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9770311363019 The Next Issue.
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“ I want the audience to feel the sun warming the bricks. To smell the bread baking down the street. And to see the hope that reaches beyond the al leyway.”
“ I need th e ir heads to pound fro m the car s c r e e c h in g in to th e s ta tio n . Their noses to w r in kle fro m th e f u m e s . Their hands to dig into the a rm re s ts as the car s peeds o f f . ”
YOUR VI SI ON. YOUR CHOI CE OF TWO K O D A K V I S I ON PRI NT F I L M S . THEI R U N F O R G E T T A B L E E X P E R I E N C E .
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contents.
august.september.00
Reviews. 34.Film My Mother Frank Jesus’ Son Mr Accident Rules of Engagement Eye of the Beholder Bootmen 39. Reading The Comedy Writer Mighty Movies: Movie Poster Art from Plollywood’s Greatest Adventure Epics and Spectaculars Bloomsbury Movie Guide: Jaws Cambridge Film Flandbook: The Piano Twin Peeks, Australian & New Zealand Feature Films Which Lie Did I Tell?
42.Video Another Day in Paradise Me and Will Rumpelstiltskin
40. DVD Run Lola Run The Winslow Boy Crazy in Alabama
10
18
Storming The Castle. Tearlach Flutcheson charts The C astle's US release while executive producer Michael Hirsh sets the record straight to Michaela Boland. Byrning the Candle. Michaela Boland interviews Rose Byrne, one of Australia’s hottest young actors.
23
DOT.COM.WHAT? Shane Danielsen searches for answers to the dot.com.craze sweeping through the film industry.
26
Screen Culture Under Seige. W ill the AFI survive the latest round of funding cuts?
28
Man Overboard. Cinematographer John Seale writes about lensing this year’s SFX extravaganza The Perfect Storm.
30
Cacking Themselves. To celebrate the release of Yahoo Serious’ latest film Deb Verhoeven casts a glance over Australia’s love of quirky comedies.
M r A c c id e n t -
Regulars, OS.Editorial. 06„Newsfront. Industry news. OT.Fresh Air. Letters and email reports. 08.The Box. Ingrid Ohlsson 1 5 . The Getting of Wisdom. Colin Moody 1 5 . Final Cut. EliseMcCredie. 21. To Market To Market. John Thornhill To be really successful Australian films need to sell internationally 22. Snapshot. John Safran previews Oh Harvey Where Art Thou? . 45.Supplement. Spotlighting the exhibition and distribution industries. 54. InProduction. W hats g o in g on in the in d u s tiy ? 5 8 . The Sum of Us. Local reviewers rate releases.
visual fx ofm ne/online ed itin g te le c in e 3D CGI Sydney -
2 6 3 D a rlin g h u rs t R d D a rlin g h u rst N SW 20 1 0
M e lb o u rn e - 12 T h is tle th w a ite S t S o u th M e lb . V IC 3205
P h 6 1 2 93 6 8 0355 F a x 6 1 2 936 8 0455 P h 6 1 3 969 9 46 3 3 F a x 61 3 969 9 3226
d ig ita l m atte p ainting design
eves tv se n e s d ocu m entanes b roa d ca st d esig n fe atu re film s opening title s
check out more than 4 0 0 ,0 0 0 items in the National Collection on-line
I www.screensound.qov.at Screen So u n d A ustralia NATIONAL FILM AND SOUND ARCHIVE
CONTRIBUTING W RITERS
JOHN SEALE IS AN ACADEMY AWARD -
MICHAEL WARD IS A FREELANCE
WINNING CINEMATOGRAPHER. WHEN
COMEDY WRITER WHO HAS WRITTEN
NOT WORKING OVERSEAS HE LIVES IN
FOR THE M IC A L LE F PROG RAM AND
SYDNEY.
B AC K B E R N E R ON ABC TELEVISION. HE ONCE FELL ASLEEP DURING
TEARLACH HUTCHESON IS AN EX
AWAKENINGS AND WOKE UP IN THE
PATRIOT AUSTRALIAN AND THE
MIDDLE OF SLEEPERS.
MANAGER OF THE INWOOD THEATRE IN DALLAS, TEXAS.
MEGAN SLOLEY. COMING OF AGE IN THE ERA OF VALLEY GIRL, YOU CANT
MADELEINE SWAIN AMONG MANY
STOP THE MUSIC AND XANADU
OTHER THINGS SHE REVIEWS FILMS
INSPIRED HER TO WEAR WHITE
FOR THE M E LB O U R N E W E E K LY .
PLASTIC EARRINGS, LEG WARMERS,
SARAH THOMAS HAS FULFILLED
ABOUT CINEMA.
INDIAN HEADRESS AND WRITE STUFF MYRIAD INCARNATIONS IN THE FILM,
DEB VERHOEVEN IS FILM CRITIC FOR
JOHN SAFRAN CO-HOSTS THE
COVER ROSE BYRNE PHOTOGRAPHED
THE M E LB O U R N E TIM ES AND
BREAKFASTERS ON MELBOURNE'S
BY ANSON SMART FOR HARPERS BAZAAR.
MUSIC AND ARTS WORLDS IN
SHANE DANIELSEN IS A FEATURE
LECTURES IN CINEMA STUDIES AT
3RRR FM, WRITES FOR TV AND IS
ADELAIDE AND SYDNEY AS WRITER,
WRITER FOR THE A U STRALIAN.
RMIT UNIVERSITY. SHE RECENTLY
SOON HEADED OVERSEAS ON HIS
EDITED TW IN PEEKS, AUSTRALIAN
OWN FILMING PROJECT.
MICHAEL BODEY, SHOWBIZ EDITOR
AND NEW ZELAND FEATURE FILMS.
CRITIC AND PUBLICIST. SHE HAS ALSO PROVEN HER COMPLETE LACK OF TALENT AS A PRACTITIONER IN
FOR THE D A ILY TELEGRAPH. IS A FILM
ANY OF THESE FIELDS.
JOURNALISM RARITY.
GROUP PUBLISHER DAVID MCDONOUGH dmcdonoughidniche.com .au ASSOCIATE PUBLISHER STEVEN METTER sm etteridniche.com .au
Welcome to Wood Wood
EDITOR MICHAELA BOLAND m bolandidniche.com .au
->Yep, it’s August 2000 and Olympics hoopla abounds. Not to
DESIGN
ringts] by organising Suncreen Sydney. A component of the
be left out of the main game, the film industry has leapt into the
ROB DAVIES robdidniche.com .au GLENN A MOFFATT glenn.aldniche.com .au
Olympic Arts Festival, Sunscreen w ill showcase classic Australian films free of charge at outdoor venues. A great gift to the Olympic city and its visitors during the games lead-up -
COPY EDITOR MICHELE FRANKENI m frankeniidniche.com .au
August 31 through September 10. After a sluggish couple of years for local releases we're starting
ADVERTISING MANAGER LARRY BOYD TEL: 103] 9525 5566 lboydfdniche.com.au
to witness a domestic box office resurgence lead by The Wog Soy early this year and followed by the heavily advertised
PRODUCTION AURORA OLIVER aolivertdniche.com .au
Looking for ALibrandi, which just might creep over $9 million. Initial word on the heavily-guarded Roadshow release The Dish
CONTRIBUTING WRITERS EMMA CRIMMINGS, LEIGH WHANNELL MADELEINE SWAIN, ADRIAN MARTIN MICHAEL HELMS. RUTH HESSEY DINO SCATENA, MICHAEL BODEY BARRIE PATTISON, CEC BUSBY EDITORIAL ADVISORY BOARD NATALIE MILLER. ROSS DIMSEY SCOTT MURRAY, SALLY-ANNE KERR LYNDEN BARBER, TED GREGORY TRACEY MAIR SUBSCRIPTIONS TEL: 1800 806 160 em ail: subscriptionsidniche.com .au
is positive and Palace has backed a winner with Chopper. A free publicity-fest, Chopper is also proving a critical success and has come in at number one in The Sum of Us [p.58]. Congratulations to producer Michele Bennett, lead Eric Bana and director Andrew Dominik. It has also been interesting to note the number of ex-cops, law reporters and assorted riff raff who have been called on to review the film for the daily press. A fresh approach seen first in Cinema Papers 133. Issue 133, incidently received a very positive review in The Sunday Age on July 9. While we were chuffed to receive the praise we were disappointed our specially-commissioned feature by US
CINEMA PAPERS IS A PUBLICATION OF NICHE MEDIA PTY LTD ACN 064 613 529 TRADING AS NICHE PUBLISHING MANAGING DIRECTOR NICHOLAS DOWER
movie writer Joe Queenan on blockbusters was judged to be a buy-in. After generating the original idea, we had worked closely with Mr Joe to tailor the story for our audience. Must we stamp 'Exclusive' all over our stories to prove they're unique? We hope not. We're very pleased cinematographer John Seale had the chance to write about tensing The
FINANCIAL CONTROLLER STEVEN METTER
Perfect Storm while holidaying in Australia recently. Seale has since moved on to the UK where
MARKETING DIRECTOR MALJONES
he'll be working for the next 300 years on the Harry Potter films. If the hype surrounding the Harry Potter books is any indication, those films should be, well, big.
ART DIRECTOR GLENN A MOFFATT
We were happy filmmaker and radio chatterer John Safran was able to write Snapshot, our short
MELBOURNE OFFICE 165 FITZROY STREET, ST KILDA, MELBOURNE, VIC 3182 TEL: 103) 9525 5566, FAX: (03) 9525 5628 PO BOX 2043. ST KILDA, MELBOURNE, VIC 3182 SCANNING EASTERN STUDIOS, TEL: 103) 9587 6166 FILM & PRINTING SOUTHERN COLOUR, TEL: 103) 9701 5544 COVER Rose Byrne photographed by Anson Smart fo r Harpers Bazaar.
film page. In previous issues writers have been asked to tackle completed works but the lateral thinking Safran dived in from the side and examined a partially completed film instead. One of an exciting group of emerging Australian actors, our cover chick Rose Byrne is on fire. Featured in the current release, My Mother Frank with the equally hot Matthew Newton, Byrne is eagerly awaiting the release of The Goddess of 1967, where she plays her first lead role, as a blind girl with shocking red hair opposite Japanese Prada model Rakiya Kurokawa. In between she's been cast as a handmaiden in Star Wars Episode Two and enjoyed her stage debut with the Sydney Theatre Company's La Dispute. Next!
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,
Michaela Boland
PHOTOCOPYING, RECORDING OR OTHERWISE. WITHOUT 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 ASSUME NO RESPONSIBILITY FOR ERRORS OR OMISSIONS OR ANY CONSEQUENCES OF RELIANCE ON THIS PUBLICATION. THE OPINIONS EXPRESSED IN THIS PUBLICATION DO NOT NECESSARILY REPRESENT THE VIEWS OF THE EDITOR. THE PUBLISHER OR THE PUBLICATION. © 2000 NICHE MEDIA PTY LTD.
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [05]
Australian Imax will screen locally ->An Australian produced IMAX film called Solarmax premiered in London on June 27 as part of the opening of the new wing of that city's Science Museum. Chronicling the solar max the peak period of solar spots and flares, the film uses footage from both satellite and earth based telescopes, with additional computer generated animation.
Dendy will release One Day in September in August.
Let the Games Begin
pay rental separately, competing for
screening of Mark Lamprell’s debut
A collaboration between
feature My Mother Frank and, after a
director/producer John Weiley,
short intermission High Fidelity, the
physicist Robert Eather - who hand
new film based on Nick Hornby's
built an IMAX format camera - and the
popular novel of the same name.
Sydney post production company Lux
Problem being, at least for the second
Monkey, the producers were
film, dialogue from the fast talking
concerned that Solarmax may never
American actors, lead by John Cusack,
screen in Australia.
was difficult to understand for a large
Following screenings at Washington’s
section of the audience (seated at the
Smithsonian Institute and New York's
rear of the balcony).
Museum of Natural History, the film is
Some frustrated audience members
receiving a wide roll out across
could be overheard querying each
Europe and the US.
other about missed dialogue, others
An Australian release date for
left or moved to find vacant seats
Solarmax has not been set but the
downstairs where the audio was
future of IMAX cinemas in Australia is
customers” . He said both companies
clearer.
confirmed despite administrators
->For two weeks in September
agreed on "the efficiency of creating
While the general manager of BVI,
being appointed.
Sydney is hosting the greatest
more circuits together to save costs” .
(distributors of High Fidelity] Alan
Confirming the continued existence of
sporting event in the world. Yadda
The companies additionally share a
Finney, denied a film ’s release could
IMAX Cinemas in Australia (so long as
yadda. To get everyone in the Olympic
stake in Adelaide’s Palace Nova
be seriously damaged by a poor
senior employees take ’considerable’
mood, Dendy distributors has decided
Eastend in conjunction with three
preview exhibition, he said "we
pay cuts) one of the administrators
to launch on August 24- the
independent shareholders. Hoyts had
assume exhibitors, because they’re
said the IMAX sites must continue
documentary One Day in September.
a share in the Nova Rundle Street
the people on the spot, (see to it that)
operating because the structures
Winner of the 2000 Academy Award
when Palace/Village opened a four-
sound and image presentation is 100
could be used for little else than
for best documentary, One Day in
screen cinema in the same street.
percent".
indoor rock climbing.
September explores the events
All owners decided to join forces after
surrounding eleven Israeli athletes
both businesses suffered and the
being held hostage by Palestinian
collusion has resulted in a financial
terrorists at the 1972 Munich Olympic
turnaround for both cinemas.
Games. The film contains music from
A Hoyts/Village/Force joint venture
the period, eye witness accounts and
also owns and operates eight cinemas
what is billed as ’dramatic’ archival
in New Zealand, currently in litigation
footage.
through the NZ Commerce Commission, the NZ equivalent of the ACCC.
Exhibition cooperation
The NZCC believes the joint venture is "anti competitive" says Andrew
->The twin powers of the Australian
Bowden, Village Roadshow group
exhibition industry, Hoyts and Village
manager, investor relations "and w ill
have joined forces to open a multiplex
probably close it down” .
in Sydney’s George St.
No such threat hangs over the
Megan Sloley reports Village chief
Adelaide or Sydney sites.
executive Graham Burke said the deal
A festival conundrum
was the result of two years of negotiations but the dual occupation of the site is not a joint venture.
-^The closing night of the Sydney Film
Burke likened the arrangement to "an
Festival threw up an interesting
airport terminal where two retailers
dilemma. A capacity audience bedded
sell the same product but operate and
down at the State Theatre for a
[6] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
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H iiii Kind Regards, David Kitderry
mail->To Cinema Papers
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CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [7 ]
Reviewers cannot appraise actors And they’re not the only ones
the box ingrid ohlsson ->Julia Roberts' breasts - or boobs'
get into the 800-word territory,
and phoney populism.' What's missed
in Australia and phenomenally well in
as her character Erin Brockovich calls
throwing in a few lines at the end on
here is the fact that Julia Roberts'
the US. Sometimes these investments
them in the film of the same name -
how the actors measured up could be
career is all about phoney populism:
are justified. Certain films draw a
have recently proved a convenient
construed as avoidance. And although
her extraordinary ability to be boringly
good deal of their wattage from their
handle (excuse the image) for film
things have improved quite a lot on
ordinary and dazzling star-like
leads. I couldn't imagine Erin
reviewers. Collectively reviewers have
this front over the years as film
simultaneously, and her skill in
Brockovich without Roberts, Holy
chewed up valuable column inches
reviewing has become a more
exploiting the combination to
Smoke! without Kate Winslet or
expressing surprise at the size of
specialised occupation (as opposed to
maximum effect.
American Beauty without Kevin
them while marvelling at the
something that someone from the
Embarrassment and an over
Spacey. These are actors who have the
cleverness of the costumes that give
sports desk can knock up if there's
developed sense of politeness are
ability to carry the narrative of the film
them that extra oomph. They have
nothing else on), old templates
philosophised on the way they have
survive. Just ask the actors who
been portrayed as 'weapons, not
automatically flick to the last few
victims' and, ironically, bemoaned the
paragraphs of the review because
fact that too much focus on you-know-
that's where they know they'll find
what is upstaging the excellence of
the verdict.
Roberts' performance.
Performance is the most ephemeral
To be fair on reviewers, it has to be
part of a film. Occasionally the
said that this breast obsession began
direction, or editing, or screenplay or
The rule for the sensitive reviewer who doesn’t like a performance is not to touch it. Yak on about everything, and if you can’t avoid it, a quick line buried some where towards the end should do it.
with the makers and promoters of the
camera work is so good that it
film spinning the angle for all it's
transcends easy dissection, but
other factors that may contribute to a
within their performance. Pinpointing
worth. And if they can get so much
there's always a technical element
general reticence to review
what this quality is, and how it feeds a
mileage out of a cleavage, why
there for discussion if the art of the
performance. (I suspect this is
film is not easy. Getting to the essence
shouldn't the media hop on board?
work proves too elusive. Acting has its
particularly so in a place like
of character is something that
No reason at all, except that in your
technical aspects too, but reviewers
Australia, where the paths of those
literature has struggled with for years,
average sized newspaper review it
often don't know a) what they are and
involved in the smallish film
and in the end it may well be that the
leaves little room to talk about any
b) how to separate them from the
communities cross frequently.) Actors
level of insight and attention required
other aspect of the performance,
person of the actor.
are their work (among other things)
for the job is more within the realm of
which, come to think of it, may be the
The failure to recognise the work in a
and performance is by its very nature
poets and novelists than the time-
point entirely.
performance and the tendency to
self-exposing. Bagging a performance
restricted, ideas-wary world of
Performance is difficult to discuss and
attribute its effect (often negatively) to
publicly is not a comfortable thing to
journalism .*
any angle that can provide an 'in' is
some innate quality in the actor (a gift
do. The rule for the sensitive reviewer
welcome. Oft-used devices, include
from the gods as opposed to
who doesn't like a performance is not
Ingrid Ohlsson is a former actor and
physical description (see above),
something designed and crafted (is
to touch it. Yak on about everything,
theatre reviewer, and now works as a
speculations about the stars' salaries
common among reviewers who,
and if you can't avoid it, a quick line
writer across a number of areas.
and the relationship between co-stars
paradoxically, are determined not to
buried somewhere towards the end should do it. A classic example of this
(particularly if they're romantically
be impressed by movie stars. Why
linked and without question if they're
look in depth at the work of someone
is The New Yorker review of Eyes Wide
married), Oscar prophesising and the
like Harrison Ford when you know that
Shut, which mentions the fact that
filching of choice bits, ie clichés, from
he was only cast because market
Nicole Kidman has a small mouth
the media releases that drum to the
research said he should be, and when
before moving, with pointed swiftness,
beat of: 'role of a lifetime', 'born to
he's only doing what he always does?
onto another matter entirely. In
play this role' and 'as you have never
An example of this is A.O. Scott writing
Australia, the master of this technique
seen her before'.
in the New York Times on Erin
is the perennially polite David Stratton
If we are talking a quick grab
Brockovich, who complains that 'Ms
[a reviewer, I must say, I rarely
containing a directive to ‘go see' or
Roberts spends the next 90 [minutes]
disagree with). An actor is, more often than not, the
avoid like the plague’, there's not
content to be a movie star. As the
much wrong with gossip or PR
movie drags on her performance
hook for the audience. Film producers
recycling. But when a review starts to
swells to bursting with moral vanity
recognise this and pay actors very well
[8] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
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Celebrating 25 Years of creative vision and technical excellence. 180 Bank Street South Melbourne Victoria Australia 3205
second feature The Dish, expat Aussie Tearlach Hutcheson examines The Castle’s much-delayed US release.
[10] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
-»When it was released in Australia in 1997, The Castle became one of the most profitable Australian films on record. Shot for next to nothing and relying on cast and crew pay deferrals, it ended up grossing $10.5 million. What made its success particularly notable was that the film was so avowedly Australian - proudly parochial, even - in its idiom. But while that proved a strength at home, what would it mean for the film's chances overseas? Well, in mid-May 1999, The Castle finally opened in the US, after a protracted word-of-mouth campaign. Let me begin by uncloaking myself. I’m an Australian The Castle’s courtroom capers.
who runs an arthouse theatre in Dallas, Texas. Don't ask me how I ended up in Texas from Sydney, because I don't really know. You could put it down to my fervent nationalistic pride, but I really wanted to screen The Castle. I should point out at this stage that I am deeply cynical of the Australian media, which frequently over-hypes the reception Australian films receive in the US. So exaggerated are the tales of audiences wildly throwing their clothes to the rafters in joyous response to the latest export from home that I can only wonder where they’re reporting from. It certainly isn't this town Sure, some Australian films do well, butane ones that create a huge impact on US audiences are few and far between, and far less^cxihqmomthartx^ independent American prockict, or e.Ven EfNtjsh period pieces. But the reason I’m here Australian media, but rathen^to offer a fl^jfo-the-, wall account (at least/as th\^\fly sees it) of ti reaction to The Castile. The film opened inAhe US on might mean little Ao an Austral'
the US film exhibito'r it was hugely significant/ months, every studiò, in the country had b 4 e /j juggling its release schedule around à™the^May day: the 19th, the day The Phantom Menace was sgt^ for release. It became impossible to.reac newspaper, turn on the TV or listen to'the'ìradio without hearing some reference to tWjo^ng-awaited Star Wars movie about to eru^t\prr§^1;eens everywhere. How could the noi/!-Fox^udi@s possibly do battle with the'Force'?
\
' \
V.
In the case of Miramax the answerwas to go small, and release perhaps the tiniest film in Its slate and
So exaggerated are the tales of audiences wildly throwing their clothes to the rafters in joyous response to the latest export from home that I can only wonder where they’re reporting from. It certainly isn’t this town. / / ' f\ WorkinaT3og''people - creative talents Santo Cilauro, Ton>-Gleither, Jane Kennedy and Rob Sitch, with
j
x \
el Hirsh providing theyn nagement muscle mu ■ j ad given up on di The Castle outside Wed instead\on other projects
play a David versus Goliath game.
umours abound about The Castle among US exhibitors. It is said that Miramax had been offered the film prior to Sundance for US$1 million. The company turned it down. But the 1998 festival screening generated such intense interest that a
Could there have been something deliberate about
including7\~'Rfvh'r Somewhere (an ABC TV fishing
the timing? The Castle opened in Australia in 1997
series] and The Panel (a weekly TV chat show). They
about US$6 million.
just as the Star Wars trilogy was being re-released.
also set about producing the now much-awaited The
Whether or not that figure is in any way accurate,
frenzy of bidding pushed its price up to somewhere
Of course, it did well, though after the run director
Dish (releasing through Roadshow on October 19],
one thing is certain: Miramax bought the film in
Rob Sitch remembers telling himself: “At least we
when "a smart woman in the office” (as Sitch puts it)
January 1998. So why did it take 16 months for it to
won’t have to go through that again." Little did he
sent a copy of the film to Sundance.
be released in the US?
suspect. So how do you show an American audience a film considered so quintessentially Australian? Well, the
"That was the turning point," says Sitch. "The
Originally The Castle was slated for released in
Sponsors' Night people heard about it and
October 1998. Some exhibitors felt Miramax may
decided to show our film instead [of the one booked],
have changed its mind about putting the film out on
first thing is you have to get somebody to buy it. The
and it took off."
the market at that time because of a growing
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [11]
Executive producer of The Castle, Michael Hirsh believes vehemently “everything written about The Castle's US release has been wrong”. The amount of changes made to the film, the price paid and audience reactions have all been mis-reported. He says a music track and a skerrick of dialogue were the only changes made between The Castle’s Australian release and its US release several years later. Was a reference to ‘pool’ table in the trailer dubbed to become ‘billiard’ table in the feature? Hirsh cannot recall. While refusing the verify production company Working Dog earned US$6 million from the film’s sale to arthpuse distributors Miramax at Sundance 1998 (a sum widely reported in the trade press) Hirsh believes the US release was an overall success. Stressing the sale figure was for world rights (excluding the UK and South Africa), he says what started out as a very small Australian film received sound critical reviews in the US media, played to appreciative audiences and earned box office of almost A$2million, despite being released on the same day as Star Wars Episode 1. But why did Miramax sit on The Castle for 18 months before releasing it on the same day as the most anticipated film of 1999? They were waiting for the right moment and then... "their argument was counter programming, in hindsight it didn’t work,” Hirsh says. During the waiting period he felt anxious and nervous but lacked the power to tell Miramax when to release the film. Would he work with Miramax again? “Sure, if it was appropriate” but he notes the likelihood of this happening following the company’s switch, in recent years, toward producing its own product rather than buying finished films for release, is very small. “One of the things that we know (through the US experience) the film plays exactly the same -every time". Between them, Hirsh and director Rob Sitch witnessed at least 20 screenings. The poor box office was due to a lack of the allimportant marketability - the big stars and big release budget so necessary for the US market, according to Hirsh. Marketing which could have benefited from a concerted campaign. But increasingly, the big international distributors are cautioning local filmmakers from seeking high market prices. The argument runs that a high sale price w ill limit the marketing spend and prejudice the film's chances at the box office. "I didn’t get that sense," Hirsh says. Miramax was very easy to work with. Hirsh, Sitch and lead actor Michael Caton travelled to the US for the film’s release and Miramax encouraged the production company’s input along the way. Unfortunately however, Shakespeare in Love and Life is Beautiful were being released about the same time so, “the Miramax marketing machine was going to those two films”. •
[12] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
concern that it had paid too much for it. Time and special consideration were needed to devise a strategy to ensure the distributor had the best chance of recovering its expenses. Of course, in film more than most other industries, you've got to spend money to make money. So how could Miramax possibly make back its investment without spending perhaps half as much again in marketing? The answer: the almost-mystical Word of Mouth. Miramax hoped the strategy that had reaped Fox Searchlight such dividends with The Full Monty could work just as well with The Castle. The company held numerous free screenings of the film Tiriel Mora and Michael Caton hatching the plan.
in major cities around the United States; in Dallas alone there were eight free screenings. Each screening targeted a different demographic, whether it was people who live close to airports, Australian expat groups or Middle Americans in general. But here's the thing with free screenings in the US. Everybody, including the major studios, is doing them, with the upshot that they have become virtually ineffective as a marketing tool. With at least three free movies a week, the discerning public can pick and choose between films. The Castle, with its unknown cast and dodgy picture quality, was pitched against the likes of Brendan Fraser in The Mummy. Predictably, it struggled to draw a crowd, rarely pulling in more than 150 people per screening. The movie was usually shown in auditoriums with a capacity of 300-500. With such a sparsely populated theatre, generating the empathy needed to make the film a success was extremely difficult (this phenomenon was seen with Muriel's Wedding, too). Nonetheless, the word of mouth was generally positive. So too were the audience survey responses. But here's the problem with surveys: you only get extreme response, either very positive or very negative (those who don't feel particularly strongly tend not to fill out the survey, dumping them instead on the theatre floor). Out of the 400 surveys collected at my theatre we received only two negative responses. Good word of mouth, good survey results. The film should be selling itself, right? But asking the 1000 or so people who had seen it over its eight Dallas screenings to spread the good word in a city of three million people is... well, you do the maths. -The critical response to The Castle was mixed. Andy — Klein, writing out of Los Angeles for a Dallas publication, finished his review with these words: "This sort of comedy is dependent on a genuinely generous attitude towards it characters. If the makers of The Castle have such an attitude, it doesn't come through very clearly."
It’s easy enough to talk about how much the film cost and how much it was sold to North America for. But there’s no getting around the fact that in almost all cases, the lower the cost of the film the more technical faults it has.
Klein was pointing towards an ambivalence that was also noted by some Australian critics of the movie, a
film critics. Ebert had proclaimed the movie "This
North America for. But there's no getting around the
suspicion that the filmmakers may have harboured a
year’s Full Monty". But using this quote may prove to
fact that in almost all cases, the lower the cost of the
sense of superiority to their characters. That's a
be a double-edged sword, leading audiences to
film the more technical faults it has. The Castle was
dangerous perception in the US, because of that
expect something quite different than the film they
shot on 16mm film and transferred to 35mm, and it
American thing about never making fun of yourself.
are actually about to see.
looks like a 16mm film transferred to 35mm.
Americans also have difficulty in relating to
There were also other critics who, while enjoying the
Audiences do notice, and are often unforgiving, of
characters like the Kerrigans. They really have no
film, struggled with reference points. Jane Sumner
such things, especially American audiences used to
reference point for such people. The closest thing
of the Dallas Morning News referred to the moral
watching films that have been touched up by
might be the American 'redneck', but the redneck of
majority when she wrote: " The Castle may not be
Industrial Light and Magic.
American popular culture is either an unsympathetic
about what the religious right means by family
Yet for all that, American audiences seem to enjoy
savage, as per Deliverance, or a noble fool, as in The
values, but that's the underlying theme of this
the film. Released on the arthouse circuit, which
Beverly Hillbillies, neither of which really
modest, sunny satire that has you grinning all the
normally attracts audiences willing to be more
approximates the Kerrigan tribe.
way to the car."
forgiving of the technical problems of a small-
Other critics were kinder - or, at any rate, could be
The Castle also suffers from the same problem that
budget film, The Castle received enthusiastic
made to appear so. In its press campaign for The
afflicted director Emma Kate Crogan's Love and
responses. In my theatre, people have been known
Castle, Miramax extracted a quote from Roger Ebert,
Other Catastrophes. It's easy enough to talk about
to break into applause at the end of the film, though
one of America's most widely read (and watched]
how much the film cost and how much it was sold to
they seem to struggle, particularly in the beginning,
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [13]
What the American critics said The Castle, directed by Rob Sitch, is one
What makes The Castle so startlingly
This domestic comedy from Down
Written and directed by a clutch of
of those comic treasures Like The Full
good is that about midway through
Under is ... more thoughtful, noticing
Australian comics who are their
Monty and Waking Ned Devine that
the picture, we realise the joke is on
and inventive than nine out of 10 big-
country’s equivalent of Second City,
shows its characters in the full bloom
us.
budget comedies out of Hollywood.
The Castle is refreshingly,
of glorious eccentricity.
Gary Thompson,
For all the fun it has with the family's
affectionately, exuberantly unironic.
Roger Ebert, Chicago Sun-Times
Philadelphia Daily News
individual and collective lack of taste,
So unironic, in fact, as to be radical.
the script clearly takes these people
Carrie Rickey, Philadelphia Inquirer
A feel-good comic fairy tale that flashes
The Castle has the ultra-slow pace,
to heart - and so w ill you.
its family values like an oversize
ultra-thick characters and ultra-slim
Susan Stark, Detroit News
The satire and inventive wit of
rhinestone bracelet... Essentially a
plot of a PBS sitcom pilot. Hardly
one-joke movie ... But The Castle
worth a night at the movies. And yet
An agreeably flaky Aussie comedy
team behind this (led by Rob Sitch),
moves along nimbly enough to keep
... The Castle is charming and, yes,
that taps that it's-always-the-'50s
are right on the money. If you're
from settling into a pudding that even
uplifting.
comfort zone.
looking for straight-ahead belly
Darryl, in all his gastronomic
Bob Heisler, LA Times
Owen Gleiberman,
laughs ... I advise you pay the
innocence, couldn't stomach.
Working Dog, the Australian comedy
Entertainment Weekly
Stephen Holden, New York Times
Kerrigans a visit. Desson Howe, Washington Post
with the dialect. I sometimes wondered if they didn't get the jokes, or is it just that they’re not as funny as I remembered? There are, of course, some jokes that are simply so culturally specific that Americans were never going to get them. Like the "can you move the Corolla so I can move the Torana to get to the Commodore?" exchange. Despite the cultural differences there were some fundamental truths that Americans could relate to well. You don't buy houses next to airports, power lines, or landfills, for instance. The first major audience response in the film always occurs when Darryl (Michael Caton) asks the building inspector if he knows anything about lead. US audiences seemed to appreciate the dry understatement underpinning much of the comedy. References to the daughter's hairdressing diploma as a college degree, the walk home from the airport, the nearly dry lake, the lawyer who dictates a letter then types it up himself: These are all moments that know no cultural boundaries. There ■were moments which took on added significance in a foreign land: when Farouk (Costas Kilias) says he _doesn't mind living next to a runway because at least these planes don't drop bombs, it is especially relevant to an audience whose country is currently bombing Serbia.
Life is Beautiful was eventually an Oscar winner for Roberto Benigni and Miramax, but it took 20 weeks of gradual growth to turn word of mouth into decent box office.
It's difficult to know if changes were made in the script to satisfy American sensibilities. To know for sure, one would need to see the films side by side.
might call the American mentality.
The trailer for the film did, however, refer to a pool
Surveys held after the film 's release revealed a
table, while the movie refers to a billiard table.
positive reaction. Audiences on the way out were
The trailer also had Tracey Kerrigan (Sophie Lee)
heard telling incoming patrons that they were in for
telling her mother Sal (Anne Tenney], “ I'm not going
a treat (of course, there was also the occasional
to have children till I'm at least 23,” a scene that
audience survey response calling the film
was cut from the film. What's more, Miramax issued
“ numbingly boring” and "definitely unfunny").
a last-minute request to switch some reels because
But the central question remains both for exhibitors
of "technical problems" - and yet we had already
and for Miramax. For exhibitors, the choice is
played the film with the suspect reels and found no
between allowing the film the time it needs to build
such problems. Changes may have been made in
or pulling it to make space for the summer's big
the substituted reels.
releases. For Miramax, it's a case of if The Castle is
Was Miramax right to be so fearful about the fate of
indeed a word-of-mouth film, how much time does
The Castlel At the end of the day, this is a film with
it need before tongues start wagging? Life is
the near-universal premise of the underdog
Beautiful was eventually an Oscar winner for
overcoming apparently insurmountable odds. It's a
Roberto Benigni and Miramax, but it took 20 weeks
theme that has proven a winner with audiences
of gradual growth to turn word of mouth into decent
from Rocky (and before) to Strictly Ballroom (and
box office. The Castle didn't get the same
beyond), and one with enormous appeal to what we
opportunity.«
[14] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
Uke bees to a honey pot The Australian arts grant culture needs a shake up
the getting of wisdom.colin moody ->The Australian film and television
film and television industry, though
preserve our Australian culture", the
build a railway from Alice Springs
industry is in crisis. Or so writers,
only those of course whose jobs are
sentiment remains the same. At the
to Darwin.
directors, producers and actors of
genuinely threatened by the emergent
next glamorous, glitzy, gala evening of
Let's say it takes five years to build.
anglo-celtic origin would have us
globalised market.
wondrous awards for all the beautiful
During that time the workers are to
believe. More funding is the catch-cry
That is, actors, producers, directors
people who so selflessly give of their
have no artistic implements and are
under the auspices of the need to
and writers, of anglo-celtic extraction
time to troop up the red carpet, one
not allowed to tell each other stories.
protect our Australian culture.
who write and depict this myopic view
may see the facade crack. The
The poets are on no account to be
But what is Australian culture and
of Australian culture. Ironic also that
dispossessed who are being fed this
allowed writing materials. In the
why should it need protecting?
this is the same insidious bunch who
crap and told constantly how much it is
meantime all the theatres w ill be shut
For jobs?
created and now perpetuates the
in their interest to preserve the status
or black as the saying goes.
With the building of film and television
cultural cringe phenomenon which is
quo may perhaps smell a rat. They may
The entire Australian arts budget w ill
studios in both Queensland and New
used to advantage when being applied
begin to correlate government funding
be given to the Aboriginal health and
South Wales, the on-again off-again
to home audiences who "just don't get
and untruthful depictions of the world
education services. The five years
proposed studio for Victoria and the
it” when failing to support homemade
as a plot to keep them right where they
following the railways completion w ill
resultant growth in overseas
crap. Used self-detrimentally when
are-, spending what's left of the paltry
see an explosion in artistic fervour.
this same group cry foul of anything
sums they garner from the sale of their
Cut all government funding of the arts,
productions coming to Australia, job growth has never been more healthy.
that is “ un-Australian" being given the
labour on movie tickets, and the
and watch the bourgeois "artistes" run
Add to this that US productions pay
least drop from the gravy-train that is
products advertised on television and
to catch the last gravy train leaving the
considerably higher rates than
arts funding in this nation.
at the movies. If not they can always go
station. With their Freddie Freeloader
local productions and one may begin
The dispossessed and the totally
to smell a vested interest in the
ignored have little to complain about
clamour for protection of our
since they have nothing to lose and
Australian values.
everything to gain in the changing
For over a hundred years the
environment.
prevailing depiction of a true blue
Perhaps the Australian arts industry is
dinky-di Aussie bloke has been the
a microcosm, of sorts, of the
laconic, hard-working, hard-drinking,
worldwide reaction to the global
With the successful bourgeoisification of all but the lumpenproletariat, the pursuit of mammon has become all. to the casino for a bet and watch the
passes so tastefully dangled round
working class stoic possessor of true
market place. Naturally those who
awards ceremonies live.
their insincere necks like so many
wisdom and high moral fibre under
have their monopoly removed are
They might cry: "Cut all government
ribbons of concern. One eats, shits and or dies. All the rest
pressure. Supported by the equally
going to fight. Flowever, it might be
funding of the arts now!"
stoic tough-as-guts Aussie sheila who
wise to check with others before the
The very concept of state-sponsored
is propaganda. To claim otherwise is
in recent times has begun to out-
call "national identity under threat"
arts is truly beyond nelly. How many
to be disingenuous to say the least.*
tough the blokes - who are now far
is utilised for self-interest and
people go to the opera, ballet and or
more concerned with the Australian
economic greed.
modern dance? Theatre, films? Lots,
Colin Moody is an actor of anglo-
male pastime of dressing up as
Flypocrisy aside, what is the need, if
lots and lots. But what would happen
celtic origin currently portraying the
women. Afterall, someone has to
any, for a society to have a depiction of
if there was no government funding?
character of radio broadcaster Tom
do it.
itself? With the successful
The world as we lazy fat bastard
Dooley in the ABC drama Something
This one-eyed view of Australian
bourgeoisification of all but the
artistes know it would end. No more
in the Air.
deeply concerned ponderous articles
societal make-up has of course
lumpenproletariat, the pursuit of
always ignored or marginalised
mammon has become all. It is ironic
on "blondie, the anorexic latest hot
slightly over fifty percent of the
that in the past actors were thought of
young thing who cares so deeply for
population.
as society’s fringe-dwellers and
the world she's waiting in line for her
Not until the show Heartbreak High
writers the source of intellect for
chance to hold a black baby up and
did we see on Australian television
revolutionary change.
shame you into salving your guilt with
anything that remotely represented a
Yet here we have a society undergoing
a credit card". All of which can only
true depiction of the demographic mix
great change and at the forefront of
happen if we have enough starving
in the population.
protest are the members who fought
black babies so let's keep them coming.
It is no surprise then the main source
so hard to get the world the way they
Idea: Arrest all poets. Arrest all artists
of demonstration comes from the
want it. Revolution and reaction?
of every hue for that matter, and put
anglo-saxon community within the
"Let them eat cake” or “We want to
them in a chain gang and make them CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [ 1 5 ]
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Email: ogteam@og.com.au .
Phone (03)9826 9077
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One of Australia's most established distributors of arthouse films. Currently distributing The Dinner Game (Le Diner De Cons), Comedian Harmonists, Love Etc, Love Is The Devil, The Assistant, Would 1 Lie To You and Wallace & Gromit. New titles for late 2000 include Innocence (Paul Cox), No Ball Players Here (Monique Schwarz) and Train de Vie (Radu Mihaileanu). For all bookings contact Jeremy Weinstein Phone (03) 9826 9077 Fax (03) 9826 1935 v v '
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October Special fes
Education and Training, short Films, SPAA <Where are the young film makers of the future are learning their trade and what are they picking up or missing in the courses? Does the training match industry expectations and needs? How well prepared are the new breed to deal with technological changes? What retraining is possible in a working industry? Issue 135 examines the training issues and Looks for the practical implications in the field. We get down to the essentials on state of the art in
To find out how you can advertise in this next issue of Cinema Papers, contact larry Boyd on (03) 95255566 or email lboydfi3niche.com.au
I
Where is the audience? It’s time to share responsibility of finding out
final cut.elise mccredie ->We are told over and over, in every
the marketplace? Flave distributors
newspaper: “The Australian film
have lost all faith in the financial
crisis. Our industry w ill be in crisis if
industry is in crisis", "The Australian
returns of Australian films and so are
filmmakers are forced to replace the
film industry has lost its way” ,
therefore taking fewer development or
creative process of filmmaking with a
"Australian audiences aren't going to
marketing risks? We are trapped in a
cynical attempt to second guess the
see Australian films because they rely
vicious cycle.
market.
on rehashing the same tired 'quirky'
As the media propagates the myth
Were Fellini, Godard and Campion
formulas".
that the Australian film industry is in
thinking of market forces and the
I am tired of the media insisting the
crisis, distributors have greater
demographic when they were making
film industry is in crisis. Box office
justification for not investing in local
what are now seen as masterpieces?
office returns with an industry in
returns for local films may have
films during production or marketing.
bunch of newspapers ads.
As filmmakers and screenwriters we
dropped but the industry is not in
This caution could push the industry
What needs to be addressed is
should be diving headfirst into worlds
crisis. Last year Two Hands received
into crisis.
whether a film's poor performance at
of vision and imagination where
rave reviews and earned close to $5
We need to shift the argument from
the box office is in fact the film's fault
anything can and w ill happen. Our
million at the box office. Similarly,
being about money (because let's face
or the fault of the marketing strategy.
need to tell a particular story must
Looking for Alibrandi has been a box
there w ill never be enough) to focus
Distributors must employ people who
outweigh marketplace concerns. We
office and critical success. The Wog
on responsibility. Distributors must
understand that a unique campaign
are putting the cart before the horse
Boy has topped $10 million, while
begin to share responsibility for the
and not just an expensive one, w ill sell
by demanding of our new writers at
smaller independent films like Praise,
diminishing audiences for Australian
a film. To be fair some distributors
every public seminar - who is your
Feeling Sexy and Soft Fruit may not
films. If a distributor commits to a film
have begun to take responsibility and
audience? Just write, be inspired,
have lit the box office on fire, they are
then they have a responsibility to
developed new strategies, but far
create worlds and emotions that
definitely heralding the arrival of new
actually distribute it. Instead they all
from all.
excite and confront. Dive in, succeed
voices of great vision and talent.
too often read the market, hedge their
Recently Jonathan Teplitzky's Better
bets, and pull the plug.
Than Sex screened to an impressed
When the film in question does poorly
Sydney Film Festival opening night
at the box office their position is
audience. Informed pundits are
vindicated. Yet it is close to impossible
already hedging their bets on a box
for a film to do decent box office
office return above $6 million for the
without financial and marketing
micro-budget movie.
support. Again we are trapped in a
Why all the doom and gloom? It’s been
vicious circle.
We should be acknowledging scripts which don’t rely on formulas, films which tell important and powerful intimate stories
five years since we've had a break-out
"But we're a business” comes their
Australian films are not some
beyond all expectations or fail
hit like Shine but why do we judge as
plea for exoneration. Yes, distribution
homogenous disaster area. Individual
gloriously but learn and grow, and
successes only those films receiving
is a business but successful
titles have unique marketing needs.
trust that the audience is there...
international acclaim? Instead we
businesses are fuelled by inspiration
Until all distributors take on board this
somewhere . . . we just have to share
should be acknowledging scripts
and vision, not just capital.
reality, more and more filmmakers
the responsibility for finding them.
which don’t rely on formulas, films
The local industry cannot compete
w ill be take inspiration from the
which tell important and powerful
with the marketing budgets allocated
successful distribution of films like
Elise McCredie is an actor, writer and
intimate stories.
to American films but it can compete
The Boys and Feeling Sexy and do it
director. Her first feature Strange
The media argues Australians are
in other ways. The industry's
for themselves.
Fits Of Passion was selected for The
turning away from local product.
distribution sector desperately needs
It is crucial we acknowledge and
1999 Cannes Film Festival. A year
Admittedly the audience for Australian
to approach film publicity
applaud the fact that for a relatively
later it was released in Melbourne on
films in 1999 was three percent, down
imaginatively.
small industry Australia produces
two screens. Due largely to the
from four percent in 1998. Why? Is it
Filmmakers are constantly told they
many powerful and original films. The
efforts and tenacity of the lead actors
because Australians don't want to see
need to know the audience for their
irrefutable fact that many are not
and the support of Glebe’s Valhalla
Australian films or because the print
film. This refrain should be thrown
reaching an audience needs to be
cinema it enjoyed a limited season in
and advertising budgets for local films
back at distributors. It is not enough to
tackled head on. We cannot keep
Sydney in June 2000. Elise is
are so much smaller than the
approach each film with the same old
blaming filmmakers for making films
currently writing her second feature
advertising budgets of American films
tired marketing routine - a couple of
Australians don’t want to see. It is
and will appear in Clara Law’s The
and are therefore being swamped in
billboards, a run of posters, and a
imperative not to equate poor box
Goddess Of 1967.9 CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [1 7]
->Winter 2000 is proving a very good season for Rose Byrne. But at 9.30am, perched in a favourite Balmain cafĂŠ, her big sleepy eyes reveal plainly the demands of the past few weeks. Each evening she has been performing on stage with the Sydney Theatre Company production of La Dispute, Pierre Marivaux's play about four kids raised in isolation then released into society, while during the days Byrne has been part of the Star Wars set. From local theatre production to international blockbuster and back again. Despite working around the clock, with a bit of sleep thrown in, she is remarkably unfazed. On her busiest day last week Byrne left home at 4.45am to be on set at Fox Studios at 5am. Many costumes and layer upon layer of make-up later, she wrapped at 6.30pm (and had 30 minutes to remove costumes and make-up before leaving Moore Park for the Sydney Theatre Company in Walsh Bay. She was due on stage, made up and in costume, at 8.15pm. An industry veteran at 21, Byrne's been acting professionally for nine years after securing her first professional role in the local feature Dalias Doll opposite the wise talkin' New York comedian Sandra Bernhard. Directed by Ann Turner, the 1994 film about a US golf pro visiting Australia was never released theatrically. Byrne went on to appear in episodes of television dramas, including Wildside, before she rocketed to fame in 1999 opposite Australia's hottest recent export Heath Ledger, in the crime comedy Two Hands. Her latest feature, My Mother Frank, where, opposite Matthew Newton she portrays a uni
student, Jenny, releases August. My Mother Frank, starring Sam Neill and Sinead Cusack, and directed by feature film newcomer Mark Lamprell, portrays a woman going through a period of change. Byrne is pretty chuffed with her performance (wearing a long brunette wig] and she especially values the friendships she made on set. "I'd never really kept a friend from a film ever. Matty (Newton) was the first one. So it was really interesting for me to learn you can have friends from the industry too," she says. For the last few years Byrne has been seeing Two Hands' director Gregor Jordan. The relationship has now ended, she says, due to the demands and geographical distances imposed by their careers Jordan is currently shooting the feature Buffalo Soldiers in Munich. Despite her relationship with Jordan, Byrne says she has never really hung out with the 'industry' crowd. Now she finds herself in the middle of a group of predominantly Sydney-based twenty-something actors including Pia Miranda, Kick Gurry and
[18] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
Last year she featured in Hands, this year she got a role in the coveted Star Wars and next year her first lead film will be released. Michaela Boland writes Rose Byrne is on the up and up.
Rose Byrne backstage at the 1999 AFI AWards
Rose Byrne in The Goddess of 1967
Leeanna Walsman (Looking for Alibrandi). Walsman also starred in La Dispute and subsequently picked up a bounty hunter role in Star Wars after the film's casting agent, Robyn Gurland, went to observe Byrne on stage. Byrne had met Gurland during a recent holiday in New York. "She was trying to meet people from Australia who were interesting." During the meeting she invited her to La Dispute. "Apparently she'd watched every Australian film from 1979 or whatever to get a bit of an idea about the talent out here.” Gurland met Rose after the show. Luckily the actor didn't know she was in the audience during the performance “otherwise I would have been really scared” , she confesses. Byrne can discuss her couple of weeks work on Star Wars but she's banned from disclosing any plot details. Which could be a difficult task anyway given very few people on set are privy to the full script. Security is tight - but the myriad of online gossip sites carry full reports daily (of varying accuracy) for full fan enjoyment. Walsman has even received a digital makeover on one site to show what her character may look like.
The common wisdom would have Rose continue developing her acting and profile in Australia until such time as she is cast as a lead in a quality Australian film with legs that take it overseas.
In Star Wars Episode Two Byrne plays a handmaiden to Natalie Portman's Padme. "I'm like the person behind the person behind her, like a glorified extra really," she laughs. Playing a handmaiden in corsets, big collars and fluted sleeves, Byrne says she's been blown away by
and on-set crews. Byrne recently ate with the off-set
(The industry 'buzz' on Goddess? A visual feast but is
the fabrics and detailing of her six costumes.
crew. "And there's like 600 blokes who are working
otherwise quite weird). She's visited LA and screen tested for a few parts -
“ One's like paper with dots on it and there's an
making buildings." She describes the scene as, "like
Armani one that's a blue and purple velvet one..."
being in jail because there's this huge tent and all
some after being recommended by Heath Ledger.
Australian actors are fond of going on (and on) about
these blokes in their jeans and..." at which point
After the craziness of La Dispute and Star Wars, she
the how ace the food is on Hollywood film sets. They
Byrne the actor takes over performing a type of
has nothing scheduled for spring.
are fam iliar anecdotes - there must be other
convict farce hunched over the table in an endearing
“ I’d like to go back but my agent always says, 'You’ve
differences between local film sets and the big
caricature....
gotta wait for your vehicle here. You've gotta wait for
ones?
Though some parts of the local industry are
your vehicle here'."
Nope, says Byrne. "I fully agree. That is how you can
struggling for survival alongside the big US
The common wisdom would have Rose continue
tell, the food and the freebies. You get free Snickers
productions occupying Sydney's Fox Studios, the
developing her acting and profile in Australia until
on this set. Big ones. Free chewing gum, free Coke,
films have been good for a handful of local actors.
such time as she is cast as a lead in a quality
free juice," Byrne confides enthusiastically. Plus
In M.-/-2 John Poison received the break he would
Australian film with legs that take it overseas.
there's the full range of biscuit shapes... Byrne runs
otherwise have struggled to get. Likewise Belinda
However, the poor international sales of local films
through the list..., “ pizza,savoury, chicken crimpy,
McClory and Hugo Weaving in The Matrix and
in recent years could mean she is waiting a long
barbecue, cheese...”
Richard Roxburgh in M:l-2. Now Byrne is part of a
time for her Oscar and Lucinda or her Muriel's
"Who gets free Snickers? What is that? On a usual
younger group fielding opportunities.
Wedding to show up.
(Australian) set there's a couple of crusty Arnotts
Byrne is eager to kick-start a Hollywood career but
Sure, Cate Blanchett and Toni Collette sailed more
and stale Lan Choo Tea.'
she's caught in a tricky in-between space. Yes, she
smoothly overseas than Byrne may sail if she were
Additionally, Byrne says the sheer scale of
was in the biggest film of 1999, but she's only just
to leave tomorrow - but then there’s nothing quite
everything and the money behind it is somewhat
completed filming her first lead role - playing a blind
like the impatience of youth...
daunting.
girl opposite Japanese Prada model Rakiya
Especially when she can so easily cast a sideways
Each meal time there are two sittings, for the off-set
Kurokawain in Clara Law's The Goddess of 1967.
glance at her Two Hands buddy Heath Ledger. •
[20] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
Selling Australian films internationally Local box office success Is not enough
to market to market.john thornhill ->There is a common misperception
spent between the subsequent two key
that an Australian film with
film markets.
respectable local box office
The major costs of each film includes
performance is a success. However,
- market office rental and overheads,
with the exception of a few microÂ
production and printing of marketing
budget aberrations an Australian film
materials, trade advertising, talent
must sell overseas in order to recoup
attendance, screenings and
its full budget for the investors.
international public relations. Strategy
The key markets are the US, UK,
meetings (in conjunction with
Spain, Germany, France and Japan,
producers) are held with specialised
and along with the key international
creative designers and trailer-makers.
market places where the buying and
The key image for each film is vital, as
selling takes places, the markets are
its applications (poster, brochure and
continually changing and evolving.
full-page trade press ads) help
For Australian films, over the past 18
determine the collective buyers'
months prospects for success have
interest. Market screenings are very
proven difficult. This is most likely due
competitive, as the number of films
to the plethora of English language
often varies from between 300 and 500
films flooding the marketplace from
over a seven to 10 day period.
the UK (lottery driven) and the US.
There are mass print and electronic
The disappointing foreign box-office
media in attendance at Cannes and if a
performance of many Oz pics in recent
film is in the festival for example, we
years may be another factor.
need to disseminate 1800 press kits.
We need to elevate the stature of our
However, the media at most other
films by increasing individual budgets
festivals, is restricted to trade
to help reclaim our position as a
publications. Therefore, with the
producer of outstanding indie films.
exception of Cannes and possibly
Beyond advocates a collaborative
Sundance, actors generally only
marketing approach with filmmakers.
represent added value.
After we view a rough-cut of each film,
At most festivals, the only media
we determine the optimum launch
that influences buyers are the
strategy. Usually, this involves
trade publications.
prioritising a list of major festivals,
Prior to each market or festival asking
The first screening of Strictly Ballroom at Cannes in 1992 went off.
The first screening attendance often determines the success or failure of the filmâ&#x20AC;&#x2122;s international prospects. All our efforts, resources and expenditure are directed to this moment.
such as Cannes, Sundance and
prices of 'high', 'medium' or Tow' for
screening schedule diary colour
advertising initiatives. Because buyers
Toronto. If the film is subsequently
each territory are decided. Of course,
brochure per film and catalogue is
live in a 'proverbial bubble' at
selected by a premium festival -
these estimates can be
sent to our data base of 1700 odd
markets, word-of-mouth moves faster
American Film Market, Cannes or
comprehensively wrong. For example,
buyers. The sales team contacts these
than an electric current.
Mifed - we simultaneously plan the
after the initial screening of Strictly
buyers to schedule market meets and
It is paramount for a leading sales
film market premiere. The scale and
Ballroom at Cannes in 1992, Beyond
screen of promo reel of film trailers.
agent to ensure quality buyers attend
budget of a festival premiere varies
doubled the 'high' estimates and Gary
The buyers are then geared up and
a near capacity premiere, then if the
considerably. Most festivals are
Hamilton could have sold the film
hopefully like us they become
buyers are ebullient, we only need to
â&#x20AC;&#x2DC;director driven' and so he or she
throughout the world three times
unrestrained in their collective
sell the film. If this does not transpire,
often becomes a catalyst to assist
over. The reality also is the worst
enthusiasm to see our premieres.
we pray for rain to support the
reaction can be a film bereft of a
The first screening attendance often
subsequent screenings. Life goes on..*
At this stage an international
market with corresponding zero sales.
determines the success or failure of
After three years as an itinerant
marketing budget allows for
To galvanise support and 'buyer'
the film's international prospects. All
gemmologist John Thornhill has been
expenditure over a 12-month period,
interest, a few weeks prior to each
our efforts, resources and expenditure
working in the film industry for
though approximately 70 percent is
market launch, prominent advertising
are directed to this moment. The
almost 20 years. He has been
expended at the festival/market
is placed in the leading trades and a
film's reaction cannot be reversed,
marketing manager for Beyond Films
launch. The remaining 30 percent is
mail-out, comprising of a Beyond
regardless of any new market or
for the past eight years.
the launch.
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [2 1]
Oh Harvey where art thou? 2000. digital video.17 min. W RITER JERMY W EINSTEIN DIRECTOR JEREMY W EINSTEIN CAMERA NAOR BAR-ZEEV PRODUCER IMI W EINSTEIN
snapshot.john safran -^Family connections can really give you a boost in life. Ask Sofia Coppola or Sophie Gosper. Angelina Jolie or Angela Bishop. Melbourne filmmaker, Jeremy Weinstein has a father who makes blinds and curtains. So it's not looking too good in the nepotism stakes. However, his namesake Harvey Weinstein makes big budget Hollywood movies, heading up Miramax International [Pulp Fiction, The Crying Game). Jeremy has no evidence that he's related to Harvey but this doesn't stop him from trying to hunt down and cash in on the surname in his doco/video diary film Oh Harvey Where A rt Thou. As I write Jeremy is still in the offline edit, splicing and dicing the hours of footage he captured at this year's Cannes Film Festival, chasing Harvey and trying to discover if blood, even
Next thing, Harvey’s at the buffet with his white plate, plucking hors d ’oeuvres from the smorgasbord. Jeremy realises he better seize the moment or else he’s going back to Melbourne without a Harvey scene in the can.
tenuous blood, is thicker than water. He knew Cannes was the only chance
footage reminiscent of JF K s book
talking, although the covert-camera
Because film people like films about
to jump Harvey. As Jeremy sees it,
depository scene, Jeremy traps Harvey
work means the conversation is not
film people, Jeremy hopes he can get
unlike Hollywood, this is the town
in the crosshairs of the DV lens.
where nobody knows you're a nobody.
This is getting him nowhere so he
captured on microphone. From what > we see, the Weinsteins are getting on
Oh Harvey Where A rt Thou? up at one of the big festivals, even Sundance.
His first foot-in-door stop, with his
calls it a night. He hears that Harvey is
famously. Then Harvey spots the
cameraman Naor Bar-Zeev, is the
staying at the Hotel Du Cap, so he
camera. He's not impressed. The
comedies: "Have A Break” , a finalist in
Miramax office in the festival city. He
starts loitering around there to
anxious cameraman pulls away.
the 1998 Metropolis Super 8 film
tries to sweet talk the first gatekeeper
increase the serendipity-potential. It
As mentioned, Jeremy has hours of
competition, and ''The Goldcoinsteins”
in the labyrinth - the receptionist. As
pays off. One morning Jeremy is busy
this stuff. He is now going through the
which ran during 1998 Celluloid Soup
often happens in these inter-cultural
eating the cheapest thing on the menu
task of amputating the chunks of
Film Festival. Climbing the micro
exchanges, the Yank has no idea what
at the hotel’s café when the fat tycoon
footage that are too distant from the
mogul ladder Jeremy has become one
the Aussie is talking about. He big
himself comes down for a bite.
project's premise. Talking your way
of the organisers of Celluloid Soup
notes himself as being somebody
Jeremy vocalises his nervousness to
into Cannes' parallel-porn festival
2000. He's pushed the project to this
Down Under, but just as he sucks her
the camera, while Harvey strolls
may be a colourful experience but
stage, self-funded and self-produced.
in, he chickens out and own up to not
around in the background looking for
what’s it got to do with Harvey?
But in a case of nepotistic life
being a rich and powerful media
a table. Next thing, Harvey's at the
Luckily, Jeremy has the Justin Case
imitating nepotistic art, Jeremy's
mogul. He hits the brick wall.
buffet with his white plate, plucking
Cannes video diary (screened last year
father, Imi Weinstein - the blind and
Next he's off to the worldwide
hors d'oeuvres from the smorgasbord.
on ABC-TV) as a May-Day-May-Day
curtain maker - wants to step in as
premiere of Miramax's Golden Bowl.
Jeremy realises he better seize the
warning as to what can go wrong
producer. Jeremy's unsure, as more
The gala opening is being held at the
: moment or else he's going back to
when you dawdle around with a DV,
established producers are also
Jeremy has previously shot two short
two-thousand seat Palais Cinema.
Melbourne without a Harvey scene in
with an access pass, but without a
handing him business cards. In Imi's
Jeremy hooks up with a production
the can. This café-of-the-stars has a
focus. Jeremy w ill also have to
favour, he could help raise finances
| strict no-paparazzi policy, so his
laterally chart out his film 's narrative
for the online edit and make sure the
fifth story apartment, with a balcony
cameraman stays back while the less
to weave around the mic and camera
curtains at the premier look top notch.
that directly overlooks the red carpet
famous Weinstein heads for the
shortfalls when Weinstein finally
Listen, Jeremy, if Harvey owes it to
and female celebrity cleavage. With
Miramax mogul. Jeremy starts small
meets Weinstein.
you, you owe it to Im i.*
company that has rented an adjacent
[22 ] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
Everyone’s talking^ ‘D otcom s! but -, do(
wMWglliiiMSB
^VBRB9H9Br Shane Danielsen
went searching, for a n s w e flp * ^ ^
Instant attention, and instant (albeit limited) acclaim.
admits, this doesn't entirely preclude the possibility
In this respect, probably the biggest news in recent
of further development: “Well, there are certainly
months has been the establishment of P0P.com - an
opportunities for spin-offs," says Weaver. “ Obviously
online venture founded by two of Hollywood's biggest
it would be terrific for both us and the filmmaker if a
guns, directors Steven Spielberg and Ron Howard
buzz built up around our short films and original
(and their respective production houses,
productions which we couldn't ignore, and which lent
DreamWorks and Imagine Entertainment], in
to them being spun off into a television series or a
conjunction with former Microsoft CEO Paul Allen.
feature film. But at the same time, it's not our
Rachel Weaver visited Melbourne recently to attend
number-one goal.
the St Kilda Film Festival, and her role within the new
"We’re not simply a farming tool for DreamWorks or
organisation - comparable to that of a vice-president
Imagine content, by any means,” she adds. "It would
of acquisitions (as with many of the new digital
have to be one of those rare cases where something
concerns, POP.com has dispensed with job-titles per
garners a lot of attention, and really cries out to be
se) - granted her an unusually clear perspective on
taken offline and put into a wider distribution system,
some of the changes overtaking the industry.
such as television or the cinema. But we'd certainly
Neither a online studio, nor a distributor in the
never ignore that opportunity, should it present
traditional sense, POP.com is instead "a digital
itself.”
entertainment company, focusing on short-form
Atomfilms' site, Gargi explains, is refreshed every
entertainment on the web." Their programming is
day: as well as its turnover of fresh material, new
two-fold: "We're playing short films in an ongoing
categories and areas are regularly introduced, partly
festival that we call POPFest," Weaver explains, "and
in order to reflect its changing content, and partly to
we're also creating original productions, live-action
sustain the interest of regular visitors. And for the
and animated, and serialised shorts, between three
moment, at least, the strategy seems to be working:
to five minutes in length, with continuous storylines
the Atom Films web site tabulated 1A million unique
and characters. We’re working with celebrities, yes,
users in March 2000 - with 25 percent of that figure
but we’re also working with emerging talent." Little wonder, therefore, that the fledgling outlet has been bombarded with submissions from all over the world. To date, one Australian short film (Samuel MacGeorge's B&W Freezer) has been selected for
www.atomfilms.com
Maybe three- to five-percent of what’s submitted to us, actually ends up making it onto our site.
www.reelplay.com
www.POP.com
mjmi
inclusion in POPFest - and more than its novelty, or
"visiting" from outside the US - and its program of
have to wonder whether the people who need to see
even the famous names behind it, this slightly old-
free-to-view films and animations were watched 2.7
it, are actually accessing it.
fashioned process of viewing and inviting films is a
million times during that month.
Maybe they are. Maybe right now, LA is full of
large part of what sets POP.com apart, betraying as it
These figures are impressive, certainly - yet one
development executives going online every day to
does a qualitative, curatorial impulse that's unusual
rather important question remains unanswered:
check out some hot new talent. But I doubt it,
in the radically democratised realm of the web.
who's actually watching this stuff? Key executives
somehow." There’s also the thorny issue of
Much the same message is echoed by Jannat Gargi,
from Miramax and DreamWorks - or your average
broadcast rights and royalties. As a "stateless"
Director of Acquisition & Development at
teenage slacker from Ohio? If we allow that, in most
medium, the internet defies most of the existing
Atomfilms.com. "We're currently receiving hundreds
cases, the purpose of a filmmaker posting their work
contractual provisions attaching to studios,
of submissions a week,” she confirms, adding that
goes beyond simple ego-gratification - that it's done,
filmmakers and their work. It remains a largely
"we go out and attend all the major international
much of the time, with the specific aim of attracting
uncharted frontier, and a general uncertainty as to
festivals in search of product." She's quick, however,
serious studio attention and, by extension, with the
terms, has led to some byzantine, not to say
to emphasise the rarified nature of their search,
hope of launching a professional career - then one
opportunistic contractual provisions.
however: "We're extremely selective: maybe three-
must consider it, for the most part, a dismal failure.
'Getting exposure is great," says McCarthy. "That's
to five-percent of what's submitted to us, actually
Lyn McCarthy, former head of Dendy Films, now chief
what short films have always been about. But there’s
ends up making it onto our site. Right now, our
of Maverick Films - and a distributor with almost two
a lot of legalities to contend with, in terms of rights.
catalogue lists between 1200 and 1300 titles - though
decades' experience in the Australian film industry -
Internet rights are still largely undefined, and the
not necessarily every film we license goes up on our
admits to being faintly sceptical of the current
terms are incredibly vague: I know of filmmakers
web site." Among their more market-driven peers, however,
dot.com mania: "I find myself wondering, what's the
who've given their work to one of these dot.com
real audience for all this?” she says. "I mean, you put
companies - who ve cheerfully taken all world rights
both Atomfilms and P0P.com count as minor
your film up online; it gets seen by a bunch of 12-
- and then, a few months later, had to go crawling to
anomalies, in that they view online consumption, via
year-old geeks all over the world... Big deal. "If it’s
the web, as an end unto itself - though Weaver
being intended as a sales tool, as people claim, you
them cap-in-hand to get it back, in order to show in it their home territory."
[24] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
A N ONLINE PRODUCT GUIDE WITH 1000's OF PR O M O REELS! Reeipiav-com has the most trailers and key art to give you the best visual presentation of product online-before, during and after th e market. Log on today! It’s free
filmbazaar.com roadside in front of the Noga Hilton at the Cannes Film Festival 2000.
REELPLAY.com larger than life at The Majestic Hotel at the Cannes Film Festival 2000.
POP.corn's Weaver admits that "there isn't really a
what they should be looking for."
internet-only television pioneer DEN.
precedent on how these deals are done. We're simply
She also cites budgetary considerations: removing
The example of the latter is especially applicable
trying to work out systems that benefit both the
the need for international freight costs, increasing
here. DEN spent up big (upwards of US$60m, by all
filmmaker and ourselves, and which are fair. And it's
the pace of dialogue between parties.
accounts) and enjoyed strong word-of-mouth, at
been a long process, but we're now finally reaching
With this, at least, McCarthy is in full agreement:
least in its pre-launch phase, but like many of the
that point."
"As a concept, I think that's definitely the way of the
online film studios, was handicapped by lousy
Ironically, the other (and indeed, more prevalent]
future, because even if you’re willing and able to go
content. Shows like Fear Of A Punk Planet
strand of dot.com activity at Cannes posited the very
to half-a-dozen markets a year - and your company
(described by one American critic as "Andy Hardy-
antithesis of the event which hosted it - the viability of
can afford to send you - there's stilt no way you can
meets-Johnny Rotten") and Redemption High (“an
nothing less than a parallel marketplace, held not in
cover everything. And travelling overseas, for
Aaron Spelling-style drama about Christian
the physical world, at a designated time and place,
Australians in particular, is always an expensive
teenagers who asked, in each episode, 'What would
but at all hours, everywhere, in cyberspace.
business. So in cost terms, this dot.com thing
Jesus do?"') conspicuously failed to attract an
In this respect, one of the leading contenders is
could be a great help, particularly for smaller
audience. With no viewers, and virtually no revenue,
Reelplay Inc: the first of the virtual film marketplaces
outfits like ours."
the site had no option but to cut its losses
But then there's the flipside: as she concedes, "an lot
and shut down.
to be fully up and running, having launched last ^ ^ ^ ^ H O c to b e r at the London Screenings and MIFED. "We have several locations, or portals, to suit many i-------------different needs," says Rachael Shapiro, the
of films are sold based on existing relationships
Similarly, the future for the current crop of dot.com
between buyers and sellers. As in any business, that
film companies is far from certain; all that is
-whole face-to-face, social thing is very important.
-guaranteed, is a turbulent ride. Merrill Lynch
company's vice-president of marketing and
But you can't develop that over email, and I think
analyst Henry Blodget was recently quoted as saying
creative affairs.
that's one aspect that a virtual market can't hope
that three-quarters of current "E-tailers” will eventually disappear, either through collapse or
"Ultimately, we want to reach a stage where, in the
to replace."
same way that people reach for their daily copy of
“ I don't think any of us think that what we're doing is
consolidation. Meanwhile, almost everyone within
Variety, they log-on to Reelplay to see what's out
going to replace the markets," says Shapiro.
the film industry, whether online or off, insists that
there."
“ Because, first and foremost, people still want
the marketplace is unable to support more than a
The first portal is intended specifically for sales
personal contact. They want to know, if they enter
handful of distribution/original content sites -
agents and distributors; the second - launched in
into a business relationship, precisely who it is
perhaps two or three in America, and two in Europe.
January, at Sundance - is for films seeking
they're dealing with. And, corny as it sounds, you
Of the rest, the overwhelming majority will either
representation and/or distribution. “So that sales
can't underestimate the power of a handshake.”
be assimilated, or go under. Mergers and alliances
agents can now not only come to our site to sell, they
That image, of hands clasped in concord across a
will be the watchwords of the 12 months to come,
can also look for product to acquire. And that's a
table, is an apt one: emblematic of a physical reality
as companies struggle to capture viable market
section designed specifically for independent
that’s slowly overtaking the fantasies of the new
shares. By the end, the landscape w ill be almost
filmmakers - everything from projects-in-
breed of online entrepreneurs.
unrecognisable - though a whole lot less crowded.
development and scripts, to shorts, features,
In May, even as Cannes was a-buzz with hype, the
“ I think there'll probably be a real shakedown in the
documentaries. All looking for distribution,
dot.com world was taking its first real hit - prompted,
next year to 18 months,” says Weaver. “ By then the
ultimately, but also a way to market to their
most analysts agree, by a sudden downturn in the
real players will start to emerge, and the little guys
particular audience. We're just acting as an
Nasdaq and some poor tie. unrealistic] management.
w ill either get bought up, or fall by the wayside.
intermediary, a marketplace, putting these people
Among the various online ventures that went under -
It's inevitable."
together. "Ultimately, our aim is simply to become a
Toysmart.com, Brandwise.com - were two especially
Says McCarthy: “A lot of people right now are
service,” she adds, "a way of making people’s jobs
high-profile blow-outs: first, British online retailer
thinking they’re in on the ground floor of something
easier. So that, when they finally get to the market,
Boo.com, launched late last year by Swedish
that’s going to make them rich. And I think, for a lot
they've already looked at a few trailers, they've done
entrepreneur Ernst Malmsten in a blaze of publicity;
of them, there's going to be a very rude awakening
a search, they know what's out there that’s new and
and then, a few weeks later, the collapse of would-be
before too long."*
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [25]
->The Australian Film Institute is synonymous with Australian film. Just ask Academy Award winning actor Geoffrey Rush, or director Baz Luhrmann, two high profile film makers and AFI Award recipients who recently spoke in support of the embattled film culture body. Or ask the producers behind the record number of 25 Australian feature films vying for publicity through this year's AFI Awards on November 18. They w ill all state publicly the Australian Film Institute is doing a grand job promoting Australian film and servicing the industry’s cultural side. But peak funding body, the Australian Film Commission, has told the AFI it w ill no longer fund
And the Winner Is? With big changes underway in Australia’s film culture arena Michaela Boland wonders if this year’s AFI Awards will be the last.
some of its activities. Meanwhile, during this uncertain period, a lobby group for a recently emboldened player in the screen culture arena, ScreenSound Australia, is quietly issuing a challenge to the glamorous event. ScreenSound, the National Film and Sound Archive has undergone some changes in recent years. The Sydney office has relocated to Fox Studios, the 'Archive' banner has been superseded by the catchy name, ScreenSound, and the branch of the government's arts department finds itself flush with resources following a funding increase and move by the Canberra head office into a more efficient premises. Now the ''Friends of the National Film and Sound Archive", represented by respected industry figures, film producer Glenys Rowe and distributor and cinema operator Andrew Pike, is circulating an 11 point discussion paper advocating new roles which should be undertaken by the new, invigorated ScreenSound. Among the proposals, the Friends advocate for ScreenSound to lead national debate on topical issues such as the recent censorship debate on Catherine Breillat's film Romance. It should publish a serious film magazine, host premieres of new works, host 'meet the filmmaker' events, and present film retrospectives. ScreenSound should be the industry focal point for fostering new talent, exchanging ideas and, "Friends believes that the Archive is the most appropriate and most logical place to organise and host the national film awards". -Canberra-based Andrew Pike co-authored the discussion paper but when pressed, he says this blatant bid for the awards, the AFI's strongest arm, was misjudged. He is considering requesting that point be removed from the paper and explains, "it is a draft discussion paper, it is not policy". “The AFI does have meagre resources but it's doing a lot with them. ScreenSound has significant resources that it should be doing more with." The paper proposes ScreenSound pursue many identical objectives to those currently undertaken by the funding-threatened AFI but Pike is not advocating a cannibalisation of the Institute's territory. “ I want more money coming into film culture, not less," he says. The director of ScreenSound, Ron Brent says he is, “in general very supportive of what (Friends] is proposing" but he w ill not publicly support the group's bid to host the film awards. "We're very keen to see the maintenance of those (threatened) services but the AFI has been constrained by limited resources and one of the things we'd like to do is help the AFI exploit those services better," he says. The AFI is under threat, in part, because the [26] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
above Ron Brent (Director of ScreenSound Australia) below Ruth Jones CEO AFI
above Geoffery Rush (Shine) below Catherine Martin & Baz Luhrmann (winners Byron Kennedy Award 1999)
AFI images compliments of AFI Research & Information
-^The Australian Film institute is synonymous with Australian film. Just ask Academy Award winning actor Geoffrey Rush, or director Baz Luhrmann, two high profile film makers and AFI Award recipients who recently spoke in support of the embattled film culture body. Or ask the producers behind the record number of 25 Australian feature films vying for publicity through this year’s AFI Awards on November 18. They w ill all state publicly the Australian Film Institute is doing a grand job promoting Australian film and servicing the industry’s cultural side.
William Anderson, Mel Gibson & Bill Hunter
But peak funding body, the Australian Film Commission, has told the AFI it w ill no longer fund some of its activities. Meanwhile, during this uncertain period, a lobby group for a recently emboldened player in the screen culture arena, ScreenSound Australia, is quietly issuing a challenge to the glamorous event. ScreenSound, the National Film and Sound Archive has undergone some changes in recent years. The Sydney office has relocated to Fox Studios, the ‘Archive’ banner has been superseded by the catchy name, ScreenSound, and the branch of the government's arts department finds itself flush with
Hugo Weaving, Lynda House, Russell Crowe, Jocelyn Moorhouse
‘
Presenter Jacki Weaver and Ray Barrett receiving his award for Best Supporting Actor In The Chant Of Jimmie Blacksmith
resources following a funding increase and move by the Canberra head office into a more efficient
film producer Glenys Rowe and distributor and
“We didn’t say these services shouldn’t exist. We thought the client base and the eventual outcomes were not appropriate for the AFC to be funding.”
cinema operator Andrew Pike, is circulating an 1i-
Kim Dalton AFC chief executive
premises. Now the "Friends of the National Film and Sound Archive", represented by respected industry figures,
point discussion paper advocating new roles which should be undertaken by the new, invigorated ScreenSound.
Australian Film Commission is reviewing funding to
Among the proposals, the Friends advocate for
two of the AFI’s five core activities: a research and
been established. Chaired by a member from the
ScreenSound to lead national debate on topical
information service and video sales.
department of the arts, key AFI representatives were
of representatives from associated organisations has
issues such as the recent censorship debate on
It w ill continue funding the AFI Awards and the
joined by a representative from VictoriaJapeak film
Catherine Breillat's film Romance. It should publish
institute's exhibition sector, which facilitates forums
body, Cinemedia, from ScreenSound, the AFC, the
a serious film magazine, host premieres of new
for the discussion and appreciation of local and
Australian Film Television and Radio School and Film
works, host ‘meet the filmmaker' events, and
international films. The executive division, which
Australia.
present film retrospectives. ScreenSound should be
oversees these functions may exist in a reduced
The AFC wants some of these organisations to assist
the industry focal point for fostering new talent,
capacity in the future, because, quite simply, there
the AFI’s transition into a leaner future.
exchanging ideas and, "Friends believes that the
may be less to administrate.
The group met for the last time on July 3. Its
Archive is the most appropriate and most logical
As part of the AFC’s funding review a working party
Canberra-based Andrew Pike co-authored the
recommendations should assist the AFI in its funding application for 2001, which was due by the end of July.
place to organise and host the national film awards’’. discussion paper but when pressed, he says this
c
Winner of Best Actor and Actress Awards Jack Thompson for Breaker Morant and Tracy Mann for Hard Knocks
In general terms the AFC acknowledges the value of the research and information service, and video sales,
blatant bid for the awards, the AFI’s strongest arm, was misjudged. He is considering requesting that point be removed from the paper and explains, “it is a draft discussion paper, it is not policy” . "The AFI does have meagre resources but it’s doing a lot with them. ScreenSound has significant resources that it should be doing more with.” The paper proposes ScreenSound pursue many identical objectives to those currently undertaken by the funding-threatened AFI but Pike is not advocating a cannibalisation of the Institute’s territory. "I want more money coming into film culture, not less,” he says. The director of ScreenSound, Ron Brent says he is, “ in general very supportive of what (Friends) is proposing” but he w ill not publicly support the group’s bid to host the film awards. “We're very keen to see the maintenance of those (threatened) services but the AFI has been constrained by limited resources and one of the things we’d like to do is help the AFI exploit those services better,’’ he says. The AFI is under threat, in part, because the
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [2 7 ]
Australian cinematographer John Seale prefers shooting intimate dram as but som ehow he found himself behind the lens on this year’s big budget SFX extravaganza The Perfect Storm. He writes exclusively for Cinema Papers about how he spent more than US$100 million. ->l think most people would agree the new blue/green screen technology where backgrounds are put in after filming is not as nearly appealing to work with as the old systems of front or rear projection. Or better, shooting everything 'live'. When shooting live the whole frame is recorded instantly and the background light can and does influence the foreground considerably. The cameraoperators can actually 'operate'. They can cut the average, or balance artificial light, or shoot using available light if they desire - whatever is the best solution at that moment. Live shooting also keeps the cinematographer slightly out of control, which can be advantageous in some ways because a 'lucky mistake' can happen. Natural light has its own tricks. It can suddenly do something you may never have anticipated, with stunning results. When filming with front or rear projection, the 'lucky mistakes’ would seldom occur, if ever. Nevertheless, by having the background plates there to shoot, light on the foreground actors can still be manipulated and synchronised to that plate and therefore have a reasonably realistic Took' to the frame. You still get to "operate". Bluescreen, however, has none of that. Unless you
Cinematographer John Jeale
-have seen the plates that are going to be compositedto the foreground action, you don't have a clue as to the way those plates will, or should, affect the
themselves at all times, knowing that wherever the
foreground. And even if you do see the plates, movements and
awful constant blue glow was, a major apocalyptic
For the actors in the foreground, it was more than
storm was brewing. This was particularly interesting when we would
just a case of "off to work we go into a storm on a
strike lighting. The digital artists would have to
we could make it.
reaction to bluesceen. In some scenes, the actor
synchronise the background to match the
Consider this. Four 10Omph wind machines, two 2000
may have to talk to the end of a broom, held in front of the screen, or a laser beam dot and listen and
foreground lightning , so it was imperative the vfx
gallon dump tanks (which dropped water 50 feet onto
(video effects) house always followed, or slaved, the
the baffles that directed the water onto the actors)
react to lines off camera' ie, act by yourself to an
foreground fx . This became Perfect Storm’s rule of
and three water cannons were all pointed directly at
inanimate object with its lines coming from another
thumb - we w ill wag your tail. It held for the duration
the actors all day AND they kept coming up laughing.
direction altogether. Julia Roberts was very vocal about this after doing
of the film.
Then there were the three wave makers creating 4ft
There were times in the pursuit of reality when the
high waves on the surface of the tank. No wonder the
Steven Spielberg's Hook. When she played
lighting in the rushes or dailies would not look too
humour wore a trifle thin at times. And we were
Tinkerbell, it seemed she spent weeks talking to the
good because the bluescreen was not giving us the
controlling the cameras by remote upstairs in the video box with coffee and donuts!
density of that light w ill be very difficult to synchronise. And don't even ask about an actor's
this amazing help from the vfx team.
sound stage” . That storm was as close to reality as
other actors off camera, actors who were never
image of the background.
actually there. She vowed never to act in that kind of
Imagine relying on the b/g effects making a lightning
But led by George Clooney, the actors would always
movie again. On some film sets, actors watch
flash silhouette an actor against the wave. We had to
attack the next day w/ith renewed energy and
monitors, placed on the proper eyeline, to see the
wait weeks, almost months, for postproduction to
enthusiasm. Even the bruises and sprains, bumps,
other actors. Oh joy. In The Perfect Storm our bluescreen work was quite
give us the result. In all cases, the result was
cuts and twisted joints seemed to heal overnight even
stunning.
though the next day was like the first.
extensive, but for the actors the bluescreen was
It must be remembered that there is no other way
The long and intensive pre-production allowed us to
always in the background, lurking behind them like a
we could have made the film, considering the
organise and run the show on schedule. I had three
monster. Therefore, the actors could play off
awesome magnitude of that n ig h t‘s storm, without
and a half months and used every single second of it
[28] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
...and could have done with more. All scenes were storyboarded, and these were put through intensive editing before being transferred to animatics, which were again edited. At the same time the vfx shots were being isolated
“On some film sets, actors watch monitors, placed on the proper eyeline, to see the other actors. Oh joy.” handshakes to go faster, further, lower etc.
and priced, as the budget had to be kept under the
Bros lot was rigged to shoot full sun at midday, dusk
US$100million - and with this kind of a show it would
and dawn, overcast rain to full apocalyptic storm to
Compromises can always be reached and, most
be too easy to run over. Here we discovered one of German director Wolfgang
night. All with full lightning fx! It went way over
times exceeded, sometimes to our great surprise.
budget and there was no real way to reduce it.
As the new technology advances, so shall we,
[Das Boot) Petersen's strengths. He had an ability to
The constant need to learn about and understand the
because the effects that can be digitally created are
decide what he DIDN'T need, so the storyboard
new technology can be gained reasonably easily,
awesome. There is no way that “TPS" could have
editing was a slash and burn exercise. He pared
because someone out there knows it and has used it.
been made with the same visual impact unless we
down the shots to what would make the film, without
They'll readily pass this on to the ignorant because,
walked hand in hand with this new technology.
compromise. On most of the films I seem to have been able to keep my camera budget and package reasonably low
in the end, we’re all making the same film, and the
VFX companies such as Industrial Light & Magic, who
gathered knowledge w ill culminate in a better film.
mastered the effects, will go on developing software,
Most people in the film industry now specialise in a
as they did for “TPS", allowing filmmakers to
and, in fact, mostly under budget.
particular field. From dealing with these problem
But this one was big, and we needed a lot of toys,
solvers you can quickly asses the mechanical or
contemplate VFX that were yesterday’s dreams. Today, they're reality.
such as two Super Techno cranes (full-time), an
creative limits that may apply on your set, and can
The technology is changing so rapidly that what was
Akela, underwater cameras, muliple cameras and
change or adapt aspects to suit your particular
cutting edge yesterday, is reality today and obsolete
more. My budget went way over. Then of course there was the lighting package, which
needs. This may require bending a few rules here
tomorrow. That’s why the visual recording process
and there, but it mostly gets down to "pushing the
was massive to say the least. Stage 16 on the Warner
technical envelope" and requiring these technical
and its use by the tomorrow's filmmakers is so exciting. It can work. • CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [29]
B a u x cinematic
Yahoo Serious latest film prompts 1 to cast, an eve over an,Australian steeped in quirky comedies.
->You can always te ll when the Australian film
exposed as possible. According to the AFC report,
industry's number crunchers are nervous. Their
exhibitors in particular yearn for the halcyon days of
Ken Hall revived the national industry with his Dad
audible jitters over low ticket sales are invariably
the gaudy, quirky comedy - bring back Muriel's
and Dave comedies, many of which were actual
followed by the whooshing and slapping sounds of
satirical nuptials or Priscilla's farcical adventures.
revivals (On Our Selection being a good example).
comedies slamming onto cinema screens across
Craic us up one more time. And filmmakers have
Hall's films were, for the most part, an uneven mix
the country.
heeded their call with alarming alacrity. So far this
of bucolic farce, smutty puns and laboured moral
tucked firmly under its arm. Way back in the 1930s
For the past few years there's been quite a bit of
year we've seen Nick Giannopoulous' self-
postures. And he set the tone for most of the
concern about the unpopularity of Australian films.
deprecating The Wog Boy, and now there's Yahoo
successful Australian comedies that have followed.
From the highs of the mid-90s when local films took
and his high-haired Mr Accident. Both films are a
Hall's legacy can be equally seen in a suburban
around nine percent of the national box-office (think
monument to the pervading resonance of 'quirk' in
satire like The Castle and the capital capers of Mr
Muriel's Wedding and The Adventures of Priscilla,
the Australian cinema.
Accident. In The Castle, the Kerrigans, a thinly
Queen of the Deserf], the local box office sank last
There is a longstanding theory that all successful
disguised update of Ken Hall's country bumpkins,
year to an unflattering three percent.
national cinemas arise from, and are defined by, two
the Rudds, have shifted inland to occupy the
A report commissioned by the Australian Film
genres - comedies and soft-porn - and in Australia's
metropolitan fringe. But the same rustic ingredients
Commission quickly identified the problem.
case perhaps a combination of both (think of films
are there - the upstanding Dad on a journey to
Australian films, it announced, were tackling
like Alvin Purple and The Adventures of Barry
national righteousness, his loyal wife (known only as
'difficult subject matter' and this was simply no
McKenzie}. According to theorists the yokel is
Mum, Mother or Ma) and their bevy of half-witted
good. Tom Jeffrey, President of SPAA (Screen
always local. Humorous films are the frontline
Producers Association of Australia) concurred:
vanguard of certain national or native traditions in
children (portrayed in The Castle by Steven Curry, Sophie Lee and co,].
"Last year our films didn't work at the box office. Why? In my personal view ... I reckon they were too
the struggle against the suffocating tentacles of Hollywood.
dark." Pie's not talking f-stops.
And so whenever the Australian film industry has
rather than quirky comedy. A humour celebrating
The answer? More comedies - preferably as overÂ
emerged from a crisis it has been with a comedy
the sentimental pursuit of domesticity. Dad's
[30] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
The Kerrigans, not unlike the Rudds, are a family that simply want to be... a family. Theirs is a dorky
reluctance to take centre stage, his defence of ordinariness, his sure knowledge of his own inadvertence flies in the face of the quirky comedy's lust for flamboyance, it’s the difference between the self-deprecating Col'n Carpenter and the celebrity
Exhibitors in particular yearn for the halcyon days of the gaudy, quirky comedy - bring back Muriel’s satirical nuptials or Priscilla’s farcical adventures. Craic us up one more time.
seeking Norman Gunston. Like The Castle, M r Accident also owes an inheritance to Dad & Dave - only this time there s no Dad. The film 's writer-producer-director-star,
in the image of a frill-neck lizard in full fright.
comedy can be summarised in the (farmyard-sized)
There's a fear-inspired flagrancy at the heart of the
world of difference that separates the scrawny
Yahoo Serious - whose very name w ill always be
quirky comedy which makes it the exception rather
chook from the strutting rooster.
remembered by future generations of film buffs as
than the rule in Australian feature films. The
Judith Brett, musing on the chook in the Australian
being synonymous with the quirky comedy - plays
cultural reflex inspiring anxious laughter is the fear
unconscious, once summed up the chicken's
Roger Crumpkin like a latter-day version of the
of being sprung for pretentiousness, an accusation
purchase on vulnerability and ordinariness by
incorrigibly naive Dave. There's even a direct
the quirky comedy simultaneously invites with its
drawing on the familiar figure of the straggly
connection. David Field who appears as the sexually
Took at me' clamour for recognition.
Australian chook scratching out its meagre
unresolved Lynden in Mr Accident played Dan in the
A quirk is a characteristic flourish, a tic alluding to a
existence in a dusty, undernourished landscape.
most recent revival of On Our Selection [Dad &
larger difference. To ‘quirk’ is to strive to stand out
This, she felt, was an image that set the chook apart
Dave: On Our Selection, 1995). Film w riter Lynden Barber once described the
from the flock. To ‘dork’, on the other hand, is to
from the plump and contented English hen or the
settle for one’s own lot. The avian metaphor of the
crowing Asian cock, an image that goes on to speak
quirky comedy as, the cinematic equivalent of being
flock seems particularly apt since, according to my
about white Australia's own precarious, superficial
turned into a koala' - all cute and emblematic. If I
dictionary at least, a 'dorking' is a large white fowl.
relationship to the landscape.
had to describe the genre in terms of Australian
In the pecking order of the Australian film industry
There is Brett believes, ‘a secret identification' in
fauna, I’d be more inclined to see the quirky comedy
the difference between the dorky and the quirky
most Australian hearts between themselves and the
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [31]
chook. When I conjure up the embracing terms of a fowl-human universe I am reminded of a long forgotten Australian short film. It wasn't a chicken, it wasn't really a comedy and it probably wasn't what Brett had in mind but Doethe's Jansen's macabre short Maria the Immaculate or Babyduck (1989) captures this 'secret identification' in disarming detail. Maria gives birth to and then nurses a pink, plucked, duck carcass before eventually trussing her 'baby' for the oven. Jansen's potent image of defencelessness (the baby as a sitting or dead duck and vice versa] works equally well, perhaps even better, with a chicken (the unrivalled embodiment of fearfulness and timidity). This confronting conflation of fowl and human appears more forcefully in the final vengeful moments of Todd Browning's Freaks (1932) when the nefarious trapeze artist is literally rather than metaphorically transformed into a feathery chicken-woman. As a creature of straightened surfaces and shortened horizons the chook's already evident vulnerabilities are further underscored by its incapacity to take flight and so it devotes itself instead to mulling and fretting and pecking over the
Priscilla Queen of the Desert
same old ground. Brett describes the chook's frustrated flappings as, 'more aspiration than achievement'. It's a sentiment often applied to an Australian cinema that sets its limits on similarly frustrated flights (of fancy], a cinema which thrives on the apologetic encouragements of the 'nice try', and which seems to have embraced the perpetual state of being almost - but not quite - good enough. You only have to look at the AFC's latest policy objectives for the industry to see just how potent the idea of being permanently 'in development' can be. Brett is not the only commentator to expend her thoughts and words on the cultural consequences of chicken identification. Cluck! The True Story of Chickens in the Cinema is an unprecedented and comprehensive homage to fowl films. In this book, Jon-Stephen Fink combs the film archives for evidence of chicken suppression and sublimation in the cinema. According to Fink, 'We must not shrink from recognising that our redemption - from pain,
Hall’s films were, for the most part, an uneven mix of bucolic farce, smutty puns and laboured moral postures. And he set the tone for most of the successful Australian comedies that have followed.
.from tyranny, from disaffection, from meaninglessness and chaos - resides in universal awareness of the interwoven fates of chickenkind and humankind. That awareness in modern times is enshrined in motion pictures, the ultimate refuge of ultimate truth.'
things apart’. Its not until he meets the girl of his
By Fink's reckoning, Flollywood itself is an elaborate
dreams (a prize winning chicken-sexer), that Roger
profile, makes a brief but notable appearance and in
mechanism purposefully designed to connect
has a larger, philosophical revelation: 'You made
a sense anticipates the defining charactersitics of
humans with their chicken-ish ancestry. He
me realise. Parts are like people - they belong
the cameo in Australian films. More recent local
uncovers the existence of a secret council that
together.' Unfortunately, and as many an Australian
films have dealt with their cameos in less relaxed
meets twice yearly in Petaluma, California, to
actor can testify - good parts don't come along
ways. Like the uncomfortable appearance of film
decide when, where and what kind of chicken scene
everyday and Mr Accident is no exception.
critics Adrian Martin and Paul Harris in Love and
w ill be included in any film. Completion funding
Roger's faith in the power of parts might in some
Other Catastrophes (1996) - which despite their
quite often rests on the decisions of the clandestine
way account for the appalling cameos that dot the
evident awkwardness did kind of work in context.
chicken council.
film. Yahoo Serious has possibly exceeded even his
Or Alan Finney in Welcome to Woop Woop (1998) -
Fink's Flollywood chicken conspiracy seems as
own past practices (remember Max Walker in
which didn't. Kylie Minogue's short-lived but
Graham Kennedy, in clear exploitation his media
likely an explanation as any for Mr Accident, the
Reckless Kelly?}. Elle McFeast occasions the screen
much publicised showing in Cut (2000) was just
story of a good guy (in desperate need of a comb
as a spurned sex kitten. Flacco appears as himself
about outclassed by the haunting presence of
and a girlfriend) who pits himself against an evil
in an inexplicable gesture to an alien spaceship
Alexander Downer's childhood cubby house in the
egg empire and their fowl deeds (like refashioning
subplot. Surely not even the forgettable
same. (True!)
the Opera House shells into something
Dallas Doll (1993) stooped this low when it
The point of the cameo is to nod to the film 's
more marketable).
summarily introduced an otherworldly plot-device
specificity, to celebrate its 'recognisability'. A cameo
Yahoo Serious takes the title role as Roger
(although you could be excused for thinking that
appearance is supposed to let us in on the film 's
Crumpkin, a maladroit man who must overcome the
Sandra Bernhardt's role was something of an
locale, to reveal to us just how far down into the
privations of his childhood. Roger you see, is the
extended cameo]?
loop a film (and its viewers) can reach. Its about
unhappy child of a pair of post-structuralists: ‘We're
These celebrity cameos recall another, much earlier
value-adding fo ra knowing (nudge nudge) audience.
parts people, we don't make things up we take
Sydney comedy of quirks and eccentricities. In
If you don't recognise Flacco then nothing is lost.
Michael Powell's They're a Weird Mob (1966),
But if you do, then the film ‘means' more. Or so the
[32] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
The Wog Boy
Muriel’s Wedding
filmmakers hope. It's a particularly economic method of layering the plot. Instead of relying on the script to create recognisable characters, the cameo gestures at prior representations, at already givens. The same sort of economic thinking has given rise to another recent industry phenomenon, the rise of the instant auteur (of which Yahoo Serious was an early example]. In Australia nowadays you can be an auteur after only one film - and if you're keen enough to believe the Tropfest hype, before you've made a feature. This newfound form of immediate authorship, is made up of a checklist of effects - like people who ‘do’ method acting - you can now 'do' Auteurism. A few angled, arty close-ups in the style of Jane Campion and hey presto! you too can claim a signature style. Its all a matter of arranging a few requisite 'on screen indicators' with the right
In M r Accident you should be thinking about Jim Carrey only without the facial facility and self-mockery. Add a few drops of Jackie Chan complete with an outtake credit sequence and you have Yahoo.”
amount of frequency. These 'indicators' (the phrase comes from a particular policy framework ordinarily used to discuss Australian content) are meant to be “seen so it is also important to labour them. In Mr Accident you should be thinking about Jim Carrey only without the facial facility and self-mockery. Add
the perils of caring too much and having an ongoing
a few drops of Jackie Chan complete with an
commitment to the cause and it just happens to be
(‘50,000 chooks a day, They won't raise my take
outtake credit sequence (only minus any actual
about chooks. Me and Daphne (1976), an
home pay’]. The film seems especially torn between
of migrant workers and rallying theme songs
bloopers and the unfettered physical humour) and
unassuming docudrama set in a chicken factory in
graphically exposing the onerous working conditions
you have Yahoo (take me Seriously).
Western Sydney remains one of Australia's most
of the factory and a transparent fascination with the
Authorship in the Australian film industry is no
controversial films. When the owners of the chicken
graphic geometry of the production line. The same
longer measured from the idea of personal
processing in which the film was shot expressed
divided purpose occurs in Brian McKenzie's
expressiveness but is proved instead by the amount
their discomfort with it's less than favourable
extraordinary documentary (also about meat
of distance a filmmaker can generate from their
documentation of factory conditions, the films
processing) A Winter's Harvest (1979).
work. Nor is the point to develop a set of serial
executive producer, the AFTRS, opted to withdraw
Both Me and Daphne and A Winter's Harvest are
relationships between any given auteur's films -
the film from circulation. The Sydney Filmmakers
deeply concerned with what happens next - with the
what we’re looking for is the capacity for
Co-op (that’s co-op not coop) ‘re-acquired’ a print of
processes that occur after the fact (of death, of
professional distance, or better still, ironic distance
the film which was distributed for many years by
production, of censorship). In a sense Daphne and
- the space of the quirky ha ha. And don’t be fooled
one of the producers from the backroom of her
Me got bitten on the bum by its own interest in the
into believing that the industry's sudden taste for
house. While the Film School busied itself by taking
afterlife. When Daphne's mum despairs, ‘If they can
'practitioner development' might extend to an
the Co-op to court, the film 's original prints were
put a man on the moon you'd think they could
interest in the evolution of an individual filmmaker's
lost.
organise a chook factory better' you have cause to
oeuvre. Instead expect to see inner-city filmmakers
On viewing the film you wonder what all the fuss
wonder about the film factory in the same
blithely encouraged to make humorous films about
was about. Me and Daphne is likeable enough, an
despondent terms. Film policymakers in Australia
the suburban fringe, straight filmmakers to keep
awkward progenitor of the type of documentary
are explicitly narrowing their ambit to the chicken
optioning queer content. Just so long as no one
filmmaking that became an industry staple for a
and egg arena of production only. The real question
cares too much about the subject at hand.
while in the early 80s. Uncomfortably scripted
is, does anyone care anymore about what happens
One Australian film which particularly demonstrates
dialogue is edited between the disembodied voices
to films afterwards...* CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [33]
My Mother Frank
ultimately insignificant piece of film which is saved only by two fine
W rite r and Director M ark L a m p re ll Key Cast Sinead Cusack. M atthew Newton, Sam N eill, Rose Byrne, Sacha H o rle r Producers Phaedon Vass, Susan Vass, John W inter
performances on the part of Irish talent Sinead Cusack as Frank and Australia's boy-of-the-moment, Matthew Newton as her son. Their roles are well-constructed and
D istributor
refreshingly original (how rare it is to
Beyond Film s
discover such a meaty female role on
Country of Origin A u stralia Duration 94 m inutes
Australian screens] but surrounding these two are myriad insipid roles which serve only as obstructions to
Sam Neill’s role as Frank’s university professor is appallingly written
Jesus' Son
what this film should - and could - be. -> “Get a life,” David screamed at his
Sam Neill's role as Frank's university
unabashed and some unfortunately
Director Alison Maclean
mother. And so she did. The only
professor is appallingly written and
immature attempts at originality. The
problem was that she got his life.
directed, as is Sacha Horler's turn as
characters of Frank's social set who
She is 'Frank' - Frances Regina Aileen
the daughter Margaret. But My Mother
are desperate for her to return to their
Nano Kennedy, a devout Catholic who
Frank's greatest problem lies not in
fold, where she was content in her
immediately endears herself to
its characters but its effort to find
misery, are curiously costumed all in
audiences with her collection of
itself. The film twists and turns
white. Perhaps Lamprell is
eccentricities, her devotion to her
impatiently throughout the 90 minutes
representing their lack of substance,
NewVision
dead husband and her tendency
as it tries to decide what it is really
their one-dimensional personalities,
Country of origin
towards over-protecting her son. But
about. Is it a boy's quest to win the
their resistance to Frank's selfexpression or their naivety and
Cast Billy Crudup, Samantha M orton, Dennis Hopper. Denis Leary, Jack Black, W ill Patton, Greg Germann, H olly H unter Producers M argot Bridger, Elizabeth C uthrell, Lydia D ean-Pilcher Distributor
USA Rating
her life - full of one-dimensional
heart of the girl of his wet dreams
characters - is boring her senseless.
(played with superior sweetness by a
reluctance to pushing the boundaries.
Literally. So Frank decides to broaden
dark-haired Rose Byrne)? Is it a
It is, disappointingly, our guess.
her horizons by enrolling in a
woman's battle to free herself of the
Religious references also abound,
university course - at her son's
chains which her family and society
predominantly in the form of two
a chequered career of late. Although
university.
bind her with? Is it the growth of a
quirky nuns - one of whom enjoys her
this reviewer is probably one of the
R Duration 103 m inutes
->Drug-fuelled road movies have had
What follows is a simple and heartfelt
bond between mother and son or is it
own personal journey to mirror
very few around to admit to a sneaking
work from first-tim e feature director
simply a story of triumph over
Frank's. Then there is a curious
enjoyment of Fear and Loathing in Las
Mark Lamprell, who has also written
adversity?
obsession with exploding cans and a
Vegas it's clear that the indies do it
this story. It is a quaintly original but
Adding to the chaos are many
devastatingly romantic gesture from
better. Gritty and grimily realistic in
[34] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
Frank's dead husband which brings
production design (check out Crudup’s
about parallels in David’s love life.
fascinatingly filthy fingernails) Jesus'
If one can ignore the distractions, the
Son recalls other 'Sundance' type
underlying story of My Mother Frank
films like Another Day in Paradise and
morphs into a pleasantly enjoyable
Drugstore Cowboy. The qualities it
film, easily forgiven for its
shares with them are its strong (and
sentimentality and its hit-and-miss
sometimes wildly funny] streak of
script. It is beautifully shot, making
humour and a range of quality
the most of the imposing Sydney
performances. And there's a great
University and the ramshackle
soundtrack. Any 70s film featuring
mansion which serves as the Kennedy
Hang On Sloopy’ has to score a few
home. Newton and Cusack are a
points in anybody's book.
perfect coupling and, for an attempt at
Such welcome levity underlines how
a first feature, My Mother Frank is
far the tone of Jesus' Son is from
indeed impressive. We wait with
Alison Maclean's last cinematic
hopeful anticipation for Lamprell's
offering, Crush (1992), a moody and
next offering. • Sarah Thomas
unsettling piece set in New Zealand,
Col. Terry Childers [Jackson], while under siege, saves the life of a fellow marine, Col. Hays Hodges (Jones). Cut to 28 years later and Hodges is retiring (you could never say that about Jones' acting] as a Marine. Childers still ploughs on in a world without an enemy, wallowing in that frightful military melancholy that craves the action of yesterday, not today's relative peace. That desire for action seemingly initiates a frightful international incident that brings Childers to courtmartial. He calls on his old buddy Hodges to represent him against a Billy Crudup plays an amiable loser - labelled Fuck Head
where the director Lived for much of
And any miracle healing is left to one
her life. Now she's back working in
of the many laugh-out-loud scenes in
the US - directing such things as TV's
the film. Said scene involves a hunting
Sex in the City- and it shows.
knife, a drug-addled orderly and a
Crudup plays an amiable loser -
man's brain. And that's all you need to
labelled Fuck Flead by an early love
know at present.
rival and living up to his sobriquet with
In the end the episodic nature of the
increasing appropriateness as the film
tale - based on a collection of short
progresses. Very much a drifter, FH
stories by Denis Johnson - makes for
gets carried away by the wind or a
a meandering and vaguely familiar
whim, which leads him into the
experience, but one which
company of heroin addict and all
nonetheless gently charts FH's
round partner-in-crime, Michelle
gradual awakening; not with any bells
(Morton, diving headlong into the role
and whistles mind: the character is
as she is wont to do, and sporting a
never going to be queuing up to join
Rules of Engagement Director W illiam Friedkin Producer Richard D. Zanuck, Scott Rudin & Robert Evans Cast Guy Pearce, Sam uel L. Jackson, Tom m y Lee Jones, Anne Archer, Ben Kingsley W riter Jam es Webb & Stephen W Gaghan Cinematographer Nicola Pecorini Country of Origin US Distribution Roadshow
surprisingly good and understated
Mensa.
American accent).
The cameos are all neatly delivered...
Using flashback and playful cutting
although don't you hate it when you
capitalise on his breakthrough
techniques (including the neatest use
know someone huge is due to appear
American performance in L.A.
of a split screen since Pillow Talk],
anytime and you spend the entire
Confidential? Good on him, I’d say, if it
Maclean has FH stumblingly narrate
movie thinking "I wonder when Holly
means he doesn't attain Gwyneth-like
his own history with charm and a
Hunter's going to show up" as you
omnipresence.
touch of post drug-fucked hindsight.
do here?
And if his performance in William
But what are we to make of all the
But the movie stands or falls on the
Friedkin's latest elementary drama,
government that requires a scapegoat.
Jesus allusions? Apart from the title,
central performance of Crudup and
Rules of Engagement, is typical of
No matter that Hodges is now a poorly
Christian iconography abounds, from
he is superb. Whether stoned or
such careful selection, he made the
regarded drunk (as Jones seems to be
FH's crown of thorns, to the graffiti on
sober, he ambles along with such
right choice.
in all his films now).
the train, to the surreal imagery with
appealing candour, geniality and
It would have been too easy for Pearce
Enter Major Mark Biggs (Pearce), the
the Sacred Heart. Certainly Christ was
downright good naturedness, it's
to waltz into a swag of mediocre
imperious, upstart lawyer
reputedly one for hanging with whores
hard not to wish him well.
and misfits, but whether he was ever as tractable as our hero is debatable. Jesus’ Son recalls other ‘Sundance’ type film s like Another Day in Paradise
• Madeleine Swain
Some would argue Guy Pearce didn't
The Imperious upstart lawyer Major Mark Biggs (Guy Pearce)
Hollywood films and fizzle. To pick a
representing the Government.
meaty supporting role like this, in
Thankfully, director Friedkin does
what was always going to be a
Pearce's first scene justice, giving him
middling American success, shows a
an arresting hallway entrance.
rare wisdom.
And Pearce plays it just right. The look
How can you not look good next to a
he has going is perfect, all harsh
couple of hams like Tommy Lee Jones
shadows consumed in his chiselled
and Samuel L. Jackson?
jaw and cheekbones. Very sharp and
The Rules of Engagement are the
warlike, he evokes a young Pacino,
rules US military forces must adhere
without needing to wear an ethnicity
to when engaging with combative
on his sleeve as the young Pacino did.
enemy forces.
He is the major delight in a film that
On screen, Rules of Engagement is a
we’ve seen many times before.
trumped up courtroom drama with all
Technically, it has that Hollywood
the finesse of Friedkin's paltry 1990s
competence and the story has a well-
directorial offerings, Blue Chips and
buffed smoothness. But it remains a
Jade. His classics, The French
story laden with the very predictable
Connection and The Exorcist are,
turncoats, surprise witnesses and
sadly, but a memory.
moral quandaries inherent in such
Rules Of Engagement opens in 1968,
wan courtroom drama.
in a not very Vietnamese jungle, where
• Michael Bodey
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [35]
Bootmen
theatricality that underpinned the project. This is particularly galling when Bootmeris technical aspects are
Director
so strong and the dancing set pieces
Dein Perry Cast
so effectively (if unrealistically) staged.
Adam Garcia, Sam W orthington,
But Bootmen deviates and chases that
Sophie Lee, Susie Porter, W illiam Zappa
prized "wide audience” . It drops most
Producer H ilary Linstead, Dein Perry Antonia Barnard
of what made Tap Dogs great.
W riter
Bootmen has the soul of a strong,
Steve W orland
popular film. Pity it lost its heart.
Cinematographer Steve Mason Country of Origin Australia Distribution
Mr Accident
Tw entieth Century Fox
->From the first rattle of the Fox
Adam Garcia tapping in Bootmen.
Director Yahoo Serious
Searchlight drumroll, it's clear there
Cast
is overseas money riding on Bootmen, the film adaptation of Dein Perry's global theatrical success, Tap Dogs,
"ball and chain". Of course, I'm not a
boys' struggles and misadventures, all
dancer/gay/emotional but some of my
the while dropping emotional pointers
Yahoo Serious, Helen Dallim ore, David Field, Grant Piro, Jeanette Cronin Producer Yahoo Serious
and its offshoot, Steel City.
best friends are.
at just the right moments before the
And while first-tim e director, Perry
Sure, the stage show's appeal rested
expected, but too short, finale.
has set up Top Dogs to achieve
on the flannel and muscle attitude of
One could argue many of the actors,
commercial success here and
boys doing tap but this verges on the
some of whom are from Perry's stage
overseas, his narrative and style
ridiculous. It means Porter's and Lee's
troupe, are ill-equipped to deal with
choices niggle at the essence of his
roles, in particular, are woefully
anything more than their elementary
stage creation, to the film's detriment.
disrespectful (and Lee needs a new
characterisations. So a pro such as
universal leveller in the world of
Entertaining though it may be,
agent, someone who can get her
William Zappa stands out like a
comedy. Without words Rowan
Bootmen, is not the joyous,
something more substantial than a
giant sequin.
Atkinson slays them in Somalia,
unrestrained hoot Steel City and Tap
hairdresser role).
The very central lead, Adam Garcia,
Jacques Tati has them rolling in the
Dogs were on stage.
Lee is Linda, the object of the affection
does have a bit of early John Travolta
aisles in Alice Springs and Buster
Though easy to watch, the film is self-
of two brothers, Mitchell (Sam
about him but it's that bit including
Keaton busts guts around the globe.
conscious when it should be over the
Worthington) and Sean (Adam Garcia).
looks, smooth dancing feet and basic
But when the slapstick fails and the
top. Where's the skin, sweat and
The Newcastle brothers have another
acting skill. No wonder Worthington,
pratfalls fall flat on their face, what's
energy that made Tap Dogs such a
thing in common - they've been tap
playing his brother, charms him off
left? If you're smart: a good story and
beaut entertainment?
dancing since they were kids, although
the screen in a dominant and very
hopefully some witty repartee. That's
Instead, the latent self-consciousness
Mitchell long abandoned any
likeable performance.
why even those who have trouble
results in the film rushing though its
aspiration to continue as Adam chased
Indeed, Worthington's presence
swallowing Jerry Lewis' shenanigans
limited characterisations, simple
his dream of becoming a professional
encapsulates the enjoyable, and best,
can enjoy The Nutty Professor.
motivations and an elementary plot -
tap dancer. The film skips through the
aspects of the film - he's ruggedly
And if the well of comic inventiveness
Distributor Roadshow Country of origin Australia
| Physical humour - it's the great
ie, a boy denied things he loves strives
handsome, roughly hewn and deals a
has all but dried up you’ll just have to
to prove others wrong.
wonderful line in fruity dialogue.
fall back on an appealing central
The cinema screen demands
Only then, when Bootmen drops its
character. People w ill forgive a lot if
outrageous excess, so you've got to
posturing, is it terrific. It shows
your protagonist has something
wonder why w riter Steve Worland
glimpses of being an Australian film
different to offer. Whether it be Mr
smothers it with the too-obvious
that sounds and feels as an Australian
Bean's misanthropic mean streak or
allusions to "men's men” - the rugby
film should precisely when it doesn't
Laurel and Hardy's wonderfully
league-playing, steel-working, car-
try too hard. It's a shame that very
mismatched yet symbiotic
stealing meatheads kept in line by
same Australianess means overt
relationship. Which brings us to the
women portrayed as the loathsome
machismo overwhelms the
geek with the carrot-top...
[3 6 ] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
Yahoo Serious clearly believes in the
help but feel sorry for her.
Beholder is a distinct improvement on
ongoing appeal of his gormless twit in
And if the movie hadn't dug itself in
his last effort, the grotesque Welcome
the red fright wig, for this is the third
deeply enough already, Serious
To Woop Woop, but well, that’s not
time he's moved heaven and earth to
decides to use the delicate strains of
saying much.
get the character onto the big screen.
'Moon River’ to remind the waiting
A sub-Hitchcockian study of identity
Following the successful Young
world of a movie they could be sitting
and obsession, this film most
Einstein (1988), he conjured up the not
and watching... Bad move, Yahoo.
obviously recalls Vertigo in its lead
so-earth-shattering Reckless Kelly
• Madeleine Swain
character’s tormented attempts to
(1993) and now he’s back as accident-
reclaim a woman that has died or in
prone Roger Crumpkin, a hapless and
this case, simply walked away.
hopeless handyman with all the worldly wisdom of Bad Boy Bubby
In case there’s any doubt that we’re in
Eye of the Beholder
(before he leaves the basement). Why Roger is such a babe in the woods is never explained, but his ineptitude only just loses out in the extraordinarily irritating stakes to the baby doll voice required of his female lead and counterpart, Sunday Valentine (Dallimore). Dallimore has a
Jason Priestly in Eye of the Beholder
Director Stephan E lliott Cast Ewan McGregor, Ashley Judd, Jason Priestly, k. d. lang, Genevieve Bujold, Patrick Bergin Producers A l Clark, N icholas C lerm ont W riters M ark Behm (novel], Stephan E lliott
homage territory, Elliott even has his
Eye (Ewan McGregor, miscast) is a
protagonist, the eponymous Eye,
cold, detached surveillance expert for
shack up in a church bell tower in San
the British government. His
Francisco. But reverence of course,
preoccupatiorrwith his job has led to a
does not necessarily equate with style,
breakdown in his personal life, with
and while elements of the suspense
his wife and daughter leaving him
genre surface now and again, they
years ago.
rarely congeal to form a coherent,
His current assignment is quickly
suspenseful narrative.
ditched when he fleetingly
normal voice, we’ve heard it. And
Distributor
There are no screws tightening in
photographs mysterious Joanna
she’s a perfectly capable actor.
Roadshow
Elliott’s script (adapted from Marc
(Ashley Judd], a woman who reminds
But if this is her idea of a move into the big time, well, she should have some serious words with her agent. And fast.
Country of Origin UK / Canada Rating MA Duration 109 m inutes
As we all know by now, Serious also
Behm’s 1980 novel), no sudden plot
him of his lost daughter. From here an
twists of note, no headlong
obsession forms that leads him in on a
acceleration to a climax anywhere
pan-American stalking mission.
near as devastating as that of
A number of implausibilities annoy.
Flitchcock’s 1958 thriller.
Chief among them is Elliott’s obvious
seems to believe in the old maxim: if
Director Stephan Elliott has departed
In fact, it's difficult to feel any kind of
intent to fetishise the hi-tech, state-of-
you want something doing, do it
from his penchant for broad comedy -
frisson at all when the film ’s main
the-art technology employed by Eye, yet at the same time he would have us
yourself - he’s credited in the
some would say thank heavens - and
characters remain simply the watcher
producing, writing, acting and editing
turned his hand to a psychological
and the watched for far too much of
believe that police all over the United
departments on all three of his films.
thriller. The resulting Eye of the
the film ’s running time.
States are too ill-equipped to nab a
Of course the upshot of this is that
killer with no qualms about leaving
when the film is a lame duck,
clues all over the place.
only one pair of shoulders can really
The director’s predilection for wide-
bear the blame.
open spaces and the road movie harks
And M r Accident is a duck with both
back to another of Elliott’s four
wings and legs in splints. The plot -
features, The Adventures of Priscilla,
some silly yarn about a wicked factory
Queen of the Desert. In Eye of the
boss lacing eggs with nicotine - is
Beholderwe tramp all over the States
feeble and unengaging; the
(mostly a morphed Montreal, actually]
characterisations are two-dimensional
taking in a variant of the Aussie
and grating. Featuring David Field as
outback, Death Valley, and end up in
yet another cartoon gangster - it is
the icy expanses of Alaska. Here at
almost Sample People all over again -
last McGregor’s character moves
and only one gag raises even half a
beyond mere voyeurism and actually
smile (a visual jest about red wine and
interacts with his quarry. By this time
salt). Oh and spare a thought for poor
however, a lukewarm th rille r has
Libby Gore - sidelined in a rather
cooled irrevocably.
tasteless minor cameo here, you can’t
• Michael Ward CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [3 7 ]
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BIDDHA l i f e i s not a sentence
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a documentary by A m ie l C o u rt in -W ils o n
STARTS SEP
ro s *
S«- the ca-wfítefíéfecte oí WF Dumb and Qansber ami there’s Something about Mar?
-^Perhaps director Peter FarreUy saw the tepid response to his latest film, Me, Myself & Irene coming. Why else would he bother trying to write low brow literature? His publishing company sure as hell
Movie Poster Art from Hollywood’s
revisit after the woeful sixth instalment
Greatest Adventure Epics and
(Mick Brown’s Performance}.
Spectaculars [Lawrence Bassoff
Thankfully, Nigel Andrews’ dissection of Jaws is a cracker. Apparently,
some still say 'they don’t make 'em
Andrews was told to write whatever he
like they used to’.
wanted, however he wanted, on the classic thriller. And he did.
terrific selling punch!” as a blurb
While full of the usual useless trivia,
spruiking one classic film notes.
anecdotes, buffery and the occasional
Featuring film posters and artwork,
insight, found throughout the
page A-Z listing of features from the
from a time when exclamation marks
Bloomsbury series, this book also adds
two countries.
meant something, Mighty Movies
storyboards from the climactic scene
Adrian Danks’ summary of Melbourne
gloriously reproduces some glorious
and eight pages of colour stills.
on screen and Verhoeven’s bold
cinema memories. The brief,
They're welcome bonuses among
revisiting of Ken G. Hall’s work are
elementary editorials and Jean
the silliness.
particularly readable.
Simmons’ introduction, accompanying
Who knew Robert Duvall was
There’s no troubles reading William
the posters are piffle next to the over
Spielberg's choice for Brody
Goldman’s Which Lie Did I Tell?
the top sales pitches for these epic
(eventually played by Roy Scheider) or
(Bloomsbury $29.95). He’s frank, he’s
films. But that’s not the point. Why
a chocolate shark that oozed jelly
fun and he reads like he’s delivering
blood was rejected as a confectionery
an alcohol-fuelled, off-the-record after
novel called The Comedy Writer (Penguin, $22.95) by the co-writer of There's Something About Mary. Might even sell some copies to people who think it’s a manual, not a novel. What a pitch, particularly when those who read his first novel, Outside Providence, knew Farrelly had already off-loaded his overly sentimental personal memoirs in that one. Pity then that Farrelly's second novel is so
a juicy rollick through Hollywood and
that lists the film's five major sound
its foibles by the famed screenwriter
effects. As Bruce would say: Wahh-
who first said "nobody knows
HWOWNGGGH-HWOOOH!
anything" about the town. He’s
The Cambridge Film Handbook for
achieved enough not to care anymore
Jane Campion's The Piano (Cambridge
and it shows in his breezy style.
University Press, $34.95pb/$99hb) is,
It isn’t as pithy as his original,
necessarily, more serious. The six
Adventures In The Screen Trade, but
specially-commissioned essays on the
sequels rarely are.
film are more direct than most film
• Michael Bodey
as Leonie Pihama's on its Maori
Henry O'Halloran, is an aspiring
representation cast an objective, and
scriptwriter in 1990 Los Angeles.
intriguing, eye over The Piano.
Quelle surprise! Henry’s a feckless,
After such a bore, Mighty Movies:
dinner speech. Which Lie Did I Tell? is
referencing, you have to love a book
Zealand pride in the film, essays such
In The Comedy Writer, the narrator,
undemanding read.
tie-in? Despite its lack of sources and
analysis. Despite the immense New
tepid and unmemorable.
a quip but rarely of insight. An
feature Films
This collection of film art "packs
knew they’d sell a copy or three of a
frustrating soul occasionally capable of
Australian Í Heui Zealand
Collection, $43.90) emphasises why
888 Wm
W H IC H LIE D ID I T E L L 1
If you can conquer the occasional over analysis and sometimes impenetrable
would you want to compete against a
language, this is a thoughtful book to
tag line such as Paths Of Glory's -
have an intellectual wrestle with.
W illia m
"Never has the screen thrust so deeply
The same could be said of Twin Peeks,
into the guts of war!” Indeed.
Australian & New Zealand Feature
No creature has penetrated so deeply
Films, edited by Deb Verhoeven
into the cinema psyche as Bruce, the
(Damned Publishing $43.90). It can be
shark used in Jaws. The mechanical
a too obtuse appreciation of our film
killer, named after Steven Spielberg’s
canon, full of 'metonymies, dualisms'
lawyer, is just one of the many stars in
and ‘discourses' but, again, if you can
the Bloomsbury Movie Guide No.5,
wade through the bloated academic
Jaws (Bloomsbury $29.95).
writing, there are some interesting
The Bloomsbury Guides deserved a
ideas before its comprehensive 300
by
G o ld m a n
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [39]
explanation of the objectives of each
(although at times it appears less like
scene, evaluating their effectiveness
a film and more like a play).
and highlighting the in-jokes that non-
The special features section includes
German members of the audience
the option of commentary by the
may not have understood: these tasks
director and actors over the film but
are performed objectively which is
where Run Lola Run is informative
refreshing.
and interesting The Winslow Boy is not. The comments by Mamet and Title The W inslow Boy Director David M amet
Cast N igel Hawthorne, Jerem y N ortham , Rebecca Pidgeon, Gemma Jones Producer Sarah Green Distributor TriS tar Pictures Country of Origin Germany Rating G Duration 100 m inutes Price $40
Rebecca Pidgeon are tiresome and wandering. There are some interesting discussions but these are few and far between. Far too often minute-long pauses are broken only by nervous giggles and pointless trivia highlighted to American Mamet - such as the changing of the guard in front
The Winslow Boy is a period film set in
of Buckingham Palace - to fill the void.
early 20th century England based on
The special features also includes a
Director Tom Tykw er
the fortunes of a young boy and the
featurette of the film, an over zealous
Cast Franka Potente,
trial of a crime he did not commit. The
appraisal of Mamet's direction and the
his non-American background to give
film is adapted from a 50-year-old
performance of the cast.
the piece an original perspective but
Title Run Lola Run
M oritz B leib treu,H erbert Knaup Producer Maria Kopf Distributor T riS tar Pictures Country of Origin Germany Rating M Duration 77 m inutes Price $40
play based on a true story. It revolves
rather takes the safe route of ordinary
around justice and the disproportionate rights the judicial system affords the wealthy as opposed
-^Intelligent and fun, Run Lola Run is
to everyone else.
an energetic film set around the
Directed by David Mamet, and with a
premise of small, seemingly
great cast headed by Sir Nigel
inconsequential moments. Divided into
Flawthorne, The Winslow Boy is
three separate segments which start
professionally acted and well directed
Title Crazy in Alabam a Director Antonio Banderas Cast Melanie G riffith, David Morse, Lucas Black, Meat Loaf Aday Producer Jam es Dyer Distributor T riS tar Pictures Country of Origin USA Rating M Duration 108 m inutes Price $40
heroes overcoming the 'evil' establishment. The special features section includes an interesting montage with commentary by Banderas. Flowever, it is a little over indulgent in its appraisal of the objectives the film reached and the originality of the
with the same premise, Lola (played
Antonio Banderas' directorial debut
by Franka Potente) has twenty
sees him directing his wife Melanie
scenes removed at the final editing
minutes to save her boyfriend Manni
Griffith in a drama set in 1960s
stage (with an explanation of the
(played by Moritz Bleibtreu) from the
Philadelphia. The film revolves around
reason for cutting the scenes) and a
mob whose money he has misplaced.
parallel stories of Griffith's Aunt
very short bloopers reel which is not
Each segment is based around the
Lucille and Peejoe (played by Lucas
in the least bit amusing.
small incidences that affect Lola as
Black) facing the inequalities
she desperately runs across town to
prevalent in 1960s America. Peejoe
her boyfriend. Different circumstances
finds himself in a moral bind
slightly alter her path and thus the
regarding the death of his friend, an
outcome.
American-Negro, killed by the local
The intelligence does not limit itself to
sheriff after being detained for
the film but extends to the DVD
breaching the "no blacks" policy at the
presentation of Run Lola Run. There is
local swimming pool.
an extremely interesting and thought
Crazy in Alabama covers familiar
provoking commentary by director
territory as it glorifies ordinary
Tom Tykwer and star Franka Potente.
Americans reestablishing American
The two discuss the entire film from
society in the 1960s. Unfortunately
beginning to end giving a detailed
Banderas does not take advantage of
[40] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
screenplay. Also included are two
â&#x20AC;˘ Shane Stephens
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I u n d e rs ta n d m y s u b s c rip tio n w ill s t a r t w ith th e n e x t a v a ila b le is s u e an d o n ly o n c e p a y m e n t has b e e n re c e iv e d . PUBLICATION
Another Day in Paradise
grow old? In Mel and Sid, the answer
you can say "kindred spirits", they're
seems to be that if you survive, you
on a thousand-mile quest to retrieve a
can stay young-at-heart forever.
holy biker relic - Peter Fonda's
Woods makes the part his own -
'chopper' from Easy Rider. Thus
equally scared and scary - and even
begins a long, blonde journey of the
the often-irritating Griffith rings true.
soul as they encounter all the perils of
Gregson Wagner brings a tired,
the road trip - bad cops, bitchy
waifish charm not unlike Chloe
waitresses and, of course, their own
Sevigny's performance in Kids, while
inner demons.
Rumpelstiltskin Director M ark Jones Cast Kim Johnston Ulrich, Tom m y Blaze, Max Grodenchik, Allyce Beasley Producer M ichael Prescott Distributor 21st Century Pictures Country of origin US Rating MA Duration 88 m ins
Kartheiser presents a far more
Lead performers Behr and Rose also
From the creators of Leprechaun
sympathetic figure than that film's
take writing, production and direction
(no, seriously], comes another
preening baby sociopaths.
credits in their behind-the-camera
splattered-up, schlocked-down
Clark's background as a photographer
debut. The screenplay is
version of a folk tale about little
is apparent in his use of Eric Edwards'
unremarkable but their obvious
people. "Somewhere in Europe" in
cinematography, which is lush
personal investment in the story does
the 14-OOs, Rumpelstiltskin's
enough to distract from the fact that
help bring it to life. However, Rose, the
attempt to steal a baby is thwarted
this is a pretty seedy story. But despite
more experienced actor of the two,
by a witch who imprisons him in a
a few questionable elements, this is
tends to overshadow Behr with her
stone figurine. In an exposition
ultimately a thoughtful, provocative
greater charm and range.
more Scooby Doo than Brothers
movie.
Cameo roles include a demented turn
Grimm, the entombed dwarf turns
Director Larry C lark Cast Jam es Woods, M elanie G riffith, Vincent Kartheiser, Natasha Gregson W agner Producers Stephen Chin, Larry Clark, Jam es Woods Distributor Eagle Entertainm ent Country of origin US Rating R Duration 97 m ins
Me and Will Directors Melissa Behr and Sherrie Rose Cast Melissa Behr, Sherrie Rose, Patrick Dempsey, Seym our Cassel Producers Melissa Behr, Sherrie Rose, Pierre David Distributor 21st Century Pictures
Whatever you think of Larry Clark, at least he lets you know what you're in for right from the start. His blazing directorial debut, Kids, opened creepily with a too-young teen Lothario working a syrupy seduction on an equally young girl. His follow up, Another Day in Paradise, opens again with teen lovers but within five
Country of origin US Rating MA Duration 96 m ins
by Lynch and Van Sant regular Grace
up in modern LA, on the shelves of
Zabriskie, as Will's obsessive-
a "weird antique store". New
compulsive mum, and M. Emmet
mother Shelley (Kim Johnston
Walsh as a gold-hearted hayseed.
Ulrich) finds him pretty fascinating
See if you can spot Once Were
and takes him home. Big mistake.
Warriors director Lee Tamahori, who
Max Grodenchik seems to be having
is also named as "Mentor" in the
fun in the title role, which seems
closing credits.
conceived as a sawn-off version of
Road movies always lose something
Freddy Krueger, but fails to
on the small screen, but this is no
reproduce the Elm Street killer's
great tale to begin with. If a grittier,
evil allure. The script doesn't help -
tattooed version of Thelma and
this guy's wisecracks make Freddy
Louise sounds appealing, this might
sound tike Dorothy Parker.
be for you, but to most it w ill seem
Production values are cheap, cheap,
all too familiar.
cheap, and there's plenty that just doesn't make sense. If he wants a
minutes, the lad is involved in some
baby, LA's full of them - why is he
incredibly lurid violence. Consider
so fixated on Baby Johnny? There's
yourself warned.
also a nasty misogynistic tone,
Mel (James Woods) and Sid (Melanie
which only adds insult to injury,
Griffith) are junkies, thieves, and 40-
and the filmmaker has apparently
ish. When they take young Bobbie
gone out of his way to kill off as
(Vincent Kartheiser) and Rosie
many police as possible. I smell
(Natasha Gregson Wagner) under their
an angry young man with an
wing, a cosy but delinquent family unit
agenda. This is pure Z-grade
is formed. Continuing his interest in
genre guff, custom-made for the
the course of young lives going off the
video market, but with barely a
rails, Clark is now asking, how do they
redeeming feature. â&#x20AC;˘ Alister Shew
[42] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
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SYDNCY • MELBOURNE • AUCKLAND • WELLINGTON • LONDON • L.A. • KUALA LUMPUR
EX H I B IT IO N A N D D I ST R IB UT IO N
Exhibition and Distribution:
an overview -^1999 was an extraordinary year for most Australian exhibitors and
many prints generated for smaller films to try and fill screens". Conversely Alan
distributors, especially those releasing and/or exhibiting US made blockbusters.
Finney of Buena Vista International (Australia) says that "there are never too
Total box office for the year was $704 million -11.7 percent up on the $603 million of 1998.
many prints - just sometimes too many expectations of a particular film ” .
Exhibitors added 170 screens bringing the national total to 1746 by the end of the
status of 1999 in retrospect. Based on its figures to June 30, the MPDAA reports
year. According to the Motion Picture Distributor's Association of Australia
while the industry is on track for a total box office of $709 million by the end of
(MPDAA], which has been gathering box office data from Australian distributors
this year, this equates to a significant drop in growth compared with 11.7 percent
since 1926, 1999 was the 11th consecutive year of record box office growth and
for 1999 and 10 percent for 1998. Similarly, although exhibitors have added
screen expansion in this market. Due to lack of adequate data, the MPDAA no
another 31 screens over the past six months bringing the national total to 1777,
longer calculates annual figures for admissions, but a very rough estimate of 78
growth has slowed in comparison with the two years prior.
Box office and industry data for the first half of 2000 confirms the extraordinary
million admissions comes from dividing total box office by an average ticket price
Major exhibitor Village Roadshow also scaled down its profit projections by $6 to
of $9 - "which hasn't varied by more than $1 for about eight years," according to
$8 million for the last financial year due to slower than expected box office from
the MPDAA.
January to April 2000.
An Australian Film Commission Report released on January 21, 2000, shows 84
Box office and screen level data alone does not provide a detailed picture of the
percent of the 1999 box office came from US films (mainly studio made), 9.5
market and is obviously not the only gauge of success for individual businesses.
percent from UK films, 3.5 percent from Europe/other and three percent from
According to the Australasian Film Commission films with big budgets, high
local product which means that multiplexes gained a lion’s share of the year's
production values and well resourced marketing campaigns currently generate
total box office.
the biggest box office locally. It's report also shows "Australian films compare
The top five films of 1999, (all US studio based), individually grossed more than
favourably with other low budget, independently produced film s” .
$20 million compared to 1998 when only Titanic took over $20 million.
Happily, 2000 has already provided some surprises in this respect, with the
Interestingly, the total number of films released nationally in 1999 was 258 -
popular success of Australian features The Wogboy (Twentieth Century Fox) $11
down from 271 in 1998 and 282 in 1997.
million and Looking For Aiibrandi [Roadshow Film Distributors] $7.6 million (as
One Likely explanation for this apparent contradiction is a rise in the number of
of June 30, 2000). Yet while Roadshow is aggressively acquiring and distributing
prints per film - or for certain films.
Australian films, other distributors and exhibitors generally believe Australian
Natalie Miller of specialist distributor Sharmill Films suggests "there may be too
product still presents too much of a challenge for too little return. • Megan Sloley
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [45]
EXHI BI TI ON A ND D I ST R IB UT IO N
Distribution UNITED INTERNATIONAL PICTURES
releases Bootmen and Baz Luhrman's
Stephen Basil-Jones said, “CTA is the
(AUSTRALIA]
Moulin Rouge.
biggest distributor of arthouse product
Owner: United International Pictures
BUENA VISTA INTERNATIONAL
in Australia based on its annual release schedule" (15 this calendar year). Most successful recent arthouse
US Studio Partners: Paramount, Metro Goldwyn Mayor, Universal
OwnenThe Walt Disney Company
releases are The Opposite of Sex ($1.6
Managing Director: Michael Selwyn
US Studio Partners:Touchstone,
million box office), Run Lola Run ($1.8 million), and The Winslow Boy
Film product category: Mainstream &
Hollywood Pictures, Walt Disney
specialist
Pictures
($1.4 million). Basil-Jones confirms
No of releases in 2000: 45
Managing Director: Alan Finney
that '99 was "a quiet year” for
Australian Releases in 2000: My
Film product category: Blockbuster &
Columbia, but claims the business has
Mother Frank, Kick (jointly with
arthouse
turned around in 2000 with 40 titles on
No of releases in 2000: Approx 30
the release slate.
Australian Releases in 2000: Mailboy
Columbia "is not the most aggressive
Beyond Films Limited) Angst UIP Australia distributes films locally
distributor of Australian film" said
on behalf of its three major studio
Buena Vista International (Australia), a
Basil-Jones. “ Our focus is currently
owners plus Dreamworks SKG
wholly-owned division of The Walt
on Asian film as the logical addition to
through Universal. It also distributes
Disney Company, releases films
the strong local trend in Asian food,
in Australia for Beyond Films as well
produced by its studios plus films
fashion and spirit". Parent company
as acquiring local films in its own
acquired from other sources.
Columbia Tristar International recently
right. Biggest recent releases are
Australian managing director Alan
established a Hong Kong production
Gladiator ($30 million box office to
Finney believes "each individual film
office to acquire and produce Asian
end June 2000), M:l-2 ($25 million to
determines the release strategy rather
films to feed its markets. See the
June 2000) and American Beauty
than the financial resources of the
Silkscreen sidebar.
($18.9 million). Recent successes in
distributor." He sees "risk-taking as
specialised area are Snow Falling On
part of the territory".
Cedars ($4 million) Tea With
Finney views the local market for
Mussolini ($4.3 million) and Being
specialist films as very healthy, "with
Owner: Village Roadshow - 50%; The
John Malkovich ($3.1 million).
most of these titles performing better
Greater Union Organisation - 50%
Managing director Michael Selwyn
per head of population than in the US".
US Studio Partners: Warner Brothers
said, "While the level of attendance is
BVI Australia recently acquired its first
Chairman: Ian Sands Managing Director: Joel Pearlman
ROADSHOW FILM DISTRIBUTORS
still very healthy, costs associated
Australian title, Mailboy w ill be
with releases continue to escalate at
released later this year.
Film product category: Blockbuster &
an alarming rate.”
With 30 years industry experience,
arthouse
He added that Australian product is
Finney said, (when) “an Australian film
No of releases in 2000: 30
proving particularly challenging right
hits the mark, the Australian audience
Australian Releases in 2000: The Dish,
now, “audiences seem to be wary of
forms a much closer and intimate
Risk
them".
relationship with the film than with
Local releases over past 12 months
other movies” .
Founded in 1968, Roadshow Film
COLUMBIA TRISTAR AUSTRALIA
distributor for Warner Brothers since
Owner: SONY Pictures Entertainment
owned by Time Warner.
very pleased with the campaign - just
US Studio Partners: SONY Pictures,
Managing director Joel Pearlman says,
not the result". He concludes "not
SONY Classics, Screengems
"Roadshow handles the largest
much is new and changing except an
Managing Director: Stephen Basil-
blockbuster to the smallest arthouse
increasing understanding of the
Jones
film and believes "the biggest story in
importance of the internet in film
Film product category: Blockbuster &
local distribution so far is the
marketing".
arthouse
increased success of Australian films".
No of releases in 2000: 40
He cites box office figures for Two
include Cut and Strange Fits of Passion (with Beyond), Selkie and
TWENTIETH CENTURY FOX
Twentieth Century Fox managing director Robert Slaviero.
Distributors has been the exclusive
Siam Sunset. "We had great hopes for Siam Sunset" says Selwyn, "and were
UIP managing director Michael Selwyn.
1971 and also distributes for Newline
Australian Releases in 2000: 0
Hands (REP 1999 release) at $5.6 million, The Craic (Roadshow 1999) at
OwnenTwentieth Century Fox
Columbia Tristar Australia has been
$5.2 million, The Wogboy (Fox 2000) at
Managing Director: Robert Slaviero
distributing locally since 1996,
$11 million and Looking For Alibrandi
Managing Director Robert Slaviero
releasing titles directly for Sony
(Roadshow 2000) $7.6 million to June
was not available for interview but
Pictures, Sony owned Screengems and
2000 .
according to its Australian web site,
Sony Pictures Classics.
Roadshow has a strong commitment
Twentieth Century Fox has 15 films
Columbia is one of the "big four"
to local product "and is the most
slated for release between July 2000
distributors of blockbusters, with
aggressive distributor in this area”
and April 2001 including Australian
Twentieth Century Fox, BVI and UIP.
Pearlman claimed. The company
[46] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
BVI managing director Alan Finney
[ f o r the wid est wide sh ot]
n
film studio , 117 Rouse Street Port Melbourne 3207 Victoria Australia www.cascadefilms.com.au/mfs
Telephone:
613 9646 4022
Facsimile:
613 9646 6336
E X H I BI T I ON A N D D I S T R I B U T I O N
seeks films with commercial potential
PALACE FILMS
at script stage and targets local
Catastrophes and My Name Is Joe but Ulee's Gold disappointed despite a
producers. He attributes recently
Owner: Antonio Zeccola
local tour by star Peter Fonda.
successful Australian product to the
General Manager: Tait Brady
This year's releases include Ghost
filmmakers' understanding of the
Film product category: Blockbuster &
Dog, Pornographic Liaison and Jesus'
audience for the films and hopes this
arthouse
Son but Newvision has scaled down its
leads to a continuous supply of
No of releases in late 2000/early
annual volume of releases from 15 to
commercial Australian product.
2001: 12
nine in the last couple of years to
“The local industry is a mature
Australian Releases in 2000:
concentrate on local production. First
market” he concludes, "in that all
Chopper, Yolngu Boy, Beware Greeks
Newvision production effort, Better
major studios are represented, there
Bearing Guns, Serenades, The
Than Sex, w ill be released in October
is a large number of multiplexes, our
Goddess of 1967
this year. Cox also owns fifty percent
market is driven by big releases from
of Melbourne's Kino cinema with the
the US and is very competitive... with
Palace has been involved in the
Becker Group. Cox says "the Kino
high cost media". As a result,
distribution of specialist film product
business has grown by about twenty
Roadshow has evolved its marketing
since 1965 and under the Palace
percent over the past year, but only
name since 1976. Antonio Zeccola and
twenty percent of Kino product comes
Tait Brady handle acquisitions,
from Newvision” . Cox believes
strategies into web sites. DENDY FILMS
purchasing international product from
bringing foreign investment into
sales agents and festivals.
Australia is essential to the growth of
Owner: The Becker Group
Brady said "Local product is mostly
our industry.
Head of film division - Dendy & REP:
acquired at script stage as films need
Mark Gooder
a distributor to get financing from the
Head of Dendy distribution: Troy Lum
FFC (Film Finance Corporation)- one
No of releases in 2000: 12
of the few funding options along with
Australian Releases in 2000: 0
the AFC (Australian Film
Head of Becker Film Divisions: Mark
Commission), Showtime and private
Gooder
Fully owned by Becker Entertainment
sources” . Palace sells through to
Head of distribution: Mark Gooder
since '98, Dendy Films specialises in
video, pay television, free to air,
Film product category: Blockbuster &
“the best of arthouse and foreign
airlines and hotels.
arthouse
REP FILM DISTRIBUTION Owner: The Becker Group Limited
language film product" according to
Major issues for Palace currently are
No of releases in late 2000: 11
head of distribution Troy Lum.
increased competition in the specialist
Australian Releases in 2000: 0
Dendy and REP do not conflict by
area bringing with it increasing film
allocating specialist product over 30
purchase, promotion and advertising
Part of the Becker Group Limited,
print capacity to REP and anything
costs. Brady also perceives "a deep
REP has distributed film locally for 15
below that to Dendy. Due to a two year
rooted audience conservatism”
years with current product focus on
run of successful releases including
favouring mainstream fare and
"200 print mainstream commercial
Waking Ned Devine ($5 million box
requiring "endorsements and awards
product and 30 print 'crossover
office) A ll About My Mother ($1.2
attached to a film". Palace has shifted
titles'."
million), The Blair Witch Project [$ 10.6
its focus away from small, foreign
Company head Mark Gooder said REP
million], Buena Vista Social Club ($1.5
features with "something new to say”
"aims for 'break-out' product that can
million) and The Cup ($500,000) Lum
and towards Australian films in its
compete with studio product" and w ill
claims that this is "the most
next slate of films.
increase releases from nine in 1999 to
NEWVISION FILM DISTRIBUTORS
grossers of the past 12 months are
Owner: Frank Cox
Co-distributed with Dendy Films, and
successful time in Dendy's history with $15 million revenue coming from
11 by end of 2000. Two biggest REP
the last 12 months". He agrees that box office is not the
The Blair Witch Project ($10.5 million)
only criteria for success especially in
Film product category: Specialist
Two Hands ($5.6 million). Up-coming
relation to specialist product, adding
No of releases in 2000: 9
releases include Saving Grace, as a
that "overheads were kept low
Australian Releases in 2000: Better
joint venture with Pinefilm
because some films were very cheap...
Than Sex
others didn't see the value in them” . Dendy w ill release up to 12 titles in
Entertainment, Girlfight, Cherry Hills and Subterrano produced by Becker
Distributing locally for 20 years,
Feature Films - production arm of
2000 but there is no local content. "We
Newvision is what Frank Cox calls "a
Becker based in the US.
never get offered any Australian film s”
specialist operation, marrying
Gooder believes that two factors
says Lum, who believes that "big
commerce and art wherever possible
having a negative impact on the
Australian films cater to an
to push art to a commercial
industry are “the poor performance of
international audience and don't
audience". Biggest successes in
the Australian dollar against the US
Australia have been Kundun, Chasing
dollar” causing increased acquisition
Amy, Kiss or Kill, Love & Other
costs for international product and the
reflect our cultural reality".
[48] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
Head of Dendy distribution Troy Lum.
Palace Films owner Antonio Zeccola
Beyond Marketing Manager John Thornhill
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E X HI B IT IO N A ND D I ST R I B U T I O N
"rising costs of promotion and advertising".
over the years. "Twelve years ago (as an exhibitor), I was able to get Mona Lisa exclusively
BEYOND DISTRIBUTION LIMITED
for The Longford plus My Left Foot and
Owner: Public Company
would play in multiplexes".
Truly Madly Deeply today those films Managing Director: Mikael Borglund Marketing Manager: John Thornhill
THE GLOBE FILM CO.
Film Product Category: Arthouse No of releases in 2000:10
Owner/Directors: Andrew
Australian releases in 2000: My
Mackie/Richard Peyton
Mother Frank, Kick [With UIP]
Film Product Category: Australian
Beyond has distributed locally for 18
Australian releases in 2000: Mullet,
months, setting up theatrical releases
Till Human Voices Wake Us
No of releases in 2000: 2/3
Sharmill Films owner Natalie Miller.
Pinefilm managing director Sean Rothsey
via UIP and managing marketing and publicity in-house. Marketing
Globe has distributed film locally for
manager John Thornhill estimates
over six years releasing around 40
Local distributor Columbia Tristar’s Asian film package SilksCreen
current release rate is 10 per year
titles in total including Secrets and
opened nationally across 11 cinemas on July 6. The titles are, The Road
"though we are mainly an
Lies and Praise. Owner Andrew Mackie
Home (Zhang Yimou), Shower (Zhang Yang), The Emperor and The
international sales agent” . Around
says distribution has been scaled down
Assassin (Chen Kaige), Kikujiro (Takeshi Kitano), Crouching Tiger
fifty percent of the company's
since March '99 "because a major
Hidden Dragon (Ang Lee).
theatrical release schedule is
backer left to set up his own
Sony Picture Classics acquired three of the titles, while the other two
Australian including My Mother Frank
company". The focus is now on
were produced by Columbia
and Kick due out later this year.
provision of marketing and publicity
Tristar Productions Asia.
Thornhill says that the local market is
services although Globe w ill still
Columbia Australia packaged
"pretty tough...you need to be highly
release two or three Australian films
up and branded the program
selective and control the size of your
per year using its own resources.
before presenting it to every
print and advertising budget."
independent and arthouse PINEFILM ENTERTAINMENT
cinema in Australia.
SHARMILL FILMS
(P1NEFILM GROUP OF COMPANIES)
Managing director Stephen
Owner: Natalie Miller
Owner: Pinefilm Group of Companies
No of releases in 2000: 5
Managing Director: Sean Rothsey
“We then chose the best.”
Australian releases in 2000:
Film Product Category: Commercial
The cinemas selected were Melbourne's Nova, Palace Como and Village
:
Basil-Jones said the cinemas then made submission outlining how they would support the program:
Innocence (Paul Cox) Nijinsky [Paul
No of releases in 2000: 8
Rivoli; Dendy Opera Quays, Palace Verona and Roseville Cinemas in
Cox documentary)
Australian releases in 2000: 0
Sydney; Electric Shadows in the ACT; Palace Nova Eastend in A d e la id e ;!^ !
Distributing locally in its own right
One surprising omission was Melbourne's Kino Cinema. Part-owner,
No Ball Players Here (documentary]
Luna and Windsor in Perth and the Hoyts Regent in Brisbane.
Sharmill has been distributing locally
since April 1999, at rate of eight
Frank Cox said he was not surprised by the selection of Cinema Nova,
for 30 years, specialising in smaller
theatrical releases per year, Pinefilm
due to its eight-screen capacity, but “had been under the impression
foreign arthouse product. Owner
aims for mainstream product "with box
Natalie M iller’s first film was The
office pulling stars, directors and
Exterminating Angel and most
current hot genres" says managing
successful title was An Angel at My
director Sean Rothsey.
Table ($1.7 million box office). Miller
The company's next four releases are
cautions good box does not always
Ben Elton’s Maybe Baby, The Bogus
equate to profit.
Witch Project, The Miracle Maker
"Once you take out film hire, advance,
(claymation) and Saving Grace, a joint
prints, advertising, etc and send fifty
release with The Becker Group who
percent to the producer there isn't a
w ill manage film rights and license.
lot left over. A much smaller film like
Rothsey believes niche and arthouse
The Comedian Harmonists, (which
product is now overpriced as "sales
has earned) $150k to date and still in
agents and producers fail to appreciate
cinemas can provide a better margin".
changing market conditions using the
Miller, who also owns the Longford
old norm of three percent of a film's
Cinema in South Yarra and part owns
budget as the price to buy for
the Nova Carlton and Nova Adelaide,
Australia.
says the concept and consumption of
Pinefilm’s main focus is now direct to
arthouse, has changed dramatically
video sales. • Megan Sloley
[50] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
. that only one cinema would be chosen per stater.
«3 rv e e \r*r\v n CiII14I- d tu r u .
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9
-■ A i n r l A division of M w l i l
E X HI B IT IO N A ND D I ST R I B U T I O N
Pentecost said, “Reading committed to the Australian market in the early 90s when it was under-screened by US standards, but expansion accelerated in the late 90s creating greater competition". He acknowledges that major Owner: Reading Entertainment Inc. (US)
commercial interests “being the ‘duopoly of Village and Hoyts' - the ACCC’s
Cinema Division: Reading Cinemas
description not mine - have made it difficult for Reading to expand its cinema
Chief Operating Officer: Neil Pentecost
sites as per the original schedule”. Reading had aimed for a 10 percent
Total national sites; 10
share of the market, but Pentecost estimates it is currently around six
Total national screens: 71
percent. Graham Burke, Chief Executive of Village Roadshow, recently estimated the Reading market share lower at around three percent.
Reading is fully owned by Reading Entertainment Inc in the United States, a
Pentecost is hopeful that the change of government in Victoria may
property developer and motion picture exhibitor in all its markets
eventually reverse current planning laws that enabled “major commercial
encompassing the US, Australia, Puerto Rico and New Zealand. The dual
interests” to block the development of a Reading multiplex in Burwood
business focus enables Reading to own much of the property on which it
because it was outside a major shopping area. He says that the legislation is
builds its cinemas in contrast with most major competitors in Australia.
still “a warm topic”, but as the Reading-owned property in Burwood is “now
Global strategy to build bigger screens and stadium capacity than
valued at double what we paid for it", the company has not lost out.
competitors’, is also being followed through in Australia with a 600-seat,
Pentecost believes that lengthy legal proceedings instigated by "shopping
20m screen cinema at Reading Geelong.
centre developers and other cinemas” to prevent the building of a multiplex
Reading entered the local market in 1996 with its first six-screen multiplex
on the Reading owned Moonee Ponds Market site are "drawing to a close".
at Townsville, QLD. To date Reading has invested $160 million dollars in the
He predicts that Reading will commence building in about 12 months’ time.
development of its cinema chain in Australia which now incorporates
Despite competitive and legislative disincentives, Pentecost is optimistic
Townsville, Redbank, QLD (eight screens); Harbourtown, QLD (16 screens);
about the future for Reading in Australia. He says, “Townsville and Geelong
Bundaberg, QLD (four screens); Mandurah, WA (six screens); Belmont, WA
have been particularly successful... with Geelong growing the market there
(10 screens); Market City, NSW (five screens); Dubbo, NSW (five screens);
by 60 percent and now maintaining a 50 percent market share in competition
Elsternwick, VIC (five screens); and, Geelong, VIC (eight screens). This totals
with the established Village multiplex". He believes that “Sydney is still
10 locations and 71 screens. Two more sites are under construction in
underscreened and Melbourne offers scope for screen growth” especially
Auburn, NSW, and Chirnside Park, VIC, with sites planned for Tumbi Umbi,
since Lendlease relinquished its $76 million share of Hoyts to the Kerry
QLD, Newmarket, NSW, Burwood, VIC and Frankston, VIC.
Packer owned Consolidated Press Holdings in March 1999. "But although
Neil Pentecost is Chief Operating Officer at Reading Entertainment. He came
this is a facilities driven business,” concludes Pentecost, “the product still
to the position in September 1999 from Hoyts where he was operations
has to be there, and no exhibitor can control product.”
manager for NSW and QLD.
• Megan Sloley
EX H I B I T I ON A N D D I S T R I B U T I O N
Exhibition THE GREATER UNION ORGANISATION
corporation a 33.3 percent share in
development and approval.
between "15 and 20 percent increase
around 37 new generation multiplexes
CEO Michael Hawkins believes the
in revenue over the past 12 months".
Owner: Amalgamated Holdings
nationally. These are branded Village
marketplace is extremely competitive
Limited
Cinemas in Victoria, Greater Union in
but not oversupplied. "Overscreening
Cinema Division: Greater Union
New South Wales, South Australia and
is the mantra of the majors" he says,
DENDY CINEMAS
General Manager: Richard Parton
Western Australia and Birch Carroll &
"but there are still desirable markets
Total national sites: 54
Coyle in Queensland. Village owns 9
with pockets of opportunity. Like
Head of Becker Film Divisions: Mark
Total national screens: 400
multiplexes and cinemas outright has
Sydney with only three megaplexes for
Gooder
International: Cinemas in Middle East,
a 50 to 75 % share in another 21
its four million population when
Head of exhibition: Mark Sarfaty
Poland, Netherlands and Germany
cinema joint ventures including the
Brisbane has three for its one
Total national sites: 5
arthouse Europa chain. Village also
million". AMC programming is
Total national screens^ 1
owns a 50 percent share of Palace
mainstream and Hawkins suggests
Australia's oldest film exhibitor which
Cinemas as a "silent partner" in the
that any competitive megaplex
now owns 100 percent of Birch Carroll
words of Graham Burke.
screening smaller, arthouse product
1998, which included Dendy Brisbane,
and Coyle giving it a total of 54 Greater
Best performing Village sites "seesaw
"shouldn't be mistaken for anything
Dendy Newtown, Dendy Martin Place
Founded in 1910, Greater Union is
Owner: The Becker Group Limited
Becker purchased Dendy Cinemas in
Union managed sites and 400 screens
between the Jam Factory, Melbourne,
other than a cinema which needs to
and a 50% share in the Kino Cinema in
nationally. Greater Union also has a
the Marion in Adelaide, Crown Casino
fill its screens".
Melbourne. An existing Dendy
33.3 percent share (with Village and
in Melbourne, and Macquarie and
Warner Brothers) in around 37
Castle Hill in New South Wales" says
HOYTS
came with the purchase, which
multiplexes (making up some of the
Burke with location and good product
54) plus 50 percent of Roadshow Film
the key success factors.
Owner: Consolidated Press Holdings
distribution arm, REP Film Distribution - a 10 year old business.
distribution division (now Dendy Films) Becker still runs in addition to its own
Distributors.
Though Village had to reduce its profit
Cinema Division: Hoyts
The company has sites planned for
expectations for the June 30 year end
Chief Executive Officer: Paul Johnson
Becker opened another site at Ocean
Chermside in Brisbane and Burwood,
due to poor product, "momentum has
Total national sites: 40
Quays in Christmas 1999, which has
Hornsby and Bondi in Sydney though
been regained in the last two months"
Total national screens: 338
generated "fantastic box office from
screen expansion w ill slow this year in
according to Burke with the release of
International: Cinemas in Argentina,
day one" says Mark Gooder, who also
favour of refurbishment. Most
Gladiator and MI2 and "this w ill be
Chile, United Kingdom, Europe, New
oversees distribution at Dendy Films
successful sites are the Megaplex
maintained with new releases A
Zealand, Mexico and the United States
and REP. Gooder says the Dendy chain
Marion, SA (30 screens); Macquarie,
Perfect Storm and Me, Myself, Irene.
NSW (16 screens); Castle Hill, NSW
Burke believes that the cinema
PALACE
the kind that can only be seen at 3
Owners: Tony Zeccola - 50%; Village
which can be seen in multiplexes" and
(16 screens); Indoorapilly, QLD (16
division is set for a "great next
screens); Garden City, QLD (16
quarter" and that the industry
specialises in arthouse product, “ both places and 'mainstream arthouse'
screens); and, Liverpool, NSW (12
generally "is in the best shape of any
Roadshow - 50%
likes to support Australian product.
screens). Programming is mostly
country in the world due to the high
National Programming Manager: Kim
Turnover has increased and cinemas
mainstream product but sites in
standard and quality of our theatres...
Petalas
are more profitable since the Becker
Cairns, Manuka ACT and megaplexes
and aggressive marketing". Per capita
Cinema Division: Palace
acquisition "partly as a result of more
screen alternative and limited release
visits to cinemas is at five per year
Cinemas/Europa
open programming sourcing from
films.
according to Burke, in contrast with
Total national sites: 21
many distributors rather than just
Greater Union believes Australian
2.5 per year in the United Kingdom
Total national screens: 56
Dendy" says Gooder.
films require specialised attention and
and three per year in Europe. Village Roadshow bought a 50 percent
• Megan Sloley
particular effort in marketing and AUSTRALIAN MULTIPLEX CINEMAS
share of Palace from Tony Zeccola in
tours, gala premieres and focus on
Owner: Australian Multiplex Cinemas
With 56 screens across 21 cinemas
school bookings has paid dividends.
Chief Executive Officer: Michael
nationally the Palace/Village joint
Hawkins
venture is the largest arthouse circuit
Total national sites: 5 (QLD only)
in Australia. Zeccola concurs with
Total national screens: 37
Graham Burke that Village is a "silent
Directors: John Kirby/Robert Kirby
Australian Multiplex Cinemas is fully
Zeccola managing all aspects of the business. Exceptions are Palace NOVA
promotion. Supporting The Wogboy and Looking For Alibrandi with star
VILLAGE
1994 who retains a 50 percent share.
Owner: Village Roadshow Limited
partner” in the joint venture, with
Chief Executive: Graham Burke
Australian owned, with cinemas in
Total national sites: 75
Queensland since 1921. The company
Eastend in Adelaide and the NOVA in
Total national screens: 532
opened its first multiplex at
Melbourne where Palace/Village is
International: 124 sites/1013 screens
Sunnybank (eight screens) in 1995 and
one of a number of owner/managers.
has since added sites at Stafford (10
Most profitable sites are Norton St,
Major profit driver in the Village
screens), Redcliffe (eight screens),
Leichhardt, The Verona, Paddington in
Roadshow cinema division locally is a
Tweed Heads (six screens) and Noosa
Sydney, and Palace Balwyn, Dendy
three way joint venture with The
(five screens). Sydney is now the focus
Brighton and The George, St Kilda in
Greater Union Organisation and
for expansion with three sites
Melbourne. Zeccola maintains that
Warner Brothers (US), giving each
currently at various stages of
most cinemas have experienced
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [5 3]
InProduction Feature Filing In pre-production TEMPE TIP GIV Productions Distribution company: Becker Group Principal Credits Director: Michael Ralph Producer: David Rowe Line producer: David1 Lightfoot Executive producers: Richard Brezzo, Phil Davey, Johnathdn Shteinman Scriptwriter: Michael Ralph Director of photography: David Foreman ACS Editor: Adrian McQueen- Mason Composer: -Seen Timms Sound recordist: Toivo jjiem ber Synopsis Everyone dream i.of findj'ng a pot of gold at the end of the rainbow. ?B;ut you don't expect to find it in Tempe. For Max Franklin thetsearch started in .a hole in the ground of his- ■ own backyard. In production NIJINKSKI Illumination Films and MusicArtsDance Films Distributiomeompany: Sharmill Filmsvand WTV (US) Budget: 1.2-million Principal Credits Director: Paul Cox Producer: Paul Cox, Aanya Whitehead Executiypproducer: Kevin Lucds, William Marshall ^Scriptwriter: Paulpox Based on the diaries of Vaslav Nijinbky Composer: Paul Grabowsky Planning and development Researchers :jLeonie Ve'rhoeven, Margot Wiburd Dance Consultant: Alida' Chase Shooting schedule by: Aanya Whitehead Budgeted by: Aanya Whitehead Production Crew Insurer: Cinesure Completion guarantor: Film Finances Ltd Legal services: Marshalls and Dent On-sOt Crdw Choreographer: Alida Chase,!';: Leigh Warren Unit publicist*: Catherine Lavelle Wardrobe Designer: Jilly Hickey Government Agency Investment Development: South Australian Film Corporation Production: South Australian Film Corporation, Australian p ilm Finance Corporation, SBS Indep'endent
SynopsjpT Vaslav Nijinsky was probably the greatest dancer of all time - the God of the Daneeand his ‘Cahiers’ (Diaries) must be one of the most ¿extraordinary and moving
literary works ever written. Tffe film usés the words of Nijinsky, written in ,1919 in St Moritz'where fte had retired, suffering extreme mental' agony. THE BANK Arenafilm Pty Ltd Principal Credits Director: Robert Connolly Producer: John Maynard Scriptwriter: Robert Connolly Director of Photography: Tristan Mi la ni ffir s t Assistant ’Director: Phil Jonéijæ Production Manager: Elisa Argenzio. Production Designer:.Luigi Pittorino -.Editor: Nick Meyers Sound Designer: Sam Petty Casting: Mulünars Storyboard A rtis y ia m Morris Cast David Wenham, Sibylla Budd, •Steve Rodgers, Mitchell Butel STAR WARS EPISODE II— THÈ,RlèE OF$HE EMPIRE 'Production company: JAK Productions/ Lucasfilm Ltd PrincipauCredits Director: George Lucas 'Producer: Rick McÇâllum Go-Screenwriter: Jonathan Hales Éditor: Ben Burtt Director of Photography: David Tattersall I production Designer: Gavin Bocquet Costume Designer:TOfjshafe| Biggajt ' æaÆng Dir^ f e : Robin Gurland Stunt Coordinator: Nick Gillard' C ast.. Ewan McGregor, N a ta lie ^ Portrriàn, Hayden Christensen, Ian McDiarmid, Ahmed Best, Samuel L Jackson, Christopher Leej ; David Bowers, Rose Byrne, Matt Doran, Joel Edgerton, Jay Laga'aia, DanielÆogàn, Alethea McGrath, Bonnie Piesse, Susie Porter, MattPv Rowan, Veronica Segura, Leeanna Walsman Art Department Design Director: Doug jphiang Gonc'épt Artists: Dermot Power, Ian McCaig, Jay Shuster, Ed Natividad, Bë'nton Jew Concept Sculptor: Robert liâ m e s Sets and Property Set Decorator: Peter Walpolè Property Master: Ty te ig e r V is u a l E f f ^ l ^ Visual Effectpfupervîéor: John Knoll Animation Director^ Rob Coleman Animatics/Pre-Vis.ualisation Pr èl-Vi s ualisa t ion/Effects Supervisor: David Dozo.ret Animatics Artists: Dan Grégoire, Euisung Lee, Matthew Ward Synopsis Set 10 years after,5fai? Wars Episode One, The Phantom
[54] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
Menace, Darth Sidious, takdssj! dVff the Republic, turns it into an empire andMntrgljS^ everything. The'Clone Warn: ' reach their p in n a c l^ s the Jedi Knights struggle to defend the galaxy from th ||g | forcePof evil. Meanwhile, Anakin Skywalker fa lls ’in love with Queen Amidala but Jfegins to succumb tothlF ~ Dark Side of the Force’. SU|iERANO Production company: Becker Films Distribution company: REP Films PrincipajLGredits Director: Esben Stori|l '; Producers: Richard Becker, Barbi Taylor Scriptwriter: dsbenUtorm Director of photography: Graeme Wood Production Disignerujghris Kennedy Planning and Development Casting: Ann Faye Production Crew Production Manager: J a n e ^ Sullivan, Pro llfg ti e rf go- or di n| | | r : C la^Shefvington Location manager: Peteiggg Hicks ” On-set C r e ^ 1gj assistant d irtite r: Chris ^ Webb Unit publicist: Amanda’ Huddle A rt Department Art director:|l|rott Bird Special Effects supervisor: PeterStubbs Wardrobe . W ardroblldesignenTess ifchofi'eld Wardrobe supervisor: Katrina Pickering Marketing Publicity: Amanda Huddle Cast Alex DimitriadeJ;, Tasma Waltpn pynopsiS Subterano is a v irtu a l® holographic game in which &Ektoman|c|God-like killer, *Hiunts His victims through a subterranean maze. In postyproducmori MOULIN ROUGE ProdUctioneompany: Bazmark Productions Distribution company.: Twentieth Century Pox* Principal Credits^ Director: Bazffluhrmann Produceig: Baz/Luhrmann, Martin Brown, Fred Baron Scriptwriters: Baz Luhpmann;Cra.ig (Pearce D0P: Don McAlpine g it I Nice le|Ki d ma n,; Ewa n McGregor, Richard’*Roxbjurgh, John Leg^izamo^Garry McDonald '•§>ynpps^^ A ypugg man castlfefeide the jshacklesMf his middle cla^sT society- to bed'pmf’ a Writer and join themanks. of the^jifejeliving artisticiunderworld of Paris.
SBCDMOtfgprr Principal Gj^itsg^ llp e c to r: Stu a ||M c BrainIp ProdueenBon Silver, Michel Bouskila-, Stuart M<|§rarth’ey H rip tw rite r: I j ù art IlfPcBratney Based on .the original screenplay titled Spudmonkey by:.Stuart McBratney Direc-torpf photegräphy: Andrew Strahorn Production designer: :Geor g in a|Green hi Ili >. Edito rs^Ra che Ip. ri ers.on, Cheryl Potter Composes: Stuart McBratney anlrTroy MenyWeatherlp Sound re^ófdlst:?!Dhrii Cromia ■S,ound a ris ta n t:, Leigh Colenfàn Pllfinirfciand De\re|gm ellt ' Jp rip t editor: T o j|fl g tts -Casting: Stuart l^c-B>atn% ■Cadl|jJ c o n ^ i l r t ^ ^ ^ i i ’ ■ Kangris «Extras la s ting- Tim Wood, Daniella Rigby Storyboard^artist: Stuart McBratnly tehoolidg schedule by: Clnjnsty Beard ■.-Budqeteljby: Jon Silver Vickie J|est PfoductionCSw Production manage^ Vickie Oest Production lo'-ordinàtor: Daniella Rigby, J.|;^ ih e P itc h e r Producer’s, a S j|ta n t: ®^|l "Baker i liocatiqn manager: CarLBakerf Unit manageiaJustin^ Hatcher Unit as^stant: David Mobcfehlan Procluction assistant Liberty Meitzer,;Kif Saint production^ruhneiaKTiSine Hanger' Insurer: Holland Ih su ra n c^fi JlUA, QBE Legal servicfs': Malcolm Mc-Bratney. Camera Crew Focus pulleFS: Travis Trew ih,|| A rlfiL e o n ^ S Clapper-loader: €van Burrows Camera tygfe: Aifri pf|om Lerhac) ¿Key g ni p : A dd#' M'cPha i l Assistant grips: Liam Connor, Mark French, Evaji OldmjpL' GafféV: Glenn Jones B é ij ^ p l j ^ ìes Th'tfMpsOh ■: ¡ElectriciaóMLuke Dillon Assistant electricians: D^k; Sheph’erd, •i^w hom pspifr Tim Wade. R c ^ S id Alcazar ,0n-s^t Grew F irs^B sistant d ire c to r® hristy Bepd; ^ ^ i n d fe s is tant d ir^ to r : DaniellaSRigby Third ^ S is ta n ffli rettorr: MaVco Sin^alia^ " •Gp'nti n u ity® | hery l «lotte r-a hd gachél Gri:drfSon 'Boom operator: Luke Haywara ClintiBricp^M’egan tMpGorrh^|_,. Maker u p ® iffa kwi | l| l Skinndr
Make-up as'sistafit. E m m a M Louise Downie*Cheri^ èoutheiré'h-,, Hai rdresse r : T 'lff^ y Beckwith-Skinner f||f^ ¿ o ffic e r^ C h ?|is|y Bfeal.d ..Unit nuffSe: V icki,fpes^S «Sfili phofogra|h^: Carlos Van Ja g p lM a rtin ^m ith ' "ijn itp u b licist Tom B e tt^,^ ^a te l-i ng ® j sti ne>Hate h'er David Mcllachlan EagraBoys Art Department A ftd irlè to rTSu z ie^Bt^c k|haw "Assista nt ^ t l di riAotor : Jlirh Allan Set dosser: Ptjier Wmglfit Michelle M^ns'ofiT C lift Bn cels ProBSPe^ p n: David l?1ae|ie ±S i@ jby props.:’I^ark elder Wardrobe W §drobe& perviS or: Lani |E,Vans WardrobptassistWntS: Joanrv^ Wright, Dpnielte MoriènS' Post-production Ifitm A ^id |p g auge: Super 16mm S ho ot i ngfst^c k-fIKoda k Video tra h§ers.bJpBeeps Pty l|td Vide’ogp’ecial fx: B e ^ ^ H PtylLtd Video master by:|j|beff| ^ Pty Lfd tGreg'Powell, A liS taife“ jFdm k i nsy Sa rn a nth a Fitzgerald, Damien Garvey, jKaihryn Lifter, Vèrrfén JohnSon;?;Liz PSjhy.lEnr oIÌTa O'Neill, L£uis,e Bojpjjfby
i t piz-za delivery.I^W who a^hjeve-sjhis dre^ ffi of drummirnjsin agU pessful rocklbandfqnly to;fcfb; replace*^ S c o m ^ u tW s e d djums
Production company Wi p S ^ ^ b e ^ ^ P tV .lttti? r Post Producfid’n l l m i l Nbvemb,erM§0% Principal Credits Di reetjqr: Steve n>J aeo brs ^ f Producer: Anna-Maria iMontieelli; ' ;Cop'roducer: iPhtlip He.arn|haw .Cori ptwr iter: Ani|a|MMi,a Mon,t i f i l i g it ^ulajMarcelM Lourde m l P I r tolome. Alex D im itriadesS Alifee A n ^ r a ,’Bipfdg®| .^Tlomares, Helfe'n ThompsonSynopsis A comii^ storv o f^ K p a |id h m oth'él/1 auouter ’ ^ S io n s h ip ; th^émilòyepl Wye n gf f « e j ud il i a ndM Jufvivaf in a smajl industpiafe^ to’wn dutilig 1®60? ' WILLFULL L a te jt e. Principal Credits D ir e m in ^ ^ e l In fo ltì--,* Russell ^ e a ffu v e p^o.d riS h e rìfS’h Jobbins S G ri|tw r'^r: p r r f y M p ^ B Director ofepIrotdgMphy. & e vè A rn d ^ M
Production desirin g George Liddle flp jto r: Nicholas Beauman l^ogigoser: Antony Parto’s s'" Soro|i recordilp Andrew Be Hetty Planning and development Castirfq lAlison Barrett Casting ExtrastWsting: Michele Ryan . Production Crew Production manager: Dennis ' Kiely Production fb.-ordinator: Cassandra Simpsons Producer's Assistants: Michele Ryan •Locatf|| m angjlp Robin Clifton Unit manager: Simon Lucas Assistant unit m lllager- Brad R o b e rts ^ Unit assistant: Mardi M om psO TiP at Lacey P ro d u d p M a s s i^ M i’i l^tieGordon Production runner: Kane
HBridh-Production accountant: Lyn fe y e ‘s ;: Accounts asjistan^ Tracey McKeown IhM'rer: HW Wood AustraliSkv? P/L Legal services: Nina . Stevenson & Associates fCamera Crew Camera t^r/a fto r: Robert Agganis Foc,us pullej| Adrien Seffrin ClajTper-loader: Brett Tracey Keyfoap: Greg Molineaux Assistant grip: Andy RennieGaffpr: M i ' ^ s f # ^ « Best boys: Mark Newnham, Mark Watson Onfs’et Crew FirsL-assis,tant d jre c to p a ® ie C rooksS S e cfn | assistant flr jc to r : Tom Read -.Third assista* director: A h n a ra Osborne Continuity: Karen MansfieleM Boom operator: Nicole L azarofW Make-up/hainisupervisor: Trish .Glover Make.^up/hair artistSSherry HubbaLd Special effecS P aridetx Fx^ Stunts co-ordinator: Reel S tin ts iUhifeurse: PaE^Buchani.r S till photography: Simon C a rd w e lH w i i t publicist: Catherine Laydlle, CllPR Ga f i n a: Mighty BiteS Art Department A rt director/Richard Hobbs A rf e B artment co-ordinator: Antheg Hodge Art departn||nt p g n e r: Sinclair Whalley le t dresser: MartpMcElrgy SDjraftsman: Robin Auld ’¡¡¡bps buyer: Lisa ‘Blitz’ B renna^H Stab d by props: Ben Wa.lker Wardrobe Wardrobe supervisor: Julie Miiffdleton Wardrobe buyete§ruzanne M iddleton/'• Standby wa?d?obe: Andrea Hood
Wardrobe^assistant: Penny; / Mackie Animals A nim a||andler: Dimity Bjork •Horse w rangle^ Ware/s--'. Liverty Stable's.. ©0nstr§jltion Department Constructiojrmanager: John R a n if^ Leading, hand: Marcus Smith Carpen|efg Chuck Morgan^, Rick L o c k || Ross, Cairnes?§§ Ke&jh JpM H enw fbd, Ian Grant, Robert A r t ^ ^ ^ Studios: Max Studios Post-production PoBproddJztion supervisor: Syfvp W a lk e r-W ils o ^ l Assistant editor: Sirpon KlaeTpa''.''' Shooting stock: Kodak Cast Anna Llge Phillips, Anne m Looby, C Thomas Howell, 'C harteS |jngw ^l, Jbhnpilden MOLOCH GIV Productions^. D jsS bf l l n company: B icke r Grp/up Principal Creditst Director:" Ernie Clark Producer: David Rowe p in e produeenfflivid jLightfoot Executive ||rod|ce rs: Ri c j l rd Brezzo, Phil Davey Scriptwriters: Louis Fra.nklin, Rob George Di recto r joLp hoto g ra phy; DavidfForeman ACS Ed¡tor: Adrian McQueen-' ‘Mason Composer: SeariTfimms Sound recordist: Toivo Ifember Production Crew Dale Fairbairn’ ; Art department Art director: Ray PattiSon Post-production fjfo st-producti on^s^p e rv is o r : Ted Mc/Queen-Mason Synopsis Four university students on a '£WD holiday in the hope of finding gold instead find the town of Moloch and itsjs.eeret inhabitants. ;
¡¡¡HE ENCHANTED BILLABONC/: TEB P/L Slmagihe if P roduction - D & R;. Productions?- Distribution Columbia Tristan Budget: 10jG milBbn Animated CGI feature film ” ' 9 M 3 D lim fl film Principal CnèditslT. Dir!fctor:KϧvidWaddington Producers^R'ob McKenzie, David Waddington Executive-Producer: Jack Wegman Scriptwriter: Michaël Wagffet'' Based- on the original Screenplay titled: The Enchanted Billabong By: Michael Wagn'er, David Waddington Producfpn designer: Wayne Bryant Editor: David Waddington Composer: Craig Bryant Sound Designer: Juliett Hill
Planning and Development Planning and Development Casting: Actors Ink CastingriBedford & Pearce Production Crew Video Master by: FMTV .. Production manage?: Dale . Cast Fairbairn Chloe Lattagfzi; Danie'LT: Production co-ordinator: Deparis, Tommy Dysart, Joan", Rebecca Somerton pilokenshire, Suzy Cato, „ Location manager: Nadine Jenny Se'esman, Mathew Schoen King, R h f|jj Rees "'Production runner: Paul Synopsis^ |jp.iqhtfoot A boy learns to believe in an Production accountant: Deb eHchantefi world and the characters that exist thereJL Wilde iK n s iire r: FIUA and in doing so. he learns to Completion; guarantor: FACB believe in himself. Post production Post-production supervisor: DUSK Ted McQueen-Mason Production company: Dusk Cast: Gary Sweet Productions Budget: 500,000 Synopsis On the outskirts of the small Duration: 90 igpjns outback town of Imyph, lies a Principal Credits tightly secured military Director: IqbaSiarkat compound. Twenty years prior Producer: David Phillips a meteor crashed intofhe Sine produced Desmond compound site unleashing a«g p tin d y Scriptwriter: David Phillips alien chemical wifh/the ability to clone living beings. The . Director of photography: donellare being sent back toVincent Tay the town while their original Production designer: Toby selves are kept comatose, at P a rke r the compound. Nobody Editor: Paul Rodrieguez .. suspects a ttiipg. When Sound recordist; Oliver seeuifty is broken a tlh e Neuman11fi| compound the original Planning and Development townsfplk escape and head Extras casting: Kerry ! back tp town where they Lamming confront themselves and Storyboard artist: Bridgejtt.. where" no one knows who is Dolan the original and w hols the Shooting schedule by: Chris clone. Maclldowie Budgeted by: Desmond Hundy THE MERCHANT OF Production Crew FAIRNESS Production manager: Linda Clandestine Pictures Pty Ltd -. H ona^i Duration: 95 mins Produ etidneo-o rd i nato r : Principal Credits p o b e rt Luppino Director: Shane Luther Location manager: Manjoosh Producer: Shane Luther Joshi j Line producer: Adam D o lm a il Unit manager: Jane'Bowden Scriptwriter: Shane Luther Assistant unit manager: Matts Director of photography: Tinrit-. J e n k jM i Spicer lEProd ip t io h r u nne r : Natash a Production designer: Martine Newton Simmon|sT:i; Assembly editor: Miclfeal Editor: Cindy Clarkson -Zadro Composer: Tamil Rogeon Legal services: Tress Cocks & S qiplldesigner: Keith Maddox Thomas Cast Sound recordists:.Tim David Phillips, GeorgtrSais, Sympjfds, Joan Ke|ly Rose Frasca,; Mathew Script editor; Annette Blons.ki M ariciS e. Peter Demllkian, Ronan McChdleny, W in d y Casting: Faith Martin -Saengsuwan Legals: Emily Slade, Holding/ Synopsis Redlicfi“ "; Dusk ¡1 an Aussie yarn about Shooting Stock: Kodak a "son, abstain and a solution. Laboratory: Cinevex Camera Equipment:" TWO WELLS Panavision GIV Productionjs>^ Sound Equipment: Pink Noise Development Investment: Distribution company: Becker Australian Film Commission Group Cast Principal Credits ShanMLuther, Director: MichaeTRalpftllf Produce® David Rowe Sara Zwangobqni, Antonia Line prodi^erbDavi'd Strakosch, Denn McCoy. Kestie Morassi, Camerqn' Lightfoot Nugent, Andrew Curry, Scriptwriter: Rob George Norman Yemm, Sam Based on an original Marsland, Marg Downey screenplay by: Adam Head .& Synopsis.; Rodney Brennan Directopvof pjrotography: Everyone wants someone David Foreman A C S ^ else’s life. Julian just wants . his own ba;ck. A childhood Editor.- Adrian McQueen friend is obsessed with him, a Composer: Sean Tim m sf? gang of losers have-*embra|ted Sound recordist: Toivo him as their best mate and a L e m b e llil
teenage temptress won't take "maybe’’ for an answer. MULLET Porchlight/Films Distribution company: The Globe Film Co Budget: $1.3M Principal Credits Director: David Caesar Producer: Vincent Sheehan Director of photography: Robert Humphreys Production designer: Elizabeth Moore Sound designer: Liam Egan Sound recordist: Paul Finley Editor: Mark Perry Planning and development Casting: Shauna Wolifson at Liz Mullinars Production Crew Production manage?: Michelle Russell Onset Crew list assistant director: John Titley Government Agency Investment Development: NSWFJO, Australian FiIm Commission... Production: Showtime,^ Australia, SBS, I and NSW Film and.TV Office. Marketing International sales agent: Axiom Films (UK) Cast Ben Mendelsohn, Susie Porter, And rew S Gilbert, Belinda McClory. Tony B a rry ,; Kris McQuade, Peta Brady, Wayne Blair. Synopsis A film about fishing, football and family. TILL HUMAN VOICES WAKE US Production company: DND Productions/ Key Entertainment Investors,: AFFC, Key Entertainment, Film Victoria International sales: Key Entertainment/ Tomorrow Films Australia/NZ Distribution: Globe Film Co Production Crew Writer/Djrector: Michael Petroni Producers: Shana Levine, Dean Murphy, Nigel Odell, !|pfyid 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 Redman Production Manager: Lucy Maclaren Director of Photography: Roger Lanser Production Designer: Ralph Moser Editor: B ill Murphy First ad: Karan Monkhouse Art Director: Adele Flere Costume Designer: Jeanie Cameron Production Co-ordinator: Anna Molyneaux
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [55]
Sound: John Wilkson, Perry Dwyer, Mich ae Instate r, Scott Findlay Casting Director: Mauralgay & Associates Marketing Unit publicist: Andrew Mackie feast Guy Pearce, Helena Bonham Carter I Synopsis^ The story of#hnan (Guy Peape) whofrahaunted by the presence o f|f dead childhood" sweetheart (Helena Bonham Cdrter) when he returns to his rural hometown, after a long absence. , ]
Telefeatures In production
SOUTH PACIFIC Principal Credit#! DirectorSDick Pearce Producer: ChristSacani Producer (Au'srt): Sue Millikèn ËXe'çutivêTproducer- Michael Jaffe, Howard plptnstfinlV ' ;J "Glenn Close, M[chael'Gore K n p tw rite r: Lawrence Cohen Based on the novelet led: fTales of the South Pacific ' by: James A Michener Director of photography: «Steve Windon Production* designer: Patrizia^ Von Brandenstein sÇonnposer: Rodgblfjs and Hammerstein pre.und record is/: G.untis Sibs „ Planning and development Wasting: Christine King 'Casting- con s u It ânt s f ’ Mullinars Casting ..'ExtrasfcaStin g : J a ne’Dawkinsl Dialogue coaqjjlV ictoria," Miewleska“ ^ Production Crew Unit Production manager: Anne Pruning Assist Pnhduction'màna^er: ^ n n if e r desJJhamp^p ProductiorfWo^ordinator: Paula Jeîïsen ;Prad ucepja assistant: EmândaM homa|pK Production secretary: Deb- ' Alfêck Jbocation managed: Karen ponesJi'l Transport manager: Andy Matthews Unit manager: Wilt Matthews Assistant u n it ma nager: Graedonle Breton Unit assistants: Nat Purdon, Christian McCollum, Ricrard Olsen, Kim Bostock, Ron Gladman lllo d u ctio n assistant: Karl McMillan Production runner: Col |Héidke;.Ed Fitzgerald Production Accountant: Angela Kenny Accounts assistant: Deb Sutherland, Tammy Miller paymaster: Kylie Wilkie fSmifh Insurer: HW Wood, Le'gaf servip^rSteyensp'n and Court Travel co-prdinator: Kpfe Jodd Fre ig ht g - o rd i halo M Danielle .Srour CamerP'Gçew  Cajqera operator: Mar|S|| ;§ p ic e ^ [
A Focus D u lle rf f l a ia |p ilp o tt? A C la o q tr Iq ^ e n Ita lm in ^ p ; ■ Platt
>EB] CINEMA PARERS AUG
B Focus;puller: Jem Ray.her B Clapperloaden |?imon William's A d d iti^ffil ’picus^fDayid Ddnkley Camera loader: Matthew Windon Key .grip: Warren Grteef Dolly grip: Toby Churchill Brown Assistant grips: Adam Kuiperv Cra ig J ac kso ny J aso nyt raws? |§ason Weeks Gaffer: Reg GareicfeS Best boy: Alan Dunsta'n Electrician': ©olin Wyatt, Mark ’Jeffries, Travis Ma*gbe' Mark Watson Onset .Grew 1st assistant director: Mark Turnbull -2nd assistanti.dire^^r:|(ane Griffin second 2nd Assistant director: Noni Roy . 3rd*assistant directmj|Greg Cobain 4th ,ass ista mpd ire ctoT:1|d d ie" ^ Thorn On Set PA: Marcus&Levy Continuity: Pam Willis Playback opyeratbrfStu'art Waller Boom operator: David Pearson Make - up"Sd pe rvi s'pr : Deborah Lansver Hair Supervisor: Martial Corneville^f'' Key make-up'artist: Ni’c’ole '§pifpCVMake-upraqti'strKylie O'Toole/ Key Hairdre'ss.er: Kerry-bfje/'; Jury Hairdresfeb r||Tina Go rd o h Special fxlfupervisor: Brian Cox ^ Special fx: Dave Hafdie, Walter Van Veenendaa|||| Angelo-SahinPauline Gerbent, David Goldie, /Special fx assistants? PaJrieljL iga rm iggelf, Aa ro n Cox' Choreographer: Vincent Patterson Assistant' G horeographeifg Traoie M o rle y'1 Stunts colordinator: EawrelndS Wood ward Unit nulls«: Ron Houghton. -Still photographer: Carolyn Jonesjl1 Catering: Mighty Bites^.,, ’Caterihg' ResajMokhtar Art Department Art director: Nick McCallum . Assistant art direetorSErhma Lawes. Art department co-ordinator: Jen O'Gonnefl PA to Designer: Sally.-Ann Louisson Art d.epagtmenf.|lnner: Ke'nt , SherloqkJcT Set decorator: Suz.a Maybury Set dS igner: Prisaud g a lVL’ ^ Drafitsijian: Tim Kobin Drafting/Models: Jo|lje Frief^r piy|a phjcs: Ingrid W e irp l Aire raft cd;p rd inato r : Ralph Simpson PropsWe^pn: Lisa^Brennan fgrops buyej-^Mark BrimmgT" Props buyer/d|e sser'Mof^ Beikoff, James W atpr An dfee^Sn o It ® ptbndbvDrens:- Murray^ ; G ^ ^ n J<f • | p s ij||§ ia nd byrAd rieVi n e f|| Og le ^ ^ ^ p jW a ® r Arrqourer: KeWdonesaB MUiun ¿htale i-ordinatnr Paul Naylor 'A^ ist v e jh iG ^ ^ ^ ^ ff^ Navlbr
Thom son: Wardrobe buyer: NataJ'e'' ; '‘GandnerPT; S jp ridbywardro t^ lH ele n Ma|gsf A n d r® ¡jpo'd Wardrobe ^ lis ta n trlJ o h n PoweKf> K f u l e r : Juli^Erankham Construction ^partm ent t©o nstr ucti d h’m j pe p?i-so r : Geofif'How^H Igeemc artist Bteyjp j ¿ S a llyb a nf^! ^ q n ^ ructi o n::m an^ e r : ^Eugene band U p|ling hands: Warwick Miller, Steve^^zic, Michael .Rout (Set finishers- Frarfkf j a lconer,. Richard Baldwin fereensman: Gregg ThomaS^^ Post production Assistam/editor: John l^ e Editing assfstant'^fiavid' ; Birrell Musical director: Paul Bogaev Music engineer: Jqe|Moss Recordinq^tudiqPStudio 301 ifejfst Glenn^ElosJ, Rade Sherbedizj^ Harry Conni c ^ ^ |S |R o b e rt Pastorelli, Lori Tan Chinn, JackiThompson Synopsis Remake of the Rodgers andr^ Ha rrim ersteinm usi calr^;u!$;. Pacific’. MY HUSBAND, MY KILLER tSc-re^ntime/Columbia Tnistar Duration: 90min Prineip.al'.fefedits Director: Peter Andrikidis ProducAiaDayid Gould Supervising pgpTucer: Tony*^ Buckley Executive produeer: Des Monag.han/Fran McConnell .Scriptwriter: Greg" Had^rck Based on the book titled: My .Husband, M yK illef" " By: Sandra Harvey and Li ndsaySimpsbn Director of photography: J o e l Pickering" Production designer: Michael* Philips. Planning and Development; ‘ Casting: Susie MaizfpF " Prod uctPd#Crlw Production manager: Saju Thomson Location manager: A nnelids^ Norland On^set feijew Rirst ass^tant director: Russell Whiteoak Marketing PublicitylTraeey Majr .
In pio^tpIdlu'G liin IHAKA Screeatime/.Suuth Pacjiw r Pic-tuires.. Distribution company: Colombia Internatiignar ' Pre-production FqoTn May 8,b 2000 ^ nci pa l Cr ed its Director: Peter FiskV PTfgucer: lan llM a lev-. 1 Line pred_uyeSMn*cla; McKec-hni.^^ Execu^re pro d„u^p: Monaghan pGriptwriJefe PAiMTM)rha s ^ reduction d> s ia im iMur’ijTAj :fic k t e ^ [DMggurMO ph^to^idUw Nirml Martir^ u i '. ; Planningand Development ^ K tin g M a m Maizels
r ny.
• /fSvnoKBr : /^^ ^ 'fW i^ M y iM c o D ^ riclrä t ^sqph® icated?^phey cop te a m g p tt^ o ly e a t h r ^ ^ H '^ e a r - o ld mund^Shfvsterv.
Palmer C ^ ü u ?on the''novelltltled-W.n ’■ 4 fi^^[tM a W h by: Törn Web ^ ^ ’l it ^ t o i l ofrplrofo q’”/ap’hy: ..Michael^eyyling * ^ o m p ^e r: Carto!Gi^ e q l I JRPi ealolie rs M öm L W e ^^H P r o d ^ t io r f ^ ^ / ' 'ifProBubtioh’ajecountahLlGDH ■^ ' h ä rte re d'A c^^i nta nt ^ J
ARIA ¿PASTA; , Pasqionfruit P roduclionJ^ ' ^BPdge^$1 .gmilliqn! -Principal Credits Di ric tq rllB ru ^fe p re sfo rd, .. iCanfferaftyre: D V -^ ^ " ^ Ilew js FitzJ.Gerald PbW pmduc|prii ‘ Line dro'di^ p j: John I pRosflp rod uQtiqn ^ u pej^/iMsr; Pro d ic e rs Bevei^ y B e rq e ^ M i|h a |l N e w lin g ^ Jane-D un^hö, Venice^Digital ’ ■u ^ e c u tiv y p re d iM e ^ ^ M ip ' un^ra' i f or: h jp lla b o j^ S •^usicajrairectpr: C ^ lo ^ a c e ö Gerlach, B ru c e t^ rg fo 'rd' Mu s ^ ^ r lb 'r m ^ l^ S ' r ple Ass'oeiatejproaucer 'Augustus Mixed at: H gllagalo^g Dulgare ‘J; Synopsis: Di^ b fo r of photography: Tom ’ 'Nelsdn M M o iP lM l l i i n , .Gje^s o g H Luther ^ in f ^ A l l j ^ Einstelli g E d ito r Denise Hunter a g l u n q Sanpjiu-Kyi h a ^ J p -Sound, ^ e p r f ist^ le q Su11ifa n -one thing|nMöuirhp^: they, . Planning arfd Development were alltinspired b y i^ fc j visipn, d ^ iM tib n and i® au of ReseaV^ifr Kate Wild Ma|atma G a n d h iL H e ^ ^S Production Cnew ho^phold n^me?buMo fety " Production supeYvismf^.hilip G e r la S Weber hfP s Rreductidn manager: John Tiadjng.put anWnÖwual^gus^i Izza^i- ^ on a iou chev^tö^ ^ tw h w k Producer’s assis^mt: RenHO 5 GaWdhiSlill roojes.1 ,‘ fRedford 1B ^ o 'd uct io n~sW rM ary:, ^ t a In prQ'dLmtior^ Thomsiin Prod uction fe c-ouritafnt: aS T ^ I T H ^ h e r ^ e Meldnum; - . IfeHIG M S m Moneypenny Dii^tdr/Prddu^e'PiyAlahH % In^ r ei^Pi n'esu re Carter Wljompletion guarantor:||iliTi D.irbetqr of Phdtog“i?^hy:Jah.’, Fina ric e ^S PugWeV Editor. Reter Bril l q ard! Legal s e rv id ^lT im Benja^nT T ravelrePA)rd in ä 1 ^A : Pfodu,G.Whl.Cbrnfehy: All'ey Kat ^ K u c t ^ ^ ® 1 Travelcorp Finance: ABC/FF8'lA W o ^ l) ir l l l i i f - o f f Synopsis Dulgaro Fdlldwijro^ yeteran bush¡Ip p P ^ tin g p lawyer as he prepares for a Publicity: Aüm.st ¿sJBu l*a r o';':. murder trial delencMin an iPefa Thomson at T o |^ Fi.lm & MQtb^l^tbwn -tlopeftlfe u ro fe ^ro n a lE nd the personaj television me rqe'afiilB 0 ^ ^ 'd'inMf ^ p to -Singere: BenlHqppUer,P i.f .an aIready 'expl^iyej^ e i^ ile l ThPmas Allen, Dgjek L ^ ^ g b f^ ^ M jl t o m ot jRagin, Dmitri Hvror^tovsky, ' ^Re,nata Scotto,,Manlyn Hor^re, ptR'ftRETHLOW’S FILMS Cecilia BarWlli, Bryn T e ife ® j | j n^ ® i J u . c t M [ Synopsis p^stribution connparm: TB®;. Aria and (f ^ a fefan ...r j ^ d ge t ^ i s f i F C'AM’d l ^ /entertaining, in rw ra l^ M p t: Pri ncipa l Cred its pi^ptor? Hart Cjhen part life'stvle?.se'i^epwhich iRred uca p Ad r iaMpe r r i^ ^ B takes a look at thp l i, ^ ^ n d careers}of eight qf the wqMd’sl ^ erjptyyriter: Har a ^ l js h D ireE lP of pho|pgraaby-i^ny most popular o p e ra g ta r^ ^ Wilson • EaiMepisbde eliminates in Soiiinh r e f o ld i^ [[|B )i^ ltiv anr. the preparation of ihe s ta rjg ^ Editor: James Bradley favourite pasta; d i j| | l p IB(an riirrala^laap fo Researchers: H a n ^ Cohen/Ad rianyH ^ ^ i^ ^ K p h ootif®^ch e d |lf by: ^ @h;eh/l|e pri ng In ^p^produCTOn Budgeted by Herril u g i Pjgoau ct ANIM^llX - | eries |2' ‘SM es Documentary p r^T u c t^q manages M ^ n Storyteller P re |l|M o n s ^ ‘C o M k e ^ Principal Credits Tnsurer. HW W®ctAustralia;. J Executive Prbducera^Mike' M S|ea|]p:, " I ^ f mDletigmaUafantbp FAMB Jennifer W.iljpn | [ llg | M e ; r a ^ ^ ii i P ^ -Irre a l ce'M: MikfeSje'atle.^NigeT Swetehharp, ^n m fe ii Wilson. M e ifp a A m b r o ^ l Linda;, A d o c l ^ e n t ^ a ^ufetnalife j ,|Garqli neiB e i^ a m ^ gn djwdr k^qflpS e m' ine j^ n d . Synopsis feqn t royei^ial^ ustrel i a ^ j A s-w ith g e ri^o h ,'e-./ANl MAL X BnthreDoloais^ nWArrMnte -^E R I E § ^ ina^ m a a t^ B -?anima~l^mieamom arounjä.'. 10 8 ) k s !-tI ^ k K^etveipsi1 ^Ith^ Worlci.I l r d r ® h o ^ ^ ^ Ktreh loWM tf q r hi n ^ m ^ g g ^ h e norn^ a t¿jla K^hbhsteTsJ K ntffirjobq^Wi ^ anMjg and m vsteriqi^p^m :m o^ito.il filmmaker, and the work un(^uwnWreatug^ ^ M Eu^rently undfrw a y ff^ ^ repatriate his Collection to K |S ^ B |^ r a r a |i THE SALT OF THE EARTH: Central Australia. M ^ T M ^ M N p ’H l Glass Box . Distal m ionForiTpamMG tasslM Production company: Box Met¥BeslP/L B u d ^ ^ ^ ^ M tO j],; I Budget: $275,000 Principal Credits i^ in jE i^ ^ ^ cI i ^ ^ Director J.Frmifefeau^ Si^ m Producer: Don Palmer Producer: Jessica Douglas-
Documentaries
pxecutive producer: Courtney Gibson S criptw riter: Justine Flynn Director of photographe|Jr , Chris Thorburn Sounlfrecordistrllieo Sullivan Production Crew Production manager: Chri§*'£ Thorburn ¡[Production accoutant: ASTI MS Insurer: HW Woods Completion guarantor: FACB Legal services: Nina ptevenson & Associates Post<productibn p d ito r: Liz Doran Synopsis^ Follows an Anglo-Saxon :?couple;going through the process of adopting a Korean baby. MALPA Production Company Caama Productions PTY LTD |l4istribUtion;pompany: TBC Budget: $225,000 Principal Credits Director: Erica' Glynn -Produceji Priscilla lolU ns^ 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 Collin's Production Crew Production manager: Jacqui Bethel Producer’s assistant: Dena Curtis^ Financial controller: CAAMA Production accountant: CAAMA Insurer: HW Holland Completion guarantor: FACB Leg a l'services:'Roth Warren GameraCrew Camera operator: Helen Barrow Camera type- Digital Betacam Still-photographer: Priscilla R o llins Post production; Editogl Denise Haslem Offline facilities: CAAMA Government Agency Investment Production: AFFC MarketingflfBC Synopsis This unique documentary features the special working relationships between indigenous and-non indigenous women who work out on remote 'cpmmunitie's. SMALL STEPS, GIANT STEPS Network: SBS Production Company: : Emerald Films Producer: Browning AssociateProducer:*Paola Gambiali DOP: Roman Baska Editoi|iEmma-Hay ■Director: Sally Browning Script w riter: Sally Browning Format: DVCam & DVC Pho Synopsis AutismTs-aJdisorder that .affects one in every 1000 children born in Australia. Most children suffering autism are initially catagorisjed as “ unrtfehable’iri and untilipecently institutionalisation was the favoured cure. It has only beeffin recent years that alternative therapies have been explored, and/startling breakthroughs made by the chirdremwho respond to these therapies. ~‘ The film w ill follow several « children who are attending Giant SteosJafsoecialschool 3f holistic one-on-one therapy fo r affected children in Sydney, whose progress to communication has defied
their initial diagnoses.' RETURN TO EDEN Network: ABC Production Company: Artemis International ^Producéis:, B rian^Beato n, Celia Tait Executive ¡¡reducers: Briair Beatbn^Peter Beilby, Dione Gílmóur Director: Celia Tait Script w rite r Celia Tait Format:-S.uperl 6mm film S y n o ^ |^ ;-: I n f f l pristine landscape of the NorthWesf of Australia a battle for territory is being waged between two opposing forces : feral versus native ‘’animals. BUNDY’S LAST GREAT ADVENTURE Production company: Gulliver Media Australia Pty Ltd Distribution company: Beyond Budget: $300,000 Principal Credits Director: Larry Zetlin, Producer: Larry Zetlin Executive producer: Larry Zetlin Seriptwriter: Frank Chalmers Director of photography: Craig Lucas Sound recordist: Trevor Chalmers Production Crew Production manager: Trevor Chalmers /Financial controller: Andrew McSweeney, BJ Grace and Co Production accountant: Andrew McSweeney InsurerclCinesure Legal services: Goss Crane 3and. Herd Camera Crew Camera operator: Craig Lucas Camera type: Sony Hi M Definition Post production Narrator: Peter Wear Animation: Procam Studios ;Film/Video gauge: Hi Definition ' f Screen ratio: 16:9 Shooting.stock: Hi Definition Marketing International sales agent: Beyond Distribution International fjjstributor:: Beyond Distribution Synopsis This is a story oba final';, journey through stunningly beautifSl country, in a small, cantankerous train called Bundy. It is also about fulfilling the personal drea ms of a dedicated band of drivers, who drove Bundy and loved it. (No matter how often it leapt off the tracks and forced them to jump for their lives).
In post-production TALES ¡[ROM A SUITCASE |Look Television Production P/L Distribution company: JCM Budget: $355,000 iirib |m a l Credits Series Director: Andrea Dal Bosco Series Producer: Will Davies Directors: Peter Hegedus, Debra Beattie,’ David Vadivaloo, Veronica Iccono Commissioning Editor: Courtney Gibson (SBS I] Production ManagerlSimone Uhlhorn Director of photography: 'Roman Baskápditor: Bernard Ashby p o m p o s lf: Chopiñí 4 ,§ound designer: ||§rek Allen ¿ig^Zag Lane [i^oductibn Crew Productio.rffcojordin§to|: Triny Roe Synopsis^ Athirteen part oral history series which looks at the
migrant experience in Australia during the 1950s. 13x30 minutes
obstacles to triumph over the bad guys, and a lot of laughs are had on the way.
PAINTING COUNTRY
GAUGUIN Stella Productions Pty Ltd Producers: Mario Andreacchio, Georges Campana Director: Mario Andreacchio Writer: John Goldsmith Presale: Studio Canal Plus Distribution: REP Set in Paris and Tahiti in the late 19th century, Gauguin examines a slice in the life of French painter, Paul Gauguin, in his attempt to create a revolution in painting and thinking, and his obsession with the questions of “Where Do We Gome From? What Are We? Where Are We Going?”
Network: NHK Japan/SBS Australia; ’ Production Company: Electric Pictures Pty Ltd/Robm Eastwood Productions Pty Ltd Producers: Andrew Ogilvie/Robin Eastwood Executive Producers: Andrew Ogilvie/Robin Eastwood Director: Sally Ingleton Script writer: Sally Ingleton Format: HDTV (16:9) Synopsis  High Definition documentary whicH,investigates the origins of the art of internationally acclaimed artists from Balgo Hills, coimmunity in the Great Sandy Desert. AUSTRALIANS AT WAR Series documentary Beyond Productions Pty Ltd in association with Mullion Creek Productions Supervising Producer: Ste pheri Amezd ra 8 || 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 exarmines the effects of warort the lives of Australians and how this nation has.been shaped by those experiences. ' 8 x 55 minutes STRESS 4 part series Network: ABC TV Production company: Ramsey iÇilms Producersf-tlane Ramsey, John Merson Executive producer: Stephen Ramsey Directors: Stephen Ramsey, DaVidIRoberts \ Format: Digital Betacam Synopsis Bne scientific evidence for a how stress is killing us and what is happening in ourZ society to turn stress related diseases into epidemics. ÎFORE IT’S TOO LATE 10: THE FORGOTTEN SPECIES Short Documentary Storyteller Productions Executive Producer: Mike Searle Producers: Mike Searle, ¡Bill Clough, Sam McDonaugh, Linda Searle Director: Mike Searle Writer: Mike Searle . Synopsis!; Episode ten in the Before its too late series looks at the forgotten species; India's lions, elephants, crocodiles and rhinos - allVpritically endangered and over shadowed by their African cousins/^ 54 minutes'
Recent funding A ^ s io n s Feature Films LET’S GET S K A s lji Media World Features Pty Ltd Producers: John Tatoulis, Colin South Director: Matthew George Writers: Matthew Georg'é, Lachy Hulme Distribution: Village Roadshow, Trident Releasing Anti-hero Peter Dellasandro' and his pojsse of boys become men in the process of bringing §kase back from Majorca.’T he forces of good overcome all
ADULT TÉLÉVISION DRAMA HOPE FLIES (100 x minute telemovie) Liberty and Beyond Pty Ltd Producers: Simone North, Tony Cavanaugh Director: Geoff Nottage Writer: Tony Cavanaugh Presale: Ten Network Distribution: Beyond Distribution Hope returns to her hometown in response to her father's cry for help; horses are dying and nobody knows why. Box Tree hasn’t changed much ... but all the;peoplé have.; Her arrival brings about an extraordinary journey of rekindled friendships and a professional challenge she hadn’t expected. THE ROAD FROM COORAIN (‘112 x minute telemovie) Chapman Pictures Pty Ltd ¿Producer: Penny Chapman Writer: Sue Smith Presales: ABC, WGBH; Distribution: Pearson Television International Based On Jill Ker-Conway’s celebrated autobiography, this islthe story of a childhood. Set mainly in of the western . plains of NSW, The Road From Coorain is a witness to the relationship between two extraordinary women over a lifetime of adversity. CHILDREN’S TELEVISION DRAMA CYBERGIRL (26 x 24 minute children's . miniseries) Jonathan M Shiff Productions Pty Ltd and Daniel Scharf Productions Pty Ltd ExecÊitive^Producers: Jonathan M Shiff, Kay BenM’Rad Producers: Daniel Scharf, Jonathan M 'Shiff Di rectors : Mark DeFri est, Michael Carson Writers: David Phillips, Helen MacWhirter, Barbara Bishop, Peter Kinloch, Everett De Roche, Annie Fox, Charlie Strachan Presale: Network Ten, Disney Channel (Australia), ZDF Distribution: France Animation When Cybergirl prototype 6000 plunges from space into the world of young Jackson Campbell she changes his life, and the fate of River City forever. Unable to resist using her superpowers whenever there is a crisis, she soon becomes the obsession of Rhyss, a sinister young software mogul who is determined to find and exploit her.
Documentaries DEATH IN A SMALL ROOM (55 x minute Accord documentary) The Helpful Eye Pty Ltd Producers: Mike Rubbo, Penny McDonald Director/Writer: Mike Rubbo Presale: ABC For over 200 years, there have been doubts as to whether Shakespeare actually wrote the works attributed to him. One of the rival Elizabethan playwrights, Christopher Marlowe, considered to be best qualified to be the true author, has never been seriously considered because he died in a knife fight at the age of 29. Death In A Small Room is a literary detective story where the events to be delved, and the murder to be solved, happened more than 400 years ago. ROBERT FORTUNE THE TEA THIEF (90 & 52 x minute documentary) Diane Perelsztejn & Company Pty Ltd in co-production with Les Films De La Memoire and La Huit Productions Producers: Diane Perelsztejn, Willy Perelsztejn, Gilles Le Mao Director: Diane Perelsztejn Writers: Diane Perelsztejn, Willy Perelsztejn, Joelle Kilimnik Presales: La Sept Arte, AVRO, RTBF, SBSI In 1848, Robert Fortune, a Scottish botanist, was commissioned by the Tea Committee of the British East India Company, to travel to China to unravel the mystery of tea cultivation and manufacture. Masquerading as a Mongol Mandarin, Fortune visited the best tea gardens and processing plants in China. He stole the secret of tea cultivation and processing from the Chinese. With the help of present day tea experts, tea tasters and connoisseurs, the film w ill follow Fortune’s picturesque and audacious journey to rediscover the originality and significance of his/*'; achievements. LOSING LAYLA (55 x minute Accord documentary) Hatchling Productions , Producer: Cathy Henkel Director: Vanessa Gorman Presale: ABC Losing Layla began as an intimate video diary about the film m akers fear of losing her partner by her choice to become a mother. Instead, it became the story of losing their daughter EQUUS¡¡THE STORY OF A HORSE (Large Format documentary) Mullion Creek Productions Pty Ltd and Beyond International Producers: Liz Butler, Michael Caulfield Director: Michael Caulfield Distribution: Imax Ltd This film is a docu-drama about three young thoroughbreds who are born on a Victorian horse stud on the same night. The story follows their lives - one of a successful racehorse, one as an eventing horse turned film stunt horse and one who . escapes to the wild to join the brumbies of the Snowy Mountain high country.
CINEMA PAPERS. AUGUST / SEPTEMBER 2000 [57]
The sum of us
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Erratum issue 133 • Stephan Elliott, Al Clark, Richard Wolstencroft and Paul Caulter's names were spelt incorrectly. • Sharmill Films purchased Paul Cox's Innocence at Cannes (not Serenades as reported], • In The Sum of Us Adrian Martin's and Megan Spencer's scores were severely infected. Madeleine Swain somehow inherited David Stratton's scores in toto - Cinema Papers apologies to all concerned parties. Measures have been taken to ensure the problem does not recur.
OUR REVIEW GURUS HAVE RATED A SELECTION OF THE LATEST RELEASES ON A SCALE OF 0 TO 10, THE LATTER BEING THE OPTIMUM RATING - A DOT MEANS NOT SEEN .
The Road Home
[ 5 8] CINEMA PAPERS. AUGUST / SEPTEMBER 2000
The Perfect Storm
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