.22, 'The Subjective Tests on Tolerable Timing Differences between Picture and Sound in a Television Program'. This explained tests done by the Finnish Broadcasting Co. to work out the extent that a picture and sound could be out of sync, before this became annoying to the observer. The conclusion was that most viewers cannot tell if the sound is behind by 72ms (about 1.8 frames) or ahead by 66ms (1.65 frames). As the paper pointed out, the tests were done in the Finnish language and English might be different. I just thought that you'd like to know.

CINEMA PAPERS NOVEMBER— 45

T E C H N I C A L

I T I E S computer graphics-to-video synchroniser, the CVS 950, that was capable of accepting non-interlaced output from computers like the Mac II, up to 1280 x 1024 pixels.

I was looking carefully at the small offline edit controllers because I wanted to buy one, and the choice was wide. Systems like the Miickey, a computer mouse-controlled system, looked to be the right price and, if you later add TBCs, the Mickey can perform a limited-length range of dissolves within the

The AMPEX D2 digital VTR is being advertised as the tool for perfectionists, pragmatists, over­ achievers and visionaries. Add to that list anxious accountants, because the VPR-300 fits immediately into the one-inch edit suite and promises to make all the other machines redundant.

VIDEO EQUIPMENT We noted in the last SMPTE show the growing involvement of computers in all aspects of film and TV production.

At this show the process was carried through to its full conclusion: total digital image processing and recording has become a commercial reality. The buzzword was D2 and the engineers were wearing paths between the Sony and Ampex stands.

Sony sold the first true digital VTRs in Australia. Last year was an impressive event in the development of TV but because the system used the 4:2:2 component standard (it keeps the Red Green Blue signals separate) the Sony DVTR fitted poorly in the general composite analogue production environment.

Even at the high price, the video graphic companies were eager to buy because their graphic systems were 4:2:2, but what most facility houses were waiting for was the machine that fitted in with their existing one-inch VTRs, at a comparable price. Surprisingly, it wasn't Sony that did it.

In April this year Ampex used their co-operative patent arrangement with Sony to produce a full featured VTR using the D2 composite standard.

Sony did have a D2 machine on show but for some reason had chosen a simpler design, making the

46— NOVEMBER CINEMA PAPERS

Ampex VPR 300 D2 machine the most attractive. Judging from the backlog of orders for the Ampex machine, it may have stolen the march on Sony. At SMPTE the situation was repeated but Sony was quick to point out that the race was not over and their following model will have a lot more of the features that the market asked for.

The biggest advantage of digital VTRs is the quality that is maintained over multiple generations. The D2 standard uses a special cassette similar to the U-matic (the same width tape is used). The big plus for the Ampex VPR 300 machine is the ability to take an oversize three-hour tape.

There were new graphics packages from almost everyone. The traditional hold on the video paint market of Quantel and Ampex has also been challenged by a lot of lower cost models. There has been a lot of squabbling about whether user interfaces (menu displays etc.) are copyright and Quantel is coming down hard on this issue.

At the low end, there were some good PC-based products. The Neriki Pro Genlock for the Commodore Amiga gives a clean, fully broadcastcompatible video signal from what looks like the best of the cheap graphics-capable computers. The resolution is still chunky but it adds a lot of capacity for little money.

For a bit more money, a Japanese company Yem had a real-time

MOUSEWORK: The 'Mickey' computer editing system

computer. The Maurice TBC package from the same supplier, Quinto, was also good value for money.

AEC (Automatic Edit Controllers) was showing its tiny two-machine edit controller, the BAT, designed to be a cuts only lower cost controller (with some flexibility).

Digiteyes (I'm not sure if that's a clever name or not) is a Sydney production company which have developed a product called Shotlister. This is an edit list program that tries to be different, with a 'graphic' printout format that lets you see the A and B rolls start and end points in relation to each other and the audio track. It works on an IBMcompatible PC and uses a slot-in timecode capture card to read the timecode from track 2 of the U-matic cassette. The edit decision list software also gives you insert capability. I've used the product on a couple of short offline sessions and, : after getting over the steep’ leaming curve (not helped by a poor manual), it seems to do most of what I need an offline for.

T E C H N I C A L I T I E S To put the overload of new video equipment in perspective, a director friend walked from stand to stand, awed by each new digital device, then said, "The bottom line to all this is, where are the creative applications?" It's now possible to do almost anything to manipulate the image, but even the display material is creatively boring. It seems as if we are waiting for the new breed of 'creators' to take full advantage of the new tools.

FILM AND POST PRODUCTION The Miller Model 80 fluid head, suiting cameras up to 35 kg, was a true production head for the bigger cameras, a tough competitor for the Sachtler studio head.

The features that were attracting attention were the good counterbalance system and multistep drag adjustment. There are four pre-sets in tilt and three plus free in pan. It will also fit a wide range of tripods and TV studio pedestals. The low Australian dollar has given Miller a big plus in the overseas market and the company is not letting the chance slip away. There was a new, heavy duty, anodised tubular aluminium tripod called the Maxi that will carry up to 45 kg and weighs 6 kg with the built-in above ground spreader.

There was also a lightweight ENG tripod, the Compact II. Weighing in at 3 kg, its very low position of 580mm with the spreader still attached was impressive.

heads all connect to standard ballast.

There was also a new open-faced 575W HMI based on the Blonde housing. It has more punch than the 575W Sirio (it uses the same ballast) and has a focusable reflector.

Strand's other new products at the show included a new lighter weight lighting grid, the Lightrig, aimed at temporary or smaller video studios, and the ladi, a new fill/cyc light that will take from 200W to 1000W lamps.

Strand also distribute the Rosco products. In the paint range there was a high quality phosphorescent paint and a new TV black and TV white. Black and white paint is hardly new but this is TV white, a neutral grey with 60 per cent reflectance which the TV engineers like to see their peak white sitting at on the waveform. The black has a 3 per cent reflectance suiting minimum brightness. There is also a new flame retardant for muslin backdrops for theatre use, called Roscoflamex, which can now be used for treating synthetics and timber.

Adding to the Rosco Cinegal range is the deep-dyed, fade resistant Cinecolor, on rolls 48 inch wide. There are 56 colours and nine diffusers.

There were a lot of video and ENG lenses, but weighing in at 5.8 kg (nearly 13 lbs) was a 5:1 zoom lens that I wanted immediately. There are some good wide zooms for 16mm but on 3 5 Q ^ g g ^ jM v e to go to prime lenseR ^H W S i^M ^^ide. The

SMP Products had a lot of new toys that I didn't get time to play with, but one of those that caught my eye as I kept passing the stand was the Matthews briefcase dolly, far more sturdy than its size would have you believe and a perfect addition to a video kit. The other item that I want to get my hands on was the Filmsoft Editor's Assistant. This is a hardware and software package designed to attach to any sprocketed device which will convert the footage counter to PAL timecode. Designed to fit onto synchronisers, Pic Syncs •and flat bed tables, it makes building up an edit decision list a lot faster.

SMP also had a Panavisionlabeled Sharp PC-1360 handheld computer with a special EPROM program that does almost every film

SUM THING: The Sharp PC-1248 pocket computer

calculation you'd need: exposures, depth of field, speeds, diopters, film time/lengths and more. It will even do your accounts and tell you what time the sun comes up.

The other handheld film/video calculator was the one from ACE Edit, using the lower cost Sharp PC-

LIGHTING Strand Lighting Australia was keen to show off the first products from its R & D program on specific needs for the Australian lighting industry. There were several smaller control boards and dimmer control packs made to suit school or small performance areas such as pubs. These contrasted with the massive new Lightboard M. Computer controlled and with colour VDU, it has the capacity to drive 768 dimmers with 200 recordable memories - all too much for me, so I headed towards the HMIs. In the Quartzcolor range were the Arturo HMI softlights, clean broad course lighting from an interesting reflector design in three wattages: 575W, 1200W and 2500W. The

WIDE-EYED: The wide angle Cooke Varotal

Cooke VarotaTrS% 14 to 70mm zoom, T3.1, with a 76 degree angular field of view across the horizontal. It has minimal distortion on the wide end and the resolution figures are impressive. It also focuses down to a very useful 70 cm (27 in). I can't wait to use it.

1248 and depending on the long lithium battery life to store the program in memory rather than on EPROM. This calculator has been around for a while and has a good reputation. If you need it, it will also calculate Super 8 feet and frames.

ACE Edit also had an add-on computerised mixer for conventional audio desks that looked like great CINEMA PAPERS NOVEMBER— 47

T E C H N I C A L I T I E S

HOT PROPERTY: The EQuator

value for the price. The big plus was the quality of the sound and the builtin equalization for every channel. All the levels and EQs could be set to change on any SMPTE time-code frame, and the video screen display was particularly well designed. It's worth a look.

As usual, you never get to see all the items that look interesting in the catalog and I'm still catching up with things people have told me about.

That's just part of the excitement of trade shows like SMPTE; it's all the fun of window shopping but you are encouraged to handle the equipment. Add to that the papers and the discussions; the effect is to send the delegates home feeling positive.

Among the things that I never knew I wanted at SMPTE was Rosco's Pina Colada-flavoured smoke fluid (one of a range of designer smells available) and come to think of it, they also had the lowest tech giveaway of this high tech show.

I'm waiting, heart in mouth, to see the improvements in next year's model!

LOW TECH, HIGH IMPACT: Strand Lighting's giveaway, the Professional Equipment Grip (PEG), which made a deep impression on Fred Harden

ADDRESSES: The Australian section of SMPTE can be contacted at P.O. Box 88, Willoughby, NSW 2068 ACE Edit, PO. Box 323, Bondi Junction, NSW. (02) 398 9039 Automatic Edit Controllers (ACE) Pty Ltd, Shop 3, 84 Great North Road, Five Dock, NSW. (02) 713 4930 Ampex Australia Pty Ltd, P.O. Box 199, North Ryde, NSW. (02)887 3333 Quinto Communications, 260 Auburn Road, Hawthorn, Vic. (03) 819 6675 Digiteyes, P.O. Box 344, Strawberry Hills, NSW. (02)357 1444 Fairlight Instruments, 15 Boundary Street, Rushcutters Bay, NSW. (02) 331 6333 Filmlab Engineering Pty Ltd, 201-203 Port Hacking Road, Miranda, NSW (02) 552 4144 Miller Fluid Heads, 30 Hotham Parade, Artarmon, NSW (02) 439 6377 Mirage Effects Pty Ltd, 10 Byfield Street, North Ryde, NSW. (02)888 9666 Mitsubishi Electric Australia Pty Ltd, 73-75 Epping Road, North Ryde, NSW. (02) 888 5777 SMP Products, 30 Gibbens Street, Camperdown, NSW. (02) 517 2745 Sony Australia Pty Ltd, 33-39 Talavera Road, North Ryde, NSW. (02) 887 6666 Strand Lighting, 4/56-72 John Street, Leichhardt, NSW. (02) 552 1222 Telmak/Neriki Image Master, 200 Pacific Highway, Crows Nest, NSW. (02) 957 4778 The Cooke Varotal zoom is available from the John Barry/Samuelson group, 1 McLachlan Avenue, Artarmon, NSW. (02) 439 6955 Quantel, distributors of the Paintbox, are at 8/81 French's Forest Road, Frenchs Forest, NSW. (02) 452 4111

High on my wish list is the Mitsubishi video hard copy printer. The black and white model shown here has been around for a while but the colour version gives prints that look as good as Polaroids. It can be yours in black and white for about $2,000 ex tax and in colour for $5,000.

48— NOVEMBER CINEMA PAPERS

BOULEVARD OF BROKEN DREAMS

THE30TH AUSTRALIAN FILM INSTITUTE AWARDS WERE PRESENTED ON 10 OCTOBER. PAUL KALINA LOOKS BACK AT THIS YEARS CONTROVERSIES AND CONTENDERS. "What we are seeing at present," says Vicki Molioy, executive director of the Australian Film Institute, "is an international movement which is questioning the status of the director, the auteur theory, and attempting to upgrade the status of the writer. I think the Awards are providing a forum for acting out, or voicing, some of those broader concerns."

That's certainly a philosophical view of the dispute that saw this year's AFI Awards proceed without the participation of the Australian Writers' Guild, and the elimination of the two writing categories (best screenplay and best screenplay adapted from another source) from the Awards. Diplomatically, one might call it a forum; otherwise, it is better described a boycott.

Though the streamlined voting procedures introduced last year along with a new AFI Members' Award seem to have been well received --

particularly among industry practitioners who now find it much easier to participate in the Awards - the annual round of disputes has once again bucked the organisational horse and highlighted several areas of contention concerning the voting procedures and regulations of the AFI Awards.

This year's principle dispute centred on voting accreditation rights. The Australian Writers' Guild was dissatisfied over the fact that while directors were eligible to vote in the screenplay categories, writers are refused the reciprocal right to vote for directors. According to the Guild, whichl boycotted the Awards, "the AFI's voting accreditation rights downgrade the writer to some sort of junior partner in the filmmaking process".

Tom Hegarty, a spokesperson for the Guild, censures the AFI as "the main film body in Australia" for its inequitable treatment of writers, without whom there would be no film industry. The.dispute, he stresses, is not with the directors, but with the AFI, whose present voting procedures, he says, perpetuate an improper

perception of the writer's role.

(Interestingly, were voting rights reciprocated, writers would outnumber directors by as much as two to one.)

Vicki Molioy maintains that "the AFI is continually receiving representations about amendments desired by different groups, and while we try to accommodate as best we can the interests of special industry groups, we also have a responsibility to maintain a consistent and equitable judging system across the board. The situation at present is that produced directors vote in every category, and beside that there's peer judging. We decided not to make a one-off amendment to that system because we thought that might create other inconsistencies."

The Guild was quick to point out the existence of "major inconsistencies within the Awards far more anomalous than the change requested by the Guild. As the system stands, first assistant directors and production managers are accredited to vote for best director, yet experienced writers aren't."

Molioy claims that the perceived anomaly has been noted, and explains that "the

basis on which first assistant directors and production managers vote for director, is that voting occurs within departments." The directors, it seems, are not entirely content with this either, and have lodged an objection to the inclusion of others in their category.

The Guild first voiced its dissatisfaction with this situation in 1984, when it was told that a review of the process would be forthcoming.

Despite ongoing correspondence and discussion, earlier this year the Guild put a proposal to the AFI Board proposing that writers be accredited to vote for directors in the same way that directors vote in the screenplay categories, but the proposal was turned down.

The reason that directors and producers vote in all categories, says Molioy, is because functionally they are seen to have direct involvement in every aspect of the film production process.

"That can't be said of writers or actors," said Molioy. Amongst other things, the granting of reciprocal voting rights for writers would set a precedent that other groups, such as actors, would similarly lay claim to, she maintains.

According to Flegarty, the writers recognise the universal role of directors and producers - who, after all, are responsible for the hiring of the writer - but merely seek to have the inequity redressed, and would settle on having directors removed from the writing categories.

Molioy says that it Is unlikely the AFI will proceed with the Awards next year before receiving the agreement of all groups to abide by the rules and regulations, whatever they may be. Molioy acknowledges that other options are being looked at. One model currently under scrutiny, which mirrors that used by the American Academy, would allow all accredited members to vote in all categories, after films had been pre-selected by peer groups. Such a system, she believes, would satisfy the writers' concerns as no group would be privileged. She hopes that through round table discussions, meetings and negotiations, a system acceptable to all parties can be arrived at.

CINEMA PAPERS NOVEMBER— 49

Contention has also focussed this year on the film Shame which, according to co-producer Paul Barron, was originally entered last year but subsequently withdrawn when Barron Films discovered that the materials supplied for the AFI jury screenings were sub­ standard. According to Molloy, the film was indeed entered, judged and rejected by nine different pre-selection panels.

Despite Barron's claim that "no-one at the AFI told us that we would be ineligible this year and common sense would indicate that a producer would have the right to withdraw a film and re-enter it in such circumstances" it is unequivocally stated on the 1988 entry form that any film entered in 1987 would be ineligible. The film has subsequently been released nationally to general acclaim from both critics and the public. Though the re­ inclusion of the film on the grounds of its warm reception would undermine the entire credibility of the Awards, as well as being unconstitutional and totally unethical, the incident does confirm a view that has been voiced on many occasions in the past that the pre-selection process, and consequently the films that do win Awards, favours particular types of the films.

A further hiccup has been caused by uncertainty over the broadcasting of the presentation ceremony which was not televised this year.

The ABC, whose live broadcast of last year's presentation in Melbourne was a marked improvement on past botches, was unable to offer a time slot and cost factor suitable to the AFI. Molloy is convinced, however, that there are other ways to achieve the primary aim of the Awards, which is to create public awareness of Australian filmmaking.

At the same time Molloy stresses that the presentation is only one part of the Awards.

The films, which represent a large proportion of films produced in that year, are being screened in seven cities, providing members a chance to review that year's output in films. She believes that this, a forum in the truest sense, is an integral part of the AFI Awards.

Despite the gloom and lean times that have prevailed recently on the Australian film 50— NOVEMBER CINEMA PAPERS

industry, 26 feature films were entered this year, from which 19 were pre-selected to compete in the competition.

Screenings have been were well attended, according to Molloy, though mixed reactions to many of the nominated films would seem to reflect the current climate. Molloy acknowledges that "there are probably fewer stand-out films this year than I can recall from the past."

Not unexpectedly, Crocodile Dundee II, like its predecessor, is this year's most notable non-contender; on the other hand, The Man From Snowy River II was entered, but only in the technical areas where it received a nomination for sound Tom Hegarty promises that the writers will be continuing their campaign though he refused to be drawn to state what action they plan to take.

In spirit at least, however, they have been represented at this year's Awards. Frank Howson's Boulevard of Broken Dreams, which scooped six nominations including best film and best director, recounts the fate of a weary Australian playwright who, amid the first bites of Hollywood sharks returns home in a desperate bid to be reunited with his family.

Unlike the 'usual' breed of scriptwriter, the under­ recognised and downgraded "junior partner" who moonlights between washing dishes and driving taxis, this guy is famous enough to be pictured on the cover of Rolling Stone and be recognised by a local taxi driver. Is it wishful thinking, a sardonic joke or an irony that no writer could have conceived?

AFI AWARD NOMINATIONS

Best actor

Best Direction

M a rk Lee (T h e E v e r la s tin g S e c r e t

D anae G unn a nd Ja yn e S te p h en so n

F a m ily )

(T h e In v is ib le G irl)

H am ish M cF a rlan e (T h e N a v ig a to r ) Sean S cully ( P h o b ia ) John W aters ( B o u le v a r d o f B ro k e n

John H ug h e s ( A ll T h a t Is S o lid ) M o n ic a Pellizzari ( R a b b it O n The

D re a m s )

H ugh P iper (R id in g T h e G a le )

Best supporting actress

Best cinematography

Tina Bursill (J ilte d ) M ary C oustas (M u lla w a y ) Sue Jo ne s (M u lla w a y ) Julie N ihill ( B o u n d a r ie s O f T he H e a rt)

P hilip Bull (S o u th O f Th e B o r d e r ) Jim Frazier, W ayne Taylor (C a n e Toads,

Best supporting actor Kim G yngell ( B o u le v a r d o f B ro k e n D re a m s )

B runo Law re n ce ( G rie v o u s B o d ily H a rm )

Paul Livin g sto n (T h e N a v ig a to r ) Jo hn M eillon (T h e E v e rla s tin g S e c r e t F a m ily )

Best cinematography D avid C onnell ( B o u le v a r d o f B ro k e n D re a m s )

Ellery Ryan ( G rie v o u s B o d ily H a rm ) Dean S em ler (T h e L ig h th o r s e m e n ) G eoffrey S im pson (T h e N a v ig a to r )

Best editing S uresh A yya r (T h e D r e a m in g ) Phil Reid ( B o u le v a r d o f B ro k e n D re a m s )

John S co tt (T h e N a v ig a to r ) M arc Van Buuren (G rie v o u s B o d ily H a rm )

Best original score A n d re w H agan a nd M orton W ilson (W h e re The O u tb a c k E n d s )

M ario M ilo (T h e L ig h th o r s e m e n ) Frank S tra n g io (F e v e r) G raham Tardif a nd R om an Kronen ( In c id e n t A t R a v e n 's G a te )

Best production design Sean C allinan (S p ir its O f T he Air, G re m lin s O f The C lo u d s ) Sally C a m p b e ll ( T he N a v ig a to r ) Igor Nay (D a n g e r o u s G a m e ) Ju d ith R ussell ( In c id e n t A t R a v e n 's G a te )

D re a m s )

Best actress N adine G a rn e r (M u lla w a y ) W e n dy H ug h e s ( B o u n d a r ie s O f The H e a rt)

R osie Jo ne s ( A fr a id To D a n c e ) Jo K e n ne d y (T e n d e r H o o k s )

U n n a tu r a l H is to ry )

D enise H unter (S o u th O f T he B o r d e r ) S co tt P atterson a nd N eill G ib b ie ( S le e p w a lk e r)

Best sound R od n e y S im m ons, G e o rg e H art (C o o ee)

Liam Egam , M ic h e lle C attle, G eoffrey S titt (C ra n e ) P hilip Brophy, Ian H aig, P hillip S am artzis (S a lt, S a liv a , S p e rm A n d S w e a t)

John Patterson, A n n ie C o c k s e d g e , D avid B ra d b u ry (S o u th O f T he B o r d e r )

TELEVISION NOMINATIONS

Best miniseries Th e A lie n Y ears C a p ta in J a m e s C o o k P o o r M a n 's O ra n g e T h e True B e lie v e rs

Best direction in a miniseries D onald C ro m b ie (T h e A lie n Y e a rs) Peter Fisk ( T he True B e lie v e rs ) Law re n ce G o rd o n -C la rk ( C a p ta in Ja m e s C ook)

Best actress in a miniseries

D re a m s )

Tushka B e rge n ( A lw a y s A fte rn o o n ) K aarin Fairfax (A lw a y s A fte rn o o n ) V icto ria L o n g le y (T h e A lie n Y ears) A nne Phelan (P o o r M a n 's O ra n g e )

A n g e la Tonks and M athu A n d erso n (S p irits O f The Air, G re m lin s O f The C lo u d s )

Best sound Lloyd C arrick, C raig Carter, Peter B urgess ( The L ig h th o rs e m e n ) Peter Fenton, Phil H ayw ard, M artin O sw in (D a n g e r o u s G a m e ) Terry R odm an, D avid H arrison, Ron Purvis (T h e M a n F ro m S n o w y R iv e r II) R oger S avage, Lloyd C arrick, Frank Lipson, C raig C arter (R ik k y A n d P e te )

NON-FEATURE FILMS

Best documentary

Best Feature

C raig Lahiff (F e v e r) Don M cL en n a n (M u lla w a y ) V ince n t W ard (T h e N a v ig a to r )

M erllee B e n ne tt (A S o n g O f A ir ) L in d sa y Frazer (C a n e Toads, A n

Jeanie C am eron (M u lla w a y ) G lenys J a ckson (T h e N a v ig a to r) C heryl M cC lo u d ( B o u le v a r d O f B ro k e n

R id in g T he G a le S o u th O f T he B o r d e r T h a n k s G irls A n d G o o d b y e

Pino A m e nta ( B o u le v a r d o f B ro k e n

Em)

Best editing

G e o rg e W haley ( P o o r M a n 's O ra n g e )

C ane Toads, A n U n n a tu r a l H is to r y

Best director

A n U n n a tu r a l H is to ry )

Jo hn M aruff (G re e n ) Leik P eedersen (S m o k e 'E m I f You G o t

Best costume design

FEATURES B o u le v a r d o f B ro k e n D re a m s G rie v o u s B o d ily H a rm M u lla w a y T he N a v ig a to r

M oon)

Best Short Fiction Film B oss B o y C h e rith R a b b it O n T he M o o n T he S e a n n a c h ie

Best Animation A C ra v e n F e a th e rs A n d F o o ls W h e re T he F o re s t M e e ts Th e S e a

Best actor in a miniseries Sim on C hilvers (T h e True B e lie v e rs ) S hane C on n o r (T h e True B e lie v e rs ) Ed D eve re a ux (T h e True B e lie v e rs ) Keith M iche ll (C a p ta in J a m e s C o o k )

Best telefeature F r a g m e n ts O f W ar M a tte r o f C o n v e n ie n c e O liv e S is te rly L o v e

Best direction in a telefeature Ken C am e ro n (T h e C le a n M a c h in e ) Ben Lew in ( M a tte r O f C o n v e n ie n c e ) G e o rg e O g ilvie (P r in c e s s K a te ) S te p h en W alla ce (O liv e )

Best actress in a telefeature M a g g ie K ing ( S is te r ly L o v e ) K erry M cG u ire (O liv e ) Ju d ith S tratford ( C u s to d y ) Joan S yd n ey ( S is te r ly L o v e )

Best Experimental Film

Best actor in a telefeature

B a d R ocks D e liriu m P h a n ta s m a g o ria A S o n g O f A ir

Ernie D in g o (A W a ltz T h ro u g h T h e H ills ) N ich o la s E adie (F r a g m e n ts O f W ar) John H arg re a ve s (T h e L iz a r d K in g ) N ick Tate (O liv e )

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Boom operator................................ Phil Keros Editor................................................Allan Trott A rt d ire c to r.................................................. Kim H ilder Exec, p ro d u c e r.................................Eric Jury Assoc, p ro d u c e r.................................MichaelBoonAsst art d ire c to r......................... Laurie Faen A rt Dept, m a n a g e r........................Judy Diter Unit m a na g e r................Stephen McCaglan Costum er d e s ig n e r........... Norma Moriceau Location m anager........Stephen McCaglan M ake-up.......................................Viv M epham Prod, s e cre ta ry.......................................... SuePickup Prod, a cc o u n ta n t................................MichaelBoonMake-up a ssistan ts.............. Cassie Hanlon THE VAMPIRE OF SYDNEY Sherry H ubbard C IN D E R E LLA 'S SECRET P ro d u c e r..................................................GeoffByngC asting.................Faith Martin & Associates Prosthetics m a ke-up............... Brian Betram Prod, c o m pa n y.....Yoram Gross Film Studio Still pho tog ra ph y......................... Tony Nolan Assoc, p ro d u c e r......................................John Gerelli H airdressers.............................................Joan Petch P ro d u c e r...................................Yoram Gross Bob King Prod. M anagement John Gerelli Associates Ziggy Zeigenbein Anim ation d ire cto r.................. Ray Nowland S c rip tw rite r.............................................. GeoffByngStudios ....Avalon Film Corporation Studios W ardrobe................................................. Paula Ryan S criptw rite r................................. Leonard Lee B u d ge t...........................................S3 .6 million Assistant S crip tw rite r..............Joanne Small W ardrobe assistan ts................................. MelDykes Assoc, p ro d u c e r..................... Sandra Gross L e n g th ........................................... 90 minutes C o m p o se rs................................................ PaulProfilio Julie Frankham M u s ic ............................................. Guy Gross G a u g e ..................................................... 35mm Allan Jarvesalu Kate Ross Len g th ........................................... 80 minutes L e n g th ............................................................90 minutes Robyn Bunting G a u g e ................................................... 35 mm THE PUNISHER G a u g e ......................................................Super 16mm Standby w a rd ro b e ..................Fiona Nicholls S y n o p s is : The story borrows characters Prod, com pany.............New W orld Pictures S y n o p s is : The s to ry of a y o u n g , Asst, standby w a rd ro b e ............. Gary Jones (Australia) Limited a nd e v e n ts fro m p o p u la r fa iry ta le s . It u nem ployed, w orkin g-cla ss vam pire who D raughtsperson................. Alky Avram ides P roducer................................. Robert Kamen creates a fascinating tale of love, mystery conceals his true identity by pretending to Judy Harvey D ire c to r...................................Mark Goldblatt and mirth. be w hat he is.

Props buyers ............................Eugene Intas S c rip tw rite r............................ Robert Kamen Will Soeterboek Photography.................................... Ian Baker HEAVEN TONIGHT THE VERY BEST Asst, props b u y e r..................................Cathy Finlay Sound re cord ist............................David Lee P roducer.................................................. Frank Howson Prod, co m p a n y ..................... Caravan Films Standby p ro p s .........................................John Osmond E d ito r..........................................Tim Wellborn S c rip tw rite rs ........................................... Frank Howson P ro du ce r............................. Tony M. Caravan Asst, standby p ro p s ............. Murray Gosson Prod, d e s ig n e r................... Norma Moriceau Alister Webb D ire cto r...................................Paul F. Holland Special fx supervisor............. Steve Courtley C o -p ro d u c e r............................Su Armstrong Exec, p ro d u c e r...........................Peter Boyle S criptw riter..........................Tony M. Caravan Special fx w o rksh o p ................Raleigh Park Prod, co o rd in a to r..................... Tatts Bishop P u b lic ity ................................................... LionelMidford Assoc, prod u ce r................... John Harris, Jr Special fx co-ordinator............Chris Murray Prod, m anager.......................... Tony Winley Len g th .......................................................... 100minutes Music co -o rd in a to r.................................MMA Special fx props m a k e rs ......Albie Hastings Unit m a na g e r.............................Chris Jones G a u g e .................................................... 35mm B u d g e t.............................................. S3 million Walter Van Veenendaal Ass. unit m a n a g e r..................Bill Matthews S y n o p s is : H e a v e n T o n ig h t tells the true L e n g th ............................................ 90 minutes Special fx props buyers.............. Paul Gorrie Location m a na g e rs................ M aude Heath story of the Australian rock scene.

G a u g e ..................................................... 35mm Rodney Burke Christiaan H oppenbrouwers Synopsis: Am erican rock superstar, Jim Special e ffe c ts................. Patrick Fitzgerald Prod, secretary.........................Susan Jarvis THE IMPULSE S te e le , m y s te rio u s ly d is a p p e a rs w h ile Alan Maxwell Prod, a c c o u n ta n t.....................Jane Corden re c o rd in g an a lb u m in S y d n e y . An P roducer...........................Pantelis Roussakis Hans Fieguth Margaret O'Shea investigation uncovers a 40,000-year-old D ire cto r............................. Pantelis Roussakis A tm ospherics................................Ray Fowler Marianne Flynn Aboriginal com m unity beneath Uluru which S c rip tw rite r...................... Pantelis Roussakis Atm ospheric assistants...........Dean Steiner 1st asst d ire c to r................Philip Hearnshaw p ro v id e s s a n c tu a ry fo r m a n k in d 's P h o to g ra p h y..................... Kwok Yin Cheung Glen Johnson 2nd asst directors........................ John Titley accum ulated know ledge and art.

C o m p o s e r................................. Ray Sheridan A rm ourer..................................................... Bob Colby Mark Chambers A sst d ire cto r................... Stephen Stockwell Action vehicle c /o ............................ Ric Petro 3rd asst d ire c to r..................... Naomi Enfield WIZARD OF AUSSIE A rt director............................................. Robert Boyd Assistant vehicle c / o ......... Frank Campesie Director's assistant................................ Diana Freeman Costum e d esig n er...................................Judy Morgan Prod, co m pa n y.... Yoram Gross Film Studio Scenic a rtis t................................................RayPedlar Continuity................................................ Alison Goodwin Tech, a dv is e rs............... G regory Barr David P ro d u ce r.................................. Yoram Gross Set construction..........................................PhilWorth Producer's assistant...........Denise Goulston Mathew Hardman Animation d ire c to r..................Ray Nowland Asst e d ito r........................................... Jeanine Chialvo C a s tin g ..................... Faith Martin (Australia) Lab. lia is o n ...............................................Mark Farrar S criptw rite r................................ Leonard Lee C onstruction m anager.............................. PhilWorth Melissa Skoff (USA) Len g th ............................................................ 90 minutes Assoc, p ro d u ce r.....................Sandra Gross Leading h a n d s .........................................TonyBardolph Extras casting .......... Suzanne Johannesen G a u g e ......................................................Super 16mm M u s ic ..............................................Guy Gross A ndrew Chauvel Steadicam o p e ra to r...................... Ian Jones Shooting s to c k ........................................... Fuji Length............................................ 80 minutes Set fin is h e rs............................................... Des Kenna Steadicam focus p ulle r.................Geoff Hall S y n o p s is : The story of a genetic scientist G a u g e ......................................................35mm Martin Bruveris Camera dept, a tta c h t.............. Kriv Stenders S y n o p s is : In th is a d a p ta tio n of Frank o b s e s s e d w ith d is tillin g vio le n c e into a Matt Connors Unit assistants........................... ...Ken Moffat B a u m 's W iz a rd o f O z D oro th y la n d s in drug.

Set finisher/signw riter............. David Duffins Geoff Giuffre A u s tra lia a n d m e e ts its s tra n g e a nd C a rp e n te rs...............................

Herman Bron Dennis Hulm d elig htfu l inh a b itan ts - Kangaroo, Koala, SHADO W S AND WOMEN Ian Freeman James Street Cockatoo, etc. - with whom she sets off to Prod, com pany ...Soundstage Australia Ltd Steve Huxtable John McDonald Dist. c o m p a n y .................................O bjective Film find 'O pal City'.

Bronwyn Parry Unit runner.................................... Mark Taylor Studio C om pany Geoff Staker Dolph Lundgren's d riv e r......... Sue Fleming P ro d u ce r................................Tibor Meszaros John Pickering Lou Gossett's d riv e r............................... Jinks Dulhunty S crip tw rite rs..........................Joan Ambrose A ndrew Gardiner Focus p u lle r........................ Leigh McKenzie Andras Domahidy Guy Miller C la p p er/lo a de r............................Peter White Sandor Sara L a b o u re rs...................................

Paul O'Brien Key g rip ........................................Ray Brown Exec, p ro d u c e r................... Hannah Downie Derek Burke Asst g r ip /s ................................ Warren G rie f C o-p ro d u c e r.......................Laszio Barbaarci Brush h a n d ...........................................D ebbie Cullen Ian Bird B u d ge t...............................................$3 million Construction ru n n e r.............................. Gillian Farrow Aaron Walker Len g th ............................................ 105minutes Model m aker.............................................John Murch Danny Lockett G a u g e .....................................................35mm THE BACK STREET GENERAL Asst model m aker....................................John Searle G a ffe r......................................... Reg Garside Shooting s to c k....................... Eastmancolour Prod, co m pa n y......Avalon Film Corporation Edge num berer...................Stephanie Flack E lectrics............................................ Gary Hill S y n o p s is : It is a p o w e rfu l love sto ry Dist. c o m p a n y ........... Overseas Film Group Stunts co o rd in a to r............. Chris Anderson Robert Burr in v o lv in g th re e p e o p le c a u g h t u p in P ro d u c e r................................... Phillip Avalon Asst Stunt co o rd in a to r........................... Brian Ellison Patrick O'Farrell psychological trouble between two cultures S criptw riter............................ Denis Whitburn Storyboard a rtis t................... Don McKinnon Practical e le c tric s .............. Graham Beattie and between past and present. As the film Based on the play b y ............. Phillip Avalon

F E A T U R E S

PR E -P R O D U C TIO N

a p p ro a c h e s the clim a x of the story, the bitter sweet strands of love and friendship, the e le m e n ts o f p a s t a nd p re s e n t, are draw n to g e th e r to m ake a ve ry m oving, satisfying conclusion.

F E A T U R E S

P R O D U C T I O N

1

The Film Editing Bench M W

Amber

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Steenbeck is the name that sets the standards by which ail film editing benches are measured. In Australia that standard is supplied and serviced

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AJAS 30P042

CINEMA PAPERS NOVEMBER— 51

P R O D U C T I O N S

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PROCEED WITH CAUTION II Still photography....................................... Jim Sheldon C ast: J o h n C la y to n (M a x ), R ow e n a Cast: Genevieve Lemon (Sweetie), Karen (Working Title) Safety office r............................ Rangi Nikora Wallace (Anna), Jeanie Drynan (M aggie), Colston (Kay), Tom Lycos (Louis), J o n P ro d u c e r..................................................Craig Reardo Martial arts instructor..............Brian Fitken B a rry Q u in (L a rry ), R ic h ie S in g e r D a rlin g (G o rd o n ), D oro th y B a rry (Flo), D ire cto r............ .............................Colin Budd Dialogue c o a c h ................Arthur Sherman (Bollinger), Simon Mathew (Nigel).

M ic h a e l Lake (B o b ), A n d re P a ta c z e k S criptw riter.............................. Andrew Scott In te rp re te r....................................... Ikuko Vial (Clayton).

Synopsis: A film about five Sydney actors Synopsis: Sequel to the m edico monster Nurse........................................................ JackiRamsay who just happen to be friends! Their 'u ps' S y n o p s is : An iro n ic lo o k a t m o d e rn M asseur..............................James Davidson smash, P ro c e e d W ith C aution. are neve r too h ig h - th e ir 'd o w n s ' are relationships - the confused, the sulking C haperone......................... Celia Loneragan always too low! and the banal.

Best b o y .................................................... Alan Dunstan WILD CHILDREN OF KEEWONG Runners.................................................... John Martin Prod, co m pa n y.................................... Taimac WHAT THE MOON SAW LUIGI'S LADIES Ross Bell Producer....................................................Keith Sagger Prod, c o m p a n y ...................Boulevard Films Prod, com pany............. Tra La La Films Ltd. Art dept, runner..................................... David Atkins Prod, c o -ord in ator................................... Julie Latchem P roducer................................................. FrankHowson Dist. co m p a n y .......................................Hoyts Publicity......................................................Rea Francis D ire cto r....................

M ichele Decoust Director...................................................... PinoAmenta Producer.................................................. Patric Juillet The Rea Francis Company C o-D irector..............................................PeterChappe Scriptwriter..............................................FrankHowson D ire cto r........................................ Judy Morris C atering..............................Kolage Katerers Scriptwriters....................................... Jennifer ClaireScriptwriter...........................................Michele Decous P hotography.......................................... David Connell Studios ....................ABC French's Forest & Based on the original idea by ..Michele Decoust Sound re co rd ist................................. Andrew Ramage Wendy Hughes Pyramind Studios P hotography........................................... PeterChappe Judy Morris Editor.................................. Marc Van Buuren Laboratory.........................................Colorfilm Sound recordist...................................... Doug Hampto Ranald Allan Prod, designer.............................................TelStolfo Lab. lia ison .......................................... Denise Wolfson E ditor..................................................... Roland Smith Exec, producer....................................... PeterBoyleP hotography.............................Steve Mason Length.........................................................110minutes Exec, p ro d u c e r....................................... KeithSagger Assoc, p rod u ce r.....................................BarbiTaylor Sound re cord ist........................................ KenHammond G auge.....................................................35mm C o-producer............ James Michael Vernon Editor.................................................... Pamela Barnetta Assoc, p ro d u c e r................................Graeme Nichola Shooting s to c k ..................................... Kodak Prod, coordinator............ Deborah Samuels Prod, costume d e s ig n e r.....Melody Cooper B u d g e t.........................................$130,000.00 Cast: Dolph Lundgren (The Punisher aka C om poser.............................................Sharon Calcraft Len g th ............................................52 minutes Location manager/unit manager .John Suhr Frank Castle), Lou G ossett (Berkow itz), Producer's a s s t..........................................LynHowson Exec, p ro d u c e r................................... Wendy Hughes G auge......................................................16mm Jeroen Crabbe (Franco), Kim Miyori (Lady Assoc, p ro d u ce r..................................RachelSymes Shooting stock.......................................Kodak Prod, accountant................................Belinda Williams Tanaka), N an cy E verhard (Sam Leary), Prod, coordinator......................... Hilary May S yn o p sis: The lives of yo u n g p e o p le Exec, producer's a s s t............. Anne Cashin B a rry O tto (S h a k e ), B rya n M a rs h a ll 1st asst d ire cto r.............................John Wild Prod, m anager.......................... Brenda Pam living, surviving, grow ing and learning to (M o retti), Brian R ooney (Tommy), Todd 2nd asst d ire c to r.............Andrew Merrifield Location m a n a g e r....................................SuziParker be a part of the wilderness of a rugged, Boyce (Tarrone), Stan Kouros (Deleo).

Prod, secretary.........................Lisa Harrison 3rd asst d ire cto r....................................... Max Thomas though harmonious, coastal environment.

Synopsis: Frank Castle, hero cop, goes Continuity......................................Jenny Tosi Prod, accountant.................................Dianne Brown underground to wreak revenge when his Unit runner................................... Rob Visser 1st asst d ire cto r............ Charles Rotherham A POST-WAR HISTORY OF family is killed by the crime lords. Then the C asting......................................... Greg Apps 2nd asst director..................................... NikkiLong SUKIYAKI IN MELBOURNE Yakuza move in on the d ecim ated local Liz Mullinar & Assoc.

C ontinuity................................ Jenny Quigley Prod, c o m p a n y .....................................Goshu Films criminals. Castle sits back and watches .

Focus puller................................. Greg Ryan Focus p ulle r...........................................Laurie Kirkwood Dist. c o m pa n y........................................ RoninFilms u n til the Yakuza k id n a p s th e ir riv a ls ' C lapper/loader.................................... Angelo Sartore Boom o p e ra to r............................................ Jo Spinelli Producers...............................................Solrun Hoaas innocent children.

Key g r ip .................................Ian Benallack Trainee d e s ig n e r...........Kerry Aynesworth Karen Foley Asst g r ip .........................Arthur Manousakis M a ke-up................................... Karla O'Keefe D ire c to r.................................................. Solrun Hoaas SALUTE OF THE JUGGER G affer........................................... Rob Young Costume cutter/supervisor .Annette Cooper S criptw riter.............................................Solrun Hoaas Prod, companies ...Handistom Investments Best boy................................... Peter Maloney Machinist/standby costume...Lucy Rose Dominello Based on the original Pty. Ltd. Boom operator......................Scott Rawlings Props b u ye r........................ Stephen Teather idea b y ................................................... Solrun Hoaas .............................Kamisha Corporation Ltd. Art d ire cto r.................................... Bernadette Wynack Asst. prod, designer/standby props...Sue Vivian Photography............................................ PeterZacharo Dist. companies.Kings Road Entertainment M ake-up.......................Amanda Rowbottom Art dept, runner............. Martyn Nightingale Sound recordist........... Gretchen Thornburn Hairdresser............................................... PamMurphy Hoyts Australia C a rp e n te r.................................... Mike Vivian E d ito r....................................................StewartYoung P ro du ce r.............................................Charles Roven Wardrobe designer.................. Rose Chong Painter/finisher............................ Lyn Roland Prod, m anager....................................... Karen Foley D irector........................David Webb Peoples Wardrobe supervisor............... Julie Barton 1st Asst, e d ito r..................... Wayne Pashley Laboratory..................................................VFL S criptw rite r................. David Webb Peoples Standby w ardrobe..............Reuben Thomas Sound e d ito r.......................................Andrew Plain B u d g e t.............................................. $143,400 Photography.......................................... David Eggby Props buyer..................................Daryl Mills Still photography................................ Carolyn Johns L ength........................................................... 50 minutes E d ito r......................... Richard Francis-Bruce Standby p ro p s ............................Brian Lang Bliss Swift G auge..................................................... 16mm Prod, d e sig n e r...................... John Stoddart Special effectsVisual Effects (Brian Pearce) Publicity...................................................Annie Wright Shooting s to c k .........................................7297 Prod, m a n a g e r......................Carol Hughes Set dressers............................................. TrishKeating C atering...................................................Kevin Varnes Synopsis: The story of Japanese women 2nd unit d ire cto r.......................................Guy Norris Hamish Hicks Laboratory........................................ Colorfilm who m arried Australian servicem en after C a s tin g .......................Alison Barrett Casting Construction .Screwed & Glued (Bob Hern) Cast: Wendy Hughes (Sara), Anne Tenney WWII - how they se ttle d into A ustralian Art director.............................John Wingrove Asst e dito r............................................... PeterMcBain (J a n e ), S a n d y G o re (C e e ), D a v id society with their husbands and children, Costume d esig n er....................... Terry Ryan Sound e d ito r............................. Craig Carter R ap p a po rt (Luigi), John Walton (Steve), their divorces, reunions, religious beliefs, Stunts................................... New Generation Special m a k e -u p ........... Michael Westmore Ray M e a g h e r (L a n c e ), S e rge L a z a re ff jobs and involvem ent w ith the Japanese Bob McCarron Safety o fficer........... New Generation Stunts (Trev), Joe S p a no (N ic k ), M ax C u lle n restaurant trade in Melbourne.

Stunts coordinator................................... Guy Norris Still p ho tography.................................... Greg Noakes (Chef).

Tutor..............................................Kerri Boyie P u b lic ity..................................................Annie Wright S y n o p s is : Three c lo s e frie n d s m e et READING AUSTRALIAN FILM Cast: Rutger Hauer (Sallow), Joan Chen P u b licity..................................................LionelMidford re g u la rly a t an e x c lu s iv e w a te rfro n t Prod, company..... Deakin University Media Unit C aterin g .......................................... Keith Fish (K idda), Vincent D 'O nofrio (Young Gar), restaurant run by Luigi. The story revolves P roducers................................................ PeterLane Catering a sst............................. Glenda Fish H u g h K e a y s -B y rn e (L o rd V ile ), Max around the three women and the effect on Graeme Kinross Smith G auge.................................................... 35mm F a irc h ild (G o n zo ), A nna K a ta rin a (B ig their lives of the 1987 stock market crash.

D irector..................................................... PeterLane Cast: Andrew Shephard (Steven Wilson), C im ber), D elroy U n d o (M bulu), Gandhi S criptw rite r.................................John O'Hara Pat Evison (Grandm a), Danielle S pencer MacIntyre (Old Kusai), Justin Monjo (Dog DOT IN SPACE Sound re cord ist.......................................TerryBennett Boy).

(Emma), Mark H ennessy (Tony/Sinbad), Prod, com pany.... Yoram Gross Film Studio E d ito r..................... Caroline Coles De-Velez Max Phipps (Mr. Zachary), Jan Friedl (Mrs. Pty. Ltd. Prod, m anager.............................................ValArthey SWEETIE Melrose), Kurt Ludescher (George), Adrian P ro du ce r................................................Yoram Gross Prod, s e c re ta ry......................................... SueAnderso Prod, c o m p a n y .........Arenafilm Pty. Limited W right (Kurt), M urray Fahey (Ali), Ross D ire c to r..................................................

Yoram Gross Lighting cam eraperson.......................... NealTeper P roducers............................... John Maynard Thompson (Hardy), Kim Gyngell (Shilling).

Scriptwriter............................................... John Palmer Presenter.................................................Sigrid Thornto William Mackinnon Synopsis: A young country boy comes to Associate p ro d u c e r............................Sandra Gross Tech, supervisor...................................... John Chandle D ire c to r.................................................... Jane Campion stay in the c ity w ith his gran d m a , who Animation director.................................. AtholHenry Len g th ........................................................... 27minutes S criptw riters............................................ Jane Campion works in a theatre box office. His stay in the M u s ic ..............................................Guy Cross G a u g e.............................................................1 ' video Gerard Lee city and his fascination with the world of Prod, supervisor...............................Jeanette Toms Synopsis: Sigrid Thornton presents this Photography........................... Sally Bongers theatre help him to mature.

Prod, m anager................... Jacki Goodridge program on ways of reading Australian film.

Sound re c o rd is t..............................Pat Fiske Asst, e d ito r............................Stephen Hayes It illu s tr a te s th e u se of c re a tiv e a n d E d ito r.................................Veronica Heussler Len g th ...........................................................80minutes technical decisions which convey meaning Asst. prod, m anager............Don Colantonio G auge.................................................... 35mm to the viewer. Extracts from Australian films Prod, co-ord in ator...............Sam Thompson Cast: Robyn Moore, Keith Scott. are used to h ig h lig h t th e m e s su c h as Prod, m a nager....................................Patricia L'Huede S yn o p sis: D ot fin d s her w ay into an gender, living on the fringe and grow ing Prod, accountant..........Elizabeth Anderson American spaceship which lands her on a up.

Prod, attachm ent..................... Mary-Joy Lu war torn planet of Rounds and Squares.

1st Asst, director...........................John Fretz

F E AT U R E S

POST-PRODUCTION

2nd Asst, d ire c to r.................... Tina Andreef C on tin u ity.................................................. GailPygall Key g rip ........................................Phil Stainer Asst g rip .............................................. Richard Bladel G a ffe r..................................................... Jamie Eagan CAPPUCCINO Boom operator................................ Sue Kerr Prod, co m p a n y..........Archer Films Pty. Ltd. Art director...............................................PeterHarris Producer.............................................Anthony Bowman Asst, art d ire cto rs.......................Martin Say D irector............................................... Anthony Bowman Jennifer Kernke S criptw rite r........................................ Anthony Bowman BECOMING A NURSE M ake-up/H air...................................... Wendy Freeman Based on the idea b y ..... Anthony Bowman Prod, com pany.............. Health Productions Wardrobe supervisor........ Amanda Lovejoy Photography .............................. Tom Cowan P ro d u ce r...............................

Craig Reardon Wardrobe a sst........................ Melinda Trost Sound re co rd ist........................ Ross Linton D ire c to r................................. Craig Reardon Still p ho tog ra ph y....................Regis Lansac Prod, d esig n er...........................Darrell Lass S criptw riter............................Craig Reardon Best b o y ............................................. MichaelEagan Exec, p ro d u ce r............. Archer Films/RALM Photography..........................Craig Schubert Art department ru n n e r..............Peter Munro Assoc, p roducer.............................. Sue Wild Editor....................................... Craig Reardon Unit ru nn e r.......................................Chris Gill Prod, supervisor..............................

Sue Wild 1st asst d ire c to r............................Rob Grant C atering...............................Nancy Wohlquist Unit m anager.............................Chris Jones Still p ho tography................Martin Saunders Shoot Through Catering Studios........................................Max Studios G auge......................................................Video Laboratory.........................................Colorfilm Laboratory............................................... Atlab Australia S yn o p sis: Two w e ll-k n o w n o n -s c re e n Lab. lia ison ........................... Ann Ellingworth nurses take us on a tour of the career path L ength........................................... 90 minutes Length...........................................95 minutes of a real life nurse.

G a u g e ........................................Super 16mm G auge.....................................................35mm

DOCUMENTARIES

52— NOVEMBER CINEMA PAPERS

REGULIN

Prod, com pany.... Coora Films/Regulin Ltd. Dist. co m p a n y............................ Regulin Ltd. Producer................................................. Roger Seccom D irector................................................... Roger Seccom Scriptwriter............................ Peter Crichton Photography.......................................... Roger Seccom Sound re c o rd is t............. Howard Seccombe Editors..................................................... Roger Seccom Peter Crichton Exec, p rod u ce r.....................Michael Carroll Prod, secretary..............Barbara Seccombe Additional s o u n d ........................Jerry Smidt Laboratory................................ ................ VFL Len g th .......................................... 20 minutes G auge.................................................... 16mm Shooting stock.......................................... ECN7291/72 Synopsis: A new development, produced in A u s tra lia , fo r im p ro v e d re p ro d u c tiv e perform ance of sheep joined in spring and early summer. Regulin is perhaps the most sig n ifica n t agricu ltu ral-ve te rin a ry p ro d u c t developed in Australia to date.

Camera o p e ra to r..................................... Jane Castle Jo Parker Focus p u lle r.............................................. Mike Kelly C la p p e r/lo a d e r..........................................Mike Kelly Camera a s s is ta n t..................................... Mike Kelly Key g rip ................................................... StuartGreen AFTER SCHOOL G a ffe r................................................. John Lee Prod, c o m p a n y ......Innersense Productions Boom o p e ra to r......................................... Kylie Leahy P ro d u c e r.................................................. Sarah Johnson Art d ire cto r.......................................... Am anda Hunt D ire c to r.......................................................... BillMousoulis Asst art d ire c to r...................................... Emily Owen S c rip tw rite r.............................. Mark La Rosa M ake-up ...................................N icole Soreby P h o to g ra p h y............................ Mandy Walker Hairdresser............................................. Nicole Soreby Sound re c o rd is t.........................Philip Healey Asst e d ito r.............................. Andrew McNeil E d ito r...................................... Mark C. Zenner Neg m a tch in g ............................ Karen Clarke C o m p o s e r................................ Matthew Rees M u s ic .......................................................Jam ie Fielding 1st asst d ire c to r...................... Mark La Rosa Sherre Delys C o n tin u ity................................. Antonia Bruns Sound edito r......................... James Manche Cam era a s s is ta n t.................................. Simon WellsEditing assistan t...................................... Mark Ward G a ffe r................................................... Matthew ReesM ixer....................................................... Robert Sullivan Boom o p e ra to r.................................... Joanne Hampton Still p h o to g ra p h y.................................. Roslyn Sharp A rt d ire c to r............................... Antonia Bruns A nim ation.................................................. Anne Algar M usic perform ed b y .............. Matthew Rees Title d e s ig n e r..............Optical and G raphic Sound e d ito r..........................Mark C. Zenner W ra n g le r...................................... Anna Grieve Still p h o to g ra p h y....................................... LeniMayoBest g ir l.....................................................Josie Keyes C aterin g ....................................................Haras Catering C aterin g .................. Shoot Through Caterers L a b o ra to ry ...........................................Cinevex S tu d io s........................................................ Film Australia Lab. lia is o n ...............................................Philip C arpenter Mixed a t ......................................................Film Australia B u d g e t..................................................$18,365 Laboratory.................................................. CFL L e n g th ............................................................ 20 minutes Lab. liaison................................................ Mark Farrer G a u g e .......................................................16mm B u d g e t.................................................$83,000 Shooting s to c k ........................................... Fuji8521 L e n g th ............................................ 25 minutes Cast: Craig A dam s (13-year-old boy), Le G a u g e ..............................16mm w ide screen Shooting stockKodak 7292 & Fuji (daylight) Thien Trung (friend), Peter Di Dio (brother), C a s t: K aarin F a irfa x (S arah), D an ie lle Lisa C ham bers (brother's girlfriend), Jaki Fisher (sister).

S p e nce r (Liz), A n g ie Rega (Jo), M elissa D ocker (Sporty), Emma Lyle (Katherine), Synopsis: A 13-year-old boy com es home C h ris tin e B ro w n (M a d e la in e ), A m a n d a from school and goes out. He m eets up D rayton (S usan), Ian G ilm ou r (P e ep in g w ith a friend and they go to various places Tom ), N ic k C o n ro y (S te v e ), C o rn e lia together, interacting with various people.

Frances (Miss Cox).

S yn o p sis: It's an ordinary everyday night BONZA in the most exclusive girls boarding school Prod, co m p a n y ...............Bonza Productions in A u stra lia . Elite yo un g g irls are b e in g P ro d u c e r.............................................Deborah Hoare e d u c a te d to b e c o m e p rim a nd p ro p e r D ire cto r..................................................... David Swann lad ie s w ith su itab le m arriage prosp e cts.

S c rip tw rite r.............................................. David Swann Despite their repressive education, these Based on the original idea by Peter Rowsthorn girls are obsessed about sex and have no Photography............................... Leigh Parker intention of becom ing ladies. They spend Sound re c o rd is t........................ Phillip Healy all of their time seeking information and life E ditor............................................Ken Sallows e x p e rie n c e s from the o th e r sid e of the C om p o se rs...................................... Al Mullins fe n c e . T h is h u m o ro u s a c c o u n t of th e Paul McWaters e x p re s s io n o f re p re s s e d fe e lin g s a nd Exec, p ro d u c e r................... IFF Film Victoria emotions shows that young ladies are not Prod, m a n a g e r.................................. C hristine Brophy always w hat they seem.

1st asst d ire c to r........................ Roger Monk C o n tin u ity ............................................. Victoria Sullivan THE FAT LADY Focus p u lle r............................................. Rosie Cass Prod, c o m p a n y .......... Fat Lady Productions C la pper/loader..................................... Angelo Sartore G a ffe r......................................................... M ick MatoP ro d u ce r................................ Deborah Hoare D ire cto r........................................ Steve Westh Boom ope ra to r................... Charlie Sandford S criptw riter...................................Steve Westh A rt d ire c to r...................................................Len Barratt Photography.......................................... Jaem s Grant Asst art d ire c to r...................................A ndrea Tulloch Sound re co rd ist................. Charlie Sandford M a ke-u p ........................................... Vicki Doll E d ito r......................... Catherine Birm ingham P rops....................................................... Jeffrey Jaffers C om posers.....................................................AlMullins Sound e d ito r..................................Neill S. Bell Paul McWaters Editing a s s is ta n t......Catherine Birmingham Exec, p ro d u c e r......................................... AFC (CDB) Still p h o to g ra p h y...................................... Alan Mitchell Prod, m a n a g e r.................................. Christine Brophy W ra n gle r................................... Lynda Gibson 1st asst d ire cto r............................Neill S. Bell C aterin g ............................................... Creative Cuisine C o n tin u ity.............................................Victoria Sullivan L a b o ra to ry ...........................................Cinevex Focus puller..............................................Leigh Parker Lab. lia ison ....................................................IanAnderson G affer......................................... Rory Timoney B u d g e t..................................................$71,905 Boom o p e ra to r........................................ PeterBrown L e n g th ............................................................ 27 minutes Art d ire cto rs .........................Larry C ham bers G a u g e ...................................................... 16mm Jude Vrachnas Shooting s to c k....................................... Kodak 7292 M a ke-up/H airdresser...........Anna Karpinski C a st: P e te r G re e n (T e d ), M a u re e n Sound edito r..............................................Cam Easton E d w a rd s (B e v ), S u sie D ee (K a th e rin e ), Still p h o to g ra p h y ............................... Jennifer Mitchell Peter Rowsthorn (Terry).

L a b o ra to ry.................................................. VFL Synopsis: Ted Burke loses his job after 23 Lab. lia is o n ............................................. Bruce Braun ye ars a nd h asn 't the co u ra g e to tell his B u d g e t................................................. $70,000 family. Instead they b ear the brunt of his L e n g th ...........................................29 minutes a n g e r and confusion. Each m em ber has G a u g e ...................................................... 16mm only Bonza, the fam ily dog, to turn to.

Shooting stock....................................... Kodak C ast: Sally U pton (Rosie), David Swann CRACK IN THE CURTAINS (Peter).

Prod, com pany ...M egabeggar Productions S yn o p sis: The F a t L a d y is about being fat P ro du ce r................................................... Anna Grieve a n d fe m a le in A u s tra lia . It is a b o u t D irector...................................................... Jinks Dulhunty A u s tra lia n m e n 's p e rc e p tio n s of S c rip tw rite r............................................... Jinks Dulhunty th e m se lve s and A u stra lia n w om en. It is P h o to gra p h y............................................. Jane Castle a b o u t the c ra z y a m b ig u ity of a c u ltu re Sound re c o rd is t........................................Liam Egan w hich pushes junk food at the same time E d ito r....................................................... Jam es M anche as deifying slim, energized, young form s of Prod, d e s ig n e r.......................................... Edie Kurzer the 'b o d y culture'.

C om p o se rs..............................................Jam ie Fielding Sheree Delys THE HIDDEN HAND Prod, m a na g e r............................Anna Grieve P ro du ce r.......................... Pantelis Roussakis Prod, a ssistan ts....................................... Josie Keyes D ire cto r......................................... Robin Gold Pip Brown Scriptw riters................................. Robin Gold Miriana M arusic Peter Morgan 1st Asst d ire c to r........................................Kate Stone 2nd A sst d ire c to rs .................................... Kate RoweBased on the short story by .......................................Nathaniel Hawthorne Mark Nixon Photography..............................Kriv Stenders C on tin u ity............................................. Melanie Brown Anthony Clare C a s tin g ..................................................... Alison Barrett

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CINEMA PAPERS NOVEMBER— 53

P R O D U C T I O N S

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Sound recordists................................. RobertBoydP hotography................ Terence Sean Monro REVERSE CHARGES NEIGHBOURHOOD MEDIATION Emily Langston-Stapp Sound re cord ist..........................Marek Czaj Prod, com pany...................................... Zohar Studios Exec, producer........................ Russell Porter E d ito r............................... Pantelis Roussakis E d ito r.............................Terence Sean Monro P ro du ce rs..............................................DanielHeathS criptw rite r.......................... Richard Keddie Prod, d e s ig n e r............... Philip Burchmore Prod, m anager................. Tracey E. Hooper James Confos Length............................................12 minutes Exec, prod u ce rs..............Pantelis Roussaki D ire c to r.................................................. DanielHeathG a u g e ..................................................... Video 1st asst d ire c to r.................................. Charlie Mauger Robin Gold Scriptwriter.............................................DanielHeathS y n o p s is : A d o c u m e n ta ry w h ic h w ill 2nd unit d ire c to r.........Terence Sean Monro Based on the original idea by.Daniel Heath Judy Morgan C on tin u ity............................................... Sylvie Grandit e x p la in the w o rk in g o f n e ig h b o u rh o o d Asst, d ire cto r........................................RobertBoydC a s tin g ......................... Terence Sean Monro P hotography.........................................James Confos m e d ia tio n c e n tre s a n d h o w lo c a l Continuity..............................................KimbelHann Daniel Heath Tracey E. Hooper communities can benefit from them.

Sound re c o rd is t......................................Jikou Sugano Torquil MacNeal Camera o p e ra to rs......................Marek Czaj Editor.......................................................Daniel Heath C astin g ....................................................Robin Gold Charlie Mauger RECYCLED WATER Exec, p ro d u c e r............................... Benjamin Heath Focus p u lle r......................................... LyndelDeanC lapper/loader.....................................Charlie Mauger Exec, producer........................ Russell Porter Assoc, p ro d u c e r................................... Simon Hunter Camera assistant.................................James Confos Camera assistant.............George Lykouras S criptw rite r.........................Kathy Armstrong Prod, supervisor...................Clair Ann Innes Key g rip .................................................... John Corley Boom operator............................ Marek Czaj L ength.............................................12 minutes Prod, accountant................... Richard Lester 2nd unit p ho tog ra ph y............ Mitchell Papi Costume d e sig n e r..... Terence Sean Monro G a u g e ..................................................... Video Continuity ,.......................................... Melissa Broe Art d ire c to r..........................................Howard Crump Storyboard a rtis t................... ..... Lina Savich S y n o p s is : A d o c u m e n ta ry w ith th e Script a ssistant......................David Terrazas Asst art director...................................... Philip Sticklen Asst edito r............................................ Charlie Mauger p rim a ry aim of o v e rc o m in g re s is ta n c e Producer's assistant............. Frank Serefan M a ke-u p ....................................................... Jo Sewell S y n o p s is : The o-zone layer in Earth's within industry and agriculture to the idea C astin g ................................... Frank Serefan Georgina Philpott a tm o s p h e re is b e in g d e s tro y e d by of recycling water.

Daniel Heath W ardrobe..................................................Judy Morgan chlorofluorocarbons. L a n d s lid e s is about Casting consultants..............................Carrie Zivitz Neg. m atching.................... Tony Grummels the life of two girls, one from today and one STREETS AHEAD Lighting camera p e rs o n .......James Confos M u s i......................................Amanda Brown fro m th e fu tu re , a n d th e w ay m an- is Exec, p ro d u c e r....................Sally Semmens Camera operators................. James Confos James Confos heading tow ards total destruction of pur S criptw riter...........................

Karen Bonczyk Daniel Heath Phillip Buchmore existence.

Length.............................................12 minutes C lapper/loader............ De Juan F Anderson Sound edito r.............................Robert Boyd G a u g e ...................................................Video Camera A s sista n t.......De Juan F Anderson THE LONELY ONES Narrator..................................... Michael Pate M ake-up...............................................Melissa Broe S ynopsis: A vid e o w hich w ill illustrate Prod, com pany..............................Tulla Films Still photography.........Marjorie Mackintosh Assst edito r.............................James Confos va rio u s a s p e c ts of a new tra ffic sa fe ty Producer...........................Mark D. Chapman R unner..................................................Edwina Hayes Sound e d ito r.......................... Jikou Sugano education program, and demonstrate how D ire cto r................................... David Glazier C atering....................................................Judy Morgan Editing assistant....................

Kym Vaitiekus the p rog ra m can be in te g ra te d into an Scriptwriter..............................David Glazier Laboratory..........................................Cinefilm Still photography.........De Juan F Anderson existing curriculum.

Photography........................... Stephen Frost Lab. liaison..................................Mark Farrar Title d e sig n e r........................................ DanielHeath Sound recordist......................... Kieran Knox Length..........................................22 minutes Tech, a dvise r.......................... Kym Vaitiekus DIGGING MELBOURNE E d ito r................................ Jeanette McGown G auge.....................................................35mm C a te rin g ............................ Millers Treat Cafe Exec, producer....................... Russell Porter Prod, m a n a g e r................Stirling McWhirter Shooting sto ck.........................................5247 Mixed a t ..................................

Gemini Sound S criptw riter............................................. Claire Jager Prod, a ssistan t.......................................Moira Weber Cast: Peter Morgan, Richard Bligh, Kati Laboratory....................................... Film Plus Length........................................................... 27minutes 1st asst director...............Mark D. Chapman Vari, Eric Tuscia, Shirley Shepard, Cedric B u d ge t...................................................$7,000 G auge.................................................... 16mm Continuity.........................Jeanette McGown McLaughlin.

L ength...........................................15 minutes S y n o p s is : An e x a m in a tio n o f th e Producer's assistant..............Colleen Smith Synopsis: Is it providence or chance that Gauge ....Super 8 transfer to 3/4 inch video archaeological excavations currently under Casting co nsu lta n ts..........Elaine Holland & offers a promise of wealth, love and death?

Shooting s to c k ........................................ 7278 way at the top end of Melbourne.

Associates All within a single hour of a young man's Cast: Jeremy Scrivner, Melissa Broe, De C la p p e r....................................Kristen Hinds life.

Juan A nderson, Jam es C onfos, J u lie tte 50 YEARS OF PUBLIC HOUSING Camera assistant...................................Craig Lucas K n ig h t, B enjam in H eath, N ikki C eylon, Exec, p ro d u c e r....................................... Sally Semmens Asst g r ip ..................................Christian Pyle Jackie Thompson.

THE INVITED S criptw rite r.............................................. Mark Poole Boom ope ra to r..................Peter McPherson Synopsis: A 15-minute, black and white Production company ...Cypher Productions Length.............................................................. 6 minutes Art d ire cto r.....................................Jo Forsyth film shot e n tire ly in o r a rou n d the one Producer ...Swinburne Institute of Technology G auge...................................................... Video Asst art d ire cto r......................Terry Murphy te le p h o n e b o x . E ach c h a r a c te r is D irector..................Lindsay Christopherson Synopsis: D epicts the history of public M ake-up..................Wendy Stockden-Brock connected only by the telephone box; their S criptw riter............Lindsay Christopherson h o u s in g in V ic to ria fro m 1938 to th e C arpenter...........................................Geoffrey Stehnconversations, although not connected, are Sound re cord ist...........................Jock Healy present.

Asst e d ito r............................................... Chris Patenfamiliar. A lic e In W o n d e rla n d in a telephone Editor......................................Joseph *Dongia Music performed b y ............. Picture Music box in North Sydney!

Prod, d e s ig n e r................................Georgina Greenhill Best boys.............................. Simon Thatcher FOREST PRACTICE Com poser.................................................TonyTomorrow Rohan Clifford Exec, p ro d u c e r....................................... Sally Semmens RUST Exec, producer ...Swinburne Inst. Technology Runner................................... Paul Keyworth Prod, c o m p a n y .......................................Toad Scriptwriter....................................David Tiley Prod, s u pe rviso r.................................... Chris McGill] C aterin g .................................Kay Fitzpatrick P roducer.............................. Cameron Clarke Length........................................... 20 minutes Prod, m anager............ Elizabeth Wellington Laboratory........................................ Colorfilm D irector................................ Cameron Clarke G auge..................................................... 16mm Prod, assistant.......................Luise Sexton Lab. liaison.......................... Warren Keevers S criptw rite r..........................Cameron Clarke Synopsis: A docum entary which explains 1st asst director.....................Stewart Carter Photography........................John Armstrong B u d ge t................................................ $86,076 the new code of forest practices Which will C ontinuity.........................................Jennibop Zipporah S o u n d ................................................Cameron Clarke Len g th ........................................... 48 minutes be introduced in Victoria during the second Lighting ca m eraperson.... Davide Michelin E d ito r.................................................Cameron Clarke G auge.....................................................16mm half of this year.

C la pper/loader.............................. Vicki Dun Camera assistant...............................

Richard Clarke Shooting sto ck.............................7291,7292 Camera a ssistan t..........................Vicki Dun Laboratory........................................Film Plus Cast: Sean Mee (Harry Keane), Julienne OLD PEOPLE'S HOUSING Gaffer............................................................Bill G auge.................................................... 16mm H utley (Lorna), Sally M cKenzie (H arry's Exec, p ro d u c e r....................................... Sally Semmens Boom operator...........................Cathy South Shooting s to c k ..............................Tri-X 7278 Mother), Bill French (Harry's Father), Susan ScriptwriterThe E le c tric M a g a z in e Art d ire c to r...................................... Georgina Greenhill Cast: Mark Ellis Dwyer (Lorraine Keane), Peter Smith (Harry Company Pty. Ltd. Asst art director...................... Bbee Pestotti Synopsis: Having woken and wandered the boy).

Length............................................ 1 2 minutes M ake-up......................................Lydia Cover up on deck, Nige is alarmed to find that he S yn o psis: A man recently released from a G a u g e ......................................................Video Hairdresser................................. Lydia Cover is at sea. sanatorium , befriends a lonely pregnant S yn o p sis: Film p ro m o tin g co m m u n ity W a rd ro b e ................................ Bbee Pestotti girl. in v o lv e m e n t in s o lv in g th e h o u s in g Asst editor........................................ Laurence Johnston UNTITLED LOVE STORY problems of elderly people.

Neg m a tc h in g ............................Ursula Jung NIRVANA STREET MURDER Prod, com pany .Creative Dev. Branch, AFC Sound e d ito r...................... Carol Williamson Prod, company Aleksl Vellis & Fiona Cochrane P roducer................................................ SimonCooper M ix e r........................................... Sound Firm D irector...................................................SimonCooper P ro du ce r..............................Fiona Cochrane Still photography.................... Denise Martin Scriptwriter.............................................Simon Cooper D ire cto r.................................................. AleksiVellis W ra n gle r..................................Evan P. Watts Photography..........................................Simon Cooper Scriptwriter............................................. AleksiVellis Runner.......................................................Tony Sound re cord ist.................................... Simon Cooper Photography............................................Mark Lane E d ito r...................................................... SimonCooper C atering.............................. Employ Catering Sound re cord ist...................................... Mark Atkin Narrator...................................................SimonCooper Mixed a t ...................................... Sound Firm Prod, m a na g e r...................... Wendy Clarke B u d ge t............................................... $14,180 Laboratory................................................. VFL Unit m anager............................................. lain McKay L ength........................................................... 4 5 minutes Lab. liaison............................................ Bruce Braun Prod, a ttachm ent................ David Bleasley G a u g e ............... Super 8 and video release B u d ge t................................................ $31,059 1st asst d ire c to r.......................Peter Jordan Shooting s to c k ..................................Super 8 Length...........................................................30minutes C on tin u ity.............................Victoria Sullivan Synopsis: Well, it's been asked before, G auge..................................................... 16mm Lighting cam eraperson.........................Mark Lanebut ... how DO people remember things if Shooting stock.........................................7291 STORYMAKERS 4 The Illustrators Camera operator............. Paul Meulenberg they don't film, photograph or tape? My C ast: Tahli R ockm a n (F ra n n y), H elen Prod, company.....................Film Australia Camera assistant............. Cathy Chambers thoughts are melancholy, but in m y heart Rollinson (Paula), Andrea Swifte (Lynette), Dist. company.......................Film Australia G a ffer....................................................... PeterScottI'm trying to be happy.

A nthony Fletcher (Ross), Laine Lam ont Director.................................. Martin Daley Boom operator........................................Philip Healey (M rs P eterson), Tom G u tte rid g e (Tom), Scriptwriter.............................Martin Daley Art d ire cto r...........................Lisa Thompson M ic h e lle H aw ke r (M ich e lle ), A le xa n d e r Stories Researcher................Ursula Kolbe Asst art d irector..................................... Adele Flere Kem p (W alter), Leigh M organ (Franny's Producer................................... Janet Bell Wardrobe asst............................... Angie Ray Mum), Steven Lawson (Terry) Laboratory..........................

VFL Prod, manager.........Alison Wotherspoon S ynopsis: Set in Frankston in 1965, the Prod, secretary.........Amanda Etherington Lab. lia ison ............................................ Bruce Braun film s h o w s a v ie w o f th e a d u lt w o rld Prod, accountant....................Neil Cousins B u d g e t.............................................. $135,000 th ro u g h the eyes of a 1 0 -ye a r-o ld gir, Publicity..................................... Jane Glen L ength...........................................................50 minutes Franny. She spends most of her time with G auge..................................................... 16mm Marketing/promotions................Chris Pip her n e ig h b o u rs , the P etersons, a nice Shooting stock..........Kodak Eastmancolour Synopsis: A program which introduces Christian family. But when Paula Peterson Cast: Ben Mendelsohn (Luke), Mark Little the illustrators of children's books to their gets married, Franny comes under the bad audience.

(B o a d y), S h e ila F lo ra n ce (M o lly ), Effie LEGAL AID influence of Paula's old school friends.

James (Helen's Mother), Tamara Saulwick Exec, producer................. Sally Semmens (P e n n y ), Kim G y n g e ll (S m e g ), M a ry S.A. MUSEUM Scriptwriter........................... ..Steve Westh LANDSLIDES Coustas (Helen), Roberto Micale (Hector).

Length......................................12 minutes Prod, company....................Film Australia Prod, co m p a n y.................... Monromadness S y n o p s is : Luke & Boady O 'Hagan hide Gauge.............................................. Video Dist. company................... ...Film Australia Producer......................Terence Sean Monro o u t a t M o lly 's m a n sio n a fte r th e y are Synopsis: A video designed to inform the Director................................Michael Riley D irector........................ Terence Sean Monro b u s te d . A s to ry a b o u t s le e p w a lk in g , general public about the services of the Scriptwriter ............ ,.............. Michael Riley S criptw rite r..................Terence Sean Monro waterbeds, blackmail and wogs.

Legal Aid Commission.

Photography............................Tony Wilson

GOVERNMENT FILM

PRODUCTION

FILM

GOVERNMENT FILM

PRODUCTION

FILM

54â&#x20AC;&#x201D; NOVEMBER CINEMA PAPERS

VIC TO R IA

A U S TR A LIA

P ro d u c e r..........................................Janet Bell Assoc, p ro d u c e r......................... Tony Wilson Prod, m anager.............Alison W otherspoon Prod, s e c re ta ry ........... Am anda Etherington Prod, a c c o u n ta n t.......................Neil Cousins P u b licity............................................Jane Glen M arketin g /p ro m otio n s.................. Chris Pip Synopsis: A one hour film for TV about tra d itio n a l a b o rig in a l art, the a rtists and their culture, to coincide with the exhibition 'T o te m ic L a n d s c a p e s ', the la rg e s t e ver a b o r ig in a l a r t c o lle c tio n to le a v e its hom eland touring USA in 1988/89.

I'M NO CHICKEN Prod, co m pa n y.........................Film Australia Dist. c o m p a n y ..........................Film Australia D ire cto r....................................... Martin Daley S c rip tw rite r................................ Martin Daley P ro d u c e r..........................................Janet Bell Prod, m a na g e r............ Alison Wotherspoon Prod, s e c re ta ry ........... Am anda Etherington Prod, a c c o u n ta n t......................Neil Cousins P ub licity............................................Jane Glen M arketing/Prom otions ................. Chris Pip Synopsis: The docum entary of a unique expe rim e nt in w hich senior citizens from v a rio u s r e tire m e n t h o m e s e n ro l a t a B ankstow n c o lle g e and w ith the help of students from that college docum ent their perso n a l h is to ry in p o e tic and d ra m a tic fo rm c u lm in a tin g in a th e a tr ic a l perform ance of these stories.

P.N.G. STORIES R e s e a rc h .................................. Jo H orsburgh P ro d u c e r..........................................Janet Bell Prod, m anager............Alison Wotherspoon Prod, s e c re ta ry .......... Am anda Etherington Prod, a c c o u n ta n t.......................Neil Cousins P ub licity........................................... Jane Glen M a rketing/prom otions...................Chris Pip Synopsis: 4 x 90 m inutes dram a series for TV about Australia's colonial experience in P.N.G.

TAKEOVER Prod, co m pa n y........................ Film Australia P ro d u c e r......................................... Janet Bell D ire cto r................................. Michael Carson S criptw riter............................Philip Cornford Prod, m a na g e r............ Alison Wotherspoon Prod, s e c re ta ry ........... Am anda Etherington Prod, a c c o u n ta n t.................... Neil Cousins P ub licity........................................... Jane Glen M a rketing/prom otions.................. Chris Pip Synopsis: A thriller based on the world of big business and big business takeovers.

S y n o p s is :

A p ro m o tio n a l v id e o o f 5 m in u te s fo r th e A u s tra lia n c o n s tru c tio n services.

MADE IN THE USA (Contradictions) Prod, co m pa n y......................... Film Australia Dist. co m p a n y.......................... Film Australia P ro d u ce r..........................................Janet Bell D ire c to r...................................... David Knaus Photography.............................. David Knaus Sound recordist.........................David Knaus E d ito r..........................................Tim Litchfield Prod, m anager.............Alison W otherspoon Location prod, co-ord in ator........Karla Fritis Prod, se cre ta ry........... Am anda Etherington Prod, a cco u n ta n t......................Neil Cousins P u b licity........................................... Jane Glen M arketing/prom otions...................Chris Pip S y n o p s is : M a d e In T h e U S A is a d o c u m e n ta ry c o v e rin g th e U .S. intervention in N icaragua. Shot during the p e rio d of the Ira n -C o n tra h e a rin g s and Central A m erican Peace Plan, M a d e In T he U S A w ill c o v e r the c o n tra d ic tio n s inherent in that involvement.

110 W e st Street, Crows Nest NSW 2 0 6 5 Australia

Phone: [0 2 )9 2 2 -3 1 4 4 ) Fax: (02) 9 5 7 5 0 0 1 ] Modem: (0 2 )9 2 2 7642

AU STR ADE EDUCATION Prod, co m pa n y........................Film Australia P ro d u ce r.......................................Don Murray D ire cto r........................................... Ron Taylor S criptw rite r..................................... Ted Myers F ro m th e o r ig in a l id e a b y A u s tr a d e P hotography...................................Ross King Editor................................................Ron Taylor Exec, p ro d u ce r.......................Paul Humfress Prod, m a na g e r........................ Ron Hannam Prod, s e c re ta ry .................................. Lorraine Wallace Prod, a c c o u n ta n t........................Lea Collins N arrator........................................................Jim Downes M arketing/prom otions.................... Chris Pip L e n g th ............................................................ 93 minutes G auge...................................................... Video S yn o p sis: This resource kit will com prise a v id e o a n d c o m p re h e n s iv e te a c h e rs ' g u id e . The v id e o w ill b e in 4 p a rts L o o k in g B a c k : A re c e n t h is to r y of international trade; where we go wrong th e p ro b le m s a n d a ttitu d e s th a t have caused the adverse balance of payments; Getting It Right - a priority and team effort for ail Australians; Looking to the Future Turning O ver a new leaf and m axim ising potential for all Australians.

KRISTINA FRIEND 28 years old 175 cm tall, medium frame Brown eyes, auburn hair Hello. I have loads of talent but no work. Commercials, extra work, parts with words, I'll do it all with style, originality and gratitude. I have Equity an agent; I just need your part.

Phone (03) 762 1219 any time.

PASSPORTS

Prod, co m pa n y...........................................Film Australia Dist. co m p a n y............................................Film Australia P ro du ce r..................................................... Don Murray D irector............................................. Ian Host S criptw riter.................................................. Don Harley PALAU From an original idea b y .......Departm ent of Prod, co m pa n y......................... Film Australia Foreign Affairs Dist. c o m p a n y .......................... Film Australia Photography...........................Peter Viskovich P ro d u c e r.................................................. Janet Bell Sound re c o rd is t........................................ Don Connolly S crip tw rite r............................................... Chris Lee E d ito r.......................................... David Gillies Prod, m a na g e r............Alison Wotherspoon C om poser.......................................Guy Gross Prod, s e c re ta ry ...........Am anda Etherington Exec, p rod u ce r................... Paul Humfress Prod, a c c o u n ta n t.......................Neil Cousins Studio m a n a g e r......................................... Ron Hannam P u b licity........................................... Jane Glen Location m anager....................... Gerry Letts M a rketin g /p ro m otio n s............................Chris Pip Prod, secretary....................Loraine Wallace S y n o p s is : An a n ti-n u c le a r th rille r set Prod, a c c o u n ta n t.......................................Lea Collins a g a in s t re c e n t p o litic a l e ve n ts in Palau P ublicity......................................... Jane Glen w here the people of that tiny island state Marketing/prom otions .................. Chris Pip h ave s to o d u p a g a in s t th e m ig h t o f a Len g th ....................................18 - 20 minutes superpower.

G a u g e ................................... Video Betacam Synopsis; A humorous film produced for YOUNGBLOOD th e D e p a rtm e n t o f F o re ig n A ffa irs Prod, c o m pa n y...........................................Film Australia explaining the finer points of obtaining a Dist. c o m p a n y ............................................ Film Australia 'new' Australian passport and w hat steps P ro d u c e r......................................... Janet Bell should be taken to replace one if it is lost D ire cto r............................. M ichael Rogowski overseas.

S c rip tw rite r...................... Michael Rogowski Prod, m anager............ Alison W otherspoon THE ROYAL AUSTRALIAN MINT Prod, s e c re ta ry ...........Am anda Etherington Prod, com pa n y...........................................Film Australia Prod, a cc o u n ta n t....................................... NeilCousins Dist. co m p a n y....................................... ....Film Australia P ub licity........................................... Jane Glen Producer................................ Susan Lam bert M arketing/prom otions .................Chris Pip D ire c to r................................. Varcha Sidwell S ynopsis: A 5 -m inute d ram a to let 16S criptw rite r............................Varcha Sidwell ye a r-o ld s know th e y are e lig ib le to give Based on the idea by Royal Australian Mint blood in som e states in Australia.

P hotography.................................Ross King Sound re co rd ist.................................. Rodney Simmons A.C.S. E d ito r........................................Doug Howard Prod, c o m pa n y........... ............ Film Australia Exec, p ro d u c e r...................... Ron Saunders Dist. c o m p a n y ............ ............ Film Australia Prod, m a na g e r.............................Gerry Letts P ro d u c e r...................... ................... Janet Bell Unit M a n a g e r...............................Peter Brown D irector......................... ........... John Lowndes Prod, secretary'...................................... Robyn Briais S crip tw rite r.................. .......... John Lowndes Prod, a cco u n ta n t................. Geoff A p pleby ..................

Ross King P hotography................

E lectrician..................................................... IanBosman Prod, m a nager............ ..Alison Wotherspoon M ixer....................................... Robert Sullivan Prod, a s s is ta n t........... .Am anda Etherington N a rra to r........................... Annette Shun Wah Prod, a c c o u n ta n t........ ...............Neil Cousins Mixed a t ......................................................Film Australia P u b licity........................ .................. Jane Glen M a rketing/prom otions.............. Martin Wood M arketing/prom otions .................... Chris Pip L e n g th ...................................

10 minutes G a u g e ........................... ........................... Video G auge................................................... ...Video

FILM FOR SALE OR RENT 1920s to 1980s NOSTALGIA TO BLOCKBUSTERS ALSO A LARGE SELECTION AVAILABLE ON VIDEO FURTHER DETAILS RING 537 2466 OR WRITE TO WORLD WIDE VIDEO HOUSE 150a BARKLY STREET, ST KILDA 3182 FOR A FREE CATALOGUE

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CINEMA PAPERS NOVEMBERâ&#x20AC;&#x201D; 55

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FILM AUSTRALIA'S AUSTRALIA Sound re cord ists............. Rodney Simmons WELFARE ECONOMY Toivo Lember Prod, com pany........................ Film Australia Bronwyn Murphy Producer....................................... Jan Punch D irector.......................................... Ian Munro Editor....................................................

Pamela Barnetta Exec, p ro d u c e r..................Paul Humfress Scriptwriter..................... Con Anemogiannis C om poser.................................................. RoyNicholson D irector................................ Judith Adamson R esearch.................................. Judy Menzel Exec, producer.........................................

Paul Humfress Photography.............................David Knaus Prod, m anager..........................Ron Hannam A TRADITION OF QUALITY Prod, m anager........... Alison Wotherspoon Steve Windon Photography .Ross King (link material only) Prod, c o m p a n y .........................................Film Australia Prod, secreta ry.......... Amanda Etherington Greg Lowe Presenter..........................Annette Shun Wah Dist. com pany...........................................Film Australia Prod, a ccountant...................... Neil Cousins Exec, producer...................... Paul Humfress Length........................................... 60 minutes P ro du ce r................................Susan Lambert Prod, assistants.............

Michael Rogowski Prod, m anager.........................Ron Hannam G auge.................................................. ...video D irector........................................... Ray Quint Janet Cousens Sound re cord ists.............. Bronwyn Murphy S ynopsis: The eleventh program in the Scriptwriter ............................... Ray Quint 1st asst, dire cto rs.......... Corrie Soeterboek Don Connolly Film Australia series co-produced with the Based on the original idea b y ............ Royal Gus Howard Publicist..........................................Jane Glen Australian Bicentennial Authority Australian Mint Lighting cam eraperson............David Knaus M arketing/prom otions....................Chris Pip P hotography................................Ross King Art d ire cto r............................................ Ursula Kolbe L e n g th .....................................6 x 30 minutes Sound recordist............... Rodney Simmons FILM AUSTRALIA'S AUSTRALIA Make-up................................................... EgonDahm S y n o p s is : A p ro p o s e d s e rie s of six Editor....................................................... Doug Howard THE FUTURE Annette Hardy programs that would raise issues, increase Exec, p rod u ce r...................... Ron Saunders Producer..................................................... Jan Punch Phionna Parsons the audience's anxiety and make viewers Prod, m anager.............................Gerry Letts Exec, p ro d u c e r..................................... Gillian Coote Editing assistant..................... Lindy Kruger aware of the many welfare problem s that Unit m a na g e r............................Peter Brown Scriptwriters................................................Jan Punch Narrator.................................................... Colin Thiele exist and suggest alternative system s of Prod, secretary......................... Robyn Briais Gillian Coote Mixed a t .................................. Film Australia d e a lin g w ith th e s e p ro b le m s o f the Prod, accountant....................................GeoffAppleby Prod, m anager.......................... Ron Hannam M arketing/prom otions....................Chris Pip underprivileged both within A ustralia-and Electrician....................................................IanBosman S y n o p s is : The fin a l p ro g ra m in Film Cast: June Townsend, Nicolette Vascotto, overseas.

M ix e r.....................................................RobertSullivan A u stra lia 's A ustralia series. The film will Lorrie Cruickshank, Janice Downes, Tony Narrator.......................................................Jim Downes deal with the issue of Australian identity.

Allison, Sam Sowten, Lachlan Haig, Leo Anim ation......................................Don Ezard ROADS TO XANADU What it is to be Australian.

Taylor, C a rm e n M ajor, J a d e C a rd e n , Mixed a t.....................................................FilmAustralia Prod, com pany......................................... Film Australia Andrew Henville, Greg Rowe.

Marketing & promotions officer...Martin Wood Dist. com pa n y...........................................FilmAustralia S y n o p s is : T h ird in a s e rie s a b o u t HIGHLAND PATROL Length............................................................. 7minutes P roducer.................................................. John Merson Australian children's book writers. This film (working title) G auge..................................................... video D irector................................................... David Roberts looks at Colin Thiele and his work. Thiele P roducer.................................................. PeterButt Synopsis: A corporate promotional video Scriptw riters............................................ John Merson wrote many classic children's books like Exec, p rod u ce r..........................Tristam Miall s h o w in g th e c a p a c ity of th e R oyal David Roberts Sun On The S tu b b le and S torm Boy. D ire cto r.................................................... PeterButt A u s tra lia n M int to p ro d u c e c irc u la tio n Based on the original idea by .John Merson P hotography..........................................Phillip Bull c o in s , c o lle c to rs ' c o in s , m e d a ls a nd BOOMALLI Photography (China & Japan) ..Tony Gailey Sound........................................... Paul Findlay medallions.

Prod, com pany..........................................FilmAustralia Photography (E u rop e )................Greg Lowe Length............................................ 50 minutes Dist. com pa n y...........................................FilmAustralia Sound re cord ist........................Rob Stalder G auge.....................................................16mm Producer.................................................... PaulHumfress Editors.........................................................Les McLarin FITNESS TESTING - A GUIDE Synopsis: Meg Taylor leads an expedition D irector................................................ MichaelRiley Ray Thomas Prod, c o m p a n y .........................................FilmAustralia S criptw riter..........................................MichaelRileyof 25 into the h e a rtla n d of P apua New C om posers............................................. NigelWestlake Dist. com pany...........................................FilmAustralia Photography............................................ RossKing G uinea, retracing the e p ic H agen-S epik Michael Askill P ro du ce r................................................... PaulHumfress patrol, led by her father, Jam es Lindsay Sound re co rd ists.....................................NoelCunnington Exec, producer....................... Geoff Barnes D irector..................John Michael Rogowski Taylor, 50 years ago.

Rodney Simmons Prod, m anager.......................................... Ann Folland S criptw rite r........... John Michael Rogowski Bronwyn Murphy Prod, secretary....................................Loraine Wallace B ased on the g uid e by D ep a rtm e n t of E d ito r....................................................Phillipa Harvey Prod, accountant......................John Russell Arts, Sport Environment, Tourism & Territories Exec, producer.........................................

PaulHumfress Camera assistant...................... Jane Castle Photography...................................Ross King Prod, m anagers..................................Virginia Pascoe Asst editors............................. Tania Nehme Prod, d e sig n e r.............................Alan Booth Alison Wotherspoon Laura Zusters C om p o se r..............................Murray Bartley Unit m anagers........................Loretta Fisher Neg m a tch in g .........................Film Australia Exec, p ro d u c e r..................Paul Humfress Frank Haines Musical d ire cto rs................. Nigel Westlake Prod, s e cre ta ry.................. Loraine Wallace Prod, secretary.............Am anda Etherington Michael Askill Prod, a ccou n ta n ......................... Lea Collins Prod, a ccountant....................Neil Cousins Music performed b y ............Nigel Westlake 1st asst d ire cto r.......................................Alan Woodruff Prod, assistants........... Amanda Etherington Michael Askill M arketing/prom otions...................Chris Pip John Michael Rogowski M ix e r........................................ Film Australia Length...........................................................25 minutes M u s ic ......................................John Patterson Narrator....................................John Merson G auge..................................Video - Betacam Chris Townend Mixed a t .................................. Film Australia S ynopsis: A vid e o to a cco m p a n y the M arketing/prom otions.................... Chris Pip Laboratory............................C.F.L. (Cinefilm) boo kle t p ro d u ce d by the D ept, of Arts, C ast: B ro nw yn B a n c ro ft, E u p h e m ia Lab. lia iso n ................................ Mark Foster S p o rt, E n v iro n m e n t, T o u rism a nd APPEARANCES CAN DECEIVE B o s to c k , B re n d a C ro ft, F io n a Foley, M arketing/prom otions....................Chris Pip Territories, aimed at standardising fitness Prod, company ...Suzanne Baker Productions Fernanda Martins, Arone Raymond Meeks, L e n g th ....................................4 x 54 minutes a s s e s s m e n t p ro c e d u re s fo r th o se Pty Ltd Tracey Moffait, Avril Quaill, Michael Riley, Gauge16mm completing on 1 inch video master designing physical fitness programs.

P ro du ce r............................... Suzanne Baker Jeffrey Samuels.

Shooting stock...................... 7291 and 7292 Synopsis: A program about A ustralian D irector..................................Bob Kingsbury S y n o p s is : Th is fo u r p a rt s e rie s fo r WOMEN'S SPORT COMMUNITY urban Aboriginal artists deriving inspiration Prod, m anager............................. Susan Wild television takes a refreshingly new look at SERVICE ADVERTISEMENT from c o n te m p o ra ry and tra d itio n a l a rt Editor......................................... David Jaeger the dynamic interchange between Asia and Prod, c o m p a n y ........................................ FilmAustralia forms.

Lighting cam eraperson......Martin McGrath Europe in the making of the modern world.

Dist. com pany...........................................FilmAustralia Sound........................................... Rob Stalder In the p roce ss, the co nve n tio na l view s P ro du ce r................................................SusanLambert FRED WILLIAMS P ost-production..........The Editing Machine about the relationship between science, Working Title) D ire c to r.................................................. SusanLambert Length.......................................... 20 minutes technology and society, which continue to Prod, com pany........................ Film Australia Scriptwriter............................................ SusanLambert G a u g e ...............................................Betacam shape our perce p tio ns of progress, are Dist. co m pa n y.........................

Film Australia B ased on the ide a by W om en's Sports S ynopsis: P roduced for the D isa b ilitie s scrutinised and re-evaluated.

R esearchers..............................Lisa Noonan P ro m o tio n U n it,A u s tra lia n S p o rts C o -o rd in a tio n U n it, NSW P re m ie r's Susan Tooth Commission Department, this video raises awareness of EYES OPEN DREAMING D irector.................................................... Chris Wilcox M arketing/prom otions...................Chris Pip intellectual disability in the criminal justice Scriptwriter...............................................Chris Wilcox Prod, com pany..........................Film Australia Length................................................1 minute Dist. co m pa n y...........................Film Australia Exec, p roducer.................................. Tristram Miall fie ld . Its a u d ie n c e w ill b e p o lic e , G a u g e .................................................... Video magistrates, lawyers, probation and patrol Prod, coordinator........... Glenda Carpenter Producer.................................................... PaulHumfress S ynop sis: The a d v e rt w ill e n c o u ra g e o ffic e rs , w elfa re w orke rs and c u s to d ia l D irector......................................................PetaHill Prod, m anager...............................Ian Adkins women to participate by showing the skill, officers.

S criptw riter...............................................PetaHill Prod, secretary........................... Kathy Grant power, strength and grace of sportswoman Prod, accou n ta n t..................................Albert Wong Based on the original idea b y ........Peta Hill as well as the sense of camaraderie and BEHIND THE SUN Photography.............................................PetaHill Publicity..........................................Jane Glen the thrill of achievem ent associated with Prod, com pany................................... Juniper Films M arketing/prom otions..............Martin Wood Exec, producer.........................................PaulHumfress playing the game.

Producers.................... I. James Wilson and L ength...........................................................50 minutes Prod, m anager.......................... Ron Hannam G auge.................................................... 16mm John Davy Tristram Prod, secretary................................... Loraine Wallace WHITE LIGHT Synopsis: A television docum entary on Directors.......................I. James Wilson and Prod, a ccou n ta n t........................ Lea Collins Prod, c o m p a n y .......Riverheart Productions the life and work of the late fine artist Fred John Davy Tristram Still p h o tog ra ph y.....................................Peta Hill Dist. com pany......................... Film Australia Williams.

Exec, prod u ce r.......................................PeterDimond Laboratory....................................... Colorfilm P roducer......................

Mark Styles C on ce p t................................................Nadine Amadio M arketing/prom otions...................

Chris Pip C o-producers............................... Chris Hilton TO ABSENT FRIENDS L e n g th ..............................................................1hour Prod, m a nager........... Jannette Greenwood Glen Singleman G auge........................................................... 16mm Producer................................ Paul Humfress E ditor.................................... I. James Wilson C o-directors................................. Chris Hilton Exec, producer..................... Paul Humfress Shooting s to c k ................................. Eastman Colour C inem atography................ Garry Maunder Glen Singleman Director...................................Peter McLean S ynopsis: A TV film about Petford Training S ound...................................................... Ralph Steele P hotography....................... Glen Singleman S criptw riter............................Peter McLean Farm in North Queensland and the work of Mike Gissing Sound re co rd ist...........................Chris Hilton Prod, m anager............. Alison Wotherspoon G e o ff G u e s t w h o fo u n d e d th is Electronic M usic...................... Ian Laurence E ditor.......................................................Robin Archer Photography.................................. Ross King e s ta b lis h m e n t fo r th e tra in in g a nd P ost-production/lab.........................Colorfilm Exec, p ro d u c e r..................Paul Humfress E ditor................................Michael O'Donnell rehabilitation of young Aboriginals from the Length........................................................... 50 minutes Prod, m anager......................... Ron Hannam Length........................................................... 30minutes welfare and children's care institutions.

G auge.......................................16mm/1 'video Prod, s e creta ry.................. Loraine Wallace G auge.................................................... 16mm Prod, accou n ta n t...................................... LeaCollins S y n o p s is : B e h in d The Sun i s a Synopsis: To A bsent Friends traces the M arketing/prom otions....................Chris Pip k a le id o s c o p ic im pre ssion of the a rts in STORY MAKERS 3 c o n c e p t a nd c o n s tru c tio n of P a u la Length...........................................................50minutes New South Wales. The film highlights the Prod, com pany........................Film Australia D a w s o n 's m o s t re c e n t w o rk , a fu lly G a u g e .................................................... Video vitality and diversity of the perform ing and Dist. co m pa n y.........................Film Australia functional barroom. All reflective surfaces S y n o p s is : A d v e n tu re d o c u m e n ta ry Producer................................. Paul Humfress visual arts in the State, demonstrating the will be her holographic images constructed covering an Australian expedition to the D irector....................................................Aviva Ziegler creativity and high level of perform ance from a past New Year's Eve event. The final Antarctic - the object of which was to climb Scriptwriter.............................................. Aviva Ziegler w hich contributes to the quality of life in environment is an exploration of memory at Mt. Minto which was previously unsealed.

Photography........................................... David Knaus New South Wales. work and the infinite quality of time.

S ynopsis:

An educational/inform ational program expla inin g the a ctivitie s of the Royal Australian Mint to tourists and school children.

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S y n o p s is : This video was produced for the DREAM TIM E TO DUST Synopsis: Produced for the Powerhouse, A u s tra lia 's F ra g ile E n v iro n m e n t Equal Employment O pportunity (EEO) Unit, The E n d O f The E a rth is about the im pact Prod, c o m p a n y .... Zap Productions Pty Ltd State Rail, to increase staff understanding of p eople on the last great w ild ern e ss P ro d u c e r.................................................TrevorHawkins Antarctica. The film dem onstrates human of the EEO p ro g ra m s in State Rail and D ire c to r....................................... Zoran Janjic U rb a n T ra n s it. S ta ff in a v a r ie ty of achievem ents in this hostile environment, S c rip tw rite r.................................................Bob Raymond occupations explain how the organisational the effect people have on the continent and N arrator...................................................Robyn Williams changes, aimed at eliminating harassment the effect it has on them.

L a b o ra to ry............ Zap Productions Pty Ltd and discrim inatory em ploym ent practices, A B O U T OUR PETS Len g th ...............................................8 minutes are helping them to improve their chances THE KEY TO A NEW CAREER Prod, c o m p a n y............................ Coral Films G auge..................................................... 16mm for a better job in the two Authorities.

P roducers............................................ Richard Rooker Prod. com panyR ichard B ra dle y Prod. Pty S y n o p s is : D esigned to be view ed as an Richard Hart Ltd in tro d u c tio n to the A u stra lia n M useum 's D ire cto rs.............................................. Richard Rooker P ro du ce r.............................................. Richard Bradley exhibition (a walk-in diorama) of the same Richard Hart D ire cto r.................................................Richard Bradley title, this short film illustrates the changing S criptw riters.........................................Richard Rooker S criptw riter................................Rodney Long environm ent over the past 2 0 0 , 0 0 0 years.

Richard Hart Prod, m a n a g e r.........................Mike Jacob Film fo o ta g e , fo s s il s k e le to n s a n d Based on the original idea by.R ichard Hart E ditor..........................................Adam Baines animation d ep ict the changes from ancient P hotography............................................ Chris Bewley Lighting ca m era p e rson .......Richard Jeffrey tim e s th ro u g h th e Ic e A g e to th e E d ito r........................................................ Chris Bewley Sound...........................

Phil Winters Bicentennial year and beyond.

Prod, d e s ig n e r.................................... Richard Rooker N a rra to r...................................................... Bob Hughes C om p o se r................................. Phil Manning P ost-p ro du ctio n .........Twenty-Twenty Vision GO FOR GOLD, FRED Exec, p ro d u c e r................................... Richard Rooker L e n g th ..................... 11 minutes 30 seconds Prod, company. Paradise Picture Company Tech, a d v is e r..................................... Graham Weeks G a u g e ............................................... Betacam FLYING WHITE ANT P ro d u c e r................................... Mike Conway L en g th ................................... 26 x 30 minutes S y n o p s is : P ro d u c e d fo r th e NSW (The Story of the Aboriginal Painter D ire c to r................................................ Rodney Long G a u g e ..................................................... Video Albert Namatjira) S criptw riter...........................................Rodney LongD ep a rtm e n t of C o rre ctive Services, this S y n o p s is : A very funny but inform ative Prod, com pany................. Don Featherstone Prod, m a n a g e r.............................................BillGrayvideo outlines the career of a prison officer. se rie s p re s e n tin g a d iffe re n t p e t every It is to be used statewide in the recruitment Productions Editor.......................................... Mike Conway week. of prison officers.

Pre-sale........... London Weekend Television Lighting cam eraperson........... Peter Davies P ro d u c e r........................... Don Featherstone L a b o ra to ry .................................................CFL TUP PO PVQ A L L THE WAY D ire c to r..............................Don Featherstone L e n g th ......................21 minutes 23 seconds Prod, c o m p a n y :...Crawford Productions SYDNEY'S ORIGINAL VILLAGE L en g th ............................................ 90 minutes G auge..................................................... 16mm Dist. c o m p a n y .......... Crawford Productions Prod, com pany....G len Joseph Productions S y n o p s is : This dram atised documentary, G a u g e ..................................................... 16mm Directors (inclu de )...................Mandy Smith p r o d u c e d fo r th e N ew S o u th W a les Pty Ltd S ynop sis: The sto ry of the A b o rig in a l D epartm ent of Motor Transport, shows how Marcus Cole Producers....Glen Joseph and John Mabey artist A lbe rt N am atjira whose rem arkable Russell W ebb Fred, a d ou b tin g but typ ical law -abiding D irector....................................... Glen Joseph talent made him a celebrity and eventually citizen, is m ade aware of the benefits of Pino Amenta S critpw riter........................... Peter Cam pbell led to his abandonm ent and downfall. safe driving habits through the Gold fiveGary Conway Prod, m a na g e r......................... Trish M cAlary year photo-licence card.

S criptw rite rs.............................................

Leon Saunders E d ito r..................................... Tram Broadcast POLICE RESCUE TELEMOVIE Peter Kinloch Lighting cameraperson .Richard Bailey-Mace Prod, c o m p a n y ................ ABC Film Drama STREET SENSE - CRASH, BANG, Sheila Sibley P ost-production...................Tram Broadcast Dist. c o m p a n y ..........................................ABC BOING and IT'S SM AR T TO BE SAFE Everett De Roche L e n g th ..................... 10 minutes 30 seconds P ro du ce r..................................John Edwards Prod, c o m p a n y ........................... Quest Films Based on an original idea by..Terry Stapleton G a u g e ............................................... Betacam D ire c to r............................................ Peter Fisk Producers David Perry and Peter Campbell P hotography............................................ Frank Hammond.

S y n o p s is : The R o c k s is th e s ite of S c rip tw rite r....................... Everett De Roche D ire c to r........................................ Ian Gilmour Sound re cord ist....................John Wilkinson S yd n ey's firs t European settlem ent. The Prod, d e s ig n e r.................... Laurie Johnston S c rip tw rite r.............................Harold Lander video shows the work of the Sydney Cove Exec, p ro d u c e r.................................... Sandra Levy E d ito rs ....................................Lindsay Parker Prod, m a na g e r.......................... Paul Bugden Aileen Solowiej R e d e v e lo p m e n t A u th o rity in the Assoc, p ro d u c e r.................................. Dennis Kiely Editor............................................................EVS Prod, d e s ig n e r.........................................Sally Shepherd preservation of the historical aspects and Location m anager....................... Val Windon Lighting c a m e ra p e rso n ............ David Perry C o m p o s e r.............................................Ashley Irwin in m aking the p lace a congenial area in Prod, s e creta ry............... Kerrie Mainwaring Camera o p e ra to rs ..................... David Perry w h ic h to liv e , w o rk a n d re la x . It w as Prod, a cc o u n ta n t................................Cynthia Kelly Exec, p ro d u c e r..........................Ian Bradley and Samantha Brampton Prod, s u p e rv is o r........................Vince Smits p ro d u c e d fo r th e Sydney C ove Prod, assistan t.............................Sue Walsh S o u n d ........................................... Rob Stalder Prod, co-ord in ator..........Kimanie Hameister Redevelopment Authority.

1st asst d ire c to r..................Steve Stannard P o st-p ro du ctio n ........................................ EVS Prod, m anager.........................................Chris Page 2nd asst d ire cto r....................Deborah Klika Length................. (a)11 minutes 30 seconds Unit m anager........................... Colin McLean THE WAY TO GO C ontinuity.................................Tracy Pradula (b) 15 minutes Location m a n a g e r..................... Neil M cCart Prod, co m p a n y .......... The Production Team W ardrobe.............................Wendy Falconer G a u g e ................................................ Betacam Prod, secretary................................... Belinda Pribil P roducer........................................Pru Colville W ardrobe a s s t.....................Michelle Letters S y n o p s is : (a) Devised as a m usical quiz Prod, a c c o u n ta n t.......................Jeff Shenker D ire c to r.........................................Grant Harris S tudios..............................ABC Film Studios show, this fun program for five to nine-yearProd, assistant........................... Julie Burton S criptw riter..................................... Dick Jarvis Frenchs Forest olds has edu ca tio na l m essages on child 1st asst directors........................... Phil Jones Prod, m a n a g e r............................Karen Myers L e n g th ........................................... 90 minutes ro a d s a fe ty .

T h ro u g h d ra m a tis e d Hamish McSporran E d ito r............................................... John Bray G a u g e ..................................................... 16mm s e q u e n c e s c h ild re n - as p e d e s tria n s , 2nd asst d ire c to r.................... Robbie Visser Lighting cam era p e rson ........ Jon Matthews passengers or cyclists - are seen doing the S o u nd .......................................Simon Becker right thing or almost doing the wrong thing, Post-production ....Kookaburra Productions and w inning or losing a point for their team.

L e n g th .........................6 minutes 6 seconds Produced for the Traffic Authority of NSW, G a u g e ............................................... Betacam th is p ro g ra m w ill be g ive n to all State S y n o p s is : T h is p ro m o tio n a l v id e o , prim ary schools. produced for the Traffic Authority of NSW, (b) Prior to the class pet show w ith live d e p ic ts th e w id e ra n g e o f m a te ria ls pets, or drawings or pets the children have a v a ila b le fo r e a c h a g e g ro u p in the created, the teacher wants to ensure that A u th o r ity 's n ew c h ild ro a d s a fe ty the children know their 'road rules', so she videos them as passengers, pedestrians or 'p a cka g e s': storybooks, audio cassettes, cyclists. For 9-12 year olds, this program is posters, work books etc. It will be shown to entertainingly informative. Produced for the school staff statewide to engender interest traffic authority of NSW, it will be given to in the road safety cam paign. all State prim ary schools.

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UNDERSTANDING EEO THE END OF THE EARTH (ANTARCTICA) Prod, co m p a n y:.............................. Filmworks P ro d u c e r..................................... Alec Morgan D ire c to r........................................Alec Morgan S criptw riter.................................. Alec Morgan E ditor......................................Matthew Tucker Cam era o p e ra to r.................. Fabio Cavadini A nim ation....................................... Jollification Laboratory..........................................Colorfilm Length.............................................. 28 minutes

Prod, com pa n y................Vision Quest Films P ro du ce r.............................................. Cynthia Connop D ire cto r.................................................Cynthia Connop Scriptwriter........................................... Cynthia Connop Prod, m a na g e r..........................Sharon Miller E d ito r..........................................Fiona Strain Lighting cam eraperson......Preston Clothier N a rra to r................................................G eorge Donikian P ost-production...............................Television Makers L e n g th ..................... 13 minutes 30 seconds G a u g e ................................................Betacam

including: • Time Coding onto 8 " Roppy Disc • Super 16mm • Syncing Neg or Pos Rushes • Edge-Coding Service ("Rubber Numbering” ) • Tight deadlines our speciality • 24 hours a day, 7 days a week if required. Contact Greg Chapman on (02) 439 3988.

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CINEMA PAPERS NOVEMBER— 57

P R O D U C T I O N S

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Gaffers............................................ Bill Jones Pippa Fletcher, their foster children and the Continuity................................................. LynnDanzey Wardrobe a ssts ......................... Allan Burns residents of the seaside town of Summer Meg Hunt Gary Plunkett Julie Bates Boom o pe ra to rs............. Stephen Haggerty P ro p s..................................... Wayne Pickard Bay. They b attle d a ily v ic is s itu d e s and Carmel Torcasio Malcolm Gregory Colin Swan triumphs as they search for their place in Story editor......................................... Andrew Kennedy Art d ire c to r............................. Andrew Reese the sun.

Julie Puglisi C a s tin g ...............................................Graham Moore Props b u y e r.................................Colin Dent Asst art d ire cto r..................................... Leigh Eichler Key g rip ..................................................... RobHansford HOUSE RULES Costume d e sig n e r.................................Clare Griffin Set dresser...................................Doug Kelly Asst g r ip ....................................... Rod Short Prod, com pany.......................................ABC M a k e -u p ................................. Viv Rushbrook Audio d ire cto rs..................... Graeme Hicks G affer............................................ Lex Martin Dist. c o m pa n y........................................ ABC Howard Fricker Brad Smith Electrician.................................. Roy Pritchett P roducer...................................... Alan Hardy Ross Boyer Hairdressers................................. Lisa Jones Boom o p e ra to r......................... Greg Nelson D irectors.................................. Helen Gaynor Still photography.......................Steve Brack Christine Miller Art d ire cto rs............................................ BrianDusting Karl Steinberg P u b licity...............................Kathy Campbell Wardrobe supervisor....................Keely Ellis Phil Eagles S C aterin g................................. Taste Buddies Wardrobe s ta n d b y ................................ Anna Baulchcriptw riters....................Patrick Edgeworth Costume d esig n er.....................Clare Griffin Graeme Farmer S tu d io s...................................

ATN Studio "B" Rachel Nott M ake-up..................................................Anna Karpinski John Hepworth Mixed a t ................................. Custom Video Props buyer.............................................. KateMurray Liz Harper Series c re a to rs................... Barbara Bishop Shooting s to c k .......................... 1 inch video Standby p ro p s .............................. Paul Kiely H airdressers............................................ PaulPattison Shane Brennan Cast: Shane Porteous (Dr. Terence Elliott), Georgina Campbell Fiona Reese-Jones Alan Hardy Si Smith (Dr. Alex Fraser), Lorrae Desmond Set decorators........................Kerith Holmes W ardrobe.............................................. Marion Boyce Peter Hepworth Darren Jones (Shirley Gilroy), John Tarrant (Matt Tyler), Wardrobe a ssts............................Cathy Farr John Reeves Brian W enzel (Sgt. Frank G ilroy), Kate Brad King Gayle Mayes Lighting directors........................... Clive Sell Raison (Cathy H ayden), Jo M itchell (Jo John Stafford Props b u y e r.............................. Rolland Pike Noel Quirk Set construction.....................Gordon White Loveday), Brett Climo (M ichael Langley), Standby p ro p s .............................Brian Lang Ron Cromb J o y c e J a c o b s (E sm e W a ts o n ), Jo an Sound e d ito r................................. Geoff Hill Simon Carter A udio........................................................

Gary Schultz Sydney (Matron Sloan).

Editing assistant................................ MichaelCarden Choreography......................Tony Bartuccio Blair Burt M ixer....................................................Andrew Jobson S y n o p s is : Set in th e s m a ll ru ral Set d ecorators...................................... Jamie Legge Stephen Witherow com m unity of "Wandin Valley", the series Best b o y s ..................................................Con Mancuso Souli Lividatis O.B. d esig n er.................................... George Ransti d e a ls w ith m e d ica l and s o c ia l issues, Peter Ryan Colin Robertson V /l editors...............................................

Gary Watson through the major characters and the local Runner........................................Andrew Bull Greg Beechmore Ken Tyler Bush Nursing Hospital. It also dramatises C atering....................Location One Catering Hamish Anderson-Hicks Mike Wallis the lives of the local vet and the National Studios....................... Crawford Productions Steve Rumpf Prod, designer......................Paul Cleveland Mixed a t..............................................Cinevex Set construction..................................Gordon WhitePark Ranger.

D esig n ers..................................Frank Earley Len g th .................................. 24 x 47 minutes Sound editor........................................... Anne Carter Max Nicolson DAVE ALLEN SHOW G auge.....................................................16mm Stunts co-ordinator..............................N.G.S. Chris Forbes Prod, com pany...................... ATN7 Sydney Shooting sto ck.......................... 7291, 7292 Dialogue coach......................Peter Tulloch C om poser............................................... PeterSullivan Producer...................................... Kris Noble C a s t: R o b e rt G ru b b (D r G e o ffre y Best b o y s .....................................Peter Ryan Exec, prod u ce r.......................................RossDimsey D ire cto r.........................................Kris Noble S tandish), Liz Burch (Dr Chris Randall), Peter Scott Prod, m anager............ Margaret Greenwell S criptw riters................................ Dave Allen Leonore Smith (Kate Wellings), Bruce Barry R unner..........................Keith Wray McCann Prod, secretary..................... Anne Graham Peter Vincent (G e o rg e B a x te r), Pat E vison (V io le t P ublicity................................ Mary Hennessy Prod, assistant...................... Kay Hennessy Angela Webber C a rn e g ie ), R e b e c c a G ib n e y (Em m a C aterin g ........................... Sweet Seductions 1st asst d ire c to rs................. John Markham Adam Bowen Plimpton), Maurie Fields (Vic Buckley), Val Studios.................................................... GTV9 Ali Ali Ken Stirling Jellay (Nancy Buckley), Peter O'Brien (Sam Mixed a t .....................Crawford Productions Bill Smithett Exec, producers....................Alan Bateman Patterson), George Kapiniaris (D.J.).

G auge..................................................... Video 2nd asst director......................Ross Allsop Pat Condon S ynopsis: A Royal Flying Doctor service Cast: Rowena Wallace (Elaine Seymour), Producer's assistants..............Sallyann Hall Prod, supervisor...............Astrid Friederichs is located in the outback town of Coopers P e te r S u m n e r (P h illip S e ym o u r), Ben Sue Cronin Prod, manager.......................Brigitte Zeisig Crossing. The two doctors, Geoff Standish M e n d e lso h n (L in d s a y S e ym ou r), D anii Aideen Stevenson Script e d ito r............................................ Chris Greenwood and Chris Randall, not only contend with M in o g u e (P e n e lo p e S e ym ou r), D ennis C asting..........................................Dina Mann L en g th .................................... 4 x 60 minutes the medical challenges, but also with the M iller (Ray Scott), M aggie M illar (Lorna Jo Rippon G auge..................................................... Video small community in which they live.

S cott), M artin S acks (Alan S co tt), Lisa Camera operators................John Paulovich Cast: Dave Allen (Presenter).

H e n s le y (C h ris tin e S c o tt), D o m in ic Gary Dyke Synopsis: Irish comic Dave Allen brings HOME AND AWAY M cDonald (Barry Scott), Diana Davidson Greg Wilden his distinctive sense of humour to Australia.

Prod, c o m pa n y....................ATN Channel 7 (M adelaine Vaughan), Nikki Coghill (Terry Key g rip .................................... Max Gaffney Dist co m p a n y ..................... ATN Channel 7 O'Rourke), Vince Colosimo (Joe Bianchi).

Boom operator............................. Gary Lund THE FLYING DOCTORS Producer................................... John Holmes Make-up/hairdressing..........Paddy Opwald Prod, co m p a n y......... Crawford Productions Story e d ito r................................... Bevan Lee A COUNTRY PRACTICE Denise Gakov (Series) Pty. Ltd. Based on the original idea byAlan Bateman Prod, co m pa n y............JNP Films Pty. Ltd. W ardrobe........................Rhonda Shallcross Prdoucer............................Oscar Whitbread Exec, p ro d u c e r......................Alan Bateman P roducer......................................Bruce Best Valerie Nelson D irectors.............................. Brendan Maher Assoc, prod u ce r......................Peter Askew D irectors................................. Robert Meillon Props buyer...........................John Cuskelly Marcus Cole Prod, co-ordinator....................... Kate Delin Leigh Spence Standby p ro p s .........................Andrew Best Arch Nicholson Prod, m anager......................Lisa Fitzpatrick Peter Maxwell David Norman Colin Budds Prod, accountant................Janeen Faithfull Viktors Ritelis C aterin g ........................ Back Door Catering Mandy Smith Prod, assistant.....................Edwina Searle Peter Andrikidis P ublicity................................. Georgie Howe Mark de Friest 1st asst directors................. Martin Mowlan Scriptwriters......................... David Boutland Studios...................................................ABV 2 S criptw riters........................ Denise Morgan Michael Ailwood Tony Morphett L e n g th .................................. 26 x 50 minutes Tony Morphett Grant Brown David Phillips Shooting stock...................................... Video Luis Bayonas 2nd asst d ire cto rs...................... Shane Gow Judy Colquhoun Cast: Jacki W eaver (Julie Buckley), Gil Michael Joshua Jane Ogden Steve J. Spears Tu cke r (M ax B u c k le y ), N ad in e G a rn e r Shane Brennan C ontinuity............................. Frances Swan Graeme Koetsveld' (Sophie Buckley), Matthew Day (Christian Photography................................Ron Hagen Sharyn Rosenberg Based on the original idea by ..James Davern B u c k le y ), J a c o b K ino (J a c k B u ckle y), Barry Wilson Script assistant........................ Anthony Ellis E d ito r................................ Graeme Andrews M a rijk e M ann (A lis o n B u c k le y ), M ary Sound recordists................... Malcolm Rose C a s tin g ..................................... Inese Vogler Exec, producer........................... Jim Davern S itarenos (N ina M cLeod), Alex M englet Paul Clarke Casting consultants.................... Maura Fay Assoc, p ro d u ce r.........................Bruce Best (Vlad), William Zappa (Paul Bourke), Bud E d ito rs................................Scott McLennan Lighting directors....................Dave Morgan Prod, coordinator.............................. Barbara Lucas Tingwell (Clarrie).

Bill Murphy Mitch Lane Prod, m anager...............Chris Martin-Jones S y n o p s is : The s to ry of an a v e ra g e Exec, producers................Hector Crawford Dave Mutton Unit m a na g e r........................ Margie Cremin suburban family whose mother becomes a Ian Crawford Art director...............................Ken McCann Location m anager................................ David Watts politican by accident.

Terry Stapleton Costume designer........... Michael Chisholm Prod, secretary..............Toni Higginbotham Prod, supervisor......................... Vince Smits M ake-up...................................Elaine Horton Prod, accountant................................... KathyWood JUST FOR THE RECORD Post-prod, supervisor...... Sue Washington Caroline Lette 1st asst directors............... Stephen Henley Prod, com pany.........A Couple 'A Cowboys Prod, co -ordinator......................Gina Black H airdressers.......................................... David Jennings Mark Moroney & Beyond Co. Productions Pty. Ltd. Prod, m anager.......................Ray Hennessy Georgina Bush Ian Simmons Dist. company .Beyond International Group Unit m a na g e r........................ Andrew Oliver W ardrobe....................................Rita Crouch 2nd asst d ire cto rs...........Richard McGrath Producer ....Brett Clements & Phillip Tanner Location m anager.................Chris Odgers Francesca Bath Peter Dudkin D ire c to r..... Brett Clements & Phillip Tanner Prod, secreta ry................... Carol Matthews Wardrobe a sst.................................. BronwynDoghty C ontinuity/D .A..................................... Tracey Jones Location directors............Sheridan Jobbins Prod, a ccountant.................. Kevin Plummer Props b uyers..........................................PhilipCumming Gillian Brown Steve Best 1st asst directors.................. Stewart Wright Kate Saunders Karen Willing S criptw riters..................Matthew Thomason Jamie Leslie Standby p ro p s ...........................Glen Turner Script assistant.....................................Louise Crane Brett Clements Kath Hayden Anthony Broderick Producer's assistants..... Justine Muggivan Louise Wallace 2nd asst d ire cto rs...............Aurelia Ginevra Set co nstru ction ...................................AlisterThornton Kate Dodd Garry Who Peter Nathan Musical director...................... Mike Perjanik C a s tin g ............................... Shauna Crowley Geoff Fitzpatrick Continuity.....................................Tara Ferrier Runners..................................................Adam Hammond L ig h tin g ...................................... John Norton Based on the original idea by .Brett Clements Anne Went Alex Tinley Paul Wootten Phillip Tanner Story editor...........................Gwenda Marsh Studios....................................ATN Channel 7 Rob Miller P hotography............................................. KenArlidge Script e d ito rs .......................Tony McDonald Shooting sto ck...................................... Video Camera operators................................... GlenSteer Steve Arnold Anne Beach Peter Westley Michael Ewers Jan Harfield C a s t: R og e r O a k le y (Tom ), V anessa John DeRuvo Sound recordists.....................Phillip Tipene C asting........................................ Jan Pontifex D ow ning (P ip p a ), A lex P apps (Frank), Camera assistants................ Dietrich Brock Martin Harrington Focus pullers.......................................... Craig Barden Sharyn H odgson (Carly), Helena Bozich Andrew Barrance Rick Creaser Gary Bottomley (Lyn), Adam Willits (Steven), Kate Ritchie Boom o p e ra to r...................... Mark Mitchell Editors.......................................................John Kubik C lapper/loaders.........................Ian Phillips (Sally), N icolle D ickson (B obby), Sheila Art director..............................................SteveMuir Tom O'Flaherty Kim Jonsson K ennelly (Floss), Frank Lloyd (N eville), M ake-up.......................................................KitMoore Bill Aires Key g rip s ................................................ Craig Dusting Judy Nunn (Ailsa), Ray Meagher (Alf).

Veyatie Hirst C om p o se rs............................................Murry Burns Kerry Boyle S y n o p s is : A warm and am using fam ily Rachel Dal Santo Colin Bayley Asst g rip s ........................................Leigh Tail dram a that follows the lives of Tom and W ardrobe............................. Therese Rendle Kevin Bayley Wayne Mitchell

58â&#x20AC;&#x201D; NOVEMBER CINEMA PAPERS

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Exec, producers ................John Luscombe C asting..............................................Jan Russ G affer............................................. Simon Lee W ardrobe................................................... Kate Boalsch Mikael Borglund Michelle Luvisetto Boom operator........................ Mark Van Kool Pip Hain Exec, producers' asst .Catherine Lawrence Camera operators.................... Joe Battaglia Art d ire c to r...'........................Nick McCallum Belinda Burke Assoc, p ro d u c e r.......................Randy Werle Andrew Berry Asst art director....................Robyn Williams Standby prop s......... Gabrielle Grubanovich Prod, c o o rd in a to r............Je n n ifer Couston Paul Barnett Costume d esig n er.............................Douglas Smith Lee Bulgin Prod, m anager..........................................Livia Hanich Geoff Biggs M a k e -u p .................................................... TrishGlover Robert Rasa Prod, s e c re ta ry ................................... Debbie Watson Mark Collins W ardrobe............................................... Louise Wakefield Set d re s s e rs.........................Darius H addadi Prod, a c c o u n ta n t................................... Helen Strong Mark Allen Props b u y e rs .................................... Lisa Elvy Steve Burton Prod, assistants............ Matthew Thomason Floor m anagers..........................Ray Lindsay Viv Wilson Music e d ito r.......................... Gary Hardman Jan Irvine Bob Villinger Standby p rop s......................................... PeterDavies Vision s w itc h e r...................................Michelle Murray Tim Vincent Peter Hinde Set co nstru ction .................................... Laurie Dorn Tech, dire cto rs............................................Tim Cavanah Post prod, m a n a g e r........M. Carmen Galan Alan Williamson Asst e d ito r............................................... Stella Savvas Peter White Senior researcher.......................... Elle Walsh Lighting su p e rviso rs ..........Stuart de Young A rt departm ent a s s t.................. David Joyce R unner.................................... Janelle Grace Cam era assistants..................... John Maruff Lyden Matheson Art departm ent co o rd in a to r......Mary Harris P ublicity........................................ Network 10 Peter Coleman Rod Harbour W rangler................................................ Gerald EganC a te rin g ................................. Taste Buddies Christopher Gill M ake-up............................ William M cllvaney Best b o y ................................................... Greg AllenS tu d io s ......................................... Channel 10 Asst e d ito r............................................... Alicia Gauvin Joanne Pardy R un n e r................................. Frederik Range P ost-production.............................. Omnicom Soula Alexandrou H airdressers.................................... Sue Kelly Publicity.......................................................RegSteelCast: Paula Duncan (Janet Bryant), Tim Neg m a tc h in g .......................................Miriam Cortes David Vawser C atering......................................Out To Lunch Elston (Warren Bryant), Marc Gray (Andrew Col. g ra d in g .................... Arthur C am bridge W a rd ro b e .............................................. M andy Sedewie L ab o ra to ry......................................... Colorfilm R y a n ), R oss H ig g in s (D a n C o s te llo ), Music perform ed by ....Twilight Productions Julianne Jonas Lab. lia is o n .......................... Wayne Dunstan M aggie Kirkpatrick (Ivy Hackett), Am anda Sound e d ito r.............................................Mark Tanner Gursel AN L ength.............................................2 x 2 hours M uggleton (Connie Ryan), Dina Panozzo Online e d ito r..............................Roy Andrews Props b u ye r.................................Mark Grivas G auge......................................................16mm (Jill Webster), Ashley Paske (Marty Bryant), M ixe r.......................................................... John Sayers Standby p ro p s ..............Richard Williamson Shooting stock....................................... Kodak Gwen Plumb ('Mum' Foote), Felicity Coper Asst m ix e r..........................................Ian Gray Sue Birjac C a s t: N ig e l H a v e rs (M a rrin e r), N oni (S u s a n M ille r), E m ily S y m o n s (A n n e Unit p u b lic is t .................. Francesca Muir Music e d ito r......................................... Warren Pearson H a z le h u rs t (M o n ic a ), D a v id G u lp ilil Costello).

Post prod, fa c iltie s ............Pro-Image - ECV Off-line e d itin g ............ The Editing Machine (Activity).

Synopsis: This new Australian serial bares M ixed a t ..............B eyond Facilities Pty. Ltd. Vision sw itche r.................... Jenny Williams S y n o p s is : Davy Marriner, robbed and left the p riv a te lives of the re s id e n ts of an Laboratory............................ Colorfilm Tech, dire cto rs.....................Howard Simons alone in the desert to die, survives with the outer-city area and involves peo p le from L en g th ............................ 45 minute episodes Peter Merino help of an aboriginal tribe. He becom es a every walk of life. They all have secrets G a u g e ..................................................... 16mm Barry Shaw rich man, and in the process unw ittingly romantic and dram atic. R ic h m o n d H ill tells Shooting s to c k .................Agfa-Gevaert Peter Coe ruins the people who saved his life. the stories of a community.

C a s t: B rett C le m e nts, L ouise W allace, R unner............................................... Cameron Strachan Geoff Fitzpatrick, Garry Who. C a te rin g ...................................................Helen Louwers RICHMOND H ILL Post-production............ ATV-10 Melbourne S y n o p s is : J u s t F o r Th e R e c o r d is an Prod, com pany..G rundy Television Pty. Ltd. action, adventure m agazine form at series Cast: Anne Charleston (M adge Mitchell), P ro d u ce r.........................................Philip East w hich c o m b in e s d o cu m e n ta ry treatm ent Kylie Minogue (Charlene Robinson), Jason D ire cto rs...................................Russell Webb Donovan (Scott Robinson), Alan Dale (Jim with film clip style.

Greg Shears Robinson), Anne H addy (Helen Daniels), Mark Piper S te fa n D e n n is (P aul R o b in s o n ), Fiona K A BO O D LE 2 Julian Pringle C o rke (G a il R o b in so n ), Lisa A rm y ta g e Prod, c o m pa n y....... ACTF Productions Ltd. S criptw riters.........................................Various ACT OF BETRAYAL (B e v e rly R o b in s o n ), C ra ig M c L a c h la n Exec, p ro d u c e r.......................Patricia Edgar Script e d ito r................Mary Dagmer Davies Prod, c o m pa n y.........................................ABC (Henry Ramsay), Paul Keane (Des Clarke), Supervising p ro d u c e r.................... Jeff Peck Story e d ito r...............................John Coulter Griffin Productions/TVS Guy Pearce (M ike Young), Annie Jones Series p ro d u c e r.................. Susie Campbell Based on the original idea by ..Reg Watson Dist. c o m p a n y ........Griffin Productions/TVS (Jane Harris).

B u d g e t............................................... $658,000 Sound re c o rd is ts ......................................TomMurtagh P roducers..................................... Ray Alehin S y n o p s is : Love 'em o r hate 'em , b u t L e n g th ......... ............................6 x 24 minutes Zbyszek Krzyskowiak Nick Evans everyone's got 'em: neighbours. Ramsay G a u g e .......... ............................... 1 inch video E d ito r...........................The Editing Machine D irector................... Lawrence Gordon Clark Streetthe stage for an exciting dram a serial S y n o p s is : S ix m o re h a lf-h o u rs of Prod, d esig n er........................................ Leore Rose S criptw riters..................................Nick Evans d ra w in g b a c k the c u rta in to reveal the te le v is io n d ra m a fo r the u nd e r-te n age C om poser (th e m e).............................. Ashley Irwin Michael Chaplin intrigue and passions of Australian families Exec, p ro d u c e r......................................... Don Battye group, this time all anim ated and regular P hotography.............................Peter Hendry and their neighbours.

Exec, in charge of production...Peter Pinne characters.

Sound re cord ist.......................

Peter Barber Assoc, p ro d u c e r..............................M argaret Slarke E d ito r............................................................ LynSolly NAKED UNDER CAPRICORN Prod, co -ord in ator................................ Robyn McKay NEIGHBOURS Prod, d e s ig n e r.........................Marcus North Prod, com pany ....Resolution Films Pty. Ltd. Prod, c o m p a n y ............... G rundy Television Prod, m anager.......................................Lynda Wilkinson D esigner....................................Colin Rudder Dist. c o m p a n y ................................... Revcom P roducer.....................................Mark Callan Asst d ire c to rs .......................................... RossHamilton C om p o se r............................. Bruce Smeaton Producer..................................................... RayAlehin D ire c to rs ......................................Tony Osicka Megan Downes Exec, p ro d u c e rs..................................Sandry Levy D ire c to r....................................................... Rob Stewart Gary Conway M argot Snellgrove Michael Deakin S crip tw rite r............................. Peter Yeldham C on tin u ity........................................ Stephanie Richards Steve Mann Prod, m a na g e r......................................Dennis Kiely Based on the novel b y ............................. OlafRuhen Kendal Flanagan Alison Ely Photography........................................... Julian Penney Location m anager........................Val Windon Caitlin Kirkpatrick S criptw riters........................................ Various Sound recordist..........................................Tim LloydC astin g .........................................Sue Manger Prod, s e creta ry...............Kerrie Mainwaring Based on the original idea by..R eg Watson E d ito r.................................... Pippa Anderson Casting assistant...................Kirstin Truskett Sound re cord ists...................... Keith Harper Prod, a cc o u n ta n t.....................Cynthia Kelly Prod, d e s ig n e r....................................

Quentin Hole Camera operators........................David Levy Peter Say 1st asst dire cto r................Russell Whiteoak Exec, producers................................Geoffrey Daniels G rant Vogler Clive Walker 2nd asst d ire c to r................... Deborah Klika Peter Yeldham Steve Gray Bruce Findlay C on tin u ity........................... Rhonda McAvoy Ian Gordon Prod, d esig n er.........................................Steve KellerProd, co ord in ator..................................... FfionMurphy C asting.................................... Jennifer Allen Wayne Styles C om poser (th e m e )..................................TonyHatchProd, m a na g e r........................................ Anne Bruning Casting assistant..............Maureen Chalton Unit m a n a g e r..........................................Ralph ClarkBoom o p e ra to rs................ Jenny Longhurst Exec, p ro d u c e r..........................................Don Battye Camera operator..................... Roger Lanser Prod, accountant..Jennifer Deschamps - Money Mark Pilley Exec, in hcarge of production...Peter Pinne C la p p e r/lo a d e r...............Chantal Abouchar Penny Services Todd Kirkness Prod, co-ordinator................................... Reita Wilson Camera assistant................... Robert Foster Prod, a s s is ta n t.....................................D ebbie Atkins Ben De Palo A sst p ro d u c e r.........................Andrew Howie Key g r ip .............................John Huntingford 1st asst d ire c to r...................Bob Donaldson Sound s u pe rviso r..................Stephen Smith Prod, m anager.. .........................Stottie Asst g rip .................................... Garry Burdett 2nd asst d ire c to r.........................................IanKenny L ighting........................................... Tom Carey D irectors' a s s ts ..................... Marianne Gray G a ffer............................... Tim Murray-Jones C o n tin u ity............................. Kristin Voumard Adrian Obern Linda Wilson E lectricians............................. Ken Pettigrew C asting co n su lta n ts.....Liz M ullinar Casting A rt dire cto r..........................Pam M illbourne Jane Daniels Richard Grant Focus puller.......................... Sally Eccleston Wardrobe supervisor......... Am anda Groom Christine Lipari Boom ope ra to r......................... Mark Bowyer C lapper/loader.................................... Duncan Taylor Make-up supervisor................Peggy Arnold S cript su pe rviso r ...................Ray Kolle M a k e -u p ........................................... Jiri Pavlin Key g r ip ............................................... ...Lester Bishop H airdressers...............................Trish Newton S cript e d ito rs . . ................ â&#x20AC;&#x2122; ...... .Helen Boyd Jenni Boehm A sst g rip ...................................................-Gary Lincoln Gail Edmonds Wayne Doyle

TELEVISION

PO S T-P R O D U C TIO N

CINEMA PAPERS NOVEMBERâ&#x20AC;&#x201D; 59

P R O D U C T I O N S U R V E Y W ardrobe.................................. Elsie Rushton Costume designer................... David Rowe Wardrobe a s s t........... Stephanie Hammond Make-up............................. Christina Ehlert Props b u y e r............................................. TonyCronin Ron Bassi Standby props......................... Roy Eagleton Majory Hamlin Special e ffe cts.........................Peter Leggett Special effects make-up.....Bob McCarron Set d e c o ra to r................. Sandra Carrington Wardrobe...............................Barry Lumley Stunt co-ordinator.....................................Guy Norris Wardrobe assistants.................. Pia Kryger Still p ho tography.................................... Barry Gaunt Heather Lasurie P ublicity................................. Georgie Brown Seamstress............................. Sue Beagley C aterin g ................................. A & B Catering Props buyers.......................Susan Glavich S tu d io s ......................... ABC Frenchs Forest Wayne Chipperfield Mixed a t........................ ABC Frenchs Forest Standby props..................... Peter Moroney Laboratory.........................................Colorfilm Russell Burton B u d ge t...........................................$5,000,000 John King L e n g th .................................. 2 x 105 minutes Art department co-ord............ Penny Lang G auge..................................................... 16mm Art dept financial co-ord....Paddy Reardon Shooting s to ck ......................... Eastmancolor Set decorators.............. Robert Hutchinson C ast: Patrick Bergin (M ichael McGurk), Tony Williams Lisa Harrow (Eileen McGurk), Kristen Greer Standby painter............... Stuart McCauley (Sean McGurk), Elliott Gould (Callaghan), Carpenter.................................. Lyall Smith Bryan M arshall (K ennedy), D eborra-Lee Scene master............................ Derek Rye Furness (Kathy), Max Cullen (Quinn).

Set construction...................... Laurie Dorn S y n o p s is : C ontem porary th rille r set in Asst editors................... Nicole La Macchia Belfast and Sydney w hich deals with the Helen Horn consequences of a decision by a member Neg matching........... Neg Cutting Services of the Irish Republican Army to betray his Security consultants David Ford & Associates superiors.

Sound editors...................... Stephen Hope

Casting consultants.................... Liz Mullinar Standby set finisher.................Gary Hansch Special e ffe cts............................... John Neal Camera o p e ra to r.................. Russell Bacon Focus pulle r................................ Greg Parish C horeography..................... John O'Connell Set dressers.................... Robert Hutchinson Clapper/loader........................................ Mark Lamble Sandra Carrington Key g rip .............................Tony Woolveridge 2nd dressing c r e w .................................. Alan Willis Asst g r ip .................................................Martin Lampitt Russell Long G a ffer...................................................Andrew Holmes Construction m a na g e r.............. Laurie Dorn E lectricians....................Peter Rossborough Asst editors...........................Heidi Kenessey Mick Sandy Eric White Boom operator............................................ IanCregan Art d ire c to r............................................... Dale MarkMusical producer..................................... Alan John M usic p e rfo rm e d by W est A u s tra lia n Costume d e s ig n e r.................................... Jim Murray Symphony M a ke-u p .................................. Ian Loughnan Orchestra Linda Washbourne Sound editors...........................................Erika Moss W ardrobe................................Concetta Raff a Lionel Bush Katrina Henley Editing assistants........................Jon Champ Melanie Baker Dorothy Welch Props b uye r....................................Norm Ellis Dubbing m ix e r................Annie Cocksedge Andrew Mitchell Special e ffe c ts.......................................... Rod ClackStunts coordinatorDouglas 'Rocky' McDonald Still pho tog ra ph y................... Martin W ebby Stunts c o ord in ator.............. Chris Anderson G raphics.......................... Giulietta Stomann Still p ho tography............... Lindesay Hogan Generator o p e ra to r.................................. Bob Woods Runner................................ Kieran O'Mullane Unit p u b lic is t........................................ Marian PageA m e nitie s.............................Geoff McDowell Runner...................................................... Chris Ryman Catering...........................Backdoor Catering P u b licity.....................Georgie Brown (ABC) Lab o ra to ry......................................... Cinevex C atering................... The Katering Company C a s t: A n th o n y H ig g in s (S ir L au re n ce S tu d io s ........ABC Studios - French's Forest Olivier), Mel Martin (Vivien Leigh), Jerome Noel Cantrill Mixed a t ..................ABC Studios - Gore Hill Ehlers (Peter Finch), Rhys M cC onnochie A DANGEROUS LIFE Peter Purcell Laboratory.........................................Colorfilm (Ralph Richardson).

Prod, com pany................ Ayer Productions Asst Mixers.................. Alan Andrewartha Lab. lia is o n ..........................Denise Wolfson S yn o p sis: In 1948 Laurence Olivier and Dist. c o m p a n y......Film Accord, HBO (U.S.) Tony Pople B udget....................................................... $3.9 million V iv ie n L e ig h w e re th e w o rld 's m o s t Peter Hall ABC (Australia), Zenith (U.K.) L en g th .....................................3 x 50 minutes Stunts coordinator.............................. GrantPagecelebrated lovers; he the greatest actor of Producer......................................................HalMcElroy G auge...................... ,......................t,...,16mm the age, she one of Hollywood's biggest Still photography................................. GaryJohnston Line p ro d u ce r............................................ TimSanders C ast: Julia Blake (Eve), A rthur Dignam stars. Why then, at the very height of their Research.........................................MichaelCarson D irector............................. Robert Markowitz (Heath), Lynda C ropper (Stevie), Victoria careers, did they turn their backs on fame Film researcher.................................WendyBenson S criptw riter....................... David Williamson L o n g le y (B e a ), J e n n ife r C la ire (L a d y Best boy..............................................PierreDrionand fortune to tour Australia for a year with Exec, producer for A B C ..........Sandry Levy Cissie), Bruce Hughes (Angus), Melanie the Old Vic Theatre?

Runner................................ Caroline Grose ABC project d ire cto r............ Howard Parker Salomon (Lesley-Ann), Fiona Press (Liesl), Publicity........................................... VictoriaBuchan Historical consultant..Professor Alfred McCoy Yves S te n ing (T ip), A n d re w Tig he (B ill EDENS LOST Catering................................................TuckTruck Philippine p roducer...........Lope V Juban Jr S ew ard), P a tric k Q u inn (C ore y), P h ilip Prod, company .Margaret Fink Films Pty. Ltd., Studios....................... ABC Frenchs Forest Financial controller.......................Rob Fisher Sayer (M aras), Pat B ishop (M uffet), Ed ABC Max's Studios Photography.........................................James Bartle Wiley (Gabriel).

Central Independent TV PLC Mixed at.:...............................ABC Gore Hill Sound recordist......................................... TimLloyd Synopsis: An emotional thriller in which Dist. com pany Margaret Fink Films Pty. Ltd. Laboratory.............. ...................... Colorfilm Editors................................. Tony Kavanagh an in n o c e n t y o u n g m an m e e ts th e P roducer..................................

Margaret Fink Lab. liaison...................

Richard Pierkowskl Mike Honey eccentric St. James fam ily and discovers D ire c to r.....................................Neil Armfield Budget........................................$16 million Prod, d esig n er..................................... Murray Picknett the tragedy of living with the lies which we Scriptwriter...............................

Michael Gow Length........................................................

6 hours Prod, co n su lta n t.............................. Christine Berardo tell ourselves.

Based on the novel by Sumner Locke Elliott Gauge.............................. 35mm videotape Assoc, producers......................... Ray Brown P hotography...................Geoffrey Simpson Shooting stock...............................

Eastman color Neil Bahaves THE LAST RESORT Sound recordist............................ Nick Wood Cast: Gary Busey (Tony O'Neill), Rebecca Post-prod, supervisor............John Hollands Prod, com pany.........................................ABC Editor.............................................................Bill Russo Gilling (Angie Fox), Jaime Fabregas (Ben Prod, coordinators.............Lorelle Adamson D ist.-com pany..........................................ABC Prod, d esig n er..................... Janet Patterson Balamo), Dina Bonnevie (Celie Balamo), Kym Newman P ro d u ce r................................. Jan Chapman C om poser.......................................Alan John Laurice Guillen (Cory Aquino), James Supervising prod, m anager..... John Winter D irectors............................ Geoffrey Nottage Exec, p ro d u c e rs...........Sandra Levy (ABC) Handy (Mike Heseltine), Ruben Rustia Prod, m anagers..............Rosemary Hudson Ron Elliott (Ferdinand Marcos), Tessie Tomas (Imelda Ted Childs (Central) Judy Murphy Kate Woods Assoc, producer..............Stephen O'Rourke Marcos).

Travel coordinators........................... Malcolm Ross Colin Englert Prod, coordinator................... Annette Gover S yn o psis: Six hour miniseries dramatically Hilary May Mike Smith Prod, m anager.........................Carol Chirlian recreating the com plex and turbulent Denny Lawrence Unit m a na g e r.......................................... John Downie Unit m a nager............................ John Downie events in the P hilippines from the Scriptwriters............................... Louis Nowra Location m a n a g e r...................................ClintWhite Prod, se creta ry........Francoise Fombertaux assassination of Ninoy Aquino until the Bert Deling Prod, s e creta ry.....................................Sandy Stevens fleeing of the Marcos' after the 'people 1st asst d ire c to r..........Scott Hartford-Davis Tim Gooding Prod, controller.......................... Kevin Wright power' revolution in 1986. The story is told 2nd asst dire cto rs.................... Wendy Gray Gabrielle Lord Prod, a cco u n ta n t................................... Chris Robson through the eyes of two fic titio u s Clinton White Leon Saunders Accountant's assistants.... Sharon Jackson C ontinuity................................... Lynn Poynter cha racte rs, Tony O 'N eill - Am erican Johanna Piggot Naomi Whitting Casting................................................Jennifer Allen television journalist - and Angie Fox Carol Williams 1st asst dire cto r...................................... BrianGiddens Australian photo-journalist working in the Irene Gaskell Based on original concept b y .... Louis Nowra 2nd asst d ire cto r................................... SteveStannard region.

Casting assistan t........... Maureen Charlton Sound ..................................

Wayne Kealy 3rd asst d ire c to r........... Christopher Ryman Lighting cameraperson...Geoffrey Simpson Mark Avis 2nd unit d ire cto r.................................... GrantPage Camera operator................................... RogerLanser DARLINGS OF THE GODS E d ito rs .............................Kathleen Hinchliffe 2nd unit director (Manila)....... Andrew Clark Prod, company.................................... ABC Focus p u lle r.............................................. Bob Foster Ross Delaforce 2nd unit asst director (Manila)..Graham Miller Clapper/loader.................................. Gregory Heap Euston Films Ltd. Scott Mantle C on tin u ity.............................................. EmmaPeach Simpson Le Mesurier Films Pty. Ltd. Key g r ip ...........................John Huntingford Trevor Miller Producer's a ssistan t...........Bronwen Stokes Producer...................... Roger Le Mesurier Asst g r ip ...................................................John Clarke Prod, d e s ig n e r.....................Laurie Johnson C a s tin g .....................................................FaithMartin Director.............................. Catherine Millar 2nd unit photography ...........Paul Pandoulis Marcus North James Laurie Scriptwriters.......................Roger Simpson 2nd unit assistant................................... Kevin May C om poser............................. Martin Arm iger Sandra Lee Patterson Electricians................................................ KenPettigrew Graeme Farmer Exec, p ro d u c e r...................... Jan Chapman Casting consultants..........Fenton-Feinberg Based on the book b y ....... Garry O'Connor Tim Murray-Jones Assoc, p ro d u c e r......................Wayne Barry Faith Martin & Associates Photography........................ Ian Warburton Richard Grant Technical p ro d u c e rs...........Mike Osbourne Camera operator.......................................JeffMalouf Boom o p e ra to r.......................David Pearson Sound recordist................ Tony Dickenson Dennis Ritson 2nd camera ope ra to r.......... Paul Pandoulis Editor......................................Barrie Munro D esigners.............................................Gregor McLean Roy Jefferies Focus p u lle r............................................ Gary Russell Prod, designer.......................Colin Gersch Catherine Silm Asst. prod, m a na g e r..............Jane Pepper Clapper/loader.............................. Colin Kerr Composer...........................Greg Sneddon Asst designers...................................Michelle Milgate Prod, m anager........................ Judy Murphy Key g rip ................................................... Barry McGinn Exec, producers.............................. SandraLevy Karen Land Unit m anager...........................Irma Havlicek Asst g rip .................................................... Alan Trevena Costume d esig n er...............................Jennie Tate John Hamley Nicole Mitchell G a ffer......................................................Martin Perrott Assoc, producer....................Ross Dimsey M ake-up............................................ Christine Balfour Prod, secretary.................... Elisabeth Gilroy E lectricians........................... Julie Batensdo Prod, coordinator...............Jennie Crowley Hana Fiserova 1st asst d ire c to rs.................Gary Stephens Tim Hazrris Prod, manager............. Lorraine Alexander Ron Bassi David Young Steve Harris Unit manager............................... Fran Lugt W ardrobe.............................................. Wendy Falconer Graham Millar Generator operator................................. John Clarke Prod, secretary................... Fran Fitzgerald Wardrobe a s s ts ..................................Suzana Ciko Russell Whiteoak Boom operators.................... Mark Van Kool Prod, accountant..........Robert Threadgold Loraine Verheven Tony Tilse Nick Wood 1st asst director.................. James Oastler P ro ps.................................................... RussellBurton Lance Mel lor Art directors......................................Julie Bell 2nd asst d ire c to rs.................. Karin Kreicers 2nd asst director............ Richard Van't Riet John King Steven Gowe 3rd asst director................. Hugh Johnson Tim Westcott Chris Greene Asst art d ire cto rs............................... Andrew Harris Continuity...............................Annette Reed Props b uye rs......................................Andrian Cannon Deborah Klika Robyn Williams Dorothy Baker Producer's assistant.......................... JennyGray Colin Bailey Diann Wajon Casting................................................. DinaMannStandby set m aker..................................John Larsen Steve Stannard

60â&#x20AC;&#x201D; NOVEMBER CINEMA PAPERS

S cript asst/researcher Producer's a ssts.........

C a s tin g ............

Lighting directors

Camera operators

Vision m ix e r........

Vision c o n tro l....

Key g r ip ..............

Asst g rip s ...........

G a ffe r..................

Lighting console Boom o p e ra to rs.

D esigners...............

Asst d e s ig n e r.......

Costume designer M a k e -u p .................

W a rd ro b e ........

Wardrobe asst.

Props b u ye r....

Standby props

Special effects Set decorators

.... Kristen Dunphy ....Suzanne Brown George Kightly Penny Carrol Tracy Padula ........Jennifer Allen Irene Gaskell ............. Jeff Brown Barry Quick Peter Knevitt ........Tony Connoly Dick Bond Murray Tonkin Ross Milligan Glen Traynor ........Bruce Wilson ..............Ted Turner Alf Sameri ........... Willie Dolan .... Slav Kovalenko John French ............. Tim Harris ................Nic Verzi .... Joanne Dobbie Ian Wilson Stephen Bailey ........Freya Hadley Graham Johnson .......Annie Marshal Col Rudder ..........Jola Nejman ..........Suzie Clemo Cate O'Donoghue Gary Siutz Juri Pavlin ......Miranda Brock Rolando Cano ....Michelle Letters Susan Palmer ...... Susan Glavich Ian Andrewatha ............ Greg Bush Anton Canon Peter Fitzgerald .......Brian McClure ....Richard Kennett Leanne Bushby

Scenic a rtist...................... Paul Brocklebank C arp e n te r...................................... Lex Hagen P ainter....................................... Monica Lloyd Sound e ffe cts ...................... Sandy Lambert Musical d ire c to r................... Martin Arm iger Still p h o to g ra p h y..................Virginia Speers Title d e s ig n e r........................David Webster P u b licity................................. Georgie Brown StudiosABC (Lanceley Place Sound Stage) L e n g th ............................... 30 x 50 minutes G a u g e ..........................................1 inch video Cast: Kate Fitzpatrick (Elizabeth Parker), Kris M cQ u a d e (Je n n ife r Shannon), Nell S chofield (Louise Shannon), Paul C hubb (H ila ry D avis), Leone C arm e n (M e ga n Small), Wyn Roberts (Exeter Shannon), Joe Petruzzi (Tony Wolf Ferraro), Rod Zuanic (R o d H u n te r), M uro (Y u kio A ra k a w a ), C la u d ia K a rvan (Em m a P a rker), Saran Deling (Cale Parker).

Synopsis: Three sisters find them selves running a d ilapidated seaside hotel for a year and a day.

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Camera o p e ra to r..................... Steve Windon THE RAINBOW WARRIOR CONSPIRACY 2nd unit pho tog ra ph y............. Steve Windon Prod, company...Golden Dolphin Productions Art d ire c to r......................... Brian Edmonds Dist. company..Energy Source Television Ltd. Costume d esig n er................... Helen Hooper P roducer............................. Robert J. Loader M a ke-u p ............................. Violette Fontaine D irector............................... Chris Thomson Mixed a t .......................................... Soundfirm S criptw riter................................ David Phillips Laboratory.........................................Colorfilm P hotography....................................... Andrew Lesnie L e n g th ..................................... 2 x 96 minutes Sound re cord ist...................... Paul Brincat G auge..................................................... 35mm Editor.....................................................Lindsay Frazer Synopsis: A dram atisation of the events Prod, d e sig n e r........................................ Larry Eastwood surrounding the sinking of the Greenpeace Supervising p ro d u c e r........Steve Knapman vessel the R ainbow W arrior in A u ckla n d Exec, prod u ce rs..................................... PeterSainsbury H a rb o u r in July 1985 by a g e n ts of the Alan Bateman French Government.

Assoc, p ro d u c e r................................Dorothy Pinfold Prod, co-ordinator.........................Mary-Jane Yeats ADVENTURES ON KYTHERA Prod, m a na g e r..................................... Narelle Barsby Prod, c o m p a n y.......... Media World Pty. Ltd. Location m anager.................. Maude Heath Dist. com pa n y..........................Richard Price Prod, accountant......Moneypenny Services Television Associates Val Williams P ro du ce rs................................ John Tatoulis 1st asst d ire c to r.........Carolyn Cunningham Colin South C ontinuity...............................Jackie Sullivan D ire cto r..................................... John Tatoulis C a stin g ..........................................Liz Mullinar

Scriptwriter....................... Deborah Parsons P hotography......................... Peter Zakharov Sound re c o rd is t................... John Wilkinson E d ito r......................................Michael Collins C o m p o se r......................... Tassos loannides Prod, m a n a g e r..................... Yvonne Collins Prod, s e c re ta ry...............Tania Paternostro 1st asst d ire c to r..............Sonya Pemberton Camera o p e ra to rs............... Peter Zakharov Harry Panagiotidis Key g r ip ............................................Fred Dirk Boom o p e ra to r..........................Greg Nelson W a rd rob e ............................................Lily Dirk Tutor....................................... Judy Malmgren L e n g th ....................................7 x 30 minutes G a u g e ...............................................Betacam Cast: Garry Perazzo (Spike), Zenton Dirk (Zenton), George Lekkas (Johnny), Richard Aspel (Vincent), Amelia Frid (Molly).

S y n o p s is : A s e v e n p a r t c h ild r e n 's adventure series set on the Greek island of Kythera.

M oon W ith A View For Pino Amenta, a portable game of Donkey him, however. He talks enthusiastically about veteran on productions like Anzacs, S w ord O f Kong is a vital piece of equipment on set: it's memories of his own childhood, and of Lasse H on ou r, M y B roth er Tom and N an cy W ake. his means of communication with his male Hallstrom's M y L ife As A D og , a film he W hat T he M oon S aw is based on Howson's lead, who is six years old and needs to be describes as "so good it makes you angry". children's play, S in bad - T he L ast A d v en tu re, In shooting, ne says, he looked simply for kept busy. which was directed by Rodney Fisher, and W hat T h e M oo n S aw is the story of a ways to present images with freshness and had seasons at the Playbox Theatre and the country kid who goes to the city to stay Melbourne Theatre Company several years with his grandmother, a former Tivoli ago. Howson returned to his play as a dancer who now works at a theatre box source because he likes films that are office. Andrew Shephard, who has been stories within stories, he says. in Vicks, Tip Top and Faberge ads, and "Sinbad was one of those things that has a played Rafferty's son in R a fferty 's R u les , special place in your fife," he says. "It's takes the part of Steven, who becomes good to go back and look at it again after entranced with Sinbad, the pantomime this amount of time." This time, S in b ad is playing at the theatre. the pantomime that is being performed at Today, Amenta is shooting at the theatre where the child's grandmother Melbourne's Athenaeum Theatre, where works. We see sections of the play being about a third of the film is set. It is the performed, but it has been pared down for scene where Steven gets his first glimpse the film. "Some of the best lines have been of the pantomime, watching an actor cut because they're not really needed," Howson says. The sections of the play we rehearse.

Steven is in almost every scene of the WHAT THE MOON SAW: Kim Gyngell and Andrew Shephard see are scenes that parallel events film. Producer-writer Frank Howson happening to Steven. innocence. "But you can get carried away points out that he occupies the screen for On set, Howson says, his joint role as worrying about style and forget about the about the same that John Waters did in the producer-writer is not a conflicting one. "Pino story," he says emphatically. For Steven's first previous Howson-Amenta collaboration, and I established a great working glimpse of the world of the theatre, Amenta B ou lev ard O f B roken D ream s. It is a demanding relationship, where ego never got in the way, says, he drew on his own recollections of his role for a child and it places demands on and the main thing was always the product. first view of the stage: "I looked straight back director and cast too. "He's good," Amenta "I like to be on the set in case of any last at the stalls." says, during a Donkey Kong break. "But you minute changes and to keep an overall eye on W hat T he M oo n S aw is Amenta's second don't know what you're going to get from the way things are progressing. It's good to feature. He started out as a messenger at him from day to clay, and you have to balance leave room for last-minute inspiration, which Crawfords, progressed to boom operator and his best performances with other people's - it is the way things happened on Boulevard. On sound recordist, and ended up directing puts a lot of pressure on them." set, I don't see myself as a producer, because episodes of T he S u lliv an s and Y oung R am say . that work is over by the time you start The idea of a film told through the eyes of Since then, he has become a miniseries shooting." a child was one of the major attractions for CINEMA PAPERS NOVEMBERâ&#x20AC;&#x201D; 61

FILM CENSORSHIP LISTINGS MARCH 1988 Films Registered Without Deletions G (For General Exhibition) Adventures Of Pippi Longstocking, The: G Mehlman/W. Moshay, USA/Sweden, 100 mins, Village Roadshow Corporation

PG (Parental Guidance) Au Revoir, Les Enfants (Goodbye, Children): L. Malle, France, 105 mins, Hoyts Distribution, 0(ad u lt concepts) L(i-l-j)

Garbage Pail Kids Movie, The: R. Amateau, USA, 96 mins, Filmpac Holdings, O(anti-social concepts) V(i-m-j) Hiding Out (a): J. Rothberg, USA, 99 mins, Hoyts Distribution,***

Johann Strauss - The King W ithout A Crown: F. Antel, W. Germany, 118 mins, Filmpac Holdings, 0(ad u lt concepts)

Judgement In Berlin: Sinclair/Windisch, USA, 96 mins, Communications and Entertainment, L(i-l-j) 0(ad u lt concepts) Life W ithout Sun (main title not shown in English): Mosfilm Studios, USSR, 106 mins, Trade Representative of the USSR, 0(ad u lt concepts) Man From Snowy River II, The: Not shown, Australia, 107 mins, Hoyts Distribution L(i-l-g) V(i-l-g) Man From Snowy River il, The (edited version): Not shown, Australia, 100 mins, Hoyts Distribution, L(i-l-g), V(i-l-g) Perfect Match, The: M.Deimel/R. Torrance, USA, 93 mins, Village Roadshow Corporation, 0(Sexual allusions)

Police Academy 5; Assignment - Miami Beach: P. Malansky, USA, Village Roadshow Corporation, V (i-l-g) L (i-l-g) O (sexual innuendo) Silent Voice (b): D. Field, USA, 114 mins, Fox Columbia Film Distributors, L(i-l-g) War Began The Next Day: Gorky Film Studio, USSR, 86 mins, Trade Representive of the USSR, 0 (adult concepts) Zina, Dear Zina: Mosfilm, USSR, 87 mins, Trade Representative of the USSR, 0 (adult concepts) (a) See also under Films Board of Review on this list and Films Registered Without Deletions, M (For Mature Audiences) on December 1987 list (b) Title changed from Amazing Grace And Chuck shown on June 1987 list

Man Facing Southeast: L.Pflaum, Argentina, 106 mins, Hoyts Distribution, 0(ad u lt concepts) S(i-m-g) Mr Wrong: R.Laing/G. Preston, New Zealand, 87 mins, Film Fatale, V(i-m-j) 0(ad u lt concepts) Nom Leb' Ich Ja!: M.Aue, W. Germany, 60 mins, Australian Film Institute, 0(sexual references, adult concepts) Return Of The Living Dead Part II, T. Fox, USA, 87 mins, Village Roadshow Corporation, O(horror) V(i-m-g) L (i-m-g) Romancing Star II, The (said to be title not shown in English): Not shown, Hong Kong, 96 mins, Chinatown Cinema, 0(adult concepts) Satisfaction: Aaron Spelling/A. Greisman, USA, 93 mins, Fox Columbia Film Distributors, 0(drug use) L(i-m-g) School Daze, S.Lee, USA, 120 mins, Fox Columbia Film Distributors, L(f-m-g) S(i-m-j) Serpent And The Rainbow, The: D.Ladd/D. Claybourne, USA, 95 mins, United International Pictures, S(i-m-j) V(i-mj) L(i-m-j) O(horror) Shoot To K ill: R. Silverman/D.Petrie, USA/Canada, 109 mins, Village Roadshow Corporation, V(i-m-j) L(i-m-g) Summer Heat: W.Tennant, USA, 80 mins, Filmpac Holdings, S(i-m-j) Three O 'clock High: D.Vogel, USA, 89 mins, United International Pictures, L(i-m-g) V(i-m-g)

R (Restricted Exhibition) Action Jackson: J. Silver, USA, 96 mins, Village Roadshow Corporation, V(i-m-g) Cop: J.Harris, J. Woods, USA, 110 mins, Filmpac Holdings, V(i-m-g) L(f-m-g) 0(adu!t concepts) Fury: J. Sham, Hong Kong, 89 mns, Chinatown Cinema, V(i-m-g) Girls W ithout Tomorrow (main title not shown in English): J. Chan, Hong Kong, 92 mins, Chinatown Cinema, V(i-m-g) No Compromise: Not shown, Hong Kong, 92 mins, Chinatown Cinema, V(i-m-g) 0(adult concepts) Saigon: A. Barnette, USA, 102 mins, Fox Columbia Film Distributors, V(i-m-g) L (f-m-

g)

Films Board Of Review Hiding Out (a): J. Rothberg, USA, 99 mins, Hoyts Distribution, *** Decision of the Board: Direct the Film Censorship Board to classify PG (a) see also under PG (Parental Guidance) on this list and see under Films Registered Without Deletions, M (Mature Audiences) on December 1987 list

M (For Mature Audiences) Caught: J. Ballew, USA, 115 mins, Reid & Puskar, 0(drug use, adult concepts) V (i-mj) Cool Lakes Of Death, The: M. Van Keijning, Netherlands, 120 mins, Australian Film Institute, 0(ad u lt concepts) S(i-m-j) D.O.A: I.Sander/L.Ziskin, USA, 84 mins, Village Roadshow Corporation, V(i-m-j) L(im-j) De Wisselwachter: Stanley/Hillerbrandt, Netherlands, 94 mins, Australian Film Institute, S(i-m-j) V(i-m-j) Inside Out: S.Beckerman, USA, 84 mins, Filmpac Holdings, 0(ad u lt concepts) L(i-mj) Ironweed: K.Barish/M.Nasatir, USA, 142 mins, Village Roadshow Corporation L(i-mj) V(i-m-j) 0(sexual allusions) Le Jupon Rouge: G.Lefebvre, France, 87 mins, Australian Film Institute, 0 (adult concepts) L(i-m-j) Les Possedes: M. Menegoz, France, 112 mins, Hoyts Distribution, V(i-m-j) Little Nikita: H.Gittes, USA, 97 mins, Fox Columbia Film Distributors, V(i-m-g) L(i-m-

9)

Love Soldier Of Fortune (said to be title not shown in English): Not shown, Hong Kong, 91 mins, Chinatown Cinema, L(i-m-

g)

62— NOVEMBER CINEMA PAPERS

APRIL 1988 G (General Exhibition) Nil

PG (Parental Guidance) 18 Again!: W.Coblenz, USA, 100 mins, Village Roadshow Corporation, L(i-l-j) V (il-j) 0(sexual allusion) Angelic Conversation, The: J. Mackay, UK, 78 mins, Australian Film Institute, 0 (adult concepts) Boundaries Of The Heart: P Juillet, Australia, 97 mins, Filmpac Holdings, L(i-l-j) In The Shadow Of The Sun: Not shown, UK, 62 mins, Australian Film Institute, 0 (adult concepts) Invisible Kid, The, P. Spinelli, USAA, 97 mins, AZ Film Distributors, L (i-l-g) 0(nudity, sexual innuendo) It's A Mad Mad Mad World Part II: L. Kuk, Hong Kong, 93 mins, Chinatown Cinema, L(i-l-g) VZ (i-l-g) Picture Of A Nymph: Not shown, Hong Kong, 93 mins, Chinatown Cinema, V(f-l-j)

Riding The Gale: K.Batterham/G.Batterham, Australia, Stormbringer Films, 0(adult concepts) L(i-l-j)

Robinsonnade - My English Grandad: Gruziafilm, USSR , 74 mins, Trade Representative of the USSR, V(i-l-j) South Of The Border: D. Bradbury, Australia, 62 mins, David Bradbury, 0(adult concepts) Stand And Deliver: T. Musca, USA, 103 mins, Village Roadshow, L(i-l-g) 0(sexual innuendo) Switching Channels: M. Ransohoff, USA, 104 mins, Hoyts Distribution, L(i-l-g) 0(S exual allusions) Unsettled Land: L. Boeken/B.EIkeboyJ/K. Schory, Israel, 107 mins, Filmpac Holdings, 0(adult concepts) Young Composer's Journey, The: Gruzia Film Studios, USSR, 102 mins, Trade Representative of the USSR, ¿(adult concepts)

M (Mature Audiences) Armour Of God: L. Ho/C. Lam, Hong Kong, 85 mins, Village Roadshow Corporation, (V-i-m-g)

Between The Cup And The Lip: Profil, Poland, 118 mins, U p Top Travel, S(i-m-g) Biloxi Blues: R. Stark, USA, 106 mins, United International Pictures, 0 (adult concepts) Cop (a): J.Harris/J. Woods, USA, 110 mins, Filmpac Holdings, *** Devil In The Flesh (edited version): J. Murray, Australia, 94 mins, Hoyts Distribution, S(i-m-j) Frantic: T, Mount/T.Hampton, USA/France, 119 mins, Village Roadshow Corporation, L(i-m-j) V(i-m-j) 0(drug use) Lai Shi, China's Last Eunuch: Paragon Films, Hong Kong/China, 90 mins, Chinatown Cinema, 0(ad u lt concepts) Vim-g) Masquerade: M. Levy, USA, 91 mins, United International Pictures,, S (i-m-g) L(im-g) Milagro Beanfield War, The: R. Redford/M. Esparza, USA, 117 mins, United International Pictures, L(i-m-j) Poussiere D'Ange: J. Strauss, France, 93 mins, Newvision Film Distributors, V(i-m-j) L(i-m-g) 0(ad u it concepts) Promised Land: R. Stevenson, USA, 101 mins, Filmpac Holdings, L(i-m-g) S(i-m-j) V(i-m-j) Rikky And Pete: D. Parker/ N. Tass, Australia, 102 mins, United International Pictures, L(i-m-g) S(i-m-g) Seventh Sign, The: T.Field/R.Cort, USA, 96 mins, Fox Columbia Film Distributors, V(i-m-j) 0(ad u lt concepts) Sign 'O' The Times: R.Cavallo/J. Ruffalo/S.Fargnoli, USA, 82 mins, Village Roadshow Corporation, L(i-m-g) Smoke 'Em If You Got 'Em: Not shown, Australia, 46 mins, R. Bosely, L(f-m-g) O (adult concepts) Steel Dawn: L. Hool/C. Hool, USA, 100 mins, Hoyts Distribution, V(i-m-g) Taffin: P. Shaw, UK, 96 mins, Vestron Video, L(i-m-g) V(i-m-g) 0(sexual allusions) Tiger On Beat: W. Fung, Hong Kong, 92 mins, Chinatown Cinema, V (f-m-g) (i-m-g) (a) See under Films Registered Without Deletions For Restricted Exhibition - R in March 1988 and Films Board Of Review below

R (Restricted Exhibition) Bed Companions: Not shown, Hong Kong, 88 mins, Yu Enterprises, S(f-m-g) V(i-m-g)

Films Board of Review Cop (b): J. Harris/J. Woods, USA, 110 mins, Filmpac Holdings, *** Decision Reviewed: Classify R by Film Censorship Board Decision of the Board: Direct the Film Censorship Board to classify M (b) See also under Films Registered Without Deletions for Restricted Exhibition R in March 1988 and Films Registered Without Deletions for Mature Audiences - M

MAY 1988 G (General Exhibition) Babettes Gaestebud: J. Betzer/B. Christensen, Denmark, 103 mins, Village Roadshow Corporation Beyond The Outback: D. Dalton, Australia, 86 minutes, Gantarna Coo-ee: G. Barnes, Australia, 97 mins, Film Australia White W inter Heat: W. Miller, USA, 87 mns, Victorian Ski Association

PG (Parental Guidance) Crocodile Dundee II: J. Cornell/J. Scott, Australia/USA, 108 mins, Hoyts Distribution, L(i-l-g) V(i-l-g) 0(dru g references) Hairspray: R. Talalay, USA, 91 mins, Hoyts Distribution, L(i-l-j) 0 (dru g references, adult concepts) I Was A Teenage Vampire: D. Murphy, USA, 89 mins, Filmpac Holdings, L(i-l-j) 0(sexual allusions) It Couldn't Happen Here: J. Bond, UK, 86 mins, Hoyts Distribution, 0(ad u lt concepts) V(i-l-g) Manon Des Sources: P.Grunstein, France, 111 mins, Greater Union Film Distributors, 0 (ad u lt concepts) One Husband Too Many (main title not shown in English): Mobile Film Productions, Hong Kong, 90 mins, Chinatown Cinema, 0(ad u lt concepts) Sebastian And The Sparrow, S. Hicks, Australia, 88 mins, Kino Film Company, L(il-j) 0 (ad u lt concepts)

M (Mature Audiences) Beetlejuice: M.Bender/L. Wilson/R.Hashimoto, USA, 92 mins, Village Roadshow, L(i-m-g) 0 (m ild horror) Born To Defence: Sil-Metropole, Hong Kong, 92 mins, Chinatown, V(f-m-g) L(i-m-

g) Casual Sex? I. Herzberg/S.Kahn, USA, 86 mins, United International Pictures, Ofsexual allusions) L(i-m-g) Dangerous Game: J. West/B. Appleby, Australia, 100 mins, Deathwatch Productions, V(i-m-g) L(i-m-g) Dead Heat: M. Meltzer/D.Helpern, USA, 82 mins, Village Roadshow Corporation, V(i-mg) L(i-m-g) O(horror) Deadly Pursuit: R. Silverman/D. Petrie, USA/Canada, 109 mins, Village Roadshow Corporation, V(i-m-j) L(i-m-g) Dominick And Eugene: M. Minoff/M.Farrell, USA, 109 mins, Village Roadshow Corporation, L(i-m-g) 0(ad u lt concepts) Gangs: S. So, Hong Kong, 97 mins, Yu Enterprises, V(f-m-g) L(i-m-g) 0(ad u lt concepts) Hawks: S. Lanning/K. Cávele, 110 minutes, Hoyts Distribution, L(i-m-j) 0(ad u lt concepts, sexual allusions) Home From The Hill: National Film And Television School, UK, 55 mins, Ronin Films, L(i-m-g) 0 (ad u lt concepts) Monster Squad, The: J. Zimbert, USA, Filmpac Holdings, L(i-m-g) O(horror) New Life, A: M. Bregman, USA, 104 mins, United International Pictures, L(i-m-g) 0 (ad u lt concepts) Paper Marriage: Bo Ho Films, Hong Kong/Canada, 92 mins, Chinatown Cinema, S(i-m-g) 0 (ad u lt concepts) Plain Clothes: R.Wechsler/M. Manheim, USA, 97 mins, United International Pictures, L(i-m-g) V(i-m-j) Poltergeist III: B. Bernardi, USA, 97 mins, United International Pictures, O(horror) L(im-j) Pulse: P. Stallone, USA, 88 mins, Fox Columbia Film Distributors, O(horror) Red Sorghum (main title not shown in English: Xi'an Film Studios, China, 92 mins, Ronin Films, V(i-m-g) L(i-m-j) Rent-A-Cop: R. Wagner, USA, 96 mins,

Filmpac Holdings, V(i-m-g) L(i-m-g)

Zawieszeniu (Suspended): M. Zablocki,

Sicilian, The: M. Cimino/J. Carelli, USA,

Shadows On The Wall: P. Poole, USA, 96

Poland, 90 mins, Consulate General of Poland, L(i-l-j) V(i-l-j) O (adult concepts) Zelly And Me :S. Jett/T. Mark, USA, 86 mins, Fox Columbia Film Distributors, O(emotional stress).

145 mins, Hoyts Distribution, V(i-m-g) L(im-g) Storm y Monday: N. Stafford-Clark, UK, 90 mins, Village Roadshow Corporation, V(i-mj) S(i-m-g) L(i-m-g) Tiger Warsaw: A. Chaudri, USA, 93 mins, AZ Film Distributors, L(i-m-g) 0(adult concepts)

mins, Village Roadshow Corporation, V(im-g) Siesta: G. Kurfirst, USA/Spain, 96 mins, Filmpac Holdings, L(i-m-g) S(i-m-j) V(i-m-j) Souvenir: T. Reeve/J. Reeve, UK/France, 93 mins, AZ Film Distributors, S(i-m-j) V(im-j) Stars And Bars: S. Lieberson, USA, 94 mins, Fox Columbia Film Distributors, L(im -9)

S troker: J. Laurie, Australia, 97 mins, John

Laurie, L(i-m-g) V(i-m-g) S(i-m-g) Telephone, The: R. Katz/M. Esparza, USA,

82 mins, Village Roadshow Corporation, L(i-m-g) 0(adult concepts) Track 29: R. McCallum, USA/UK, 90 mins, Communications and Entertainment, S(i-mj) V(i-m-j) L(i-m-j)

R (Restricted Exhibition) Bad Dreams: G. Hurd, USA, 83 mins, Fox

Columbia Film Distributors, V{i-m-g) B right Lights Big City: M. Rosenberg/S. Pollack, USA, 107 mins, United International Pictures, 0(drug abuse) Colors: R. Solo, USA, 120 mins, Village Roadshow Corporation, S(i-m-g) L(f-m-g) Good The Bad And The Beauty, The: F. Chan, Hong Kong, 100 mins, Chinatown Cinema, V(i-m-g) Nlco: S. Seagal/ A. Davis, USA, 99 mins, Village Roadshow, V(i-m-g) Salt, Saliva, Sperm And Sweat: R. Bishop, Australia, 47 mins, Dumb Films, V(i-m-g) S(i-m-g) 0(adult concepts)

JU N E 1988 G (General Exhibition) Change On Both Sides: M. Smith,

Australia, 57 mins, Australian Film Institute (Sydney)

PG (Parental Guidance) Big (a): J. Brooks/R. Greenhut, USA, 104

mins, Fox Columbia Film Distributors, *** Big Business: S. Tisch/M.Peyser, USA 97 mins, Village Roadshow Corporation, L(i-l-j) Ofsexual allusions) Funny Farm: R. Crawford, USA, 101 mins, Village Roadshow Corporation, L(i-l-g) 0(adult concepts) Great Outdoors, The: Hughes Entertainment, USA, 90 mins, United International Pictures, L(i-l-j) 0(sexual allusions) Matka Krolon (Sons And Comrades):

Film Polski, Poland, 120 mins, Consulate General of Poland, 0(adult concepts) Melo: MKZ & Films AZ, France, 110 mins, Ronin Films, 0(adult concepts) Return Of The K iller Tomatoes: S. Peace, USA, 98 mins, Village Roadshow Corporation, 0(sexual allusions) Summer Story, A: D. Rissner, UK, 96 mins, Filmpac Holdings, S(i-m-j) 0(adult concepts) Vibes: T. Ganz/D. Blum, USA, 99 mins, Fox Columbia Film Distributors, L(i-l-j) V(l-l-j) 0(drug references) W illow: N. Wood, UK/USA/New Zealand, 122 mins, United International Pictures, V(fl-j) Q(mild horror)

M (Mature Audiences) Big (a): J. Brooks/R. Greenhut, USA, 104 mins, Fox Columbia Film Distributors, L(im-g) Bless This House: L. Kuk, Hong Kong, 82 mins, Chinatown Cinema, V(i-m-g) O(horror) Blue Iguana, The: S.Golin/S. Sighvatsson, USA, 90 mins, Fox Columbia Film Distributors, L(i-m-g) V(i-m-g) Boulevard Of Broken Dreams: F. Howson, Australia, 98 mins, Hoyts Distribution, 0(adult concepts) Cameron’s Closet: L. Gingolani, USA, 87 mins, AZ Film Distributors, V(i-m-g) O(horror) Chatter Street K iller (main title not shown in English): Alan & Eric Films, Hong Kong, 98 mins, Chinatown Cinema, V(i-m-g) Echoes Of Paradise: J. Scott, Australia, 92 mins, Village Roadshow Corporation, S(i-mj) L(i-m-j) Family Viewing: Ego Film Arts Production, Canada, 84 mins, Newvision Film Distributors, S(i-m-g) 0(adult concepts) Flag Of Honour (main title not shown in English): Not shown, Hong Kong, 102 mins, Chinese Cultural Centre, V(f-m-g) I Love You: M. Bernart, France/ltaly, 100 mins, Valhalla Holdings, V(i-m-g) L(i-m-g) In A Shallow Grave: K. Bowser/B. Jossen, USA, 91 mins, Filmpac Holdings, L(i-m-j) 0(adult concepts) Love Child, The: A. Topping, UK, 100 mins, Newvision Film Distributors, L(i-m-g) 0(drug use) Manchurian Candidate, The: G. Axelrod/J. Frankenheimer, USA, 126 mins, United International Pictures, V(i-m-j) Muliaway: D. Grigsby, Australia, 90 mins, Filmpac Holdings, L(i-m-g) 0(drug use, adult concepts) Nazdor (Surveillance): K. Irzykowskiego, Poland, 98 mins, Consulate General of Poland, L(i-m-g) 0(adult concepts) Osmanthus Alley: Hsu Kao Liang/Tsay Yeong Chang, Taiwan, 109 mins, Chinese Cultural Centre, 0(drug use, adult concepts) Pass The Ammo: H. Jaffe/M. Engelberg, USA, 91 mins, Village Roadshow Corporation, L(i-m-g) V(i-m-j) Pociag Do Hollywood (Train To Hollywood): Zespoly Filmowe, Rondo,

Poland,93 mins, Consulate General of Poland, 0(adult theme) Presidio, The: D. Conte, USA, 96 mins, United International Pictures, V(i-m-j) L(i-mj) S(i-m-j) Profiles Of Pleasure: Golden Harvest, Hong Kong, 86 mins, Chinatown Cinema, 0(adult concepts) S(i-m-j) L(i-m-g) Prywatne Sledztwo (Private Investigations): Zodiak Productions,

Poland, 94 mins, Consulate General of Poland, L(i-m-j) V(i-m-j) 0(adult concepts) Rambo III: B. Feitshans, USA, 101 mins, Village Roadshow Corporation, V(f-m-g) L(im-g) Running On Empty: A.Robinson/G. Dunne, USA, 113 mins, Village Roadshow Corporation, L(i-m-g)

R (Restricted Exhibition) Call Me: J.Quill/K. Martel, USA, 97 mins,

Hoyts Distribution, L(f-m-g) S(i-m-g) Shadow Of Death: P. Garrity/R.Hauck,

USA, 94 mins, Village Roadshow Corporation, V(f-m-g) Sister Sister: W. Coblenz, USA, 89 mins, Village Roadshow Corporation, S(i-m-g)

FILMS REFUSED REGISTRATION Angel: G.Chan/A. Choi/Y. Someno, Hong

Kong, 92 mins, Chinatown Cinema, V(i-h-g)

SPECIAL CONDITIONS Old ABC: V. Prokborov, USSR, 85 mins, SA Council for Childs. Films & TV

JU L Y 1988 G (General Exhibition) American Rebel: W.Roberts, USA, 88

mins, State Film Centre of Victoria Care Bears Adventure In W onderland: M.

Hirsch/P. Loubert, C. Smith, USA, 75 mins, Newvision Film Distributors Distant Harmony: J. Goberman/D. Sage/D.Witgutow, USA, 83 mins, Filmpac Distributors

PG (Parental Guidance) Andrei Rublev: Mosfilm, USSR, 181 mins,

Trade Representative of the USSR, O(nudity) V(i-m-j) A rthur 2 On The Rocks: R.Shapiro, USA, 112 mins, Village Roadshow Corporation, L(i-l-g) 0(adult concepts) Be My Lovely Child Again: H. Kuo-Liang, Taiwan, 108 mins, Chinese Cultural Centre, O(emotional stress) Broderna Mozart (The Mozart Brothers):

B.Forslund, Sweden, 103 mins, Filmpac Holdings, L(i-l-j) 0(sexual allusions) Commissar, The: Gorky Studios/Sovexport Film/Mosfilm, USSR, 108 mins, Trade Representative of the USSR, 0(adult concepts) Mutant, The: L. Shu-Ju, Taiwan, 87 mins, Chinese Cultural Centre, 0(adult concepts) Tucker • The Man And His Dream: F. Roos/F.Fuchs, USA, 110 mins, United Inernational Pictures, 0(adult concepts) Who Framed Roger Rabbit? R. Watts/F. Marshall, USA, 103 mins, Village Roadshow Corporation, V(f-l-g) 0(adult concepts) Yes Sir: Lin Rong Feng/Tsay SongLin/Jang Yann Kuan, Taiwan, 98 mins, Chinese Cultural Centre, V(i-l-g)

M (Mature Audiences) Aloha Summer: M. Greco, USA, 97 mins,

CBS/Fox Video, V(i-m-g) 0(adult concepts Bull Durham: T. Mount/M. Burg, USA, 107 mins, Village Roadshow Corporation, S(i-mg) L(f-m-g) C. K. Dezerterzy (The Deserters): Zespot Filmowy/Zodiak Studio Filmowe Hunnia, Poland, 157 mins, Consulate General of Poland, S(i-m-j) V(i-m-j) 0(adult concepts) Candy Regentag: G.lsaac, Australia, 101 minutes, Rainy Day, L(i-m-g) S(i-m-j) 0(adult concepts) Coming To America: G. Folsey/R.Wachs, USA, 116 mins, United International Pictures, L(i-m-g) Crazy Companions, The (main title not in English): Not shown, Hong Kong, 98 mins, Chinatown Cinema, 0(adult concepts) Fish Called Wanda, A: M.Shamberg, UK, 105 mins, United International Pictures, L(fm-g) 0(sexual allusions) Flag Of Honour, A: (main title not shown in English): Not shown, Hong Kong, 102 mins, Canberra Chinese Club, V(f-m-g) Heroic Pioneers, The: Lu Chih Tse, Taiwan, 110 mins, Chinese Cultural Centre, V(i-m-g) Heroic Pioneers, The: Lu Chih Tse, Taiwan, 110 mins, Canberra Chinese Club, V(i-m-g) Inspector Wears Skirts, The (main title not in English): Paragon Films, Hong Kong, 94 mins, Chinatown Cinema, V(i-m-g) Johnny Be Good: A. Fields, USA, 82 mins, Village Roadshow Corporation, 0(sexua! allusions, nudity) Luk Erosa (Cupid's Bow): Filmowe Perspektywa, Poland, 115 mins, Consulate General of Poland, S(i-m-j) 0(adult concepts) Man In Love, A: M. Seydoux/D.Kurys, France/ltaly, 110 mins, NewVision Film Distributors, L(f-m-g) S(i-m-g) M idnight Run: M. Brest, USA, 123 mins, United International Pictures, L(f-m-g) Osmanthus Alley: Hsu Kao Liang, Taiwan, 109 mins, Canberra Chinese Club, 0(drug use, adult concepts) P.I., Private Investigations, S. Colin, S.Sighvatsson, USA, 91 mins, Hoyts Distribution, V(i-m-g) L(i-m-g0 Permanent Record: F. Mancuso, USA, 89 mins, United International Pictures, L(i-m-g) 0(drug use, adult concepts) Prayer For The Dying, A: P. Snell, UK/USA, 107 mins, Hoyts Distribution, L(im-j) V(i-m-j) Punchline: D. Melnick/M.Rachmil, USA, 122 mins, Fox Columbia Film Distributors, L(i-m-g) 0(adult concepts) Salome's Last Dance: P. Corke, UK, 89 mins, Hoyts Distribution, 0(sexual allusions) Salsa: M. Golan, Y. Globus, USA, 100 mins, Hoyts Distribution, L(i-m-g) 0(adult concepts) Scarecrow: Kuo-Liang Hsu, Taiwan, 94 mins, Chinese Cultural Centre, S(i-m-j) L(im-g) Short C ircuit 2: D. Foster/L. Turman/G. Foster, USA 109 mins, Fox Columbia Fim Distributors, L(i-m-g) V(i-m-j) State Park: J. Dunning. USA, 91 mins, Filmpac Holdings, 0(sexual allusions) Sunset: B.Edwards, USA, 107 mins, Fox Columbia Film Distributors, 0(adult concepts) L(i-m-g) V(i-m-g) Taxing Woman, A (main title not in English): Not shown, Japan, 126 mins, Ronin films, S(i-m-g) 0(adult concepts) Truth, The: Dragon Court Company, Hong Kong, 114 mins, Chinatown Cinema, V(i-m9

Ronin Films, L(f-m-g)) 0(drug use, sexual allusions) Yellow River Fighter (main title not shown in English): Chung Yen Motion Pictures/SilMetropole Organisation, Hong Kong, 95 mins, Chinatown Cinema, V(i-m-g)

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

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

V (V iolence)..................................

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

O (O ther).......................................

T itle

P roducer

E xp licitn ess/ln ten sity

P urpose

In freq u en t

Frequent

Low

M edium

High

J u s tifie d

G ratuito us

/ i i i

f f f f

1 1 1 1

m m m m

h h h h

/ i ¡ i

9 9 9 9

C ountry

S ubm itted length

A pplican t

)

W inter Tan, A: L. Clark, Canada, 92 mins,

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

R eason fo r D ecision

R (Restricted Exhibition) Nil

Films Board Of Review Nil

CINEMA PAPERS NOVEMBER— 63

B R I A N

J E F F R E Y

p r e s e n t s

our

i n d i s p e n s a b l e

FILM BUFF'S DIARV OCTOBER 1 1963 Movietone News ceases operation in U.S. as an active producer of weekly newsreel programs and becomes archival operation

13 1898 Daisuke Ito(h), pioneer Japanese director noted for violent realism (Zanjin Zamba Ken/ManSlashing, Horse-Piercing Sword, 1929), bom, Tokyo

2 1890 Groucho Marx (Julius Henry Marx) born. New York City

14 1909 Dorothy Kingsley, screenwriter (Neptune's Daughter, 1949; Seven Brides For Seven Brothers, 1954), bom, New York City

3 1896 Queen Victoria becomes first British monarch to appear in moving pictures when she and the Emperor and Empress of Russia are filmed by the Photographer at Balmoral 4 1923 Charlton Heston (John Charlton Carter) bom, Evanston, Illinois

15 1983 Pat O'Brien (William Joseph Patrick O'Brien) dies, of heart attack, Santa Monica, California 16 1984 Peggy Ann Garner, child star awarded an Oscar as 'outstanding child actress1in 1944, dies, Woodland Hills, California

5 1986 Hal B(rent) Wallis, producer (Casablanca, 1942; True Grit, 1969), dies, of complications from diabetes, Rancho Mirage, California

7 1899 Clarence Muse, black actor seen variously in Uncle Tom and more dignified roles; honoured in Black Filmmakers Hall of Fame, bom, Baltimore

11 1918 Jerome Robbins (Jerome Rabinowitz), choreographer (The King And I , 1956; West Side Story, 1961 - also co-directed), bom, Weehawken, New Jersey 12 1933 Alexander Korda's The Private Life o f Henry VIII opens, Radio City Music Hall, New York

64â&#x20AC;&#x201D; NOVEMBER CINEMA PAPERS

22 1943 Catherine Deneuve (Catherine Dorleac) bom, Paris 23 1880 Una O'Connor (Agnes Teresa McGlade), actress with ear­ piercing scream heard to good effect in several horror films (The Bride Of Frankenstein, 1935); also seen as English maids, spinsters or gossips, bom, Belfast

25 1889 Abel Gance, director (Napoleon, 1927), born, Paris 26 1928 Nelson Pereira dos Santos, producer, editor and director, father of 'cinema novo' (Vidas Secas, 1963), bom, Sao Paolo, Brazil

8 1939 Paul Hogan bom, Lightning Ridge, NSW

10 1975 Elizabeth Taylor and Richard Burton are re-married by a District Commissioner in the middle of the African bush, Kasane, Botswana

21 1959 Esther Ilyanichna Shub, creative editor of compilation films using combination of newsreel and actuality footage (The Russia Of Nicholas II And Leo Tolstoy, 1928), dies, Moscow

24 1891 Arthur Edeson, director of photography (All Quiet On The Western Front, 1930; Frankenstein, 1931; The Maltese Falcon, 1941; Casablanca, 1942), bom, New York City

6 1912 Richard Griffith, film historian and critic (The Movies with Arthur Mayer), born, Winchester, Virginia

9 1894 Hagop Arakelian, outstanding make-up artist of French cinema, creator of Jean Marais' monstrous face in Cocteau's La Belle Et La Bete 1946), bom, Ekaterinodar, Russia

20 1978 Gig Young and his wife of three weeks found shot to death in their New York apartment, apparently in a murder-suicide

C rocodile D undee I I Paul Hogan 17 1905 Claude Binyon, one-time editor ofVariety who reputedly wrote famous headline about 1929 stockmarket crash 'Wall Street Lays An Egg'; later screenwriter (Rally 'Round The Flag Boys!, 1958; North To Alaska, 1960) and director (Aaron Slick From Punkin Crick, 1952), bom, Chicago 18 1896 Frederick Hollander, composer (The Blue Angel, 1930; Berlin Express, 1948; Bom Yesterday 1951), bom, London 19 1960 George Wallace (George Stevenson Wallace), comedian star of a number of films for Efftee and Cinesound Studios, dies, Sydney

27 1906 Gabriel Scognamillo, art director (Babes On Broadway, 1941; The Great Caruso, 1951; Strange Lady In Town, 1955), bom, New York City28 1982 Igor Auzins' We O f The Never Never premieres, Cinema Centre, Canberra 29 1963 A Senate Select Committee's report, the Vincent Report, recommends Government aid for Australian film industry 30 1945 Henry Winkler bom, New York City 31 1968 Ramon Novarro (Ramon Samaniegos), leading man of Hollywood silent films and the original screen Ben Hur, found beaten to death by intruders at his home in the Hollywood Hills

FILM VICTORIA By virtue of its unique position in the industry, Film Victoria is able to provide many valuable services to all those actively involved in the production of film and television: P R O D U C T IO N A N D S C R IP T IN V E S T M E N T Film Victoria invests in and provides loans and other forms of financial assistance for the development, production and marketing of film and television projects.

CULTURAL SU PP O R T Film Victoria supports a wide range of film-related cultural activities in Victoria. They include the Australian Film Institute, the Melbourne Film Festival and a variety of groups and societies that organise exhibitions, publications, Awards and conferences for the enhancement of all aspects of the local industry.

IN D E P E N D E N T F IL M M A K E R S ’ F U N D The Independent Filmmakers’ Fund was established to give Victoria’s promising young filmmakers an opportunity to hone and display their talent and skills. It is an important training initiative which is already showing encouraging results.

P R O D U C T I O N L IA IS O N Experienced staff in the Production Liaison Division will handle your queries regarding financial, legal and production aspects of the industry. In addition to acting as Investor’s Representative on projects in which Film Victoria has invested, they will advise you on requirements for investing in film production and assist you market your product overseas.

L O C A T IO N S U R V E Y Film Victoria has compiled an extensive photographic manual of Victoria’s locations.

Containing more than 2000 ‘shootable’ locations, including relevant information; the Manual is available, free-of-charge, to anyone considering filming in Victoria.

D O C U M E N T A R Y D IV IS IO N The Government Documentary Division is responsible for the production of films and videos for Victorian Government Departments and Public Authorities. These productions include information, education and training films along with drama and general interest material. The Division is also responsible for the CREATIVE INITIATIVES PROGRAM which aims to promote innovation and excellence in the production of independent documentaries.

Film Victoria is the government film authority for the state of Victoria, Australia, established to encourage, promote and assist in the production and exhibition of film and television, \

409 King St, Melbourne 3000 Victoria, Australia Tel: (03) 329 7033; Tlx: AA34314FILMVC; Fax: (03)3291950

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