Cinema Papers no. 79 May 1990 (2025)

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Cinema Papers no. 79 May 1990 (1)[...]AL ASSISTANCE FROM THE AUSTRALIAN
FILM COMMISSION AND FILM VICTORIA

COPYRIGHT 1990 MTV PUBLISHING LIMITED.
Signed arliclas r.p.....u Ihe views of the nutfiars and

not necessarily that of the adilav and publishil. win. every
care is nation with manuscript: and malarial: supplied In the
Mann»... neithol oh. o[...]NUMBER 79

3 BRIEFLY

Berlin Film Festival; News and Views

6 TILL THERE WAS YOU

Location report by Andrew L. Urban

I2 HAL AND JIM McELROY

Interview by Scott Murray

I 8 NIGHT CRIES and TRACEY MOFFATT

Scott Murray

24 STRUCK BY LIGHTN[...]ve Adrian Martin

Beyond El Rocco Ratfaele Capuio and Peter Lawrance

Bloodmoon Jim Schembri

72 PRODUC[...]lance writer on film; HUNTER CORDAIY is a writer, and a lecturer in Mass Media

at NSW University; PAT GILLESPIE is a freelance writer and publicist; FRED HARDEN is a
Melbourne film and television producer specializing in special effec[...]AN McFARl.ANE is principal lecturer in Literature and
Cinema Studies at Chisholm Institute of Te[...]

Cinema Papers no. 79 May 1990 (2)Marketing
and
Distribution

written by Jennifer Stott
edited by[...]"Taking
Care of Business’, published by
the AFC and AFI‘RS, Marketing
and Distribution provides a

SPECIALIZING
IN SUPPLYING
OUALITY

TRAINED HORSES
FOR FILM AND

CREDITS INCLUDE: OUIGLEY DOWN UNDER 0 MAN FROM S[...]MOKE 0 DAVEY
CROCKETT 0 SOUTH PACIFIC ADVENTURES AND MORE !!!

CONTACT TONY JABLONSKI
TELEPHONE 02 913[...]comprehensive look at all aspects of domestic and
international marketing for producers of low-budget
features, documentaries and shorts. The book explains how
films find their way into the marketplace, outlines how films
are promoted and provides clear information about the
materials and services required. Over a dozen case studies
are[...]Happiness,
Nice Coloured Girls, For Love or Money and Young Einstein.

Available from: Distribution Uni[...]Also available are Vol 1, Production Budgeting and Accounting,
and Vol 2, Case Studies in Independent Production.

H[...]- Body washes - Masks
- Material for Mask Making and
Sculpture - Professional make-up
brushes - New Da[...]e or

telephone

DAWN SWANE
RADA, ASMA, Principal and Founder

Three Arts Make-Up Centre Pty Ltd
Cnr. S[...]red with the Department

of Employment, Education and Training,
to offer full fee educational services[...]e:
Two Year Theatrical Arts Certificate
(Stages 1 and II, 12 months each)

Congratulations to all our past and present
students who are continuing with excellence
the high standard in Make-up and Special
Effects for our Film, Television, Theatre, High
Fashion and Arts / Sculpture, plus other related
areas of emp[...]1990

- THEATRICAL ARTS

Full Time Course Stage I and II

Film / TV / Theatre / Opera / Ballet /
Special Effects Make-up

10.00 am — 4.00 pm[...]aspects of make-up, for schools,
amateur theatre and interested groups

- PRIVATE APPOINTMENT ONLY:

Facial prosthethic and skin camouflage.
Remedial Techniques.

- DIRECT LIKENESS: Head sculptures created
in bronze, resin and plaster.

Cinema Papers no. 79 May 1990 (3)[...]his
along with several other interna-
tional arts and music festivals were
created in West Berlin at th[...]Berlinale managed to reflect
the broader social and political
circumstances of Europe past and
present — right down to the two
Retrospectives.[...]enzel’s Skrivanci
Na Nitich (Lark: On A String) and Frank Beyer’s
Spur Der Steine (Traces Of The St[...]r respective
regimes. Beyer’s film was unseen (and miracu-
lously preserved intact) since 1966, afte[...]former ‘bourgeois elements’ are re-
educated, and scores points for its portrayal of
authorities wh[...]oy depiction of the romance between ayoung
worker and a gypsy.

If both films were more of interest to[...]in’s third film, having previously
studied art and history before working as a pro-
duction designer. Shot in black and white, bar a
brief, surrealistic dream sequence i[...]ed solely on
the institutionalization of violence and intimida-
tion, is brutal and frank, yet a masterful display of
cinematography and design.
West German director Michael Verhoeven is[...]president George Stevens, the
jury was dismissed and the Competition for that
year was abandoned. The[...]ed schoolgirl, daughter of me school head-
master and teacher and niece of the local vicar,
who wants to follow up[...]s,
Driving Miss Daisy, along with
Steel Magnolias and Crimes and
Misdemeanms screening out of
Competition) and the US-West
German co-production of The
Handmaidk[...]nnah, Julia
Roberts, Olympia Dukakis, Sally
Field and Dolly Parton, producer
Ray Stark and director Herbert
Ross). Audiences were unim-
pres[...]storic East-West Festival
opener an embarrassment and
a sell-out to the interests of major
U.S. distrib[...]ot far away from the Competition, at
the Panorama and Forum screenings, was where
one could get[...]

Cinema Papers no. 79 May 1990 (4)[...]andy), Best Screen-
play Adaptation (Alfred Uhry) and Best Make-up
(Manilo Rocchetti). It is the first[...]Film.

The major disappointment, as Billy Crystal
and other presenters and acceptants remarked,
was the non-inclusion of Ber[...]many
queried. But the Oscars are not about logic, and
every year they have inconsistencies. However, it[...]must be a sense of a
personal chance so narrowly, and perhaps un-
fairly, missed.

What has been little[...]titute in its annual awards.

So, with Beresford (and Peter Weir) missing
out, john Farrow remains the[...]t issue, including reviews of Scorsese on
Scorsme and The Trlfihut Letters.

One recent Australian boo[...]tioning in the meantime, however, is Market-
ing and Dish-ibution, Jennifer Stott, John
Cruthers (Ed.)[...]by the
Atstralian Film Television Sc Radio School
and the Australian Film Commission, it is the
third in the Taking Care QfBu.siness: A
guide to independent film and video
series. The book makes a useful companion[...]as
the invaluable Delivery Items: A Guide forFi1m
and Video Producers.

NINE NETWORK

The major disappo[...]ct on both the ceremony’s appeal to world
peace and the recognition of one of the cinema’s
finest[...]world cities:
London, Moscow, Tokyo, Buenos Aires and Syd-

South Australian Film Corporation’s

HENDON STUDIOS

A major facility for feature film and mini—series production

Enquiries about production space, sound stages and

post-production facilities welcomed.

For detafls and brochure please Contact :

Michael Rowan,[...]

Cinema Papers no. 79 May 1990 (5)[...]ira Kurosawa with the Life-time
Achievement Award and the accompanying film
tribute by American critic[...]in the U.S. by
Francis Ford Coppola, George Lucas and Martin
Scorsese, among others. (In fact, Lucas and Ste-
ven Spielberg presented the Award.) But, no,[...]acceptance
speeches of American sound technicians and
elfects editors were judged to be more rivetting
and important.

The morning of the Awards, NBC’s To[...]on this. The/lge’s film critic made
no mention and didn‘teven listKurosawa’sAward
with the other[...]le
some critics may have seen the ceremony direct
and not known of Nine’s later deletions, surely a
n[...]ritten by Densey Clyne, this film will be a close
and stunning look at the lives and loves of
spiders.

PEGGY GLANVI|.I.E-HICKS (60 mi[...]ms. Producer: John Trisu-am. The uncon-
ventlonal and adventurous life of Peggy Glan-
ville-Hicks, one[...]th librettists such as
Thomas Mann, Robert Graves and Lawrence
Durrell, her career included work for opera,
symphony orchestra, ballet and film.
CROCODILE MAN (75 mins). David Ireland.
Pro[...]face with the
biggest crocodiles in the country, and to study
their ferocity and cunning, and their signifi-
cance as a totem in Aboriginal dre[...]ge to turn it into something good with re-writing and
so on. And that worked often. The other night we ran Where

Danger Lives‘. it is absorbing and timeless
Many good wishes and gratitude
MAUREEN O’SULI.IVAN FARROW CUSHING

P[...]of Uni-
versal Pictures, contacted Chips Rafferty and told
him of a feisty young secretary with lightni[...]ng as secretary to
Rafferty.

Zealous, determined and good humoured,
Cavill quickly won her way into ma[...]ed on, becoming involved in script dis-
cussions, and learning budget and cost control. She
accomplished many feats: from designing daily-
production, f‘ust-assistant-director and camera-
department reports to inventing the strip[...]lutionising methods of
production co—ordination and cost control. Later
she would add producing and writing to her skills,
and win an Awgie from the Australian Writers Guild
for her first and last feature film, Dawn-1!.

At Southern Internat[...]ine-
sound film studios, including Dustin the Sun and the
Franco-Australian production, The Stowaway.

Legendary writer, filmmaker and broadcaster,
Lowell Thomas, and the CBS Television Network
teamed with Cavill and Southern International to
produce a $13 million s[...]olved in the planning, continuity, pre-production
and script development of what was to be the most
exp[...]series made in its time.

Stalwart, enthusiastic and never bowing to pres-
sure, Cavill maintained morale, ironed out prob-
lems, and had a knack of making run better
and smoother. She never faltered in her loyalty to
th[...]al eventu-
ally folded.

With Southern’s demise and the sale of the
Bondi studio, Cavill teamed with[...]ies, Adventure Cavill
wrote a number of episodes and co-produced the

series. The com[...]oronto, Can-
ada, working on a number of Canadian and Ameri-
can feature filrns and a Canadian television series.

During the late 19[...]a as associate producer, concen-
on her writing, and guiding a team of young
writers in the world of w[...]lud-
ing Lyn Mclincroe, Adrian Read, Sue Milliken and
close friend Jill Robb, who went on to produce
Ca[...]well as co-producer on the feature, Nickel
Queen, and two television series, Barrier Reg” and
Sham1an’s Mob. Eventually Cavill achieved her Iife’s
ambition: to write and produce her own feature
film, Dauml. Although it[...]associate producer,
writer, producer, filmmaker and “Mother”: Joy
Cavill was many things to many[...]ng contribution to the Australian Film indust-
ry and her fine leadership qualities will be missed.

PA[...]industry, with documentaries
such as The Russians and series including The Flying
Doctors and Special Squad. He was well known for his
speed on location and his ability to get material
under conditions.

N[...]reputa-
tion at film markets as a skilfully made and

Cinema Papers no. 79 May 1990 (6)Ill ( IIIINVI.
HYIOO [MARK MLIIONI AND VIY

unooo unu) m IONN su
nu run: was YOU.

john[...]DEAD POETS SOCIETY. Many new offers are
piling up and Hector Babenco [KISS 01-‘ THE SPIDER WOMAN] wan[...]the moment he has to put these temptations aside and finish making

6 - CINEMA PAPERS 79

Cinema Papers no. 79 May 1990 (7)[...]his adventure-romance set in

the Vanuatu jungle, and not just for Seale. Apart from the $13 million bu[...]particular), for established stars, Mark Harmon

and jeroen Krabbe, and for relative newcomer Deborah Unger. Ii _[...]

Cinema Papers no. 79 May 1990 (8)[...]Viv (jeroen Krabbe), who was Charlie’s partner, and Viv’s beautiful
but unhappy wife, Anna (Deborah[...]e intense by the
growing attraction between Frank and Anna, the presence of the
Vanuatu tribespeople and a couple of choice baddies.

Seale took a great i[...]lict now doesn’t lie as much between the blacks and whites as
among the whites. We show the native people as they are — noble and

dignified — andand the
relationships of the three central characters[...]d Hollywood movies, like Elephant Walkand To Have and Have
Not real characters and real situations”.

For Seale, the biggest chall[...]shooting is not the movie:
it is before one scene and is followed by another. You play a sort of
Moviol[...]o determine what kind of pace to maintain.

Seale and his director of photography, Geoffrey Simpson, ha[...]ants almost a
documentary look, with lots of cuts and montage-like grabs of images.

The shots are larg[...]inside the frame, but
there are two crane shots, and some tricky underground sequences
around the sunken bomber, which was specially built and sunk in the
shallow waters that once boasted rich[...]nning, unpre-
pared-for things will always happen and
one has to be able to adapt. ‘These are
things[...]n the ground, stopped short by
carefully selected and measured vines
tied to one ankle.

The tribe agre[...]pate in
the film as the villagers in the script, and
also to assist with the land dive - includ[...]

Cinema Papers no. 79 May 1990 (9)[...]AN
AIR CRASH. BELOW: BIG MAN (CHIEF TELKON WATAS) AND FLYNN. TILL THERE WAS YOU.

JOHN SEAI.E ON DIR[...]per cent
on your script. It’s very hard to try and fly it once you’re shooting.”

GOEFFREY SIMPS[...]simple. We want to let
the action tell the story, andand writer-
directors, and I like to take those kinds of chances. That’s not to
say if Sidney Pollack rang and asked me to do a picture I would say,
‘No’.[...]ps, dressed in nothing but grass skirts
for women and nambas (penis sheaths) for men, became the location
favourites, and some predicted they will steal the show with their
mischievous good humour and energetic performances.

The village is one of th[...], who.comes to a place he can only
find on a map, and, through situations he cannot control, discov-
ers a lot about himself. And it changes him. All in two weeks.”

JEROEN KRAB[...]bluest blue, I start with
a red. I let that dry, and then start painting the blue. It’s the same
wit[...]role, I ask myself how would Dirk
Bogarde do it, and how would Dustin Hoffman do it. They’re both
the ultimate, and yet very different: Bogarde is very still, and
Hoffman is the ultimate entertainer. Sometimes I use the Bogarde
model, sometimes the Hoffman. And the older you get, the more
you leave out.”

DE[...]with john Seale; I have so much respect for him.
And I love the way he sees life, his conceptual framework, and, as

a person, how he interprets his environment. I watch him to see
what he watches.
“I love theatre and feel very comfortable there. I am beginning

to feel playful and, as I am expanding, able to give more, to be
more[...]tory, to be

there 100 per cent with all the crew and other actors, all going for
the same thing[...]

Cinema Papers no. 79 May 1990 (10)[...]is the other main structure, the house where
Viv and Anna live, a striking building beneath a giant ba[...]in trunk.
The house is framed by ‘Mount Hope’ and is aged to give it a suitably
decayed facade. It is production designer George Liddle‘s pride and
joy: ‘The hill and the banyan tree dictated what we should build”,[...]oundation piles are made
of coconut trunks—free and available, but
subject to rotting. “It’s grea[...]ther, was his

‘I0 - CINEMA PAPERS 79

partner, and lived in a smaller adjacent
house. They had a coc[...]he doesn’t tell Viv: he can’t trust
the man, and he, Charlie, has lost inter-
est since he knows it belongs to Vanu-
atu. Viv would try and steal it.

All this happens before the story of
the film begins. It’s the background to
the action, and to some of the charac-
ters. The other thing abou[...]virtually imprisoned. She even tries to
escape—and Frank’s arrival on the scene
only fuels this explosive scenario.

Till There Was You is expensive and yet it
isn’t: both Jim and his brother, Hal
McElroy, agree that Australia sh[...]e of recouping its cost than a mid-
budget film. Andand try to find the gap in the
market.” Hopefully, they have found it. I

ABOVE: SINGER KATE CEBERANO AND FLYNN ABOUT TO PERFORM AT THE BLUE NILE CLUB.
BELOW: FLYNN AND VIV FIGHT BESIDE MOUNT HOPE. TILL THERE WAS YOU.

Cinema Papers no. 79 May 1990 (11)Alive and well after more than 60
years of world class serv[...]0 Full 16mm/35mm sound mixing
post sync dialogue and effects
facmfies

Quality feature service[...]

Cinema Papers no. 79 May 1990 (12)[...]avuoonona A0lll*W Ivu auv Nu

Hal

lVIcEIroy

Hal and jim McElroy are two of Australia ’s most prominent and successful
producers. Their first feature, THE CA[...](Weir, 1975), was a breakthrough success,
locally and overseas. Their third, THE LAST WAVE (Weir, 1 97[...]SLY (Weir, 1982) was in many ways a consolidation and re-afiirmation of
the cinematic philosophy of th[...]film, aimed squarely at the international market and utilizing the
drawing power of the Australian star Mel Gibson, and rising American
name, Sigoumey Weaver. The film[...]bally-recognized Australians
(director Peter Weir andand RETURN TO
EDEN, mini-series and series, a world-wide hit. The features have left[...]iewed by CINEMA PAPERS in the January
1973 issue, and again after THE LAST WAVE. In many ways, these interviews
are a record of the production and aesthetic issues of the time. This interview,
aga[...]In Part 2, they look back to their past successes
and forward to hopefully those of the future.

’* Produced in association with Patricia Lovell.

and Jim

CINEMA PAPERS 79 -

I3

Cinema Papers no. 79 May 1990 (13)I-Ial and Jirrl l\IIcEIroy

I. INDUSTRY AFFAIRS

I03!

Sinc[...]0BA. What is your
perspective on IOBA, the pluses and minuses?

JIM: We have built the film industry up and made it adult, turning it
from a cottage industry[...]usiness became too big. Too many films
were made and inflation took over. From a commercial point of[...]stry.

JIM: We consciously adopted a low profile and didn’t speak about
IOBA, because it is so easy to knock.

HAL: It did give people lots ofopportunities and we hoped, along with
everybody else, that these o[...]hip between the ease with which you can get money and the
absence of genuinely resilient stars, directors and writers being
thrown up.

Some would disagree, ar[...]look, it is real easy to criticize what happened and there is
nothing any ofus can do about it. Ithapp[...]14 - CINEMA PAPERS 79

the consequence of it, and there really is no point in regretting it.

10BAwas not as beneficial as everybody hoped, and certainly not
as the politicians wished it to be,[...]e with it; so was CrocodileDundee, Return to Eden
and a lot ofgood Kennedy Miller stuff. On that level,[...]for that. Dundee was a product, a
result, of IOBA and it was an astonishing success. So, arguing[...]

Cinema Papers no. 79 May 1990 (14)[...]tly, Australian television has also gone sideways and
we really have given ourselves a whole bunch of p[...]our feet. One of the
things is to get costs down and productivity up. We need to get back
a little more to reality and re-kindle the pioneering spirit and energy
and commitment we had in the 1970s. Even ifwe do make films that
don’t work, and inevitably we will, the cost won’t be as great[...]y the budgets will be lower, relatively speaking, and we will
be able to survive it. But where you are[...]llion
dollar disasters, it is a much more painful and
public problem.

‘WHAT I AM HOPIHG IS THAT THE[...]$15
million with international muscle.

JIM: Yes. And if Sweetie had been made for $10
million, it woul[...]As for the $10 million film, it must have a star and other interna-
tional elements that will make it[...]A MUCH MORE
REALISTIC LIGHT, TO BE MORE FLEX
IBLE AND PRAGMATIC. THIS SO-
CALLED PRINCIPLE OF DEFENDIHG[...]N PICNIC AT HANGING ROCK (I975).
ABOVE: THE THIRD AND FOURTH MCELROYS-WEIR COLLABORATIONS. LEFT: DAVID BURTON
[RICHARD CHAMBERLAIN) AND CHRIS LEE (GULPILIL) IN THE LAST WAVE (I977).

RIGHT: GUY HAMILTON (MEL GIBSON) AND JILL BRYANT (SIGOURNEY WEAVER)

IN THE YEAR OF LI[...]g 10BA, which was due to
a shortage of facilities and talent. Peoplejust bid everything up. But
equally, when you look back to ’73, ’74 and ’75, we were making films
for unrealistically low budgets. I mean,]im and
I paid ourselves $11,000 to produce Picnic at
Han[...]s money
available, we stopped working for $11,000 and
started paying ourselves a bit more. That was
tru[...]fthe above-the~line elements. The
actors, writers and directors were, relatively
speaking, underpaid compared to the grips
and electrics. So that is where the greatest rises
oc[...]ch was only right. But it has now
got out of wack and the salaries no longer pay

heed, as jim said, to[...]ion to $1.5 million. You must encourage the young
and the energetic so as to keep the industry alive and vital. If we don’t
do that, we are all going to calcify and petrify into middle age,because

CINEMA PA[...]

Cinema Papers no. 79 May 1990 (15)I-Ial and JirI1 l\IIcEIroy

the paradox is that all those y[...]ddle
aged now. Unless we encourage the young guys and women, we are
going to be buggered.

How do you get costs down? Do you re-negotiate awards and return
to the sanity of a six-day shooting week and cancelling those ridicu-
lous tea breaks?

HAL: T[...]e way. To
my mind the answer is in working faster and more efficiently. We
have got all slack and let laziness and unprofessional behaviour
appear on the set. You k[...]Cars thatAte Paris in four weeks,
Picnic in five and Last Wave in seven.

Now, if you were to ask some[...].

The American style is to have high-paid people and have them go
very, very fast. There's nothing wro[...]of IOBA activity. Everybody was working flat
out and they were not having ‘the home life’ they wan[...]have been
doing. We have to regain that exciting and adventurous desire to be
flexible as an industry[...]essons we once knew but have
now forgotten.

JIM: And how many days did they shoot the pilot in?

HAL:[...]nute movie. Now, that’s very efficient
shooting and there aren’t many directors in Australia who co[...]hey said everyone is going
to have to work faster and harder. That's a challenge the American
industry[...]So, we sort of cut loose. But we want now to try and get more
involved, because we do see a leadership[...]more active members of SPAA got caught up in IOBA and
didn’t pay enough attention to the very sorts o[...]ye left the ball as
we rushed around making money and movies. We all let a situation
develop which we n[...]a much more realistic light, to be
more flexible and pragmatic. This so-called principle of def[...]

Cinema Papers no. 79 May 1990 (16)[...]have those elements are,
Q.E.D., more Australian and therefore more valid. Without men-
tioning the na[...]an all—Australian movie, but it was a bad one.
And please don’t tell me itwas more valid than some[...], there is an inverse relationship
between budget and freedom. The higher the budget, the less
freedom[...]g to be $3-4 million, then we all have to export, and
to do that you are probably going to need imported elements
involved. Get your price down to a million and you get all the
freedom in the world.

JIM: There[...]alse,just to serve an argument.
That is dishonest and distasteful.

ACTORS EQUITY
Do you think Actors E[...]nt as long as they pay the

FACING PAGE: TOP: HAL AND JIM MCELROY POST

THE LAST WAVE, I977; BELOW: PET[...]ISION SUCCESS. STEPHANIE HARPER (REBECCA GILLING) AND
JAMES REYNE IN THE MINI-SERIES. BELOW: LEFT: THE[...]KE IN THE U.S. TOP: STENNING [JASON
ROBARDS JUN.) AND DAUGHTER MEG (JUDY MORRIS). RIGHT: THE
M¢ELROYS'[...]E WAS YOU (JOHN SEALE, T990).
FLYNN (MARK HARMON) AND VIV [JOROEN KRABBE) AT THE
ANNUAL CALCUTTA RACE D[...]t is:

(a) with an American film made here, crew and
cast are paid basically what they ask for (includ[...]alty for having an overseas
element in the film. And when that actor goes to his
nextAustralian film, he wants to get the same as on
the last one and the crew member wants what he
received on his last American film; and

(c) this has the effect of ensuring less films[...]ential. Is that really
helping the industry?

Hal and I have a conflict here in that we don’t object[...]industry but we aren’t going to
be hypocritical and say they can't come. But we do ask that Equity at[...]an character. Now, I think it is
really offensive and destructive to our industry, and the movie, for a
person to rubbish in print the m[...]two sorts of filmmaking happen-
ing in Australia and that’s inappropriate. There is the “international
movie", which is viewed as being mid-Atlantic and purely shitty, and
there’s the “culturally exact”, meaning Aus[...]But it struck me as being a very
Australian movie and it was very, very successful. But I don’[...]

Cinema Papers no. 79 May 1990 (17)[...]reshing to find filmmakers concerned with image and sound, who realize that MISE
EN SCENE can carry m[...]nce the white settlement began
political advocacy and touches emotionally has been, among many things, a battle to
retain cultural and spiritual independence in

in its gentler moments[...]where black Austra-

_ _ _ lians were re-educated andand

sound. It attacks and disturbs with its blunt

relationships. It[...]

Cinema Papers no. 79 May 1990 (18)[...]WISE FROM TOP LEFT: WHITE MOTHER (AGNES HARDWICK) AND

BLACK DAUGHTER (MARCIA LANGTON). THE OUTSIDE TOILET, WHEELCHAIR AND
IMPATIENT DAUGHTER. THE DAUGHTER, WITH LETTER BY[...]S STORY OF THE ”ROYAL TELEPHONE”, WHICH
OPENS AND CLOSES THE FILM. THE YOUNGER MOTHER (ELIZABETH GE[...]ed adoption, where
black children were placed in, and raised by, white Australian
families (usually mid[...], adoptive mother (there is no dialogue, no names and only a
glimpse of photographs to hint at their relationship). The Old
Mother (Agnes Hardwick) is incontinent and near senile, and
awaiting death. She is suspended in a time continuum punctuated by
wheelchair visits to the outside loo and by fitful sleep. The black
Daughter (Marcia Langton) waits on her every need, with a resigned
selflessness and, at times, a touch ofsuppressed anger. Unable to[...]ion
ofthat is shown when she sits outside the loo and violently twangs the
handle of the bucket on whic[...]ay
the attempts ofwhite society to make her dress and behave as ifwhite.

A latter memory, and the most puzzling in the film, is of her and
two boys (her brothers?) at a rocky beach with he[...]while the Mother stares out to sea, oblivious to and perhaps uninter-
ested in the children. She then disappears, as if having fallen or
jumped from the rocks, and the Daughter begins to cry. The seaweed
around he[...]urned into what looks like mag-
netic tape, shiny and frightening in the way it tangles around her
neck and won’t pull away.

One knows the Mother can't ha[...]in old age, so her ‘disappearance’ is strange and unsettling. It is also
the one moment where the D[...]T

This connects strongly with the penultimate and most disturbing
scene. The Old Mother lies dead o[...]nse ofloss at that now
broken bond between mother and daughter. So even though the
Old Mother is perhap[...]own cancers.

The image is tough, no doubt cruel, and the further one probes

Cinema Papers no. 79 May 1990 (19)[...]e them. They’re just
exercises, like, ‘Go out and make a five—minute documentary’, or ‘I-Iere’s
a piece of music, go and put images to it.’

The good thing about the course, and we didn’t have fabulous
visiting lecturers like[...]king at an art school.

Moffatt graduated in 1982 and moved to Sydney. The first film
she worked on w[...]n
not too positive a light, like getting arrested and yelling at cops.

I don't really want to talk abo[...]he Australian Film Commission
went down the drain and the film is sitting underneath my bed at home.
The experience basically pissed me off and I don’t want to work in a
collective on films[...]nplay, which was for

Nice Coloured Girlr (1987), and received a grant from the Creative De-
velopment[...]-
ment painting achieves less than it at-
tempts) and the craft level is not always as
confident as th[...]es a variety of filmic styles to striking
effect and its linking of the Aboriginal
people’s past and present is often quite
disturbing.

Since Nice Co[...]has
made Watch Out (1987), about the Abo-
riginal and Islander Dance Theatre, and a
film on AIDS for the Aboriginal Medical
Service. She has worked on commissions
for Film Australia and, in 1988, directed
part of the SBS series, A Chan[...]bout the lack of positive representation
of black and ethnic people in Australian

films. An inevit[...]nta-
ries, including My Survival as an Abofigine and Two Law, as well as Wrong
Side oflhe Road. They are very good films for their time and they perhaps
even inspired me to become a filmma[...]re non—film people, like Geoff

Weary, a video and super 8 artist and photographer. I always work with
him as my[...]

Cinema Papers no. 79 May 1990 (20)THE WHITE MOTHER AND BLACK DAUGHTER
AT THE HOMESTEAD. NIGHT CRIES.

I[...]American westerns — even down to the landscape and music. So, I
decided to recreate the set in a fi[...]of the film's characters,jedda, the black woman, and
her white mother, and aged them as if thirty years had past. In the
original film,_]edda is thrown off a cliff and killed. Iwanted to resurrect
her, and place the two of them back in the homestead situa[...]oped the script, the film became less about them and
more about me and my white foster mother. I was raised by an older
white woman and the script became quite a personal story. The lit[...]. I’m not particularly obsessed with landscape, and I like
to think I can create my artificial versi[...], the cinematographer,
who was used only to Kodak and Fuji. Now he and everyone is ecstatic
about the results.

Another[...]ns on a stage. He didn’t go for realism at all, and I
wanted to try and do the same thing. And if you are going to go artificial,
go all the wa[...]dialogue

22 ~ CINEMA PAPERS 79

TRACEY MOFFATT

and lushly inappropriate music. There is rarely if ever an attempt to
convey thoughts and feelings through sound, and Robert Bresson’s
maxim that one should, whereve[...]with her sound crew, wrought a wonderfully eerie and
disturbing soundtrack, one that at times melds imperceptibly with
the images and, at others, comments perceptively on them. Moffat[...]three o'clock in the morning, dressed in leather and crawling around a
floor shaking a rattle. She’s really into voodoo and the sound at the
beginning of my film that sound[...]s it can take
away from the intensity of a film. And it really is an intense piece. Some
people have s[...]hat it isn’t
particularly about black Australia and white Australia. It‘s about a child’s
being moulded and repressed — she is very sexually repressed. It[...]hat, leaving the Daughter in

an emotional state, and then bring in Jimmy Little with his boppy song

s[...]is Christian healing, which
_ can be so unwelcome andand then to punctuate the film. But,
in fact, he’s[...]play before. I come from a short-film background and it does
occasionally scare me to think abo[...]

Cinema Papers no. 79 May 1990 (21)[...]Inc.
COMPLETION BONDS FOR FILM, TELEVISION SERIES AND DOCUMENTARIES

In the past few months

the Produc[...]D MY REACH
DINGO
FLYNN
DoNALD FRIEND
HUNTING
RUBY AND RATA
THE GOLDEN BRAID
THE RED EXPRESS
THIs LAND A[...]9 Facsimile (02) 660 I091

CONTACT CHRISTINE SULI AND JENNY WOODS

REINSURED AT lLOYD’S OF LONDON
LOS ANGELES LONDON MONTREAL MUNICH AND TORONTO

Cinema Papers no. 79 May 1990 (22)[...], directed by
Polish filmmaker Jerzy Domaradzki, and co-produced by Terry
Charatsis and scriptwriter Trevor Farrant. This year’s festiv[...]g this uneasy period, a comedy about independence and

nova: dignity set in a workshop for the mentally[...]RADIKI,

AT LEFT, WITH ACTORS BRIAN LOGAN
(KEVIN) AND BRIAN VRIENDS
(CANNIZZARO).

The film mixes profe[...]zaro (Brian Vriends). Cannizzaro’s enthusi-
asm and idealism is not what the cynical, world-weary Ren[...]on the classic antipathies of cynical
experience and youthful optimism, and caught in the middle are the Heartbreakers,
defenceless and unwanted by a society that prefers to hide its pr[...]e he saw some early scenes between Garry McDonald and Brian Vriends, and

spoke with writer-covproducer Trevor Farrant and director jerzy Domaradzki.

24 - CINEMA PAPERS 79

Cinema Papers no. 79 May 1990 (23)[...]rlooking the sea
9 that at one time was a school, and then a hospital. It has cavernous high
Novembe r ceilings, and this afternoon its corridors echo to the sounds o[...]f medical ritual, perhaps a mortuary. At the back and
seaward side is a brick extension and a dry brush hedge creating a small grassed courty[...]”. There is an arched
sign between the building and the beach which reads “Independance with Dignit[...]the Christmas market, put
brochures in envelopes and produce small wooden rocking-horses that balance[...]with tables covered in boxes, stacks of envelopes and
rubber bands. Here the simplest tasks will be an[...]uch production-line
work denies the individuality and creativity of the employees. Can such mentally di[...]enry Salter), a hunched
figure in khaki overalls and with protruding ears who wants to be a sculptor and not a maker
of identical balancing horses. A cris[...]arly introduction to Rennie’s managerial style, and Cannizzardsfirst
gathering of support amongst th[...]script requires
Rennie to hit Noel over the head and warn him off his creative endeavours. In rehearsal,
directorjerzy Domaradzki sees this action on the monitor and realizes it is too violent, with
possible adverse[...]ive.

It takes 1 minute 45 seconds to get a take, and, while the crew sets up for the first of three
cl[...]he differences between making films in Australia and

Poland:

This production is better equipped, wit[...]ra is very good - not an Arnflex, buta Moviecam
-and the actors are available for as long as I want th[...]MCDONALD, CENTRE.

ABOVE: ACTORS BRIAN VRIENDS AND
GARRY MCDONALD WITH THE ION-ION BOYS
(ROGER HADDAD, JOHN CLINI, DICK TOMKINS,

DAVID SMITH). AND, DOMARADZKI WITH
DIRECTOR OF PHOTOGRAPHY Y[...]

Cinema Papers no. 79 May 1990 (24)‘Riders on the Storm’

doing a play andand Noel.

Domaradzki works patiently with McDonald i[...]cramped workshop, discussing at
length the motive and intention of the simplest words of dialogue (“B[...]hich relies not
on a storyboard but with director and actors blocking out the movements, reacting to th[...]9 *¢T°"5 “"955 THE '-°N° ‘Um implications and needs of the dialogue, gestures, etc., before making any decisions about
framing and the camera position.

“I prefer to look at the actors and not at the monitor”, Domaradzki explains, “be[...]I get is a cold message. Actors produce an energy and
I think its always better to look for this direct[...]the small
courtyard at the rear of the building, and then follows Rennie and Cannizzaro along the
outside of the building to a[...]ments in such a long camera movement is ambitious and
fraught with problems of language, interpremtion and camera logistics. “We have to create
a richer r[...]adzki, Farrant, director of photographyYuri
Sokol and first-assistant director David Wolfe-Barry centre on the camera and the possible
double meanings of the dialogue. The[...]Gail (Briony Williams) as she sits on the swing,
and Cannizzaro’s challenging a retarded exhibitioni[...]for much or the track the dialogue between Rennie andand Cannizzaro as they open their track-suit trousers - and then eight takes in quick
succession in case some of the magic, and the light, evaporates.

Fri day The first prod[...]something like: “What camera angles do you want and how many set-ups? "
1 G “I ca.n’t tell you un[...]ue Armstrong perpetuating the tension between art and finance.

The first scene for the day will be o[...]ring his son back to Saltmarsh after a home visit and
meet Cannizzaro for the first time. By contrast[...]pre-production
period, he is thinking on his feet and has to adjust his vision of the film to each location and
scene, bringing out “the dynamics of the actors[...]g
actors for the first time just before shooting and must react quickly to the possibilities they
pres[...]member anything”), he
towers over Brian Vriends and, by tilting the camera up, an unforeseen joke aga[...]0, ms at 1S important for me to tell an audience, and the style Wlll be a natural part of that,[...]

Cinema Papers no. 79 May 1990 (25)At 10:35, the first rehearsal is over and the ‘simple scene’ has become aesthetically c[...]ogue, while behind the set a row of Heartbreakers
and their families are sitting patiently, watching th[...]a car door.

By 11:00, there have been six takes and everyone is keen to get to the next scene which u[...]g, then working
with the Heartbreakers is unique, and takes the film even further into the areas of improvi-
sation and risk.

For the close-up ofjeffries’ getting out[...]intense continuity discussion
between Domaradzki and Sokol. The tension eases when Domaradzki sees two[...]w-budget film you take any extras you can find, and
“ships for free” will quickly become the slog[...]t at Estcourt House.

By 12:15, after a rehearsal and a small change of camera position, several takes[...]d.

Despite the cold wind, a row of Heartbreakers and their parents still sitwaiting on the lawn.
Their[...]s to do it in one shot, co-
ordinating three cars and ten people, most of them Heartbreakers who must run towards and
then past the camera.

The schedule then focuses[...]perspective
from infinity to close-up as Rennie and Cannizzaro lead the Heartbreakers from Estcourt
H[...]equipment. Leading the procession will be Rennie and Cannizzaro, but, as Farrant
explains, the shot ha[...]ascular evaluations, bring them down to the beach and put them through this basic
commando course. He’s getting further and further ahead of the Heartbreakers carrying the
equipment. By the time he hits the beach and turns around, they’re exhaustedjust from carryi[...]dunes. Out of the shelter of the dunes, the wind and sand
bite into crew, actors and equipment. This must be one of the coldest beaches in Australia,
and by 5:30 the pressure is on Domaradzki to finish[...]l.

The scene finishes with a close-up on Rennie, and the crew pack quickly for a return to
Estcourt House to shoot a sunset scene between Rennie and Cannizzaro. This will be a crucial
confrontation between the two characters and puts Domaradzki back into the cinematic
environment he loves: actors and a camera in a room. In this scene, the ‘risks’ are that the
golden light may fade and the possibility that, on film, the moment may be[...]windows of the workshop directly overlook the sea and the setting sun, which is
flooding the room with[...]oon. By 6:00,
Domaradzki is blocking out movement and lines, Garry McDonald and Brian Vriends are still
being made-up so Alison Goodwin (continuity), and David Wolfe-Barry (first-assistant direc-
tor) stand in for them, moving, pausing and turning as Domaradzki begins to orchestrate
them[...]e, the message in the words which will

RENNIE AND CANNIZZARO
LEAD THE HEARTBREAKERS
TO THE IEACH.[...]S),
A SOCIAL WORKER ”SH|T-SCARED OF RETARDS”,
AND HER LOVER, CANNIZZARO.

CINEMA PAPERS 79 - 27

Cinema Papers no. 79 May 1990 (26)[...]GAIL (BRIONY WILLIAMS)
WHILE SHE IS ON THE SWING. AND, THE FIRST KISS OF
LOVERS SPENCER (SYD WILLIAMS) AND GAIL.

28 - CINEMA PAPERS 79

support the image of Rennie and Cannizzaro at either end of the sunlit room.

The[...]ho the fuck sent you?" Such overlapping of career
and character goes straight to the psychic nerve all actors feed off, and each time McDonald
says the lines he is able to s[...]not happy with the physical space
between Rennie and Cannizzaro, which he wants to be a metaphor for t[...]ogical
relationship. He re-arranges the furniture and changes the path Brian must take along the
side o[...]itor. Sokol agrees this new arrangement is better and a short
discussion follows on Cannizzaro’s dial[...]trust. Then, just before a full rehearsal, Sokol and Domaradzki put boxes
and chairs in Vriends’ way to give his movement mor[...]rsal which runs 78 seconds, but should be shorter and on the next it is down to 66.

By now there are only 15 minutes of sunsetleft and on the next rehearsal McDonald misses
his lines.[...]rcle of reflected
light behind McDonald’s head and he is instantly dubbed “St Rennie”. The first take is good,
the second is better, and shorter, but the camera battery fades just before[...]sinks on cue. Everything is running on adrenalin and team work now as the battery is
quickly replaced and another take catches the last moments of light. From Domaradzki’s
“Cut!” the relief is instant and the verdict unanimous: best shot of the day.

It is a warm Monday morning after the weekend break and, by 10:00 am,
it is obvious that there is some lo[...]ize Rennie’s attraction to Gail’s pale beauty and the possibility of his
going ‘out of bounds’.[...]:25, is stopped by the sudden arrival of a plane, and several more by
mistakes in positioning or dialog[...]continues with the close-up of Gail on the swing, and an hour later the scene is all the better
for the[...]e are two more short scenes scheduled, a close-up and a reverse angle.
They are interesting because the[...]tiently sitting with packed
lunches on their laps and now are told they can only pretend to eat them in[...]take, which is almost certain. Sokol, Domaradzki and Wolfe-Barry are coaching the
Heartbreakers to ‘eat’, and to respond to each other while the camera takes a[...]an only be done twice before the lunches are gone and the effort of co-ordination proves too
difficult.

The advantage of mixing the professional actors and Heartbreakers together is shown
when, after lunch[...]alm tree before stopping suddenly when
Cannizzaro and Rennie approach. At first Kevin’s dance is awkw[...]asked to dance for Kevin. The result is brilliant and Domaradzki comes to
the conclusion that perhaps n[...]h will require delicate direction to remain funny and not tacky. The scene
is more than ‘flashing’[...]any boundary to be accepted by
the Heartbreakers, and this forces Rennie to re-evaluate his new employee. Domaradzki and
Sokol decide to exaggerate the camera movements and play down the dialogue which begins,
“Look at this!” They do four quick takes and then another four for the reverse angles o[...]

Cinema Papers no. 79 May 1990 (27)[...]Moore) judging the dual exhibition-
ism of Kevin and Cannizzaro, and then announcing the results to an assembled group[...]ster looks down into the opened tracksuits, turns and addresses the Heartbreakers who
then run past the[...]ynamics of the movements are difficult to perfect and,
after another four takes, Domaradzki decides to[...]to balance
Rennie’s earlier attraction to Gail, and should be one of the strong moments in the film.[...]n Vriends who is consistently perfect in movement
and dialogue through rehearsal to Take 3, which fini[...]in Rennie’s office. The scene, between
Rennie and Cannizzaro, hinges on contrasting the cruel cynic[...]exercise programme. The room is small, cluttered
and difficult to film in. Rennie is meant to be doi[...]rin.) Domaradzki takes the scene one step further and decides to start it with Rennie’s
jogging in th[...]eakers, but Rennie is preoccupied with making tea
and looking for a hidden bottle of Scotch with which[...]adually rewritten by Domaradzki
to become funnier and more dynamic, but it also loses its ending. “Wh[...]fectly because Cannizzaro will
now suddenly leave and Rennie will be alone holding two cups of tea in the empty room. The
effect is to catch Rennie off balance and transfer the momentum of the relationship back to[...]e, the rehearsals focus on details
of performance and positioning in the room. The scene is also too lo[...]The last of six takes is completed by 10:50 a.m. and confidence
visibly returns to the set. '

Severa[...]disintegrates into
chaos as some fall over on cue and others defiantly take pride in remaining upright[...]kshop window
doing a stand-up routine from Laurel and Hardy, throwing imaginary buckets of water and
slapping faces. They are perfect on two takes and the crew spontaneously applauds. The
second scene is more involved, shot partially in a narrow corridor, and involves]ody’s pushing
a trolley in which Renni[...]at follows. The heat in the corridor is stifling and it
takes ninety minutes before the first take, but the scene is more complicated, in terms of actors
and camera, than anyone imagined and if there is a hero on the set today itisjocelyn B[...]f timing are solved by a loud handclap to cue her and later, in the
c1ose—up, when she is told to “[...]N HOW TO FLASH.

ABOVE: THE IDEALISTIC CANNIZZARO AND
THE CYNICAL RENNIE. AND, DONALD (DICK TOMKINS)
CONSOLES CANNIZZARO[...]

Cinema Papers no. 79 May 1990 (28)[...]’

Jerzy Domaradzki was born in Poland in 1943

and graduated with a Master’s degree in Social Sciences from

Warsaw University in 1970, and in Film and Stage Direction from

the Lodz Film School in 197[...]has since directed seven features,
two telefilms and one mini-series. He was chairman of the Polish
Feature Filmmalu-:rs’Association from 1982 to I 98 7, and subsequently
a member of the Prezidium Polish Fil[...]r-in-Residence at the Australian

Film Television and Radio School in Sydney.

CINEMA PAPERS 79

How[...],
l’m ready anytime.”

That was February 1989 and a month later he called me and
asked me to direct it. Terry Charatsis then appli[...]ilm

Finance Corporation for the production money and here we are, in
November, shooting the film.

It[...]fty metres from the hotel! It was an old building
and would have been excellent for Saltmarsh, but it t[...]as so strong that
we looked for something similar and eventually found Estcourt
House, where we’ve be[...]y are both old
buildings, too big for a new
owner and in a state ofdecay. To
restore them would cost a for-
tune and, because only big com-
panies can finance that l[...]t. Estcourt House was a
Centre for Aboriginal Art and
Activity, and before that a hospi-
tal. Nobody wanted it, so it[...]me
adults on Strudz byLightm'ngmust
have problems and advantages
for a filmmaker: one of the

Cinema Papers no. 79 May 1990 (29)[...]ach in the script has always been more universal, and shows the
Downs Syndrome people as ‘normal but[...]ore happy: they don‘t have a past, or a future, and live in the
present. So making this film might,[...]exist, in our society.
Their parents feel guilty and keep them at home; that doesn’t give
them socia[...]e with each other;
they can exchange some emotion and learn simple skills. So the mam

subject is to gi[...]rts have been to make this a more universal film and not just a
curiosity.

The film mixes professiona[...]ur first decision was that they should be actors and not play
themselves, so we created characters for[...]would have been too risky, for technical reasons, and we

LEFT: POLISH DIRECTOR JERZY DOMARADZKI.
FACIN[...]TOR DICK TOMKIN5 WITH

BRIAN VRIEND5 ICANNIZZARO) AND GARRY MCDONALD (RENNIE).
STRUCK BY LIGHTNING.

we[...]tell us how being in the
film would affect them, and we were afraid that the
reality of the film woul[...]o use in the film?

We invited them to a workshop and set up some-
thing like a screen test. There are[...]eople have
proconceptlons about

what Is abnormal and so

In another way, the film is also a chal-

It[...]tors to flnd the Interior Yes. He’s a new face and for him it’s a

chance to be the main character in a
film and to work opposite Garry.

His casting was a very c[...]people
have preconceptions about what is abnormal and so it was difiicult
for the actors to fi[...]

Cinema Papers no. 79 May 1990 (30)[...]HERINE MCCLEMENTS)
IS UPSET BY THE DRUNKEN RENNIE AND
CANNIZZARRO). AND, NO SYMPATHY ON

THE SOCCER FIELD FROM RENNIE

FO[...]s. Why? Because in the next take they’ve learnt
and they fix a reaction; they are not motivated by em[...]eral method we developed is a technical rehearsal
and, when everything is ready, we bring on the Heartbreakers and
shoot. Of course, this is interesting for the pro[...]CINEMA PAPERS 79

You have used a lot of tracks, and cranes. When should the camera
move?

The point o[...]because the technique is
too heavy: it takes time and more movement means more barriers
between me and the actors. Iwant to create an emotional tension[...]uild houses,
where we put fences, what is private and public, and how people
behave in different spaces.

Does this[...]s well?

With a low-budgetfilm, with limited days and hours, we can’twait for
the best light. And the agreement with Yuri Sokol from the begin-
nin[...]orty, with more
flattering, soft, dispersed light and not too many close-ups.

Why should audiences care about this story of Rennie, Cannizzaro
and the Heartbreakers?

I care, and I have to believe thatl have an understanding ofthe world
and stories. I liked what Milos Forman said about filmmaking:
because he’s making the film for millions and it must be shown to

millions, a director must give the audience some entertainment,
humour and humanity. Ifa film is not for the mass aud[...]

Cinema Papers no. 79 May 1990 (31)[...]ile efforts have been made to
make it as complete and accurate as
possible, it perhaps inevitable that[...]n the near future.

FEATURES
DEFINITION

Features and tele-features are here
defined, in accord with th[...]lly released
in Australia (published this
issue); and

2. Feature-length films released
on video or tel[...]show a panic-
ularfilm only once or twice a week,
and a week's run seems an arbitrary
measurement.

So,[...]irst
two also be considered as dramatic

features and, if so, how many other
documentaries should also[...]comma),
accuracy here is both a pedant’s
dream and nightmare. The approach
here adopted is:

1. The[...]ever, this is
being done for a new reference
book and variations from the
‘accepted’ title will be docu-
mented; and

2. Titles have been standardized
to upper and lower case.

In the rare cases where a film
has a[...]There are two principal

types:

1. A main title and an additional
one in smaller type. For
example, T[...]to make. Again,
production standards have changed
and simple delineations blurred.

The country of prin[...]a mix of financing
from various world territories and
that criterion is equally flawed.

What then of t[...], that
is usually set up to maximize tax
benefits and may reflect neither
where a film was shot[...]

Cinema Papers no. 79 May 1990 (32)[...]ares (JOHN LAMMOND)
Stir (STEPHEN WALLACE)

Touch and Go (PETER MAXWELL)
Wronsky (IAN PRINGLE)

I 98 I[...]LANDER)

I 982
Around the World with Dot [aka Dot and
Santa Claus] (YORAM GROSS)

Attack Force 2 (TIM B[...]ON)

A Dangerous Summer (OUENTIN MASTERS)
Doctors and Nurses (MAURICE MURPHY)
Duet tor Four (TIM BURSTA[...]ise (CARL SCHULTZ)
Hostage (FRANK SHIELDS)

Kitty and the Bagman (DON CROMBIE)
Man of Flowers (PAUL COX[...](NED LANDER)

Moving Out (MICHAEL PATTINSON)

Now and Forever (ADRIAN CARR)

Phar Lap (SIMON WINCER)

T[...]AM GROSS)

The Coolangatta Gold (IGOR AUZINS)
Dot and the Bunny (YOFiAr»' GROSS)
Epic (YORAM GROSS)

F[...]HENRI SAFRAN)

I 985

Bliss (RAY LAWRENCE)

Burke and wills (GRAEME CLIFFORD)
The Coca-Cola Kid (DUSAN MAKAVEJEV)
Bot and the Koala (YORAM GROSS)
Emoh Ruo (DENNY LAWRENCE)[...]Die (BILL BENNETT)
warming Up (BRUCE BEST)
Wills and Burke: The Untold story
(BOB WEIS)

I 986

Backla[...]RD SMITH)
Death at a Soldier (PHILIPPE MORA)

Dot and Keeto (YORAM GROSS)

Dot and the Whale (YORAM GROSS)

Fair Game (MARIO ANDREAC[...]E MILLER)

Dogs in Space (RICHARD LOWENSTEIN)
Bot and the Smugglers (YORAM GROSS)
Frenchman's Farm (RON[...]N)
The Pursuit of Happiness (MARTHA ANSARA)
Rikky and Pete (NADIA TASS)
Shame (STEVE JODRELL)
The Surte[...]ccino (ANTHONY BOWMAN)

Celia (ANN TURNER)

Daisy and Simon [aka Where the Outback

Ends] (STASC[...]

Cinema Papers no. 79 May 1990 (33)[...]lian films on
their Official Selection at Cannes, and has pleasure in inviting you to
view the latest work by new and experienced Australian filmmakers.

To get in touch with Australian filmmakers in Cannes, and obtain
information on new Australian feature film[...]to be associated with the
development, production and marketing of Australian programmes.

AUSTR[...]

Cinema Papers no. 79 May 1990 (34)NIGHT OUT

CLOCKWISE FROM ABOVE: TONY [COLIN
IATROUNEY) AND STEVE (DAVID BONNIE).
TONY IN HOSPITAL AFTER A 'POOFTER

IASHING’. MAN (TOM SHERLOCK) AND
TONY.

38 - CINEMA PAPERS 79

A HOMOSEXUAI. is bashed outside
beach public toilets and then humil-
iated during a nightmarish car ride,[...]are
candidlyexploredinNight0uta16mm
short written and directed by Swinb-
urne Film School graduate Lawr[...]ed on news reports of various
'poofter bashings', and partly on per-
sonal experience, this bleak film[...]ilm covers a number of generic
issues: the nature and consequences
of promiscuity, lack of communication
between couples, guilt as a conse-
quence of infidelity and the notion of
commitment in an AIDS age. Deliber-
ately uncomfortable in undertone and
subject matter, Night Outexplores iss-
ues common[...]rest
coming from the Australian Film Comm-
ission and Johnston. Armed with a
skeleton cast and crew, who in most
instances waived their fees, Jo[...]ne unreported, part-
icularly in this time ofAlDS and homo-
phobia. I only touch on this in the film.
T[...]ost
brushed over. I could have gone the
other way and made a rights-and-just
ice drama, but that wasn't what inter-
ested me. It is the small events that
change people's viewpoints and their
lives —the ‘What if I hadn't done that?’
after they already have. With Steve
and Tony's relationship, I wanted to
explore the issu[...]really comes down to it. Lack of comm-
unication and expectations in relation-

ships become a minefie[...]lsolate. Composer: Neil
Maizels. "Losing My Mind" and “Tonight is
Forever" by Liza Minnelli and The Pet Shop
Boys used courtesy of CBS rec[...]

Cinema Papers no. 79 May 1990 (35)ADAPTED FOR THE SCREEN by
Paul Cox and Barry Dickins, and in-
spired by a Guy de Maupassant short
story, Go[...]a watchmaker who pur-
chases an antique cabinet, and finds
and fetishizes about a braid of hair in-
side one of[...]as Bernard, the man
caught between his fantasies and an
affairwith Terese (Gosia Dobrowolska),
the wif[...]rs applaud him for his
desire to involve the crew and produc-
tion team in a collaborative process.
Cox[...]they are
released, such as the controversial ls-
/and. And like that film, Golden Braid
continues Cox's personalized explora-
tion of the human condition and man's
obsessions with the past. Cox adds:
"People[...]are political. They deal with the human
condition and try to penetrate the
human psyche. That's a very difficult
thing to do. You become a target and
people attack you. They don't want to
be disturbe[...]a threat."

Golden Braid was shot in Melb-
ourne and Venice, and was funded by
the Australian Film Commission and
Film Victoria.

Director: Pau|Cox. Producers: Pau[...]), CENTRE, WITH HER
HUSBAND, JOSEPH (PAUL CHUBB), AND
BERNARD (CHRIS HAYWOOD), THE
WATCHMAKER. BERNARD WITH TWO
CUSTOMERS. BERNARD AND TERESE.

CINEMA PAPERS 79 - 39

Cinema Papers no. 79 May 1990 (36)[...]40

CLOCKWISE FROM ABOVE:

DANNY (BEN MENDELSOHN) AND
JOANNA (CLAUDIA KAVAN).

MARK [DAMON HERRIMAN), DANNY
AND VANGELIS (ANGELO D’ANGELO).
MR CLARK (MARSHALL NAPIER).
WATCHED BY MRS CLARK

[MAGGIE KING) AND DANNY.

- CINEMA PAPERS 79

MARK CLARK VAN ARK is[...]rlfriend,
Joanna. 0ntheirfirstdate,thecarblows
up and a plan devised by Danny and his
friends to make things right goes awry,
with[...]Van Arkis the third film
from director Nadia Tass and cinema-
tographer David Parker. It follows the
highly successful Malcolm, and Rikky
and Pete. Tass says:

'‘I see myself as a servant— I serve
the script. Certainly I take the script
and make itmy own, butl must be faith-
ful to[...]

Cinema Papers no. 79 May 1990 (37)TO CINEMA PAPERS, AUSTRAL|A’S LEADING FILM AND TELEVISION MAGAZINE. CINEMA PAPERS IS

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PACKED WITH FEATURES, INTERVIEWS, NEWS, REVIEWS, AND THE ONLY COMPREHENSIVE PRODUC-
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CENSORSHIP DECISION[...]A SPECIAL COMEDY ISSUE COVERING AUSTRALIAN

FILM AND TELEVISION COMEDY - THE SCRIPTS, THE PERFO[...]

Cinema Papers no. 79 May 1990 (38)[...]ry, Phil Noyce, Joan Fontaine, Tony
Williams, law and insurance, Far East.

NUMBER 39 (AUGUST 1982)

He[...]ector Crawford, Emir Kusturica,
New Zealand film and television, Return
To Etifhl.

NUMBER 54 (NOVEMBE[...], John
Boorman, Menahem Golan, rock videos,
Wills And Burlee, The Great Bookie
Rol1l‘er_v, The Lancas[...](NOVEMBER 1987)
Australian Screenwriters, Cinema and
China, James Bond, James Clayden,
Video, De Laure[...]Special Cannes issue, film composers,
sex, death and family films, Vincent Ward,
Luigi Acquisto, Davi[...], The
Last Temptation ofChrirt, Salt Saliva
Sperm and Sweat

NUMBER 72 (MARCH 1989)

Charles Dickens’[...]rner’s Celia, Fellini’s
La ziolee vita, Women and Westerns

NUMBER 73 (MAY 1989)

Cannes Iss[...]

Cinema Papers no. 79 May 1990 (39)[...]king a Film
Production Overseas, Richard Chataway
and Michael Cusack

NUMBER 132 WINTER I987
Censorship[...]ttraetion

NUMBER ‘I36 WINTER 1988

Film Theory and Architecture, Victor
Burgin, Horace Ove, Style Form and
History in Australian Mini Series, Blue
Velvet, S[...]R 137 SPRING 1988

Hanif Kureishi, Fascist Ital_v and American
Cinema, Gillian Armstrong, Atom
Egovan, Film Theory and Architecture,
Shame, Television Mini Series, Korean
Cinema, Sammy and Rorie Get Laid I

NUMBER 75 (SEPTEMBER 1989)[...]he Teen Movie,
Animated, Edens Lost, Mary Lambert and
Pet Sematary, Martin Scorsese and Paul
Schrader, Ed Pressman, Sweetie, Batman,
Love[...]Georgia

NUMBER 76 (NOVEMBER 1989)

Simon Wincer and Qnigley Down Under,
Kennedy Miller, Terry Hayes,[...]on, Iohn Duigan, Flirting,

Romero, Dennis Hopper and Kjefer
Sutherland, Boulevard Films / Frank
Howson, Ron Cobb, Irland, Sex Lie: and
Videotape, Buried Alive, Blind Fury, Paris
By Nig[...]John Farrow profile, Blood Oath,
Dennis Whitburn and Brian Williams,
Don McLennan and Breakaway,
“Crocodile” Dundee overseas.

NUMB[...]eenaway
Interview, The Cook, The Thiefi His Wife
and Her Lover, Michel Ciment Interview,
Iack Clayton, Banglzolz Hilton and A Long
Way From Home.'Barlow and Chambers

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on Film and television, such as Kate Sands, Women ofthe Wave;[...]n, Formative Landrcapes; Debi Enker, Crosr—over and
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Cinema Papers no. 79 May 1990 (41)[...]sh

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Cinema Papers no. 79 May 1990 (42)SWEETHEARTS

ABOVE: JULIET (CHRISTABEL WIGLEY)
AND Z (JOHN F. HOWARD).

RIGHT: JULIET.

BELOW: SCHOOLGIRLS

42 - CINEMA PAPERS 79

BASE[...]el by
Co|inTalbot,Sweetheartsisacontemp-
orary ‘Romeo and Juliet’ story of mis-
matched lovers. Juliet, played by new-
comer Christabel Wigley, is a bri[...]s poses the
question, "Why does good love go bad,
and is there romantic fulfilment in the
real world?"[...]beat, music video-style

feature that was shot in and around
Melbourne. Featuring carnival colours,
bizarre imagery and an assortment of
odd characters, including a mena[...]-
cludingsteven Cummings,Fled Symons,
Kenny Lopez and Paul Grabowsky.

Writer—director[...]omposer: Paul
Grabowsky. Cast: Christabel Wigley (Juliet),
John F. Howard (Z), Richmond Clendinnen[...]

Cinema Papers no. 79 May 1990 (43)[...]d by Gallery
director Bella McLeod (Jane Clifton)
and cohort adviser Lionel Meadows
(Jon Finlayson), wh[...]ks.
An outraged artist, Alex Nichols (Jane
Menz), and her boyfriend, Joe Connors
(Peter0’Brien),stea|the Picassointhe
hope of embarrassing Bella and Lionel.
But their victory is short lived

A Kink in the Picasso was shot in
inner Melbourne and features a num-
ber of bohemian cafes and galleries.
Production design was kept to simple,[...]clude Flemington racecourse,
Melbourne University and the Victo-
rian Artists’ Society. Although prod[...]t in the Na-

IN ‘I'll! PICASSO

tional Gallery and theywrote back say-
ing thatthey felt it would be[...]first 35mm feature was arranged
through Duesburys and a Melbourne-
based accounting firm.

Director: Ma[...]NEL MEADOWS [JON FINLAYSON),
BELLA [JANE CLIFTON) AND THE PICASSO.
NICK (ANDREW DADDO) AND JOE (PETER
O’I|lIEN). JOE, LIONEL AND BELLA.

CINEMA PAPERS 79 - 43

Cinema Papers no. 79 May 1990 (44)IN TOO DEEP

44

CLOCKWISE FROM ABOVE: WENDY
(SANTHA PRESS] AND BAND AT A JAZZ

CLUB. wsnmr AND MACK (HUGO RACE).
wmmr AND MACK.

~ CINEMA PAPERS 79

IN 1'00 DEEP has already been lik-
ened to Body Heat and 9 7/2 Weeks
with its film noir—ish sensual imag[...]ves around
Wendy(Santha Press), a singer, drifter
and low-life love junkie who is admired
by her younge[...]g
watched closely by policemen Miles
(John Flaus) and Dinny (Dominic
Sweeney).The storyisto|dfromJoJo's[...]to turn nasty. Caught up in
the world of watching and being
watched, of being used, of cruelty and
desire,JoJo suffers the consequences
of everyone[...]loca-
tion, using two directors, two produc-
ers and two directors of photography,
andfeatures Melbour[...]atoulis says:

''It could have been shot in black
and white, butwe decided againstthat.
We gave ita hard,golden |ook,with lots
of shadows, unusual angles, and sev-
ere lighting. We let the action happen
withi[...]ook hot. We shot it over
quite an extended period and went into
winter. We chose a new Kodak stock
(5297) that was a fast daylight stock
and it gave the scenes a warm rich,
golden-ora[...]

Cinema Papers no. 79 May 1990 (45)[...]: DEREK HIBHARIIS L,.E:L?:.:1::: PAMELA HAMMIINIJ and L[ll|lSE BHESLETT
P::::P:P;L smns MITBHELL and KEVIN WILLIAMS P.'ii2§'!§T§ LPNLLAPPLLLPLLLPPP[...]:.L:$:L PHILLIP IIHABE L:::P::£:: MALIJIILM MAHH and LIZ WALIIHIJN and snnmm MARTIN
.»,m§!‘.,'3 cHAPLLs BAYLISS and HIIJHAHII IlYMflN|] and Anna KIIEHNIE LLPPPL; MEG KIIERNIG OLPJLP mm WILL[...]SIINJNH
"P:,'.i::: P¢:22.::‘: PETER wnrsnm JNH and srunm BEATTY ‘“P.:i:.‘;' GEDFFSHAHIJ[...]
Cinema Papers no. 79 May 1990 (46)[...]d after the war. lt was written
by Denis Whitburn and Brian Williams,
Williams’ father having been th[...]e’: decent, irreverent, tough,
sensitive, butch and clever".

Director:StephenWa|lace.Producers:Charl-
es Waterstreet: Denis Whitburn and Brian
Williams. Co-producer:Annie Bleakley. Line
producer: Richard Brennan. Screenplay:
Denis Williams and Brian Williams. Photog-
raphy: Russell Boyd. Soun[...]d 1960s, in a
small New South Wales country town,
and ends in a heart-stopping car chase
near a railway[...]son.

[For information on Heaven Tonight, Hunting
and Whatthe Moon Saw, see the article on
Boulevard Fi[...]42 — 45]

LEFT: PRIVATE TALIOT (JASON DONOVAN) AND CAPTAIN COOPER (BRYAN IIOWN). STEPHEN WALLACE'S B[...]is a black com-
edy with a blend of action, drama and
farce. It centres on the lives of two
outlandish brothers who work at the
local abattoirs. Boady is violent and
childish; Luke is normal by comparis-
on. It is t[...]icationandintrigue which
eventually leads to ruin and death.

Director: Craig Lahiff. Producers: Craig[...]an Vriends (Cannizz-

IELOW: SAM [ROBERT MAMMONE) AND MEG (DANIELLE SPENCER). GEORGE OGl|.VIE'S THE CROSSING. RIGHT: KATE
[CATHERINE MCCLEMENTS) AND RICHARD MUIR (COLIN FRIELS). ARCH NICI-lOL[...]

Cinema Papers no. 79 May 1990 (47)[...]thriller from Karl Zwicky,
director of Contagion and much televi-
sion, including the recent children'[...]a public relations exec-
utive for Origin records and a fiery aff-
airwith his dominating colleague Car[...]whose prev-
ious features were Fortress, Buddies
and Dark Age.

Director: Arch Nicholson. Producer: Ph[...]he’d stay
there.McBridehasachipon hisshould-
er and can't keep his mouth shut. And
after busting a crooked city councill-
or,he is r[...]Starstruck, Emoh Huo, Around the
World in 80 Ways and the mini-series
Fields afFire (and its two sequels).

Director: David Elfick. Produ[...]Flowers Paul Cox
1986 Backlash Bill Bennett
Burke and Wills Graeme Clifford
A Girl’s Own Story[...]

Cinema Papers no. 79 May 1990 (48)[...]renchman Pierre Rissient is an activist for films and filmmakers he believes in. He has discovered

and promoted many new directors, overseen the critical revival of oth ers whose careers have faulted,

and argued eloquently for those unjustly ignored.

So[...]arly come to Australia to seek out the innovative and idiosyn-

cratic. He has then helped guide those[...]ngly labyrinthine selection procedures

of Cannes and other festivals. An occasionally practising
film[...]oning
as a living, but because of a deep love for and commitment
to the cinema. Like many others, he is[...]ned
about the declining standards of world cinema and is
doing his utmost to seek out and promote new talent.
Rissient began his film career as a distributor and
publicist. He was notable for bringing to world a[...]rector, having made the features ONE

NIGHT STAND and CINQ ET Paw, neither of which have been seen wide[...]lish by Scott Murray,
Rissient speaks of the role and
importance of the Cannes Fes-
tival and, then, his activistrole

with the Australian cine[...]ributed to the
recognition of directors, some new and others making a comeback,
and it shows most of the interesting films — at le[...]the right reasons - they are not good films —

and sometimes for wrong ones. That is what we[...]

Cinema Papers no. 79 May 1990 (49)[...]ave been an international success without Cannes.
And last year there was Sex, Lies, and Videotape, which would certainly
not have done that well commercially without a place and a prize in

Cannes.
So far, I have been speaking[...], it will have a much better chance of being sold and well
exposed. If a picture is well received at Cannes, distributors and

exhibitors around the world are encouraged to gi[...]tions at Cannes. What are their various
functions and importance?

When Cannes was created — and I was too young a boy to really know
about it —[...]picture to
send, so would Russia, England, Canada and so on. As things pro-
gressed, Cannes discussed w[...]ically it was the countries that sent the films, and they
could have been selected for political, soci[...]960s or early ’70s, Cannes reversed the process and
selected pictures by itself. Of course, sometimes they couldn't get a

LEFT: DIRECTOR ANDand went through several locations before
maturing at[...]. However, the old Palais was destroyed last year and the
Quinzaine had to move again. So they decided[...]istake. The Q_uinzaine’s identity has been lost and most film
critics todaywouldn’tbe able to reme[...]ureswere shown
last year at the Un Certain Regard and what were at the Quinzaine.

Next year, or the ye[...]Its
aim was to show pictures which were different and which, for right
or wrong reasons, were no[...]

Cinema Papers no. 79 May 1990 (50)[...]ferences between Un Certain Regard, the
Quinzaine and the Critics’ Week are no longer that clear. A p[...]ther. VVhat is important is
the quality ofa film and the way the picture is promoted.

One other impor[...]the past two or three years,
especially last year and I hope this year, is that the Competition has
become more adventurous and dating in the choice of films. It is a
less ofiicial, in the bad sense of that word, and a more adventurous
selection. That in itself has[...]for the
Directors’ Fortnight, Un Certain Regard and the Critics’ Week more
diflicult. They are now looking in cermin ways more academic and
old-fashioned than the Competition.

Are films a[...]goes into Competition
it gets much more exposure and interest. However, in the past it
could be danger[...]or three years, we have tried to be aware of that andand it
opened very well in Paris.

Last year, itwas r[...]the critics, film festival directors, exhibitors and distribu-
tors who could like and defend that film liked itvery much. Thatwas
the[...]at
Cannes would not like it wherever they saw it. And the fact that they

50 - CINEMA PAPERS 79

reacte[...]n 1830 established romanticism. Many people booed
and whistled, but romanticism was established after t[...]I suspected that many people would like the
film and that the picture would receive much more coverage[...]e for Competition can be wrong from time to time, and if
the picture goes to the Directors’ Fortnight[...]ain, maybe the selection committee was not wrong, and
maybe sometimes my partners there - ifyou want to[...]ecause those
shorts had been discovered at Cannes and, after that, travelled
around the world. If tomor[...]’t think it is an altogether
conscious attitude andand the painters they
discover.

Naturally, if you ha[...]k or Un
Certain Regard, it is easier to come back and try for Competition
because you are already established. There is an expectation about
you and your work which makes people interested. But there are
some people who have come once and never come again.

It used to be the case that ma[...]n films because they were thought too mainstream

and boring. The real discoveries were in the o[...]

Cinema Papers no. 79 May 1990 (51)[...]TIONS

How did your association with Cannes begin and what forms has it
taken?

After my military servi[...]ng to make money. Having
worked as a film critic and also as a film organizer of the Preview Club,
I[...]ng that in Paris.

I was also a small distributor and pioneered the reissue of un-
known classics. At t[...]ere
issued in France were Citizen Kane, King Kong and Grapes of Wrath. I
re-issued pictures which at th[...]Anyway, I think I can say I was very successful and some people say
thatl established a new style of[...]ke to call it.
I only took pictures which I liked andand by the late 1960s most of the pictures which were[...]es I was looking after.

Naturally, I became more and more in demand. There was even
afunny storywhich[...]t F avre le Bret, who
was the délégué general, and they mentioned my name. Apparently
Favre said exa[...].

Then, in 1971 , Favre le Bret became president and Maurice Bessy
became the délégué general. Maur[...]is a very small film, about an
unpopular subject and with a directorwho was completely unknown.
Schatzberg’s earlier films had been a total flop in America and Al
Pacino was virtually unknown at that time. But[...]critic since 1961. That
relationship with Gilles, and with Cannes, has kept developing, I
believe for t[...]is not
a formal one. But for the past two years, and even more this year,
Gilles has asked me to be a[...]e past two or three years.

But not only in Paris and in Cannes, but in many countries,
people realize[...]f
many filmmakers who are highly regarded today. And when Iwas not
the one to initiate things, Iwas th[...]day too far
Away. I had known David Roe at Cannes and he was able in his role
at the Australian Film In[...]toofar Away to look at it
regarding Cannes. 1 saw and really liked the film, and I told David I
thought it should be at Cannes. Bu[...]of quality but because of the nature of the film and the
nature of the Competition at the time. I may[...]ay.

At that time, there was no Un Certain Regard andand certainly wasn’t
a structuralist film. So I di[...]eleau [Quinzaine director] about
it. He liked it, and the film got into Directors’ Fortnight.

The y[...]ayground also gotinto
the Directors’ Fortnight, and I think two or three years later Fred had
The Cha[...]re in Competition.

FACING PAGE: GERARD DEPARDIEU AND NASTASSJA KINSKI (BACKS TO CAMERA) ARRIVE FOR
A B[...]PREMIERE. LEFT: DIRECTOR BRUCE BERESFORD, CENTRE, AND ACTOR JACK
THOMPSON, RIGHT, ARRIVE FOR THE[...]

Cinema Papers no. 79 May 1990 (52)[...]David was at that time a commissioner of
the AFC, and he asked me ifl would be interested in being invi[...]lian films in order to recommend
them for Cannes and, eventually, other festivals. I came for the first
time in 1985 invited by the AFC and since then every year.

You had been to Australia[...]ucers inform the AFC if they have a picture
ready and want to submit it to Cannes.

Once I get to Sydne[...]y, I don’t dis-recommend films. Ifl see afilm and like
it, I recommend it. And ifI like it very much, I will fight for it to be[...]dis-recommend it, but it’s not really that way. And some
people, when I said I didn’t care for thei[...]ve spoken to the selection commit-
tee beforehand and influenced them. That is not the case. IfI see a[...]like, I don’t call Gillesjacob or the committee and
say that I didn’t like it. Ijust don’t say an[...]rom year to year on what is coming from Australia and
from other countries. But since 1985 there have b[...]l in the Flesh, was there with Jane,
Bill Bennett and others.

Is there a danger in becoming too associated with an advocacy of the
Australian cinema and thus losing an independent standing?

Maybe some people in Australia think that, but in Paris and London
and New York that is not the case. For a long time I was considered
as an advocate ofAmerican cinema and American genre. That was
not correct, though I ha[...]er, Milos
Forman, Makevejev, King Hu, Lino Brocka and many people from
Asia. It is true I know l[...]

Cinema Papers no. 79 May 1990 (53)[...]difficult as Sweetie. Then Sweetiecame
to Cannes and was extremely well re-
ceived. It got very good distributors
around the world, and got into the
good theatres.

To a certain extent[...]can say. Fred
Schepisi is a success out ofCannes, and
I would say also Gill Annstrong got a
lot of adva[...]lack of follow-up is

the schism between what you and others are doing to help Australian
cinema overseas and the funding psychologies of the bureaucracies
bac[...]tical suc-
cesses at Cannes were Campion, Bennett and myself. Yet all three
were rejected by the AFC fo[...]stion, but do you see this situation as a problem and one that

needs to be addressed?

First, let me s[...]ifl like a filmmaker, I like to see him develop. And its
true thatl have sometimes been disappointed t[...]t here that we should think more about
protecting and developing the talent for the future. Itis the best and
only way to go. I wish it had been done more in the past, and I
Certainly hope it will be done more in the futu[...]Puzzle of a
Downfall Child, Panic in Middle Park and Scarecrow — were tremen-
dously well appreciated in Europe, and especially in France where
Scarecrowwon the Palme[...]conspiracy— to diminish what happens in Cannes and in France. And
in 1973 a certain Schatzberg project did not go a[...]Australian

FACING PAGE: MEI. GIBSON (LEFT PHOTO) AND SIGOURNEY WEAVER (RIGHT), WITH
INTERVIEWER ROBIN[...]sier to speak about the Hollywood film industry, and
maybe also a little about France because there wa[...]nce there is a kind of cult, which is exaggerated and not well
founded, about a group of people working[...]ra-
lian than Mad Max, was sold more on thejungle and the crocodile
than being Australian. You could pr[...]ing,just as taste is disintegrating in literature
and in life values. I don’t think Australia is any[...]time to time, some interesting films do appear, and sometimes from
Australia. Some year there are mor[...]st week in Hong Kong, or next week in Los Angeles and
NewYork. I react from my own instinct and experience and impulse.
Of course, I am aware that a Chinese fi[...]re, but really it is not like a screen between me and the film.

Since 1975, there have been very few[...]an Streets. A lot of filmmakers have
come after, and some were maybe good, but none were really
idiosy[...]sically, I would say the same thing about France. And, if we
speak of Australia, we come to Jane[...]

Cinema Papers no. 79 May 1990 (54)[...]veloped

script stage. Affiliations with Japanese and American

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Cinema Papers no. 79 May 1990 (55)[...]constraints of business on cinema image quality, and about

having your eyeballs sucked out.

ODERICKH[...]engineer for Greater Union

Village Technology, and along

with his counterpartfrom Great-
er Union, Bob Lucas, is responsible for the evaluation and installa-
tion of the theatre projection and sound equipment for their fifty
plus theatres ac[...]fine yourself to
the AFI theatres, the Valhallas and their like, you will have experi-
enced the ‘pl[...]lain that he had been going to their local cinema and was
upset by the limited choice of only two theatres. He had been to a
multiplex and liked to be able to stand there, stunned by the r[...]t enough. People want cinemas near where we
live, and part of their suburban shopping centre, so that they can
drift from shopping to the movies and park just five minutes away.

Cinemas are now be[...]in at-
tendances worldwide. But the construction and installation of equip-
merit are creating problem[...]hat the new cinemas will be fitted with the best and latest
projection and sound equipment? Second, is THX, Lucasf1lm’s
in[...]m? The answers, as Hailey explains, are
“Yes” and “Maybe”:

We have reallyjust got the city complex [Vil-
lage, Melbourne] up and running. We con-
sider it to be state of the art,[...]ointed by the poor quality of the
projected image and sound in many of the theatres he visited. With
the movie’s success and the ensuing financial clout, he resolved to
addr[...]atres intending to run a Lucas
or Spielberg movie and reported back on the problems. They did, in
fact,[...]!

Lucas was concerned that the hundreds of hours and millions of
dollars spent on making films were being wasted, and that the industry
should get offits tail and do something about it.

As always, the problems come back to money and to the foresight
of theatre management. Hailey:[...]w the theatre
operator wants it to look like —- and it's his money after all — but from the
technic[...]that is a monster to
drag into alignment visually and aurally.

With the Village complex in the city, t[...]underway
when Tom Holman from Lucasfilm came out and conducted a seminar
at the Russell Cinema. When I[...]public. We approached Tom Holman for
information and the process was then bounced
forward by our managing director, Graham Burke,
who went to the States and visited the Skywalker
Ranch at San Francisco. He was impressed by the
system and his message came back to look at it. I
was fortun[...]set them
all up for the possibility of THX sound, and they
were finished, as far as their sound systems, noise
levels and acoustics, to that standard.

This move must have been personally
satisfying to Hailey and his team as it was
onlytwo months later, a[...]

Cinema Papers no. 79 May 1990 (56)[...]Lucas uses in conjunction with Dolby laboratories and
ensures that the sound that you are hearing is as[...]gives you all the technical
back—up, the logos and the advertising material. Every six months
there[...]inema to see that it is maintaining the
standard, and that information goes back to Lucasfilm. If it p[...], which uses its
analyzer to detect problem areas and tell us to address them.

I have visited Skywalker Ranch and, compared to their system, I’d say
we were within 95 per cent of the original. We’re very close, and we’ve
done it by spending a lot of money.

I be[...]Village. There is a lot ofone-
upmanship involved and there are people who think it's all a lot of
balo[...]ick Leathers
at Atlab, Roger Savage at Soundfirm and Les Mackenzie at Colorfilm,
THX gives them only[...]should they
spend countless hours mixing, dubbing and re—recording to get a result
that falls apart i[...]ith. Savage has aTHX licence for his mixing suite and
he also uses Village theatres so that he try out[...]X is a pretty stringent requirement for recording and reproduction.
So if you do a mix and it doesn't sound right on a wide-range sound
syst[...]older cinema
systems that are using old speakers and amps. THX can pick up inherent
fault in dubbing and mixing, and there have been directors and sound
recordists who have turned their noses up at it because, and I hate to say
it, their recording wasn’t right.[...]hat we can remove the house cards, put them
aside and give them the three cards and say, ‘Play with it and line it up
for yourself and make itsound like you want it to.’ At the end o[...]put our EQ cards back to the standard that Dolby and Lucasfilm say
is correct.

There is no wide deviation between Dolby and THX. Dolby has
specific requirements which we fo[...], with
flatter frequency response, cleaner sound and with better dispersion as
far as high frequencies[...]arwhere they broughtoutTom Holman from Lucasfilm
and loan Allen from Dolby Laboratories. The presentat[...]track magnetic sound, then to 70mm Dolby
A stereo and finally to Dolby Lab’s latest release, Dolby S[...]amples of SR were so stunning that people came up and said, ‘It
can’t be optical. You must be playing offdigitall’ We said, ‘No, take alook
in the box and you will see a piece of 35 mm film with an optic[...]nning through the projector.’ It was that good, and the
feedback we had was tremendous. It confirmed[...]es re-
sponse.

The standards are achievable here and we seem to get it right with
films like Crocodile Dundee, The Fn'nge Dwellers and, more recent, The
Delinquents We do have the abil[...]The film is then turned over to the
video market and the prints are junked. Vfith this “spla[...]

Cinema Papers no. 79 May 1990 (57)[...]are of a better quality than most American prints and certainly better than

any of the reconditioned ones. We take more care in Australia and I really have high praise for the people at

Atlab and Colorfilm and the other labs doing release prints. Technically,[...]con-
trol. Combine this with the trend to bigger and bigger screens in
auditoriums of existing size, where you need short-focal length
lenses, and the image magnification over a short viewing dis[...]on the industry to improve positive print
stocks, and thinks that the majority of the complaints are th[...]says, “The film only has to breathe in the
gate and we have serious focus problems.”

Focus has bec[...]ease” returned to the laborato-
ries for repair and reconditioning, and then being sent out to other
markets such as Australia. Unlike a new (and expensive) print, these
reconditioned prints caus[...]the reconditioning process is
degrading the image and the stability of the print as it runs through the
projector. These prints flop in and out offocus, and they flutter badly in
the gate. We know it’s not the projectors and the result is an unaccept-
able image on the scre[...]about the process involves ultrasonic clean-
ing, and then coating the film with a chemical that acts[...]iquid gate, filling the scratches in the emulsion and on the base.
He admits that,

Some ofthem come up quite well, but the image on others falls apart and
drive us nuts. The film bookers can’t understan[...]that makes itunstable.
You can go into a theatre and it’s weaving between the platter and the
projector, which is trying to plane this twisted and buckled film flat in the
gate. When it does hold it flat, the image in the light path shifts, and you
can look in the gate and see it breathing in and out.

The other problem with large screens is tha[...]projection staff, where the guy is moving around and can’t check each
one all the time, there is not[...]at the Americans recognize there is a big problem
and maybe they are doing something about it. I’ve t[...]uction who have had feedback from release houses, and I’ve talked
to projectionists in America who ha[...]nother aspect may be that we are bringing negs in and printing
them in Australia. These Australian prints are of a better quality than
most American prints and certainly better than any of the reconditioned
ones. We take more care in Australia and I really have high praise for the

“Technicalil[...]n be faxed to (03) .427 9255.

people at Atlab and Colorftlm andand automated projection booth, with all the advertisements, trailers
and feature assembled on a large, continuous platter.[...]o
that the colours were accurate to the landsca e and the eriod of the
P P
year when he shot it. In our initial release, he was particular that we got
it ri ht, and fortunatel we did. But we had to brin thin s back[...]factors are the mirrors.

Mirrors are batch made and when you look at the cold light
[dichroic] mirror[...]company: one
was green white, one was blue white and one was pink white. All you can
do is use a colou[...]sually show a director
the film with each of them and. ask which he prefers.

One of the restraints is that management usually doesn’twant to go
changing bulbs and mirrors. A mirror costs about $1800 and a 4000w
bulb costs almost $2000. It is a lot of money and we know we don't have
that problem alone. lt’s the same for GU and Hoyts.

I believe that you must keep the quality[...]public deserves it. There is too much
competition and we are saying to the public go out and look at our big
screens, hear our great sound. We[...]most shout, “Tell someone to shut that dog up!" And
in the Return of lhejedi, when Luke is fighting with his father and he
throws his light sabre to the right, your head[...]country. Exhibitors have to look at the viability and, when
they can‘t afford it, it's 35mm.

Hailey[...]ntinue cultivating
the desire to go to the movies and encourage audiences to appreciate
70mm releases.[...]only do that by giving them what they want to see and hear. And
although I shudder at the technical problems the[...]are going to compete with television, home video and the domestic
surround-sound devices, you have to give the public good brightly-lit
pictures and great sound. It's the only way.

It is the paradox ofbeing in the dark in the cinema: there is intimacy
and a sharing of the experience with an audience arou[...]ounge room because of the familiarity of the room
and the distractions of the kettle whistling i[...]

Cinema Papers no. 79 May 1990 (58)CRI'I'lCS'BE$'l'

AND WORST

Dirty

Dozen

A PANEL OF FILM REVIEWERS HA[...]Y; SBS); PETER
THOMPSON (SUNDAY; THE SUNDAY AGE); AND EVAN WILLIAMS (THE
AUSTRALIAN, SYDNEY).[...]

Cinema Papers no. 79 May 1990 (59)AND DEATH [a.As9<l
BRUCE WEBER MICHAEL POWELL
Bill Co[...]EE IIIEE

1990 Oscar Winner - Best Score and Song
Litde Mermaid I Allan Menkin 0 CD $29.99
Fab[...]er 0 Fabulous Classical Music 0 CD $28.00
Stanley and Iris 0 newJoh.u Williams score 0 CD $29.99
Masada[...]New series of MGM soundtracks — CD, Cassette and LP — from
$14.99 includes Ryan’: Daughter, Dr[...]n of Australian feature films, television
dramas and documentaries. In 198990 the FC
will aim to under[...]tely
$100 million.

The FFC has offices in Sydney and
Melbourne. Investment executives in each office a[...]funding proposals from the

industry. Guidelines and application forms are

available at the Sydney and Melbourne offices.

‘EWEV
V V
I

THE AUS[...]

Cinema Papers no. 79 May 1990 (60)-.

‘I

JUST GO BACKSTAGE.

When you need to move
heaven and earth to get your
cast and crew around the
world, or around the corner, go
Backstage for all your travel
and accommodation needs.
Specialising in the film and
entertainment industry, no
destination is impossi[...]WHEREVER THE L0CA'I"ION.,I

CLASSIC MOVIES, BOOKS
and MEMORABILIA
from "THE GOLDEN YEARS"

MAIL[...]

Cinema Papers no. 79 May 1990 (61)[...], DRIVING MISS DAISY,

BEYOND EL ROCCO, RAW NERVE AND
BLOODMOON.

HENRY V

BRIAN MCFARLANE

NE DOESN'T[...]Goulding’s 1947 film. Popu-
lar novels, plays and original screenplays: all these
are susceptible t[...]e one gets over the awkward stuff about
why Henry and his forces should be in France in
the first place[...]the rest of the
play as a hymn to British courage and solidarity.
Certainly, Olivier’s beautiful and romantic war-

time film, made at the instigation of the Ministry
oflnformation, subscribed to such a View and the
result was one of the great patriotic texts o[...]me of its making, England was
literally embattled and Henry’s “happy few”, his
“band of brother[...]Hemy Vwill be compared with the
Olivier version, and, in the case of many older
viewers, not to the ad[...]ervatism
that tends to believe that what was good and old
must be better than what is new. It ma[...]

Cinema Papers no. 79 May 1990 (62)[...]e. They are, that is, both films
of their times, and Branagh is on record as seek-
ing to reclaim the[...]g as
one who has seen it only twice, once in 1968 and
again last year, I have to say that I find Brana[...]who has almost no resources left than the
courage and devotion of his band of brothers?
Yes, it strikin[...]earlier rendering of
the scene. Can Emma Thompson and Geraldine
McEwan, as Princess Katherine and her (more or
less) English-speaking lady-in-waiting, lay the
ghosts of Renee Asherson and Ivy St Helier, or
Richard Easton, Robert Stephens, Christopher
Ravenscroft and Judi Dench, as the Constable of
France, Pistol, the Herald, Mountjoy and Miss-
tress Quickly, lay those of Leo Genn, Robert
Newton, Ralph Truman and Fredajackson? The
answer, variable across so larg[...]o work at it. Those earlier players were so
vivid and so varied that, in one’s memory, they
cast long[...]latter, who know how to speak Shakespearean
verse and made it sound like conversation, even-
tually —[...]ing, humane Mistress
Quickly as one could imagine and her report of
F alstaff s death is as moving as M[...]France), Ian Holm (Fluellen) , Alec
McCowen (Ely) and Brian Blessed (Exeter), who
bring individuality and authority to their brief
scenes.

But it is on Br[...]warrior king, that the film must
finally rest, and it is with relief and gratitude that
one records his near-triumph in sh[...]e dusty court, this
impression is quickly erased, and his dealings
with the three traitors — Grey, Scroop and Cam-
bridge — confirm one‘s sense that here[...]ring speeches - “Once more unto the
breach ..." and the St Crispin’s Day aria— do their
inspiriti[...]or his own
Renaissance Theatre Company), on film and
television, and as author of volume one of his
autobiography, tha[...]ves pawing the mud,
arrows being fitted to bows) and then give way to
more violent metonyrnies of death, blood, fero-
cious blows and moments of sharp poignancy.
There is a mixture of balletic beauty and horrify-
ing immediacy in the conduct of the batt[...]is brilliantly edited to juxta-
pose the personal and the corporate, the touch-
ing close-up and the Breughelian activity of bat-
tlefield long shots.

Branagh not only produces, directs and stars
but is also author of the screenplay. Here[...]mpressive effect: he knows how
to trim those long andand Part 2. As Falstaff lies dying, a voice-
over rec[...]ut attributed here, quite properly, to
Falstaff), and, as the low-life characters gather
round his bed,[...]h him when the
time is ripe (“I do, I will”), and Hal's recollection
of ajest about hangmen with Ba[...]place, sometimes cover-
ing half the known world, and
from time to time - and given the
wonderful concreteness, the pic-
torial[...]excep-
tions stick in the mind: Welles‘
Othello and Chimes at Midnight,
Polanski’s Macbeth, and Olivier’s
Hemy Vand Richard III. In a ri[...]

Cinema Papers no. 79 May 1990 (63)[...]is-hell ideology, but inappro-
priate for lighter and more heroic moments);
and the surprising sombreness of the ending
deflates[...]s, but a great deal does.
Branagh has made a bold and venturesome as-
sault on what might have seemed s[...]the arts as having
nothing to do with each other and no history. The
greatness of great works needs to[...]e
Films presentation, in association with the BBC and
Curzon Film Distributors. Distributor: Hoyts. 137[...]vie about social change, interracial friend-
ship and dignity is a fairly solid achievement.
Driving Miss Daisy is a well-crafted, beautifully
performed and written film (Alfred Uhry’s finely
chiselled[...]in its
extraordinary ability to capture fleeting and touch-
ing moments about black-white relations in the
American South). And like the film’s sturdy three
cars, which epitomize American know-how and
reliability, and are commonly regarded as being
impressive achieve[...]e a syrupy liberal
movie with a white-meets-black-and-we-can-worlo
it-allout storyline and, given the increasing pub-
licity attached to it (i.e., a star cast and a screen ad-
aptation of a Pulitzer-winning play[...]scar
movie — Driving Miss Daisy is a refreshing and
absorbing surprise. The three Oscars it received[...]gside with Jessica Tandy receiving
an Oscar, too. And in no way underrating Ber-
esford’s unobtrusive[...]tion, Dn'vingMiss
Daisy belongs to Freeman, Tandy and Uhry (like
Tandy, he won an Oscar —justifiably so).
Driving Miss Daisy is a poignantly observed
and an incredibly moving film about a radier odd
cou[...]ur’s garden. As a direct conse-
quence of this, and thanks to her persistent son
Boolie (Dan Aykroyd)[...]rgan Freeman). At
first, Miss Daisy is reluctant and too proud to have
a driver, but she eventually accepts and over a
twenty five—year period (1948 to 1973)[...]It is a genuine friend-
ship premised on empathy and sincerity, a friend-
ship that is elastic enough to test their attitudinal
and behavioural differences, and cuts across class
and race.

Dn'vingMiss Daisy is a richly textured fi[...]ce is a source on many occasions for
humour, hurt and mutual understanding — of
each other’s identity, past and deep-seated val-
ues. The movie touches upon so many ideas and
feelings that are central to racism and interracial
understanding; it is pregnant with cultural and
moral truths that connect with, to use novelist
R[...]“the deep centres of
American emotion" (Shadow and Act, 1972, p.
280). Encapsulated in the developing relation-
ship between Miss Daisy and Hoke is a metaphori-
cal expression of the intricate dynamic that has
existed, and is still existing, in a symbiotic rela-
ti[...]

Cinema Papers no. 79 May 1990 (64)[...]to terms with being a
victim of racial prejudice and Daisy is someone
who has not experienced racism i[...]refer to the civil rights move-
ment in the 19505 and ’60s: the 1958 bombing of
Atlanta's oldest jewi[...]an’tbelieve that racists
would want to bomb it) and the scene where
Hoke is forced to listen to Dr Ma[...]Miss Daisy is blessed with
an exceptional script and two seminal screen per-
fonnances is quite an und[...]sy is
someone whose life is built on family pride and
tradition. Her relationship with her maid, Idella[...]ere Miss Daisy
enters the kitchen to caution Hoke and Idella

against the ills of watching too much television.
Both Tandy’s and Freeman’s roles are ideal
for each respectivepe[...]s out is where Miss

64 - CINEMA PAPERS 79

Daisy and Hoke take a refreshment break during
their car trip to Mobile. She is sitting in the car
and he is standing outside, admiring the scenery.
Mis[...]stare beyond Hoke in the
direction of the horizon and her finely modu-
lated voice, with its Southern[...]er of
the Gulf of Mexico. It is avery vivid image and one
can almost taste the water.

This idyllic sce[...]e is questioned about
the origins of her surname) and is probably hav-
ing an affair with her “riigge[...]t too
dramatically obvious, it is a subtle stoop, and an
appealing source of fascination. Every shuffle[...]ng of
his lips, the pregnant pauses in his speech and the
subtle hand gestures suggest that Hoke is a p[...]ty to perform a character that is morally
complex and not predicated on cultural and
ideological stereotypes. Contrary to the wel1-est-
ablished history of Afro-American actors and
actresses playing one—dimensional characters,
F[...]by Afro-
American performers: Canada Lee in Body and
Soul, Ethel Waters in Member of the Wedding and
juano Hernandez in Man with a Horn are three
exam[...]ty, smuggled
like contraband into a maudlin tale, and with
enough force, if unleashed, to shatte[...]

Cinema Papers no. 79 May 1990 (65)[...]S THE HISTORY of writing on film proves
A again and again, very few reviewers, critics

or theorists[...]semble of relations be-
tween voice, noise, music and silence. If you are
hoping to cultivate such an e[...]-
ager, in turn, lets down his or her ‘mask’, and
reveals a painful, hidden truth. The comparison
b[...]y, the film endeavours to be always modu-
lating and transforming itself, its characters, and
their interrelationships. john Polson’s perform[...]D (KELLY DINGWALL), ON FLOOR, IILLY (JOHN
POLSON) AND MICHELLE (REIECCA RIGG).

character locks into a[...]ostAmerican movies, the sound ensemble thick-
ens and thins, ebbs and flows, in strict accordance
with the feel and flow of the drama. This is an
abstract, quietly p[...]ustralia. 1990.

BEYOND EL ROCCO

RAFFAELE CAPUTO
AND PETER LAWRANCE

. '1' AN EARLY POINT IN Beyond El[...]Asked what he’d like to play, he chose
“Body and Soul”, which he had been playing for

KEITH HOU[...]he El
Rocco, the pianist’s rendition of “Body and Soul"
was so uncharacteristic of his playing at Chequers
that it left Don Burrows and the rest of the band
bewildered. As described by[...]d off by slamming the lid down over the
keyboards and then quickly opening it, before
half disappearing into the piano as he plucked
the strings and banged the keys with his elbows.
“It was like jekyll and Hyde", says Burrows. With
Sarah Vaughan, the pian[...]omeone
looking for himself musically.

Thisjekyll-and-Hyde description serves to il-
lustrate the unpredictable and improvisational
atmosphere that had developed at the El Rocco,
and hence to explain the attraction it held forjazz
m[...]refers to as “traditional
gentleman’sjazz”, and there is modern, improvi-
sational jazz.

This looks and sounds like a fairly familiar op-
position, that between the underground and the
mainstream. This is articulated in the film largely
through the dramatized sequences, and with a
fictional narrator, Zoot Finster (Tony Ba[...]s.
The first is roughly centred in the late 1950s and
early '60s, and is characterized as a period of emu-
latio[...]

Cinema Papers no. 79 May 1990 (66)[...]ohn Sangster
virtually apologizes for playingjazz and not being
black, but pretending to be; while the[...]ntre 44 in Melbourne tended
to demand Miles Davis and john Coltrane as
models for their artists. Thus,[...]period of disintegration, alienation, withdrawal
and experimentation: McGann headed into the
bush for[...]open
spaces; thejazz Club scene almost died out; and
experimentation groups like Free Carter divided
t[...]od for experimentation, artists like Phil
Treloar and Roger Frarnpton attempted to dis-
cover a distinc[...]g of a jazz club, The Basement, at Circular
Quay, and the institution of ajazz course at the
Conservato[...]d from the Conservatorium a new breed
ofmusicians and with them came a contemporary
version of Zoots. C[...]exist independently from the mainstream of
jazz, and with a desire to get out from the under-
dog mentality, to move away from overseas mod-
els, and to discover this country’s influences and
unique sounds. Also, early in the decade, McGann
returned from the bush and formed a band, The
Last Straw.

In the 1980s, the jazz scene thrived, with
exciting things on the horizon. And it is in this
third period that Beyond El Rocco s[...]t from Zoot’s mythologizing of earlier
periods, and, on the other hand, the role of Zoot
Finster is n[...]feel somewhat suspicious, for
when one steps back and takes a long, hard look,
it all seems to flow a[...]the film patterns a rather orthodox trajectory,
and a rather orthodox bi-partisan conception of
a mus[...]nd of trajectory to
that of emulation, withdrawal and rebirth. Most
recent, there is a film like Bird[...]There is a sense of another history to be told,
and Beyond El Rocco is not a film completely lack-
i[...]that it is not

66 - CINEMA PAPERS 79

more fully and widely developed.
In the three major periods that[...]film marks McGann out as an ex-
emplary figure, and McGann kicks off the narra-
tive trajectory of th[...]ng, but by
being seen packing away his instrument and
heading into the streets. He indirectly leads us[...]this time he’s returning to the gat.her—
ing and blows a brief solo before they all set in.
Certainly, these two vignettes with McGann
seem to mirror and individuate the film’s trajec-
tory, but they[...]bout McGann
by what isn’tsaid, that the opening and closing of
the film reveals a sense of an existe[...]s relation to his playing - a genuine de-
parture and a genuine return.

BEYOND EL ROCCO Directed by Ke[...]s
Produkzions, in association with Channel 4 (UK) and
the AFC. Distributor: Lucas Produkzions. 100 mins[...]way. It is a film pro-
moted as a horror film, and it is for anyone with
any faith left in Australia[...]has the worst acting, story, dialogue, camerawork
and promotional gimmick, and it is the worst
possible omen for where the Austr[...]story in a nutshell — a kind of
conglomerate of Romeo and Juliet, Halloween, Fri-
day the 13th, Revenge of the Nerds and The Film with
No Brain — goes something like th[...]ates seem to do nothing but sing in
choral choirs and flash their developing breasts at
the camera, is[...]romance blooms between one of the said Town-
ies andand the grow-
ing concern of the local policeman develop with
the grace andand 5, the makers were very
careful to develop victim characters who had life,
personalities and charisma, and to hire actors
who could act. Thus, when they wer[...]ly
couldn't give a toss whether they live or die. And
the fact that they are played by a cast of unknow[...]are a few
spurts of Heinz Big Red around the neck and
eyes.

Stylewise, the film is totally void. The[...]the nun or the sexually inade-
quate husband — and before long there’s no
doubt who it is, hence n[...]m is a technical travesty. The
camerawork is drab and the lighting is flat. If
horror could be made as[...]threatening atmosphere is to
turn the lights out and drench the film set with
rain.

But the biggest[...]from. Came, Cujo, An American Werewolf in
London and, more locally and relevantly, Dead
Calm extract their biggestjolts[...]et to Die, etc.,
etc.) get almost no push at all. And something
must be said about the cunning way the film has
been promoted.

Advertisements and posters for the film dare
people to survive an e[...]hour before the end there is a “fright
break” and those too scared to sit through the rest
of it ca[...]oad out of the
cinema to “chicken’s corner” and get their money
back.

It sounds like one of thos[...]505, which would be fine,
if these were the 19505 and not the 1990s — or if
the film was good[...]

Cinema Papers no. 79 May 1990 (67)AN UNSEEN KILLER STALKS LOVERS MARY [HELEN THOMSON)
AND KEVIN [IAN WILLIAMS) IN THE WOODS. ALEC MILLS’[...]bviously the film is
adud, the promoters knew it, and this was one way
to help fill theatres.

Fortunat[...]to believe. The
response to the film in Melbourne and Sydney
has generally been that the majority of pe[...]et on Saturday 24
March 1990 was an unforgettable andand “nothing’s
happening” were two typical comm[...]’d
have known that I would've gone to see Tango and
Cash.”

Many reams of dialogue in the film - the
scene between the boy and the girl at the lake, the
wife berating her sexua[...]girl at the beach picnic who
disobeys her mother and pours lemonade into a
Cup, only to spill it. The[...]e. The audience
laughed loudly with her as if she and they knew
something the rest of the people in the[...]the
packed cinema flew bodily out of their seats and
rushed for the exit, laughing, yelling, celebrating
their impending refund and their emancipation
from the wretched film. It loo[...]n Irwin Allen movie as hundreds filled the
aisles and filed out.

Those who remained continued to groan,
and at film’s end people dashed out as the first
pr[...]outing phrases like “it’s so bad it’s good" and “at

I A 7‘ I _‘ I I _ .
‘- .. ' . I - 5'

- .—’
o-,_

4'
~1-

.

least it was funny” and “unintentional comedy”.
To say this about a $[...]edom’, Turkey Shoot,
Boulevard of Broken Dreams and D0ul7leDeal to name
a few — but for a film as awful, as cliché ridden, as
derivative, as unimaginative and as poorly made
as Bloodmoon to be made in[...]

Cinema Papers no. 79 May 1990 (68)[...]Yahoo basically said “Fuck you” to the world and
made his own movie. Good luck to him.

I mean, ho[...]m not sure. It was made by an Australian director and an
Australian cameraman, and set in a supposedly New England boys
school, that probably doesn’t exist, and was modelled on Cranbrook
in Sydney, where the di[...]tural exactness has nothing to do with successful and appro-
priate storytelling.

AUSTRALIAN FILM FINA[...]cess, but you have to have some sort of
scrutiny, and taking a commercial basis is entirely reasonable. It is
taxpayers‘ money and the FFC has a legitimate right to commercially
sc[...]have
sufficiently skilled scrutineers.

A GROWING AND DANGEROUS ATTRACTION: BELOW, ANNA (DEBORAH UNGER)
AND FACING PAGE, FLYNN (MARK HARMON), WITH SOME BUNLA[...]ght. We are asking millions of people to sit down and
watch a film, so let’s ask some people their o[...]it, so why should they? It is
taxpayers’ money and I would have thought that the obligation on
the government and the bureaucrat is to try and ensure that it is
sensibly spent.

What are your[...]a criterion-less situation. That’s grant time,
and the question then is: Who is going to give the gr[...]ike sixty scripts submitted for
the Fund. The FFC and Beyond International did some sort of sifting
process and one hopes, if they were doing their job at all honestly,
and certainly Beyond International has a big investme[...]about it. You had a race with sixty people
in it and five crossed the line. Well, good luck to them. To my mind
that is perfectly fair and reasonable. What some people are propos-
ing is t[...]y.

JIM: It seems like an argument between a race and a lottery.

However, getting back to the scrutiny[...]for a pre-sale, you know
whom you are talking to and how to slant your proposal. There are
some films[...]s to for opinions are pretty hardened
individuals and they should be able to cope with having their nam[...]project. So we took the conscious decision to try and enlarge our
talents by doing individual projects.[...], who is one of the world’s greatest
directors, and it has taken a long time to find someone[...]

Cinema Papers no. 79 May 1990 (69)[...]ided we should get to know more
about it. Bothjim and I had worked in television years previouslyzjim
had started in television on In Melbourne Tonight, and I had produced
commercials for it. So, it wasn’[...]us that it was for
other people in the industry. And, somewhat foolishly and arro-
gantly, we believed it was going to be a lo[...]figure out
television. It is just as complicated and difficult as feature films.

As it turned out, I[...]first feature film producers to
make the move, and, with hindsight, we can say how smart we were.
Bu[...]flat, motherless broke.
We had to sell the house and everything. But necessity is the mother
of invention, and we went into television at the right time. We wer[...]on the staggeringly low
budget of $2.25 million. And it’s still making us money; we get a
cheque eve[...]was that the fundamental difference between
film and television - and we always want to do both, if we can - is that
the swing between loss and profit in television is pretty small, and
basically negligible if you do your sums right. It is pretty hard to lose
money making television and you can make quite good profits. In
feature films, you can lose the lot the first weekend, or bust out and
make a hundred million dollars. Our aim is to fi[...]e. We do
television, which makes us regular money and keeps us working, and
we do feature films which give us a fantastic bl[...]be wanking. You don’t have to have four
cameras and 12 weeks shooting, with a shooting ratio of 15 to 1 and
a crew of a hundred. You can actually make something that works for
a lot less than that. And that’s healthy.

As well, you get the chance to[...]less ofa risk. With film, there is a higher risk and
a higher possible return. It is more of a gamble.[...]elevision because it is
so instant: itgoes to air and is gone. You can spend ayear or so ofyour
life creating a wonderful mini-series and, because people are going
out on one of the night[...]inding audiences at the moment of Return
to Eden. And Clive James spoke of it the other night, calling[...]aps”.

JIM: Well, it was huge in England.

HAL: And it was a hit in France three months ago. Poland was huge,
as were Jordan, Indonesia and Argentina - everywhere.

It is interesting that when you went into television, and it was a couple
of years before Kennedy Miller, t[...]tralian television?

JIM: Product is still needed and good producers will still be around.
Don’t forg[...]es.
Of course, there will be some rationalization and all of us will

have to lift our game.

HAL: The[...]were made, there
was some exceptional television and some terrible television. Sta-
tions don’t want[...]forget it. Now, I think most people can
sit down and figure out who those six or seven are. You then[...]the studios have satellites spinning around them, and
around those satellites are other satellites and so on. You have to link
them up to get the produc[...]have been talking about have enormous
experience and contacts. It’s not so much the idea, but who’[...]isaster. Peter breathed
a magical quality into it and turned the thing into a hit movie. He was
the X f[...]onderful. I’ll never forget that when the Zuker and
Abraham team were putting together Airplan[...]

Cinema Papers no. 79 May 1990 (70)[...]s producer the toughest old bastard, Howard Koch, and he hired
the toughest old cameraman, joe Biroc, w[...]stuck those two old stagerswith these young turks
and came up with a hit movie.

In Hollywood, they alw[...]ence,
where some have been doing it for 25 years, and presumably have
learnt something. I’m always de[...]hers to ask.

LOOKING DICK

The 1970s for McElroy and McElroy are easy for an outsider to
define becaus[...]ld never back an
Australian feature. Well it did, and that was a great triumph for us.
The film gather[...]ced mini-series on Ameri-
can network television, and it won the year for the network. That is
a very c[...]n was hugely
successful in syndication in America and all around the globe. We
then did a series on it,[...]id — Hal
did one, I the other— called Ratbags and Latel\/iglzt withfono andDano.
Neither worked fro[...]ay
forerunners to programmes such as Fast Forward and Comedy Com-
pany. I’m not suggesting ours were[...]chell — it was his first time on television — and Stephen
Blackburn, the writer Geoffrey Atherden and so on.

HAL: We were truly teenagers when we were[...]HAL: We have always been perceived as businessmen and, yes, we have
certainly become more sophisticated[...]importance of casting. If your story is
important and your casting is right, you have three—quarters[...]ments together, working
successfully with writers and directors.

We actually had a mixed fortune in wo[...]eir. He
is one ofthe great directors in the world and the big plus was working
on our first four films[...]But we had to
figure out a way of replacing him and learn some of the things that
Peter did instincti[...]we have had to learn them. That has taken a while and we
are still learning. I look back on our filmography and each produc-
tion has been just that little bit b[...]think we went sideways on a couple of occasions. And the
failures were more often due to the concept t[...]concept.

After all, people make decisions to go and see movies and/ or watch

70 - CINEMA PAPEI5 79

television based on a concept~ they sure as hell don’t read the script!
And once the concept’s right, then everything else[...]ding finance; we have
kind of gone for concepts, and, if the concept is right, people give us
the money. I mean, the concept of Sex, Lies, and Videotape is terrific:
a guy videotapes women ta[...]ts of the story that have never been seen before.
And the setting is an exotic, fantastic part of the w[...]The natives are
so black they are actually blue. And into that exotic context, you put
romance, some laughs and a bit of action, and you have something
totally different.

Given the[...]h an international reputa-
tion, on the one hand, and on the other we wanted new blood.
Getting the two[...]ntradiction in terms. Butjohn was that
individual and he has proved himself.

It has been a marvellous[...]Seale has a
similar view. He is a great director and he’s made a terrific film; I can
see it. john[...]relationship is the base of the
creative triangle and all the other triangles come off it — you know,
cameraman-editor—director and so on. These triangles are vital in any
sort of film and, unless they work, the film won’t.

Till There[...]movie. We’re not competing against the Batmans and so on, but we
are competing against, I guess, Rom[...]is writing for us. It is a science-
fiction thing and it’s going to need at least $20 million to make[...]ode television series); 1986 Lite Night with Jono and Dano (live televi-
sion vari€W) ; Sharks[...]

Cinema Papers no. 79 May 1990 (71)[...]& GRAPHICS SPECIALITYI

With over 600 typefaces
[and increasing by the month]
the new imagesetter enab[...]a PC or MAC computer,
supply a disc of title copy and recieve
a discount off your artwork costs.

1 10[...]RIC SHADOWS BOOKSHOP

Speclallslng In FILM, MEDIA and TV

SEFVICES

I discount for Ilbrarles
I lndlvldu[...]/ telepho orders
I Free quarterly alogue

theatre and music catalogues

.... ..OPEN 7 DAYS A WEE[...]

Cinema Papers no. 79 May 1990 (72)[...]sis when he
discovers, after 18 years of marriage and
two children, that his wife is an alien.

BACKSTR[...]director Phil Warner
Composer Brian May
Planning and Development

Casting Judy Hamilton
Production Cre[...]sis: An enchanting story which
borrows characters and even ts from popu-
lar fairy tales and weaves them into one
charming and suspenseful tale of love,
mystery and mirth.

VVAITING .
Prod. co. Filmside Prods-ABC
P[...]y Picknett
Art director Michelle Milgate
Planning and Development
Casting
Extras casting
Production Cre[...]smo
Editor Stewart Young

Prod. designer
Planning and Development
Script editor Annette Blonski[...]

Cinema Papers no. 79 May 1990 (73)[...]Synopsis: A post—war story of love, mar-
riage and friendship, begun during the
occupation ofjapan, and set in 19505 and
’60s Victoria. Here the cultural shift and
new pressures force three people through
inevitab[...]Kur-zer
Costume designer Amanda Lovejoy
Planning and Development
Casting Alison Barrett
Production Cre[...]l Goddard (Bobby).
Synopsis: A tale ofreal estate and revenge
set in the ominous inner-city ofthe imagi[...]yd Carrick
Neil Thumpston
Chris Kennedy

Planning and Development

Casting

Greg Apps

Casting consulta[...]ggles to main»
tain his dignity amidst brutality and
squalor. He sees a chance ofescape when
he meets[...]iot, Tahir
Cambis, Alex Menglet,

Synopsis: Eddie and Mick are out-of-work
teenagers. They becom[...]

Cinema Papers no. 79 May 1990 (74)[...]oblems: Crazy Cora, who thinks he
is her husband, and a ruthless landowner
who wants him to kill Aborig[...]igner David Rowe
Composer Tony Meillandt
Planning and Development

Casting Mike Fenton

Fa.ith Martin
S[...]sician, comes to Vanuatu in search of
his brother and finds murder, intrigue
and romance — it's a jungle out there.

RECENTLY CO[...]Composers John Fearnside

David Kottlowy
Planning and Development

Casting Spotlight Artists

Casting c[...]evalence of
violence in hospitals, reasons for it and
means of dealing with it. Dramatization of
violence scenario and Violence Response
Team in action.

MARKET OF DREA[...]world today: that between the traditional
Pintubi and Walpiri artists of the Western
Desert of Australia and the high com-
merce of the world's art cap[...]

Cinema Papers no. 79 May 1990 (75)[...]ious forms
of pain relief available to the woman, and
these are demonstrated. Explanation is
given of t[...]Mable) , Patrick Falzon
(Johnny), ex—Cinesourtd and —Movietone
staff and the people of Australia.

Synopsis: Th2La.rtNewsreelis a short black-
and—white film that celebrates Operation
Newsreel and is a fitting finale to the

S C H O O L
THE LAST[...]LUABLE MATERIAL CAN BE STORED IN A TOTALLY
SECURE AND CLIMATICALLY CONTROLLED ENVIRONMENT

111 THISTLET[...]Tor Larsen
Terri Kibbler
Anthony Partos

Planning and Development

Casting consultant
Production Crew
P[...]nt stock Fuii

Cast;John Polson (David, aged 17) ,Juliet
Taylor (Trish, 17), Aaron Deer (David,
11), Sophi[...]dren through the poetic recollection
of memories, and explores the geography
of their lives together.[...]m of experienced, highly trained makeup designers and
makeup artists geared to produce the face, the lo[...]you need...
for film, television, theatre, video and still photography.

MASCARADE —— competent sp[...]for
future makeup artists.

Enquiries for Agency and School:

Shirley Reynolds on (03) 2662087[...]

Cinema Papers no. 79 May 1990 (76)[...]rill.

Synopsis: A short film about love, memory
and isolation.

RETREAT
Prod. company AFTRS
Pre—pro[...]nopsis: A film about travelling — about
outward and inward journeys. Briefly two
people's paths cros[...]inda Kruger
Luigi Pittorino
Paul Neeson

Planning and Development

Casting consultants
Shooting schedul[...]sors John Russell

Synopsis: Koala: is a humorous and dra-
matic look at the hidden side of koalas
which reveals some very interesting and
unusual behaviour. Using footage never
before see[...]about the
operations of the Sheriff’ s office, and
encourages men and women to consider
a career as a Field or S[...]

Cinema Papers no. 79 May 1990 (77)needed by difierent-aged children, and
suggests how to keep them amused on
long, boring[...]an
who thinks he knows everything about it.

FOOD AND WINE IN MELBOURNE
Prod. company Broadstone

Direc[...]esigned to promote Mel-
bourne as a city of taste and style, as
evidenced in its restaurants and wineries.

GRASS FED BEEF
Prod. company The Film[...]ng all
aspects from farm production, process-
ing and packaging to local and export
distribution.

ME AND MY BIG MOUTH
Prod. co. Tupicoff and Hubbard

Director Louise Hubbard
Producer Dennis[...]es 16mm, Betacam

Synopsis: What is our mouth for and what
are each of the teeth designed for? An
enter[...]city,
as evidenced in its architecture, fashion,
and entertainment.

THEIRLIVESIN OURHANDS

Director M[...]t pre-school children have in
copingwith traffic, and suggests strategies
for parents and teachers to help children.

FILM VICTORIA

POST-P[...]ed to promote Melbourne as a vital
centre of arts and culture.

PROCESS OF GROWIH

Director [Not given][...]sing on the food—processing
industry.

NSW FILM AND
TELEVISION OFFICE

BETWEEN THE LINES
Prod. compan[...]are intended
to break down feelings of isolation and
raise awareness of the availability of liter-
acy[...]Hunter Water Board (NSW) to preserve
clean water and clean sand for the people
of the Hunter Valley.

FROM STOP TO SLOW

Prod. company EVS
Sponsor Roads and Traffic Authority
Director Brian F aull
Producer[...]gh, or around, road-
works conducted by the Roads and Traffic
Authority of New South Wales.

GETTING ST[...]see his gradual progress from
addiction to health and rehabilitation as a
useful member of society.

HO[...]x-
plain, in layman's terms, how careful sit-
ing and design can produce sa]eable/
acceptable villas and townhouses, creat-
ing a lifestyle that is both practical and
appropriate to the environment.

IMPORTANT PARLIA[...]er, the Leader of the Opposi-
tion, The President and the Speaker and
Parliament House itself.

LEARNING TO BE SAFE
Pro[...]s,
helping them to recognize dangerous
situations and protect themselves from
potential sexual assault.[...]16mm

Synopsis: This programme examines the
role and function of the Parliament of
New South Wales and its Members. It
opens with an historical overview of the
Parliament itself and moves on to survey
the composition and character of the two
Houses of Parliament the Lower House
or Legislative Assembly and the Upper
House or Legislative Council, the House
of Review.

RAINFOREST PARKS OF NSW

Prod. company S[...]

Cinema Papers no. 79 May 1990 (78)[...]ow the management programme of the
National Parks and Wildlife Service has

made the parks accessible t[...]n benefit
female students in gaining confidence
and skills in areas of learning which have,
tradition[...]ents, such as Science, Industrial Arts,
Computers and Mathematics.

THE RIGHT PERSON IN
THE RIGHT PLACE
Prod. company EVS
Sponsor Roads and Traffic Authority
Director Brian Faull
Producer T[...]aining traffic

controllers employed by the Roads and
Traffic Authority of New South Wales.

THE ROLE O[...]hree Members of the Parliament of New
South Wales and shows how they operate
and the types of problems they encoun-
ter. Highlight[...]d. Ewan Burnett
Scriptwriter Cliff Green
Planning and Development

Budgeted by ACTF

Production Crew
In[...]mplet'n guarant.

Onset Crew
Unit publicist Howie and Taylor Publ.

Gauge 16mm
Government Agency Invest[...]ting

Int. sales agent Diana Quintner
Publ. Howie and Taylor Publ.

Cast: [No details supplied]

Synops[...]t passed a law requiring all boys aged
between 12 and 17 to register for compul-
sory military training. Between 1911 and
1915, more than 30,000 boys were prose-
cuted for[...]osers Michael Atkinson
Yuri Worontschak

Planning and Development

Casting Liz Mullinar Casting

Extras[...]minds. The estate has an
air of mystery about it and, when mention
is made of a live-in ghost, some of[...]nett
Scriptwriters Jane Oehr
Ken Cameron
Planning and Development
Budgeted by ACTF

Production Crew

In[...]s
(Sue Milliken)
On-set Crew
Unit publicist Howie and Taylor Publ.
Post-production
Gauge 16mm
Governmen[...]Int. distributor Quartier Latin Int.
Publ. Howie and Taylor Publ.

Cast: [Details not supplied]

Synop[...]althy prospector, lives with his daugh-
ter, Ada, and a housekeeper, Martha, and
her stepdaughter, Agnes. Before Justus
dies, he o[...]envied
Justus’ wealth orders Agnes to kill Ada
and steal her inheritance.

MORE WINNERS
(“Mr Edmun[...]Ewan Burnett
Scriptwriter Steve Spears

Planning and Development
Budgeted by

Production Crew
Insurer[...]letion guarant.

On-set Crew
Unit publicist Howie and Taylor Publ.

Post-production

Gauge 16mm
Governm[...]Int. distributor Quartier. Latin Int.
Publ. Howie and Taylor Publ.

Cast: [Details not supplied]

Synop[...]hould both “grow up”.

MORE WINNERS
(“Pratt and the Prince”)
Prod. company
Dist. company
Budget[...]Eastwood
Costume designer Kerri Barnett
Planning and Development

Casting Forecast
Shooting sch[...]

Cinema Papers no. 79 May 1990 (79)[...]gic powers.
The last wish was given away 99 years and
364 days before. When Prince Wilton
reaches earth[...]on of Phar Lap. Mark is
fascinated by the concept and becomes
convinced that he is the reincarnation of[...]t into the act believing they were Queen
Victoria and Albert Einstein.

TELEVISION
PRODUCTION

BEYOND T[...]ector Steve Muir
Composer Mike Perjanik

Planning and Development
Researchers Linda McGra.il
Jenni Wilk[...]gner James Murray

Composer Simon Walker
Planning and Development
Story dept. Michael Miller

Kristen D[...]el).
Synopsis: Drama series detailing the
comings and goings of an inner-city
medical practice.

SKIRTS[...]dical drama follows the
lives of its inhabitants, and features Aus-
tralian countryside and wildlife.

HOME AND AWAY
Prod. company ATN 7
Principal Credits
Direct[...]an
Marcel Zammit
Various

Mike Perjanik

Planning and Development

Script editor
Casting consult.
Produ[...]is: Awarm family drama featuring
the lives, loves and relationships of the
residents of Summer Bay.

RO[...]nce
the colonists have against corrupt otficials
and marauding soldiery at the time ofthe
rum rebellio[...]of children are swept away in a hot-
air balloon and land on an island out of
time, an island where a[...]ver the world are
linked through their computers, and in

CINEMA PAPERS 79 ~ 79

Cinema Papers no. 79 May 1990 (80)[...]ume designer

David Copping
Anna Senior

Planning and Development
Script editor Barbara Bishop
Casting[...]oung man whose
struggle to win the woman he loves and
claim the land he has inherited erupts
into a saga of family love, passion, power
and loyalty.

THE PAPER MAN
Prod. co.s Roadshow Coote[...]Prod. designer
Costume designer
Composer
Planning and Development

Script editor Penny Chapman
Casting/[...]Jane Hyland
Composer David Hirschfelder
Planning and Development

Story editor Peter Cawler
Casting co[...]lis-
tic young Australian newspaper proprie-
tor, and the repercussions of his personal
and professional ambitions.

SHADOWS OF THE HEART

(S[...](03) 429 sstt

courage before she wins acceptance and

Cinema Papers no. 79 May 1990 (81)[...]THE MAGIC RIDDLE EMERALD CITY
Animation Directed and Directed by Michael Jenkins

Produced by[...]

Cinema Papers no. 79 May 1990 (82)League TV commercials and I
used EXR stock to cover the
play. Thrown in with these
tough football players, Tina was
great — and looking through the
end of a 400mm lens she was
e[...]namic. Day interior,
day exterior, night interior and
night exterior with a chopper
landing in the rain[...]. A lot
of our shooting was at 50, 75,
100 frames and with this stock I
knew I'd have more depth. Its
g[...]with a decent
stop . . . something like 4 or 5.6.
And pretty quick! A true E1 500.
Grain? None! There was no
grain and the blacks were
black. It’s simply the best.

I could use EXR 5296 all

the time. I know Tina and

our director Dick Marks (of
Dick Marks: t[...]

TXT

Cinema Papers no. 79 May 1990 (83)[...]Berlin Film Festival; New s and Views
Ross Dimsey, Patricia Amad,
Chris Stewart[...]The Ball 18 NIGHT CRIES and TRACEY MOFFATT
PR IN T IN G Photo Offset Product[...]igned articles represent the views of the authors and 30 JERZY DOMARADZKI
not necessarily that of the editor and publisher. W h ile every
care is taken with manuscripts and materials supplied to the Inter[...]Beyond El Rocco Raffaele Caputo and Peter Lawrance[...]er on film; H U N T E R C O R D A IY is a writer, and a lecturer in Mass M edia[...]University; P A T GILLESPIE is a freelance writer and publicist; FRED H A R D E N is a[...]Melbourne film and television producer specializing in special effec[...]F A R L A N E is principal lecturer in Literature and[...]
Cinema Papers no. 79 May 1990 (84)[...]and
FILM SERVICES[...]the AFC and AFTRS, Marketing
FOR FILM AND and Distribution provides a[...]comprehensive look at all aspects of domestic and[...]
Cinema Papers no. 79 May 1990 (85)[...]in his last years to return to
Achievement Award and the accompanying film[...]script became
Francis Ford Coppola, George Lucas and Martin a challenge to turn it into something good with re-writing and
Scorsese, among others. (In fact, Lucas and Ste so on. And that worked often. The other night we ran Where[...]Danger Lives: it is absorbing and timeless ...
Nine decided he was not important e[...]Many good wishes and gratitude
speeches of American sound technicians and
effects editors were judged to be more rivetting[...]MAUREEN O'SULLIVAN FARROW CUSHING
and important.[...]Uni ada, working on a number o f Canadian and Ameri
some of Andrew Peacock's comments immedi[...]versal Pictures, contacted Chips Rafferty and told can feature films and a Canadian television series.
ately prior to the[...]trating on her writing, and guiding a team o f young
the spirit of the Award[...]Zealous, determined and good humoured, Cavill trained dozens[...]ing Lyn McEncroe, Adrian Read, Sue Milliken and[...]ved in script dis AFI awards.
no mention and didn'teven list Kurosawa'sAward cussions, and learning budget and cost control. She
with the others; neither did T[...]production, first-assistant-director and camera- series, as well as co-producer on the feature, Nickel
and not known of Nine's later deletions, surely a[...]rts to inventing the stripboard Queen, and two television series, Barrier Reef and
newspaper has an obligation to be aware of what[...]respected throughout ambition: to write and produce her own feature[...]production co-ordination and cost control. Later office success, it d[...]she would add producing and writing to her skills, Award for best orig[...]and win an Awgie from the Australian Writers Guild[...]1990 for her first and last feature film, Dawn!. Sec[...]writer, producer, filmmaker and "Mother": Joy[...]
Cinema Papers no. 79 May 1990 (86)[...]ad P oets Society. Many new offers are
piling up and Hector Babenco [Kiss of the Spider Woman][...]
Cinema Papers no. 79 May 1990 (87)[...]this adventure-romance set in
the Vanuatujungle, and notju stfo r Seale. Apartfrom the $13 mill[...]
Cinema Papers no. 79 May 1990 (88)[...]documentary look, with lots of cuts and montage-like grabs of images.
dead[...]Viv (Jeroen K rabbe), who was C harlie's partner, and Viv's beautiful The shots are la[...]there are two crane shots, and some tricky underground sequences[...]ound the sunken bomber, which was specially built and sunk in the
It seems Charlie had said somet[...]intense by the
growing attraction between Frank and Anna, the presence of the[...]te all the planning, unpre-
Vanuatu tribespeople and a couple of choice baddies.[...]pared-for things will always happen and[...]nflict now doesn't lie as much between the blacks and whites as[...]es. We show the native people as they are - noble and says Seale, as he nods towards the Bun-
dignified - and it's clear that it's the white man who doesn't fi[...]also wanted to keep a balance between the action and the
relationships of the three central character[...]d Hollywood movies, like Elephant Walkand To Have and Have[...]he Vanuatu archipelago,
N o t... real characters and real situations".[...]ribe hurl themselves
it is before one scene and is followed by another. You play a sort of[...]a specially built sacred tower, once
Seale and his director of photography, Geoffrey Simpson, ha[...]carefully selected and m easured vines
time, he m ade sure he d[...]
Cinema Papers no. 79 May 1990 (89)[...]skirts JO H N SEALE O N DIRECTING
for women and nambas (penis sheaths) for men, became the location
favourites, and some predicted they will steal the show with thei[...]w many answers you have
mischievous good hum our and energetic performances. to ha[...]on your script It's very hard to try and fly it once you're shooting."[...]the action tell the story, and not let the cinematography overpower[...]I've worked with quite a few first-time directors and writer-
directors, and I like to take those kinds of chances. That's not[...]say if Sidney Pollack rang and asked me to do a picture I would say,[...]find on a map, and, through situations he cannot control, discov[...]ers a lot about himself. And it changes him. All in two weeks."[...]a red. I let that dry, and then start painting the blue. It's the same[...]Bogarde do it, and how would Dustin Hoffman do it. They're both[...]the ultimate, and yet very different: Bogarde is very still, and[...]model, sometimes the Hoffman. And the older you get, the more[...]And I love the way he sees life, his conceptual framework, and, as[...]"I love theatre and feel very comfortable there. I am beginning[...]to feel playful and, as I am expanding, able to give more, to be[...]there 100 per cent with all the crew and other actors, all going for[...]
Cinema Papers no. 79 May 1990 (90)[...]partner, and lived in a smaller adjacent[...]the man, and he, Charlie, has lost inter[...]atu. Viv would try and steal it.[...]the action, and to some of the charac[...]escape - and Frank's arrival on the scene[...]Till There Was You is expensive and yet it

isn't: both Jim and his brother, Hal[...]is the other main structure, the house where
Viv and A nna live, a striking building beneath a giant banyan tree budget film. And a big-budget film can accom m odate the extra ele[...]trunk.
T he house is fram ed by `M ount H o p e' and is aged to give it a suitably ments that can mak[...]. It is production designer George Liddle's pride and
joy: `T h e hill and the banyan tree dictated what we should build", h[...]know", he says. "But we d id n 't sit down and try to find the gap in the
ney: polished wooden[...]oundation piles are m ade
of coconut trunks-free and available, but
subject to rotting. "It's[...]

Cinema Papers no. 79 May 1990 (91)[...]dJim McElroy are two ofAustralia's most prominent and successful
producers. Th[...]hrough success,
locally and overseas. Their third, The Last Wave (Weir, 1977)[...]sly (Weir, 1982) was in many ways a consolidation and re-affirmation of
the c[...]dfilm, aimed squarely at the international market and utilizing the
drawing power of the Australian star Mel Gibson, and rising American
name, S[...]ns
(director Peter Weir and scriptwriter David Williamson).[...]incer, 1986) was an American network breakthrough and Return to
Eden, mini-series and series, a world-wide hit. Thefeatures have left l[...]theJanuary
1973 issue, and again after The Last Wave. In many ways, these in[...]are a record oftheproduction and cesthetic issues ofthe time. This interview,[...]to theirpast successes
and forward to hopefully those of thefuture.[...]
Cinema Papers no. 79 May 1990 (92)[...]rs in 1977, the major the consequence of it, and there really is no point in regretting it.
chang[...]1OBAwas not as beneficial as everybody hoped, and certainly not
perspective on 10BA, the pluses and minuses?[...]isaster.
JIM: We have built the film industry up and made it adult, turning it YoungBinsteinwsLS m[...]into a business. T hat is a plus. and a lot of good Kennedy Miller stuff. O n that leve[...]cond Wave, maybe out of the 15 million
were made and inflation took over. From a commercial point ofvi[...]ved.

JIM: We consciously adopted a low profile and d id n 't speak about I mean that slig[...]am
HAL: It did give people lots of opportunities and we hoped, along with sense.
everybody else, t[...]hip between the ease with which you can get money and the film alone, it paid everything back, a[...]absence of genuinely resilient stars, directors and writers being is that we m anaged to lose[...]look, it is real easy to criticize what happened and there is

nothing any of us can do about[...]

Cinema Papers no. 79 May 1990 (93)[...]tly, Australian television has also gone sideways and IN THE YEAR OF LIVING DANGEROUSLY (1 98[...]the exceptions, like
things is to get costs down and productivity up. We need to get back a Young[...]5 million in Australia.
a little more to reality and re-kindle the pioneering spirit and energy

and com m itm ent we had in the 1970s. Even if we do[...]O ur problem is that, if you graph

don't work, and inevitably we will, the cost won't be as great be[...]y the budgets will be lower, relatively speaking, and we will a shortage of facilities and talent. People just bid everything up. But

be[...]t million equally, when you look back to '73, '74 and '75, we were making films

dollar disasters, it is a m uch m ore painful and for unrealistically low budgets. I mean, Jim and

public problem.[...]available, we stopped working for $11,000 and

JIM: Oh yes, much. If you com pare the cost of[...]actors, writers and directors were, relatively

belts in - everybody, n o tju st the crews, but the IBLE AND PRAGMATIC. THIS SO- speaking, underpaid comp[...]the writ CALLED PRINCIPLE OF DEFENDING and electrics. So that is where the greatest rises
e[...]AUSTRALIA'S CULTURAL INTEGRITY got out of wack and the salaries no longer pay
Screen Production Ass[...]was hard enough trying to raise half

JIM: Yes. And if Sweetie had been made for $10[...]As for the $10 million film, it m ust have a star and other interna hate to try to do it without a tra[...]sts in the speech was that going international and the energetic so as to keep the industry alive and vital. If we d o n 't[...]do that, we are all going to calcify and petrify into middle age,because
is not th[...]

Cinema Papers no. 79 May 1990 (94)[...]doing. We have to regain that exciting and adventurous desire to be[...]JIM: And how many days did they shoot the pilot in?[...]shooting and there are n 't many directors in Australia who co[...]to have to work faster and harder. T h at's a challenge the American[...]ure
aged now. Unless we encourage the young guys and women, we are Film Producers Associat[...]do you get costs down? Do you re-negotiate awards and return
to the sanity o f a six-day shooting week and cancelling those ridicu JIM: We were some of[...]So, we sort of cut loose. But we want now to try and get m ore
HAL: T hat would be good, but it would[...]ying to
my m ind the answer is in working faster and m ore efficiently. We rationalize the industry.
have got all slack and let laziness and unprofessional behaviour
appear on the set. You[...]re active m em bers of SPAA got caught up in 10BA and
Picnic in five and Last Wave in seven.[...]ameramen we rushed around making money and movies. We all let a situation
around these days[...]The American style is to have high-paid people and have them go worry about the problems.
ver[...]SPAA in regard to Actors Equity's policy on
out and they were n o t having `the hom e life' they want[...]that all three networks were more flexible and pragmatic. This so-called principle of def[...]
Cinema Papers no. 79 May 1990 (95)[...](a) with an American film made here, crew and
to America.[...]America;
Q.E.D., more Australian and therefore m ore valid. W ithout m en
tioning the[...]y in terms of cost, because of the extra loading
And please d o n 't tell me it was m ore valid than s[...]elem ent in the film. And when that actor goes to his[...]nship the last one and the crew m em ber wants what he
between budget and freedom . The higher the budget, the less[...]received on his last American film; and
freedom you have making the story. If you make a[...]g to be $3-4 million, then we all have to export, and helping the industry?
to do that you are pr[...]o need im ported elements Hal and I have a conflict here in that we d o n 't object philosophi
involved. Get your price down to a million and you get all the cally to American pr[...]be hypocritical and say they can't come. But we do ask that Equity at[...]counterparts. It isju st nuts.
That is dishonest and distasteful.[...]created a situation where really offensive and destructive to our industry, and the movie, for a
the Australian producer is pena[...]ing in Australia and that's inappropriate. There is the "international[...]movie", which is viewed as being mid-Atlantic and purely shitty, and[...]Australian movie and it was very, very successful. But I d o n[...]
Cinema Papers no. 79 May 1990 (96)[...]refreshing tofind filmmakers concerned with image and sound, who realize that mise

en sc

Cinema Papers no. 79 May 1990 (97)[...]This connects strongly with the penultimate and most disturbing
B LA C[...]broken bond between m other and daughter. So even though the[...]d adoption, where
black children were placed in, and raised by, white Australian[...]adoptive m other (there is no dialogue, no names and only a[...]st white
M other (Agnes Hardwick) is incontinent and near senile, and[...]wn cancers.
wheelchair visits to the outside loo and by fitful sleep. The black
D aughter (Marcia Lan[...]The image is tough, no doubt cruel, and the further one probes
selflessness and, at times, a touch of suppressed anger. Unable to[...]n
of that is shown when she sits outside the loo and violently twangs the
handle of the bucket on whi[...]the attem pts ofwhite society to make her dress and behave as ifwhite.

A latter memory, and the most puzzling in the film, is of her and
two boys (her brothers?) at a rocky beach with h[...]while the M other stares out to sea, oblivious to and perhaps uninter
ested in the children. She then[...]as if having fallen or
ju m p ed from the rocks, and the Daughter begins to cry. The seaweed
around h[...]urned into what looks like mag
netic tape, shiny and frightening in the way it tangles around her
neck and w on't pull away.

O ne knows the M other[...]er
in old age, so her `disappearance' is strange and unsettling. It is also
the one m om ent w[...]

Cinema Papers no. 79 May 1990 (98)[...]E W HITE M O TH ER A N D B LACK DAUGHTER and lushly inappropriate music. T h ere is rarely if[...]convey thoughts an d feelings through sound, and R obert B resson's[...]with her sound crew, w rought a wonderfully eerie and
very Bonanza, from the era when Australian[...]American westerns - even down to the landscape and music. So, I the images and, at others, com m ents perceptively on them . Mof[...]of the film's characters,Jedda, the black woman, and[...]ubs around Surry Hills at
her white mother, and aged them as if thirty years had past. In the[...]three o'clock in the morning, dressed in leather and crawling around a
original film, Jedda is thrown off a cliff and killed. I wanted to resurrect[...]floor shaking a rattle. She's really into voodoo and the sound at the
her, and place the two of them back in the homestead situa[...]loped the script, the film became less about them and
more about me and my white foster mother. I was raised by an older[...]I'm writing a script I think of
white woman and the script became quite a personal story. The lit[...]away from the intensity of a film. And it really is an intense piece. Some
connection f[...]pe. I'm not particularly obsessed with landscape, and I like[...]
Cinema Papers no. 79 May 1990 (99)[...]Polish filmmaker Jerzy Domaradzki, and co-produced by Terry[...]Charatsis and scriptwriter Trevor Farrant. This year'sfe[...]
Cinema Papers no. 79 May 1990 (100)[...]IN S,
*3 that at one time was a school, and then a hospital. It has cavernous high
N o v e m b e r ceilings, and this afternoon its corridors echo to the sounds o[...]f medical ritual, perhaps a mortuary. At the back and[...]
Cinema Papers no. 79 May 1990 (101)[...]HE LO N G TRACK. doing a play and a film at the same time. Sometimes when I[...]
Cinema Papers no. 79 May 1990 (102)[...]LEAD THE HEARTBREAKERS
and their families are sitting patiendy, watching the[...]ACH.

By 11:00, th ere have been six takes and everyone is keen to get to the next scene which u[...]then working
with the H eartbreakers is unique, and takes the film even fu rth er into the areas of i[...]A N D HER LOVER, CA N N IZZA R O .
sation and risk.[...]

Cinema Papers no. 79 May 1990 (103)[...]support the image of Rennie and Cannizzaro at either end of the sunlit room.[...]and character goes straight to the psychic nerve all actors feed off, and each time McDonald[...]between Rennie and Cannizzaro, which he wants to be a m etaphor for[...]relationship. He re-arranges the furniture and changes the path Brian must take along the[...]tor. Sokol agrees this new arrangem ent is better and a short[...]trust. Then,ju st before a full rehearsal, Sokol and Domaradzki p u t boxes
and chairs in Vriends'way to give his m ovem ent m or[...]rsal which runs 78 seconds, but should be shorter and on the next it is down to 66.[...]By now there are only 15 m inutes of sunset left and on the next rehearsal McDonald misses[...]light behind M cDonald's head and he is instantly dubbed "St R ennie". T he first t[...]the second is better, and shorter, but the cam era battery fadesju st befor[...]sinks on cue. Everything is running on adrenalin and team work now as the battery is[...]quickly replaced and another take catches the last m om ents of light.[...]"Cut!" the relief is instant and the verdict unanimous: best shot of the day.[...]is a warm Monday m orning after the weekend break and, by 10:00 am,[...]hasize R ennie's attraction to Gail's pale beauty and the possibility of his[...]:25, is stopped by the sudden arrival of a plane, and several m ore by[...]continues with the close-up of Gail on the swing, and an hour later the scene is all the better[...]are two m ore short scenes scheduled, a close-up and a reverse angle.[...]lunches on their laps and now are told they can only pretend to eat them in[...]take, which is almost certain. Sokol, Domaradzki and Wolfe-Barry are coaching the[...]H eartbreakers to `eat', and to respond to each other while the cam era takes[...]an only be done twice before the lunches are gone and the effort of co-ordination proves too[...]The advantage of mixing the professional actors and H eartbreakers together is shown
TO A C[...]Cannizzaro and Rennie approach. At first Kevin's dance is awkwar[...]sked to dance for Kevin. T he result is brilliant and Domaradzki comes to
28
Cinema Papers no. 79 May 1990 (104)[...]DOMARADZKI SHOWS
ism of Kevin and Cannizzaro, and th en an nouncing the results to an assembled gro[...]ster looks down into the opened tracksuits, turns and addresses the Heartbreakers who[...]ynamics of the movements are difficult to perfect and, THE CYN IC A L RENNIE. A N[...]
Cinema Papers no. 79 May 1990 (105)[...]e involved with Struck by Lightning?
and graduated w ith a M aster's degree in Social Sciencesfrom
Warsaw University in 1970, and in Film and Stage Directionfrom Like m ost of[...]T hat was February 1989 and a m onth later he called me and
two telefilm s and one mini-series. H e was chairm an o f the Polish[...]eature Film m akers'Associationfrom 1982 to 1987, and subsequently Finance Corporation for the production money and here we are, in[...]Film Television and R adio School in Sydney.[...]and would have been excellent for Saltmarsh, but it t[...]we looked for som ething similar and eventually found Estcourt[...]owner and in a state of decay. To[...]tune and, because only big com[...]Centre for Aboriginal Art and[...]Activity, and before that a hospi[...]have problems and advantages[...]
Cinema Papers no. 79 May 1990 (106)[...]film would affect them , and we were afraid that the[...]We invited them to a workshop and set up some
say that you are exploiting t[...]
Cinema Papers no. 79 May 1990 (107)[...]You have used a lot o f tracks, and cranes. When should the camera
prised that I loo[...]too heavy: it takes time and m ore m ovem ent means m ore barriers
What chang[...]actors between me and the actors. I want to create an em otional tensio[...]rfect on where we put fences, what is private and public, and how people
most of the first takes. Why? Because[...]ake they've learnt behave in different spaces.
and they fix a reaction; they are not motivated by em[...]With a low-budget film, with limited days and hours, we can 't wait for
So, the general m[...]ped is a technical rehearsal the best light. And the agreem ent with Yuri Sokol from the begin
and, when everything is ready, we bring on the H eartbreakers and ning was that we would use a softer lig h t[...]flattering, soft, dispersed light and not too many close-ups.[...]and the Heartbreakers?

I care, and I have to believe that I have an understanding of[...]and stories. I liked what Milos Form an said about fi[...]because h e 's making the film for millions and it must be shown to[...]hum our and humanity. If a film is n ot for the mass a[...]

Cinema Papers no. 79 May 1990 (108)QLD NSW

T H E S T U N T A G E N C Y is ha p[...]

Cinema Papers no. 79 May 1990 (109)[...]sssion's standard is a cinema run features and, if so, how many other statement w[...]arer.
features made during the 1980s. and a w eek's run seems an arbitrary DATING
W[...]different case is M ad M ax
make it as complete and accurate as[...]and simple delineations blurred.
Features and tele-features are here[...]But, in fact, this was once a common dream and nightmare. The approach location stand[...]. Regrett from various w orld territories and
tended also to be completed on DRAMAT[...]nt of 'acted' drama. Thus, in the book and variations from the is usually set up[...]'a c ce p te d 'title w ill be docu benefits and may reflect neither
every Australian feature rec[...]unyip was included. A l mented; and where a film was shot[...]centred on the researcher to upper and lower case. regard it is a New Zea[...]yle of a colon is used to separate Fright and Walkabout. To this writer,
After consideri[...]but the third, 1. A main title and an additional this country than the often f[...]no other film has come close to
issue); and Mangels' adventure[...]
Cinema Papers no. 79 May 1990 (110)[...]e Clinic (David stevens) Wills and Burke: The Untold Story Backstage (JON[...]Boulevard of Broken Dreams (Pino amenta)
Touch and Go (peter m axw ell) Fighting Back (M[...]Against the Grain (Tim burns) Kitty and the Bagman (don crombie) CactUS (PAUL[...]]
Hoodwink (Claude w hath am ) Now and Forever (ADRIAN carr) Dead-End Dr[...]The Return of Captain Invincible Dot and Keeto (yoram gross) Grievous Bod[...]Dot and the Whale (yoram gross) The Manfrom[...]Rikky and Pete (Nadia tass)
Roadgames (Richard franklin)[...])
The Seventh Match (Yoram gross) Dot and the Bunny <yoran' gross) Jenny Kisse[...]ahoo serious)
Around the World with Dot [aka Dot and S ilve r City (So phiaturkiew icz)[...]Strikebound (Richard lowenstein) Dot and the Smugglers (yoram gross) (JAMES RICKE[...]round Zero Daisy and Simon [aka Where the Outback
Doctors and Nurses (Maurice m urphy)
Duet for Four (tim burs[...]Freedom! (SCOTT HICKS) Burke and Wills (Graeme Clifford) Kangaroo (tim[...]]
Heatwave (Phil noyce) Dot and the Koala (yoram gross)
Lonely Hearts (PA[...]
Cinema Papers no. 79 May 1990 (111)[...]ian films on
their Official Selection at Cannes, and has pleasure in inviting you to
view the latest work by new and experienced Australian filmmakers.
To get in touch with Australian filmmakers in Cannes, and obtain
information on new Australian feat[...]
Cinema Papers no. 79 May 1990 (112)[...]beach public toilets and then humil ual assaults had gone unrepor[...]h car ride, all icularly in this time of AIDS and homo
T O N Y IN HOSPITAL AFTER A 'PO[...]D societal hostility, desire and fidelity are Tony's com placency about it is alm[...]TONY. short w ritten and directed by Swinb other way and made a rights-and-just- recordist: Valerie Fisicaro. E[...]
Cinema Papers no. 79 May 1990 (113)[...]make political films?' I think my films
Paul Cox and Barry Dickins, and in are political. They deal with the human
spired by a Guy de Maupassant short condition and try to penetrate the
story, Golden Braid is a bl[...]ho pur thing to do. You become a target and
chases an antique cabinet, and finds people attack you. They don't w ant to
and fetishizes about a braid of hair in be disturbe[...]is a threat."
caught between his fantasies and an
affairwithTerese(GosiaDobrowolska),[...]the wife of a Salvation Army Major. ourne and Venice, and was funded by
the Australian Film Commission and
Paul Cox has been hailed over Film V[...]t Chris Haywood (Bern
desire to involve the crew and produc ard), Gosia Dobrowolska (Terese), Paul[...]Is D O BRO W O LSKA), CENTRE, WITH HER
land. And like that film, Golden Braid HUSBAND , JOSEPH[...]H AY W O O D ), THE
tion of the human condition and man's W ATCH M AKER. BERNARD WITH TW O[...]
Cinema Papers no. 79 May 1990 (114)[...]D 'A N G ELO ). upanda plan devised by Danny and his[...]NG) A N D D A N N Y. from director Nadia Tass and cinema[...]highly successful Malcolm, and Rikky
and Pete. Tass says:[...]and make it my own, but I must be fa ith[...]
Cinema Papers no. 79 May 1990 (115)SUBSCRIBE

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Cinema Papers no. 79 May 1990 (116)[...]ng O f Wisdom. Williams, law and insurance, Far East. Parker, soap operas, TV[...]Vincent Australian Screenwriters, Cinema and
Arc[...]New Zealand film and television, Return Video, De Laurentiis, New[...]Wills And Burke, The Great Bookie in film, shooti[...]rive-In, The More Things Change, sex, death and family films, Vincent Ward,
Polish cinema[...]
Cinema Papers no. 79 May 1990 (117)[...]Australian film and television at the UCLA film and[...]IN i_i__ ~ in Australia. Edited by Scott Murray, and with exten[...]WENDY THOMPSON on film and television, such as Kate Sands, Women of the Wave[...]son, Formative Landscapes; Debi Enker, Cross-over and[...]Murray, Terry Hayes; Graeme Turner, M ixing Fact and Fiction;
NUMBER 123 AUTUM N 1985[...]Michael Leigh, Curiouser and Curiouser; Adrian Martin,
The 1984 Women's Film[...]more
and Michael Cusack[...]than 130 photographs, indexed, and has full credit listings for
NUMBER 124 WINTER 1[...]Catalogue price is S24.95, which includes postage and
Marken Gorris, Daniel Petrie, Cens[...]AND ORDER FORMS COVERING
Red Matildas, Sydney[...]
Cinema Papers no. 79 May 1990 (118)[...]and mailed to:
ADDITIONAL ITEMS[...]
Cinema Papers no. 79 May 1990 (119)[...]D o you work all hours and[...]charges, bank hours and lack of[...]Melbourne, and discover a more[...]service and hours.[...]
Cinema Papers no. 79 May 1990 (120)[...]h e p i c a s s o is a com edy of tional Gallery and they wrote back say
errors loosely inspired by t[...]bated by Gallery through Duesburys and a Melbourne-
director Bella McLeod (Jane Clifton) based accounting firm.
and cohort adviser Lionel Meadows
(Jon Finlayson), w[...]Scriptwriter: Hugh Stuckey. Photography:
Menz), and her boyfriend, Joe Connors Jaems Gra[...]rd McQueen-Mason. Art
hope of embarrassing Bella and Lionel. director: Maria Ferro. Costum[...]l M eadows), Jane Clifton (Bella
inner Melbourne and features a num McLeod), Andrew Daddo (Nick Parsons),
ber of bohemian cafes and galleries. Jane Menz (Alex Nichols)[...]CLOCKW ISE FRO M BELOW:
Melbourne University and the Victo LIONEL M EA D O[...]
Cinema Papers no. 79 May 1990 (121)[...]edy w ith a blend of action, drama and
Australian garrison on Ambon Island,[...]local abattoirs. Boady is violent and
only 120 survived.[...]Stephen W allace's Blood Oath is and ends in a heart-stopping car chase
the story of[...]lay: Aleksi Vellis. Photogra
by Denis W hitburn and Brian Williams, D irector: George Ogilvie[...]t (Boss), Roberto M icale (Hec
sensitive, butch and clever".[...]HUNTING
es W aterstreef, Denis W hitburn and Brian[...]o, after meeting an attractive
Denis W illiam s and Brian W illiams. Photog[...]web of complication and intrigue which
signer: Bernard Hides. Costume d[...]eventually leads to ruin and death.
Roger Kirk. C ast Bryan Brown (Co[...]
Cinema Papers no. 79 May 1990 (122)[...]n), John Fielder(Fishmong-
director of Contagion and much televi er),AlanTobin (Jeweller),[...]rles Hannah. Screenplay: Paul J. Hogan, er and can't keep his mouth shut. And
Karl Zwicky. Photography: John Stokes.[...]-time producer David Burke and W ills Graeme Clifford
man 1), Leather (Claire),[...]le Price), Ralph Cotterill W orld in 80 Ways and the mini-series T w o F rie[...]Fields o f Fire (and its tw o sequels). 1988 A S ong of A ir[...]I Q U E (CRITICS' WEEK)
utive for Origin records and a fiery aff- on an original idea by David[...]lot), Gary 1982 H e a tw a v e Phil Noyce
and Dark Age.[...]
Cinema Papers no. 79 May 1990 (123)[...]and promoted many new directors, overseen the critica[...]and argued eloquently for those unjustly ignored.[...]arly come to Australia to seek out the innovative and idiosyn[...]of Cannes and other festivals. An occasionally practising[...]as a living, but because of a deep lovefor and commitment[...]about the declining standards of world cinema and is[...]doing his utmost to seek out and promote new talent.[...]Rissient began his film career as a distributor and[...]ABO VE: THE CROW DED N ight Stand and Cinq et P eau, neither of which have been[...]
Cinema Papers no. 79 May 1990 (124)[...]ly a positive thing. It was like when
Quinzaine and the Critics'Week are no longer that clear. A pict[...]t could be in another. What is im portant is and whistled, b ut romanticism was established after that. So the fact
the quality of a film and the way the picture is prom oted.[...]e past two or three years,
especially last year and I hope this year, is that the Competition has[...]to the Critics'Week or
become m ore adventurous and daring in the choice of films. It is a Un[...]?
less official, in the bad sense of that word, and a m ore adventurous
selection. That in itself h[...]thought
Directors'Fortnight, Un Certain Regard and the Critics'Week more that. No, I clea[...]hey are now looking in certain ways more academic and greater status to the film. Second, I kn[...]erved in one of the other sections? film and that the picture would receive much more coverage[...]developed since.
it gets much more exposure and interest. However, in the past it
could be dang[...]or three years, we have tried to be aware of that and a backward step if a later film goes into[...]e for Competition can be wrong from time to time, and if
are now warned by the num ber of screenings w[...]ain, maybe the selection committee was not wrong, and
O f course, there is still danger for any p[...]t didn't like it, the film won the Critics' Prize and it for it. If Sweetieh.a.d not been preceded[...]n's Sweetie shorts had been discovered at Cannes and, after that, travelled
was not well received at[...]the critics, film festival directors, exhibitors and distribu hesitate about putting it in Competition.
tors who could like and defend that film liked itverym uch. That was
the[...]Cannes would no t like it wherever they saw it. And the fact that they conscious attitude and I d o n 't think it should be considered a[...]
Cinema Papers no. 79 May 1990 (125)[...]mple,
How did your association with Cannes begin and what form s has it there was Panic in[...]u n popular subject and with a director who was completely unknown.[...]'s earlier films had been a total flop in America and A1
After my military service, I was looking to m[...]ve said that;
I was also a small distributor and p ioneered the reissue of u n I d o n 't[...]re
issued in France were Citizen Kane, King Kong and Grapes of Wrath. I Bessy ran[...]
Cinema Papers no. 79 May 1990 (126)[...]al, where I was invited by tee beforehand and influenced them. T hat is n o t the case. If I se[...]e, I d o n 't call GillesJacob or the com m ittee and
mine, I saw David Stratton. David was at that ti[...]like it. I ju st d o n 't say anything.
the AFC, and he asked me if I would be interested in being inv[...]that you have fought for films
them for C annes and, eventually, other festivals. I came for the firs[...]get into Cannes?
time in 1985 invited by the AFC and since then every year.[...]om year to year on what is com ing from Australia and
ready and want to submit it to Cannes.[...]films which could be Bill Bennett and others.
available, even if they're on 1.6 mm or[...]Australian cinema and thus losing an independent standing?
Once I[...]some people in Australia think that, but in Paris and London
point ofview. I am very cautious of any such established value system, and New York that is not the case. For a long time I[...]vious as an advocate of American cinem a and American genre. T hat was
years. People can crit[...]Forman, Makevejev, King Hu, Lino Brocka and many people from
take their film, which is never[...], I d o n 't dis-recommend films. If I see a film and like happened. The success she had thatyear at Cannes led, I guess, to her
it, I recom m end it. And if I like it very m uch, I will fight for[...]
Cinema Papers no. 79 May 1990 (127)[...]ifficult as Sweetie. T hen Sweetiecame
to Cannes and was extremely well re[...]It got very good distributors
around the world, and got into the[...]asier to speak about the Hollywood film industry, and
they may not have done the right pic
tures afte[...]nce there is a kind of cult, which is exaggerated and not well
followed the success o f Sunday too far[...]say. F re d
Schepisi is a success out of Cannes, and Occasionally p[...]ack o f follow-up is
the schism between what you and others are doing to help Australian trali[...]an American film set in Arizona,
cinema overseas and the funding psychologies o f the bureaucracies
b[...]re Austra
cesses at Cannes were Campion, Bennett and myself. Yet all three
were rejected by the AFC f[...]lian than Mad Max, was sold m ore on the jungle and the crocodile
to Australia. Obviously I have a v[...]stion, but do you see this situation as a problem and one that than being Australian. You cou[...]if I like a filmmaker, I like to see him develop. And it's
true that I have som etim es been disappointed to see that some of and in life values. I d o n 't think Australia is any[...]time to time, some interesting films do appear, and sometimes from
say to the people I m eet here that we should think m ore about
protecting and developing the talent for the future. It is the best and Australia. Some year there are more from Aust[...]to go. I wish it had been done m ore in the past, and I
certainly hope itwill be done more in the futu[...]t week in H ong Kong, or next week in Los Angeles and

Probably. It also probably reflects hypocrisy.[...]istra New York. I react from my own instinct and experience and impulse.
tion, but everywhere else, people m ano[...]Puzzle of a
Downfall Child, Panic in Middle Park and Scarecrow --were trem en culture, but really it is n ot like a screen between me and the film.
dously well appreciated in Europe, and especially in France where
Scarecrowwon th e Pal[...]conspiracy --to dim inish what happens in Cannes and in France. And
in 1973 a certain Schatzberg project did n o t g[...]come after, and some were maybe good, but none were really
How d[...]sically, I would say the same thing about France. And, if we[...]

Cinema Papers no. 79 May 1990 (128)[...]constraints of business on cinema image quality, and about
having your eyeballs[...]Village Technology, and along After Star Wars went into release in the[...]ion, Bob Lucas, is responsible for the evaluation and installa projected image and sound in many of the theatres he visited. With
tion of the theatre projection and sound equipm ent for their fifty the movie's success and the ensuing financial clout, he resolved to
plus[...]or Spielberg movie and reported back on the problems. They did, in

Ci[...]re thought to be
the AFI theatres, the Valhallas and their like, you will have experi of a[...]lain that he had been going to their local cinema and was powered amps, magnetic head[...]e below what you found in a drive-in!
m ultiplex and liked to be able to stand there, stunned by the r[...]Lucas was concerned that the hundreds of hours and millions of
offered him at his local shopping ce[...]dollars spent on making films were being wasted, and that the industry[...]should get off its tail and do something ab o u t it.

T h at's the im pact[...]As always, the problems come back to money and to the foresight

choices are simply n o t enou[...]where we of theatre m anagement. Hailey:

live, and part of their suburban shopping centre, so that t[...]ow the theatre
drift from shopping to the movies and park just five m inutes away. operator wants it to look like - and it's his money after all - but from the[...]rise in at drag into alignment visually and aurally.
tendances worldwide. But the construction and installation of equip
m ent are creating problem[...]that the new cinemas will be fitted with the best and latest when Tom Holman from Lucasfilm came out and conducted a seminar

projection and sound equipm ent? Second, is THX, Lucasfilm's[...]information and the process was then bounced
"Yes" and "Maybe":[...]who went to the States and visited the Skywalker

We have really just got[...]o. He was impressed by the

lage, Melbourne] up and running. We con system and his message came back to look at it. I

sider i[...]all up for the possibility of THX sound, and they

sound. The reason that the other theatres[...]levels and acoustics, to that standard.

multiplex, the ex[...]satisfying to Hailey and his team as it was

After Knox, THX was[...]

Cinema Papers no. 79 May 1990 (129)[...]Lucas uses in conjunction with Dolby laboratories and DolbySR
ensures that the sound[...]and loan Allen from Dolby Laboratories. T he presenta[...]ic sound, then to 70mm Dolby
back-up, the logos and the advertising material. Every six m onths A stereo and finally to Dolby Lab's latest release, Dolby SR.[...]esults surprised many people. Hailey:
standard, and that information goes back to Lucasfilm. If it pa[...]amples of SR were so stunning that people came up and said, `It[...]ves: in the box and you will see a piece of 35 mm film with an optica[...]running through the projector.' It was that good, and the
We bought from Lucasfilm a very expens[...]The standards are achievable here and we seem to get it right with
analyzer to detect problem areas and tell us to address them. films like Crocodile Dundee, The Fringe Dwellers and, more recent, The[...]ility.
I have visited Skywalker Ranch and, compared to their system, I'd say
we were within 95 per cent of the original. We're very close, and we've Actually, a lot of the pr[...]There is a lot of one-
upmanship involved and there are people who think it's all a lot of[...]shorter
at Adab, Roger Savage at Soundfirm and Les Mackenzie at Colorfilm, release,[...]o the
spend coundess hours mixing, dubbing and re-recording to get a result video m arket and the prints are ju nked. With this "splash release[...]th. Savage has a THX licence for his mixing suite and
he also uses Village theatres so that he try out[...]X is a pretty stringent requirement for recording and reproduction.
So if you do a mix and it doesn't sound right on a wide-range sound[...]cinema
systems that are using old speakers and amps. THX can pick up inherent
fault in dubbing and mixing, and dtere have been directors and sound
recordists who have turned their noses up at it because, and I hate to say
it, their recording wasn't r[...]can remove the house cards, put them
aside and give them the three cards and say, `Play with it and line it up
for yourself and make it sound like you want it to. 'At the end of[...]put our EQ cards back to the standard that Dolby and Lucasfilm say
is correct.

There is no wide deviation between Dolby and THX. Dolby has
specific requirements which[...]h
flatter frequency response, cleaner sound and with better dispersion as
far as hig[...]

Cinema Papers no. 79 May 1990 (130)[...]f a better q u ality than m ost Am erican prints and certain ly better than
any o f th e recondition ed ones. W e ta k e m ore care in A u stra lia and I re a lly have high p raise fo r the people at
A tlab and C olorfilm and the other lab s doing release prints. Technically[...]lity con people at Adab and Colorfilm and the other labs doing release prints.
trol. Combine this with the trend to bigger and bigger screens in Technic[...]n side. I have the utmost praise for our
lenses, and the image magnification over a short viewing dist[...]n the industry to improve positive print
stocks, and thinks that the majority of the complaints are th[...]s with projectors requiring and autom ated projection booth, with all the adverti[...]s where focus is critical. T he other and feature assembled on a large, continuous platter.[...]says, "T he film only has to breathe in the
gate and we have serious focus problem s."[...]that the colours were accurate to the landscape and the period of the
Focus has becom e a const[...]of having the it right, and fortunately we did. But we had to bring things ba[...]was mostly alignment: all xenon
ries for repair and reconditioning, and then being sent out to other[...]o warm
m arkets such as Australia. Unlike a new (and expensive) print, these white[...]Mirrors are batch made and when you look at the cold light
whatever th[...]an have varying colours
degrading the image and the stability of the print as it runs through the[...]mpany: one
projector. These prints flop in and out of focus, and they flutter badly in was green white, one was blue white and one was pink white. All you can
the gate. We know it's not the projectors and the result is an unaccept do is use a[...]thing. the film with each of them and ask which he prefers.

W hat Hailey knows[...]that management usually doesn't want to go
ing, and then coating the film with a chemical that acts like the fluid changing bulbs and mirrors. A mirror costs about $1800 and a 4000w
in a liquid gate, filling the scratches in the emulsion and on the base. bulb costs almost $2000. It is a lot of money and we know we don't have
He admits that,[...]that problem alone. It's the same for GU and Hoyts.

Some of them come up quite well, but the image on others falls apart and I believe that you must keep the[...]ase that makes it unstable. competition and we are saying to the public go out and look at our big
You can go into a theatre and it's weaving between the platter and the screens, hear our great sound. W[...]projector, which is trying to plane this twisted and buckled film flat in the difference that a[...]hold it flat, the image in the light path shifts, and you discrete soundtracks.
can look in the gate and see it breathing in and out.[...]almost shout, "Tell someone to shut that dog up!" And
platter that is running for two hours. Cou[...]of theJedi, when Luke is fighting with his father and he
projection staff, where the guy is moving around and can't check each throws his light[...]country. Exhibitors have to look at the viability and, when
and maybe they are doing something about it. I've tal[...]uction who have had feedback from release houses, and I've talked
to projectionists in America w[...]the desire to go to the movies and encourage audiences to appreciate
Another aspect may be that we are bringing negs in and printing 70mm releases. He feels that,[...]a better quality than
most American prints and certainly better than any of the reconditioned[...]only do that by giving them what they want to see and hear. And
ones. We take more care in Australia and I really have high praise for the[...]are going to compete with television, home video and the domestic
regarding the production[...]pictures and great sound. It's the only way.
or inf[...]and a sharing of the experience with an audience arou[...]and the distractions of the kettle whisding in[...]

Cinema Papers no. 79 May 1990 (131)[...]CAMILLE CLAUDEL ENEM IES, A LOVE STORY

AND WORST[...]

Cinema Papers no. 79 May 1990 (132)[...]2 1990 Oscar Winner - Best Score and Song
John Flaus - Jo h n[...]
Cinema Papers no. 79 May 1990 (133)[...]BEYOND EL ROCCO, RAW NERVE AND[...]of Information, subscribed to such a view and the
IN BATTLE. "THE GREATN ESS OF G REAT W O R K[...]Kenneth literally embattled and Henry's "happy few", his
G E N E R A T[...]lar novels, plays and original screenplays: all these other, more pro[...]what Shakespeare offers, Olivier version, and, in the case of many older[...]that tends to believe that what was good and old[...]why Henry and his forces should be in France in appeari[...]play as a hymn to British courage and solidarity. graphic stress on the physical[...]Certainly, Olivier's beautiful and romantic war[...]
Cinema Papers no. 79 May 1990 (134)[...]role, just as his film offers a
of their times, and Branagh is on record as seek McCowen (Ely) and Brian Blessed (Exeter), who harsher, mu[...]pearean text from its bring individuality and authority to their brief
World War II mythology.[...]d,
one who has seen it only twice, once in 1968 and tation of the warrior king, that the film must arrows being fitted to bows) and then give way to
again last year, I have to say that I find Branagh's finally rest, and it is with relief and gratitude that more violent metonymies of death,[...]ar-triumph in shaking himself cious blows and moments of sharp poignancy.
turn. Will the flig[...]. His There is a mixture of balletic beauty and horrify
bows describe the same graceful parabol[...]this in stan t..." as he discovers the
courage and devotion of his band of brothers? impression is quickly erased, and his dealings death ofyoung boys, or his[...]ring of with the three traitors - Grey, Scroop and Cam Fluellen with "I am Welsh you know. "The whole
the scene. Can Emma Thompson and Geraldine bridge - confirm one's sense[...]ly edited to juxta
McEwan, as Princess Katherine and her (more or arch to be reckoned with. If he is a less romantic, pose the personal and the corporate, the touch
less) English-sp[...]
Cinema Papers no. 79 May 1990 (135)[...]TLA N TA S Y N A G O G U E .
priate for lighter and more heroic moments);
and the surprising sombreness of the ending[...]ship and dignity is a fairly solid achievement. fier[...]ng works, but a great deal does. performed and written film (Alfred Uhry's finely into[...]arden. As a direct conse
Branagh has made a bold and venturesome as chisTled script glistens like a diamond in its quence of this, and thanks to her persistent son
sault on what might[...]extraordinary ability to capture fleeting and touch Boolie (Dan Aykroyd), she finds herse[...]philistine word on the American South).And like the film's sturdy three first, Miss Daisy is reluctant and too proud to have
subject of Branagh's Best Osca[...]cars, which epitomize American know-how and a driver, but she eventually accepts and over a
`There should be no awards for rehashing 400 reliability, and are commonly regarded as being twenty f[...]s of current Holly ship premised on empathy and sincerity, a friend
history of the arts, this se[...]resford who is in the driver's seat. and behavioural differences, and cuts across class
nothing to do with each other and no history. The and race.
greatness of great works needs to b[...]
Cinema Papers no. 79 May 1990 (136)[...]has come to terms with being a Daisy and Hoke take a refreshment break during code of values.
victim of racial prejudice and Daisy is someone their car trip to Mobile.[...]as not experienced racism in any dramatic, and he is standing outside, admiring the scenery.
ov[...]uld travel to Mobile to visit her complex and not predicated on cultural and
Woven into the film's narrative are certain[...]t an aura of historical direction of the horizon and her finely modu ablished history of Afro-American actors and
authenticity. In particular, there are two signi[...]screen performance that is de
ment in the 1950s and '60s: the 1958 bombing of of how as a chil[...]the Gulf of Mexico. It is a very vivid image and one rable performances in American cinema by Afr[...]American performers: Canada Lee in Body and
way to the synagogue; she can't believe that rac[...]Soul, Ethel Waters in Member of the Wedding and
would want to bomb it) and the scene where This idyllic sce[...]here King is the origins of her surname) and is probably hav tions were forced to give "[...]like contraband into a maudlin tale, and with
an exceptional script and two seminal screen per[...]tive
someone whose life is built on family pride and so many different levels: his perpetual st[...]ust, dramatically obvious, it is a subtle stoop, and an Editor: MarkWarner. Producdon designer: Bru[...]Colburn), Jes
enters the kitchen to caution Hoke and Idella Afro-American peers who graced th[...]Miss McClatchey), William Hall
Both Tandy's and Freeman's roles are ideal his lips, the pregnant pauses in his speech and the jun. (Oscar), Alvin M, Sugarman (Dr[...]
Cinema Papers no. 79 May 1990 (137)[...]V IN L U C A S ' BEYOND EL ROCCO.
again and again, very few reviewers, critics Ne[...]Rocco, the pianist's rendition of "Body and Soul"
score, but the whole ensemble of relations[...]is playing at Chequers
tween voice, noise, music and silence. If you are ocker questio[...]that it left Don Burrows and the rest of the band
hoping to cultivate such an[...]At least keyboards and then quickly opening it, before
droning track of[...], once the strings and banged the keys with his elbows.
handed drama th[...]"It was like Jekyll and Hyde", says Burrows. With
single house. Try as y[...]ff ThisJekyll-and-Hyde description serves to il
Nerve.[...]lustrate the unpredictable and improvisational[...]hing in it. and hence to explain the attraction it held forjazz[...]gentleman'sjazz", and there is modern, improvi
Sydney's North Shore. L[...]with
ager, in turn, lets down his or her `mask', and characters stuck in one[...]position, that between the underground and the
between the two films more or less stops the[...]through the dramatized sequences, and with a
does not display much of a `pop' feel, ei[...]The first is roughly centred in the late 1950s and
have written for himself such a `talky', potenti[...]s aural design. Rather, like in early '60s, and is characterized as a period of emu
static debut[...]classic `moves' that are ens and thins, ebbs and flows, in strict accordance
possible within this situation: using different rooms with the feel and flow of the drama. This is an[...]n that it is aware of these dynamics that
lating and transforming itself, its characters, and are so central to `popular' cinema.[...]gresses from seeming `frigid' AND PETER LAWRANCE
to admitting she is a `bruised ch[...]IN G W ALL), O N FLO O R, BILLY (JO H N "Body and Soul", which he had been playing for

PO[...]

Cinema Papers no. 79 May 1990 (138)[...]only 2 years; John Sangster more fully and widely developed. their e[...]mysterious'
virtually apologizes for playingjazz and not being In the three major periods that Beyond El married couple who run the school and the grow
black, but pretending to be; while the[...]cern of the local policeman develop with
Sydney and Jazz Centre 44 in Melbourne tended Rocco[...]cGann's place within them is the grace and subdety of a surgical chainsaw to
to demand Miles Davis and John Coltrane as always uncertain: he[...]ipster. With his comment emplary figure, and McGann kicks off the narra
that "There's no nee[...]th being seen packing away his instrument and was made. T he second major problem[...]n in the Nightmare on Elm Street sequels, going
and experimentation: McGann headed into the[...]returning to the gather right up to numbers 4 and 5, the makers were very
bush for a time, practising his horn in the open ing and blows a brief solo before they all set in. c[...]fe,
spaces; the Jazz Club scene almost died out; and personalities and charisma, and to hire actors
experimentation groups like Free[...]es, leaving many jazz musi seem to mirror and individuate the film's trajec was at least[...]teenage characters who fail to raise one
Treloar and Roger Frampton attempted to dis surpr[...]ing this by what isn't said, that the opening and closing of couldn't give a toss whether they live or die. And
spirit over into the next period.[...]1973 into the '80s was marked by parture and a genuine return. devel[...], the easy way out of this would have been
Quay, and the institution of a jazz course at the duc[...]New Wave disembowelling or a new ap
of musicians and with them came a contemporary Musicians[...]n Quar spurts of Heinz Big Red around the neck and
jazz, and with a desire to get out from the under tet[...]y Evans Quartet, Mark Simmonds Freeboppers,
els, and to discover this country's influences and Paul Grobowsky Music. Production company: Lu[...]Produkzions, in association with Channel 4 (UK) and indictment is its inability to master the basic rule
returned from the bush and formed a band, The the AFC. Distributor[...]quate husband - and before long there's no
In the 1980s, the ja[...]nce no suspense.
exciting things on the horizon. And it is in this
third period that Beyond El Rocco[...]camerawork is drab and the lighting is flat. If
stands apart from Zoot'[...]uld be made as soap opera, this film is
periods, and, on the other hand, the role of Zoot[...]e way. It is a film pro turn the lights out and drench the film set with
image of Zoot in his 1940s garb, he plays the role moted as a horror film, and it is for anyone with rain.
of a detective[...]ing is where the best scares
when one steps back and takes a long, hard look, and promotional gimmick, and it is the worst come from. Carrie, Cuj[...]for where the Australian Film London and, more locally and relevantly, Dead
the film patterns a rather orth[...]alm extract their biggestjolts from the audience
and a rather orthodox bi-partisan conception of[...]major film getting
that of emulation, withdrawal and rebirth. Most with style, the story' in a[...]m like Bird with its bi-partisan conglomerate of Romeo and Juliet, Halloween, Fri it is, which highlights a[...]t being day the 13th, Revenge of the Nerds and The Film with local industry that such a bad f[...]c school, etc.) get almost no push at all. And something
There is a sense of another histo[...]must be said about the cunning way the film has
and Beyond El Rocco is not a film completely lack choral choirs and flash their developing breasts at been promot[...]a custom-made strand Advertisements and posters for the film dare
which attempts to docu[...]ester school, something frowned break"and those too scared to sit through the rest
McGann[...]cinema to "chicken's corner"and get their money
sionism is suggested in the film[...]ies and the lead Catholic girl. if these were the 1950s and not the 1990s - or if[...]
Cinema Papers no. 79 May 1990 (139)[...]rps cheerfully, flashing a least it was funny" and "unintentional comedy".[...]ALEC M ILLS' laughed loudly with her as if she and they knew it about the first mains[...]
Cinema Papers no. 79 May 1990 (140)[...]said, going to want to keep on
aboutit. BothJim and I had worked in television years previously:Jim[...]ad started in television on In Melbourne Tonight, and I had produced be able to pay as much as th[...]No. Will they buy
other people in the industry. And, somewhat foolishly and arro from as broad a range of people[...]mistake.
television. It isju st as com plicated and difficult as feature films.[...]producers to was some exceptional television and some terrible television. Sta
make the move, and, with hindsight, we can say how sm art we were.[...]because they thought it
We had to sell the house and everything. But necessity is the m other wo[...]on't quote productions, but we all
of invention, and we went into television at the right time. We wer[...]on the staggeringly low
budget of $2.25 million. And it's still making us money; we get a[...]up, forget it. Now, I think most people can
film and television - and we always want to do both, if we can - is that sit down and figure out who those six or seven are. You then have the
the swing between loss and profit in television is pretty small, and situation where people who want to make so[...]ven. T hat way they will
money making television and you can make quite good profits. In h[...]u can lose the lot the first weekend, or bust out and w o n 't.
make a h un d red million dollars[...]. We do
television, which makes us regular money and keeps us working, and T hat is part of a very necessary c[...]the studios have satellites spinning around them, and
cameras and 12 weeks shooting, with a shooting ratio of 15 to 1 and around those satellites are other satellites and so on. You have to link
a crew of a hundred. You[...]T hat's what should happen
a lot less than that. And th at's healthy.[...]less of a risk. With film, there is a higher risk and
a higher possible return. It is m ore of a gambl[...]experience and contacts. It's n ot so m uch the idea, but w ho's[...]hands of anyone other
so instant: it goes to air and is g one.You can spend a year or so of your than[...]r breathed
life creating a wonderful mini-series and, because people are going a magical quality into it and turned the thing into a hit movie. He was
out on[...]wonderful. I'll never forget that when the Zuker and[...]ing audiences at the m oment o f Return
to Eden. And Clive Jam es spoke o f it the other night,[...]
Cinema Papers no. 79 May 1990 (141)[...]inexperienced people directjt. So they hired And once the concept's right, then everything else se[...]s producer the toughest old bastard, Howard Kochi and he hired place. T hat'swhy we have nev[...]t Towering kind of gone for concepts, and, if the concept is right, people give us
Infern[...]the money. I mean, the concept of Sex, Lies, and Videotape is terrific:
and came up with a hit movie.[...]it.
where some have been doing it for 25 years, and presumably have
learnt something. I'm always de[...]And the setting is an exotic, fantastic part of the world.

The 1970s for McElroy and McElroy are easy for an outsider to[...]alian so black they are actually blue. And into that exotic context, you put
films o f tha[...]hievements in the romance, some laughs and a bit of action, and you have something
1980s?[...]

Cinema Papers no. 79 May 1990 (142)[...]rt Young

discovers, after 18 years of marriage and Art dept coord. Nikki Cavanagh[...]Leonard Lee Planning and Development[...]Judy Hamilton borrows characters and events from popu Insurer Stee[...]Patrick Stewart lar fairy tales and weaves them into one Complet, guarantor[...]ssts Andreya O 'Reilly charming and suspenseful tale of love,[...]Trish Graham mystery and mirth. Legal serv[...]

Cinema Papers no. 79 May 1990 (143)[...]MacIn tain his dignity amidst brutality and Make-up asst Anna Karpinski

Sy[...]Hairdresser Tony Meredith

riage and friendship, begun during the Greaves (Kogara[...]irdresser Greg Staines

occupation ofJapan, and set in 1950s and Grant), Paul Goddard (Bobby). n[...]anville

'60s Victoria. Here the cultural shift and Synopsis: A tale of real estate and revenge kitchen-hand Mustafa leaves Carl feeling[...]Lou Horvath

Planning and Development Editor[...]duction Crew Planning and Development Prod, manager[...]ntant Mandy Carter Synopsis: Eddie and Mick are out-of-work[...]

Cinema Papers no. 79 May 1990 (144)[...].O.P. Ross Berryman P la n n in g and Development Ma[...]r Mike Davies

is her husband, and a ruthless landowner Location manager Ro[...]nsman Peter Hordern Planning and Development

THE RETURNING[...]m violence in hospitals, reasons for it and

John Day[...]AGFA XT320 violence scenario and Violence Response[...]fer Simon Lee his brother and finds murder, intrigue Prod, secretary[...]Asst electrics Darren Bellangarry and romance - it's a jungle out there. Prod, ac[...]ODMOON Pintubi and Walpiri artists of the Western[...]Desert of Australia and the high com[...]

Cinema Papers no. 79 May 1990 (145)[...]stian Bass CastJohn Poison (David, aged 17),Juliet
Producer Mike Davies[...]a operators Brigid Costello Planning and Development Synopsis: Set in a sm[...], manager Frances McGivern of memories, and explores the geography

Composers[...]ttorino

of pain relief available to the woman, and Screen ratio 1.85: 1[...](Johnny), ex-Cinesound and -Movietone Art dept runner Andrew Rob[...]staff and the people of Australia. Standby props[...]THE LAST NEWSREEL and-white film that celebrates Operation Wardrob[...]company AFTRS Newsreel and is a fitting finale to the Post-prod[...]

Cinema Papers no. 79 May 1990 (146)[...]z Crosby Synopsis: Koalas is a humorous and dra- year olds.

Laboratory[...]ith which reveals some very interesting and

Neg matching Karen Clark[...]FA Scriptwriter John McKay

and isoladon. Cast Da[...], company AFTRS outward and inward journeys. Briefly two Producer[...]Saunders operations of the Sheriff s office, and

Pre-prod'n 16/10/89-10/11/89[...]ter John Patterson encourages men and women to consider

Producdon 11/11/89-[...]erson SHOWING A LITTLE RESTRAINT

Planning and Development Sound rec[...]

Cinema Papers no. 79 May 1990 (147)needed by different-aged children, and Sound GeoffWhi[...]hion, Post-prod Barry NancarrowProdsing and design can produce saleable/

and entertainment. Length 10.5 mins acceptable villas and townhouses, creat

THE CRIMINAL COURT[...]BVU ing a lifestyle that is both practical and

Prod, company Balcony Prods[...]

Cinema Papers no. 79 May 1990 (148)[...]IanAndeUrsnoint publicist Howie and Taylor Publ.

Narrator Guy Blackmore Di[...]g

how the management programme of the Planning and Development Int. di[...]r Quartier Latin Int.

Nadonal Parks and Wildlife Service has Budgeted by[...]Howie & Taylor Publ. Publ. Howie and Taylor Publ.

made the parks accessible to visi[...]oducer Saadia Winter Unit publicist Howie and Taylor Publ. Scott Major (M[...]t all of whom have music ("Pratt and the Prince")

Laboratory Visualeyes Publ. Howie and Taylor Publ. foremost in their minds. The est[...]pplied] air of mystery about it and, when mention Dist. company Quartier[...]Synopsis: A docum entary-style pro between 12 and 17 to register for compul become fa[...]ndary school sory military training. Between 1911 and[...]Director Esben Storm

and skills in areas of learning which have,[...]ing prod. Ewan Burnett

Computers and Mathematics. Prod, company[...]ner Larry Eastwood

Sponsor Roads and Traffic Authority Production 27/[...]ec. prod. Patricia Edgar Planning and Development

Producer To[...]Patricia Edgar Planning and Development Production Crew[...]Michael Atkinson Unit publicist Howie and Taylor Pubi. Prod, runner David Holmes

controllers employed by the Roads and Yuri Worontschak[...]fic Authority of New South Wales. Planning and Development Gauge[...]Publ. Howie and Taylor Publ. (Sue Mil[...]Naomi Silver ter, Ada, and a housekeeper, Martha, and Camera Crew

Sound recordist[...]ks Accounts asst Mary Makris and steal her inheritance. On-set[...]Sue Andrews

South Wales and shows how they operate Camera Crew[...]Latin Int. Unit publicist Howie & Taylor Publ.

and the types of problems they encoun Focus puller[...]up Nik Doming Planning and Development Asst edit[...]

Cinema Papers no. 79 May 1990 (149)[...]Ebony Ricketson (Katie). Planning and Development Planning and Development Scriptwriter[...]n McCann

The last wish was given away 99 years and Sue Ell[...]Colleen McNamara comings and goings of an inner-city Wrangle[...]Joanne Stevens HOME AND AWAY Catering[...]The Editing Machine

fascinated by the concept and becomes Catering Tas[...]Tape house Bob Dog Inc.

Victoria and Albert Einstein.[...]Julie Puglisi Planning and Development Rooney[...]

Cinema Papers no. 79 May 1990 (150)[...]Suzie Clemo P la n n in g and Development

Prod, company Crawford Prod[...]AnnaSeniostrruggle to win the woman he loves and Marc Ryan Completion guarant. Finances

Planning and Development claim the land he h[...]Foster

Casting Jan Pontifex and loyalty.[...]

Cinema Papers no. 79 May 1990 (151)[...]EMERALD CITY

Anim ation Directed and I N T E R N AT IO N A L Directed by[...]

Cinema Papers no. 79 May 1990 (152)[...]kicked off the NSW Rugby
League TV commercials and I
used EXR stock to cover the
play. Thrown in with these
tough football players, Tina was
great - and looking through the
end of a 400mm lens she was[...]amic. Day interior,
day exterior, night interior and
night exterior with a chopper
landing in the ra[...]A lot
of our shooting was at 50,75,
100 frames and with this stock I
knew I'd have m ore depth. It'[...]h a decent
s t o p ... something like 4 or 5.6.
And pretty quick! A true El 500.
Grain? None! There was no
grain and the blacks were
black. It's simply the best.
I could use EXR 5296 all
the time. I know Tina and
our director Dick Marks (of
Dick Marks: the Aus[...]aphy

Eastman

Motion Picture Films

Kodak and Eastman are registered.tradem arks. 49 0 G[...]

MTV Publishing Ltd, Richmond, Cinema Papers no. 79 May 1990 (May 1990). University of Wollongong Archives, accessed 19/01/2025, https://archivesonline.uow.edu.au/nodes/view/5088

Cinema Papers no. 79 May 1990 (2025)
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