Cinema Papers No.121 November 1997 by UOW Library

JAMES ELLROY • STEPHAN ELLIOTT * ROD TAYLOR «¡HOWARD HAWKS • LEO McCAREY

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CINEMA

contents

P A P E R S • NOVEMBER 1 997

NUMBER

INSICHTS inbits

121

FOCUS

¡festivals -

T h e 4 6 th M e lb o u rn e In te rn a tio n a l F ilm F estiv a l. CLARE STEWART.

V e n ice . BRUCE MOLLOY.

documentary

: 12|

T a h ir C am bis and A lm a S a b h a z d iscu ss Exile ui Sarajevo

D o e s th e em erg en ce o f n ew d igital te ch n o lo g y signal the end o f film m akin g as w e k n o w it? SCOTT Me QUIRE vets the view s o f fo u r lead ing figures o f th e A u stralian film m akin g indu stry.

» t f p iB v ie v u ^

LA CONFIDENTIAL’ S DEMON DOGS

/Moby Dick re-su rfaces.

T w o A u stralian s save L os A ngeles in C u rtis H a n so n ’s ad aptation o f the “biggest, baddest, ugliest, deepest, d a rk est crim e novel o f all tim e ", in the

Thank God He M et Lizzie-, Year of the Dogr; L a w , Duct O ff The Wingr; Mao ’r New Suit.

FILMS:

TELEFEATURE:

M arlin Beach VIDEO:

Rhaprody in Augurt BOOKS: Who The Devil Made It) The Undeclared War, Novel To Film ; b o o k s received .

w ord s o f th e n ov el’s author, Ja m e s E llro y . E llroy , H an son and actors K evin S p acey , R u ssell C row e, G u y P ea rc e, D a n n y D e V ito and K im B a sin g e r ta lk a b o u t LA Confidential.

Cannes’ Favourite Son

Dynamic Duo

In h is th ird featu re, Welcome

T h e Ja p a n e s e ind ep end en t film scene, w ith

to Woop Woop , S te p h a n

no single fu nd ing bod y and no g ov ernm ent

E llio tt ta k e s a jo u rn e y b a c k

o r p rivate fu nd ing initiative, has suddenly

in to th e d ese rt to exp lo re th e

re-lau n ch ed

d ark side o f th e A u stralian

itse lf onto

p sy ch e. T h e ou tsp o k en

th e w orld stage. C h ris B e r ry chats w ith tw o Ja p a n e s e indie film m akers ab ou t this em erging cu ltu ral revival.

I dirty ^ z e n

64 :

LESS WOMEN I. ©PALACE

c i n e m a s

Melbourne • Sydney • Adelaide Perth • from Dec 26

d irecto r talk ed to J a n E p stein a fte r th e w o rk -in p ro g ress screen ed a t C an n es. '

GO TOPLESS THIS CHRISTMAS! "The freshest, cheekiest and most engaging film in years” - Paul Byrnes, Sydney Film Fest.

ABOUT THEIR LIVES

116 Argyle St, Fitzroy, VI#;-Australia 3065 • PO Box 2 2 2 1, Fitzroy MDC, VIC 3p6^- f,

NEWS,

VIEWS,

AND

Tret: (03) 9416^2644 Fax: (03) 9416 4,088 email: cp@parkh'ouse.corri;aui 1 5

EditoriScott Murray Deputy Editor: Paul Kalina p f -Editorial Assistance: Tim Hunter" Advertisingmerry Haebich,.*; Subscriptions: Mina Carattoli Accounts': Lindsay Zamudio Proofreading: Arthuflsalton Office Cat: Oddspot Legal: Dan Pearce (Holding Redlich) MTV Board of Directors: Ross Dimsey (Chairman),

MORAL RIGHTS UPDATE

urther to the news item in Cinema

Papers #119 , the Moral Rights

campaign is pressing on apace and is gaining support from many quarters. For those who came in late, the campaign concerns the introduction of the Copyright Amendment Bill in the

Natalie Miller, Matthew Learmonth, Penny Attiwill, Michael Dolphin „ Founding Publishers: Peter Beilby, * /Scott Murray, Philippe Mora

House of Representatives, during Fed eral Parliament’s winter sitting. The bill suggests that moral rights be given to Australian film and television produc ers and directors, but not to writers. This has received much criticism from writers, actors and directors such as Fred Schepisi, Jan Sardi, Geoffrey

Design & Production:

-REVfIT UP, BABY EVelation Magazine, a Perth-based youth eulture and lifestyle publiea-

■

of independent new and archival films from around the world.

Outrage Festival, and will-bye travelling to Sydney for the Fringe Festival in Janu ary 1998, and then to Adelaide for its Fringe Festival in February.

A Senate Committee Hearing was held on 18 August, where the ‘moral

Printing: Printgraphics Pty Ltd F//m||gondor Groups - ,

The=Festival, a .collection of 50 films, including shorts, animations, documen

international support from the Writers’ from key industry groups.

rafel:s(03) 9347 8882

, tion, is presenting the REVelation Independent Film Festival, a season

Rush, Baz Luhrmann, Mac Gudgeon and David Williamson, as well as Guild of America. Support also comes

Parkhouse Publishing-Ptyitd

taries, features and retrospectives, has already screened in Perth as'pa'rt of the'

RIFF highlights include the documentary, Timothy Leary’s :Dead (Paul Davids,Todd Easton Mills); D.O.A,ULes Kostowski’sfSex Pistols tour film; Beatflicks, a

Distribution: Network Distribution ? © G O PYRIG#|9§7 MTV PUBLISHIN(||lMITED ‘ Signed irhcles represent the yi»ws of ihe authors and not iietes sanly those of the.editor and’pubiisher. While every care is taken wi>h manuscripts and mdiertals su plied to the magazine neither “theeditor noKthe publishercan aeeeptiliability'lbr any lossor danage which m->y sns» This maeazme may not he reproduced in wholeorpartwithouttheexpresspermissionof thecopyright: owners. CinemaRapers ¡»published every month by MTV

retrospective of Beat Generation filmmakers; and 'Australian Underground, an

Publishing Limited,-116 Argyle St, Fitzroy, VIC, Australia 3065.

AFI-curated,programme charting the underground/independent pirn movement.

majority’ presented its case, and gained some acceptance for its argument. Opposition was initially felt from the ABC, the Screen Producers’ Association of Australia (SPAA) and the Federation

CUTTING OUT THE BAD KARMA raig LahifPs new film, Heaven’s

Burning, has had a five-minute

scene cut for its Australian release.

CINEMA PAPERS IS PUBLISHED WITH FINANCIAL ASSISTANCE FROM THE AUSTRALIAN FILM COMMISSION AND CINEMEDIA

also calling for entries for the 1998

Stations (FACTS), Since then, the ABC

played by Ray Barrett, making a long

My Queer Career Competition for Aus tralian and New Zealand Queer Shorts.

now supports the authors’ rights, and

speech about Japan suffering bad

With prizes including $2,000 cash and

SPAA has recognized the need to work

karma because of its involvement in

facilities supplied by the Stephen

with other groups to develop an indus

WW2. It was cut as a collaborative

Cummins Film Trust and Metro Televi

try consent clause, rather than the

decision by the director and the film’s

sion, and international exposure for

C h r is B e r r y

the winners, My Queer Career is the

D ep a r tm en t o f ^Sin em a S tudie S-At La T r o b e U n iv e r s it y .

of Australian Commercial Television

The scene sees a war veteran,

blanket waiver that has been pro

distributors, REP, after a test screening,

posed. Only FACTS remains opposed.

where the audience responded poorly

largest competition in Australia for

to the scene in question. It was decided

gay, lesbian and queer short films.

The Department of Communication and the Arts has met with FACTS, the

that the scene was not in keeping with

AFC, AWG and ASDA, and is now

the rest of the film’s mood or pace, and

Queer Screen, phone 6 1 2 9332 4938,

involved in amending the draft legisla

that the film would benefit from its

fax 6 1 2 9 33 129 8 8 , or email:

tion to ensure that the blanket waiver

excision. Both screenwriter Louis

info@queerscreen.com.au. The closing

will be removed and an industry con

Nowra and Ray Barrett have been

date for entries is 3 1 December, 1997.

sent clause inserted in time forthe

reported to be unhappy with the cut.

Senate Report, tabled in September.

BOMBARDED WITH ONE SHORT FILM COMPETITION... he Amnesty International Queensland Youth Network has announced the inaugural BoMBARd New Filmmakers Short Film Festival.

The Festival will be held at the Schonell Cinemas at the University of Queensland on 8-9 December, and is

C u rtis H a n so n ’s L A Confidential.

Centred around two themes, the end of the millennium and the cente nary of Australian Federation, the

tea ch b s ^in ^ he

Jan Ep &te in is a M el b o u r n e AND FILM REVIEWER. L is a Gy e at

in the year 2000. The film will contain four or five discrete stories that take place in or around the last ten days of the

w r iter '

M ed ia S t u d ies J

le ctu r e sjin

S w in b u r n e U n iv e r s it y :’

Ka r e n Ho r s l e y is a s t u d e n t o f Med ia S t u d ie s a t S w in b u r n e U n iv e r s it y . '5 M ic h a e l K it so n

is a

Me lb o u r n e

w r iter on film .

P e t e r Ma lo n e

D ir e c t o r oJ | t h e

Ca t h o lic Film O ffic e ? y S^OTT MCQUIRE LECTURES’ IN ART AND A r c h it e c t u r e in t h e 'S c h o u l of In qu ir Y a t D eakin U n iv e r s it y .

screenwriters, give them to new

“an idea of what rights are fundamen

6 1 7 3 2 2 10 2 2 1.

JOURNALIST AND WRITER INf|YpNEik - .

B r u c e Moll|) y

tal to a happy, healthy existence”.

1997. For further information, phone:

ANN-MAREE ASHBURN IS AifT^ELANCE

and

directors, and assemble it into a

fee can be submitted by 7 November,

contributors

project will take scripts by new

feature-length film due to be released

VHS preview cassettes and $15 eritry

E d E x le y (G u y Pearce).

THE MILLENNIUM PROJECT he Producer’s and Director’s Guild of Victoria and Open Channel have launched a new initiative, The Millennium Project.

cept of Universal Human Rights. Films can be less than 15 minutes

CO VER:

Entry forms are available from

looking for films that explore the con

and in any format, and must relate to

...AFTER ANOTHER; IT’S VERY QUEER he presenter of the Mardi Gras Film Festival, Queer Screen is

T e l e v is io n

is a at

P rof E s s U r

ia l „;

o f T ilm

Bo nd U n iv e r s it y 1..:

ROBERt NERY l | A SYDN E$ YYRifgR ANDTILMNLAKER. Ma r g a r e t S m ith AND DIRECTOR."’*^ C lare S tew a rt

is . a

Syd ney

m an ages the

w r it e r

Melbo u rn e

millennium, and are related only by this common theme. For more information, telephone

E liza b e t h T u r n b u ll l i f f i l i f i M l I l i i l f #

Cristina Pozzan, Executive Producer for

C IN EMA P A R E R S • NOVEMBER 1997

Frameworks, first in non-linear in Australia, has once again taken the initiative in film editing. We are the first facility providing a dedicated non-linear assistant’s room for syncing rushes which allows for true 24FPS cutting, providing frame accurate edl’s, cut lists and change lists for feature films. This method of post for 24FPS film provides a one to one relationship with picture time code, film key code numbers and sound time code.

This method provides simple and frame accurate output of cut lists, change lists, picture and sound edl’s directly from the Avid. This avoids the need for trace back edl’s for sound post production and conversion between 24FPS and 25FPS for cut lists.

(

For fu rth e r details, and a m ore com plete explanation of the different post prod uctio n m ethods, please co ntact Stephen F. Sm ith at Fram ew orks.

F r a m e w o r k s E d it P ty . L t d .

Suite 4, 239 Pacific Hwy, North Sydney, N SW 2060

Tel : 02 9955-7300 Fax : 02 9954-0175 Email : framewks@ozemail.com.au

)

in bits

AUSSIE ACTRESS WINS OVERSEAS AWARD rances O’Connor won the Mon

The Millennium Project, on 6 1 3 9419

Award for her performance as Nikki in

5 111 or fax 9419 1404.

Bill Bennett’s Kiss or Kill.

tréal Film Festival’s Best Actress

The PDGAV has also awarded life memberships to directors Tim Burstall and Fred Schepisi, in recognition of

AIDA - SOMETHING TO SING ABOUT ichard Becker, Managing Direc tor of Becker Group Limited,

their contribution to Australian cinema,

explains, is dependent on the raising of the outstanding $25,000,000, and he’s hoping that the Federation Fund

CORRIGENDUM

he name of Frank Moorhouse was spelt incorrectly on the opening

page of his article and at the head of

will contribute something. Plans for the project include refur

the spill column in the last issue of

bishing the top two floors of the MCA,

Cinema Papers (“My Life As A Writer”,

and adding an extra level of gallery

#120 , October 1997, pp. 25, 41).

space. There will be a visual resources

Apologies to Frank Moorhouse. The photo on p. 10 of the same

centre and an 80-seat cinema, expected to be running by June 1998,

issue was incorrectly captioned. It

as well as announcing a joint initiative

announced at the recent Movie

with completion of the whole project

should read: “Florse (Paul Barber)

with Open Channel to make a compila

Convention in Surfers Paradise the for

forecast for late 1999. “We’re practi

and Guy (Hugo Speer). Peter Catta-

tion film in the pioneering spirit of

mation of the Australian Independent

cally willing it into being”, said

neo’s The Full Monty.” Apologies to

Libido.

Distributors Association (AIDA), which

Watson. “We believe the time is nigh

both Speer and Robert Carlyle for

will represent the common interests

for it to happen.”

the mistake.

ENLARGING ARENA’S SCOPE ay-TV broadcaster Arena has joined with Cinemedia in Victoria

of independent film distributors in the Australian marketplace. Censorship, piracy and the promotion of Australian

TOPIO B a d

C o M fiM g D c c m io m a

to establish a fund to produce a low- film are some of the issues it will

Martha (Ellen Degeneres) and Whitman (Bill Pullman). Nick Castle's Mr Wrong.

address. budget feature and up to 11 short films

in the next 12 months. The Arena-Cinemedia Accord will replace the Independent Filmmakers’

Founding members include: Australian Film Institute (AFI); Dendy Films; Newvision Film Distributors; Potential Films; REP Film Distribution; Reid and Puskar; Ronin Films; Sharmill Films; The Globe Film Co.; Other Films and Total Films.

APPOINTMENTS ilm Australia’s Chairman Chris Chapman announced the appoint ment of Sharon Connolly as its new

Chief Executive Officer, following the Fund of Film Victoria, and makes more

recent resignation of Bruce Moir.

funds available for sim ilar projects.

Connolly was previously an Executive

The successful feature film may

Producer with the company, a position

get a theatrical release before it is

now filled by Megan McMurchy.

screened on Arena, while the short

The Australian Film Finance Corpo ration (FFC) has appointed Susan MacKinnon as its new Documentary

films will be screened as a package, sim ilar to the Arena shorts package,

Bed and Desire - the Arena Short Film Project, co-funded by Arena and ScreenWest, and now in production in Western Australia. The deadline for registration of

Investment Manager. MacKinnon has produced such documentaries as A

Dinner For Six, You Must Remember This, Men and Their Sheds, Loaded and Eternity. She replaces Sue Seeary,

subm issions is Friday 14 November.

who is now Manager of the FFC’s

Projects must be virtually ready to go,

Melbourne office.

with a full script and creative team attached, as this is not a script devel

Village Roadshow Pictures has announced that Michael Lake has

opment fund.

been appointed Managing Director of Village Roadshow Pictures, Australia. Lake is already Managing Director of

STRICTLY BEYOND eyond International Ltd and Miall & Kershaw Productions,

the Warner Roadshow Movie World

Tristram Miall and Robyn Kershaw’s

his time between Melbourne, Sydney

production company, have announced

and the Gold Coast.

Studios in Queensland, and will divide

the formation of a new company,

Beyond Miall & Kershaw Films Pty Ltd.

peculation continues over the

established to develop new feature

film productions, and all such films

home for Sydney’s Cinémathèque at

will be represented by Beyond in the

the Museum of Contemporary Art

international marketplace. Already

(MCA).

This new company has been

on its books are five new feature films

HOPING AND PLANNING anticipated construction of a

Of the $35,000,000 needed to

in development, including Barrie

complete the project, $10,000,000

Kosky’s film directorial début, Stoker, co-written by Kosky and Louise Fox and produced by Robyn Kershaw, and The Two of Us, written by Heather Nimmo, to be directed by Rachel Perkins, and produced by Kershaw.

has already come from private sources. An architect has been appointed and plans will be ready in November of this year. Construction is expected to begin in January 1998. This, as Co-ordinator David Watson

ometimes even the best of actors can be m iscast in a role.

Here’s a list of some unfortunate casting decisions: 1 . The lock of hair used by

6 . Emma Thompson as Elinor Dashwood in Sense and Sensibility (Ang Lee, 1996). Okay, so she adapted Austen’s novel for the screenplay, but can anyone swallow

Chris Haywood in The Golden Braid

the fact that she, a 37 year-old

(Paul Cox, 1991) to deliver his sexual

woman, attractive and talented as

pleasure. It should have had a

she is, was playing a character in

speaking role.

her late teens?

2 . Ellen DeGeneres as a hetero

7* Nicole Kidman, Days of

sexual woman looking for Mr Right

Thunder (Tony Scott, 1995), as a

in Mr Wrong (Nick Castle, 1996).

brain surgeon. Who was the director

Yeah, sure.

trying to kid?

3» Bill Pullman as the President of the United States in Independence

8 . Tea Leoni as the junkie and dam sel-in-distress in Bad Boys

Day (Roland Emmerich, 1996).

(Michael Bay, 1995). How does such

Did somebody say “loser”?

a skilled comedy actor land such a

I\. Monica Potter as the wife and mother to whom Poe (Nicolas Cage) in

putrid role?

9 . Cary Grant as Walter Burns

ConAir (Simon West, 1997) can’t wait

in His Girl Friday (Howard Hawks,

to get home to on the day of their

1940). Grant was arguably the most

daughter’s eighth birthday. She looks

charming and talented of the male

about 18, which would have made her

comedians, but he is unbelievable

character all of 10 when she conceived

in Walter’s darker moments.

the child.

5 . Kelly Dingwall as the current

1 0 . Richard Gere as the title character in King David (Bruce

affairs reporter who lifts the lid on

Beresford, 1985). We thought they

corruption in the police force in

were taking this film seriously. And

The Custodian (John Dingwall, 1994).

while we’re at it, Gere as Lancelot in

As Jim Schembri put it: “He’s meant

First Knight (Jerry Zucker, 1995).

to be tough but he couldn’t scare a

Who dreamed up that piece of

frog off a lily pad.”

casting genius?

CI NEMA P A P E R S • NOVEMBER 1997

C A L L F O R E N T R IE S Cafe Provincial and The Melbourne international Comedy Festival in association with Media World will present the 4th annual

C A F E P R O V IN C IA L

COMEDY FILM F E S T IV A L on Sunday 5 April 1998 Fitzroy, Melbourne, Australia To be eligible for entry, films must be no mote than ten minutes long* he finished on 16mm stock« and he funny! Prizes include: a $4*000 Award for Best Fiction Film a $3,000 Award for Best Animated Rim

4 DAY FILM MAKING AND DIRECTING COURSE Learn howto direct, produce; scieenwrite; post-produce and marketyour film. Whetheryou an? a novicefilm maker or have made a film before; you Mil learn the whole process in detail Meet like-minded people and form creative collaborations. “No-one can knoweverything about film making blit Colm ffMiuvhu cornea prettydose. Oozea cinema chic.”- Russell Kilbey “Excellent coverage! Did not think I could gain a s much info in this space o f time? — AndrewThomson

Entries close Friday 6 March 1998 Official entry forms available now For further information contact the Cafe Provincial on Ph T03J 9417 2228 fax C03J 9416 1460

BNEGTHINK

BRISBANE ADELAIDE PERTH

November 7,3,9,10, November21,22.23.24 November23,29,30. December1

Iforenquiries »id fhee brochun^ telephone Fholific Hvoductions (02^9363 ^41

Pty Ltd has just accurately & painlessly POS conformed

and NEG matched these features: • T h a n k God He Met L iz zie

stam en

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• KiSS Or K ill B I L L B E N N E T T P R O D U C T I O N S • The W ell

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• A Little B it Of S o u l P E T E R D U N C A N - F A U S T F I L M S And we are currently m atching: • The S u g a r Factory • Doom R u n n ers

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Contact Greg Chapman Ph: (02) 9439 3988 Fax: (02) 9437 5074 email: negthink@ozemail.com.au 105/6 Clarke Steet Crows Nest NSW 2065

Above: 1. Phillip Robertson, assistant director at Commonwealth Film Unit working extensively with Ian Dunlop; 2. Tim Reid; 3. Dick Mason; 4. Don Connolly, freelance sound recordist. Left: 1. Edwin Scragg; 2. Jane Scragg; 3. Esben Storm; 4. Mike Rubbo; 5. Stewart Fist; 6. Matt Carroll; 7. David Elfick; 8. Albie Thoms; 9. Rod Quantock; 10. Peter Weir or freelance camera operator from the UK, Gail Tattersal. p h o t o s : ia n

PO BOX 2 2 2 1 FITZROY MDC VIC 3065

em ail: cp@ parkhouse.com .au

v V f ;; I

TH E VALENTI AFTERMATH D e a r S ir ,

opportunity for financial self-reliance occurred, Australia today could be in

Day Mr Valenti Came to Town” (Cin

a fairly unique position among film-

ema Papers, #119, August 1997, p. 16),

producing countries. But the

revived memoriés for me, at least, of

demonstrations wiped it aside. In an effort to stimulate further

the development of the Australian

debate in your pages on a related

film industry over the past quarter

historical theme, here is one press

century.

clipping to both illustrate our aspira tions in the late ’60s, and remind us

for the express purpose of crushing

of the outstanding achievement in

’ '

S d'

IT 5 |§a chance To disco» lot##o:£“:* uleatjSjgÉÌ Bgckettrsaid. ' "This means'--ajlli mendous <fam$tmff§ work beginning for-At traliao actors arid ai ' t resses,^script f » write music writers, produce dfcectors,'*1/ . camerame

B * CARMEL FRIECJLANDER

fJ, least 12 Australian produced and financed, full- -J| th feature films will be made, here next year. These films will not . include films made by y o v e r s e a s ^companies'’ alone, or in ' association with Australian com-' panics. , - < /* .; a They do not include short subject .films ' run-' ning for . less than 55minutes, documentaries, TV productions or com ' mercials." f * ~~ - ' '

Films Act dealing with Australian films This means’ 2 i cent' of films shown in N.S.W. must be Aus tralian.

Foreign The Theatre and Film Commission, each '¿Septernber. fixes.- Australian%

surge In feature '61m making bad occurred la N.S.W. 7 Bui this {had almost exclusively • been by foreign interests. t M , “This type of produc-, lion is not of .much benefit to the country," Mr Willis said. :isfc=

Invest^ i*W:. *y . ».

technicians

S’

MftWILUSiS, ’ Mr Beckett said abo i . ' 4 0 0 -feature films we “ “ “ » a distributor most imported into àtìw n d put money Soto an Aus- ieacb yearT

suit of action'by Chief tion .and .disttibutioo. ;* anyone to foster'producSecrelary'Mr-Willis. ■ T-T* T he cjuota this year is - tion in"-’this' country ol If* has told Vie Pro- ! 3- per cent for' distri- truly Australian films-by

»-Beçjiett,^ the -.-C la tm 'tto g rsp h

Producers Guild a n ' ' » i d

\ -5-,

“And it .may prove. .r be quite a tourist fttra

¿ •w oïd p ^ ' f o r ^ ' : x

a S

? l ë

l ^ ' W tilist'de^on

the proposed box-office levy to fund

Australian feature film production

D ea r S ir ,

Australian production, we may never

attained over the past quarter century.

I have attached annotations on people

have entered the era of subsidized

Too often, the basis on which that

I recognize [see photographs above]. I

we had been to think that an A us

funding and tax incentives.

magnificent achievement was built

hope you are getting some useful input

tralian Government would plumb for

is underrated. To suppose that there

regarding the unnamed faces.

tariffs or anti-trust laws which might

The levy was one of the options

posed box-office levy. Had that

the old and bold, your article, “The

Had Jack Valenti not come to town

Far more important than identifying

one of the most pivotal incidents in

STOCKS

canvassed in the landmark report

was no film industry to speak of in

by the then Tariff Board (now Indus

Australia between 1940 and 1970 is

the day Australia was threatened by

trial Commission) to encourage a

erroneous. There were more studios

the USA and went to water. The nation

argued we were too sm all a country

self-sufficient film industry in this

in active production then than there

was either going to support Australian

for an indigenous industry and that

country.

I remember the day clearly. It was

separate distributors from exhibitors and producers. This was before he

are today. Ajax, Artransa, Cinesound,

cinema by direct methods (taxpayers

we should be making mid-Pacific

Had the well-intentioned but

Crawford, Avondale, Kingcroft, Porter,

finance the industry) or was going to

films. Remember them. These argu

politically naïve demonstration not

Supreme and Visatone as well as the

use a European (Swedish and French)

ments were all in the light of previous

taken place, national passion engen

Commonwealth Film Unit (now Film

indirect model whereby there would

tariff enquiries and the lack of local

dered as much through film as any

Australia) provided secure full-time

be a tariff on movie imports and/or

protection, which led to the pillage by

other medium of communication

employment and all-important training

cinema tickets. The Government went

the USA and collapse of what I had

might be quite different today.

for hundreds of people in all aspects

to water after Mr Valenti told us that a

believed was right, and that taxpayers

Public interest in the revival of fea

of production. Supreme, alone, was a

tariff would mean no American product

footing all the bills through unac

ture film production in the late 1960s

mini-Hollywood with four producer-

coming into the country. I recall a sim i

countable bureaucrats’ decisions on

helped ignite the wave of nationalism

directors and 150 staff where every

lar ban in the m id-’6os led to the

what should or should not be

that swept the Whitlam Labor

facet of filmmaking was conducted

greatest shot in the arm the Australian

financed would lead to more bureau

Government to office in 1972.

in-house. Australia’s ever-increasing

music industry ever had.

crats and films that didn’t want to

Singularly, that government

film accomplishments of the ’70s, ’80s

was the one most likely to alter the

and ’90s are largely based on careers

interdependence between local pro

started in those environs.

I’ll never forget Phillip Adams in the

offend anyone. The great middle of

Smart St Films offices afterwards

the road. And this came true - the

patronizingly reproving the protesters,

exceptions proving the rule.

duction, distribution and exhibition

Yours faithfully,

saying, with the confidence of one

Best wishes

interests, possibly through the pro

Roland Beckett

inside the establishment, how naive

Haydn Keenan

CI NEMA P A P E R S • NOVEMBER 1997

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Venice, Melbourne V en ice b y B ru ce M o llo y

mid glamour and glitz, the 54th Venice Film

bled an amazingly varied selection and

Festival presented its most prestigious

attracted a galaxy of stars, including

award, The Golden Lion, to Takeshi Kitano’s

Flarrison Ford, Sylvester Stallone, Mira

Hana-Bi. This is a good cop-bad cop film with a Sorvino and Jeremy Irons, as well as

difference: the good cop beset by personal and pro

most ofthe major Italian-speaking film

fessional problems becomes the bad cop when he

actors in the world. The Lido is the ideal

decides to knock off a bank.

location for such a high-profile film

Australian representation this year was slim with

event with its beautiful beaches, grand

only one film, True Love and Chaos (1997), by first

(if ruinously expensive) hotels, numer

time feature director Stavros Andonis Efthymiou,

ous cinemas and good restaurants.

shown in the Midday Session for young directors reflecting specific national cultures. The other major

M elbou rn e by Clare S tew a rt

contribution was by Jane Campion, who had the hon

mm ’m toasting my favourite

our of chairingthe Jury to judge the winners ofthe

new perfume: success!”

■

Sidney Falco (Tony Curtis)

major prizes. The Festival had its controversies. New Artistic Director Felice Laudadio, who replaced previous director Gillo Pontecorvo (maker ofthe famous The

in The Sweet Smell of Success (Alexan der Mackendrick, 1957) There is no categorical, empirical

Battle of Algiers [La Battaglia diAlgeri, 1965D, has

measure for the success of a cultural

faced criticism for structural reforms to the Festival’s

enterprise. An event such as the Mel

organization as well as for his selection of films. Lau

bourne International Film Festival has to

dadio has strongly shifted the emphasis in the

define the parameters of its own suc

programme towards Italian films, with the major

cess. In her first year as Executive

competition, Venice 54, having nine Italian films and

Director, Sandra Sdraulig was faced with

only 13 from the rest ofthe world, four of these in

the unenviable task of reversing a sub

English. A sim ilar Italian predominance is evident in

stantial deficit. The governing terms of

the rest ofthe Festival programme, and this earned

her appointment were essentially to

Laudadio the ire of some significant critics and

orchestrate a commercially-viable, high-

bureaucrats.

La Stampa referred to the Festival in a quaint Italianization as “in tilt”, meaning that it is in a state of

profile cultural event and, in doing so, ensure its continuation, its life. The gov erning rhetoric generated by Festival

transition and instability. Not only was there a domi

representatives both pre- and post- Fes

nance of Italian film but some ofthe films were in

tival determined success through

regional dialects, and some dealt with issues still

diversification and accessibility (cultural

sensitive in Italian society. Ranzo Martinelli’s Porzus

and commercial imperatives). While the

attracted considerable publicity with its depiction of

final fiscal analysis is yet to be delivered, it seems

contemporary Spanish and young Asian cinema

the massacre of Catholic partisans by Communist

appropriate to consider whether the Festival met with

(which, though ensuring specific national/regional

partisans in Christmas 1944. A somewhat similar

success on its own terms, and whether those terms

cinemas do not fall through ‘the gap’, were not as

theme is explored in a different cultural context by

need further consideration.

interesting as they could have been).

Jim McBride in The Informer, a tough-minded explo

The Festival is a cinephile’s annual fix. My sense of it is (like an aroma) entirely subjective and compli

Harris was enormously popular; any doubts punters

and the Ulster police in Belfast in 1984. With this,

cated by my own involvement on a shorts

may have had over the choice of screening works

Timothy Dalton established beyond any doubt his

pre-selection panel. Foremost, however, I am a

readily available on video were immediately d is

credentials as a serious dramatic actor.

punter. I want the Festival to fuel my passionate

pelled by the impact of widescreen and Technicolor

addiction, to satisfy my desire to see the shape of

prints whose opening title-sequences alone were a

predictably, about Italians. Among those honoured

the world’s cinema as it is at this moment in time. I

revelation. Adrian Martin’s erudite reclamation of

were pioneers of Neorealism, Roberto Rossellini and

want it to be visceral, heady, expansive and stim ulat

Leone’s cinema in the second Ivan Hutchinson

Giuseppe De Santis, and of course Marcello Mas-

ing. I want it to succeed.

Memorial Lecture (which was enhanced by his

The tim eless fragrance

sake) provided the programme with further dignity

The Festival contained a range of tributes, most,

troianni. The highlight ofthe last day was the tribute to

knowledge of, and respect for, the lecture’s name

Stanley Kubrick’s A Clockwork Orange (1971) intro

Every perfumer aims at creating a fragrance that will

(although it would have been more provocatively

duced by the star ofthe film, Malcolm McDowell.

never disappear. The nature ofthe celluloid beast is

scheduled afterthe audience had a chance to see

For more than one hour, McDowell entertained the

that the cinema’s great moments are forever disap

most ofthe films). The completist in me shuddered

crowd of around 1,000 who were assembled in the

pearing. The Festival’s role as a site for specialized

at the minimized selection for the “All that Jazz” pro

new Palagalileo cinema, specially constructed to

programming becomes increasingly important as

gramme curated by Rick Thompson. Why not further

accommodate the Festival.

international archives struggle to take care of their

validate its position in the Festival by screening

ever-expanding collections (a dynamic evocatively

those contemporary offerings which screened in Bris

With the increased crowds this year, McDowell showed himself to be a consummate performer as

captured in Bill Morrison’s short, The Film of Her, and

bane and Sydney: Robert Altman’s Jazz ’34, Robert

well as an accomplished screen actor with his soft

implicit in the project of Dana Ranga’s East Side

Gibbons’ It’s Time for T and Cade Bursell’s Sheila Jor

shoeshuffle to the strains of “Singin’ in the Rain”,

Story) and as the proliferation of art-house cinemas

and with his often amusing, sometimes horrifying

(falsely) give the impression that we get to see all

dan: in the Voice of a Woman? (The inspired staging ofthe title number from Stormy Weather (Andrew L.

anecdotes ofthe difficulties of working with the

there is. Sdraulig’s streamlining of “spotlight” or

Stone, 1943) and the Nicholas brothers routine are

notoriously reclusive Kubrick.

“niche” programming, evident in the past few Festi

still reverberating in these bones.) Theo Angelopou-

vals, provided the context for some excellent (if

los’ Landscape in the Mist (Topio Stin Omihli, 1988)

incomplete) retrospectives and the showcasing of

will now accompany Victor Enrice’s Spirit ofthe Bee-

Whatever the final verdict on the choice of films of Venice, there can be no doubt that Laudadio assem

The Sergio Leone retrospective curated by Paul

ration of similarities between the hard men ofthe IRA

CI NEMA P A P E R S • NOVEMBER 1997

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festivals

raw and loaded spectacles the act of Riming could produce: Anita Cerquetti’s dlgnlRed, traumatic, cele bratory mime to an original recording of herself. Festival guest John Greyson’s adaptation of Michel Marc Bouchard’s play Lilies both continued and reflected on the tradition of queer cinema, staging and performance, and Its questioning of modes of representation, while Sick: the Life and Death of Bob Flanagan Supermasochist succeeded In Rlmically replicating the performative aesthetics of its subject; director Kirby Dick creating what is in effect Flanagan and SM-partner Sheree-Rose’s Rnal, posthumous

There is no categorical, empirical measure for the success of a cultural enterprise. An event such as the Melbourne International Film Festival has to define the parameters of its own success.

the struggle with representation became as much

Installation in a tortured body of work.

the material of the Rim as its romantic subject. This force is the basis for the idea extrapolated in Irma

Jan Svankmajer’s latest offering, Conspirators of Pleasure (SpiklenciStastf), dedicated to the sexual

Vep: desire is what we make cinema from. Passion

perversities of Freud, Sacher-Masoch, de Sade,

ate and articulate Festival guests Olivier Assayas and

Buñuel and Dali, demonstrated a return to the v is

Maggie Cheung, director and star of Irma Vep, pro

ceral mayhem of his earlier material, with a more

vided a Rim and a forum situated perfectly between

successful Integration of live-action than his recent

cinema’s nostalgic and political history and Its pre

version of Faust (1994). In a taut piece of program

carious, polygamous future. Equally-lmpresslve was

ming, It was shown with a short from Luxembourg,

Mohsen M akhm albafs extension of his previous pro

Mecanomagie (Bady Minck, 1996), a neo-surrealist

hive (El Espiritu de la Colmena, 1973) in my personal

ject, Salaam Cinema (1995), in A Moment of

stop-motion “manifestation” of rhizomes via Deleuze

shortlist of Rims which best represent that unrepre

Innocence, a self-referential investigation into the

and Guattari.

sentable state known as childhood. I am sorry to

construction of time, memory and the act of making

The Australian fare was dominated by the

have missed the Studio Ghibli programme curated by

cinema; and the vigilant documentary work of Dana

strength of the documentaries and (under-repre

Philip Brophy; since several of my foyer encounters

Ranga and Andrew Florn In researching and revealing

sented) shorts. Trevor Graham’s Mabo: Life of an

listed Pom Poko (Heisei Tanuki Gassen Pom Poko, Ai

the wonderful world of the Eastern Bloc musicals in

Gakawa, Toshi Eguchi, 1994) and Tombstone for Fire

East Side Story.

Island Man and Tahir Cambls and Alma Sabhaz’s Exile in Sarajevo continue to receive deserved critical

flies (Horaru No Haka, Isao Takahata, 1987) as hits.

A fresh and aldehyde top note

Bruce McDonald’s surprisingly sophisticated rock

acclaim, and their success will hopefully draw more

mockumentary, Hard Core Logo (after Roadkill [1989]

attention to the crisis facing the documentary indus

and Highway 61 [1991]), energized by a punklsh dis

try with the ABC, SBS and Film Australia currently subject to funding cuts. Ben and Sue Ford’s Faces

Every fragrance has an impact odour, the one that

regard for both its subject and the comic limits of an

hits the skin and tangibly surrounds you in that cru

Increaslngly-popularform, found Its (deliberately)

1976-1996 and Lucy Lehmann’s 500 Acres vitally

cial decision-moment at the perfume counter. I’ll buy

gauche counterpoint in Christopher Guest’s Inces-

engaged with the possibilities of the short Rim form,

the 46th Melbourne International Film Festival on the

santly-hilarlous parody of smalltown theatre, Waiting for Guffman. Inhabiting another stage altogether was

though the serious reduction in the number of shorts

strength of those Rims which quicken my senses. Top of this cinephile’s list was Happy Together, the

Werner Schroeter’s profound meditation on operatic

tionally plays in the local scene. On the other hand,

latest, eagerly-anticipated collaboration between

tradition, passion and the grain of voice. Love’s

the consistent presence of Australian directors, cast

director Wong Kar Wai, DOP Christopher Doyle and

Debris (Poussières d ’amour) pushed performance

and/or crew at screenings and Q&A sessions pro

designer-editor W illiam Chang. Shot on a limb in

Into the realm of vérité (or was it the other way

vided a strong sense of our working Industry. It is a

Argentina, the rush of production circumstance and

around?) to culminate in one of the most startlingly-

practice which should be maintained.

C INEMA P A P E R S • NOVEMBER 1997

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festivals

Flow ery, forgettable heart note

basis for promoting the validity of

Despite containing the requisite number of high

programming choices (with a-star-from-

notes, the body of this year’s Festival was depressinternational selection (excluding the niche pro

Trainspotting-set-in-a-British-m iningvillage double-bill, The Full Monty [Peter Cattaneo] and Brassed Off, coming in first

grammes) already in the hands of local distributors

and second) is an absolute joke given the

■

and most of these slated for release, there was good

manner in which the voting took place (at

'$Ffilm slh the'Festivahwere ‘f if e d j ¡ip 'o r higher by M IFFaudi-

cause to speculate that the Festival is being

least in Sydney there is a concerted attempt

eriGesrQfitini^So percent; 50 p’ercfenjt ra te ith e if! Im ^iri Y h e L /

reshaped as an art-house distributor’s showcase.

to ensure that each punter can only vote

progra'm|n#8/ i ‘o or Higher. Eighteen" percent of films weife?','

Not that commercial product is synonymous with

once). Festival Chairman Des Clark publicly

rated 5 -7 /10 arfdtwo*percent 5 /10 or loweR It iijf iia S in ^ t b

mediocrity, but the majority of bland fare fell into

equated a claimed 20 percent increase in

kriow that thebox-M fice success w asm atch edby audience

this category (Mark Herman’s Brassed Off, Kevin

box-office with an increase in attendance,

sctt'isfaci.o'n.

ingly lacklustre. With 50 percent of titles in the

THE'REPORT CARP...

■ ¿ccording to Sandra Sdraulig, Executive Director of.the., ^ Melbourne International Film Festival, the Festival “was

a huge: success. Attendariflls^ahd'box-office weVe both up by

an unpretedented 20 percent arid results "from the corfiprehen-

tiv ve audience purvey were;extremelyvpositivei Eighty p^rVerit

Spacey’s Albino Alligator). As Deb Verhoeven

failing to acknowledge that replacing three-

pointed out in The Melbourne Times, this raises

screening passes with single-session

yekr to' Goliritlr last year’s djeficitwhich will greatly assist in.

all sorts of questions to do with the appropriate

passes would automatically up the income

securing our-financial future.”

allocation of government cultural assistance when

but not necessarily translate into a change

a large proportion of the screenings are effectively

in audience patterns. I’m not sure which sessions

While such concerns may be attributed in part to

commercial previews.

Festival board member and The Age critic Barbara

my pedantic Virgoan disposition, the way the shorts

Creed attended in order to comfortably claim that the

were programmed generated wider alarm. If it was

An overwhelming presence of average fodder

“This y e a fs Festival will enjoy a financial surplus’f f i i l f ?

directed critical attention both inwards and outwards.

success of “all” could be judged by the crowds. My

not enough that the selection had diminished by

What was missing, as Adrian Martin noted in The Age,

experience diverged significantly, to the extent that a

40 percent, the ghettoizing of short films (and

was the “cutting edge”: films which really push the

number of “sold out” sessions (including the single

occasionally, videos) into three “packages” at the

limits of cinema. In absentia were those brave,

screening of Leone’s Once Upon a Time in America)

237-seat State Film Theatre necessitated a commit

‘smaller’ films which take risks that may not necessar

were a little over two-thirds full and people in the

ted effort on the part of Festival punters. Those

ily be sustainable but at least force the audience to

standby queue departed under the impression they

fortunate enough to get into the sessions were fur

rethink what cinema is or has the potential to be. Even

would never get in. While I appreciate that these

ther subjected to odd programming quirks such as

those flawed works which at some level I would want

claims are in part an answer to the paranoia prevail

the conflation of the experimental and animation

to retrieve (Deepa Mehta’s Fire, Kawase Naomi’s

ing in the film community duringthe build-up to the

selections into one hotch-potch screening. This kind

Suzaku, Augustin Diaz Yanes’ Nobody Will Speak of Us When We Are Dead) were safe programming choices

Festival, I think the Festival representatives and San

of practice not only limits the potential audience, it

dra Sdraulig have the tough task ahead of them

is prohibitive to vital discussion and critical dialogue

and didn’t really break new cinematic territory. The

redressing and reconciling commercial impulse with

and provides little space for the spark that an

only truly avant garde offering, Level 5 (a dependable

cultural imperative (see “The Report Card” above).

inspired piece of contiguous programming creates.

was a disappointing return to familiar terrain although

Fetid, m ephitic dry-down

saw three in this context, despite having attended

Few shorts were screened with feature films: I only

drawcard given Chris Marker’s popularity in this town), I am grateful for its inclusion on the grounds that I will

The “dry-down” is the perfume industry’s term for

the Festival rigorously, while I saw as many each

probably never have the chance to see it again. Absent

what gastronomists might label “the after-taste”.

day at the Sydney Film Festival, even though it does

were titles by other internationally-significant direc

What stuck to my skin with the nagging irritation of a

not have an international competition. The only

tors: Tsai Ming-Liang’s The River {He Liu), Godard’s

stale odour was the handling of short films and

logical explanation is that the Festival values the

videos. Despite Sdraulig’s acknowledgement of

commercial imperative (to get more sessions each

the important role the Festival plays in providing

day by losing the short films and videos) over and

a context for the exposure of documentary and

above its widely-perceived and self-promoted role

short films, the selection procedure and program

as a site for the fostering of a diverse and accessible

ming of the shorts, in particular, demonstrated

screen culture.

little regard for panels, practitioners and ‘prod uct’ alike. Clear regulations for the short film and

The sw eet sm ell of it

video competition should be provided to selec

My terms for success are exemplified in a piece of

tion and judging panels and filmmakers, and

graffiti scrawled on a wall in Gertrude St, Fitzroy:

should also be printed in the programme guide.

“Subjugate thyself to the screen - more real than

The competitive parameters which used to be set

real”. I have spent some time pondering over the

by the International Federation of Film Producers’

intent of its author. Is it a criticism or a passionate

Association seem to have disappeared over the

credo by which to live one’s life? Having personally

For Ever Mozart, Kiarostami’s The Taste of Cherries, Imamura’s The Eel {Unagi) and Egoyan’s The Sweet Hereafter. I am aware that the success of some of

years (fiction works over 30 minutes and student films

opted for permanent cinematic intoxication, I under

were not eligible), and, while this is not necessarily a

stand that the Festival must necessarily be more

negative thing, it certainly permits some fuzzy edges

pragmatic. I do believe in those terms Sandra

these films at Cannes (and elsewhere) creates enor

in a competition which boasts an international stand

Sdraulig and the new team have chosen: diversity

mous demand for prints; however, previous Festival

ing. Why does the competition title exclude video,

and accessibility. However, I want to see them pushed to the limits. Accessibility is as much about

Director Tait Brady was always quick to publicly

even though an award is specifically dedicated to

acknowledge and account for obvious gaps. This gen

excellence in the medium? Should films made in 1995

providing those films which are otherwise impossible

erosity with information engendered a more dynamic

be eligible in 1997? Is it responsible of short film co

to see and programming in a way that doesn’t

Festival spirit and created space for a critical dialogue

ordinator, Cathy Johnstone, to publish an article in

exclude punters from sessions they want to attend,

between Festival organizers and the punters.

the programme guide which gives prominence to

as it is about films which are formally easy to negoti

three of the films in competition, two of which {At Sea and His Mother’s Voice) go on to win a couple of

ate. Diversity is as much about form and format as

be justifiable if it were presented as a stop-gap mea sure to put the Festival back in the black. However,

awards apiece? Should panel members be discour

a Festival in 1998 that walks the line between

post-Festival publicity tended to indicate that it will

aged (off the record) from choosing films with longer

commercial viability and an invigorated, edgy,

be the way of the future. Using the audience poll as a

running-times?

culturally-aggressive programming impetus. ©

The new emphasis on ‘sure-sells’ would almost

C IN EM A P A P E R S • NOVEMBER 1997

it is about subject and content. So I look forward to

Exile in Sarajevo by Ann-M aree Ashburn

he siege of Sarajevo is

You DIDN’T FEAR FOR YO U R SELF, OR YOU war and humanity. Words like “world

FELT NOTHING FOR THE VICTIM S OF THE

caught them on their camcorder,

M ASSACRE?

they’d sell the footage to CNN.

familiar to most of us

agencies”, “brainwash” and “corrup

Cambis: At that point, neither. The

YOU REVEALED A LOT OF Y O U R SELV ES IN

via CNN footage: a city

tion” feature heavily in the language of

biggest fear was that someone would

THE FILM, SUCH AS THE BLOSSOM ING

Cambis. Sabhaz is friendly and open,

see, or be aware of, how little I felt

ROMANCE BETW EEN YOU, AND ALSO

at that point. I thought, “W hat am I

YOUR CHILDHOOD, TA HIR, AS A REFU GEE.

committed to: the film or the city?”

Was

under fire from snipers in surrounding hills;

tall and attractive; she brings a per

mortar shells raining down sonal on theinsight city; to siege and anger at the

a bloodied, disembodied limb in a

world’s forsaking of her country.

shelled market-place. The tragedy of Sarajevo, like wartorn cities the world over, rarely touched us on a personal level. War overran Bosnia from 1992 to 1995. Exile in Sarajevo documents the

Why

d id y o u m a k e a f il m a b o u t t h e

s ie g e o f

S a r a je v o ?

media in terms of who the Bosnians were. The myth was there was an

directors, Tahir Cambis and Alma Sab-

ancient hatred, and that the cultural

haz. Cambis, originally from Sarajevo,

tradition of Bosnia was killing and

came to Australia with his mother as a

slaughter and rape, when in fact it

refugee following World War II. He has

was being exported from Serbia

worked in Australia as a theatre direc

next door. ment with my own civilization, with

The Sullivans. He co-founded Budin-

Western civilization, where we had

ski’s Theatre of Exile in Melbourne in

an international and global media,

the early 1990s. Sabhaz lived in Sara

but it was impossible to communi

jevo, where she studied classical violin

cate what was happening because it

and mechanical engineering, before

was too complex. What was hap

coming to Australia last year.

pening in that war, genocide and cultural society, was being condoned

the front, leaving him with a perma

by Western societies, but it didn’t

nent limp in one leg. He returned in

matter because they were Muslims.

1995 with cinematographer Roman

Do YOU THINK MEDIA COVERAGE OF THE

Baska and filmed the final months of

WAR WAS RACIST?

Cambis: The project grew out of my

Cambis: Totally. Sabhaz: The problem is the media

ing was taken over by Sabhaz, until

can’t cope with the term Muslim. It’s

then the sound recordist.

very often connected with funda mentalism and terrorism. Whenever

bringing the siege to us through the

I watched reports from Bosnia, it

eyes of Sarajevans and through the

was just after or before reports from

ongoing cultural life of the city. The

Iran or Beirut connected with a

film counterpoises the horror with the

bombing or terrorist attack. Lots of

music of the city, the beauty of its

journalists who came to cover Bosnia

buildings, its rich heritage. Alongside

had very little knowledge of Bosnia.

footage of the 1995 massacre of shop

They simply couldn’t cope with the

pers in a market are images of a people

complexity of the situation, and to

struggling to do more than just survive

please their audience they simplified

under unceasing threat of death:

it. That was why I and most Bosni

young Sarajevan models stage a fash

ans hated people who covered the

ion parade for the camera; a rock band

war, because they didn’t bring any

performs at a nightclub; a choir sings

good. The media created a lot of

in one of the beautiful churches of the

DOING TO THE BO SN IA N S?

river of blood.” If you’re committed

mass rape of a democracy in a multi

Sarajevo in 1992, but was injured near

It is a candid and personal film,

film, and said to Roman, “Film the

Secondly, I had a deep disillusion

number of television series including

before completion of the film and film

THE FEELIN G S OF ‘ DIRTY W O RK’, TO LAY YOUR LIV ES OPEN AS TO WHAT YOU W ERE

being terribly slandered by the

and is the work of two first-time film

the siege. Baska returned to Australia

In a bleak way at that particular moment, I was committed to the

like I was part of a nation that was

siege of the Bosnian capital, Sarajevo,

Cambis had attempted to enter

t h is an a t t e m p t t o o v e r c o m e

Cambis: On a personal level, I felt

tor and actor and has appeared in a

damage in Bosnia.

city. One of the most disturbing images

D id

in the film is of a young girl, Nirvana,

V O YEU R ISTIC A SP ECTS OF REPORTING ON

to something, it doesn’t mean

being the central character and

performing in a ballroom dancing com

SU FFERING?

you’re not doing dirty work filming

charting my journey. But when I got

yo u h ave a n y q u a lm s a b o u t th e

petition. She was killed by a mortar

Cambis: Yes. When we arrived on

as a result of your commitment.

there, I felt my story wasn’t that

attack days later.

the scene of the massacre [at the

Sabhaz: It’s only a dirty job,

important considering what was

market], I felt ashamed of having

Tahir, if you sold that footage

happening to Nirvana’s mother and

clad head to toe in black, talk earnestly,

the camera in my hand. I felt more

for $ 5 ,0 0 0 per minute, like some

others. Then I realized I had to tell

with the serious air of committed

ashamed because I wasn’t nervous,

people used to.

both stories. W hat would help the

activists. They interrupt each other,

angry or upset. I felt ashamed

Cambis: Like UN soldiers did.

film would be for me, as an outsider,

seeking to clarify answers, to better

because of how cool I was, and how

They’d stand on a corner where

to put myself on the same level as

understand and convey the nature of

coolly I felt about my past.

sniper traffic was heavy and wait

the locals in terms of living with

In interview, Cambis and Sabhaz,

for someone to drop, and, if they

C INEMA P A P E R S • NOVEMBER 1997

documentary

them, mixing with them, rather than

society despite the fact that they

pretending that I wasn’t part of

were being murdered.

what was happening. You can’t go

Why

do y o u f e e l l ik e an e x il e ?

Cambis: It was a Louis Nowra play [Miss Bosnia]. It centred on women in Sarajevo, which is a touchy issue

stayed. I had to go to the very front line where people were dying, and that was stupid.

Cambis: I felt the policies of the

in Bosnia. They were portrayed in a

T h e IDEA OF EXILE IS A RECURRING

Western countries had become

degrading manner, as a bunch of

THEM E IN YOUR W ORK. DO YOU FEEL AN

which is what happened to our cine

really quite inhumane; all the ratio

cliched eastern Europeans competing

EXILE AS AN IMMIGRANT IN AUSTRALIA ?

matographer. He realized that the

nalizations of atrocities in the name

in this beauty contest for the last seat

Cambis: It’s a state of mind. Having

bullets were aimed at him, regard

of one expediency or another. Peo

on a UN flight out of Sarajevo.

grown up as a child from another

less of the camera. It was an attempt

ple who should’ve been shouting

There was no understanding that a

culture - 1 grew up in children’s

to put ourselves on the same foot

the loudest about what was happen

lot of Sarajevans stayed in the city

homes - 1 battled to find a niche

ing. If we’re going to film you, we’re

ing in Bosnia and other countries

on principle.

for myself in society where I could

going to film ourselves.

were these days more concerned

to a war zone and tell yourself, “I’ve got a camera, I’m not a part of this”,

There was a beauty contest in Sara

function and contribute. I had this

jevo, which Bono [from the band

dreadful urge to contribute and to

U2] had written a song about. That

not just exist. Through the years I

contest was a send-up. It wasn’t

realized that being the outsider

done in earnest; it was a fuck-you to

wasn’t such a bad thing. I realized

the Serbs in the surrounding hills.

that it’s when you’re exiled or an

Sabhaz: I wanted to go and see it -

outsider, you get a chance to observe.

it was an act of resistance - but I

YOU MENTION IN E X ILE IN SARAJEVO

didn’t have the courage. There was

THAT YOU’VE ALW AYS BEEN A BELIEVER

heavy shelling and horrible condi

IN CA U SES. DO YOU THINK TH IS IS

tions in the city that day, but I was

BECAUSE YOU W ERE AN O UTSIDER?

proud for all those beautiful young

Cambis: I don’t think there’s any

girls, when I saw how it was abused!

formula there. I’ve always been

A re

yo u d raw n to w ar z o n e s , to t h e

obsessed with causes. Maybe because

EXTREM ES OF HUMAN EMOTION AND

I don’t have any family structure.

ENDEAVOUR FOUND IN WAR?

The only thing I have really is a need

Cambis: Alma and I almost ended

to contribute to society in some con

up in Zaire. We had the visas, the

structive way. I can indulge myself

equipment and flights booked, but if

like anybody else, but my scars and

we’d gone we couldn’t have finished

my pain has produced certain

this film. You’re aware of this net

actions. I came to terms with my

work of evil, of corruption, all under

pain many years ago and discovered

the gaze of, or under respectable net

that when you open up the doors of

works of, UN agencies and Western governments. Once you know about it, you can’t sleep at night. I was always pining for adventure

pain and suffering you’re free. Wa s

it a d i f f i c u l t f il m t o m a k e ?

Sabhaz: It was a painful process, but you are actually fighting for

I said to Alma the night we finished cutting the film. "We've finished, but Nirvana’s mother goes on grieving; so do the hundreds and thousands of others. It’s just credits at the end of the film, but nothing stops.” What concerns us is that people, like the people in this country, don’t see the connections between what happened in Bosnia and what’s happening in Australia. when I was a kid. I ended up being

Why

t h e t it l e

Ex i l e

S a r a je v o ?

some principles. Anybody watching

a stuntman on television, and I was

our film who is living in a small

always looking to the horizon. I was

country will lose the delusion that,

inspired by Neil Davis’ work in

if something happened, the rest of

Vietnam back in the 1960s and

the world would react.

Damien Parer in World W ar II. I’m

Cambis: I said to Alma the night we

about career and funding and indi

an artist, an actor and a writer, and

‘finished cutting the film, ‘W e ’ve fin

Cambis: Because I was going there

vidual success. A lot of artists in the

I see an aesthetic or an art in explor

ished, but Nirvana’s mother goes on

as an exile from my civilization,

W est seem to think art is about how

ing war. I like to be personally

grieving; so do the hundreds and

from Western civilization. I couldn’t

to further your career.

challenged; I don’t like to be fake or

thousands of others. It’s just credits

stand living any more. I thought it

Sabhaz: I watched a play on Bosnia

phoney. If you want to know about

at the end of the film, but nothing

was better to live in a city like Sara

staged in Melbourne and it showed

war, then go to a war. And there’s a

stops.” What concerns us is that peo

jevo, where death was high but the

me how some people used the

streak of recklessness that I like to

ple, like the people in this country,

people were honourable; where

Bosnian tragedy and war just to

expose in myself. I wouldn’t have

don’t see the connections between

people still maintained a multicul

make an opportunity. Watching

gotten wounded if I’d been smart, if

what happened in Bosnia and what’s

tural and humane and democratic

the play, I cried.

I’d stayed back where I should’ve

happening in Australia.

CINEMA P AP E R S • NOVEMBER 1997

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IT A LL GOING?

How is it all going? It is going great!

m u s t h a v e b e e n a n ig h t m a r e .

It was the hardest thing I’ve ever done in my life, but worse than that was we

HOW DO ES IT FE EL TO S E E “ TH E BlG R e d ” [W ELCO M E TO W OOP WOOP] ON THE BIG

only finished a couple of weeks ago. I let the French have a look at it, just a

SC R EEN ?

version of it, and [Gilles] Jacob [Director of the Cannes Film Festival] really

Absolutely terrifying, to be perfectly honest.

liked it. They told us that they would like to offer us a screening, but we

As you probably heard, I got hepatitis on the first day of shooting. Something

weren’t ready.

wasn’t right, and then my eyes went yellow. So we shut down production for

So, I worked 24 hours a day for the past four weeks to get here. It is called a

about two months, which was not much fun, because the set was in the most

“work in progress” because I’ve been cutting on computer and this was the

extreme place on earth and it was not built to last. We then had to spend a lot of

first time I have seen the film, on film, and in front of 3,000 people! That was

money trying to keep it up. We lost a few crew and it was generally hard. The

tough. I was seeing things that I’d never seen before, like special effects.

worst part was it pushed us into the hot season. The first day of the shoot was 53 degrees.

C IN EM A P A P E R S • NOVEMBER 1997

I still think it has a pacing problem or two. Translators were working around the clock up to the night before, ringing every ten minutes desperately trying

to understand the Australian slang. It was really hard work. 1 limped here. 1 came over absolutely exhausted.

Va r i e t y

my gut will tell me what is worth keeping or not.

W ORST STE R EO TY PES OF A U STRALIAN S ARE APPEARING

You

I’m calming down now. Ha s

You can’t please everybody at the end of the day, but d o n ’ t a g r e e w it h m a r k e t r e s e a r c h

I’ve never done it before. All I’ve heard is horror sto

it b e e n r e v ie w e d ?

We can’t really stop them. That is what my distribu tors are most worried about. They want a chance to test it, as Americans do. They want to get a feel for it,

ries about market research screenings, and all that stuff they do. DO YOU PREFER TO TRU ST YOUR OWN IN STIN CTS?

a g a in t h i s m o r n in g s a i d t h a t s o m e o f t h e

TH ERE, AND IT IS NOT GOING TO GO DOWN W ELL AT HOME.

That is Todd McCarthy’s [chief film reviewer for Vari

ety] opinion. B u t I’v e

h ea r d t h a t fro m o t h e r

A u s s ie s

w ho have

SEEN THE MOVIE. D o YOU WANT TO PRO VOKE PEO PLE?

and that is fair enough. They were very, very nervous,

I trust my own instincts, and now I’m beginning to

Abso-bloody-lutely I do. I knew damn well what I was

which is why we only had one screening. They really

realize that. With Priscilla, as I said, there was stuff

doing. Australians haven’t lost their sense of humour.

didn’t want the press to get in.

that didn’t work. I pulled out one or two gags which I

We are drowning in political correctness. I’ve had it

thought were going too far, but now I realize the film

out with Margaret Pomeranz; her line back to me was

could have handled it. For this version [of Welcome to

“political correctness, that we have moved on, that it

I ENJOYED IT, BUT I TH IN K THE MIDDLE PART ...

The middle is a problem. I REALLY LOVED THE TOP AND THE TAIL, THE STO R Y AND THE CHARACTERS. 1 LOVED THE PACE OF IT. W HAT ARE YOU GOING TO CHANGE?

Woop Woop], they made me take a few things out,

is not nice ...” What a load of crap! Are we that fucking

really extreme things.

weighted down now? Do we have to stick to these

L ik e ?

I have to think about that in retrospect. That was a

Mostly involving dead kangaroos.

rules and regulations because the ’90s have come along? Sod it. I can take anyone, I can take any of

tough audience, you know. It’s a humorous film, and

To be fair, they said we need a chance to see how it is

those people, drag them out back and introduce them

you have to run a joke in front of an audience. I wish

going down before we present it to the world’s press. It

to a couple of people who wander around some small

I’d done that with Priscilla, because there are a couple

was a huge fight, blood and guts, fists were flying, and

outback town, and, you’ll see, it is still alive and well

of gags in there that didn’t work; I also pulled a cou

I actually said, “I’m not going to [take them out]. I shot

out there. I am absolutely poking fun at it; I’m having

ple of gags out of Priscilla. I was forced to take stuff

these things, I know what I’m doing.” They said, “You

fun with it, and, if they can’t handle it, then I think

out that I really wish I had seen first of all. There are a

can’t put it in front of the world press when we haven’t

that is a real shame, because Australians are known

couple of jokes in Priscilla that are dead; I just cringe

had a chance to see whether we can get away with it.”

every time they come up in the film. With humour, it is good to test. So this is going to

So they said we’ll let you do it with an audience, but not the world press. I had to make a few compromises

for their sense of humour. IS IT THE FLIP -SID E TO P R IS C IL L A ?

The biggest response I’ve had after the screening is

be my chance to see what works and what doesn’t. It

for Cannes, but under the promise that after this

shock, because everybody expected another Priscilla.

changes country to country, so I’m going to try a cou

screening I can put them back in again and fiddle with

They think, “Stephan, desert...”, and they were gen

ple [of screenings] in Australia, a couple in America.

it. This is a work in progress.

uinely, genuinely excited. Everyone was stunned after

D© W E

HAVE TO S T i C K TO THESE RULES AHD R E G U L A T i O H S

BECAUS E THE ' 9 0 S HAVE COIRE A L O H G ? S O D iT .

CAH TAKE

AHYOHE, I CAH TAKE AHY OF TH O SE PEOPLE, DRAG THEIR OUT BACK AHD i H T R O D U C E THEIR TO A C O U P L E O F P E O P LE W H O WAHDER AROUITD SOIRE SIRALL OU TBACK T O W H , AHD, Y O U ' L L SEE, i T iS ST iLL ALiVE AHD W E L L O U T THERE, W i T H iT , AHD iF T H E Y C A H 'T HAHDLE i T , T H E H 1 THI K H O W H F O R T H E i R SEHSE O F H U I R O U R . 16

CI NEMA P A P E R S • NOVEMBER 1997

that screening. A lot of people - distributors, people

quite offensive. At the same time, he is quite heroic, a

in the marketplace - were not ready for it. They hon

wonderfully multi-level character. We worked really

estly thought they were going to see Priscilla and they

hard on that.

didn’t get it. But the word is trickling out now, no mat ter what they feel.

Michael [Thomas]’s first draft of the script had him as the completely two-dimensional, ‘boo-hiss’ villain.

The French reviews have been great, fantastic. The

Michael liked the heroic side, but he was a very, very

French completely got it. Le Monde yesterday was ter

tough villain, and I worked very hard to put some life,

rific; they put their finger on it without me opening my

some humour, into him; like the tap dancing. I did

mouth. Brigadoon [Vincente Minnelli, 1954], they

some stuff with him that was very weird and gave him

said; “They have created an Australian Brigadoon.”

some really likeable dialogue. If I get a reaction, great.

That’s what has been in my head all the time, thank you. And someone else said Mad Max [George Miller, 1971] meets Rogers and Hammerstein - thank you.

Even if they get angry, at least I’ll get a reaction. Fro m

w hom

From everybody. If the Australians want to get angry with me, they can.

A nd Ba r r y Mc K e n z ie ?

And Bazza, which is what Barry Flumphries was doing

But

yo u a r e u s e d to t h a t .

in there. I put Barry in there to say to people, “This is

I’m provoking, that is what I’m doing, and you get shot

what we are doing.”

every now and then and it hurts. You stick your head

A n d C r o c o d i l e D u n d e e [P e t e r Fa im a n , 1986]? I w a n t

above the sand and make yourself a bigger target. The

MORE OF THE CO CKIES.

bigger target you make yourself, the more chance of

I love cockies. I’ve got cocky bites all over me. They are great birds. A nd

being hit. So, I have to roll with the punches sometimes. The day I actually back off that is the day I’m either

t h e g a l a h s ; it i s g r e a t f u n .

Having a great time is what it’s all about. The Rod Tay

growing up or selling out. W hat

w a s t h e o r ig in o f t h e i d e a ?

lor character is a racist, sexist, fascist pig, and it is all

It was Douglas Kennedy’s book, which Michael rewrote.

done in such ridiculous taste. Fie is wearing pink

Then I began to twist it around for myself. I had a lot

safari suits and we are just having fun. But, at the

of my own Ideas from Priscilla floating around, stuff

same time, there is an absolute darkness to it.

that I wanted to do: the location in the crater, the

There is a darkness to all my work. Priscilla had dark

world’s biggest meteor crater in the desert. I found it in

probably been pretty black, like really black. Even I,

ness to it - you get an Asian stripper standing on a bar

reading that first draft of the script, said, “I don’t know

there is an incredibly dark and quite a cruel side to it.

Priscilla. I just said to myself, “I’ve got to do something with that one day.” Then when we talked about WoopWoop, I knew where I would stick it. I twisted it around,

Frauds was incredibly dark, too dark. I went too far

put a lot more humour into, joked it up a fair bit.

firmly in cheek, I think we can get away with it. That is

firing ping-pong balls at the crowd. As funny as it is,

The big one was the music, which was a concept

with Frauds. In

a w a y , t h i s i s d a r k b e c a u s e y o u d o n ’t e x p e c t

I’ve been playing with for a few years. I had to do

if people would really want to see this, because this is mean, really mean.” But if we do it with our tongue what I brought to it, I think. Wa s

it y o u r i d e a t o h a v e

Rod Ta y lo r ?

something with Rogers and Flammerstem, and after a

I was a big fan of The Time Machine [George Pal,

At the same time, didn’t you find something quite

bit of an argument I talked them into it. I think they’re

1970] when I was a kid; it was one of my favourite

heroic about him in his big spiel about “This is Aus

happy now.

films growing up. You poor old thing, this all means

D a d d y ’O [R o d T a y l o r ] t o

be a s b la ck a s he b ec o m e s.

tralia, and I think it’s worth fighting for”? Fie is a great character in that it is black, funny and, at the same time,

Without it, I think their version of the film, the original version sticking to the book, would have

nothing to you ... Then there was The Birds [Alfred Flitchcock,

i Am A B S O L U T E L Y P O K Ì U G FUTI AT ÌT; I ’ m HAYÌITG FUTI TIK TH AT ÌS A REAL SHARiE, BECA USE A CINEMA P AP E RS • NOVEMBER 1997

STRALÌAIIS ARE 17

£ ?#

it e

7fi

i t e

BY CHRIS BERRY

*T*

he revival of the Japanese indepen dent film scene has been one of the highlights of the film festival circuit over the past few years. Regular fes

tival-goers know that, along with Iranian and

Taiwanese films, the young Japanese indies can be depended on for true cinematic vision. But we know little about the film culture from which these films are emerging. Reliable commentators like Donald Richie are more focused on older genera tions of filmmakers, and so far no one else has emerged to provide the bridge we need to get a

complete map of the situation. It was with this problem in mind that I wel comed the opportunity to spend some time with directors Kawase Naomi and Suwa Nobohiro, at the Brisbane International Film Festival for its spe cial focus on the Japanese independent scene curated by Tony Rayns. Only 28 years-old, Kawase had just become the first Japanese woman director to win a major international award by scoring the 1 997 Cannes Camera d’Or for her début feature,

Suzaku. Named after the local gods, Suzaku, observes the quiet disintegration of a family in the face of economic hardship when the railroad passes by Nijiyoshino village. Suwa, 36 years-old, was also attending with his début feature, 2 Duo. W ith improvisation and one-shot scenes, 2 Duo is both formally experimental and a moving account of a young couple who cannot communicate and destroy their relationship in the process. Both films were produced by Sento Takenori for the Bitters End Company in Tokyo. In his catalogue essay for the BIFF focus, Rayns tries to explain the resurgence of Japanese inde pendent film. He ends up drawing a blank: “[...] why are so many Japanese filmmakers doing it? Please look at these remarkable films - and then you tell m e.” After a little while with Suwa and Kawase, I began to understand how he feels. M er ciless in the pursuit of knowledge, I grilled Suwa as he focused on a triple espresso and a pack of ciga rettes after a red-eye flight from Tokyo. No, there is no single funding body, he told me, no single government or private initiative, no movement or manifesto that can explain this development. There are film schools, but few of the successful independents have trained in them and they are not centres like USC, UCLA and NYU in the USA, or the AFTRS and VCA here in Australia. W hat

a b o u t c a t e g o r ie s ?

W h ere

Ja p a n e s e

CRITICS SITUATE IN DEPENDENT FILM?

I know that overseas people talk about Hollywood films and anti-Hollywood films, and in Japan we talk about major and minor films, but that is blurring now and I would say that my films and Naomi’s films are somewhere in between major and minor films. Gee, thanks, Nobohiro; that really clears things up. What

about yo u

, Na o m i ? W h a t

do y o u t h in k ?

I try not to think in terms of Hollywood films, or Japan ese films, or independent films or major or minors. People come to watch films that are interesting and I just try to make an interesting film. Hmm... Maybe this very absence of clear structure is crucial to any effort to understand the diversity of the Japanese independent scene. On one hand, the studio system collapsed in the 1970s under the impact of television in Japan. Unlike in Europe or

CINEMA P A P E R S • NOVEMBER 1997

• 1*

A t e

A te

ste V

A te

V Masaki is best known for his work with Japan’s late great documentarian Ogawa Shinsuke, who had a deep commitment to socially-engaged docu mentary. Tamura also shot Suzaku , so it comes as no surprise to find out that Kawase and her crew followed the Ogawa mode on their shoot, moving into Nijiyoshino village, renovating and taking over an abandoned old farmhouse, working in the fields with the farmers and becoming part of the community. If Cassavetes can be cited as an inspiration for Suwa’s reworking of the representation of reality, Ozu seems to be a powerful source not only for Kawase, but also for the directors of films like

Maboroshi and Okaeri, and, in Kawase’s case, this again constitutes an attempt to rethink reality and its representation. Asked about this, she cites both

Ozu and Tarkovski:

d -D 2 : 0 « » P r t H r HM B W F w

H i Sl> W O s r* * ® * t pair ” Australia, no government body stepped in to

What I like about them Is the way they approach film making. I think that what they’re trying to show is what you cannot express in words. For example, there’s the scene in Ozu’s Tokyo Story [Tokyo mono gateri, 1953] of the old man looking at the ocean. It’s

his profile and somehow from that picture you can

Although reluctant to be pigeon-holed, Kawase

feel his sadness. There’s a famous scene of the

address the crisis in Japan’s national film industry

and Suwa certainly do share some common charac

daughter crying, but I wasn’t so moved by that. I like

with loans, grants or tax breaks. The Japanese gov

teristics with certain other independents. Kawase

the opposite of what Hollywood-style films show.

ernment has consistently seen its main job in the

suggests their work can be compared with films

Indeed, a certain sadness pervades Kawase’s work.

arts as the protection of tradition in the face of

such as Maborosi {.Maborosi no Hikari, Hirokazu

Her best-known Super 8 documentary, Embracing

Western modernization. In this open space, would-

Kore-eda, 1996) and Okaeri (Makoto Shinozaki,

(1992), follows her own search for her father. Her

be young filmmakers have had to each find their

1995), which did the rounds of festivals last year.

parents separated when she was young and she

own way. Some save up their money and work on

Also by young directors who emerged recently,

was brought up by her maternal grandmother.

Super 8, others work in the soft-core roman pinku

they share a rejection of mainstream dramatic film-

Although she finds his traces everywhere, we never

industry to get their foot in the door, and so on. In

making, a de-emphasis of dialogue, an attention to

actually see him on film. Perhaps, with this in

these circumstances, it seems various pockets of

visual detail and a quest for a certain realism. Suwa

mind, it makes sense that in Suzaku the father

filmmakers have emerged and each case is distinct.

suggests this also corresponds to a demand from

walks out of the village, disappearing for ever and

young Japanese, disillusioned with the postmodern

leaving his family behind to cope. In another film

ing as an assistant director for a number of years, a

highs of the 1980s bubble economy culture which

with an untranslatable title, Katatsumori (1994),

rich friend of a friend sought him out, gave him

they have come to feel was unable to respond to

she paints a loving portrait of her grandmother,

U S $300,000 and told him to make a movie. “Then

their needs.

somehow suffused with a desire to communicate

Suwa, for example, just got lucky. After work

I began to think about what I wanted to film”, he

In Suwa’s case, 2 Duo addresses these needs in

her love for her while she is still around.

says. Maybe that explains how he got away with a

various ways. First, there is the subject matter. The

10-page script and improvisation. Kawase’s lumi

lead characters are ordinary working-class Japan

influence each individual has on the world, what

nous Super 8 documentaries about her own family

ese living in relatively modest circumstances, and

they leave behind”, Kawage explains. I ask whether

grabbed the attention of Sento Takenori, and he

so out of touch with their own needs and emotions

this is a response to a sense o f mono no aware,

set about raising funds:

that they cannot articulate their feelings or com

the Buddhist concept of the fleeting nature of

“The main theme in what I do is love, and what

The backing came from WOWOW, which is a satellite

municate directly. Second, there is his decision to

human existence and its poignancy. I ask with

television station, and also from a video company

improvise. N ot surprisingly, he cites Cassavetes as

trepidation, because in some cases this concept

called Bandai Vision. WOWOW has the broadcasting

a favourite director, but, beyond the idea of getting

has become so debased through overuse that it

rights and Bandai Vision has the video rights, so

his actors to live their roles, he also incorporates

amounts to little more than a Japanese version of

hopefully those will recover the production costs.

devices that foreground the staging of this impro

Doris Day singing “Que Sera Sera: W hat W ill Be

vised reality. These include small scenes in which

W ill B e”. Fortunately, Kawase responds positively:

According to both Kawase and Suwa, Sento is a unique figure on the Japanese film scene. M ost

the actors appear discussing “their” feelings about

Yes, I’m not going to be around forever myself! I’m very

producers in the independent scene are working

what they are doing, but in which it is never quite

aware of that in my everyday life. That’s the

on one project at a time, so everything hangs on its

clear whether they are speaking as their characters

success. Suwa:

or as themselves. Also, there is the cinematogra

But Sento has actually produced 27 films in the past

phy, characterized by single-take scenes and small

four years. He has said to us, “It doesn’t matter if your

lengths of black leader to mark such cuts as exist.

film is financially successful. Not all of the films are

In this way, the borders between performativity

going to be successful, so don’t be under that pres

and authenticity are simultaneously marked and

sure.” And, of course, that released us to be a bit

blurred. Suwa worked out this cinematographic style in

experimental, to have an adventure with our films. Kawase explains that Sento is behind a scheme

es*5

co-operation with his cameraman. Veteran Tamura

called “J M ovie W ars” within W O W O W , designed to encourage films by young filmmakers, and that

Suzaku is the first film produced under that scheme. She also placed a special emphasis on her working relationship with Sento:

i I don’t t lflp H ^ u ld w o rk ^ g y in y other o p m wk. He * understa'iflfpSfow I feel a ir o ® ^ g o t the saw |||ih d of spirit and attitude as I have.

C INEMA P A P E R S • NOVEMBER 1997

A-^.rC- \ “ I *

Festival is packed/ you know either the film will be a smash/ or the cast is big. in the case of LA Confidential/ it was both. After the paparazzi had flashed their bulbs/ the celebrities took their seats: James Ellroy/ who wrote the book; director Curtis Hanson; director of photography Dante Spinotti; screenwriter Brian Helgeland; actors Kevin Spacey/ Russell Crowe/ Guy Pearce/ Kim Basinger and Danny DeVito. All were relaxed/ none more so than Crowe (who wore matching shades with Spacey)/ Basinger (who was graceful and laughed a lot)/ and DeVito (who couldn't answer a question without clowning). Ellroy/ the king of superior pulp/ was the most articulate/ enunciating carefully in often glittering prose. Jan Epstein reports. 20

I HAVE TO SA Y I LOVED TH IS FILM SO MUCH I’M ALM OST IN TEARS OVER IT. I FIND IT IN CREDIBLY POETIC THAT IT TA KES tw o

A u s t r a l ia n s

to sa v e

Lo s A n g e le s . P le a s e

tell us

EXACTLY HOW YOU W ENT ABOUT TAKING TH IS TANGLED WEB OF LITERATURE AND TURNING IT INTO A TE N SE, DRAMATIC PICTURE? HOW DID YOU GET PEO PLE IN HOLLYW OOD TO READ TH IS IN SC R IP T FORM AND UNDERSTAND WHAT IT WAS GOING TO LOOK LIKE, BECAUSE WE ALL KNOW HOW SIM PLEMINDED THE PEOPLE ARE WHO HAVE TO READ TH ESE THINGS.

Ellroy: It is a hell of a book. I know because I wrote it [laughter]. When my agent and I discussed selling this book to the movies, we came to one conclusion. [He said:] “Let’s make a few bucks now to help ‘goose’ your divorce so you can marry another woman. They will never make it in a million years because it is just too fucking difficult.” Far more simple books haven’t been adapted for the screen, but Curtis Hanson and Brian Helgeland came to me and showed me what was then, I think, 148 conciselywritten pages that neatly dovetailed the 16,000 fucking sub-plots in this book into one cohesive whole. I was amazed and I’m very pleased with the ultimate result.

Hanson: Obviously, it started with James’ book, which both Brian and I loved. When we were streamlining the plot, we were determined to try and remain true to Ellroy’s characters and to the overall theme of both the characters and the city-w h ich is the difference between image and reality; how people appear to be and what

C INEMA P A P E R S • NOVEMBER 1997

tu txley IS NOT PRACTICAL. So, I’ LL STICK TO ASKING M r SPACEY

Mr C r o w e

and tle

t o s t a r t w it h .

T h ere

i s n o t h in g s u b

ABOUT TH IS MOVIE. THAT IS USUALLY NOT A

together. For me as an actor, and for this ensemble, humour is the thing that always allows the drama to live, if you don’t take it terribly seriously.

they in fact are - and struggle to get along and find a

COMPLIMENT, BUT IN THIS CASE IT IS. THERE IS A KIND OF

I WOULD LIKE TO KNOW IF R U SS ELL CROWE WAS

way in that sort of twisted, tangled, wacky world of

COMIC FILM NOIR NATURE TO THIS FILM THAT IS SO CLEVER

IN SPIRED TO CREATE HIS PART [BUD W HITE] BY ACTORS

Ellroy’s imagination.

AND INGENIOUS. I’M CURIOUS HOW THAT WAS PLAYED

FROM THE 1 9 5 0 S , SUCH AS ROBERT MlTCHUM.

As to the last part of your question, we actually didn’t

betw een

M r Ha n s o n

a n d t h e a c t o r s in t e r m s o f g e t

Crowe: One singular actor who was pointed out to

have to give the script to somebody to read. The key

t in g

THOSE FEELINGS ACROSS IN THE PERFORMANCES,

me by the demon dog who sits at the end of the table

person was [producer] Arnon Milchan. When I met with

WHICH ARE UNIFORMLY WONDERFUL FROM EVERYONE.

[Ellroy], and also reiterated by Curtis, was a fellow by

him, he had not yet read the script. I took along a

Spacey: I think that as Mr Crowe is a visitor to Los

the name of Sterling Hayden, specifically in Kubrick’s

group of about 12 photos that I felt represented the

Angeles he should answer this question.

way the picture would look and feel. I showed him the

Crowe: How are you all doin’? Had a good morning, I

Dr Strangelove [or: How I Learned to Stop Worrying and Love The Bomb, 1964].

pictures and talked about the people that inhabited the

hope. Working with Curtis is very easy as an actor

Mr S pa cey,

story, and what I hoped the movie would accomplish

because you get responses to your questions. That

th e

Os c a r s

t h e c l o t h e s m a k eth th e m an a n d a t yo u m u st have been th e m o st d a pper

uniformity you were talking about in terms of perfor

P RESEN TER OF ALL. HOW MUCH DID THE CLO TH ES MAKE

do it.” I said, “Just like that?”, and he said, “Just like

mance comes from Curtis actually putting together a

YOUR CHARACTER [TRASHCAN JACK VIN CEN N ES] IN TH IS

that”. His enthusiasm and commitment to that vision

group of people who work at a given level of focus.

FILM, AND DO YOU HAVE ANY MONOGRAMMED CLOTHING

never wavered, and it was put most sorely to the test

Sometimes when you work with people, your ques

OF YOUR OWN.

immediately.

tions are deemed to be irrelevant because they are

Spacey: Everything I’m wearing is monogrammed,

not necessarily exactly what is on the page. Even

but it is monogrammed “Nicholas II”. It is a long story!

thematically. By the time I’d finished, Arnon said, “Let’s

When I came to him and said I would like to cast two Australians to play these two Angelino cops, he went

though you have to wait quite some time, Curtis will

In terms of the costumes in this film, the credit

along with it. We were then in a position to go to each

always give you an answer, and I think that’s what

entirely must go to Ruth Myers, whose exquisite taste

of the other actors and say, “We are making this pic

brings the ensemble feeling to the film.

and attention to detail is admirable.

ture because we love it and we would like you to be in

Spacey [turning to Hanson ]: I’m still waiting for one of

it”, as opposed to saying we would like you to help us

your answers [laughter]'.

find financing for the picture, which is the way movies are often made these days.

We had a lot of fun deciding what to wear and I remember Curtis coming to several costume fittings

[Spacey turns back to face the questioner.] First of

and us together falling in love with a lot of costumes

all, thank you for your compliment about the humour

that we will still be fighting over who is going to get

Helgeland: When I read the book, I thought it was

in the film, because that was one of the first things

them, once Warner Bros, releases them. We had a

fairly simple and, as long as we kept true to the char

that I recognized when I read it and when Curtis and I

great time discovering the look of jack, and I think

acters, the story would fall into place.

sat down in the Formosa Café, oddly enough, to

Ruth did an extraordinary job. I’m just glad Curtis let

decide whether we were going to do this film

me wear all them duds.

T h is

q u e s t io n i s f o r a l l t h e a c t o r s , b u t

C INEMA P AP E RS • NOVEMBER 1997

know th a t

Sometimes you can discover things in a choice of

Angeles for a good 50 years. As a direct result of that,

piece - to play someone who has a real beginning, a

clothing, make-up or h a ir - or, in this case, a mous

Rodney King was beaten up, we had some riots in

real middle, a real ending, and with such clarity. I was

tache1. It sometimes helps you let yourself go. A lot of

1992 and 0 . J. Simpson got off scot-free for a murder

so melancholy after the experience was over. Let’s

those clothes I would wear myself, but they were par

that he really committed. You can look to LA Confi

just say that I feel I am sometimes very misplaced

ticular to this character, and they made me feel kind

dential, the book, which was written pre-0 . J.

today. I would love to have lived then and worn the

of like Dean Martin.

Simpson, pre-Rodney King, in suburban Connecticut.

clothes. That word ‘mystique’ is an important one for

0 . J. is no way there as a subtext, because I have no

a movie star, and we seem to have so little of that

C o u l d G u y P e a r c e [ E d Ex l e y ] a l s o

co m m en t

ON HIS CLOTHING?

today. But I’m very proud to be sitting up here with

gift of prophecy.

Pearce: Priscilla2 actually was quite a departure for

The film stresses one of my big themes in my books,

this cast, having done this so many years later. We felt like we were right back there in those times.

me. I don’t usually wear those kind of clothes - most

which is bad white men doing bad things in the name

of the time. It was actually nice to get into some

of authority. It is there. I think Curtis and Brian Helge-

Mr S

decent suits [for LA Confidential], male clothing for a

land may have had some sub-conscious tweaking

WHICH IS NOT USUAL FOR YOU. W HAT WAS YOUR

change.

PERSO N AL APPROACH TO THE CHARACTER AND HOW

Obviously, clothing has a fairly large part to play in the character, and there is style and colour that pick up various aspects of their personality. [Ed] Exley in many ways is quite a cold character, and colours that were chosen were for various shades of greys and blues. In a stylized sense, it has quite a bit to do with the character - and it was quite nice to get out of a frock. R u s s e l l [C r o w e ] in s p ir a t io n

Bracken ] D id

p a c e y , y o u r c h a r a c t e r is a g o o d g u y ,

m e n t io n s

S t e r l in g H a y d e n

. K im B a s i n g e r , y o u r

character

in t h i s m o v ie l o o k s l i k e

a s an

[L y n n

V e r o n i c a La k e .

y o u h a v e a n a c t r e s s in m in d t h a t y o u

m o d elled y o u r ch a r a cter o n ?

A lso ,

[H a n s o n ] o r Ja m e s [E l l r o y ] o r

a n y b o d y in t h e

d o es

C u r t is

MOVIE FEEL THAT, EVEN THOUGH IT IS S E T IN THE ’5 0 S , YOU W ERE REALLY COMMENTING ON P O S T -0 . J. LO S A n g e l e s in t h e ’9 0 s ?

i wanted to burn the LA-based crime novel to the fucking ground, and resurrect a revisionist monument to myself in the ashes of that fire, i wanted to write the biggest, baddest, ugliest, deepest, darkest crime novel of all time, set in LA, my fatherland, throughout 1950s, which is my firs t formative decade.

DID YOU WANT HIM TO BE?

Spacey: One of the reasons I was attracted to play him [Vincennes] was that I had had this really incredi ble run playing great, dark figures over a couple of years, which up to that point hadn’t really been my experience. In theatre, I didn’t find myself playing those kinds of characters, but I wanted to find a role, and hopefully a series of roles, that would give me the opportunity to play a character who, even though Jack has some slightly shady undertones, is emotion ally available and not hermetically sealed. Very often in writing characters that are darker or manipulative, as an actor you begin to feel that you could be in a room talking to yourself alone for as much as another character affects your character’s behaviour. What I was looking for as an actor was an opportunity to go some place where I was just given

PHOTOS'

Basinger: My wardrobe is really quite simple; Kevin is

going on in their minds when they wrote the script

really right when he said Ruth Myers is an exceptional

and shot the film. I think it is there as subtext, and it is

role offered all of that and a lot of hum our-and a

designer. She is wonderful and she really had an idea

probably a point that will be voluptuously debated for

Studebaker.

for each character. It is very easy to look back over Veronica Lake’s

Co r r ect

w h en yo u lo o k ed a t th e fo o ta g e

m e if

I’ m

w ron g, but one of th e stra n d s

IN THE NOVEL IS THE BUILDING OF DISNEYLAND. I’M JUST

films, to see the way she dresses and the humour in

many of her movies. So, we literally went back to the

FILM HERO IN ES AND W ERE YOU AT A LL ENVIOUS OF THE

STO RY, AND HOW MR ELLRO Y FELT ABOUT ITS EXCLUSION.

films, watched her and got the clothing. We really

STY LE AND THE M YSTERY OF THAT ERA? W HAT ARE YOUR

Ellroy: It wasn’t Disneyland, it was Dream-a-Dream-

stole it from her.

FEELIN GS ABOUT THAT PARTICULAR TIME IN M OVIES AND

land amusement park, of my own making. It was

Hanson: Do I think this is a reflection of LA today,

WOULD YOU HAVE LIKED TO BE PART OF THAT, RATHER

founded by a mythical animator named Raymond

post-O. J.? Why Los Angeles and why the early ’50s is

THAN THE OPEN COMM ERCIALISM OF THE ’9 0 S THAT FILM

Dieterling, who had two main characters named

the question? Part of what is fascinating about the

STA R S HAVE TO PUT UP WITH?

Moochie Mouse and Danny Duck. This had fucking

V e r o n i c a La k e ,

w as sh e a lr ea d y one o f yo u r

WONDERING AT WHAT POINT THAT FELL OUT OF THE

city and that time period is that a lot of things were

Basinger: I really loved Veronica Lake from I Married a

starting, some of which looked great at the time,

Witch [René Clair, 1942] and This Gun for Hire [Frank

some of which didn’t, all of which are with us today.

Tuttle, 1942]. I had really not seen any other of her

dead-on right in eliminating this plot. There were

For instance, it was a moment in time when the Los

movies; in the research, I fell in love with her. I think

other juicier sub-plots to utilize and still bring the film

Angeles police force changed from a force that was

she was a very under-rated actress and really known

corrupt in a typical way that involved graft and

for her character more than for her acting ability.

money-changing, and became modelled on a military

years to come. K im B a s i n g e r ,

an opportunity to be emotionally available, and this

As to your second question, I’ve always been envi

operation, which preceded and led to the LAPD today.

ous of that era. [M Confidential] gave me such an

Ellroy: The LAPD kicked black arse in the city of Los

opportunity-this being really a character-driven

nothing to do with Walt Disney, if you believe that! I think Curtis Flanson and Brian Helgeland were

in at that juicy 138-rmnute time frame. Da n n y D e V it o ,

y o u r p r e s s k it d e s c r ib e s y o u

A S A V ISIO N A R Y SLEAZEM O NGER!

DeVito: I didn’t write that! What

w a s y o u r in s p ir a t io n fo r t h is r o l e

[ S id

CI NEMA P AP E R S • NOVEMBER 1997

H u d g e n s ], a n d Ca n n e s

K im Ba s in g e r ,

ho w w o u ld y o u d e s c r ib e y o u r

e x p e r ie n c e s o f a r ?

w h a t w a s it l ik e fo r y o u to be t h e

MAIN FEMALE CHARACTER AMONG A NUMBER OF MALE

DeVito: I was just caught up in that sleazemonger

CHARACTERS? SECONDLY, YOU FIRST SHOW UP IN A CAPE,

stuff! This character Sid? I’ve always wanted to play

A SYMBOL OF DEATH. WAS THAT DONE ON PURPOSE?

a journalist, someone morally pure, and I got a

Wa s THERE ANY MEANING BEHIND THAT?

chance to also be a paparazzi in the movie. So, it is

Basinger: The answer to your first question is that it

basically coming to these wonderful events all the

was a mighty nice seat on the bus.

time that are so inspirational. What

To your second question, as far as the cape is con cerned, no, not really. I had seen that cape in one other

a b o u t b e in g o n t h e o t h e r s id e o f t h e

PAPARAZZI?

[Veronica Lake’s] films. It wasn’t exactly like that, but we

DeVito: It is always fun, that is why I bring my cam

thought it was really wonderful to keep the mystique of

era [to Cannes]. You know, I am you, you are me, we

the character in the beginning, to keep her hidden. The

are the walrus. So, it is fun. It is very nice to be

pale white around her face worked for the opening.

here. I love being here. Mr El lr o y ,

Ja m e s E l l r o y , y o u

THE CLASSIC LA DETECTIVE NOVEL OF CHANDLER OR

Ross Ma c D o n a l d ? W h a t

TO WRITE THE MOST SLEAZY, DIRTY BOOK. FOR ME, THE FILM IS VERY CLEAN AND YOUR BOOK IS VERY DIRTY.

is y o u r a t t it u d e

to w ards th a t?

Ellroy: I wanted to burn the LA-based crime novel to the fucking ground, and resurrect a revisionist monu

s a id y o u w e r e v e r y s a t is f ie d

WITH THE FILM, BUT YOU ALSO SAID THAT YOU WANTED

w h a t w e r e y o u t r y in g to do w it h

every little bit of the frame. That impressed me and the vibes started getting very good about that time. U s u a l l y , A m e r ic a n

a c t o r s t r a in in t h e ir r e s p e c t iv e

ment to myself in the ashes of that fire. I wanted to

m il ie u .

write the biggest, baddest, ugliest, deepest, darkest

WORKED AS A TAXI DRIVER. GUY PEARCE, DID YOU HAVE

crime novel of all time, set in LA, my fatherland,

THIS KIND OF EXPERIENCE PREPARING THE ROLE?

Fo r

e x a m p l e , fo r Ta x i D r i v e r ,

D e N ir o

throughout 1950s, which is my first formative decade.

Pearce: Russell and I both arrived in the country a fair

In 1953, which is the year my Confidential film is set,

C o u ld

yo u c o m m e n t on t h is ?

Ellroy: One of the reasons the film got made is that it was cleaned up, slightly, and I’m very grateful for that or I wouldn’t be having this wonderful experience of living the film, right here. I n A u s t r a l ia ,

w e a r e v e r y p r o u d o f b o th

G uy

[P e a r c e ] a n d R u s s e l l [C r o w e ]. C u r t is Ha n s o n ,

time earlier than shooting began, so we spent quite a

I’ d

I was five years old and not cognisant of much. How

bit of time with the LAPD.

GUYS THAT MADE YOU CAST THEM IN SUCH QUINTESSEN-

ever, a few years later I started looking around and

Crowe: We went out with them, but the problem with

t ia l l y

seeing things, and in 1958, when I was 10, my mother

actually touring with Los Angeles police department

Pearce: It’s the free room and board we offered Curtis

was murdered. It was an unsolved crime and my

guys is that [...] in 1953 there were different regional

when he comes to Australia on holiday!

curiosity focused in on Mickey Cohen and his antics,

police precincts; there were different call signs on the

Hanson: Looking at the movie we all hoped to make,

l o v e to k n o w w h a t is it a b o u t t h e

A m e r ic a n

r o l e s a s c o p s in

A u s t r a l ia n

LA?

and Cheryl Crane, Lana Turner’s daughter who shot

radio; a different level of available armoury. So, a lot

one of the things that was fascinating about the book

Johnny Stompanato, a minor character in my book

of the detail they were giving us was actually mud

was that you met these characters, each was doing

and in Curtis Hanson’s film.

into water. Pearce: We had to translate what they were giving us.

something bad and none you liked. Gradually, as you

My deepest intellectual curiosities derive from Los Angeles crime in the 1950s and the design of LA Confi

Most of the beneficial stuff was probably the early

kept going, you started to care about them. Part of the advantage of casting actors who had not

dential, the novel, was to put it all into one big ugly pot. The miracle of LA Confidential, the film, is that

training films that we looked at.

played roles similar to this before was that as soon as

Crowe: 1950s recruit films showed various moves to

the audience saw Bud White or Ed Exley, they weren’t

most of my book is there intact in a way that I could

make. I did actually use one of them in the movie,

bringing the actor’s past history in other movies to

never have imagined, with brilliant actors portraying

where you actually reach between the guy’s legs - it

the characters they were playing now. And, of course,

characters that I created and giving them a visual life

doesn’t work very well in real life! What the LAPD was

Los Angeles is a city of people who have immigrated

that is slightly mine, but more theirs [Applause.]

giving us was not necessarily important, other than

there from somewhere else. James made a comment

policing is essentially the same now as it was then.

to me, after we had cast not only Guy and Russell but

You have authority over people, and that is the begin

also James Cromwell, that the only Angelinos on the

D id

y o u e v e r v is i t t h e s e t to s e e h o w t h is w a s

HAPPENING?

set would be him and me.

Ellroy: I asked Curtis if I could play Bud White and

ning of the structure of these characters. But the

how much money he wanted from me to assail the

detail of these characters had to come from books;

C u r t is Ha n s o n , t h e

role [but he turned me] down flat.

they had to come from things like the training films,

YOUR FILM IS EXTREMELY IMPORTANT, PARTICULARLY

I did visit the set a few times and was impressed with the complexity and the density of the shot-by

e v o l u t io n o f t h e c h a r a c t e r s in

movies of the time and also delving into the gold mine

Ex l e y . D id

of Mr Ellroy’s mind.

AND WHAT KIND OF PROBLEM DID THAT POSE FOR THE EVOLUTION OF THE ACTORS?

y o u s h o o t t h is p ic t u r e o u t - o f - s e q u e n c e ,

shot work of Curtis Hanson and Dante Spinotti. I saw

Pearce: Yes, there is a lot of detail in the book itself

them shoot Mickey Cohen walking down the steps of

as far as character analysis, so a lot of it is there on

Hanson: We tried as one always does to shoot in

the city hall and there was something going on in

the page really.

sequence, but ended up going wildly out of

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fihnm aking

r fa cility in th e d ig ital d om ain ' 3 Tm

WiÊ’y

on life. “It's given me an to really be

best in file world

¡¡¡¡K

LITTLEWOMENa new lease

p re - and p o s t -p ro d u ction , and

D -F ilm ’s C reativ e D ire c to r,

m 3 2

technicalities concentrated in post-production, but increasingly the digital threshold is demanding a rethinking of the whole production process, including the rela tion between production and post-production. How well the new

by Scott M e Quire

technology will be utilized largely

s a spectator or practi

depends on the ability of people in dif

tioner, it is difficult to

ferent sectors of the film industry to

ignore the impact that

communicate with each other, so that

digital technology is cur

choices can be adequately assessed

rently having on cinema.

and the most appropriate pathway chosen.

During the 1990s, digital workstations

It goes without saying that cinema,

have become the standard production pathway for sound-processing and

with its unique combination of optics,

picture editing in feature films. Tech

chemistry and mechanics, has always

niques enabling high resolution 2-D

been closely bound up with technol

and 3-D image manipulation and

ogy. One might convincingly argue

seamless compositing have extended

that the film industry has been dealing

the domain of the computer from its

with technological change throughout

initial foothold in titling into the con

its entire history, as new cameras,

struction of the film image itself.

lenses, film stock, lights, sound

Today, digital imaging is not only

recording techniques, and the like

usurping the place of many traditional

have been introduced throughout the

special effects (from the lab to model

century. However, such changes have

making, matte painting and even

usually affected a particular depart

stunt performers), but increasingly

ment rather than cut across the entire

touches the work of others such as

industry. The digital threshold differs,

production designers and set builders,

inasmuch as it amounts to a paradigm

make-up artists, film extras and even

shift, affecting the spheres of produc

actors. While dinosaurs roam cinema

tion, exhibition and consumption

screens the world over, it is traditional

simultaneously. The only really com

cinematography which seems closer

parable shift was the introduction of

to extinction. As digital cameras come

synchronized sound in the 1920s and

into increasing use, it may well be that

1930s. With this sense of history in mind,

future film historians will find it conve

§ earlier this year I conducted a series of

nient to use the centenary of cinema to mark the end of celluloid-based

5 interviews with people working in dif-

capture and projection.

I ferent parts of the Australian film industry.1 The initial aim of the inter

Digital technology often seems to attract millenarian prophecies in this

changes will only be heightened in the

ducers will still need to worry about

views was to provide background

vein. The problem is not so much

future. Yet, even if all the mooted

the bottom line, and directors will still

material for a report I was researching

whether they are true or false, but that

changes coalesce into a competitively-

need to combine narrative vision with

into the impact of digital technology on

they are usually both true and false at

priced “digital backlot”, it is

military strategy to get the job done.

feature film production in Australia.2

the same time. It is undeniable that

superficial to assume that a century of

What has changed, and will

digital technology is significantly

accumulated knowledge, skill and

undoubtedly continue to change, is

changing the way in which films are

experience will be rendered redun

that there will be different production

But, as the conversations continued, it became evident that they deserved a more extended public airing in their

produced, exhibited and experienced,

dant. Put bluntly, writers will still need

options to achieve a desired end. Up

own right. Because those involved

and all indicators suggest that these

to write stories and screenplays, pro

to now, most digital options have been

were able to draw upon a depth of

CI NEMA P A P E R S • NOVEMBER 1997

te c h n ic a litie s

experience in the film industry to paint a historically informed picture of the relationship between digital technology and film production, the

Rod Bishop Director, Australian Film, Television and Radio School

discussions went beyond merely

How DO YOU PREPARE STUDENTS TO

rhetorical responses to ‘new technol

WORK IN THE FILM INDUSTRY? ARE

ogy’. As such, they offer a valuable

THEY STILL GETTING EXPERIENCE USING

resource in meshing a sense of the new

SPROCKET-BASED TECHNOLOGY, OR ARE

with a practical understanding of the

STUDENTS NOW PUSHED MORE TOWARDS

exigencies of technological change.

COMPUTER SKILLS?

Assessing the spectrum of probabili

When we revised the curriculum

ties and possibilities for the film industry

last year, we made it post-graduate.

of the future is a tantalizing pastime

As a training facility, it has this quite

in the present. Has digital non-linear

amazing employment statistic of 96

picture editing altered the narrative

percent of all graduates since 1978

structure of contemporary feature films?

still being employed in the film and

If the digital domain becomes the gen

television industry. internationally, is that digital training;

to digital technology. They can put it.

this affect the cost of filmmaking and the

case is because the school has been

or training people for the digital

off, they can scorn it, they can stay

links between different parts of the

resourced enough to always operate

processes in film and television in

comfortable with what they know.

production team? Will digital imaging

at the high end. Equipment purchases

the future, is not in the healthy state

I think that is a relatively endemic

alter the spectator’s relation to the film

have been made in advance of the

it should be. Not long after I got to the

problem in traditional film and televi

image, further blurring and stretching

industry adopting that equipment as

school I was contacted by CILECT [Cen

sion teaching institutions throughout

the ever-mutable concept o f‘realism’?

standard. This is slightly a gamble,

tre International De Liaison Des Ecoles

the world, not just here.

What happens to the notion o f‘national

an informed opinion, as to what the

De Cinéma Et De Télévision] who are,

cinema’ when systems such as Videofax,

industry is about to adopt.

ifyou like, the United Nations of film

big advantage, like UCLA, FEMIS in France and to some extent the National

eral toolkit of post-production, how will

One of the reasons I think that is the

I think where the AFTRS has such a

using digital networks such as ISDN,

SO, A CASE IN POINT WOULD BE

and television schools around the

mean that people no longer have to

YOUR SG I WORKSTATIONS?

world. It has a bi-annual congress and

Film School in London, is that the bet ter-funded the film school is, the easier

gather in the same place to constitute

Yes. When our students go through

in between the congresses it runs vari

a film crew? These are the sorts of

their courses, apart from all the

ous workshops in various parts of the

it is to build digital training into its structure. You can set up your digital

questions and issues that circulated

conceptual and creative work they

world. It has become apparent that

throughout the conversations.

go through, they are trained on state-

some of the problems I’ve found at this

people in a separate section, find

of-the-art equipment that the industry

school to do with the acceptance of

ways to introduce digital training into

edited transcripts of several of the

is just in the process of adopting. So,

digital technology exist in all of these

the organization without it necessarily

interviews conducted for the Crossing

by the time they graduate, they’re very

other film schools around the world.

creating a huge confrontation with

the Digital Threshold project. They

well qualified to pick up jobs immedi

should help to provide a snapshot of

ately. I think this will be even more

the best, we may be ahead of the best.

the changing face of contemporary film

the case in the next 3-5 years.

Teaching staff, if they are tenured in

In this issue of Cinema Papers are

In many ways we are not only up with

people who are finding it difficult to adjust to the processes. The other factor, and I’m glad it’s

production in Australia and to stimulate

How DO YOU THINK THAT DIGITAL

the university system - here they

wider debate as to the relative merits

TECHNOLOGY IS GOING TO AFFECT

are contracted for a six-year period -

multimedia. The term multimedia

and costs of the digital threshold.12

TRAINING FOR THE FILM INDUSTRY?

don’t have the same immediate

already seems out of date to me.

requirements to adapt their processes

When multimedia was being heavily

What is definitely true, both here and

starting to go away, is the hype about

1 I would like to acknowledge the gen erosity of all those who agreed to be interviewed for this project and the assistance of Michelle Southall in transcribing the interviews. 2 The report Crossing the Digital

Threshold was commissioned by the Communications Law Centre. It was funded, as the first in the Screen Industry, Culture and Policy Research series, from an Australian Research Council Collaborative grant obtained by Professor Stuart Cunningham and Professor Graeme Turner of the Aus tralian Key Centre for Cultural and Media Policy, in conjunction with the Australian Film Commission. The report can be obtained through the Communi cations Law Centre (02 9663 0551 or comslaw@ozemail.com.au), the AFC (02 93216444 or publications@afc. gov.au), or the Key Centre for Cultural and Media Policy (07 3875 7772 or CMP@hum.gu.edu.au).

C IN EM A P A P E R S • NOVEMBER 1997

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te c h n ic a litie s

promoted in Australia a couple of

stock has to reproduce so successfully

years ago, what was being pro

that it’s unpickable to the ordinary

moted was non-linear narrative.

eye, film will always be chosen. That’s

The CD-ROM gave you the opportu

quite clear.

nity to create intersecting, circular

W hat

narratives, things that didn’t have

SO-CALLED GARAGE PRODUCERS WITH

to have beginnings, middles and

NEW TECHNOLOGIES, GIVEN THAT THE

ends; or, as Jean-Luc Godard has

CGI FOR FEATURE FILMS LIKE jO H N N Y

said, not necessarily in that order.

M n e m o n i c [R o b e r t L o n g o , 1995]

If Greek drama couldn’t pull a

WAS DONE ON PCS? IS THAT GOING TO

crowd, it would have died 2,500

HAVE AN EFFECT ON THE MAINSTREAM

years ago. To actually have a fear

INDUSTRY IN AUSTRALIA?

That’s another reason why the industry

that traditional narrative technique, with its hook, three or four-hour

can’t afford not to deal with the new

structure, plot points and resolu

technologies on the digital side, no

tion, is in danger because CD-ROMs

matter how expensive it seems to us

have random entry and access

at the moment, or how difficult it may

points is just in the realm of the

be to do all our training. Apart from

infantile. Unfortunately, it may play

that, we are looking at an exponential

a factor in why traditional film and

difference in the cost of computer

television teachers, particularly

equipment from year to year to year;

those in writing, find it difficult to

within five years, who knows? The two million dollars’ worth of hardware and

adapt to the new era.

software we have downstairs at the

There is a big difference between new media and new technologies.

moment may be deliverable to PCs

New technologies are simply what

at home. When you get to the point where

we were talking about here; a new technology which allows the pro

you can stream digital images and

duction process to be delivered in

sound from computer to com puter-

a different way. The fact that it has

and, as we know, digital information

a non-linear facet to it is part of its

can be endlessly reproduced without

technique, and you use that to

losing quality - and you can deliver it

shorten and make more efficient

EXPERIENCED PEOPLE - I DON’T KNOW

future it produces programme-makers

to remote PCs in houses all over the

the production process. That’s all

WHETHER IT’S JUSTIFIED OR N O T-TH AT

for the big screen, the small screen

world, what’s to stop 30 people get

that means.

THEIR KNOWLEDGE IS ACTUALLY BEING

and the computer screen. Because

ting together, never meeting in their

THROWN AWAY UNNECESSARILY; THAT

the way to maximize people’s employ

lives, but all participating in producing

something different. CD-ROMs, with

PEOPLE WITH FILM EXPERIENCE ARE

ment opportunities in the future is

a feature-length film by actually

their random entry and exit points, and

GOING TO GET THROWN ASIDE FOR

goingto depend on their ability to

sending the sound and image files

the Internet, suggest that a whole new

PEOPLE WHO ARE COMPUTER LITERATE.

move between the computer screen,

to each other in cyberspace and into

I’m not so concerned about the latter

the small screen and the big screen.

the computers.

New media, on the other hand, is

medium could potentially be created. But it’s still a bit early to say whether

point because, as I said, if Greek

It’s going to depend on their ability

that is true or not. The Internet and

drama couldn’t pull an audience, it

to manipulate digital information -

mainstream commercial production,

CD-ROMs are both being used as deliv

would die. So, if people are highly

whether it’s just text or whether it’s

you get, say, 30 people talking to each

ery systems primarily, and the amount

skilled with that kind of structure and

image and sound - within film, televi

other in a chat room, who all discover

of experimentation with them as new

that kind of presentation of a narrative,

sion and the computer production

that they’ve got the right hardware

languages is very, very marginal.

there will always be a job as long as

processes. Because that will all

A person who is computer literate should not only be able to cut on an Avid, but should be able to compose sound digitally on their computer. M ultiskilling w ill take on a whole different meaning in the future.

converge. W il l

a lo t o f t r a d it io n a l jo b

DISTINCTIONS BE OBLITERATED?

Or, better still, beyond that level of

and software to create something together. So they go ahead and do it. They aren’t going to care where the others are or what time of day it is.

A person who is computer literate

Once they become involved in a cre

should not only be able to cut on

ative process with each other, the

an Avid, but should be able to

questions arising will be more to do

compose sound digitally on their

with intellectual property, ownership

there are demands for that sort of

computer. Multiskilling will take on a

THERE HASN’T REALLY BEEN AN OFFICIAL

narrative. And that is still essentially

whole different meaning in the future.

TRAINING STRUCTURE. MOST OFTEN,

what dramatic fictional filmmaking and

Do YOU THINK A MOVE TO FILMLESS

IT’S BEEN MORE ON-THE-JOB TRAINING.

television programming is alt about.

CINEMA IS LIKELY IN THE NEAR FUTURE?

Let’s go back to two examples in Aus

I wouldn’t dare put a time-frame on

tralia of digital manipulation, both of

T r a d it io n a l l y ,

in t h e film in d u s t r y

A n ecd o ta lly, at

least, th ere seem s

W hat

a b o u t t h e m o r e t e c h n ic a l j o b s ,

and security and things like that. W hat

s o r t o f e f f e c t s do y o u s e e

ON DOCUMENTARY

f il m ?

filmless cinema, but the people who

them in the press. Three years ago the

TION TO USING NEW TECHNOLOGY HAS

I think there is a very big difference

do put the invention of digital film - in

Sunday Age ran its famous digitally-

REDEFINED MANY JOBS, AND INTER

there. I think people who don’t get

other words something that has all the

treated photograph of jeff Kennett

RUPTED THE PROCESS OF TRAINING.

digital post-production skills are sim

aesthetic and technical properties that

without any clothes on standing at a

HOW DO YOUNG PEOPLE GET TRAINED,

ply not going to get a job. What I am

celluloid film has - at about 2005. But

podium. Last year, after the Port Arthur

UNLESS THEY ARE ABLE TO COME TO A

trying to work towards here is that,

it’s really obvious that unless you can

massacre, we had that photograph of

rather than the school producing film,

get the technical properties, the subtle

Martin Bryant being digitally altered on

television and radio graduates, in the

properties that chemical-based film

the front page of The Australian.

TO BE A FEELING THAT THE RAPID TRANSI

p l a c e l ik e

AFTRS? S e c o n d l y , t h e r e

SEEMS TO BE A FEAR FROM A LOT OF

p o s s ib il it i e s do y o u s e e f o r

SAY, AN EDITOR OR SOUND EDITOR?

C I N E M A P A P E R S • NOVE MB ER 1997

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te c h n ic a litie s 's Books(]%]).

----- * '

O b v io u s ly , a lot o f p eo p le 24 h o u rs after the m a s sa c re w ere w o n d e rin g

w ill co m e out a s one co m p lete d ig ita l

the cre a tiv ity or the re s o u rc e fu ln e s s,

n e g a tiv e . In te rm s o f c o sts, m em o ry

and c e rta in ly not b e ca u s e o f the te c h

Group Technology and Service Manager, Atlab Australia

and so on, it’s q u ite p re p o ste ro u s

n o lo g ic a l a b ilitie s o f the lo ca l in d u stry .

now . But in fo ur or five y e a rs it m igh t

Th e so rt o f film s th a t we h ave m ade

o f the a lle g e d m u rd ere r w ith cle a rly

F ilm

be co m m o n p la ce .

c ra zy e y e s and a u to m a tic a lly a s s u m e -

EVOLVING PLATFORM WHICH HAS

h ow so m e b o d y co u ld h ave d o n e it. T h e y are p re se n te d w ith a p h o to gra p h

h a s b e e n a f a ir l y s t a b l e a n d

h ere, firstly , tend not to h ave b u d g e ts

T h e y s a y the d e v il’s in the d e tail.

w h ich w o uld h ave allo w e d a n y th in g

lik e me - t h a t the p icture e xp la in s it all.

LASTED FOR A HUNDRED YEARS. WE

The grand co n ce p t o f n o n -lin e a r

m ore th a t the odd d ig ita l title o c c a

To me th a t s ig n ifie s a m a jo r pro b lem

HAVE NOW ENTERED A PERIOD OF VERY

e d itin g or d ig ita l e d itin g is fine and

s io n a lly a n d , s e c o n d ly , w e h a v e n ’t had

th a t is a b o u t to o ccu r. If yo u can do

RAPID TECHNOLOGICAL CHANGE IN THE

w o n d e rfu l. A ll o f th o se h o u s e k e e p in g

a n y tra il-b la z in g Ju ra ssic Parks. T h ere

th a t to h isto ry now , w h a t’s to sto p you

in d u s t r y .

d e ta ils are n ig h tm a re s now . T h e y w ill

is n ’t the b ig fea tu re in d u stry on w h ich

g o in g b a c k and d o in g it to h isto rica l

BEGIN TO BREAK? WHAT HAVE BEEN ITS

ch a n g e in a re v o lu tio n a ry style a gain ,

to b u ild a re so u rc e b a se . T h e y can do a

film s?

MAIN FRONTS?

a g a in and a g a in .

film like th a t o v e rse a s an d b u y a d o zen

U n d e r l y in g

W hen

d id t h is d ig it a l w a v e

I w o u ld s a y th a t aro u n d 1989-1990 w as

N o n - l in e a r

IS A FAITH THAT THOSE EVENTS DID

w hen th in g s starte d to b u ild m o m e n

PUSHED TO THE FILM INDUSTRY BY

HAPPEN. IF THAT RUG IS PULLED AWAY

tum ; or, the alarm b e lls w ere rin g in g ,

THOSE SELLING THE TECHNOLOGY AS

FROM UNDER US, WHAT HAPPENS TO

s h a ll w e sa y. In te re stin g ly , the th in g

A TIME- AND COST-SAVING TECHNOLOGY.

a d o c u m e n t a r y film

DOCUMENTARY FILM IN THE FUTURE?

e d it in g w a s o r ig in a l l y

that p eo p le rea lly n oticed w a s w hen

TO WHAT EXTENT DO YOU THINK THIS

W ell, the ru g is s lo w ly b e in g p ulle d

the A vid n o n -lin e a r p icture e d itin g

PROMISE WAS TRUE?

a w a y a n yw a y. T h in k a b o u t Man B ites

syste m first cam e in - or w as first u sed

Fe a tu re -w ise , p eo p le h ave re co gn ize d

Dog [C’est arrivé p rès de chez vous,

by film m a k e rs. It tu rn s out th a t so u n d

that the co n ce p t that th is w ill sa ve

R é m y B e lv a u x , 1992] for in sta n ce .

had been q u ie tly g e ttin g on to a n o n

m o n e y and tim e is n ’t so . T h e y are

Th e re are p a rts o f tha t film yo u p ro b a

lin e a r sy ste m for a co u p le o f y e a rs

d is c o v e rin g that 12 w e e k s on a Ste e n -

Flam e s y s te m s , for e xa m p le , put them

The grand concept of non-linear editing or digital editing is fine and wonderful. All of those housekeeping details are nightmares now. They will change in a revolutionary style again, again and again.

bly a cce p t a s rea l b e ca u se o f the

lo n ge r than that. S o u n d , for one re a

b e ck is s till ch e a p e r than fo u r w e e k s

sim u la te d d o c u m e n ta ry co ve ra g e ,

so n or an o th e r, m ade the revo lu tio n

on an A vid . T h e y are d isc o v e rin g that

ju s t a s a lot o f p eo p le th o u g h t S p in a l

m ore q u ie tly but m ore co m p le te ly,

a p h ra se I q u o ted from s o m e b o d y two

T a p w ere a rea l b a n d . T h o se so rts o f

w h e re a s it w a s the p ictu re that rea lly

or th re e y e a rs a go , that “we c o u ld n ’t

th in g s a lre a d y e xist. W here it b e co m e s

m ade the w a v e s. Th e other w a ve fro n t

afford to do a n o n -lin e a r e d it” , is true.

m ore s e rio u s is w h en it’s p o s s ib le to,

h as been d ig ita l e ffe cts for film . A n d ,

s a y , cre a te a m u rd er s ce n e in a d o c u

w h ils t K o d a k w a s ta lk in g ab o u t th a t in

Now e ve ry b o d y re co g n ize s that a d ig ita l

m en ta ry w h ich d id n ’t ta k e p lace .

the late ’8 0 s, it w a s p ro b a b ly in ab o u t

edit, a n o n -lin ear edit, is p ro b a b ly g o in g

ber o f o th e r s m a lle r b u d g e t p ictu re s.

T h a t, to m e, is w h en yo u sta rt to get

1992 or 1993 th a t it w a s b e co m in g a

to be m ore e xp e n sive , but it’s g o in g to

W e h ave n eve r b een a b le to b u ild up

rea lity.

sa ve tim e and give m ore fle xib ility and

the te c h n ic a l in fra stru ctu re , let a lo n e

th a t’s w h at th e y are p a yin g for.

the e xp e rtise to do the s m a ll film s to

to the re w ritin g o f h isto ry. Man Bites

Th ree ye a rs ago , that d ivid ed peo p le. into a s tu d io and u se them on a n u m

Dog is a fictio n a l w o rk, This Is S p in a l

ARE THERE INDUSTRY STANDARDS

Tap [R o b R e in e r, 1984] is a fictio n a l

EMERGING THAT ARE COMPARABLE TO,

w o rk; th e y are fictio n a l w o rk s m a s

SAY, THE INTRODUCTION OF STEENBECKS

co m m ercia ls for e xam p le, n ob o dy is

in d u s try on c o m m e rcia ls and th a t h a s

q u e ra d in g a s d o c u m e n ta rie s. Bu t

OR Na g r a s ?

g o in g to cut film for a co m m ercial an y

ch a n g e d the fla v o u r.

W hen it co m es to other so rts o f th in g s,

fo llo w on. W e ’ve had to b u ild o u r own

w h a t y o u ’re s u g g e s tin g is th a t yo u

It w o n ’t be m an y y e a rs at all before

m ore. It ju st is n ’t g o in g to h appen. But,

G iv e n

m a y be a b le to s h o o t a d o c u m e n ta ry

we h ave w h at K o d a k ca ll the d ig ita l

by and large, and ce rtain ly lo o kin g at

effe c t of n ew t e c h n o l o g y on d if f e r

and d ig ita lly a lte r one s p e c ific sce n e

in te rm e d ia te . A co m p le te featu re film

feature p roduction, I th in k that the idea

ent

in it, b u ry it w ith in the o ve ra ll d o c u

w ill go into the d ig ita l w o rld fo r e v e ry

it w as g o in g to save the p ro d ucer m oney

PROCESS, IS THERE A NEED TO START

has been throw n out.

THINKING ABOUT NEW PRODUCTION

m en ta ry co n te xt, an d p re se n t an

th in g th a t’s cu rre n tly d o n e on film ;

h o u r-a n d -a -h a lf d o c u m e n ta ry film

c o lo u r g ra d in g , even e d itin g w ill all

Ha s

th a t h a s 30 s e c o n d s w h ich h as been

be d o n e o n -lin e d ig ita lly .

QUICK TO EMBRACE THIS TECHNOLOGY?

fic tio n a lize d .

D om inic Case

1 2 33

-i

Th e w h o le lo t - t it lin g , c o m p o s it in g -

th e

A u s t r a lia n

film in d u s t r y b een

No, it h as b een slo w , not b e ca u s e o f

w h a t y o u ’ v e s a id a b o u t t h e

ASPECTS OF THE FILM PRODUCTION

PARADIGMS? F o r INSTANCE, THE POINT AT WHICH WHAT USED TO BE CALLED ‘ POST-PRODUCTION’ COMES INTO A

C IN EM A P A P E R S • NOV E MB E R 1997

edia 100 has raised the bar again, introducing Media 100 xr - the new high-end addition to the Media 100 fami edia 100 xr delivers dual-stream, real-time effects processing at 2:1 <360 KB/frame) to finish programs on-li ions are ai just the beginning of the story. You also get with no rendering. With Media 100 xr real-time transitions

f fn g

presse titles and alpha-channel keying, real-til ime ColorFX™, real-time Motion m m . real-time uncompressed udio mixing, real-time chrorr

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iVCT | M AC! S E R V IC E B U R E A U (02) 6281 0 6 Ì 8 i 38-40 Colbee Court, Phiiiip 2606 NSW | ANIMOTION DESIGN (02) 9698 3333 |44 Buckingham Stree jurry Hills 2 0 Ì 0 Q LD [ ADVANCED VID EO INTEGRATION (07) 3891 5755 |Unit 1 ,8 Lockhart Street, W oolloongabba 4102 SA | ELECTR O N IC C O N C E P T ;08) 8234 9444 76 George Street, Thebarton S031 V IC I C O L O U R F A S T S Y S T ^ f Ì Ì Ì Ì I y Ì Ì Ì 3 1 55 | 6 Alm a Road, St. Kilda 3182 W A | O P TEL AUDI«

te c h n ic a litie s

fo r m ore or le s s . T h e y h ave b een d o in g

ju s t the s a m e w ay. It co u ld h ave been

a s a p o s s ib ility . Th e re is o ne p erso n

Editor

at le a st w ith in K o d a k w h o h a s been

W hen

q u o te d a s p re d ic tin g th a t w ith in five

EDITING START TO COME IN?

O p tic a ls w ill p ro b a b ly d is a p p e a r

have w e seen a

y e a rs . I th in k it m ig h t be a bit m ore.

T h e la s t th in g I cu t on film w a s White

th e y are u se d le s s the e xp e rtise w ill

It m ig h t be in five y e a rs th a t p e o p le

S a n d s [ R o g e r D o n a ld s o n , 1992]. I h ave

d isa p p e a r.

so m e w h e re are p u ttin g o u t d ig ita l or

been u s in g n o n -lin e a r s y s t e m s eve r

r e m in is c e n t o f w h e n p e o p l e

e le c tro n ic im a g e s into w h at w o u ld

sin c e .

WANTED TO STA R T SHO O TING BLACK AND

h ave b een o th e rw ise a tra d itio n a l

W HITE FILM AGAIN IN THE ’8 0 S . TH EY

p ro jectio n cin e m a.

SHORTENING OF THE TIME BETWEEN

FOUND THAT TH EY COULDN’T GET THE

COMMENCEMENT OF A PROJECT AND THE

TONAL RANGE TH EY WANTED.

It w a s tried in A u stra lia a co u p le o f y e a rs b a ck. A co m p a n y ca lle d S a te llite

T h is s y s te m h a s b een s o m e th in g I’ve been w a itin g fo r a ll m y life. It’s ju s t g ive n m e a new le a s e o f life; it’s lib e ra tin g an d it e n a b le s m e to be

Not b e ca u s e the lab d id n ’t h ave a

C in e m a s e t up in a c o u p le o f s m a ll

m ore a d v e n tu ro u s th a n I’v e e ve r

I d o n ’t th in k tim e -fra m e s h ave

b la ck -a n d -w h ite p ro c e s s in g m ach in e ,

to w n s. S a te llite C in e m a d id n ’t a c tu a lly

d a re d to be or h ad the tim e to be.

c h a n g e d at a ll b e c a u s e , a g a in , the

b ut th e re w a s n o b o d y ru n n in g it w ho

beam a vid e o s ig n a l up to a sa te llite

It g iv e s m e e n o rm o u s fle x ib ility w h ich

w o rk e x p a n d s to fill the tim e a v a ila b le .

had the a b ility to co n tro l t h in g s in the

and dow n a g a in . A v id e o ta p e w a s se n t

I’ve n e ve r h ad b e fo re . Y o u ’d re a lly

It s im p ly m e a n s th a t m a yb e the te c h

sa m e w ay. It w a s d eath b y a th o u sa n d

o u t b y co u rie r. W h at fin a lly clo se d it

h ave to d ra g m e k ic k in g an d s c re a m in g

n o lo g y d o e s n ’t n eed to be the

cu ts, rea lly.

d o w n , I u n d e rsta n d , w a s th a t the

b a c k to a S te e n b e c k . I’d re s is t it to the

d istrib u to rs w ere v e ry to u ch y in deed

b itte r end now .

POINT AT WHICH THE FILM IS RELEASED?

d e te rm in in g fa cto r. T h e tim e te n d s to

Ja m e s Ca m e r o n

s u g g e s t s that en d-to -

SCANNING OF FILMS IS 5 -1 0 YEARS

be d icta te d b y o th e r th in g s - u s u a lly

en d

b u d g e t, the re le a se d a te, w h en y o u ’ve

aw ay.

g o t to ge t the m o n e y b a ck , an d so on -

GRADING, TITLING, COMPOSITING - WOULD

ra th e r tha n the te c h n o lo g ic a l d icta te s. Pro d u ctio n and p o st-p ro d u ctio n are

Then ,

e v e r y t h in g

c o lo u r

ab o u t h a v in g a first re le a se p ictu re in

W it h

a fo rm at th a t w a s so im m e n se ly

WIND, NO SPOOLING. IS IT SIMPLY THE

n o n - l in e a r t h e r e ’ s n o t a p e to

p ira te a b le . It w a s a s e c u rity is s u e . It’s

LACK OF MATERIALITY, OF HAVING TO

BE DONE IN THE DIGITAL REALM. DO YOU

in te re stin g th a t it w a s n ’t a te c h n o lo g i

SHUFFLE THINGS AROUND, THAT ENABLES

THINK TH IS IS FEASIBLE IN AUSTRALIA?

ca l b arrie r th a t p re ve n te d the th in g .

YOU TO BE MORE ADVENTUROUS?

ce rta in ly b e co m in g m ore and m ore

IS IT APPROPRIATE FOR THE SO RT OF

blurred. W ire rem o val, w h ich u sed to be

FILMS WE ARE MAKING HERE?

In fact, a s im ila r th in g is h a p p e n in g

It’s a c o m p le x q u e stio n in a w a y . In the

w ith d ig ita l v id e o d isc or d ig ita l

old d a y s , th e ru le -o f-th u m b w h en yo u

don e on the set, is now d on e in post.

Y e s it is, or it w ill be in tim e. T h a t so rt

v e rsa tile d isc , w h ich w ill rep lace V H S

w ere c u ttin g on film w a s th a t y o u ’d

Th e cin e m a to g ra p h e r n ee d s to be

o f fu ll-le n g th s c a n n in g is not b e ca u se

c a s s e tte s . It is flo u n d e rin g b e ca u se

a llo w a p p ro x im a te ly a w e e k p er reel

aw are o f how a sh o t is se t up b e cau se

w e are g o in g to h ave a s p a c e sh ip

the m a n u fa ctu re rs o f the so ftw are are

a fte r the s h o o t to g e t to w h a t w e ’d

o f the w a y it’s g o in g to be treated in

e x p lo d in g e ve ry sh o t. It’s b e ca u se

ve ry n e rvo u s a b o u t it. Th e te c h n o lo g y can d e liv e r w h ate ve r

p o st. Th e cin e m a to g ra p h e r m ay then

ca ll a lo c k e d -o ff cu t. O f c o u rs e , w h en th e s e s y s te m s first ca m e in, p la c e s

need to be in vo lve d in s u p e rv isin g the

yo u w an t, but co m m e rcia l in te re sts

like S p e c tru m w e re s a y in g , “ W e kn o w

im a g e s tha t he o f sh e h as sh o t.

tend to d icta te h ow the te c h n o lo g y

th e y are m ore e x p e n s iv e to hire, but

is u se d .

y o u ’ ll do it a lot q u ic k e r, yo u w o n ’t

T h e re ’s th is co n ce p t I rathe r lik e o f v e rtic a l e d itin g and h o rizo n ta l e d itin g .

D ig it a l

t e c h n o l o g y g iv e s f il m

need so m a n y a s s is t a n t s , the e d ito r

H o rizo n ta l e d itin g is p u ttin g the s c e n e s

m akers

VERY TIGHT CONTROL OVER

can p ra c tic a lly do it on h is o w n .”

to g e th e r in the rig h t o rd e r. V e rtica l

THEIR M ATERIALS-YOU MIGHT SAY

A lot o f th o se t h in g s are tru e ; yo u

e d itin g is c o m p o s in g the im a g e , co m

THAT IT’S A MORE PAINTERLY IMAGE,

can cut a lot fa s te r an d m a ke c h a n g e s

p o s itin g , a d d in g b its, t a k in g b its aw ay,

IT’S MORE MALLEABLE, MORE PLASTIC.

m ore q u ic k ly . B u t yo u can o n ly th in k so

p u ttin g a d iffe ren t h o a rd in g on the

A nd

fa st, and e d itin g s till re q u ire s th o u g h t. I

s im il a r l y w it h t h e s o u n d , y o u

b u s a s it d riv e s p a st, w h ich u se d to be

there are a b so lu te ly routine th in g s

CAN CHANGE ANY AND EVERY ELEMENT

p u re ly the p re se rve o f im a g e cap tu re .

th a t w e do now p h o to ch e m ica lly in the

OF IT. DO YOU THINK THIS IS FEEDING AN

a s s is t a n t s a ro u n d , th e y are an e s s e n

T h a t w a s s o m e th in g the c in e m a to g ra

lab o rato ry, like co lo u r g ra d in g , w h ich

/ESTHETIC CHANGE, THAT IT*S LEADING

tia l p art o f the p a c k a g e . I a ls o b e lie ve v e ry s tro n g ly th a t the re is a tra in in g

p h e r had co n tro l o ver. B u t n ow the

w ill e ve n tu a lly be d o n e w ith m ore e a se

TOWARDS A MUCH MORE SELF-CONSCIOUS,

im a g e th a t the c in e m a to g ra p h e r

and fa cility in a d ig ita l d o m a in . It w ill be

THEATRICAL TYPE OF CINEMA?

d e liv e rs is ju s t one co m p o n e n t o f the

e n tire ly ap p ro p riate to do it on an y film .

fram e . S o p o st-p ro d u ctio n is t a k in g a

I th in k the se c o n d part o f yo u r

fo un d v e ry e a rly on th a t yo u need yo u r

p ro ce ss in vo lve d here to o . I th in k it’s

I d o n ’t se e a n y o f th o se a s u n iv e rsa l

v e ry im p o rta n t fo r m e to p a s s on w h at

tre n d s, ye t it is p ro v id in g the a b ility

I kn o w to p e o p le w o rk in g w ith m e.

q u e stio n is re a lly a so rt o f B o b E llis

fo r th o se th in g s . It’s p ro v id in g Peter

IS THERE STILL A ROLE FOR OPTICAL

a rg u m e n t. O ne o f h is a rg u m e n ts is w h y

G re e n a w a y w ith the m e a n s to m ake

lin e a r is the p ictu re q u a lity is not

EFFECTS IN FILM?

s h o u ld n ’t we m ake a Ju ra ssic Park in

P ro sp e ro ’s B o o ks [1991], for e xa m p le ,

n e a rly a s g o o d a s on film , but I th in k

lot m ore onto itse lf.

d id d ig it a l n o n - l in e a r

th ro u g h w a s tin g a w ay, b e ca u s e a s

It ’ s A nd

Nicholas Beauman

I s e e it a s a p o s s ib ility . K o d a k s e e s it

d o n e d ig ita lly , but w h o n e e d s it?

p r o je c t .

DO YOU SEE THIS AS A POSSIBILITY?

it fo r 50 or 6 0 y e a rs an d th is is d o n e

O ne o f the d is a d v a n t a g e s o f n o n

D e c re a s in g ly so , b e ca u s e th e co st

A u stra lia ; w e m ade a B a b e l W hy the

in a h ig h ly -s ty lize d w ay, w ith fra m e s

th a t w ill im p ro ve a s th e s e s y s te m s

o f d ig ita l is c o m in g dow n and it’s

h e ll s h o u ld the A u stra lia n in d u stry

w ith in fra m e s and so on, w h ich is a

b e co m e m ore s o p h is tic a te d . A t the

c r o s s in g o ve r m ore an d m ore o f the

re strict its e lf to m a k in g film s ab o u t

p art o f h is m e s s a g e o f the b o o k w ith in

m o m en t yo u s a c rific e s to ra g e s p a c e

b o u n d a rie s. T h e re are a lot o f m ajo r

su b u rb a n c o u p le s in M elb o u rn e w ith

the b o o k and th e sto ry w ith in the

fo r p ictu re q u a lity ; o ptim u m p ictu re

fe a tu re film s w h ich s t ill h ave tr a d i

h ern ia p ro b le m s? I th in k th a t w a s the

sto ry . T h a t w a s s o m e th in g v a rio u s le v

q u a lity e a ts up a lot o f s to ra g e s p a c e .

tio n a l o p tic a ls , w h e th e r th e y ’re title s

e xa m p le he ch o se . T h e y are all s m a ll

e ls o f te c h n o lo g y e n a b le d him to do.

A s a ll th e se c o s ts co m e d o w n , th a t

or m ore c o n v e n tio n a l o p tic a ls . In

film s, th e y are ch a ra cte r-d riv e n n a rra

H a v in g s a id th a t, I t h in k e ffe ct film s

w ill b eco m e le s s a n d le s s a fa cto r.

Pa radise R oa d (B ru ce B e re sfo rd ,

tiv e s rathe r than e ve n t-d riv e n . Not th a t

th a t h ave been a ll the go fo r the p a st

W hen yo u do a cu t on film , it re q u ire s

1 9 9 7 ). fo r e xa m p le , are so m e go o d

o ne is b ette r than the o ther, but w h y

10 o r 15 y e a rs d o n ’t p re ve n t the little

yo u to th in k a b o u t h ow yo u are a c tu a lly

o ld -fa s h io n e d b lu e -scre e n tra v e llin g

sh o u ld w e s a y th a t w e d o n ’t do th o se

ch a ra cte r-d rive n d ra m a s from b e in g

g o in g to co n stru ct a s ce n e a lot m ore

m atte s h o ts . T h e ca m e ra is lo o k in g

s o rt o f film s?

m ade in ju s t th e sa m e w a y an d lo o k in g

ca re fu lly th a n if yo u are c u ttin g on a

ju s t the s a m e a s th e y h ave d o n e . I

d ig ita l, n o n -lin e a r sy s te m . I can thro w

th in k th e re are d iffe re n t s tra n d s th a t

s o m e th in g to g e th e r on n o n -lin e a r ve ry

th ro u g h the fron t o f the ca r an d yo u

What

a b o u t f il m l e s s c in e m a ?

se e the road d is a p p e a r in g in the w in

In s t e a d

d o w at the b a c k o f the car. It’s w h at

d is t r ib u t o r s j u s t p ip e t e r r a b y t e s o f

n ow re sp o n d to d iffe re n t te c h n o lo g ic a l

q u ic k ly and then lo o k a t it. I can put

tr a v e llin g m atte s h o ts w ere d e s ig n e d

DATA INTO MULTIPLEXES EVERYWHERE.

im p u ls e s.

th a t cu t a s id e , do a n o th e r o ne an d then

o f s h i p p in g f il m r e e l s , w il l

C IN EM A P A P E R S • NOVEMBER 1997

te c h n ic a litie s

a n o th e r. A n d I can the n a s s e s s a ll three

THE ROLE OF THE ASSISTANT EDITOR.

th e y are s ta rtin g at noo n an d w o rk in g

G iv e n

v e r s io n s o r s h o w them a ll to so m e b o d y

DO YOU THINK THERE HAS BEEN A

th ro u g h to la te r in the n ig h t; b e c a u s e

e lse fo r fe e d b a c k . Y o u ca n ’t do th a t so

PROBLEM IN THE TRANSITION TO NON

th e y are tra c k -la y in g an d e d itin g a

AS A COST-CUTTING EXERCISE IN PART,

re a d ily on film . B e c a u se o f th e tim e

LINEAR IN THAT SOME EDITORS HAVEN’T

th re e -m in u te p ro m o fo r Fox, th e y need

HAS IT REDUCED EDITING TIME AND CUT

co n stra in ts an d ju s t h o w lo n g it ta k e s ,

FOUND IT POSSIBLE TO PASS ON THEIR

to h ave a c c e s s to the sy s te m a s w e ll.

PRODUCTION COSTS?

yo u h a ve to th in k a b o u t it v e ry ca re

s k il l s ?

Co n v e r s e l y ,

has th er e been

M y v ie w is th a t o n ce the in d u stry

I p e rs o n a lly t h in k th a t’s a m ista k e . W h ilst yo u can p u t a c u t t o g e t h e r a lot

fu lly. If it d o e s n ’t w o rk, yo u h ave to

A DEMAND FROM EDITORS TO GET

w o rld w id e e m b ra ce s n o n -lin e a r to ta lly

p e e l a ll th o s e s p lic e s a p a rt a g a in and

ASSISTANTS WITH COMPUTER LITERACY

an d film g o e s o u t the w in d o w - a n d

m ore q u ic k ly on a n o n -lin e a r s y s te m ,

sta rt a ll o ve r, an d v e ry few film s can

AND NOT FILM SKILLS?

I’ve b een p re d ic tin g th is w ill h ap p e n

yo u s t ill n eed to w a lk a w a y from the

afford to do th a t. D u rin g the sh o o t, I thro w a first cut

I th in k the re is a bit o f b oth. W hen I first

v e ry q u ic k ly - 1th in k y o u ’ ll find there

film , yo u n eed s o m e b re a th in g tim e .

starte d on L ig h tw o rk s I w a s v e ry keen

w ill be a lot o f co m p e titio n w ith all

W ith n o n -lin e a r s y s t e m s now , if yo u

o f a sce n e to g e th e r fa irly q u ick ly . I’ ll

to h ave s o m e b o d y w ith co m p u te r s k ills

p ut a s ce n e to g e th e r, se e if it w o rks,

b e ca u s e I had n one. A p a rt from how

m a ke a co p y o f it, and then do tw o or

I a ctu a lly m a n ip u la te th is m ach in e ,

thre e v e rs io n s o f th a t s ce n e stra ig h t off.

the b a ck -u p p ro c e s s e s are v e ry c o m p li

I’ ll put them a s id e an d go onto s o m e th in g e lse a n d m a yb e in tw o or th re e d a y s ’ tim e I’ ll go b a c k an d lo o k at

cate d . Th e first g u y th a t I had w o rk in g w ith me ta u g h t m e and I ta u g h t him . I sa w it as a tw o -w a y p ro ce ss.

th o s e tw o o r th re e v e r s io n s a g a in .

S ome

B e c a u se it is s u c h a fa s t p ro c e s s , I h a ve th e tim e to k ee p g o in g b a c k

Here [on Lightworks], you can say, ‘T il try it and if I don’t like it. I’ve got an undo button”. There’s no harm in trying a cut: if I don’t like it I can undo it. It’s given me an enormous freedom to really be adventurous. th e se s y s te m s , an d th e y ’ ll co m e dow n

s t ill a llo w , le t’s s a y , 10 w e e k s to g e t

THAT ASSISTANTS ARE WORKING A LOT

d ra m a tic a lly in p rice. Th e n , w h a t yo u

to a fine cu t, it g iv e s th e d ire cto r tim e

OF NIGHTS, ARE RARELY INVOLVED FACE-

w ill fin d , is a s s is t a n t w o rk s ta tio n s .

to re a lly e xp lo re th e m a te ria l to its

a n d re fin in g an d re fin in g . By the tim e

TO-FACE WITH THE PRINCIPAL EDITOR,

T h e a s s is t a n t w ill be a ro u n d the

a b so lu te , to re a lly g o th ro u g h e v e ry

I a c tu a lly s h o w it to th e d ire cto r, the

ARE NOT GETTING THAT SAME PASSING-

co rn e r, h e ’d h ave b a s ic a lly the sa m e

th in g a n d try e v e ry o p tio n . I w o u ld

cu t is in a m uch m ore p o lish e d sta te

ON OF KNOWLEDGE.

s e t-u p as I h ave , and h e ’ ll be ab le to

a rg u e v e ry s tro n g ly fo r not re d u c in g

o f t h e a n e c d o t a l e v id e n c e is

a c c e s s the sa m e m a te ria j a s I’m

p o s t-p ro d u c tio n , b u t fo r u s in g the

a c c e s s in g , w h ich w ill ju s t be d ata.

tim e to re a lly g e t the b e st o u t o f y o u r

H e ’ ll then be ab le to w o rk in tan de m

m a te ria l.

w ith m e. I’ll be ab le to s a y , “ I’ve ju s t

five o f the film [O scar and Lucinda]

yo u to la y so m e gu n s h o ts here and

a t th e m o m en t, b u t in fa ct it’s p ro b a b ly

a d o o r sla m th e re , g e t rid o f the

lik e v e rsio n s e v e n a n d th e re w ill be

d ire c to r’s c u e s .”

a t le a st o n e o th e r v e rsio n a fte r th is.

sh o o t, “W h e n e ve r I’m not aro u n d if

an d in s u c h fin e d e ta il w h en yo u w e re c u ttin g on film . W hen I w a s

b e a u ty; th e y can p la y a ro u n d to th e ir

c u ttin g on film I can h o n e stly s a y th a t

h e a rts ’ co n te n t. Not lik e w h en I w a s

the re w e re a few film s th a t I n ee de d

c u ttin g on film : If I w an te d to give a

m ore tim e to refin e , an d w o u ld h a ve

s ce n e to m y a s s is t a n t an d he fu ck e d it

b e n e f it e d from th e ch a n c e to e xp lo re

up, I w o u ld h ave to w o rk w ith him or

o th e r o p tio n s.

h er and reco n tru ct it, or put it a ll b a ck

Ma n y

in ru s h e s form an d sta rt a ll o ve r a g a in .

MORE THAN EDIT SYSTEMS, THEY ARE

y o u u s in g a w o r k p r in t a n d is

n o n - l in e a r s y s t e m s a r e

BECOMING MINI-EFFECTS SUITES.

THAT STILL A COMMON PRACTICE IN

IS THERE A CONVERGENCE BETWEEN

FEATURE FILM PRODUCTION?

TASKS THAT HAVE PREVIOUSLY BEEN SEPARATE?

in, b e ca u s e th e y w ere e x p e n s iv e to

A b so lu te ly . I’v e g o t o p tic a ls a t m y

hire, the p o st-p ro d u ctio n h o u s e s

fin g e rtip s , a u d io an d le ve l co n tro ls,

w e re p u s h in g the line o f not h a v in g a

an d a ll th e s e th in g s im p a ct on m y

w o rkp rin t. Ju s t tra n s fe r y o u r n e g to

p ic tu re -c u ttin g tim e a s w e ll. S o , y e s,

ta p e , d ig itize it into the sy s te m , and

I do a lot m o re s o u n d -e d itin g w o rk

lo o k at y o u r ru s h e s on tap e.

th a n I w o u ld h a ve in the p a st. P e rh a p s

Y o u re a lly n eed to se e fe a tu re film ru s h e s on the b ig scre e n . First im p re s

on film .

th ro u g h the film th a t m a n y tim e s

s ce n e yo u w a n t.” T h a t’s the other

W hen the n o n -lin e a r s y s te m s cam e

T h e re is no d o u b t th a t is an o n g o in g

Y o u ju s t d id n ’t h a ve the tim e to go

y o u ’ve go t the tim e yo u can cu t an y

A re

th a n I co u ld e v e r h a ve a ch ie v e d c u ttin g

W e are up to s o m e th in g like v e rsio n

fin ish e d th is sc e n e , ta k e it o ver, I w an t

I s a y to m y a s s is t a n t s d u rin g the

a q u a rte r o f m y p ic tu re -e d itin g tim e th e s e d a y s is ta k e n up w ith e d itin g

s io n s are v e ry im p o rtan t an d y o u can

an d la y in g te m p m u s ic , e ffe cts an d

c h e c k fo r p o s s ib le m is ta k e s , fo cu s

try in g o u t o p tic a ls .

p ro b le m w ith n o n -lin e a r at the

p ro b le m s, s c ra tc h in g . Th e n , o f co u rse ,

Wo u ld

H ere [on L ig h tw o rk s], yo u can s a y ,

m o m en t. On th is film [O sca ra n d

yo u h ave the film , so at so m e sta g e

AN INCREASED DEMAND FOR COMPLEXITY

“ I’ ll try it an d if I d o n ’t lik e it, I’v e go t

Lu cin d a ], th e tw o a s s is t a n t s I had

p rio r to the m ix yo u can co n fo rm the

IN SOUNDTRACKS BECAUSE OF THE

an u n d o b u tto n ” . T h e re ’s no harm in

w o rk in g w ith m e w e re w o rk in g fa irly

cu t th a t yo u h ave d o n e on ta p e b a ck

QUALITY THAT’S NOW AVAILABLE IN

t ry in g a cu t: if I d o n ’t lik e it I can und o

n o rm a l h o u rs d u rin g the s h o o t. W hen

onto film . Y o u end up w ith a cut

THE THEATRES?

it. It’s g iv e n m e an e n o rm o u s free do m

I w e n t o ff to ru s h e s at n ig h t, th e y ’d

w o rk p rin t th a t m a tch e s th e cu t on

It c e rta in ly w o u ld . N o w a d a y s , yo u

to re a lly be a d v e n tu ro u s.

go hom e. B u t now th a t th in g s h ave

d ig ita l, w h ich can th e n be u se d fo r

d o n ’t s a y , “A re w e g o in g to m ix m o no

sta rte d to h ot up, w e are at a s ta g e ,

s c r e e n in g s , s la s h d u p e s an d n e g

o r ste re o ? ” It’s a q u e s tio n o f is it g o in g

an d h ave b een fo r a few w e e k s , w h ere

m a tch in g .

to be 2 -tra c k o r 6 -tra c k ste re o ?

O ne

o f t h e p o in t s y o u h a v e r a is e d

IS THE QUESTION OF TRAINING AND

th a t th e n ew t e c h n o lo g y

WAS OFTEN SOLD, AT LEAST INITIALLY,

it b e f a ir t o s a y t h a t t h e r e ’ s

C I N E MA P A P E R S • NOVEMBER 1997

¡¡fear'” \ * m aw

WSSÊÊ

W É iS m M Avid ¡s a re g s tó jjp H ^ ^ ^ S and MCXpress ¿s a trademark of AiädTecf îcintosh iÇ^â^reçBSiered trademark and QuickTime is a trademark df AppJe Windows and VVindm^^^a^fi^errarks of Microsoft Gorporal

te c h n ic a litie s

P eter D oyle

Becau se 3 5 mm

fil m is s e e n a s

THE APEX OF WHAT THE LOOK IS...

Creative Director, D-Film

IS THE WORK THAT CAN BE DONE HERE COMPETITIVE WITH WHAT’S DONE OVER

and g e ttin g the g e n e ra l m o ve s and

SEAS, OR ARE THERE CERTAIN PROJECTS

th a t th e se w o n d e rfu l n arrative film s

yo u can w o rk o u t the ch o re o g ra p h y .

THAT WOULD HAVE TO GO OVERSEAS

end up b e in g Su p e r-1 6 b lo w -u p s a n y

No-one w ill even attem pt to m ake a

TO BE DONE?

Th e w a y fe a tu re film s are m ad e w ill

w ay. If yo u w o rk out the m a th e m a tics

m ajor film w ith o u t d o in g w h at is called

ch a n g e s ig n ific a n tly , in fa ct the y

o f it all, v id e o b a la n c e to film w ill

p re -vis or p re -visu a liza tio n . The

here, it’s ju s t th a t th e m a n a g e m e n t

a lre a d y h a ve . In a b o u t five y e a rs,

a c tu a lly give yo u m ore re so lu tio n than

co m p le xity w ith w hich that h ap p e n s

o f m o st o f th e s e c o m p a n ie s h a ve su ch

fea tu re film s w ill be m ade in ve ry

Su p e r-1 6 to film . W hen I w a s w o rk in g

d e p e n d s on the b u d get, and the typ e o f

a n arro w v ie w on w h a t a co m p a n y

m uch the sa m e sty le a s te le v isio n

for Arri ca m e ra s in G e rm an y, the b ig

director. If you lo o k at a Jam es Cam eron

sh o u ld be. W h a t’s s ta rtin g to h a p p e n ,

m in i-se rie s fo r ch ild re n are m ade to

d is c u s s io n w a s w h e th e r to co n tin u e

or Jo ck M cTiernan film [ 77?e Last Action

fin a lly , is th a t the d e fin itio n o f a p o s t

d a te. A lot o f ch ild re n ’s te le v isio n

w ith S u p e r-1 6 as a p ro d u ctio n m ed iu m .

Hero, Die Hard], for the b ig action

p ro d u ctio n co m p a n y is c h a n g in g . Th e

s e rie s , p a rtic u la rly in A u stra lia , in vo lve

I th in k the a n sw e r is cle a r in the

se q u e n ce s the y w ill a ctu a lly m ake the

o n e s th a t d o n ’t ch a n g e w ill d ie , a lo n g

q u ite a lot o f e ffe cts th a t h ave to be

an n o u n ce m e n t 10 m o n th s ago o f a

entire sce n e in a co m pu te r w ith little

w ith e ve ry o th e r a rte fa ct from the ’8 0 s ,

put to g e th e r ve ry q u ic k ly w ith a

p a rtn e rsh ip betw een S o n y and Arri in

s tic k men and CGI an im ation and full

and th o se th a t w ill ch a n g e w ill a c tu a lly

re a so n a b ly lim ited b u d g e t. D ig ita l

the d e v e lo p m e n t o f Arri a c c e s s o rie s

cam era m o ves, and that is w h a t’s

m a yb e m a ke so m e m o n e y o u t o f it.

for S o n y d ig ita l ca m e ra s. S o the futu re

sig n e d o ff on. Ift h a t ’s sig n e d off, the

is pretty cle a r really.

D O Ps, the art d ire cto rs and everyone

Babe film b e in g m a d e , and th e re is

e lse are then b ro u gh t in, and the y can

no se c re t th a t e ve ry o n e w a n ts th a t film

then d ial up w h at the y need to know .

to be d o n e in A u s tra lia . T h e re a lity is

Where

do y o u s e e t h e in d u s t r y

HEADING?

co n fo rm in g in fea tu re film s w ill be co m m o n w ith in five y e a rs. T h a t’s

E x a ctly . B u t the re a lity in A u stra lia is

w h ere y o u ’ ll se e s c a n n in g o f all

W hat

n e g a tiv e , m a n ip u la tio n o f so m e form ,

TO FILMLESS CINEMA IN THE NEAR

and then re c o rd in g out o f that.

FUTURE? No t

T h a t ’s

w hat

I ca ll

t h e Ja m e s

Ca m e r o n

a r e t h e p r o s p e c t s o f m o v in g

t a p e- based ca p tu r e, but

DIRECT CAPTURE ONTO OPTICAL DISC?

W ith d e -lin e arizatio n , the id ea is that as so o n as the n egative is e xp o se d , you

W ell, it a lw a y s w a s p o s s ib le to do it

It’s no s e c re t th a t th e re is a se c o n d

th a t the co m p a n ie s are now co m in g up a g a in to the sa m e p ro b le m s th e y had

W hat yo u w ill se e is the d e v e lo p m e n t

w ill be ab le to a cce ss an y im age at any

b efo re, in te rm s o f t h e w a y th e y th in k .

SCANNING OF THE NEGATIVE IS GOING TO

o f h ybrid c a m e ra s; both A rri’s 435

tim e in the p ro d uction flow path. S o , if

I w o u ld like to th in k th a t w e th in k a bit

COME WITHIN 5 -1 0 YEARS.

and P a n a v is io n ’s M illeniu m sh o w the

s c e n a r io .

t h in k s t h a t e n d - t o - en d

W ell, a c tu a lly it a lre a d y is. I starte d

b e g in n in g s o f th is. Th e vie w fin d e r is

w o rk on a film w ith V in ce n t W ard

d ig ita l, the o u tp u t is d ig ita l, it reco rd s

w h ere th a t is a lm o st the ca se .

a d ig ita l s p lit onto A vid or L ig h tw o rk s

t h a t ’ s to be u s e d fo r d o in g c o lo u r

MATCHING, TITLING, COMPOSITES? A ls o , tre a tin g the w h o le film to have

d is c s , but it h a p p e n s to a lso record the 35 mm n e ga tive . T h a t is b e co m in g the sc e n a rio . It’s s o m e th in g C o p p o la h as

a lo o k and style th a t’s u n lik e a n y other

been try in g to do for y e a rs, but in his

film .

w a y the w h ole te c h n o lo g y go t a bit

A nd

t h a t ’ s a c o s t - e f f e c t iv e w a y

OF DOING IT?

co m p lica te d . It w ill be a w h ile before a d ig ita l cam e ra w ill be ab le to run at

I g u e ss it w ill be show n in the box-office.

an y sp e e d from 1 to 120 Fp s, w ith

W hen m aking these ju d gem e n ts of the

v a ria b le s h u tte r as the 435 can now.

im pact o f d igita l on film , you have to

YOU MENTIONED THE NECESSARY

develo p a new p erspective on w hat the

EMERGENCE OF NEW PRODUCTION PARA

concept “co st-effective” a ctu ally is.

DIGMS. I n

If it generates a return at the box-office,

EVOLVING? A STARTING POINT IS PERHAPS

it’s cost-effective.

THE FACT THAT POST-PRODUCTION IS NO

If y o u

t a k e Ja m e s

Ca m e r o n

a s an

w h a t w a y do y o u s e e t h o s e

LONGER SOMETHING THAT COMES AFTER

EXAMPLE, OBVIOUSLY HE’S WORKING

A FILM, IT INCREASINGLY COMES BEFORE

you h app en to be d o in g sp e cia l effects,

d iffe re n tly, in te rm s o f o u r co m p a n y.

ON HIGH-BUDGET FILMS. IN AUSTRALIA,

AND DURING THE FILM.

you w an t to be ab le to a c c e s s the e d it

Y e s , the w o rk is p o s s ib le in A u stra lia ,

OUR PRODUCTION HAS GENERALLY NOT

W hat you see h a p p e n in g , w h ich is

in g; if you are e d itin g, you w ill w an t to

but not n e c e s s a rily b y A u s tra lia n s .

BEEN ORIENTED TOWARDS SPECTACULAR

a lre a d y h a p p e n in g , is the d e -lin e a riza

be ab le to a c ce ss the s p e c ia l effects;

Bu t th e n , th a t’s not [in v itin g ] a b ra w l,

EFFECTS FILMS, BUT TO CHARACTER-

tion o f film . Th e p re -v isu a liza tio n o fth e

the so u n d d ep artm en t m ay actu a lly

b e ca u s e in Lo n d o n not e ve ry o n e d o in g

DRIVEN NARRATIVES. DOES THIS

film m ea n s that it is p o s s ib le for any

w ant to a c c e s s the e d itin g and sp e cia l

d ig ita l film fo r fe a tu re film s is E n g lis h .

PREVALENCE OF LOWER- OR MEDIUM-

crew m em b er or an y te ch n ica l m em ber

effects. W hat y o u ’ll find is that it is

In A m e ric a yo u w ill find q u ite a lot o f

BUDGET FILMS CHANGE THE EQUATION?

o fth e film to be ab le to lo o k at an y part

b e co m in g m uch le ss lin ear, as in picture

A u s tr a lia n s and E n g lis h p e o p le . S o I

No, it w ill p ro b a b ly go the o the r w ay;

o f that film in its p re -stru ctu re d form

cut, picture effects, so u n d cut, so un d

th in k th a t A u stra lia n p o st-p ro d u ctio n

even m ore so if yo u ta k e the a n tith e s is

and w o rk out w h at th e y need to do.

effects, fin al m ix, final grad e , release .

c o m p a n ie s n eed to ju s t re la x a bit and

Y o u ’ll find that all se cto rs are h a p p e n

o pen th e ir d o o rs, an d to c h a n g e the

o f Ja m e s C a m e ro n ’s aesthetic style .

Th e se c o n d are a, w h ich is m ore the

For so m e stra n g e rea so n film m a k e rs

aesthetic is s u e , is that y o u ’ll be ab le

in g at the sam e tim e. It h app en e d on

re a so n s w h y th e y e xist. T h a t’s m y

fe e l in su lte d ...

to a c tu a lly m ake the film w hen y o u ’ re

A le x P ro y a s’ film [Dark City]. It’s b e in g

p e rs o n a l vie w .

What you see happening, which is already happening, is the de-linearization of film . The pre-visualization of the film means that it is possible for any crew member or any technical member of the film to be able to look at any part of that film in its pre-structured form and w ork out what they need to do. 36

s ittin g dow n at h om e , a s p re vie w s. Y o u h ave little s t ic k m en ru n n in g round

sh o t, cut, s p e c ia l e ffects and so un d

Ca n

e ffects are h ap p e n in g, and it’s b e in g

INVOLVEMENT WITH THE DEVELOPMENT

te st scre e n e d : all at the sam e tim e.

OF ClNEON? W h y

yo u tell m e a bo u t yo u r

is it t h a t s o m e o f t h e

HOW HAS THIS AFFECTED THE TIME

MAJOR SOFTWARE PROGRAMS HAVE BEEN

SPAN FROM, SAY, THE INITIATION OF A

DEVELOPED IN AUSTRALIA, OR INITIATED

PROJECT WITH THE ACQUISITION OF THE

HERE AT LEAST, AND THEN GONE OVER

PROPERTY TO THE POINT OF RELEASE?

SEAS? HOW HAS THAT DYNAMIC WORKED?

It’s b e in g re d u ced from , on a v e ra g e , a

W ith K o d a k , m y in v o lv e m e n t w a s to

tw o -ye a r tu rn a ro u n d from the s c rip t to

help d e v e lo p film s p e c ific to o ls tha t

prin t, to one y e a r from s c rip t to print.

co u ld e m u la te w h a t C o m m e rcia l

C IN EM A P A P E R S • NOVEMBER 1997

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Tel +81 3 5450 8531 Fax +81 3 5450 8530

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iM S jJ li'i \ c i : l ' H & c u iiiliy j

tÂ«

C o m

p h p n e : (

)

e m a il: 1 n fo @

e r c ia ls

p h o t o n .c o ^ H

w e b s i t e ; w w w . p h o t o n c^ c Wu i . a u a d d r e s s :

P .O .

B o x

iO R C L l i C L U

te c h n ic a litie s

th a t w a s in the 1 9 0 0 s. Not th a t m uch

th e n n e e d e d to g e t into the h a rd co re

h a s a c tu a lly c h a n g e d .

p ro g ra m m in g an d im a g e m a n ip u la tio n .

Th e co n ce p t is s till p re tty sta n d a rd . Y o u o rig in a te on n e g a tiv e . Y o u s o m e how p ut th a t n e g a tiv e into a fo rm at so

T h e b iza rre th in g at the m o m e n t is th a t

it can be m a n ip u la te d . It u se d to be

the re a lly cre a tiv e s h o ts are a c tu a lly

lig h t th ro u g h an o p tic a l p rin te r, now

b e in g cre a te d b y the re a lly te c h n ic a l

it’s d ig ita l. Y o u do w h at yo u n eed to

p e o p le , an d the re a lly cre a tiv e p e o p le

do an d th a t u s u a lly g e ts s p lit up into

are a c tu a lly d o in g the re a lly m u n d a n e

th re e a re a s: the cre atio n o f im a g e ry

w o rk. T h a t is s o m e th in g n o -o n e lik e s

w ith a th re e -d im e n s io n a l p a c k a g e ; the

IS DIGITAL TECHNOLOGY ALSO

a s in h a n d -cra ftin g , ro to s c o p e s and

LEADING TO LESS PEOPLE WORKING

m a ttin g ; th e n it g o e s b a c k up to film

IN THE INDUSTRY?

e a rly ’8 0 s and it re a lly w ill co n tin u e to be th a t w a y for a v e ry lo n g tim e.

WHAT NEEDS TO GO ON THE SCREEN?

e a sy in v id e o , can so m e tim e s be ve ry

re a lly a g lo b a l o p in io n . A so ftw are

d ifficu lt at film res, a la S e c o n d a ry

p a c k a g e re a lly n e e d s to refle ct w h at

C o lo u r G ra d in g . Is s u e s su c h as grain

the m arke t n e e d s and yo u need ve ry

m a tch in g , c o lo u r se p a ra tio n b a se d on

s tro n g fe e d b a c k from the m arke t. The

the s p e c ific s to c k s and d yn a m ic range,

n e e d s o f an A m e rica n p o st-p ro d u ctio n

are is s u e s th a t v id e o to o ls ju s t can n o t

e n viro n m e n t are ve ry d iffe ren t to the

h a n d le . Th e rea so n w h y so ftw are d e v e lo p

d o in g 80 s h o ts and we h ave 15 p eo p le w o rk in g on it, and th is is a pretty tin y

m ayb e in a few m ore y e a rs yo u w ill see

b u d g e t. Th e la st th in g I w o rke d on we

th a t ch an ge . It u se d to be tra n sm u te rs

w ere d o in g three m in u te s o f the film

w hen Cineo n first starte d , now it’s

and we had 54 p eo p le on the crew for

p a ra lle l p ro ce ssin g . Q u an te l is o ffe rin g

th a t three m in u te s alo n e. It’s pretty b ig.

d e d icate d to o ls, but it’s s till b a sic a lly

Th e so u n d cre w s are g e ttin g b ig g e r b e ca u se o f the s h e e r co m p le x ity o f it all. A nd a g a in , the sp e e d o f it. Y o u m ay

ch a n g e ; w h a t I c a ll “the tr u c k s ” -

welt h ave two or three e d ito rs w o rk in g

b a s ic a lly the s ta n d a rd g o o ie s that

on the film .

The needs of an American post-production environment are very different to the European environment, which is again very different to an Australian environment. I consider that there are actually three major styles of usage of software post-production applications, and you really need to have a very innate understanding of all three.

m ent te n d s to m igrate out o f A u stra lia

m ent. I c o n sid e r th a t the re are a c tu a lly

is the la c k o f an in ve stm e n t in fra stru c

th re e m ajo r s ty le s o f u sa g e o f so ftw are

do pretty go o d th in g s lik e S o ftim a g e

ture th a t you have in the U SA . Th at is,

p o st-p ro d u ctio n a p p lic a tio n s , and

and Flam e. T h e y are go o d to o ls, yo u

MAKING, AND EVEN MAKE-UP? IS DIGITAL

s to c k o p tio n s, p u b lic flo a ts, etc. It’s ju st

yo u re a lly need to h ave a v e ry in nate

p lu g them in and the re is q u ite a large

WORK GOING TO REPLACE THOSE KIND

e xp e rie n ce d w o rk p o o l th a t g e ts yo u

OF PRACTICAL EFFECTS?

not in our cu ltu re ; we tend to w o rk the

u n d e rs ta n d in g o f a ll three.

rea l e state m arket, rather than s to c k

G iv e n

o p tio n s on new so ftw are co m p a n ie s.

5 -1 0

t h e r a p id c h a n g e s o f t h e la s t

YEARS, ARE WE REACHING A POINT

W hat

a b o u t th e effec t on m o d el

th ro u g h y o u r b re a d -a n d -b u tte r w o rk.

No. I h a ve a q u o te at the m o m en t to

T h e se c o n d le ve l is w h en yo u are d o in g

rem o ve o n e -a n d -a -h a lf m in u te s o f a

WHERE SOME STABLE PLATFORMS HAVE

s o m e th in g s p e c ia l an d th e s e g o o ie s

p im p le o ff a le a d a c t r e s s ’ fa ce . M a k e

TO A LACK OF VENTURE CAPITAL

A CHANCE OF BECOMING GLOBAL STAN

ju s t cre ate h a vo c; then yo u b a s ic a lly

up did a s b e st th e y co u ld on the d a y,

GENERALLY...

DARDS, IN THE WAY THAT THE STEENBECK

b u ild y o u r ow n to o ls, an d , w ith a c o m

a n d then w e ’ ll g e t in an d cle a n up the

OR THE NAGRA HAVE BEEN?

p a n y like o u rs e lv e s, w e do th a t a lot.

T h is

g o e s b e y o n d t h e fil m in d u s t r y

Y e s . S e c o n d ly , it’s a g o d a w fu l tim e-

rest. Th e la s t film I w o rk e d on in

zo n e to try an d do a n y th in g . It s o u n d s

Y e s ; a g a in it a lw a y s h as b ee n . It’s ju s t

W h at m ay c h a n g e , or b e co m e a little

rid ic u lo u s th a t th a t sh o u ld be an is s u e ,

th a t p e o p le ’s d e fin itio n o f it w a s ve ry

bit q u ick e r, is th a t a s the cre a tive co m

in co n tin u ity , so w e g o t in th e re and

b u t it a c tu a lly is. I h a ve e xp e rie n ce d

s m a ll. W h e th e r it’s P rism s, S o ftim a g e ,

p o s ito rs and a rtis ts tend to be h a n d e d

s o lv e d th a t. A g a in , it ju s t a u g m e n ts it,

th a t p e rs o n a lly w o rk in g w ith C in e o n ,

A lia s - th a t c h a n g e s m o n th ly. B u t the

m ore an d m ore o f the m u n d a n e w o rk

an d in an id e a l w o rld w e w o u ld w o rk

w h e re y o u end up w o rk in g a ll n ig h t to

co n ce p t o f a th re e -d im e n s io n a l, im age -

an d the m ore s k ille d an d m ore te c h n i

to g e th e r to cre a te a n ew aesthetic,

be in to u ch w ith E u ro p e an d u n til e a rly

p ro c e s s in g to o l h as b een a ro u n d sin c e

ca l p ro g ra m m e rs ge t h a n d e d the m ore

w h ich yo u se e a lot w ith m u s ic v id e o s .

m o rn in g to co n ta ct the U SA .

the e a rly ’8 0 s . W h e th e r yo u w ere

d ifficu lt s h o ts in ta n d e m w ith an art

O n ce film a e sth e tics a n d a u d ie n c e s

u s in g Flam e, C in e o n , M atado r, A vid

d ire cto r, yo u w ill find th a t th e w o rk

b e co m e m ore c o m fo rta b le w ith a m ore

m en t in v is u a l m ed ia re a ch e s a p o in t

Illu s io n , S a b re , w h a te ve r, it’s s t ill a

s k ills w ill p ro b a b ly s h ift. W h at w ill

o ff-b e a t aesth etic, y o u w ill se e m ore

Th e o th e r re a so n so ftw a re d e v e lo p

Eu ro p e an e n viro n m e n t, w h ich is again v e ry d iffe ren t to an A u stra lia n e n v iro n

Y e s , it is a c tu a lly in cre a sin g . W e are

be S G I-b a se d with Im age V isio n lib rary;

Th e c o m p le x ity o f the to o ls w ill

s p e a k to? To be q u ite b lun t, it’s not

o f t h e c o m p l e x it y o f

ch a n g e . At the m om ent, it h a p p e n s to

the sam e th in g.

w h at th e y n e e d , b e ca u s e w ho do yo u

No, it’s ju s t in c re a s in g .

Because

Th e to o ls that y o u ’ll u se w ill o b v io u s ly

D ire cto rs had b eco m e a ccu sto m e d to

to a d m it, but it is a c tu a lly the re a lity.

2-D im a g e m a n ip u la tio n , or the re p a ir

a g a in . T h a t’s b een the w a y s in c e the

in a v id e o room ; s u rp risin g ly , w h at is

1t h in k th a t is a v e ry in te re stin g a re a an d th a t is w h a t’s a c tu a lly h a p p e n in g .

G e rm a n y th e re w a s a m a k e -u p e rro r

an d th e n le a v e s A u stra lia n s h o re s is

tw o -d im e n s io n a l, im a g e -p ro c e s s in g

h a p p e n is th a t th e c re a tive a rtis ts w ill

c r o s s o v e r s in te rm s o f fe a tu re film s .

ju s t s im p ly th e e x c h a n g e o f in fo rm a

d e v ice . T h e re ’s a n a ive co n ce p t th a t

e v e n tu a lly ge t in c re d ib ly b ored b e in g

Ju s t a s m a k e -u p a rtis ts fo r te le v isio n

tio n . It’s ju s t n ot th a t e a s y to ro un d up

a ll o f th e se to o ls are n ew . T h e first u se

g ive n the 3 0 gree n s c re e n s an d the

w e re u se d to d o in g ce rta in t h in g s

a g ro u p o f h ig h -e n d p o st-p ro d u ctio n

o f a d ig ita l p ictu re w a s the v e ry first

5 0 w ire re m o v a ls. E ith e r th e y w ill

b e c a u s e it w a s te le v isio n a n d not film ,

p e o p le in the s a m e room at the sa m e

t r a n s m is s io n b y M arco n i, w h ich w a s a

s lo w ly le a ve the in d u s try o r th e y w ill

yo u w ill s e e ce rta in th in g s h a p p e n in g

tim e h ere, an d g e t a g e n e ra l fe e l o f

five -b it, b la ck -a n d -w h ite im a g e , an d

d e v e lo p m ore co m p le x s k ills th a t are

b e c a u s e it is d ig ita l a n d not ju s t film . ©

C IN EM A P A P E R S • NOVEMBER 1997

arlier this year, the RAAF base at M elbourne’s Point Cook was transformed into the port town of Nantucket for the production of the mini-series , M oby Dick. Its production designer Les Binns has worked on such films as The Man From Snowy Fiver (and its sequel), Stork and Alvin Purple, as well as the mini-series The Anzacs, Eureka Stockade and The Last Outlaw. Binns had an art background, and was at various times an exhibited painter, and an advertising, book and magazine illustrator. H e then moved into the film and television industry as a production designer on television shows such as Skippy and Anim al D octor in Sydney. H e moved to M elbourne, joined Crawford Productions for an American co-production, The H ands o f Corm ack Joyce, and stayed on for three years, before moving on to w ork in feature films and mini-series. For the last two years he has w orked both here and in the USA. Although M oby D ick was filmed here, he got the job through an Ameri can production company. “It could have been done anywhere in the world, and finished up in my own backyard,” says Binns. “You think of M oby D ick as a period piece, but it was a really heavyduty engineering situation. The M elbourne effects guys, Brian Pearce and Peter Armstrong together w ith Brian Cox in Sydney, built an enormous am ount of difficult effects equipment to make old M oby swim around.” Binns was responsible for creating the street scenes of N antucket, a 3 5 -metre replica of the Pequod, Captain Ahab’s ship, and a large horizon water-tank off the coast of Point Cook for the scenes at sea. “We decided we didn’t w ant to do it in a studio, we wanted [it] to be outside. T hat was one thing [director] Franc Roddam and I agreed we had to do to make the show work. We must have a real ship, in real water, w ith real background, real clouds, real air, real w ind.” They even managed to incorporate parts of a real whale into the realiza tion of the great white whale, which also used computer-generated effects and animatronics. For his recreation of Nantucket, Binns did the requisite research, but didn’t rely wholly on that. “I think sometimes realism can be a little bit boring,” he explains. “Sometimes you’ve got to exaggerate it to get the story across. So I made N antucket an industrial whaling town; with muted colours and raw materials. I probably made it a little less pretty than it really was.” Likewise, some of the ship’s interiors built in the studio were a bit bigger than they would have been - Ahab’s cabin in particular. “Cinematically we w ouldn’t have seen much more than Ahab’s face,” he explains. “To get m ore of him, I made the cabin larger. Sometimes you’ve got to be flexible w ith historical research.” Binns is keen for the horizon tank to be retained, and believes it is one of the best-placed tanks in the world. “W ith some improvements, it would be such a good thing to have in M elbourne. There’s a lot of potential down there to really get something going, but you can’t have a major film studio in every capital city. All the tank needs is for us to get behind it; some investor to take a lease on it for a w hile.” : ph otos

l e s b in n s

The horizon tank under construction.

Detail of the Pequod replica.

CINEMA P APERS

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Adogofayear

Loveandmarriage

M ichael C ordell’s highly entertaining documentary,

Two new Australian films, L ee Rogers’ Dust off the Wings and Cherie N ow lan ’s Thank God He M et Lizzie, evolve around the notion that the modern marriage is a fearful, tantalizing yet inevitable prospect

Year of the Dogs,

depicts the Footscray F ootball C lub’s annus

horribilis

W URASE

(Norman Kaye). The pair are well-

arrives looking for his hidden for

known at the local greyhound

tune. In the ensuing conflict, Alex

track, but when a sinister woman,

dies, and PC escapes.

Anja (Sandy Gore), and her Alsat

to Susie, PC is knocked down by a

looking for Alex, he is a little more

car and ends up being cared for by

than concerned. He downloads

Amy (Rachael Blake) and her fam

some vital information onto a

ily. The disc ends up in her son

floppy disc that he secretes in PC’s

Zac’s (Nathan Cavaleri) disc-box,

special backpack-harness with

mistaken for one of his. Zac is a

instructions to get it to his friend, Susie (Caro line Gillmer), and her daughter,

Fthn PHOTOGRAPHY: GEOFF BURTON. PRODUCTION

designer : S teven Jones -Evans . Editor :

Nicholas Holmes . Composer : Mario Millo . Animal trainer : Luke Hura . Cast : Billy Connolly (voice of PC), Nathan Cavaleri (Zac Feldman), Emilie Francois (Samantha Arkwright), Joe Petruzzi (Stephen Feldman), Caroline Gillmer (S usie Arkwright), Rachael Blake (Amy Feldman), Sandy Gore (Ania), Norman Kaye (Alex), Freyia Meere (Binky Feldman), Forrest (PQ. Australian distributor : Polygram Filmed Entertainment. 1997. 35mm. 87 mins .

boy interested who resents his stepfather,

Zac’s memories of his deceased

finds his sister,

belongs to an eccen tric computer genius and crossword compiler, Alex

ustralian filmmakers don’t have a great strike-rate with

children’s films; the formulaic con struction that such films demand works against most efforts. We seem to be much better at subvert

Binky (Freyja

father and his new stepfather; the implausible but accepted method of making the crucial animal char acter talk and interact with the humans; PC’s irreverent and jokey

Meere), a pain in the neck. Som e how, between Zac’s computer skills and PC’s apparent affinity,

mien; and the over-the-top charac ter of the villain, Icelandic Anja, who is very much from the mould of Cruella de Vil. Subplots, such as Zac’s involvement in lighting Sam antha’s

a portable computer pro

production of A Midsummer

gram that allows

Night’s Dream, attempt to round

PC to ta lk -w ith the

out the characters and the story,

Scottish tones of Billy

but end up coming across as gratu

Connolly no le s s -

itous (especially when PC runs

is created, and PC

amok over the lighting-board and

enlists Zac’s help in

sends the whole play into pre

retrieving the disc

dictable uproar). Sim ilarly, scenes

and solving the puz

between Zac and his stepfather

zle left on it before

add an extra dimension to their

Anja finds them

relationship, but they are som e

and takes the disc.

times overdone and overplayed.

All the ele ments here are

Paws is most successful when dealing with PC and the comic

fairly standard:

possibilities that a talking dog pre

the unhappy

sents. Connolly’s voice gives him a

ing the formula, hiding it with other

teenage misfit

non-formulaic elements or throwing

struggling

it away altogether, than utilizing

interest, who thinks she’s better

Petruzzi), and

Anja

a Jack Russell, PC, who

new town; Amy, the female ‘friend’

tha (Emilie

ing and cloying than their treatment

Essentially, it’s the story of

than Zac; the friction between

younger

like Paws.

One o f cinem a’s greats, Akira Kurosawa , is relegated to the $ 1 per w eek video bin

Stephen (Joe

when

men of film formula? Something

Notquitearhapsody, butnowaboutsome respect?

Sam an

children in film is a lot less patroniz in American films, in particular. So

GERE

in computers,

Francois),

combined with the rigorous regi

Directed by Karl Zwicky . Producers : Andrena Finlay , Vicki Watson . Executive producer : Rebel Penfold -Russell . S criptwriter : Harry Cripps . Director of

typical 14-year-old

ally, the Australian treatment of

what happens when that attitude is

PAWS

Before he can deliver the disc

ian, Sibelius, turn up at the track

YO SH IO KA

in a

life and a character that is in keep ing with a jack Russell, and a sure-hit with the audience: even

and manipulating the formula to

before the dog receives his speech,

produce successful, polished films.

he also elicits compassion for his

This is a shame because, gener

C I N E M A P A P E R S • NOVEMBER 1997

understated sadness over Alex’s

Films continued death. The usual double-takes and fainting-backwards gags follow var ious characters’ discovery of PC’s new gift - typically it is only other children that are privy to the secret - and there’s a com ical scene where PC espies Sam antha’s dog, Cordelia (a white Maltese Terrier), being bathed and goes into a frenzy of excitement. The adult characters range from complete caricature (Anja, hammed up to the hilt by Gore), to boring stereotype (Amy, the sym pathetic but inconsequential

YEAR OF THE DOGS

mother), to attempted com plexity (Stephen, the unem ployed and

deserves much and receives little

The use of television and radio

ing-class nature of the club, and

commentary in the soundtrack also

the opportunity to use the club’s

critical, historical attention. But the

works well.

supporters’ fortunes metaphori

very fact that it w as a year charac

at expanding Sam antha’s back

Directed by Michael Co rdell Producer: Michael Cordell . Co-producer: Chris Hilton . Editor : S tewart Y oung. Director of photography : Michael Cordell S ound: Tom Bodycomb. Original music : S cott S aunders . Australian distributor : Ronin . 35mm. Australia . 1997.90 mins .

a number of key staff; the coach,

political. Much more could have

ground are clum sy, and Binky is

t is probably already a cliché, but

the club president and the a ssis

been made of the ways in which

cultural phenomenon. The film at

Year o f the Dogs could have just

tant coach. Taken together, these

the club intersects with the

tim es does capture the very ordi

possibly duplicitous stepfather desperate for Zac’s acceptance). The children, Zac excepted, are sketchy and standard. Attempts

nothing more than a one-line char

cally is lost. Cordell seem s to want

terized by drama draws the focus

though, works by metonymy. We

to steer clear from the political

of the film away from the everyday

follow the fortunes of three football

nature of football. And yet, in many

in football. And it’s the everyday,

players, two female supporters and

ways, football and club loyalty are

the ordinary, the little dramas, which make football a fascinating

Year o f the Dogs generally,

acter description. Zac is the main

as aptly been titled “A Dog of a

profiles are meant to provide us

Footscray community. Footscray

nary ways in which a football club

focus and as such gets the most

Year” . Focusing on 1996, the last

with a palette from which we can

is one of the most multiculturally-

operates and these are the film’s highlights.

character development. While his

year of the Footscray Football Club

draw a more complete picture of

diverse and economically-

situation is typical of contem po

before it became the Western Bull

the club. For the most part this

depressed areas in Victoria. Pat

rary children’s film scenarios, he

dogs, M ichael Cordell’s film takes

works well, particularly in relation

and Jenny can’t possibly stand in

pre-game addresses are fascinat

is saved from the sentim ental

us behind the scenes at the club

to the players. Given that there are

for all of this.

ing. The story of the young player

m aw kishness that would have

during what was arguably its most

at least 42 players at the club, it

accom panied it out of a Hollywood

tum ultuous year since the pro

m akes sense to focus on a few. But

1996 as the year to make this film

by the club when they realize that

studio production, and Cavaleri

posed merger with Fitzroy in 1989.

while the supporters, Pat and Jenny

was extraordinary, but not neces

to “drop” him from the list would

That M ichael Cordell chose

The backroom scenes and the

battling with cancer who is kept on

plays it well. Only when he is

It was a year that saw the resigna

Hodgson, are delightful to watch,

sarily fortuitous in terms of what is

destroy his already shaky morale is

arguing with his stepfather or

tion of a coach, another proposed

they are not really representative

undoubtedly a meritorious endeav

emblem atic of what it means to be

m ourning his dead father does

merger brought about by the pres

of the supporters of the club. There

our: to document an aspect of

part of a club. The scenes show ing

his performance come close to

sures of an expanded national

is not enough sense of the work

Australian popular culture which

becom ing the pathetic ‘victim ’,

competition and the introduction

elephant w alk” for female support

players stripping and doing “the

and even then it is pulled back

to the club of a special “taskforce”

ers to raise money for the club are

with typical Australian emotional

of concerned businessm en keen to

hilarious. And the d iscussions of

restraint.

revive the fortunes of this ailing

players’ futures by board members

club. These dramatic events punc

who are keen to reduce operating

advantage in this instance, per

tuated a season of abysm al

costs but conscious of the contri

haps we’ve not truly succeeded

on-field performances: thrashing

butions these players have made

in the children’s film arena because

followed thrashing, and the club

to the club, are engrossing. And it’s

we are not yet comfortable telling

staggered from crisis to crisis. Year

these things which give the viewer

emotionally involving stories with

o f the Dogs attempts and succeeds

a real insight into the club.

out a blackly hum orous skew.

in capturing these dram as in often

Children’s films have very particu

inventive and very funny ways.

While it w orks to the film ’s

lar and different criteria, and while

The overall structure of the film

Year o f the Dogs is entertaining and engaging. Whether it can make it in the cinema is yet to be seen,

Paws recognizes and addresses

is very much dictated by the

but it w ill certainly be a must-

these criteria, it still hasn’t got the

unfolding off-field events. These

watch programme when it reaches

emotional mix right. Humour and

events then add drama to the

television. You don’t need to be

action it does well, standard story

actual game footage. The

a fan to enjoy it, either. Anyone

structure and character quotients

sequences at the gam es are

interested in trying to uncover the

it also em ploys successfully, but

inspired. Cutting from the field to

m ysteries of A ustralia’s obsession

it still has to master emotional

the supporters to the coach’s box

with football would do well to

truth in fam ily dynam ics.

gives the viewer a complete sense

start here.

of the atm osphere at the gam es.

C IN EM A P A P E R S • NOVEMBER 1997

DUST OFF THE WINGS Directed by Lee Rogers . Producer: Lee Rogers . Executive producer : Ward S tevens . S criptwriters : Lee Rogers , Ward S tevens . Director of photography : Jeff Malouf . Editor : Peter Whitmore. Line producer : Emma Brunton. Music : Phil Ceberano , Justin S tanley . Cast : Lee Rogers (Lee), Ward S tevens (Ward), Phil Ceberano (Phil), Felix Williamson (Alex), “Rash ” Ryder (Rash ), Leigh Russell (Luke), S imon Lyndon (Gazza). Australian distributor : UIP. 35mm. 1997. 80 mins .

marriage, when it comes to the hero, is a let-down, and the bride turns out to be less than his ideal. But Dust Off The Wings is not a romantic comedy. It has no truck with depicting the relationship between the hero, Lee (Lee Rogers), and the woman he is going to marry, who is rarely seen, and mostly from the back. That’s sentimental stuff. The character of

t may be a sign of the aging of

the fiancée is an expression men

one could say, a film which is a kind

amiably vulgar. Dust Off The Wings

narcissistic hedonism that there

tioned but not used.

of buck’s night, a last disgusting act

has a little sex, a lot more sexual

before surrendering to propriety,

reportage, and plenty of surfing to

in which getting married is a fearful

episodes in the lives of Lee and his

but a eulogy, still, to the life of sex

music. (Interpersed through the film

or tantalizing or fantasized

best-man, Ward (Ward Stevens),

and surfing and drink, which Lee

are sequences of surfing cine

prospect. If, and when, marriage

and their mates and the girls in the

and his friends enjoy. In those

matography, which fortunately

happens finally in these films, part

sidelines in those fragile days just

bright brittle days before the wed

don’t seem too out of place in the

of their intended humour is in the

before the wedding, as Lee and

ding, Lee and Ward contemplate the

film’s video-clip structure.)

expected release of air from the

Ward and mates meet up around

knowledge that monogamy will

fantasy balloons of the people

Bondi and thereabouts on the way

deprive Lee of full-fledged member

reportage in Dust Off The Wings

have been several com edies lately

What the film does is intercut

Just as there is more sexual

involved. In Four Weddings And

to buck’s night; while the girls

ship in their three-legged hedonism,

than sex performed, there is end

A Funeral (Mike Newell, 1994),

meet up on the way to hen’s night,

the good-bad life. Lee, anyway, is

less talk about a relationship which

Charles (Hugh Grant) and Carrie

and afterwards. At the climax, male

uncertain that he is capable of

is not depicted at all, endless

(Andie MacDowell) never marry,

and female send-offs are intercut.

renouncing his membership, capa

yakking about sexual control, or,

hoping to postpone the inevitable

The film goes back and forth across

ble, that is, of achieving sexual

more exactly, its im possibility for

deflation. In Muriel’s Wedding

its time-span of a few days, though

discipline, and even doubtful that

ordinary m ales. However, more

THANK GOD HE MET LIZZIE Directed by Cherie Nowlan. Producer: Jonathan S hteinman. Co-producer: Carol Hughes . S criptwriter : Alexandra Long. Director of photography : Kathryn Milliss . Production designer : Clarrissa Patterson . Costume designer : Edie Kurzer . Editor : S uresh Ayyar . Music : Martin Armiger. Ca st : Richard Roxburgh (Guy), Cate Blanchett (Lizzie ), Frances O’Connor (Jenny), Linden Wilkinson (Poppy ), John Gaden (Dr O’Hara), Genevieve Mooy (Mrs . Jamieson ), Michael Ross (Mr . Jamieson). Australian distributor : REP. 35mm. 1997. Australia . 91 mins .

herie Nowlan’s first feature film turns some clichés on their

head. The lead character, Guy

(P. J. Hogan, 1994), Muriel (Toni

more or less following the

he really wants to. But the melan

important than its quantity is the

(Richard Roxburgh), is a nice nerd,

Collette) gets a great w edding but

sequence of before, during and

choly discovery that his fiancée is

fact that none of the talking is a

but through flashbacks we learn he

a phony marriage.

after the buck’s night. Naturally,

equally doubtful that she really

form of dramatic action. Dust Off

w as a more daredevil character.

Lee, played by director Lee Rogers,

wants to is a shock, and so the

The Wings is at its most interesting

Most Hollywood films are the other

and his mates get most of the

world teaches him that marriage

a documentary of a scene, but like

way round: from nerd to daredevil.

has to be worked at to succeed.

Dust Off The Wings is another in this series of films. It is a raucous, loud-mouthed and delib

attention, though Kate Ceberano as

erately vulgar variation on this idea

Jenna, the most outspoken of the

that getting married is a funny

girls, gets some of it.

thing to do nowadays. As in Thank

God He Met Lizzie (Cherie Nowlan),

Rogers and his co-writer Ward Stevens have fashioned, crafted

C IN EM A P A P E R S • NOVEMBER 1997

However, it is not through moral

many docum entaries it is more talk than action. It lives up to its aim s, © ROBERT NERY

When the film starts, Guy’s w andering through a trendy party

edification that Rogers and Ward

though.

expect to appeal to their audience,

Lee Rogers was interviewed in

ward and has no dress style.

but through being appallingly, yet

Cinema Papers, #112, October 1996.

There’s only one woman that’s at

looking for Ms Right, but he’s awk

MAO’S NEWSUIT Directed by S ally Ingleton. Producer: S ally Ingleton. Director of photography : Erika Addis . Editor : Tony S tevens . Music : Felicity Fox . S ound recordist : Paul Finlay . S ound design : Peter Walker . Australian distributor : AFI Distribution . 1997. Australia . 16mm. 55 mins .

ally Ingleton’s latest docum en tary offers a portrait of two

young Beijing designers working diligently to forge reputations and careers in China’s apparently bur geoning fashion industry, their hearts firmly set on eventual inter national acclaim. At the film’s outset, Sun Jian is head designer fo ra large com pany while Guo Pei, her best friend, works indepen dently for private clients as a designer and stylist. We meet the two women and their fam ilies, and follow their separate professional lives to the point where Sun Jian resigns to join Guo Pei when the latter is invited to do her first show all interested in him, and she’s a

wedding, which takes up the entire

memories of Jenny who is every

on by both of their inability to give

long-standing friend trying to play

second act. It might look like a

thing Lizzie is not. Sh e ’s wild and

more than an inch of their psyches.

promises to be crucial for both.

Dorothy Dix. We cut to Guy out on

Vogue centrefold, but writer

unconventional, spontaneous,

These scenes are shot hand-held,

Their subsequent preparations

the street rescuing a pregnant cat

Alexandra Long and director Cherie

untidy, sexy and obsessive, with

and they’re so engrossing and

and the show itself provide a

and trying to find its owner, when

Nowlan make this a very detailed

long dark curly hair. When she first

moody that it’s also a shock for the

narrative with an inherent tension

she m akes signs that she’s about

satire that harks back to earlier,

sees Guy in a bar, she propositions

audience to come back to the wed

and colourful climax; Guo Pei’s

to give birth. That’s when he meets

famous Oz plays about ‘getting

him and he runs home scared. But

ding which is now looking more

wedding provides a cheerful

female doctor Lizzie (Cate

hitched’. This wedding is not just

Jenny has a friend, Poppy (Linden

and more like a chaotic sham bles.

dénouement. It’s a fairly absorbing

Blanchett) and this trusting soul

the marriage of Guy and Lizzie, it’s

Wilkinson), who can see that Jenny

The third act of Thank God He

film and a welcome introduction to

invites him into her house and their

about all the mism atching in their

and Guy should end up in the cot,

Met Lizzie is all about resolution,

a hitherto unexplored aspect of the

relationship begins. She’s blonde,

cosm os which includes June (Debra

so with her help their glorious

which in this film concerns bravery,

new China, but one is largely left

attractive and intelligent, and

Kennedy) getting off with a priest,

night of lovem aking ensues.

resignation and a sort of watered-

wanting to know much more - not

everything a wom an’s supposed to

and Melanie (Heather Mitchell)

be in the ’90s. She falls for him

being humiliated by the sardonic

because her biological clock is tick

male placed by her side.

ing, and he just happens to come along at the right time.

down love. The ending brings to

so much about its individual sub

act that the film gets really interest

mind what has often been said

jects but about the backdrop to their endeavours.

It is in the middle of this second ing. While the wedding guests get

about Australians: that w e’re more

into the serious business of cele

interested in having a character

scenes, which are shot Steadicam

brations and large consumptions of

overwhelmed by life’s choices than

slightly self-conscious but very

But the main focus of these

Both Sun Jian and Guo Pei are

for maximum involvement, is Guy’s

alcohol, Guy is increasingly drifting

in showing a character winning

accom m odating, eager to talk

dazzling, quick affaire and six

increasing discomfort. The more

off into images of his previous love.

against great odds - which domi

about their lives, their work, their

weeks later they’re in love and

this army of wellwishers pushes

Now when he sees Lizzie at his

nates American screenplays.

planning to get married. They both

him into the arms of Lizzie, the

side, he hardly registers who she is

Guy and Lizzie embark on a

Thank God He Met Lizzie is shot

influences and prospects. They’re well aware of the vicissitudes

accept this infatuation very readily,

more he remembers his past love,

or why he is there. The flashbacks

by Kathryn Milliss, and it has a

and the sheer enormity of the

and the camera lingers on images

Jenny (Frances O’Connor).

gradually tell us the whole story of

gritty, engaging style. The screen

international industry, but this

Guy and Jenny’s love affaire, and

play is an interesting attempt to tell

only mildly inhibits their confidence

its eventual disintegration brought

a different type of story, although

and certainly doesn’t affect their

the wedding reception just seem s

enthusiasm or ambition; they’re

to go on and on, till every last drop

also aware that, comparatively

are very upper-class and used to

of storytelling has drained out of

speaking, they’re well-placed to

organizing everything. So they

the characters. O ccasionally these

help kick-start a new Chinese

organize Guy and Lizzie into a big

scenes felt a bit like television, but

couture.

of romantic fatal attraction. But this ideal love story is soon to develop other layers. The family Guy is marrying into

As the w edding banquet pro ceeds, Guy is overwhelmed with

wedding where all their rich rela

Richard Roxburgh, Cate Blanchett

tives and friends will be able to

and Frances O’Connor’s fantastic

illum inating moments emerge from

The film’s most engaging and

indulge them selves in a superbly-

performances ensure that it is

visu als rather than the wom en’s

staged ritual. Lizzie’s mother, Mrs

always very engaging to watch.

exposition. For example, we see

Jamieson (Genevieve Mooy), is

Director Cherie Nowlan has cer

Sun Jian travel to inner Mongolia

every new husband’s nightmare,

tainly delivered a smart, different

on a buying trip, tagged by a sm all

with her over-smart clothes, com

film, but if you’re looking for a film

junket in which her custom arily

m anding voice and manipulative

as groundbreaking as When Harry

hum ourless boss arranges a Mon

presence. Guy is frightened to look

Met Sally (Rob Reiner, 1989), you

golian feast and a horse-riding

at her too hard, fearful that he

may be disappointed.

might alm ost see an older version of Lizzie in drag. Quickly, the film cuts to the

in Shanghai - an opportunity which

©MARGARET SMITH

session. It’s fascinating to watch this young woman, so intent on

A profile of Cherie Nowlan appeared in

hurtling full-tilt into one of the

Cinema Papers, #i20> October 1997.

m ost fickle and competitive indus-

P A P E R S g NOVEMBER 1997

tries in the world, face-to-face with a yo u ng Mongolian woman in tradi tional dress;,their very encounter signals irrevocable cultural change. Sim ilarly, when Guo Pei looks through an old fam ily album with her mother, close-ups of the old black-and-w hite photos delicately evoke com parisons between old and new China. And when she displays and then m odels her grandm other’s silk s, spe aking of the inspiration they lent her even from early childhood, it’s easy to share Guo Pei’s excitem ent about the future - about the artistry which might spring from such inspiration. What’s m issing, to the film ’s detriment, is background detail, and insights which m ight better contextualize the wom en’s story. We learn very little of the wider Chi nese fashion industry and of the cultural and political change affect

an extremely rich heritage which

I what bland and superficial portrai-

top of their field. Furthermore,

from this, cinem atography is

ing it, of dom estic and international

cannot help but inform contem po

why is part of the fashion show

disappointing, o v e r a ll- a glaring

m arkets’ responses to new Chinese

rary Chinese design.

1 ture which lingers too long on I ' insignificant detail at the expense

shot in black and white? It gives an

irony in a film centred on fashion

designers; such issue s are dealt

These are very frustrating

\ of substance, and view ing it is like

air of pastiche and a triteness to

and design. There are som e beauti

with only fleetingly and m ainly in

om issions, and much as the focus

the sequence, as though the film is

fully-com posed static shots and

the film ’s last few m inutes. The

on Sun Jian and Guo Pei as individ

trying desperately (but unsuccess

som e striking landscape footage

designers make occasional com

uals offers a degree of satisfying

1 being limited to a keyhole view of a I 1 widescreen scenario. It must also I j be said that for all the brouhaha

fully) to replicate the atmosphere

along with the scenes mentioned

ments throughout about the

intimacy as well as im plicit com

\ about the film’s focus on new Chi-

and cinem atography of other

earlier, but much is forgettable.

constraints the revolution imposed

mentary on the individual in

recent fashion docum entaries (for

(Music, however, is a notable com

upon Chinese clothing design and

contemporary China, further or

! nese fashion, we see the designs I 1 only very briefly, during the Shang-

exam ple, Douglas Keeve’s delight-

ponent, with an effective incidental

manufacture, but it’s only at the

rather deeper exploration of the

[ hai show. This is a pity, because

fully-candid Unzipped [1995D, a

last minute that they begin to d is

subject would have made for a

cuss in any depth topics such as:

more engrossing and infor

cultural and political history; the

mative documentary. In

w ays in which they and the Chinese

the main, Mao’s New

industry m ight now fare; how the

Suit opts for some-

industry m ight distinguish itself in the wider world. And

Sun Jian and Guo Pei -to

style which doesn’t fit

score by Felicity Fox and equally strong pre-recorded selections.)

with the remainder of

Mao’s New Suit gives us a

the film. Following

moderately entertaining glim pse of one element of China’s post revolutionary reform; but a glim pse is all, and unfortu nately it rem ains quaint

aside from Guo Pei’s brief

when it m ight have been

show casing of her grand

riveting.

mother’s clothes, there’s

no mention at all of the many centuries of textile and clothing design which preceded the revolutiondespite the fact that it’s

Sun Jian, left, Guo Pei, right, and models.

Mao's New Suit

in review T elefeatu re MASL1N BEACH Australian International Pictures and S pandau Films presents [sic ] Maslin Beach . Director : Wayne Groom. Producers : Andrew S tewart, Wayne Groom. Executive producer: Oskar S cherl. S criptwriter : Wayne Groom. Director of photography : Rodney Bolton. Production designer : Jacqui Canty . Editor : S imon Whitington. Composer : Robert Kra l S ound recordist : Marco Arlotta. S ound editors : S imon Whitington, Peter S mith. Mixer : Peter S mith. Ca st : Michael Allen (S imon), Eliza Lovell (Marcie ), Leylah Love (S hower Woman), S imon Bond (S hower Man), Bonnie -Jaye Lawrence (Gail), Zara Collins (Paula), Jennifer Ross (|enny), Joshua Missen (Daniel), Katrina Missen (Daniel ’s Mother), Kate J enny (Jill), Albert Colbert (Justin), Dinesh S anders Guggles), Francis Welling (S unbather), Robbie Hoad (Brad), Andy McPhee (Zen Master ), Tracey Korsten (Wendy), Rosslyn Aylmore (Raelene), Gary Waddell (Ben), Noel Purdon (Dr Rank).

hose viewers who stayed

watching the Nine Network

after The Mask (Charles Russell,

1995) on Sunday 17 August would have quickly discovered that Maslin Beach is a nude beach in South Australia. And the ample evi dence was there on screen with a warning and an MA rating.

Maslin Beach is dated 1996, and was made by Australian Inter national Pictures and Spandau Films. Writer and director was Wayne Groom. Basically, it is a dayat-the-beach movie with the novelty being the nude beach or, rather, the mostly nude people on the beach. However, the characters

anniversary of Grandpa’s death

to Buruma, some older Japanese

recent film by Akira Kurosawa,

from the A-bomb. Mid-generation

persist in thinking that the war was

Rhapsody in August, which is

brother and sister fly back from

not a wholly bad thing. It is unclear

described as “a rather mawkish

their visit to Hawaii before the let

from Rhapsody in August what

film [...] about the spiritual scars

ter arrives, about which they learn

Kurosawa thinks about this, since

yuppies who don’t get to take their

left by the A-bomb in Nagasaki [...]

much to their consternation. They

the war is mentioned only as a

clothes off as they are too busy

a lament, not just for the bombing

find Grandma in a disturbed state,

manifestation of an abstract evil.

with mobile phone calls. Ulti

but the way memory passes into

haunted by re-awakened memories

The grandmother says, at a crucial

mately, she Is on a third phone

history and history is quickly for

of the A-bomb, and the children

moment, “What’s wrong with the

while the other two talk to each

gotten.” Four years after it was

siding with her against their par

truth? [...] They dropped the bomb

other. Dialogue tends to be the

made, the film has arrived on our

ents’ money-minded pragmatism.

and they resent being reminded of

first-draft variety without the real

shores in video form, allowed entry

In an interview with the Latin-

it. They don’t need to remember it

ization that basic script

into Australia by the enigmatic

American novelist Gabriel Garcia

but they can’t pretend ignorance.

development is possible and even

agents who decide which foreign-

Marquez, published in a Berlin

They claimed they dropped it to

a good thing. The characters talk

language films we see. Since not

newspaper, Kurosawa was asked

stop war. That was 45 years ago

about love and relationships in

many Japanese movies have been

by the writer what “this historical

and war has not been stopped.

commercially released recently in

amnesia meant to the future of

War is still killing people.” The

meaningful magazine phrases. The only familiar actor is Gary

whatever form, it is nice to have

Waddell as the fully clad Ice-cream

Rhapsody in August with us. But

seller who drives around with fully

why now, six years after the film

unclad Simon and talks about the

was made? The answer is not to be

meaning of life: “ Life will show you

found, as far as I can tell, in a read

the way.”

ing of the cinematic text. Though

This is the ’90s, so there is

the film does have Richard Gere in

some swearing, a few prurient

a brief but important role, nothing

sequences, a couple of gross char

in his current career seem s to

acters - especially one large

explain why his presence in Rhap

Mediterranean caricature who

sody in August should interest his

grossly propositions the heroine -

fans. This is not to say his presence

and a gratuitous pseudo-Freudian

(as opposed to performance) in

incest discussion. A couple of

this film is a feature of the text,

couples have fights and close

asking to be read. Be that as it

reconciliations on the beach and

may, he is surprisingly well-cast for the character he plays - a half-

in the water. The nudity is generally unself conscious and setups are not coyly

belief expressed here that the USA

sawa answered that the Japanese

dropped the A-bomb to stop war,

didn’t like to talk openly about the

that is, all war, is a curious one,

bombing. “Our politicians, in par

but apparently one which a lot of

ticular, remain silent about it,

Japanese have come to believe

perhaps out of fear of the Ameri

because of the circum stances of

cans.” Until the USA apologizes to

Japan’s post-defeat rehabilitation.

the Japanese people, said Kuro

American - and gives a creditable

photographed or artificially framed

performance in which he speaks mostly Japanese, albeit the rudi

and volleyball films of the past (if

mentary Japanese of a

memories of glim pses in documen

second-generation American.

Rhapsody in August, I agree

are different from the more naive

with Buruma, is “rather mawk

past, yet, apart from the gross

ish”. But it is, as he says, a

characters, this is a kind of Beach

politically- and historically-inter

Blanket Bingo without the songs

esting work, partly because the

and without the clothes.

film depicts a range of Japanese

The trouble with Rhapsody in

sawa, “the drama won’t be over”.

August, however, is not just the

Kurosawa’s remarks express a

dubiousness of the views which

sense of themselves as victims of

inspired its conception, but also

the war - by way of the A-bomb -

the thinness of the fictional interac

which is apparently shared by

tion of its characters, the naive

many, though certainly not all,

transparency of quite a few of the

Japanese, and is encouraged by the

scenes, so that the m essage or

memorial shrines of Hiroshima and

point behind the scenes is unre

Nagasaki. This sense will seem less

fracted and obvious. When the

absurd to Australians if it is borne

brother and sister talk about their

Japanese, half-Causasian

- more like the old nudist colony

taries serve me correctly!) The ’90s

Japan and Japanese identity”. Kuro

h 1k 0 M U KASE

H i de t a k a R i c h a r , Y O S H IO K S G E R E

visit to Hawaii together with wife and husband, for exam ple, the point clearly is that the mid-generation is crass

R h a p sfei d|y

and opportunistic, in contrast to the other generations. The

innocence of the children, too, seem s exaggerated so as to make their new-found empathy with the A-bomb victims an irresistible expression of moral purity. But despite these major

attitudes to the war, and partly

are not novel. They tend to be the

problems, Rhapsody in August

because of the sentiment and

kind of characters who would be

can still be watched without

attitudes the film expresses. Its

autom atically listed if you were

embarrassment: Kurosawa

local characters - a grand

still has an eye, though milder

doing an initial brainstorming. There is a hero, Simon (Michael

Video

Allen), a pleasant-lookingdorkish type, and a heroine, Gail (Bonnie-

RHAPSODY INAUGUST

Jaye Lawrence), a pleasant-looking not dorkish type. She falls for Simon at first sight, the trouble being that the first sight she has of him is when he’s riding in an ice cream van picking his nose (truly). The film’s running time is about 70-75 minutes, but it is chockful of characters. They tend to appear for one- or two-minute cameo sketches and that’s it. There are the quarrelling lovers (several sets), the surfie looking for God (and his unlikely guru), a cute little boy, four women friends and two

and Japan, mention is made of a

Directed by Akira Kurosawa. Executive Producer: Toru Okuyama. Producer: Hisao Kurosawa. Associate Director: Ishiro Honda. Associate Producers : Mike Y. Inoue, S eikichi Iizumi. S criptwriter : Akira Kurosawa, from the novel Nabe -no-naka by K iyoko Murata. Director of photography : Takao S aito , Masaharu Ueda. Art direction: Y oshiro Muraki. Lighting: Takeji S ano. Recording: K enichi Benitani. Costumes : Kazuko Kurosawa. Music : from S chubert and Vivaldi and by S hinichiro Ikebe . Produced by Kurosawa Production. Presented by Feature Film Enterprise 2. Australian distributor : Roadshow Home Video .

mother, four grandchildren

now, for beautiful symmetry

(three of them teenagers) and

and asymmetry in com posing

their parents - represent three

shots and camera movements

generations in contemporary

and in staging action for the

Nagasaki, each of which displays a

in mind that many older Japanese

certain kind of response to the

still believe the war to have been a

milky pastels, bottle-glass brights

bombing of the city. The p a s t-th e

war waged by Japanese to free

and silky darks peculiar to Japan ese cinema. The film also has some

camera; and the film has those

fact of the A-bomb - suddenly mat

Greater East Asia from the colonial

ters when their lives are thrown

powers. This was a not entirely

fine episodes with the children

into confusion by the discovery

ludicruous claim in the Asian coun

joking around in Grandma’s

that Grandma has a long-lost older

tries involved, where reaction to

country house; some intriguing

brother, who migrated to Hawaii

the Greater East Asian Co-Prosper

moments of sym bolism , a kind of

before the war, became American

ity Sphere was mixed. While many

decorous surrealism breaking into

and very rich (from a pineapple

hated the Japanese as military

the dramatic action; the pleasing

plantation, a canning factory). In

occupants for their brutality, some

use of a Buddhist mantra and a

the confusion, the grandchildren,

found attractive the promise of

child’s song picked out on an

who are staying with Grandma,

independence from foreign rule. Of

organ to mark transitions between

n Ian Buruma’s Wages o f Guilt:

send a letter to their American rela

course, Japan’s military rulers were

scenes.

Memories of War in Germany

tives which informs them of the

insincere and racist, but, according

CINEMA P AP E R S • NOVEMBER 1997

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in review

a gem. It bristles with the urbane

of the filmmaker’s work, his con

eccentricity of McCarey’s often

cerns and working-m ethods, and

overlooked work. (According to

the ‘industrial’ contexts within

Garson Kanin, Cary Grant was

which the films were produced.

merely imitating McCarey in

David Puttnam, Harper Collins , London, 1997,414PP, ILLUS, index , rrp $39.95.

The Awful Truth.) Aptly titled

he French invented cinema,

that made you realize who in the

Bogdanovich is not interested in im posing a theoretical model

“The Ineluctability of Incidents”,

Interviewed in the book are

upon his readers, nor does he steer

the chapter reclaims McCarey as

Robert Aldrich, George Cukor, Allan

his subjects to take any preformu

the vital factor in the successes

devil was m aking this picture.”

‘Those who have had good w ork can adm it the truth, which is: good w ork is an accident." Sidney Lumet

Chuck Jones, Fritz Lang, Joseph H.

Peter Bogdanovich, K nopf, New Y ork , 1997, 849pp , illus , index , rrp $US39.95.

streamlined and industrialized

it, but the Am ericans dominate it.

The Undeclared War is a history of

Lewis, Sidney Lumet, Leo McCarey, Otto Preminger, Don Siegel, Josef Von Sternberg, Frank Tashlin, Edgar G. Ulmer and Raoul Walsh.

the perils and tensions, the inde pendents and monopolies, that have led from the Nickelodeon, to the American Multiplex. The author, David Puttnam, is

ithout so much as a whisper

Just to tease us, Bogdanovich

lated position. In selecting

of the Laurel and Hardy and Marx

the British producer responsible for

on local shores, Peter Bog

includes in his beautifully-penned,

directors who had long, if not

Brothers movies, and more than

a long list of quality titles, including

danovich’s mammoth book of

humble introduction a long list of

entirely productive, careers (as is

adequately reveals the sensibility

Local Hero, Chariots of Fire and The

interviews with American cinema

names of directors with whom he

the case of Von Sternberg who

that lends McCarey’s films their

Mission. With his peers Ridley

nuances and delicate tones.

Scott and Alan Parker, he entered

pioneers slipped onto the shelves

has spoken and befriended during

made only 6 features after 1939)

of a handful of progressive book

his 40-odd years as a filmmaker

but whose work bridged m assive

shops several months ago. Now in

and historian. Another book,

artistic and historic disjunctures

chapter is the final one in the book

Since then, Puttnam has fought to

its fourth printing in the USA, there

please!

(silent film to talkies; World War II;

- he is the only feature film director

resuscitate the British film industry

the decline of the studios and the

in the entire book alive and work

against overwhelming odds, and even spent 15 months heading

is still no indication of when, or

The interviews vary somewhat

Significantly, Sidney Lumet’s

indeed if, it will be published in a

in length and tone, from more than

advent of television), the book’s

ing, apart from Chuck Jones whose

British or Australian imprint,

100 pages with a surprisingly

only generalized theme is how

the film industry in the early ’70s.

work is in animation. Lumet brings

Columbia Pictures in Hollywood.

despite being, with

these artists and

the book squarely into the present.

This is his first book.

out doubt, a

craftsmen negoti

Without the slightest prodding, he

highlight of film

ated, and mostly

articulates one of the touchstones

closes with the GATT (General

literature for 1997.

succeeded, in utiliz

of Bogdanovich’s inquiry, a thread

Agreement on Tariffs and Trade)

Who The Devil

The Undeclared War opens and

ing cinema to tell

that runs through this testimonial

negotiations in Paris, where more

Made It is neither an

audiences stories

of cinema’s first hundred years:

than movies are at stake. Trade fol

academic text, nor is

that somehow mat

Those who have had good

lows film, and movies promote

it in the vein of pop

tered to them.

work can admit the truth,

America, from cars and clothes to

ulist film literature.

which is: good work is an acci

hamburgers. At the negotiations in

(In this regard, the

cannot do justice to

dent. That’s not being falsely

1993, Jack Valenti, head of the

local book market’s

the wealth of mater

modest, there’s a reason that

American Motion Picture and Pro

indifference possibly

ial contained in this

the accidents are going to hap

duction Association, brought

explains much about

book; each chapter

pen to some of us and will

pressure to bear on President Clin

how the market is per

is deserving of a

never happen to other people:

ton. Valenti wanted Clinton to

review of its own.

we’ve got some sort of knowl

torpedo Europe’s existing system

A single review

ceived.) In style, it is

a profoundly old-fash ioned kind of book:

t t o

;;.

arev

rem inger

d o n

ieg el

more than 800 pages J O S E F. V O N S T E R N B.E.R.G :

of Q & A interviews

peppered with a hand ful of black-and-white pictures.

I T

■

r a n k à r

a s h lin

-G-. U

lmer

I. .

The Hawks interview

edge, or instinct, of

is definitely a centre

how to prepare the

piece. We all know

ground for the acci

about Bogart and

dent to happen.

Bacall falling in love

Because some peo

on the set of To

ple work in a way

Have and Have Not.

that they shortcut

How that informs

any chance of the

is obsessed not only

the brittle dialogue

accident

with biographical

and atmosphere of

detail, but with pre

that remarkable film

In terms of content, it

happening. This book is a rousing

serving the voices and characters

benevolent Hawks - so much for

of American cinema’s great

those characterizations of Hawks

When I told Bogart we were

celebration of cinema

auteurs.

as gruff, uncommunicative and

going to make her more inso

told directly from the

is best left to Hawks:

and inspirational

fiercely anti-intellectual - to the

lent than he was he said,

perspectives of those

extension of Bogdanovich’s

briefest interview of all, Von Stern

“Well, I don’t think you’ve got

who made it happen,

previously-published monographs

berg, whose cryptic answers and

a very good chance of doing

and were clever or

The book is very much an

and books, which includes an

defensiveness reveal much about

that.” I said, “I’ll tell you one

instinctive enough

illustrious book on and with Orson

the man if little about his work.

thing, she’s going to walk out

to seize upon the

Welles {This Is Orson Welles), and

The interviews follow a straight

THE

UNDECLARED

WAR

THE STRUGGLE FOR CONTROL OF THE WORLD’S FILM INDUSTRY

and leave you with egg on your

talents of the actors,

pioneering monographs on John

chronology, with more general,

face in every scene you play

cameramen, writers,

Ford and Howard Hawks.

occasionally digressive questions

together.” “Well,” he said,

producers, studio

interjected at appropriate

“I think I’ll take back what I

heads, art directors, stunt people,

of quotas and subsidies exacted on

than Hawks, who proudly claimed

moments. The reader is guaran

just said.”

special effects technicians, with

American movies. Second only to

in his inimitably straightforward

teed to find in each interview, apart

The chapter dedicated to “the

whom they collaborated - and

its aeronautical industry, cinema is

manner, “ I liked alm ost anybody

from a film-by-film run-down on the

crazy Irishman”, Leo McCarey, is

prospered.

Am erica’s largest export. Europe

The title comes from none other

THESTRUGGLEFORTHECONTROL . OFTHEWORLD’SFILMINDUSTRY

cinema as trade war, recounting

Dwan, Hawks, Alfred Hitchcock,

WHO THE DEVIL MADE IT

THE UNDECLARED WAR

director’s work, the key elements

C IN EM A P A P E R S • NOVEMBER 1997

ÿ&âÊ&i Brian M cFariane

Novel to Film loves American product, but not

duction. Multiplexes target

vice versa.

males aged between 12 and 29

While Hollywood is an industri

An Introduction to the Theory of Adaptation

Useful for students of literature and film, particu

and studios tailor their product

larly at a tertiary level, Novel

alized machine, says Puttnam,

exclusively for this audience;

to Film is a thorough and

Europe rem ains “a cottage indus

for example,. Ghostbusters,

system atic account of the

try” , forever in the business of

E.T: The Extra Terrestrial and

phenomenon of adaptation.

m aking prototypes. Hollywood

Batman. Puttnam’s point

wants it to stay that way and

seems to be that, as long as

Puttnam argues that Europe has

this audience is tapped and

unwittingly colluded.

voting with its money, there

Jean-Luc Godard said, “ Film is only made for one or two people” ; for this, Puttnam fires a broadside

will be money for film produc

! R eceived

Puttnam relates that the rise of the m ultiplex w as pio

like Kael and Sarris, and blames

neered by the cluey

Europe’s attitudes to “film as art”

independent operators Dur-

as ultimately self-destructive.

wood and Son who, when they

BFI MODERN CLASSICS

were unable to secure the site for a

equal com bination of creative bril

700-seater in a Kansas City shop

liance and commercial hair which

ping mall, split it over two sites,

took a scientific instrument from a

side-by-side. The Parkway II was a

sideshow attraction to Hollywood’s

major success and by 1969 their

vertically-integrated studios and

company, American Multi-Cinema

cinema chains. Puttnam believes

(AMC), opened its first 6-screen,

that although Europe has supplied

going from underdog to overlord.

some of its greatest talent to Holly

B ooke

tion.

at auteur theory, criticizes critics

Puttnam points to Europe’s

Puttnam opened AMC’s first

NOVEL TO FILM ANINTRODUCTIONTOTHETHEORY OFADAPTATION Brian Mc Farlane , Oxford University Press , Oxford , 1996, 274 pps , index , illus , rrp $34.95.

n terms of film adaptations of literary texts, the view “it w asn’t

as good as the book” is frequently

wood, it has failed to gam ble or

10-screen multiplex in the United

expressed and much written about.

invest significantly in distribution

Kingdom in 1986. Criticized as

The latest exploration of what

and exhibition, running its very cin

resem bling a superm arket for

happens in the process of transpo

em as into the ground.

fast food, it has proved extremely

sition from book to film comes

successful.

from Brian McFarlane, Associate

The dynamic of art and auction has been inherent to cinema’s great

As a board member and advisor

Professor of English at Monash

creative producers: Alexander

to Village Roadshow Australia,

University and a long-standing

Korda, M ichael Balcón and Adolph

one of the fastest-growing, verti

contributor to Cinema Papers.

Zukor. Zukor recognized the

cally and horizontally integrated

Essentially, he argues that film

strength of vertical integration in

distributor-exhibitors in the world,

adaptation study has become sta

the 1920s, recommended a world

Puttnam is putting his mouth

tic and too lim iting because of its

wide web of distribution and

where the money is. It is no coinci

focus on, am ong other things, an

located untapped markets like Latin

dence that Village Roadshow is a

over-em phasis on the notion of

BUDERUNNER S cott Bukatman, B ritish Film Institute , London, 1997, 96pp ., £7.99

BFI MODERN CLASSICS BLUEVELVET Michael Atkinson , British Film Institute , London, 1997, 80pp ., £7.99

Puttnam relates that the rise of the m ultiplex was pioneered by the cluey independent operators Durwood and Son who. when they were unable to secure the site fo r a 700-seater in a Kansas City shopping mall, sp lit it over two sites, sid e -b y-sid e .

on the autonomy of the adapted film as a text in its own right. McFarlane, therefore, proposes

THECRYINGGAME

BFI MODERN CLASSICS

Pierre Boileau & T homas Narcejac, Bloomsbury Publishing , London, 1997, 170 pp ., rrp $14.95

THEEXORCIST Mark K ermode, British Film Institute , London, 1997, 96pp ., £7.99

BFI MODERN CLASSICS Tom Charity , British Film Institute , London, 1997, 94pp ., £7.99

BFI MODERN CLASSICS THETHING Anne Billson , British Film Institute , London, 1997, 96pp ., £7.99

THE BRITISH CINEMABOOK Robert Murphy , editor, British Film Institute , London, 1997, 279 pp ., £14.99

THEYEARINCRIMEFILMS

John Ashbrook , editor, No Exit Pr ess , United Kingdom, 1997, 286 pp ., rrp $16.95

might bear to the novel it is derived from. This is illustrated via detailed including David Lean’s Great

The creative dimension of film

screens from Bangkok to Buenos

Expectations (1946) and Martin

is just one of a series of con

Aires well before the end of the

Scorsese’s Cape Fear (1991).

nected activities [...] all of

decade” .

THE IMAGE Jacques Aumont, translated by Claire Paiackowska , British Film Institute , London, 1997, 249 pp ., £14.99

Each case-study includes an outline of the approach taken in

fundamental principle: the

under investigation by the A u s

structuring novel and film, a

maximization of profit.

tralian Consum er Competition

description of the way in which

Com m ission for allegedly

narrative functions are transferred from one text to the other, and

MAX OPHULS IN THE HOLLYWOOD STUDIOS BLOOMSBURY FILM CLASSICS

mization of profit. The capital

“squeezing” local independents.

generated by the multiplex flows

As Puttnam said of the studios

a section on the methods and

through all the tiers of exhibition,

that benefitted from the American

techniques of adaptation used in

distribution and marketing, and mul

Trust’s dem ise, “Monopoly, it

each case. Also of interest are the

tiplex movies are more frequently

seemed was a terrible thing, until

appendices which contain segm en

rented on video. Multiplexes are

you had one of your own.”

tation and/or shot analyses of each

Originally published in Great

film discussed.

Britain, 1955

C I N E M A P A P E R S • NOVEMBER 1997

A.M. S perber & Eric Lax, Weidenfeld & Nicolson , London, 1997, 676 pp ., rrp $39.95

THE CRIME TIME FILMBOOK

the nature of the relationship a film

analyses of five film adaptations,

® MICHAEL KITSON

BOGART

THERIGHTSTUFF

mediums. He attempts to expose

to “create some 3,000 profitable

owned by studios which feed pro-

Originally published as The Living

and the D ead, translated Geoffrey Sainsbury, in Great Britain, 1956

of convergence between the two

Never Wrong, Zukor stated that

The multiplex is geared to this maxi

BLOOMSBURY FILM CLASSICS VERTIGO-THEORIGINALNOVEL

a methodology which sits som e

major M ultiplex builder, planning

Village Roadshow is currently

Armitage Trail , Bloomsbury Publishing , London, 1997,186 pp ., rrp $14.95

Jane Giles , British Film Institute , London, 1997, 80pp ., £7.99

where in the middle, at the point

America. In his book, The Public Is

which are predicated on one

SCARFACETHEORIGINALNOVEL

Originally published in USA, 1930

BFI MODERN CLASSICS

fidelity or faithfulness to original texts, or, conversely, the insistence

BLOOMSBURY FILM CLASSICS

Lutz Bacher , Rutgers University Pr e ss , New Jersey , USA, 1996, 3 7 6 pp .

THEBLACKBOARDJUNGLETHEORIGINALNOVEL Evan Hunter, Bloomsbury Publishing , London, 1997, 374 pp ., rrp $14.95

WILDE ILLUSTRATEDSCREENPLAY J ulian Mitchell, with a foreword Fry , Orion Media , London, 1997, 240pp ., rrp $35

by S tephen

Cambis: Her life after the war was

What

one long misery, with only death

1963], Zabriskie P o in t {M ich e la n ge lo

th e y u su a lly do, w hen th e y are out o f th e ir d ep th , th e y h ave a te n d e n cy to be

c o n n e c t io n s s h o u l d

a g a in . W hen th e y are not d o in g w h at

bringing peace. For the first six or

A n to n io ni, 1970], then the b ig one, The

Cambis: That you have to be vigi

seven years when we were together,

Picture Show Man [John Pow ers, 1984].

a lot m ore w ith y o u : a lot m ore c o llu

lant and make a stand straight away.

we were very close. W hen she got

It alw ay s asto u n d e d me, even th o u gh i

siv e , an d th e y w ill lo o k to yo u for

You can’t afford to be selective,

schizophrenia a bit later, she’d have

w as quite y o u n g at the tim e, that Rod

g u id a n ce a lot m ore, w h ich is kind o f

ever, about allowing evil or racism

paranoid spells. She’d say, “Some

Tay lo r w as p la yin g an Am erican in an

g o o d . T h e y w ill fig h t w ith yo u b e ca u se

to take place beneath your nose; to

one’s trying to kill me”, and I’d be

A u stralian film . He h as ju st never really

yo u m ake them do bad th in g s , b ut, at

say, “I’ll act on that or I can let that

the parent for the duration. W e’d

played an A u stra lia n ch aracter. I th in k

the end o f the d a y, b e ca u se th e y

go to the park because she’d say

in h is career he h as played two sm all

h a ve n ’t e ve r d o n e it befo re, th e y d o n ’t

someone was trying to turn the gas

A u stralian roles.

rea lly h ave an o p in io n . It is the o n e s

A u s t r a l ia n s

m ake?

pass because of whatever circum stance.” There’s no halfway.

Sabhaz: Exactly. If you have princi

on. I’d humour her, then we’d swap

ples, you have to have them 100

roles and she was the mother and I

head w hen I th o u gh t, “ He [D a d d y ’O] is

percent, or nothing ...

was the child again.

th is g rizzly, to u gh d in o sa u r, w h at ab o u t

m in d s w h at th e y are g o in g to do before

Rod Taylo r? W here is he?” I pho ned

the y ge t the re . Th a t is to u g h ; it is hard to g ive d ire ctio n to a cto rs w ho h ave

Cambis: ... and to never expect

Going to Sarajevo and meeting

Th at w as sittin g in the b a ck o f my

things to stay the same. Sometimes,

Alma reminded me of the closeness

him in Lo s A n ge le s, found out w here he

there are major upheavals in nations

of family over there; how much it’s

w as, threw open his front door, and

and it’s very easy for someone, an

valued and how much I missed it.

there he w as. There w as the ch aracter,

individual or group of people smart

t h e f il m , w e s e e y o u m e e t in g y o u r

enough to manipulate the media, to

a u n t in

take advantage of the upheaval.

BUT THE MEETING SEEMED MELANCHOLY.

S a r a je v o

f o r t h e f ir s t t im e ,

tha t com e p re -ju d g e d , ju d g e m e n ta l, [w ho have] a lre a d y w o rke d o u t in th e ir

a lre a d y m ade up th e ir m in d s.

W hat a b o u t Jo nathan S ch aech [Te d d y ]?

no ca s tin g in vo lve d , n o th in g. He w as

I’d see n a film called The Doom Genera

ju st s ta n d in g in front o f me and I ju st

tion, a G re g g A ra k i film , and I th o u g h t

sa id , “ How is yo u r A u stra lia n acce n t? ” ,

he w a s pretty great in that. It lived in my

Pauline Hanson doesn’t have to be

Cambis: There was a sense of miss

and he sa id , “ B lo o d y great, m ate.” It

head, and w hen we heard he w a s d o in g

very smart herself; all she’s got to

ing the boat; the country was

ju st w ent b ingo . He w alke d stra ig h t

the [Tom ] H a n k s’ picture [That Thing

do is push the right buttons. A guy

half-destroyed, the relatives were

thro u gh the doo r - a terrific m om ent,

You Do!], we had a ca s tin g se s s io n . I

asked after seeing the film, “Where

dead or living overseas. There were

that d o e s n ’t h app en ve ry often.

sa w all the b ig A m erican 25- to 3 2 -year-

do you think all this racism comes

all these wonderful family members

An aw ful article I read the o the r d ay

from in Yugoslavia?” and I said,

who were musicians or performers

called him the M el G ib so n o f the ’6 0 s,

an yo ne w ho d o e s th is is g o in g to be

“The same place it came from in

and I’d missed out on it. It was too

and I th o u g h t that is a te rrib le th in g to

so rt o f o b v io u s, let’s ta ke a ch a n ce. So

Australia. It was always there.”

late. I met my sister whom I’d never

sa y, but it is quite true. At the tim e, he

we had a b ig confirm m eeting. I flew

met: she was a refugee in Israel, and

w as the b ig A u stra lia n sta r d o in g go o d

over to W a sh in g to n , sa w him and then

we were like old mates.

in H o llyw o od .

th o u gh t, “ Fuck it! Let’s give it a go, take

What

w a s o f t e n s h o c k in g a b o u t t h e

c o n f l ic t in

B o s n ia

w as the sa v a g e r y .

Cambis: The savagery is not unique

Sabhaz: The story about exile starts

to that region. It was systematic,

with Tahir’s mother; it continues

IN THE MOVIE. ONE DOES A DOUBLE TAKE.

w a s g o o d , a l m o s t u n r e c o g n iz a b l e

very carefully organized and

now with the exile of other people,

He h as been s tu c k o ve r there [in the

planned years before its occurrence;

like Nirvana’s mother, who went to

U SA]. He d o e s his b its and p ie ce s, but

live in St Louis, Missouri.

it h as been a w h ile sin c e p eo p le really

just as the Final Solution was. There is an army of criminals and people inclined towards violence: mass

Wa s

it d if f ic u l t to g e t f u n d in g in

A u s t r a l ia

to m a k e t h e f il m ?

have see n him . A nd he had su ch fun d o in g it, too.

o ld s, and it w as o b v io u s. I th o u g h t

a sho t, see how he g o e s .” He had a to ugh tim e, but I th in k he got thro u gh it.

d o e s it w it h g r e a t a p l o m b .

H e’s the u ltim ate fish o ut o f w ate r. He ju s t stu m b le s th ro u g h there.

ju s t g r in s .

Pay the m an to sm ile s o m e tim e s, tha t

Cambis: I lied a little bit. I certainly

He tru ste d m e, th o u gh he had a lot o f

Bryant. I could create a pretty sav

didn’t say it was going to be as polit

fe a rs at the b e g in n in g . I ta lk e d him

age, barbaric army. The reward for

ical as it is. There was a lot of

ro un d, an d, o nce he had m ade the

m atch up to. He lig h ts up like a C h ris t

psychotic people is obvious.

support and courage shown by the

d e cisio n to co m m it, he co m m itted .

m as tree. A lot o f p eo p le yo u h ave to

Sabhaz: And they use them to force

AFC in this - a first-time director

He w as co m p le te ly fe a rle ss out there.

others who are not savages to com

going to a warzone, with no presales.

murderers, Julian Knight, Martin

mit the same crimes and to share

A re

responsibility and guilt.

y o u o p t im is t ic a b o u t t h e f u t u r e

B o s n ia ?

A lot of what I do with actors is to push them into doing things that they d on ’t

face , yo u ju s t go ... He h as a fa ce th a t yo u can hold a

lig h t re a lly h ard , so m e tim e s to get th e ir b est lo o k or w h a teve r. Jo n a th a n , yo u can hold a bit o f an old to rch to

ordinarily do. I’ve done that on all three

him : cle a n , p erfectly lit. G u y [Pearce], to o , is an im m e n se ly -lig h ta b le p erso n .

Cambis: W hat was truly shocking

Sabhaz: I am optimistic but a lot

film s, which is kind o f tough som etim es.

was the lengths the UN went to

depends on the W est’s attitude to

There is a lot of fightin g and arguing, and

What

cover it up or to participate in the

the new Bosnia. If they continue to

som etim es ju st blind trust to get people

COLOURS YOU USE IN THE FILM?

Serb line, “All sides commit atroci

support and treat all sides as equal,

to do things that they would never do.

T h is is the first tim e I kep t a w a y from

ties.” That phrase would in a

like they did during the war, then

Once he m ade the com m itm ent, he went

the p rim a rie s. I th in k A u stra lia w ent

moment obliterate people’s inclina

it will be a bit hard.

for it. Once or twice he w as really ner

th ro u g h the m u lti-co lo u re d S trictly

tions to react and be outraged; “Oh,

Cambis: And that’s the travesty of it.

vous, as w as Terence [Stam p], as w as

Ballroom p h a se . We did it, w e g o t o ur

they’re all like that” would be the

Even now there are more Serbs liv

Guy [Pearce], as w as Phil C ollins. They

a tte n tio n , w e scre a m e d and ye lle d and

response. I think of the 1990s as the

ing in the Bosnian-controlled area

look to you and say, “ P le ase .” And you

c la n g e d o u r p o ts and p a n s to g e th e r,

1930s repeated in Europe. Maybe

than in the Serb republic, but the rel

have to say, at the end o f the day, “Trust

and go t o u r a tte n tio n . It is now tim e to

the Muslims will be [the victims of]

evant agencies of the UN and NATO

me, you have to trust m e.”

the new Holocaust of Europe.

just won’t acknowledge that because

Y o u ’v e

Sabhaz: The first thing is to make

it’s embarrassing. They’ve held the

FILMS.

them different, then you don’t have

line for four years that it’s not a land

ha d s o m e b ig n a m e s in y o u r

The w ay I u su a lly ca st is to a s k the c a s t

w a s t h e id e a b e h in d t h e

be a little bit cle ve re r tha n tha t. It w o u ld h a ve been ve ry e a s y to ju m p b a c k into old tric k s, w h ich I’ve done tw ice now , w ith h u g e , in -yo u r-fa ce

any obligation to relate to them.

grab, it’s not about power; it’s ethnic

in g age n t w hom the y th in k the roles

p rim a rie s. In Priscilla, w e s tu c k b rig h t

Sometimes, it’s not enough if they

hatred, religious and they can’t live

w ould be good for. Once I get th o se , I

green d re s s e s in a b rig h t red d e se rt.

are black, they have to eat their

together. But just in Sarajevo alone

throw the entire pile out the w indow .

T h a t w a s e y e -ca tch in g .

babies.

are 60,000 Serbs who lived through

A lso , w hen yo u ge t a cto rs w ho are

the siege side-by-side with Alma, the

d o in g so m e th in g new , th e y are a lot

a g a in . It is o ver, we h ave the a ttentio n

e a sie r to h an d le . It is th a t tru st th in g

now , w e h ave to m o ve o n .” B illy ’s H o li

W hat

w a s y o u r a n d y o u r m o t h e r ’s

EXPERIENCE AS REFUGEES?

“a 1 7 Stephan Elliott

-ea 13 Documentary

Not lo n g a g o I s a id , “W e c a n ’t do tha t

C INEMA P A P E R S • NOVEMBER 1997

day [R ich a rd W h e rre tt, 1 9 95] an d the film s th a t h a ve a tte m p te d to do it s in c e

cu t o f it. It w a s a bit u nfair. I’m fig h tin g fo r them [the FFC] now .

•a 19 Dynamic Duo v e ry re a so n w h y I w a n t to m ake film s.

-sj 23 Demon Dogs s e q u e n c e d u e to a ll the p ro d u c tio n

then h a ve fa ile d , b e c a u s e it is d o n e . It

From n ow on I’ m g o in g to d e m an d

It’s a w a y o f le a v in g t h in g s b e h in d and

lo g is tic s . W e try to rem in d e a ch o th e r

w a s a p e rio d . T h is tim e w e w o rke d v e ry

m ore rig h ts. M ayb e th e y d o n ’t put up

m a k in g p e o p le aw are o f th in g s . I s e e k

o f the cla rity w e e s ta b lis h e d d u r in g th e

hard an d it re a lly h urt, b e c a u s e I lo ve

o ve r 50 p e rce n t o f the m o n e y, but ce r

w h a t w e ca ll sa to ri in Ja p a n e se Zen

re h e a rsa l p e rio d , o f w h ere e v e ry b o d y

g o in g for p rim a rie s.

tain rude p e o p le a u to m a tic a lly a s s u m e

B u d d h ism , or e n lig h te n m e n t.

is at a n y g iv e n m o m en t in the scrip t.

th a t b e c a u s e th e y ow n 50 p e rce n t o f

“I hope to make my mark on his

g re y s an d d e e p b lu e s . Th e n w e hit A u s

the m o vie th e y h ave a ll the rig h ts. In

tory”, she goes on, in a more modest

tra lia . A s the film g o e s on, I let it cre ep

fact, y e s th e y d o , in the real p ow er

tone than that remark might suggest.

o ut. Th e o n ly tim e I let co lo u r co m e

p la y, but 1 th in k the FFC s h o u ld be co n

I w an t to d e d ica te m y life to e s t a b lis h

in to it w a s th e fu n e ra l, b e c a u s e I

W e w e n t fo r g re y , v e ry n a sty s h a rp

G u y ’s ch a ra c te r a p p e a rs to be an id e a lis t in the b e g in n in g o f the p ictu re , b ut at the s a m e tim e he is an o p p o r tu n is t w h o is d y in g to g e t a h e a d , w ho

su lte d a little bit m ore. I did sh o w

in g an im a g e o f h isto ry th a t fu n c tio n s a

is u s in g th o se s q u e a k y cle a n id e a ls to

th o u g h t th e y can b rin g th e ir g la d ra g s

C a trio n a [H u g h e s , FFC c h ie f e xe cu tive ]

bit lik e the s ta tu e s o f the B u d d h a or

fu rth e r h is ow n ca re e r.

o u t for o ne th in g . T h a t w a s w h en L izz ie

a co p y, an d sh e sh o w e d it to a few

the im a g e o f the B u d d h a . W hat do I

W hen

[G a rd in e r, co stu m e d e s ig n e r] w e nt

p e o p le w h o cam e b a c k w ith a co u p le

m ean b y that? T h o u s a n d s o f y e a rs ag o ,

WE PICTURE

in sa n e . S h e w a s w ith h e ld fo r the e ntire

o f s u g g e s tio n s . S o m e o f them w ere

p eo p le lo o ke d to the s ta tu e for s e c u

FILM IN OUR MINDS. DlD YOU DO THAT,

film an d at the la s t m in u te sh e let go.

q u ite go o d s u g g e s tio n s .

I h a ve a g re a t s to ry th e re , to o . A t the

It is a n g e rin g m e now th a t a lot o f

b o o k s a r e w r it t e n o r r e a d , p eo ple th en c a st th e

rity an d p e a ce , and th ro u g h p ra y in g to

Mr Ellr o y, and

the sta tu e th e y w ere a b le to e nrich

THE IMAGE OF WHAT YOUR CHARACTERS

th en h a ve to ben d

fu n e ra l, I s a id , “ L iz z ie , go for it.” It’s

p e o p le th in k th e y are g o in g to ge t free

th e ir s p irit and th e y are s till ab le to do

WERE LIKE WHEN M r HANSON GATHERED

the b ig sc e n e at the end o f the m o vie,

m o n e y; th a t th e y are g o in g to ge t

th a t to d a y . T h a t’s the kind o f th in g I

HIS CAST?

the c o s tu m e s ju s t go w e ird e r and

m o n e y w ith o u t o p in io n s. I th in k the

w an t to a ch ie v e .

w e ird e r a n d w e ird e r. M e a n w h ile , Rod

FFC sh o u ld be co n su lte d a little bit

As we talk further, it becomes more

I did not see any acto rs p la yin g any of

is g e ttin g a little bit fu n n y . He e v e n tu

m ore, not a s a g ro u p or a s a b o d y, but

and more clear that, in unassuming

the roles, m ajor or m inor. A fter I wrote

a lly ca m e up an d s a id , “ It is the

m ayb e th e y sh o u ld h ave so m e b o d y in

ways, both Suwa and especially

LA Confidential, I sa w the late ....3 who,

fu n e ra l, the c lim a x o f the film . W h at is

th e re , one o f th e ir film m a k e rs or p e o

Kawase have a very serious sense of

in fact, p are n th e tically died on a yacht

a ll t h is ? ” L o o k in g fo r an e x cu se ,

ple on the B o a rd , w ho sh o u ld be in a

a cinematic mission. Perhaps I have

in the M editerranean o f a heart a ttack

b e c a u s e w e w ere by th a t s ta g e h a v in g

p o sitio n to g iv e o p in io n s or to be lis

made the same mistake about

with five w om en on board. He w as

te n e d to, in so m e w ay, sh a p e or form .

E llro y : W hen I wrote LA Confidential,

Kawase that she tells me on another

rum oured to have the b ig ge st d ick in

F e llin i.” He s a id , “ O h, F e llin i.” Y o u

H o w d id y o u g e t A lan F in n e y 1 f o r

occasion many others have made

Hollyw ood history.

co u ld se e he w a s n ’t h a p p y w ith that.

THE FILM?

about her. Kawase reflects;

fu n , I s a id , “ It’s Fe llin i, R o d ; ve ry

He w e n t a w ay, and a few m ore [c o s tu m e s] ca m e o ut and yo u co u ld se e him

I th o u g h t ab o u t S te v e C o ch ran a s

I ju s t find A la n Fin n ey n o n -sto p e n te r

Not o n ly in Jap an but in a n y so c ie ty , I

T ra sh c a n Ja ck V in ce n n e s, and I p laye d

tain m e n t. Fin n e y w a s at m y h o u se a

t h in k t h a t b e in g y o u n g and a w om an

with the idea o f the late, g re a t S te rlin g

g e ttin g m ore and m ore b ristle d , and

c o u p le o f w e e k s a go in A u stra lia and

m e a n s yo u are not g o in g to be free

H ayden a s Bud W hite, but, o f co u rse ,

fin a lly w e g o t the b ig m om en t. W e’re all

we had a b ig s in g -a -lo n g . It w a s gre a t

from d isc rim in a tio n . It c a n ’t be h e lp e d .

the y are both d ead and u n a va ila b le .

up th e re an d he s a y s , “ Ste p h an !

fu n , w e all go t b lin d d ru n k and we w ere

So m e m en w ill th in k , “T h is y o u n g

S te p h a n , co m e h ere!” I w e nt o ve r and

s in g in g to M an h attan T ra n sfe r. K n o w

w o m an , w h at can sh e d o ? ” Bu t rather

clo s e st to m y fa n ta sy v is u a liz a tio n s

s a id , “ W hat is the p ro b le m ? ” He sa id ,

in g how fla m b o y a n t the m an is and

than fig h t th a t, w h at I’ve d o n e is acted

o f m y ch a ra cte rs is Mr C ro m w e ll as

“ I can h a n d le the fla m b o y a n ce . I can

how m uch fun he h a s, he w a s a n a t

and sh o w n re s u lts . I’v e a ch ie ve d

D u d le y Sm ith .

ural. He is s u c h a hog.

so m e th in g .

h a n d le the Fe llin i, but I c a n ’t h an d le the clo w n . Th e clo w n h a s to g o .”

I told him in the ve ry e arly d a ys that

Right now, Suwa is working on the

O f all the a cto rs, the one w ho co m e s

A fter I co m p le te d the LA q u a rte t and one o th e r b o o k - D u d le y Sm ith

I w o uld let R o a d sh o w have Priscilla -

script of his new film, about which

a p p e a rs in fo u r o f m y b o o k s - m y

e xtra d re s s e d in a b rig h t red w ig w ith a

there w as a b u y in g w ar g o in g on - on

he is not prepared to say a great deal

w ife and I w ere d is c u s s in g p o te n tia l

b ig p y ja m a to p on w ith b ig b u tto n s and

the p ro viso that A lan Fin n ey w ear a

yet. But it seems it will need more

film ic D u d le y s an d w e se ttle d on a

th e s e tw o -fo o t s h o e s w ith a red n o se .

d re ss to the prem iere. And he sa id ,

than 10 pages this time. Kawase has

S c o ttis h a cto r D o n a ld M offat, w h om

He s a id , “ I w ill not h ave a clo w n at th is

“Y e s , fine, a n y th in g .” I had law yers

already made another documentary,

Mr C ro m w e ll so m e w h a t re se m b le s.

fu n e ra l!” I had to hold a s tra ig h t face

d raw up a co n tract and sen d it o ff to

shot on 16mm , about six of the fami

I h ave to s a y Mr C ro m w e ll is d e fin ite ly

an d I s a id , “ O k a y , R o d , I’ ll g e t rid o f the

him , and su re e n o u gh he sig n e d it and

lies in Nijiyoshino and called Story

the c lo s e st, but he n e ve r s a y s D u d le y ’s

c lo w n ” . I w e n t o ve r an d s a id to the

it w a s all forgotten ab ou t. Com e pre

o f the Mountain People. It will be

im m o rta l lin e, “ G ra n d , la d ” , in the film .

clo w n , “ L o o k , yo u h a ve to go b a c k to

m iere tim e in A u stra lia , I sa id , “W here is

screened at the Yamagata Documen

He p re fe rs “ B o y o ” .

w a rd ro b e .”

yo u r d re s s ? ” He sa id , “Y o u ’re jo k in g ,

tary Film Festival in November.

a re n ’t yo u ? ” Fin ally, the poo r m an w as

N ow she is preparing her next

I sp u n a ro u n d and th e re w a s th is

Th e clo w n d id n ’t h a ve a n yw h e re to

R u s s e ll C ro w e , by the w a y , to o k him to t a s k b e c a u s e R u s s e ll s ta te s th a t

go th a t n ig h t. He d id n ’t g e t d re s s e d , so

h u m iliate d . At the prem iere, A lan Finney

feature, which she is also thinking of

“ b o y o ” is a W e lsh , not an Irish e x p r e s

he w e n t b a c k to the c h u rch , we had all

go t up in d r a g - 1 th in k so m e b o d y got a

shooting herself:

the s t u ff in it, a ll the c a n s , an d he d is

few p h o to s - and did a d ra g sh o w in a

It’s g o in g to be a lo ve sto ry . I’ m p la n

co ve re d the w arm b ee r. T h e clo w n

b rid al d re ss. He and I did it to geth er,

n in g to ta k e a y e a r to film it th ro u g h

sta rte d d rin k in g w arm b eer. S o , w e are

and we had b u ck e ts o f b lo od poured all

the fo u r s e a s o n s , s ta rtin g w ith the

m o u sta ch e for h is fo rth co m in g role as

d o in g the fu n e ra l an d Rod is w o rk in g

o ve r us a s w ell. I w a s tryin g to do that

rain y s e a s o n w h en the tw o p e o p le first

a So u th e rn ge ntle m an in M idnight in

1 S p a c e y at the tim e w a s sp o rtin g a

the Garden o f G ood and Evil.

h im s e lf up a n d p e o p le are cry in g ,

great line from Queen Margot, the w e d

m u s ic is s w e llin g , g e ttin g e v e ry b o d y in

d in g d re ss, and b lo od w ent a b so lu te ly

Clearly, newcomers Kawase and

the m o od an d s u d d e n ly yo u h ear,

all o ve r e ve ry b o d y - Jam ie P a cke r and

Suwa cannot represent the Japanese

“ Ste p h a n ! [screa m in g.]” . A n d he s a id ,

all th e se p eo p le. M y m o ther w a s in

independent scene as a whole. But

“ W h a t is th e clo w n d o in g b a c k h e re ? ”

w hite s ilk , and b lo od w e nt eve ryw he re.

they do represent a powerful ten

w ould nam e an actor, but he h e s i

Th e clo w n w a s co m p le te ly d ru n k ,

dency within that vibrant and diverse

tated, in e very lik e lih o o d th in k in g

culture that is gathering strength, and

the better o f re v e a lin g the a cto r’s

s t u m b lin g up the ro a d . T h e clo w n w a s re m o ve d , p o o r clo w n .

HOW DOES THE FFC FEEL ABOUT IT? I sh o w e d the FFC a v id e o ta p e , an A V ID

C I N E MA P A P E R S • NOVEMBER 1997

1 Alan Finney is M anaging Director, A u s

m eet u n til th e y fa ll co m p le te ly in lo ve.

it looks like they will be around for a

tralian Film Production, Roadshow Film

Distributors.

Thanks to Ju lie H ayes fo r translation.

2 The A dventures o f Priscilla, Queen o f the Desert (S tep h a n Ellio tt, 1994). 3 At th is point it a p p e a red tha t Ellro y

id en tity and o m ittin g it. 4 “ B o yo ” is an A n glo-Irish exp ressio n, used a lot by W elsh poet Dylan Th om as.

5th International D ocum entary C onference Brisbane, Australia

20-23 November 1997

New Markets, New Broadcasting Landscapes, New Technologies, New Policy Territories these are the New Frontiers that confront our industry today. The 5th International Documentary Conference focuses on these threats and promises for documentary film makers and asks what happens when we cross the borders of geography, culture, technology, privacy, morality and reason.

T h e Verite Tradition

Filmmaking gets mobile again with the latest digital technologies. The conference looks back to the future and rediscovers verite classics.

The multi-strand conference program includes screenings, panel discussions, forums, plenary sessions, craft and training sessions, trade exhibition displays and public screenings.

In T h e Fram e A mix of conference events including sessions on docu-drama, political, environmental, arts and Indigenous documentaries. Film M aker S c re e n in g s See the latest works from national and international filmmakers as well as retrospectives of Barbara Kopple.

M arkets

The Documart “live” pitching sessions are back by popular demand with an impressive cast of national and international broadcasters present from the ABC, SBS, Channel Four (UK), Canal Plus (France) and Discovery (Europe), plus distributors and sales agents, eager to find Australian product to suit their programming needs.

International Filmmakers include: Barbara Kopple, winner of two Academy Awards for Harlan County USA and American Dream Martin Freeth, Head of the BBC Multimedia Centre, show casing recent interactive CD-ROMS developed alongside major documentary series Molly Dineen, BAFTA award-winning director of Heart of the Angel, The Ark and In The Company of Men

Th e D igital Future

A central strand designed to showcase new products, new ways of working and new markets.

Duan Jinchuan, winner of the Prix du Cinema du Reel (Paris) Award for his documentary 16 Barkhor Street South

The largest gathering of Australia’s documentary filmmaking community is an event not to be missed by anyone working at the interface of documentary and new technology. Register Now!

Subscribe Now

and savcHip to

20% off

n e w ^ n iic e

Features in Planning

Feature Films Passion

Features In Production

Production Survey

Funding D ecisions 57

Documentaries The Maitland Wonder

Jack Sue - A Matter of Honour

The Boys

Head On

58 58

Brothers at War

Hurrah

Land of the Long White Sheila

In The Winter Dark

Liquid Bridge

Features in Development Harvest

Sally Marshall Is Not a Alien

Reflections

The Thin Red Line

The Venus Factory

Features in Pre-Production 57

Killer Jones

Spank

Feature Film s PASSION Matt Carroll Films Pty Ltd D: M ichael P attinson P: M att C arroll Ws: P eter G oldsworthy , R ob G eorge Presales: M ovie V isio n , C hannel 4 Distribution: H ollywood P artn ers , B eyond F ilm s , REP ercy Grainger, composer and the greatest Australian concert pianist of his day, grew up in Melbourne in the late 19th century, learning music under the strict tutelage of his mother, Rose. Together they travelled to Europe where he became the toast of London. Hailed by Edvard Grieg as a musical genius to be nurtured, he was adored by society women as much for his blond good looks as for his virtuoso playing. As World W ar One approaches, speculation of an incestuous relationship between Percy and Rose grows, forcing them to flee London for America. Rose, suffering the madness of syphillis and feeling the burden of her son, suicides while Percy is away on a concert tour. Percy meets the beautiful Ella Strom, the spitting image of his mother, whom he woos and marries on stage after a concert at the Hollywood Bowl in 1928.

and captured the heart of the nation. In spite of this, Darcy was branded a coward - accused of preferring to box for money than fight for his country in World War I. Coming from an IrishCatholic background, he was regarded by many as epitomizing Irish resentment to the war. He stowed away to America where he died in 1917, aged 21. His story is unique in Australian sporting history.

JACK SUEA MAHER OF HONOUR

(ACCORD) Carlyon-M iller P roduction Pty Ltd D: T erry C arlyon Ps : T erry C arlyon , R obyn M iller W: R obyn M iller

Family Crackers

HARVEST M organ C reek P roductions Director: K en CAMERON Producer: D es P ower Executive producers: J im M c E lroy , D es P ower Director of photography: G eorge L ittle Production: late 1997, Queensland

SALLY MARSHALL IS NOT AN ALIEN Production company: ClNAR FILMS

(A ustralian /C anadian co - production ) Director: M ario A ndreacchio Co-Producer: T erry C haratsis Distributor: UNITED INTERNATIONAL P ictures ased on the novel Sally Marshall is not an Alien by Amanda McKay.

Features in Pre-Production

Production Survey

Dead Letter Office

Production company:

Presale: S B S

lthough born in Australia in the mid-1920s, Ja c k Wong Sue's Cantonese heritage denied him the right to serve his country in time of war. He finally became a spy in the Royal Australian Air Force's elite and secret Z Force, and the only RAAF serviceman to be awarded the Distinguished Conduct Medal by the Australian Army. Ja c k is now returning to Borneo for an emotional journey to confront not only the physical hardship he endured, but particular families he was forced to treat as enemy during his missions.

SPANK

Features In Planning

Documentaries THE MAITLAND WONDER

(ACCORD) A nthony B uckley P roductions Pty Ltd D: D on F eatherstone P: A nthony B uckley W: P eter F enton Presale: A B C es Darcy was one of the greatest sportsmen Australia has ever produced. He w as recognized as the world middleweight boxing champion

BROTHERS AT WAR Production company: R ichard B radley P roductions Budget: $4.5 M Director: R ichard B radley Producer: R ichard B radley Associate producers: HOWARD RUBIE, J im G eorge Line producer: T errie VINCENT Scriptwriters: R ichard B radley , J eremy La r k in s , R ob W atson Director of photography: R oger Lan ser Editor: NlCK HOLMES Network presale: S even

C IN EM A P A P E R S â&#x20AC;˘ NOVEMBER 1997

Justice

Oscar and Lucinda

Radiance

Documentaries Television Projects in Production

Producer: P aul D owie

Inferno Roar

Tales of the South Sea

Budgeted by: lAN SPENCELEY, S haron J ackso n , M ichael B ond

Marketing International sales agent: I ntrafilm , R ome

P roduction C rew

Cast

Location manager: T im B urns Production accountant: S haron J ackson Insurer: ACN P ty Ltd Completion guarantor: FACB, RoB FlSHER Legal services: J ohn P icton -W arlow & A ssociates Travel co-ordinator: J ohn the T ravel B roker

N icholas H ope ( J onathon J ones ), T ushka B ergen ( J e s sic a )

Camera C rew Camera operator: Laszlo B aranyai Camera type: ARRI

ones, a writer, is placed in a challenging exploration of the human predicament. When a body is found, Jones, the killer, is driven mad by what he has done, and realizes his only way out of trouble is to get deeper into it.

SPANK

On- set C rew 1st assistant director: Jo O 'S haunnessy Continuity: J an PlANTONl Make-up: LESLEY R ouveray Special fx make-up: L esley R ouveray Hairdresser: L esley R ouveray Unit publicist: NATALIE CAMERON

Production company:

V ertigo P roductions Distribution company: I ntrafilm s /P alace Budget: $1.5 m Pre-production: 13/10-16/11/97 Production: 17/11-28/12/97 Post-production: 29/12/97

P ost- production

P rincipal C redits

Film gauge: SUPER 35 mm

Director: E rnie C lark

Screen ratio: CINEMASCOPE

Producer: David L ightfoot

Shooting stock: Eastman C olour & B&W

Co-producer: S cott M c D onald

Government A gency I nvestment

Executive producer: R olf de H eer

Production: SMILE PRODUCTIONS,

Scriptwriters: David L ightfoot & David

T he S outh A ustralian F ilm C orporation , S creen W est

Director of photography: R oger D owling

Farrelli Production designer: A phrodite K ondus Editor: E dward M c Queen -M ason

Production company: D owie P roductions Director: P aul D owie

P lanning

e y

KILLER JONES Pre-Production: AUGUST 1997 Production: L ate 1997

S howtime has not financed the film in ANY WAY. Production company: BONDFILM P ty Ltd Distribution company: T he G lobe F ilm C o

P rincipal C redits Director: M ichael B ond

now adhere to a revised form at.

Cinema Papers regretĂŠ it cannot

and

Development

Casting: A nnie M urtagh -M onks Extras casting:

A nnie M urtagh -M onks

Shooting schedule by: David LIGHTFOOT Budgeted by: David L ightfoot

P roduction C rew Production m a n a g e n S co rr M c D onald Production accountant: T rudy T albot Completion guarantor: FACB Legal services: R oth W arren ,

B ryce M enzies

Government A gency Investment Development: SA F ilm CORPORATION Production: FFC AND SAFC

Marketing International sales agent: I ntra F ilm , R ome

Cast

N O T E : Production Survey form s

Producer: J an T yrell

P lanning

Development

Casting: A ngela H eesom

EP Executive Producer P Producer Co-P Co-Producer AS Associate Producer LP Line Producer D Director SW Scriptwriter C Cast PC Principal Cast SE Story Editor WD Writer-director DIST Distributor

Co-producers: lAN SPENCELEY,

S haron J ackson Executive producers: Ian S penceley , M ichael B ond Associate producer: NICHOLAS HOPE Scriptwriter: M ichael B ond Director of photography: Laszlo B aranyai Production designer: HERBERT PlNTER Editor: ANDREW THOMPSON Composer: J en A nderson Sound designer: J am es C urry Sound recordist: JAMES CURRY

and

Script editor: D uncan T hompson

As YET UNCAST itchell is tricked into acting as a security guard in a 24-hour supermarket. The trouble is he hasn't slept for three days.

The Page Brothers

CAFFEINE

Budget $ 2 .2 million

S ee below : F eatures in P re - production

Amy

Features in Development

F F C Funding Decisions Following a Board meeting held in August, 1997, the F F C has entered into contract negotiations with the producers of the following projects:

Features in Post-Production

Caffeine

1 i i i i i i i i i i 11 11

accept information received in a different form at.

Cinema Papers doeo not accept responsibility fo r the accuracy o f a n y information JuppLied by production companies. This id particularly the cade when information changes but the production company m akes no a ttem pt to correct what has already been supplied.

L ucia M astrontone (T in a )

ick and Vinny are two losers whose only salvation is Vinny's girlfriend Tina, who bankrolls their plans to open a new cafe. The only remaining problem is howto get a prime location on Adelaide's slinky cafe-society corridor. Enter Rocky Pisoni, local big-noter who thinks that his self-styled mafia-type credentials will help the boys secure a spot Taking hard-up ex-monk Paulie along for the ride, the little big man soon witnesses Rocky's cheap power and driven violence, forcing the realization that they are in league with a low-rent satan.

p ro d u c tio n ProductionSurvey continued

1st assistant director: B ob H oward

Featured In Production THE BOYS Production company: A renafilm Distribution company: F ootprint F ilm s ,

On - set C rew 2nd assistant director: S teve Hardman Boom operator: GERRY NUCI-FORA

Unit publicist: F ran Lanigan

Make-up/hair design: ANDREA CADZOW

Catering: E at Y our H eart Out F ilm

Make-up/hair: J ennifer Lamphee

C atering Catering assistant: R ose B ygrave

Special fx co-ordinator: PETER STUBBS

A rt D epartment

Safety supervisor: P eter C ulpan

Director: R owan WOODS Producers: R obert C onnolly , J ohn Maynard Scriptwriter: STEPHEN SEWELL Based on the play titled: The B oys Written by: G ordon G raham

C olette B irrell Art department runner: A dam M c G oldrick Buyers/dressers: LlSA THOMPSON, M urray K elly Standby props: S imon C arter

G overnment A gency I nvestm ent

Wardrobe supervisor: K eryn R ibbands

Development: AFC

Standby wardrobe: K elly F oreman

Production: S B S I ndependent ,

Wardrobe assistant: SHANE PHILLIPS Post-production

M arketing

1st assistant editor: R ochelle Oshlack Dubbing editor: CRAIG CARTER Sound editor: R oom with a V u, C raig C arter

M ixed a t : S oundfirm Laboratory: ClNEVEX

Sprague, a bad-seed brother who returns to his family home after several years in gaol. Things have changed while Brett has been away: his brother, Glen, has moved out; youngest brother Stevie's pregnant girlfriend now lives with the family; and his mother, Sandra, has taken on a new lover. On his first day back, Brett sets about restoring his own family order. In doing so, he reunites his brothers with horrific consequences.

HEAD ON Production company:HEAD O n P roductions , P ty Ltd Production office: MELBOURNE Production: 20/8 - 10/10/97 Location: MELBOURNE P rin cipal credits Director: A na K okkinos Producer: J ane S cott Scriptwriters: ANDREW BOVELL, A na K okkinos , M ira R obertson Director of photography: J aem s G rant Production designer: NlKKI Dl FALCO Costume designer: A nna B orghesi Editor: J ill BlLCOCK Composer: P eter B est Sound designer: L loyd C arrick

Finance: F ilm F inance C orporation

(FFC), F ilm V ictoria Distribution: PALACE (AUSTRALASIA, S outhern S tar F ilm S ales C a st A lex D im itriades , P aul C a p s is , W illiam Z a ppa , J ulian Garner , M aria M ercedes , E ugenia F ragos , A lex P apps ineteen years old. When all Ari's energy and defiance, pain and joy is jammed into one high-velocity n ight of dancing, sex and drugs, he's running head on into his own kind of freedom.

HURRAH Production company:

H urrah P roductions P ty Ltd Production office: MELBOURNE Budget: $3.6 m Production: 23/8 - 3/10/97 Location: WENTWORTH, NSW

P rin cipal credits Director: F rank S hields

P roduction crew

Production designer: PAUL HOLT

Production manager: C atherine B ishop Production co-ordinator: K im T ravis Producer's assistant: CHRISTINA NORMAN Production secretary: J ana B u ir Location managers: A lista ir R eilly ,

Costume designer: A nna SENIOR

T im Scon

Storyboard artist: R alph M oser

Unit manager: A ndy P a ppas

P roduction C rew

Insurer: H.W. W ood Travel: T ravel T o o

C amera crew

Art director: P hilip B oston Art department co-ordinator: M arian L ong

Editor: B ill M urphy Composer: PETER B est Sound designer: David L e e

P u n n in g and D evelopment

Art department assistant: GERARD K eily

P lanning and D evelopment Researchers: P hil A valon , B rian W illiam s Script editors: BRIAN WILLIAMS, P hil A valon Casting: Maura Fay & A ssociates Casting consultant: A nn Fay Storyboard artist: K erri A insworth Shooting schedule by: D enis K iely Budgeted by: PHIL A valon

Wardrobe buyer: CATHERINE H erneen Standby wardrobe: K aren Falting

Key carpenter: MlCK GOLITSCHENKO Carpenters: A nthony Lamont , M athew

B olger . G ilbert Hanson P ost - production Post-production manager: M al BRYNING Assistant editor: BARRY LANFRANCHI Laboratory: ClNEVEX Shooting stock: KODAK Double head projector: T he J oinery Gauge: 35 mm

Marton C sokas (R aoul ), T ushka B ergen ( J ulia )

IN THE WINTER DARK Production company: R.B. FILMS Distribution company: T he G lobe F ilm C o. Production: 25 AUGUST... Director: JAMES BOGLE Producer: R osemary B light Line producer: B renda P am Scriptwriters: JAMES BOGLE, P eter R asm ussen Based on the novel titled: I n THE WINTER Da r k by T im W inton

Insurer: H o lu n d INSURANCE

Electricians: David L ovell ,

Completion guarantor: F.A.C.B.

C hris D ewhurst

Legal services: FOSTER HART

S am T hompson Location manager: M ichael Davis On - set crew Still photography: P hilip le M esurier Unit publicists: Gayle La ke , T racey M air

Travel: STAGE & SCREEN TRAVEL

G overnment A gency I nvestm ent

1st assistant director: P hil J ones

C amera C rew

Development: A ustralian F ilm F inance

2nd assistant director: C h ristina R obinson

Focus puller: TRISH KEATING

O n - set crew

Still photography: WARWICK GlBSON Unit publicist: A nnie W right Runner: TONY FIELDS

W ardrobe Wardrobe supervisor: J enny C am pbell P ost - production Post-production supervisor: R ose D o r ity - S pectrum Music performed by: VARIOUS ARTISTS Mixer: PHIL HEYWOOD Laboratory: M ovielab Film gauge: 35 mm

C orporation , N ew S outh W ales F ilm T elevision Office , P remium M ovie P artnership

and

C am era crew

O n - set crew Continuity: ALEX THOMAS Boom operator: B ob S cott Wardrobe: DANIEL Owen Make-up: P risc illa W atton Assistant Make-up: J anet O'R ourke & S ara K ovacs Marketing/publicity: JEANETTE JOHNSON & G lenn C haplin C a st K ym W ilson (B eth ), V a n essa D owning (M rs O 'B rien ), R oxane W ilson (H elen ), Dan iel R igney (P eter ), T im E lston (M a r k ) sophisticated psycho-thriller in the style of the master of the genre, Alfred Hitchcock. Three people seek shelter in a remote farmhouse, bringing with them dark secrets. But the farmhouse couple also have their own secrets.

THE THIN RED LINE Production company:

P hoenix P ictu res -F ox 2000 Production: 23 J une -N ovember 1997, P ort D ouglas , Queensland Distribution company:

T wentieth C entury F ox P rin cipal credits Director: T errence Malic k Producers: G rant H ill , R obert G eisler , J ohn R oberdeau Executive producer: G eorge S tevens J r . Line producer: G rant H ill Scriptwriter: TERRENCE MALICK Based on a novel titled: The Thin R ed L in e By J am es J ones Director of photography: JOHN TOLL Editors: B ill W eber , L eslie J ones Production designer: JACK FlSK Costume designer: Margot W ilson Other C redits Production manager: VlCKl P opplewell 1st assistant director: S kip C osper Unit publicity: F iona S earson , DDA

C a st S ean P enn , J ohn T ravolta , J im C a viezel , A drien B rody , E lias K oteas , N ick N olte , B en C haplin , J en C u sa ck , W oody Harrelso n , B ill P ulman , J ohn S avage , G ary O ldm an , G eorge C looney , M iranda Otto ased on Jones' sequel to From Here to Eternity, the film depicts an episode of military history in 1942 when the first division of the US Marine Corps attacked the beaches of Guadalcanal, where Japanese troops had dug in. The 'thin red line' represents the fine line between defeat and victory in the battle.

G overnment A gency I nvestment

THE VENUS FACTORY

Development: F ilm Queensland

Production company: TOMAHAWK PICTURES

M arketing

Budget: $ 8 50 ,0 0 0

Marketing consultant: J.M .A . International sales agent: B eyond F ilms Publicity: ANNIE WRIGHT, JOHN THORNHILL Poster designers: JOHN THORNHILL, W arw ick G ibson

Pre-production: 26/6/97 - 30/8/97 Post-production: 1/10/97 - 3 0 / 1 1 / 9 7

S yn o psis

Producers: J ason G ooden , J ules S aggers

Director of photography:

Production manager/co-ordinator:

Best boy: ROBBIE HECHENBERGER

O n - set C rew Make-up: H ilary P earce

P rin cipal C redits

Location assistant: C ath L ee Unit assistant: PHILLIP TAYLOR

Camera operator: MARTIN M c G rath

hrough the shimmering red-ochre distance, in the white-hot light of passion, two lovers create their own reality. Hurrah, a mysterious, intense love story.

Unit manager: L eigh A mmitzbol Production accountant: TREVOR B u in e y

C amera C rew

Ca s t :

P roduction crew

Gaffer: J im H unt

Insurer: T ony G ibbs Completion guarantor: FACB Legal services: Hart & S pira

G overnment A gency I nvestm ent

Location manager: Ma l BRYNING

Focus puller: P etter STOTT

P roduction C rew

Length: 95MIN

Finance: F ilm F inance C orporation (FFC) Distribution: T otal F ilm and T elevision , Mayfair E ntertainment

Camera assistant: Dan iel S haw Grip: B rett C am pbell Gaffer:DAVlD WOOD

Based on the story titled:

Construction manager: Dave F ranks

W ardrobe

Director's assistant: K ate M c D onald

Scriptwriter: PlM HENDRIX

C onstruction D epartment

Armourer: J ohn F ox

Associate producer: B rian W illiam s

Scenic artist: COLIN B urchall

C olin R obertson Standby props: B en BAUER

Production secretary: ELEANOR PHILPOTTS

Production co-ordinator: A nna M olyneaux

Producer: PHIL AVALON Line producer: DENIS KlELY

L iquid B ridge By: B rian W illiam s and P hil A valon Director of photography:MARTIN M c G rath Production designer: KERRI AINSWORTH Costume designer: J enny C am pbell Editor: T ed OTTON Composer: MAURICE D'ABRUZO Sound designer: Maurice D 'A bruzo Sound recordist: B ob C layton

Set dressers: M arita M u ssett ,

Martin M c G rath Production designer: N icholas M c C allum Costume designer: WENDY CORK Editor: SURESH AYYAR

Production manager: E lisa A rgenzio

P rin cipal C redits Director: P hil A valon

Art department: Dan iel Owen

L es L ithgow

A CS

Production: SEPTEMBER 1997, FOR 7 WEEKS

A rt D epartment

Line producer: Dan iel S charf

Extras casting: C ameron Harris

Pre-production: JULY 1997, FOR 7 WEEKS

S av ille , S andi A ustin

Executive producers: David R oe,

Scriptwriter: JOHN WOLSTENHOLME

Production runner: KlM R eed

Catering: KEITH F ish , Y vett SlNI

Co-producer: JOHN WOLSTENHOLME

Director of photography: N ino M artin etti ,

LIQUID BRIDGE Production company: A valon F ilms

Runners: J oclyn M c C ahon , M atthew

Producer: JULIE MARLOW

Casting director: D ina M ann

Production accountant: G ina Hallas

Unit publicist: F ran L anigan

P u n n in g and D evelopment

Unit assistant: N ino N egrin

Still photography: L isa T omasetti

Shooting stock: K odak

G overnment A gency I nvestm ent

Security: TED MURRAY

Camera equipment: L emac

he Boys tells the story of Brett

n intense psychological drama, In the Winter Dark is set in a secluded country valley where Maurice Stubbs and his wife Ida attempt to hold together a life-long but fragile relationship, while Murray Jacob and Ronnie struggle to find love. As the pain from an unresolved tragedy threatens to erupt from Maurice and Ida's past, Jacob and Ronnie are drawn into the older couple's desperate attempts to stop their lives unravelling.

Safety report: PETER CULPAN

W ardrobe

P remium M ovie P artnership

C a st

Stunts co-ordinator: WALLY Dalton

Art director: P aul H eath Art department co-ordinator:

David W enham , T oni C ollette , Lynette C urran , J ohn P olson , J eanette C ronin , A nna L is e , A nthony Hayes

Continuity: J ulie B a t e s -B rennan

Still photography: J ohn SARVIS

P rin cipal C redits

International distributor: A xiom F ilms

Generator operator: ANDREW JESPEN

Greek music co-ordinator: IRINE VELA

G lobe F ilm C ompany Production: J uly 1997 ...

Best boy: A dam K ercheval Lighting equipment: FRAZIER LIGHTING

P roduction crew

C a st B renda B lethyn (I da S t u b b s ), R ay B arrett (M aurice S t u b b s ), R ichard R oxburgh (M urray J a cob ), M iranda Otto (R onnie ).

n epic tale of a young sportsman's troubled journey to the top.

REFLECTIONS Production company: COMBRIDGE I nternational Production office: SYDNEY Production: SEPTEMBER 1997 Post-production: October 1997 P rin cipal credits

Production: 1/9 - 30/9 97

P rin cipal C redits Director: GLENN FRASER Line producer: L eonard C oster Associate producer: R ichard B rennan Scriptwriters: G lenn F r a ser ,

D arryl Mason Director of photography: R od TURNBULL Editor: Martin C onnor Sound designer: J oe N arai P lanning and D evelopment Script editor: GERARD MAGUIRE Budgeted by: J ason G ooden , L eonard C oster

Director: GEOFFREY BROWN

P roduction C rew

Producers: G eoffrey B rown , C athy

Production manager: L eonard C oster Production co-ordinator: A ngela Maier Producer's assistant: MEGAN Me AULIFFE Production asssitant: P atrick M unro Production accountant: JASON G ooden insurer: H.W. WOOD - T ony GlBBS Legal services: Harper W atson R andall harper , A drian C ornes

B rown Executive producer: G ordon B obbin

3rd assistant director: IAIN PlRRET

Clapper-loader: Tov BELLING

Script supervisor: A nnie WENT

Camera equipment: Cameraquip

Boom swinger: M a l HUGHES

Key grip: N oel M udie

Marketing

Make-up/halr supervisor: CHRISTINE MILLER

Grip: O liver P etrovic

International sales agent:

Editor: GEOFFREY BROWN

Choreographer: ZoiS TziTAS

Gaffer: L es F razier

S outhern S tar

Sound recordist: P eter M oreton

Director of photography:

G eoffrey B rown Scriptwriter: T erry O'C onnor

C IN EM A P A P E R S â&#x20AC;˘ NOVEMBER 1997

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T h e G lyp h r a n g e o f h ig h s p e e d , h ig h c a p a c it y S C S I h a rd d r iv e s , C D -R e c o r d e r s , TAPE AND MAGNETO OPTICAL DRIVES ARE DESIGNED SPECIFICALLY TO MEET THE HIGH DEMANDS OF DIGITAL AUDIO AND VIDEO APPLICATIONS. FOR OVER FOUR YEARS, MORE D ig id e s ig n d e a l e r s have t r u s t e d G lyph s t o r a g e d e v ic e s fo r t h e ir P ro To o l s CLIENTS THAN ANY OTHER DRIVE COMPANY. G lyph h a rd d r iv e s a r e a v a il a b l e in s in g l e and d o u b l e r a c k s p a c e e n c l o s u r e s AS WELL AS TABLETOP BOXES. EACH RACK MOUNTED UNIT COMES EQUIPPED WITH GLYPH’S UNIQUE SUSPENSHOCK® SHOCK MOUNTING. YOU CAN COMBINE DRIVES IN CUSTOM CONFIGURATIONS SUCH AS HARD DRIVE/CD-RECORDER OR HARD DRIVE/DAT BACKUP. Ca l l A S C

now fo r m ore in fo rm atio n on 1 8 0 0 6 7 5 1 6 8 o r ( 0 2 ) 9 9 0 1 4 4 5 5

32 Punch Street Artarmon NSW 2064 Australia A U D IO SO U N D CENTRE

SYDNEY (0 2 ) 9 9 0 1 4 4 5 5

» p r o d u c t io n Latin extras casting: K ristin a D iaz

Production Survey

OSGAR AND LUCINDA Production company: Dalton F ilms Distribution company: Fox S earchlight Pre-production: J une 1996 - A ugust 1996 Production: SEPTEMBER 1996 D ecember 1996 Post-production: JANUARY 1997 J uly 1997 Budget: $16 MILLION

Cast W arren M itchell, Daniel K ellie , P eter Rawstrorn , S usan Lyons , Maggie K ing, T erry Gia, V alerie B ader , C hris C hapman comedy with a heart about a chaotic family Christmas that goes terribly wrong.

Production m anager Ra y H en n essy Production co-ordinator: SANDI REVELINS

continued

P rincipal C redits Director: G illian A rmstrong

Production secretary: J ana B lair

JUSTICE

Location manager: S tephen B rett

Production company: WEST COAST PICTURES

Scriptwriter: Laura J ones

Distribution company: NEWVISION

Based on the novel titled: OSCAR AND

Producers: R obin Dalton , T imothy W hite

Freight co-ordinator. M ionite Ex p r ess

Boom operator: T ony D ickinson

Unit manager: MICHAEL B arnes

On- set C rew

Make-up: A manda R owbottom

Production accountant: M andy CARTER

Budget: S1.72M

L ucinda By: P eter Carey

Hairdresser: Z e ljk a S tanin

Accounts assistant: C urtis Quelle Insurer: H. W. W ood A ustralia P ty Ltd

Pre-production: 1/4-4/5/97

Director of photography:

Production: 5/5-15/6/97

G eoffrey S impson

Completion guarantor: FACB

Post-production: 16/6- 12/9/97

Production designer: L uciana A rrighi

Safety supervisor: T om C oltraine

Camera C rew

P rincipal C redits

Unit nurse: T ed GREEN

Artdirector: SHARNI DARGAN

Camera operator: R ob M urray

Still photography: S kip W atkin s

DirectorfRoN ELLIOTT

P ost- production

Unit publicist: S arah F inney

Focus puller: T rish K eating Clapper-loader: ANDREW JERRAM

Post-production supervisor: Leonard C oster Musical director: P eter L indsay Laboratory: M ovielab Laboratory liaison: Martin H oyle Negative matching: C hris R owell Grader: K elvin CRUMPLIN Film gauge: S uper 16mm to 35mm Screen ratio: 1:1:85 Video transfers by: VlDEOLAB Off-line facilities: Island F ilms

Caterer: J enny S tockley

Gaffer: R ory T imoney

Line producer: D ixie B etts

Caterer's assistant: T iffany M orris Tutor/chaperone: Maree G ray

Best boy: C hris S hanahan

2nd assistant director J odie G ero Make-up: SHARON Ohenoja Hairdresser: L loyd LOMAS

Special fx supervisor: PETER S tubbs Stunts co-ordinator: Z ev E letheriou

A rt Department

Cast J ules S aggers (D uncan "P ea k " W iley ), Cameron Me A uuffe (L yle )

S ynopsis eing a male pom star may have its good points, but for Duncan "Peak" Wiley, it's not going to satisfy his Shakespearean aspirations. A surreal, comic tale of one rising star and his naked ambition.

On- set Crew 1st assistant director: MONICA PEARCE

C hristina N orman Set decorators: ÜSA THOMPSON, N ic B runner Set dresser: DANIEL M a p p -M oroni Standby props: Harry ZETTEL Art department assistant: J anie P arker Graphic artist: J ane M urphy Draftsperson: STEVEN WHITING

3rd assistant director: LlSA FERRI Boom operator: MALCOLM HUGHES Continuity: A nny B eresford Make-up: S tephanie L arman Make-up assistant: Liz Harper Caterer: SWEET SEDUCTION

A rt Department Art director: ALLISON P ye

Editor: B ill M urphy Composer: P hil J udd Sound designer: D ean Gawen Sound recordist: A ndrew R amage

P roduction Crew Production manager: LESLEY PARKER Production co-ordinator: T rish FOREMAN Producers' assistant: J ane Hamilton Production secretary: C olette B irrell Location manager: NEIL M c C art (S pider ) Unit m anager L eigh A mmitzboll Unit assistant: P eter BOEKEMAN Production runner: JONATHON RlSHWORTH

V illage R oadshow L imited Network Pre-sale: N ine N etwork C a st Rachel G riffiths (T an ya ), A lana D e R oma (A my ), B en M endelsohn (R obert ), N ick B arker (W ill ), K erry A rmstrong (S arah ), J eremy T rigatti (Z a c ), W illiam Z a ppa (B ill ), S ullivan S tapleton (W a yn e ), T orquil N eilson (L uke ),M ary W ard (M rs M u llin s ), S usie P orter (A nny )

my is an eight-year-old girl who

can only hear music and communicates by singing.

Production accountant: N adeen KlNGSHOTT Insurer TONY LEONARD,

AON R isk S ervices Completion guarantor: A drienne R ead Legal services: B ryce M en zies , R oth W arren

DEAD LETTER OFFICE Production company: A rtist S ervices F ilm

P roductions Pty Ltd

C amera C rew

Production: A pril - J une 1997

Camera operator David W illiam son

P rin cipal C redits

Focus puller: W arw ick F ield

Director: J ohn RuANE

Clapper-loader: J ude LOVATT

Producers: D enise P atience , D eborah C ox

Key grip: R ichard A llardice

Executive producers: S teve V izard ,

Grip: P eter S tockley

A ndrew K night Scriptwriter: D eborah C ox Director of photography: E llery Ryan Production designer CHRIS KENNEDY Costume designer: KERRIE MAZZOCCO Editor D en ise Haratzis Composer: R oger M ason Sound recordist: Lloyd C arrick

Assistant grip: M arin J ohnson G affe r Ian D ewhurst Best boy: L ex Martin 3rd electrics: M ichael Hughes 4th electrics: C hris D ewhurst

On- set C rew 1st assistant director B ob DONALDSON 2nd assistant director: CHRISTIAN ROBINSON 3rd assistant director Iain P irret Director's assistant: C lea F rost Continuity: Jo W eeks Video split operator P ip WlNCER

Storyboard artist: NlKKI Dl Falco

Lyps Inc .

Card coach: R on KLINGER

M onks & A ssociates

Production supervisor (UK): K athy S ykes

Extras casting: J enni C ohen

Production co-ordinators: VANESSA B rown ,

P aul R anforo

P roduction C rew

Production co-ordinator (UK):

Standby props: D ean S ullivan

Production manager: D ixie B etts

Dresser: T ao W eis Draftsperson: S usan R ogers

Production co-ordinator: Liz J anney ,

D eryn S tafford Assistant production co-ordinator (UK):

J oan T hompson

Construction manager: B rendan M ullens

J enni C ohen Location manager: TlM B urns Production accountant: LlSA SMITH Insurer: HW W ood A ustralia Pty Ltd Completion guarantor: F irst A ustralian C ompletion C o.

Carpenters: S id Hartley , C hris T imms ,

Camera C rew

Location manager: PETER LAWLESS

Camera operator: A lex M c P hee Focus puller: T orstein Dyrting Clapper-loader: S ean M eehan Camera assistant: David M c M illan Key grip: B arry Hansen Gaffer: T ed N ordsvan Best boy: CRAIG IRWIN

Location assistant: ANTONY DENBY

W ardrobe Costume supervisor: K eryn R ibbands Costume standby: KELLY FOREMAN

C onstruction Department

C raig J acks Labourer: PETER STAUNCH Set painters: B en R esch , A ndrew S cott Brushhand: R ohan SCOTT

P ost- production Sound post-production: SOUNDFIRM Laboratory: C inevex Telecine transfers: AAV A ustralia Safety Report: N ew G eneration S tunts

On- set C rew

Government A gency Investment

1st assistant director:

he Dead Letter Office is a place of small mysteries, hidden in the bowels of the Metropolitan Mail Centre. The letters and parcels lining its walls are wrongly addressed or mistakenly posted and most likely will never reach their destinations. This conglomeration of files and cupboards is also a sorting house for every kind of human frailty - letters of love lost, grief and longing - but this is the painful burden that Frank Lobez, officer-incharge, refuses to take up. That is, until Alice Walsh comes into his life and embroils him in her own misdirected quest for happiness.

M ichael Faranda Continuity: J an PlANTONl Make-up: L esley R ouvray Hairdresser: L esley R ouvray Stunts co-ordinator: PETER WEST Safety o fficer P eter W est

A rt Department Art director: C layton J auncey Art department co-ordinator: D ebbie T aylor Art department runner: S am H obbs Set dresser: DEBBIE T aylor

Props buyer: B eth Ga r sw OOD Standby props: K elvin S exton

W ardrobe Wardrobe supervisor: L isa Galea Standby wardrobe: C hristine Lynch Wardrobe assistant: A bby W ilson

P ost- production (Film and/or V ideo) Post-production supervisor: Law rie S ilverstrin G overnment A gency I nvestment Production: SCREEN W est , FFC

Distribution company: B eyond F ilm s , S harmill F ilms Production: APRIL 1997 ...

P rincipal C redits Director: David S wann Producer:CHRis Warner Scriptwriter: DAVID SWANN

Researchers/script consultants: M elissa

Government A gency Investment Production: A ustralian Film Financing C orporation, Film Victoria Marketing: B eyond Films

Producer's/director's assistant:

M erlyne J amieson Producer's assistant: M el FLANAGAN Producer's assistant (UK): A lison O dell Director's assistant: C lancy M c D owell Assistant to Mr Fiennes: B ecky VEDUCCIO

Location managers (UK):

A ngus M ore-G ordon, A ndrew H ill Unit manager: W ill M atthew s Unit manager (UK): REGGIE B lain Unit assistants: PETER KODICEK, C lem B arrack , A lison M eir , G rayden L e B reton , E rle D en n is , N eil Faulkner , J im Davidson Production assistants: S imone O'H alloran , J onathan Y eo Production runner: D imitri E llerington Production runner (UK): K arin a Lawson Floor runner (UK): JOEL HOPKINS Production accountant: J ILL STEELE Assistant accountant : S ue C ollins Accounts assistant: S tuart M c P hee Production accountant (UK): R achel J ames Assistant accountant (UK): S arah K aye Production consultant: HELEN WATTS Accounting: M oneypenny S ervices Insurance: A on E ntertainm ent R isk S ervices Completion guarantor: F ilm F in a n ces , Inc . Liaison: ADRIENNE R ead Legal representation: TRESS COCKS & Madden Legal representation (UK): CAMPBELL H ooper Travel & accomodation: S howtravel , I nternet T ravel

Camera C rew

International sales agent/distributor: A ugust E ntertainment

Additional photography: R u ssell B oyd A.C.S. Camera operator: Marc S picer A.C.S. Focus puller: S ally E ccleston Clapper-loader: B ede Hain es

Cast

Clapper-loader/2nd focus puller (UK):

Marcus G raham (B obby L ew is ), K erry A rmstrong (A nnie Ma r tin )

Clapper-loader (UK): R achel M a c G regor

Marketing

FAMILY CRACKERS

P lanning and Development M ohr, R ichard L ow enstein , M ichael B rindley , J ohn R uane Casting: E lly B radbury

P lanning and Development

for

Dialogue coach: VICTORIA MlELEWSKA

Budgeted by: D ixie B etts

M iranda Otto (A lice ), G eorge D el H oyo (F rank ), Georgina N aidu (M a r y ), N icholas B ell (K evin ). S yd B risban e (P eter ), J ane Hall (H eather ), Mark W ilson (Y outh ), J illian O'D owd (L izzy ), G uillermina U lloa (L ucia ), Franko M ilostnik (V incente ), V a n essa S teele (C armen ).

Production designer: J on D owding Costume Supervisor: CHRISTIANA P utzeo

Voice casting (UK): BRENDAN DONNISON

D erek W alker Crowd casting (UK): VICTORIA CONNELL

Set decorator: G eorgina C am pbell

Art department co-ordinator: L ucy S parke

Domestic distributor:

Director of photography: David PARKER

Aborginal casting co-ordinator:

P roduction Crew

Cast

Co-producer: P hil J ones

Aborginal casting: TRACIE W alsh

J ustice By: B ob R oget Director of photography: A lex M c P hee Production designer: CLAYTON JAUNCEY Costume Designer: LlSA Galea Editor: Law rie S ilverstrin Sound recordist: SCOTT MONTGOMERY

Production supervisor: SUE W ild

Development: F ilm V ictoria , FFC

Director: N adia T a ss Producers: N adia T a s s and David P arker

Development

Script editor S teve T urnbull

B eyond F ilms Limited

P rincipal C redits

and

Extras casting: JACKIE ÛUILTER

Casting consultants: A nnie M urtagh -

International sales agent:

Production: 24/3-24/5/97

Sound recordist: B en 0SMO

P lanning

Unit publicist: F ran Lanigan

A my By: D avid P arker

Distribution company: B eyond F ilm s L td (international ), V illage R oadshow Ltd (A ustralia and N ew Z ealand )

Sound designer: A ndrew PLAIN

Still photography: L isa THOMASETTI

Based on the original screenplay titled:

AMY

Executive producer: Larry H irsch Associate producers: Ryan H odgson ,

2nd assistant director: M iriam R eady

W ardrobe Standby wardrobe: M andy S edawie Costumier: A lison F owler Assistant wardrobe: D enise P etrovic

Producer: B ob R oget

Based on the original screenplay titled:

A rt Department

Costume assistant: B ernice D evereaux

Editor: N icholas B eauman

K elvin M unro , S tuart M c C racken

Art director: H ugh B ateup Art department co-ordinator:

Costume designer: JANET PATTERSON Composer: THOMAS NEWMAN

3rd electrics: A dam K ercheval

C onstruction D epartment Scenic artist: J ohn Haratzis Construction manager: B rendan M ullen P ost - production Post-production supervisor: David B irrell Assistant editor: David BlRRELL Editing assistant: ROCHELLE OSHLACK Sound editor: P aul H untingford Foley artist: PAUL HUNTINGFORD Music supervisor: CHRIS GOUGH, Man a M usic Laboratory: ClNEVEX Laboratory liaison: Ian ANDERSON Cutting Rooms: N oisy P ictures Telecine: COMPLETE POST G overnment A gency Investment Production: A ustralian F ilm C om m ission : C ommercial T elevision P roduction Fund M arketing

Feature j In Poet Production

P roduction C rew

M arketing

International sales agent: BEYOND FILMS

ustice is an 'againstthe odds' story of hope and inspiration. Set against the background of the city slums, an alcoholic derelict is framed for the murder of a female Internal Affairs officer. In order to prove his innocence, he must first fight and conquer his personal demons before he is able to challenge the legal system and, representing himself, discover the truth and bring the guilty to justice.

N ick W att Camera grip (UK): G ary R omaine Videosplit operator: DANIEL PRONT Steadicam operator: Ian M c M illan Steadicam & 2nd unit photography (UK):

N igel K irton Steadicam operator (UK): J ohn W ard Underwater & 2nd unit DOP: R ob H unter Underwater & 2nd unit camera assistant:

C am pbell D rummond 2nd unit camera operator:

M arc S picer A.C.S. Key grip: R a y B rown

CI NEMA P A P E R S • NOVEMBER 1997

BACK! 'SÉE TEAR-OWT Number 1 (January 1974) David Williamson, Ray

Out 'Breaker' Morant Body Heat The Man from Snowy River Number 37 (April 1982) Stephen

A Guide to What's in Stock u i M . ' I T M l T O ORDER

Tracey Moffatt and Bedevil, Lightworks and Avid, Australia's first films: part 3 Number 94 (August MacLean, Ja cki Weaver, Carlos Saura, Peter 1993) Cannes '94, Steve Buscemi and Reservoir Ustinov, women in drama. Monkey Grip Number 38 Dogs, Paul Cox, Michael Jenkin's The Heartbreak (June 1982) Geoff Burrowes, George Miller, Jam es Kid, 'Coming of Age',films, Australia's first films: part Ivory, Phil Noyce, Joan Fontaine, Tony Williams, 4 Number 95 (October 1993) Lynn-Marie Milburn's 'law and insurance. Far East Number 39 (August Memories & Dreams, Franklin on the science of Papadopolous, Willis O'Brien, William Friedkin.The 1982) Helen Morse, Richard Mason, Anja Breien, previews. The Custodian, documentary supple True Story of Eskimo Nell Number 4 (December David Millilkan, Derek Granger, Norwegian cineGhosts Of The Civil Dead, Feathers, Ocean, Ocean ment Tom Zubricki, John Hughes, Australia's first 1974) Bill Shepherd, Cliff Green, Werner Herzog, Archive, We of the Never Never~ Number 69 (May 1988) Sex, death and family films, films: part 5 Number 96 (December 19%) Between-Wars, Petersen, A Salute to the Great ' - ®Number 40 (October 1982) Henri Safran, Michael Cannes '88, film c 0mp0s7Tfs /Vineent Ward, David Queensland issue: overview of film in Queensland, MacArthy Number 5 (March-April 1975) Alb!; Ritchie, Pauline Kael, Wendy Hughes, Ray Barrett, Parker, Ian Bradley, Pleasure DomTTs1 -Number 70 Nearly Queensland cinema, Jason Donovan and Thoms on surf movies, Charles ChanvelfilmograMy Dinner with Andre, The Return of Captain (November 1988) Film Australia, Gillian Armstrong, ; ) Donald Crombie, Rough Diamonds, Australia's first phy, Ross Wood, Byron Hasfrin/Brian Probyn, Inn Invincible Number 41 (December 1982) Igor Fred Schepisi, Wes Craven, John Waters, Al Clark/* films: part 6 Number 97-8 (April 1994) 20th of the Damned Number 6 SOLD OUT Number 7 Auzins, Paul Schrader, Peter Tammer, Liliana Shame screenplay part 1 Number 71 (January Anniversary double issue with New Zealand sup- SOLD OUT Number 8 (March-April 1976) Pat Cavani, Colin Higgins, The Year of Living 1989) Yahoo Serious, David Cronenberg, 1988 in plement/Simon Wincer and Lightning Jack, Lovell, Riinard Zanuck, Sydney Pollack, Pier Paolo Dangerously Number 42 (March 1983) Mel Gibson, retrospect, film sound, Last Temptation of Christ, Richard Franklfrirendeaving America, Australia’s Pasolini, Phillip Adams, Don McAlpine, Don's Party John Waters, Ian Pringle, Agnes Varda, copyright, Philip Brophy Number 72 (March 1989) Little Dorrit, first films: part 7 Number 99 (Juiie 1994) Krzysztof I l l li p Nuniber 9 (June-July 1976) Milos Forman, Max Strikebound, The Man from Snowy River Number Australian sci-fi movies, 1988 mini-series, Kieslowski, Ken G. Hall Tribute, cinematography HPr Lemon, Miklos Jancso, Luchino Visconti, Caddie, 43 (May-June 1983) Sydney Pollack, Denny Aromarama, Celia, La dolce Vita, women and supplement, Geoffrey Burton^Pauline Chan and The Devil's Playground Number 10 (Sept-Oct 1976) L a J a r a s p]|e Clifford. The Dismissal, Sumner Westerns Number 73 (May 1989) Cannes '89, Dead Traps, Australia's first films: Part» Number 100 Nagisa Oshima, Philippe Mora, Krzysztof Zan u ggA É Locke Elliott's Careful He MighpMear You Number Calm, Franco Nero, Jane Campion, The Prisoner of (August 1994) Cannes '94, NSW sup^°ment, Marco Ferreri, Marco Bellocchio, gay cinema 44-45 (April 1984) David Stevens, Simon>Wjncer, St. Petersburg, Frank Pierson, Pay TV Number 74 Bernardo Bertolucci's Little Buddah, T h ^ u m of Number 11 (January 1977) Emjje De Antonio, Jill Susan Lambert, a personal history of Cinema (July 1989) The Delinquents, Australians in Us, Spider & Rose, film and the digital w o rlt^ M Robb, Samuel Z. Arkoff, Rgrifan Polanski, Saul Papers, Street Kids Number 46 (July 1984) Paul ' ¡»Hollywood, Chinese cinema, Philippe Mora, Yuri Australia's first films: part 9 Number 101 (O cto rraH Bass, The Picture Shod/Man Number 12 (April Cox, Russell Mulcahy, Alan J. Pakula, Robert ;.Spko|,.Twins, Ghosts... of the Civil Dead, Shame 1994) Priscilla, Queen of the Desert, Victorian s u p ^ 1977) Ken L o a c h jo m Haydon, Donald Sutherland, Duvall, Jeremy Irons, Eureka Stockade, 'screenplay Number 75 (September 1989) Sally plement, P. J. Hogan and Muriel's Wedding, Ben Bert Deling, Fhe.ro Tosi, John Dankworth, John Waterfront, The Boy in the Bush, A Woman Bongers,the teen movie, animated, Edens Lost, Lewin and Lucky Break, Australia's first films: Part Scot, Days,of Hope, The Getting of Wisdom Suffers, Street Hero Number 47 (August 1984) Pet Sematary, Martin Scorsese and Paul Schrader, 9 Number 102 (December 1994) Once Were Num berl3 (July 1977) Louis Malle, Paul Cbx; Jphn|| Richard LowerisreimWim W endersDavid Ed Pressman Number 76 (November 1989) Simon Warriors, films we love, Back of Beyond, Cecil Powej, Jeanine Seaweli, Peter Sykes,Bernardo BradburyrSophia Turkiewicz, Hugh H u d so n /^ ^H Wincer, Quigley Down-Binder, Kennedy Miller, Holmes, Lindsay Anderson, Body Melt, AFC supple Befàiuéci, In Search of Anna Number 14 (October Robbery Under Arms Number 48 (Oct-Nov 1 9 8 4 )^ ;|Jerry Hayes,-Bangkok Hilton, John Duigan, Flirting, ment, Spider & Rose, Australia's First Rims: Part 10 19?7) Phil Noyce, Matt Carroll, Eric Rohmer, Terry K e n Cameron, Michael Pattinson, Jan Sardi, Yoram Romero, Dennis Hopper, Frank Howson, Ron Cobb Number 103 (March 1995) Little Women, Gillian J|ckm an,Jp hn Huston/Luke's Kingdom, The Last Gross, Bodyline, The Slim Dusty Movie Number 49 Number 77 (January 1990) John Farrow mono Armstrong, Queensland supplement, Geoffrey Wave, Blue Fire Lady Number 15 (January 1978) (December 1984) Alain Resnais, Brian McKenzie, graph, Blood Oath, Dennis Whitburn, Brian Simpson, Heavenly Creatures, Eternity, Australia's Tom Cowan, Truffaut, John Faulkner, S te p h e n ^ Angela Punch McGregor, Ennio Morricone, Jane Williams, Don McLennan, Breakaway, "Crocodile" First Films Number 104 (June 1995) Cannes Mania, Wallace, the Taviani brothers, Sri Lankan film, The Campion, horror films, Niel Lynne Number 50 (FebDundee overseas Number-78 (March 1990) The Billy's Holiday, Angel Baby, Epsilon, Vacant Chant o f Jimmie Blacksmith Number 16 (AprilMarch 1985) Stephen Wallace, Ian Pringle, Crossingffiay Argali, Return Home, Peter Possession, Richard Franklin, Australia's First * June 1978) Gunnel Lindblom, John Duigan, Steven Walerian Borowczyk, Peter Schreck, Bill Conti, Greenaway and The Cook ^¿M ichel Ciment, Films: Part 12 Number 105 (August 1995) Mark Spielberg, Tom Jeffrey, The Africa Project, Brian May, The Last Bastion, Bliss Number 51 Bangkok Hilton, Barlow and ChambersUiumber 79 Joffe's Cosi, Jacqueline McKenzie, Slawomir Swedish cinema. Dawn!, Patrick Number 17 (Aug(May 1985) Lino Brocka, Harrison Ford, Noni SOLD OUT Number 80 (August 1990) Cannes Idziak, Cannes Review, Gaumont Retrospective, Sept1978) :Bill Bain, Isabelle Huppert, Brian May, Hazlehurst, Dusan Makavejev, Emoh Ruo, Winners, report, F/fed Schepisi career interview,peter Weir Marie Craven, Dad & Dave Number 106 (October Polish cinema, Newsfront We Night the Prowler Morris West's The Naked Country, Mad Max and Greencard, Pauline Chan, Gus Van Sant and 1995) Gerard Lee and John Maynard on All Men Number 18 (Oct-Nov 1978) John Lamond, Sonia Beyond Thunderdome, Robbery Under Arms Drugstore Cowboy, German stories Number 81 Are Liars, Sam Neil, The Small Man, Under the Number 52 (July 1985) John Schlesinger, Gillian Borg, Aiain Tanner, Indiarfcinema, Dimboola, (December 1990) Ian Pringle Isabelle Eberhardt, Gun, AFC low budget seminar Number 107 Cathy's Child Number |9 (Jan-Feb 1979) Antony Armstrong, Alan Parker, soap operas, TV news, Jane Gampion, An Angel A t My Table, Martin (December 1995) George Miller and Chris Noonan film advertising, Don't Call Me Girlie, For Love Ginnane, Stanley Havïfés, Jeremy Thomas, Andrew Scorsesel|nd Goodfellas, Presumed Innocent talk about Babe, New trends in criticism, The rise Alone, Double Sculls Number 53 (September 1985) W ÊÜ ÊÎÊ Sarris. sponsored documentaries, Blue Fin Number 82 (March 1991) The Godfather Part III, of boutique cinema Number 108 (February 1996) j ^ Number 20 (March-April 1979) Ken Cameron, Brian Brown, Nicolas Roeg, Vincent Ward, Hector Barbet Schroeder, Reversal of Fortune, Black Conjuring John Hughes' What I Have Written, Crawford, Emir Kusturica, NZ film and TV, Return to Robe, Raymond Hollis Longford, Backsliding * Claude Lelouch, Jim Sharman, French film, My Cthulu, The Top 100 Australian Films, Nicole Eden Number 54 (November 1985) Graeme Clifford, Number 83 (May 1 9 9 i);A fl^ ^ jra ri® annes, Gillian Bnlliant Career, Number 21 (May-June 1979) Kidman in To Die For Number 109 (April 1996) Bob Weis, John Boorman, Menahem Golan, rock Armstrong, The Last Days at Ghw Nous, The H B Vietnam on Film,»the Cantrills, French cinema. Mad Rachel Griffiths runs the gamut, Toni Collette and videos, Wills and Burke, The Great Bookie Silence of the Lambs, FIvnrWBmid to the World, ■' Max, Snapshot, The Odd Angry Shot, Franklin on Cosi, Sundance Rim Festival, Michael Tolkin, Robbery, The Lancaster Miller Affair Number 55 Anthony Hopkins, Spotswood Number 84 (August Hitchcock Number 22 (July-Aug 1979) Bruce Petty, Morals and the Mutoscope Number 110 (June (January 1986) Jam es Stewart, Debbie Byrne, 1991) Jam es Cameron and Terminator2: Î Luciana Arrighi, Albie Thoms, Stax, Alison's 1996) Rolf de Heer travels to Cannes, Clara Law's Brian Thompson, Paul Verhoeven, Derek Judgement Day, Dennis O'Rourke, Good Woman of ^ t T Birthday Number 23 SOLD OUT Number 24 (Decnew home, Shirley Barrett's Love Serenade, Meddings, tia«ifjjtaiarketinq. The Right Hand Man, Bangkok, Susan Dermody, Breathing Under Water, f r - i ; ' Jan 1980) Brian Teenchard-Smith, Ian Holmes, Richard Franklin Number 111 (August 1996) Scott 6/rr/sv/7fe:Number;56 (March 1986) Fred Schepisi, Cannes report, FFC Number 85 (November 1991) -ArthurHiller, JerzyToeplitz, Brazilian cinema, Hicks and Shine, The Three Chinas, Trusting Jocelyn Moorhouse, Proof, Blake Edwards, DennilsfO'Rourke; Bfmn Trenchard-Smith, John Christopher Doyle, Love and Other Catastrophes Harlequin Number 25 (Feb-March 1980) David Switch-, Callie Khouri: Thelma & Louise; indepen Number 112 (October 1996) Lawrence Johnston's Puttnam, Jan et Strickland, Everett de Roche, Petefeg Éa^rgreavesf Dead-end Drive-in, The More Things Change ^Kangaroo, Tracy Number 57 SOLD OUT dent exhibition and distribution, FFC part 2 Number Life, Return of the Mavericks, Queensland Faiman, Chain Reaction, Stir Number 26 (A p ril^ H 86 (January 1992) Romper Stomper, The Number 58 (July 1986) Woody Allen, Reinhard Supplement Part 1, Sighting the Unseen, Richard May 1980) Charles H; Joffe, Jerome Heilman, Nostradamus Kid,^Bfjeenkeeping, Eightball, Kathryn Hauff, Orson Welles, the Cinémathèque Française, Lowenstein Number 113 (December 1996) Peter Malcolm Smith, Australian nationalism, Japanese The Fringe Dwellers, Great Expectations: The Bigelow, HDTV^nd S u p e ^ 6 Number 87 (March Jackson's The Frighteners, SPAA-AFI supplement, cinema, Peter Weir, Water Under the Bridge 1992) M ulticultural cinema/Steyen Spielberg, Untold Story, The Last Frontier Number 59 Lee Robinson, Sunday Too Far Away, Hotel de Number27 (June-July 1980) Randal Kleiser, Peter (September 1986) RoB|rt Altman, Paul Cox, Lino Hook, Ggdfge Negus and The Red’Unknown, Love, Children of the Revolution Number 114 Yeldham, Donald Richie, obituary of Hitchcock, NZ , Brocka, Agnes Varda, the AFI Awards, The Movers Richard Lowenstein, Say a Little P ra y d ^ e wish (February 1997) Baz Luhrmann's William film ¡noustry, Grendel GrendelGrendel Number 28 cinema Number 88 (May-June 1992) Strictly Number 60 (November 1986) Australian television, Shakespeare's Romeo and Juliet, Dean Cundey, (Aug-Sept 1980) Bob Godfrey, Diane Kurys, Tim frSPAAM treAftirm ath, Idiot Box, Zone 39 Number Burns, John 0 ' S hern* Bruce Beresford, Bad Timing, ' Franco Zeffirelli/Nacfygfëlass, Bill Bennett, Dutch a Ballroom, Hammers Oyer the AnvilM ay^am lfW Believer, Wim W inder's Until The End of the cinema, movies o^m crochip, Otello Number 6M Ë :115 (April 1997) JbbhJSeale and The English Roadgames Number 29HTCf-Now1980) Bob Ellis,' P g B g E m Î 7 ) Alex Cox, Roman Polanski, Philippe World, Satyajit Ray Number 89 (August 1992) Patient, Newsfront Th(F§astle, Ian Baker, Robert Uri Windt, Edward Woodward, Lino Cannes .'92, David Lynch; Vitali Kanievski, Gianni Mora, Martin Arminger, film in South A ustfajtegB Krasker Number 116 (M ay 1997) Cannes '97 Stephen W allace, Philippine cinema, Cruising, The Am elio, Fortress, film-literafiireroon ne cti on s/ te e r^ ^ Preview, Samantha Lang's TheM/ell, Kiss or Kill, Dogs in Space, Howling III Number 6 2 J ^ ^ w H Last Outlaw Number 30 (Dec 1980-Jan 1981) Sam movies debate Number90 (October 1992) The Last 1987) Screen violence, David Lynch X a r y Grant, Pmllip Noyee and The Saint, Heaven's Burning. Fuller, 'Breaker'Morant rethought, Richard Lester, D ^ ^ j^ & ^ z N p ^ R \ d Iey Scott: 1492, Stephen A SSA conference, production batgpeter, film ât Number 117 (June 1997) Robert a ! Harris and Canada supplement, The Chain Reaction, Blood i 0rgi0 Mangiamele, Cultural finance, The Story of the Kelly Gtiig Number 63 Ja m e lC . Katz talk to Jam es Sherlock, Monica Money Number 31 (March-April 1981) Bryan D ifferen ce^nd Ethnicity in Australian Cinema, (May 1987) Gillian Armstrong,jp ^ fty ^ ïrin a n é , / Pelllzzari, Aleka dosen't jive here anymore, The Brown, looking in on Dressed to Kill, The Last i-lIjiihnlFranKenheimer's Year of the Gun Number 91 Chris Haywood, Elmore Leonard, Troy Kennedy Man. from Kangaroo Number 118 (July 1997) Terry Outlaw, Fatty Finn, Windows, lesbian as villain, the ^ a h iia r y 1993) Clint Eastwood and Unforgiverr, Martin, The Sacrifice, Landslides, Pee Wee's Big Rawlings, Frans Vandenburg and Ken Sallows, new generation Number 32 (M ay-June 1981) Judy Adventure, Jilted Number 64(July 1987) Nostalgia/^ Raul Ruiz, George Miller and Gross Misconduct, Lpyy-budget independent filmmaking, Stephen David, David Williamson, Richard Rush, Swinburne, j-Davrd Elfick's Love in Limbo, On the Beach, Dennis Hopper, Mel Gibson^Vladimir Osherov, Amis' Alive Tribe, SM PTE ‘97 Number 119 (August Cuban cinema. Public Enemy Number One, The lA ustraja's first films: part 1 Number 92 (April Brian Trenchard Sm ita chartbusters, Insatiable 1997) Ben Mendelsohn: Home;fllvvn Boy, Cannes Alternative Number 33 (June-July 1976) John 1X $jW Kkless Kelly, George Miller and Lorenzo's M 50th International du Film a s k s ls Cinema Dead?, Number 65 (Septemb|fi987) Angela Carter, Wim Duigan, the new tax concessions, Robert Altman, 0/7, Megdn Simpson, Alex, The Lover, women i n ^ f l Gregor Nicholas' Broken English Number 120 Wenders, Jean-Pieipj,Gorin; Derek Jarman, Tomas Gutierrez Alea, Edward Fox, Gallipoli, Gerald L'Ecuyer, Gustav Hasford, AFI Awards, Poor Tilth and teleyision, Australia's first films: nartJMm (October 1997) Miranda C ® ; Frank Moorhouse, Roadgames Numbers 34 and 35 SOLD OUT Number 93 (May 1993) J ane Campion anji The Man's Orange Number 66 (November 1987} Two Studios and a World of Difference Inbetween, Number 36 (February 1982) Kevin Dobson, Brian PiaWpjLawie Mclnnes and Broken Highway, Hawks and Ford Retrospective Australian screen& rt^s;igi)#rfia'and China, Kearney, Sonia Hofmann, Michael Rubbo, Blow Harryhausen, Peter Weir, Antony Ginnanei Gillian Armstrong, Ken G. Hall; The Cars that Ate Paris Number 2 (April 1974) Censorship, Frank Moorhou.se, Nicolas Roeg, Sandy Harbutt, Film J t e under Âllende, Between the Wars, Alvin Purple Number 3 (July 1974) Richard Brennan, John

CINEMA P A P E R S • NOVEMBER 1997

- Jam es Bond: part 1, Jam es Clayden, Video, De Laurentiis, New World, The Navigator, Who's That Girl Number 67 (January 1988) John Duigan, Jam es Bond: part 2, George Miller, Jim Jarmusch, Soviet cinema, women in film, 70mm, filmmaking inGhana, The Year My Voice Broke, Send A Gorilla Number 68 (March 1988) Martha Ansara, Channel 4, Soviet cinema: part 2, Jim McBride, Glamoufe 1

P roduction

p ro d u ctio n Production Survey continued Grips: A aron W a lker , S teve W ells ,

Martin Fargher , S am N ewman Gaffer: P eter B ushby Best boy: Iain M athieson Best boy grip: Ian B ird Electricians: G reg ALLEN, B en S tell , M oses F otofili Gaffer (UK): T erry E dland Best boy (UK): A shley P alin Electricians (UK): P aul K emp , M ark Ev a n s , C hris B ailey Generator operator (UK): Danny Y oung

On- set C rew 1st assistant director: Mark T urnbull 2nd assistant director: J ane G riffin 2nd second assistant director: J ohn Martin 3rd assistant director: N oni R oy 1st assistant director (UK): M ark E gerton 2nd assistant director (UK): CLARE A wdry 3rd assistant director (UK): C aspar Cam pbell Script supervisor: VICTORIA SULLIVAN Boom operator: G erry N ucifora

W ardrobe

Special fx co-ordinator:

Costume design assistant: M ichael O'C onnor Wardrobe supervisor: J ane J ohnston Standby wardrobe: H eather Laurie Wardrobe assistants: A manda C raze , C arolyn W ells Cutter: SHERYL PlLKINTON Costume construction: JUDITH MESCHKE, N ick G odlee , G enevieve B lewitt Costume design assistant (UK): D ebbie Scon Wardrobe supervisor (UK): Marion W eise Wardrobe mistress (UK): JANE PETRIE Wardrobe master (UK): NlGEL E gerton Wardrobe assistant (UK): J une N evin

J ennifer O'C onnell

A nimals

Sound assistant/2nd boom operator:

N icole Lazaroff 2nd boom operator (UK):

B radley K endrick -Hair and Make-up Design: P eter Owen Key make-up artist: KlRSTEN VEYSEY Hair supervisor: C heryl W illiam s Make-up assistant: B ec TAYLOR Make-up/hair assistants (UK): NlKITA R ae ,

P aul G ooch Special fx supervisor: S teve C ourtley Special fx technical co-ordinator:

David Y oung

Special fx technicians:

T a j T rengrove , H erman B ron , R odney B urke , S hane M urphy , P eter A rmstrong , B rian P earce , B rian B elcher , K im H ilder Special fx assistants: K ieron O'C onnell , Dylan T owner Special fx dive master: B ill C ollingburn Special fx divers: W ayne S mith , G eoff T owner , M ick H inshaw , G raeme C rosskill Special fx co-ordinator (UK): JOSS WILLIAMS W ire man (UK): B ob WlESINGER Barge master: ALEX Hay Stunt co-ordinator: R ocky M c D onald Stunt co-ordinator (UK): G raeme C rowther Stand-in for Mr Fiennes:

S ebastian H incks Stand-in for Ms Blanchett:

C harmaine A rkley Unit nurse: PATSY BUCHAN Unit nurse (UK): CAROLINE QuiLTER Gambling consultant (UK): M arten J ulian Boat master: Pat N ash Boat master (UK): T ony T ucker - A nchor Marine Unit publicity: R ea F rancis M edia Unit photographer: P hilip -.Le M esurier Unit publicity (UK): CORBETT & KEENE Unit photographer (UK): STEPHEN F. M orley Catering: JOHNNY FAITHFUL

A rt Department Art directors: T om N ursey ,

J ohn W ingrove Art directors (UK): JOHN R alph , P aul G hirardani Assistant art directors: J acinta L eong , T ony W illiam s Art department co-ordinator:

A nnie G ilhooly Art department runner:

Olem S okolovsky Art department runners (UK): CANDIDA L loyd , A lexandra W alker Art department assistants: A lice L odge, I ngrid W eir Set decorator: SALLY CAMPBELL Set dressers: B rian E dmonds , V erity R oberts , S andy W ingrove Assistant set dresser (UK): PHILIPPA HART Graphic artist/draftsman:

H elen B aumann

Property master: BROCK SYKES Assistant property master: David C rowe Props buyer/dressers: P eter F oster , A rabella L ockhart Props maker: D ick W eight Assistant props makers: PETER Ow en s , Mark P owell , T obias V an L eeuwen Standby props: D ean S ullivan Assistant standby props: JAN EDWARDS Property Buyer (UK): T risha E dwards Assistant property buyer (UK): K atherine H ooker Prop master (UK): A rthur WlCKS Draftsperson (UK): Gary T omkins Chargehand standby (UK):MARK F ruin Chargehand dressing propman (UK): Mark M c N iel Dressing props (UK): A ntonio M uner Standby propman (UK): S ean M c C onvill Prop storeman (UK): S tan C ook Armourer: K en J ones

Horse master: G raeme W are Horse wranglers: KlRSTEN FEDDERSEN, G raeme W are J nr , B ill Davis

C onstruction Department Scenic artist: MARTIN BRUVERIS Scenic artist glass church: MICHAEL O'K ane Construction manager: G reg Hadju Construction foremen: MARK JONES, J eremy S parks Leading hands: B ruce Fletcher , E ugene Land , Danny B urnett Head carpenter: Mark Radcliffe Carpenters: S teve T oth, B rendan M ullen , S ean A hern , B en T urner , B ill Dartnell , Pat Carr Props carpenter: S teve L eslie Steelworker-foreman: WAYNE PORTER Steelworker - leading hand: P eter P arry Steelworkers: Mark S tone , R odney Na sh , R obert A ngus , David K orn , B en B lakebrough , S teve R oss , R obert Cam pbell , M iles V an D orssen , P eter Exton , A llan S mith , C hris A xelson , F\od Y oung Trades assistants: David R ogers , R on D ean , S cott M agnusson Construction assistants: Davor P avlovic , B en Foley , B rad D iebert , Orlando M urray Construction funners: B ill G oodes , m |ck Ow ens Set finishers: IVjATT CONNORS, JOHNNY S ella , Ian M erchant , A iden G uilfoyle Brush hgnd: J oanna T an Greens:|Gregg T homas Greens assistants: A ngus M c D onald , A drienne Ogle Construction mahager (UK): JOHN HEDGES Supervising carpenter (UK): R oger W illis Supervising painjter (UK): MICHAEL G uyett Standby carpenter (UK): R ichard J ones Standby pointer (UK): JlME E de Standby stagehand (UK): A lan T itmus Standby rigger (UK): A lan PEREZ POSt-PRODUCTlON

Post-production supervisor: C atherine K napman First assistant editors: S am P etty , J ohn L ee Dialogue editors: L ib by V illa , W ayne Pashley

Dialogue assistants: S onal J oshi, J enny T. W ard Fx editor: J ane P aterson Fx assistant: N ada M ikas Atmos editor; A ntony G ray Atmos assistant: NICK B reslin Editing assistant (UK): R ob IRELAND Foley artist: J ohn S impson Re-recording mixers: G ethin CREAGH, Martin Oswin Music editor: B ill B ernstein Music scoring mixers: S hawn Murphy , T om W inslow Music mixer: T om WlNSLOW Orchestrator: THOMAS PASATIERI Music contractor: L eslie M orris Music preparation: J ulian B ratolyubov Music consultant: G eorge B udd Music consultant (Aust): CHRISTINE W oodruff Music recorded at: VILLAGE RECORDER, P aramount S coring S tage Music mixed at: V illage R ecorder Digital imaging & optical effects: D film S ervices Digital effects manager: R oberty S andeman Optical effects manager: R oger C owland Creative director: PETER DOYLE Digital artist: E lizabeth C arlon Effects make-up/printing: K en P helan Scanning & recording supervisor: A nthos S imon Scanning operator: J ohn P ope Title design: B elinda B ennetts Titles & shooting: O ptical & G raphic Laboratory & mixing facility: A tlab A ustralia Laboratory liaison: Ian R u ssell Pos conforms: K aren P saltis Negative cutting: K erry F erguson , Margaret B ourke Grading: A rthur Cambridge Camera equipment: S amuelson F ilm S ervice , B ill R oss Editing & ADR facility: SPECTRUM Films ADR/Foley Recordist: RlCK LlSLE Telecine trnasfers: D igital P ictures , C laudio S epulveda ADR facility (UK): D e Lane L ea S ound C entre ADR Mixer & recordist: T ed S w anscott , T erry Isted

P rincipal

crew

Production Manager: A lly H enville

On-set

crew

1st assistant director: J ohn M artin Unit publicity: F iona S earson , DDA Government Agency Investment

D evelopment : AFC, S B S I ndependent , NSW FTO, PMP

Cast Rachael M a za , D eborah Mailm an , T risha M orton -T homas hree young Aboriginal women return home for their mother's funeral, and, in the space of twentyfour hours, confront and exorcise the demons from their past.

Marketing International distributor: T wentieth C entury F ox

Cast R alph F iennes (O scar H o pkins ), Cate B lanchett (L ucinda L eplastrier ), C iaran H inds (R ev D ennis Ha s s e t ), T om W ilkinson (H ugh S tratton ), R ichard R oxburgh (M r J effris ) C live R u ssell (T heophilus Ho pkin s ), B ille B rown (P ercy S mith ), J osephine B yrnes (M iriam C hadwick ), B arnaby K ay (W ardley -F ish )

Cast : H eath L edger (C onor ), L isa Z ane , S ebastian R oche , J ohn S ain t R yan , V era Farm iga , A lonzo G reer he story follows the travails of Conor, a 20 year-old hero who tries to lead his people to freedom and to a country that will eventually become known as Ireland, in 400 AD. His goal: to unite the warring Celtic tribes.

TALES OF THE SOUTH SEA

(22X1 HOUR SERIES)

D ocum entaries

Production companies:

THE PAGE BROTHERS Production company:

M usic A r t s Dance films Production: OCTOBER 1997

P rincipal credits Director: M ichelle M ahrer Producers: P aul Hum fress , A anya

W hitehead Executive producer: K evin L ucas

Government agency

investment

V illage R oadshow , CLT (G ermany ), Gaumont T elevision Budget: S22 M

P rincipal credits Executive producers: J eff Ha yes , M arla

G insberg , P eter M c Cabe Producer: Darryl S heen Line producer: BRETT POPPERWELL Production manager: SHARON MILLER Director of photography: G ene MOLLER Production designer: E ugene I ntas

P ost- production

D evelopment : NSW FTO, F ilm V ictoria

Gauge: 16mm

Cast S tephen , David and R u ssell P age , T he B angarra Dance T heatre

Television Projects in Production INFERNO (T ele - feature) Production company: B arron T elevision Shooting location: A delaide Pre-sale: S even N etwork

Television presale: N etwork T en Cast: W illiam S now , R ene Naufahu ,

Rachel B lakely , K im berly J oseph , R owena K ing , Mark L ee , A drian W right , J ohn F reeman series set in 1910 that follows the escapades of a swashbuckling trader in the exotic Pacific.

A w aiting Release LOVE IN AMBUSH (FORMERLY ANGKOR) SEE ISSUE

P rincipal credits Director: M ichael C arson Producers: P aul B arron , J ulie M onton Executive producer: P aul B arron Scriptwriter: David P hillips

Cast J acqueline M c K enzie , Guy P earce n undercover agent goes into a fishing village to bust a drug smuggling ring.

Government A gency Investment Development: A ustralian F ilm C ommission , NSW F ilm & TV Office Production: A ustralian F ilm F inance C orporation , NSW F ilm & TV Office

credits

Executive producers: R on C a s s id y , S haun Ca s s id y , R on K oslow Producer: H oward G rigsby Production manager: GlNA BLACK Production designer: S tew art B urnside

ROAD TO NHILL SEE ISSUE

110

THE TRUTH ABOUT TARO SEE ISSUE

116

DIANA & ME SEE ISSUE

SEE ISSUE

ROAR

112

119

114

FOR THE FOLLOWING:

REDBALL

(TV SERIES)

ABERRATION

Production companies:

S ea C hange P roductions , Universal T elevision Production: W arner R oadshow M ovie W orld S tudios , G old C oast H inter land , J une - S eptember 1997 Presale: Fox NETWORK USA

GREYSTOKE 2 OUT OF THE BLUE PIGEON

ased on the novel by Peter Carey, a story about fate, love, gambling and faith

RADIANCE Production company: ECLIPSE FILMS Production: JULY 7, FOR SIX WEEKS

P rincipal credits Director: RACHEL PERKINS Producers: N ed Lander , A ndy Myer Co-producer: J enny Day Scriptwriter: LOUIS NOWRA Based on the stage play titled: R ad ia n ce By: L ouis N owra Director of photography:

W arwick T hornton Editor: t)AMES BRADLEY Production designer:

S arah S tollman Costume designer: T ess .S chofield Composer: A listair J ones

C INEMA P A P E R S â&#x20AC;˘ NOVEMBER 1997

A panel of ten film reviewers had rated a delection o f the latedt releaded on a dcale o f 0 to 10, the latter being the optimum rating (a dadh meand not deen).

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ille A u g u s t ’s film is b a s e d on D a n is h w rite r P e te r H o e g ’s n o v e l, fir s t p u b lis h e d in E n g lis h in th e U S A

a n d title d S m illa ’s S e n s e fo r S n o w . T h e B ritis h th e n d e c id e d , a s t h e y a re w o n t, to c h a n g e

Problem: w h en A u g u s t m a d e h is film w ith the o rig in a l E n g lis h title , w h a t to do a u d ie n c e s u n fa m ilia r w ith th a t title in A u s tra lia a n d E n g la n d ?

Answer: retitle s e v e r a l p rin ts.

Additional problem: a ro g u e A m e ric a n p rin t w ith th e

th e title : t h u s , M iss S m ila ’s Fe elin g fo r S n o w , a s th o u g h

tru e title s lip p e d u n n o tic e d b y th e d is tr ib u to r in to O z a n d

t h is w e re s o m e V ic to r ia n n o v e l o f s e n s ib ilit ie s .

s c r e e n e d h a p p ily a t th e D e n d y B rig h to n in M e lb o u rn e .

U n d e r th e C o m m o n w e a lth b o o k a g re e m e n t, A u s tra lia n s are fo rce d to b u y o v e r-p rice d , b a d ly -p ro d u c e d U K e d itio n s in ste a d o f th e in v a ria b ly b e tte r A m e ric a n o n e s. A u s tr a lia n s w e re m o stly fa m ilia r w ith th e U K title o f M peg’s b o o k .

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Result: c in e m a g o e r s w a s te d m a n y m in u te s o v e r s t e a m in g c a p p u c in o s a r g u in g a b o u t th e title on th e film th e y s a w . W h y d o n ’t U K p u b lis h e r s s t ic k w ith th e title c h o s e n b y th e t r a n s la t o r , a n d th e U S - d e s ig n e d c o v e r a s w e ll!

C IN EM A P A P E R S • NOVEMBER 1997

In a f a s t growing, ch alleiigirigs^ jtstj^ ^ ipISSt A.

ûrêrStandtheîmportance ofgroivth and technical'-

development. T h at is wh^ we arefproiw to^ innovations th a t keep us com petitivT^d/t^^fntecu^tiondlfilni "" ; . / / / .

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stage. Our recently upgradcd sound ja c ility noiSehafles us to -m onufactureSIM I^an dO T S ^ ffa ita l opticaTsdundneaatives. Offering yo u fW eto o lso f the future.

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