Cinema Papers No.132 May 2000

What’s Love Got To Do With It? New unromantic comedies. Cannes Unplugged. Australians on the | French Riviera. A Monk’s Game. Bhutan’s first feature is directed by a Tibetan monk with a lust for life.

Adrian Martin. Sacha Horler. Phillip Noyce. Dino Scatena. Madeleine Swain. Leigh Whannell.

9770311363019

The Extended Intermission Issue. May.00 $6.95 NZ$8.00 inc GST

Our association with talented craftspeople has enabled us to pioneer creative and technical developments during the past twenty five years.

Whether it's duplicating'high volume, high quality video cassettes for the home entertainment and corporate markets, post producing television commercials, programs and feature films for local and international producers, designing complex digital visual effects, producing world class interactive tourist centres, developing a range of e-commerce solutions for business or providing an unparalleled range of passenger entertainment services, our dedicated teams know just what's required to deliver an optimum product.

A A V Australia... twenty five years in the pursuit of excellence.

AAVAustralia Celebrating 25 Years of creative vision and technical excellence.

180 Bank Street South Melbourne Victoria Australia 3205 } t : 61 3 9251 1844 f: 61 3 9699 8111 b : aav@aav.com.au i: www.aav.com.au

contents.

may.00

What’s Love Got To Do With It? Adrian Martin explores the weirdness

Reviews,

of a romantic com edy with a solo star.

40.Films.

Sam ple People Looking For Alibrandi The Cup Me M yself I Pitch Black M uggers M ansfield Park

18

and it’s directed by a Tibetan m onk with a lust for life.

22

26

Cannes Unplugged. A glance at the new Australian films and where they may slot into the Cannes Film Festival.

29

Hard Act to Follow. Peter Greenaway, the arthouse director renowned for visual lushness and moral decay visits Adelaide with his latest work in progress.

Titanic Identifying H o llyw ood’s A udiences

Everyone’s Looking for Alibrandi. Looking for Alibrandi is a hot new Australian film featuring some hot new actors.

46.Books.

The Oxford C om panion to Australian Film

A Monk’s Game. The Cup is Bhutan’s very first feature film production

36

Europe On 25 Frames Per Second. Barrie Pattison’s travel guide to European film sites.

British Cinem a of the 1990s Stanley Kubrick, Director A Visual Analysis

Regulars, 05. Editorial. 06. The Way We Were. David Parker recalls Cinema Papers early days.

07. Newsfront. Industry news. 08. Fresh Air. Letters and your email reports. 17. The Getting of Wisdom. Sacha Horler on cleaning up at the AFI awards. 21. Final Cut. Phillip Noyce in LA 25.The Box. Australians are a funny people - they love their comedies and enjoy a joke. 34. To Market, To Market. Alan Finney asks, “Where are the middleground Australian movies?” 39.Snapshot. Leigh Whannell reviews Cordelia Beresford’s short film Serenades. 49.Supplement. Studios. Locations. Travel. 55. InProduction. What’s going on in the industry? 58.The Sum Of Us. Local reviewers rate releases.

WW-

(smJ

INTENSE

INTRODUCING

KODAK

VISIT

EKTACHROME

100D

A FI L M

COLOR

THA T

RE V E RS A L * M 0

WWW.KODAK.COM/GO/COLORABUZZ

OR

S A T U R A T I O N + T R U E 1 00 S PE E D

HAS

COLOR

ABU Z Z

T I 0 N PICTURE IFILM

CONTACT:

1800

337

935

C O N T R IB U T IN G W R IT E R S

ADRIAN MARTIN IS A FILM CRITIC FOR THE AGE. AN D AUTHOR OF PHANTASMS (PENGUIN, 1994] AND ONCE UPON A TIME IN AMERICA (BRITISH FILM INSTITUTE, 1998],

MICHAEL HELMS IS WRITING AN

DINO SCATENA DENIES HE IS AUSTRALIA'S PREMIER ROCK JOURNALIST BUT AS THE DAILY

TELEGRAPHS MUSIC EDITOR, AND A WRITER FOR US ROLLING STONE AND NME. WE RECKON HE'S GOT MOST BASES COVERED.

ANNOTED BIBLIOGRAPHY OF EXPLOITATION CINEMA TO BE PUBLISHED BY MCFARLAND &C0.

MICHAEL BODEY, SHOWBIZ EDITOR FOR THE DAILY TELEGRAPH. IS A

IN HIS OWN WORDS: HE WEARS

FILM JOURNALISM RARITY - HE

ONLY SNAKESKIN WHEN ARGUING

DOESN'T HAVE ANY NOVELS. SCRIPTS

THE IRREFUTABLE TRUTH

OR TV SHOWS IN DEVELOPMENT.

ABOUT DEMONS.

BARRIE PATTISON IS A SYDNEYRUTH HESSEY IS A BONDI BEACH

BASED FILM DIRECTOR AND WRITER.

BASED ACTRESS AND WRITER. FOR EDITOR ON METRO AT THE SYDNEY

CEC BUSBY COVERS THE ARTS FOR SYDNEY'S REVOLVER MAGAZINE

THE PAST FIVE YEARS SHE WAS FILM

EMMA CRIMMINGS IS A REFORMED

LEIGH WHANNELL WORKS ON ABC

MADELEINE SWAIN HAS BEEN

PARKING TICKET ADDICT WHO

TV'S RECOVERY. HAS GIVEN FILM

ADDICTED TO SITTING IN DARKENED

WRITES ON FILM TO BACK-PAY HER

REVIEWS FOR TRIPLE J AND 3 RRR

ROOMS DEVOURING LARGER-THAN-

PERIN COURT APPEARANCES. CUR­

RADIO IN MELBOURNE AND WRIT­

LIFE IMAGES SINCE CHILDHOOD.

MORNING HERALD AND SHE HAS

AND WRITES ON ALL THINGS

RENTLY CO-EDITING A BOOK ON

TEN FOR JUICE AND RECOVERY

AMONG MANY OTHER THINGS SHE

JUST ACCEPTED THE JOB AS HOST

LITERARY FOR FHM. NOT A BAD

AUSTRALIAN SHORT FILM, EMMA

MAGAZINES.

REVIEWS FILMS FOR THE MEL­

PRESENTER FOR THE PAY TV WORLD

FEAT CONSIDERING HER

WISHES SHE HAD MORE TIME TO BE

MOVIES CHANNEL.

VEGETARIAN DIET.

A FILMMAKER. WHO DOESN'T9

BOURNE WEEKLYAND THE EYE.

GROUP PUBLISHER NICHOLAS DOWER

ndowerldniche.com.au ASSOCIATE PUBLISHER STEVEN METTER

smette runiche.com.au

Welcome to Wood Wood

EDITOR MICHAELA BOLAND

->Well, that was a long intermission but as you can see

mbolandtdniche.com.au

Cinema Papers, Australia's oldest film magazine, is back and

DESIGN GLENN A MOFFATT

determined to be a vital part of the growing local film industry

gienn.atdniche.com.au

at the dawn of the second century of cinema.

ROB DAVIES

robdtdniche.com.au

Now owned by Niche Media and kitted-out with new staff

COPY EDITOR MICHELE FRANKENI

members, Cinema Papers retains a strong connection to its

mfrankenitdniche.com.au

roots through its many long-standing board members.

We hope readers, old and new, will appreciate where we take

ADVERTISING MANAGER LARRY BOYD TEL: I03) 9525 5566

the magazine.

- As we re-launch, Cinema Papers is reasserting its rock solid

lboydfdniche.com.au PRODUCTION AURORA OLIVER

commitment to the local film industry with a cover devoted to

aotivertdniche.com.au

the beautifully-crafted new release Looking for Alibrandi.

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 SUBSCRIPTIONS TEL: 1800 806 160 em ail: subscriptionstdniche.com.au

Hopefully the recent Oscar wins for The Matrix and The Wog Boys box office success have provided the local industry with a much needed injection of optimism.

The Wog Boy story shows distributing Australian films can be fulfilling and pay off financially. This subject is touched on by one of this issue's occasional columnists, distributor Alan Finney.

Finney joins director Phillip Noyce, actor Sacha Horler and journalist Michael Bodey in an open brief playground. Their columns present an interesting range of opinions which should inspire further discussion.

Emma Crimmings wrote our supplement exploring locations, studios and travel options for film

CINEMA PAPERS IS A PUBLICATION OF NICHE MEDIA PTY LTD ACN 066 613 529 TRADING AS NICHE PUBLISHING MANAGING DIRECTOR NICHOLAS DOWER FINANCIAL CONTROLLER STEVEN METTER MARKETING DIRECTOR MAL JONES SALES DIRECTOR BRETT JENKINS ART DIRECTOR GLENN A MOFFATT MELBOURNE OFFICE 165 FITZROY STREET, ST KILDA, MELBOURNE, VIC 3182 TEL: [03] 9525 5566, FAX: [03) 9525 5628 PO BOX 2063, ST KILDA. MELBOURNE, VIC 3182

crews wanting to shoot in Australia. Especially designed to enlighten Cannes readers, Emma was subsequently a shoe-in for the job of uncovering what actually goes on in that southern French city during the middle of May. Adrian Martin's exploration of Australian romantic comedies is emblematic of where we're taking Cinema Papers. From a contemporary perspective Adrian has sought to uncover why so few modern romantic comedies work. Readers are invited to disagree.

Adrian also pops up at the back of the magazine in The Sum of Us, the popular re-named section tallying up scores from reviewers Australia-wide. Regular readers w ill notice some new faces amid the old favourites.

Another new w riter is Leigh Whannel who has reviewed Cordelia Beresford's A.F.T.R.S. graduating short film. We want to develop this section into a regular forum where short filmmakers can have their work given serious consideration and national exposure. So send 'em in.

And write. More than anything, we want Cinema Papers readers to engage with each other

SCANNING EASTERN STUDIOS, TEL: 103) 9587 6166

through this magazine. If attending festivals here or abroad please write us a brief email detailing

FILM & PRINTING SOUTHERN COLOUR, TEL: [03) 9701 5566

unique aspects, new stuff, unusual stuff, whatever. See Fresh Air for correspondence already received.

ISSN 0311-3639 ALL RIGHTS RESERVED. NO PART OF THIS PUBLICATION MAY BE REPRODUCED. STORED IN A RETRIEVAL SYSTEM. TRANSMITTED IN ANY FORM OR

BY ANY OTHER MEANS, ELECTRONIC, MECHANICAL, PHOTOCOPYING. RECORDING OR OTHERWISE. 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.

Enjoy your choc top, now for the main feature... Action!

Michaela Boland CINEMA PAPERS.MAY 2000 [05]

( IX E H A FA PETCS

,

“J u lia R o b erts RUNAWAY N O M IN E E . . . a lre a d y in s id e rs a re b u zzin g a b o u t a p o te n tia l b e s t a c tre s s no m inee fo r 2 0 0 0 ”, -L.A. TIMES

From Steven Soderbergh the director of “Out of Sight”.

Julia, Roberts IS

The way we were David Parker recalls Cinema Papers’ early days ->lt is no coincidence that the halcyon days of the so-called renaissance of the Australian film industry (ie, the 70s through to the mid-80s) parallelled the advent and the success of Cinema Papers. The film industry then, bolstered by new tax incentives and a wave of interesting young directors produced everything from Mad Max (1979) and Galtipoli (1981) to Don's Party [ 1976) and The Getting of Wisdom and, of course, many more.

At the same time Cinema Papers was developing as a strong, critically astute journal which included production reports as well as comment on these exciting new films. When we made Malcolm in 1985 there was a sense that, within the flippancy and subjectivity of the review of Australian film in the daily newspapers, television and radio, there did exist a voice that was uncompromising, fair and informative. That informed critique is of paramount DAVID PA R K E R IS A FILM M A K ER W H O M ADE M A L C O L M AN D D IA N A A N D ME, A M O N G OTHERS.

performance to the filmmaker - in fact, it is an important part of the process of the development of the industry as a whole. We, the filmmakers, crave for the critique from the trained mind - we need a journal that reflects and informs and leads. We need a journal that gives the writers space, that gives a platform for an intelligent, objective voice. It is unfortunate that since the mid 80s, as economic rationalism and conservatism swept Australia, that platform was eroded and for the subsequent years there has been a dearth of substantial support for film from the media.

So now we look forward to a new beginning and an opportunity to regain the old ground and hopefully surpass it. It is a new world out there; studios want big names and big stories; the independents are being bought by the majors, there are a plethora of screens but they are economically driven; the qualitative or niche film is struggling to find its rightful place and competition is at an all-time high.

At Cinemas April 13

These are indeed interesting and challenging times.

It is timely that Cinema Papers is relaunching in this climate to again become a valuable part of the Australian film industry. •

schedule, coming between a batch of Oscar contenders and before the big US summer blockbusters.

Releasing with sub-titles, it also .¡followed what Tatoulis described as a [very strong Greek release', Safe Sex. Beware of Creeks Bearing Guns is a offline editing system, rather than an

¡joint venture with Greek production

expensive online editing bay. The

company Mythos.

I result was a somewhat streamlined

■Local distributor Palace Films has not

workflow in some parts of the industry.

confirmed an Australian release date

: Now, said Green, the uptake of new

for the film which cost AU$3.5 million

technology was further simplifying

Ito produce.

workflows.

Digital video cameras (that is, those labelled W , 'DVCPro' or 'Digital 8’)

SELECTION AT CANNES

now available were capable of ] would copy it. Next, it would work on

j->CHRISTINA ANDREEF'S SOFT FRUIT

the copy in an offline editing suite,

broadcast or transfer to film. Further,

(RUSSELL DYKSTRA, SACHA HORLER] HAS

producing an edit-decision list (EDL).

a single cable was all that was

(BEEN SELECTED TO SCREEN IN THE

Last, the team would grab the source

required to transfer these

INTERNATIONAL CRITIC'S WEEK AT

material, the EDL and a huge stack of

camcorders' output to a compatible

CANNES. EMMA CRIMMINGS REPORTS

money, and head to an online bay to

computer (this would be any system

INTERNATIONAL CRITICS' WEEK AND

output the final work.

sold as featuring 'FireWire', '¡.Link' or

FIPRESCI (INTERNATIONAL FEDERATION

The main reason for this convoluted

‘IEEE-1394’ ports, such as an Apple

OF FILM CRITICS) WILL SCREEN SOFT FRUIT IN A MOVE DESIGNED TO GIVE THE FILM MORE EXPOSURE IN EUROPE. SOFT FRUIT RECEIVED THE FRIPRESCI PRIZE AT THE SAN SEBASTIAN FILM FESTIVAL IN 1999. EACH YEAR FIPRESCI ELECTS ONE FIPRESCI PRIZE WINNER FROM EITHER MONTREAL, VENICE, BERLIN

|-^The Australian Film Commission

OR SAN SEBASTIAN TO SHOWCASE AT

l(AFC) w ill deliver a major information

CANNES. SOFT FRUIT WAS NOT READY FOR

program to the film industry about the GST, including 75 seminars nationwide

CANNES 1999 AND HAD ITS WORLD

and an information booklet and

SYDNEY FILM FESTIVAL'S CLOSING NIGHT.

helpline (operating between May and December). The program is funded through the GST Startup Office and w ill be co-ordinated through the AFC’s Industry and Cultural Development Unit. Interested parties should register for the seminars and workshops through their relevant industry guild or association.

Aussie Euro-movie doing it Greek style Beware of Greeks Bearing Guns, directed and co-produced by Melbourne-based John Tatoulis has

generating video suitable for

workflow was the dramatic difference j between the price of offline and online editing systems - it makes financial

Power Mac or PowerBook, a Sony Vaio, or a Mac or PC fitted with a suitable card).

sense to reserve the latter for j producing the final cut of broadcast-

The result, said Green, "is a new

quality material. | Green said that as new film

one cable, and a computer". The

production paradigm: one camera,

technologies improved, some

immediate net effect of this rocket read is eerie in his own words, "a film

television stations came to accept

about and for our own personal...

| material exported directly from an

conscience".

PREMIERE WHEN IT SCREENED ON THE

Post-production simplified

Crowing for attention “Gladiator will complete Crowe’s arrival as a

radically simplify the film production

major action star,” recently purred a respected local reviewer about the pending release of director Ridley Scott’s Roman epic.

workflow, according to Adam Green, a

The reviewer joked later, “If you can make it in Coffs Harbour as an action

US-based film and music producer

star you can make it anywhere.” A sly reference to Crowe’s widely reported

-^New technology promises to

who toured Australia in March.

nightclub brawl in November 1999. Opening locally on May 5, Gladiator

Steven Noble, editor of Australian

features Russell Crowe as Maximus, a gladiator forced into exile and

Macworld reports Green spoke to

slavery by Commodus (Joaquin Phoenix), a jealous heir to the throne. And

industry figures and journalists at

the buzz surrounding the film? At presstime favourable web reports are

venues such as Cinemedia in a tour

trickling in.

organised by Apple Computer Australia. He discussed the film

earned a very respectable AU$3.5

industry's uptake of a range of interrelated technologies, and

million in seven weeks from 39,000

demonstrated Apple products such as

admissions in Greece with a

Final Cut Pro (video-editing software)

26-screen release.

The romantic comedy starring Lakis

and the Power Macintosh G4 (a

Lazopoulos and Zoe Carides is about a

To illustrate the changes made

desktop computer).

vendetta gone wrong. The original

possible by the uptake of new

composer of Zorba the Greek, Mikis

technology, Green began by describing

Theoderakis, composed the music.

what he called "a normal Hollywood

Tatoulis said it was relatively

workflow from a number of years

unprecedented for an Australian film

ago," adding "we still use this." First,

to open overseas before Australia but

he said, the production team would

the January release suited the Greek

acquire the source material. Then, it CINEMA PAPERS.MAY 2000 [07]

mail-»WHAT HAPPENED TO 131?

held at Sydney's Fox Studios, will include awards for: Best Performance by a male and female actor in a guest role in a television drama series (for a one-off role in a single episode], Best Performance by a male and female actor in a tele-feature or mini-series (for a lead or support performance), Television Open Craft Award (for excellence in crafts such as cinematography, editing, sound,

Contently Queer

costume and production design, screen composition, hair and make-up

-^Animator Adam Benjamin Elliot is

and special effects.

making news again. He recently won

Jones boldly claimed the AFIs carry

thecomedychannel Short Film

more weight than the television's

Festival's prize for Best Film, with his

night of nights: The Logies.

third effort Brother.

"The AFI awards are the serious film

The loosely autobiographical

awards in this country and they're the

Brother concludes Elliot's trilogy

serious television awards also. The

which began with Uncle and was

fact that they are peer assessed

followed by Cousin.

means they are taken very seriously.”

Other thecomedychannel prize

When reminded a number of Logies

winners include: Best Animation,

are also peer-assessed, Jones noted.

Michael Nicholson's The Etag Saga,

"The Logies have got a way to go with

AFI Distribution award, Christopher

that yet."

Benz's Noise, and the Open Channel

Deadlines for entry: Documentary -

Encouragement Award went to

April 28; Short Fiction - May 12; Short

Magic Happens.

Animation - May 12; Feature -June 30

Brother also recently collected the

Television Drama - July 28

Mardi Gras Film Festival My Queer Career Best Short. Cousin collected a

More Schtick

similar award in 1999. Though Elliot is openly gay, none of his films to date

-^Producers of the AFI award winning

actually contain 'queer' content.

documentary Original Schtick have

The Executive Officer of Queerscreen,

secured an SBS pre-sale and AFC

Richard King said, "I think it’s purely

development funding to make a

about quality. They're both wonderful

follow-up documentary, Schtick

films." He added that queer

Happens.

filmmakers often bring an unusual

Producers Peter George, Bronwyne

perspective to their work which is as

Smith and director Maciek Wszelaki,

valid as films which explore queer

recently returned from the Sundance

themes.

Film Festival where Original Schtick a film about the misadventures of art

New AFI Awards challenge the Logies -^The Australian Film Institute has introduced five new television awards

guy Robert Fischer was invited to screen. Schtick Happens w ill be a video diary of their journey with added material from elsewhere including the AFI awards, (see email this page.)

for 2000 in response to "changes within the industry".

Announcing the new awards, AFI chief

Industry archival underway

executive Ruth Jones said, “the awards as they were gave insufficient

->Film Australia has launched an

prominence to performance and the

initiative to improve access to its

other crafts” .

library of archival and contemporary

“We thought television would be better

audio-visual and stills materials.

represented if the awards were

New library manager Bev Dalgairns is

structured to recognise the different

currently updating and expanding the

genres.”

databases for both sections to be

The November 18 ceremony, to be

available online later this year.

[0 8 ] CINEMA PAPERS.MAY 2000

reports from film industry types and buffs traveling to interni

You need to know about GST! The GST and changes to the current taxation system have serious ramifications for film industry practitioners. You cannot afford to bury your head in the sand and ignore these changes - they WILL affect you!

A series of FREE GST information seminars will be conducted throughout Australia in April and May. The seminars will be presented by industry expert Jane Corden and tax specialist Maria Benardis from Moneypenny Services.

GST key dates GST commences on 1 July. You need to apply for your Australian Business Number (ABN) by 31 May to be GST ready at 1 July.

Who should attend?

The seminars are vital for ALL practitioners across the industry, from producers, directors, writers, composers to technicians and actors.

Seminar schedule and registration The Seminar Schedule and information sheets, as they become available, will be posted on the AFC#s website.

Contact your guild or association or the AFC NOW for the Seminar Schedule and registration details.

Contacts gst@afc.gov.au

Sydney

02 9321 6444, Toll Free 1800 226615

Melbourne

03 9279 3400, Toll Free 1800 338430

The GST Startup Office has provided funding to the AFC to deliver the major information program to the film industry about the GST.

ARM-CP116/2

http://www.afc.gov.au/resources/online/gst/ Email

Adrian Martin explores the weirdness of a romantic comedy with a solo star.

[1 0 ] CINEMA PAPERS.MAY 2000

->Pip Karmel’s lively Me Myself I is being promoted as "a romantic comedy about oneself” - a strange, intriguing and thoroughly modern concept. Aren't romantic comedies meant to be about magnificent couples, like in the great screwball classics of yesteryear? It Happened One Night (1934), The Awful Truth (1937), His Girl Friday [ 1940), Adam s Rib (1949), Teacher's Pet (1958): these movies from Hollywood's golden era are about witty, feisty relationships built on an ideal of equality between the sexes.

Mixing up sex and work, thought and feeling, elevated dreams and everyday tensions, these films have come to stand as one of the supreme embodiments of the notion of love - what it is and how it goes - in 20th century popular culture. Of course the plots are unreal and fanciful, the stars (Cary Grant, Katharine Hepburn, Spencer Tracy, Irene Dunne] glamorous, the sentiments proudly optimistic. None of that alters how deeply, how sweetly these films can move, inspire and instruct us.

Me Myself I is not about two people destined to meet each other on the job, or in the street, or over a cup of coffee. As the title indicates, it is firmly centred on an individual, Pamela (Rachel Griffiths), and the life choices with which she is faced. These choices present themselves to Pamela’s consciousness in an unusual, supernatural way: a nasty bump one day sends her off to a parallel reality.

Now, as well as the defiantly single, sometimes melancholic working girl she is in her 'real' life, Pamela is also the woman she once dreamed of being: a wife and mother, married to her teenage (sweetheart, Robert (David Roberts). In fact, Me Myself I is at heart a 'trading places' story: while unmarried Pamela visits the daggy world of domesticity, married Pamela disappears into the foreign land of serious work, casual dating and time ,alone.

Wisely, writer-director Karmel does not attempt to frenetically intercut both of these life paths, à la the ^Gwyneth Paltrow hit Sliding Doors (1998) or, in art cinema mode, Kieslowski's The Double Life of left to right: Feeling Sexy / Me Myself 11 Cosi.

Véronique (1991). The plot sticks with Pamela 1, as she starts her new life with nothing to do but lay about and bonk her eternal beloved. But soon she finds herself stumbling through a minefield of

Australian cinema

unexpected truths, trials and intrigues lurking beneath the facade of suburban life.

What does Me Myself I have to do with the great tradition of romantic comedy? Certainly this much: women in such plots have often been faced with the conflicting lifestyle options represented by two starkly differentiated men. For Pamela, this amounts to the equivocation between not-what-he-was-oncecracked-up-to-be David and sensitive-butapparently-already-attached New Age guy, Ben (Sandy Winton). It was a similar dilemma for Rosalind Russell in His Girl Friday, poised between staid, folksy Ralph Bellamy and fast-talking cityslicker Cary Grant; and the trend continues through to such Sandra Bullock vehicles as While You Were Sleeping (1995).

The choice for the 20th century woman of romantic comedy often boils down to this: security on the one hand, adventure on the other. This was always Katharine Hepburn's problem, in classics such as Holidayl 1938) and The Philadelphia Story (1940).

And no matter what preparations were in train for the old-style heroine - the marriage ceremony about to begin, the house already bought, the friends assembled at a party - it was always possible to CINEMA PAPERS.MAY 2000 [1 1 ]

[1 2] CINEMA PAPERS.MAY 2000

sex-and-gender politics. They were radical precisely because their whimsical plots and characters "dissociate marriage from reproduction, or the prospect of it” .

Simply put, these heroes and heroines don’t need kids because they are still kids themselves - in a sophisticated, 'polymorphously perverse' kind of way. For Britton, these characters happily fuse qualities of child and adult normally kept separate in our world: “The partners engage in rough-house and in epigram and repartee; the anarchic consorts with the urbane; the infantile drives which precede maturity and civilisation are suddenly definitive of them.”

In other words, the great romantic comedies delivered a fantasy image of the couple as whole and complete unto itself, unburdened by the larger, social obligation to procreate and all the values it drags in tow. These films needed to create a weightlessness, a lightness around their lovers because they dared to imagine some other, more passionate, more inspired way of living and behaving, of organising relationships.

Contemporary romantic comedies, by contrast, often feel compelled to grapple with a certain dose of 'realistic' content - which almost instantly takes away the giddy edge and the utopian possibilities.

The presence of kitchen disasters, uncommunicative

All M en are Liars and Bob Ellis’ The N ostradm us Kid (1993) are lazily, mindlessly misogynistic in their malecentred trajectories - no wonder so many films by and about women are opting for solitude as the best solution to the sex war.

children and a hideous circle of friends in Me Myself I is symptomatic. They indicate that, by the time the conventions of classic romantic comedy have breached the shores of contemporary Australia, so much seems to have changed; the balance of elements is out of whack. There's romance and there's comedy, sure, in local films of the past decade including Strange Fits of Passion (1999), Dating the Enemy (1996), All Men are Liars (1995) and Strictly Ballroom (1992). But the esteemed, magic formula of romantic comedy is much more than the sum of these two parts.

If critics agree on one thing about romantic comedies, it is that nobody these days can quite seem to make them the way they used to be done by Flollywood between 1930 and 1960. We have lost, it seems, the crafty secrets of those old black and white classics - the star charm, the breezy air of artifice and fantasy, the richly inventive ways of

, . page /,,top: Love and Other Catastrophes. facing below left: My Best Friend’s Wedding. right: Paul Mercurio in Strictly Ballroom.

throw it all away3 and take a chance on love with the

merely suggesting (rather than showing outright)

wild guy in the wings.

These days, however, the men who represent those

sexual matters, thereby slyly circumventing

twin options of security and adventure both tend to

collective values - those codes of discretion,

restrictions and taboos. Worse still, we have lost the

come with considerable baggage attached. In

sophistication, respect - which animated all the fun,

contemporary American comedies about love and

yearning and civilised progress that went on in those

relationships, such as One Fine Day (1996) and the dismal The Story of Us (1999], kids are ever present

movies.

It is a problem of lost innocence - a problem that

- whether it is a question of a marriage in crisis or

filmmakers and writers find deliciously, irresistibly

single parents dragging themselves after a long

inviting. Contemporary wisdom tells us that we know

break back into the dating game. Modern romance,

too much, now, to make films like Frank Capra's It's

in these films, is instantly a question of family, its

a Wonderful Life (1966), films that believed, and

demands and responsibilities (and sometimes its

fought for the belief, in stuff like heroism,

delights, although Me Myself I has a tough time

individuality, honour, justice and the redeeming

imagining anything splendid about raising children in

power of love. The much-celebrated sexual tension

suburbia).

In the classic romantic comedies, there were almost

that gave the classics of the golden age their zip has evaporated (except occasionally on TV, in special

never any kids around to get in the way of love's

cases like The X-Files): if films can talk about and

dream. Today's niche marketers might well

show sex, and if the social codes pressing us once-

conclude that it was a genre about single people and

upon-a-time to defer it or hide it have disappeared,

for single people. But this would be to miss precisely

what is left to get nervous and excited about?

what constitutes the fond fantasy of these movies -

These days (as the story goes] we are either

their wishful, 'utopian' aspect. British critic Andrew

melancholic realists or ironic postmoderns - or we

Britton argued in the 1980s that the best romantic

are just plain cynical and jaded. Romantic love, and

comedies of the past were an intuitively radical

its familiar scenarios, are regarded as myth, illusion,

bunch of films, anticipating the agenda of post 60s

ideology, wishful thinking of the worst and most CINEMA PAPERS.MAY 2000 [1 3 ]

left: Love and Other Catastrophes. facing page / left to right: Gérard Depardieu and Andie MacDowell in Green Card', Toni Collette in Muriel’s Wedding.

Filmmakers all over the globe are still touched by that dream damaging kind. We are too mindful of the muck and

biggest stars, the plushest production values, and

trouble of love, the disillusionment and the

unlimited clips from a vault of the old classics to

Road to Nhill (1998), jet black comedies such as

manipulation, to get carried away anymore by

come anywhere near the original charm of the

Shirley Barrett's Love Serenade (1996), or frankly

romantic ideals and fancies.

genre. But the result, quite often, is grotesque

misanthropic portraits in the vein of Monica

Nonetheless, filmmakers all over the globe are still

miscalculation - duds like Forces of Nature (1999)

Pellizzari's A Fistful of Flies (1996): for these films,

touched by that dream of trying, against all the odds,

with Bullock and Ben Affleck that ape the plot moves

love - at least in its conventional, patriarchal

to make a decent romantic comedy. In the history of

and character types of the older films while

construction - is a put-on, a lie that hides murky,

contemporary Australian cinema, these odds are

displaying little understanding of the authentically populist and generous sensibility behind them.

that women excel at stabbing at the heart of the

stacked pretty high: our national record of achievement on the romantic comedy front is not an especially worthy one, especially after such instantly

comedies. Droll ensemble pieces like Sue Brooks’

mundane, uncomfortable truths. Is it any accident

For countries like Australia that make cinema on a

classic romantic comedy and its underlying myths?

necessarily smaller scale, one sly, backdoor way of

At least, in the era of queer cinema, there is a new

infamous disasters as Hotel De Love (1996) and Dear

creeping up on the old romantic comedy formula is

avenue of escape: defiled and downtrodden

Claudia (1999).

It is true that Australia has yet to achieve success

via an extravagant plot premise. Dating the Enemy,

youngsters can finally realise their love for each

by using the gender-switch idea on Claudia Karvan

other, and give up on the opposite sex altogether. Me

with a contemporary romantic comedy on the scale

and Guy Pearce, takes the recently popular

Myself I and Strange Fits of Passion arrive at a

of Sleepless in Seattle (1993). But, in many respects,

supernatural or'speculative' option. If Only, Lovers

somewhat gentler but no less level-headed

the prevalent responses among filmmakers to the

of the Arctic Circle, The Very Thought of You and

conclusion: that a woman’s relation to her own

question of how to make a movie in this genre today

many other films of this ilk show a love affair playing

development and self-esteem matters more than

are the same in most countries. Three dominant

itself out across several worlds or time-frames,

trends can be diagnosed; I think of them as retro,

each time with a different outcome. More earth-

desperate dependence on some dream-man to make her a whole person.

anti and neo romantic comedy.

bound but just as playful is the retro romantic

There are many kinds of neo romantic comedy - a

Only Hollywood - and even then, only occasionally -

comedy based on the conceits of masquerade or

form which usually refers, in a lightly mocking,

has been able to revive the romantic comedy in that

mistaken identity, such as All Men Are Liars.

tenaciously affectionate, bitter-sweet way to the

backward-looking, nostalgic, retro mode. It takes the

Australians are much better at making anti romantic

imaginary, magical world created within the classic

[1 4 ] CINEMA PAPERS.MAY 2000

trying, against all the odds, to make a decent romantic comedy. romantic comedies. In fact, the inaugural image of

In this bag we find the Australian movies in which

On one level at least, our national cinema must

this trend was probably Gena Rowlands and her

love, sex and relationships are inflected by

stand condemned. Whereas, in the great era of

older, best female friend in John Cassavetes'

something novel - whether the mingling of friends in

romantic comedy, men and woman on screen

Minnie and Moskowitz (1971) - watching

a share-house [Fresh Air, 1999), the non-stop

enjoyed a parity, a true give-and-take reciprocity of wills and wits, these days Australian filmmakers are

Casablanca at a revival house, then going home to

recording of a video camera (Video Fool For Love,

get drunk and have a good laugh or cry about the

1996), or the dizzying confusions and possibilities of

often too content to reiterate modish truisms about

distance between movie mythdom and their daily,

university student life (Love and Other Catastrophes,

the abyss between the sexes.

unglamorous reality.

Australian filmmakers have often made films about

1996). Gay and lesbian romances are spotlighted in

The spark between lovers never quite happens in

many shorts, such as Kelli Simpson’s Two Girls and

Thank God He Met Lizzie (1998), Me Myself I or

this distance between ideal screen dreams and sad,

a Baby [ 1998). In fact, many viewers will rightly

Strange Fits of Passion. In Strange Planet [ 1999),

struggling real life. Brian McKenzie’s Stan and

conclude that same-sex love seems generally a

everyone comes on like a solipsistic, two-

George’s New Life (1992), John Ruane’s Dead

much sunnier and lighter topic, much more

dimensional poseur. All Men are Liars and Bob

Letter Office (1998), Paul Cox's Lonely Hearts

adaptable to the romantic screen formulae of

Ellis' The Nostradmus K7cM1993) are lazily,

(1982), even Strictly Ballroom in its quieter,

yesteryear, than hetereosexuality with its apparently

mindlessly misogynistic in their male-centred

melancholic interludes: these movies recall the

ceaseless rifts, guilts and torments.

trajectories - no wonder so many films by and about

sensibility of the contemporary Finnish master Aki

The question remains as to why so few Australian

women are opting for solitude as the best solution

Kaurismaki, whose plaintive films (such as Drifting

romantic comedies seem to really deliver the goods.

to the sex war.

Clouds, 1996) set inarticulate, wistful couples against the slow corrosions of quotidian, social life,

Yes, the world and its once innocent’ traditions of

Over in the realm of sombre drama, in the gruesome

popular cinema have changed. But does that mean that

social-issue tragedy The Boys (1998), there is not

at home as in the workplace.

A more assertively joyous type of neo romantic

our filmmakers can entirely excuse themselves as

even the faintest echo of love or laughter left

mere victims of this history? That their only recourse is

between men and women. But why must we all be

comedy is the kind - spearheaded by films including

to dive for the pale sub-species of the genre, all those

so fatalistic - especially where love, and the screen

Four Weddings and a Funeral and Go Fish - which

bleak or ironic or facile forms offered by modern

dreams devoted to love, are concerned? •

celebrates new lifestyle options and arrangements.

romantic comedy in its retro, anti and neo modes?

* See: Me Myself I review on p43.

CINEMA PAPERS.MAY 2000 [1 5 ]

Australia’s largest Arthouse Cinema com plex congratulates Cinema Papers on its re-launch. »MOW S H O W IN G

“...beautifully crafted...”

Deborah Young - Variety

T he egos, the battles, the words.

THE M USIC. THE WOMEN. THE SCANDALS.

GHOST DOG THE

WAY

OF

THE

SAMURAI

f u s e " ' - [to] .Combine, {creativity}, [with] AVID, Softim age DS and Fairlight.

A

MIKE LEIGH

f il m

@

Topsy-Turvy

A F IL M B V JIM J A R M U S C H STARRING FOREST WHITAKER

OFFICIAL SELECTION IN COMPETITION GANNES FILM FESTIVAL 1999

FUSE at Mike Reed

&

Partners Post Productions. 20 Thistlethwaite St, South Melbourne Victoria 3205. Contact Fiona on 6103 9690 4044

ScreenSound Australia, the National Film and Sound Archive, is the treasure house of Aus­ tralian film. From the first moving images in 1896 up to the present, ScreenSound collects, preserves and makes available Australia's

p

sound and screen history.

T here are S c r e e n S o u n d A u s t r a l ia O f f ic e s o r A c c e s s C e n t r e s in m o s t CAPITAL

This heritage is preserved for all to share. We make the collection accessible by supplying footage and recordings for use in productions, through regu­ lar screenings of some of Australia's greatest films, through interactive exhibitions, travelling shows, edu­

CITIES.

Canberra: McCoy Circuit ACTON 2601, tel 02 6248 2000, fax 02 6248 2165 Sydney: Fox Studios Australia,

cational programs, video and audio products and on the Internet at www.screensound.gov.au.

Driver Avenue, Moore Park 1363, tel 02 9380 1200, fax 02 9380 1201 Melbourne: 223 Park Street, South Melbourne 3205,

Screen Sound A ustralia

tel 03 9685 5800,

Access Centres in other cities check the website www.screensound.gov.au.

P roudly preserving A ustralia ' s S creen and S ound H eritage

Setting the record straight What really went on at the AFI awards

the getting of wisdom.sacha horler ->It’s a strange thing to be asked to

American stars; this is what the media

write a piece on the trials and

reported. Champagne flowing, gala

the message was apparently, 'We have

tribulations of winning two Australian

opening nights and gee, the Olympics

the casino - stuff the unemployment!'

Film Institute (AFI) awards. It must be

any minute now. Sydney was star

Like Bob, former premier Kennett also

my vague European superstitious

struck! And everyone was saying how

appointed himself arts minister. I could

A bit like Kennett was in Victoria where

nature that prevents me from really

good it was for our film industry. But,

cynically suggest the self­

acknowledging it as a subject of any

please, a sparkling social calendar

appointments were designed to garner

interest. So instead some ruminations

and a brand new movie studio, does

invitations to champagne openings

on a theme.

not a healthy Australian industry

rather than any desire to tackle series

The night itself was fraught with the

make. There are many important

industry issues, but I won't.

insecurities and vanities of ‘The

ingredients, and the involvement and

Undoubtedly other major players in the

Frock'. My frock became more

presence of Fox is great - and

spreading of this propaganda are the

important than anything. Walking

welcomed, but naturally limited and is

media, and reminds me of what it's like

down the red carpet, hoping I'd

no substitute for subsidy.

to win two awards in one night. The

slapped on enough makeup,

Remembering that's how ALL the

question people, and the media ask of

deodorant and charm, I wrangled my

STARS of our industry got started - in

me, The first question is often... "So

scarf around my shoulders and

films that were partly or wholly funded

when are you going to America..." A

answered the obligatory question

by the Australian Government. Toni

question that mostly floors me. Not

'Wheredyagetyafrockfrom?'...

Collette in Muriel's Wedding, Russell

because I’m not interested, because of

But the night was about more than

Crowe in The Crossing, Geoffrey Rush

course I am, very interested.

awards and red carpets.

in Shine and Cate Blanchett in Oscar

Rather because of the implication of

When Bryan Brown got up to accept

and Lucinda, to name only a spattering.

the question. Not so long ago the question might have had more depth,

his gong, the night began to buzz!

On the night of the AFIs as I stumbled

We'd just lost the Referendum - the

up some stairs, to meet the press,

queen continued to reign her

longing for a glass of something, I met

pointless reign and Bryan wanted to

Bob Carr. The New South Wales

talk about it. He spoke about the

premier is said to be a man who likes

events of the previous weekend,

a good book, known to battle through

"...given that on Saturday evening, the

a great Russian or American history

country voted for an English monarch

tome. A man who as Minister for the

to long reign over us... and Sunday

Arts supports and respects the

saw a celebration of American Film

industry. That night I saw his eyes

Culture (the gala opening of Fox

glaze over as I discussed with him the

Studios)... A bloke, I suppose could be

dilemmas of our trade. How hard it is

forgiven for starting to wonder exactly

to get your first feature up, impossible

who owns this country..."

your second, how important script

Controversy. People were at the edge

development was, how distribution

of their seats. Then came the list of

and marketing was a specialised skill,

Aussie actors and (as the paper so

that few Australian films seem to

eagerly reported) a bit of a return

'cross over’... And the glaze in his eyes

serve from Russell Crowe. Both

had the shiny hue of a spotlight. Had

actors had valid points but I think

he too been fooled by the press and

they were essentially talking about

the glitz and the frocks and the studio,

different situations.

and the parties, and the stars flocking

I was disappointed that, apart from

to Sydney, into believing that our

one or two short blurbs, the media

Aussie industry was not only OK, but

didn't seem to want to run with

flourishing?

Bryan's theme. Photo spreads, fab

I’m by no means just pointing the

fireworks, politicians and media

finger at Bob, but rather the

magnates rubbing shoulders with

phenomenon of the Glitz perception.-

been more about the work. Like...

Horler (and that frock) at the AFI awards.

“what's the quality of the scripts you're

Walking down the red carpet, hoping I’d slapped on enough makeup, deodorant and charm, I wrangled my scarf around my shoulders and answered the obligatory question....... | ‘Wheredyagetya frockfrom?’ >

inspiring? Done any auditions lately

reading, any good roles? Anything

CL

< o o o

(that you didn't get] where you were thrilled to meet the director. But the focus is clearly elsewhere. What effect does all this GLITZ have? How is any independent producer/distributor going to convince the papers, the tele, the mags, that their original Australian film deserves coverage and air time when, yes, the big man from The Green Mite is in town and he really wants to talk about losing some weight for The Oscars. There's some ratings!

I drank a glass or three that AFI night, and it all became a blur.

My frock wasn't faring much better, seafood bisque spattered on the front, tripping gracefully on my hem.

I thought time to go home, get over the hangover, and get on with the work. • SACHA HORLER COLLECTED AWARDS FOR BEST LEAD ACTRESS AND BEST SUPPORTING ACTRESS AT THE 1999 AFI AWARDS FOR HER ROLES IN PRAISE AND SOFT FRUIT.

CINEMA PAPERS.MAY 2000 [1 7 ]

-^The Cup

a fil m with a spiritui al message which is cap Turing Western audiences with its eart hy, humorous t(Dne? Ruth Hessey exp ores Khyentse Norbu’s contribution to s howbiz.

-> In Bhutan, a tiny impoverished country high in the Himalayas, where religion still means more than money, there are many charming legends.

Over sushi on a glittering Bondi Beach packed with nubile Olympic backpackers from all over the world, film producer, Raymond Steiner, tells an old Bhutanese legend. Since co-producing Bhutan's first feature film, The Cup, Steiner has come to know a good deal more about the eastern mind than most film biz people.

Once upon a time, he says, Bhutan was famous for its many nuns. But there were so many holy women, that God took pity on them and planted a field of penises.

For those with western notions of prudish piety, this

Too outrageous and you can't fit in.

American sex industry. That conclusion hardly gives

The Tibetan monks of Bhutan, it seems, have much to

Norbu credit for the sophisticated mind his film indi­

offer the world (and Hollywood) and The Cup, with its rough cinema verite charm, and unpretentious

cates. Exactly what is it about the West which makes

assembly of homespun characters, has found favour from Washington to Cannes, from LA to Noosa.

sex? Particularly in America, the populace seems to

First-time director Khyentse Norbu is an extraordi­

people so obsessed with and yet so alienated from labour under peculiar attitudes loaded with guilt and

nary man too, but a quite typical Tibetan Bhuddhist. It

shame in connection with the body. And these values dominate western film culture.

was Rupert Murdoch who noticed that the Dalai Llama wears Gucci loafers. But of course to the Dalai

These are questions which would obviously intrigue a Buddhist monk who has made a film about a

Llama they are just shoes, "and that's the point Mur­ doch will never get,” laughs Steiner.

monastery in the grip of soccer fever (a rather gentler

frank, practical, religious tale comes as a bit of a shock. Certainly The Cup, which was directed by a

Similarly, Norbu can move in the western world,

"You go into these lap dancing clubs," explains Stein­

reincarnated Bhuddist saint, Khyentse Norbu, will

through the crass tiers of consumerism and com­

er, who has known Norbu for more than 20 years,

surprise those who imagine that a film set in a monastery should be rather earnest and slow.

merce, with his own spiritual grace quite in tact.

“Oh we went to all the strip clubs in LA," says Stein­

He s not allowed to drink, and he’s not allowed to touch as a series of beautiful women perform the

metaphor for East meets West than a lap dancer).

and the customer has to sit there in semi-darkness.

If Scorsese or Bertolucci had made The Cup, it would

er. "And Khyenste was quite determined to see some

have been - the one thing Hollywood never gets about

lap dancing too." The image of a high Tibetan Lama, in

lewdest gyrations right under his nose. The only way

eastern religion is the earthy humour which goes

his saffron robes, at a lap dancing club is enough to

hand in hand with devout religious practice and disci­

make the mind wobble. "He had his girlfriend with

to get through that without exploding is to turn your­ self into a block of concrete."

plines. Norbu has puzzled western journalists, with

Well if it's not sex, what is it? A sort of self-flagella­

"outrageousness".

him too," Steiner says reassuringly. “ Kyhentse has never taken a vow of chastity." Not all Buddhist monks do.

If you are too elegant, you become a slave of society.

Not that the monk wished to sample the wares of the

And the western psyche does fascinate the Tibetan

his talk of Buddhist principles such as "elegance” and

[18] CINEMA PAPERS MAY 2000

tion which Norbu finds a fascinating insight into the western psyche.

Bertolucci, on the film Little Buddha. A three-week

greatest supporters in the American entertainment

to make its mark on Hollywood as the big studios invest in arthouse cinema. As a result the recent

industry - one which has become increasingly domi­

spate of American films are not only more indepen­

nated by violent films, and backlit by a thriving porn

dently minded, they are often biting, satirical indict­

industry.

Indeed it is with some puzzlement that Steiner pulls

ments of western culture - look at American Beauty,

No-one has been more surprised by the past six

Being John Malkovich, The Talented Mister Ripley,

months on the road with this modest little film. As the

out two rave reviews from the American press. Sur­

success of the film has run far ahead of the wildest

prisingly they don’t come from arthouse publications

and Dogma.

Into this atmosphere of increasing frustration with

but the two biggest money papers in the US - The

materialism, and the urge to find a deeper meaning in

al film festivals has become increasingly hectic.

Wall Street Journal and the New York Times.

life and express it with more complex character dri­

Through a strange serendipity, Norbu's key collabo­

"Isn't it extraordinary?" marvels Steiner. "The film

ven films, comes a little film about a group of Tibetan

rators have been Australians - Bondi-based cine­

seems to have touched these people more than any­

monks and their struggle to obtain an television, in a

one else.”

Perhaps it's not so surprising. After several decades

humble little country no-one has heard of. What is

matographer Paul Warren, Malcom Watson, one of Norbu's students and also his personal assistant who

that people are responding to?

became the film's co-producer, and Steiner, a sea­

of physically energetic but emotionally bankrupt box

It is a spiritual message imparted with a lack of

soned American filmmaker who lived in India but is

office dynamite, the industry as it peaked in the 1980s

dogma and a humour which we don't associate with

now based in Australia.

is defunct. The audience too are weary of the Die

religious institutions in the west. Norbu's style is sim­

The change in lifestyle - from a relatively sober and contemplative life to the intoxicating whirl of the film

Buddhist elite. They have after all found some of their

course at the New York Film Academy was enough to provide the basics as he mulled over his feature film idea - the story which was to become The Cup.

dreams, the circuit of publicity tours and internation­

Hards, the Rambos and even that late flower of the

ple but not naive. Despite a demanding schedule of

action genre, the Tarentino picture. Perhaps it is a

duties as the chief administrator of several Buddhist

biz and the media - has taken its toll. Norbu has had

sign that cheesy, silicon inflated mega budget dross

monasteries, he has been thinking about cinema

to forgo the usual spells of solitude and contempla­ tion which allow him a respite from his responsibili­

has had its day, when a low budget foreign film direct­

since attending screenings of Satyajit Ray, Yasujiro

ed by a reincarnated saint, becomes a worldwide hit.

Ozu, and Andre Tarkovsky in London while he was

ties, and while he has two more screenplays, "the

The slew of successful indie films which took the wind

studying Buddhist philosophy at the age of 19. More

world will have to wait a couple of years," says Stein­

out the big studios' sails in the late 1990s has begun

recently he served as consultant to Bernardo

er, "before he finds the time to make another film." • CINEMA PAPERS MAY 2000 [19]

Bond University Film & Television Awards Australiaâ&#x20AC;&#x2122;s richest film & television competition for secondary students* * Your film career could start right here!

Award winners receive study assistance at Bond University; work

The Bond University Film & Television Advertising Awards (BUFTA) are

experience with Prime TV, free access to fully professional facilities and

a p a rt o f the Bond commitment to the Film & Television industry.

much more. Categories for short video/productions include drama,

As well, Bond University's Film & Television Departm ent offers a one

innovative piece, best documentary, best TV commercial and best

year M aster o f Film

music clip.

Film

Entries close

7 July 2000.

& Television

& Television

degree and a two year Bachelor o f

degree. Also offered are Majors in Film & Television,

within Bond's Bachelor o f Arts and Bachelor o f Communications

Public Screening and Awards: Bond Open Day, 30 July 2000.

degrees.

For entry forms and conditions contact Helene Forscher

For information on these programs please phone Bruce Molloy

on 0 7 5 5 9 5 2524.

on 07 5 595 2537.

BOND UNIVERSITY GOLD COAS T AUSTRALI A

School of Humanities & Social Sciences http://www.bond.edu.au

Letter from the Dream Factory dot com auteurs

final cut.phillip noyce -^During the six to twelve months

wouldn t be the same today.

between shooting movies I pretend to

Boiler Room is the title of easily the

combine the lure of voyeurism with

regain control of my other life. In Los

most profound and spiritually

good old-fashioned Hollywood

Angeles I head for a little gym off

questioning movie so far this year.

entertainment values.

Melrose Avenue, in the heart of old

First time writer/director Ben

The "actresses" for example are all

view their site as an opportunity to

Hollywood, where I can huff and puff

Younger's portrait of a Long Island

"trained” (which in this place is not the

climbing a stair master right beside

college dropout who willingly drowns

same as NIDA], the daily routine

live TV sit-com actors. I also get to

himself in a fraudulent get rich quick

before the cameras w ill be partially

chew the fat with one or other of the

stockbrokering scheme perfectly

scripted, the camera positions have

black athletic trainers who work out

captures the current mood of

been chosen by a young video director,

recording executive clients at the gym.

America... of Hollywood... Indeed of my

the lay-out of the website has been designed by a fledgling TV writer.

It’s the only chance I’ll have all year in

little Melrose Avenue gymnasium -

this city to talk more or less equally

GREED. Maybe it’s the same where

Maybe I'm just romanticising a smutty

with an African American.

you live?

get rich scheme, but I like to consider

In this gym - like the rest of

Fuelled by daily tales of internet rich

my gym mates as 21st century movie

Hollywood - most everyone seems to

multi-millionaires, the new obsession

pioneers. Sure their voyeur web site

lead double and triple lives. This

involves continually speculating about

combines elements of Stiver, The

particularly pleases me as I've spent

how to claim a piece of the action for

Truman Show and Ed TV, except each

so much time shooting those big

oneself. Like a 21st century cargo cult,

of those movies described situations

screen adaptations of the Tom Clancy

the net is worshipped as a God who

where the cameras operated as

spy novels. Even though they arrive in

can be expected to reward devotees by

malevolent intrusions. My guys are

disguise, dressed as security guards,

ejaculating gold from the computer

improvising nothing less than a new

real-estate brokers, insurance sellers

screen. Just today a 25-year-old

or waiters, one doesn't need to be

assistant working in my office

Jack Ryan to identify these sometimes

remarked how taking the job had cost

flamboyant and excessively beautiful

her $850,000 US. This is the value of

people as would be actors, musicians,

stock options she forfeited by leaving

writers and producers. Or at least that’s why they came West in the first place, seeking the fame that will supposedly be followed by fortune.

i her former employer just before the company was absorbed by internet ! powerhouse Yahoo. In a community already traumatised by the perceived

Like a 21 st century cargo cult, the net is worshipped as a God who can be expected to reward devotees by ejaculating gold from the computer screen.

For most migrants Hollywood remains

gaps between winners and losers,

a mirage, mesmerising with its

she now fears that all chance to join

able to buy shares in - Sex.

form of movie, which changes the

opportunity. When I first came here

the victors' circle has been

Led by a black trainer called Terrell, a

relationship between viewer, actors

10 years ago an agency sent an

permanently lost.

group of workout mates in my gym

and technicians and rewrites the rules

octogenarian baby-sitter to look after

Given the abundance of column inches

have concocted a scheme to both

of distribution. The viewer assumes

my pre-teen daughter. Back in the

devoted to the phenomenon of

exploit their under utilised talents and

the role traditionally performed by

1930s a small-town beauty contest

Internet Billionaires by American

join the internet gold rush. For $50 a

both editor and writer, deciding which

prize had earnt Miss Dee a one way

newspapers and magazines, it's

year web subscribers w ill shortly be

story to follow and interacting with the

train ticket to LA and a screen-test.

perplexing to discover that very few

able to choose to watch one or all of

actors online. In theory the story itself

Fifty-eight years later she displayed

net companies are actually making

the 17 "voyeur" cameras the group

is set up to last forever. A vision of the

not a trace of outward dismay despite

profits. The wealth is generated by

have set up in a suburban house in

future, or just a reflection of the past?

still waiting for her first paid show-biz

selling the paper value of shares that

which five young actresses from the

High art or low porn? Time w ill tell. •

assignment. "So many actors, so few

bear little relationship to actual

gym wilt live. Of course the web is

roles," she says as she settled down

earnings. The share prices are driven

overflowing with sites like this. A very

to study the trade magazine

by speculation as to what might

unremarkable woman called Jenny

announcements of the numerous

happen. But right from the beginning

has turned herself into a worldwide

upcoming projects. Maybe her

the web enterprise that has

celebrity by broadcasting 24 hours a

patience was bred from depressed

consistently generated profits is the

day from her Washington DC

depression era expectations. It

same one that you'll probably never be

bedroom. But the folks from the gym

PHILLIP NOYCE IS AN AUSTRALIAN DIRECTOR LIVING AND WORKING IN LOS ANGELES AND NEW YORK. HIS FILMS IN AUSTRALIA INCLUDE NEWSFRONT AND DEAD CALM. HIS FILMS IN AMERICAN INCLUDE CLEAR AND PRESENT DANGER AND MOST RECENTLY THE BONE COLLECTOR.

CINEMA PAPERS.MAY 2000 [21 ]

Looking for Alibrandi is Robyn Kershaw’s first feature film credit as producer but as she tells Michaela Boland it’s the culmination of many years hard work in the business of entertainment.

Everyone’s looking for ->When director Kate Woods discovered

Another cast stand out is Rome based actor Elena

-> Robyn Kershaw is at home in beachside Bronte

Cotta who portrays Josie's grandmother Nonna

with her two-year-old daughter pulling focus in the

Looking for Alibrandi was the 'most stolen' book

Katia. Cotta was cast just two weeks before pre-

background. Lydia was just four months old when

from school libraries she knew she wanted to direct

production after producer Robyn Kershaw hatched a

mum hit the ground running with Alibrandi.

the film.

madcap plan which involved travelling to Italy in

Robyn Kershaw: I was doing the little pre-bibles that

That was two and a half years ago. Now Aiibrandi is

search of their woman.

we gave to investors with her in a baby capsule underneath the desk. I had someone who would

ready for release and Wood's feature film directorial

The scheme more than paid off. Kate Woods says, "I

debut is garnering strong critical accolades.

was determined Nonna was going to be Italian.

come and look after her when we were doing the

Set in Sydney's eastern suburbs the story portrays

There is a group of fabulous ethnic (Australian] older

auditions and I would pump off (breast milk) while

three generations of Italian Australian women

women actors but they are not necessarily Italian

we were working out... "Yes I think we should see

as they struggle to accept events long-affecting

and I didn't think it was fair on them or on the story.

this group again and that group” .... laughs

their lives.

“We went away to Italy just blindly, knowing we were

Cinema Papers: As general manager of Sydney’s

Helmed by experienced actors Anthony LaPaglia

going to come back with Nonna and we did." But the

Belvoir Street Theatre you orchestrated tours to

and Greta Scacchi as the maladjusted parents of a

madness didn't stop there. Cotta doesn't speak any

exotic destinations including the USSR and

teenage schoolgirl, Alibrandi showcases a trio fresh

English, so once cast, she had to learn her role

facilitated the world premieres of stage plays

young talent.

phonetically.

which were subsequently made into feature films

Pia Miranda is Josie, a third generation Australian

With Scacchi and LaPaglia on board, Woods and

including Radiance, Cosi and the SBS teleseries

carrying the Catholic burden of her forbears'

Kershaw opted for an open call in their quest for the

Aftershocks, but this is your first film with a full

tragedies. Matthew Newton (son of Bert and Pattie]

younger actors. Three thousand auditions later

producer’s credit. How did you come to co-found a

portrays John Barton who is labouring beneath the

Gurry and Miranda were secured, with Newton

production company in 1997 with Tristram Miall

expectations of a high achieving father. And Kick

joining the cast literally the day he completed NIDA.

[Strictly Ballroom, A Little Bit of Soul).

Gurry is Josie’s love interest, Jocob Coote who

Though the casting was arduous, Woods says the

RK: When I left Belvoir I went to film school (AFTRS)

encourages her teen rebellion.

freedom to search for new actors was liberating. •

to do the one-year extension course. I was there with

[22] CINEMA PAPERS.MAY 2000

CINEMA PAPERS.MAY 2000 [23]

“Young boys and young girls relate strongly to it because it is the story of the outsider and at that age I think w e’re all feeling like w e’re the outsider.” Robyn Kershaw very large group because the previous year a lot

Scacchi and Anthony LaPaglia] being in place in order

understood that I wanted to be out on attachment. I

to secure our finance in part. (Then) it was necessary

und out through my friend that Tris had a film up,

Miranda) who would actually carry the film.

for quite some time, “You and Tris would get

CP: You needed confidence in them.

on really well” . So I went on attachment with

RK: That's exactly right. The character of what you

him on Children of the Revolution and he was

are working on really determines the way you

incredible. Because of my friendship with Baz

approach what process you engage in.

(Luhrmann) and Catherine (Martin] and

CP: The budget was $4.5 million.

because I’d worked with Catherine on Diary of

RK: But I don't publicise that because I think we

a Madman (starring Geoffrey Rush) he knew

pulled off a pretty amazing looking film.

about my work. He very quickly passed on a

CP: How did you secure co-opertion from so many

huge amount of responsibility and really early

schools including Kincoppal Rose Bay where

on Tris said to me, “ Look I've been working

Looking for Alibrandi was filmed?

with this project (Alibrandi! that I optioned a

RK: That was all personal approaches and a huge

few years ago and it doesn't seem to be

amount of support from companies to actually assist

coming together would you like to produce it?"

in making it possible to feed, bus and support those CP: It’s somewhat unusual to see big group scenes

RK: It was optioned before then but very quickly it

in Australian cinema.

won a huge amount of prizes. Young boys and young

m

■ss

T vm

outsider and at that age I think we're all feeling like

that Australia has.

CP: You called Alibrandi a chick flick?

RK: (laughs) Probably that's 'cause Kate and I are

: Through Andy Loyd James.

chicks and Melina. A lot of the energy around it was

: When he was at SBS.

very chicky and because Pia's the lead. It’s about

: Yes, they'd known each other for a long time and

three generations of Italian Australian women but I

s had two young daughters so his audience was

think its primary audience is women, young women

in his family circle. He was able to get instant

and older women.

back from them.

CP: What was it about director Kate Woods that

P: And the budget was about $4.5 million?

RK: We did the bulk of our casting in October 1997 ut we were not financed by the FFC until February.

inspired your confidence?

RK: She has an incredible vocabulary with actors.

She is a gifted actor’s director so on set she is able to fine tune and crate nuance that absolutely refines

P: Isn’t it unusual for projects to be financed

performance. She changes with whoever she is with,

loser to script stage before the cast is brought in.

whether it was the less experienced actors or the

RK: We didn't want to be pushed into a situation

more experienced actors.

where we got the paperwork done and then raced

CP: How did you know that before working with her?

into pre-production. We wanted to have the comfort f knowing we'd searched Australia for all the actors

RK: I did my research and it was a very long courtship. Kate didn't come on officially until just

needed and then go into total financing. Obviously

before we started casting in October '97. Kate is very

were in dialogue with the FFC and with other

hard on herself, she strives for getting it right and I

nanciers but we didn't want to have to rush

love that tenacity and ambition. Making films is serial

ecisions that would compromise the final vision.

monogamy and you need to know that under the

CP: What are the advantages of having the key cast place before you apply for financing?

[24] CINEMA PAPERS.MAY 2000

RK: They were very effective for what we were trying to put across which was the gallery of fabulous faces

we're the outsider.

P: How did the book come to Miall’s attention? j

kids on set.

early 90s, was it already an HSC text?

iris relate strongly to it because it is the story of the

__

to secure the kids (Kick Gurry, Matthew Newton, Pia

Children of the Revolution. She'd been saying

CP: So he actually optioned the book in the above: Newcomers Kick Gurry and Pia Miranda get their break in Looking for Alibrandi. bottom Pia Miranda with Elena Cotta, who travelled from Rome for the role of Nonna.

RK: For us it was a case of our adult leads (Great

had fallen out, so within a very short space of time I

most extreme duress you can trust one another. • THIS CONVERSATION HAS BEEN EDITED FOR PUBLICATION.

Too much of a good thing Australians are a funny people - they love their comedies and enjoy a joke...

the box.michael bodey -^What a funny February for

knows the rule already. They’ve been

Australian cinema. The Wog Boy[d.

submitting one-gag films to

Vellis, 2000) smashes Crocodile

Australia’s short film festivals for

Dundee's (d. Cornell, 1988) local box

years now.

office record for an opening weekend

It’s the Tropfest Syndrome. Throw a

and makes The Craics (d. Emery.

pun in the title, a twist in the tale and

1999) success an old millennium

a gag to conclude and you’re Tropfest-

memory. Meanwhile, The Wog Boy

bound. It doesn’t matter if you can’t

careers past the audience numbers of

stretch the gag to the specified seven

the most popular Australian film of

minutes. Your set-ups can be as

the past five years, The Castle (d.

subtle as Adam Sandler and your

Sitch, 1997). And you can bet the three

punchlines just as predictable but

recent 90s comedies sharing the

Tropfest audiences love them.

definite article will definitely share

Other festival directors hate them.

only one Australian Film Institute

Australian film festivals are inundated

Award [The Castles screenplay

with hundreds of shorts

award).

indistinguishable from one another.

Yet Australian producers have just had

It's turgid viewing if ever you’re

explicit evidence thrust in front of

curating, previewing or judging

them that comedies work in this

the things.

country. Evidence too obvious to

The majority of our new short

ignore.

filmmakers blithely follow the rules of

A critical producer could argue quite

the Tropfest School for Crowd

convincingly they don’t even have to be

Pleasers or the Swinburne School of

great comedies to work. It’s not overly

Bleak Social Realism. That’s why our

brattish to suggest a couple of them

animators look so good today. They’re

looked as though they were shot and

the originals.

edited on Gladwrap.

But Tropfest shouldn’t bear the weight

And then the brattish director Stephan

of our bored festival directors.

Elliott admitted in the recent

Tropfest is a public, populist festival.

Tropfest manifests the madness of our film industry; it promises so much but delivers so little. Not that the Tropfest audience is bothered by such piffle.

J

above: The Castle’s Kerrigan family. (d. Sitch, 1997).

reality. Glamour or struggle? Ask the Tropfest entrant who spends the next

documentary, Killing Priscilla (d.

Its winners, by necessity, will be crowd

Gardiner, 2000), his comedy, The

pleasers. It’s just they get to win too

Adventures Of Priscilla, Queen Of The

easily. The competition is extensive

Desert [d. Elliott, 199-4), was overrated.

(Tropfest received more than 400

All these bad comedies done good.

entries this year) but hardly talented.

“It’s another avenue for showing

near a director who hasn’t gone to

Of course, it would be simplistic, even

No, the burden Tropfest should carry

Australian audiences Australian

film school or shot commercially,

suicidal, for all our filmmakers to

is this. It merely perpetuates the

i movies because, let's face it, they’re

rush out and make comedies (not that

Hollywood dream for the not-so

j

not exactly running out to every

Yet Tropfest's reality is of celebrities,

our filmmakers and financiers haven’t

talented. They love the whole idea of

j

Australian film that comes along. I

champagne and a ticket straight to

made simplistic or suicidal choices

Tropfest because short films are sexy.

think it’s a nice way to say, ‘Hey have a

Hollywood.

before).

And Tropfest is sexier. It promises a

look what we can do’ because we

Tropfest may be a pleasant Sunday

couple of years paying off her film. joy that comes from being associated

Ask the internationally known actor

with something so glamorous.

who told me he’s down to his last

J Tropfest director, John Poison argues,

$250. And ask producers who won't go

Tropfest winner or not.

But recent evidence suggests you can

creative, wealthy and famous life

spend most of our year watching

evening in the park but it isn't reality.

put one million dollars in your box

ahead. But it’s just a promise.

Hollywood movies.”

Then again, some canny comedy

office kitty before you roll the camera

Tropfest manifests the madness of

But Tropfest finds favour precisely

filmmakers have recently shown the

if you can find a solid comedy

our film industry; it promises so much

because of the glamour and its

reality can be lucrative and fruitful.

franchise. Sir Les Patterson Saves The

but delivers so little. Not that the

Hollywoodness. It's a long way from

You just have to be pragmatic about it, not wishful. •

World (d. Miller, 1987) is the exception

Tropfest audience is bothered by such

the homely cheapness of the White

that proves the rule.

piffle. Tens of thousands revel with the

Gloves Festival screenings.

But every Australian short filmmaker

celebrities, the alcohol and the naive

But ask the filmmakers about their

MICHAEL BODEY IS THE DA ILY TELEGRAPH’S SHOWBIZ EDITOR.

CINEMA PAPERS.MAY 2000 [2 5 ]

About this time each year the international film industry turns its attention toward Cannes in France, From May 10 through 21, La Croisette will be electrified with flowing champagne and well-coiffured air kissers, EmmaCrimmings spoke to festival scouts Pierre Rissient and Christine Ravet on their recent trip to Australia.about the structure of Cannes 2000 and the films likely to earn an official guernsey, Now she explains what the flesh pressing and endless standing ovations are really about,

try to discover young directors, it is mainly first films

good Asian films, the competition is very high.”

from unknown filmmakers that we are after. Ana

While dodging direct questions about which films

pilgrimage to our shores in search of titles to

Kokkinos' Head On is an example of what we have

she had recommended, Ravet said the festival has

recommend for official selection in - “ In

chosen in the past."

undergone considerable changes recently. Last year

Competition” and “ Un Certain Regard". Christine

A number of Australian films she had seen, "did not

Marie-Pierre Macia took the reigns of Directors’

Ravet, however, is on her first excursion to Australia,

have anything to say”. Flowever, there were a few

Fortnight following Pierre Flenrie Deleau’s 30-year

viewing films for the "Directors’ Fortnight". She

exceptions, two of which she intends to recommend

stint. Other major changes include the end of Pierre

confided her surprise at the number of films being

on her return.

Viot's 15-year reign as Festival President, with Gilles

produced here.

Asked what distinguishes the Directors’ Fortnight

She cautioned, "even if I like a film and recommend

Jacob appointment as his successor.

-> For 15 years Pierre Rissient has made an annual

it strongly it does not necessarily mean it will get in.

Both selectors viewed close to 20 films with the

from the other sections at Cannes, Ravet said, "the

There are a number of scouts like me and there are

titles below tipped as the odds-on favourites for

Directors’ Fortnight is primarily a section where we

so many good films. Particularly with the increase of

a trip to Cannes.

E M M A C R IM M IN G S H A S N 'T S E E N T H E F IL M S B U T S H E H A S G R IL L E D T H O S E W H O H A V E THE OLD MAN WHO READ LOVE STORIES

INNOCENCE

YOLNGU BOY

PROD: JA N C H A P M A N

PROD: M A R K PATTERSON

PROD: PA TR IC IA EDGAR

DIR: SH IR LEY BARR ETT

PROD: M IC H E L LE DE

DIR: P A U L COX

AG: DR EA M W O R KS AU ST

BROCA DIR: R O LF DE HEER

MALLBOY

THE MONKEY’S MASK

A G :P A N D O R A

PROD: FIO N A EAGGER

W A L K THE TALK

■ -

PROD: RO BERT C O N N O LLY &

A U S T DIS: PALAC E

DIR: VIN C E GIARRUSSO

CHOPPER

AG: BEYOND

PROD: M IC H E L E B E N N E T T

JO H N M AYN AR D

THE GODDESS OF 1967

DIR: S A M A N T H A LANG

PROD: PETER S A IN SBU R Y

AG: LE STUDIO C A N A L +

D IR :C LA R A LA W

SERENADES

DIR: A N D R E W D O M IN IK

A U ST DIS: FO O TPRINT F ILM S

AG: FO RTISSIM O ,

PROD: S A N D R A LEVY

AG: BEYOND

DIR: M OJG AN K H AD EM

A U S T DIS: U IP

A U ST DIS: PALAC E

& ALCLARK

AG: SO U TH ER N STAR FILM S

"fistyt ' ^

¡

¡

¡

|

Australian product at Cannes [26] CINEMA PAPERS.MAY 2000

DIR: S T E P H E N JO H N S O N AG: BEYOND, AU ST

A U S T DIS: PALAC E

An unconventional road movie starring Rose Byrne and Rikiya „Kurokawa as BG and JM, The Goddess of 1967 is set in the Australian d esert JM ftas left his home city, Tokyo and is following a dream to buy his uftkn ^edar, i the Citroen Goddess OS 1967.

C IN E F O N D A T IO N

- ^ O F F IC IA L S E L E C T IO N

O U T O F C O M P E T IT IO N

Each year about 50 feature films and a dozen short

These are generally films by directors who have

In 1998 the Cannes International Film Festival

films are chosen for official selection at Cannes.

either previously won awards at Cannes or for other

announced a new section, the Cinefondation which

commercial and/or strategic reasons do not wish to

aims to uncover and encourage new filmmakers.

enter their films in competition. Films falling into

The Cinefondation, presents a program of graduate

IN C O M P E T IT IO N

this category also include those which require

films (short and medium length fiction and

Considered the most prestigious category, the films In

special programming such as a midnight screening.

animation films) selected from the best film

Competition are selected from around the world and

In 1999 An Ideal Husband starring Cate Blanchett

schools internationally.

compete for the following awards: The Palme d’Or,

screened in this section

There are three awards given in this section with

They are screened in the following categories:

the first prize winner provided with a guarantee

Grand Prize, Best Actor, Best Actress, Best Director, Best Screenplay. The award winners are decided by a

U N C E R T A IN R E G A R D

screening of their first feature film. Last year the

jury of industry practitioners. Chosen by the Film

This section is non-competitive, however, there are

Australian Film Television and Radio School was

Festival Board, Cannes has two official juries: the

filmmakers within this section who are presenting

Feature Film Jury and the Short Film and Cine-

their first film and are therefore in competition for

represented with Mairi Cameron's graduating film Milk.

fondation Jury. Australian films which have screened

the Camera d’Or. Un Certain Regard selects films which expose a

S H O R T F IL M

In Competition include: Rolf de Heer’s The Quiet Room and Dance Me to My Song, Gillian Armstrong's

personal vision and are interesting by virtue of

Short films (under 15 min) selected internationally,

My Brilliant Career, Samantha Lang's The Well, Fred

subject matter and cinematic style. In 1996 Shirley

compete for the Palme d'Or Short Film Award.

Schepisi's Evil Angels and Jane Campion's The Piano

Barrett's first feature, Love Serenade screened in Un

Festival rules allow the Jury to select two short

(which shared the Palme d’Or in 1993).

Certain Regard and was awarded the Camera d'Or.

films for this award.

CINEMA PAPERS.MAY 2000 [27 ]

Chopper

Yolngu Boy

Serenades

The Monkey’s Mask

Chopper follows the absurd life of notorious criminal Chopper Read.

Featuring Eric Bana in the lead and Simon Lyndon as Chopper’s best friend, Jimmy Loughnan, the film is set both inside and outside Melbourne’s Pentridge Prison. It follows the mad struggles of the celebrity crim as he seeks power through chaos.

Produced by the Australian Children’s Television Foundation, Yolngu Boy follows three boys linked by ceremony, kinship and a common dream. Set in north-east Arnhem Land, it stars Sean Mununggurr, Nathan Daniels and Sebastian Pilakui, whose characters find themselves on the wrong side of the law in two worlds.

Serenades is a love story set in the desert a hundred years ago. Starring Aden Young as the son of the Lutheran pastor and Alice Haines as his friend, the daughter of an Afghan father and an Aboriginal mother. United by their love of music, the pair separate but meet up as again as adults.

Private detective Jill Fitzpatrick (Susie Porter) dives head-first into murder, manipulation and the consuming power of sex, as she falls hopelessly in love with Diana (Kelly McGillis), one of her suspects in a missing person’s case. Guided by Diana through a surprisingly sleazy Sydney poetry scene, Jill becomes a victim of her own infatuation when the missing person turns up dead.

IN T E R N A T IO N A L C R IT IC S ’ W E E K

films as well as first and second shorts. The two

Non-competitive, the Critics' Week is the oldest of

Australian films chosen for this section last year

the official side-bar sections at Cannes. Founded in

were John Poison’s Siam Sunset and Elise

1962 by Georges Sadoul, the section has been

McCredie’s Strange Fits of Passion, which was also

responsible for the discovery of filmmakers such as

in competition for the Camera d’Or.

Jacques Rozier, Chris Marker and Bernardo Bertolucci (who has recently agreed to become the

M A R C H E D U F IL M

first ever sponsor of the week event for Cannes

The Cannes Market is the commercial side of the

2000). Jose Maria Riba is the new director of the

film festival. Over 5000 participants attend and

Critics’ Week which brings to the screen directors’

around 1000 films are screened. The market has

first and second full length feature or documentary

been very effective for Australian films. •

OTHER FORTHCOMING AUSTRALIAN FILMS M O U L IN R O U G E

BETTER TH A N SEX

A W RECK , A TA NG LE

T H E D IS H

PROD: M A R TIN BR O W N ,

The official side-bar sections are part of the Cannes

PROD: B R U N A P A P A N D R E A

PROD: N IC K I RO LLER

PROD: M IC H A E L HIRSH

FRED BAR O N , BAZ

& F R A N K COX

DIR: SCOTT PATTERSO N

D IR: ROB SITCH

Festival, however, the films in these categories are

LU H R M AN N ,

DIR: J O N A T H A N TE P LIT ZK Y

AG: BEYOND

DIR: BAZ L U H R M A N N ,

AG: FR A N C E TV

AG: FOX IN T E R N A T IO N A L

A U S T DIS: N EW VISIO N

-^UNOFFICIAL SELECTION

not engaged in competition (with the exception of the Camera d’Or which is open to all first-tim e

A U S T DIS: 20TH CENTURY

feature films). They include: Directors’ Fortnight,

FOX

International Critics’ Week and Marche Du Film.

DO G W A TCH

PROD: R IC HARD B R E N N A N

D IR E C T O R S ’ F O R T N IG H T

Once again non-competitive, the Directors’ Fortnight

I

(usually first time) from around the world. This year

DIR: YAHOO SERIOUS

BE W A R E OF GREEKS

P H A E D R A VASS &

AG: U N IT E D AR TISTS F ILM S

B E A R IN G G U N S

JO H N W IN T E R

PROD: C O LIN SOUTH &

DIR: M A R K L A M P R E L L

R IS K

JO H N TATO U LIS

AG: BEYOND

PROD: M A R IA N M AC G O W AN

DIR: LA U R IE M C IN N E S

DIR: JO H N TATO U LIS

AG: IN TR A FILM S

AG: TR ID E N T,

K IN G O F T H E M O U N T A IN

AG: BEYOND

A U S T DIS: GLOBE

A U S T DIS: PALAC E

P R O D /D IR : D A R R E N LIN E S

A U S T DIS: ROADSHO W

H E D IE D W IT H A F E L A F E L

BO O TMEN

JET SET

R U S S IA N D O L L

IN H IS H A N D

PROD: H ILA R Y LIN S TE A D ,

PROD: RO BER T BR EW ER

PROD: A L L A N A H ZITS E R M A N ,

DIR: A L A N W H IT E

PROD: A N D R E W M C P H A IL

DIR: D EIN PERRY,

emerging as a product of the

[A N IM A T E D ]

& D O M EN IC O PROCACCI

AG: FOX S E A R C H LIG H T

D IR: J O N A T H A N OGILVIE

May 1968 "cultural revolution" in France which also

D IR: R IC HARD

A U S T DIS: FOX

managed to halt the festival proceeding for that year,

LO W E N S TE IN

Hogan’s Muriel s Wedding and Ana Kokkinos’ Head On have screened in this event.

[28] CINEMA PAPERS.MAY 2000

ANGST C IT Y LO O P

PROD: BR U C E R E D M A N

D IR: D A N IE L N E TTH E IM

L O O K IN G F O R A L IB R A N D I

D IR: B E L IN D A CHAYKO

AG: BEYOND FILM S

PROD: ROBYN KER S H A W

AG: BEYOND

D IR: KATE WOODS A U S T DIS: RO AD SHO W

DIR: STAVROS K A Z A N T Z ID IS AG: BEYOND

AG: IN TR A FILM S

the section was originally claimed as a fortnight (quinzaine) for directors (réalisateurs). Both PJ

PROD: W A R W IC K ROSS

PROD: S U SAN VASS,

showcases the work of only feature filmmakers the Directors’ Fortnight w ill be in its 32nd year,

M R A C C ID E N T M Y M OTHER FR A N K

A U S T DIS: BEYOND

PROD: J O N A T H A N GREEN S IL E N T P A R T N E R

P R O D /D IR : A L K IN O S TS ILIM ID O S

Peter Greenaway visited Australia recently without a new release tucked safely under his arm. Instead he wore an opera directorâ&#x20AC;&#x2122;s hat and a comty demeanour. The audiences clapped politely and the academics gushed but Michaela Boland walked away wondering.

[30] CINEMA PAPERS.MAY 2000

monologue about his life but it could have been shortened a bit".

This student confides her teacher is a huge Greenaway fan who has screened Prospero's Books (1991) for the class, which also attended a dress rehearsal of Writing to Vermeer. "So I'm very familiar with his work", she added.

So, Greenaway, who claims to have made 70-odd films including eight features, correctly picked the Level o f went

a u d ie n c e

familiarity with his work. He just

o n t o l § l o n g | J i S is

his signature.

As the lectuflemoves into question time Greenaway requests'challenging questions please! He thrives on conflict and the review culture is so dull and bland here in Australia. This broadside inspires a student to gleefully hail forth (inaudibly for Greenaway) 'That's because the media are dickheads!'

Fabulous stuff.

One of those dickheads, John Slavin opera critic for The Age, had recently described Writing to Vermeer as, “a kind of water torture for cast and audience alike". Though "saturated with visual gorgeousness" it was "difficult to define any

this page: The Cook, The Thief, His Wife and Her Lover, facing page: Images from Writing to Vermeer.

narrative line in the production".

Slavin's sentiments were echoed by a Flinders University student, who had seen the opera and was

For two hours the director describes his influences, his entry to film, his recent projects (mainly European operas) and his political perspective (anti-Thatcher).

buoyed by Greenaway's desire for conflict. She asked why there were no subtitles accompanying Writing to Vermeer to make it possible to follow a narrative.

Greenaway responded that when the opera played in Holland it was accompanied by Dutch subtitles, though most Dutch understood English anyway.

Vermeer w ill play in only one other marketplace, New

however, engage in media interviews solo to discuss

In time he comments that opera cannot be captured

York, later this year. "I acknowledge the problem, we

film exclusively. So exclusively film we w ill talk but

on film, then completes the lecture with a film clip

must work to (inaudible) that".

The Adelaide Festival’s showcase event is a work

it's not that easy.

from his opera Rosa (1992).

Arriving in Adelaide Cinema Papers learns the

For two hours the director describes his influences,

in progress.

director has journeyed to Flinders University on the

his entry to film, his recent projects (mainly

As the lecture goes on and on, Cinema Papers

city's outskirts to deliver a lecture to students.

European operas) and his political perspective

interview with Greenaway is looking less likely. This

'Maybe the journalist would find it useful to sit in and

(anti-Thatcher).

evening he has a film to introduce, a Greenaway

then catch the director afterwards?'

We learn he enjoyed a "rather normal bourgeois

retrospective festival side bar is running concurrently

Dressed in a purple blazer and royal blue shirt

education" before disappointing his family with his

with the opera. The director has already presented a masterclass this morning, he introduced The

buttoned at the neck, Greenaway's usually dour face

aspiration, from an early age, to be a painter. He

brightens as he seeks to entertain and inform the

attended a minor art school and then discovered film

Draughtsman's Contract to a sell-out cinema

two hundred or so students and lecturers.

through Swedish cinema, dubbed as 'soft porn' by

audience last night and later this evening is the

Explaining he w ill address the audience as though

the prudish British.

fourth and final performance of Writing to Vermeer at

they know nothing of his work and life Greenaway

A first year drama student neatly summarised the

Adelaide's Festival Theatre.

confesses up-front he w ill inevitably be hypocritical.

lecture afterwards; "I understand why he did the

When the lecture finally wraps the interview CINEMA PAPERS.MAY 2000 [31 ]

appointment appears to be cancelled as the director vanishes from the auditorium. But at the Adelaide Festival club just after midnight, tabloid-style, Cinema Papers spots the director relaxing with his cast and celebrating the close of a sell-out season.

Time to pounce (awkwardly) and the director graciously agrees to ten minutes in a â&#x20AC;&#x2DC;quiet spotâ&#x20AC;&#x2122;.

When Greenaway visited Australia in 1994 to promote The Baby of Macon he enjoyed the full gamut of publicity. Once dubbed 'The world's most controversial filmmaker', he conducted everything from soft popular press interviews to an interrogative session on ABC's The 7.30 Report. He even went a few rounds with scriptwriter and raconteur Bob Ellis on SBS. But this time he appears to be in a more comfortable space. Greenaway doesn't disagree, "I've never felt comfortable being described as a filmmaker. I started as a painter... I have an idea I'm going to end up as a writer, but now I'm wearing a different hat, I'm in the music world."

late 1970s and it's very important for us to find new ways of organising the cinema experience. My initial foray into operas and music theatre was to find new ways to revitalise centre stream cinema.”

Outlining his many artistic and musical achievements of recent years the director confides he has an incredible 25 scripts waiting to be made, though "I will almost certainly never make them”.

This predicament has lead him to consider, for the first time, various potential collaborations. He would consider another director taking over his script and he is also open to directing somebody else’s.

Upon returning to Europe (Greenaway lives in Holland) he is poised to commence "a huge project called Tulse Luper’s Suitcases". A 52-part television series with variations for DVD, CD-ROM, cinema and the world wide web, it will cost "millions and millions of pounds” and take three years to complete.

After that, "I plan an even bigger work called The Historians which will take another three years".

He didn’t offer any more information but lunged enthusiastically forward, “It’s all a multimedia fest

this page/above: Prospero’s Books. below:Peter Greenaway met Scott Hicks (left) and Rolph de Heer (right) in Adelaide. facing page/top and centre: Images from The Pillow Book, bottom: Prospero’s Books.

we are pursuing greedily while the possibilities still exist."

Despite the onscreen lushness of his various films, Greenaway told the university audience his feature

ENAWAY But as a self-confessed conflict lover has this trip to

walked out (she was head of the jury) saying how

film budgets rarely exceed two million UK pounds,

Australia been dull?

much it was a thoroughly disgusting and totally

"Everything has been very gentle, very kind... yes,

unacceptable film. It was about extreme forms of, as

with funding from television pre-sales facilitating their production.

maybe a little tedious. There's no conflict,

they saw it, misogyny."

An old-fashioned auteur, after training as an editor

antagonism, criticism. There's nobody saying 'Hang

The director suggests the film about a man and his

he moved into directing, "I’m a product of the 60s

on a minute, let's query your arguments'.

son who set up a private bordello, may have suffered

when European cinema was strong and progressing" but "the world now has seen the dearth of the

"The reviewing is bland and sweet and apologetic so

due to the mainstream success enjoyed by The

even if they find an issue they don't like they skirt

PiUow Book.

European independent movie".

around it. It's a bit like the Australian voice patterns

"We made 8 1/2 Women as a homage to Fellini, 'Who

Thanks in part to Miramax cannibalising the

which always are interrogative as though you make

the hell is Fellini?’ a lot of people say.”

'arthouse' genre?

an apology almost before you speak".

Greenaway loathes the restriction of market

"In some strange way they have shat in the nest and

Greenaway asks what the hell are young people

expectations and always refused to entertain

burnt the bridges because they have over-capitalised

talking about? "Sports and their mortgage? These

suggestions he consider making 'Son of a

on it in a most appalling way. They buy up product

Aboriginal kids are hanging themselves in Australian

Draughtsman's Contract' or ‘Belly of an Architect

deliberately so that nobody can buy it and never ever

jails... we'd have demonstrations out in the street!

Part 2. "I seek to go on new journey all the time”,

show it. They tend towards the Sunday Supplement

What is it about your complacent environment

he says.

end of the art market: coloured and daring, enough

among young minds?"

But he did suck from the Hollywood trough when he

frisson to excite but not too much over-excitement to

needed to buy his house or "pay off a car". He claims

send the audiences away. Shakespeare in Love is absolutely the ultimate Miramax production."

Greenaway’s’s most recent feature, 8 1/2 Women,

he was the first director invited to steer Who Framed

screened at Cannes in 1999 but has not been picked

Roger Rabbit? Um, he rejected the offer.

Here's hoping Miramax doesn't purchase one of

up for distribution in Australia.

"I have a great disenchantment about boring late

Greenaway's 25 scripts; who knows, we might never

"We had a great furor at Cannes where Holly Hunter

twentieth century cinema. Cinema for me died in the

get to see it. •

CINEMA PAPERS.MAY 2000 [33]

Is there an Australian cultural thought police?

Of course that idea is misguided, inaccurate, paranoid and stupid.

to market to market.alan finney ->1 might be imagining it but some

Most Australian movies are labelled

movie. The vitriol is unbelievable.”

Australian films and there certainly

movie distributors appear slightly

as specialist and arthouse because

This point is central to the media’s

was no favoured nation treatment of

defensive about the Australian Film

the industry says the Australian public

attitude towards homegrown product.

our films by commentators.

Industry lately.

has been somewhat reluctant to see

Many commentators divide Australian

There was, however, an open,

In itself this is not bad. However, if the

local films, despite their admirable

filmmakers into three groups.

accepting and generally positive

creative integrity and quality.

There are the 'old farts’ who have had

attitude towards the possibility of us

But it doesn't have to be this way. Why

their chance and are no longer

delivering satisfying entertainment.

There was not an absence of criticism

primary motivation for some distributors choosing to handle local titles is a desire to be seen supporting

can't Australian movies embrace

exciting or fashionable. There are

Australian films, the effects on the

populist values and conventions?

Aussies who have fled overseas and

or judgment. In fact, a common fear

local industry could be disastrous.

Why can’t Australian moviemakers

occasionally return providing

concerned the potentially negative

Furthermore this misplaced

have the freedom to embrace any

interesting news stories and feature

image that some of our movies would

motivation may be resulting in

genre or budget they wish and

coverage for the media. But if

present overseas. And there was very

inappropriate choices of titles,

therefore seek an audience as large

incorrect release strategies and a

as possible? Why not tell stories and

propensity to blame market forces

draw characters that reflect ordinary

when films fail at the box office.

Australians living in a complex and

Among distributors there appears to

ever-changing society?

be no lack of sincerity. Publicly they

Why don't we have more Australian

claim their decisions are guided by

films sitting comfortably in that

patriotic fervour and good intentions.

fantastic middle-ground somewhere

But the poor performance of local

between Head On (d. Ana Kokkinos]

films at the box office in 1999 causes

which earned just over $1 million and

me to question the depth of

The Castle (d. Rob Sitch) which earned

Why don’t we have more Australian films sitting comfortably in that fantastic middle-ground somewhere between Head On which earned just over $1 million and The Castle which earned $10 million plus?

professional knowledge and market

$10 million plus?

awareness within our industry.

The only recent films to earn over

Distributing Australian films is tough,

$5 million are Two Hands (d. Gregor

members of this group actually make

Jordan], The Craic (d. Ted Emery] and

an Australian film it is perceived

negative aggression so often observed

otherwise?] but the common industry

recently The Wog Boy{d. Aleksi Vellis].

as earnest and out of touch with

today.

responses these days seems to be:

Each of these films benefited from

current values.

To try was encouraged and to fail was

“Exhibitors take films off their screens

mainstream themes, actors and a

The third group comprises newcomers

permitted - that’s why some call them the good old days! •

(and when has it ever been

little vitriolic, partisan, nakedly

too early." "Multiplexes are not good

mainstream marketing focus.

who are supported and praised for

for our industry." "Exhibitors promote

If one was into conspiracy theories

their first film, which is usually low-

their cinemas rather than the films."

they might argue that an Australian

budget, edgy, provocative,

“Overseas films have massive

cultural thought police exists but of

unconventional and produced against

amounts spent on prints and

course that idea is misguided,

the odds. While not succeeding in

advertising." “The market has

inaccurate, paranoid and stupid.

every aspect, these budding auteurs

polarised into blockbusters versus

However a recent AFC Report* on the

display credible talent and promise of

IN T E R N A T IO N A L (A U S T R A L IA ). HE HAS

specialist films which disadvantages

industry states: "Almost without

things to come. Their second film is

W O R K E D IN T H E F IL M A N D T E L E V IS IO N

Australian product." "It's difficult to

exception, distributors expressed the

always a deemed a disaster due to

decide whether to release narrow

view that when Australian critics didn't

suddenly acquired arrogance and

or wide, it's costly and risky to

like a film, they frequently attacked it

over-confidence.

R O A D S H O W ’S A T T E N T IO N . T H IS A C Q U IS IT IO N

release wide.”

in a way which was personally

What is really interesting to me is the

LED TO T H E F O R M A T IO N OF H E XA G O N

Pardon me, but I thought this was how

insulting to the filmmakers and/or

contrast between the context into

it had been for the past 25 years?

vitriolic and extreme in the level of its

which our films now have to play and

D IS T R IB U T IO N E N T IT IE S IN C O N T E M P O R A R Y A U S T R A L IA N H IS T O R Y . AS T H E C O M P A N Y ’S

* A u s tr a lia n F ilm C o m m is s io n R e p o rt: D is trib u tin g A u s tra lia n F ilm s , A u g u s t 31, 1999 A L A N F IN N E Y IS V IC E P R E S ID E N T A N D G E N E R A L M A N A G E R OF B U E N A V IS T A

IN D U S T R Y S IN C E T H E 1 9 6 0 S . IN 1 9 7 1 , HE J O IN E D R O A D S H O W F IL M D IS T R IB U T O R S A N D B R O U G H T T IM B U R S T A L L ’S M O V IE S T O R K TO

P R O D U C TIO N S T H E F IR S T O NG O ING J O IN T V E N T U R E B E T W E E N P R O D U C TIO N A N D

Among distributors and exhibitors

criticism."

that of the early 1970s. At that time

there also appears to be an increasing

The report quoted a distributor

there was no real or substantial image

need to categorise films as either

commenting, “The media can be

of an Australian film. That’s an

A L V IN P U R P L E , P E T E R S E N , E N D P L A Y , A L V IN

mainstream or specialist and divide

incredibly vocal in their criticism,

invention of the 1980s and 90s. There

R ID E S A G A IN , E L IZ A F R A S E R A N D T H E L A S T O F

cinemas into either multiplex or

much more so with a ‘bad’ Australian

was no concept of a film industry in

1 9 9 8 F IN N E Y W A S M A N A G IN G D IR E C TO R OF

arthouse.

movie than with a ‘bad’ American

the sense of the ongoing production of

R O A D S H O W F IL M D IS T R IB U T O R S .

[3 4 ] CINEMA PAPERS.MAY 2000

E X E C U T IV E D IR E C TO R F IN N E Y A C TE D AS E X E C U T IV E P R O D U C E R ON F IL M S IN C L U D IN G

T H E K N U C K L E M E N . B E FO R E M O V IN G TO BV I IN

W hether you’re shooting in 4:3 or 16:9, you only need one cam era on hand and that’s the new Panasonic AJ-D61OWA. Built and priced with stringers in mind, the AJ-D610W A has everything including 3 high resolution viéwfinders. Superb picture performance derives from a 2/3” IT CCD block which provides exceptional low light shooting (2000 lux at F11). And, a low power consumption of 24W allows you to shoot even longer. It’s this understanding of what stringers need that makes the Panasonic AJ-D61 OWA such a hit, but with over 80,000 DVCPRO products already sold did we really need to point that out?

NSW Lemac Film & Video Equipment BRE Advanced Video Integration DVT Digital Video Technologies TAS K.W. McCulloch Hobart K.W. McCulloch Launceston

Optel Audio Visual (08) 9328 2366 Pro Video (08)8362 2760 Lemac Film & Video Equipment (03) 9429 8588 Video Pro (07) 3236 2933 Canberra Professional Equipment (02) 6280 5576

Distributed by

REXEL JR_E_X_E VIDEO

AUSTRALIA !S Y S T E M S

— luiaesCovering ev w ifti it comes To jseeilg th a w o ra jy o j’fe pretty muclfon your cm n.Sar i this look at what’s out therein the nge world of cihema pitheme park. rv

6

i

.are inch of the globe h the eyes of a film buff ison plugs the gap with nd sometimes inspiring

H

H

l r.s m

inspection, it turns out to contain a video image

->The planet is dotted with places set up to attract, inform and distract film enthusiasts. The movie theme park may have been born when Universal decided to

(incidentally, running well under the original frame

recoup some of its investment in Steven Spielberg's mechanical shark from Jaws (1975), but it has now grown

rate).

to the point where it not only offers a major income stream to the studios but often operates as a profitable

The whole operation was thrown together in the

stand-alone venture. The cynical observer might even wonder if many movies these days aren't made simply

period when hands-on was all the go with museums,

to provide forthcoming attractions for the theme parks [and, of course, great merchandising opportunities].

and consequently it suffers from the effects of

But it s not all rides and souvenirs. The serious film buff is catered to overseas by museums with

thousands of customers having had a go. On the day I

complementary screening programs. In Australia, we have had no coherent screening program since 1979,

visited, several of the attractions had broken down,

when the National Film Theatre of Australia was closed. Since then, we've had to make do with the odd

and still others were not functioning at their best.

special-effects demo and collections of old costumes and Astro Boy teapots in glass cases. That will,

There are signs of change amid the chaos, with new

hopefully, change with the opening of Cinemedia's proposed Museum of the Moving Image in Melbourne's

temporary exhibits, like the Hammer event, moving

Federation Square (planned for 2001). But for now, the serious film fan has to look offshore for satisfaction.

away from the risk of mechanical failure. Sadly, they

The best sites of serious film culture integrate vigorous screening programs with the curatorial and exhibition work of museums.

The museum's critics worry about the shift from the

The cinematheque concept has blossomed over the past few years in Munich, and Bavaria Atelier, half an

activities on which enthusiast work depends, and

do so by opting for uninspiring static presentations.

hour from the town centre, offers a unique tour. These studios have a 79-year history of active production, and

observe that many of MOMI's problems stem from the

hosted Hitchcock's first movie, plus the work of Karl Gruñe, Wilhelm Dieterle, Max Ophuls and Hans Albers.

fact that it is a committee-designed attraction that

They have also been home to post-war Pabst, Kautner, Welles' Othello (1952), Kubrick’s Paths of Glory [1957),

tries to house incompatible aims under the one roof.

Cabaret (Bob Fosse, 1972), and various films by Wenders and Fassbinder.

The museum is reportedly now in danger of closure.

Despite this rich history, the tour developed almost accidentally. The submarine interior for Wolfgang

Also, disappointingly, the Bradford Museum of

Petersen's Das Boot (1981) had been built asoné life-size welded unit. The studio was about to have the thing

Photography in West Yorkshire was closed while I

cut up for scrap in 1981 when it found there was huge interest from school groups wanting to see the boat.

was in the UK, undergoing a £13 million renovation.

Quick to sense an opportunity, the studio's management started charging for tours of the hull. Soon the

A horror film event I'd planned on attending was

Berlin street from The Serpent's Egg [Ingmar Bergman, 1978) was added to the tour. In the first three

cancelled.

months, 100,000 visitors passed through.

The great attraction in the Bradford museum is the

Now Bergman's Berlin has been replaced by a much-used plaster-and-timber Munich standing street (with

Pictureville Cinema, a functioning three-strip

real cobblestones), but Wolfgang Petersen is still very much in evidence. The original Rock Biter from The

Cinerama theatre where the Cinerama camera

__________________________________________Never-Ending Story [Die Unendliche Geschichte, 1984) is there, though Fulchur has had to be renovated; so , J**\ ^

popular was he with young visitors that he was almost worn away by the touch of tiny fingers. A passageway

v

from the Enemy Mine (1985) spaceship has become *

both g'popular attraction and a favourite location-for'“■"^"“■“‘HTife for disco parties. There is also an exhibit on the German Marienhof television series, and an effectsminiature display from Smilla's Feeling for Snow (Bille August, 1997).

For all the innovation, the submarine hull remains the prime reason to visit Bavaria Atelier. Up close, it seems even more claustrophobic than it did on screen. Moving around inside its impeccably detailed passageway is an unforgettable experience, which staff add to by swinging sailor-style through the hatches on the over-door handles.

It's interesting to note that this hull has now lasted considerably longer than most of the genuine U-boats."What makes Bavaria Atelier unique is the fact that the attractions are real. Rather than being cooked-up in some theme-park workshop, these attractions are elements of actual productions, both historic and ongoing.

O ld E n g la n d F o r e v e r

Britain has deterrhined to carve out its own slice of the

forms a crucial part of the permanent exhibition.

movfe*tour market over the past decade. The British

Faced with a choice between adopting modern

Film Institute's Museum of the Moving Image, butted

technology or going back to a screen of strips angled

onto its National Film Theatre in London's South Bank

towards the viewer, they chose the original louvred

arts precinct, is the centrepiece of this strategy.

concept, designed to minimise cross-reflection

MOMI is a hybrid of the Round House exhibition the BFI

within a 146° curvature. Directional sound booms

staged in the 1970s, with rooms devoted to different

out of five speakers.

aspects of film, and of Henri Langlois' Paris museum,

The limited choice of films is a handicap, but Big

replicas of whose Metropolis (Fritz Lang, 1926) robot

Screen enthusiasts make a pilgrimage to this

and three-dimensional-motion toy doves appear. The

location, now one of just two public Cinerama |

attendants are dressed in costume and play characters

presentations left on the planet (two more are run-' '

from film history, delivering commentaries aimed

privately, one of them in Australia).

primarily at school groups. I was warned that if nadn't been put togethe^with Big People in mind. «v ¿pm™ X ' The day I was there, the kids seemed to be having a

left. Watching pannels from Jeff Blyth’s From Time to Time, bottom right: Futuroscope’s Cyber Avenue.

|

/ i

C h a n n e l h o p p in g

The heart of the movie-enthusiast culture remains

good time designing their own Zoetrope strips and being .n — I choreographed to Busby Berkeley scores. What they

across the Channel in France, the birthplace of the

thought of the photos of Mabel Poulton and an avant-

argue that all of Paris is a cinematheque. You can

garde chamber one can only guess.-

still attend the Musee Grevin where^Emiie Reynaud

ollowing the Paris model, MOMI has extensive exhibits on the pre-history of cinema. There's an authenticlooking Edison Kinetoscope, though, on closer

first film societies and art cinemas. In fact, one could

presented his 1888 pre-cinema Theatre Optique shows and where Rene Clair set Fantc-me du Moulin Rouge in 1925.

CINEMA PAPERS.MAY 7000 137]

At any one time, Paris's 250 cinemas run as many as

from me to run someone chattily through the

pitch, though the super-sharp image is the most

300 films. The museum shows alone get through as

wonders of their system while I was trying to follow

notable feature.

many titles as an entire Australian city in a year.

an untranslated Maurice Tourneur movie. The entire

Futuroscope has the world's only permanent IMAX

There were four 3D movies running, if you count the

place was hit by a breakdown halfway through, and

Magic Carpet installation, which was running

8mm simulator that operates under a McDonald's.

my tape ran out before the end. It turned out the

Flowers in the Sky. This traces the Monarch

The Cinematheque Francaise’s Henri Langlois

movie was held on two cassettes with a 20-minute

butterfly's amazing 3000-kilometre migration from

Museum, in the Trocadero’s Palais de Chaillot, was

overlap, though there was no indication of that in the

Canada to Mexico, complete with a snapping

the best permanent movie culture exhibition in the

system.

alligator scare, striking air-to-air shots of the

world, though, like all its maker's work, it was

The Videotheque's library of 6000 titles would take

Monarch in flight, and a Mexican butterfly festival

flawed, idiosyncratic and Eurocentric.

some getting through, but the collection is all

finale.

The museum has its difficulties, though. Henri

French - and even Paris-oriented, and not cheap at

One of Futuroscope's most impressive attractions is

Langlois used the first 14 rooms for pre-cinema

30 francs ($9) for two hours. The Videotheque also

the Wall of Images. Constructed of 850 video

materials and jammed everything post-1948 into just

has screenings, respecting the format in which the

monitors playing seven laser discs synchronised by

two. After his death almost two decades ago,

material was first produced - tape on monitors, film

five computers, this is the largest installation of its

everything was left pretty much as it was. Then the

projected - but I noticed that several other people

type in the world. La Vienne Dynamique is an

building caught fire about three years ago and the

did as I did and quit to walk up the road and see

industrial promotional presentation, which tries to

entire collection was flooded. Now, the management

films shown at the Cinematheque when the session

attract high-tech employers to the area by

is concentrating on reviving the cinematheque

time came up.

demonstrating just what the local area can do.

program; the larger fate of the museum was

At Euro Disney, the troubled theme park on the

Another attraction of particular interest was Jean-

undecided when last heard.

outskirts of Paris, the Francis Ford Coppola-George

Jacques Annaud's Wings of Courage (1995), the first

That other Gallic movie-culture enterprise, the

Lucas creation Captain Eo (starring Michael

fiction film to be made combining the Polaroid 3D

Videotheque, now has a decade to look back on. I

Jackson) is still in situ, even if the lasers that shoot

and IMAX processes.

may have caught them on a bad day, but it seemed

out from the screen in the Disneyland presentation

The film has not been too well received, but I was

to be an idea whose time had not yet come. The

in Anaheim, US, are not. This two-projector stereo

surprised to find that it impressed both as drama

staff, who had been conspicuously absent when I

film is a staple of the Disney parks, as is Star Tours,

and as an attempt to extend the range of the

needed them to set me up on one of their video

in which C3PO (voiced here, as in the Star Wars

technology. But it is not only the scenic material that

stations, miraculously appeared 18 inches away

movies, by Anthony Daniels) guides you through one

impresses. Much of the action takes place in small

nf the more jolting simulator rides.

decors whose roofs have been made to extend back

;rhaps the most notable attraction at Euro Disney

over the camera position (the same device is used in

From Time to Time (1990), the most ambitious of

Stephen Low's Across the Sea of Time, and creates

e Circle Vision 360 productions, in which nine

the impression that viewers are actually in the room

ovie screens surround a standing audience. This is

with the players).

le of the few screened attractions that still has a

The Lake of Images is a night-time presentation

e-show (cost-cutting has all but wiped them out).

using 35mm film and laser images on water and fog,

?fore viewers are marched into the circular viewing

complete with surround sound. I'd seen similar

iace, robotic models Timekeeper and 9-Eye set up

attractions and was all set to give this one a miss.

journey through time that culminates with the

I'm glad I didn't. Some of the sequences are

ne-lensed droid going out of control,

stunning and without precedent. A digital

iff Blyth has directed previous Circle Vision above: Filming Jean Jacques Annaud’s Wings of Courage

multicolour airship turns in three dimensions, a

productions, including Wonders of China and O

slow-motion dove rises from the water, coloured jets

Canada, and here works with specialist producers

of water pulse in time with the music. Whether this

Antoine Compin, Charis Horton and (something of a

is merely a blind alley of showmanship or an early

surprise) John Badham.

step towards a new form of cinema is hard to say,

t does offer the usual catalogue of tourist

but the effect is dazzling.

estinations, but it is the engulfing, detailed

I was lucky enough to spend some time with

reations of past times, peopled by crowds of

Futuroscope's technical director Thierry Lucet.

med extras, that make From Time to Time so otable.

I liked his description of the standard cinema version of Wings of Courage as being "dans deux Ds" (without two dimensions).

:u tu r o s c o p e

Parc Futuroscope, a little more than an hour out Paris in the town of Poitiers, is the ultimate

maintenance; the screens for the multitude of

Dviegoer destination. Here is just about every

systems are all made of the same material, even

ent movie system that has demonstrated viability: iant screen, circular projections, 3D, simulators,

[3 8 ] CINEMA PAPERS.MAY 2000

Lucet was forthcoming about the problems with the systems. Rolling loop mechanisms are high-

though it produces a dull image in the light-hungry 3D format. He pointed out that one of The Lake of

nd a video wall, all housed in gleaming, futuristic,

Images items was about to be deleted because it

urpose-built structures. There are special kids'

wasn't sharp enough.

areas, too, which allow the older buffs to indulge

It was clear that Parc Futuroscope has considered

their own interests in relative peace.

the philosophy of what it was doing as much as the

Shown in Circlevision is the 1997 Europe by

mechanics.

Trimaran, an in-house production that follows the

Futuroscope can afford to be confident. Overall, out

multi-hull yacht race from Venice to Marseille and

of its 20-odd hi-tech exhibits, each running a

London. This is a major undertaking, projected to a

screening every half-hour or so, fewer than one

standing audience of 450 people from nine 35mm

show a week is lost due to technical problems, a

projectors.

stunningly small number. What's more, having such

Another of the specially produced attractions is

a concentration of technologies and technicians in

shown in 70mm at 48 frames a second, with the

the one place now means that when something

audience in a hydraulic seat simulator system. Anita

breaks down it's fixed quickly.

Asal's 1996 Poitou-Charentes Emotions is a travel

The statement here is clear. This is a place where

piece in which comedian Michel Lepp is shown the

people daily work at redefining the moviegoing

attractions - markets, oyster farms, barrel making,

experience. The science park in which they are

fishing, cathedrals - by a girl narrator. The jokey

located has had less impact on its activities than

style offers a welcome counterpoint to the tourist

many pundits had predicted. •

Restoration

1999.35mm colour. 12 min.

DIRECTOR CORDELIA BERESFORD

W RITER CHRISTINE HANSON (BASED ON A STORY BY CORDELIA BERESFORD) PRODUCER KATE RIEDL DIRECTOR OF PHOTOGRAPHY CORDELIA BERESFORD MUSIC SCORE ANTONY PARTOS DISTRIBUTOR AFTRS

not intend her directing and writing debut to be one of those quirky, urban shorts with the really clever twists at

snapshot.leigh whannell

the end so favoured by film students -who’ve already written their Best

->The year was 1995 and it was

Picture acceptance speeches. What

January 30. This first day was to be my

she did intend was for the film to

introductory step into the big bad

showcase her skill at constructing an

world - a three year course in Media

image, and if this were the film's sole

arts at RMIT University in Melbourne,

purpose then she has succeeded

specialising in film. My three-year

admirably. In particular, her deft use

transformation from eastern-suburbs

of shadows to add a subtle menace to

Milo-boy into Fitzroy latte-boy at

the scene where the maid dreams the

university didn't much resemble the

photographer has come to seduce her,

big bad world either. I'm sure I did

shows off her very choreographed and

learn something in those 'uni' years

'placed' shooting style.

though, and it might well have been all

This said, however, the film

on that first day.

You see, our head lecturer was going to show us a selection of short films from around the country. We sat through many short films, but one little batch stands out in my mind-the batch from this countries ‘finest film school', AFTRS. All their films looked great. Shot on 35mm, beautifully lit.

Cordelia is Bruce Beresford’s daughter... and even though I’m sure she doesn’t go around advertising it and she wants to be known as an artist in her own right and all that, let’s face it, everyone wants to know if Greg Norman’s son can play golf.

Very professional. That's the school I

is left for anything else.

The relationship between the maid and the photographer is explored in such a rudimentary way, and the final outcome is so rote, that, condensed down to 30 seconds with only brief flashes of the film's best shots, this could well be a commercial for an

should be going to, I thought. I could make one great looking film.

concentrates so much on its atmo­ sphere and look that not much room

expensive European perfume. young photographer strolls over for

for whiffs of genius. Teeing off at the

Short films are always dangerous

In retrospect, I still think they were

the day to take some portrait shots of

first hole of a golf course is always

territory, like being asked to

great looking films - it's just that most

the family, but he ends up focusing on

nerve-racking - imagine a gaggle of

summarise yourself in three words.

of them didn’t have much content.

Regardless, they give filmmakers a

the sexually repressed maid, eventually

on lookers whispering "let's see how

They were mostly vapid exercises in

unleashing her passion and sealing

this Norman boy does." So try and

chance to display their skills in one

technical mastery - proof positive that

her fate with the family. The film

forget that fact for the rest of this

area without excelling in all others (the

just because you can afford to hire a

contains no dialogue, and the story is

piece. Got it? Nice.

short films with witty little story lines

zebra and it’s trainer, block off a city

rendered mostly through dance and

Whether through, ahem, said

that were crappily shot, for instance).

Cordelia has abundant talent.

street to shoot it on, light it terrifically

movement, set to a fervent violin score.

connections or not, Cordelia has found

and then get an orchestra to write

Cordelia is Bruce (Picnic at Hanging

two top class dancers in Narelle

Restoration incorporates a wide range

your very own 'zebra' music for you

Rock) Beresford's daughter. I just

Benjamin and Solon Ulbrich to play

of styles. She has picked a subject

doesn't mean you shouldn't find some­

thought I'd mention it, because even

the leads of the maid and the photo­

matter (lust) and a medium (dance)

thing interesting for the zebra to do.

though I'm sure she doesn't go around

grapher. Their writhing, desperate

which will best allow her to give the

And in 1999, Cordelia Beresford, a

advertising it and she wants to be

movements on screen infuse the film

film the sharp, theatrical look she has

student at AFTRS, made a short film

known as an artist in her own right

with just the right amount of pent-up

ably given light to. Having deservedly

titled Restoration.

and all that, let's face it - everyone

lust, turning what could have looked

received last year's AFTRS award for

Of course it looks fantastic. It's from

wants to know if Greg Norman's son

very naff (dancing as a metaphor for

Cinematographer Of The Year - high

AFTRS. Does it have something to say?

can play golf. While some people may

sex, anyone?) into something vaguely

praise indeed since good looking films

...it says 'big future in

mutter that being the daughter of a

charged. However, their time on

are what they specialise in. Here's

cinematography’.

well-known filmmaker - read 'wields

screen cannot save the film from

hoping it isn’t too long before she is

Restoration is Cordelia's graduating

a lot of power in the industry' - means

adding up to not much at all.

behind the lens on a feature film. Who

film, and to call it simple story would

that everything right up to your first

What the film does display, however,

knows, it could even be one of dad's -

be like calling Gandhi bald. Set in

picture deal would be a proverbial

is Cordelia's real talent

and he'd be lucky to have her

1912, it revolves around a young

breeze. I believe in some ways it would

-cinematography. Having already

if it was. •

woman who works as a maid for an

actually make things harder. Oh, it’s

worked as director of photography on

RESTORATION W ILL SCREEN AS PART OF THE

old, wealthy family in country New

that Beresford girl's film. I’ll be

several other projects before

ST KILDA SHORT FILM FESTIVAL AT THE

South Wales. One day a handsome

watching this one extra close, looking

Restoration, it is obvious Cordelia did

PALAIS THEATRE AND GEORGE CINEMA IN MELBOURNE FROM MAY 30 TO JU NE 4.

CINEMA PAPERS.MAY 2000 [39]

(although he could have done without his character specifically verbalising the fact that he's simply a pastiche of every Robert De Niro and Al Pacino gangster that's beaten him to the big DIRECTOR

screen). While youngsters Joel

CLINTON SMITH

Edgerton (Sem) and Paula Arundell

CAST

(Cleo) are the most natural and

KYLIE MINOGUE, BEN M ENDELSOHN, SIMON LYNDON, DAVID FIELD, JOEL EDGERTON,

believable things in the mash.

PAULA AR UN DELL, NATHAN PAGE, NATHALIE

In the end, it all comes out feeling a

ROY, JUSTIN ROSNIAK, MATTHEW W ILKINSON,

lot like Starstruck (d. Armstrong 1982]

GHANDI MACINTYRE, DORIAN N'KONO

PRODUCERS

despite the producers obviously

EMILE SHERMAN AND BARTON SMITH

aiming at Pulp Fiction (d. Tarantino

DISTRIBUTOR

1994). If there's a "Drugs are bad"

REP

COUNTRY OF ORIGIN

message in there - if that’s what

AUSTRALIA

Sample People is saying - then it sort

DURATION

of gets lost in the "Drugs are cool"

98 MINUTES

images which make up much of the -> What Sample People is trying to

film. Now, discussions about explicit

say to the world is ultimately as

drug-use in cinema are about as

confused as its cardboard characters.

boring as a psychedelic-scene-

It wants to be cutting edge, the

through-the-eyes-of-a-tripper (we get

modern face of Australian cinema, it

one of those here too], but surely no

wants to be beautiful, ugly, a comedy,

pusher in the world is going to be sad

a gritty drama, everything. But it ends

to see Kylie Minogue with a note

up not being much of anything at all.

jammed (literally) up her nose. Your

The elements which are supposed to shock or impress don't quite do the

business doesn’t get that sort of freeinteresting individual recordings (Kiley

Lush (Nathalie Roy) in spacesuit floats with decks

advertising every day.

job. It’s all too overwrought. "It's a

Gaffney doing Split Enz’s One Step

violent city," characters keep saying,

Ahead and The Mavis’s reviving Jim

urging us to believe this tale takes

Keays' bizarre Boy From The Stars).

place on "a magic day”. In the meanwhile, here, look at some more

The soundtrack sounds more suited to ; The rest of the ensemble of Sample People is a mismatch of stereotypes. a blue-light disco than a hardcore

shades of ultra-violet and infra-red.

modern nightclub.

And watch out for the slapstick:

So thank God for Ben Mendelsohn -

Whack! Bang! As funny as an iron bar

his camped-up, mischievous John

over the head.

easily steals the show. Not that the

(played by Ghandi Macintyre), the

laugh nervously, sweat as much as the

Even Sample People’s setting is

heavily-tattooed Kylie Minogue (Jess,

Indian proprietor of the kebab shop.

actors (all except a couple of the

confused. The background is Sydney's

the local gangster's in-house vixen]

He throws around proverbs such as:

characters are constantly covered in a

inner-city drug-infested underground

doesn't try her darnedest. But Kylie

“Decide what to serve and serve it

slight sheen of sweat for one reason

dance scene. But projected on to it are

was probably too busy trying to look

well." And: "You know, Len, milk is a

or another), well then, where was the

mostly two-dimensional near-cartoon

sultry in a drug-fucked way to notice

real mover. The customer will come

tension? It's just so bloody obvious so

figures that behave like they've just

she doesn't get many lines for a credits

for the milk but, seeing other

far out how all the story’s subplots

walked in off the history pages of

-topper (lines of dialogue, that is).

products, will also leave with the fizzy

would eventually meet up.

Australian TV soap, no matter how

Incidentally, even though they don't

pop.” Much like Apu from the Kwik-E-

So you sit there waiting for Sample

many drugs they're taking.

appear on screen together at any

Mart in The Simpsons, no?

The music doesn't fit either. The

point, this is the first time

Still, some of the actors manage to

People to surprise you. And it never does. •

People obviously had too many Misfortune (ABC) mini-series in 1985.

influences pushing and pulling at their thoughts while conceptualising this project. Maybe they should have

There's speeders, trippers, wankers,

listened to the character that shouts

Westies, roughs, dream boys, dream

out: "You're not in LA, bro."

I girls. There's even a local mystic: Phil

decision to record and remix classic

Mendelsohn and Minogue have

make something out of not-a-lot.

Australian songs in a pseudo club

worked together since The Henderson

Journeyman actor David Field plays it

style doesn't come off, despite some

Kids (Channel 10] and Fame And

straight and tough as the baddie TT

[40] CINEMA PAPERS.MAY 2000

The writers and producers of Sample

If their idea was to make the audience

D IN O S C A T E N A IS M U S IC E D IT O R O F T H E D A IL Y T E L E G R A P H A N D W R IT E S FO R U S R O L L IN G S T O N E A N D N E W M U S IC E X P R E S S .

top left to right: A hazy Ben Mendelsohn as John.

Len (Nathan Page) and Lush (Nathalie Roy).

TT (David Field) and (Kylie Minogue) starring as Jess. Simon Lyndon stars as Andy. below: Len (Nathan Page) and Lush (Nathalie Roy).

“Sample People is a mismatch of stereotypes. There’s speeders, trippers, wankers, Westies, roughs, dream boys and dream girls.”

iw ■asmm m i .i m-mmm

Me M yself I

Looking fo r Alibrandi DIRECTOR

DIRECTOR

KATE WOODS

PIP KARMEL

CAST

CAST

PIA MIRANDA, GRETA SCACCHI,

RACHEL GRIFFITHS, DAVID ROBERTS,

ANTHONY LAPAGLIA. KERRY WALKER,

SANDY W INTON, YAEL STONE, SHAUN LOSEBY,

ELENA COTTA, MATTHEW NEWTON,

TRENT SULLIVAN

KICK GURRY

PRODUCER

PRODUCER

FABIEN LIRON,

ROBYN KERSHAW

CO-PRODUCED BY AN DR ENA FINLAY

DISTRIBUTOR

DISTRIBUTOR

ROADSHOW

BUENA VISTA INTERNATIONAL

COUNTRY OF ORIGIN

COMPOSER

AUSTRALIA

CHARLIE CHAN

COUNTRY OF ORIGIN AUSTRALIA

-> Early in Looking for Alibrandi a

RATING

character remarks that things are not

M

all quirky and cute. Fortunately this -> “0 God! That one might read the

observation could also be applied to the movie itself. So, after a long line of

book of fate, and see the revolutions of

Australian films falling into just that

the times" (Henry IV)... or more

category, the cinema-going public can

importantly the outcome of marrying

breathe a sigh of relief...

one’s childhood sweetheart.

Alibrandi is the first film from director

Put simply, Me Myself /is the colonial

Kate Woods after a long and

Peggy-Sue that never got married.

distinguished career in television

Rather, rejecting a premature

[Simone de Beauvoir's Babies,

proposal from a young love, this

Wildside, Janus). Adapted by Melina

destiny disrupting protagonist

Marchetta from her own novel, the

becomes a successful journalist called

film tells the story of Josie (Pia

Pamela who finds herself waking to a

Miranda) a young Italian girl growing

very freaky Friday. Adding another twist to the recent spate of fate-films,

up in Sydney and dealing with a host of various teen pressures including

Pia Miranda delivers a polished performance as Josie in Looking For Alibrandi.

exams, first love and parental

And it does so with a refreshing

Once one gets over the shock of

problems - the usual things.

amount of compassion and gentle

seeing Greta Scacchi playing the

Gaumont's Fabien Liron to create an

Despite an unpromising, rites-of-

humour. It also refrains from offering

mother of a teenager, it's possible to

existential homage to the 'what if phenomenon.

writer director Pip Karmel teamed up with producers Andrena Finlay and

passage-by-the-numbers beginning,

any easy answers, managing to

enjoy her wonderfully restrained

this is not another Anywhere But Here

advocate tolerance and compassion

performance. Anthony LaPaglia too

Me Myself I is the portrait of a single

(d. Wang, 1999). Things really get

without reverting to sickly

has a limited amount of dialogue but

30-year-old Cartesian Cogito, but this

interesting with the introduction of

sentimentality. It will come as no

manages to communicate a whole

time split three ways. “I think

Josie's teen crush, golden boy, John

surprise to anyone to learn that this is

wealth of information with just a look.

therefore I am”: Pamela Drury, an

Barton (Bert's little boy, Matthew

a school text - as we tread delicately

But maybe the older players had to

unhappy journalist who at the age of

Newton, looking for all the world like

across such minefields as cultural

raise their game. With such polished

30 wishes to die because she is unable

an Australian Leonardo DiCaprio -

clashes (Italians and Anglos), age

performances from the junior

to get a man; Pamela Dickson, the

must be the hair). Suddenly the film

clashes (Josie and her grandmother),

members of the cast (especially

multi-skilled mother of three who has

takes us into a very different but

teen suicide and the trials and

Miranda, Newton and the delightfully

a man, a dog and a Jeep Cherokee;

welcome terrain and keeps us there

tribulations of single motherhood.

named Kick Curry), perhaps they were

and lastly Pamela Drury, the now well

What prevents the whole thing from

feeling the next generation nibbling at

adjusted and happy journalist... I think? The identity crisis really starts

throughout.

In around 90 economic minutes,

sinking into a worthy morass is the

their heels...

Alibrandi manages to explore a whole

quality of the writing and the above

• MADELEINE SWAIN

to gather momentum when Pamela

range of issues in surprising depth.

average performances.

See feature on page 22

Drury (unhappy journalist) is thrust

[4 2 ] CINEMA PAPERS.MAY 2000

A sturdy imagination with which to suspend disbelief is strongly advised when watching Me Myself I.

Pitch Black

audiences and succeeds in the most surprising way. After opening with a

DIRECTOR d a v id t w o h y

CAST VIN D E iS E ., RADHA M ITCHELL, COLE HAUSER. KEITH DAVID. LEWIS FITZ-GERALD. CLAUDIA BLACK.

PRODUCER ~0M FUGLEMAN

DISTRIBUTOR UIP

COUNTRY OF ORIGIN USA/AUSTRÄL1A

RATING M

DURATION 103 MINUTES

skull fuck joke, (the films’ only concession to humour), the story becomes increasingly grim.

From placing a bunch of stranded space travellers on a planet bathed in total darkness to having male lead Vin Deisel’s eyes surgically enhanced for night vision, brilliant ideas flash through Pitch Black like lasers.

One of Twohy’s main achievements is a credible humanist streak. Pitch Black is populated with heroes that fuck-up and fuck-ups that can’t hero.

^||f

Radha Mitchell [Love and Other Pitch Black comes crashing onto

into an unexplained parallel universe

Me Myself I is well made, with Graeme

inhabited by Pamela Dickson (multi-

Lind’s cinematography subtly

the big screen at a time when serious

latter. Rather than being unlikeable (and she may have well been if she'd

Catastrophes, High Art) is one of the

skilled mother) after marrying her

accommodating the trifecta of

sci-fi horror is all but dead. While it is

childhood sweetheart Robert Dickson

characters and moods that move

easy to stand-out with a semi-decent

kept an Aussie accent) Mitchell is

(David Roberts).

through the story. Perhaps more

product [as its nearest current rival

enigmatic, full of self-doubt and

A sturdy imagination with which to

importantly however, Me Myself I is

Supernova apparently is) we’re

consistently highly believable.

suspend disbelief is strongly advised

very funny.

talking major personal and long-term

Forget about any other strange

when watching Me Myself I. In addition

Thanks to Griffiths, and Karmel's

impact here.

planets Pitch Black's unnamed

to why an intelligent and successful

direction the humour is executed

Shot in Coober Pedy and Queensland,

asteroid is the one to visit.

young woman would wish to top

without the caricature or self-

director David Twohy sets out to scare

• MICHAEL HELMS

herself over her marital status, one

conscious delivery that is sometimes

question that continued to nag

evident in Australian comedy.

throughout this film was, what if

• EMMA CRIMMINGS

below: David

Twohy’s film Pitch Black

Muggers

Rachel Griffiths had declined the opportunity to play the plural Pamela.

The answer is simple - the film may never have worked. Griffiths’ ordinariness is spectacular; one

DIRECTOR DEAN MURPHY

CAST MATT DAY, JASON BARRY, SIMON BOSSELL, NICOLA CHARLES. CAROLINE GILLMER, CHRIS HAYWOOD, N ATAU E JACKSON MENDOZA,

moment she reminds you of a painful

PETRA JARED, M ARSHALL NAPIER, ANTHONY

school friend and the next moment,

MORGAN, ROD M U LLIN A R , ROBERT MORGAN

she is long, elegant and sexy.

Best known for her editing credits on Shine (AFI award Best Editor), Karmel's direction of Griffiths’ comic agility is well managed, permitting at once a playful and yet controlled style.

PRODUCER NIGEL ODELL AN D DAVID REDMAN

DISTRIBUTOR REP

COUNTRY OF ORIGIN AUSTRALIA

DURATION 93 MINS

There is one scene involving a diaphragm that should not be missed.

Overall, the performances are strong

-> Muggers is one of those films that

with the supporting cast gallantly

starts off reminding you of one film,

attempting to abate the momentary

then swiftly switches to another, and

hemorrhages of absurdity erupting

another. Until eventually you find

from the script.

yourself thinking more of the films of

CINEMA PAPERS.MAY 2000 [4 3 ]

which it reminds you, than of the film

as appealing as ever, laying on his

in hand. And that's its chief problem:

usual crooked charm, and Barry

an unwillingness to choose a style and

matches him blow for blow. There is

stick with it. There's nothing wrong

also a lovely sequence where the boys

with being eclectic, but when it's done

go to town cleaning up their derelict

in a half-hearted fashion, the results

lodgings with no discernible effect. If

are naturally unconvincing. Which is a

only the rest of the writing had been

shame because the film opens with

this sly.

such panache. The bold title

•

MADELEINE SWAIN

sequence, featuring a wild ride through the night streets of

The Cup

Melbourne, is certainly stylish (even if it does smack of The Naked Gun (d.

Zucker 1988)] but what follows doesn't

DIRECTOR KHYENTSE NORBU

KEY CAST

live up to this promise.

JAMYANG LODRO, ORGYEN TOBGYAL,

Brad and Gregor (Matt Day and Jason

NETEN CHOKLING, LAMA CHONJOR.

Barry) are a couple of med students,

PRODUCER MALCOLM WATSON AND RAYMOND STEINER.

nearing their final exams but finding

DISTRIBUTOR

themselves in all sorts of hot water financially. Their future careers as

DENDY FILMS

COUNTRY OF ORIGIN BHUTAN/AUSTRALIA

cigar-smoking, golf-playing,

DURATION 93 MINS

secretary-fondling medical men are under serious threat if they can’t come up with cold hard cash to pay their

There’s no doubt about it - soccer

true story. Fleeing the oppression of

top: The young monks are punished for sneaking out at night to watch football, above: Orgyen (Jamyang Lodo) gets up to mischief during a puja (ceremony).

debts, buy text books and get the local

fans are among the most diehard

the Chinese government in Tibet, two

gangster off their backs.

sport fans in the world - they cram the

young Tibetan lads make the

So there's computer hacking to be

stadiums, paint their faces and even

hazardous journey across country to a

done. But before we find ourselves

riot upon occasion. Fanaticism

small Tibetan monastery nestled in

dish, or for that matter, even a TV?

marooned in Love and Other

reaches a fever pitch at World Cup

exile at the foot of the Himalayas.

Will Buddha smile upon them?

Catastrophes (d. Crogan 1996)

time. So it's no surprise to find that

Expecting hallowed halls and dignified

First time filmmaker, Khyentse has

territory, the film whips out its funny

someone has had the nous to make a

chanting the duo are instead thrown

woven a story that reveals as much

bone (sorry) and delves into the

film about it.

into an unexpectedly haphazard

about the touchstones of Tibetan

charming world of the illegal organ

What is surprising, however, is that

environment where soccer slogans

culture as he does about humanity's

trade. Despite the pleasantly amoral

The Cup was made in Bhutan by the

adorn the walls and World Cup fever is

passion for sport.

slant employed by Murphy, it’s here

country’s first feature filmmaker,

running high.

The film was shot entirely on location

the film falls down. This is the thing

Tibetan lama Khyentse Norbu.

The antics stem in most part from one

in a fully functional monastery and

about black comedy: it has to be black

Khyentse is the incarnation of

truly obsessed fan, novitiate Orygen

cast with monks who had no acting

(naturally), but more importantly it has

Jamyang Khyentse Wangpo; a great

[cheeky performance by Jamyang

experience, speaking dialogue in

to be funny. Look at Eating Raout (d.

religious reformer. A man you'd

Lodro], whose brazen behaviour and

English, for scenes which they learned

Bartel 1982] where the outrageous

expect more at home studying with

passion for the game soon has

on a day-to-day basis.

plot saw victims lured to their deaths,

the Dalai Lama [which he has) than

everyone in the monastry caught up in

The Australian contingent, led by

robbed blind and their carcasses sold

fronting a film. We all know what a

the fervour. Everyone except Geko

director of photography Paul Warren,

for dog food. All the while audiences

hotbed of vice Hollywood can be. Yet,

[Orgyen Tobgyl] who wants the boys

and editor John Scott ensure the film

cheered for the murdering Paul and

The Cup is one of the most delightful

expelled for their antics.

looks crisp and the Himalayan

Mary Bland. Muggers seems to be

and even cheeky flicks you’ll see,

Orygen's soccer madness peaks when

countryside makes for a beautiful backdrop.

aiming for a similar effect, but it lacks

largely in part to Khyentse's intelligent

he suggests that the final match be

the crazy wit and imaginative

story-telling and eye for drama.

shown in the monastry itself. This time

The Cup should warm the cockles of

excesses.

It's not all bad news, however. Day is

The premise is fairly simple and,

has he gone too far? Will he see the

even the most jaded filmgoer.

believe it or not, apparently based on a

final, where will they find a satellite

• CEC BUSBY

[44] CINEMA PAPERS.MAY 2000

Rozema really takes Austen to the dark side with the inclusion of a sex scene (at last a Jane Austen film loses its virginity) and strong hints at lesbianism and incest!

M ansfield P ark DIRECTOR PATRICIA ROZEMA

CAST FRANCES O'CONNOR, EMBETH DAVIDTZ, JOHN LEE M ILLER, ALESSANDRO NIVOLA, HAROLD PINTER, LINDSAY DUNCAN, SH EILA GISH, VICTORIA HAMILTON, JU STIN E W ADDELL, JAM ES PUREFOY, HUGH BONNEVILLE

PRODUCER SARAH CURTIS

DISTRIBUTOR ROADSHOW

COUNTRY OF ORIGIN ENGLAND

COMPOSER LESLEY BARBER

RATING PG

DURATION 150MINS

-> Canadian-born Patricia Rozema's

character or on the book as a whole?"

existed more as textual watermarks in

Just as the book’s literary merit has

the original source material. The

corseted themes in Jane Austen's

divided scholars and enthusiasts, so

corrosive realities of the slave trade

period England. With a quiet and

too will its screen adaptation.

remains a strong motive throughout,

contemporary radicalism woven into

A general warning should be extended

casting a weighty shadow over the

her films, which include When Night is

to dyed-in-the-wool Austen fans as

indolent folly at Mansfield Park.

Falling (1995) and I've Heard the

they may find themselves offended by

However Rozema really takes Austen

Mermaids Singing (1987), Rozema's

some radical changes to the original

to the dark side with the inclusion of a

style is renowned for its seductive and

story. In streamlining the screenplay,

sex scene (at last a Jane Austen film

challenging terrain; a reputation

scenes and characters from the

loses its virginity) and strong hints at

which makes her recent Austenisation

original text have been eliminated and

lesbianism and incest!

as writer/director of Mansfield Park

existing characters given more range.

Shot over a period of eight weeks in a

Miller [better known for portraying

all the more confounding.

Arguably Austen's most

variety of spectacularly English

Sickboy in Trainspotting and probably

Considered Austen's most difficult and

autobiographical work, Rozema takes

locations, Mansfield Park is the story

better forgotten for his role in

controversial work, Mansfield Park

this insight to its most logical

of the underprivileged and socially

Plunkett & Macleane). Also worth a

has not enjoyed the level of screen

narrative conclusion, which is to make

inferior Fanny Price and her

mention is world renowned playwright

adaptations imposed on her other

the main character Fanny Price

experiences with the decadent and

Harold Pinter, who manages to inject

more popular works. Rather, apart

(Frances O'Connor) a writer not unlike

overprivileged Bertram Family of

a satisfactory level of lechery into his

from a BBC production, the book has

Austen herself. As indicated in the

Mansfield Park. Christopher Hobbs'

character of Lord Bertram.

hitherto received little visual attention.

opening credits, the film uses excerpts

production design is brilliant in its

For the record, Rozema's collision

In addition to being considered one of

from Austen’s journals and early

refusal of clutter so often displayed in

with Jane Austen was at the

directing pedigree is at odds with the

Frances O’Connor stars in Mansfield Park.

convincing earnestness by Jonny Lee

her more wordy books, Austen's

writings in the script (they are the

the surfeit of Austen pics. For the

suggestion of Miramax’s Harvey

Mansfield Park boasts a main

material for Fanny's letters, stories

most part, performances in Mansfield

Weinstein. The result of the

character that is at once self

and direct monologues to the

Park are well directed and true to the

‘colloboration’ is a film that loosens

excruciating restraint that we have

the strings on the corseted interpretations of Austen’s texts, while

righteous, introspective and difficult

audience). Rozema’s direction results

to like.

in a strong and erudite lead cleverly

come to expect from Austen plots. Of

Rozema comments: “Why would

imbued with a feminist sensibility.

the two stand outs are Love and Other

at the same time still providing for

somebody like Austen, with her

With Rozema’s selective elisions

Catastrophies O’Connor, and her

those who love a good walk in the park

famous capacity for charm choose not

comes a collection of thematic

mutually unrequited love (and cousin)

of English manners.

to expend much of it on her main

additions and enhancements that

Edmund Bertram who is played with

• EMMACRIMMINGS

CINEMA PAPERS.MAY 2000 [4 5 ]

->The market for film writing is

Brian McFarlane's introduction

lags way behind.

their own films but this collection of

voracious. You've barely broken the

hopes for a "lively, readable and

This one wallows in that sludge

essays is wishy-washy. It doesn't quite

scholarly record". One out of three

between easy academia and try-hard

know what to say other than 'anything

With..., compendium or a now trendily

is not good enough.

populism with an alphabetically

can happen'. It is introspective and

ubiquitous anecdotal history before

The British Film Institute has an

arranged list of entries concerning the

useful only if you see parallels

the next one craves your attention.

enviable approach to its industry -

film. There is no narrative or flow,

between the Australian and British

This unforgiving environment will treat

more, broader and livelier. Its Modern

just paragraphs or essays on

film industries. Britain's enormous

The Oxford Companion to Australian

Classics series is a lively addition to

pertinent entries.

National Lottery Fund distribution to

Film harshly. In another era, it might

film reading, albeit a pricey one, at

Some entries, such as one dedicated

film funding suggests you shouldn't

have been welcomed.

$25, for Australian readers.

to The Black Swan, the pub in the

see any parallels.

film's opening sequence, are not so

-> Stanley Kubrick, Director - A

spine on the latest Conversation

The factual errors in this extensive

David M. Lubin’s Titanic is typical.

volume have been well documented by

It is a smart dissection of the film,

pertinent. An analysis of co-directors

Visual Analysis could be useful for a

the daily newspapers. They can be

sometimes drolly academic and at

Nic Roeg and Donald Cammell or its

budding director but for other readers

fixed but its tone can't be.

other times stridently contentious.

star Mick Jagger would have been

it is no more than a listless

The Companion perpetuates the

Lubin is sharp enough to acknowledge

less trivial.

hagiography. It falls for a common

plodding, workmanlike ambition that

the hype surrounding the film yet he

-> At first glance, Identifying

film writing trap by not exercising the

damns much of this country's film

writes accessibly of the pop hit's

Hollywood's Audiences also struggles

clarity or dignity of its subject. Worse,

scholarship and writing. It's too timid

visual aesthetics and psychology.

with format, looking like footnotes in

its author Alexander Walker was

to be great. Pedestrian writing,

He even points, convincingly, to

search of a thesis. But it is an

Kubrick's friend. This is fandom

gutless qualifications and colourless

Titanic's screwball comedy origins. It's

intriguing sideways move by the BFI's

dressed up as scholarship - as it

comment litter the text.

almost enough to excuse James

publishing arm, from analysis of films

would need to be to gain full

Nor does it provide context beyond

Cameron for his un-ironic 'king of the

as text to analysis of what the

authorisation from Kubrick and stills

facts, the only reason a book like this

world' exclamation. A sprightly read

audience wants. This collection of

direct from prints.

should be a valuable in our

and I look forward to the BFI's

essays on film research, particularly

And if you wade through the

information age.

upcoming series profiling directors.

its 1930s genesis, is an eye-opener

sycophantic analysis, all you're left

The volume is also damned by the

The BFI shouldn't be concerned about

and a marvellous addition to film

with are some foggy reproductions and

absence of crowd-pulling, exciting

its new, upstart competitor, the British

knowledge.

only eight pages of colour. And the

writers, by an absence of vitality, and

Bloomsbury Movie Guide series.

-> The BFI’s British Cinema of the

epilogue is little more than a 'My Part

the inexcusable absence of facts (for

On the strength of author Mick

1990s is less successful than

in Stanley's Career'. It defiles what

instance, no mention of Tropfest

Brown's analysis of Performance (d.

Identifying Hollywood's Audiences. The

could have been a marvellous book.

under the entry for John Poison).

Roeg/ Cammell 1970], Bloomsbury

Brits really know how to celebrate

•

M ic h a e l B o dey

CATCH THESE

qiìEAI?

UNITED INTERNATIONAL PICTURES

C O M

I N G

S O O N

« I M

■•n u n i;i ii>ii77TTT

EMILY WA T S O N

R O B E R T CARLYLE

A n g e l a ’ s A s h e s®..

AN

BASED

ON

THE

A L A N

P A R K E R

AWARD W I N N I N G

F I LM

BOOK

BY F R A N K

McCOURT

SAVE $ $ $ -With 35mm Quality 2.35:1

1.85:1

ail: movielab@pip.com.au .multivision23 5.com.au

Ph: 61-2-9416 3499 Fax: 61-2-9416 9843

MULTIVISION 235 Pty.Ltd.

101 Eton Road Lindfield N.S.W 2070 Australia

■

Fox Studios Australia

■

Projects past, present and future The Matrix, Babe: Pig in the City • Farscape, Mission Impossible II • Moulin Rouge • Star Wars II & III •

• six stages

7

•production offices, workshops and craft- shops • new 18,800sq ft workshop • art department and wardrobe areas • picture editing and sound edit­ ing • digital effects

Tw o new screening rooms have no w been added to the facilities at Fox. • • • • •

50 & 25 seats Double head screenings PAL & NTSC video replay Dolby Stereo, Dolby Digital and DTS replay Lucasfilm THX certified

Fox Studios now has a 747 interior set.

The set consists of: »>■ First Class Business Class (main) Business Class (upper) Economy Class Flight Deck

■

^ -

• fibre optic cable links

■

T h e s e t is p r e -lit w it h K in o F lo s , a n d t h e r e a re a d d itio n a l p r o p s

■ ■ ■

a n d d r e s s in g a v a ila b le . T h e s e t is lo c a te d in a 3 ,2 0 0 s q m e t r e ( 3 4 ,4 0 0 s q ft) w a r e h o u s e a t H o m e b u s h B a y W a t e r f r o n t E s ta te 3 0 m in s f r o m F o x S t u d io s .

For further information ■ please contact _ Studio Operations. " Driver Ave Moore Park NSW ■ 1363 Australia. _ Tel 61 2 9383 4135 m Fax 61 2 9383 4007 www.foxs- ■ tudios.com.au -,

POTENTIAL FILMS and CHAPEL DISTRIBUTIO N welcome back CINEM A PAPERS!

For all film travel

OP«

PRESENTING SOME OFTHE GREATESTMOVIES IN WORLD CINEMA.

and freight needs....

BANNED! ACCLAIMED! RELEASED!

TDN^WIaiPMMPN B illy Wilder's

Call Stage & Screen.

Catherine Breillat’s

SYDNEY Contact: Ken O’Brien Stage & Screen Fox Studios Australia

ornarne

S o m e m e e ¡ru a rNEW RESTORED PRINTS OPENING EASTER. Astor Melbourne • Chauvei Sydney

Now Showing Nationally.

F ro m th e a u th o r o f The Conformist a n d Contempt

§ P B G I E D I T I O N

Moore Park 1363

eanascreen.com.au

Suite 4 8-12 Sandilands St

.com .au

M m ^j jwt Cedric Kahn’s film of Alberto Moravia’s study of sexual obsession, NEWREMASTEREDTECHNICOLOR PRINTS ■DIGITAL SOUND C o m in g S o o n O p e n s A p ril R e g e n t M e lb o u rn e • C a p ri A d e la id e

P O T E N T IA L

=

F

diluitine* I

•

I

*

L

•

M

•

S

II

¡ill I [fi

Further details & catalogues contact Potential Films T el (0 3 ) 9505 6253 Fax (0 3 ) 95 3 2 7 9 5 1 Em ail: potfilm s@ ozem ail.com .au

S T U D I OS. L O C A T I O N S . T R A V E L .

Studios.Locations.Travel.

Australia is increasingly becoming a popular destination for international productions. Fuelled in part by the o p e n in g

of Fox Studios, this attention has also been generated through a c o m b in a tio n of the c o u n try 's re p u ta tio n for a high level of exp e rtise and its s p e c ta c u la rly diverse range of lo ca tio n s. In order to provide an overview of the country's studios, locations and travel services available Emma Crimmings spoke to just a b o u t everyone involved in m oving, housing, a c co m m o d a tin g , p ro m o tin g and locating just a b o u t anything.

CINEMA PAPERS.MAY 2000 [4 9 ]

S T U DI OS. L O C A T I 0 N S . T R A V E L .

S tu d io s . With the attractive bait of Sydney’s Fox Studios Australia (“ Fox”) and the Gold Coast’s Warner Roadshow Movie World Studios bringing major productions onto our shores and alerting others in the process, the demand for studio space continues to increase.

-^According to Fox’s communication manager, Victoria Buchan t,he facility has

facilities that are currently enjoying the flow-on effect generated by the boost in

constant bookings up until later in the year. With Bazmark's Moulin Rouge booked

international productions. Max Studios, located in Alexandria (near Fox Studios)

in until April and the first of Lucasfilm’s Star Wars pictures pushing into hyper-

has been enjoying the spill-over from its attractive neighbour with productions

space’ until the Olympics, Fox's schedule is looking tight. However, according to

such as the ICON Television/Story Entertainment/Columbia TriStar TV production

Buchan there are often gaps in the slated production that can prove particularly

of The Three Stooges using much needed studio space.

advantageous for productions such as the SBS Independent/Australian Film Com­

Mentmore Studios in Roseberry enjoyed a constant stream of bookings, including

mission million dollar movie, La Spagnola. With Fuhrman's Moulin Rouge

feature films such as Red Planet, Birthday Girl and Holy Smoke, despite being

occupying five of the six sound stages La Spagnola managed to negotiate a deal

damaged by last year's hailstorm. (However, the damage provided the studio with

with Fox to shoot in the remaining spare stage.

the opportunity to upgrade and refurbish.) Barcoo Studios, located in Sydney's

In terms of new developments, Fox has recently opened its construction work­

northern suburb of Roseville, has two studios.

South Australia’s Hendon Studios recently enjoyed a busy 12 months with Barron

shop which, according to Buchan, will free up the sound stages where previously construction had taken place. Other recent features include a 747 plane set.

Entertainment’s children series Chuck Finn using the space for most of last year.

Production Liaison for Fox Studios, James Bramley, enthusiastically details how

Also left with very little breathing space is Victoria’s Melbourne Film Studios

the aircraft was originally built for Paramount Picture's Mission Impossible 2,

('MFS ). Owned by filmmaking team Nadia Tass and David Parker, the MFS has

however, since its arrival the plane has already attracted a number of productions

recently undergone extensive renovations following a fire that damaged the site

including a US movie of the week, Nowhere to Land. Costing $10,000 a day or

last April. Studio Manager Rasa Zdanius explained once the studio re-opened it

$30,000 a week productions can access the low flying feature at Homebush Bay

was booked until November.

Waterfront Estate where it is housed.

Funding problems has resulted in Studio City, the production complex which was

Beyond the tinsel on offer at Fox, Sydney also boasts a diverse range of smaller

to begin construction in March at Melbourne Docklands, being put on hold. Mark

[50] CINEMA PAPERS.MAY 2000

S T U D I OS. LO C A T I O N S . T R A V E L .

Triffit, spokesman for the consortium says discussions are underway to finance

Planet Weird (Television) and Rip Girls (Pictures).

the project through private equity. The Docklands Studios has been a much debat­

In addition to a wet set feature in studio 5, Warner Roadshow has also construct­

ed and anticipated project which, if and when realised, would become a major

ed an exterior tank on the lot (outside Stage 5), which has been successfully used

force in feature film and television production - consequently increasing Victori­

for Flipper and Village Roadshow's television mini series 20,000 Leagues Under

a's market share of total Australian production.

the Sea.

Located within a 45 minute drive south of Brisbane or 15 minute drive from the

Apart from the onsite facilities provided at Sydney's Fox Studios and Warner

Gold Coast, the Warner Roadshow Studios continues to enjoy a constant stream

Roadshow, both sites house tenants who independently lure work from all over

of international business. With companies such as Coote/Hayes/UNP Pictures

the world. Fox Studios boasts industry specialists such as the digital post produc­

currently shooting the second telemovie in a series of four, space is at a premi­

tion house Animal Logic, Spectrum Films editing facility, sound post producers

um. The first telemovie Max Knight: Ultra Spy, finished shooting late last year The

Soundfirm and stunts and pyrotechnics specialists AET.

Product is currently shooting while the third, Rubicon is in preproduction, says

Warner Roadshow has companies such as special effects and armoury Film FX,

Lynn Benzie the studio manager. Other productions in the pipeline include

model makers The Model Smith, Panavision equipment hirers and visual effects

Coote/Haye's series Beast Master and the Disney productions Stepsister From

and design specialists Photon. •

SUBSCRIBE, SAVE AND WIN! cinema

w in a

$500

m -one- i

1 c l o t h in g

pa c k

It's th e la te s t and h o tte s t clothing b rand to h it th e s tre e ts . U n iqu ely A u s tra lia n , the M -O N E -1 1 ra n g e covers designs fo r both the m e n ’s and w o m e n ’s m a rk e ts and also in clu d es accesso ries, s w im w e a r, fo o tw e a r and active w e a r. You’ll find the n ew M -O N E -1 1 ra n g e c a rrie d a t an A u s tra lia -w id e n e tw o rk of o ver 1,000 re ta ile rs , a ll re n o w n e d fo r stocking th e best and m o st s uccessfu l brand s of clothing.

T h e n e w C in e m a P ap e rs. F re s h , v ib ra n t, e n e rg e tic ... It’s been A u s tra lia 's m ost resp ected film in d u s try m a g a zin e since 1973. And th is is y o u r chance to sub scrib e and w in a $ 5 0 0 M -O N E -1 1 clothing pack.

TO S U B S C R IB E .... J u s t c o m p le te y o u r d e ta ils in th e s p ace b e lo w an d re tu r n it by FR E E FAX to 1 8 0 0 8 0 2 3 2 6 o r POST IT FR E E to R e p ly Paid N o . 2. N ic h e M e d ia PO Box 2 1 3 5 St. K ild a Vic 3 1 8 2 .

cinema F re s h , in fo rm e d a nd v ib ra n t.

A ll th e n ew s , re v ie w s and

YES PLEASE! Start my subscription to Cinema Papers |

~| 12 months (6 issues) only $37.50 1 entry into the M-ONE-11 draw

j

G IU C ^ H ^ Ic I

24 months (12 issues) only $75 3 entries into the M-ONE-11 draw

IS

Name

Reply Paid No 2.

Niche Media PO Box 2135 ST KILDA VIC 3182

Address

e v e ry th in g you n eed to k n o w

Suburb

State

Phone (BH)

Fax (BH)

Postcode

a b o u t th e e x c itin g

FREE POST

A u s tr a lia n film | My cheque is enclosed

in d u s try .

Type

j^ j

Please charge my credit card

This is a renewal

FREEFAX

Expiry

Credit Card Number

H a v e e a c h is s u e o f C in e m a P a p e r s d e l iv e r e d to y o u r d o o r e a c h m o n t h b y s u b s c r ib in g n o w .

□

□ □ □ □ □ □ □ □ □ □ □ □ □ □ □

1800 802 326

Signature

Entries into the draw to win $500 M-ONE-11 clothing pack close 5pm Friday, 14/7/00. The winner will be decided by barrel draw at 5pm Friday, 28/7/00 at Niche Media, level 3/165 Fitzroy Street, St Kilda Vic 3182. The winner will be notified by mail, and published in the October 2000 issue of Cinema Papers. The M-ONE-11 clothing pack will be supplied to suit the winner. I.e. male/female and correct size. Competition open to Australian residents only.

CINEMA PAPERS.MAY 2000 [51]

S T U D I OS. L O C A T I O N S . T R A V E L .

Locations. If it Is locations you are after, Australia offers an incomparable diversity of options.

Whether you are in search of a fully equipped ground-bound 747, a horizon tank large enough to accom m odate Moby Dick or the lunar landscape of the interior, this country has either got it, built it, dug It or filled it. With the global film and television industry generating more than $50 billion Income each year for the communities where filming takes place it has naturally become a local priority to encourage and support the constant flow of International produc­ tions electing to shoot here.

->The organisations established to provide production support and encourage­

Coppel also suggests that it is important to highlight that organisations such as the

ment are a number of state-based film commissions including Cinemedia's

MFO don't try to take the place of the industry professionals whose role it is to pro­

Melbourne Film Office (MFO), the Pacific Film and Television Commission (PFTC),

vide those specific services.

NSW Film and Television Office and the South Australian Film Commission (SAFC).

production company to employ location managers, a production team. Plowever, if

"Once a project has been wooed we expect the

Providing valuable production liaison services to existing international and nation­

there are difficulties at any time or the project's producers want introductions to

al productions, these organisations are the best place to begin any preliminary

Victorian creative and technical people, we certainly offer all the help we can. Part

location research.

of the task of attracting people to town is to ensure that they have the opportunity

Flaving recently attended the Association of Film Commissioners International

to access as many of the services [such as post production, facilities etc] and peo­

(AFCI) Locations 2000 held in Los Angeles in February 2000, the MFCs Director,

ple as possible to make the best choice of who they'll work with, and to give our

Louisa Coppel explains that around the world there are about 300 film commis­

industry the best chance to 'sell themselves'."

sions, most of which are members of the AFCI. The AFCI is the official association

Also in LA promoting their unique locations to location managers, producers and

of government film contacts worldwide. In Australia there are organisations fulfill­

directors from all over the world was Queensland's Pacific Film and Television

ing these functions in Queensland, Victoria, New South Wales, and South Australia.

Commission. PFTC's chief executive officer, Robin James says, "Through the

Also indicating a desire to have their locations promoted, the state governments in

Queensland Government's range of industry incentives, the PFTC aims to max­

Tasmania, Western Australia and Northern Territory have all joined AusFILM, a

imise the value of film, television and commercial production in Queensland and to

national consisting of local public and private sector organisations with business

assist in the further development of infrastructure to service such production.” The

interests in the expansion of film and TV production in Australia.

industry incentives offered by the PFTC to productions include payroll tax rebates,

According to Coppel, MFCs primary task is to attract film and television produc­

Queensland crew wage rebates, no charge fire and police services and advice and

tion to Victoria, thereby providing work to members of the industry and export film

assistance on Queensland's diverse locations.

dollars to the state. In Victoria productions can access anything from subtropical

"Added to all these are a perfect climate and a breathtaking variety of spectacular

rainforest to snow drenched mountains... and everything in between. “We also

locations, many of which are accessible within 60 minutes of an international air­

work with our industry here, and authorities such as the police, state government

port - there are coral reefs and tropical beaches, mountains, waterfalls,

and councils, to ensure that filming works in the state." Organisations such as the

rainforests, rivers, jungles and deserts, cityscapes and towns, freeways and

MFO, SAFC and PFTC provide a broad range of location and information services

fields," continues James. According to PFTC marketing manager Casey O'Hare,

including location advice; assistance and liaison; initial location surveys; access to

the commission offers filmmakers in Queensland professional advice and assis­

location library; access to publicly owned locations; web sites and a local produc­

tance at every stage of production, from initial inquiry through to completion of the project. •

tion directory.

[52] CINEMA PAPERS.MAY 2000

[ f o r the w i d e s t wi de s h o t ]

th e

r

n

L

J

biggest

• the

quietest

• the

h ig h e s t in

town

jnelbourne film studio 117 Rouse Street Port Melbourne 3207 Victoria Australia Telone: 613 9646 4022 Facsimile: 613 9646 6336

.t

w w w .c a s c a d e film s .c o m .a u /m fs

’ •

-

..

' Sri

4$

•

• -

.

■ '■ ■ 4 : •'

■

.'C , :g | |

'Z"-. •; . i

■A

.

' æt

Æ » V '/ 'i ^

i

JÊ 0' Z ' ' 4 r 4

i ■ i É

ì ‘ ‘%

'èâsfe& ■

TRANSPORT & LOGISTICS jr ' Ì$M ■■■•s

'• e ri

:.

Shane McKechnie ;fsfS4®#| ■i

Specialist Courier & Freight Services to the Film & Television Industry •

L o c a l • In te r s ta te • In te r n a tio n a l (A ir, R o a d , S e a , R a il) • T r u c k H ir e , C o n t a in e r H ir e • C u s to m s C le a r a n c e • P a c k in g , C r a tin g & S to r a g e • C a r n e ts • O n S ite C o -o r d in a tio n & A f t e r H o u r s A s s is t a n c e

Ph: (02) 9666 9699 Fax: (02)96666906 Mobile: 0418 611799 Email: mckechni@ozemail.com.au

S T U D I OS. LO C A T I O N S . T R A V E L .

Travel. What would a production be without the exotic and spectacularly remote location that must house a cast and crew of no less than a thousand and offers no accom m odation within a 700km radius. Add to this a belligerent custom official who is in no rush with the rushes, and a second unit running way behind schedule? The answer is simple: an inter­ esting challenge for one of Australia’s growing film travel, freight and logistic companies.

->For any visiting productions, travel, transport, freight and accommodation are

with the airlines, find accommodation and get everyone into the Middle East."

crucial factors in the overall planning. Australia is host to some of the world's

The entire production was in the Middle East for a five week shoot followed by

most competitive and experienced production travel and freight companies.

two days in Sydney and then to the modestly equipped Coober Pedy for another

Those on offer range from companies geared toward servicing multinational

five-week shoot.

mega-shoots such as industry rivals, Stage and Screen Travel and Freight Ser­

With the cast and crew virtually outnumbering the population of the remote out­

vices and Showfilm Services Australia, to smaller companies catering to the more

back town, finding accommodation was far from a simple exercise. Cruse recalls

independent market, such as TRAVELTOO.

how she herself had to visit the town a number of weeks beforehand in order to

Independently owned and Sydney based, TRAVELTOO's general manager Greg

solve the accommodation crisis. “I put advertisements in the local paper to find

Helmers suggests that the company owes its success to the highly personalised

private accommodation. We had the local's private homes rented for the crews. It

and individual service it provides. Helmers explains how accounts are handled by

was mad." According to Cruse the project may have been one of their biggest -

one consultant only. "We don't just 'leave you in the air'.” The consultant assigned

providing international air, domestic air, cars, accommodation, transfers, in fact

to the account is dedicated to maintaining close communication in order to meet

anything you can think of to do with movement they did it. Currently servicing the

a production's every requirement and negate every concern. Covering all produc­

NRL and national Cricket Board accounts, Showfilm had just scored part of the

tion travel and accommodation needs (not freight], TRAVELTOO has worked with

Star Wars contract.

films such as: Holy Smoke, The Thin Red Line, Shine, Heartbreak High, Paradise

Having recently been bought by Flight Centre, Stage and Screen is by no means a

Road, Birthday Girl and the soon to be completed Walk The Talk.

stranger to remote locations either. Providing the travel and freight for Bill Ben­

When examining the services and reputation presented by local industry competi­

nett's In A Savage Land, the company had to negotiate fictional airport timetables

tors Stage and Screen and Showfilm, it is difficult to identify major differences.

with tropical realities. "You don't get much more out of the way than the Trobian

According to Showfilm’s national travel manager Ingrid Cruse, the fundamental

Islands... now that was an interesting project for all those concerned,” reminisces Tony Miles, manager of Stage and Screen.

difference between the two companies is that Stage and Screen is a Qantas pre­ ferred agency while Showfilm is part of the Ansett and the Star Alliance group.

In addition to portions of the major production pies, Stage and Screen enjoy a

Showfilm, a wholly owned subsidiary of Ansett Australia Holdings, has recently

solid slice of the Victorian film and television market. Some of the productions

established a network of film dedicated travel and freight offices at Fox Studios in

serviced by the company include: The Matrix, Mission Impossible 2, Moulin

Sydney, Warner Roadshow Studios on the Gold Coast and in Los Angeles.

Rouge, Babe 2, Jacky Chan's Mr Nice Guy, the TV miniseries On The Beach,

According to Cruse, Showfilm knows no bounds. Warner Roadshow's Red Plan­

Noah's A rk, Moby Dick, and Journey to the Centre of the Earth, Halifax, and Good

et was one of the company's major clients last year. A huge project involving

Guys Bad Guys.

multiple locations, Cruse recalls how the film went into preproduction and had

In conclusion, it important to highlight that the companies mentioned above are

six weeks before the first shoot was due to start in Iceland. "Approximately two

by no means the only film travel, locations and studio service providers available.

weeks into the shoot the producers (without pushing back dates) pulled Iceland

A more comprehensive coverage of companies offering services in this area can

and decided to go into Jordan in the Middle East instead. In a period of fourweeks

be gained from the Production Book, Encore Directory or state based film com­

we had to pull everything that had been put in place out of Iceland, resign deals

missions such as those mentioned under locations. •

[54] CINEMA PAPERS.MAY 2000

InProduction Feature film s in pre-production S T A R W A R S E P IS O D E II - T H E R IS E OF T H E E M P IR E

JAK Productions/ Lucasfilm Ltd P rin c ip a l C re d its

D ire cto r: G eorge Lucas P ro du ce r: Rick M cC allum Cast: Ewan M cG regor, N atalie P o rtm a n , S a m ue l L Jackson, Liam Neeson, Ian M cD iarm id S y n o p s is

Set 10 years a fte r S ta r W ars Episode One (o r I], The P hantom Menace, D arth Sidious, ta ke s o ve r the R epublic, tu rn s it into an e m p ire and c o n tro ls everything. The Clone W ars reach th e ir p in n a cle as the Jedi K n ig h ts s tru g g le to defend the galaxy fro m th e fo rce s of evil.

M eanw hile, A nakin S k yw a lke r fa lls in love w ith Queen A m ida la but begins to su ccum b to the D ark Side of the Force.

P ro d u c tio n C r e w

P roduction m anager: K e rry L am m ing & Annie Robinson P ro du ctio n c o -o rd in a to r: K e rry Lam m in g & R obert Luppino P roduction a d m in is tra to r: M argie W e n tw orth Location m a na g e r: Raelene M e tlitzky & Annie Robinson A sse m bly e d ito r: B a rry L e ffle r C /- L e ffle r P ro du ctio n accou n ta n t: J e ff P ails C /- Page H arris o n & Co, & M argie W e n tw orth In s u re r: GIO C om pletion g u a ra n to r: GIO and FIUA L egal se rvices: John M c D e rm o tt

I

Outback Legend Productions P rin c ip a l C re d its

P roducers: B ill Leim back, T roy Dann S c rip tw rite rs : M ichael M cGennan, Troy Dann S y n o p sis

A h e lic o p te r p ilo t w o rk in g in Sydney re tu rn s hom e to A lice S prings to help his fa m ily fig h t fo r the p ro p e rty th a t is a bout to be sw ep t aw ay fro m th e m by u n s c ru p u lo u s a ctivities.

S E C O N D D R IL L

Verdict Pictures P roduction p eriod: F rom May 2000 P r in c ip a l C re d its

Executive p ro d u ce rs: O scar S cherl, John M o rrow , Ja m es Podaridis P ro du ce r: C am eron Ja m es M ille r D ire cto r: C ha rles 'B u d ' T in g w e ll S c rip tw rite rs : A nthony Langone, R oger Dunn Cast: B ill H unter, P aul M e rcurio S y n o p s is

Second D rill is a d is tu rb in g and v io le n t p o rtra y a l of te rm in a lly ill Sunny C linsm an, w ho pays tw o estra n ge d a rm y re c ru its to kidnap his o nly son s gay love r to lu re his son, Evan, into a cat and m ouse gam e fu e lle d by a hidden agenda of suicide and s e lf-re trib u tio n . It is the c ru e l s to ry of a m ilita ry m an so g u ilt-rid d e n th a t he fo rce s his o nly son into k illin g him .

THE BANK

Arenafilm Pty Ltd P ro du ctio n p e rio d :F ro m J u l 2U P r in c ip a l C re d its

D ire cto r: R obert C onnolly P ro du ce r: John M aynard S c rip tw rite r: R obert C onnolly D ire c to r of P hotography: T ristan M ilani P ro du ctio n D esigner: Luigi P itto rino E ditor: N ick M eyers Sound D esigner: Sam Petty C asting: M u llin a rs S toryboard A rtis t: Tam M o rris Cast: David W enham

F irs t a s s is tan t d ire c to r: Sy M ilm an Second a ssistan t d ire c to r: Annie Robinson C ontinuity: Louise K erry Playback o pe ra to r: Pirn K ulk Boom o p e ra to r: Johnathon Hughes, David T ru m p m a n is , John Cross, B ill N ielson, & Guy Lem berg.

M ake-up assistan t: N icki Dargie, Jacqui B u ffe tt Special fx m a k e-u p : N icki Dargie S tunts c o -o rd in a to r: Eric H alil S till photography: S am uel Tang C atering: Petra K lein R unners: John Cross, A n d re w Thom pson, David T ru m p m a n is & Rebecca A nderson.

A n im a ls

!

l j

i

,

| I i

i

D ire c to r: S tu a rt M cB ratney P roducers: Jon Silver, M ichel B ouskila, S tu a rt M cB ratney S c rip tw rite r: S tu a rt M cB ratney Based on the n o v e l/p la y /s to ry /o rig in a l screenplay by: S tu a rt M cB ratney D ire c to r of photography: A n d re w S tra h o rn P roduction designer: G eorgina G re e n hill E ditor: Rachel G rierson and C heryl P o tte r C om poser: S tu a rt M cB ratney and Troy M enyw eather Sound re c o rd is t: C hris C rom e Sound a ssistan t: Leigh C olem an P la n n in g an d D e v e lo p m e n t

S c rip t e d ito r: Tom B etts C asting: Tim Wood |

!

P ro d u c tio n C r e w

P roduction m a nager: V ickie Gest P roduction c o -o rd in a to r: L ib e rty M e ltzer P ro du ce r s assistant: C arl B a ke r Location m anager: C arl B aker U nit m anager: Ju s tine H atcher P roduction ru n n e r: K ris tine H anger C a m e ra C r e w

Illum ination Film s and MusicArtsDance film s

& A nnie Robinson

Budget: Low P roduction period: 22 January - 28 M arch, 2000 P r in c ip a l C re d its

S y n o p sis

N IJ IN K S K I

P la n n in g a n d D e v e lo p m e n t

D ire cto r: Steven Jacobs P roducers: A n n a-M a ria M o ntice lli, P hilip H earnshaw S c rip tw rite r: A n n a-M a ria M o ntic e lli Cast: Lola M arceli, Lourdes B artolom ĂŠ

Spudmonkey Films Pty Ltd

M usic p e rfo rm e d by: John M eagher T itle s : B a rry L e ffle r S hooting stock: Panavision D igital O ff-lin e fa c ilitie s : L e ffle r Post C am era Equip: JVC fro m D igihire and John B arry's.

Centaur Enterprises Pty Ltd

S c rip t e d ito r: M argie W e n tw orth & Dez W a te rm a nn C asting: B edford & Pearce C asting co n su lta n ts: M athew N ix c /- B edford & Pearce S hooting sch ed u le by: K e rry Lam m in g

Wild Strawberries Pty Ltd

D is trib u tio n com pany: S h a rm ill F ilm s and W TVIU S] Budget: 1.2 M illion P ro du ctio n : Ja nu a ry 2000-M ay 2000

]

P r in c ip a l C re d its

D ire c to r: Paul Cox P roducer: Paul Cox, Aanya W hitehead Executive p rod u c e r: Kevin Lucas, W illia m M a rs h a ll S c rip tw rite r: P aul Cox Based on the d ia rie s of Vaslav N ijinsky C om poser: P aul G rabowsky

Focus p u lle r: Travis T rew in C la p p e r-lo a d e r: Evan B u rro w s Key g rip : Adam M cP hail A s s is ta n t g rip s : Evan O ldm an and M a rk French G affer: Glenn Jones B est boy: Luke R idley and Tim Wade E lec tric ia n : Luke D illon A s s is ta n t e le c tric ia n : Ben Fry, Darin L anfranco and Vanessa T ro w e l

|

O n -s e t C r e w

j

1st a s s is ta n t d ire c to r: C hristy Beard 2nd a s s is tan t d ire c to r: D aniella Rigby 3rd a s s is tan t d ire c to r: M arco S inigalia C ontinuity: C heryl P o tte r and Rachel G rierson Boom o p e ra to r: C lin t B rice and Luke Hayward M ake-up: T iffany B e c k w ith -S k in n e r M ake-up a s s is tan t: Em m a Louise

P la n n in g a nd D e v e lo p m e n t

R esearchers: Leonie Verhoeven, M a rgo t W iburd Dance C on su lta nt: A lida Chase

M O U L IN ROUGE

Bazmark Productions D is trib u tion com pany: T w entieth C entury Fox P r in c ip a l C re d its

D ire c to r: Baz L uh rm a n n P roducers: Baz Luh rm a n n, M a rtin B row n, Fred Baron S c rip tw rite rs : Baz L uh rm ann, Craig Pearce DOP: Don M cAlpine Cast: N icole K idm an, Ewan M cG regor, Richard Roxburgh, John Leguizam o, G arry M cDonald S y nopsis

A young m an casts aside the shackles of his m iddle class society to becom e a w r ite r and jo in the ra n k s of the fre e living a rtis tic u n d e rw o rld of Paris.

SPUD M O NK EY

P o s t-p ro d u c tio n

C R A C K IN G ON

D ire c to r: John M eagher P ro du ce r: John M e ag h e r/ M argie W e n tw orth S c rip tw rite r: John M eagher D ire c to r of p hotography: Ray H enm an P ro du ctio n d esig n er: George M entis E d ito r: B a rry L e ffle r C /- L e ffle r Post C om poser: C olin B lack S ound re c o rd is t: P aul K a lin ski

C on te m p o rary com edy a bout a pizza d e live ry boy w ho achieves his dream of d ru m m in g in a su c c es s fu l ro c k band, only to be replaced by c o m pu teris e d d rum s .

A vivid and e nergetic p o rtra y a l of im m ig ra n t life in a dry and dusty A u s tra lia n tow n in the 1960s.

In production P r in c ip a l C re d its

S y n o p sis

Sy nopsis

Scenic a rtis t: J a rro d G raham C arpenters: C hris Lindem an

W hen a h a p p ily -m a rrie d , m idd le-a g e d couple w ith c h ild re n re a lis e passion has gone, they agree to date others.

The hubby sets o u t on a m ission to find a g irlfrie n d -w ith o u t lying.

S y nopsis

Vaslav N ijin s k y w as p robably the g re a te s t d an ce r of a ll tim e -th e God of the D ance-and his C ahiers' (Diaries) m u s t be one of the m ost e xtra o rd in a ry and m oving lite ra ry w o rk s ever w ritte n . The film uses the w o rd s of N ijinsky, w ritte n in 1919 in St M oritz w here he had re tire d , su ffe rin g extrem e m e nta l agony.

P r in c ip a l C re d its

C o n s tru c tio n D e p a r tm e n t

John M eagher, C olleen Cook, Peta Johnson, Les Snell, Eric H alil, Rocco Pachi, Tony Davis, Ken M orton, M a tth e w M ariconte, M a rtin H aig-Loyd.

C ast

Greg P ow ell, A lis ta ir To m kins, S am antha F itzgerald, D am ien Garvey, K athryn Liste, V ernon Johnson, Liz P err, E rro ll O 'N eill, P aul P u rn e llWebb, M ichael D orem an.

Post P roduction: U n til N ovem ber 2000 I j

W a rd rob e s u p e rv is o r: J acinta B ritto n W a rdrobe buyer: P e te r W rig ht, Lois Prys and M iche lle Manson W a rdrobe a ssistan t: Joanne W rig h t

D evelopm ent: South A u s tra lia n Film C orporation P roduction: South A u s tra lia n Film C orporation, A u s tra lia n F ilm Finance C orporation, SBS Independent

In post-production

C o -p ro d uce r: Des Pow er Executive p ro d u ce r: M ika e l B o rg lu n d A ssociate p ro d u ce r: Peta Law son P ro du ctio n d esig n er: A dam Head Sound re c o rd is t: Bob C layton P la n n in g a n d D e v e lo p m e n t

C asting: Suzie M aizels and A ssociates C asting a ssistan t: M ichael B oland P ro d u c tio n C r e w

W ard ro b e

G o v e rn m e n t A g e n c y In v e s tm e n t

LASPAGNOLA

A n im a l h a n d ler: J ill B urnside

Cast

A rt d ire c to r: Suzie B lac k s h a w A s s is ta n t a rt d ire c to r: Tim A lla n P rops buyer: David M ackie, M ark E lder

W ardrobe D esigner: J illy H ickey |

W ard ro b e

W ardrobe supervisor.- B re tt G rant W a rdrobe s u p p lie r: Tony B a raka t C/G e n tle m an 's Club W a rdrobe a ssistan t: Je re m y Szypura

A r t D e p a r tm e n t

In s u re r: C inesure C om pletion g u a ra n to r: F ilm Finances Ltd Legal services: M a rs h a lls and Dent

W a rd ro b e

A r t D e p a r tm e n t

A rt d e p a rtm e n t c o -o rd in a to r: Sophie W asley A rt d e p a rtm e n t ru n n e r: Dorota Bona Set d res s e r: Sophie W asley P rops buyer: M argie W entw orth Standby props: Dorota Bona A rm o u re r: Keith H ulm e C /- Stockade

P ro d u c tio n C r e w

C ho reographer: A lida Chase, Leigh W arren U nit p u b lic is t: C atherine Lavelle

O n -s e t c r e w O U T B A C K LE G E N D

Safety o ffic e r: C h ris ty Beard U n it n urs e : V ickie Gest U nit p u b lic is t: Tom B etts

O n -s e t C r e w

C a m e ra c r e w

C am era o p e ra to r: Ray H enm an C la p p e r-lo a d e r: N ick P ollack C am era a ssistan t: N ick P ollack, Pirn K u lk Key g rip : Paul N iccols A s s is ta n t g rip s : Leroy Page G affer: N ick P ollack, J o el K lin g e r E lectricia n : J o e l K lin g e r

Shooting schedule by: Aanya W hitehead Budgeted by: Aanya W hitehead

Telefeatures In pre-production

P ro du ctio n m a na g e r: L o ri F le s k e r P ro du ctio n c o -o rd in a to r: Jo Friesen P ro d u ce r's a ssista n t: N aom i W enck P roduction se cre ta ry: K ate Kennedy Location m a na g e rs: C hris Betts, H a rry Yates U nit m anager: M a tth e w Jones U nit a ssista n ts: Greg R efield, Gavin Evans, Sim on B uckley P ro du ctio n ru n n e r: Jam es M u lle r P ro du ctio n accou n ta n t: Nadeen K ing sh o tt In s u re r: W illis A u s tra lia Ltd C om pletion g u a ra n to r: F ilm Finance C orporation C a m e ra C r e w

Focus p u lle r: Jo E rskine C la p p e r-lo a d e r: M elinda R ickm an Grip: G rant N ielsen D olly g rip : John 'A xe l' Dolan G rip a ssistan t: A n d re w S andford G affer: G raham R uthe rford Best boy: A n d re w Saul G e n e rator o p e ra to r: M att Fergus O n -s e t C r e w

F irs t a ssista n t d ire c to r: Bob H ow ard Second a ssista n t d ire c to r: Vera Biffone T h ird a ssista n t d ire c to r: Rebecca K elly S crip t a ssistan t: K airen W aloch C ontinuity: Joanne M cLennan Boom s w in g e r: P h il S tirlin g H a ir/ M ake-up su pe rviso r: Lynne O 'B rien M ake-up a rtis t: M iche lle R itchi S tunts c o -o rd in a to r: C hris A nderson Safety o ffic e r: Lana D arby U nit n urse: M iche lle G regory S till photography: Greg Noakes U nit p u b licist: Deb W ith e rs C atering: P acific F ilm C atering A r t D e p a r tm e n t

IH A K A

Screentim e/ South Pacific Pictures D is trib u tio n com pany: C olom bia In te rn a tio n a l P re -p ro d u c tio n : F ro m May 8, 2000 P rin c ip a l C re d its

A rt d ire c to r: B re n t T a ylor A rt d e p a rtm e n t c o -o rd in a to r: J e n n ife r desC ham ps A rt d e p a rtm e n t ru n n e r: Rod B rennan S cenic a rtis t: A dam S m ig ie lski Standby props: S tu a rt P o lkin g ho rn e A rm o u re r: Bob Parsons

D ire c to r: P e te r Fisk P roducer: Ian B radley Line p rod u ce r: Glenda C arp e n te r-M cK ech n ie Executive prod u ce r: Des M onaghan S c rip tw rite r: Paul Thom as

C ostum e d esig n er: M elody C ooper Standby w a rd ro b e : C arina C alderone W ardrobe a ssistan t: Jay M ansfield A skew

P la n n in g an d D e v e lo p m e n t

P o s t-p ro d u c tio n

C asting: M aizels C asting C asting c o ns u lta n ts : Suzie M aizels

E ditor: A n d re w M acneil A ss is ta n t e d ito r: B rad L in d e nm a ye r D ire c to r's a tta ch m e n t: P e te r W rig h t

S y nopsis

A stre e tw is e M aori cop and a sophisticated Sydney cop team up to solve a fo u r-y e a r-o ld m u rd e r m ystery.

W a rd ro b e

C ast

Screentime Pty Ltd

M att Day, A lex D im itria d is, Nadine G arner, Steve V idle r, G raem e B lu n d e ll, C aro l B u m s, C hris B etts.

H ea th e r M itch e ll, C atherine M ille r, P aul Denny, Joelan Reti

P re -p ro d u c tio n : From May 2000

S y nopsis

P rin c ip a l C re d its

L io n e l B u rke is co n te n t w ith life in the s m a ll Q ueensland tow n o f Gundeeba.

H e's got his m ates, his jo b at the m ine, his dependable dog Fuggly, and a d ream to re -op e n the to w n 's old m ovie th e a tre . And rom ance? N ot lik e ly in th is to w n. B ut an u nu su a l corresp o n de n ce w ith Lena, a young w om a n fro m th e city, leads to an im p ro m p tu m e etin g . And a frie n d sh ip th a t tu rn s a s m a ll tow n u pside-dow n.

M Y H U S B A N D ... M Y K IL L E R ?

P roducer: David Gould Executive p rod u c e r: Des M onaghan S c rip tw rite r: M ichael Cove S y nopsis

A tru e s to ry of greed, m oney and passion, w oven into a tangled m u rd e r plo t. A n d re w K alijzich w as a m illio n a ire h o te l ow ner. His life w as th ro w n into tu r m o il w hen his w ife w as sh ot dead in th e ir bedroom .

E ventually the c o u rts found K alijzich g u ilty but he alw ays m ain ta in ed th a t he w as innocent.

S T E P S IS T E R FR O M T H E P L A N E T W E IR D

The Disney Channel P r in c ip a l C re d its

In Post-production

D ire cto r: Steve Boyum

T H E LO VE OF L IO N E L â&#x20AC;&#x2122;S L IF E

Liberty & Beyond Productions Pty Ltd D is trib u tio n com pany: Beyond In te rn a tio n a l Post P roduction: A p ril 3-Jun e 26, 2000 P r in c ip a l C re d its

D ire c to r: John Ruane P ro du ce rs: Tony Cavanaugh, S im one N orth

CINEMA PAPERS.MAY 2000 [55]

Docum entaries In production

A N IM A L X - S E R I E S 2

Series D ocum entary

S toryteller Productions P r in c ip a l C re d its

Exec P roducers: M ike Searle, J e n n ife r W ilson P roducers: M ike S earle, N igel S w etenham , J e n n ife r W ilson, M elanie A m brose, Linda Searle, C aroline B e rtra m S y n o p sis

As w ith se rie s one, A N IM A L X SERIES 2 investigates a n im a l s to rie s fro m around the w o rld . From ghostly phenom ena to lake m o n ste rs and m yste riou s sigh tin g s to unknow n creatures.

13 x 30 m inutes P roduction fro m 1/5/00 A U S T R A L IA N S A T W A R

Series docu m e n ta ry

Beyond Productions Pty Ltd in association w ith M u llion C reek P roductions.

S upervising P roducer: Stephen A m ezdroz P roducer: M ichael C aulfield D ire cto rs: Geoff B urton, David Goldie, Steve Best, Tim C la rk W rite rs : Geoff B urton, David Goldie, Steve Best, Tim C la rk S y nopsis

A u stra lia n s at W ar exam ines the effects of w a r on the lives of A u s tra lia n s and how th is nation has been shaped by those experiences.

8 x 55 m inutes P roduction fro m 1/4/00 FO RE IT ’S TOO LA TE 10: T H E FO RG O TTEN S P E C IE S

S h o rt D ocum entary S to ry te lle r Productions Executive P roducer: Mike S earle P roducers: M ike Searle, B ill Clough, Sam M cDonaugh, Linda Searle D ire cto r: M ike S earle W rite r: M ike Searle' Sy nopsis

Episode ten in the BEFORE IT'S TOO LATE se rie s looks at the fo rg o tte n species; India's lions, ele phants, crocodiles and rh in o s - a ll c ritic a lly endangered and over-shadow ed by th e ir A frica n cousins.

54 m inu te s P roduction fro m 1/4/00

Post-production C ITY OF D R E A M S

55 minutes A Film Australia National Interest Program. Produced with the assistance o f the ABC. N etw o rk: ABC P rin c ip a l C re d its

Executive P roducer: M a rk Flamlyn P roducer: Gaby Mason D ire cto r: Belinda Mason W rite r: Gaby Mason, B elinda Mason E ditor: Jam es M anche P roduction M anager: Gina Twyble P ublicity Contact: Susan W ilson, phone: 61 2 9413 8635 P rin cip a l Photography: Shoot period: 7/2-7/4/2000 Sy nopsis

W hen the b r illia n t and fie ry M arion Mahony, the fir s t re giste re d w om an a rc h ite c t in the w o rld and the longest serving d esig n er in F rank Lloyd W rig h t's practice, m a rrie d W a lte r B u rle y G riffin, it w as the beginning of one of the m o st outstanding a rtis tic co lla b o ra tio n s of the 20th century.

This visionary A m e rica n couple w on a c o n tro v e rsia l in te rn a tio n a l co m pe titio n in 1912 to design the new A u s tra lia n ca pita l in C anberra.

A lth o ug h the city of th e ir drea m s w as never b uilt, the G riffin s chose to stay in A u stra lia . This fascinating d ocu m e n ta ry explores th e ir u nconventional approach to life and a rc h ite c tu re , and th e ir lasting im pact on A u stra lia n cu ltu re .

W rite r: N ick Place, Kate L a tim e r D O P /C inem atographer: Jenni M eaney E ditor: B ill M urphy Sound R ecordist: M ark Tarpey P u b licity Contact: Susan W ilson, phone: 61 2 9413 8635 P rin c ip a l Photography: Shoot period: 14/2-25/2/2000 S y nopsis

In one hundred years of the Davis Cup, a sim p le tru th em erges: A u s tra lia has changed the Davis Cup, and in a ta n g ib le way, the Cup has changed A u s tra lia . We firs t entered the c o m pe titio n a fte r Federation and w on the Cup soon after. Since then A u s tra lia has dom inated the com pe titio n . Only A m e rica has w on the Davis Cup m ore often, an e x tra o rd in a ry feat given the size of A u s tra lia 's population. Through its te n n is players, A u s tra lia becam e know n in te rn a tio n a lly fo r its s p orts m an s h ip and fa ir play. A t the sam e tim e , A u s tra lia w as gripped w ith a te n n is obsession - and the gam e w as no lon g e r a rich p ersons' sport, but a gam e fo r everyone. This p rog ra m explores the sym biotic re la tio n s hip between A u s tra lia and one of the m ost fam ous s porting cups in the w o rld .

B IR T H R IT E S

52 x m in u te A ccord D ocum entary

S T E E L CITY

A Film Australia National Interest Program. Produced with the assistance of the ABC.

Executive P roducer: Stefan Moore Producer: Denise Haslem , Gina Twyble D ire cto r: C atherine M arciniak 2nd U nit D ire cto r: Aviva Z iegler W rite r: C atherine M arciniak D O P /C inem atographer: Joel P eterson/B ob H um p h rie s /P h ilip B u ll/P ie te r de Vries E ditor: Kim Moodie P roduction M anager: Gina Twyble Sound R ecordist: M artin H a rrin gto n/Le o S ullivan/G raham W yse/Andy Postle P ublicity Contact: Susan W ilson, phone: 61 2 9413 8635 P rinc ip a l P hotography: Shoot period: 8/9-10/11/1999 S ynopsis On 30 S eptem ber 1999, 2000 s te e lw o rk e rs w alked out of N ew castle's BHP s te e lw o rk s fo r the last tim e. The shutdow n of the plant m arked the end of an era fo r a city th a t had b u ilt its e lf on steel. Now, the local p oliticia n s and the C ham ber of C om m erce are s elling a new vision, p rom ising a fu tu re of h igh-tech in d u s tria l parks and flo u ris h in g to u ris m . The com pany's s p in -d o c to r is w ork in g o vertim e w h ile the w o rk e rs c o n fro n t th e ir fu tu re - som e have big plans to sue th e ir payouts to set up th e ir own businesses, others are s tru g g lin g to a djust to a life that w ill never be the same.

Synopsis

The D iplom at d ocum ents the fin al y ear of fre e d om fig h te r and N obel Peace Prize w in n e r, Jose Ramos H orta's epic cam paign to secure independence fo r East T im or. It is a tim e ly record of the tu rb u le n t eventsof 1998-99, fro m the fa ll of P resident S uharto to the carnage th a t fo llo w e d the East T im orese vote fo r independence, and H orta's eventual re tu rn hom e a fte r 24 years in exile.

TE N M IL L IO N W IL D C A T S

55 minutes A Film Australia. Wild Visuals Co­ production. Produced with the assistance of the ABC. N etw o rk: ABC P rin c ip a l C re d its

Executive P roducer: Stefan Moore Producer: Gary Steer, Tina D altonHagege D ire cto r: Gary Steer W rite r: Gary Steer, Tina D altonHagege E ditor: Ju lia n R ussell P roduction M anager: Kay Schubach P ublicity Contact: Susan W ilson, phone: 61 2 9413 8635 P rinc ip a l Photography: Shoot period: 21/11/1998-26/12/1999 Synopsis

It is estim ated th a t each ye a r in A u s tra lia fe ra l cats k ill as m any as 3.8 b illio n native a nim als. W ith the n um b e r of d om estic cats in the w ild now out of co n tro l. Ten M illion W ildcats reveals the s ta rtlin g h istory of how the cat a rrived on o ur shores and the am azing s u rviva l s k ills th a t have enabled these a nim a ls to m u ltip ly in such in hospitable te rrito ry . The film also fo llo w s the race to save one p a rtic u la r little cre atu re , the m ala, fro m e xtinction.

O UR TO W N

Film Australia in association with Media Giants and Screensound Australia. Produced with the assistance of the ABC.

85 m inu te s

A Film Australia National Interest Program in association with Camerawork Pty Ltd Produced with the assistance of the ABC.

P r in c ip a l C re d its

N etw o rk: ABC

Executive P roducer: Franco di Chiera P roducer: C ristina Pozzan, Kate L a tim e r D ire cto r: Sue Thom son

P r in c ip a l C re d its

Executive P roducer: Stefan M oore P roducer: D ennis O'R ourke D ire c to r: Dennis O'R ourke

Recent funding decisions

Executive P roducer: M a rk H am lyn P roducer: Liz W atts, A ndy N ehl D ire c to r: A ndy N ehl W rite r: C linton W a lker, A ndy N ehl D O P /C inem atographer: W a rw ick Th o rnto n E ditor: Karen Johnson P roduction M anager: A nita Sheehan Sound R ecordist: Leo S ullivan P u b licity Contact: Susan W ilson, phone: 61 2 9413 8635 P rin c ip a l Photography: Shoot period: 27/9- 13/11/1999

P r in c ip a l C re d its

Executive P roducer: Stefan Moore, Megan M cM urchy P roducer: S ally B row ning C o-P roducer: W ilson Da Silva D ire cto r: Tom Zubrycki W rite r: W ilson da Silva D O P /C inem atographer: Robert H um phreys, J o el Peterson E ditor: Ray T hom as P u b licity Contact: Susan W ilson, phone: 61 2 9413 8635 P rinc ip a l P hotography: Shoot period 6/7/1998-6/12/1999

N e tw o rk : SBS

D irected by Dennis O'R ourke, one of A u s tra lia 's leading docu m e n ta ry film m a k e rs , O ur Town p rese n ts a stra n g e and com passionate p o rtra it of a s m a ll isolated c o m m un ity in outback Q ueensland - a tow n w h e re b la c k and w h ite A u s tra lia n s live to g e th e r but are a part. T here are s h ea re rs and kangaroo s hooters, tow n poets, d run ks, the m a yor and the lo c a l taxi d riv e r. T h e re's M arto, a w hite boy raised by an A b o rig in a l fa m ily w ho plays heavy m e ta l on the loc a l radio sta tio n ; th e re 's Paul, w ho has ju s t tu rn e d 18 and is p reparing to go to ja il fo r the firs t tim e ; and Cara and K e llyAnne w hose only w ishes are not to get p regnant and to escape to the big city.

T ogether in the b lis te rin g d ese rt heat, th e ir s to ries create an unexpectedly u nive rsa l p o rtra it of s m a ll-to w n life.

Film Australia National Interest Program in association with Emerald Films. Produced in association with SBS Independent.

N etw o rk: SBS/NRK (Norway]

A Film Australia National Interest Program. Produced in association with SBS Independent.

co n flic t, and id e a lis tic young a nth ro p o lo g is t nam ed Donald Thom son w e n t to live w ith A b o rig in a l c o m m un itie s.

P r in c ip a l C re d its

N etw o rk: ABC

P r in c ip a l C re d its

B U R IE D C O U N TR Y

74 m inu te s

Sy nopsis

76 m inutes

55 m inu te s

[56 ] CINEMA PAPERS.MAY 2000

phone: 61 2 9413 8635 P rin c ip a l Photography: Shoot period: 29/6/1998-2/5/1999

T H E D IP L O M A T

T H E F IF T H S E T

N e tw o rk: ABC

D O P/C inem atographer: Dennis O 'R ourke P u b licity C ontact: Susan W ilson,

T H E M U S IC SCHO OL

90 m inutes

A Film Australian National Interest Program produced in association with Arundel Productions Pty Ltd. Produced with the assistance of the ABC. N etw o rk: ABC P rin c ip a l C re d its

Executive P roducer: Stefan Moore P roducer: Bob C onnolly, Robin Anderson D ire cto r: Bob C onnolly, Robin Anderson P u b licity Contact: Susan W ilson, phone: 61 2 9413 8635 P rin c ip a l Photography: Shoot period: 1/2-20/12/1999 Synopsis

F ilm m a k e rs Robin A nderson and Bob C onnolly (Rats in the Ranks, F irs t Contact, Joe Leahy's N eighbours, B lack Harvest) e xplore the serene beauty of cla s s ic a l m usic in a fa r fro m serene setting. P rofessor A nn Boyd is fig h tin g to preserve h e r m usic d e p a rtm e n t's basic sta n d ard s a fte r n ea rly a decade of re le n tle s s budget cu ttin g . Boyd is an in te rn a tio n a lly recognised co m po se r and a b rillia n t teacher, but sh e's also e m otional, m e rc u ria l and prone to o verreact in a c risis. And th e re 've been p lenty of those lately. G round dow n by o v e r 50 y ears of b u re a u c ratic s tru g g le , Boyd is fin a lly faced w ith a s ta rk choice: keep up the d eb ilitatin g fig h t to p ro te c t h e r beloved d e p a rtm e n t o r try to preserve w h a t's le ft of h e r creative w e lls p rin g as a co m po se r by re lin q u is h in g the reigns of a d m in is tra tiv e pow er.

Sy nopsis

B uried C ountry reveals the hidden s to ry of A b o rig in a l c o u n try m usic, its s ingers and the songs th a t have expressed the lives, id e n tity and s tru g g le of A u s tra lia 's indigenous people. The film tra c e s five decades of this ric h m u s ic a l tra d itio n , using rare a rc hiv a l im ages and firs t-h a n d intervie w s w ith sing e rs and s ong­ w rite rs - fro m J im m y L ittle w ho topped the c h a rts in 1963 w ith Royal Telephone to m odern c o un try m usic s ta r T roy C assar-D aly.

W hat e m erges it not only the s to ry of the m usic its e lf, but a poignant record of being an indigenous A u s tra lia n in the 20th century.

TO SC A

85 m inutes

A Film Australia National Interest Program. Produced with the assistance o f the ABC. N etw o rk : ABC P rin c ip a l C re d its

Executive P roducer: M ark H am lyn P roducer: P atricia Lovell D ire cto r: T revor G raham W rite r: T revor G raham, Rosem ary Hesp D O P /C inem atographer: John W h itte ro n E ditor: Denise H aslem P roduction M anager: Rosem ary Hesp Sound R ecordist: B ronw yn M urphy P ublicity C ontact: Susan W ilson, phone: 61 2 9413 8635 P rinc ip a l P hotography: Shoot period: 31/5 -28/6/1999 S ynopsis Mid w in te r and m oney is tig h t at Opera A u s tra lia as re he a rsa ls begin fo r P uccini's p ere n n ia l favourite Tosca, a to rtu re d tale of love, betrayal and m u rd e r set am id the p o litic a l tu rm o il of 19th ce ntu ry Rome.

P opular loc a l diva Joan C arden has played the passionate title ro le m any tim e s but h e r tw o c o -s ta rs are firs t tim e rs . W ith only th re e w eeks before the cu rta in goes up, not everyone is sure they w ill m ake it. The film m a k e rs w ere granted n o-h o ld sb arred access to film behind the scenes - fro m day one of re he a rsa ls to opening night at the Opera House.

Dram a backstage equals the soaring em otion of Tosca its e lf as tension builds and com es to a head. The re s u lt is an in tim a te and honest p o rtra it of a rtis ts at w ork .

TH O M S O N OF A R N H E M LA ND

55 m inutes

A Film Australia National Interest Program in association with John Moore Productions Pty Ltd. Produced with the assistance o f Cinemedia's Film Victoria and the ABC. Developed with the assistance o f Film Victoria and Museum Victoria.

N etw o rk: ABC P rin c ip a l C re d its

Executive P roducer: Franco di Chiera P roducer: John M oore, M ichael M cM ahon D ire c to r: John Moore W rite r: M ichael C um m ins D O P /C inem atographer: Kevin A nderson E ditor: A ndrea Lang Sound R ecordist: M a rtin K eir P u b licity Contact: Susan W ilson, phone: 61 2 9413 8635 P rin c ip a l Photography: Shoot period: 1/11-6/12/1999 S y nopsis

In 1993, five Japanese fis h e rm a n and th re e E uropeans w ere k ille d by • A b o rig in a l clan sm e n in A rn he m Land.

In an a tte m p t to resolve the ensuing

Jag Films Pty Ltd P r in c ip a l C re d its

P roducer: Jenny G herardi W rite r/D ire c to r: Linda R aw lings P resale: SBS Sy nopsis

B irth rite s p ortrays the experience of pregnancy and c h ild b irth fo r the N gaanyatjarra w om en of the re m ote ce n tra l d e se rt region of W estern A u s tra lia . In s ta rk co n tra s t to the ie a rly days?, N gaayatjarra w om e n now b irth in isola tio n fro m th e ir fam ily, c o m m u n ity and c u ltu re . This co n tra sts again w ith the su ccessfu l tra d itio n a l m id w ife ry p rog ra m im p le m e n te d re c e n tly by the In u it w om en of n o rth e rn Canada.

D O L P H IN M A N IA

62 x m in u te A ccord D ocum entary Singing N om ads P ro du ctio n s Pty Ltd P r in c ip a l C re d its

P ro d u c e r/D ire c to r/W rite r: S ally Ingleton P resale: ABC D is trib u tio n : Beyond D istrib u tion Synopsis

The s to ry of a co asta l co m m u n ity outside M elbourne, w h e re a s m a ll n u m b e r of o p e ra to rs w ith d iffe rin g philosophies are licensed to run d olphin sw im to u rs. This film w ill explore the via b ility of e co -to u rism , the possible healing of people th ro u gh d olphin in te ra ctio n , and the explo ita tion of both p artie s th ro u gh greed and u n re a lis tic expectations.

D R A M A S C HO O L

8 x 22 m in u te D ocum entary H ilton C o rd e ll & A ssociates Pty Ltd P r in c ip a l C re d its

P roducers: C hris H ilton, M ichael C ord e ll D ire cto r: R achel Landers W rite rs : Rachel Landers, C hris H ilton, M ichael C ord e ll P resales: N etw o rk Seven, TV3 D istrib u tion : M in o ta u r In te rn a tio n a l Sy nopsis

A d ocu m e n ta ry se rie s th a t close ly fo llo w s the p rofe ssio n al and p erso n a l jou rn e ys of acting s tu d e nts at the p restig io us N atio n a l In stitu te fo r D ram a tic A rts (NIDA), the d ram a sch oo l th a t has produced such in te rn a tio n a l s ta rs as M el Gibson, Judy Davis and Cate B lan ch e tt.

G UNS U N D E R T H E IR B U M S

52 x m inu te D ocum entary

Emerald Film s Pty Ltd P rin c ip a l C re d its

P roducers: S ally B row ning, David Max B row n D ire cto r: Tom Zubrycki P resales: SBS, YLE2, eTV D istrib u tio n : G reat N o rth e rn In te rn a tion a l, Foundation Jan V rijm a n Fund Sy nopsis

A ta le of courage, cunning and deception. It te lls a s to ry of the m ost su ccessfu l and audacious p ro je ct in the fig h t a gainst apartheid.

YVONNE

52 x m in u te A ccord D ocum entary

Documentary Film s Pty Ltd P r in c ip a l C re d its

P ro d u c e r/D ire c to r/W rite r: B arbara Chobocky P resale: SBS S y n o p sis

This d ocu m e n ta ry is a b e h in d -th e scenes lo o k at th e life of A u s tra lia is b est-kn ow n in te rn a tio n a l soprano. It ce ntre s on how, having a lready achieved outstanding success, Yvonne Kenny m a in ta in s it, p a rtic u la rly in the face of incre a sin g p re ssu re s in the a rts w o rld .

WWW

^Bûïtep^'vëTiehdôn^Êom m on Hendon South Australia 5014 8^48^9300 Facsimile: (+61 8) 8347 1320 E.mail: safilm@safilm.com.au

Digital Film Recording 2K&4K to 35mm Intermediate 5 2 4 4 plus Eastman Colour Neg & High Contrast Title Design and Production, 12 bit Scanning, Digital Optical's & Kines 5 Chuter St McMahon’s Pt (North Sydney) NSW 2060 Tel: 61 2 9922 3144

U nit 4, 200 Toorak Road, South Yarra 3141, Australia

Fax: 61 2 99575001

Email: ogteam@og.com.au

Phone (03)9826 9077 Fax (03)9826 1935

S kl ARIVI Î l l F î

l

(Vi s

One of Australia's most established distributors of arthouse films.

Currently distributing The Dinner Game (Le Diner De Cons) and Comedian Harmonists.

New titles for late 2000 include Nijinsky (Paul Cox) and No Ball Players Here (Monique Schwarz).

IN CANNES: Gray D'Albion Hotel - May 11-21 L Natalie Miller (Executive Director) Shaun Miller (Distribution Manager)

I Jacques Villeret ft- «fcMS (The Dinner G am e)H

The sum of us

The Oscar Contenders

The gurus rate recent releases.

THE SIXTH SENSE

THE GREEN MILE

THE CIDER HOUSE RULES

THE INSIDER

AMERICAN BEAUTY

BUENA VISTA SOCIAL CLUB

THE WOG BOY

3

STRANGE FITS OF PASSION

3

THE CUP

5

MAGNOLIA

9

THE HURRICANE

6

THEBEACH

D

ROMANCE

•

ALL ABOUT MY MOTHER

9

5 4 4 5 6 5 5 6 4 4 8 9

0 D •

•

6 5 5 4 1 3 8 7 2 5 8 2 9 7 8 7 8 6 3 5 7 9 6 5 4 7 9 10 6 9 9 •

•

•

•

•

•

•

□

•

•

•

•

•

•

•

- •

•

5 4.6 6 3.7 •

5.7

6 6.6 6 6.4 5 I5.3 7 5.7 10

8,6

OÍR REVIEW GURUS HÂVE RATED A SELECTION OF THE LATEST RELEASES ON A SCALE OF 0 TO TO, THE LATTER BEING THE OPTIMUM RATING - A DOT MEANS NOT SEEN. [58 ] (JtNEMA IflpERS.MAY 2000

Ig p g p

Cinemedia is an Australian encourages and assists the exhibition and knowledge of film.

Cinemedia @ Federation Square

Thi

In 2001, Australia will see its first cultural institution solely dedicated to screen culture.

Provides public access to A ustralia^ collection of film , video and d o c u m f

Cinem edia @ Federation Square, in the heart of Melbourne, will showcase the moving im age in all its wondrous form s. C inem edia @ Federation Square is a new cultural institution devoted to screen culture events, educational program s, digital m edia exhibitions and new screen technologies.

Cinem edia @ Federation Square celebrates the art and culture of cinem a, television and the interactive screen in an interactive environm ent.

Him Victoria Supports the film and television industry through script developm ent, production investm ent and industry developm ent.

Melbourne Him Office Markets the Victorian film and television industry nationally and internationally - including locations, facilities and services.

Screen Culture Supports m ajor festivals including the M elbourne International Film Festival and industry conferences.

Cinemedia @ Treasury Thi Provides a state of the art cinem a fol film and docum entary s c re e n in g ill

Screen Education Invites discussion and unders of our screen culture.

Digital Media Fund Offers the opportunity for p ra c titio n e r their projects in a m ultim edia e n v irรถ h M stim ulate new and innovative content.

For more information check out our web at www.cinemedia.net

■■I

C U ,

^

x^

n v w

^ ’t V A N \ U O H

O V \ V\ \ % ^ \ ^ ^

CAN DO! Whatever you need, we’ll help you find it. Need a ramshackle town or a gleaming metropolis? We’ve got them.

Need perfect weather? Queensland Isn’t called the Sunshine State for nothing. Government assistance? Just ask.

Need a unique, convenient location that hasn’t been done to death? We can show you thousands - deserts, jungles, mountains, swamps, giant dunes, beaches, countless tropical Islands and the world renowned Great Barrier Reef.

Contact us for a free copy of the Pacific Film and Television Commission production guide. It contains everything you need to know about Queensland’s amazing locations, world class studios, production specialists and film crews.

We’re passionate about filmmaking - and we’re here to help.

A u s tr a lia

Elle Croxford, Pacific Film & Television Commission Phone: 61 7 3224 4161 Facsimile: 61 7 3224 6717 Email: ecroxford@pftc.com.au PFTC Online: www.pftc.com.au London Catherine Casey, Queensland Government Office Phone: 44 020 7836 1333 Facsimile: 44 020 7420 7667 Email: catherine.casey@qldgov.co.uk