Cinema Papers No.136 December 2000

Looking for Pia Miranda- The AFI Best Actress recipient eludes a fan. Introducing the MallboyS: Vince Giarrusso and Kane McNay. Australian film m akers abroad. Who’s doing what, where, and who with?

Michael Bodey.Adrian Martin. Suzanne Stretton-Brown. Mark Woods. Alan Duff. Richard Frankland, 9770311363019

The Critical Issue. December.00.January.01

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Hollywood.You may know him from such films as "Red-Planet” 2 0 0 0 ,“D eep Blue Sea” 19 9 9 ,“Sphere” 1998, ‘T h e Long Kiss Goodnight” 19 9 6 , “Lolita” 1997, "Stargate” 1994 e t cetera, e t ce te ra , e t cetera...

® [Rising Sun Pictures] is a bunch o f people w ho create phenomenal visual effects fo r film, television and advertising.

i3fí.contents.

dec00.jan.01

Reviews 36.Film.

The Dish Almost Famous Mailboy Coyote Ugly Innocence Cunnamulla The Magic Pudding 42.Reading.

AFI Wrap. Michael Ward searches the Horden Pavilion for elfin star Pia Miranda.

14

Animated Helmets on the Red Planet. Digital FX team leader Tony Clark writes about creating objects around Val Kilmer’s head.

18

Australian Filmmakers Abroad. They’re working in every nook and cranny of Hollywood, plus a few places in between, like New Zealand.

22

Mailboy. Under the tutelage of first-time director Vince Giarrusso, bright young thing Kane McNay comes into his own in Mailboy.

24

On set. South Australia has carved a niche as the place to shoot on a shoestring budget. J Harkness stayed home to direct his feature debut, Dope.

26

Hollywood Down Under. The studios occasionally come to Australia and New Zealand because production here is cheap. Alan Duff argues we shouldn’t kid ourselves it’s otherwise.

John Hargreaves...a celebration Looking For Alibrandi The Sound Of One Hand Clapping Out Of The Mist and Steam Coen Brothers The Bond Files

Australian Art Films. Do They Exist? Adrian Martin argues they don't, and for a very good reason.

Leonard Maltin 2001

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05. Welcome to Woop Woop. 06. Newsfront Industry news. 10. Fresh Air. Letters and your email reports. 17. To Market To Market Columbia Tristar’s Suzanne Stretton-Brown. 21. Final Cut Richard Frankland. 28. The Box. Mark Woods. 35. Snapshot Leigh Whannell on Joy. 47.

Supplement on the world wide web, digital and cable TV. 54. In Production. 58. The Sum of Us.

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CONTRIBUTING WRITERS

TONY CLARK HEADED THE LOCAL

DARBY HUDSON CARTOONS FOR

VISUAL EFFECTS TEAM WHO WORKED

MONASH UNI’S COMPASS, MELBOURNE

ON RED PLANET. HE IS CURRENTLY

UNI'S FARRAGO AND SELF-PUBLISHES

WORKING AS DOP ON TEMPTED WITH

ON THE BACK OF TOILET DOORS.

DIRECTOR BILL BENNETT IN NEW

ADRIAN MARTIN IS A FILM REVIEWER

ORLEANS.

FOR THE AGE AND AUTHOR OF

MARK WOODS RECENTLY COMPLETED

PHANTASMS [PENGUIN, 1994) AND

SIX YEARS AS SHOWBIZ REPORTER FOR

ONCE UPON A TIME IN AMERICA

VARIETY.

(BFI, 1998).

ALAN DUFF IS CO-WRITER OF ONCE

LEIGH WHANNELL IS A FORMER

WERE WARRIORS AND WHAT BECAME

PRESENTER ON ABC TVS RECOVERY. HE

OF THE BROKENHEARTED? HIS

IS CURRENTLY MAKING A SHORT FILM.

RECENTLY PUBLISHED NOVEL IS

ALISTER SHEW FUNDS HIS

CALLED OUT OF THE STEAM AND MIST.

BURGEONING CULTURAL

MADELEINE SWAIN HAS BEEN

CONSUMPTION HABIT WITH A DAY-JOB

MICHAEL BODEY, SHOWBIZ EDITOR

MEGAN SLOLEY IS FILM

ADDICTED TO SITTING IN DARKENED

AS AN OFFICE ADMINISTRATOR.

FOR THE DAILY TELEGRAPH, IS A FILM

CORRESPONDENT FOR INPRESS.

COMEDY WRITER WHO HAS WRITTEN

ROOMS DEVOURING LARGER-THAN-

RACHEL NEWMAN IS A POP CULTURE

JOURNALISM RARITY - HE DOESN’T

INSPIRED BY FORMAL CINEMA

FOR THE MICALLEFPROGRAM AND

MICHAEL WARD IS A FREELANCE

LIFE IMAGES SINCE CHILDHOOD.

CONTRIBUTOR TO ROLLING STONE,

HAVE ANY NOVELS, SCRIPTS OR TV

STUDIES, HER STEADY ATTACHMENT

BACKBERNER ON ABC TELEVISION. HE

GILLIAN BARTLETT IS NICHE

SMASH HITS AND THE HERALD SUN,

SHOWS IN DEVELOPMENT.

TO FILM CRITICISM CONTRASTS WITH A

HAS MADE MORE THAN 1000 FILMS,

WAIVCOM'S ONLINE EDITOR.

AMONG OTHERS.

LESS DISCIPLINED PASSION FOR

OFTEN WITH PLENTY OF TIME TO

SHANE STEPHENS IS DEPUTY EDITOR

ANDREW MAST IS TV REVIEWER FOR

FICTION WRITING, INCLUDING POEMS,

SPARE.

OF AUSTRALIAN MACWORLD.

ABC 702, AMONG MANY OTHER THINGS.

SHORT STORIES AND A FILM SCRIPT CURRENTLY IN DEVELOPMENT.

ëlcome to Wood Wood

GROUP PUBLISHER DAVID MCDONOUGH

dmcdonoughidniche.com.au ASSOCIATE PUBLISHER STEVEN METTER

smetterfdniche.com.au

-> Welcome to our Critical Issue examining, among other things,

EDITOR MICHAELA BOLAND

whether Australia really does have a culture of art cinema. This

mbotandldniche.com.au

was an issue first touched on by BVI distributor Alan Finney in

COPY EDITOR MICHELE FRANKENI

his To Market, To Market column in issue 132. Now, coinciding

mfrankenifdniche.com.au GILLIAN BARTLETT

with the launch of Paul Cox's Innocence, Melbourne critic Adrian

gillianfdvraiv.com

Martin takes the debate one step further in a feature that’s sure

DESIGN ROB DAVIES

robdfdniche.com.au

to set tongues a-wagging.

ADVERTISING MANAGER LARRY BOYD TEL: (03) 9525 5566

an impassioned pen, taking issue with Hollywood's forays

New Zealand author Alan Duff is another who writes with

lboydfdniche.com.au

Down under (p.26).

MARKETING DIRECTOR ED GOUGH

Hopefully, 2000 has marked a turning point in Australian film

egoughfdniche.com.au

with a swag of local success stories, mirrored by the wonderfully

PRODUCTION STEPHANIE HALL

even distribution of this year's AFI Awards and healthy local box

stephaniefdniche.com.au

office takings.

SARAH TURNER

sturnerfdwaiv. com

Can those tired old critics whove been saying Australians just

SCANNING NICOLE FEIDLER CONTRIBUTING WRITERS EMMA SLOLEY, DARBY HUDSON, ANGUS FONTAINE. MICHAEL BODEY, ADRIAN MARTIN, ROBBERT SMIT, MARK WOODS, DINO SCATENA, RACHEL NEWMAN, MARIEKE HARDY. MADELEINE SWAIN EMMA CRIMMINGS, MEGAN SLOLEY, LEIGH WHANNELL. EDITORIAL ADVISORY BOARD NATALIE MILLER, ROSS DIMSEY SCOTT MURRAY, SALLY-ANNE KERR LYNDEN BARBER, TED GREGORY TRACEY MAIR

don't want to see Australian films please shut up now?

Still, our international returns for features and TV drama remain low, as detailed by the AFCs annual production report (see newsfront p.8). But aided by the insight of the AFC’s development paper and recent re-examination of the role of that body, plus the FFC, the stage is set for the local industry to move gainfully into 2001 and beyond.

Congratulations to the hard-working Eric Bana and Pia Miranda for their best actor AFI awards. Ditto Alibrandl producer Robyn Kershaw and Chopper director Andrew Dominik. Terrific to see support actors Greta Scacchi and Simon Lyndon's work applauded, plus ail Bootmen's craft recipients

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receive recognition.

email: subscriptionsldniche.com.au

Actor Kane McNay was a deserving recipient of the young actor's award for his turn in Vince Giarrusso's Mailboy, opening in January, Gillian Bartlett caught up with the duo (p.22).

Time now to thank all those who worked diligently to get Cinema Papers into mailboxes and onto

CINEMA PAPERS IS A PUBLICATION OF NICHE MEDIA PTY LTD ABN 13 064 613 529 A DIVISION OF WAIVCOM WORLDWIDE LTD ABN 53 006 031 161 LEVEL3, 165 FITZROY STREET, ST KILDA, MELBOURNE. VIC 3182 TEL: (03) 9525 5566, FAX: (03) 9525 5628 PO BOX 2043, ST KILDA, MELBOURNE, VIC 3182 CHIEF EXECUTIVE OFFICER NICHOLAS DOWER CHIEF FINANCIAL OFFICER STEVEN METTER

smetterHniche.com.au GROUP ART DIRECTOR GLENN A MOFFATT

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newstands this year.

Thanks to the Niche marketing and distribution team who carefully nurtured the title through its re­ birth. And to the publishers David McDonough and Steven Metter, plus the designers Glenn A. Moffatt and Rob Davies whose work continues to be praised and discussed. The sub-editing team of Michele Frankeni and Shane Stephens, well we'd have no magazine without them.

Thanks also to indefatigable board member Natalie Miller, who continues to champion CP hither and yon, along with advertising manager Larry Boyd. And significantly, the many contributors, columnists and reviewers who gave their opinions so generously, come what may.

And finally, happy holidays to Cinema Papers' readers. We thank those who have stuck with us through a massive change of guard this year and we welcome all the newcomers. Your comments; both positive and considered, plus those delivered with enthusiastic bile, have appreciatively been taken on board.

ISSN 0311-3639 ALL RIGHTS RESERVED. NO PART OF THIS PUBLICATION MAY BE REPRODUCED. STORED IN A RETRIEVAL SYSTEM, TRANSMITTED IN ANY FORM OR BY ANY OTHER MEANS. ELECTRONIC, MECHANICAL. PHOTOCOPYING. RECORDING OR OTHERWISE. V/ITHOUT THE PRIOR PERMISSION IN WRITING OF THE PUBLISHERS. WHILE EVERY EFFORT HAS BEEN MADE TO ENSURE THE ACCURACY OF THE INFORMATION IN THIS PUBLICATION. THE PUBLISHERS A SSU M E NO RESPONSIBILITY FOR ERRORS OR OMISSIONS OR ANY CONSEQUENCES OF RELIANCE ON THIS PUBLICATION. THE OPINIONS EXPRESSED IN THIS PUBLICATION DO NOT NECESSARILY R EPRESENT THE

Michaela Boland

VIEY/S OF THE EDITOR. THE PUBLISHER OR THE PUBLICATION. ® 2000 NICHE M EDIA PTY LTD.

Editor CINEMA PAPERS.DECEMBER.00.JANUARY.01 [05]

CEO for Cinemedia at last

He said directors and producers were divided, and producers could not even agree among themselves, on the issue which had arisen due to a

After almost a year of uncertainty, the Victorian Government has

landscape of growing multimedia sophistication, plus a determination

appointed a CEO to run the Victorian

saw the dessert coming ‘round.”

An international guest (who declined to be named) at the recent ‘new era’ SPAA conference explaining his hasty grab for the last dinner roll.

film industry's peak body, Cinemedia. John Smithies was

which they are unlikely to use for the

appointed in November for 12

intended purpose.”

months, after acting in the position

International guests at SPAA 2000

since March, following the departure

included screenwriter Robert Towne

of Jennifer Hooks who held the job

film business strategist Jonathan

for under a decade.

Olsberg and producer Gary Levinsohn

The CEO announcement had not been

[The Patriot), plus acquisitions

expected for several months to allow

consultants including USA Film's

the state government time to prepare

Amanda Klein, Universal Picture’s

its response to a recent report into

Graeme Mason and Miramax's Matt

the Victorian industry. The report

by networks to reduce licence fees.

Brodlie.

advocated splitting Cinemedia into

Murray argued reaching a consensus

To them Murray demanded, “ Put up

two bodies, one responsible for

would, “Allow us to concentrate on

or shut up. Let's see something better

administering screen culture, the

more important commercial issues,

than the usual 'Send us your film when it's finished', we need more

other charged with funding film and

such as the terms of trade with

TV production.

Australian broadcasters and the

support than that."

The short-term of the appointment

attraction of international funding to

The loud applause which greeted

w ill allow the CEO to assist

our film and television projects” .

Murray's speech set the tone for the

Cinemedia's transition into two

Praising the federal government's

most energetic conference since

separate entities if the government

"interest" in establishing a high end

guest speaker George Lucas

accepts the report’s suggestions, as

broadband network to enable the

announced his intention to shoot Star

is expected.

post-production sector to better

Wars: Episode Two in Australia on the

service offshore productions, Murray

eve of SPAA '98.

said he was nevertheless disturbed

Dip in the SPAA

that, “this may be the sole focus of the government".

Annual Accounts

"The failure of the local industry to -> The key issues facing local screen

provide throughput to the post

-> The local film industry produced

producers are; directors’ copyrights,

production sector w ill ultimately

ten fewer feature films in the past

the need for a high-end broadband

render it uncompetitive in any event.”

twelve months, compared with the

network, and the pending

On that note, he praised the recent

previous year, but due to the mega­

introduction of digital broadcasting.

Australian Film Commission (AFC)

budget for Fox’s Moulin Rouge (more

That’s according to the president of

report which advocated a “ smarter"

than $50 million], overall production

Feature budgets are continuing to

the Screen Producer’s Association of

approach to production investment.

grew by seven percent.

skew towards the lower end of the

Australia (SPAA), Nick Murray, who

Digital TV is due to launch in Oz on

News of the drop to a production slate

spectrum, all but Moulin Rouge were

welcomed 650 delegates to the 15th

1 January , 2001 but Murray joked

of 31 features, was contained in the

produced for $6 million or less, and

annual conference on November 15.

HDTV's arrival was as exciting as the

Australian Film Commission’s annual

13 of those were produced for less

Addressing a full auditorium, Murray,

introduction last decade of "new,

production report released in

than $1 million.

an independent producer and former

stereo AM radio” .

November.

Spending on international co­

network executive, said SPAA was

"No one wants it and even if they did

It also found local televisual

productions rose from $87 million to

working towards an agreement with

want it, they can't receive it," he said.

production expenditure had risen only

$109 million, slightly offsetting the

the Australian Screen Directors

"Like the US, it's now generally

slightly to $570 million, aided by an

decrease in spending by foreign

Association (ASDA) on directors'

accepted that the networks here have

increase in TV drama production up

productions from last year's peak of

copyrights.

been granted a vast public resource

22 percent on last year.

$181 million, to $115 million.

[6 ] CINEMA PAPERS. DEC EM BER.00. JANUARY.01

Getting Scripts Right -> The local film industry is dogged by an abundance of poorly-financed scripts which are languishing too long in development. So says a report released by the country’s leading marketing and development agency, the Australian Film Commission (AFC).

The study, which compared local funding and practice with other significant non-US industries, was presented to the federal government in November. It reveals Australia's development-to-production ratio, at 17-to-one, outstrips by double the European and Hollywood average of eight-to-one, revealing monies

Entertainer Nikki Bennett Walks the Talk \ at the opening night tíf the Brisbane. .. ! International Rim Festival in July. ¡¡¡|

wasted seeding too many projects which fail to materialise.

Local features spend an average 4.8 years in development, double the usual US timeframe, and more than a third longer than Europe. With development budgets commonly hovering around $60,000,

Actor Bryan Brown was the well-suited winner of Queensland Arts Minister Matt Foley (I), Brisbane and PFTC CEO Robin James (r) S flfì|||l

local projects are twice as rich as their Canadian counterparts but receive, on average, just under a third of European project funding, and a quarter the UK average.

The report establishes that low and declining overall development investment is resulting in elongated, fractured and impoverished projects plus stifled practitioner development.

Our penchant for combining the roles of writer, producer and director equates to a further drain on the talent pool when an individual moves offshore.

The AFC is planning to reduce the number of projects it invests in while fostering an environment which encourages sustained and concentrated practitioner development and separates the roles of writer, director and producer.

[8] CINEMA PAPERS.DECEMBER.00.JANUARY.01

Mailboy night out at MIFF 2000’s closing night for OOP Brendan Lavello (I) sound

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E rm uiries 1 3 0 0 139 7 9 5

H i

M iM iSriS

Wmm « H i M mmm wm has multi-regional capabilities the RCE w ill not allow the altered player to play the disc: displaying a message

res air ■ fax Dear Ms Boland, 1am writing in response to your reference to Working Dog's The Dish in the

that the player is unauthorised to play

Newsfront section of your October/November edition.

the program.

Although there are many points with which I and my partners take issue, there is

The RCE program is designed to

one matter raised in your curious article that cannot be left unchallenged. Your

discourage the export of Region One

claim that Working Dog insisted on reviews for The Castle being submitted before

discs to other regions. As Hollywood

an interview was granted regarding The Dish is untrue.

staggers film releases around the

Michael Hirsh at Working Dog

globe (so that they don't have to make as many copies of the film), it is possible for people outside of Region One to buy DVD versions of films prior to the film being released at their local cinemas.

The reasoning behind the proliferation of multi-region players in Australia is the lack of titles available, combined with the lack of extra features included on the Australian discs. With only 1000 Australian titles compared

Sounds Like?

to approximately 6000 titles available in Region One, the incentive to cross regions is great.

-> My Mother Frank, Me Myself I,

Siren Entertainment's licensing and

Angst and The Wog Boy dominated

distribution manager Paul Wiegard

the ASSGs Screen Sound Awards held

says "if Australian suppliers don't

in Sydney on October 13. My Mother

release with the same features as US

Frank collected best dialogue sound

discs, [purchasers] will go to the US or

and ADR editing, best foley and

UK."

soundtrack of the year, but none of the

Whether it w ill work or not is the big

films were among the AFI nominations

question. According to Wiegard,

for sound announced five days later.

Those nominations went to Chopper, Bootmen, The Magic Pudding, and A Wreck, A Tangle.

Coded DVDs -> The regional coding of DVDs has entered the next chapter with the Regional Code Enhancement (RCE) program.

The RCE is designed to overcome the proliferation of altered DVD players able to bypass the region code requirements. Shane Stephens reports retailers are currently openly

"people don't fully recognise the

marketing players as "region free"

advancement in this technology -

and "multi zone".

there were a lot of teething problems

The DVD market is broken up into six

early on. Certain hardware was not

separate regions - Australia is in

reading some discs, people were not

region 4. DVD players that play all

used to the technology. People are

regions are decrypted with DeCSS, a

still coming to terms with the

Windows program that can decrypt the

technology."

scramble system used in DVDs.

The RCE discs are scheduled for

The RCE is an additional embedded

release in the US market in late

code on the DVD disc that allows the

October. According to Wiegard, the

disc to detect whether a DVD player

first RSE disc introduced to Australia

has been manufactured, or altered, to

w ill be The Patriot [released in

allow it to play all regions. If the player

January 2001).

[10] CINEMA PAPERS.DECEMBER.00.JANUARY.01

Cinema Papers stands by its publication o f this item. The reviewer in question volunteered the information in the presence o f other members o f the film industry. - Ed

■ email ACS Victorian President, David Muir ACS BSC

-> 15th Victorian/Tasmanian Australian Cinematographers Society Awards The speech of Guest of Honour, the Aboriginal filmmaker, musician and songwriter Richard Frankland, was a highlight of our annual ceremony, held at the Carlton Crest Hotel in Melbourne on Saturday November 4.

Richard moved the audience (a good cross-section of representatives of the two states' screen production industries} with stories from his experiences when he served on the Royal Commission into Black Deaths in Custody. “I make films to change attitudes” he said "and film is such a wonderful voice for change".

With more than 150 cinematographers present at the ACS Awards, Richard's comments on their role as an important part of “the people who come together to make a story, to record the history of this great country of ours. We plant seeds with those thoughts and those very images and we shape the identity of the country”.

Richard Frankland's most recent, multi-award winning film, which he wrote and directed, is Harry's War, a film about his Uncle Harry Saunders who fought for Australia in World War II. Harry’s War was named Best Short Film, 2000 Black Film Makers Hall of Fame; won Best Short Film at the Hollywood Black Film Festival and was voted Best Australian Short Film at Flickerfest 2000.

His other award-winning films include After Mabo, on which he was Executive Producer, and No Way to Forget, which he wrote and directed. This film garnered four AFI Award nominations in 1996 and won Best Short Film for that year - along with other recognition, such as being in the official selection, Un Certain Regarde, at the Cannes International Film Festival.

"When I’m working with my camera people, every time they ask me a question about my culture, we are bridging the cultural abyss. They'll go home and share with their children, their families and friends. I love sharing my culture and my heritage.”

“I hope the wonderful images you catch of Australia for the rest of the world go on living forever, remembered by all. I hope you see this country as I see it, as a wonderful patchwork of multi-culturalism. It has the oldest culture in the world and the newest possible culture."

On the almost as well known Who Killed Malcolm Smith? [about black deaths in custody) Richard was Associate Producer and Presenter. He is currently working on his next project - a feature film which he hopes to shoot next year.

Richard Frankland presented the awards in the drama categories, including a Short Drama Gold to young Vincent Taylor, who won a Golden Tripod in the Student category at the ACS National Awards in Brisbane earlier this year. Another Gold in Short Drama was taken out by Chris Le Page from Channel Ten. In the Student Cinematography category, Victorian College of the Arts School of Film and Television student Chi Yen Ooi (better known in the ACS as “Yen1') scored a hattrick, winning Highly Commended, Silver and Gold - The Vern Wagstaff ACS Award.

In Telefeatures, TV Drama and Mini-series, Brendan Lavelle ACS [Stingers] won Silver and Brent Crockett ACS [Halifax FP\ and Craig Barden ACS [Farscape] both won Gold, in the Cinema Features category Laszlo Baranyai ACS HSC won Silver for Soft Fruit, with David Eggby ACS gaining Gold for Pitch Black.

Richard Frankland’s final words to the Australian Cinematographers Society members and their film industry guests, reflecting the spirit of the evening, were greeted with tumultuous applause.

“When you work on my film, don't say that you work on it, say that you help make it. When you walk on the land of this great country, don’t say that you’re not a part of it, say that you’re helping to build it, that you will leave a great legacy with your images!"

I’ve only ever had “the red carpet treatment” once before, and that was when I got my living room steam-cleaned. I’m pretty sure there weren’t as many paparazzi around then, as there are now, crammed as they are along the entranceway to the Horden Pavilion at the 2000 AFI Awards.

It’s damn lucky there is a red carpet to follow. Who knows, without it some of these confused looking starlets might mistakenly follow some other primarycoloured parade - say, a blue line on the macadam - and end up in Homebush.

Looking for An AFI Awards virgin virain. Michael Ward spent the entire, rain-sodden evening

But the red carpet and the treatment traditionally associated with it says to all those who walk its plush path - This is it! This is the big time! You've made it!

To the foyer! take my turn to walk down this magical fairway of fame, immediately ignored by the assembled photographers and onlookers, although I got the feeling just for an instant that one photographer thought I was Ralph Fiennes (I get that a bit).

Anyway, forget Alibrandi, I’m Looking For Pia. The parade of celebrities and nobodies continues unabated and unperturbed by the drizzling rain, but there is no sign of Best Actress nominee.

There's actor Chris Haywood (looks cool). There's Guy Pearce (needs a shave). Catriona Roundtree nominated for Getaway?) looks a little too comfortable in the camera’s gaze. Rob Sitch is here for some reason, perhaps rehearsing his arrival for next year's awards. There's Eric Bana, but where's Mark Chopper' Read? Probably snubbed the awards in favour of his regular Saturday night jazz club gig. e plays clarinet, you know.

Just when it looks like she's not coming, there she suddenly is, Pia Miranda, striding up the red carpet looking positively angelic. hate those damn paparazzi for making her stop and turn and smile, all the while screaming Pia! Pia! Pia! at her. At least they could scream her name politely, like I do.

In the media centre, some journos have already staked out their places on the folding chairs by taping their business cards to the seats. Hetlo! is up front, and Woman's Day subtly in the second row.

Penthouse Magazine had pegged the third row, but let's not go there.

A table with four microphones sits on a small stage.

CINEMA PAPERS.DECEMBER.00.JANUARY.01 [11]

Features Looking for Alibrandi.

Best film for producer Best actress for newcomer

Looking for Alibrandi.

Best support actress for

Looking for Alibrandi.

Looking for Alibrandi.

Best adapted screenplay for Best editing,

Looking for Alibrandi.

Chopper.

Best director for Best lead actor for

Chopper.

Chopper.

Best support actor for

Allanah Zitserman, Russian Doll.

Best original screenplay,

Bootmen.

Best original music score, Bootmen.

Best costume design,

Bootmen.

Best cinematography, Best sound, David Lee,

_

, Bootmen.

Bootmen.

Best production design,

Dan Jinks, American Beauty.

Best foreign film, producers

| Mailboy.

Young actor’s award,

Non-features for Grass Roots.

TV dram a episode, producer

Grass Roots.

TV dram a screenplay

Grass Roots.

TV dram a director

Grass Roots.

Lead actor in dram a series,

Something in the Air.

Lead actress in a dram a Series,

mmm

Halifax f.p.

Actor in a Telefeature or Mini Series, Actress in a Telefeature or Mini Series,

Waiting At The Royal.

Episode dram a series, All Saints - Valley of The Shadow (part 1), Seven Network Australia, ProducerMini-series dr Telefeature, On The Beach, Southern Star

in association with Coote/Hayes

Children’s television drama, Eugenie Sandler P I, Burberry Productions Documentary, Short fiction film,

The Diplomat.

Confessions o f a Headhunter.

Direction in a documentary,

The Diplomat.

Cinematography in a non-feature,

•

_

La Nina.

I take my turn to walk down this magical fairway of fame, immediately ignored by the assembled photographers and onlookers, although I got the feeling just for an instant that one photographer thought I was Ralph Fiennes (I get that a bit).

This is where tonight's winners w ill sit and answer

harassment to a fine art. No wonder people drive at

asinine questions like 'How does it feel to win?' I grab

very high speeds through tunnels to escape them.

a glass of champagne and a canape and head back

The Who Cares awards are quickly dispensed with.

down the red carpet again, hoping to be mistaken for

These are the gongs handed out before the actual

Ralph Fiennes. No one buys it.

SBS telecast, and later shown as a highlights

Empire film magazine is launching in Australia and

package while everybody goes to the toilet.

they are having a pre-AFIs party in a small tent near

The actual awards are now called Lovelys. What a

the entrance to the Horden Pavilion.

bloody stupid name. They had a nationwide

The party is packed with surprisingly few celebrities,

competition to figure out this moniker, and it was,

unless you count Mikey Robbins. I figure the reason

unbelievably, the best they could come up with. It

might be in the small details.

doesn't really have the same ring as Oscar, does it? I

Full marks for the chilled champagne, but there’s a

doubt if the AFI are going to be in too much of a hurry

real problem with the olives and the pistachios. I

whacking a (tm) next to it. Myself, I would have gone

mean, you have to actually remove the pits from the

with the Pias.

green olives yourself! And the pistachio nuts still

The award ceremony itself is a pretty ho-hum affair.

have their shells on!

Where were the cutaways to the nominees squirming

I shake my head in dismay and wonder what Kate

in their seats as their names were announced?

Fischer would think of having to remove the shell of a

Where were the split screen reaction shots as the

pistachio like any common nut eater.

winner was read out? It's even duller in the media

This lack of attention to detail has probably cost

room with the sound turned down on the TV half the

Empire a Terry Norris or a Tom Long.

time while the award winners face questions from

Back in the media room, the paparazzi hover like

the assembled media.

camera-toting vultures. These guys have honed

The Television Lovelys are through first, and

predictably there is much concern for the future of the ABC and the state of local drama.

Again and again the same theme comes up - the phenomenon of Reality TV is killing locally produced comedy and drama, like some Crown of Thorns starfish choking the life out of the local industry as if it were coral (although of course coral forms over

After midnight I bump into schoolboy Kane McNay, winner of the AFI Young Actors’ Award. I commiserate with him over Mailboy’s lack of award nominations, consoling him with my opinion that the films nominated in this year’s Best Film category are all exactly the same anyway.

thousands of years while television in this country hasn't been running for anywhere near as long). I

The latter continent seems the most popular.

After midnight I bump into schoolboy Kane McNay,

considered putting this analogy to Noni Hazlehurst,

Perhaps everyone has had enough of celebrating

winner of the AFI Young Actors' Award. I

but in retrospect it's perhaps best I didn't.

ourselves - as a consequence the Australian food

commiserate with him over Mailboy's lack of award

I catch another glimpse of the delightful Pia Miranda

stalls are barely attended. I opt for African myself,

nominations, consoling him with my opinion that the

when she fronts the media after winning for Best

tucking into some tasty little ball things.

films nominated in this year's Best Film category are

Actress. She looks exquisite in an outfit designed by

Sated, it's on to the serious business of schmoozing

all exactly the same anyway. Looking For Alibrandi is

Morrissey, which explains what he’s been doing since

and Looking For Pia. The latter is especially difficult

basically about a young girl coming of age. Bootmen

his last solo album.

to achieve, given she is one of about a million people

is about a pair of tap-dancing brothers coming of age. Chopper is a film about a violent criminal

I'm primed to ask Pia a question when somebody

at this party, but I give it my best shot.

else - I think it was Angela Bishop - beats me to

If only I had some sort of Global Positioning System

coming of age. And of course, Better Than Sex is a

the punch with 'How does it feel to win, Pia?'.

(GPS) where I could pinpoint the exact position of the

film in which there's just a lot of coming.

Sharp.

elfin actress at any given time via a global satellite

-> The after-party is held in a huge hall that

government for funding in this area.

Bastoni 27 times, Kate Langbroek three times, and I

network. Perhaps the AFI could lobby the

By the end of the night, I've caught sight of Steve

resembles the insides of a dirigible. Down one end is

A few laps of the hall and no sign of Pia, but I do spot

think I might have caught a glimpse of Chopper

a dance area and a DJ. To the right there’s a closed

Matthew Newton, another actor featured in Looking

director Andrew Dominik - although it was dark and

off area full of corporate VIP tables. All over the floor

For Alibrandi. In the film, you’ll remember, he plays a

it could have been Steve Bastoni.

are free bars stocked with beer, wine, and those

high-achieving teenage schoolboy who kills himself

The DJ is packing up. It’s 2am. The dirigible is

sickly sweet Vodka drinks that I'm happy to drink all

because his father hosts Good Morning Australia.

emptying out. The taxi rank is filling up. There's word

night when they're nix.

I ask him if he's seen his co-star and he says no, but

of a must attend party at Potts Point (you Sydney

And there's the food. Stalls are set up all around the

he agrees a GPS that could pinpoint the exact

people are wild!) but for this writer, the AFIs are over

hall specialising in various regional dishes from

position of the elfin actress at any given time via a

for another year.

Europe, Asia/South Pacific, Australia and Africa.

global satellite network might be a good idea.

Oh, and I never did find Pia. •

CINEMA PAPERS.DECEMBER.00.JANUARY.01 [13]

j

Planet Red

When the Warner/Roadshow Val Kilmer feature Planet decided to shoot at Sydney’s Fox Studios and in outback Coober Freely, they also required some local digital effects expertise. Tony Clark led a team charged with creating animated helmet sequences.

Based in Adelaide, Clark’s team was one of 12 digital effects units who worked on the mammoth task of creating 900 different effects shots. The other units were all based in LA. One company did all the robot animations, one did the colour grades, and another did the matt paintings.

In addition to the animated helmet sequences, there were a number of shots where actors had helmets on, but the visors were left out presumably due to "camera and lighting reflections. Those shots needed to have the visors created and added back in. Sounds like no big deal, but let me assure you, from an effects perspective, it is. Especially for a fight

-> The helmet animation sequences, where the helmet retracts into nothing, required further work

elements and dispatched them on data tape in return, which meant we never got to see the final

sequence (where the actors are moving around a lot) and the camera is hand-held.

All the shots we worked on required the creation of

again, as the only thing that existed on the actors was the collar ring. Everything from there up was created

shots before the visual effects crew in LA. In fact, as I write this, I’ve only ever seen two very short shots on

3D elements that would be attached to and blended with the live action background plates.

in 3D. This was trickier again, as the shots had some parts of the real helmet in shot along with parts of the 3D helmet, so matching was critical.

film, which we'd shot at AAV in Melbourne.

About two years ago, I came up with an idea on how

In the fight scene, the helmets were already on the

One of the shots in this sequence was particularly

actors and red tracking marks had been placed on them to allow us to follow the motion of the helmet.

tricky because when we received the live action elements, we found that the collar ring was hanging very low and it was obscuring the front of his space

on our computer screens with the final look on film.

We set our in-house programmers to the task of

On slow shots, it’s possible to use these marks to find out how the helmet is moving (using 3D tracking

to solve the problem of matching the images we see

developing software which we tested on our own work. The resulting product (which we called

suit. So we ended up re-building the collar ring and the front of his suit in 3D to get around the problem.

'cineSpace'l has now been released commercially.

The shot has an actor standing in a field of algae, and his helmet animates on followed by the visor. It’s at

allow us to colour correct the images and QuickTime movies that went up for preview on the internet,

night, so reflections in the visor were tricky, but we were supplied a frame from a matt painting in an

allowing the LA-based visual effects supervisor, Jeff

helmet is not tracked into the shot correctly, it Looks as if it is sliding around, and big film close-ups leave

adjacent shot providing visor reflections of the

no margin for error.

Once the helmet was tracked, several 3D elements

landscape and another actor in the foreground.

software), but in this case the helmet and camera were moving so radically, they weren't much help.

The motion ended up being tracked manually, using a stand-in model of the helmet for reference. If the

were created to produce the effect of the glass on the visors. The elements included scratch elements, a layer to show the surface angle to camera, transparency layers, highlights, etc. The finished look

Generally, with Australian films where we've

For Red Planet the software was further modified to

Okun, to view them in roughly the correct colour. This was a major factor for us in working remotely, as it meant we could be sure we were all looking at the same image.

As the US production was all based around NTSC, we

been required to do anything complex, we'll insist

also were required to deliver temp shots on NTSC

upon having one of our people on set to supervise the

SP. Due to the courier delay (best case: two days), this was ultimately foregone in favour of the internet

was created in compositing, by combining these

shooting. In this instance, we were bought in once shooting was complete, so didn't have the

layers. Creating the look in the compositing phase,

opportunity to do so. This left us without a whole lot

provided more freedom to explore and refine the look.

of information about lenses, exposures, camera

delivered QuickTime movies, which offered faster turnaround and equivalent quality.

A number of rotoscope passes were also created to

position, etc that we'd normally collect on set. This

give the illusion of the helmet moving behind

generally hired by the producer or production

foreground objects, such as when arms passed in

was overcome by spending more effort in the post­ production.

front of camera. Rotoscoping was also required to

Plus, the production had contracted the scanning and

editor. We’re also responsible for supervising the

ensure that the visor fitted perfectly into the hole in

recording of the digital images to a single contractor

the practical helmet.

in Los Angeles. We received data tapes of the

shooting, and possibly supplying motion control or camera equipment.

[14] CINEMA PAPERS.DECEMBER.00.JANUARY.01

When working with Australian films, we are manager and deal directly with the director, DOP and

Original background plate

Original plate with 3D visor frame superimposed

Finished film frame

The downside of the distance was the lack of face-to-face communication, the fact we never saw our shots on film or the film, as a whole, but I’d expect this to become less of an issue once technology advances and bandwidth become more affordable.

In this instance, all that was taken care of, and the

complete shot. For really specific detail, we'd put up

The downside of the distance was the lack of face-

production managed all the visual effects with the

high resolution still frames, so they could be seen in

to-face communication, the fact we never saw our

crew headed by the visual effects supervisor - Jeff

the same level of detail as we were seeing.

Okun [Deep Blue Sea, Sphere).

From the beginning of production, we ran two 3D

This process worked very well, but could be better if

shots on film, or the film as a whole, but I’d expect this to become less of an issue once technology

there was greater access to affordable bandwidth out

advances and bandwidth become more affordable.

teams on the project; one doing the animated

The process could be made better if the tools had

helmets and the other doing the visor replacements.

of Australia.

Due to our differing timezones (9am in Adelaide was

Quite early in that process, we worked to lock down

4.30pm in LA], we could also work late in our day,

feature is under development at one company that I

the look of the various shots, which involved us posting test QuickTime movies and high resolution

prep material for them to see, upload it to our server

know of. We’re also developing cineSpace further to

and advise them. Okun would look and comment on

permit remote interactive colour grading (where

stills up on the internet for Okun to review. As these

it, providing feedback early in his day. We'd then have

two parties are seeing identical image at different

shots had been colour corrected using cineSpace,

a phone chat in the morning our time and review any

locations and each controlling the grading of that

we were confident the colour and density of the

changes, which would be implemented through our

image). Faster, cheaper bandwidth is the enabler

shots would appear the same on the production s

day ready for him the next morning. This was less

behind these sorts of applications, but needs to be available at both ends (US and Australia). A number

the ability to show work on a remote screen. This

monitors in LA as on ours - thereby eliminating one

effort on the supervisor's part than driving across

variable from the mix.

Rising Sun has a fast internet link as does the

town in LA to review the other companies’ work as

of US companies are rolling out fast networks for

Okun could look at our work from his office at the

film applications, and Australia is well behind in

Studio, so it took only a minute or so to download the

studio or home depending upon the time of day.

this area. • CINEMA PAPERS.DECEMBER.00JANUARY.01 [15]

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check out more than 400,000 items in the National Collection on-line

K www.screensound.gov.au Sç r e e n So u n d A u s tr a lia NATIONAL FILM AND SOUND ARCHIVE

From silk to celluloid Screening Asia

to market to market, Suzanne stretton-brown -> Australia is a market where movie

increasing the box-office potential for

on-line presence to ensure the media

Hidden Dragon w ill receive a 'buy one

goers embrace Hollywood features,

each of them.

and the public was able to access

get one free' ticket to the gallery presentation.

and local films comprise only five

It was then that we came up with Silk

information on the new program.

percent of box office, so is there a

Screen. The idea was to collectively

We proceeded to segment the market,

In November, Crouching Tiger Hidden

demand for Asian films?

market a group of quality Asian films

targeting the arts media, educated

Dragon premiered at the re-launch of Pay TV's "World Movies" channel. The

We asked ourselves this question

under one banner and make them

cinema patrons and local Asian-

earlier this year when we saw an

available to audiences over a clearly

Australians. The campaign was then

purpose of this screening was to

increase in our slate of Asian films.

defined season of six months. We

executed in stages commencing with

generate further media exposure and

We can attribute this product increase

knew the success of the program was

a June media launch in Sydney and

positive word-of-mouth.

to Columbia TriStar’s film production

reliant on good quality product and

Melbourne. This was followed by a

Of course, interview access to the

house in Hong Kong and the efforts of

the support of premier cinemas

national publicity and promotion

directors and stars provided the

our New York acquisition division

across the county. We were fortunate

campaign and the introduction of print

foundation for our publicity campaign.

Sony Pictures Classics.

to receive both.

advertising two weeks prior to launch.

Beyond that my team did a wonderful job generating feature stories on

For us to determine the commercial

Silk Screen launched on July 6 with

One of our main goals was to capture

potential of each film we investigated

The Road Home, the winner of the

the elusive Asian Australian audience

'fashionable' Asia and promoting Silk

the market and raised questions such

Berlin Film Festival Silver Bear prize.

which is relatively new to us and for

Screen to Asian culture study groups

as: do discerning filmgoers embrace

The program concludes on January 4

this reason we hired the services of

and student press.

Asian language films? How were

with Ang Lee's Cannes festival hit

ethnic marketing consultancy group.

To date we consider Silk Screen to be

previous Asian films distributed and

Crouching Tiger Hidden Dragon.

This company helped us gain a better

a wonderful success. As the campaign

what were the box office results?

We made a commitment to deliver to

understanding of the local

gains momentum and we continue to

Which are the cinemas that perform

cinemas quality product, solid

marketplace as we made contact with

promote one film off the next, Silk

best with foreign language films

marketing support and geographic

the Asian media and opinion leaders

Screen has made it possible to

and who are the patrons these

exclusivity. This won us the support of

within the community.

elevate the profile of each film and

films attract?

11 cinemas with all locations agreeing

We then translated and printed the

give them the attention they deserve.

Our inquiry uncovered some

to host the six-month program and

communication material and under

I would have to say Silk Screen has

interesting details. For example, Asian

support the films in-house. Once the

the guidance of the ethnic marketing

been particularly work-intensive for

films are seen by discerning filmgoers

line-up was confirmed and the

group executed a press and radio

our marketing team but then it has

but Asian-Australians account for a

partners were on board the next

advertising campaign through the

also been so rewarding; not only

very small percentage of the audience.

step was to fine-tune the marketing

Asian media.

personally for our team but at the

We also realised that while most

strategy.

The good news is it would seem our

box-office as well.

foreign language films receive a

While the advertising and publicity

efforts have paid off with our partners

After four months the program had

national release, they have historically

budgets for these films are small

reporting a dramatic increase in

grossed over $1.2 million. The Road

been staggered across the country

relative to the big Hollywood

movie attendance by Asian

Home had grossed over $630,000

diluting the impact of a national

blockbusters, they absolutely required

Australians.

after 13 weeks, placing it among the

marketing campaign. A staggered

a strong publicity and promotion

Our core target has always been the

top five grossing Asian language films

release can put additional pressure on

campaign. Of course this project has

'discerning filmgoer' and to capture

released in Australia. While The

the sales and marketing team.

been active for five months and I

this somewhat broader market we are

Emperor and The Assassin tracked

Finally, the research uncovered how

could spend pages detailing the

running considerable publicity and

just as well, grossing over $400,000 in

little continuity there was with

activity. Rather than do that, I'd like to

promotional activity.

the first weeks.

cinemas presenting these films which

take you through the development of

Another partnership of note is the

We have been asked many times if

means the films struggle to receive

Silk Screen's campaign with the

NSW Art Gallery. Currently we ran a

there w ill be Silk Screen 2001. The

benefit from customer loyalty or

inclusion of a few promotional

promotion for Silk Screen's Japanese

answer to that question is: if we can

in-house marketing and cross

highlights.

film Kikujiro in association with the

deliver the quality of Asian films next

promotions.

The first stage involved creating a

Japanese "Hang" exhibition. In

year and with continued support from

With this information at hand we were

logo so we could in turn establish the

December, we launch a cross

our partners, you bet there will. •

convinced there was a viable and

brand and produce communication

promotion and ticket incentive for

untapped market for Asian titles. Our

material. Once the image was

Crouching Tiger Hidden Dragon in

MARKETING MANAGER FOR COLUMBIA TRISTAR

goal was to find an effective way of

finalised it was time to commence

association with the Chinese "Masks

FILMS. THE SILK SCREEN FILMS WERE THE ROAD

managing the release of five Asian

production of an internet site. We

of Mystery". Over the opening

films we had on our books, while

believed it was important to have an

weekend patrons of Crouching Tiger

SUZANNE STRETTON-BROWN IS NATIONAL

HOME, SHOWER, THE EMPEROR AND THE ASSASSIN, KIKUJIRO AND CROUCHING TIGER, HIDDEN DRAGON.

CINEMA PAPERS.DECEMBER.00.JANUARY.01 [17]

■ ■■

MÊÈmÊàÆamllSÈÊÊKM W ÊÊRÊl

MM I t ill m m M ÈÊÊÊËm m tm m m M m i

Four Feathers H

¡8É|§|jÿâ

Director. Shekhar Kapur (Elizabeth) Production commences: March 2001 Scheduled US release: October 2001 War film about a British officer who resigns his post just before battle and subsequently receives four white feathers from his friends and fiancee as symbols of what they believe to be his cowardice.

Cast: Heath Ledger, Kate Hudson

In an,increasingly global industry, a g a | o f Australian film makers are working internationally. [a m ^ J ^ ^ tra js c a n n e « international production lists .to uneai the following discoveries:*.

Legally Blonde

Swordfish

Director: Robert Luketic [Titsiana Booberini, short) Filming began in October Scheduled US release: 2001 Comedy about a sorority queen dumped by her boyfriend who follows him to law school for revenge.

Cast: Selma Blair, Reese Witherspoon

Director. Dominic Sena Filming began in October Scheduled US release: 2001 The world's most dangerous spy is hired by the CIA to coerce a computer hacker to help steal $6 billion in unused government funds.

Cast: John Travolta, Hugh Jackman, Halle Berry

In the Cut

The Others

The Panic Room

Director. Alejandro Amenabar A woman named Grace retires with her two sick sons to a mansion on an island near the English Coast, towards the end of the Second World War. Filming in Spain Cast: Nicole Kidman

Director. David Fincher Filming w ill begin after Nicole Kidman finishes shooting The Others in Madrid Scheduled US release: 2001 Thriller Cast: Nicole Kidman, Forest Whitaker

Giant Director: John Frankenheimer World War II story of a soldier who saves disabled children from the Nazis.

In development Scheduled US Release: Unknown Cast: Russell Crowe

Director. Ron Howard The story about Nobel Prize winner Josh Nash.

Scheduled US Release: 2001 Cast: Russell Crowe

The Husband I Bought

Director: Steven Spielberg Scheduled US release: 21 June 2001 Sci-Fi about artificial intelligence.

Cast: Jude Law, Frances O’Connor

Jurassic Park 3 Director: Joe Johnston Filming began in August Scheduled US release: July 2001 Action and horror-filled sequel to the other Jurassic Parks.

Cast: Sam Neill, Tea Leoni, William H Macy

Director. Stephan Elliott (Priscilla, Queen of the Desert) Production commenced in October Scheduled UK/US release: 2001 Drama based on the Ayn (Fountainhead) Rand novel.

Haa [Î8 1 CfNEMA*PAPERS DECEMBER 00 JANUARY.Ot;

Director. Tony Goldwyn Scheduled US release: 2001 A jilted late night TV talent booker embraces theories of bovine behaviour to understand why her latest relationship went awry.

Cast: Ellen Barkin, Ashley Judd, Hugh Jackman

Director. Jane Campion (NZ) Erotic thriller Scheduled release: Late 2001 Cast: Nicole Kidman

A Beautiful Mind Russell Crc

Animal Husbandry

Last Orders Director. Fred Schepisi Filming began in October Scheduled UK release: 2001 Comedic drama based on Graham Swift's international best seller.

Cast: Michael Caine, Bob Hoskins, Helen Mirren

I W as Am elia Earhart Director. Fred Schepisi In development US release Fictional biography of aviator Amelia Earhart Cast: Julianne Moore

Simon Baker-Denny

Tempted Director: Bill Bennett US release Story of a bloke who decides to find out if his wife is cheating on him.

Cast: Burt Reynolds

M e and My Shadows (TV) Director: Robert Allan Ackerman Scheduled Canadian release: 2001 Dramatisation of Judy Garland's life.

Cast: Judy Davis

Bride of the Wind

Talk of the Town

Director. Bruce Beresford Scheduled US release: 2001 Cast: Vincent Perez, Sarah Wynter

Director: Bill Condon Scheduled US release: Mid 2001 Cast: Glenn Close, Toni Collette

Cold Mountain

Valentine

Buffalo Soldiers Director: Gregor Jordan [Two Hands) Scheduled US release: 2001 Comedy/drama set amid a criminal subculture of US soldiers stationed in West Germany just before the fall of the Berlin wall.

Cast: Kick Gurry

Director. Anthony Minghella Cinematographer: John Seale US civil war drama

||P

>

bollette |

Director: Jamie Blanks (Urban Legend J Filming began in July Scheduled US release: 2001 Horror wherein four friends receive morbid Valentine's day cards from stalkers.

Cast: David Boreanaz, Denise Richards

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Black Perceived and Interpreted.

-> Five hundred tribes or nations,

know that attitudes control the access

hundreds of different languages,

points to wealth and power that

thousands of hours of celluloid, even

contribute to shaping symbol and

more sound and even more written

image creation. Kiddie stuff hey!

about black Australia. How much of it

So who controls these access points?

controlled, conceived, owned or even

Not me and certainly not my people.

produced by black eyes and hands?

Who controls my voice and how my

Bugger all. This is the way it is.

people are portrayed to the rest of the

We have several feature films with

world? Not Aboriginal Australia, that's

black subject and content matter

for sure. We all know that minorities

coming out of Australia in the next

are made, not born. Through our own

year or so. Black producers? Nope.

tenacity we have contributed to it but

Black directors? One. Black writers?

only in a small and seemingly

One. Great that it's being done, that

controlled fashion.

our stories are being told. I only wish

I do know one thing for certain. I am

they could be told more so through

sick of being portrayed as the noble

our eyes and by our hands.

savage, the angry activist. I am not a

My opinion is this: Given the

victim. I am a survivor.

renaissance of indigenous film

I want a go at controlling how I’m

making, any film with indigenous

looked at and portrayed. Aboriginal

subject or content matter, unless

people come in all shapes and sizes, a

clearly stated that it is an

variety of colours, work histories, and

interpretation only, should have an

as stated earlier, from lots of different

Aboriginal person in a key power

tribes and languages. There cannot be

Image Photodisc

final cut. richard j. frankland

“We study the day before yesterday in order that yesterday may not paralyse today and today may not paralyse tomorrow.” F W Maitland

position over the creative and artistic

one genre of Aboriginal filmmaking.

implementing broad industry support

can do all these things around or with

side of the production.

I believe that our diversity is an

so that indigenous directors, writers

my Aboriginally - my heritage.

We already have highly professional,

untapped and unknown (to non-

and producers can get to the next

In my opinion the only true historians

internationally celebrated indigenous

indigenous Australia) strength that is

level where we can be the owners or

are the artists of the day. Let's stop

writers, directors and producers, for

yet to be unleashed on the rest of the

contributors to the access points of

being paralysed by the past. Let's

example, the Sand to Cetluoid, Shifting

world. There are many people who are

wealth and power. We need help in

cultivate indigenous filmmakers as seeds of the present so that they can

Sands series, thanks to the Indigenous

black, with stories ready to be told.

telling our stories through our eyes.

Branch - now unit - of the AFC.

I am extremely grateful for the

We need to collaborate with all levels

use their stories to shape the future

So where is the true and

opportunities I have received with the

of the industry.

for us all. Let us tell stories of

demonstrated reconciliation process

AFC, Film Vic, SBS, ABC and other

We need active financial, institutional

Australia together, in the spirit of true

in the other areas of the Australian

state agencies. But what is expected

and personal commitment to achieve

reconciliation. •

film industry?

of an indigenous filmmaker? What is

what can be the greatest example of

What the hell is wrong with real and

the attitude towards us?

reconciliation in this country. We have

RICHARD J FRANKLAND IS A FILMMAKER WHO HAPPENS TO BE ABORIGINAL - GUNDITJMARA

true collaboration between the races

An example: I assess scripts for some

the oldest living culture in the world,

on productions? Why aren’t there

state and national agencies. I am only

surely we can collaborate across the

more films being made with real

sent ones with indigenous content.

cultures to achieve a world statement

Aboriginal producers, directors and

Why? Am I not a filmmaker as well as

in reconciliation and film industry

writers? Why do we have so many

being Aboriginal?

renaissance.

Aboriginal consultants?

What I want as an indigenous

Perhaps this is impossible at this time

Surely the film industry is one of the

filmmaker is a fair go. I want

in Australian society. Perhaps I ask

most powerful communication

acceptance of my ability without

too much.

mediums we have in this country that

prejudice. I want acceptance of my

I don’t stand on one leg pointing to the

can change attitudes.

Aboriginal heritage but also

sunset [although I have been known to

We all know that attitudes perpetuate

recognition of what I can do.

do it). I am a writer, director,

legislation and policy, (see mandatory

In essence I am speaking about

musician, father, uncle, labourer,

sentencing in the NT and WA). We all

creating, developing and

human being, who is Gunditjmara. I CINEMA PAPERS.DECEMBER.00JÀNUARY.01 [21]

■ Better known as the founding member of Melbourne rock band The Underground Lovers’, first-time feature film director Vince Giarrusso is hoping to strike a chord with the forthcoming release of Mailboy. ■ His story of a tough, self-reliant teenage boy, coping with chaos in a broken home in Melbourne’s north-western suburbs caught the attention"of producer Fiona Romper Stomper Eagger. ■ With Kane McNay (Laura’s son in Seachange) as the 15year^old Shaun, Mailboy was the only Australian film honoured with selection at this year’s Cannes Film Festival, despite being largely ignored by the AFI awards. Australians can make their own mind up about the film, which Vince Giarrusso. About five years started life as a poem, when it comes to a shopping mall nearby in January, ago I sent off for guidelines on how to write a script and managed to get Fio na (Eagger) interested in the project.

Cinema Papers: How did you get from there to directing your first feature film?

Vince Giarrusso. I'd had no real experience behind the camera. I’d done video clips (but] l had no experience working with actors, so once the money came through it was a question of setting up a mini film school. I’d never been on set, so Fiona organised a director's attachment for me on TV shows and I watched the MTC rehearse. I went on set with Ana Kokinos, Rowan Woods and Fred Schepisi.

CP. Why was it so important for you to direct the script?

VG. Because the subject is difficult. More often than not, working class people are caricatured or depicted in a derogatory way and we were really aware of that. I had a real feeling for the characters as people who have a lot of outlooks that you don't see anywhere else. There was always that risk someone who hadn't had my experiences would get the tone wrong.

CP. And the characters from Mailboy are based on your experience as a youth worker?

VG. Mostly yeah, from working closely with street kids and people like (lead character) Shaun.

[22] CINEMA PAPERS.DECEMBER.00.JANUARY.01

¡ ¡ y iiM I

“We cut the film to the music, rather than the music to the film, which is the way it’s usually done, so you’re hearing the performance.” (Vince Giarrusso) CP. Why do you think audiences will be interested

started shooting, so we could block the party with

in a bleak film set in Melbourne’s north-western

the main actors. But yeah, it was chaotic and tough...

suburbs?

CP. Why do you think Mailboy was picked up for the

VG. As a teenager I would love to have seen a film

Directors’ Fortnight at Cannes this year?

which I could relate to, where kids spoke to each

VG. Having spoken to the people who selected it,

other the way they really speak, instead of some

they responded to the characters and the

marketing idea of how kids talk.

universality of it, the separation of the mother from

CP. Was your experience as a musician helpful in

the son and the rejection of the father, they were

the directing process?

moved by it.

VG. A lot of the processes were similar, although on

CP. You’ve already started work on a new project?

a different scale. I could express myself with rhythm.

VG. Yes, Fiona and I are working on Orange, which is

I could tell [the actors] I want it to go at this pace

at second draft. Basically it's a teenage love story

and beat it out for them. I also found being a

set in a wholesale fruit and vegetable market. It's a

musician very helpful in post-production.

journey through the life of a 15-year-old girl as she

CP. You also wrote the film’s soundtrack. How did

navigates her way through the whole construct of

you approach it?

love.

Vince Giarrusso

VG. Well, we recorded the music without reference to the film. We improvised pieces of music, then cut

-> Still only 16, recent AFI young actor recipient,

and chose our favourite bits which were texturally

Kane McNay graduated from playing a minor

and sonically compatible with the sounds in the film.

character in a television series to starring in his

We cut the film to the music, rather than the music

first feature film with Mailboy.

to the film, which is the way it's usually done, so you’re hearing the performance.

Cinema Papers. What’s the major difference?

CP. How did you deal with challenging scenes like

Kane McNay. In Seachange I sort of hang around the

the party?

main plot... I'm not really in it. It's all rush and you

VG. Well, we had a five-week rehearsal period, plus

don't really have time to go into what you want to do,

a two-week director's workshop. So there were a lot

because there's no focus on your character. But with

of rehearsals. For the party scene we had the

Mailboy, you're it and if you have ideas they get

opportunity to go to the house the day before we

heard by everybody. •

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Mailboy

-> D o p e

u|p^m|ay makes his lipppf^ortraying Russell. ¡ ¡ ¡ g il te a ': ■; BaaaiaB

In three parallel stories Dope explores racism, the unending chase for drugs and money, and ultimately, the need to find love amid harshness.

The film’s characters consist of a young Aboriginal soccer player, students and street kids who prostitute themselves, use smack and get involved in crime.

Some of the characters, including the young prostitute street kid Tara Bear, are based on the real life participants in a 1993 doco called Fred’s Van. The rough, but honest film followed a Christian mobile soup kitchen through Adelaide bringing food and friendship to people living rough.

It was directed by a very green newcomer called J Harkness.

-It’s 2pm in a back lane in the centre of Adelaide and the cast and crew of a lo w budget indie film, Dope, are settling into their groove. There’s no 5am set calls on this shoot because it’s not until after dark that the script really arcs up.

Patterson 1/nnocence] was brought into the mix.

anonymity espouses the benefits of rolling matches

When they sought the guarantee of a local

in one's ear-wax. They burn longer in windy

distributor, Palace Films was coaxed on board.

conditions - don't you know.

But scan the cast list and you may not recognise a

Finally Russell lights his spliff, luxuriates in a toke

single name. NIDA graduate Nathan Ramsay, who

and the shot is in the can. The 22 crew members exit

portrays Russell and Travis McMahon, who plays the

for the meal room.

Fast-forward to 2000 and 30-year-old Harkness is

third key character, Jack, have some stage and TV

straddling the three key roles of writer, director and

experience but Dope is their feature film debut.

Over dinner Harkness is quietly spoken but very firm in his opinions. He refuses to position Dope

producer on Dope. He's been honing the script for nine years.

Maria Damerò as Tara Bear with Sc ^paupf^^^psp^ of Dope is loos MËtëÊÊÈBÈÊÊÈÊSffol Tara Bear.

Beanie-clad, McMahon is leaning against a

alongside other Australian releases.

His company, Gorilla Films also consists of associate

spray-painted brick wall in a lane way. In the scene

producer and Dope co-star, Anastasia Seis and

being filmed, he's lighting a spliff but the wind keeps

because I wanted to separate it from other

executive producer Paul Teisseire.

extinguishing the matches. Five, six, seven, eight

Australian films. I didn't want it to be pigeon-holed

Seis came on board early, after reading the script:

exasperating times.

as that sort of hip, cool Australian version of Pulp

"It just bit me so hard and fast,” she enthuses.

J Harkness is kneeling on one knee beneath the

Fiction. That wasn't why I wrote it or what I wanted

"It had everything in it I ever believed in to do with

camera watching McMahon intensely. Talking him

to achieve," he explains.

racism, media, the whole concept of universities,"

through the frustration.

Nevertheless, "I wanted to communicate a story the

she says. Then adds that having had personal

"Last shot before dinner” the second AD calls out

way people my generation communicate." He confesses Dope is pitched directly at the key movie­

“ I really wanted to do this film with an unknown cast

exposure to the damage wreaked by heroin gave the

signalling a break in the tedium is imminent.

script added poignancy for her.

"A bit of green on the top," another call and ‘pot

going demographic of 24 to 30-ish year olds and

Originally planned for a much smaller budget, it is

wrangler’ Andrew Gibbs reaches for more 'green'

describes the narrative as "'channel-surfing style'

being made for $1.6 million. When investors wanted

from the container behind his feet.

where you miss out all the boring bits."

the expertise of an experienced producer, Mark

Another crew member who would surely prefer

Harkness also hopes his unknown cast w ill bestow

[24] CINEMA PAPERS.DECEMBER.00.JANUARY.01

“Beanie-clad, McMahon is leaning against a spraypainted brick wall in a lane way. in the scene being filmed, he’s lighting a spliff but the wind keeps extinguishing the matches”

Director J Harkness gives instructions to lead actress Anastasia Seis and Nathan Dean Ramsay.

the film with added authenticity. "I wanted

but they need to feel very secure and very nurtured

characters that you could believe and be involved in."

continuously. Any form of video split gets in the way

But that factor makes a film harder to sell.

and they direct themselves and I’m not trusting what

"Definitely, but it's a stupid thing. I think in Australia

I see and they're not trusting what they see," he

there's more of a phoney star system than there

explains.

appears to be anywhere else in the world. I really

Harkness rejects any attempts to compare his script

don’t believe people my age, especially, pay their

style with any of the current indie masters, insisting

money to go see a film just because (with all due

instead that the script has been in development years

respect to the people I’m speaking about) a well-

before that crowd wowed cinephiles with their

known actor is in it. I think the exact opposite is so."

innovations. Robert Altman and similar 70s films are an influence plus Harkness' experience making

-> Harkness has elected to shoot Dope with

Fred's Van just won't go away.

minimal gear and without a video split, primarily

"That doco gave me insight into street kids longing

because over five weeks they’ll visit an exhausting 37

for family, the same things everybody wants. People

locations.

Plus he puts a lot of trust in the actors, “and I like

always talk about common experience but I think

them to put a lot of trust in me. I always spend a lot

and specific but the things we want are common. So

of time on my writing and the biggest frustration for

talking to the street kids, they weren’t cool and

human experience is always very precise and unique

a writer is actors basically screw up your words. So

detached like in Trainspotting or whatever. They were

developing a love and affection for actors was the big

very open-hearted and warm and I just let them tell

breakthrough for me".

their story, so there’s that element to this film."

“I love actors," he repeats enthusiastically. "They give me things that are far better than what I wrote

• MICHAELA BOLAND

CINEMA PAPERS.DECEMBER.00JANUARY.01 [25 ]

I’m a novelist converted to the movie business. Got the bug. Though as much for reasons of accepting reality than it is a passion for movies. The challenge of wearing several hats, from a producerpartner to the screenplay writer to even, at times, a co-director role, is what I relish. Of course telling a good story is the heart of it, a skill I happen to be born with.

But I’m less than excited about Hollywood activity Down Under. Are Australia and New Zealand the next Canada? Used by Hollywood, as they use anyone, from individuals to tax departments to entire nations. I mean to say, do they really care that they’re creating a film industry here?

Move over Hollywood and stop buggering-up the local film industry - Alan Duff has arrived. originality and instead give all the credit where it’s

of fight scenes." Bullshit, who writes this garbage?

definitely not due: to the director and the actors)

-I’d challenge Mr Crowe to come with me to any bar

'Lord of The Rings’ is several hundred million

full of my Maori bros and see how much of a

mouth-watering bucks the Kiwi film industry is

gladiator he is there. Front up to the real Jakes. Or

getting a share of. Not the lot, but plenty. But what is

else go to a good old-fashioned rugby league pub

it doing for our own filmmaking? Um, nothing.

anywhere in the Big Country where, mate, even I

Feature film budgets in New Zealand are even worse

would talk in respectful whispers!

than Australia, which now averages $4 million each.

No true stars, no good stories. Or so few, compared

Our feature films have budgets that wouldn’t pay for

to special effect, super-hero garbage, you can’t

Hollywood stars’ little extras, never mind the mega­

remember the good tales. No morality, no wisdom to

pay and share-of-gross deals now the norm. Which

be gained. No insights, no life-influencing

is not to say I don’t accept market forces at work, I

experiences. No intellect, no nothing, except super-

The hell they do. They're here because it's cheap.

do. Audiences go to movies chiefly to see their

paid posers pissing us off with their look-at-me!

Not because they love us. Hollywood's the game of

favourite stars. They don’t go to catch a glimpse of

antics on screen. Oh, and don’t forget yet another director with a beard. (My theory on bearded men is:

Great White Sharks. Except they ain't appealing like

the w riter now do they?

Greg. And, unlike the legendary Mr Norman, who

So, no begrudging what the stars get paid, what

insecurity, arrogance.)

has to make the shots to keep his place, in

anyone gets paid. Just not getting excited at the

The sheilas, mind, look bloody terrific. Especially

Hollywood it's not for a moment about talent, or

thought Hollywood loves us. Mate, Hollywood can’t

Julia Roberts. Talk about the camera loving

passion, or creative genius. It’s about who's the

spell even love, except when it’s applied to money.

someone. I’ve seen Erin Brokovich ten times in

toughest kid on the block. So let’s get it straight who

Though this novelist ain’t no leftie who has disregard

planes, without the headphones, and I still can’t take

and what we’re dealing with in all this dizzy, hand-

for money. (Love the stuff.) He’s a realist, he says yet

my eyes off Julia. And they're giving her quite good

waving, thank-you-thank-you clamour.

again, who accepts the market for what it is. Here's

scripts. Which can only mean they’re getting to her

In my home country [I've temporarily forgotten the

the reality I’m talking about.

un-touched by the destructive literary hands of the

name as it's so long since I was there for any more

No true matinee idol stars, not for many years.

executives because she’s a big star. But still, the

than five days at a stretch) they reckon director

Hardly any truly superb actors, they all play ego-

lovely ladies are only doing marginally better than

Peter Jackson walks on water. His trilogy adaptation

inflated comic book hero roles. And don’t believe a

the blokes in the good script stakes. In other words,

of Tolkien’s epic fantasy novel (yes, someone

word of what Russell Crowe is reported as saying,

Hollywood has killed itself. And what is emerging

thought of it before Hollywood and Jackson, just in

how he "fought on" in Gladiator despite having

from the grave is a monster called Mediocrity. Which

case you’re another who can’t acknowledge creative

"serious physical injuries incurred during rehearsals

is when / arrive!

[26] CINEMA PAPERS.DECEMBER.00.JANUARY.01

The lovely ladies are only doing marginally better than the blokes in the good script stakes. In other words, Hollywood has killed itself. And what is emerging from the grave is a monster called Mediocrity.

Not kidding. The movie industry needs some good writers. Not good writer wimps, but writers who believe in themselves. Writers prepared to smack the posers in the mush if they try and muscle us out of the way. That’s what I mean about a certain kind of w riter arriving in the nick of time against this enemy called Mediocrity. The film industry needs another kind of hero. Yay, bring ‘im on, bring 'im on!

Well, only in your fantasies, Duff. Quite right. Except you can make a fantasy come true. By becoming an independent producer/writer with brilliant mates who can access private finance. And get a legitimate tax deduction. Of course it means no high-budget projects, but then who says everyone wants a big budget? Give us small to medium and we’ll hand over, most times, [no-one gets it right every time] a bloody big picture, a bloody good one that people w ill remember. Hey, I’m proud to say I’m the originator of Once Were Warriors. And What becomes of the Brokenhearted? (I stole the title from the song of the same.) Wrote the novels and the screenplays.

No-one can take on Hollywood except Rupert. But then he’s become part of it.

The rest is not the stuff of movie moguls of old. They’re executives now, who can and do get fired by higher-up executives, unless they make a shipload of money. Even then they’re still subject to being fired by a nastier executive type who has managed to out-manoeuvre them. Can’t stand the type myself. They

above: “I still can’t take my eyes of Julia.” Alan Duff is upfront about his affection for Tinkerbell. 'above right: G ladiator Russell Crowe may have grown up in New Zealand but Alan Duff reckons he wouldn’t last a minute on its mean streets these days.

bite cigars in half and yell at writers before firing yet another one off a project. (Except this w riter’ll punch anyone in the snout who yells at me, I promise.)

I’m saying the obvious: Aussie, and to even lesser degree New Zealand, is not going to enjoy a sudden burst of film creativity inspired by Hollywood working down here. I aim to work in both countries, New Zealand and Australia. We’ve got the talent, without question. And Australia has the attitude; New Zealand, I’m less sure about. But there’s always hope.

Hollywood is never going to come to our countries and finance our own stuff. Except, aha, if they can see a buck in it. But watch for the fine print: it looks like two legs running off with your money.

Before I finish, here’s what I admire about Hollywood: they’re 70 years ahead of the rest of the field when it comes to thinking big. They have access to an endless gold seam of hungry, ambitious, hard-working wanna­ be stars and talent. They’re not afraid of anything, not budget-size, not scale of set construction, not even the silliest, fantastic story-setting which costs zillions to build. They invented SELF-BELIEF, spelt like that. Which is why they are the best at what they do. (So can’t the rest of us aim that high, and higher, too?). •

Alan Duff’s recently published book Out of the Steam and Mist is reviewed on p. 42). His fee for this story was donated to the charity Books in Homes, Australia.

Locally If s Been A Good Year Now for the rest

the box. mark woods -> While it’s not uncommon for

own films. Other negatives included

reminder that bigger budgets

workable definitions for what

filmmakers to look back 20 years to a

deep funding cuts to the ABC, which

guarantee nothing, early sales of

comprises Australian content.

reputed Australian film heyday

should be a crucial training ground for

Noyce's Kenneth Branagh starrer

It’s worrying that many filmmakers

comprising the likes of Picnic at

screen practitioners, while early

Rabbit Proof Fence are encouraging

must now rely on overseas sales

Hanging Rock, Newsfront, Breaker

corporate mayhem in the Pay TV

and change is sure required when

agents (whose appetites for films from

Morant and generous tax concessions,

sector perhaps limited its potentially

even the FFC itself admits much of its

any particular nation w ill vary over

I too find myself recalling better times

positive impact for younger producers.

output resembles TV movies rather

time) since we only have one major

when I started writing for Variety six

But probably the industry's biggest

than features.

agent left here - Beyond.

years ago. Then, everyone was abuzz

shock was the election of the

There’s a new influx of European

While there are always fortunate filmmakers working happily with

with the global success of Strictly

conservative federal government,

money, led by France (with France

Ballroom, followed by Muriel's

which, apart from encouraging a more

TV/President Films' backing Better

foreign companies, think Luhrmann

Wedding, Priscilla and then Shine

restrictive censorship climate, slashed

Than Sex, Gaumont funding Me Myself

with Fox, Shirley Barrett with

elevated the industry to a critical and

direct screen subsidies by about 30

I and TF1 backing Bill Bennett’s latest

DreamWorks and Jane Campion with

commercial high.

percent and staged numerous

effort Tempted) and Germany (with

Miramax, not every foreign embrace is

Along the way came global critical

inquiries, while several government

much of Beyond's activities funded by

productive. Witness the terrible missed

acclaim with Shirley Barratt's Palme

agencies turned themselves inside out

MBP, Becker having a development

opportunity that was Fox-Icon, which,

d’Or-winning Love Serenade, while

perhaps at the expense of tending to

pact with MBM and both major local

in turn, recalls Rupert Murdoch's and

Love and Other Catastrophes provided

development. All the while the

animation houses falling under

Robert Stigwood's similarly

inspiration to a generation of local

locations business went from strength

Germanic charms), as the three

unproductive R&R Films in the 1980s.

credit card filmmakers and TV

to strength and, while providing great

integrated film and TV majors move

Still, it seems something's gone right

programs walked off the shelf at

employment opportunities for many,

away from risky deficit financing in

and the first important steps of

major overseas trade markets. But

also allowed for obfuscation on serious

favour of presales and foreign

recovering the industry confidence

between then and now, much has

issues for indigenous production.

financing. Holland's Endemol has joint

have been taken with the local box

changed for Australia's screen

While some modestly successful or

ventures with Southern Star, Britain's

office successes of Chopper, The

industry, which has weathered serious

important films were made during the

Granada owns Artist Services and

Dish, etc. After all, if Australians don't

decline as Britain re-energises with

past six years, including Head On, The

Channel A and Carlton are producing

watch Australian films, who else will?

the likes of The Full Monty, Brassed

Road to Nhill, Kiss or Kill, Feeling

dramas here, just like the local office

Sure, the trick is balancing

Off, Billy Elliot and Lock, Stock...

Sexy, Angel Baby, The Boys and

of Columbia TriStar. The UK's Working

commercial and artistic vibrancy,

Local box office for Australian films

(overseas) Cut, the industry had to face

Title is also eyeing an Australian

while building a diverse industry

collapsed, substantial foreign sales

the harsh realities of a rapidly

office, led by Tim White.

supporting both cultural and

became elusive and the collapse of

changing international environment

But while such foreign engagement is

competitive imperatives, like the

European demand for independent

and redefine and reorganise itself so

positive and welcome, it's not a cure-

theatre sector, which, while

fare combined to see returns to

its films might follow its directors,

all and some of the recent link-ups

addressing serious challenges, staged

federal funding agencies plummet and

actors and technicians in finding global

look suspiciously like shot-gun

memorable - and successful - pieces like The Sunshine Club, Stolen,

the likes of Beyond, Southern Star

acclaim and prosperity once more.

marriages that may not produce happy

(which has now mothballed its film

A recent pact between FLIC company

creative offspring. A battle wearied

Cloudstreet and Small Poppies, not to

activities) and Becker's time as stock

Macquarie and UIP suggests

industry with a battered currency,

mention the $60 million grossing

market darlings quickly pass.

something good might come from the

probably makes Australian outfits

musical The Boy From Oz. And

Along the way, the screen industry had

thus far under-active FLICs initiative

bargains for cashed-up Europeans

wouldn't it be something if our

other shocks, including an exhibition

after all, while TV players SBSI and

seeking cheap English language

existing output also included those

consolidation that saw screens

*Showtime have become important

product as they prepare for bigger

sharp, fresh, wildly original and

become ever harder to obtain and

sources of part-financing films,

things in Flollywood. While Australians

globally appealing AFI foreign film

hold. A shakeout in distribution saw

between them backing more than 30

can't ignore this process, foreign

nominees American Beauty, Being

not only the demise of several

films into production in the past few

companies don't pretend to nurture

John Malcovich and A ll About My

supportive local distributors, but also

years. The FFC and others are making

new Australian talent (but they sure

Mother? •

of traditional foreign supporters of

good on plans to back somewhat

like to spot it) and it presents

Australian film like Polygram and

higher budgeted films to lure back

challenges for creatives to maintain

AUSTRALIAN FILM, TV, PAY TV AND THEATRE FOR

Ciby, while mini-majors like Miramax

successful expatriates, including Fred

the individual distinctiveness that

VARIETY, IN MID-NOVEMBER MARK WOODS

and Fine Line moved away from

Schepisi, Bruce Beresford and Phil

often attracted foreign attention in the

acquisitions and into producing their

Noyce. While Oscar and Lucinda is a

first place, not to mention devising

[28] CINEMA PAPERS.DECEMBER.00JANUARY.01

AFTER SIX YEARS COVERING ALL FACETS OF

BECAME THE ACQUISITIONS AND INVESTMENT MANAGER FOR ‘ SHOWTIME AND ENCORE AUSTRALIA.

AAV Australia

DVD a t AAV. C all Jim en a H isco ck on 0 3 9251 1600

At regular intervals since the 1970s, Australian filmmakers have been getting the bright idea to make a small, jazzy, uniquely local movie with a ‘French New W ave’ flavour, following the handy formula once prescribed by Philippe Garrel: “By showing a man and woman in a single room, the cinema can say everything.”

One can chart a little sociology of ‘countercultural’ life in our major cities by watching in rapid succession Inside Looking Out (Paul Cox, 1977), Third Person Plural (James Ricketson, 1978), Apostasy (Zbigniew Friedrich, 1979), Sweet Dreamers (Tom Cowan, 1982), Sweethearts (Colin Talbot, 1990) and Fresh Air (Neil Mansfield, 1999). The lifestyles, political slogans and smart buzzwords change slightly, but it’s still pretty much the same parade of inner-city bohemians, proud eccentrics, social ‘marginals’, and self-important artists scratching away at their new painting, novel or film, and navigating the confusions of new sexual mores, while cruising between their bare, dishevelled rooms and outdoor cafés rather like New Wave icon Jean-Pierre Leaud did in The Mother and the Whore (1973), And the manner of all these Australian films is also roughly e q u ivalen t^ long, intimate dialogue scenes broken upfgj by surreal inserts, games with the speed and grain of the image, bursts of music, colour and montage. All very Godardian.

Blake and Charles Tingwell in Innocence.

But hang on - what were those Local films I just mentioned? You can be excused for not being au fait with much on that list, because these movies have fallen into every conceivable kind of cinematic oblivion. Inside Looking Out, Third Person Plural and Apostasy belong to a lost age of Australian 'independent' filmmaking associated with the Sydney

finds much ado about nothing in Australia’s purported art cinema scene.

and Melbourne Filmmakers' Co-Operatives; some of the celluloid traces of that era can be found among the 16mm holdings of the National Library's film collection, but nowhere else. Sweet Dreamers, briefly released theatrically in its time, seems entirely inaccessible now. Sweethearts, as I write these words, is having what could well be its second-ever screening - on a commercial TV channel at 1.30 in the morning. Fresh A ir was exhibited in a few places thanks solely to the efforts of the filmmakers themselves; at least this one is currently in plenty of video shops.

Beyond the fact that most of these films are quite hard to see these days - which is not their fault - one other thing needs to be said about them all: they are

[30] CINEMA PAPERS.DECEMBER.OOJANUARY.01

Paul Cox (right) directing Innocence.

Kristine Van Pellicom and Kenny Aernouts (above) and (top) in Innocence.

not very good, and this is at least partly their fault.

That smug unawareness of what is best in world

Even the bravest and most dedicated cinephiles or

cinema, for instance, has now been virtually

The answers are simultaneously industrial, cultural, historical and aesthetic. As with so many kinds of

archivists of local film would baulk at having to see

institutionalised by our major arthouse distributors

filmmaking here, what we survey is a scattered,

them twice. Australian art cinema seems to be such

and exhibitors: apart from on SBS and the World

always broken line of experiments. Like most

a delicate flower with such a precarious existence

Movies cable channel, it is not easy to keep pace

comparatively small countries, we stumble from one

that criticism of it is often held off, or gently,

here with the truly exciting, innovative artistic

fragile ’high hope’ - the movie that the industry prays

circuitously phrased - as if we are all meant to be

developments happening in world cinema, such as

will make money, grab an audience and kickstart a

grateful for such ‘brave’ mediocrity. One glaring

the extraordinary films of Abbas Kiarostami in Iran

trend - to the next, with many disappointments and

exception to this rule is a 1982 review of Sweet

or Hou Hsiao-hsien in Taiwan. Forget, fora moment,

abandoned projects along the way. The astoundingly

Dreamers by Meaghan Morris, reprinted in An

the arguments that most movies made in this

high attrition rate noted above - whereby most of our

Australian Film Reader {Currency, 1985). Ironically,

country are (certainly to American eyes) small,

art films end up as rare videotapes, mere rumours

this critique is nowadays much easier to access than

independent, art films; or that some of Australia’s

or citations in scholarly essays - is proof enough of a

the film itself. "The gallant mistakes of Sweet

very best film art is to be found in the too-often

lack of available history in this area to learn from

Dreamers are only possible in a culture which

overlooked ‘underground’ of experimental cinema.

and build upon.

actively discourages critical reflection on film by

Put aside, too, the philosophical objection that art is

So, a ’critical mass’ of artistic work is never reached

filmmakers, which is smugly unaware of all that is

wherever you find it in cinema, no matter its cultural

in this country, and no momentum builds; there is

most dynamic in other new cinemas of the world and

pedigree. The art film, internationally, is a particular

little sense of a dialogue between films, or makers

which is so technocrat in orientation that it produces

form - feature length, narrative - with an easily

and viewers linked in an ongoing exploration. To

some students who boast that they never read books

recognisable history and a now flourishing world

claim that Australia lacks a strong art cinema

and rarely watch films.”

market. In Australia, we face the sad evidence of a

means that we are bereft of a recognisable, vital,

Eighteen years later, Morris’ critique of the

paralysis in this area of filmmaking. Why does our

self-generating tradition of such work.

Australian film scene still has the bitter ring of truth.

art cinema still seem in a fitful, embryonic state?

This doesn't mean that there aren't individual CINEMA PAPERS.DECEMBER.00JANUARY.01 [31]

examples of strong or intriguing art films here. A

üaaaaa

Hómaysmmhe Yarra River

¡¡schizophrenic fact that, while Cox’s latest film

range of examples gives a sense of the diversity of

Innocence wins awards on the festival circuit

international art cinema styles that have been

overseas, it is passed over for a nomination in most

sampled and mixed. Ian Pringle's work, from

categories (including Best Director) in the AFI

Wronsky (1979) to The Prisoner of St Petersburg

Awards. Is Cox - as novelist Thomas Keneally said

(1988), is moody and mannered in the Wenders road-^

when comparing him to Patrick White - “a bit of a

movie vein. Rowan Woods' The Boys (1998) evokes

genius and something of an Elijah?"

the finely-chiselled pessimism of Abel Ferrara, Larry

I don't think so. The one remarkable aspect of Cox's

Clark and Mike Leigh. Clara Law's Floating Life

career, to my eyes, is how little it has changed,

(1996) reimagines the themes, moods and pictorial

evolved, developed or deepened over the past two

sensibility of Antonioni for the disconnected,

decades. Innocence is, in so many ways, exactly the

postmodern world. Leo Berkeley's Holidays on the

film that Cox has always made. In one sense, this is

ié á J te d River Yarra (1991) brings a certain ‘poetic realism’ to1

“an admirable sign of consistency - just the sort of

bear on the lives of troubled teens, reminiscent of

between high and low, old and new, classical and

‘signature' we demand from art cinema auteurs. But

French directors like Jacques Doillon. In his more

modernist art. Above all, our art films lack the really

a signature can be a prison, if it leads to stasis.

frenzied passages, Geoffrey Wright [Metal Skin,

vital interrelationships between form and content, or

Cox's films, from one to the next, catch themselves

1996) pushes Oliver Stone-style pyrotechnics to arty

between style and 'personal vision', which

in a facile loop: they all start with vague malaise,

disintegration. And John Hillcoat's equally violently

characterise the work of this cinema's masters,

churn through a dark night of the soul, and end in a

fractured Ghosts... of the Civil Dead (1989) once

from Ingmar Bergman and Akira Kurosawa through

redemptive flourish (Innocence, for instance, ends

earned a memorably snobbish Parisian compliment

to Leos Carax and Alexander Sokurov.

with the bald exhortation to “love the world"). Even

from Cahiers du Cinéma magazine: “It is interesting

Let’s take a contentious test case: Paul Cox. The

more grievous, to my eyes and ears, is the matter of

to see how Godard's style has been spontaneously

audience for Cox's work is sharply divided these

Cox’s filmmaking style. I remain unconvinced by

'reinvented' by an Australian filmm.aker who has

days. For every respectful homage in a reference

assertions of Cox's "formal subtlety", "restrained

probably never seen a Godard film!"

book (such as The Oxford Companion to Australian

ingenuity” or “inspired craftsmanship". To me, his

But, on the whole - including in a number of the

Film) or from a high-profile critic such as David

films have a sometimes shocking air of

films just cited - Australian art cinema lacks a

Stratton (who regards Cox as a "deeply committed,

amateurishness and off-handedness - as if 'near

sophistication, a maturity, a real intelligence. Such

sometimes misunderstood and neglected artist"),

enough’ a particular effect, mood or meaning is

words can carry an excessively middlebrow, old9B

there is an equally intense expression of distaste or

always good enough. Innocence displays the self­

fashioned connotation. But I mean to point to

indifference from a younger generation of arthouse

same clumsiness with respect to establishing a

something that cuts across spurious distinctions

filmgoers. There are many ways to interpret the

coherent fictional world, laying out the terms of a

plot line or creating psychologically plausible characters that were operative when he was a fledgling experimental filmmaker in the 60s and 70s.

What seemed striking and personal in Cox's first features (such as Kostas, 1979] can now seem tired and calculated, a species of cliché - especially those grainy, step-printed, Super 8 flashes of birds,

The one remarkable aspect of Cox’s career, to my eyes, is how little it has changed, evolved, developed or deepened over the past two decades. Innocence is, in so many ways, exactly the film that Cox has always made.

streams and naked bodies. The long dialogue scenes are often inert, unimaginatively staged and framed:

Chayko's City Loop. And, although Morris in 1982

industry support and development but that true

Cox may have given up his penchant for the

found much to criticise in the sort of culture

measure of film culture - an ongoing, in-depth

meandering pan-and-zoom shots that once

inculcated in students by the major filmmaking

relationship to everything significant within world

pulverised Man of Flowers (1983), but now he seems

schools (such as AFTRS and VCA), a lack of such

cinema, present and past, and everything important

to have settled into the evenly lit, stodgily centred,

training is not necessarily the magic key to artistic

that is talked, taught and written about it.

glacial mode of mise en scène announced in Lust

creativity or skill - as films by honoured novelists

Until our film scene begins to instil that sort of

and Revenge (1996). His films betray a tin ear for the

with little or no prior film experience [such as

fluency into its would-be artists, many of our

properly cinematic soundtrack - unsubtle

Sweethearts and Richard Flanagan's The Sound of

attempts at art cinema w ill look, to the rest of the

noisescapes (like the thundering clocks in Golden

One Hand Clapping, 1998) have shown.

world, like strange reinventions of films by Godard,

Braid} alternate with reams of quoted and

The latest low-budget, first-timer, Australian art

Bresson, Angelopoulous or Kiarostami - by people

composed music. As for the acting in these films, it

movie is Vince Giarrusso's Mailboy. Like some of

who appear never to have seen the originals. •

is no fault of the performers that they must struggle

those just mentioned, Giarrusso came to directing

with such unutterably miserable, clunky dialogue

sideways, via his already well-established career in

(from Innocence: "We shared a lot of lust") and

music and songwriting. His inexperience shows.

the sorry lack of any 'ensemble' effect blending the

Mailboy is a downbeat, observational film in a realist

entire cast.

mode, reminiscent of John Ruane’s early work

Cox’s closest auteurist cousin in the annals of

[Queensland, 1976, and Feathers, 1987). It adopts a

Australian art cinema is Rolf de Heer. It would

type of art-film narrative which is often a trap for

probably be better for these two filmmakers if they

unwary devotees of Robert Bresson [Mouchette,

were not so often acclaimed on their native turf as

1967) or Roberto Rossellini [Germany Year Zero,

masters or visionaries. It would be more fitting to

1947): a story centered upon a largely passive,

describe them as practitioners of a form of 'naive'

inexpressive youth (played here by Kane McNay) who

art cinema, akin to the genre of naive painting - a

silently absorbs and 'reflects' his miserable milieu.

terrain they share with Werner Herzog and the

Giarrusso's direction has a flat, overly literary,

recent adherents to Lars von Trier's dubious

distanced feel. The film never achieves a successful

'Dogma' manifesto. De Heer's films are, in the naive

level of subtle stylisation (especially on the level of

mode, excessive, declaratory, over-reaching, and

imagery and mise en scène] to lift its material out of

earnestly sentimental. He embraces the figure of the

the kitchen sink.

naive visionary with a vengeance, by centring

As a result, it slides into a soft, social-worker

successive films upon the subjective

sentimentality: this mailboy would be fine if only

consciousnesses of a mute child [The Quiet Room,

he had a Mum and Dad who gave him more

1996), an exiled alien (Epsilon, 1995), a 'pre-social'

'quality time'.

misfit [Bad Boy Bubby, 1994] ora disabled outsider

Mailboy is a typically flawed Australian art film. Like

(Dance Me To My Song, 1998). The disconcerting

many genuinely sincere and artistically ambitious

rawness of de Heer’s film language - handheld

movies, it seems to be grasping towards something

camera chaos, ugly lighting, grating sound - has

beyond itself: a certain cinematic fluency, a shared

been justified in terms of a punk aesthetic;

community of interests, a greater knowledge of

unfortunately, since the rude blast of Bad Boy

possible aesthetic models. Art cinema, more than

Bubby, his movies have been (like Cox's) offering

any other kind of cinema, needs not just stable

diminishing artistic returns.

Although neither Cox nor de Heer have developed very much as filmmakers, at least they have cannily worked out ways to keep making exactly the films they want to make, cheaply and prolifically. When we come to the realm of the first-tim e art cinema maker in Australia, we encounter a truly gloomy graveyard - since so few of these directors, since the late 1980s, seem to have won another chance to improve their craft. Solrun Hoaas (Aya, 1991), Tracey Moffatt [Bedevil, 1993), David Perry [The Refracting Glasses, 1993), Susan Murphy Dermody (Breathing Under Water, 1992), James Clayden [With Time to Kill, 1987), Martha Ansara (7T7e Pursuit of Happiness, 1988), Susan Lambert ( Talk, 1994) - these are just a few of the many names, often distinguished in the areas of short or experimental or documentary film, or in other art forms, that have effectively disappeared from our merciless film culture ledger.

But one has to take off the critical kid gloves when dealing with these films, too. Many are simply too ambitious, too layered - as if a linear story could not possibly be engaging without the extra trappings of an 'essay' ora mind-bogglingly convoluted structure, of the kind we see once more in Belinda CINEMA PAPERS.DECEMBER.00.JANUARY.01 [33]

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2000.16mm colour.9min DIRECTOR CATE SHORTLAND W RITER CATE SHORTLAND PRODUCER RACHEL CLEMENTS CINEMATOGRAPHER ROBERT HUMPHREYS COMPOSER KIRKE GODFREY EDITOR YOOL CHUL CHUNG CAST DEBORAH CLAY, TA NIA SEGURA, MEG EVANS, ARI MATTHEWS, MATT BAKER, LOUIS WESTGARTH

snapshot, leigh whannell -> Joy, directed by A.F.T.R.S graduate

mall to terrorise boys and

Cate Shortland in her final year, is a

shopkeepers. Joy steals sunglasses,

rare thing indeed: a short film which

fantasises about all the boys wanting

seeks to be mysterious, disturbing,

her and then gets into a fight. When

funny and sexy - all at the same time

she returns home that night to the

and within its nine minute running

furious cries of her parents, we realise

time - and actually achieves it.

she is the way she is because of her

Additionally, Shortland has made things

home environment. It’s a simple story

triply hard for herself by making a film

covering well-trodden ground but the

about teenagers and their problems, an

beauty is not the story itself, it is the

area where filmmakers who aren’t

way in which Shortland tells it.

teenagers themselves anymore must

First of all, Shortland obliterates the

Her parents, like so many others, don’t really talk - they just spout the rote crap parents think they should, trying to shape and mould their daughter into a decent young girl, rather than really attempting to understand her.

tread on eggshells not to make it look

problem of having to write teenage

contrived, and yet she pulls this off too

dialogue, which for one reason or

with aplomb. Rarer still, Joy is an

another so often comes off sounding

A.F.T.R.S film, so it looks beautiful and

fake or forced. Trying to cram wit and

is the sound design which truly makes

are the security guard who chases her

the actors are great... but among the

realism into the mouth of any

it what it is.

for stealing, they are the security

slickness is a story, with a character we

character who is Australian and under

The main card Shortland has up her

cameras who record her every move.

care about. It is a huge victory for

25 years old - a species whose

sleeve in the storytelling though, is the

We’ve all heard these statements from

Shortland because watching Joy you

favourite word is ’fuck’ (I know mine is)

slices of text which scroll across the

our own parents before so they have a

sense this would have been a very easy

- is a task that in my mind requires

screen at various times during the

particular resonance. We think we

film to get wrong - very wrong.

massive talent to conquer properly.

film. When we see Joy applying make­

understand why Joy is rebelling - she’s

Imagine a remake of Larry Clark’s

(Angst anyone? I mean, who do you

up in the mall toilets in the film ’s

being told not to go out looking like a

Kids with the focus changed from boys

know that talks like that? Big, long

opening scene, the words 'You Should

slut but she does it anyway. It is not

to girls, and for financial reasons, the

Kevin Smith-ish speeches about why

Take A long Hard Look At Yourself In

until she returns home that we realise

location is switched from New York to a

the Evil Dead films are "a lot like life"

The M irror’ slide across the screen.

she is not rebelling against her

shopping mall in Parramatta, Sydney.

do not work in an Aussie accent. OK,

At first the device is jarring, and feels a

parents but copying them. Her

Then imagine a less pretentious effort

bitch over.)

bit hokey - like an arty type saying

parents, like so many others, don’t

that runs just nine minutes.

Shortland obliterates this problem

"wouldn’t it be cool if we had these

really talk - they just spout the rote crap parents think they should, trying

No? OK, I’ll explain. Joy is a film

simply - there is practically no

words slide across the screen right at

people w ill say centres around a

dialogue. All but one of Joy and her

this one moment”. Shortland, however,

to shape and mould their daughter into

Lolita-like lead character, which is

cronies’ adventures is played out with

sticks to her guns and repeats the

a decent young girl, rather than really

what anyone says when a film shows a

their dialogue muted. We see them

device throughout, making it an

attempting to understand her.

female younger than 18 taking charge

laughing, talking and being teenage

intricate part of the story. After getting

Joy is the best kind of short drama - a simple one, which doesn't attempt too

of a sexual situation rather than just

girls but we do not hear them. What

used to this device we realise it is the

yelping ‘I’m not ready for this' as their

we do hear is Joy’s inner turmoil about

voice of her parents berating her in

much emotional depth for its length

breasts are groped.

how she should behave, represented

the typical way a parent would a

and wraps itself up concisely. Comedy

Joy does centre around a teenage girl,

by the stark, spooky sound design and

teenage girl.

is sometimes too easy a thing to do

Joy (played exceedingly well by WAAPA

occasional bursts of energetic drum

Statements like ‘Don’t think you’re

with short films because you basically

grad Deborah Clay, especially since

and bass.

walking out the door dressed like that’

only need to tell one joke. As evident in the huge number of ‘sting in the tail’

she’s well past 16 years old) but I

It is refreshing to see a short film

and 'No man in his right mind would

wouldn’t say she’s Lolita-like. I’d

where such care has been taken with

touch a girl like you’ remind us of the

joke films entered into festivals. It is

say she’s pretty much a normal

the sound design, instead of being left

parents back at home she is rebelling

short films of dramatic or

teenage girl.

behind in the struggle to have a

against, until we realise that her

experimental content that are much

Joy is heading to the local shopping

‘beautiful looking film ’. From the

parents are everywhere. Always

harder to do without falling flat on your

mall for a bit of frivolity with her two

incessant giggles of the girls, which

watching to make sure a young lady

face and in this case Shortland has

nameless followers. The three of them

have been woven throughout, to the

’behaves in the proper manner’.

managed to stand tall. Joy won’t

drink alcohol in the girls' toilets, put on

drone of the shopping centre security

Her parents are the shopkeepers who

change the world or get her a three-

lots of make up to look older and

cameras that are constantly watching,

watch her suspiciously when she

picture deal with Dreamworks... but

this is a beautiful sounding film and it

spends too much time in a shop, they

who really cares? •

sexier, and then venture out into the

CINEMA PAPERS.DECEMBER.00.JANUARY.01 [35]

film.

DIRECTOR PAUL COX CAST JU L IA BLAKE. CHARLES TINGW ELL, TERRY NORRIS, ROBERT MENZIES, MARTA OUSSELDORP, CHRIS HAYWOOD, KRISTINE VAN PELLICOM, KENNY AERNOUTS PRODUCERS PAUL COX & MARK PATTERSON DISTRIBUTOR SH A R M ILL FILMS COUNTRY OF ORIGIN AUSTRALIA RATING M DURATION 95 MINUTES

Since 1996’s broad satire about the art world, Lust and Revenge, things have been pretty quiet in the Cox camp. Until now. Though we are still yet to see his intriguing foray into the possibilities of Imax (1997’s

graphic scenes of exploding bodies or

three dimensional The Hidden

rampant Hollywood-style sexual

Dimension), our regular screens are

encounters without batting an eyelid,

in for quite a flurry of Coxian activity.

begin to squirm in their seats at the

Due in the not-too-distant future is

sight of a bit of no-longer-quite-so-

Molokai: The Story of Father Damien

firm flesh. But this is an extremely

- following its successful run on the

gentle film from Cox, with surprising

festival circuit - and his long-

dashes of humour and beautifully

cherished Nijinksy project is

judged performances from Julia

currently in post-production. In the

It's a tale of twilight love, a theme that

satisfying films have explored different

Blake, Bud Tingwell and also Terry

meantime though there is this crowd­

is always guaranteed to get the

aspects of aging. Think of the

Norris (Blake's real-life husband) as

pleasing romance, which has already

romantics smiling wistfully. Half a

loneliness and isolation of Norman

Claire's husband, John. Claire has

picked up an impressive shelf-full of

century after falling for each other in

Kaye's character in Man of Flowers

been married to John for 30 years but

awards at various international

post-war Belgium, Andreas (Charles

(1983) or Sheila Florance’s acceptance

the physical side of their relationship

festivals.

Tingwell) and Claire (Julia Blake) meet

of her approaching death in the

has long since died.

Of course Cox has long maintained

again and renew their relationship.

brilliant A Woman's Tale (1991). But

While sensitively executed, the

that he is far better appreciated

Starring two of Australia's best-loved

examining a passionate sexual

screenplay does have problems -

abroad than here at home, but could

mature actors, the film is already way

relationship between characters we

some of the dialogue has a stagey and

this be the film that restores his

ahead in the audience-friendly stakes.

would normally only see on our

unconvincing ring to it. That this isn't

reputation in Australia? The signs are

But it's more than that. There is a

screens playing lawn bowls or

the overriding impression of the film is

good. Especially at the box office

genuine warmth, compassion and

pottering in the garden is a whole new

a tribute to Cox's deft touch and

where the sentimental factor is bound

understanding at work here.

ballgame. And it's one that is

dedication to the material and, above

to benefit from the film ’s Christmas

Cox is now 60 years old. He says he

undeniably confronting for viewers.

all, Blake’s wonderfully centred work

release. Because Innocence scores

finds that hard to believe. Yet many of

But what a telling discomfort it is -

in the pivotal role of Claire.*

highly on the "ahhhhh!” factor scale.

his most accessible and, indeed,

that audiences who can sit through

MADELEINE SWAIN

[36] CINEMA PAPERS.DECEMBER.00JANUARY.01

“Not only does Crow e’s art imitate his own life, but the writer/director has gone to great pains to make each scene faithful.”

Almost Famous DIRECTOR CAMERON CROWE CAST BILLY CRUDUP, FRANCES MCDORMAND, KATE HUDSON, PATRICK FUGIT, JASON LEE, A N N A PAQUIN, NOAH TAYLOR, PH ILIP SEYMOUR

Young and others also make cameos

this is the film 's moral conscience and

throughout the film.)

real-life legend, rock w riter Lester

As Stillwater makes its way across

Bangs. Played by Philip Seymour

America in a bus, the circus picks up

Hoffman, he warns William of the

the ‘band aids' - sympathetically seen

dangers in getting too close to the

as a group of female music fans

band. Cautions him that the band w ill

rather than groupies - and the utterly

lure him into thinking they're his

engaging William. Together, they

friends, drain him of his objectivity.

confront the usual rock hang-ups: on-

Then there's the girl. The 'band-aid'

HO FFM AN , ZOOEY DESCHANEL, FAIRUZA BALK

the-road monogamy (or lack thereof),

girl. The wonderful Kate Hudson plays

PRODUCERS

egomania, trusting the enemy (ie, the

the main 'band-aid', Penny Lane. In

press), making friends with your

love with the music and lead guitarist,

CAMERON CROWE, IAN BRYCE SCREENW RITER CAMERON CROWE DISTRIBUTOR C O LU M B IA TRISTAR COUNTRY OF ORIGIN US RATING M DURATION 123 MINUTES

subject (ie, the band] and drugs.

Russell Hammond (Billy Crudup) - or

But more pertinent than any of this

is that the same thing? - she is

pulp is the story of a little boy coming

vulnerable in this tough-girl world and

of age. Albeit a very, very clever little

winds up providing William with his

boy, but still just a little boy. This

biggest life lesson.

backstage, tour-bus environment is

In his first US role, Noah Taylor

completely foreign to him, and on the

portrays a very odd little band

other side of this tug-of-war is his

manager named Dick Roswell.

overly-protective and equally

Afforded little dialogue and even less

-> In demystifying the greatest rock

intelligent mother (played brilliantly by

character development, there’s not

true). You don't have to be a rock

‘n’ roll cliché of all - the on-the-road

Frances McDormand), who injects

much scope for him to (ahem) shine.

journo, in a band or even be a big

funny, very funny (because they're

story - ex-Rolling Stone journo-

Almost Famous with some of the

But through each of the very individual

music fan to get into this film,

turned-filmmaker, Cameron Crowe,

funniest moments.

characters, there’s a great rock story

although it w ill help. •

portrays the reality of such

But William's true guide through all of

being told. And most of them are

RACHEL NEWMAN

adventures as far more amusing and ultimately more rock than any

Almost Famous

glorified send-up or tail-tale from backstage will have you believe.

Almost Famous authenticity is its most striking attribute and "keeping it real" is also one of its main themes.

For a start, the very nature of the subject matter is close to Crowe's heart. Like the lead character -15year-old William M iller (Patrick Fugit) who's been assigned to write his first feature for Rolling Stone - Crowe made his start with the same legendary magazine, only he was 16 years old.

Not only does Crowe's art imitate his own life, but the w riter/director has gone to great pains to make each scene faithful. Set in 1974-, Crowe has littered genuine 1970s musical artefacts throughout the film, and has even drawn upon bona fide 70s rock greats like Peter Frampton to coach the ‘almost famous’ band, Stillwater.

(Actors dressed as David Bowie, Neil CINEMA PAPERS.DECEMBER.00.JANUARY.01 [3 7 ]

Cunnamulla DIRECTOR DENN IS O'ROURKE CAST THE TOW NSFOLK OF C U N N A M U LLA PRODUCER

Mailboy

FREE ENTEPR/Slm RECYCLERS OF^K |fCOPPER. * BRAS& * ALUMINIUM LEAD

DIRECTOR VINC EN T GIARRUSSO CAST KANE MCNAY, N E LL FEENEY,

E R O P - J i. A ’ c V iz /if/c U u tt

BRETT SWAIN, BRETT TUCKER

DENN IS O'ROURKE

PRODUCER

DISTRIBUTOR

FIONA EAGGER

RONIN FILMS

W RITER

COUNTRY OF ORIGIN

VINC EN T GIARRUSSO

AUSTRALIA

DISTRIBUTOR

DURATION

BU EN A VISTA INTERNATIO N AL

83 M INUTES

COUNTRY OF ORIGIN

Cunnamulla

AUSTRALIA DURATION

-> Sobering to say the very least, the

but the living conditions are fairly

mention has a point: serving to

latest documentary from Dennis

basic for all concerned. Without

highlight the differences between his

O’Rourke [The Shark Callers of

preamble, O’Rourke introduces us to a

life and that of, say, Herb the scrap

Kontu, Cannibal Tours, The Pagode

fascinating cross-section of the

metal merchant.

-> An aspiring screenwriter is often

da Tia Beth] sees him returning to

townsfolk and then just lets the

Having said this, you can’t help

advised to ‘write what you know’ and

Australia to continue doing what he

camera roll - the interviewees

wondering what the townsfolk of

Melbourne writer/director Vincent

does best: prising the sores on the

seemingly needing very little prodding

Cunnamulla will make of O’Rourke’s

Giarrusso has elected to do exactly

underbelly of society and having a

to let us in on some of the most

view of their lives. Maybe they’ll be

that with his debut film, Mailboy.

good old poke around underneath.

personal and complicated details of

glad he took the time to get to know

Giarrusso is best known as lead singer with Melbourne rock outfit

85 M INUTES

His most notable lor infamous,

their lives.

them and film them, or maybe sections

depending on your point of view)

And this is where O’Rourke really

of the community w ill feel the town as

Underground Lovers. However, he was once a youth welfare worker, an

endeavour in this direction to date

excels. Like Nick Broomfield [Kurt &

a whole has been woefully

was 1991’s The Good Woman of

Courtney, Heidi Fleiss: Hollywood

misrepresented. Surely life there can’t

experience he has obviously drawn

Bangkok - an utterly downbeat and

Madam] he has an extraordinary ability

be that bleak for everyone? Or can it?

on heavily for his tale of a teenage

unavoidably distressing biography of

to communicate with people and get

The film was made in the pre-

boy battling to escape the ambit of a

Aoi, a young Thai woman forced by

them to open up on camera. But unlike

Christmas period, but the picture

welfare-supervised family living in Melbourne’s northern suburbs.

circumstances to work as a prostitute

Broomfield, the viewer doesn’t get the

O'Rourke paints is not a remotely

in Bangkok.

sense that his success is simply due to

festive one. Perhaps most jarring of all

In Giarrusso’s film, characters do

Thankfully Cunnamulla isn’t quite as

an overdose of pushiness on his part.

are his conversations with Cara and

everything that Neighbours characters

desperate a show - indeed there are

There seems to be an extraordinary

her best friend Kellie-Anne. Cara at

don’t. They go to the toilet; they veg in

several moments of undisguised levity

amount of trust too - even when the

only 13 years old is a school dropout

front of the telly; they smoke and get

- but it's pretty formidable material all

subject doesn’t understand why they

whose lack of concern about the

drunk and swear. And then there are

the same. O'Rourke seems to be

should be subjected to such scrutiny

possibility of pregnancy lies in the fact

issues of unemployment, drugs,

determined to make films that w ill

(as in The Good Woman of Bangkok],

that she’d just "dump the kid on the

spousal abuse and petty crime.

’shake the bastards up a bit'. It’s as if

O’Rourke is also much more

father and let him deal with it” . We last

Giarrusso clearly aspires to a kind of

he’s deliberately targeting his work at

successful at keeping himself out of

see the duo packing their bags and

Ken Loach-style gritty realism, while

members of the smug middle class,

the film than Broomfield. In

heading off for Brisbane - doing

recalling local efforts like Moving Out

sitting in their North Shore or eastern

Cunnamulla his interviewees refer to

whatever it takes to get away from

and The Year My Voice Broke in its

suburbs polished-floor apartment,

him only once or twice and then the

Cunnamulla and the endless parade of

teenage rites of passage theme. In a

pondering life’s big decisions: stir fry

oversexed males. But you can’t help

social context, there are also parallels

or pasta for dinner? and saying, hold

feeling life in the state capital won’t

with The Boys and Nirvana Street

on a minute: let’s take a look at how

offer them much either. The end of the

Murder, among others.

other people are living their lives.

line indeed. •

Shaun (marvelously played by Kane

In Cunnamulla, the town 'at the end of

Cunnamulla will screen in Sydney

McNay) spends most of his time down

the railway line’ deep in outback

Valhalla and Canberra's Electric

at the local mall. If he’s not shoplifting

Queensland, the population is divided

Shadows from December 14, with

or dining out in the food court (where

into white Australians and Aborigines,

Melbourne to follow in January.

his mother works as a cleaner), he

[3 8 ] CINEMA PAPERS.DECEMBER.00.JANUARY.01

Ma d e l e in e s w a in

“The American dream of everything being possible for everyone without burdening taxpayers for study or artistic grants is still alive.”

The film has Violet (Piper Perabo) as a

Coyote Ugly

wannabe songwriter moving from the clutches of her nice but boring life in New Jersey (where Kiwi native Melanie

DIRECTOR DAVID M CNALLY

Lynskey gives a great turn as Violet's

CAST PIPER PERABO, ADAM GARCIA,

quintessential New Jersey friend

MARIA BELLO. M ELANIE LYNSKEY, IZABELLA

Gloria) and protective father Bill

MIKO, BRIDGET MOYNAHAN. TYRA BANKS, DEL PENTECOST, M ICHAEL WESTON. JOHN W RITER

There, she finds that her night job

GINA W ENDKOS

providing cheap thrills for guys on the

PRODUCERS

prowl in the racy Coyote Ugly bar,

JERRY BRUCKHEIM ER, CHAD OMAN EXECUTIVE PRODUCERS

owned by the cliched iron maiden Lil

M IKE STENSON, SCOTT GARDENHOUR

(Maria Bellow), overshadows her

CINEMATOGRAPHER - AMIR MOKRI

“In Giarrusso’s film, characters do everything that Neighbours characters don’t. They go to the toilet; they veg in front of the telly; they smoke and get drunk and swear.”

[played well by Roseanne's John Goodman) to a seedy life in Manhattan.

GOODMAN, LEANN RIMES

COUNTRY OF ORIGIN

aspirations and budding romance with

US

the elusive Kevin (Garcia), making for

DISTRIBUTION

some of the obligatory jealous

BUEN A VISTA INTERNATION AL (BV!)

boyfriend scenes. In a hugely Adam Garcia gives a competent co­

surprising turn of events, Kevin helps

leading performance in Coyote Ugly,

her overcome the stage fright she

one of the latest song-and-dance films

feels about performing her own works

to grace our screens, in which almost

at the very last possible moment,

every frame feels faintly familiar.

which unlocks the key to success.

and his mates are selling drugs to

experience as a youth worker through

It’s a bit Fame meets Flashdance

However derivative it seems, there are

other school friends, sniffing glue or

the character of Darren (Brett Tucker),

meets any other film that has a nice,

enough nice moments, a spicy tone

simply killing time. Shaun's mum

then he's not giving much away.

sweet girl with a caring but over-

and great music and art direction that

(Nell Feeney) meanwhile struggles to

Darren is sketchy at best, merely

protective family in New Jersey (or

make this film more than watchable

make ends meet, anticipating her

functioning as an authority figure that

anywhere vaguely outside of

for its target audience of teens and

estranged husband's return home

pops in and out of the film when

fashionable Manhattan) moving to the

young adults, most of whom w ill be

after a stint in jail.

necessary.

Big Apple to confront various hurdles

too young to compare it to

Creating sympathetic characters and

The direction is rather prosaic and the

in her quest for fame, fortune and - of

producer Bruckheimer's previous

unearthing humour in this sort of

narrative overly simplistic. The film is

course - love.

hit Flashdance.

material can be tricky - ever present

set over three days and only Shaun's

is the risk of condescension (an

father's imminent homecoming and

accusation levelled at the writers of

the party prepared in celebration of

The Castle).

the event offer any semblance of story.

Giarrusso luckily has first-hand

The rest of the time the film often

experience on his side. He knows his

seems like 'scenes from a m all’.

characters well and is able to portray

It must be remembered, however, that

them honestly in both their failings

this is Giarrusso's first film, and

and their small triumphs. It is the

judged on this criterion, Mailboy is a

truth in his characters and the

modest success. The casting is

director's finely wrought observation

excellent and the ambient-electronic

that are Mailboy s strengths.

soundtrack [which Giarrusso

But the film has its faults. We actually

composed with fellow Underground

learn little of Shaun's aspirations

Lover Glenn Bennie) is always

beyond his clear desire for a male role

interesting.

model. Hope is offered at the end of

Not a dazzling debut by any means,

the film - but hope of what, exactly?

but certainly one filled with promise.

And if Giarrusso is projecting his own

• MICHAEL WARD

CINEMA PAPERS.DECEMBER.00. JANUARY.CU [ 3 9 ]

And Like Rashdance, it w ill probably

themselves in. We simply find women

inspire a whole new generation of

owning and operating a bar full of

wannabes, while, in America at least,

oafish men leering at them in wet T-

their parents w ill probably applaud a

shirts without questioning whatever

film that celebrates the maxim that it

happened to the feminist ideals, or is

doesn’t really matter what you do to

simply that the struggle was merely

succeed or realise your dreams, or

to empower women to be equally

how much you spurn the person you

base and exploitative of basic human

once were in getting there. This very

desires? One can’t help feeling if

American film celebrates women in a

Bruckheimer or Garcia had stopped to

post-feminist environment, where

consider such things in anything other

catering to humanity's base desires is

than a superficial manner, the film

fine so long as you’re saving the

would have been richer for it, in the

money for law school or to press your

way Billy Elliot manages to make its

own CDs along the way. No doubt

characters, story and central

middle-America w ill be relieved to

performances both more engaging

The Magic Pudding

films are extremely costly and labourintensive. Gross's Dot And the Kangaroo, for example, isn’t even fully

DIRECTOR KARL ZWICKY PRODUCER GERRY TRAVERS W RITERS [ADAPTED FROM THE BOOK

BY NORMAN LINDSAY] HARRY CRIPPS, GREG HADDOCK, SIMON HOPKINSON

animated - the cartoon Dot is overlaid on a 'real' bushland background.

So here is a rare example of a fulllength animated Australian film, as Aussie as you can get in fact. Alas, The Magic Pudding is not the apogee of

DISTRIBUTOR

animation one might have hoped for.

TW ENTIETH CENTURY FOX

A trio of screenwriters have adapted

COUNTRY OF ORIGIN AUSTRALIA VOICES OF JOHN CLEESE, SAM NEILL, HUGO WEAVING, GEOFFREY RUSH, JACK THOMPSON. TONI COLLETTE DURATION

Lindsay’s book and chosen to diverge from it rather drastically.

In recounting the adventures of Bill Barnacle (man), Sam Sawnoff (penguin) Bunyip Bluegum (koala) and

know that, based on what you’ll see in

and even entertaining for being so

this film, the American dream of

informed by its politics. Indeed, while

everything being possible for everyone

Ugly, Bootmen and Billy ad. have that

without burdening taxpayers for study

artistic triumph over adversity theme,

or artistic grants is still alive.

the first two shirk serious

explored by filmmakers - in fact, this

familiar and at odds with the source

Garcia’s main contribution to all this

considerations of their socio-political

loose adaptation of Norman Lindsay's

material’s colonial charm.

is to look cute (often by disrobing at

contexts, while the last two have

perennial children’s favourite (first

We now have the entirely new idea that

key moments and occasionally tap-

almost identical plots (right down to

published in 1918) is the very first

Bunyip is an orphan who discovers his

dancing a bit while showing off his

deceased mothers and battling the

attempt in this country at tackling this

parents are still alive and sets off on a

80 MINUTES

Albert (pudding), the screenwriters have chosen to replace the book’s rather episodic nature with a narrative

The cinema of puddings is little

structure that is disappointingly

beautifully buffed body), smile a lot

shocking perceptions that dancing is

most risible of genres.

ho-hum quest to find them. It turns out

and every so often be a tiny bit

only for poofs, which the Oz film

Apart from Grendel Grendel Grendel

they have been imprisoned by the

mysterious about his past. We get no

handles with all the sensitivity of a bull

(1981), Blinky Bill (1992), Yoram Gross’

monstrous, Oliver Reed-like Buncle

hint of what sort of Yank accent he

in a china shop), but the difference is

Dot series, and one or two others,

(wombat; not found in the book) who

has either, as, no doubt in an attempt

in the execution, making Billy’s 11-

Australian animated feature films have

lives in an underground dungeon that

to accentuate that theme of outsiders

year-old lead 20 times the character

been relatively scarce.

stirs ancient memories of the

trying to crack life in the Big Apple, he

of Bootmen s young man.

It’s a budget thing of course. Animated

Australian animated TV series King

is cast as a drifting Australian. Like

While each of these films tries to be

the film, his performance is

The Full Monty meets Brassed Off

formulaically passable, and based on

with dollops of The Commitments

this and Bootmen, it’s hard to say

thrown in, only Billy Elliot comes close

what sort of an actor Garcia is, except

to the mark, while Bootmen

one that w ill no doubt find

mysteriously even manages not to tell

commercial success Stateside and

its audience just how big the Tap Dogs

allow him to join the growing army of

phenomena became and Ugly ends

successful Australian-born actors

up being a plain old American

across the Pacific pond. But the

popcorn movie.

question is about as moot as trying to

Still, as for young audiences in the

analyse Ricky Martin’s singing - with

mood for pointless fun, a bit of toe­

that smile and those looks, it simply

tapping and a fair bit of leering at

doesn’t matter.

gyrating flesh, this rather formulaic

Also sim ilar to Bootmen is the feeling

number, which at 101 minutes is about

that the film could have been better if

15 minutes too long, might be just the

it made more of the politics of the

ticket.

situations the characters find

•

[ 4 0 ] CINEMA PAPERS.DECEMBER.00.JANUARY.01

MARK WOODS

The Dish is the antithesis of the Local Hero period of filmmaking that came out of Britain during the early 80s

A rthur and his Square Nights of The Round Table [ 1966).

The Dish

The Dish is the antithesis of the Local Hero period of filmmaking that came out of Britain during the early 80s. In

It has become commonplace - at least in the latest efforts from the Disney

DIRECTOR

those films the Big Bad American

studios - to pitch animated classics at

ROB SUCH

would swing into the backward British

two levels. Usually there's one level for the kids, and one for everybody else over the age of 11.

There's nothing of the sort here. No wit, no surprises, no good jokes (unless you think a rooster with a voice oddly similar to that of Joh Bjelke Peterson is either funny or relevant).

The songs - de rigeur in animated films these days - are largely

CAST SAM NE ILL. KEVIN HARRINGTON, PATRICK W ARBURTON, TOM LONG, GENEVIEVE MOOY, TAYLER KANE, BILLIE BROWN W RITERS SANTO CILAURO, TOM GLEISNER, JANE KENNEDY, ROB SITCH PRODUCERS SANTO CILAURO, TOM GLEISNER, JANE

village and be won over by the local charm. In The Dish the Big Good Americans come to the bush and win over the simple townsfolk.

It's moonwalk time, in this based-ontrue-events period piece, and the small

KENNEDY, ROB SITCH, M ICHAEL HIRSH

New South Wales hamlet of Parkes has

DISTRIBUTOR

found itself at the centre of this history­

ROADSHOW COUNTRY OF ORIGIN AUSTRALIA

making event. The town's sheep paddock-located satellite dish is to

forgettable.

relay pictures of man's first step

The best part about The Magic Pudding

among the craters. The people of If Working Dog Productions debut

Parkes rally together to ensure they

the American lifeform. The satellite

to which character.

feature The Castle represented David

make their mark.

dish's manager (Sam Neill) is ready to

Geoffrey Rush, Hugo Weaving and Sam

defeating Goliath, its follow-up is David

So, out come the quirky characters,

kowtow to the gruff-but-understanding,

Neill are all excellent in the lead roles,

all grown-up and realising it’s best to

who seem only to exist to be patronised.

visiting NASA supervisor (Patrick

while Jack Thompson is terrific as the

sleep with the enemy.

The local guy charged with guarding the

Warburton) at every turn.

odorous Buncle. John Laws has a nice

The enemy in this case is the Hollywood

satellite dish is so dim he believes

The town’s only voice of anti-American

cameo as the poetry-spouting Rumpus

blockbuster that accounts for the

astronauts communicate from space

dissent, the mayor's hippyish daughter,

Bumpus, but Toni Collette and Mary

majority of ticket sales in our suburban

through his walkie-talkie (did the

is soon silenced as she too is moved by

Coustas unfortunately have less to do.

multiplexes. Working Dog wants some

Americans really not supply their own

the Parkes-relayed, sight of

International ring-in John Cleese is an

of those bucks kept in this country. The

security?). Hell, the whole town's so

humankind's giant leap. As with the

obvious choice for the obstreperous

micro-budgeted The Castle snuck up on

dim no one corrects the misspelling of

other female characters in The Dish,

pudding Albert and does his best Basil

the box office and toppled the

'ambassador' on the welcome banner.

she is allowed on screen for nothing

Fawlty impersonation.

unsuspecting big budget imports. It won

The film is steeped in plenty of flag-

more than a cheap laugh (Denise

The animation in The Magic Pudding is

us over with its gentle humour and little

waving patriotism. The exact type of

Roberts and Collette Mann, in other

certainly competent and the character

Aussie battler wile. But The Dish seems

filmic self-congratulating that has us

minor roles, are similarly wasted).

renderings thankfully remain true to

a far more cynical exercise. It flatters

wincing in our seats when it involves

The Dish also mimics the Hollywood

Lindsay's own wonderful creations.

its opposition by imitation. Perhaps with

stars and stripes. But every swell of

movie score. Every Important Moment

But while the whole exercise is

an eye on taking the battle into the

Aussie pride is matched with a scrape

is telegraphed far too often by what is

obviously designed to be good fun,

rival's home turf?

and bow to the higher intelligence of

possibly the worst soundtrack ever

is guessing whose voice has been lent

somehow the book's innocent nature

composed for an Australian film. So

has been left behind. In its place is a

overwhelming are the orchestral

very dubious recurring theme which

build-ups to sentimental scenes and

appears to actually celebrate greed

moments of folk wisdom that a John

and gluttony.

Williams soundtrack seems subtle in

But there is little point in exploring this

comparison.

notion further, nor dwelling too

One characteristic of The Castle has

studiously on the inexhaustible

survived through to this film. The Dish

pudding as a metaphor for an

is at least host to an easy-to-watch cast

economic utopia where there's always

that know exactly how to handle the dry

enough to go round for everybody.

humour and, more importantly, the

After all, this is just a kids’ film about a

often mushy script.

talking dessert.

•

MICHAEL WARD

•

ANDREW MAST

CINEMA PAPERS.DECEMBER,00.JANUARY,01 [ 4 1 ]

-> Often it’s my job to encourage

Breaker Morant because he was

actors to talk about themselves, their

committed to the TV series Young

films, their doubts. Thankfully, and

Ramsay. Didn't matter. He was not

rightfully, I’m paid to do so. It’s some

only the first local actor to be paid

consolation. Just as journalists are

$1000 a week, but also the first to

arrogant, so are actors self-

work with Dennis Hopper.

obsessed.

-> Hargreaves was a fine actor and

So the prospect of reading John

advocate for Australian film. He might

Hargreaves... a celebration (Parrot,

not have had the temperament for

$30) was consternating. Thank

stage, as his peers Katherine

goodness the experience was not

Brisbane and Robyn Nevin note, but

only painless but joyful. Here was an

he did have the credentials and lively

entertaining actor who wasn’t overly

anecdotes to justify this celebration.

self-indulgent and who had greater

Yes, it can be fawning and the fonts

concerns than himself.

and design aren't the most attractive

-> In some regards, this was to be

but this book is a welcome addition to

expected of an amalgam of interviews

the Australian arts library.

and recollections conducted with

-> The published screenplays of

Hargreaves and his peers by

Looking For Alibrandi [by Melina

Genevieve Picot and Tony Watts in the

Marchetta, Currency Press, $17.95)

last year of Hargreaves’ life, 1996.

and The Sound Of One Hand Clapping

The authors have compiled a portrait

(by Richard Flanagan, Picador, $20.78)

of a charming, blunt man with much

will take different spots in the

to say about his career and his craft.

Australian film library. They crystallise

Disappointingly he has nothing to tell

why on screen the former worked and

of his personal life and sexuality

the latter bombed. Marchetta's writing

(other than choosing to act after

for Alibrandi is crisp and very

seeing Marlene Dietrich in 1965!) but

readable. More importantly, the

there is more than enough in a

welcome inclusion of deleted dialogue

professional life which began with an

or scenes shows exactly why this

(Flanagan) was hardened by the experience of directing - “I was to learn that film-making runs on terror, rewards mediocrity, and views everyone as expendable.” If only his screenplay was as incisive as his observation.

audition in the NSW town of

country is mad to encourage

Cracking stuff.

Mendooran in the early 1960s. His

writer/directors. Director Kate Woods

-> Both screenplays include

says "it breaks your fuckin' heart.”

recollections of the early years in

knew exactly what to delete - the

illuminating introductory essays by

-> It's a pacy and blunt memoir about

Sydney are fascinating and, at times,

unlikely, wordy or complex scenarios -

their authors, although Flanagan's is

grappling with two cultures, Maori and

embarrassing. One of Hargreaves'

to the film ’s obvious benefit. She even

a touch too prosaic. Unfortunately, he

English. Don't come here looking for

troupes interpreted the tragic The

delayed the first kiss between Josie

was hardened by the experience of

writing or cinematic tips, this one is

civility and his mother's aggro. As he

Dutch Courtesan as a comedy.

(Pia Miranda] and Jacob (Kick Gurry),

directing - "I was to learn that

purely personal, and it's all the

-> It didn't take long for Hargreaves

a crucial and proper call.

filmmaking runs on terror, rewards

stronger for it. In a boys' home aged

to attract the attention of Crawford

-> Flanagan, meanwhile, writes in an

mediocrity, and views everyone as

13, in gaol by 15, Duff was a troubled

Productions before his inevitable

airy, obtuse and overly descriptive

expendable." If only his screenplay

kid but he writes "I make no apologies for what nature has made me."

move to film (for which he wanted to

fashion. He produces the most literate

was as incisive as his observation.

change his name to Racy McKennel!).

scene descriptions I've ever seen in a

-> Alan Duff's memoir, Out Of The

Ronald Bergan's Coen Brothers

In retrospect, his choices of projects

screenplay, which is fine for a novel

Mist and Steam (Tandem Press,

(Orion, $49.95) is that worst kind of biography, the one where the author

looks shambolic but his recollections

but not for a screenplay. I'm sure he

$24.95), is bursting with incisive and

give a sense of the pioneering-

knew what an "odd, cold sound" was

emotional stuff. The New Zealand

thinks he has the talent and

through-bumbling spirit of the

but I doubt any other director on earth

author of Once Were Warriors and

wherewithal to trade wits with the

emerging early Australian film and

beyond David Lynch would have. At

What Becomes Of The Broken

stars. Bergan even quotes the Coens'

television industry. To think he

one point, he even has five pages

Hearted? tells of a rambunctious rebel

fictional editor, Roderick Jaynes. So,

rejected a role in Bruce Beresford's

(eight scenes] without dialogue.

growing up torn between his father's

so clever.

[ 4 2 ] CINEMA PAPERS.DECEMBER.00JANUARY.01

Ah! Summer time! one of 75 Double in Season Passes

M OVIE-&-VIDEO GUIDE MORE THAN 20.000 ENTRIES, INCLUDING 300+ NEW ENTRIES M PA A RATINGS FROM G TO N C-1 7 OVER t S,000 VIDEO AND 10,000 LASERDISC & DVD LISTINGS

Jo h n H argreaves ... a celebration an actor’s life as he saw it

-> This toadying, skittish bio Lacks

literary impact, but it's great fun. I'm

flow, Bergan's self-acknowledged skill

not up on the James Bond minutiae

allowing him to slip into stream of

but as a role model, I've found him to

consciousness writing full of tame

work quite well. This fabulously

similes, try-hard writing and bad puns.

irrelevant breakdown of the Bond

But the Coens are enigmatic, elliptical

persona, with categories such as

subjects and their quotes and

'single entendres', 'sadism' and

mannerisms sustain the book. They

‘mistakes can be fatal’ gave me more

re-tell how they had to fire some

than I needed to know. But now I feel

babies while filming Raising Arizona

fulfilled knowing Stanley Kubrick

"and they didn't even know they were

helped with the lighting on The Spy

being fired, that's what was so

Who Loved Me and Sean Connery

pathetic about it."

wasn't the first on-screen Bond [it

-> I put it down once I read the Coens

was stunt co-ordinator Bob Simmons

screened The Conformist, The Third

as the behatted agent in the first

Man and Mad Max before they shot

opening sequence). And there’s more

Raising Arizona. Three classics by

where that came from. Much more.

two outstanding filmmakers spawned

-> By the way, there's a Leonard

another classic. That's all I needed

Maltin’s 2001 Movie & Video Guide

to know.

-> The Bond Files: The Unofficial

(Signet, $16.95) released. At 1648

MELBOURNE - December 15 to March 10 in the Royal Botanic Gardens SYDNEY - November 24 to February 17 in Centennial Park Amphitheatre ADELAIDE - December 8 to February 14 in Adelaide Botanic Gardens Gates open at 7.30pm Screenings begin at sundown (around 9pm).

For complete programming ad screening details visit www.moonlighLcom.au

Or complete your details in the coupon below and post it to: Cinema Papers Moonlight Promotion PO Box 2043 St. Kilda West VIC 3182 8-E..................................................................................................................................... -2*8-

M R /M R S /M S COMPANY

pages, the binding w ill surely go on

Guide to the World's Greatest Secret

this one but I hope not. The Maltin's is

Agent (Andy Lane and Paul Simpson,

an indispensable and liberal pointer

Virgin Books, US$7.95] begins with a

to everything on screen. This one

caveat, an Oscar Wilde quote - “ It is a

includes 2000 DVD reviews and mail

very sad thing that nowadays there is

order addresses for the true buffs but

so little useless information." Indeed.

lamentably not the directors' lists.

Well, this collection of useless

One day he’ll get it perfect but until

information may be pulpy like an Ian

that day, this w ill do.

Fleming novel, and possess the same

•

ADDRESS

POSTCODE

STATE

P H O N E (B H )

| E M A IL

M IC H A E L B O D E Y

Competition open to residents of VIC, NSW and SA only. Entries Close December 2Dth 2000.25 Winners will be drawn at random from entries received from each state. Winners will be notified by mail and announced in the Feb/March 2001 issue of Cinema Papers.

::

Intern

Do Not Disturb

American Perfekt

It's The Rage

DIRECTOR MICHAEL LANGE CAST DOMINIQUE SWAIN. BEN PULLEN. PEGGY LIPTON. DAVID DEBLINGER. JOAN RIVERS PRODUCER RANDY SIMON DISTRIBUTOR 21 ST CENTURY PICTURES COUNTRY OF ORIGIN US RATING M DURATION 90 MINUTES

DIRECTOR DICK MAAS CAST WILLIAM HURT. JENNIFER TILLY. DENIS LEARY. FRANCESCA BROWN PRODUCERS HEINZ THYM. HEINZ LEHMANN DISTRIBUTOR 21ST CENTURY PICTURES COUNTRY OF ORIGIN NETHERLANDS RATING M DURATION 95 MINUTES

DIRECTOR PAUL CHART CAST ROBERT FORSTER. FAIRUZA BALK. AMANDA PLUMMER. DAVID THEWLIS PRODUCER IRVIN KERSHNER DISTRIBUTOR COLUMBIA TRISTAR COUNTRY OF ORIGIN US RATING MA DURATION 96 MINUTES

DIRECTOR JAMES D. STERN CAST JOAN ALLEN. ANDRE BRAUGHER. JOSH BROUN. JEFF DANIELS, ROBERT FORSTER. ANNA PAQUIN. GIOVANNI RIBISI. DAVID SCHWIMMER, GARY SINISE. BOKEEM WOODBINE PRODUCERS ADAM DEL DEO, TODD KING DISTRIBUTOR COLUMBIA TRISTAR COUNTRY OF ORIGIN US RATING MA DURATION 95 MINUTES.

Despite a ll the s trife and violence

•4 An actress couldn’t ask fo r a

Amanda Plum m er is Sandra, J

-> If the opening credits of It ’s the

m ore attention-grabbing debut than

going on around the globe,

driving through the Am erican

Rage rem ind you of the distinctively

Dominique Swain’s in Lolita. Even that

Am sterdam ’s reputation as one of the

w astelands tow ards Utah, intending

quivery hand-drawn letterin g of

film ’s detractors have to acknowledge

w orld’s most depraved cities seems

to pick up h er sis te r A lice (Fairuza

Pablo F erro ’s beautiful credits fo r

the mesmerising quality of her

to endure, and in Do N ot Disturb,

B alk) along th e w ay. Fate

D rStrangelove, it’s probably because

perform ance, embodying perfectly the

Dutch w riter/d irec to r Dick Maas

intervenes, in the form of Jake

they w ere designed by Pablo him self.

ambiguities of the role. So, does

keeps the myth alive. When drug

(Robert F o rster), a psychiatrist who

Maybe, in this ta le of 10 Chicago

Dominique Swain have more to offer

company executive W alter (W illiam

has adopted a sim ple guiding

citizens and th e ir firearm s, director

us? Intern would suggest she

Hurt) takes the fam ily along on a

philosophy - every decision is to be

Jam es D. Stern w as aim ing fo r an

certainly does.

business trip , his w ife Cathryn

made by th e toss of a coin. His

update of the Kubrick classic,

(Jennifer T illy) is m ore than a little

reasons fo r this a re explained w ith a

something th at m ight be title d H o w l

fashion industry cocktail party, then

anxious about the idea, especially

few ra n ts about the collapse of

Learned to Stop W orrying and Love

transforms midway into a

w ith th eir m ute 10-year-old daughter

society, the need to em brace chance,

the Gun. But fo r now, Kubrick and

choreographed musical number, is not

Melissa (Francesca Brown) in tow.

and so on, but never you mind

P eter S ellers can rest in peace.

■ >

A credit sequence that starts as a

H er fears are realised when Melissa

about th at.

It's the Rage feels as though thé

gets lost, witnesses a m urder, and

Road movie, psycho-thriller, with a

filmmakers intended to make an anti­

that underpins this movie. In the midst

is pursued by evil guys who want

touch of philosophical musing... all

gun movie, but started getting heavied

of the high-camp, demented chatter

h er dead.

are apt in trying to describe this odd

by the NRA and eased off. This is

that comprises daily business at fashion

It’s bad enough that in this version of

little film. Constructed from the most

really a story about crimes of passion,

mag Skirt brews a sweet, simple love

Amsterdam, every character is straight

familiar of genre elements, there’s a

when jealousy and isolation Come to

story, between intern Jocelyn (Swain)

out of Hollywood central casting and

patchwork feel to the whole that will

the boil to create a moment of

and art director Paul (Ben Pullen).

goes about their predictable business

intrigue some viewers but leave

madness - a moment when guns don’t

Caroline Doyle and Jill Kopelman's

speaking an English of pure cliché.

others perpetually puzzled as to what

kill people, but people with güns often

screenplay is full of the expected barbs

What’s worse is that while the gist of

the gist of the thing is meant to be.

do. The screenplay tells several

about cosmetic surgery and bulimia,

the film is essentially Home Alone 2 in

Director Paul Chart's screenplay is

interlocking stories, but the devices

but doesn’t wear too thin as the satire

Europe, the violent, sometimes

rather erratic, and this is the film's

used to weave them together are

seems somehow affectionate. Joan

implicitly sexual threats made to this

major problem - the characters’

extremely contrived. Maybe it worked

Rivers has a few terrific scenes as

kid are really distasteful. I almost

actions don’t always make sense (and

better in its original version as a stage

doyenne Dolly Bellows, and plenty of

wished for Macaulay Culkin to appear

not just thé crazy ones). The lead

play; here the narrative lacks any

real-world fashion Stars get their faces

and make things riice again.

actors’ idiosyncratic performance

unified sense of purpose. The

into frame for cameos.

In his handling of action sequences,

styles are all given full rein -

performances aré either too much or

But it would all be pretty pointless

Maas appears capable of directing a

sometimes a little too much - but it's

too little, but a couple of points of

only a pleasant surprise, but also a _ _good indicator of the strange, loopy vibe

without Swain and Pullen, who

competent thriller. For his upcoming

Balk who gives the most interesting,

interest are David Schwimmer in a gay

transcend the predictability of the plot

film about lifts going haywire in a (view

complex performance. With its flaws

-role and Anna Paquin as, well, jailbait.

with a genuine warmth too often

York highrise, let’s hope he sought

just outweighing its virtues, American

lacking in romantic comedy. Keep an

some help with the script.

Perfekt is a frustrating near-miss.

eye on this girl.

[44J CINEMA PAPERS.DECEMBER.00JANUARY.01

• ALISTER SHEW

Sfu,

11

Stuart Little

Magnolia

Looking for Alibrandi

Joan of Arc

DIRECTOR ROB M IN KO FF CAST HUGH LAURIE, GEENA DAVIS,

DIRECTOR P A U L THOMAS ANDERSO N CAST TOM CRUISE, HENRY GIBSON, P H IL LIP

DIRECTOR KATE WOODS CAST PIA M IRANDA. GRETA SCACCHI.

DIRECTOR LUC BESSON CAST M IL L A JOVOVICH, JO HN MALKOVICH,

JO NATHAN LIPN IC KI

BAKER HALL, P H IL LIP SEYMOUR HO FFM AN,

AN THO NY LAPAG UA, ELENA COTTA,

FAYE DUNAWAY, DUSTIN HO FFM AN

PRODUCER DOUGLAS W ICK DISTRIBUTOR TRISTAR PICTURES COUNTRY OF ORIGIN US RATING G DURATION 81 M INUTES PRICE $39.95

W IL LIA M H MACY, J U L IA N N E MOORE,

KERRY W ALKER

JASON ROBARDS

PRODUCER ROBYN KERSHAW DISTRIBUTOR ROADSHOW EN TER TAINM EN T COUNTRY OF ORIGIN AU STR ALIA RATING M DURATION 99 MINUTES PRICE S3A95

PRODUCER PATRICE LEDOUX DISTRIBUTOR TRISTAR PICTURES COUNTRY OF ORIGIN US RATING M A DURATION 152 M IN UTES PRICE $40

PRODUCER JO AN N E SELLAR DISTRIBUTOR ROADSHOW EN TER TAINM EN T COUNTRY OF ORIGIN US RATING MA DURATION 189 M INUTES PRICE S39.95

In the vein of Braveheart, although

-> A pleasant children’s film that

-> Paul Thomas Anderson’s follow up

-> Looking for Alibrandi is a

adults w ill also enjoy, Stuart Little

to his successful Boogie Nights is the

delightful Australian film about teen

is the story of an orphan mouse

daring and spectacular Magnolia.

angst, first love and cultural identity.

epic film based on the life of the teenage peasant French girl who rallied a nation to victory over the

not quite as polished, Joan of Arc ls an

adopted by a human family. The

Magnolia explores the decisions we

The film revolves around Josie

cast, headed by the rubber-faced

make and their effect on our lives, no

Alibrandi, played by the talented Pia

comedian Hugh Laurie, includes

matter how far we try to run from

Miranda, and her attempts to find her

English (boy the English are getting a

Geena Davis and Michael J. Fox

them. Interweaving nine stories,

father and ultimately herself.

rough deal in cinema lately). Only to

(who provides the voice for Stuart).

Anderson once again tests his skills

Looking for Alibrandi covers delicate

be betrayed by the man she foretold

There are plenty of extra features

as a director while gaining wonderful

issues of multiculturalism, cultural

as, and aided in becoming, King of

included on the DVD, mostly aimed

performances from his cast.

change through generations and the

France who handed her over to the

The DVD package consists of two

divisive nature of feeling alone in

English to be subsequently burned as a witch. Milla Jovovich puts in a

at the younger audience, but some of

separate discs - the film and the

the world.

adults and those interested in the

bonus features which are the most

The DVD's special features include

good performance as the strong

nuts-and-bolts of animation work.

extensive and interesting I have seen

storyboards and working scripts,

yet delicate, confident yet

the features are specifically for

The extra features section includes

on a DVD presentation thus far.

including rewrites and changes of

overwhelmed, Joan.

'Stuart's Central Park Adventure

The bonus section features a 72-

direction, which proves quite

The extra features on this DVD

Game’, a children's game in which

minute fly-on-the-wall documentary

interesting. This section is revealing to

presentation are the usual fare -

you have to answer questions

of the making of the film entitled

the point you almost feel you're

talent profiles and movie trailers for

relating to the film in order to make

'Magnolia Diary'. This includes

working through the problems with

the film. What stands out in the

interviews, filming of production

the production team.

bonus section is 'The Messenger: The

the Littles’ house. There is also a

meetings, scene rehearsals, day-to-

The audio commentary, becoming a

Search for the Real Joan of A rc’, an

‘Read-Along’, which is a reading of

day problems of budget blowouts and

regular feature to DVD, is done

extensive historical account of the

the virtual book.

deadlines, and general tomfoolery of

extremely well. Kate Woods (Director),

plight of Joan of Arc, narrated by

Also included is a making-of

cast and crew. It is a frank doco as

Robyn Kershaw (Producer) and Melina

Jovovich. The extent of research

featurette, which is a funny take on

we see Anderson go through the

Marchetta (Writer) are very

conducted for the film is highlighted

Stuart Little being an actual mouse

emotionally draining task of putting

informative and entertaining,

by this involved, documentary-style

and a real actor: Geena Davis goes

together a complex, difficult film.

conversing thoughtfully and

account of the history behind Joan of

into great comic detail about why

Also included is a 'Frank TJ Mackey

intelligently on the film. They highlight

Arc's legacy. ‘The Messenger' is a

Stuart's scenes were cut from the

Seminar' and 'Seduce and Destroy

the film 's virtues (without being

history lesson on the extraordinary

film A League of Their Own.

Infomercial', with the sleazy Frank,

sycophantic) and point to its shortfalls

journey of a peasant farm er's

In a section entitled ‘Basement

played by Tom Cruise, explaining how

(which is almost unheard of in film

daughter who took on the burden of

Treasures' there is a ‘Visual Effects

to 'romance’ women by using immoral

culture). There is also an interesting

leading a nation at the tender age of

Gag Reel' - a mock-up bloopers reel

tactics. A number of different

discussion of the Italian culture -

17 to reclaim her country, standing

of the animated characters - which

commercials that ran for Magnolia,

which is the background to the story -

up to the tyranny of an entire English

both kids and adults w ill find very

including ‘Enlightened Reviews' which

with Marchetta, the w riter of the

army, literally by herself.

amusing. Also included is a large

are the more favourable reviews of

original novel.

Well worth it if you're interested in

section devoted to visual effects and

the film, are also part of the package.

The DVD also contains two music clips

the incredible story of Joan of Arc.

modelling for animation, in which the

A great film with fantastic extra

- Killing Heidi's Weir and Teenager of

visual effects team explain their craft.

DVD features.

the Year from Australian band Lo-Tel.

it through Central Park, New York, to

• SHANE STEPHENS CINEMA PAPERS. DEC EM BER.00. JANUARY.01 [4 5 ]

Extrem e N itro . Digital Film Recording

: Digital Film Recûrding 2K&4K to 35mm Intermedi * :

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plus Eastman Colour Neg & High Contrast

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iljm fg n r a Title Design and Production, 12 bit ScanningSDigit^i^^^^

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5 Chuter St McMahon’s Pt (North Sydney) NSW 2060 Tel: 61 299223144- f §3

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WINNER - Palme d‘or. CANNES 2000 b

« ED

jork

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Catherine uuuiennu

deneuve

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3am@og.com.au ................. - .........

a film by LARS VOW TRIER

★ ★ ★ ★ "Amazingly powerful... Bjork is marvellous... There's simply nothing else like this around!" - Kim Newm an, Em pire j f BIÖMM g i f BEST F E S m P ;^#PERF0M«T :1%,CANNES:J

from th e director o f BREAKING THE WAVES and THE KINGDOM

^

loriginal soundtrack by björk “SelmaSongs1

-.ìyÉ.'j

o u t now thro ug h Un ive rsa l .M u sic A u s tra lia

PALACE FIL M S

AUSTRALIA’S PREMIER NATIONAL SHORT FILM COMPETITION

ST KILDA FILM FESTIVAL CALL FO R E N TR IE S • MAY - J U N E 2001 SHO RT FILM CO M PETITIO N plus EMuVi - Electronic Music Video Competition & FUSION - live performance+fiim Closing daté Friday 2 February 2001 • Phone (03) 9209 6699 Fax (03) 9209 6634 St. Hilda Film Festival • City of Port Phillip » Private Bag No 3 • PO St Kilda • VIC • 3182 • email: filmfest@portphillip.vic.gov.au • www.stkildafilmfest.com.au

WORLD WIDE HOLLYWEB

The movie industry is working hard at co-opting web surfers into cinemas and Karl Quinn reckons it makes perfect sense.

Exterior, night. The camera tilts down from a full moon to reveal a barbed-wire

first seven minutes of footage online at www.apple.com/trailers any time you

fence. A guard and his dog patrol the perimeter, stopping midway to check the

like.

-> The internet has finally arrived in Hollywood, and the marketing of movies w ill

huge padlock on a forbidding gate. Somewhere in the shadows a pair of eyes track the guard’s movement, waiting for the perfect moment to make a break.

never be the same. Virtually every film released these days - and certainly any

The guard passes, the escapee makes a dash for it. He's carrying a teaspoon. He

film aimed at the all-important male-14-to-25 demographic - has an official web

starts digging. He's a battery chicken, and he's about to fly the coop.

site dedicated to it, and in all likelihood a host of unofficial links to boot.

-> Most studio-generated sites offer the sort of information that used to be the

-> The scene is from Chicken Run, the first feature movie from Aardman, the

province only of movie reviewers and those in the publicity loop: cast and crew

British animation team responsible for the Academy Award-winning Wallace and

biographies, behind-the-scenes snippets, quotes from the stars and directors about

Gromit shorts. It opened in the US in June, but in Australia we've had to wait until

how working on the latest Adam Sandler film totally, like, changed their lives.

the Christmas school holidays for the comic caper to hatch. That is unless you've

-> Some offer games, chat rooms and even competitions (sadly, the trip-to-

got a computer and an internet connection, in which case you can check out the

Hollywood prizes are only on offer in the US]. Some, like the site for New Zealand director Peter Jackson's top secret Lord Of The Rings, allow you access that would be all but impossible in the real world.

-> And all you need to access Hollywood's most intimate public moments are a reasonably fast modem, enough memory on your computer to handle all the image files (they can be pretty hungry beasts), and some free downloadable multimedia software, usually Quicktime, Flash, Real Player or Shockwave.

-> It may have taken Hollywood a while to cotton-on to the full potential of the web, but savvy studio executives realised years ago that chat rooms could be an effective way of reaching a younger audience that had turned its back on more traditional media such as newspapers and television. Rumours, gossip, leaks from the set - all could contribute to the crucial "word of mouth” that can make the difference between a so-what and a must-see movie.

-> They also realised that even if this beast couldn’t be controlled, it could be fed a healthy diet. So they began to co-opt fan-based sites such as

That Hollywood should have fallen in love with the web is hardly surprising, the movies and the internet share a similar demographic - the young, the m edia-sawy, the novelty-hungry.

CINEMA PAPERS.DECEMBER-00.JANUARY.01 [4 7 ]

WORLD WIDE HOLLYWEB

WEB CHANGES FILM MARKETING AND INTERNATIONAL RELEASE PATTERNS

-> Buena Vista International has recently appointed trendy Melbourne publicity company Spin Communications to the job of publicising their film promotion web sites.

-> through SPIN, BVI is urging reviewers to print the URLs for official web sites at the bottom of reviews. The initiative appears to be designed to direct web traffic along official channels* making it difficult for web surfers to visit -> That Hollywood should have fallen in love with the web is hardly surprising, as

roTTofficial s it e s . .

If successful, it will also validate the (estimated average) $40,000 spent

the movies and the internet share a similar demographic - the young, the media-

by local distributors for the now compulsory web site for each film.

savvy, the novelty-hungry. The net delivers visuals at far less cost than TV, and

-> Distributors contacted would hot confirm whether www. spends came

allows anyone who feels so inclined to download, replay and pass on trailers and

from increased or existing marketing budgets, thus taking money away

stills.

from traditional media advertising.

-> And while TV is a broadcast medium, which means that advertisers pay for the privilege of sending their message to a lot of people who simply aren't

MICHAELA BOLAND

interested, the internet is far more user-directed.

-> In theory at least, anyone interested in finding out about the film Titan AE can search for it online, visit official and unofficial sites, and send the URLs to anyone else they know who shares their interest.

-> The net effectively allows Hollywood to park its trailers in cyberspace and sit back as a community of interest (people keen on science fiction, say, or romantic comedy] does the hard work of distribution for it. It’s cheap, it's targeted, and it's effective. And you can bet it's only going to get bigger. •

S M Ili

darkhorizons.com.au - launched by 22-year-old Sydneysider Garth Franklin in 1997 - and countingdown.com - which Lincoln Gasking in Melbourne, Phillip Nakov in Los Angeles and Tim Doyle in Toronto, launched in 1998 at the height of Phantom Menace fever - as de facto marketing organs. You won’t find much by way of a maverick voice on these sites, but if you want to find a trailer or an

S GHT THE SITES

exchange of views on a forthcoming piece of mainstream cinema, they're excellent places to start.

-> It wasn't until 1999 that the bulk of Hollywood started to take notice of the

-> http://w w w .m ovie-list.com

web. What prompted the change was a low-budget horror film that virtually

As the banner promo has it, this one consists of “no forums, no polls, no

turned its back on conventional marketing techniques in favour of photocopied

chat-rooms, movie trailers, period”. What else do you need to know?

handbills posted on lamp posts and a network of official and unofficial web sites that spread rumour, information and misinformation that all contrived to blur the

-> http://m rshow biz.go.com /features/phantom m enace/lab.htm l

lines between fact and fiction. The film was, of course, The Blair Witch Project

Mr Showbiz is a great source of news, rumours, gossip etc. It also has a few

and its phenomenal success ensured that even the most committed Luddites in

games. This one allows you to play Beverly Hills plastic surgeon to the

Los Angeles paid attention.

stars, “slicing and dicing" facial bits of Ewan McGregor, Carrie Fisher,

-> Television and newspaper campaigns are still with us, of course, but these

Harrison Ford and Natalie Portman to create your own mix- and-match

days there's barely a film released that doesn't have a dedicated web site. With

star. Scarier than Jar Jar Binks.

shorter cinema seasons and the overwhelming importance of the "opening weekend” , building a sense of expectation is now seen as key to the success or

-> http://hollywoodmovie.about.com /m ovies/hoUywoodm ovie/msub13.htm

failure of a film.

An A-Z listing of 2000 films. Each page has a synopsis, a still and a link to

-> So it is that up to a year before a movie is scheduled for release it can be

the official site for the film. A quick way to get where you're going if you have a particular movie in mind.

making itself felt online. Sony Pictures' fully digitally animated sci-fi feature Final Fantasy is slated for a theatrical release some time in 2001, but already you can check out sneak footage and get details on the back story and characters at

-> http://w w w 4.freew eb.ne.jp/com puter/ahohasse/starw ars.htm l

www.finalfantasy.com.

Thought you’d seen everything on the Star Wars phenomenon? Think again.

This site renders the whole of Star Wars (episode four, ie the first film) in “stunning ASCIIMATION" - in other words, standard computer key strokes.

It sounds ridiculous, and it is. Amusing for about 30 seconds, but you’d have to be a complete freak to sit through the whole thing.

-> w w w .apple.com /trailers

Movie trailers in Quicktime format. This is where you’ll find the first seven minutes of Chicken, Run in all its glory.

[ 4 8 ] CINEMA PAPERS.DECEMBER.00.JANUARY.01

M ission Im possible I I

Sydney Olym pics Opening Cerem ony

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The Thredbo landslide and the Glenbrook train crash rescues

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By Megan Sloley The Australian Broadcasting Association (ABA) and the local television industry are confident networks Seven, Nine and Ten will commence metropolitan digital broadcasting on January 1.

But the general manager of TV retailer Harvey Norman, Don Clift, says only three digital receiver products will be available to consumers by that date.

be required for consumers to fully appreciate the signal.

Pay TV operators and equipment manufacturers need to work together to develop STUs able to receive satellite and digitised cable signals but so far the going has been slow.

STANDARD DEFINITION INTEGRATED TV SDI TVs have built-in digital receivers to deliver a sharp image in genuine wide screen. But according to Clift the difference between a good analogue and standard definition picture is “ minimal at best".

HIGH DEFINITION TV PLUS STU To obtain the benefits of high definition digital broadcasts, consumers w ill

-> SET TOP UNITS (STUS)

need a high definition TV monitor plus specific STU and audio equipment.

The cheapest option, STUs are computers that convert digital signals

-> THE NEXT TWO YEARS

for analogue TVs and in doing so

TV networks w ill not broadcast continually either in high definition or utilising

provide a higher quality picture, free of

the other features of digital. Free-to-air broadcasters are not obligated to

-> STUs can also be programmed to receive multichannelling, datacasting and

transmit anything but a standard definition signal for two years after commencing digital output.

surround sound which could be broadcast by networks which chose to utilise

-> After those two years each broadcaster w ill be required to output 20 hours

their digital bandwidth in this way. However, extra audio equipment may also

per week of high definition. Clift estimates a standard definition integrated

interference and ghosting.

[50] CINEMA PAPERS.DECEMBER.00.JANUARY.01

DIGITAL TV 2001

television set w ill retail at Harvey Norman for around $3000 and a HD monitor

the m arket u n til A pril 2001 when NEC is due to launch its first STU. This has

for $6000. He predicts "rapid price de-escalation” if the market becomes

been the impetus fo r networks Seven, Nine and Ten to jo in tly underw rite $6

flooded with products.

m illion worth of STUs fo r the launch, but they may not find a m anufacturer to produce these. Alex Streeter confirm s that SONY was approached by

SHOW ME THE MONEY Brand manufacturers generally concur with Harvey Norman's prediction of

networks in October, but says the deadline and lack of financing details make the project untenable.

the digital TV consumer products range. NEC, Sharp and SONY are due to ro ll out these three main products next year. Philips is launching an SDI set only.

Sony's national TV and video product manager, Alex Streeter, nominates the

WHY THE WAIT? Current lack of consumer product results from a complex interaction of

target pricing of the first SONY STU at $1499; its first SDI set at $4999; and its

relevant and interested parties in this market. Though the European DVB-T

first HD m onitor (imported) at $7999. He claims so far the media has

video broadcasting standard was selected by industry for the Australian

generally overstated the cost of the first digital TV receivers, with 4 Corners

market, the audio component - MPEG for standard definition and Dolby for

recently quoting a “ grossly inflated" figure of $20,000 for a high definition

high definition - is unique to this market. The audio standard was only

m onitor and STU.

approved for publication in October this year, leaving two months for

-> Nokia is one of the most proactive digital product players currently

manufacturers to finalise products with production lead-times of up to

developing a multimedia home platform to be priced around $2000. The

12 months.

'platform ' is being designed to download digital terrestrial transmissions to

-> Some manufacturers for this market are yet to finalise programming

TV, PC or mobile phone. According to Nokia's multimedia terminals manager,

formats for their STU and integrated sets. Programming w ill depend in

Bruce Webb, this product may also be used for satellite or cable transmissions

varying degrees on the decisions and capabilities of the broadcasters, eg,

using an encryption system that "works like sim card technology".

the networks are yet to decide on the programming interface for interactive

-> While Webb claims Nokia is "talking” to pay TV operators, Optus' head of

services (Nokia is hoping it w ill be MHP). The future of high definition is also

business affairs, Chris Keely, says "this proposal might be technologically

uncertain because it uses so much bandwidth, ie, the networks may not be

possible, but there are many other considerations for us".

able to transm it even the obligatory 20 hours of high definition by 2004. As

-> Nokia is also the first to produce an STU to Australian specifications with 32

Alex Streeter at SONY acknowledges, until the broadcasters are able to define

Nokia "zapping boxes” used to download Channel 7 test digital broadcasts to

and test their digital capabilities, it is still a risk for SONY and other

analogue sets at the recent Sydney Olympics.

manufacturers to produce and market expensive receivers.

-> The “ zapping box" enabled the receipt of a clear digital picture in this

-> Despite these issues, the DBA believes the lack of consumer product in the

instance, but Webb says that the unit is not ready for general use. "There

short term is not problematic. “The transition from analogue to digital

are s till changes to be made to the software,” he explains, "that w ill prevent

broadcasting is intended to take eight years,” says consulting member Peter

the units from launching with digital fre e -to -a ir. In fact, according to Nokia,

Webb. "The gradual introduction of receivers w ill eventually become a

SONY, Sharp, NEC, Philips, Panasonic and the Digital Broadcasters

wave of new sets and models, providing consumers with plenty of choice

Association (DBA), there w ill be no STUs or digital receivers of any kind on

and variety." •

For all film travel A short filmcompetition and showcase

and freight needs Call

Australia’s Centenary of Federation will be commemorated in Victoria with a series of celebrations including the Federation Festival from 9 to 27 May 2001. A short film competition and showcase will be held as part of the Festival and entries are now invited from interested persons or teams.

SYDNEY Contact: Ken O’Brien Stage & Screen Fox Studios Australia 28 Driver Avenue, Moore Park 1363 Ph: (02) 9383 4544 Fax: (02) 9383 4577 Email:

Submitted films must in some respect deal with indigenous-white rela­ tions in Australia. Entries should be submitted on PAL VHS and have a duration of ten minutes or less (except in unusual circumstances).

Approximately ten films will be selected by an industry panel for a public screening in Melbourne during the Federation Festival. The winning person or team, to be announced following the screening, will receive professional development opportunities in the area of filmmaking or associated fields.

ih fo @ s ta a e a n d s c re e n .c o m .a u

Entries should be submitted by 31 March 2001. For further information and application forms, contact Vallejo Gantner at the Melbourne Festival:

MELBOURNE Contact: Tony Miles Stage & Screen Suite 4 8-12 Sandilands St South Melbourne Vic 3205 Ph: (03) 9682 6166

Telephone (03) 9662 4242 Facsimile (03) 9663 4141 Email v.gantner@melbournefestival.com.au or visit our website at www.melbournefestival.com.au

TR A V E L & FR E IG H T SERVICES P T Y L TD Centenary of Federation

& Scree

Email: in fo @ s ta g e a n d s c re e n .c o m .a u

By M egan Sloley

The Pay TV industry is facing a future dominated by digital broadcasting and, increasingly demands for consumer interactivity. Unlike free-to-air broadcasting, where existing channels received digital spectrum free of charge, Foxtel, Optus and Austar will need to substantially crank their budgets to fund looming digital ventures. ^ FOXTEL

-> WHAT’S ON OFFER

Currently operating in Sydney, Melbourne, Brisbane, Adelaide, Perth, Newcastle,

Foxtel and Optus each offer 36 channels, with six channels common to both. Foxtel

Canberra, Gold Coast and most of regional WA, Foxtel's subscriber base is split

owns Fox 8, Fox Kids and FX and has a stake in thecomedychannel, arena, Channel

evenly between cable and satellite. The cables are leased from part owner.

[V], and Nickelodeon, while Optus produces MTV, Oh! and Ovation in-house.

Telstra and the satellite platform is owned in conjunction with Austar and Cable

-> "Optus reflects the broader industry in that we have a series of different

and Wireless Optus. Kerry Packer's Publishing and Broadcasting Limited and

relationships with channels - some cost per subscriber per calendar month and

Rupert Murdoch's News Limited each own 25 percent of Foxtel with Telstra

some are revenue split", says Keely.

owning 50 percent.

-> Austar has 32 channels similar in range to Foxtel, but also offers the two 07 Sport channels (also available on Foxtel during the Olympics). It owns The

OPTUS

Weather Channel, a third of Main Event and has what Meagher defines as "a close

Cable only Pay TV in Sydney, Melbourne and Brisbane. Optus is owned 52 percent

commercial relationship with Foxtel, in that we jointly own XYZ Entertainment

by Cable and Wireless PLC, a UK telecommunications company, and 48 percent by

which produces and distributes Nickelodeon, Discovery, Channel [V], Lifestyle,

private and institutional investors.

arena plus we jointly own our respective satellite platform with Cable and Wireless Optus” .

-> AUSTAR

-> The three operators agree movies and sport are the most popular and

A satellite service with a handful of MMDS (microwave) customers who w ill soon

successful channel formats, but the broader distribution of channels like

be migrated over to satellite. Austar is 72 percent owned by United Global Com

Showtime and FOX 8 need to be factored into ratings.

Inc, 28 percent publicly owned and operates in all regional areas except for WA.

-> Foxtel's Crowley says reach is not the only measure of success. "The less than

-> SUBSCRIPTIONS

viewers of Pay TV". Interestingly, FOX 8 out-rated Channel 9 and 10 at various

Ninety thousand additional Australian households subscribed to Pay TV in the

times during the Olympics fortnight with its "Simpsons' Fanfest” according to

seven months to October this year. The figure is up on 1998 and 99, when,

Foxtel's head of marketing, Nick Nichles.

1 percent of subscribers who love racing" he says, "are amongst the most loyal

according to the ABA, Pay TV subscriptions increased by 150,000 annually.

EXPANSION OF SERVICES

-> At the end of October, 1.29 million Australian

Optus and Austar claim federal government legislation is hampering the

households received Pay TV. Foxtel had the

expansion of Pay TV. "Pay TV sports channels are denied the chance to screen

largest share - 650,000. Austar's customers

large sporting events, despite the fact that free-to-air cannot offer the same

numbered 420,000 with 220,000 household paying

breadth of programming,” says Optus' Keely.

for Optus.

-> Pay TV sport broadcasting was also the impetus for recent litigation involving

-> Foxtel’s head of programming, Ross Crowley,

Foxtel and Channel 7, according to Foxtel's Crowley. "The Supreme Court

says, ''Cable has reached as many homes as

eventually ruled that anyone, including Channel 7, could have access to the

Telstra and Optus want it to reach for now".

Telstra cable to create a Pay TV service".

-> Both Foxtel and Optus have merged Pay TV

-> "The Pay TV industry has been a sea of red ink since its inception - we should

with their other telecommunications products, offering such things as internet

have had the opportunity, like free-to-air, to ramp up Oz programming over a

and phone calls as part of cable subscriber packages. According to Crowley, Pay

decade," he says.

TV comprises a very small part of their businesses.

-> Austar's Bruce Meagher concurs with the view that Pay TV interests have been

-> Still, all three operators are keen to expand that side of their business. Foxtel

overridden in favour of free-to-air expansion: “The allocation of digital spectrum

is currently installed in only around 325,000 of the 2.5 million homes passed by its

to the free-to-air networks (by the federal government) at no charge, is an

cable; Optus in 220,000 of the 2.1 million homes on its cable run and Austar with a

unwarranted anti competitive decision."

potential satellite market of 2 million.

-> The head of business affairs for Optus Television, Chris Keely, confirms his

DIGITAL AND PAY TV

company is looking at expanding its Pay TV penetration "with existing cable or

Satellite Pay TV already transmits digitally but it may be some time before

satellite". Austar is aiming for "60-70 percent market penetration" via satellite in the

operators offer digital features such as extensive interactivity, more pay-per-view

long term, according to the company’s head of corporate affairs, Bruce Meagher.

channels, enhanced vision and a much broader choice of programming.

[5 2 ] CINEMA PAPERS.DECEMBER.00.JANUARY.01

PAY TV 2001

-> Current set top units that convert satellite signals to users' analogue sets must

costs of digitalising Pay TV services w ill be passed on to the subscribers. The last

be programmed to enable these features. Austar and Foxtel maintain most of

is a critical consideration for all three operators.

their existing set top satellite converters are digital feature friendly, but the

"Looking at the European models,” says Keely, "there has either been a small

expansion of interactive and other digital services w ill require the purchase of

increase in rates or none at all." Bruce Meagher promises that Austar w ill make

additional satellite space. However, the scope and cost of digitising cable and

improvements to the service at no added cost to consumers". But Ross Crowley

upgrading conversion boxes appears to be far more substantial.

reckons that Foxtel is concerned about the limited economic ability of the

-> The Australian newspaper recently published an estimated figure of $369

Australian subscriber market to fund digital and interactive features. "There is

million for Foxtel to fully digitise its cable service. Chris Keely acknowledges "the

already a helluva lot of Pay TV that has to be paid for," he cautions.

significant capital operational expenditure involved in Optus cable digitalisation".

In the meantime, all three operators are looking at initiatives that can be

Although Keely also maintains that "digital Pay TV platforms is the future of

launched using existing technology like Foxtel’s home video delivery service

industry” he admits that Optus is unsure as to how this w ill enable Pay TV to

with movies downloaded via cable and more cross platform products like the

deliver a much broader choice of programming; how free-to-air channels will

Optus program "Space” which can be viewed via Pay TV, internet and WAP

interact with Pay TV services and importantly, whether the design and operating

mobile phones. •

FOXTEL

OPTUS

AUST

Basic Package

Satellite - $47.95

$39.95

Wireless - $34.95

M onthly Cost

Cable - $37.95

23 channels

14 channels

23 channels

Satellite - $38.95

Add Ons

Showtime, Encore-$10.00

World Movies - $7.20

Austar Delux - $12.10

M onthly Cost

World Movies - $6.95

Adults Only Channel- $16.30 - $21.90

World Movies - $6.95

Adults Only Channel- $14.95

Foreign Language - $27.40

Adults Only - $14.95

Entertainment Plus - $9.95

LBC + A r t-$38.40

19 channels

Movie Network - $12.10 Showtime, Encore - $12.10

Foreign Language - $9.95

16 channel digital music - $1.95 C7 Sport - $6.95 (wireless) Installation

Satellite-$199.95

$99.95 or free if subscriber

MDS - $19.95 - $99.95

O ne-off

Cable - $79.95

takes up local telephony

Satellite - $199.95

Pay P er View

Main Event - $16.40 - $39.95

Main Event - $16.40 - $39.95

$16.40 - $39.95

Prices and channels available are subject to changes

.

Roth Warren offers comprehensive legal services and practical advice for Film, TV, Multimedia, Music and Theatre, Financing and Production.

We have expertise in * Entertainment • Media • Arts • Copyright • Intellectual Property Bryce Menzies • Shaun Miller

0 T H

W A R R E N

s o l i c i t o r s

en 5th Floor, 121 Flinders Lane Melbourne Vic 3000 Australia Facsimile (03) 9650 9440

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Email; bmenzieswrothwarren. com. au 1 smillerwrothwarren. com. au

Telephone: (0 3 )

9 6 5 0

5 8 8 8

Feature Films

solve the mystery of a spooky theme park haunted by real-life demons.

-» EYE OF THE STORM Principal Credits

■ In production

Director: Aaron Ware Producer:'.Helen O'Malley Executive producer: Aaron Ware Co-producers: Krystal Pace, Joanne Grioli Associate producer: James Morgan Scriptwriter: Aaron Ware Based on the novel titled: Events from School Yard Director of photography: Aaron Ware James Morgan Production designers: Aaron Ware, Lauren Greive Sound recordist: James Morgan

-» ENEMIES CLOSER

■ In pre-production

Wardrobe Costume designers: Krystal Pace, Joanna Grioli

Pos,t Production Editors: Aaron Ware, James Morgan

Cast Ronald Grima, Stephanie Senior,’ John Grima, Joanne Grioli, Logan Fewster

.Synopsis EYE is a raw, off the schoolyard 'report' about three teenagers and. the struggles they face at school and at home. Bullying is the main subject as it is based on what has been seen in the schoolyard. The story revolves around Daryn, who after many weeks has reap ed he is gay but can't face it. So he goes to his best friend Bree-anna for help. 'Little does he know that a 'bitch' from school, Rebecca, overhears this and tells everyone at the homophobic school.

-» THE QUIET AMERICAN Mirage Entertainment

Principal Credits Director: Phillip Noyce Producers- William Horburg, Anthony Minghella, Sydney Pollack.

Line producer: Antonia Bernard Production manager: Catherine Bishop.

Scriptwriter: Christopher Hampton Based on the novel: The Quiet American By: Graham Greene

Synopsis G.O. Films

Principal Credits Director: Steven Aldridge Producer: Linda Fraser Director of photography: Mark Bliss

postproduction Editor: David Allan Assistant editor: Tim Lingard

Cast Kristy Wright, Jason Crewes, Ryan Moloney, Eric Oldfield, Robbie McGregor, Damen Stephenson, Tom Mason

Synopsis Moving in to your own place with three of your nest mates should be fun right? Not if you move in with a serial killer! Accusations fly and no one is quite sure who they can trust. Everyone must keep their wits about them and stay alive until the police reach the house. Keep your friends close but your enemies closer.

-» EQUUS - THE STORY OF THE HORSE Mullion Creek Productfons/Beyond Entertainment

Principal Credits Director: Michael Caulfield Producers: Liz Butler, Michael Caulfield Scriptwriter: Michael Caulfield Director of photography: Tom Cowan ; Director of photography 2nd unit: • Peter Coleman Composer: Roger Mason

Production Crew Production accountant: John Russell

Animals Animal trainer: Evonne Chesson

Synopsis The large-format docu-drama follows the destinies of three young horses who are born on the same night.

-»FIRST MEN

Michael Caine, Brendan Fraser ;

Synopsis

Wardrobe : ■

I t tells the story of a British opium addictjflesentful of American colonialism in southeast Asia in the 1950s, who vies against a young American for the affections of a Vietnamese beauty.

Costume designer: Kashia Bylock

Onset Crew Stunts: Stunts Unlimited

Cast Daniel Chante, Kiran Donaldson, Sashia De Silva, Marianthe Sitzoukis

-» SCOOBY-DOO

Synopsis

Atlas Entertainment/Warneifi^ Roadshow

Science fiction story about eight astronauts who have lived on an alien planet for 13 years struggling to survive.

Principal Credits Director: Raja Gosnell Producer: Charles Roven Scriptwriter: Craig Titley

Crossing the genre boundaries of thriller, mystery and romantic drama, ‘Lantana’ centres oji.a number of characters at a crucial time in their lives. They are connected by a series of coincidences involving misperception, infidelity and false assumption. The search for meaning by Leon, the main character, drives the narrative and by learning about the pain of others he comes to accept his own.

-Production Crew

Synopsis;' Based on Anne Rice's Queen of the Damned - a modern-day vampire thriller t^acihg^the story of Lestat (last seen inlnterview With a Vampire] who has reinvented himself as a rock star.

=-» LANTANA

Synopsis

International Sales Beyond Films

The Mystery Ink team break up Beatlesistyle after solving yet another baffling mystery. Th||fjS famous five go their separate ways and lose oobtsfet, each pursuing their own tentative dreams Two years later Shaggy and ScoobyDooimstigate a reunion tOrhelp?, „

Principal Credits Dlrliptor: Ray Lawrence Produce® Jan:Chapmarf S f|i ptwfi|e|: And rew;gQ^ell B a s e d |n l ^ :original -;p.taf Speaking in-jjjpngues

¡154] CINEMA PAPERS DECEMBER OQjfJANUARY 01

Onset Crew Special fx make-up:; Pro FX Special fx- Kevin Chisnal|»

Art Department Art Director: Adam Head

Post Production

-» THE BANK

Editor: Brian Kavanagh CGI: Complete Post

Arenafilm Pty Ltd

Cast

Principal Credits

Joshua.-.Leonard, Belinda McClory, Amy Reti, Craig McLachlan

Director: Robert Connolly Producer: John Maynard Scriptwriter: Robert Connolly Director of Photography: Tristan Milani Editor: Nick Meyers

Synopsis

Planning and development

A family relocates from Amei ica to Australia and discovers that the house they’ve moved into js i f actually a gateway to Hell... and all of hell is about to break loos'e,®

-» LET’S GET SKASE Principal Credits

Casting: Mullinars Storyboard Artist: Tam Morris;®)

-» THE ENCHANTED BILLABONG

Director: Matthew George -Producers: John Tatoulis, Colin South Scriptwriters: Matthew George, Lachy Hulme Director of photography: Justin Brickie Production designer: Ralph Moser Composer: John Clifford White

Onset Crew

Cast Synopsis Anti-hero Peter DellasandriJiand his posse of boys become men in the process of bringing Skase back from Majorca. The forces of good overcome all obstacles to triumph over the bad guys and a lot of laughs are had on the way.

-» MY DRUG BUDDY Principal Credits Director: Lester Francois, Producers: Shirley Walter, Lester Francois Production manager: Emma Mulholland Scriptwriter: Lester Francois Director of photography: Martyn Taylor Editor: Alfred Wells Production designer: Kate Denny

Synopsis A young co-dependent couple reach the crossroads of their fkelationship when they can’t score and realise theiipives are going nowhere, i

-» PARADISE FOUND Principal Credits Director: Mario Andreacchio ¿Producers: Mario Andreacchio, George Campana Scriptwriter: John Goldsworthy, Mario Andreacchio

Synopsis Set in Paris.and TjSHi’ti in the 19th ce'ntury, examines a slice of life of the French painters Paul.Gauguin, in his attempt to create a revolution in paipting and thinking and his.obsession with theV-'-.r' questions of ‘Where,do we come from? What are we? Where are we going?'

-»¿QUEEN OF THE DAMNED PrincipalCredits 'jSirector: Michael Ryrner firodueer: JorgejSaralegui Scriptwriters: Scott Abbott, Michalp Petroni|Anpe Rices®

Cast Anthony jfa.Paglia', Geoffrey Rush,

Production designer:,Sean Callinan

■ In post-production

First Assistant Director: Phil Jones Production Manager: Elisa Argenzio Production Designer: Luigi Pittorino Sound Designer: Sam Petty

WeS;B:entley -

Prod. Com pany^EB P/lffi Imagine!! Productions - D & R Productions Distribution: Columbia Tristar Budget: 10.3 million Animated CGI feature fi:l8 B l i j l ! i l Imax film

Principal Ci?e'dits'

Cast David Wenham, SibyllatBudd, Steve Rodgers, Mitchell Butel

Alex Dimitriades, Lachy Hulme

PrincipalCredits Director: Rick Idak Producer: Rick Idak Scriptwriter: Rick Idak

Cast

Barbara Hershey, Kerry Armstrong, Rachael Blake, Vince Colosimo, Russell Dykstra, Daniella Farinacci, Peter Phelps;’..:^ Leah Purcell and Glenn Robbins

-» CROCODILE DUNDEE IN LOS ANGELES Principal Credits Director: Simon Wincer Producers. Lance Hool, Paul Hogan Co-producer: Conrad Hool Scriptwriters: Paul Hogan®»® Matthew Berry, Eric Abrams Director of photography: David Burr Production Designer: Les Binns

Director: David Waddington Producers Rob McKenzie,-iDavicL-.'

Waddington Executive Producer: Jack Wegman Scriptwriter: Michael Wagner J3ased on the original si leenplay titled-: The Enchanted Billabong By: Michael Wagner, David ., Waddington .Production designer: Wayne Bryant EjJiitor: David Waddington Composer: Craig Bryam M Sound Designer: Juliett Hill

Planning.ai^d Development

Production Crew Unit Production Managers: Conrad Hool, Greg Ricketson

Onset Crew

Casting: Bedford & 1Peance Video Mastelirjby: FMTV

Cast Chjloe Lattanzi, Daniel DepalFs, Tommy Dysart,-iJpan Brokenshire, Suzy Cato1, Jenny Seesman, Mathew King, Rhona Rees

1st Assistant Direljor: Bob Donaldson

Wardrobe Costume Designer: Marion'Boyce

Synopsis

Cast

A boy learns to believe in an enchanted world and the characters that exist tfia S S S M M ^ doing so he learns to believerin ¿Himself.

Paul Hogan, Linda Kozlowski

Synopsis The story follows our hero Mick Dundee, who uproots himself from the rural Australian outback to accompany his partner, Sue Charlton [Linda Kozlowski], a journalist, to bustling, trendy Los Angeles. Sue has been assigned to run the LA bureau of her father's newspaper and jfnvestigate a major story. When Mick|,accidentally gets caught up ¡jn her investigation, the stage is set for an’extended series of comic jibes that poKja’fun at the Southern Californian lifestyle from an outsider’^point of view.

-> HILDEGARDE A Duck Film Pty Ltd Distribution: Providence Entertainment (US]

Principal Credits Director: Di Drew Producers: Heathe'ipQgilvie, David Hannay Associate producer: ColleenJCamp Scuptwriter Gabrielle Prenolegast Production manager: Elizabeth Symes Production desig'ner- Geprgina Grednhill

Art Department -» CUBBYHOUSE Principal Credits

Art directcns.Ken J a h fe j l

Post Production

Director: Murray jb hey Producers: Chris Brown, David Hannay ' Line producer: Tom Holfie Executive producjrafreiSry Ham ilton MikaehBorglund

K h iptyyriteril: 'MurrawFahey

.

DiifetWk of photography: PhiliplM. Cross ACS Soundipreg Burgmann

Editor:||uresh Ayyar

Cast Richard E rra n t, Tom Long, Tara®" Morice, Gezelle Byrnes, Sam Geer, Dane Hudson®®:

Synopsis) ilifdegarde, a much'-lPyed family

W I tset Principal Credits '

Director: Jonathan Ogilvie Producer: RobertjBrewer Scriptwriter: Jonathan Ogilvie Director of photography: Simon Higgins

MusicArtsDance films Distribution company: Sharmill Films and WTV (US) Budget: 1.2 million

Cast

Director: Paul Cox Producers: Paul Cox, Aanya Whitehead Executive producers: Kevin Lucas, William Marshall Scriptwriter: Paul Cox Based on the diaries of Vaslav Nijinsky Composer: Paul Grabowsky Planning and Development Researchers: Leonie Verhoeven, Margot Wiburd Dance Consultant: Alida Chase Shooting schedule by: Aanya Whitehead Budgeted by: Aanya Whitehead

Sam Atwell, Jane Borghesi, Beth Champion

Synopsis A series of flight delays gives a glimpse into the lives of a group of departing passengers.

-» LA SPAGNOLA Production company: Wild Strawberries Pty Ltd Post Production: Until November

2000

Principal Credits Director,: Steven Jacobs Producer: Anna-Maria Monticelli Co-producer: Philip Hearnshaw Scriptwriter: Anna-Maria Monticelli:

Cast .Lola Marceli, Lourdes Bartolomé, Alex Dimitriades, Alice Ansara, Simon Palomares, Helen Thompson

Synopsis A comical story of a Spanish mother/daughter relationship: their love, revenge, prejudice and survival in a small industrial town during 1960.

-» MOULIN ROUGE Production company: Bazmark Productions Distribution company: Twentieth Century Fox

Principal Credits Director: Baz Luhrmann Producers: Baz Luhrmann, Martin Brown, Fred Baron Scriptwriters: Baz Luhrmann, Craig Pearce DOP: Don McAlpine

Cast Nicole Kidman, Ewan McGregor, Richard Roxburgh, John Leguizamo, Garry McDonald

Principal Credits

Cast Chris-Franklin, Gabriel Rossi, Dave Grant, MichaeLB’ishop, Margie Bainbridge, :Eric Mueck

Synopsis Scott is a builder’s labourer from Melbourne’s working class suburbs and a bit of a' larrikin. When he is ‘discovered’ and is a guest star on a prime time television soap opera, his life is thrown into chaos as he becomes an overnight success and a national star.

•» NIJINKSKI JU'uminatjori^Films and

. 1st assistant director: Emma Schofield 2nd assistant director: Deb Antoniou 3rd assistant director: Ross Fargher Unit publicist: Emma Cooper Catering: Evangeline Feary, Steve Marcus Films Catering Runners: Lucia Noyce

Art Department Art director: Laurie Faen Art department co-ordinator: Jocelyn Thomas Propsperson: Dean Sullivan Props buyer: Robert Webb Standby props: Dean Sullivan

On-set Crew

Wardrobe

Government Agency Investment Development: South Australian Film Corporation Production: South Australian Film Corporation, Australian Film Finance Corporation, SBS Independent

Synopsis Vaslav Nijinsky was probably the greatest dancer of all time - the God of the Dance - and his ‘Cahiers’ (Diaries) must be one of the most extraordinary and moving literary works ever written. The film uses the words of Nijinsky, written in 1919 in St Moritz where he had retired, suffering extreme mental agony.

■» RABBIT-PROOF FENCE

Director: Cameron Miller Executive producer: RussellWilliams Producer: Cameron Miller Scriptwriters: Roger Dunn, Cameron Miller Production manager: Ron Buch Director of photography: Alex McPhee Editor: Andrew Scott

Onset Crew

Choreographers: Alida Chase, Leigh Warren Unit publicist: Catherine Lavelle Wardrobe Designer: Jilly Hickey

Jabal Films Distribution company: Ocean Films

Global Television

2nd unit DOP: Ian Jones Key Grip: Robbie Morgan Gaffer: Nick Payne Best Boy: Glen Jenkins

Insurer: Cinesure Completion guarantor: Film Finances Ltd Legal services: Marshalls and Dent

Synopsis

Principal Credits

Camera Crew

Production Crew

A young man casts aside the shackles of his middle class society to become a writer and join the ranks of the free-living artistic underworld of Paris.

-> MR AVERAGE

Insurer: HW Wood Australia Pty Ltd Completion guarantor: Film Finances, Inc Legal servicesrNina Stevenson Travel co-ordinator: Linda Taylor Freight co-ordinator: AusFilm Transport: Logistics

I

Wardrobe supervisor: Ruth de la Lande Standby wardrobe: Julie Krogar Cutter: Judith Pritchard

Synopsis

Group

Subterano is a virtual holographic game in which Ektoman, a God­ like killer, hunts his victims through a subterranean maze.

Principal Credits

-» TEMPE TIP GIV Productions Distribution company: Becker Group Principal Credits Director: Michael Ralph Producer: David Rowe Line producer: David Lightfoot Executive producers: Richard Brezzo, Phil Davey, Johnathon Shteinman Scriptwriter: Michael Ralph Director of photography: David Foreman ACS Editor: Adrian McQueen-Mason Composer: Sean Timms Sound recordist: Toivo Lember Synopsis Everyone dreams of finding a pot of gold at the end of the rainbow.

But you don’t expect to find it in Tempe. For Max Franklin the search started in a hole in the ground of his own backyard.

^ TILL HUMAN VOICES WAKE US

Construction manager: John Moore

Production company: DND Productions/ Key Entertainment Investors: AFFC, Key Entertainment, Film Victoria International sales: Key Entertainment/ Tomorrow Films Australia/NZ Distribution: Globe Film Co

Marketing International distributor: Hanway Films Publicity: Emma Cooper

Cast Kenneth Branagh

Synopsis Rabbit-Proof Fence tells the true story of three Australian Aboriginal girls who are forcibly taken from their outback families in 1931 to be trained as domestic servants as part of an official government policy. They escape and embark on an epic 1500-mile journey to get back home, with the authorities i chasing them all the way.

-» SUBTERANO

Director: Phillip Noyce Producers: John Winter, Phillip Noyce Co-producer: Christine Olsen Executive producers: David Elfick, Jeremy Thomas, Kathleen McLaughlin Associate producer: Laura Burrows Scriptwriter: Christine Olsen Director of photography: Christopher Doyle Production designer: Roger Ford Sound recordist: Bronwyn Murphy

Director: Esben Storm Producers: Richard Becker, Barbi Taylor Scriptwriter: Esben Storm Director of photography: Graeme Wood Production Designer: Chris Kennedy

Planning and development pasting: Christine King Casting consultants; Colin Murdoch Extras casting: Christine King, Colin Murdoch, Angela Hessom Dialogue coach: Rachel Mazar Production manager: Julie Sims Production co-ordinator: Suzanne Mallos Production secretary: Jessica Brentnall Location managers: Mark Evans, Maude Heath ; ¡Transport manager:;Linda Taylor Unit manager: Will Milne Production assistant: Lucia Noyce Production runner: Chris Taylor Production accountant: Jane Smith

-»TWO WELLS

Construction Department

Principal Credits

Production Crew

Publicity: Amanda Huddle Cast Alex Dimitriades, Tasma Walton, Chris Haywood, Alison Whyte

Production company: Becker Films Distribution company: REP Films

Principal Credits

Production Crew Director: Michael Petroni Producers: Shana Levine, Dean Murphy, Nigel Odell, David Redman, Thomas Augsberger, Matthias Emcke Executive Producers: Andrew Deane, Beau Flynn, Yoram Pelman, Stefan Simchowitz, Gareth Wiley Associate Producer: Justin Pearce Line Producers: Nigel Odell, David RedmanNIGEL Scriptwriter: Michael Petroni Production Manager: Lucy Maclaren Director of Photography: Roger Lanser Production Designer: Ralph Moser Editor: Bill Murphy Sound: John Wilkson, Perry Dwyer, Michael Slater,’Scott Findlay

Planning and development

Production company: GIV Productions Distribution company: Becker

Director: Michael Ralph Producer: David Rowe Line producer: David Lightfoot Scriptwriter: Rob George Based on an original screenplay by: Adam Head, Rodney Brennan Director of photography: David Foreman ACS Editor: Adrian McQueen Composer: Sean Timms Sound recordist: Toivo Lember

Planning and Development Casting: Actors Ink

Production Crew Production manager: Dale / Fairbairn Production co-ordinator: Rebecca Somerton Location manager: Nadine Schoen Production runner: Paul Lightfoot Production accountant: Deb Wilde Insurer: FIUA Completion guarantor: FACB

Post production Post-production supervisor: Ted McQueen-Mason Cast: Gary Sweet

Synopsis On the outskirts of the small outback town of Imyph, lies a tightly secured military compound.

Twenty years prior a meteor crashed into the compound site unleashing an alien chemical with the ability to clone living beings.

The clones are being sent back to the town while their original selves are kept comatose at the compound. Nobody suspects a thing. When security is broken at the compound the original | townsfolk escape and head back to town where they confront themselves and where no one knows who is the original and who is the clone.

WATERMARK J Potoroo Films Principal Credits Director: Georgina Willis Producer: Kerry Rock Scriptwriters: Georgina Willis, Kerry Rock Director of photography: Paul Kolsky

Post Production Editor: Kerry Rock

Cast

Casting Director: Maura Fay & Associates

Jai Koutrae, Sandra Stockley, Ruth McDonald, Elluise Rothwell, Mchelle Tristram

Planning and Development

Production Crew

Synopsis

Casting: Ann Faye

Production Co-ordinator: Anna Molyneaux

Life, like the ocean, is everchanging and deceptive. This film moves back and forth in time, between the 70s and the present, to reveal the elements of one man’s life.

Production Crew Production Manager: Jane Sullivan Production co-ordinator: Clare Shervington Location manager: Peter Hicks

Art Department

On-set Crew

Marketing

1st assistant director: Chris Webb Unit publicist: Amanda Huddle

Cast ■

Art Department Art director: Scott Bird Special Effects supervisor: Peter Stubbs

Wardrobe Wardrobe designer: Tess Schofield Wardrobe supervisor Katrina Pickering

Marketing -

Art Director: Adele Flere Costume Designer: Jeanie Cameron Unit publicist: Andrew Mackie

Telefeatures

Guy Pearce, Helena Bonham Carter

■ In pre-production

Synopsis

& THE ROAD FROM COORAIN

The story of a man (Guy Pearce) who is haunted by the presence of a dead childhood sweetheart (Helena Bonham Carter) when he returns to his rural hometown after a long absence.

Chapman Pictures Pty Ltd

Principal Credits Producer: Penny Chapman Scriptwriter: Sue Smith

Synopsis Based on Jill Ker Conway’s

CINEMA PAPERS.DECEMBER.00.JANUARY.01 [55]

celebrated autobiography, this is the story of a childhood. Set mainly on the western plains of NSW, The Road From Coorain is a witness to the relationship between extraordinary women over a lifetime of adversity.

■ In post production BLONDE Crawford Productions/Robert Greenwald Productions

Principal Credits Producer: Jacobus Rose

Synopsis A mini-series: about the life of actress Marilyn Monroe, based on the biography by Jill Ker Conway.

-»/HOPE FLIES Liberty And Beyond Productions Distribution Company: Beyond International Duration: 90 min

Principal Credits Director: Geoffrey Nottage Producers- Simone North, Geoffrey Nottage Associate Producer: Peta Lawson Scriptwriter: Tony Cavanaugh Director of photography: Philip Cross Production designer: Richard Bell

Brokers/ 1 Completion guarantor: Legal services: Roth Warren Solicitors Travel co-ordinaton’Stage and Screen Travel

Camera Crew Camera operator: David Lindsey Camera assistant: Andy Butt Camera type : Sony 790 Digital Betacam Camera maintenance: Lemac Key grip: Jamie Leckie Gaffer: Jim Hunt, Dave Lovell Best boy: Dave Lovell, Warwick Brown

Onset Crew 1st assistant director: Chris Page Assistant director: David Hart Continuity: Amy Barclay, Kay Hennessey Playback operator: Robert Hall Special fx producer: Rebecca Tolliday, Unreal Pictures Special fx: David Nelson, Unreal Pictures Still photographer: Suzy Wood

Art Department

Cast

Art directors: Marian Murray, Liam Siddell Art department co-ordinator: Art department runner: Penelope Laurence Set dresser: Denise Goudy Props buyer: Denise Goudy Props maker: Hamish Aldersòn " Hicks, Justin Dix, Ben Green Standby props: Michael Saunders

Rebecca Gibney

Wardrobe

Synopsis

Standby wardrobe: Fiona MacKinnon

Production Crew Production manager: Barbara Gibbs

IThe-stbry of Hope Flies focuses on Hope Fox, an ex-pat Aussie vet who lives with her husband and family in Glasgow, Scotland. At her father’s request, she returns to her hometown in outback Australia with her family in tow to help battle a mysterious virus which is killing the local horses.

-» Ll’L HORRORS December Films Australia Disfnbutionieompahy: Beyond International

Principal Credits Directors: Chris Lahgman, Helen Gaynor, Declan Eames, Ralph Strasser Producers: Tony Wright, Stuart Menzies Executive producer: Tim Brooke Hunt Associate producer: Richard Mueck Story editors: Peter Hepworth, Jon Stephens Script editors: Jon Stephens, Adam Todd Script Assistant: Beverley McDonald Scriptwriters: Peter Hepworth, Robert Greenberg, Brendan Luno, Kevin Nemeth, Glen Dolman, Jamie Forbes, Nancy Groll, Claire Madsen, David Phillips, Hugh Stuckey, Anthony Watt, Annie Fox, Meg Mappin, Pepe Trevor, David Rapsey, John Thomson Director of photography: Jaems ' Grant Production designer: Otellp Stolfo Composers: Al Mullins and Janine DeLorenzo

Production Crew Production manager: Rachel Evans Production co-ordinator: Andrea Tulloch Producer’s assistant: Melphie Hailstone Production assistant: Bee Matthews Production assistant/Production runner: Anny Beresford Production accountant: Mandy Carter Insurer: Holland Insu ranee

Construction Department Scenic artist: Liam Siddell Construction manager. Ian (Kincade] Doig /-{ pleading hand: Lance Whitehouse

-> MY BROTHER JACK Samson Productions";;!’.

Distributor: Granada Media International

Principal Credits /Executive Producers: Andrew Knight, Tony Virgo, Peter Beilby fplducers: Sue'Milliken, Andrew Wiseman, Richard Keddie ’Director: Ken Cameron Scriptwriters: John Alsop, Sue Smith Production Manager: Yvonne Collins Director fo photography: Russell Bacon ^Production designer: Jo Ford ¿Editor: Nick'Holmes, r.

Cast Matt Day, Simon Lyndon, Claudia Karvan, Angie Milliken, William Mclnnep:/.;

Synopsis 1 The story of two brothers between the wars in Melbourne,’ adapted from the book by George Johnston.

SOUTH PACIFIC Principal Credits Director: Dick Pearce Producer: Chris Sacanii Producer (Aust): Sue Milliken Executive producers: Michael Jaffe, Howard Braunstein, Glenn Close, Michael Gore Scriptwriter: Lawrence Cohen Based on the novel titled: Tales/of the South Pacific By:;l|iames A Michener Director of photography: Steve_ Windon Production designer: Patrizia Von Brandenstein Composer: Rodgers and Hammerstein Sound recordist Guntis Sics

Post production

Planning and development

Post-production supervisor: Sarah Harrington Fox Assistant editor: Maryjeanne Watt Sound transfers by: Soundfirm Sound editor: Paul Pirola Musical directors: Al Mullins, Janine DeLorenzo Music performed by: Ridgidigital Music Recording studio: Soundfirm Foley: Soundfirm Fx mixer: TBA Music mixer: TBA Assistant mixer: TBA Mixed at: Soundfirm CGIs: Unreal Pictures

Casting: Christine King Casting consultants: Mutlinars ' Casting Extras casting: Jane Dawkins Dialogue coach: Victoria Miewleska

Titles December Films Australia Grader: Noel McWhirter Screen ratio: 16:9 Shooting stock: Digital Betacam Video transfers by: AAV Australia Offline facilities: Mr Kali Editing Video special fx: Unreal Pictures Video master by: AAV Australia

Government Agency Investment Development: Australian Film Commission

Marketing International sales agent: Beyond International International distributor: Beyond International

Cast Voic'e cast: Rie Herbert, Paula Morrell, Ra'chel King, Richard Hart,, Abbe Holmes, Michael King, Matthew King

Puppeteèrs Richard Mueck, Imogen Keen, Richard Hart, S.imon Rann.jlfleath MclvOr, HugiiSimppQn

Synopsis A 52-part live action puppet sitc/om set in aiispooky gàthicBchool. run by a retired movie actress: It features lithe (mis-) adventures oFa group of children who just happen to be rather familiar,¡¡monsters as Well, f '

[56] CINEMA PAPERS DECEMBER.00.JANUARY.Q1

/

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Production Crew Unit Production manager: Anne Bruning Assist Production manager: Jennifer des Champs Production co-ordinator: Paula j Jensen Producer's assistant Emanda[*j, Thomas Production secretary: Deb Alleck Location manager: Karen Jones Transport manager: Andy Matthews Unit manager: Will Matthews Assistant unit manager: Graedon le Breton Unit assistants: Nat Purdon, Christian McCollum, Richard Olsen, Kim Bostock, Ron Gladman Production assistant: Karl McMillan Production runners: Col Heidke, Ed Fitzgerald Production accountant: Angela Kenny Accounts assistantsl:„Deb Sutherland, Tammy Miller Paymaster: Kylie Wilkie Smith lnsurer:'iHW Wood Legal Services: Stevenson and 'Court, m*'.

Travel co-ordinator: Kate Todd Freightco-ordinatdg§Danielle, Srour

Camera Crew A Camera operator: Marc;-Spicer ' / A Focus puller: Craig Philpo/tt’^ji A Clapper loadteBJasmine YuenCurracan B Camera’operator: John Platt B Focus puller: Jem Rayner B Clappensloader: Simon: W illia m S Additional FocusisDavidrDunkley Camera’tloader: Matthew Windon

Key grip: Warren Grieef Dolly grip: Toby Churchill Brown Assistant grips: Adam Kuiper, Craig Jackson,hJason Trews, Jason W e e |s ||i .Gaffer: Reg. Ga'rsJ|l.e Best boy: Alan Dunstan iOectrician:. ¡Colin. Wyatt, Mark Jeffries, Travis Magee, Mark / Watson

Onset Crew 1st assistant director. Mark p u r n llll 2nd assistant directohjJane Griffin 2nd 2nd!assistant director: Noni Roy :,3rd:dss|stalt director: Greg Cobain 4th|Sssistanf director: Eddie Thorn On Set PA: Marcus Levy .

Continuity: Pam Willis •■: Playback operatonStuart WaUeij§j§ Boom Operator: David Pearson v Make-upi Supervisor: Deborah LanSjdf^y Hair Supervisor: MartiaitCornevilie Key make-up artist: NicoleiSpiro Make-up artispKylie O’Toole Key Hairdresser: Kerry-Lee Jury Hairdresser: Tina Gordon ’/ Special fx supervisor: Brian Cox Special fx: DaveiHardre, Walter Van Veenendaal, Angelo Sahin, Pauline Gerbert, David Goldie Special Carmiggelt, Aaron Cox .

Choreographer: Vincent Patterson Assistant Choreographer: Tracie Moriey •Stunts co-ordinator: Lawrence ■ Woodward Unit nurse: Ron Houghton Still photographer: Carolyn Jones4 Catering:.Mighty Bjites Catering, Reza Mokhtar

Art Department Art director: Nick-McCallum.

Assistant/art directonglmma.

Lawes/v Art department co-ordinatorfflen O’Connell j PA to DesigneriiSallyTAnn. LoUissp’n Art depa'rtmenferunner: Kent / Sherlock Set decorator: Suza Maybufy Setcjdes.igner: Prisq ue ISa Ivi/i| Draftsman: Tim Kobin Draftihg/ModetspJodie Fried Graph/iCs: Ingrid:Weir Aircraftpo-brdinatSr: Ralph Simpson Propsperson.iLisa Brennan Props buyer: Mark Brimms .

Props btiyer/d|esse® Jo Beikoff, Ip m es Watts, Andrew Short Standby props.- Murray Gosson Assist standby: Adrienne Ogle, Fiona Walker Armourer: Ken Jones Action vehicle co-ordinatprJPaul N a p p e '// Assist vehicles: Geoff Naylor

Wardrobe Wardrobe supervisor: Kerry Shornpson Wardrobe buyerlnratalie Gardner Standby wardrohefjH'elen Maggs, Andrea Hood Wardrobe asSistantBqhn Rower |Costumer: Julie Frahkhafn

Cast ■Glenn Close, Rade Sherbedizja, >.

Harry Connick Jr., Robert PastorelltLori Tan Chinn, Jack'/Lj Thompson Remake of the RodgeFs andi Hammerstei,h] musical,;.Sputh

Documentaries

■ In pre-production -»DOLPHINMANIA ¡Singing Nomad Productions

=;

Principal Credits Director- Sally Ingleton1 Producer: Sally Ingleton Direeforj of photography: Philip B.utti

Post Production Editor: Ken Sallows

Synopsis A documentary about a. coastal town outside Melbourne wheTe;’a :;S$jia|,l n^mber|if:-boat operator;^® with differing philosophies compete to run dolphii'swim/touf&||;:

-» FOND MEMORIES/OF CUBA Frontier Films

PrincipalCredits Diriejetor: :[Oavid Bradbury Producers: David Bradbury,’ Mike;.: ;J Rubbo

Synopsis.

When Australian filmmaker David Bra dbury;islsp onso red-by Jim Mitsos, an aging Australian commurtigMg travel miCuba and make a film, he is’faced with a moral:dilemma! sehfeto Cubafgn Sim's money, to bring back a positive story of the revolution, he can:t help but see th,e'- . contradictions.

li|Mn production -» FROM KOREk WITH LOVEF<*j ilris^ictures Pty Ltd

Principal Credits >> Director: Jerin'ifec Cummingj j Producer: J'bssica DouglaspJHenry Executive producer: Courtney .4 Gibson /Sc ri ptw.nit e r: Justine: Flyn n ®i|eetor of iphcitography: d b fis. ■ Thorbum Siurpd recoVdist||Leo SulSari^5'1 '

Production Crew Production manage^ C l|i|^ R Thorbu'iliiV;:-|'i ' Production acepun'ta'nt: ASTI MS ..

•Insurer: HW Woods Pty Ltd 'Gomplaiibn guarantor: FACB Legal services Nina Stevenson & Associates I

Post production Editor: Liz Doran

-Synopsis Fallows an Anglo-Saxon Couple ’ going through the process of adopting a.Korean ifdby,, -

RETURN TO EDEN Network: AB;C|fl Production Company: Artemis International^®

’Construction Department

Principal Credits

/Construction supervisor: Geoff Howe Scenic artist:. -Steve Sally banks Construction manager: Eugene,, , Land'.

Leading hand: Warwick Miller, Steve Keiil|M ichael Rout :/ Set finisher: Franki’Falconef; VRichard Baldwin Greensman .Grpgg Thomas

DireqtM CeliaffeMaB Producers: Brian |featpn^Celi®^f Tajt Executjyse Prod ucerss!|B ri a n Beaton, Peter Beilby, Dione ’ Gilmour Scriptwriter: Cefa Format Super16mm fjlm

Pbstproduction Assistant editor: ’J o h n jt|e ||| Editing assistantJDavid Birrell |N|tisical director: Paul Bogaev Music engineer: Joel Mo^sl/'/Vit;/ Recording studio:-Studio

Synopsis In the pristine lands'ca;nl| offihe Northwest of Aus|rSta a battle S i territory is being waged between two opposing forces: fatal yeS ||§jp ^native animCls M l

EARTH-i ‘ MAHATMA GANDHI /

Production company: Glass Box Distribution company: Glass Box Budget: $250,000

Principal Credits?

Director Don Palmer Producer: iDon Palmer Scriptwriten'.Tom Weber, Don Palmer Based on the novel titled: On the .Salt March By: Tom Weber Director of photography: Michael Newling Composer: Carlo Giacco Researchers: Tom Weber

Production Crew Production accountant: CDH Chartered Accountants

Camera Crew

AUSTRALIANS AT WAR Series documentary Beyond Productions Pty Ltd in association with Mullion Creek Productions

Principal Credits Supervising Producer: Stephen Amezdroz Series producer: Michael Caulfield Directors: Geoff Burton, David Goldie, Steve Best, Tim Clark Writers: Geoff Burton, David Goldie, Steve Best, Tim Clark Synopsis Australians at War examines the effects of war on the lives of Australians and how this nation has been shaped by those experiences.

8 x 55 minutes

Camera type: DV-Pro

Post production Post-production supervisori^;;Michael Newling Venice Digital Sound editor: Hullaboloo Musical director: Carlo Giacco Music performed by: Purple Mixed at: Hullabaloo

Synopsis: '-Nelson Mandela, Martin Luther King, Albert'Einstein and Aung San Suu Kyi have one thing in common: they were alLinspired by the vision, dedication and ideas of Mahatma Gandhi. He is a household;name but so few really understand why. ||fom Weber has spent 20 years finding out and now takes us on a journey to see why Gandhi still : rocks.

-»SMALL STEPS, GIANT STEPS Network: SBS 'Production Company: Emerald Films

Principal Credits Director: Sally Browning Producer: Browning Associate Producér: Paola Garofali Director of photography: Roman Baska alditor;: Emma, (fay Script writer: Sally Browning ¿Format: DVCam & DVC Pro

Synopsis Àu|ìsm H a disorder that affects One in every 1000 children born in Australia. Most children suffering autism are initially catagorised as “unreàèhable" and until recently institutionalisation was the favoured therapy.

It has only been in recent years that alternative therapies have been ^explored5and startling breakthroughs made by the children who respond to these therapies.

The film follow several children who are attending Giant Steps, a ■special school of holistic one-onone therapy for affected childrenlm Sydney, whose progress to communication has defied their initial diagnoses.

■ In post-produidtiòn ANIMAL X-SERIES 2 Series Documentary Storyteller Productions

Principal Credits Executive producers: Mike Searle, : Jennifer Wilson Producers: Mike Searle, Nigel Swetenhàrb, Jennifer Wilson, ¡Melanie Ambróse.jÉhda Searle, Caroline Bertram

-» BUNDY’S LAST GREAT ADVENTURE Production company: Gulliver Media Australia Pty Ltd Distribution company: Beyond International Budget. $300,000

Principal Credits Director: Larry Zetlin Producer: Larry Zetlin Executive producer: Larry Zetlin Scriptwriter: Frank Chalmers Director of photography: Craig . Lucas Sound recordist: Trevor Chalmers

Production Crew Productibffcmanager: Trevor Chalmers Financial controller: Andrew McSweeney, BJ Grace and Co Production accountant: Andrew McSweeney Insurer: Cinesure ’ Legal services: Goss Crane and Herd

Camera Crew Camera operator: Craig Lucas Camera type: Sony Hi Definition

Post production Narrator: Peter Wear Animation: Procam Studios Film/Video gauge: Hi Definition Screen ratio: 16:9 Shooting stock: Hi Definition

Synopsis The Australian Ballet Company is recognised as one of the world's best. This series examines the way the ballet company works and the personalities that drive it. One of the highlights is an international tour, including performances in the US. From its inception in the 1960s, the Australian Ballet has gone from strength to strength, with each new generation its character grows and charges. The metamorphosis guided by the artists whose life is ballet.

-»MALPA Production company: CAAMA PRODUCTIONS PTY LTD Distribution company: TBC Budget: $225,000

turning point in its life.

Recent

-» FORTYTHOUSAND BARRELS

funding

decisions

■ Feature Films -»BLOOD AND GUTS Wildheart Films Pty Ltd Producer: Al Clark Director/Writer: Scott Roberts Distribution: Alibi Rims International, Village Roadshow Three bank-robbing brothers have found a uniquely profitable way to spend their jail time. Crime does pay, and no one gets hurt - until they discover the catch. When sex and greed come between bad cops and good criminals, the strange consequences are both fatal and funny.

Principal Credits Director: Erica Glynn Producer: Priscilla Collins Executive producer: Priscilla Collins Scriptwriter: Kate Gillick Director of photography: Helen Barrow Sound recordist: Flavia Abdurahman

Planning and development Researchers: Kate Gillick Budgeted by: Priscilla Collins

Production Crew Production manager: Jacqui Bethel Producer’s assistant: Dena Curtis Financial controller: CAAMA Production accountant: CAAMA Insurer: HW Holland Completion guarantor: FACB Legal services: Roth Warren

Camera Crew Camera operator: Helen Barrow Camera type: Digital Betacam kStill photographer: Priscilla Collins

■ Adult Television Drama -» HALIFAXfp Series 6 (3 x 100 minute telemovies) Beyond Simpson Le.Mesurier Executive Producers: Mikael Borglund, Kris Noble Producers: Roger Le Mesurier, Roger Simpson Writers: Roger Simpson, Peter Gawler, Katherine Thomson Presale: Nine Network Distribution: Beyond Distribution Three new telemovies in the award winning "Halifax" series:

-»FLASHPOINT After a catastrophic fire at a back-j|| packers hostel, Jane Halifax works to recover the memory of one of the few survivors who might be able to help the police with their inquiries.

Post production

-»THE JUDAS MOVE

Editor: Denise Haslem Offline facilities:;CAAMA

Jane Halifax puts her career on the line when she turns against a former client to prove he should never have been acquitted.

.

Government Agency Investment Production: AFFC Marketing: TBC

Synopsis

-»DEATH BYFICTION

International sales agent: Beyond Distribution International distributor: Beyond Distribution

This unique documentary features the special working relationships between indigenous and nonindigenous women who work out on remote indigenous communities.

Jane Halifax is brought in by the police to advise on an investigation into the escalating antics of a serial killer who appears to be working in tandem with someone else.

Synopsis

MR STREHLOW’S FILMS

Marketing

This is a story of a final journey through stunningly beautifu^g i country, in a small, cantankerous train called Bundy.

It is also about fulfilling the personal dreams of a dedicated band of drivers, who drove Bundy and loved it. (No matter how often it meapt off the tracks and forced them to jump for their lives).

-»• A FOXWITH TWELVE CHICKENS Director: Alan Carter Producer: Alan Carter Director of photography:Jan Pugsley Editor: Peter Pritchard Production Company: Alley Kat Productions Finance: ABC/FFC (Accord)

Synopsis; ’ "Following a veteran bush-lawyer as he prepares for a murder trial;.; ...defence in an outback town. Here the professional and the personal merge and blur adding fuel to an already explosive cocktail of small­ town emotions.

Synopsis As with series one, ANIMAL X SERIES 2 investigates animal stories from around the world.

From ghostly phenomena to lake monsters and mysterious sightings to unknown creatures.

13 x 3 0 minutes

Producer: Bob Hardie Co-producer: Matthew Dow

-» INSIDE THE AUSTRALIAN BALLET .(60-minute documentary) , East Australian Film-Company

Principal Credits Directors: Bob Hardie, Matthew Dow

Production company: Journocam Productions Distribution company: TBC Budget: SBS/FFC Accord

Principal Credits Director: Hart Cohen Producer: Adrian Herring Scriptwriter: Hart Cohen Director of photography: Tony Wilson Sound recordist: Leo Sullivan Editor: James Bradley

Planning and development Researchers: Hart Cohen, Adrian Herring Shooting schedule by: Gohen/Herring Budgeted by: Herring

Production Crew Production manager: Dee Cameron Insurer: HW Wood Australia P/L Completion guarantor: FACB Legal Services: Michael Frankel &

li| Synopsis A documentary about the life and work of pre-eminent and controversial Australian anthropologist and Arrernte linguist TGH Strehlow (1908-1978). Tracks the challenges Strehlow set for himself as anthropologist and filmmaker, and the work currently underway to repatriate his collection to Arrernte communities in Central Australia.

■ Documentary

(52 minute Accord documentary) Alphaville Pty Ltd Producer: Christine Sammers Director: Jane Castle Writer: Paul Brown Presale: SBS Tells of a chemical company, local residents and local government in Botany, Sydney, who are all working together to find a way to treat a stockpile of toxic waste. A demonstration of a unique form of community participation.

-»MY LEARNED FRIEND (6x30 minute Accord documentary) Hilton Cordell Productions Producer: Ian Collie Director: Susan Lambert Presale: ABC TV My Learned Friend \s an observational series following a number of self-litigants on their journey through the labyrinthine judicial system. Many will lose their way, some will call it quits, while others will triumph against the odds.

-» SHIPWRECKDETECTIVES (3 x 55 minute documentary) Prospero Productions Producer/writer: Ed Punchard Director/writers: Peter Du Cane. Julia Redwood Presales: ABC TV, National Geographic Channels International Distribution: Granada Media International The Shipwreck Detectives are Maritime Archaeologists internationally renowned for the discovery and excavation of Australia's earliest shipwrecks. Three major expeditions will examine a graveyard of lost ships, sunken WWII flying boats and the victims of an ancient mass murder.

-» SURVIVINGSHEPHERD’S PIE (56 minute Accord documentary) Viva Productions Producer: Franziska Wagenfeld Director/writer: Diana Leach Presale: ABC TV An exploration and celebration of how Australian rural women's identities have been shaped by the land.

Surviving Shepherd's Pie documents four cowgirls who live in rural Australia and ride the rodeo circuit.

-»THE COUNTRY INSIDE (52 minute Accord documentary) Snakewood Films Producer/director/writer: Frank Rijavec Writer: Keith Bradby Presale: SBS Tells the story of a group of wheatbelt farmers and other rural people who have taken risks and made sacrifices for the sake of "something before and beyond mankind". They have adopted values that regard country' not merely as breadbasket, resource or livelihood, but as an intrinsic element of their identity whose mystery, history and lessons are carried inside them, whose defilement is taken very personally.

-» FAMILY FOIBLES ;’[5 x 30 minute Accord documentary) Flying Carpet Films Producer: Steve Thomas Director/writers: Anne O’Casey, Katrina Sawyer, Veronica lacono, Michael Cummins, Celeste Geer Presale: ABC TV An intimate, entertaining and challenging series exploring the notion of family at the start of the new millennium. Each episode features a different family at a

-» AWEDDING INRAMALLAH (55 minute Accord documentary) Habibi Films Pty Ltd Producer/director/writer: Sherine Salama Presale: ABC TV A Wedding in Ramallah is an intimate observational documentary set in the West Bank town of Ramallah. It uses the dramatic events surrounding the wedding of a young Palestinian :. couple as a way of exploring life under occupation for ordinary Palestinians.

-» WHISPERING IN OURHEARTS (52 minute Accord documentary) Mayfan Pty Ltd Producer: Graeme Isaac Director/writer: Michelle Torres Presale: SBS The film follows the Nyikina/Mangala people from the Kimberleys as they return to the site of a massacre that' took place in 1916, to remember what happened there and to ceremonially put to rest the spirits of their dead. As the film travels back with them to Mowla Bluff it intertwines the oral account of the elders whose parents witnessed and survived the massacre with white archival records from the period.

CINEMA PAPERS.DECEMBER.00.JANUARY.01 [57]

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THE WEST AUSTRALIAN

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FOXTEL CHANNEL 10

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THE DAILY TELEGRAPH

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THE AGE /C IN EM A PAPERS

A drian M artin

Sacha M olitorisz

THE SYDNEY MORNING HERALD

Megan Spencer

TRIPLE J

A ndiee Pavoir

WHO WEEKLY

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CINEMA PAPERS/THE MELBOURNE WEEKLY

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THE SUNDAY AGE

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Beyond Fi scores

Best Film Looking for Alibrandi, fr|pd|cer

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Best Achievement in DireJlllIn Andrew Dominik, Chopper Best Actor in a Leading Role Eric Bana, Chopper Best Actress in a Leading Role Pia Miranda, Looking for Alibrandi

Best Adapted Screenplay Melina Marchetta, Looking for AliWrWfdi Best Original Screenplay Stavros Kazantzidis & Allanah Z i R u s s i a n

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Best Performance by an Actor in a ¿Supporting:Rol^.

Simon Lyndon, Chopper Jff Best Performance by M P M M K s s Greta Scacchi , Looking -fot W

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Best Achievement in Editi Martin Connor, Looking foBillilo Young Actors Award Kane McNay, Mailboy Beyond is proud to represent the international rights of the above films.

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