Cinema Papers no. 123 March 1998 (2024)

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	[...]1 MARCH 1998 INSIGHTS inbits 2 inperformance 8 The Director's Edge. DEAN CAREY festivals 1 0[...]ival. BRUCE MOIJLOY screen culture 12 ASCIA and the history so far. RUTH JONES inperspective 1 4 Da[...]I/Zkid 500 plus Books Received technicalities 47 The film production model that has sustained cinema[...]and beyond 25 3 ’. .'o.,: ,:-«.ur_r'3 YEAR OF THE DAY 1997 was a busy year For actor Matt Day, and his 1998 schedule is filling Fast. TIM HUNTER talks to one of Australia’s most sought- after SCFCED PCFFOFIDCTS on who to look out for in 1998 Into the War Zone Michael VVinterbottom's H7/(."[(‘(7I}lL" In S11/‘zzjrwz is a passionate and provocative film about a journalist's covering the war in Bosnia. The up—and-coming director of Ju()e and Bufferﬂy Kzlm talks to JAN EPsTi-:iN 28 o N c NUMBER Getting an Airing We’ve hea[...]meets {our young filmmakers who prove that, Vvith the right topic, a good crew and maybe just a bit of tenacity, it doesn't have to be that way 22
	[...]ad. bits NEWS, VIEWS, AND MORE NEWS, ETC. FILM AUSTRALIA FUNDING TO CONTINUE enator Richard Alston, Minister for Communications, Information, Economy and the Arts, announced recently that the Government will retain Film Australia as a Common- wealth-owned and fully integrated company, following the Gonksi Report’s recommendations of 1997. Film Australia's Board is particu- larly pleased, as it means it[...]nde- pendent ﬁlmmakers to record events such as the Olympic Games and the Centenary of Federation celebrations. The Federal Government has also voiced its support of Film Australia’s proposal to establish its presence in Victoria. “Underthe National Interest Program, Film Australia already com- missions productions from many States, including Victoria,” explains Film Australia Chairman Chris Chap- man, “but the factual production sectorthere is now such a sign[...]orto National Interest Pro- gram output that Film Australia needs a presence that a Melbourne represen- tative will give.” HAPPY BIRTHDAY rban Cineﬁle, “the world Of ﬁlm U in Australia on the internet" as it is known, celebrates its ﬁrst b[...]national and host ofSBS— TV’s Front Up, leads the team of avid ﬁlm viewers and commentators responsible f[...], enter- taining and occasionally irreverent site of cinema lore. Urban Cinephile is located at www.urbancineﬁIe.com.au. SUE MURRAY LEAVES THE AFC ue Murray, Director of Marketing for the Australian Film Commis- sion for the past 16 years, has decided not to renew her contract, and will be leaving in March, 1998. She is leaving to pursue her interests in the private sector. Murray has received tributes from the AFC’s Chief Executive Cathy Robin- son and new[...]r. DISTRIBUTING FINE FILMS AND ATMOSPHERE AROUND AUSTRALIA eorge Florence, manager of Melbourne’s art deco repertory cinema, the Astor, has teamed up with Mark Spratt of Potential Films to found Chapel Distribution. The express aim ofthis new venture is to return to distribution the large number of feature ﬁlms in the Turner Entertainment Library, previously controlled by UIP. The Library special- izes in pre-1949 Warner Bros. and pre-1986 MGM ﬁlms, an[...]D? teven Spielberg may have his hands full with the plagiarism accusations Over his recent ﬁlm, Amistad, but that isn’t the only con- troversy. The New Yorker has already run an article about who in fact wrote the script. The ﬁlm itself credits only David Franzoni (who, in fact, had been commissioned several years ago by[...]ok Spielberg is now alleged to have plagiarized). The New Yorker argues that Steven Zaillian should sha[...]Franzoni’s (it is cheese and chalk). However, the Screen Writer’s Guild doesn't place much emphas[...]uthorship on structural issues. So, Franzoni gets the credit and Zaillian nothing but not quite. Though the Amistad multimedia CD- ROM presskit credits only Zaillian on the cover, the material inside tells a different story. There ar[...]- sions ofthe ﬁIm’s trailer, and each credits the screenplay to Franzoni and Zaillian. A slip-up Or the facts ﬁnally coming out? ﬁlms such as To Have and Have Not (Howard Hawks, 1944), The Philadel- phia Story (George Cukor, 1940), High Society (William Beaudine, 1955) and Pink Floyd— The Wall (Alan Parker, 1982) to be distributed around[...]art- ing with Ben—Hur (William Wyler, 1959) and The Man Who Came to Dinner (William Keighley, 1941).[...]H D annne r'.s 116 Argyle St, Fitzroy, VIC, Australia 3065 PO Box 2221, Fitzroy MDC, VIC 3065 Tel: (61.[...]unts: Lindsay Zamudio Proofreading: Arthur Salton Ofﬁce Cat: Oddspot Legal: Dan Pearce (Holding Redlich) MTV Board of Directors: Ross Dimsey (Chairman), Natalie Miller[...]MTV PUBLISHING LIMITED Signed articles represent the views ofthe authors and not neces- sarily those of the editor and publisher. While every care is taken with manuscripts and materials supplied to the magazine, neither the editor nor the publisher can accept liability for any loss or damage which may arise. This magazine may not be reproduced in whole or part without the express permission of the copyright owners. Cinema Papers is published by MTV Publishing Limited, 116 Argyle St, Fitzroy, VIC, Australia 3065, and is indexed by FIAF. . CINEMA PAPERS IS PUBLISHED WITH FINANCIAL ASSISTANCE FROM THE AUSTRALIAN FILM COMMISSION AND CINEMEDIA contributors DEAN CAREY Is DIRECTOR OF THE ACTORS CENTRE IN SYDNEY. HIS THREE BOOKS ON ACTING ARE PUBLISHED IN AUSTRALIA, THE UK AND USA. ANNMARIE CHANDLER LECTURES IN MEDIA ARTS AND PRODUCTION AT UNIVERSITY OF TECHNOLOGY, SYDNEY. JOHN CONoMOs TEACHES AT THE COLLEGE OF FINE ARTS, SYDNEY. JAN EPSTEIN Is A MELBOURNE WR[...]PYONGYANG D/ARIES). RUTH JONES IS CHIEF EXECUTIVE OF THE AUSTRALIAN FILM INSTITUTE. MICHAEL KITSON Is A MELBOURNE wRITER ON FILM. BRUCE MOLLOY Is A PROFESSOR OF FILM AND TELEVISION AT BOND UNIVERSITY. KARL QUINN Is A FILM REVIEWER FOR AND EDITOR OF THE CITY WEEKLY. MICHELLE RYAN Is A MELBOURNE WRITER ON FILM. IAN STOCKS Is A FILMMAKER AND LECTURER IN FILM AND TELEVISION AT QUEENSLAND UNIVERSITY OF TECHNOLOGY. ANDREw L. URBAN Is ONE or NATURE'S T[...]URBANCINEFlLE.COM.AU RAYMOND YOUNIS IS A LECTURER IN COMMUNICATIONS AND SCREEN STUDIES AT CENTR[...]
	[...]svcuNE rector- tries Kennedy DDP: Andrew Lesnie THE BENEFICIARY Director: Graeme Burfoot DDP:[...]
	[...]IS HUGE! reater Union has opened a new Megaplex in the Adelaide suburb of Marion. This 30-screen complex is the largest in Australia, most possibly the world, and has an overall seating capacity of 5,676, ranging from 547- seat cinemas through to[...]t cinemas. Some ofthese cine- mas will be themed: the State is modelled on Sydney’s State Theatre; th[...]oon-themed cinema; and a sports—themed cinema. The Gob Mobile, Australia’s only motorized Candy Bar, will also travel up and down the 230-metre complex, dispensing popcorn and soft drinks. The foyer is the size of two Olympic swimming pools; the Candy Bar is 30 metres long, and there is only on[...]hat up to 28 differ- ent ﬁlms will be screening in the complex. That's an alarming statistic, given that[...]industry is any- body’s guess, especially since the Megaplex includes four arthouse cine- mas. With the recent openings of Palace and Nova cinemas in Rundle Mall, Adelaide may be in danger of screen overload; or perhaps they’re just making up for lost time. FESTIVAL OF AUSTRALIAN FILM LAUNCHED s part of the 1998 Australia Day festivities, the inaugural Festival ofAustralian Film, a celebrat[...]its people through Australian ﬁlm, was launched in Melbourne. Presented by the National Australia Day Council, The Australia Day Committee (Victoria) and the State Government of Victoria, and curated by Cinema Papers editor Scott Murray, the festival ran from 19-25 Jan- uary 1998, opening with the Victorian premiere of Gillian Armstrong’s Oscar and Lucinda, at the Regent Theatre in Collins Street, Melbourne. Classic and forgotten[...]l Powell, 1966), Newsfront (Phillip Noyce, 1979), The Overlanders (Harry Watt, 1946) and The Adventures of Barry McKenzi'e (Bruce Beresford, 1972), were screened, along with a selection of short ﬁlms and newsreels. The Festival is expected to become a regular annual event around the Australia Day weekend. MEGAPLEXED he Melbourne suburb ofSunshine Tis the next installment of the Megaplex boom currently sweeping the country. Village opened its 20- screen complex on 18 December. The promotional material is saying that this is the revolutionary future of MICHAEL Powzu.-s PRODUCTION THEY'RE A WEIRD MOB[...]Dis- tributors Association (AIDA) has called upon the Federal Government to abandon increases in fees pertaining to censorship classiﬁcation whi[...]t independent ﬁlm pro- ducers and distributors. The same fee "mun .. IVALV applies to all ﬁlms, b[...]r an independent or foreign single-print release, the increase making the distribution ofthe latter ﬁlms even more difﬁcult. AIDA proposes that the Government abandon this increase and replace it with a system scaled according to the number of release prints ofa ﬁlm, a system currently operating in other countries. ANIMATED SIREN iren Entertainm[...]Troma-cult- kinda guys, are compiling a selection of contemporary animation in 1998, and are looking for suitable material. If y[...]ols Jac.(‘[.e Bnmvz. Siren would be interested in having a look, please send yourVHS cassettes to:[...]t, 23 Wangaratta Street, Richmond, Victoria 3121, Australia. Alternatively, ring Jonathan Alley for further info. Tel: (61.3) 9429 9555. Fax: (613) 9429 9333. FILM AUSTRALIA’S FEDERATION DOCO ot on the announcement of Film Australia’s continued govern- ment funding comes the news that its three-part documentary, Federation, is now in production. Written by Sue Castrique and directed by Ian Munro, the project has been in research and development for ﬁve years, and will document the events, personalities and experiences of people throughout the colonies in the decades leading up to Federation. Episode one will focus on The Land, episode two on The People, and episode three on The Nation. THE SILVER SCREEN RETURNS TO THE REGENT t’s been more than 25 years since I the Regent Theatre in Melbourne has been used as a picture house, but celluloid has returned to the renovated and august hall. A restored print of My Fair Lady (George Cukor, 1964) screened there,[...]d organ music, for an exclusive three- day season in November, and it seems that it wasn’t an isolat[...]lans are afoot to screen special ﬁlm seasons at the Regent in between live shows. Film restorer and enthusiast James Sherlock from Filmcare has been approached to assist in advising and co-ordinating the screenings. Sherlock, who was instrumental in organizing the My Fair Lady screen- ings, is hoping to obtain other restored prints of classic ﬁlms, such as Rear Window (Alfred Hitch[...]Mad Mad World (Stanley Kramer, 1963) to screen at the Regent from April 1998. On his CINEMA PAP[...]
	[...]es syncing to picture lockoff. Frameworks, first in non—\|inear in Australia, has once again taken the initiative in film editing. We are the first facility providing a dedicated non—linear[...]s and change lists for feature films. This method of post for 24FPS film provides a one to one relatio[...]method provides simple and frame accurate output of cut lists, change lists, picture and sound ed\|’s directly from the Avid. This avoids the need for trace back ed\|’s for sound post produ[...]further details, and a more complete explanation of the different post production methods, please[...]
	b its wish-list are ﬁlms such as the silent Ben-Hur (Fred Niblo, 1926), and Wings (Wil[...]patrons attending four sessions over three days), the future ofﬁlm at the Regent should prove to be most successful. MILLION S MOVIES! The ﬁrst feature ﬁlm commissioned as part ofthe j[...]Neil Mansﬁeld and produced by Rosemary Blight. The Australian Film Commission and SBS independent, in association with Beyond Films, The Premium Movie Partnership and UK Channel 4, have[...]mmission ﬁve feature ﬁlms, each with a budget of $1 million. Fresh Air was also supported through the AFC’s New Screenwriters Scheme, where Mansﬁel[...]his mentor. lt’s a comedy described as a hybrid of kitchen sink drama, neo-realism and observational comedy, and will go into production in March 1998. FESTIVAL THINGIES AND STUFF he inaug[...]ff on 19 March. A large screen will be erected on the corner of Holterman and Willoughby Streets in Crows Nest, the heart ofﬁlm and tele- vision production land, or you’ll be able to watch the show in video moni- tors set up in Willoughby Street cafes. For further information,[...]P its Graveyard Shifty Films Com- petition again in 1998. Entrants are asked to send their best — o[...]d as B-grade, and it’s best if they're way over the top. Palace is a sponsorthis year, and will be screen- ing the ﬁnalists at a special public judging in May. Prizes include a Sony digital video camera and a 35mm print ofthe winning short ﬁlm. The best and worst ofthe ﬁlms entered will be screened on The Graveyard Shift, hosted by the vampish Tabitha on 15 May. Entry forms are availa[...]WA Film and Video Festival has T transformed into the 12th Annual WA Screen Awards and the ceremony will be held at the outdoor cinema located at “Camelot”, the art deco style Mosman Park Memorial Centre on 27 February 1998. The Awards will honour both pro- fessional and student ﬁlmmakers under the age of 30, and awards prizes in both genre and craft categories. There is also the Festival of Perth Young Filmmaker ofthe Year Award, worth $5,000 and awarded to a ﬁlm- maker under the age of 25. A number of workshops will also run as part ofthe festival, r[...]ng and Distribution". For more information, call the Festival ofﬁce on (61.8) 9335 1055 orfax (61.8) 9335 1283.[...]o work with its general manager Penny Chapman and the network commissioning editors, to develop and neg[...]velopment Manager with BBC Drama, and will manage the business affairs for Drama and Children's program[...]been Business Manager for General Programming at the ABC. he Australian Film Commission has announce[...]as been appointed as its new Chairman. Barron was the Business Affairs Manager for the Southern Star group, and replaces Sue Milliken, w[...]changes, speciﬁcally referringto a ﬁlm known in Australia as Miss Sm/'lla’s Feeling ForSnow, based on a n[...]nd longtime contributor Geoff Gardner has checked the dustjacket of the US edition of the novel, and conﬁrms that the US title was in fact Smi(la’s Sense o/‘Snow, not, as claimed[...]n American editions. Cinema Papers likes to have the last word, and on this matter it will with a forthcoming article on recent Hollywood novels, hardly any of which are available locally as they have not been published in UK imprints. amuelson Film Service has brought[...]o Lind- say Amos’ article on cameras and lenses in the previous issue of Cinema Papers (“The Em peror’s New Camera”, pp. 51-54.) Panavision Spherical Primo lenses are available in 11 focal lengths from 10mm to 150mm (all at T1.9), as well as zooms in the following ranges: 17.5- 75mm, at T2.3; 24-275mm a[...]4mm, all at T2.8. Anamorphic Primos are available in 35mm, 40mm, 50mm, 75mm, LEITERS PO BOX 2221 FITZROY MDC VIC 3065 100mm (all at T2.o). The Mk II series is available in similar focal lengths with close focus facility. Panavision’s new camera is the Millennium System. The 35mm Aaton camera operates at continually variabl[...]lenses. See Kevin Reynolds’ One Eight Seven, on recent release, where this facility has been frequently used. n the review of Heaven's Burning I in the previous issue (p. 65), the composer was listed as Carl Vine. He certainly was the composer ﬁrst assigned to the feature ﬁlm, but was replaced at a later date b[...]nd Michael Atkinson. Cinema Papers apologizes for the error. ® email: cp@parkhouse.com.au l.997AFIAWRDS: THE FALLOUTCONTINUES . . . DEAR EDITOR, in 1994, Cassie Hanlon won a BAFTA for Excellence in Make-Up and Hair Design for her contribution on The Adventures of Priscilla, Queen of the Desert. Her competition was Mrs Doubtﬁre and Interview with the Vampire. She also won an award at the 1994 San Sebastian Film Festival for Best Make-Up and Hair. In 1995, Peter Frampton and Paul Pattison won an Osc[...]work on Braveheart. Our work is a direct result:of n‘ieet- ings with Directors, DOPs, Costume Designers and ultimately the actors. in 1997, Australian Make-Up Artists and Hairdressers are not even mentioned on the ofﬁcial application form for accreditation as a profes- sional voter for the AFl Awards, let alone have a category for an awar[...]racting a badly-glued wig can be 30 metres across the screen? Viva la powder puff. Sincerely, Nikki[...]\| Awards come and gone, there is a great anomaly in the voting system last year that needs to be addressed this year. I am a member of the AFI. I am also a Continuity person. I am the Director’s right-hand person in rehearsals and on the set. i am also the Editor’: representa- tive on set. Yet, both ASDA and SPAA have seen ﬁt to advise the AF! that the continuity person should not be a professional voter for the AF! Awards. if representatives ofthese three org[...]and watch for halfan hour, they would clearly see the great mistake they have made. it's this sort of ignorance that shows how parochial these organiz[...]is a joke. Although I might have just ‘crossed the line’. Sincerely, Lvnn-Maree Danzey. Ann[...]
	ex , K-33 _ Your life is a series of shots. You see a 5—alarm ﬁre and yoh think: heﬁcopter, high angle. But when the if there's a camera that's always rolling in your head, we understand. There's always tape rolting in ours_ Call 61-2-9869-0600 Fax 61-2-9868-5[...]
	inperformance The Director's Edge by Dean Carey e all know about the pressure of time and money. When budgets are being slashed or ‘trimmed’, the ﬁrst casualty of the red pen is often a small block oftime entitled “rehearsal”. “Let’s make it up on the run. Why waste valuable hours? The actors know what they’re doing”, someone says[...]ffairs. As directors, what do we do then to make the most effective use of every moment? Know- ing exactly what to do is the only answer: capitalizing on every conversation, meeting, rehearsal and camera rehearsal to create the world necessary for the story to be revealed with richness, detail and depth. The one thing that exhilarates both actors and direct[...]and action become indispensable; when one demands the other, and what has to happen in the scene suddenly becomes inevitable. This unity both in the scene and between the actors creates the one essential element that engages an audience an[...]— atmosphere. When atmosphere exists it creates the exact conditions where all that is said and done[...]ecessary. With- out it, actors self-motivate, act in isolation, and the style and execution of each shot begins to overpowerthe story through embroidery and decora- tion. The production team’s attempt to manufacture atmosphere for it is not springing from the fusion between each actor and the dialogue. This is the first in a regularseries ofarticles and is dedicated to the director at work — with limited time, limited r[...]ited experience working with their allies on set: the actors. Each instalment will look at practical approaches and on-set exercises that create the exact working conditions to promote atmosphere and to connect actors to each other and to the scene at hand — simple and effective tools of the trade. Each article will build upon the previous and offer a range ofon-set options and rehearsal techniques to create dynamic, com- pelling work. The check list ‘‘If it ain't broke, don’t ﬁx[...]who possess a sharp instinct and are plugged into the script and situation, the following four questions do not need to be asked. But this is not always the case. Many pressures — both internal and extern[...]effective choices. Something’s going wrong. And the longer it is left unattended, the worse it will most likely become. You must address it fast, and in exactly the right way. lfthe scene isn’t working to its optimum, consult the following check list. Are your actors: hearing each other; claiming the situation and its importance; reacting to each other, moment by moment; revealing the story and its meaning? lfany one ofthese elements is missing, the scene will have a dramatically-reduced impact and will not fulfil its function. These ingredients are the active dynamics which create drama and believabil[...]e communication, no connections, no relationship. The dialogue will seem forced or disconnected, the characters playing states ofemotion and living in isolation ofeach other. Listen- ing is one of the most natural things to do, and the first thing to go when pressure or self-conscious[...]Your actors need to be claiming or personalizing the stakes involved in the scene — owning their sig- niﬁcance and, more importantly, their consequences. For without this sense of ownership, the audience asks the simple question: “Why am I watching this?” The scene seems lifeless, without depth and validity; it doesn’t seem important enough to demand the actors’ attention, let alone to drive the story forward. Your actors need to be reacting o[...]and physical level so that each person displaces the energy ofthe other. With- out this palpable cause and effect moment by moment, the characters will start to self-motivate and begin to act in their own bubble. To create reality and relationships and to motivate each line ofdia- logue, the actors must respond to each other; relate, and react accordingly. This produces spontaneity and the feeling that what we are witnessing is hap- pening now and for the ﬁrst time. Lastly, your actors need to reveal the meaning the scene must have. Every scene has a function, a rea- son for being there. It tells a story, exposes the themes, raises particular issues and confronts us with its substance. Without this being revealed, we ask the question, “What was all that about? It seemed i[...]I been left to digest? How does it contribute to the ﬁlm?” Without meaning, you’re left with sou[...]ents are integral and will always be present when the scene is working. Ifthis is the case, you do not question them but take them for[...]ection can come from yourself or any actor during the rehearsal ofthe scene. Many direc- tors stop the action and talk through a particular probl[...]
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	[...]B 051’ G96ih_ __and suddenly, overnight, the olive and never looked back. OFHHBDCB 05[...]
	[...]Film Festival by Bruce Molloy ilm festivals are of many types. Really big festivals like Cannes or Venice are international festivals featuring (as they claim) the best ofworld cinema. Other festivals are speciali[...]h as children’s ﬁlms, documentaries or ﬁlms in a particular language. The Nederlands Film Festival, held in beau- tiful Utrecht where the towering Dom spire overlooks canals and cobbled s[...]dingto Festival Directorjacques Van Heijnin- gen, the major role ofthe Festival is to provide a showcase for all Dutch ﬁlms made in the previous 12 months. It also provides an opportun[...]covered”, as happened with last year’s winner of the top award, Long Live the Queen, which went on to be considered for a foreign-language Oscar. The Holland Film Meeting is the market part ofthe Festival where Dutch producer[...]s. Van Heijningen’s vision is to have it become the major marketplace for Dutch ﬁlms, bringing fore[...]o Berlin, Cannes or Toronto, where it may be lost in the pack. So far, however, Dutch ﬁlm marketing authorities remain unconvinced. The organizational structure ofthe Festival consists ofthe triumvirate of van Heijningen as Director and Chief Executive, whose major responsibility is raisingthe $1.5 million to run the Festival, Herman de Wit as Festival Pro- grammer, who must decide what ﬁlms are selected in what categories and what ﬁlms and television pr[...]Boonekamp as Festival Producer, who ensures that the logistics of the Festi- val are effective. The major sponsor is the brewer Grolsch, with support from local and national government. The competitive sections are for features, documentary and short ﬁlms. Screening outside the competition are ﬁlms that have had a Dutch commer- cial release. The most notable ofthese is All Stars, the top—grossing Dutch ﬁlm ofthe present season and likely to be very successful and popular in interna- tional theatres. AII Stars follows the career ofa football team (soccer, of course!) comprising players who have been together since they started play- ing at the age of 10. Now in their mid-2os, the team members are moti- vated more by social than sporting concerns, and the pressures of life threaten the team's existence as it moves towards its 5ooth ga[...]exual identities cause discord and dissension, as the ﬁlm explores themes more serious than rituals of mateship and male bonding. Director Jean Van de Velde handles the narrative with humour and assurance. In the feature competition, Karakter (Character), based[...]Van Diehm, was regarded as a strong prospect for the top honour, the Golden Calf. This award, incidentally, is named not in honour ofthe false god ofthe CINEMA PAPER[...]
	Israelites in the Old Testament, but to recognize the Utrecht area's major producer of wealth, the Friesian cow, though this distinction has not spared the award the criticism of fundamen- talist Christian groups. Character is not without its own biblical overtones as it follows the career ofthe bastard son ofa ruthless bailiff who[...]father. It is a beautifully—crafted ﬁlm. Set in the 19205, the ﬁlm has a strong narrative, solid performances, superb art design and cinematography that exempliﬁes the continuing Dutch mastery of the interplay ofshape and shadow. Already selected for Competi- tion in Cannes, Character will be a strong contender for[...]ion for best foreign-lan- guage ﬁlm. Closer to Australia geographically, the historic epic Gordel van Smarag (or “Tropic of Emerald") is a romance in the style of The English Patient. Set in CINEMA PAPERS ' MARCH 1998 lndonesia, Orlow Seunke’s 125-minute feature traces the unfolding ofa love affaire over to dramatic years of Dutch colonial history, counterpointing pub- lic events with private lives. In 1939, Theo Staats arrives in Java and immediately falls in love with the beautiful Eurasian nightclub singer Ems, who is a[...]a rich but elderly Dutchman. Their love affaire, the scandal of the expatriate community, is interrupted bythe Japanese invasion. Ems’ husband is killed by the Japanese while Theo is captured, tortured and imprisoned. Ems sleeps with the Japanese com- mandant to obtain better treatment for Theo, but when the war ends and they are reunited, Theo bitterly resents this inﬁdelity. The counterpoint of personal relationships and historical events continues as the lndonesian struggle for independence from the Dutch impacts upon the lives of lovers. Finally, Ems must choose between husband and homeland. With its judi- cious combination of newsreel and ﬁc- tional footage, this ﬁlm is reminiscent of News/front (Phillip Noyce, 1977) and has an important part to play in help- ing Holland come to terms with its colonial past. The Festival also marks the feature debut ofcelebrated short ﬁlm pro- ducer Paul de Nooijer. His ﬁlm, Exit, was directed in collaboration with his son Menno. Those familiar with de Nooijer’s work, such as the short Stop Action Faces, will not be surprised by the avant garde style ofwhat is an extended speculation on a range of topics including art, pornography, the voyeuristic nature of cinema, American sexploitation ﬁlms and the impact of mid-life crises. Exit is deﬁnitely a ﬁlm for the festival and arthouse circuits rather than general audiences. The Utrecht Festival also contains a wide selection of documentary ﬁlms and shorts. formats in which Dutch ﬁlm- makers have a long an[...]ion devoted to promising student work. Each year, the Festival invites a distinguished ﬁlm- maker to[...]year American director Alan Pakula (Kiute and All the President’s Men), and this yearAte de Jongh. De Jongh has produced much ofhis recent work in the US, where he directed the feature Drop Dead Fred as well as episodes ofMiami Vice. His ideas on ﬁlm funding are worth consideration in the Australian context, as Holland has a population and a volume of feature production roughly com- parable with Australia. Well-organized and extremely friendly to visitors, the Nederlands Film Festival is highly recom- mended for festival junkies or anyone with a strong interest in Dutch ﬁlm. ® 11
	[...]Industry Association by Ruth Jones ast year’s Review of Commonwealth assis- tance to the ﬁlm industry (the Gonski Report) had an unin- tended consequence: it led to the formation ofa new industry organiza- tion, the Australian Screen Culture Industry Association (ASCIA). The months from the release ofthe Report through to the May federal budget were a watershed for screen culture. And for those still confused by the term “screen culture”, it is a catch- all ter[...]and information, commentary and critical analysis of ﬁlm, television and multimedia. Loosely, it is the environment in which ﬁlms and other screen pro- grammes are made, seen and discussed. As a brief recap, the Gonski Report recommended that federal screen cul- ture funding be cut from the current $2.9 million per annum to a maximum of $1 million per annum; that assis- tance be provided to screen culture activities of a national nature only; and that funding of activities be subject to an annual open-applicati[...]itute; Brisbane Independent Filmmakers (now State of the Art); the Brisbane, Sydney, Mel- bourne and St Kilda Film F[...]. it would have dramatically reduced funding to: the AFI; Cinema Papers; Cantrili’s Fiimnotes; Real[...]would have had to compete for a much smaller pool of funds. The mobilization of the screen culture network that followed the Report’s release, and the national campaign that ensued, highlighted the beneﬁts of national co-ordination and representation and the need for a con- tinuing screen culture presence within the ﬁlm, television and multimedia industry. When David Gonski was asked why he had recommended a cut of at least two-thirds to screen culture funding, he responded that he had great respect for the work ofthe orga- nizations involved, but believed there was more ‘bang for the buck‘ to be found in script development and production funding. profe[...]xpayers’ money and returns more than it costs. In the 1995/96 ﬁnancial year, the Australian Film Commission’s screen culture bud[...]y state/territory agencies on screen culture over the same period was $1.91 million. means by which di[...]sell to overseas and domestic buyers and attract the attention of critics. Festivals and screening events support p[...]ent by allowing practitioners to discuss and view the work oftheir domestic and interna- tional peers.[...]aries, commu- nity organizations, and government In asserting the fundamental impor- tance ofscreen culture, the onus was on the organizations involved to edu- cate policy—makers, industry and the wider community about our work. The case that had to be made was that screen culture was not an optional extra, but an essential ingredient in the development and maintenance of a healthy screen industry and culture. We had fo[...]unique 1 0 opportunities for young people to work in the ﬁlm, television and multimedia industry. To grow and remain competitive, the production side of the industry requires a constant stream of new pro- jects and new talent. The vast majority oftraining forthe ﬁlm and television industry does not take place at the ﬁlm schools — it hap- pens at state-based screen resource centres, which in 1995 conducted 157 The total income generated by the screen culture sector in 1995 was $13,510, 506 — a 77 percent return on the investment. Australian screen culture inter- 3 o[...]ltimedia industries and pro- jects our country to the world. Awards promote the range ofAus- tralian production activity, from h[...]pires 40 and shapes Australian culture. It drives the future ﬁlm industry. Screen culture organizatio[...]ls are an essential departments is undertaken by the Aus- tralian Film Institute and, ofcourse, by Film Australia. The AFI returns approxi- mately $200,000 per annum to Australian ﬁlmmakers. The screen resource organizations are critical players in multimedia development. The Media Resource Centre, WA Film and Television Insti- tute, Metro TV and Open Channel all offer a variety of multimedia produc- tion and skills development opportunities and resources. These were the messages we commu- nicated in a campaign which saw us contact in writing, by telephone, or in personal meetings, the Minister for Communication and the Arts, Richard Alston; key staff at the Department of Communication and the Arts; the media; and every state and federal politician, ofall political persuasions. The sub-text was: This is what we deliver for[...]
	film & television sound TRACKS AUSTRALIA Souno Pnonucnon PTY LTD 46 ALBANY STREET,[...]
	14 Danes down under by Solrun Hoaas n Australia, the major source for most viewers seeking Scan- din[...]screens or ﬁlm festi- vals. This year, despite the numerous outstanding features from the region hailed elsewhere (Jan Toell’s Hamsun wit[...]This may be due to an ingrained prejudice among the Australian public to ﬁlms that conjure up ponderous mysticism or excruciating dissections of family relationships. Most are not as attuned to Carl Dreyer’s Nordic Noh of pure emotion orthe best Hamsun ﬁlm adaptation t[...]would be this Norwegian expatriate. Similar kinds of public perceptions of dour national traits long prevented Japanese ﬁlms from reaching a broader public until the discovery that Japanese cinema offered both comed[...]n, which now have a cult following here. Perhaps the success in Australia of Danish director Lars Von Trier’s Break- ing the Waves and his television series Kingdom (Riget), broadcast in 1995 on SBS and followed by theatrical release of[...]ill help to change those ingrained perceptions to the beneﬁt of all Scandinavian cinema. Although an introduction to new Danish cinema organized through the Australian Film Institute may not reach a broad audience, the recent season of Danes down under revealed a vigorous ﬁlm culture. The accompanying guest appearances of Morten Arnfred, co-director ofVon Trier’s Kingd[...]indelov, producer ofthe two Kingdoms and Breaking the Waves, gave lively insights into both the production environment ofa small nation and some revealing anecdotes from behind the scenes. This year, Denmark produced around 25 features which, they pointed out, was quite exceptional, as the norm has been around 12-15 per year. This sud- den surge was partly due to the great number of co-productions. The ﬁlms shown in the AFI season, selected by Peter Kaufmann, included[...]u- mentary, Under New York (Jacob Thuesen), about the subculture of the homeless, and two ﬁlms by ﬁrst-time feature ﬁlm directors, The Eighteenth (Den Attende) and Belma, which reveal[...]pacy, almost documentary style, a departure from the social—realist ﬁlms that dominated the ’7os or the Vibeke Vlﬁn period ﬁlms of some ofthe more established direc- tors, such as Bille August or Nils Malmros. The Eighteenth, conﬁdently directed by Anders Ronno[...]cribed as a Danish Short Cuts which moves between the lives of several characters in the course of one day—the day Danes voted for the second time on whether or not to join the EU. One influence on the new ﬁlmmakers is the Dan- ish Film lnstitute’s workshops for new ﬁlmmakers, suggests JesperAndersen ofthe DFI. in some respects, their funding structures are not u[...]n Film Commission. Notable dif- ferences are that the three ﬁlm consultants have greater individual p[...]projects); that if rejected, ﬁlmmakers can take the same project to another consultant for a .51 _[...]re appointed for three-year terms, with a maximum of six years, to ensure a healthy turnover of preferences — a policy the AFC might do well to adopt for anyone directly involved in production-funding decisions. The DFI can fully fund a feature, although this is not usual. More commonly, ifa consultant gives the nod to a project, the ﬁlmmaker can on that basis go out and raise funding, and 50 percent ﬁnance from the Institute is more common. These projects are subject to quality criteria, but can be made in other languages and countries than Denmark. There is also the 40/60 system: if you can raise 40 percent ofthe budget, you can get the remaining 60 percent with- out consultants vetting the script. Breaking the Waves is the biggest project under- taken to date by Zentropa, the company started ﬁve years ago by Lars Von Trier and Peter Aalbak Jensen. They produce a number of ﬁlms by other directors, particularly new and y[...]ational recognition and a cult fol- lowing around the world. As a producer, she has a very practical approach to the new trend for numerous co-ﬁnanciers on one project. With 28 different “pro— ducers” on Breaking the Waves, no one producer had CINEMA PAPERS[...]
	Aﬁhou Danish cinema organized through the AFI may not reach a broad audience. the recent season of Danes down under revealed a vigorous film culture. can =l' mu :3 EE ' more say than the rest, a ‘divide and rule’ principle of operation. Her advice to those seeking co-production partners in Europe is to look for someone ofyour own size, and to check out the structure ofthe partners to ensure you have the same decision-making powers. She avoids dealing w[...]decisions. Denmark has had a ﬁlm school since the ’6os, and the Danish Film Institute was started in 1972. In addition to its workshops fortraining, some focus[...]‘ﬁlm house’ for short ﬁlms, there is also the now well-established European Film School in Ebeltoft, which provides an eight-month course within the framework ofthe folkehagskole (a type of popular educational institu- tion characteristic of Scandinavia, which started up to provide further education in rural areas). Ebeltoft CINEMA PAPERS - MARCH 1998 has to include 25 international students in its annual intake. Morten Arnfred was involved in starting up the School and, as one ofthe country’s more experi-[...]from cinematogra- phy to ﬁrst A.D. (on Breaking the Waves) to directing halfa dozen features of his own (including Land of Plenty [Det Er Et Yndigt Land], which won a Silver Award in Berlin, Heaven and Hell [Himmei Og Helvede] and, more recently, The Russian Singer [Den Russiske Sangerinde] and Nigh[...]and relaxed working relationship has beneﬁtted the ﬁlms. Von Trier is known for his many phobias,[...]ble being on set while shooting some ofthe scenes in Kingdom, scenes with blood and gore, lift shafts, Mrs DrusSe’s ﬂight or Dr Helmer on the rooftop, gazing across at his beloved Sweden, or the very dangerous scene of the oil-rig accident in Breaking the Waves. Morten Arnfred is sometimes the only one on set, directingthe actors, and consulting with Von Trier, who then has the freedom :3 44 inperspective Top: Anders Rennow Klar\|und’s The Eighteenth. Above: Jacob Thuesen's Under N[...]
	[...]ernational Doco Conference by Ian Stocks espite the initial pall cast by threats offunding cuts and general poverty in the documentary industry, the 5th International Docu- mentary Conference in Brisbane was a raging success, with a record number of delegates and a full schedule ofses- sions rangi[...]y and policy discussions. Led by Melanie Guiney, the QDox team achieved the record turnout of more than 530 delegates from all states and terri[...]trong contingent from down south, reassuring both the Queensland envi- ronment and the national bodies that the documentary section is ﬁghting back against proposed cuts. The level ofdebate on documentary policy and practice[...]key speakers offering many possibilities for ways of launch- ing documentary into a new phase of relevance in the Australian social and broadcast environment. Key speakers proposed a range of strategies which could lift documentary from its current marginalized status within the com- mercial broadcasting environment. There were also suggestions on ways of renegotiating existing deals with public service broadcasters like the ABC and SBS, in addition to expo- sure to new market forces, including the heavy representation by Discovery Channel, Nation[...]local and international distributors. Over all, the Conference triggered fresh interest in the spirited promotion ofviable projects in a range ofgenres. Judged against previous Documen- tary Conferences, the Queensland organization rose to the occasion with well-selected venues and a seamless set of management procedures which meant that the five or six simultaneous programmes ran smoothly, and yet provided opportunity for delegates to sample both the delights of Brisbane and the wide range of material and Lou Petho and the Ozdox website. information presented. It was probably the best-organized Doco Conference ever, and was marked by a mood of co-operation and enthusiasm which dispels the current predictions of gloom and doom about the future of funding for the documentary area. Three days before the Conference, Senator Alston, Minister for Communi- cation and the Arts, made an announcement ensuring retention of Film Australia's National Interest Pro- gram and the Lindﬁeld Site, as well as the footage library. The position of doco in the Australian cultural and funding environment seems to be guaranteed at least until 2003. The status and availability of key players within the industry, both in the production area and the broadcast and funding areas, further glossed the importance ofthe Conference and its relevance to burgeoning Queensland production. The enthusiasm and diver- sity of production was not missed by local broadcasters and policy makers. QDox estimated an attendance of3oo priorto the event, but within a few hours ofopening the actual attendees rose to more than 450, which ini[...]h had been arranged for a lesser number. However, the ﬂexibility of the South- bank site, and the convenience of grouping of all major venues within a walkable precinct, mean[...]rovided for those who failed to get admittance to the first presentation. CINEMA PAPERS ° MARCH 1998
	[...]winning Canadian pro- ducer, with his ﬁlm about the inﬂuence oflewish entrepreneurs on the estab- lishment of Hollywood; Rigoberto Lopez, with his spirited ﬁlm about the origins ofCuban and Caribbean salsa music; Duan Jinchuan, with his sensi- tive portrait oflife for Tibetans in Lhasa; and Sanjay Kak, one of \|ndia’s better-known documentary directors; amongst others. The Conference widened its scope to include papers on documentary and a range of highly—relevant screenings. These included many[...]me important Indian and African work, and a range of contemporary documentary projects both in development and completed or scheduled for screening. Queensland, with its important sit- uation in the Aboriginal and Island Nation and the range of environments which include many traditional owner- ship areas, was well placed to make a major initiative in putting Aboriginal and lslander Indigenous programmes into the main stream ofthe Confer- ence. This strategy was highlighted by the ofﬁcial opening ceremony on Day One, which was launched by the Jagera larjum indigenous dance group and carried[...]s Rachel Perkins. Some initial difﬁculties with the PA system and the size ofthe audience, who failed to observe injunc[...]eech was eclipsed. However, order was restored by the efforts ofTim Read, Director AFC Development, and the 400-plus guests gave Rachel Perkins’ observa- tions on the nature ofa documentary medium theirfull attention. The keynote by Adams, copied for distribution to all delegates by the next afternoon, is a resounding vote of appreciation for documentary ﬁlmmak- ers, “the second-class citizens of Molly Dineen. Christine Togo and Tom Zubrycki. was the visible presence of key broad- casting and policy spokespeople who r[...]most ofthe time, with Geoff Barnes and Mike Rubbo of the ABC putting in many hours on pan- els and as chairs of sessions. Key market players were also avail- ab[...]l 4; Phillip Adams; "Better, surely, to confront the common enemy, the overpaid, over-praised, over-privileged bastards who make feature films: the people who claim to be critics. who rave about them: and the audiences, remarkably uncritical, who flock to see them." cinema", unlike their counterparts in drama: Better, surely, to confront the common enemy, the overpaid, over-praised, over—privileged bastards who make feature films; the people who claim to be critics, who rave about them; and the audiences, remarkably uncritical, who flock to see them. The Conference offered enormously valuable possibilities for networking, given the fact that most delegates loy- ally braved the occasionally-stiﬂing heat and walked the extensive precinct to various venues, or patientl[...]sions. A very positive sign Stephen Lambert from the BBC; David Tiley ofthe AFC; the recently-appointed Susan MacKinnon ofthe FFC; Deb[...]s Haws from Discovery Channel; David Franken from the Seven Network; and a range ofmarketing and distribution experts from areas as diverse as Film Australia, National Geo- graphic USA, Direct Cinema USA, Tr[...]l and Jennifer Cornish Media. This further lifted the relevance and impor- tance of the Conference, and there was much free exchange about the possibil- ities of sales and production deals with the international broadcast and niche market areas. Debates ranged overthe future of documentaries funding for the AFC, particularly forthe development phases of documentary production. There were concerns about the shrinking availability of funds to ensure the core programme and various forms of assistance marked for documentary in the inter- national area. A healthy spread of projects was pitched in the major Documart pitching sessions, with the popular choices being offered deals on the spot by inter- ested broadcasters and distributors. The business side ofthe Conference certainly dominate[...]ow than a docu- mentary conference concerned with the aspirations ofthe medium. However, in many diverse venues, the medium was discussed from the basics of media reception and distribution and its role in the education sector, through to the effectiveness ofthe guerrilla docs pro- gramme, and the impact of DVC technology and multimedia strategies for docu[...]by Queensland con- veners and research personnel. The policy paper, “State ofthe Art —Art of the State?”, edited by Trish Fitzsimon, myselfand Pat Laughren, arrived at the opening to provide a launchpad ofsup- porting mat[...]me to read its comprehensive analysis ofthe state of play. The policy paper was sup- ported by the AFC and carried into print with timely sup[...]
	[...]ﬁis aaiﬁiisig ear-gag as a gﬁeeﬁage 3: a inﬁ at aaia aaegasxme. vision In shows like A Country P'ra~ctic-e, and agunﬁ! la[...]eﬁ-aﬁnsg gélas iallamaa, if mag {Sig gaaﬁ in Klsg-yrfﬁlﬁ, 7' ﬂsaii Eaegaasmze, aeg[...]zesgeat. sﬁa *“‘fs§"§gea&-BEE gamma Rama-in-eaaiﬁ ﬁs eniaigs srﬁali Suﬁ sgw[...]
	[...]INTo AcTING? I fell into it really. I was a fan of movies. When I lived in Moonee Ponds, I’d catch a train into the city and see whatever ﬁlm was out. I saw Star W[...]out that I wasn’t going to be an astronaut, so the only way to live out my fantasies was to be an actor. When I was in primary school, I used to go to West Theatre on the weekend with a friend — a kids’ workshop thin[...]ber going along with him and thinking, “This is the thing for me.” Everyone tends to ﬁnd their calling at some stage in their life; I just happened to be lucky that I wa[...]n I was 14. I used to go to St Martin’s Theatre in South Yarra after school at University High. I just got myselfalong there, and got involved in any way I could. A school friend’s sister, who worked for a little [acting] agency in Carlton, said she'd keep an eye out. They sent me to this audition, and I got the part. It was a kids’ show called C/— The Bartons [1988] on the ABC. In fact, the first job I did was two days’ work as an extra in a show called Fame and Misfortune [1986j, in which Ben Mendelsohn played this gang leader. I was in his gang, and we had to beat up this bloke. Then[...]nogue [before Neighbours, while sister Dannii was in Young Talent Time]. I remember that vividly, beca[...]a famous sister. So I did that series, a play at the Playbox Theatre called Black Rabbit, and then another series called House Rules at the ABC. After that, I dropped out of school at the start ofYear 12 and moved to Sydney when I was 17[...]s enough for anyone— and did a bit more theatre in Sydney. My ﬁrst ﬁlm was Muriel’s Wedding. How DO YOU APPRoAcH ACTING AND THE PARTS YOU PLAY? Is THERE AN OVERALL PHILOSOPHY T[...]— and it was better than being at school. For the last few years I’ve started to make choices, to think about trying to do something different from the last thing — trying to stretch myselfa bit more[...]t are going to challenge me, keep me interested. In terms oftechnique, I think I’ve always worked instinctively because Tony Hayes and Matt Day in . Robert Carter's Theof the spectrum. It was great timing as well, because after Patsy Cline I was very conscious ofﬁnding something that was very different. Often[...]us?” Sure, it was nice and relaxed, a bit offun in Melbourne, and it turned out beyond what I could possibly imagine in terms ofthe money for this, we get paid!” It was quite good[...]it shows how much I know. \|T’s INTERESTING THAT IN 1996 You wERE SOMETHING OF AN UNKNOWN, AND IN 1997 YOU wERE THE LEAD IN TWO FILMS AND NOMINATED FOR BEST LEAD AcToR IN THE AFI AwARDs. \|T’s A BIG JUMP. It’s a good jump, but realistically this is peripheral stuff you deal with in promoting your ﬁlm. Everyone says this and that about you, but you don’t take any of it on. Because when they start saying, “You’re the hot new thing, blah blah blah,” and you start b[...]do what I want to do. \|’m getting a good choice of things now and \|’m learning a lot more; you jus[...]by osmosis more than anything else. But that’s the way it happens in this industry. It’s an evolutionary thing. Ifyou look at anyone’s career, with the odd exception, most people get bits and pieces he[...]ebodytakes a punt and gives them a lead. That’s the beauty ofthe Australian industry. I think you hav[...]to grow, learn and blossom here than you do, say, in America, where there is so much more at stake. You can make a couple ofﬁlms here that might not be commercial successes, but they’re successes in their own right. People still take a punt on you because they know you can do the job and that you’re familiarwith the medium. There’s a lot ofsupport in Australia, a lot ofinstitutional support— notjust for actors but for ﬁlmmakers in general —that we have to make sure we don’t take for granted. IN AN INTERVIEW‘, MIRANDA OTTO TOOK THE INTERVIEWER TO TASK ovER THEthe new brat pack, or anything like that. For me, \|’ve auditioned for a film, I've got the part, \|’ve got the script, I've talked with the person, and I did the ﬁlm. It’s not like you were selected by a committee to be the new brat pack. There are many misconceptions when people talk about a brat pack as a sin- gle entity. But in another way, it’s not such a bad thing. I mean, it’s good for all of us. It’s a good spin: “These people are the brat pack, like in the States.” They’ve always dealt with that star[...]ery much. I proba- bly should be saying, “Yeah, the brat pack, we all hang out, go to the same bars", but we aren't used to that at all. THE REALITY IS THAT IT’s JUST A GROUP oF YOUNG AusTRALIAN ACTORS wHo ARE ALL WORKING AT THE SAME TIME AND ALL cRossING ovER EACH OTHER IN A SPATE OF FILMS. It’s great, it’s a good boom, it’s c[...]c that people are talking about Australian cinema in a way that it hasn’t been talked about since the '70s. You couldn’t ask for more, could y[...]
	[...]eddinq P. J. Hogan, 1994 Muriel’s Wedding was the best audition I've ever done in my life. Usually, you go to an audition, do your[...]inging your agent every day, waiting and waiting. In this case, I went for the audition; [direc- tor] P. J. [Hogan] was there, a[...]o- lead] Toni Collette. We sat down, did a couple of scenes, and we workshopped the bean bag scene. That finished: “Thanks for comi[...]adn’t worked for about six months. My agent got the script, and said, “There's a character in it you can play pretty easily. There’s no money[...]I thought it was better than sitting and stewing in my own neu- roses, I may as well do it. I went to Melbourne and met Emma-Kate and Stavros [Efthymiou], the producer. We went out for coffee and they explained what they wanted to do. So I spent two weeks in Melbourne, hanging out, hav- ing fun, not thinkin[...]al. But it was a good little learning experience. In fact, what I wanted to know was how they were goi[...]ught that if they can get it to this stage, I’m in, good on ‘em. And it turned out beyond anyone’s wildest dreams. Dating the Enemy Meqan Simpson Huberman,1996 Again, that was through my agent, who got the script from the producers. In fact, they’d been looking forthe charac- ter an[...]ey couldn’t ﬁnd anyone. I had an audition. On the Thursday, I rocked up and metjdirector] Megan [Simpson Huberman] and did the audi- tion. Then they got me in to meet Sue Milliken, the producer. I met with them, had a chat, and started shooting on the Tuesday, after rehearsing on the Mon- day. It was that quick. It was also great f[...]or me — a few days here, few days there. It was the ﬁrst time I learned about movie deals: how you[...]ucking around with them. It got pretty obscene on the set, you know; we really sank low. Megan was in shock some days over the stuff we’d come up with. In movies like When Harry /I/IetSally... [Rob Reiner, 1989], there's always the mate, so I knew that I was doing the comic relief. Again, it was one ofthings where yo[...]making a commer- cial number, and it made a heap of money. I've got more recognition out ofthat than any of the others. People in video stores come up and say: “Hey mate, I saw you in that movie. You were funny in that.” “Thanks mate.” “Did you really g[...]line Chris Kennedy, 1997 I saw there was a movie in production called Doing Time for Patsy Cline. I t[...]young part”, but I wanted to have a look. I got the script and thought, “This ﬁlm is cool.” The[...]im. So I worked my arse off, and I got it. I went in there, sang a couple of country-and-western songs in my cow- boy boots, and things worked out. It was[...]and Miranda [Otto] and a great crew. I made a lot of really good friends. Subsequently, most ofthat crew shot The Sugar Factory as well. It was just a great experience, and also the biggest role I’d done; my ﬁrst lead role in a ﬁlm, but, man, it was a workout. I had to lo[...]edy was a bit concerned that I’d chubbed up. By the time I got to do Kiss or Kill, I was about ﬁve[...]tro- phes, and actually rang me up straight after the screening. She said, “I love the ﬁlm, but you can’t do it again. It’s enough[...]eing picky. Two weeks later Kiss orKill came into the ofﬁce. She said, “I think I found the one!” I read it and it was great. She lined up[...]d Other Catastro- phes and was considering me for the part ofa sociopathic, bloody, potential murderer! I didn’t shave for a couple of days, stayed up late, turned up hung- over, looking my worse, chain—smoked all the way through, swore a lot. At the end ofthe lunch — I think he saw right through it, he’s a pretty perceptive guy- he explained the whole thingto me. I was thinkingto myself, “I w[...]ant to do it?” “Yes.” “Okay, see you on thethe time that I was doing Patsy Cline, so it was pret[...]a naive virgin country boy, finishing that job on the Friday, doing a screen test for The Sugar Factory on Sunday, and ﬂying to Ceduna on Monday to play this other character, Al. Only two weeks of rehearsal, two weeks to grow sideburns, and straight into seven weeks in the desert, improvising, rolling around in dirt, screaming and cry- ing, bashing people up, getting into knife ﬁghts. In terms ofdialogue, the whole thing was improvised. It was very clear-cut what had to happen in terms of story and information, plotline and stuff, but in terms of one—on-one dialogue there were suggestions in the treatment, but we came up with the bulk of it. With the jump cuts, the cast and crew spent the ﬁrst two weeks saying to Bill: “You can’t do that. You’re crossing the line. You've got no continuity.” “I want to[...]as saying, “This guy is nuts; he doesn’t know the ﬁrst basic rules about ﬁlmmaking.” Then he got Henw [Dangar], the editor, to send over a rough cut ofthe ﬁrst scene we shot, and we sat in this hotel room one Friday night with a couple of beers and watched it. They didn't touch it from t[...]” It all made sense. It was a great experience; the tables were turned. So often in a ﬁlm you’re working around the technical aspects; you actually have to compromis[...]reasons. You have to direct your lines to a piece of gaffer tape because your eyeline isn’t right, or you have to deliver the same line 50 times so they can cover from every angle. There was none ofthat. We had the technicals working around us. Often those guys, p[...]dn’t even get to see a run before shooting it. The Sugar Factory Robert Carter, 1998 It’s based on the novel by Robert Carter, who wrote the screenplay and directed it. It’s been his big p[...]to get it up. It’s looking at life through the eyes of Harris, a very intelligent, eccentric teenager wh[...]er thing; a non-conformist, with a very wry sense of humour. The theme of it is like Secrets and Lies [Mike Leigh, 1996], I guess. He lives the perfect suburban life: nice suburban family, mum and dad, big house, backyard, kids. He mows lawns for the neighbours, has a bit ofa crush on this neighbour up the road, an older woman who’s got a couple of kids. Then his world collapses around him, and you follow his journey, from when he uncovers this secret of his family that’s been buried, that had scarred[...]k to haunt him. He has a breakdown and he ends up in a halfway house for kids with personality disorde[...]ver this family secret. It’s a redemption story in a way. 21
	[...]hree year-old Chris Zwar studied Media at Deakin. In 1994, he and three other Rusden students made a 15-minute documentary on the Melbourne Rave scene, In Search ofa Sub-culture. They had no money and minimal resources, but their labours excited the interest of Dasha Ross, Executive Producer of Docu- mentary at the ABC. Making Neuromczncer, named after the William Gibson novel, was a “humbling experience”, says Zwar, who knows there are hundreds of filmmakers out there. Zwar can’t believe that one year out of film school he got his first directing credit, an[...]hopes Neuro- mancer will be a lasting impression of the Aus- tralian Rave scene, as it teeters on the brink of transformation into wholly new and unrec- ognizable beasts. With its 15-year Rave history, Mel- bourne was the obvious choice for much of the shooting. Sydney lost its edge in 1995, he says, when the death of Anna Woods from Ecstasy changed the Rave scene irreversibly. Raves were targeted by the police and forced to move into existing club premises. This took the gigs out of the organizers’ hands and put them into those of unadventurous management. Neuromancer attended the big Rave, Hardware II, orchestrated by 20—something Richie Rich, and a smaller Rave held in the Flemington Rock Climbing Centre. Both were shot o[...]u- mentary. Zwar: We faced special problems, with the extremes of light [from black to burnout]. Video always looks so ‘noisy’ in these conditions and can't deliver ‘solid’ bl[...]high-speed Kodak stock, 640 ASA. Hardware II was the 40th Rave Richie Rich had organized. Tony Hall se[...]were 16 sub-woofers evenly distributed throughout the venue and a lot ofmoney was spent on the lighting and the show. It's not about fashion or being seen; it's really about the music and dancing. We did two types of interview, one lot with the Rave organizers and the other with the Ravers them- selves. These industry professionals — making a living in the Rave scene, producing music, running Raves and promoting the culture — have done hundreds of interviews and the set-up doesn't faze them. But for interviews with the Ravers, it was important not to freak them out.[...]that one sub-culture should be hounded almost out of existence in favour of rock ’n’ roll, a culture which boasts and ico[...]Advice for young filmmakers: That would be like the blind leading the blind. Just get out there and do it, and TIM MUMMERJY THE PURJQUIT OF HAPPINESS AND WINDOWS OF OPPORJTUNITY The Pursuit of Happiness, a 20- minute doco about the day-to-day business of a door-to-door sales firm, was made by Tim Mummery as a student at the Victorian College of the Arts. It was purchased by the ABC for Loud Dox. To fill the 25- minute segment, the five—minute Windows of Opportunity was com- missioned. Mummery studied a BA in Anthropology in Western Australia. CINEMA PAPERS - MAHCH199B
	[...], he com- pleted a Graduate Diploma with subjects in documentary theory and, in 1996, was accepted into the VCA School of Film and Television’s newly-created Postgraduat[...]a burning desire ofmine. I had a genuine interest in [docos], but I didn't see it like some people as[...]Now it’s all Mummery wants to do. A recipient of the Film Victoria Mentor Scheme, Mummery was paired w[...]documentary filmmaker with credits far exceeding the space here). The Mentor Scheme brought Mummery to the attention of Dasha Ross. Upon viewing The Pursuit of Happiness, she purchased it from the Victorian Col- lege of the Arts for $6,000. The Pursuit of Happiness was an accident, says Mummery. I-Iis st[...]ay where, early one morning, he witnessed a group of businessmen and women standing in a circle singing and making ‘affirmations’. This group of hawkers and can- vassers were warming up for their day selling door-to—door. Dressed in a suit and tie, Mummery joined their CINEMA PAPERS ' MARCH 1998 morning warm—up, where the group leader announced their goals and gave tips[...]ly subject. lt’s pretty shocking and propagates the [adage], “Greed is good.” You actually see these people diving for a fifty-dollar note dropped on the ground. Windows of Opportunity sits com- fortably with Pursuit. A study of car—window cleaners at the intersec- tion of Punt Road and Hoddle Street in Melbourne, it is also a comment on the current economic climate, comparing the old hands with the upstart young punks, who vie with each other to eke out a living on the street. Mummery’s DOP was documen- tary filmmaker Stewart Carter. Carter graduated from the VCA film school in the late ’80s, when documentary was then frowned up[...]Pie Float, about a late—night pie—trailer on the steps of Flinders Street station. In the company of Thomas and Carter, Mummery is in excellent hands and it is inevitable that we will[...]re and do it. By doing it, you learn to structure the story [in the field]. Remember that research pays and never for[...]real people, who are goingto have a life [beyond] the screening of your ﬁlm. PAUL FENECH HlP HOP ClTY Director Pa[...]years old (too old to have done a Loud film, but the ways of the ABC are a mys- tery to us all) and married with a[...]h was hanging with as many as 300 homeboys around the Marble, under the stairs at Cen- tral, in Sydney. Angry with a bombardment by mainstream or[...]was belonging.” Training as a boxer — “for the fitness aspect”, Fenech says — there was also a turf-war going on, between the Nazi punks and the homeys, and the police weren’t always gentle moving them on. F[...]involved himself with Metro TV. Scoring a job at the ABC as a floorsweeper, he worked his way up to direction. With David Webster, business partner and the producer of Hip Hop City, Fenech now makes film clips, commer[...]through their company, Livewire Productions. “The media has always centred on the thugs”, says Fenech, whose aim has been to devote 25 minutes to portraying the culture of hip—hop,
	[...]ing”. Fenech hopes he’s captured some- thing of the Aussie ﬂavour. “The l\/ICs aren’t afraid to use their own accents”, and Australia’s relative nearness to Pacific Islander culture is also having its inﬂuence. One of those interviewed, Trev, a Fijian- Australian, sa[...]llels her own background with storytelling around the kava bowl equating to rapping, the breakdanc- ing and D] mirroring the traditional dance and drum: There is a recogniza[...]ng able to recognize famous grafﬁti and knowing the music. Fenech shot some days and nights over thre[...]g a jam and hanging with a Crew. Ajam gathers all the hip-hop elements in a gig. There’s some “graf”, and the band and the audience come together. lt’s all pretty passive, a few drinks, camaraderie, some fun. In Werrington, in outer Sydney, they filmed guys living the hip—hop lifestyle under a railway bridge. “One guy had been depressed for years. The hip-hop scene stabilized him”, says Fenech. An[...]ief, hip- hop had settled him: “He still breaks the law graffing, but on the scale of things, his level of criminality is less.” Borrowing the hip—hop elements ofIn the process, after shooting mul- tiple video formats,[...]camera movement, Fenech “mixed” these images in the editing room, utilizing a hip—hop musical- formula known as “turntable—ism”, or the scratching together of two music tracks. Even in the face of going main- stream, Fenech doesn’t feel that hi[...]ﬁlmmakers: It's about integrity, to yourselfand the subject. You have to ask yourself, “Why are you doing it and are your skills up to it?” You can't be the captain ofthe ship if you haven't cleaned the barnacles off the bottom, and you have to work your way up and lear[...]then why are you doing it? NICOLE MCCUAIG RJAGE OF WNOCENCE Their exams behind them, Year 12 students from all over Australia descend on the Gold Coast to party. “lt’s a rite of passage for these kids” says Rage oflnnocencrfs[...]g. “Many have never drunk before. lt’s a week of new experiences. They don’t know their limitations, and we make no judge- merits.” With a couple of docos under her belt, one on Rugby Union and anot[...]nes) holds a Commerce Degree and spent four years in post-production, two of which were spent as a commercials editor. She teaches Media at Bond University, where one of her students, Alice Jones, now a 23-year-old jour[...]dy had yet covered this amazing annual experience in any- thing more than a cursory manner and that nobody had talked to the Schoolies. l\/lcCuaig was able to call on friends who had attended Schoolies’ Week in the late ’80s, and described the experience as “mind-blowing”. Since then, Schoolies’ Week has assumed the proportions of a Gold Coast event, generating between $8—10 million and, like the Mardi Gras, building its own traditions and culture. “We were a three-girl camera- crew. During the day it was all holiday atmosphere, sun and surf”, says McCuaig, but at night it was different. The youth loved the cam- era and in the street the crew were mobbed. “We managed to keep rolling through most of it, but a couple of times we had to tell the DOP, Kristen Jones, to put the camera down.” :3’ 45 n Wednesday 21 January, SBS-TV’s “Eat Loud Carpet” featured a series ofﬁlms focusing on issues of racism and preju- dice in Australia. The films, by ﬁlmmakers 13 to 28 years otage and of[...]s duration each, were commissioned by SBS as part of the Loud initiative. Skater, Skippy, Homie, Wog, by brothers Andrew (16) and Brendan (14) Dowell, exposes the myths that exist between the Homies from the Sydney sub- Cronulla and Miranda. eyes of hearing people. a date. urb Hurstville and the Skaters and Surﬁes of Bad News, by 28-year-old Sofya Gollan, explores the notion that to be born deafis a disability in the ln Goth to be Greek, Tim Slade (24) and Andrew Georgiou (25) debunk the myth that Goths can’t get Jade lviaree Woods i[...]nner Patrick Hughes, who is currently studying at the VCA School of Film and Tele- vision, explodes the myth that young people don’t care in No Passion for the Fight. is it true that young people can’t be bothered with politics because the pressure ofﬁnding a job is too critical, or is this just a convenient myth created by baby boomers who blame them for the problems they’ve created, he asks. CINE[...]
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	EVERYBOOY'S ALHAYS LOOKING FOR THE NEXT RIG THING -THAT'S NOTHING NEYLANO SOMETIMES PREOIGTIONS ANO PROPHEEIES HIT THE NAIL ON THE HEAD, AND SOMETIMES THEY'RE HAY OFF. WE'RE NOTABO[...]ction: With a strong dance and theatre background in Western Australia, Ledger has been dabbling in television recently, as well as scoring supporting roles in a coug ple of feature ﬁlms. His lead role as Conor in Roar, a fantasy television series set in 400 AD Ireland but ﬁlmed in Queensland, was in an American co-production, and ha 4. brought Ledger more attention. The fact that the series has already been axed in the States shouldn't hurt his career too much; it’ll certainly make local talent scouts sit , and watch him in future. ' Name: JOHN SAFRAN Professi[...], RMIT, advertising Credits so. far: Race'Around the World Prediction: With little experience before being selected for the ABC’s Race Around the World series last year, Safran soon proved himself to be something of a tearaway ﬁlm- maker. His unpredictability won him quite a lot of attention — especially after his naked dash through the streets ofjerusalem. He has dabbled in the music industry with his parody song “Not the Sunscreen Song”, a send-up of a track off Baz Luhrmann’s CD “Something for[...]J. It will be inter~ ‘ esting to see what sort of offers and projects he becomes involved with in the future. CINEMA PAPERS - MARCH 1998
	[...]Age: 27 Training] Background: Victorian College of the Arts Credits so far: The Pursuit of Happiness (short documentary), Out There and Back, Windows of Opportunity. ‘ Prediction: Mummery made it into the LOUD festival in January because his graduate documentary, The Pursuit of Happiness, was made while he was 25. It has alrea[...]ly doesn't need any more help with his career for the moment. He is definitely one of the VCA graduates to watch, as long as he isn’t ove[...]ion), Wildside (television) Prediction: Daughter of actor Marshall Napier, the majority of Jessica's work has been, understandably perhaps, on the small screen, but her ﬁlm career is just beginning. Her role as Rachel in Blackrock brought her much attention, and she is considered by casting agents to be one of the new hot properties. She has been fortunate to have worked in television's ‘upper scale’ of drama for the past four years, and is set to take off very shor[...]far: SK UD Prediction: Having won quite a number of awards for her 1996 VCA graduate ﬁlm, Swan has been working on her ﬁrst feature ﬁlm script while doing the festi- Vi vals with SKUD. Her route into ﬁlmmaking started with Political Science at the ’ University of Queensland before moving into more arts-based stu[...]society, and is drawn to its *‘visual poetry’ in realizing political and human stories.
	[...]I just try and make films which \|’m interested in. It would be strange in a way ifa ﬁlm ofa Thomas Hardy novel was very similar to a film about les- bian serial killers in England, or a film about Sarajevo. They are very[...]jects and, inevitably, very dif- ferent films. ln the case ofof the same name. it was very specifically about the experi- ence of Nicholson and his taking a child out[ofSarajevo].[...]ing point to make a ﬁlm about what is happening in Sarajevo. I then asked Frank Cottrell Boyce to work with me on the screenplay. The starting point was to have not a montage, but lots ofshort stories; to have lots of chapters almost within the film. At one stage, that was perhaps more obvious than it is now. The idea was that perhaps for ﬁve minutes you go of[...]snjic]. Quite later, you would have a story about the orphanage, which ties in. Or you would have archive footage show- ing something happening in parallel to the main story. One ofthe difﬁcult experiences working on it was there was so much i wanted to put in. I hope the ﬁlm reﬂects that without being completely cha[...]rbottom is helping to restore British cinema from the doldrums into which it sunk in the late 1980s. His latest film, ease e to B I eéeeo[...]s most ambitious, international and, judging from the response the film elicited at its pre- miere at Cannes, contro[...]bottom after its Cannes debut, where some members of the press were highly critical of the director’s perspective on the war in Bosnia. wanted to say, “This is happening h[...]tant.” We have some central characters and want the audience to become emotionally involved with them, but the minor characters have their own stories and they are just as important. Equally, there are millions of people who aren’t in the ﬁlm, who also have their stories. It seems to me watching the war at the time, and going over there later to make a ﬁlm, that the West was sitting on the fence, trying not to get involved. it had a minimal involvement with very limited mandates, but always had the capability to do far more, far earlier. lfyou compare what happened in Bosnia with what happened in the Gulf, the contrast in the speed and scale ofthe response is so vast that yo[...]p but think it was outrageous how little was done in Bosnia. In Britain, I remember endless arguments about wheth[...]to have troops there; whether we should withdraw the troops because it was too expensive; whether we should pull out straightaway when a British soldier died. The cost to Britain in human and ﬁnancial terms was somehow seen as far more important than the war itself. THERE WAS A LOT or TALK DURING AND AFTER THE GULF WAR ABOUT HOW THE MEDIA HELPED MANUFACTURE THAT WAR. lN WELCOME TO SARA1Evo, YOU TAKE A DIFFERENT VIEW OF JOURNALISTS. I thought it was important for the ﬁlm not to be cynical 29
	30 about journalists. In the particular case of Sarajevo, a lot ofjournalists were killed. They were targets in the war and risked their lives by being there. In Britain, at least, there were a lot of journalists who were committed to the subject and campaigned for something to happen. Papers like The Guardian and The Independent frequently ran stories saying the British government was standing by and watching w[...]royed, and that that was not acceptable. I think the journalists were very deeply affected by the war. They didn’t want to simply go there as tourists. They didn’t want to be on the fence. wrong with the attitude ofthe rest of the world, particularly in Europe. This was a war in Europe, but people wanted to keep their hands clean and not do anything about it. A lot of people in Europe grew up feel- ing that there wasn't going to be another war in Europe, and yet here was a war in Europe. For people living outside of Bosnia, there was a sense of “There is a war happening but we are not goingt[...]o it.” I'm sure most people felt this should be the most important event in their lives, but somehow it was only 10 minutes a day. That kind of disassociation is strange. Jude Fawley (Christop[...]abqunhow shitty evenytﬁing is. It is abput ' ;»the possibilities and opportunities they had. That is[...]anted to show people back home what was happening in order to change something. The trouble was that the people back home didn't do anything and the journalists felt incredibly frustrated. Lots ofthem have written about their sense of impotence and anger. I wanted to show that side ofjournalism. There are contradictions of being a journalist in situations like that. Obvi- ously journalists are[...]do terrible things. When you are watching footage of someone dying, a cameraman has to rush overto tak[...]to have to do. But I don't thinkthat invalidates the idea that you should see those pictures. The inevitable logic ofthose who criti- cize such foo[...]e to say how this changed my life and affected me in this way or that, but I’m not sure it would be[...]start with, because that is why you want to make the ﬁlm. At the end ofthe ﬁlm, you’ve spent a long time meeti[...]ng to places, looking at material — especially, in this Case, watching hours and hours of material. That affects you in different ways, but only in the same way that all experience does. I think it would be too pat and glib to say, “What I learnt from the war in Sara- jevo was I don't think the ﬁlm has a simplistic solution or a moral, becau[...]A FILM- MAKER? To ﬁnd a story I’m interested in and then try to make a ﬁlm that I would want to[...]ns trying to engage with some- thing which is, on the surface, quite difﬁcult, and trying to make it in a way that is interesting and accessible. There[...]Sarajevo if only people who are really interested in Sarajevo are going to watch it. They have probabl[...]d already forgotten Sarajevo, and had no interest in Bosnia, to come and watch this ﬁlm and be engag[...]ERTAIN LY SHOCKING. You ARE JOLTED INTo NEW WAYS OF THINKING AND FEELING. It is hard to say, really.[...]e and watch it. I hope that ifpeople come and see the ﬁlm then they will suggest to other people that[...]. It is now down to Channel 4 and Miramax and all the distributors, in a way. How DIFFICULT WAS IT FILMING IN SARAIEVO? There were irritations rather than pro[...]ommodation, areas where there were still a number of land mines. On the whole, though, Sarajevo was relatively straightforward because we had co-operation from SAGA, the ﬁlm company there. A lot ofthe crew worked with SAGA and had made a lot of documentaries during the war there, so they knew the city very well. They also knew the story very well, so when we needed to ﬁlm with extras or whatever, that side was easy. In some ways, that more than compensated for any problems in shooting there. When we ﬁrst went there, we showed the script to SAGA. The Bosnian gov- ernment authorities liked the script and approved it. They made some sug- gestions, but nothing significant. Among the people working with us, there were people whose b[...]n Muslim, Bosnian Croat, Bosnian Catholic. Within the government side of Sara- jevo, there is still an ethnic diversity. Of course it is predominantly Muslim, but there is n[...]eople who are on one side ofthe war and people on the other side. lfyou have spent three-and-a-half yea[...]o Macedonia, where we had to film some interiors. In Macedonia, there is a com- plete division between, on the one hand, the Muslim side ofthe city, and, on the other side, the orthodox side of the city; between Muslim villages and orthodox villages. There has always been that split in Macedonia. And that is what is so awful about the fact of Sarajevo. Sarajevo was actually a mod- em city, a[...]oftheatre work and also quite a lot oftelevision in Eng- land, but not very much ﬁlm. I don't know why he hasn’t done more ﬁlm. When the script was very ﬁrst sent to me, the producers said, “Talk to Jeremy lrons.” But b[...]s ofactors. I just thought Stephen was right for the part. He is very intense but, as an actor, also very restrained. He doesn't try to grab attention in every scene. If he is working with a girl who is[...]on is feeling; you spend your time wondering what the girl is feeling, He was very good like that. WHAT WAS THE TRIGGER To USING KERRY Fox? I just really admire Kerry’s acting abil- ity, especially in Angel at my Table. I liked the idea that she wasn’t English, even though her c[...]as working for an English news company. I thought the combination of her and Stephen and Woody [Harrel- son, who plays Flynn, the cameraman] would be good. WHY DID YOU SELECT THO[...]someone [Nina] who almost acciden- tally ends up in Sarajevo. The real character on whom Nina is based had gone to[...]'t done much acting, got interested by watch- ing the news, raised money and ended up taking these children out. I felt Nina would feel vulnerable, maybe out of place and struggling, doing her best but not having had a lot of experience. I liked Marisa and felt she would be good forthat. WHAT ABOUT THE CHILDREN, ESPECIALLY EMIRA[EMIRA NUsEvIc]?[...]
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	[...]l39”i”8’ "7455 narrative games and spirited of "”“C5“mC"‘35”- SCOTT fabulation. Director Gillian MURRAY ﬂ"d5 Baxterls Armstrong has attempted the L E Y biography near impossible in bringing so literary a work to the screen, but RAYMOND Yo UNIS is fair pleased with the results 36 Jackie Brown The Elmore Leonard adaptation frenzy continues, as AN[...]ARL QUINN finds a new exploitation genre gripping the souls and passions of an underdescrihed generation: .\'‘I_ Ill-illle[...]l I I I I I I PRODUCERS:L.M.KlT CARSON, CYNTHIA : the two_ and t],]ree_year_Old5 HARGRAVE. LINE PRODUCE[...](JOANNE), DAVID RoLAND FRANK (CHIP), waits for the day when his mother will be released from prison and they return to New Mexico to live. In the meantime, he hangs out with ANTOINE MCLEAN (HAROLD), CARI.o AI.aAN I a group of guys who have made an (BENNY), MTUME GANT (LOUIS)[...]TOR: NEwvIsIoN FILMS. USA 1997. 35MM. 88 MINS. the local school. Then Marcus meets Melena (lsidra V[...]protective and abusive father (Shawn Elliot), and the two form a friendship that teeters on the edge of a relationship, despite her father’s restrictio[...]ife is on ilms about ghettoized urban Fyouth and the loss (or even total absence) of innocence have become something ofa sub-genre in the past decade or two. Some are incredibly didactic,[...]ively observed as this ﬁlm, Hurricane Streets. the up, It all comes crashing down. In many ways, the plot, the situ- ations and even some ofthe characters in Hurricane Streets are all fairly standard stuff. At times the dialogue, too, is a little on the The story revolves around Mar- cus Frederick (Brendan[...]just turned 15. He appears to be on his own, and in many ways he is. His father is dead, his mother, Joanne (Edie Falco), is in prison, apparently for assisting illegal immigran[...]other, Lucy (Lynn Cohen), who runs a dive ofa bar in New York's East Village, and seems to be r[...]
	[...]ide, but what really raises this ﬁlm above many of its peers is the characterization ofMarcus, and Sexton’s perform[...]ngside a streetwise understanding ofthe harshness of life. He may be involved in small- time felony, but he has a well-developed sense of morality and is, above all, an honest and genuine person. The sensitivity that Sexton gives Marcus is so dis- arming that at ﬁrst it’s not at all obvious. Yet by the end ofthe ﬁlm, you are left watching both the char- acter and the actor playing him in awe ofthe accomplishment. And what makes it even more effective is the fact that Sexton looks 15, complete with acne and the promise ofdevelopment not yet begun. No idealized notions of teenage perfection here. Freeman, as a young wri[...]tle irony, sadness and a perceptive understanding of the human condition. (9 TIM HUNTER I I I I I I I I[...]UMBIA TRIsTAR. BELGIUM. 1997. 35MM. 89 MINS. ith the near demise of con- temporary French cinema from the screens ofAustralia’s art- house circuit, the arrival ofAlain Berliner‘s Ma Vie en Rose is a wel- come start to the year. His feature debut, a French-Swiss-Belgium-UK co-production, may not set the world on ﬁre —though its winning ofa Golden G[...]ous debut by a young ﬁlmmaker working out ofone of the world's most vibrant ﬁlm com- munities. Ma Vie[...]spectacularly vivid colour montage — an over-the-top homage ofsorts to the over-the-top works of pho- tographers Pierre and Gilles — which seemi[...]nd, modern, middle-class housing development with the lurid motifs ofa ’5os Technicolor musical. It i[...]he is female, that it is his birthright to dress in girls’ clothing, and that he will eventually fall in love with and many a mem- ber ofthe opposite sex[...], but before too long his behaviour is scorned by thethe neighbour’s son, and eventually forced to enrol in another school — a crisis develops within the family. His father, Pierre (Jean—Philippe Ecoff[...]ceives to be her soft line on their wayward son. The other link in this growing conflict is Hanna’s grandmother, who refuses to allow the prejudice and ostracism to affect her nurtur- I[...]I I I I I I I I I I I I I I I I I I I I I I ing of Ludovic. Herein lies one of the ﬁlm’s most poignant and tren- chant themes: the possibility, indeed the distinct likelihood, that Hanna and Pierre’s ge[...]TERs: ELMORE LEONARD, QUENTIN TARANTINO. BASED ON THE NOVEL RUM PUNCH BY ELMORE LEONARD. DIRECTOR or PH[...]ial and professional realms. Has this generation, the ﬁlm pointedly appears to be ask- ing, got it al[...]aims to tolerance and liberalism, exempliﬁed by the signature scenes ofhealthy and hearty upwardly-mobile families conﬁ- dently makingtheir way in their model community. Ludovic is less a product of these skewed values than he is its hapless and un[...]best when here’s a line injackie Brown Twhich, in a way, sums up the mood of Quentin TarantinO’s adap- tation of Elmore Leonard’s novel (Rum Punch). Ordell Robbi (Samuel L. Jackson) is meeting Jackie Brown (Pam Grier) in a black neighbour- it snakes its way through the tan- gled web ofdomestic and social conﬂict, and the ultimate tragedy of parents and children who must hood bar during a r[...]r innate behavioural episode’ Theyyre alone bar the bar' instincts to the rules and conduct ofa rigid social orderthat seeks to quash individuality in the interests of conformity and respectability. Foras long as the drama remains within the walls of this suffocating but all-too-vivid I I I I I[...]indeed a handsome I woman. Ordell shakes his head in I wry amusement and says in his : black badass way: “I bet if you I came[...]ay night, I you’d need nigger repellant ...” The I : tone ofthe language is perfectly I typical ofthe ﬁlm, a tale set in the I underworld of Los Angeles in the I I I I I I I I I I I I I I I I I I I I I I I I I[...]omestic setting, Ma Vie en Rose is involving and, in the best sense ofthe word, melodramatic. The performances, particularly those 705' There is[...]and Michele Laroque, are immedi- ate and direct in their meaning and confuse its central characters, bar one: Max Cherry (Robert Foster). Morality is not the issue so much as the law, loyalty and greed. Van- ity takes a peek, too, but the central story is ofan unmarried intent, yet understated. Less successful, however, are the plethora ofsupporting charac- ters, who are mostly relegated to broad and hideous caricature: the black woman, who at 44 has ever- decreasing choices in life. She takes what she can. She is a stew- uptight and sexually-repressed devout Catholics next door; the sleazy playboy across the street who hides behind bushes to avoid an encounter with a ‘homo’. These characters, which the ﬁlm merci- lessly exploits for parodic effect,[...]disappoint- ardess on a small airline that skips in and out of Mexico, which means she has a chance to bring in some illegal cash for the gunrunning Ordell Robbi. when the feds catch her on a trip, she saves herskin by se[...]tter than that: she can sting not just Robbi, but theof half a million dollars. This black female heroine, while ﬂawed, is impressive as a smarter schemer than the rest of the crims, and even smarter than ingly, however, the screenplay ﬂounders in its ﬁnal act. The family, now jobless, outcast and on the verge ofself-immolation, packs up house and heads[...]ympathetic single mother and her tomboy daughter. The resolution is rich in promise, but it is a contrived escape that is far too obvious for the ﬁlm’s own good. <5 PAUL KALINA CINEM[...]
	the special task force cops, headed by Ray Nicolet (Michael Keaton). Much will no doubt be made of these elements on talk shows and in journals: “Look at this: a middle aged black si[...]nd you can argue between yourselves over which is the better ﬁlm.) That source novel is evident in some ofthe longer- than—Tarantino scenes heavy with dialogue, but they never drag. Nothing in this ﬁlm drags: it’s taught with dramatic tension, tem- pered and ﬁlled out with plenty of sardonic humour, as well as a con- siderable heart, which seems odd in the context, but gives the ﬁlm its long-term life. The fact that Jackie Brown is ﬁuenﬁn Tarantino. such a handsome but unattached woman provides the setting for the sexual/romantic undertones that drive the motivations oflackie Brown’s ally in the story, the bonds bailman, Max Cherry (Robert Fos- ter). Now,[...]man romancing a middle-aged black crook? Which is the greater sur- prise: that it’s touted as a major[...]believe this attraction between them; it turns on the credibility and complexity of both characters, deﬁned for us early on. Max is the only character in the ﬁlm who remains ‘clean’ ofthe cor- ruption and greed that drive all the others — some ofthe special force CINEMA PAPER[...]ply-dressed, pony-tailed dude ofa gun run- ner is the dark sun around whom the planets revolve: Melanie (Bridget Fonda) is a blo[...]p, where a comatose young black female lounges on the sofa, unintroduced, except to Louis Gara (Robert De Niro), a bank rob- berjust out after four years in prison. This is yet another De Niro, after all th[...]h a hang-dog expression but a fatally-short fuse. The idiosyncratic nervous ticks are absent, the character beams out of him, the eyes speak ofconfusion, fear and a modicum of bravado. Fonda ﬁnds her character, but it takes[...]man; it's a compleat performance, peaking perhaps in what may be the shortest sex scene on ﬁlm, and the most droll. This is Tarantino territory, but his camera is much steadier: his approach is a blend of classic ﬁlm techniques and personal ﬂourishes — not to mention his punchy use of music, often juxtapositioning source music while[...]scenes for great effect. Many scenes, especially in the ﬁrst halfofthe ﬁlm, are taken in simple, eloquent shots. The camera is still as it watches the action. In other scenes, always crucial and dra- matic, the point ofview is the boot ofa car, looking up, or from the back seat ofa van where Ordell and Louis are heavy in confronta- tion in the front. We also observe Ordell from the back, watching his thinning but long and straight[...]couch during a critical phone conversa- tion. All of it. These, and the use (once) ofa split screen, and (three times) of[...]re technique tools that Tarantino uses to keep us in the critical balance between prediction and surprise, on the edge of a smile but with a sense of fear and foreboding in our guts. (ﬁt ANDREW L. URBAN BANDWAGUN DIRE[...]N DISTRIBUTOR: DENDY. USA 1997. 35MM. 103 Mms. s in life, it is in the nature of Amusic to draw a bunch ofdis- parate individuals together, almost against theirwill, and put them in a van for a very long period oftime, Bandwagon i[...]hybrid. It looks like a low-budget explo- ration of regional subculture made by someone who knows the terri- tory, but it is packaged in a conventional narrative, made by someone who knows the trajectory. Writer-director John Schultz is the former drummer of The Con- nells, a staple ofthe US college market, and he wrote the ﬁlm while directing The Making of/urassic Park for Steven Spielberg. The cin- ematography and sound design of Bandwagon has a grunge asthetic: it is hard, dark, wet and sharp, and incorporates the ‘blue look’ of indoor ﬁlm used outdoors. it has the look and feel of a low-budget ﬁlm, but is set ﬁrmly within the structure ofa mainstream movie. Schultz's script is witty and well-observed. The Circus Monkey band members engage in a thick, often cynical verbiage relieved only by the silent Linus (Doug MacMil- Ian) and his Sphinx-like utterances. The general discourse is lazy and understated and pep[...]Wynn?”, someone asks. “He's out there between the Tangerine trees and marmalade skies” is the reply. It is a recurring characteristic of the grunge ﬁlm that the characters physically inhabit a space where they[...]en violence. Charlie Flagg (Matthew Hen- nessy), the constantly-enthused, compulsively-theorizing drummer, is the founding force ofthe band, and provides the garage where not only is smoking forbidden, but snaclcs and drinks inthe mother smiles and 35
	36 - . Films co/zti/wed provides while the sister screams and viliﬁes. Tony Ridge (Lee Holmes), the shy, Morrissey-like lead singer, will only perform in the cupboard. “It is no good”, he says to Charlie[...]ly comes out ofthe cupboard but turns his back to the audience. He writes the lyrics, which, it becomes apparent, are all written about a girl called Ann. When Ann appears, she has the effect ofthe coke bot- tie in The Gods Must Be Crazy. Eric Ellwood (Steve Parlavec- chio) is the quick-tempered bass playerwho needs to learn better gun etiquette. Wynn Knapp (Kevin Corrigan) is the lead guitarist who, appearance-wise, puts one in mind ofa white Jimi Hendrix, ifthat is possible. The most charismatic member ofthe team, however, is the largely silent road manager, Linus Tate, played by Doug Macmillan, real-life lead singer ofThe Connells, the band on which the ﬁlm is more than possibly based. He spends review most of his time studying a heavy tome, the contents ofwhich are revealed only at the end. Linus is something ofan oracle, a high priest of road management, lend- ing credibility to the band by his sheer presence. At one point he enters the room unannounced, silences a humming cymbal and disappears. The life ofthe band is certainly not glamourized. They stew in their own juices and eat in nasty cafes, lugging around their Marshall stacks[...]s them “Circle Monkey”. They do have a moment of glory when, stranded by the side ofthe road, the bass player ﬁxes the van, the motor turns, and for one glori- ous moment they hear themselves on the radio. Theyjump victori- ously on the lonely road until the car battery is extinguished and they wilt in silence. The band must learn to cope with each other, confront their own demons and make that choice of any successful band. Circus Mon- key is not only the name ofthe band, but a metaphor for the con- dition the band hopes to avoid. They do not want to be purchased by a record company just because the suits ﬁt, but they are sick ofthe tortuous practicalities of indepen- dence. The record company executives appear rather too cliched, and the band’s choices rather too predictable. These sort of stereotypes are disappointing in an otherwise cleverly written ﬁlm and could have been easily avoided. The soundtrack of Bandwagon is certainly one of its strongest points, and it wouldn’t be surpris- ing ifthe music took off in its own right. It will be an interesting addi- tion to the rock-road-grunge movie genre. Think of it as Spinal Tap for the Clerks generation. (3: MICHELLE RYAN DIRECTE[...]MARK TURNBULL. SCRIPTWRITERI LAURAIONES, BASED on THE NOVEL BY PETER CAREY. DIRECTOR or PHOTOGRAPHY: GE[...]). AUSTRALIAN DISTRIBUTOR: TWENTIETH CENTURY Fox. AUSTRALIA. 1998. 132 MINS. eter Carey’s Oscar and Lucinda P was published in the year of Australia's bicentennial celebra- tions. It is intimately concerned with the question of identity and colonization, and with the relation- I I I I I I I I I I I I I I I I I I I[...]I I I I I I I I I I I I I I I I I I ship between the Empire and its satellites, or between the centre and the margins. Indeed, in the novel and ﬁlm, Oscar and Lucinda are outsiders to a considerable degree. The ﬁlm downplays the colo- nialist context and emphasizes, quite understandably, the love story between one who is tor- mented by the question of whether he ought to wager on the existence of God, and another who is fasci- nated by glass and[...]sts: their shared status as outcasts — at least in a symbolic sense, as marginal ﬁgures; their love of gambling and, more impor- tantly, wagering, in Blaise Pascal’s sense (that is, wagering as a matter oflife and death or as a matter of salvation). The ﬁlm explores their meeting in Australia against a background of colonial expansion. Oscar thinks ofa plan by which his love of Lucinda can be demonstrated. He decides to build[...]erritory— that is, Abo- riginal territory— to the settlement at Bellingen. This is the stuff ofa Werner Herzog ﬁlm, and there are nods[...]s Fitzcarraldo (1982) here, with its highlighting of grand but ill-fated aspiration and of the extent to which the boundaries between passion and madness can be blurred. Director Gillian Armstrong was clearly attracted to the grandeur of Oscar's idea, to the cinematic possibilities and to another touching story ofstar- crossed lovers with elements of passion, grandeur, heroism and tragedy. The ﬁlm carefully introduces each ofthe characters. Oscar (Ralph Fiennes) associates the sea with death from a very early stage (the death ofthe mother); Lucinda (Cate Blanchett) doe[...]for its strength. So, Armstrong weaves a pattern of contrasts out ofthese and other leitmotifs. Anot[...]associates gambling with religious experi- ence; in otherwords, his understanding of religious faith is informed by Pascal’s emphasis on the radical uncertainty of religious CINEMA PAPERS 0 MARCH 1998
	beliefs which are underpinned by the need to wager one’s whole life on an unknown bu[...]tension ofher unorthodox self, her eccentricity. The narrator in the ﬁlm (Geof- frey Rush) also turns out to be a gambler ofsorts. He is aware ofthe fact that the union oftwo gamblers produced him albeit indirectly (across the Span ofa few genera- tions). He is the distant progeny of two gamblers, one “obsessive", one “compulsive”, as he himself informs the viewer. The ﬁlm is also concerned with a key element ofthe novel’s struc- ture, namely the genealogy of storytelling or the genealogy of narrative. Carey takes great care to highlight a continuous tradition of narrative from the time, at least, of Oscar and Lucinda, and ofthe nar- rator’s grandfather, to the present. In other words, Carey's novel is an afﬁrmation ofthe narrating func- tion even as it subverts some of the pretensions ofnarrators in ﬁction. For example, Carey is clearly fond ofstorytellers, perhaps because of their vivid imaginations and magi- cal qualities (when seen in the context of mythology and myth- making), but he is also suspi[...]te that this narratological irony is largely lost in the ﬁlm. The ﬁlm’s narrator rarely seems to be as playful or as self-reﬂexive as Carey’s narrators. The cost ofthe change is notable: the ﬁlm’s narrator takes himself far too seriousl[...]Lucinda (Cate Blanchettl. Oscar and Lucinda. So the ﬁlm is given a very different ' emphasis and,[...]erlooks or ignores a number ofquestions that make the novel so challenging: questions about the selective rendering of historical stowtelling, of blind spots in whitewashed narratives, of . preferences on the part ofstory- tellers which betray racist assumpt[...]ible reconstruction ofthe story ofthe two lovers; the ﬁlm focuses on the story ofthe lovers. Much is lost in the translation. Notwithstanding these eva- sions, absences or exclusions, the ﬁlm is certainly vivid and affecting. Certainly, the scenes ofthe glass church being transported down- stream are striking and memorable - no less so that the scene ofa ship being dragged through thethe camera dwells on the two lovers with great affection; many scenes are[...]mysteriously, suddenly and fortuitously; indeed, the direc- tor’s love ofthese outcasts is almost palpable in countless frames. They are captured in many close-ups; and the understatement is welcome. The ﬁlm is quite long (slightly too long, perhaps, given the exclu- sions, but only slightly); in general, however, the tempo is measured carefully, and the marriage of sound and image is often stirring and thought-provoking. There are less—satisfying aspects in the ﬁlm: Carey’s novel was intended to stir hones[...]pecially its violent, cruel and bru- tal aspects. The novel was partly intended to highlight the plight of the indigenous people ofthis coun- try in the era of violent colonization. The ﬁlm’s representation ofthe bar- baric and unnecessary slaughter of indigenous people, it must be said, does not transcend mere tokenism. In one short scene, the only scene really in which the violence is focused upon, the ﬁlm shows a group of Aborigines being killed by Oscar’s men (much to his dismay). The camera descends as it focuses on the last embers oflife ebbing out oftheir young, twit[...]compromised somewhat by its brevity. It is as if the ﬁlmmakers felt that they had to include somethi[...]p it, to make it an integral part ofthe ﬁlm’s the- matic trajectories, in the way that this theme is woven into the trajec- tories ofthe novel. This is a great pity, for it detracts from the ﬁlm’s otherwise laudable afﬁrmation ofthe ﬁgure of the outcast, the inhabitant ofthe margins. Indeed, there was a great opportunity in this respect to say something intelligent and detailed, something honest and profound, about the status of real outcasts and marginalized ﬁgures in this country today. However, in other respects, the ﬁlm is an important one. It signiﬁ- cantly ex[...]marginal places and spaces; it uses colour coding in evocative, if sometimes predictable, ways (for example, black and grey in Oscar’s childhood home, dull shades in London and Oxford; brighter hues in Australia); Fiennes, as Oscar, actually has the “scarecrow” look that Carey often attributes[...]anchett, as Lucinda, has a touch ofwildness which the character requires; the visual emphases on water, glass, stream and structure are often deeply satisfying within the ﬁlm’s iconography; and the scenes with the glass church, an embodiment of Oscar’s passion and madness, are unforgettable. The ﬁnal scenes are quite poignant, with just the right measure ofirony. This should be one ofthe high- lights of the year. (3 RAYMOND YOUNIS 37
	[...]STORY av: MMWELL GRANT & STUART BEATTIE. DIRECTOR OF PHOTOGRAPHY: DAVID BURR. PRODUCTION DESIGNER PETA[...]STRALIAN DISTRIBUTOR: ROADsHow FILM DISTRIBUTORS. AUSTRALIA. 1997. 35mm. T his latestAustralian venture into[...]something ofa disappointment. By trying to throw in all the right ingredients, it ends up as an embarrassingl[...]lm, pitched too obviously at an American market. The story is simple: young Billy MacGregor (Jamie Cro[...]e house — he died some years earlier— so most of the heavy work around the farm is done by the Aboriginal farmhand, Mick (Tony Briggs). When a m[...]es to care for it. Mick informs him, though, that the joey won’t survive without its parents, so Billy, under the cover ofnight, pops Joey in his backpack and hops on the train to Sydney to ﬁnd the kidnapped roos. Once in Sydney, he meets the requisite composite ofwacky and colourful charact[...]efforts to reunite Joey with his folks. Included in the comple- ment is the rich and eccentric Sylvia (Ruth Cracknell), who runs an animal hospital; the new American ambassador, Mr Ross (Ed Begleyjr); his bored daughter, Linda (Alex McKenna); and the very two-dimensional Kanga- Catcher (Harold Hopkins), the villain ofthe piece. lfonly everything in this ﬁlm I I I I I I I I I l I I I I I I I l I[...]I I I I I I I I I I I I I I I I I I I I I I I I review wasn’t so obvious. Arguments about it being a[...]who end up helping Billy, are nowhere to be found in the Media Information Kit I I I I I I I I I I I I I[...]I I I I I I I I I I I I I I I I I I I I I I I I THE WIGGLES MOVIE DIRECTED BY DEAN CovELL. PRoDucER:[...]AN BUUREN. CHOREOGRAPHER: LEANNE HALLORAN. Music: THE WIGGLES AND JOHN FIELD. CAST: ANTHONY FIELD (ANTHONY, THE BLUE WIGGLE), GREG PAGE (GREG, THE YELLOW WIGGLE), IEFF FATT (JEFF, THE PURPLE WIGGLE), MURRAY COOK (MURRAY, THE RED WIGGLE), TONY HARVEY (WALLY THE GREAT), LEEANNE ASHLEY (DOROTHY THE DINOSAUR). AUSTRALIAN DIsTRIauToR: TWENTIETH CENTURY Fox. AUSTRALIA. 1997.83 MINS. we all know about exploitation cinema, right? Blood, guts, sex, nubile teens in compromising positions in cheap and nasty prod- uct aimed straight at a nic[...]ct concepts such as artistic quality or longevity of appeal. It has no sex (ifyou except the undoubted appeal of Dorothy the Dinosaur), no violence (ifyou turn a blind eye to the odd pratfall), and absolutely no nubile teens (though The Wiggles. __ The Wiggles Miige. , supplied to ﬁlm reviewers. Could it be that they were inserted into the script at a very late stage to help lift the lacklustre and formulaic screenplay? Am I soundingtoo cynical? I think not, because the mercenary “Let’s make a family ﬁlm and aim it at the American market” ideal per- meates this whole production, and subsequently robs it of any human- ity, warmth, individuality and respect for its audience that it might have had. (3 TIM HUNTER the pre—pubescent dancers are a sprightly bunch), but The Wiggles Movie is without question a piece of exploitation cinema. And, what's more, it exploits its market with a ruthlessness of which Roger Cor- man would be proud. As any Australian parent with a child born in the past ﬁve years or so knows, The Wiggles (Murray Cook, Jeff Fatt, Anthony Field, and Greg Page) are the biggest thing to happen in pre-school-age chil- dren’s entertainment local[...]le for Jeff, blue forAnthony and yellow for Greg, the lead vocalist) and their wax-museum grins, The Wig- gles are the apotheosis of“nice” parentally-approved entertainment software for parents who have lost faith in Saturday-morning cartoons on the telly. Bung in a The Wiggles video (and plenty do; Wake Up /eﬂ‘, their 1996 release, sold 12o,ooo units in its ﬁrst month) and you’re guaranteed of an extra 47 non-vio- lent and non—judgemental minutes in bed. For this, The Wiggles are to be praised. But for their debut motion picture they are to be damned. The Wiggles Movie is a triumph of niche marketing over virtually every other element of contempo- rary ﬁlmmaking. Technically, narrativ[...]y, it is (to put it mildly) undistinguished. Even the music is a disappointment. Adults have always been able to take some solace in the fact that The Wiggles had a solid grounding in rock ’n’ roll, and were unafraid to dip into other musical idioms in search of a catchy riff (in fact, much oftheir success with parents has rested on a nostalgic appeal to the fact that Fatt and Field played together in 19805 pub—rock heroes, The Cockroaches). But much ofthe music here is recycled (and not in the post-modern sense in which much ofThe Twist?" are known and loved by two- and three-year-olds across the nation. And who could ever forget the rollicking sounds of “D.O.R.O.T.H.Y.”? The Wiggles Movie is, in a sense, a “greatest hits” collection, with pictures. In such a package, does plot matter? Not much. Three[...]ch things, and tend to prefer their drama to come in short slabs (there is one rule ofthumb that sugge[...]measures roughly one minute for each year). So if The Wiggles Movie is loud, colourful, disjointed and ultimately rather pointless, it is unlikely to suffer in the eyes of its target audience one little bit. The Wiggles may or may not be an astonishingly cynical crew. In point offact, they seem absolutely charming. Yet[...]success. They appear to have neglected to address the fact that few parents will send theirthree-year-old chil- dren off to see a movie alone, regardless of its innocuousness. Perhaps it is a sign oftheir w[...]mitment to their audience that they have eschewed the usual sops to adult viewers (in- jokes, star cameos, sophisticated verbal or musi[...]aybe ensur- ing parents will be as stultiﬁed by the movie as their young children will be transﬁxed[...]was actually fright- enedl). And what better way of ensuring the full exploitation ofthe most lucrative market of all: the parents who just want to sleep in on Saturday morning. Who's exploiting whom[...]
	[...]x, ILLUS., RR? 545 ast year’s controversy over the L unathorized Germaine Greer biography centred on whether writers have the right to pry into the lives ofthe living. The enter- tainment industry has tended to be somewhat unconcerned about this issue, given the seemingly-insa- tiable and largely-unquestioning[...]ustralian author John Baxter has had some success in this vein with books on Federico Fellini, Ken Ru[...]ofSpartacus: At thirty-two, Stanley Kubrick is the youngest person ever to direct a Hollywood epic. Kirk Douglas, thethe end ofthe ﬁrst week. On a weekend's notice, Kubrick, known for little more than a low-budget crime ﬁlm, The Killing, and a First World War drama, Paths ofGlory, sud- denly found himselfin charge of a $12 million enterprise [...] But ifthe experie[...]Kubrick shows no sign ofit. He has already ﬁred the leading lady and infuriated Kirk Douglas by taking the ﬁlm at his own deliberate pace. The star has an uneasy feeling he’s hired the wrong man. Hoping for a kid he can push around, he’s found him- self saddled instead with a ﬁlm- maker of steely resolve who sometimes seems almost to rival him in ego and stubbornness. [p.21 Perhaps Kirk Douglas[...]work better and rung up people to ﬁnd what sort of director Kubrick was during the making ofhis previous ﬁlm, Paths ofGlory. Then[...]ly mistake. But hold on: Wasn’t Kirk Dou- glas in Paths ofGl0ry? Didn’t he spend months on location with Kubrick? Wouldn’t he have known exactly what sort of director Kubrick was before deciding to use him t[...]’t whatlohn Baxter has written total nonsense? In fact, Baxter even goes on to contradict himselfon[...]las balked at replacing Mann with Kubrick because the latter was an “ingrate [...] I asked him to do[...]cts as their subject's age right. Mann was ﬁred in March 1959. As Kubrick was born on 26 June 1928, that means he was 30 at the time of being hired, not 32 as Baxterwrites. Sadly, much[...]this sloppy level. Baxter appears more interested in going for his idea ofdramatic storytelling than sticking to the/his facts. On page 13, he writes: Apart from his two early crime thrillers, Killer’s Kiss and The Killing, Kubrick never made an American ﬁlm, no[...]ire, Kubrick’s ﬁrst feature, was shot and set in California. So, let’s make that three American-based ﬁlms. In fact, every ﬁlm Kubrick made in the USA was set in the USA. Even more striking is the fact that ﬁve of Kubrick’s next nine features were wholly or partly set in the USA, even though they were CINEMA PAPERS - MARCH[...]I I I I I I I I I I I I I I I I I I I I all made in the UK. So Baxter’s point is wrong-headed. In fact, what other director in history has been so obsessed with recreating his home country in ﬁlms when living and working elsewhere? Baxter[...]ause Kubrick had invested so much time and effort in Barry Lyndon, its commercial failure, the worst ofhis career, depressed him acutely. [p. 295] One turns to the notes for this chapter (“Kubrick inin his life, Kubrick made a decision that to live and work on his own terms was worth the price ofostracism. [p. 364] Apart from Baxter's h[...]y whom? Baxter claims Kubrick declined to direct the script ofTerry South- ern's Blue Movie (a witty novel dedicated to “the great Stanley K"), because Kubrick rightly decided that he had nei- ther the temperament for porn nor the patience to subjugate his invention to the rigid demands of erotic ritual. [p. 195] As Baxter again gives no[...]elepathically. Photograph captions also receive the Baxter imprimatur: Kubrick receiving, with his us[...]thout success to talk Kubrick round to his vision of5partacus. But Baxter has absolutely no idea what[...]ps whimsically-intended) inventions have no place in a book intended for adults. If all this were not enough, there is Baxter the insightful and poetic wordsmith: That[Kubrick] should come at the end ofhis career to make Eyes Wide Shut, a ﬁlm[...], a lens can become a mirror, reﬂecting back to the voyeur an image of himself. lp-14] Leaving aside Baxter hasn’t seen Eyes Wide Shut and has no rightto discuss the “ﬁlm” (how does he know how it will end up?[...]s, looks through a camera lens. No matter how dim the light, there is never a reflection of the director in the lens. (Of course, if Kubrick were in front ofthe camera, looking back, and thus maybe seeing a reﬁection, he is no longer in the position ofvoyeur.) Baxter’s slick-sounding quo[...]scorr MURRAY SILIIIE Iefeat W a r j CINEMA AND THE GREAT WAR ANDREW KELLY, ROUTLEDGE, Lonoon AND Ne[...]zx, RRP S110 orld War I seems to be grip- W ping the imagination ofthe late 2oth century more than any other conﬁict (cfall the WWI ﬁlms in preparation or awaiting release). Whether it is because that war is seen as representing the death ofa nobler era and the start of rapidly-disintegrating humanity, whether it be th[...]lm historian”, has sought to record and analyze the cinematic treatment ofthis war, from the 1914 anti-war Ned med Voabnene (Lay Down YourArms[...]1937), Paths ofGIOry (Stanley Kubrick, 1957) and, the author’s favourite, All Quiet on the Western Front (Lewis Milestone, 1933). When Kelly sticks to the histori- cal and cultural facts, he is always interesting. His account ofthe production of Paths ofGlory is particularly revealing, as are his chapters on the less well-known ﬁlms, such as those made by the defeated Germans. His comments, too, on the preponderance ofWW\| ﬁlms being anti-war in perspective are reassuring to all humanists. Wher[...]g. On p. 75, for example, he conﬁdently writes "the brutality of war has always been portrayed best in monochrome", which is an extremely interesting as[...]s it. This would have made an excel- lent chapter in itself. Equally, ofloseph Losey’s King and Coun[...]ifting moments; Paths ofGlory ends on a mes- sage of hope, King and Country with an old general in his car. The condemnation ofwar is just as strong, but the humanity is absent. [p. 180] This is most[...]
	[...], Antony Ginnane, Gillian Armstrong, Ken G. Hall, The Cars thatAte Paris Number 2 (April 1974) Censorsh[...]Roeg, Sandy Harbutt, Film under Allende, Between the Wars, Alvin Purple Number 3 (July 1974) Richard B[...]n Papadopolous, Willis O'Brien, William Friedkin, The True Story of Eskimo Nell Number 4 (December 1974) Bill Shepher[...]erner Herzog, Between Wars, Petersen, A Salute to the Great lVlacArthy Number 5 (March-April 1975) Albi[...]x Lemon, Miklos Jancso, Luchino Visconti, Caddie, The Devil's Playground Number 10 (Sept-Oct 1976) Nagi[...]obb, Samuel Z, Arkoff, Roman Polanski, Saul Bass, The Picture Show Man Number 12 (April 1977) Ken Loach[...]ling, Piero Tosi, John Oankworth, John Scot, Days of Hope, The Getting of Wisdom Number 13 (July 1977) Louis Malle, Paul Co[...]eanine Seawell, Peter Sykes, Bernardo Bertolucci, In Search of Anna Number 14 (October 1977) Phil Noyce, Matt Ca[...]hmer, Terry Jackman, John Huston, Luke's Kingdom, The Last Wave, Blue Fire Lady Number 15 (January 1978) Tom Cowan, Truffaut, John Faulkner, Stephen Wallace, the Taviani brothers, Sri Lankan film, The Chant ofJimmie Blacksmith Number 16 (April- June[...]blom, John Duigan, Steven Spielberg, Tom Jeffrey, The Africa Project, Swedish cinema, Dawnl, Patrick Nu[...]lle Huppert, Brian May, Polish cinema, Newslront, The Night the Prowler Number 18 (Oct-Nov 1978) John Lamond, Son[...]Career Number 21 (May-June 1979) Vietnam on Film, the Cantrills, French cinema, Mad Max, Snapshot, The Odd Angry Shot, Franklin on Hitchcock Number 22 ([...]onalism, Japanese cinema, Peter Weir, Water Under the Bridge Number 27 (June-July 1980) Randal Kleiser, Peter Yeldham, Donald Richie, obituary of Hitchcock, NZ ﬁlm industry, Grendel Grendel Gre[...]a, Stephen Wallace, Philippine cinema, Cruising,, The Last Outlaw Number 30 (Dec 1980-Jan 1981) Sam Ful[...]rantrethought, Richard Lester, Canada supplement, The Chain Reaction, Blood Money Number 31 (March-April 1981) Bryan Brown, looking in on Dressed to Kill, The Last Outlaw, Fatty Finn, Windows‘. lesbian as villain, the new generation Number 32 (May-June 1981) Judy Dav[...]Swinburne, Cuban cinema, Public Enemy Number One, The Alternative Number 33 (June-July 1976) John Duigan, the new tax concessions, Robert Altman, Tomas Gutierr[...]el Rubbo, Blow Dut, 'Breaker’Morant, Body Heat, The Man from Snowy River Number 37 (April 1982) Steph[...]Jacki Weaver, Carlos Saura, Peter Ustinov, women in drama, Monkey Grip Number 38 (June 1982) Geoff Bu[...]r, Nonivegian cine- ma, National Film Archive, We of the Never Never Number 40 (October 1982) Henri Safran[...]Wendy Hughes, Ray Barrett, My Dinner with Andre, The Return of Captain Invincible Number 41 (December 1982) lgor[...]ader, PeterTammer, Liliana Cavani, Colin Higgins, The Year ofLiving Dangerously Number 42 (March 1983)[...]lan Pringle, Agnes Varda, copyright, Strikebound, The Man from Snowy River Number 43 (May-June 1983) Sydney Pollack, Denny Lawrence, Graeme Clifford, The Dismissal, Sumner Locke Elliott's Careful He Migh[...], Simon Wincer, Susan Lambert, a personal history of Cinema Papers, Street Kids Number 46 (July 1984)[...]uvall, Jeremy lrons, Eureka Stockade, Waterfront, The Boy in the Bush, A Woman Suffers, Street Hero Number 47 (Aug[...]hael Pattinson, Jan Sardi, Yoram Gross, Bodyline, The Slim Dusty Movie Number 49 (December 1984) Alain[...]Borowczyk, Peter Schreck, Bill Conti, Brian May, The Last Bastion, Bliss Number 51 (May 1985) Lino Bro[...]Dusan Makavejev, Emoh Ruo, Winners, Morris West's The Naked Country, Mad Max Beyond Thunderdome, Robber[...]man, Menahem Golan, rock videos, Wills and Burke, The Great Bookie Robbery, The Lancaster Miller Affair Number 55 (January 1986)[...]ian Thompson, Paul Verhoeven, Derek Meddings, tie-in marketing, The Right Hand Man, Birdsvi/Ie Number 56 (March 1986)[...]nchard—Smith, John Hargreaves,-Dead-end Drive—in, The More Things Change ..., Kangaroo, Tracy Number 57[...]1986) Woody Allen, Reinhard Hauff, Orson Welles, the Cinématheque Francaise, The Fringe Dwellers, Great Expectations: The Untold Story, The Last Frontier Number 59 (September 1986) Robert Altman, Paul Cox, Lino Brocka, Agnes Varda, the AFl Awards. The Movers Number 60 (November 1986) Australian telev[...]an Polanski, Philippe Mora, Martin Arminger, film in South Australia, Dogs in Space, Howling III Number 62 (March 1987) Screen[...]conference, production barometer, ﬁlm finance, The Story of the Kelly Gang Number63 (May 1987) Gillian Armstrong,[...]ris Haywood, Elmore Leonard, Troy Kennedy Martin, The Sacriﬁce, Landslides, Pee Wee's Big Adventure,[...], James Clayden, Video, De Laurentiis, New World, The Navigator, Who's That Girl Number 67 (January1988[...]armusch, A Guide to What's Soviet cinema, women in film, 70mm, ﬁlmmaklng in Ghana, The Year My Voice Broke, Send A Gorilla Number 68 (Ma[...]t cinema: part 2, Jim McBride, Glamour, Ghosts 0f The Civil Dead, Feathers, Ocean, Ocean Number 69 (May[...]ey, Pleasure Domes Number 70 (November 1988) Film Australia, Gillian Armstrong, Fred Schepisi, Wes Craven, Jo[...]nuary 1989) Yahoo Serious, David Cronenberg, 1988 in retrospect, film sound, Last Temptation or Christ[...]Cannes '89, Dead Calm, Franco Nero, Jane Campion, The Prisoner of St. Petersburg, Frank Pierson, Pay TV Number 74 (July 1989) The Delinquents, Australians in Hollywood, Chinese cinema, Philippe Mora, Yuri Sokol, Twins, Ghosts .. of the Civi/Dead, Shame screenplay Number 75(September 1989) Sally Bongers, the teen movie, animated, Edens Lost, Pet Sematary, M[...]"Crocodile" Dundee overseas Number78 (March 1990) The Crossing, Ray Argall, Return Home, Peter Greenaway and The Coak..., Michel Ciment, Bangkok Hilton, Barlow an[...]dfellas, Presumed Innocent Number 82 (March 1991) The Godfather Part III, Barber Schroeder, Reversal of Fortune, Black Robe, Raymond Hollis Longford, Backsliding Number 83 (May 1991) Australia at Cannes, Gillian Armstrong, The Last Days at Chez Nous, The Silence of the Lambs, Flynn, Dead to the World, Anthony Hopkins, Spatswood Number 84 (Augu[...]tor 2: Judgement Day, Dennis O'Rourke, Good Woman of Bangkok, Susan Dermody, Breathing Under Water, Ca[...]FC part2 Number 86 (January 1992) Romper Stamper, The Nostradamus Kid, Greenkeeplng, Eightball, Kathryn[...]cinema, Steven Spielberg, Hook, George Negus and The Red Unknown, Richard Lowenstein, Say a Little Pra[...]8 (May-June 1992) Strictly Ballroom, Hammers Over the Anvil, Daydream Believer, Wim Wender's Until The End ofthe World, Satyaiit Ray Number 89 (August 1[...]tions, teen movies debate Number90 (October 1992) The Last Days ofﬂhez Nous, Ridley Scott: 1492, Stephen Elliott:[...]io Mangiamele, Cultural Differences and Ethnicity in Australian Cinema, John Frankenheimer's Year of the Gun Number 91 (January 1993) Clint Eastwood and U[...]Miller and Gross Misconduct, David Elfick's Love in Limbo, 0n the Beach, Australia's first films: part 1 Number 92 (April 1993) Reck[...]ge Miller and Lorenzo's Oil, Megan Simpson, Alex, The Lover, women in ﬁlm and television, Australia's first films: part 2 Number 93 (May 1993) Jane Campion and The Piano, Laurie Mclnnes and Broken Highway, Tracey Moffatt and Bedevil, Lightworks and Avid, Australia's first films: part 3 Number 94 (August: 1993)Can[...]mi and Reservoir; Dogs, Paul Cox, Michael Jenkins The Heartbreak Kid, ‘Coming of Age’ films, Australia's first films: part 4 Number 95 (October I993) l;ynn-Mane Milburn's Memories & Dreams, Eranklin on the science of ', previews, The Custodian, documentary supple--~_ rnent, Tom Zubricki, John Hughes, Australia's first ﬁlms: part 5 Number 96 (December 1993) Queensland issue: overview of film in Oueensland, early Dueensland cinema, Jason Donovan and Donald Crombie, Rough Diamonds, Australia's first ﬁlms: part 6 Number 97-8 (April 1994) 2[...]htning Jack, Richard Franklin on leaving America, Australia's first films: part 7 Number 99 (June 1994) Krzys[...]plement, Geoffrey Burton, Pauline Chan and Traps, Australia's first ﬁlms: Part 8 Number 100 (August 1994) C[...]supplement, Bernardo Bertolucci's Little Buddah, The Sum of Us, Spider & Rose, ﬁlm and the digital world, Australia's first films part9 Number 101 (October 1994) Priscilla, Dueen of the Desert, Victorian sup- plement, P. J. Hogan and Munel’-,s';lll,/e“d‘ ‘ Bent. Lewin and Lucky Break, Australia's ﬁrst ﬁlms: Pan 9 Number 102 (December 1994)[...]erson, Body Melt, AFC supple- ment, Spider& Rose, Australia's First Films: Part 10 Number 103 (March 1995) Li[...], Geoffrey Simpson, Heavenly Creatures, Eternity, Australia's First Films Number 104 (June 1995) Cannes Mania[...]by, Epsilon, Vacant Possession, Richard Franklin, Australia's First Films: Part 12 Number 105 [August 1995) M[...]osi, Jacqueline McKenzie, Slawomir ldziak, Cannes Review, Gaumont Retrospective, Marie Craven, Dad& Dave N[...]and John Maynard on All Men Are Liars, Sam Neil, The Small ll/lan, Under the Gun, AFC low budget seminar Number 107 (December[...]ller and Chris Noonan talk about Babe, New trends in criticism, The rise of boutique cinema Number 108 (February 1996) Conjuring John Hughes‘ WhatIHave Written, Cthulu, The Top 100 Australian Films, Nicole Kidman in To Die For Number 109 (April 1996) Rachel Griffiths runs the gamut, Toni Collette and Cosi, Sundance Film Festival, Michael Tolkin, Morals and the Mutoscope Number 110 (June 1996) Rolf de Heer tra[...]n Number 111 (August 1996) Scott Hicks and Shine, The Three Chinas, Trusting Christopher Doyle, Love an[...]2 (October 1996) Lawrence Johnston's Life, Return of the Mavericks, Oueensland Supplement Part 1, Sighting the Unseen, Richard Lowenstein Number 113 (December 1996) Peter Jackson's The Frighteners, SPAA-AFI supplement, Lee Robinson, S[...]Shakespeares Romeo and Juliet, Dean Cundey, SPAA: The Aftermath, Idiot Box, Zone 39 Number 115 (April 1997) John Seale and The English Patient, Nevvsfront, The Castle, lan Baker, Robert Krasker Number 116 (May 1997) Cannes '97 Preview, Samantha Lang's The Well, Kiss or Kill, Phillip Noyce and The Saint, Heaven's Burning. Number 117 (June 1997) R[...]nica Pellizzari, Aleka dosen't live here anymore, The Man from Kangaroo Number 118 (July 1997) Terry Ra[...]da Otto, Frank Moorhouse, Two Studios and a World of Difference lnbetween, Hawks and Ford Retros ectiv[...]l‘s Demon Dogs, Stephan Elliot at Cannes, Exile in Sarajevo, Japanese independent ﬁlm (December 19[...]vid Hirshfelder and Eric Serra, Mandy Walker: All in a Days Work, New Zealand ﬁlm[...]
	[...]Gump achieved exactly that for mil- lions around the world. And where is the evidence that humanity is missing in King and Country? The mix of points is also con- fusing. Why does Kelly refer to an old general in a car and what does it mean? is this evidence ofa[...]ness? Kelly is, understandably, very Eurocentric in his choice ofﬁlms. The only Australian feature to get a guernsey is Gall[...]ofview.” Kelly makes no attempt to explain why the ﬁlm takes a romantic view, ifindeed it does. Maybe there is a case for saying it has a romantic view of mateship, but “ofthe war”? And if Gallipoli is deserving of men- tion, what ofother Australian works such as[...], 1945)? A ﬁnal reservation about this book is the cost: an almost unbe- lievable $110. One can’t[...]book at so high a cost, though a few hours spent in a library readingthe his- torical sections might[...]t more can be said about Humphrey Bogart, an icon of classic Hollywood cinema as review enduring as Mount Rushmore, that has not already been written over the years? Plenty is the answer, if one reads Sperber and Lax’s com- prehensive and highly readable account of Bogart’s career and life in Hollywood since the 19305 till the ’5os; one ofthe original ‘city boys’ (according to Robert Sklar) who left his indelible mark on the cinema, popular culture and the mythology ofthe American popular imagination. Wh[...]ks on Bogart tend to focus on a particular aspect of Bogart the ﬁlm icon and particular stages ofthe actor's li[...]s Stephen Bogart’s memoir ofhis father, Bogart: In Search ofMy Father, Lauren Bacall’s By Myself (1980), Katharine Hepburn’s charming The Making of the African Queen (1987) and Jeffrey Meyer’s Bogart: A Life in Hollywood (1997) — the Sperber and Lax book tends to present a lively, well-researched global overview of Bogart’s life and screen persona. It is an ast[...]graphy ofthe actor that endeav- ours to delineate the complex nuances, tensions and enigmatic ambiguities of Bogart the person — the actor and cult ﬁgure ofcine- ma’s dreamlife w[...]line self-deﬁnition and exis- tential solitude. The book rarely slows down as an immense, multi- face[...]rformances, and his untimely death. ‘Bogie’, the American cult icon that has impacted on our cultural and psychic lives, is evidenced in so many complex and telling ways: from crime ﬁction (Lawrence Block), comic books, the cinema and most notably ﬁlm noir— Bogart’s notable performances in The Maltese Falcon (John Huston, 1941), Casablanca (Michael Curtiz, 1942), High Sierra (Raoul Walsh, 1941), The Treasure of The Sierra Madre (John Huston, 1948) and In a Lonely Place (Nicholas Ray, 1950) are central to the form. Television (sitcoms, private eye and police shows from the ’5os to the present day), popular music (rock ‘n’ roll,[...]Paul Fargier’s Play it Again, Nam) all suggest the centrality of Bogart as a cultural myth in contemporary life and countless media represen- tations. How many of us are familiar with Godard’s homage to Bogart in A Bout de Souffle (Breathless, 1959), with Jean-P[...]sing his mouth with his ﬁngers as he pronounces the word “Bogey” in a trance-like state in front of a movie still from The Harder They Fall (Mark Robson, 1956)? “Bogey" is also the name that the reclusive silent cinema actress and author Louise Brooks uses in her famous evocative remi- niscences ofthe actor and other ﬁgures ofthe goldern era of Holly- wood. Clearly, the posthumous Bogey cult is a dynamic, complex phenomenon rooted in the socio- cultural fabric of everyday life, particulany in the ’6os and early 70s, when cinema came of age (so to speak) with the feverish embrace of auteurism, the mush- rooming ofﬁlm clubs and screening societies on university[...]urpris- ing about Sperber and Lax’s substantial in-depth account of Bogart’s art and career is that despite its mas[...]nd chronological sweep ofthe authors’ material, the book does not become (as I read it) a dutiful chore. In other words, unlike the more bland ‘Moby Dick’ epic biographies of movie actors or directors, this book does not disappoint in terms of readability. It is eloquently written and quite absorbing in its non-didactic approach to its subject. The authors do not focus on Bogart, the movie celebrity as such, but wisely instead treat Bogart as the subject in the context of his own cultural zeitgeist. The Sperber and Lax biography is a collaborative effort where the authors did not meet for their mutual goal. Ann Sperber, who died in 1994, spent seven years researching closely Bogar[...]s about Bogart’s upper-class childhood (despite the appearance that his parents were remote, conﬁict- ridden and alcoholic), his stage- trained craftmanship in the ’3os and '40s, running battles with Jack Warner and the soulless working environment ofthe ruthless studio system, and his regrettable entan- glement with the McCarthy blacklist hysteria ofthe era. Sper- ber became interested in Bogart as a direct consequence of her research for her 1986 The New York Times bestseller Murrow: His Life and Ti[...]to Bogart’s liberal views, his stance against the 1947 House Un-American Activities Committee, and the FBI’s interest in him since the ’3os. What intrigued Sperber, amongst other thi[...]at odds with his non-conformist views. Eric Lax, the author of a 1991 bestselling biography ofWoody Allen, took over the project after Sperber’s death and fashioned the material in two years to complete the biography. The result is a fairly deﬁnitive portrait ofthe act[...]prenticeship; his struggles against poor scripts; the rough-and-tumble ethics ofthe Warner Bros. Studio[...]and innovative ﬁlm directors to work with; and the lasting achievement ofcreating a screen persona t[...]grity, but someone who always sought to transcend the roles he played in a career of 25 or so years. Bogart was very astute at exploi[...]a result ofa shrapnel wound during his Navy stint in World War I. Bogart was intellectu- ally restless — his chess set was always at hand for the breaks between the scenes on a movie set — morally upright, politi[...]more than any other Warner Bros. contract player in the ’3os, as we are reminded by Jerome Charyn in his entertaining and witty, part memoir-part chro[...]me dead-end kid like Leo Gorce. With High Sierra, The Maltese Falcon and Casablanca, Bogart, the movie myth, started to take place. Charyn pinpoints the turning point in Bog- art’s career with High Sierra: But the climate changed around 1941. Bogart’s face belonged to the Forties. That monkey's grin suddenly turned handsome. The tight, corkscrew body took on a sexual tone. It was an America of shadows, about to enter a war. And Bogart’s unconventional looks, his nervous ways, felt right. He appears in High Sierra, a killer again, mad Dog Earle, but n[...]ll interests us. There’s no James Cagney to get in the way. He befriends a crippled girl. And the Bogart who will enchant us is about to be born. H[...]has endured till now. \|t’s a face known around the world: it represents, amongst other things, the existential ambi- guities and nervousness of urban America as the site ofthe American dream. lfwe compare Bogart as photographed by George Hurrell in 1941 with Richard Avedon’s starkly minimalist photograph of 1953, we can clearly see the progressive advance ofthe actor's illness, but, equally signiﬁcantly, Bogart the person has emerged from the “studio-bio” stylized look, in which Hurrell’s focus was on Bogart, the screen creation. Sperber and Lax’s biography i[...]ld (a signiﬁcant dramatic and cultural presence in Hollywood cin- ema whose ﬁne work tends to get 41
	[...]nclothed emperor”, and at his doesn’t is not the resultofsloppy I proofreading, but ofmeticulous I SEEUND Enmml research as evidenced in this thor- ough study of Robert Wiene’s masterwork. A man after our own criticism of/ieservoir Dogs (Quentin Tarantino, 1992) as an M[...]BLISHERS, LoNDoN, 1997.883 PP., $35.00 HOLLYWOOD THE NEW GENERATION JAMEs CAMERON-WILSON, B.T. BATSFO[...]gly overrated” ﬁlm. And while Frank describes The Godfa- ther (Francis Ford Coppola, 1972) as a “triumph of hype over content and execution" and Bonnie and[...]79 PP., £6.99 Ofconsiderable interest to fans of B-features is the addition at the BLOOMSBURY Fll-M CLASSICS end Ofthe book of 25 B‘gIade JOHN D. MAcDoNALD, Btoomssurzv thrillers made in the heyday ofclh. PUBLISHING, LoNDDN, 1997, 182 PP., $16.95 ema when double bills were the hearts, author David Robinson dedicates many lines to the study of the title itself. co /2 [Zn cred u meretricious",[...]oked time and again), as well as Bogart himself. The biography sheds much ‘I’ light on Bogarrs formation as one slavishly follow critical fads. of the key screen icons ofAmerican cinema: it details h[...]ant relationship with Jack Warner and his studio, the inner workings of Hollywood, the many Originally published in New York, relationships with directors like _ r1[...]s Ray, Michael Curtiz and S be complete without the inclusion srmau TEo. an PuaLIsNING,LoNDoN,1997, Howard Hawks, amongst others, THE THRII-I-ER Fll-M GUIDE 0fBaby FGCE N€l$0r7 (Don[...]co- stars, producers and writers. It speaks also of Bogart’s increasing self-critical professionali[...]97, 1620 PP.,$11I.95 LOCAL HEROES A CELEBRATION OF SUCCESS AND LEADERSHIP IN AUSTRALIA ANN-MARIE MooDIE, PRENTICE HALL. SYDNEY, 1997, 3[...]BSLIIIE genre since so many ﬁlms embrace “We of Unexpected e”t‘3II3I“me”I 0rl8IrlallV PUb[...]ts and, ﬁnally, to contribute from a multitude of genres. Accord- ing to Alan Frank, author of Frank’s Althollgh b‘/ “O means del-'”I' towards a civil society. The authors, through Bogart’s own words and actions, have located 500’ however. if a mm makes the tive, Frank's 500 is an interesting pulse race a[...]UBLISHING, LoNDoN, 1997. 2114 PP., $16.95 Bogart in the context ofhis own ® KAREN Hoizsrgy psychology a[...]r Includes chapters written by Robyn deﬁnition of ‘thriller’ to accept such culture. Nevin and[...]0NDDN,1997,21J8 PP., $19.95 NO STRINGS ATTACHED THE INSIDE STORY OF JIM HENSONIS CREATURE SHOP MATT BAcoN, FOREWORD av ANTNoNv unlikely inclusions as Robin and the 7 Hoods (Gordon Douglas, Booka Receive? one key[...]IEN RESURRECTION 19294939 A.C. CRISPIN, BASED oN THE SCREENPLAY av Joss WHEDON, WARNER BOOKS, LoNDoN, I 1997, 276 m>., $12.95 I I I 1964) — the so-called rat-pack’s . . _ T in the '60s. His anti—hero tough-guy IaSI Comm ﬂmg OI he Bodyguard persona of laconic solitude and IMICkIaCkS0II’ 1993- WIIIC[...]lity can be Seen not only as a more likely to put the pulse into a result ofthe cinematic and literary[...]SHAFER, ROUTLEDGE, LONDON AND hard-boiled origins of his screen 500 proves an interesting, easy-to- N[...]A-2 guide which spans thriller ﬁlm history from the gangster movies ofthe 19305 to the contem- persona; signiﬁcantly, his iconic appeal has much to do with the ascendancy of popular existential- ism in American, English and BRITISH CINEMAS A CENTURY OF FILM IN NEW BY THE ACTORS AND FILMMAKERS I WHO MADE IT ZEIIINII BRI[...]128 PP., $614.95 OUINLANIS ILLUSTRATED DIRECTORY OF FILM CHARACTER ACTORS DAVID QDINLAN, B.T. BATsro[...]t, full credits, and seg- French popular culture In the 505. GEOFFREY B. CHURCHMAN, EDITOR IN CHIEF, IPL BOOKS, WELLINGTON NEw ZEALAND, 1997,[...]iven us a worthwhile‘ splendid biography ments ofﬁlm reviews drawn from a that does have fresh and signiﬁ- variety of sources contemporary to each ﬁlm’s respectiv[...]n Frank, whose PAUL Hmnono, an Puatrsums, LoNDoN, THE MAKING OF HIS MOVIES 1997, 76 I=I=., £6.99 I LIAVVENTURA[...]hings to say about their subject. They have taken the reso- nant raw material of Bogart's art and life and fashioned it into a I0[...]onal, and he makes no excuses for this, claiming in the introduction that “not all the blood in these Bogart is not a hagiography, IIOI a spIee[...]it is a book that contains much pages belongs to the ﬁlms — some I I I I I I I I I I I I I I I ofit is the result ofmy unfortunate I I I I I I I I I I I I I I First published in hardback 1985, new edition 1995. This is its ﬁrst paperback edition. THE ROAD MOVIE BOOK EDITED av STEVEN Comm AND INA RA[...]PP.. 5 34.95 valuable information about Bogart, the production histories ofhis movies, the sociocultural climate ofthe '40s and ’5os, and[...]an PuaLIsIIING, LoNDoN, . AN lMpARTlAl_ Sump T0 THE FILMS OF ELVIS ERIC BRAUN, B.T. BATSFORD LTD, LoNDoN, 199[...]tino who believe him to 1997» 79 PP» “-99 be the star auteur ofthe late 20th century may ba[...]
	‘an 8 inperformance momentum the actors are building and can create an intellectual rather than instinctive environment. The scene may be simply being read or moved, or you m[...]When “And Again” is sidecoached by yourself, the character who has just spoken repeats their line.[...]eir point home harder— it doesn’t matter how. The focus is to make clear the meaning ofthe line. You may sidecoach “And Again" two, three or four times until you feel satisﬁed the moment is clear and effective. \|f“And Again” is not called again the scene continues. Each actor can also sidecoach each other from within the scene. They allow the char- acter to ask “And Again" from that charac[...]ofview. This easy yet effective technique allows the scene to keep rolling, and allows the moments ofsigniﬁcance — the turning points, the release ofvital information, the moments of crisis, the moments of revelation — to have their full weight and charge. Thus, you can direct the scene toward the territory it needs to exist in with a simple phrase. When “And Again” is said, the person with the previous line knows instantly the scene requires more at that moment. So they confr[...]trigue more, defy more, evade more. They can keep in the action and remain as the character whilst the exercise charges the scene around them. in terms of our four essential ele- ments to a scene, it helps to activate each one. When “And Again” is said, the actors are able to re-hear what was just said, to re-digest the information, and reconnect to the process of com- munication. The exercise also allows actors the luxury — which they never get — to reclaim their line and its importance or relevance; time to allow the moment’s signiﬁcance to really ‘drop-in’ on a deeper level, thus rais- ing the stakes. in terms of reacting, once someone has said, “You're ﬁred!” three or four times in your face, with the relish gaining more bite each time, I defy any ac[...]ﬁnd themselves totally involved and motivated. In terms of revealing meaning, through your choice as directo[...]NEMA PAPERS - MARCH 1998 punch, you are allowing the actors to connect — whilst they are still in the scene — to the essence ofthe scene, thereby fulﬁlling its func[...]e and up to speed. Hints: You may need to remind the actors not to mistake volume for inten- tion. The[...]ggressive. You may also need to keep your eye on the actor, saying “And Again” from within the scene and make sure they are saying it from the character's mouth, not the actor’s. In other words, using our “You‘re ﬁred!" scenario, the character on the receiving end may say “And Again” three or so[...]lity increases; they rise slowly from their chair in shock at what has just occurred, their eyes narrow and ﬁx hard on the person behind the desk with all the power. You may after three or four or ﬁve “And Again”s still not get what you feel the moment requires. Fine. This means you may have to stop brieﬂy and alter the choice the actor is making, as the scene is not heading where it needs to go. For example, staying with our sce- nario above, the relish which became ampliﬁed over the four repeats of “You’re ﬁred!” may not serve the story. So you stop, consult with the actors and remind them of the cost to them- selves ofﬁring a close colleague and friend. Therefore, when you restart the scene, over the four repeats ofthat moment, not the relish but the pain now begins to be ampliﬁed during the line, the regret and the human cost. The scene now has a new trajectory because ofthis altered choice. When used by the actors, the “And Again”s should feel every much a part ofthe scene as the dialogue itself. in fact, it becomes extra dialogue. Beware actors us[...]actually objectifying themselves and slowing down the momentum and drive the scene requires. Each charac- ter is demanding clariﬁcation ofthe moment, not the actor. Use “And Again" whenever you need to in[...]precise commu- nication through giving each actor the chance to settle, orientate themselves and focus on the task at hand. ® in the next issue, we will explore fur- ther sidecoaching techniques that push the boundaries ofThe campaign was successful in achieving what it set out to do: that is, maintain the status quo regarding fed- eral funding for screen culture. Equally important, the campaign has, in receiv- ing a supportive response from the Minister, established a positive rela- tionship for ongoing discussion and communication. The lesson learnt from the Gonski campaign was that nobody can speak for scr[...]n ourselves; and that we must not place ourselves in a position again where our contribution to a heal[...]on industry can be overlooked or underestimated. The next challenge facing the screen culture sector is how to build on the lessons learned in the cam- paign, and how to ensure that screen culture continues as a major force within the ﬁlm and television industry. The Australian Screen Culture Indus- try Association (ASCIA) was born as a result. ASClA formalizes the national coalition ofscreen culture organizations which lobbied in the wake ofthe Gonski Report release. It has three ke[...]vide unique opportunities for Australians to work in ﬁlm, television and multi- media; and 0 Screen[...]esourced so that it can contribute effectively to the broader Australian screen industries. Full ASCIA[...]ions. Organizations and individuals which support the aims and objectives of ASCIA are eligible for associate mem- bership. AS[...]cki Sowry, Director, Media Resource Centre, South Australia; Simon Ambrose, Executive Director, Film & Televi[...]author, Chief Executive, AFI, and Interim Chair. The production industry and screen culture are inextricably linked. The connection between the success ofthe production industry and the services delivered by screen culture organiza- ti[...]igorously by ASCIA. ® —.-.1 17 documentaries The Conference seemed to offer the possibility of a new maturity for the documentary industry. It addressed in a mature way an increasing concern with more ﬂexible and more appropri- ate methods of support and market assistance, and a widening of horizons to include a diverse range ofpossible outlets and future venues and distribu- tion channels for the completed product. The comprehensive screening programme offered an oppo[...]epresentation. Notable guests functioning within the fabric of the Conference, and appearing on a multitude of panels both as chair and panel members, included:[...]nt for Michael Rabiger who was unable to attend. The range of women ﬁlmmakers included: British BAFTA Award-w[...]Trish Fitzsi- mon; Mitzi Goldman; Fiona Cochrane; recent ‘racer’ Olivia Rousset; and an extraordinary[...]h as Jeni Thornley. There is a refreshing return in many debates to analysis ofthe development ofthe[...]as a “metaphor for observed reality”. While the Documentary Conference in itselfdidn’t explore majorthemes in terms ofdocumentary expression, there was enough diversity in both the programme and the opinions offered to satisfy teams of academic researchers. Recreational possibilities included the opening evening presen- tations, Conference dinner, and night celebrations of indigenous culture underthe Story Bridge at Kanga[...]ngs ofwork provided by major distributors such as the Discovery Channel, and preview screenings of two timely new ﬁlms by David Brad- bury[...]
	44 in 15 inperspective to watch on the monitor and see how it works. The relationship started six years ago when Von Trier[...]ing with Von Trier. “Maybe I have a lighterview of life. Maybe I have more optimism. We create a kind of synergy.” I remember an interview recorded with Ingmar Bergman recently, where he said that in Denmark the ﬁlmmak- ers seem to talk to each other and co-operate more, while in Sweden each is working on his or her own, more isolated from each other. Morten Arnfred felt the greater competition when he shot his latest ﬁlm in Stock- holm. There, once you’ve directed a feat[...]mall country and we know each other”, he says. (The role ofﬁrstA.D. in Denmark, it should be noted, often involves more creative input than is generally the case in Australia.) With Kingdom II, the popular series returns bolder and more outrageous than before in testing the audience’s willingness to join in this trip into the supernatural, this rollercoaster ride in the bowels of Copenhagen’s largest public hospital, Riget (“Kingdom”). Where the ﬁrst four-part series built up its suspense gra[...]and visual hints ofsupernatural goings-on, ghosts in lift-wells and hor- rible secrets that must out,[...]grows into a deformed monstrosity, an embodiment of both good and evil, who chooses its own fate. Th[...]Moesgaard’s brush with alternative psychiatry; the staff betting on hospi- tal racers; and Moesgaard[...]his medical exam. And running through it all are the themes ofgood and evil, the cause of evil (ifl see evil, is it due to my eyes or to glasses I wear?), how to recognize it, the uncertainty ofthese distinc- tions, the beauty of that very uncertainty of whether something is evil, and what to do about it. The two dishwashers in the basement again function beautifully as a chorus com- menting on the goings-on above — the silliness that is maybe the evil. When a plate breaks, it is liberated from the eternal rounds ofbeing dirtied and washed. There are some hilarious parallels as the group-therapy session is inter- cut with the childish therapeutic games ofthe hospital consultants in the Masonic lodge. And our hypochon- driac, Mrs Drusse, whom we thought was leaving the hospital in the ﬁrst episode, is now back with good reason and back with a mission to save the “Kingdom”. She grows stronger and more central — a detective in touch with the spirits, who lets nothing stop her get to the bottom ofthings. Ernt-Hugo Jaregard (Helmer), who was memorable as the train conductor in Von Trier’s Europa (aka Zentropa), is as good as ever as the Denmark—hating Swedish doctor. The actor had worried to Von Trierthat the Danish audience would hate him, but the director assured him that, on the contrary, they would love him, and they did. Here, he no longer stands on the roof gazing across to the coast of Sweden, but instead vents his venom into the toilet bowl as he ponders his own health. lnter-Scandinavian rivalry is always a good source ofjokes. The series is not without its lyrical and human moments: Judith’s mater- nal love for her monstrous child; the child—like bumbling and tender- hearted Bulder’s love of his mother, Drusse. Where Helmer’s gentler side was allowed to come out more in the relationship with Rigmor (Gitte Norby) in the ﬁrst series, here it takes a differ- ent turn as the badger-dissecting Rigmor ﬁnally feels she’s h[...]an audience willingto suspend disbe- liefand join in the ride. Both Arnfred and Windeliav agree that Lars Von Trier’s approach to the actors is much more conﬁdent now than in his early ﬁlms. “He is a great manipulator", says Vibeke. “He is vew aware of what he is doing." She goes on to recall an incident on the set of Breaking the Waves when she knew that Emily Watson was very ne[...]as woman-to- woman told her how good she was. “The next morning Lars came to talk.l know when he hat[...]re and l don’t want her to know she is good”, the director told her. And he was right, adds the producer with a smile. in the beginning of Breaking the Waves, they never did any rehearsals on set. The French camera operator, with a 1,ooo-foot mag on[...]and-held, was told he had to ﬁnd a way to cover the actors. Then they realized he didn’t understand what Von Trier was saying. At one point, he wanted the Frenchman off, because, “He’s too good. I wan[...]Von Trier. Normally, says Arnfred, we never told the actors what to do, but shot scenes all the way through in one take — often 6-7 pages of script. Breaking had an 11-week shoot preceded by one week oftalking it over with the actors. Sometimes they would do 4-5 takes of an entire scene, but were always told to do it di[...]Denmark’s Radio TV studios dur- ingthe ﬁlming of Kingdom /I to get a rare video interview with Von Trier for a promo for the series on Japanese television channel WOWOW— th[...]dis- tracted by promotion, but can concentrate on the creative work. To this ﬁlmmaker trying to ﬁll the eco- nomic gaps, he was both pleasant and forthcoming. Windeliav, for one, is quite happy to continue the working relationship on his next feature, a musical, and on Kingdom I//. The one Von Trier ﬁlm neitherArn- fred nor Windelav[...]ll his Christmas ﬁlm, which he shoots 3 minutes of each year with the same actors, to be released in the year 2024. As for the real world of hospitals, Von Trier assured me that reality is much worse than anything he has con- jured up in Kingdom. ® 1 Ed: reviewed in “Postcard from Val- ladolid”, no. 114. Februa[...]24 Loud For their subjects, McCuaig found a gang of boastful boys on the beach and attended a Booze-cruise on the canal, where they found a group of girls. There’s a ‘vulture culture’ ofolder men who prey on the Schoolies, particularly the younger girls, and, in one case, we represented a boy who was raped on Schoolies' Week. “The idea of the documentary was not to be too preachy”, says McCuaig, and she left it to the viewer to decide. This writer was struck by how t[...]own decisions, but that they don’t always make the right ones and they definitely aren’t always adult enough to cope with the consequences. One of the girls Who attended 10 years’ ago now has a child of her own. She says she couldn’t stop her daughte[...]but that she’d want her to be aware. McCuaig: In the editing, l’ve watched these guys so many times[...]e my little brothers. lfl was to run into them on the street, I couldn’t stop myself hugging them. M[...]h it all with them. Advice to young ﬁlmmakers: The longer you can stay out of corporate- culture, the fresher your ideas. \|t’s been great to be able[...]o. It takes so long waiting to be heard that, by the time you do get your airing, it’s usually too late and you’ve lost your energy. The Loud Festival was a terriﬁc initiative. Getting film funding in Australia is a lot like winning the lottery. It’s getting even tougher if you have any form of film education. The ABC made a point of disqualifying those who knew how to handle a came[...]e films before (yet chose two people well outside the Loud age requirements). While the next lot of ‘Around the World Racers’ were being trained-up from scratch at the AFTRS over Christmas, I’d like to ask what the ABC is offering to film students who have just sp[...]tting them- selves through film school. Where are the programming Windows and the commissions for these filmmakers? ® CINE[...]
	ii 30 Winterbottom in Sarajevo who saw about 4oo children. We then saw maybe 100. Essentially, I didn’t want the girl in the film to be special. The whole point is that all the children in the orphanage are as special as each other. We didn't want it to be that traditional thing of their eyes [Henderson's and Emira’sj meeting across the room, ofa special bond between two people which i[...]ema How CAN You EXPLAIN THAT BRITISH CINEMA wAs IN SUCH A CRISIS TEN YEARS AGO, BUT Is NOW REALLY T[...]risis. then things inevitably have to get better. The British Labor Party’s election song had a line about “Things can only get better" — the same for the British film industry. Even as recently as four y[...]now has a big London base and is making films for the whole ofthe world. It is not specifically a British company, but it has a big input in Britain. Then there are companies like Mira- max. in some ways, the way Americans perceive the international marketing of ﬁlms is working now. It favours Britain in that it has a European aspect to it, but it is also English-language. in the past, that has always squeezed Britain because it[...]films are just seen as ﬁlms and are distributed in the same way around the world. The structure has changed and that has helped Britain. The whole television thing has also changed. People like Ken Loach and Mike Leigh made a lot of stuff fortele- vision, and in some ways that has disappeared in Britain because of Channel 4’s success with films, which are financed by television but made for the cinema. WHICH Is WHAT HAS HAPPENED TO YOUR Go No[...]INEMA PAPERS - MARCH 1998 vison. It was made for the BBC and then shown at various festivals and got bought [for cinema release]. But in the UK it was just television. Future Projects WHAT IS YOUR NEXT PROJECT? I Want You, a love story set in Hast- ings, which is a small seaside town. It is an obsessive love story and is a kind of going—back towards the Butterﬂy Kiss area though a slightly more grown[...]YOU CHOSEN SLAWOMIR IDZIAK To SHOOT IT? Because of his work on Three Colours: Blue and The Double Life of Veronique [Krysztof Kieslowski]. They are fantas-[...]Want You is a love story, but it is seen through the eyes ofa boy. I wanted an outside view of England. Slawomir has a real involvement in every aspect ofﬁlmmaking. I hope it is going to work out really[...]knows. Also Labina Mitevska, who has a small part in Sarajevo. WHAT ARE YOUR CINEMATIC INFLUENCES? I come from the north of England, so I particularly liked the films by Lindsay Anderson, Ken Loach and Karel Re[...]eally like Wenders and Fassbinder and a whole lot of stuff I watched as a teenager. NOT HoLLYwooo? Obviously some great films have been made in Hollywood. I love Scorsese’s films, but his ﬁ[...]ood ﬁlms. Is I WANT You AN EXPENSIVE FILM? No. The irony is that big-budget ﬁlms have even more limitations than low- budget ﬁlms. This has a budget of about £3 million. We will have far fewer limitat[...]t to do. As long as you have enough money to make the ﬁlm, then the less money the better. ® ‘ Epstein was one of two journalists who recorded this interview with Winterbot- tom in Cannes, May 1997. It Ei _I\\4 45
	To see Media 100 xr in action. can Ad_:i:m_ex today 0 02 9332 4444 or co[...]Media 100, Co\|orFX & MotionFX are trademarks of Media 100 inc. All bther products are trad[...]
	The making of Space Jam and technicalities putting the film- making “assembly line" into transactional space by Annmarie Chandler his article looks at the impacts of new elec- tronic networks within the ﬁlm industry by examiningtheir appli- cation in the production ofanimated ﬁlms. It analyses their effects on issues such as facility location, changes to the traditional ﬁlmmaking process and beneﬁts to[...]roductions. It proposes that changes taking place in the ﬁlmmaking process in the ’9os are linked to more general changes in the digital “information society” itself, where the entertain- ment industries have a key role to pla[...]otely-located workers will take a higher proﬁle in future work practices. The research team found that lead- ing network applications in ﬁlmmaking are occurring in advanced industrial countries, and predominantly the USA and UK, where the major western ﬁlm industry sectors are located.[...]ely to be adopted for international collaboration in the near future. For this particular study inter- views were conducted with Warner Bros., LA, and the post-production company Cinesite which has branches both in LA and the UK. Transactional Space and Film Production Australian academic Peter White argues that the creation and control oftransactional spaces is positioned to become “the strategic resource battleground for control of media and communication systems” and also propo[...]ted to this changing media environment as much as the development ofinteractive and multi- media conten[...]pen when transac- tions that could have occurred in physi- cal, purpose-built environments are perfor[...]tronic networks. Much as we take this for granted in applications such as electronic banking or email, there are a broad number of factors now contributing to their adop- tion within the media industries to carry out the work of media production that would have previously been per- formed in distinct and centralized geographic locations. These applica- tions include the use ofvideo conferencing, voicemail, email for da[...]onic libraries for stock footage. Until recently, the ﬁlm industry production model for pre-production through to post-production followed for the past 60 years a tried-and-true path or “assembly line”. For example, the lecture that producer David O. Selznick gave to Columbia University’s Film Study Group on the ﬁlm produc- tion process in 19372 would have been relevant up until the application of computers to post areas in the late 1980s, when the impact of new digital processes (non-linear editing) began[...]her Dean Cundey captures this culture shock aptly in a statement he uses regularly, “in the old days — about a year ago”, referring to some of the adjustments to digital processes that ﬁlmmaking[...]erstandable therefore that this industry’s view of its organiza- tional structures and work practice[...]ected by major changes and developments occurring in the broader information and busi- ness sectors via the development of new digital technologies and commu- 47
	[...]48 nication practices. This is however no longer the case, and developments in these areas are being applied to pro- duction to create changes in the way organizations perform production tasks, work[...]orm produc- tion teams. Space /am and Changes to the Traditional Animation Process Space /am (Joe Pytka, 1996) is the largest animation and visual effects ﬁlm to be made in recent histon/. Its primary technique, that ofcombining[...]age, is not new and has been happening since 1909 in ﬁlms which utilize various ﬁlm technologies to achieve a combination of live action and cartoons. Acclaimed feature- leng[...]their major compositional device include Dot and the Kangaroo (Yoram Gross, 1979) and Who Framed Roger[...]am, however, took this process much further, and the opening ofthe ﬁlm itself illustrates the com- plexity of the combination of many different media. The film commences on Michaeliordan and pans up leaving the standard live action World behind for a miniature rooftop [...] the camera moves higher to a computer created sky and the Nerdluck’s planet repre- sented as a 3D world [...] the representational camera movement then passes into a giant curved mouth and ends on a scene of classic cartoon 2D animation.‘ These visual features become the major elements ofthe entire ﬁlm which is a weav[...]age, computer-graphics environments (most notably the basketball stadi- ums) and 2D cartoon characters. Wendy Aylsworth, Vice President of Technology and Facilities for Warner Bros. Feature Animation, provides the most simple and comprehensible description of this complex process. All the different live and composited elements were “shot to ﬁlm, then the pieces ofﬁlm were combined” to cre- ate the ﬁnal integrated screen image. The “combination” work was done entirely with com[...]to ﬁlm. Aylsworth comments that what is called the “backend” of production or the post-production phase is becom- ing more tight and more compressed. In the case of5pace/am, there were strict marketing deadlines im[...]sense ofa compressed timeframe is being caused by the increases in the amount and scope of work generated by the number of new visual elements selected for a ﬁlm. These elements increase the details and choices requiring quality monitoring and approvals. Obviously, it would not be commercially wise to[...]al processing and deci- sion-making, and new ways of working with time and space factors need to be found to both maximize creative input and minimize the restrictions ofsched- uled events. Because ofthe[...]tion process and their short production schedule, the Warner Bros. Space jam production recruited a group of internationally- located animation studios to produce the work. Utilizing new electronic net- works into its schedule, the ﬁlm went from conception to ﬁnished product in one-third ofthe time for a normal ani- mated feature ﬁlmﬁ The key facilities were the Warner Bros. feature anima- tion facility in Sherman Oaks, L.A., which specialized in the 2D characters, and Cinesite, a digital-imaging and post-production company which has facilities in both London and Holly- wood, and is well-known for its major visual effects role in ﬁlms such as Waterworld (Kevin Reynolds, 1995),[...]ossible (Brian de Palma, 1996). Cinesite provided the creative and production talent to perform the full spectrum ofservices, from design and special[...]age creation, animation and ﬁnal compositingﬁ In this ﬁlm, many of the 3D animation specialists for the wire- frame drawings were working from the UK end ofthe company. The work was split by scene. The London crew cre- ated, animated and rendered the practice gym scenes, while the Holly- wood crew did the same for the rest ofthe 3D imagery and did all the com- positing of live action, 3D animation and 2D animation[...]
	[...]égjiniparttahée éf:qr;a;l:b 21 o 7?. in-uouatieud 656!‘ [W41 «:1 ‘Q[...]
	50 technicalities It is worth looking in some detail here at the complexity ofthe visual work on Space/am to understand the challenges now being faced by digital feature-ﬁlm animators and the enor- mous achievements performed by this ﬁlm.[...]nematographer, under a direc- tor’s guidance on the set while ﬁlming, had to be simulated by comput[...]istic performance and visual style. For example, in the construction of the ﬁlm it was important to see Jor- dan’s spontaneity as a basketballer; however, as an actor in the ﬁlm, he was playing his games with animated characters on the screen. To allow him to perform freely as he would in a real stadium, Jordan played basketball in a green gym with a group ofgreen peo- ple, the “Groundlings”. The Groundlings are an improvisational comedy group in Los Angeles. They were recruited as stand-ins for the car- toon characters. Thus the Groundlings represented various cartoon charac- ters from Bugs Bunny to the Monstars. They were dressed in green so that they could be easily matted out ofthe scene with chroma-keying techniques. The green scenes oflordan and the Groundlings were digitized and all the green then removed, taking everything out ofthe footage except Jordan, the basketball, the hoop and the back- board, leaving him looking like he was playing basketball against invisible people in a black limbo. Red tennis balls, spread uniformly around the room on a grid, were used aposteriorito compute the camera position at each frame. This allowed the DOP to use a handheld camera, giving a more natural aspect to the scenes. The camera track data was “applied” as input to the animation package. The camera position was then used to position cartoon charac- ters in the scene, and as input to the 3D animation system so that the com- puter—generated backgrounds were rendered with the same camera moves. The 2D animators used the resulting photo-rotos as guides for their animation. The photo-rotos helped them getthe perspective correct and position the animated characters within the frame and in relation to the live action characters, '1‘ . I E. _/3 A floor, etc. The ball is real when Michael Jordan is touching it, but had to be put into animated form when the cartoon characters were touching it. When little mistakes occurred in the footage, like a green character accidentally passing in front oflordan, and there- fore removing parts of his body during the digital work of removing the green, they were ﬁlled over with animated cutaw[...]lvester” chasing “Tweety Bird”, thus hiding the loss of his body to the sequence.7 Other numerous digital effects were required in the animation and compositing work to simulate the “look” ofa real cinecamera ﬁlming the scenes and to reproduce the live action “feel”. These included simulat- ing shadings in the drawings for “key" and “ﬁll” lights on the characters and stadium animations by compiling nu[...]ng camera effects such as motion blur on movement in the scenes. The effects also included complex rendering of lens “perspectives” in the drawings to provide cinecamera views of object “distortion” for movements such as pans and dynamic movement in the game itself. Network Collaboration and Work Practices In the making of Space /am, the talent was spread fairly evenly between both locations of Cinesite in the UK and LA; however, the largest share ofthe work was done in Hollywood. The London crew created and animated the prac- tice gym. The shots were then composited in Hollywood. Cinesite used a 3-tier network sys- t[...]—company work and work with Warner Bros. during the making of the film. A basic lSDN sys- tem was used to transfer 3D wire ﬁles and the occasional image and texture maps between animators in the UK and the USA. An ISDN 30 system connected to a video-confe[...]ny for scheduling negotiations and for cre- ative approvals ofthe animation sequences (playouts ofthe animation sequences) where directors and pro- ducers could talk to the animators. Most of the network collaboration on the 3D animation sequences between the trans-Atlantic bases ofthe company was done on the ISDN dial-up connection with two 64kb chan[...]
	[...]ll lllms , , documentaries on experimental time. The fund is administered by the New South Wales Film & Television Office. between the ages of 18and 35 years who arellsw I‘ﬂSlllEl\|lS vThe[...]llll llﬂllﬂlll I0 N3Wand be entirely produced in NSW using NSW based service providers -Each project's principal photography must begin within six months of approval’ ‘There is "0 l'35tl'lFm"l on the format [film or tape]. subject matter or type of tilml °The melximum grant will be in the range of 3Z0i"0ll'325ill0lli but the a5l5955m9“l committee may recommend a larger gragnt tora proposal of exceptional merit °The closing date for the next round is?” March 1993 Guidelines and applicatiors tor the Young Filmmakers Fund New Soirtli Wales Film & T[...]I' Ivnm ,m.a..nx.;.;;r..i;:I..e'_’-U‘_ .r IN ASSOCIATION WITH THE 45TH SYDNEY FILM FESTIVAL 5-19 JUNE 1998 Dendy Award For the Best Film or Video in the DOCUMENTARY category: 2500 Dendy Award For the Best Film in the FICTION category (under 15 mins): $2,500 :&'”""*-E 0 .V _ _ ]I;DI<eCr:1r§i‘yCAI3/acrgdtefor the Best Film in thethe Best Film in the GENERAL category: $2,500 The Ethnic Affairs Commission Award: $2,500 The Yoram Gross Animation Award: ii 7 $2,500 The NSW Film and Television Office Rouben Mamoulian A[...]W 2037. Tel: (02) 9660 3844. Fax: (02) 9692 8793. of visual effects and digital media. Email: infO@sYd[...].au Call (07) 3291 3300 for details or check out the web site: wvvw.siliconstudio.com.au C Los[...]
	52 technicalities The primary transfers were proxies and short video re[...]t ofthis work was transferred asynchronously (not in real face-to- face time). Occasionally, the render ﬁles were sent from London to Holly- woo[...]hen there was enough computer processing capacity in Hollywood. All ofthe 2D cell anima- tion (backgrounds, characters, etc.) were sent from the animation facility in Sherman Oaks to Cinesite L.A. There is a strong possibility of increases to workloads provided by the increased ﬂexibility of choices directors and effects producers have thro[...]mes possible to do a shot, say, 6 different times in the same amount oftime it would take to courier a video copy of the one-shot version. This increase in creative collab- orations, however, has the beneﬁt of improving the shot and, hence, the ﬁnal ﬁlm product. To maximize design decisions about the composition of shots, Cinesite and Warner Bros. produced what are termed “hero shots” for each scene as the ﬁrst stage of approvals. The hero shot means that the director, special effects supervisor, art directors and chief compositor choose a speciﬁc shot in each scene to deﬁne the look ofthe scene. It is usual that all the col- laborations for these purposes would take place in Hollywood “face to face”, where the primary creative people and decision makers on the ﬁlm are located. The shot was then put onto ﬁlm using the Cineon ﬁlm recorder9 for the producer’s approval. Once the hero shot was established, the larger production teams took its chief ele- ments to design all the other shots in a particular sequence to build the scene. The “hero shot” technique is not unique to Space Jam or digital post-production, and was used in the days of optical visual effects as well. lt’s basically a benchmark against which other shots within the scene can be compared. The advantage in the digital process is that many ofthe parameters that give the shot its look can easily be copied and applied to other shots. In the Cineon compositing application, these parameters are con- tained in a ﬁle that can be transmitted (even by email) to other artists work- ing on the show and used as the starting point for other shots. Cinesite also used a combination of email on the Intranet with ISDN trans- missions of visuals for work between the distributed ofﬁces. A typical visual interaction would be for the person doing wireframe drawings at one end ofthe network to transmit sketches to the graphics modeller at the other, who can then see what's required. The company could foresee this becoming a form of “video mail" in the future. Conventional email was used fre- quently by the whole team to report messages on progress, rather than waiting or having to be in the same place and time that the message arrives. The asynchronous nature of this form of communication often suited very busy production t[...]and respond to their messages when they had time in the day, not miss important communica- tions, but also deal with them in appropriate spaces in the working day without being interrupted on more important tasks. Having the high-speed connection in place also facilitated new work prac- tices and collaboration in the animation process. At the outset, it was assumed that all transmission of elements would be from Warner Bros. in Sherman Oaks to Cinesite in Hollywood. When the animation elements were transmit- ted, however, o[...]found that some- times something didn't work with the live action or 3D animation. A system was therefore set up where some of the key Cinesite people went to the Warner Bros. site to make sure the visual elements were working together: carried into the actual compositing tasks. Doing the pre-composite work at the client's facility with a few selected staff allowed them to work more easily and faster over the lines later, and improved on the conven- tional methods of tape exchange. It also improved the turnaround time on later approvals. It takes careful and skilled produc- tion management of these systems and the project to separate what sort of communications need to occur directly between people, and what ones can occur remotely. This is one of the major challenges in managing new forms of asynchronous communica- tion, which is being learnt by the early adopters ofthe systems who will have an edge in their application. It is the view of most people in the ﬁlm indus- try that many creative decisions sti[...]ough face-to-face discussions and problem-solving in a screening room. For example, it is very difﬁc[...]t if you are not there to discuss it and point at the material. There may be no “right or wrong” answer in coming to a creative decision where there are a variety of viewpoints and expertise to be consid- ered, and people need to feel the conﬁdence ofthe “presence” ofthe major stakeholders and creators in coming to a decision about what works or what doesn't on the big screen. At the same time, a lot of produc- tion communication and detail can be mana[...]nd video con- ferencing for less crucial elements of the production workflows. The art in [A] lot of production communication and detail can be manage[...]and video conferencing for less crucial elements of the production work- flows. The art in production management will be the ability to understand and select the communication channel or combination of systems which best suit the task. the project and the production company's productivity. i.e., that the camera angles were the same for all the shots and that the lighting, colours and positioning were working. This necessitated the trans- mission of live-action elements (usually lower-resolution pr[...]voided having them production management will be the ability to understand and select the communication channel or combina- tion ofsystems which best suit the task, the project and the production company's productivity. The work Cinesite completed in Lon- don on the Space jam project was able to be achieved with a number ofother projects happening at the same time. Video Conferencing Cinesite used the[...]inter-company com- munications between their two ofﬁces in the UK and USA, and with their clients. They regularly used the system for senior staff meetings so that the London and Hollywood people could meet and their[...]. They see strong advantages to co m- pany morale in this practice, creating an environment where peop[...]are all part ofthe same team even though they are in different countries. During the making of$pace /am, they had a weekly conference call between the director and people in London. The system has two channels so that a video can also be played and sent at either end. The video signal has compression in it, but they haven't found that a problem for mos[...]ution is required, then they send a tape over, or the ﬁlm itself is used in conven- tional couriered communications. They use[...]is is no longer necessary for every transaction. In conventional work practices, it is also usual for the effects supervisor to be on the client's site at all times and sit in the projection theatre for approval ofeach ﬁnal shot composi- tion. However, the new systems mean that work can be approved earlier on in the shot so that the work produced near to completion ofa sequence wil[...]sult and will require less alterations and ﬁnal approvals. People “still have to fly occasionally, becaus[...]ni- cate more freq uently”‘°. These factors of increased “inti- macy” amongst remotely-locat[...]al- networked communications were also conﬁrmed in our earlier research on the Videofax and its application within the Australian advertising industries“, where the systems were being used to minimize the need for international travel for creative decisi[...]A shared view by most people inter- viewed about the new systems is that management and leading creati[...]always need to travel for some interactions, but the systems will mean less travel for post-pro[...]
	1 OUANTEL The powerful Henry V8 offers simultaneous working with eight independently editable superlayers. The flexible Henry V6 is the six superlayer effects workhorse. The affordable Henry V4, with four superlayers, give[...]V4 and V6 can be upgraded, keeping performance at the leading edge to maintain return on investment. And now the stunning new OPS up—res system adds a new dimension to Henry, opening up the lucrative cinema commercials business to Henry ow[...]slating Henry output into breathtaking results on the cinema screen. Henry 0 4,6 and 8 indepen[...]
	[...]e-to-face interaction fortheir work. Cinesite saw the systems as assisting its staffto work in more efﬁ— cient ways and minimizing time spen[...]se positioned where they are happiest, regardless of where the work is coming from. There are human factors to consider here, such as the workforce generally get- ting more mature about f[...]and more resistant to being split because ofwork. The new electronic networks can also accelerate higher turnaround of projects in remotely- located companies or branches because “there’s no way you could move people around the world at this rate”. The systems have allowed the company to do a lot ofAmerican ﬁlms in their London facilities where the capabilities ofthe London personnel can add value. Are the systems changing the ﬁlm industry? It is easy to view new technologies themselves as the agents of change and that their invention is therefore instrumental to large social and eco- nomic changes in the way industries work. This view oftechnological de[...]been challenged for some time, however, and more recent theo- ries see an inter—relationship between both economic and technological developments in the evolution ofthe information/entertainment sectors. Many ofthe conditions and factors giving rise to the need for new commu- nication technologies can be found within recent developments in the ﬁlm industry itself: 0 the desire for increased output or turnaround on projects; 0 increases in the speed and flexibil- ity of programme design (encouraged with the adoption of digital post-production facilities); 0 signiﬁcant process changes in programme design and material processing (i.e., d[...]nimation, special and visual effects); - changes in company structures from large vertically—integr[...]ones who outsource more services; and 0 changes in the distribution market within the ﬁlm-production sector, from being focused on th[...]hese changes are no different to events happening in other manufac- turing sectors ofthe information economy and are not speciﬁcally tied to the technologies themselves, but more to the way the market sector desires to work. Thus the evolution and adoption of the new technologies can be seen as a response to these factors rather than the cause ofthem. It is unlikely that the commercial end ofthe feature ﬁlm industry will[...]ts as is sometimes hoped by those threatened with the “culture shock” to 60 years of stable practices, and some oftheir characteristics will begin to influence the way lower budget and more inde- pendent producers[...]ke Nick Park (Wallace and Grommit) will probably In relation to the search for busi- ness, the centralized ﬁnancial location maximizes the opportunity to do “face-to-face deals” for projects and future contractual work. In an environ- ment where work is essentially freela[...]project, there is also a necessity for a presence in these centres to maintain contacts which are deve[...]eographic proximity.“ What is changing through the availability ofthe new network communication technologies, however, is the ability to perform contractual work on a production without the need to be located in the same space. Early adopters of these networks are revealing that they can minimize the “transaction costs” that would nor- mally be associated with remote work, in relation to the need forthe high Another commonly-held assumptio[...]technologies is that they will inter- nationalize the industry by changing the major centres of film production on a global level. it would he fartoo simplistic. however. to conclude that the, availability of the technologies themselves could cause. or be agents[...]le changes to regional and international centres of film production. still go on producing independe[...]technolo- gies is that they will internationalize the industry by changing the major centres ofﬁlm production on a global level. It would be fartoo simplistic, however, to conclude that the availability of the technologies themselves could cause, or be agents[...]ole changes to regional and international centres of ﬁlm production. Research previously conducted on the US industry”, for example, outlines the importance of both social and economic factors in the geo- graphic clustering of primary facilities in major centres like Hollywood. While the industry there has changed or “vertically disin[...]om its historical studio and oligopoly fea- tures of production, and uses many more independent companies now to supply services, the major studios still largely control ﬁnance and distribution. levels of consultation, approval and quality control required as part ofthe production process. in this way, and with their knowledge of revised work practices, they will make the use of their services and skilled creative per- sonnel much more attractive to the major studios and ﬁnanciers ofﬁlm production. Interviews Kim Libreri and Mar[...]ronstadt, Warner Bros. Studios Acknowledgements The article is the result of a research collaboration with Ellen Baker and Tom Fisher, School of Management, University ofTechnology, Sydney. The researchers wish to thank the management and staff of all the companies that participated in this study for their co-operation and for permission to publish these results. The study was supported by the Aus- tralian Research Council under grant number A7953o73o, assistance from the Australian Film Television & Radio School Research Unit and a grant from the Faculty of Business, University of Technology, Sydney. ‘ Peter White, Online Serv[...]s, no. 114, February 1997, p. 18. 4 Bill Warren, The Technical Background to Space /am, tech notes, Sp[...]. 5 Bill Warren, op cit, p. 5. 6 Compositing is the animation process of composing all the elements together forthe ﬁnal ﬁlm image: i.e.[...]iple mattes drawn over it to provide shad- ings. in traditional animation, these are layers of celluloid with paint on them which are then photographed. Disney is known to have used sheets ofglass. In computer animation, they are scanned into the computer and laid over the animation where elements such as density, colour and other sim- ulations of photochemical effects can be achieved digitally.[...]iginal ﬁlm images can be scanned and digitized. The system comprises three stages. After the scanning stage, the digitized images can be combined and manipu- lated. In the third stage, the fresh digital images are recorded out onto ﬁlm at ﬁlm resolution with no loss of quality in the standard ofthe original negative. 1° interview[...]eofax and Film Produc- tion”, Media Information Australia, no. 80, 1996, pp. 66-74. ‘2 S. Christpherson[...]alisation and Regional Industrial Agglomerations: The Case of the U.S. Motion Picture lndustry”, Annals of the Association ofAmerican Geographers, No. 77[...]
	WALK OUT OF ILAA WITH A SHOWREEL Direction, cinematography[...]g, Video Production and Video Editing. Any or all of these can be on your showreel within the Diploma of Screen Arts programme at ILAA. Typically our stu[...]actising professionals AFTRS qualified INSTITUTE OF LENS ARTS THE VIABLE ALTERNATIVE PO BOX 177 KALORAMA VIC 3766[...]side 434 Clarendon St., South Melbourne South Australia 5065 Victoria, Australia 3205 It 7 Tel: (08) 8338 2811 Tel: (03) 9699 3922[...]itude Valley A 340 King Georges Ave., Queensland, Australia 4006 . Singapore 0820 Tel: (07)38541919 Tel: (65) 291 7291 Fax: (07) 3852 1814 Fax: (65) 293 2141 The Finest Motion Picture Rental Equipment T Industry Training I Exciting, in depth, industry based, Film and \ﬁdeo Productio[...]vated creative people seeking a successful career in the ﬁlm and television industry. Work with SP Beta[...]Kookaburra Card you’r And helping to preserve Australia's ﬁlm and sound heritage. Receive up to 30% off adult cinema tickers Australia wide. discounts on books, videos, selected[...]
	[...]tions and trade fairs I Theatrical presentations THE BENCHMARK IN DIGITAL AUDIO . Fairlight ESP Pty Limited . Unit B, 5 Skyline Place, Frenchs Forest, Sydney NSW 2086 Australia Tel +61 2 9975 1230 Fax +61 2 9975 6744 ww[...]
	technicalities Australian company gets the big cheese ustralian audiences are squirming in their seats this summer at the latest Dreamworks picture, MouseHunt, thanks to Sydney based-animation house Animal Logic Film. The popularity ofthe ﬁlm owes much to the realistic quality of its computer—generated creatures. Chris Godfre[...]cts Director ofAnimal Logic, believes that it was the company’s interna- tional reputation for quality special effects that secured the production for Animal Logic — not only of critters but additional effects work throughout the ﬁlm. “There’s a growth path, movie to movie[...]is good, seamless integration high-quality work. In Australia, we are technically and economically very creative.” After the initial brief with MouseHunt director Gore Verbin[...]directorAndy Brown and Godfrey each travelled to the USA to spend time on the shoot. Even before Godfrey had brought back detailed information from the shoot (lens and lighting references), extensive w[...]ir textures and movement, was already under way. The Animal Logic Film team in Sydney had begun researching the computer—generated critters, with the assistance of Dr Hayley Rose and two cock- roaches from Sydney[...]CINEMA PAPERS ° MARCH 1998 and “Scratchy”, the two were carefully studied by animators at Animal[...]to be completely photorealistic”, says Brown. In order to meet the speciﬁcations that Verbinski required, Animal Logic’s research division extended the limits of existing technology by developing com- puter programmes speciﬁcally designed for the project, matching computer—generated cockroach with live specimen, and also a minutiae of scratches and reflections forthe 3D fork model in orderto achieve the highest degree of photorealism. “To reach the desired effects, we had to go beyond the restrictions of available software”, says Senior Ani- mator Lindsay Fleay. Animation work was based on the creation of mul- tiple cockroach models. Three models in all were required for various scenes. In the kitchen scene, one whole-bodied version pops its head out ofa cigar box and walks into a plate of lobster. Two halves of a cockroach were cre- ated for the restaurant scene in which the Mayor slices away at his meal, revealing (in close-up) the rear end ofthe cockroach stabbed on a fork (which[...]hnical Direc- tor David Dulac). He then spits out the front halfand it wanders off screen. The story gets messier. For the revealed insides of the cockroach, Fleay sourced textures in ﬁsh guts to create a yellow liver-shaped ﬂes[...]graphed crab goo and this was eventually used for the texture ofthe roaches. Says Fleay, “Usually there is a taboo on grunge and yuk, but in this case it had to look totally revolting. So we pulled out all the stops!” For the ‘goo’ to be just right, however, the entire project required close communication with Visual Effects Supervisor Charlie Gibson at Rhythm & Hues in Los Angeles. In so doing, an effective revision process was worke[...]y and LA to ensure creative feedback and ﬂuency of production. Through the utilization of satellite and ISDN connec- tions, material could be transmitted back and forth almost instantaneously. The material was ﬁnished and rendered in Australia, then sent back on DLT for output in the USA. “And the ﬁlm’s making money!”, adds Godfrey.[...]
	[...]vision Misery Guts Documentaries Fa’fafii:ies in Paradise Muggers Feature Films In a Savage land Dear Claudia Adult Televison Drama[...]ram“ - Production Survey - Head 0“ 61 ! Round the Twist 3 5 9 I Hurrah 61 l . l . . In Th W‘ D It 62 - Documentaries - Features in Pre-Production ! C 11,1“? .ar . 5 9 I I I Mr Pumpkin s Big Night 6 2 i Art from the Heart 59 Paperback Hero 60 - The Thin Red Line 62 i The Astonishing Ashtons 60 Passion 60 - The Astronaut 6 0 . Second Drill 6 O Documentaries 59 I R = l1 l1 I I 5 9 i Omanuny C C am 60 i Features In Production i Federation 52 . Edge of the Possible 60 . Babe in Metropolis 6 0 . _ ! Emilys Eye 60 I James 61 l Short Films 5 9 l The First Star 60 I Powder Bum 61 I Stairwell 62 5 9 Servants of the Ancestors 60 S ank 61 _ _ ! The Instinctive Architect 60 I P I Television ! Railway Adventures Across Australia 60 Features in Post-Production Village People Go North Down Under 62 5 9 Th‘? Ultimate Sin 60 The Beggars’ Opera Cafe 61 Home of ‘he Blizzard 62 5 9 I Visions of Yankalilla 60 I The Boys 61 I 13 Gantry Row 62 OMPOSERS ° DANCING R[...]ding Decisions Following a Board meeting held in November, 1997, the FFC has entered into contract negotiations with the producers of the following projects: C/Illa/‘en 21 Televiaio/1[...]E, BBC Distribution: BEYOND DISTRIBUTION eith is the only son of Vin and Marge Shipleyz they live above a fish’n’chips shop in South London and things are tough. Keith's parents are misery gutses and he is convinced that the only way for the family to regain its former happiness is for him[...]He buys a brilliantly coloured tropical fish from Australia, where the sun shines all the time, the sea is full offish and coconuts just fall Into yo[...]Keith decides he must somehow get his parents to Australia. People couldn't be unhappy in a paradise where fish sparkle like rainbows and it's sunny and warm all the time. Or could they? Documc/2 ta/‘lea FA'FAFINES IN PARADISE (NON—ACCORD DOCUMENTARY} RE ANGLE Pi[...]BS, CHANNEL 4 Distribution: BEVoNc INTERNATIONAL In Samoa, there are three recognized sexes. ~S_amoans say the third sex comes aboutwhen a young boy demonstrates strong feminine traits, Following 3. Board meeting held in December, 1997, the FFC has entered into contract negotiations with the producers of the realizes her husband is wrongly interpreting the research to further his own academic ambitions. She enlists the help of a pearl traderto travel to another island where she intends to research a village of headhunters, and begins to fall in love with him. By the and It i5 CU5i0m3iYih3T1li9 f3iTiiIY iiiaY follo[...]him up as a girl from as early as has broken out in the Pacific and the five years old. There is no confusion Japanese are poised to invade their aboutwhether the child is a girl or Fga[u,~e ;sIand_ boy, she is[...]tional Samoan life. This documentary gets inside IN A SAVAGE LAND DEAR CLAUDIA the lives of three flamboyant fa’fafines (130 MINSI (100 M\|NS) and contrasts the different experiences for rural and urban fa'fafines. All three are involved in the annual fa'fafine beauty contest AuntTania, now in her fifties, sits on the panel with the Prime Minister of Samoa as one of the judges; Cindy has won the title in recent years and is tipped as the favourite; Blondie, the youngest of the three, has never won the title and will be hoping to be crowned in 1997. Finance for the Following feature film was also BILL BENNETT PRO[...]istribution: HOLLYWOOD PARTNERs, BEYOND FILMS et in the late 19303, a newly married husband and wife anthropologist team travel to an island group in New Guinea to study the sexual morés of a group ofvillagers. Their relationship begins to break down when the woman J. McELRov HOLDINGS W-D: CHRIS CUDLIPP P:[...]ves and a dead man. Claudia and Walter crash into the story by plane. The others arrive in a bag of mail. approved by the Board in A2u[[ :]“g[eW'JL'0,Z October, 1997: Drama EP Ex[...]STER FiLMs hen two medical students e dangerously in debt to a psychopathic loan shark— hack into th[...]r to access a crucial exam, they become embroiled in an illicit organ transplant scam. When a suicide[...]nd his kidneys fall into their laps — they cash in, becoming players in the lucrative trade. But there are complications: their competitors want them out of the game. And dangling in front of all the players is an irresistible lure — a $100,000 liver. Their dreams of becoming doctors looks like becoming reality unti[...]turns up dead, a fellow student goes missing, and the police are called in. Life and death. Love and passion. Murder, intrigue and eighteen holes of golf. And they're not even doctors yet CINEMA P[...]ticulanly H)‘: was when infizr-rnatilzzn ﬁat the pnﬁuetzbn wmpalzy na rzttemgfé to correct whi[...]s Senior Research Paﬂiologist at Bauer-Ritter, the most successful medical company in the Southern Hemisphere. A Board member of Logan College, her lover of ﬁve years is finally leaving his troubled marri[...]nly together at last Anne's life shows every sign of gliding into its best stage — until her bestfri[...]Mackenzie, gets killed. What follows is a series of revelations, clues and scraps of information that lead Anne out of her comfort zone and into a bizarre, shadowy landscape of political and criminal intrigue as she relentless[...]T ueen Kat, Carmel & St Jude Geta Life explores the friendship between the three girls from a country town who move in together in a small inner-c'rty house fortheir ﬁrst year of university. By the end ofthe first year so much happened, so much has been learnt And despite the clashes between them, a close and intimate friendship has ﬁnally been cemented between the three girls. CAIZZQ/‘en Q Zielevtiiio/2 Drama ROUND THE TWIST 3 {I3 X 25 MINUTE MINI-SERIES) AusTRALiAN[...]DISNEY lNTERNATioNAL Distribution: ACTF he third in the series ofthe highly Tpopular children's television mini- series Hound the Twistis a humorous contemporary fantasy seen through the eyes of three children who live in a lighthouse on the Shipwreck Coast of Victoria. Docu/ne/ztartlw ART FROM THE HEART (55 MINUTE ACCORD) RM FILMS P-D’ RIcHAR[...]MY EccLEs Presale: ABC arket forces have changed the fundamental nature of Aboriginal artforever and spiritual concerns hav[...]oncerns. Market forces have played a central role in altering the direction of Aboriginal art, currently estimated to be worth $100 million pa. and affecting various artists in the industry: from the senior artists beleaguered by theirfamilies to produce artfor cash, to the artists involved in the creation of “tucker art", created mainly for tourist[...]
	60 inproduction Production Survey continue? THE ASTONISHING ASHTONS (55 MINUTE ACCORD) JDHN MDDR[...]CE P: JoHN MooRE Presale : SBS shton's Circus is the longest- Arunning circus in the western world. It has survived because of the extraordinary commitment and determination of the Ashton family. The circus survives the lean times and the smaller towns by doing well in the large provincial cities: During the bui\|d—up towards one ofthese seasons, the Ashtons face a series of challenges. THE ASTRONAUT I55 MINUTE NON-ACCORD) BEYOND PRoDucT[...]HANNEL Distribution: BEVDND INTERNATIONAL n 1998, the first Space Station Eassembly flight will blast off from the Kennedy Space Center in Florida ushering in a dynamic new era of collaboration to build and sustain a permanent presence in space. The Astronautwrll capture what it means to become one[...]ique understanding ofthe technological skills and the special characterthat distinguishes those who make it as a ‘card carrying‘ astronaut. ROMANCING THE CHAKRA (55 MINUTE ACCORD) FRoxoFF FILMS W-D: A[...]IsA DUFF, ANNA BRoINowsI<I Presale: ABC omancing the Chakra is a journey Rinto a diverse and confronti[...]travel with couples as they search forthe meaning of life and love through a variety of New Age therapies, ranging from the conventional to the extraordinary. We heartheir emotional dilemmas an[...]en entertaining progression towards a new Version of the ‘truth’. EDGE OF THE POSSIBLE (55 MINUTE ACCORD) FILM ART Doco W-D: DARYL DELLoRA P: SUE MASLIN Presale: ABC 998 is the 25th anniversary of the 1 official opening of the Sydney Opera House. Jorn Utzon, the architect, was awarded the first prize in a competition to design an Opera House for Sydney. In 1957 he flew to Australia to begin work on the construction of the greatest building Australia has ever seen and, indeed, one of the finest achievements of modern architecture. Utzon was forced from the project in 1966 and has never returned to Australia. This film will chart the dramatic course of the creation of a masterpiece and the tragic, sometimes funny and compelling story of its conception and construction. EM\|LY'S EYE (5[...]P-W-D: JESSICA DoUGLAs HENRV Presale: SBS hrough the lives of four-year—old Emily Wu, her mother Jenny and father John and their parents, Emi/y’s Eye brings the audience to an understanding ofthe power of acceptance and communication to overcome prejudice. Emily was born blind in one eye, totally deaf and was thoughtto be intell[...]icaps and atthree years old is communicating with the world. This is a compelling story of love and survival in a time when tolerance in Australia is being eroded by a proportion of our society who are frightened by inevitable change. THE FIRST STAR (55 MINUTE ACCORD) MUsHRDoM PIcTUREs[...]merican hustler and show biz promoter who arrived in Australia just in time to launch the U.S. rock-and—ro\|l invasion. His scheming, manic energy changed the local popular landscape forever, and through him, Johnny 0'Keefe achieved his ambition to become Australia's premier and pioneering rock-and-roll star. The First Starwill tell us much aboutAustra\|ia's rela[...]y O'Keefe's relationship to Lee Gordon. SERVANTS OF THE ANCESTORS (55 MINUTE ACCORD) REsDNANcE PRoDUcTI[...]who lives and practises traditional Swazi rituals in Albany, WA. In April, she will return to Swaziland to perform the most significant ancestral rite in Swazi culture, the bringing back of Gobuyisa ceremony. As a mixed race Swazi she will cross strict race boundaries to perform the ceremony. THE INSTINCTIVE ARCHITECT (55 MINUTE NON ACCORD) HI[...]GRAM ORGANIZATION, ZDF/ARTE ﬂ Enfant terrible of international architecture". It's a reputation that Renzo Piano earned in 1971 with his winning design forthe Pompidou Centre in Paris. It's a reputation he still hasn't shaken, despite the fact he is now pushing 60. This film will reveal the intention behind some of Piano's major works and his hands-on approach as he designs and constructs one particular project- the Sydney skyscraper that may come to redefine the genre. RAILWAY ADVENTURES ACROSS AUSTRALIA (6 X 45 MINUTE NON ACCORD) LOOK FILMs PRoDUcTIoN[...]RY INTERNATIDNAL his elegant and romantic method of transport serves as the vehicle to capture the imagination of viewers as they experience the enormity of Australia. With the host, Scott McGregor, travelling around this extraordinary country utilizing the strange and wonderful rail lines, we will experie[...]eetthose people who make this country so unique. THE ULTIMATE SIN (55 MINUTE NON ACCORD) I I I I[...]time cleaning job to find his wife's body slumped in a chair, covered in blood with .22 bolt action rifle placed between her knees. An autopsy showed she had been shot twice in the head and through both hands, indicating they had been held in front of herforehead 'in defence’. Despite the impossibility of such wounds being self-inflicted, police maintained itwas suicide and, although the coroner returned an open verdict, the case was Closed. Acting on a tip-off 12 years lat[...]es. His discoveries will finally bring justice to the memory of an innocent woman. VISIONS OF YANKALILLA (55 MINUTE ACCORD) FLAMING STAR FILMs[...]W: RosIE JoNEs Presalez SBS efore an apparition of the Virgin Mary appeared on the Wall of the local Anglican church in Yankalilla, life in the little town in South Australia was peaceful and predictable. But since the entrepreneurial new priest at Christ Church recognized the marketing power of the apparition to rejuvenate I the dwindling congregation, nothing I I I I I I I I[...]I I I I I I I I I I I I I I I I I I I I has been the same. Busloads of tourists of all nationalities and denominations are coming to Yankalilla to see the apparition and to attend the healing mass atthe Church, now named The Shrine of Our Lady of Yankalilla. His innovations have attracted both d[...]d bitter opposition. Production Survey Featured in Pre—P/Toauctio/2 PAPERBACK HERO Production co[...]DANI ROGERS Scriptwriter: ANTDNY BDWMAN Director of photography: DAVID BURR Production designer: JON[...]truckie Jmoonlights as a romance novellist. When thethe Writer. PASSION Production company: MATT CARROL[...]ptwriters: PETER GOLDSWORTHY, Roe GEDRGE Based on the stageplay: PERCV AND RosE By: Roe GEDRGE GoVERNME[...]AsT RICHARD RUXBURGH (PERCY GRAINGER) assion is the story of acclaimed pianist, composer and eccentric, Percy Grainger, and the intense relationship with his mother Rose, which dominated his life. The film charts Percy's rise from child prodigy to the toast of Edwardian London, revered and celebrated througho[...]er: RON BUCH he disturbing and Violent portrayal of Sunny Clinsman, 55 and terminally ill with weeks[...]army recruits to kidnap his only son's gay lover, in an attempt to lure his son Evan into a cat- and-mouse game fuelled by a hidden agenda of suicide and seIf—retribution. It is the cruel story of a military man so guilt-ridden that he forces his[...]to killing him. A suicide drama that demonstrates the raw facts of a life spent living by a code. A lesson in expectancy. A drill we will all have to encounter. Featured in Pro9uctr'0/1 BABE IN METROPOLIS Production Company: KENNEDY MILLER Di[...]RGE MILLER, JUDY MoR- Rrs, MARK LAMPRELL Director of photography: ANDREW LESNIE Production designer: R[...]tume designer: NDRMA MORICEAU Editors: JAV FRIEDI<IN, MARGARET SIxEL Composer: NIGEL WESTLAKE PLANNIN[...]tist: PETER POUND PRoDucTIoN CREW Visual effects: THE NEAL SCANLAN STUDID ART DEPARTMENT Art dir[...]
	[...](MRS HOGGETTI, MICKEY ROONEV aving triumphed at the National Sheepdog Trial. Babe returns home a hero, but in his enthusiasm to be atthe side of his beloved "boss", the little pig accidentally causes a mishap which leaves Farmer Hoggett in traction confined to bed. With the bank threatening foreclosure, Mrs Hoggett‘s only hope for saving the farm is to accept an offerfor Babe to demonstrate his sheep-herding abilities at an overseas State Fair in exchange for a generous fee. Thus, Babe and Mrs H[...]s, where Babe encounters an incredible assortment of animal friends, experiences the joy and sorrow of life and learns how a kind and steady heart can mend a sorry world JAMES Production company: THE JAMES GANG PTY LTD Distribution company: BEYOND F[...]oss MATTHEW Scriptwriter: STUART BEATTIE Director of photography: MARTIN MCGRATH Production designer:[...]IP GAMBLIN (ROLAND), RAINY MAYO (DANIKA) amesis the comic story of a young rugby hero who leads a secret double life[...]ergetic, off-beatfilm where everything happens on the run — and happens fast. SPANK Production comp[...]writers: DAVID FARRELL & DAVID LIGHTFOOT Director of photography: DAVID FOREMAN A.C.S. Production des[...]ld mates Nick and Vinny planning to set up a cafe in the city's premier cafe Strip. Vinny's girlfriend Tin[...]g. Enter local rich kid Rocky Pisoni, temporarily in charge of his Pa's building development company. Rocky take[...]sequences. Featured L./1 Peat‘-P/‘o9uctL'on THE BEGGARS' OPERA CAFE Budget: $45,000 Production:[...]HOLLY FISHER Scriptwriter: VICKY FISHER Director of photography: KATINA BOWELL Creative consultant: E[...]uise, Becky and Justine Open an underground cafe in their backyard garage which becomes the most popular place in town. Even the policeman and the nosy next door neighbour become regulars. The money starts flowing in, finally freeing them to follow their dreams. But[...]will they keep sight Oftheir Original goals’? THE BOYS Production company: ARENAFILM Distribution[...]OHN MAYNARD Scriptwriter: STEPHEN SEWELL Based On the play titled: THE BOYS Written by: GORDON GRAHAM GOVERNMENT AGENCY[...]TE CRONIN, ANNA LISE, ANTHONY HAYES he Boystells the story of Brett Sprague, a bad-seed brother who returns to his family home after several years in gaol. Things have changed while Brett has been aw[...]other Stevie's pregnant girlfriend now lives with the family; and his mother, Sandra, has taken On a ne[...]Brett sets about restoring his Own family order. In doing so, he reunites his brothers with horriﬁc[...]REW BOVELL, ANA KDKKINDS, MIRA ROBERTSON Director of photography: JAEMS GRANT Production designer: NIK[...]n and joy is jammed into one high-velocity night Of dancing, sex and drugs, he's running head on into[...]SCHARE Scriptwriter: JOHN WOLSTENHOLME Director of photography: NINO MARTINETTI, ACS Product[...]
	APTED — — SEE ISSUE 122 FOR THE FOLLOWING: J : PosT-PRoDucTioN AMY I Laboratory:[...]ARET McCLYMONT KILLER JONES psychmogtcai thhiiery in the C0/’Z[L/ZLLC Clapper-roaderr RICKIE BYRNE tradition of Hitchcock, with a Camera assistant: LIQUID BRIDGE[...]CISIONS l"5”’e’5 HOLLAND INSURANCE Based on the novel titled: IN THE WINTER 0"‘-5” c““” ac“/nentm “M The following three projects COITIDICIIOII guarantor:[...]director; d Legal Services: FOSTER HART Director of photography: MARTIN MCGRATH ANGELLA MCPHERSON ha[...]LE (3 X 1 HOUR SERIES) Production company: FILM AUSTRALIA Director: IAN MUNRD by the Commercial Television Production Fund: Clapper-l[...]NELL Writer: SUE CASTRIOUE his series documents the events, Tpersonalities and experiences of people throughoutthe colonies in the decades leading up to Federation. It is an epic tale of how a nation was made. D: SARAH STEPHENS Ps: JOH[...]ocumentary centres on Allen Murphy, formerly part of the lttells the story not only of ‘the founding fathers’ but also ‘the people’. It reveals what life was like in the colonies for those who were excluded legendary seventies band, The Village People, who is now resident in Australia. At his invitation, The Village People will meet with the Aboriginal 2nd assistant director: STEVE HARDMAN[...]w IPMPI Edge rlumbereri ATLAB as well as included in the rights and musicians he now plays with and Make»[...]MARKETING 30U"d ‘Transfers bvi ATLAE privileges of Australian citizenship. teaches in thethe story of the winners and . _ - , _ 3 Oratory IBISOIII ' stunts[...]losers. 0f1_he Struggle rr0flUStt0 make HQME OT: THE BLTZZARD Safety supervisor: PETER CULPAN BRENDA B[...]ITH FISH, Yvm sihi n Intense psychological drama, In Production: PRIVATE _ his documentary follows TheTHE JOINERY Length: 95MIN Gauge: 35MM GOVERNMENT AGEN[...]TON CSOKAS IRAOULI, TUSHKA BERGEN (JULIA) hrough the shimmering red-ochre distance, in the white—hot light of passion, two lovers create their own reality. Hurrah is a mysterious, intense love story. IN THE WINTER DARK Production company: Fl.B. FILMS Distribution company: THE GLOBE FILM CO. 62 I I I I I I I I I I I I I l l[...]Murray Jacob and Ronnie struggle to find love. As the pain from an unresolved tragedy threatens to erup[...]e and Ida's past, Jacob and Ronnie are drawn into the older couple's desperate attempts to stop their l[...]ers: MICHELLE WARNER & PRISGILLA CAMERON Director of photography: GRANT MARKERT Production designer: L[...]e pumpkin, more fun than you can poke a stick at THE THIN RED LINE Production company: PHOENIX P\|CTU[...]writer: TERFIENCE MALICK Based on a novel titled: THE THIN RED LINE By JAMES JONES Director of photography: JOHN TOLL Editors: BILL WEBER, LESLI[...]sed on Jones’ sequel to From Here to Eternity, the ﬁlm depicts an episode of military history in 1942 when the ﬁrst division ofthe US Marine Corps attacked the beaches Of Guadalcanal, where Japanese troops had dug in. The ‘thin red line‘ represents the ﬁne line between defeat and victory in the battle. Production: JANUARY 1998 PRINCIPAL CREDI[...]RRIE MAiNwARING Scriptwriter: ALAN LOCK Director of photography: KEN PETIIGREW Editor: NIcoLE LAMAcI[...]le: NETwoRK TEN A modern day pyscho-thriller set in inner-city Sydney Awzziti/zg Relcaae TRUTH[...]GEON I119) ABERRATION I119) GREYSTOKE 2 (119) OUT OF THE BLUE (119) JUSTICE I121) ‘1NPIioDU‘cT[...]
	[...]r e W n 5 5 w .I r 9 e m W ® 49 9 3 9 .49 7 ‘u In 40 7 19 5 % d %W % M E .5 I. 6 4 7 4 4 5 4 5 6 m[...]I I I I I 1 1 I x I : I . x > L I I I I I 1 \| I I In 8 W I In ..L rn um ..U W 45%;: - . w5mmmm4mmm U h .[...]
TXT
	blade the fairytale - a true story the borrowers m i l o -lego, dragon[...]loathing world's lost in space Citro
	FILM AUSTRALIA FUNDING tralian corresponden[...]116 Argyle St, Fitzroy, VIC; Australia 3065 TO CONTINUE Pictures International and host of SBS-[...]TV's Front Up, leads the team of avid S teven $ p ie lb e rg may have his S e[...]commentators hands full with the plagiarism -
	[...]sKinnedmv OOP: Andrew Lesnie THE BENEFICIARY Director: Graeme Burfoot DOP: Dan[...]r: Craig Lahiff DOP: Bria^Breheny CHILDREN OF TH PirectoCLfeter Duncan DO Director[...]
	mbits FESTIVAL OF AUSTRALIAN cinema-going, wi[...]A s part of the 1998 Australia Day video walls showcasing previews, an[...]festivities, the inaugural Festival three Gold Class auditoriums,[...]usive TH IS IS HUGE! of Australian Film, a celebration of Aus bar and lounge area. G reater Union has opened a new Megaplex in the Adelaide suburb tralia and its people through[...]film, was launched in Melbourne. FEES, PLEASE of Marion. This 30-screen complex is Presented by the National T he Australian[...]tributors Association (AIDA) has the largest in Australia, most possibly Australia Day Council, The Australia called upon the Federal Government to[...]abandon increases in fees pertaining the world, and has an overall seating Day Committee (Victoria) and the to censorship classification which[...]came into effect on 1 November 1997. capacity of 5,676, ranging from 547- State Government of Victoria, and[...]ema Papers editor Scott 104-seat cinemas. Some of these cine Murray, the festival ran from 19-25 Jan mas will be themed: the State is uary 1998, opening with the Victorian modelled on Sydney's State Theatre; premiere of Gillian Armstrong's Oscar[...]e is a Hollywood-themed cinema; a and Lucinda, at the Regent Theatre in Warner Bros cartoon-themed cinema; Col[...]Siren would be interested in having a[...]Richmond, Victoria 3121, Australia.[...]H ot on the announcement of Film[...]Australia's continued govern[...]ment funding comes the news that its[...]is now in production.[...]directed by ian Munro, the project has[...]been in research and development for[...]five years, and will document the[...]of people throughout the colonies in[...]the decades leading up to Federation.[...]Episode one will focus on The Land,[...]episode two on The People, and[...]episode three on The Nation. and a sports-themed cinema. The Gob forgotten Australian films, such as inequitable and harsh, and will THE SILVER SCREEN RETURNS Mobile, Australia's only motorized Jedda (Charles Chauvel,[...]adversely affect independent film pro TO THE REGENT Candy Bar, will also travel up and down[...]nnam, 1975), Bit ducers and distributors. The same fee the 230-metre complex, dispensing ter Spring[...]200-print release or an independent or the Regent Theatre in Melbourne[...]Noyce, 1979), foreign single-print release, the has been used as a picture house, but The foyer is the size of two Olympic The Overlanders (Harry Watt, 1946) and increase making the distribution of the celluloid has returned to the renovated swimming pools; the Candy Bar is 30 The Adventures of Barry McKenzie latter films even more difficult. and august hall. A restored print of metres long, and there is only one pro (Bruc[...]5 metres. screened, along with a selection of AIDA proposes that the Government screened there, with a live band[...]short films and newsreels. The Festival abandon this increase and replace i[...]ar with a system scaled according to the day season in November, and it seems ent films will be screening in the annual event around the Australia number of release prints of a film, a that it wasn't an isolated inciden[...]system currently operating in other Plans are afoot to screen special fi[...]tries. seasons at the Regent in between live on average 45 different new release[...]been approached to assist in advising body's guess, especially since the T he Melbourne suburb of Sunshine S iren Entertainment, those crazy and co-ordinating the screenings. Megaplex includes four arthouse cine is the next installment of the pop-culture-Manga/Troma-cult- mas. With the recent openings of Megaplex boom currently sweeping[...]ck, who was instrumental Palace and Nova cinemas in Rundle of contemporary animation in 1998, in organizing the My Fair Lady screen Mall, Adelaide may be in danger of the country. Village opened its 20- and are[...]you're sitting on an animated film, no prints of classic films, such as Rear just making up for l[...]) The promotional material is saying[...]that this is the revolutionary future of the Regent from April 1998. On his 4 C I N[...]
	Frameworks, first in non-linear in Australia, has once again taken the initiative in film editing. We are the first facility providing a dedicated non-linear a[...]s and change lists for feature films. This method of post for 24FPS film provides a one to one re[...]method provides simple and frame accurate output of cut lists, change lists, picture and sound edl's directly from the Avid. This avoids the need for trace back edl's for sound post prod[...]r details, and a m ore com plete explanation o f the d iffe re n t ( )post p ro d u ctio n[...]
	[...]an 100mm (aIFat T2.0). The Mk II series is transformed into the 12th Annual editions. available in similar focal l
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	in p erfo rm an ce The Director's Edge by Dean Carey W e all know about the pressure of time and money.[...]being slashed or `trimmed', the first casualty of the red pen is often a small block of time entitled "rehearsal". " Let's make it up on the run. Why waste valuable hours? The actors know what they're doing" , someone says. It's a familiar state of affairs. As directors, what do we do then to make the most effective use of every moment? Know ing exactly what to do is the only answer: capitalizing on every conversation, meeting, rehearsal and camera rehearsal to create the world necessary for the story to be revealed with richness, detail and depth. The one thing that exhilarates both actors and dir[...]action become indispensable; when one demands the other, and what has to happen in the scene suddenly becomes inevitable. This unity both in the scene and between the actors creates the one essential element that engages an audience[...]-atmosphere. When atmosphere exists it creates the exact conditions where all that is said and do[...]essary. With out it, actors self-motivate, act in isolation, and If the scene isn't working to its optimum, consult each person displaces the energy of the other. With the following check list. out this palpable cause and effect moment by the style and execution of each shot begins to[...]moment, the characters will start to self-motivate[...]Are your actors: hearing each other; claiming the and begin to act in their own bubble. To create reality overpower the story through embroidery and decora[...]and relationships and to motivate each line of dia[...]moment by moment; revealing the story and its logue, the actors must respond to each other; relate, tion. The production team's attempt to manufacture[...]and the feeling that what we are witnessing is hap atmosphere for it is not springing from the fusion If any one ofthese elements is missing, the scene pening now and for the first time.[...]nd is fulfil its function. These ingredients are the active Lastly, your actors need to reveal the meaning the[...]. Every scene has a function, a rea dedicated to the director at w ork-w ith limited time, out any one of them, your scene will lose its integrity son for being there. It tells a story, exposes the[...]briefly explore each element, then see how the question, "What was all that about? It seemed working with their allies on set: the actors. to repl[...]ning to each other. does it contribute to the film?" Without meaning,[...]ifying nothing. and on-set exercises that create the exact working connections, no relationship. The dialogue will seem[...]forced or disconnected, the characters playing states As you can se[...]re and to connect of emotion and living in isolation of each other. Listen integral and will always be present when the scene is ing is one of the most natural things to do, and the first working. If this is the case, you do not question them actors to each other and to the scene at hand - simple t[...]do, though, when one or all and effective tools of the trade. Each article will build[...]the stakes involved in the scene - owning their sig upon the previous and offer a range of on-set options nificanc[...]For without this sense of ownership, the audience and rehearsal techniques to create dynamic, com asks the simple question: "Why am I watching this?"[...]The scene seems lifeless, without depth and validity;[...]it doesn't seem important enough to demand the[...]actors' attention, let alone to drive the story forward. Th e check list[...]E xe rc ise n u m b e r 1. "A n d A g a in " " If it ain't broke, don't fix it." When you w[...]ple direction can come from yourself or any into the script and situation, the following four questions do not need to be asked[...]actor during the rehearsal of the scene. Many direc always the case. Many pressures - both internal and externa[...]tors stop the action and talk through a particular hunch and n[...]43 choices. Something's going wrong. And the longer it is left unattended, the worse it will most likely become. You must address it fast, and in exactly the right way. 8 C I N E M A PAPERS
	[...]to Cinema Papers and save up to 20% off the newsstand price.[...]
	[...]red: Total no. of issues: Total Cost $ Name..........[...]ing Limited and mailed to P0 Box 2221 Fitzroy MDC Australia 3065, All overseas orders should be accompanied by Bank Drafts in Australian Dollars Only. Please allow 4-6[...]
	Israelites in the Old Testament, but to Indonesia, Orlow Seunke's 125-minute cious combination of newsreel and fic makers have a long and distinguished recognize the Utrecht area's major feature traces the unfolding of a love tional footage, this film is reminiscent record, as well as a section devoted to producer of wealth, the Friesian cow, affaire over 10 dramatic years of Dutch of Newsfront (Phillip Noyce, 1977) and promising student work. Each year, the though this distinction has not spared colo[...]terpointing pub has an important part to play in help Festival invites a distinguished film the award the criticism of fundamen lic events with private lives.[...]"Cinema Militans" on an aspect of cin In 1939, Theo Staats arrives in Java e[...]not without its own and immediately falls in love with the The Festival also marks the feature Dutch-born Australian director Paul biblical overtones as it follows the beautiful Eurasian nightclub singer debut of celebrated short film pro Cox, last year American director Alan career of the bastard son of a ruthless Ems, who is already married to a r[...]Nooijer. His film, Exit, Pakula (Klute and All the President's bailiff whose ambition drives him in[...]lderly Dutchman. Their love was directed in collaboration with his Men), and this year Ate[...]entless conflict with his strong- affaire, the scandal of the expatriate son Menno. Those familiar with de Jongh has produced much of his recent willed father. It is a beautifully-crafted community, is interrupted by the Nooijer's work, such as the short Stop work in the US, where he directed the film. Set in the 1920s, the film has a Japanese invasion. Ems' husband i[...]ng narrative, solid performances, killed by the Japanese while Theo is the avant garde style of what is an episodes of Miami Vice. His ideas on superb art design and c[...]mprisoned. extended speculation on a range of film funding are worth consideration in that exemplifies the continuing Dutch Ems sleeps with the Japanese com topics including art, pornography, the mastery of the interplay of shape and mandant to obtain better treatment for voyeuristic nature of cinema, American the Australian context, as Holland shadow. Al[...]
	[...]rogrammes were produced using attract the attention of critics. Festivals Last year's Review of representation and the need for a con their facilities.[...]llent practitioners to discuss and view the[...]
	Danes down under by Solrun Hoaas In Australia, the major source period films of some of the more established direc second hearing; and t[...]tors, such as Bille August or Nils Malmros. The for three-year terms, with a maximum of six years, to dinavian films has been[...]by Anders Ronnow- ensure a healthy turnover of preferences - a policy which regularly[...]nd, might be described as a Danish Short Cuts the AFC might do well to adopt for anyone directly[...]ey seldom which moves between the lives of several characters involved in production-funding decisions. reach our cinema screens or film festi in the course of one day - the day Danes voted for the vals. This year, despite the numerous second time on whether or not to join the EU. The DFI can fully fund a feature, although this is outstanding features from the region[...]not usual. More commonly, if a consultant gives the hailed elsewhere (Jan Toell's Hamsun One influence on the new filmmakers is the Dan nod to a project, the filmmaker can on that basis go with Max von Sydo[...]suggests Jesper Andersen ofthe DFI. In some the Institute is more common. These projects are off[...]subject to quality criteria, but can be made in other[...]n ingrained ferences are that the three film consultants have the 40/60 system: if you can raise 40 percent ofthe prejudice among the Australian public greater indiv[...]as they can make personal budget, you can get the remaining 60 percent with to films that conjure[...]f rejected, filmmakers out consultants vetting the script. mysticism or excruciating dissections can take the same project to another consultant for a of family relationships. Most are not as[...]Breaking the Waves is the biggest project under attuned to Carl Dreyer's Nordic Noh of taken to date by Zentropa, the company started five pure emotion or the best Hamsun film[...]They produce a number of films by other directors, Suit (Hunger; recently[...]ibeke Windelov, they lose money on Similar kinds of public perceptions of most of them, but recoup on Von Trier's films, which dou[...]lowing around the world. As a producer, she has a broader public until the discovery that[...]very practical approach to the new trend for numerous Japanese cinema offered b[...]ducers" on Breaking the Waves, no one producer had which now have a cult following here. Perhaps the success in Australia of Danish director Lars Von Trier's Break ing the Waves and his television series Kingdom (Riget), broadcast in 1995 on SBS and followed by theatrical release[...]ll help to change those ingrained perceptions to the benefit of all Scandinavian cinema. Although an introduction to new Danish cinema organized through the Australian Film Institute may not reach a broad audience, the recent season of Danes down under revealed a vigorous film culture. The accompanying guest appearances of Morten Arnfred, co-director of Von Trier's Kingdom and King dom II, and Vibeke Windelpv, producer ofthe two Kingdoms and Breaking the Waves, gave lively insights into both the production environment of a small nation and some revealing anecdotes from behind the scenes. This year, Denmark produced around[...]ich, they pointed out, was quite exceptional, as the norm has been around 12-15 Per year. This sud den surge was partly due to the great number of co-productions. The films shown in the AFI season, selected by Peter Kaufmann, included[...]u mentary, Under New York (Jacob Thuesen), about the subculture ofthe homeless, and two films by first-time feature film directors, The Eighteenth (Den Attende) and Belma, which reveal[...]pacy, almost documentary style, a departure from the social-realist films that dominated the '70s or the 14 C I N E M A PAPERS
	[...]Top: Anders Rennow Klarlund's The Eighteenth. Danish cinema organized through Morten Arnfred was involved in starting up the Above: Jacob Thuesen's Under N ew York. the AFI may not reach a broad audience, the recent season of School and, as one of the country's more experi Danes down under revealed[...]phy to first A.D. (on Breaking the Waves) to directing more say than the rest, a `divide and rule' principle of half a dozen features of his own (including Land of operation. Her advice to those seeking co-produc[...]Er Et Yndigt Land], which won a Silver partners in Europe is to look for someone of your own Award in Berlin, Heaven and Hell [Himmel Og size, and to check out the structure of the partners to Helvede] and, more recently, The Russian Singer ensure you have the same decision-making powers. [Den Russis[...]ship has Denmark has had a film school since the '60s, benefitted the films. Von Trier is known for his and the Danish Film Institute was started in 1972. many phobias, and often works his phobias into In addition to its workshops for training, some[...]ove ground floor. for short films, there is also the now well-established Therefore, he would have had great trouble being European Film School in Ebeltoft, which provides on set while shooting some of the scenes in an eight-month course within the framework of the Kingdom, scenes with blood and gore, lift shafts, folkeh0gskole (a type of popular educational institu Mrs Drusse's flight or Dr Helmer on the rooftop, tion characteristic of Scandinavia, which started up gazing across at his beloved Sweden, or the very to provide further education in rural areas). Ebeltoft dangerous scene of the oil-rig accident in Breaking the Waves. Morten Arnfred is sometimes the only one on set, directing the actors, and consulting[...]with Von Trier, who then has the freedom c ? 4 4 C I N E M A PAPERS
	[...]the best-organized Doco Conference by Ian Stocks[...]strong contingent from down south, the ABC and SBS, in addition to expo ever, and was marked by a mood of reassuring both the Queensland envi sure to new market forces, including co-operation and enthusiasm which D espite the initial ronment and the national bodies that the heavy representation by Discovery dispels the current predictions of pall cast by threats the documentary section is fighting Channel, National Geographic, and gloom and doom about the future of of funding cuts and back against proposed cuts.[...]r major local and international funding for the documentary area. general poverty in distributors. the documentary The level of debate on documentary Three days before the Conference, industry, the 5th International Docu policy and practice was extremely Over all, the Conference triggered Senator Alston, Minister for Communi mentary Conference in Brisbane was a high, with some key speakers offering fresh interest in the spirited promotion cation and the Arts, made an raging success, with a record number many possibilities for ways of launch of viable projects in a range of genres. announcement ensuring retention of of delegates and a full schedule of ses ing documentary into a new phase of Film Australia's National Interest Pro sions ranging from pitch and relevance in the Australian social and Judged against previous Documen gram and the Lindfield Site, as well as promotional sessions[...]environment. Key speakers tary Conferences, the Queensland the footage library. The position of sessions about markets, and theory proposed a range of strategies which organization rose to the occasion with doco in the Australian cultural and and policy discussions.[...]marginalized status within the com set of management procedures which guaranteed at least until 2003. Led by Melanie Guiney, the QDox mercial broadcasting environment. meant that the five or six simultaneous team achieved the record turnout of programmes ran smoothly, and yet The status and availability of key more than 530 delegates from all[...]d opportunity for delegates to players within the industry, both in the states and territories, with a very ways of renegotiating existing deals sample both the delights of Brisbane production area and the broadcast and with public service broadcasters like and the wide range of material and funding areas, further glossed the[...]importance of the Conference and its r-- -- -- -- ----------------[...]production. The enthusiasm and diver[...]sity of production was not missed by[...]QDox estimated an attendance of 300 (7 O L P & L
	[...]Phillip Adams' keynote speech was was the visible presence of key broad funding for the AFC, particularly for the dees included: Elliott Halpern, a eclips[...]who multi-award-winning Canadian pro by the efforts of Tim Read, Director remained available most of the time, development phases of documentary ducer, with his film about the influence AFC Development, and the 400-plus with Geoff Barnes and Mike Rubbo of of Jewish entrepreneurs on the estab guests gave Rachel Perkins' observa the ABC putting in many hours on pan production. There were concerns lishment of Hollywood; Rigoberto tions on the nature of a documentary els and as chairs of sessions. Lopez, with his spirited film about the medium their full attention. about the shrinking availability of origins of Cuban and Caribbean salsa[...]il music; Duan Jinchuan, with his sensi The keynote by Adams, copied for able for consultation and impromptu funds to ensure the core programme tive portrait of life for Tibetans in distribution to all delegates by the pitching sessions. These included Lhasa; and Sanjay Kak, one of India's next afternoon, is a resounding vote of Geoff Barnes of the ABC; Claire Jager and various forms of assistance better-known documentary directors;[...]amongst others. ers, "the second-class citizens of and Andrew Brann from Channel 4; marked for documentary in the inter The Conference widened its scope[...]a. to include papers on documentary and a range of highly-relevant screenings.[...]A healthy spread of projects was These included many classics of Amer ican cin
	[...]quals I fell into it really. I was a fan of movies. CHOOSING JOBS?[...]hat I get to do what I want When I lived in Moonee Ponds, I'd[...]to do. I'm getting a good choice of catch a train into the city and see As a teenager, I was qui[...]A re f ilm s like K is s o r K il l a n d D o in g things now and I'm learning a lot w[...]l very new - and it was Tim e f o r Pa t s y Cl in e d elib er ate osmosis more than anyt[...]But that's the way it happens in this movies. It didn't take me very long[...]e out that I wasn't going to be an For the last few years I've started to astronaut, so the only way to live out make choices, to t[...]actor. do something different from the last look at anyone's career, with the odd[...]self a bit Exactly, and they cover either end of exception, most people get bits and When I was in primary school, more, push myself out of my usual the spectrum. It was great timing as p[...]themselves up, and somebody takes the weekend with a friend - a kids' to challenge me, keep me interested. very conscious of finding something a punt and give[...]at was very different. Often when the beauty of the Australian industry. going along with him and thinking, In terms of technique, I think I've you do something, p[...]k you have a lot more chance to "This is the thing for me." Everyone always worked[...]film?" That's what you do, say, in America, where there is stage in their life; I just happened to[...]Love and Other Catastro a couple of films here that might not[...]
	[...]kid. [Writer-director] Chris we came up with the bulk of it. there. It was the first time I learned Kennedy was a bit concerned that I'd With the jump cuts, the cast and crew P. J . Hogan, 1994[...]e deals: how you get paid; chubbed up. By the time I got to do Kiss Muriel's Wedding was the best audition so much an hour for this, wow![...]Kill, I was about five kilos less than spent the first two weeks saying to Bill: I've ever done in my life. Usually, you go pretty hard job for Guy[...]-on "You can't do that. You're crossing the to an audition, do your bit, and sit on Clau[...]ntinuity." agent every day, waiting and waiting. In obscene on the set, you know; we really Kiss or Kill[...]o do something different." this case, I went for the audition; [direc sank low. Megan was in shock some[...]P. J. [Hogan] was there, as was days over the stuff we'd come up with. Bill Bennett, 1997[...]is lead] Toni Collette. We sat down, did a In movies like When Harry Met Sally... phes, and actually rang me up straight couple of scenes, and we workshopped [Rob Reiner, 1989], there's always the after the screening. She said, "I love the nuts; he doesn't know the first basic the bean bag scene. That finished: mate, so I knew that I was doing the film, but you can't do it again. It's[...]d, "Yep, yep, comic relief. Again, it was one of things enough." I said, "I know, that's exactly Henry [Dangar], the editor, to send over cool", and he says, "Well,[...]a rough cut of the first scene we shot, And that was my first film.[...]feel." She said it would probably and we sat in this hotel room one Friday[...]ound for a while, even night with a couple of beers and Love and Other Catastrophes[...]They were making a commer or Kill came into the office. She said, "I "Ohhhh!" It all made sense[...]six months. cial number, and it made a heap of think I found the one!" I read it and it great experience; the tables were My agent got the script, and said, money. I've got more r[...]meeting with turned. "There's a character in it you can play of that than any of the others. People [director] Bill Bennett about a week pretty easily. There's no money. What do in video stores come up and say: later. I rocked up to this meeting know So often in a film you're working you want to do?" I thought[...]g that he had only seen Muriel's around the technical aspects; you than sitting and stewing in my own neu "Hey mate, I saw you in that movie. Wedding and Love and Other Cata[...]You were funny in that." phes and was considering me for the formance for technical reasons. You ros[...]part of a sociopathic, bloody, potential have to direct your lines to a piece of Melbourne and met Emma-Kate and "T[...]murderer! I didn't shave for a couple of gaffer tape because your eyeline isn't Stavros [Efthymiou], the producer. We "Did you really get to fuck[...]ned up hung- right, or you have to deliver the same went out for coffee and they explained[...]They started calling me "Quick Draw all the way through, swore a lot. At the every angle. There was none of that. We weeks in Melbourne, hanging out, hav McGraw" because of that scene. end of the lunch - I think he saw right had the technicals working around us. ing fun, not think[...]ime for Patsy Cline he explained the whole thing to me. I even get to see a run before shooting it. experience. In fact, what I wanted to[...]happens next. Probably line up an audi The Sugar Factory a film for nothing. I thought that if they I saw there was a movie in production tion or reading." And he just said: can get it to this stage, I'm in, good on called Doing Time for Patsy Cline. I[...]you want to do it?" It's based on the novel by Robert Carter, wildest dreams.[...]s." who wrote the screenplay and directed[...]part", but I wanted to "Okay, see you on the Nullarbor next it. It's been his big passion for 15 years Dating the Enemy have a look. I got the script and thought, month."[...]m is cool." Then I heard Richard I walked out of the cafe thinking, to get it up. It's looking[...]"Fuck, now I've told him I can deliver, the eyes of Harris, a very intelligent, Again, that was thro[...]y blown away I've got to do it." I knew at the time that eccentric teenager who doesn't really got the script from the producers. In[...]atsy Cline, so it was pretty fit into any kind of typical teenager fact, they'd been looking for the charac by him. So I worked my arse off, and I[...]ad interviewed people. got it. I went in there, sang a couple of boy, finishing that job on the Friday, sense of humour. The theme of it is like Apparently they couldn't find anyone. I country-and-western songs in my cow doing a screen test for The Sugar Factory Secrets and Lies [Mike Leigh, 1996], I had an audition. On the Thursday, I boy boots, and things worked[...]and flying to Ceduna on guess. He lives the perfect suburban rocked up and met [director] Me[...]family, mum and dad, [Simpson Huberman] and did the audi It was a fuckin' ball. We had a great Only two weeks of rehearsal, two weeks big house, backyard, kids. He mows tion. Then they got me in to meet Sue time; great Italian food, hangi[...]ow sideburns, and straight into lawns for the neighbours, has a bit of a Milliken, the producer. I met with them, with Richard and Miranda [Otto] and a seven weeks in the desert, improvising, crush on this neighbour up the road, an had a chat, and started shooting on the great crew. I made a lot of really good rolling around in dirt, screaming and cry older woman who's got a couple of kids. Tuesday, after rehearsing on the Mon friends. Subsequently, most of that crew ing, bashing people up, getting into[...]day. It was that quick. shot The Sugar Factory as well. It was knife fights.[...]just a great experience, and also the In terms of dialogue, the whole thing he uncovers this secret of his family It was also great fun and a pretty[...]him in a film, but, man, it was a workout. what had to happen in terms of story as a child, was subsequently forgot[...]in terms of one-on-one dialogue there breakdown and he ends up in a halfway[...]were suggestions in the treatment, but house for kids with personal[...]story in a way. C I N E M A PAPERS
	[...]TUNITY 9 RAGE OF1ITNHNOECPEUNCRESUf fITl OF HAPPINESS S E s a i M S E l l CINEMA p a p e r[...]Zwar hopes Neuro Hardware II was the 40th Rave Richie Advice for young filmmakers:[...]asting Rich had organized. Tony Hall set the would be like the blind leading the TNwEUeRnOtyM-tAhNreCeEyRear-old Chris Zwar impression of the Aus crane on Friday night. About 4,50[...]ut there and do it, and studied Media at Deakin. In 1994, tralian Rave scene, as[...]er Rusden students teeters on the brink of ley got some excellent footage. made a[...]re were 16 sub-woofers evenly TIM MUMMERY the Melbourne Rave scene, In Search wholly new and unrec distributed throughout the venue of a Sub-culture. They had no money ognizable beasts. and a lot of money was spent on THE PURSUIT OF HAPPINESS AND and minimal resources, but their the lighting and the show. It's not labours excited the interest of Dasha With its 15-year[...]aPpOpRinTeUssN, IaTY20- Ross, Executive Producer of Docu Rave history, Mel really about the music and dancing. minute doco about the day-to-day mentary at the ABC. bourne was the obvious business of a door-to-door sales firm, choice for much of the We did two types of interview, was made by Tim Mummery as a[...]shooting. Sydney lost its one lot with the Rave organizers student at the Victorian College of after the William Gibson novel, was edge in 1995, he says, when the death and the other with the Ravers them the Arts. It was purchased by the a "humbling experience", says Zwar, of Anna Woods from Ecstasy changed selves. These industry ABC for Loud Dox. To fill the 25- who knows there are hundreds of the Rave scene irreversibly. Raves professionals - making a living in minute segment, the five-minute filmmakers out there. Zwar can't were targeted by the police and the Rave scene, producing music, Windows of Opportunity was com believe that one year out of film forced to move into existing club running Raves and promoting the missioned. school he got his first directing premises. This took the gigs out of the culture - have done hundreds of credit, and on a project he wanted organizers' hands and put them into interviews and the set-up doesn't faze Mummery studied a BA in to make. those of unadventurous management. them. But for interviews with the Anthropology in Western Australia. Neuromancer attended the big Ravers, it was important not to[...]smaller Rave held in the Flemington Zwar scaled down to a two-man[...]We faced special problems, with the death was tragic but, nonetheless, he extremes of light [from black to argues that it is ex[...]ed in these conditions and can't deliver almost out of existence in favour of[...]
	[...]overseas, he com morning warm-up, where the group see more from this young filmmak[...]belonging." Training as a boxer - subjects in documentary theory and, gave tips on pitch[...]"for the fitness aspect", Fenech says in 1996, was accepted into the VCA Mummery revealed himself and they[...]- there was also a turf-war going on, School of Film and Television's agreed to let hi[...]able but you have to go out there between the Nazi punks and the newly-created Postgraduate Docu[...]it. By doing it, you learn to homeys, and the police weren't mentary stream. Mummery:[...]as great building relationships with structure the story [in the field]. always gentle moving them on.[...]ling with Fenech studied at Leichhardt of mine. I had a genuine interest in propagates the [adage], "Greed is real people, who are[...]ou actually see these people life [beyond] the screening of your film. Metro TV. Scoring a job at the ABC people as an easy route to [narrative][...]business partner and the producer of A recipient of the Film Victoria fortably with Pursuit. A study of HDIiPreHcOtoPrCPIaTuYl Fenech is 29 yea[...]car-window cleaners at the intersec (too old to have done a Loud fil[...]Mentor Scheme, Mummery was tion of Punt Road and Hoddle Street but the ways of the ABC are a mys through their company, Livewire paired with mentor Steve Thomas (a in Melbourne, it is also a comment tery to[...]s. documentary filmmaker with credits on the current economic climate, one-year-old son. He's been revisit far exceeding the space here). The comparing the old hands with the ing his teens for his `devotional' "The media has always centred on Mentor Scheme brough[...]doco, Hip Hop City. the thugs", says Fenech, whose aim to the attention of Dasha Ross. Upon each other to eke out a living on the has been to devote 25 minutes to viewing The Pursuit ofHappiness, she street.[...]cade ago, Paul Fenech was portraying the culture of hip-hop, purchased it from the Victorian Col hanging with as many lege of the Arts for $6,000. Mummery's DOP wa[...]ary filmmaker Stewart Carter. Carter around the Marble, The Pursuit ofHappiness was an graduated from the VCA film school under the stairs at Cen accident, says Mummery. His studio, in the late '80s, when documentary tral, in Sydney. Angry Jindie Films, overlooks a Richmond[...]grad by mainstream or he witnessed a group of businessmen uating doco, Ma's Pie Float, about a Anglo culture, these and women standing in a circle late-night pie-trailer on the steps of `wanna-be toughs' singing and making `affir[...]an American ghetto This group of hawkers and can In the company of Thomas and culture called hip-hop.[...]warming up for their Carter, Mummery is in excellent day selling door-to-door. Dressed in hands and it is inevitable that we w[...]
	[...]Week in the late '80s, and described "tagging". the law graffing, but on the scale of RiAOE OF INNOCENCE the experience as "mind-blowing". things, his level of criminality is less."[...]Their exams behind them, Year 12 assumed the proportions of a Gold thing of the Aussie flavour. "The Borrowing the hip-hop elements students from all over Australia Coast event, generating between MCs aren't afraid to use their own of saturated colours and frenetic descend on the Gold Coast to party. $8-10 million and, like the Mardi accents", and Australia's relative movement used by `graf-artist' Paul "It's a rite of passage for these kids", Gras, building its own[...]gate, as well as from music-vids, says Rage of Innocence's director, and culture. is also having its influence. One of commercials and Spike Lee, Fen[...]ill contribute drunk before. It's a week of new "We were a three-girl camera- Aus[...]iences. They don't know their crew. During the' day it was all parallels her own background wit[...]y atmosphere, sun and surf", storytelling around the kava bowl ments." equating to rapping, the breakdanc In the process, after shooting mul[...]cCuaig, but at night it was ing and DJ mirroring the traditional tiple video formats, like lipstick-cam, With a couple of different. The youth loved the cam dance and drum:[...]docos under her belt, era and in the street the crew were[...]lothing style, "mixed" these images in the editing and another on women rolling through most of it, but a but it isn't a uniform or an expensi[...]surfers, 27-year-old couple of times we had to tell the fashion: tracksuits, sneakers with fat[...]ld DOP, Kristen Jones, to put the laces. But it's also about being able to or the scratching together of two according to Loud[...]
	[...]In film making, quality of screen[...]Domino works at the highest film[...]throughout the world.[...]because of deadline or budget.[...]the opportunity to explore alternatives,[...]and lavish more time on the details of[...]Start working at the speed of[...]
	EVERYBODY'S ALWAYS LOOKING FOR THE NEXT BIG THING THAT'S NOTHING NEW. AND SOMETIMES PREDICTIONS AND PROPHECIES HIT THE NAIL ON THE HEAD, AND SOMETIMES THEY'RE WAY OFF. W[...]ENTS WORTH LOOKING OUT FOR IN 1998. Y T IN HUNTER UHB -[...]ction: With a strong dance and theatre background in Western Australia, Ledger^ has been dabbling in television recently, as well as scoring supporting roles in a c o u -\| pie of feature filmsiHisTead rotetas Conor in Roar, a fantasy television series set in 1 400 AD Ireland but filmedjn Queensland, was in an American co-production, and h a sj[...]brought Ledger more attention. The fact that the series has,already?^en axed in the,^ States[...]and watclrhim in future.^ 1 1H u i Q l <c[...]Credits s o la r: Race Around the World Prediction: With little experience before being selected for the ABC's Race Around the World series last year, Safran soon proved himselfto be something of a tearaway film maker. His unpredictability won him quite a lot of attention - especially after his naked dash through the streets of Jerusalem. He has dabbled in the music industry with his parody song "Not the Sunscreen Song", a send-up of a track offBaz Luhrmann's CD[...]esting to see what sort of offers and projects he becomes involved with in the future.[...]
	about journalists. In the particular case wrong with the attitude of the rest of W h at, th en , do yo u seek as a f il m What was interesting was going to of Sarajevo, a lot of journalists were the world, particularly in Europe. This killed. They were targets in the war and was a war in Europe, but people wanted m[...]interiors. In Macedonia, there is a com[...]To find a story I'm interested in and In Britain, at least, there were a lot of[...]t I would plete division between, on the one journalists who were committed to the A lot of people in Europe grew up feel want to go and watch. That generally hand, the Muslim side of the city, and, subject and campaigned for something[...]ns trying to engage with some on the other side, the orthodox side of to happen. Papers like Th e G u a rd ia n another war in Europe, and yet here thing which is, on the surface, quite and T h e In d e p e n d e n t frequently ran was a war in Europe. For people living difficult, and trying to make it in a way the city; between Muslim villages and stories saying the British government outside of Bosnia, there was a sense of that is interesting and ac[...]people who are really been that split in Macedonia. And that the most important event in their lives, interested in Sarajevo are going to I think the journalists were very but somehow it w[...]ly already is what is so awful about the fact of deeply affected by the war. They didn't day. That kind of disassociation is thou[...]would encourage people They didn't want to be on the fence.[...]Sarajevo, and had no interest in successfully-integrated city and[...]It is c e r t a in l y s h o c k in g . Yo u a r e[...]JOLTED INTO NEW WAYS OF THINKING Jude Fawley (Christopher Eccleston) and[...]Stephen has done a lot of theatre work[...]lly. It is going to be and also quite a lot of television in Eng[...]and see the film then they will suggest[...]people that they should also When the script was very first sent to[...]it. Whether people will come I me, the producers said, "Talk to[...]4 and Miramax and all the distributors, Jeremy Irons." But before[...]in a way. ca[...]HOW DIFFICULT WAS IT FILMING IN and we met lots of actors.[...]the part. He is very intense but, as an[...]eas where try to grab attention in every scene. If[...]there were still a number of land he is working with a girl wh[...]mines. On the whole, though, Sarajevo[...]we had co-operation from SAGA, the don't spend all your time wonderin[...]your time wondering what the girl is[...]A lot of the crew worked with SAGA[...]and had made a lot of documentaries feeling. He was very[...]during the war there, so they knew the[...]city very well. They also knew the story W hat w a s th e tr ig g er to u s[...]easy. In some ways, that more than j \| p t l \| e s s e n[...]compensated for any problems in I just really admire Kerry's[...]ity, especially in A n g e l a t m y T a b le . I[...]liked the idea that she wasn't English,[...]the script to SAGA. The Bosnian gov son] was working for a[...]ernment authorities liked the script company. I thought the combination of[...]ted to show people back W as m a k in g a film on such a subject[...]son, who plays Flynn, the cameraman] home what was happening in order to Among the people working with us, would be good. change something. The trouble was A DIFFICULT EXPERIENCE F[...]there were people whose background that the people back home didn't do[...]o u select th o s e pa r tic u la r anything and the journalists felt HUMAN BEING?[...]t, Bosnian Catholic. incredibly frustrated. Lots of them Within the government side of Sara A m e r ic a n ac to r s? have written about their sense of It was a difficult experience, and[...]wanted to ously there were a lot of things to Of course it is predominantly Muslim, Because I like them. show that side of journalism. remember from it.[...]sed to be an American There are contradictions of being a life and affected me in this way or that, There is a huge division there journalist in situations like that. Obvi but I'm not su[...]of the war and people on the other Woody, who is a genuine Amer[...]o terrible things. When you are make the film. At the end of the film, are not going to be t[...]different with Marisa [Tomei], watching footage of someone dying, a you've spent a long[...]s. That is a terrible thing - especially, in this case, watching[...]But I don't think that hours and hours of material. That tally ends up in Sarajevo. The real invalidates the idea that you should affects you in different ways, but only in[...]see those pictures. the same way that all experience does. I[...]much acting, got interested by watch The inevitable logic of those who criti say, "What I learnt from the war in Sara ing the news, raised money and ended cize such footage i[...]would feel vulnerable, maybe out of by not getting involved you keep your I don't think the film has a simplistic[...]but not having had a lot of experience.[...]
	[...]fBHanokmAe cLcooaunnt that saves you thousands of dollars Home Offset can save you thousands[...]neeererdvtmaeherslretsyynt W ith 100% offset, the m ore m oney *Interest savings quoted i[...]A.C.N. 007 270 448 Bank 47355 in your bank accou n t the m ore you of how much you could save is available on request save on hom e loan in terest - until you withdraw your money.[...]Full details available on application. -- Bank of Melbourne cuts the cost of banking
	[...]narrative games and spirited i of inaccuracies". Scott[...]Armstrong has attempted the on Stanley Jackie Brown near impossible in bringing The Elmore Leonard so literary a work to the Kubrick adaptation frenzy c[...]different with the results discovers[...]ucer: Nadia Leonelli the souls and passions of an[...]
	[...]to the over-the-top works of pho ing of Ludovic. Herein lies one of :1 _____J_A__C_K__IE__B__R_O__W__N_____[...]tographers Pierre and Gilles -- the film's most poignant and tren[...]seemingly contrasts a bland, chant themes: the possibility, 1 Directed by Quentin T[...]modern, middle-class housing indeed the distinct likelihood, that La w r e[...]development with the lurid themselves profoundly confused 11 R ic h a r d N. G l a d s t e in , El m o r e Le o n a r d , this film above many of its peers is motifs of a '50s Technicolor over how to deal with gender and Bo b W e in s t e in , Ha r v e y W e in s t e in . Co - the characterization of Marcus, Directed by Alain Berliner. Prod[...]realms. Has this generation, the Ba s e d on t h e n o v e l Rum P[...]be ask Leo n ard . Directo r of Pho to g raph y : truly is, as most adolescents[...]r r o . P r o d u c t io n D e s ig n e r : mass of contradictions. He has a by Chris Vander Stappen. Director of Ludovic (Georges Du[...]streetwise D e e g e n . M u s ic : Do m in iq u e Da lc a n . Ca s t : is his birthright to dress in girls' exemplified by the signature Pa m G r ie r (Ja c k ie B r o w n ) , S a m u e l L. understanding of the harshness of M ic h
	the special task force cops, headed such a han[...]icolet (Michael Keaton). woman provides the setting for the with unshakable conviction, a sided young woman; it's a compleat Much will no doubt be made of sexual/romantic undertones that[...]omes from know performance, peaking perhaps in Dire c t e d by John S ch ultz. Pr o[...]these elements on talk shows and drive the motivations of Jackie ing and loving your character. what may be the shortest sex scene A lyso n Po o le, John S ch u ltz . Co -p r o d u c e r : in journals: "Look at this: a middle Brown's ally in the story, the bonds on film, and the most droll. aged black sister whips ass.[...]is Tarantino territory, but Schultz. Directo r of pho to g ra phy: S hawn yes, indeed, Tarantino h[...]d white bondsman pony-tailed dude of a gun run his camera is much steadier: his[...]romancing a middle-aged black ner is the dark sun around approach is a blend of classic film Ma u r e r . Ed it o r : Joh[...]onard's story. (A refer crook? Which is the greater sur whom the planets revolve: techniques and personal flourishes d e s ig n e r : Ir in a Riv e r a . Co s t u m e s : Betzy ence to LA[...]Fonda) is a - not to mention his punchy use of R e is in g e r . Ca s t : K e v in Co r r ig a n (Wyn n unavoidable, and you can ar[...]n a pp ), S t e v e Pa r l a v e c c h io (Er ic the better film.) That source novel director?[...]oo d), Lee Ho lm es (To n y Rid g e), is evident in some of the longer- both recognize it's a hopeless case. "That shit'll rob you of your ambi Many scenes, especially in the first Ma tth ew Hen n essey (Charlie Flagg), D[...]tions", she quips back, lazy but half of the film, are taken in simple, Ma c M illan (Lin u s Tate). A u s[...]"Not if your ambition is to get eloquent shots. The camera is still d is t r ib u to r : Den dy. USA. 1997. 3 5 m m . Nothing in this film drags: it's believe this attr[...]h and watch TV." Her flat is as it watches the action. In other taught with dramatic tension, tem them; it turns on the credibility and where he hangs out and does busi[...]1 0 3 MINS. pered and filled out with plenty of complexity of both characters, ness. He hardly ever goes to his matic, the point of view is the boot sardonic humour, as well as a con[...]own dump, where a comatose of a car, looking up, or from the A s in life, it is in the nature of siderable heart, which seems odd[...]young black female lounges on the back seat of a van where Ordell in the context, but gives the film its Max is the only character in the sofa, unintroduced, except to Louis and Louis are heavy in confronta music to draw a bunch of dis long-term life. film who remains `clean' of the cor Gara (Robert De Niro), a bank rob tion in the front. We also observe parate individuals to[...]ruption and greed that drive all the ber just out after four years in Ordell from the back, watching his against their will, and put them in a The fact that Jackie Brown is others - some of the special force prison. This is yet another De[...]and straightened van for a very long period of time.[...]underachiever with a hang-dog tion. All of it. These, and the use It looks like a low-budget explo[...]expression but a fatally-short fuse. (once) of a split screen, and (three ration of regional subculture made The idiosyncratic nervous ticks are times) of a Rashomon-like retelling by someone who knows the terri absent, the character beams out of of a crucial incident, are technique tory, but it is packaged in a him, the eyes speak of confusion, tools that Tarantino uses to keep[...]fear and a modicum of bravado. us in the critical balance between someone who knows the trajectory.[...]er character, but it prediction and surprise, on the[...]takes a while for us to fully under edge of a smile but with a sense of Writer-director John Schultz is[...]various sides. She fear and foreboding in our guts. the former drummer of The Con[...]nells, a staple of the US college[...]
	in re vie w[...]ship between the Empire and its Films most of his time studying a heavy[...]satellites, or between the centre tome, the contents of which are[...]and the margins. Indeed, in the[...]revealed only at the end. Linus is[...]continued something of an oracle, a high priest of road management, lend[...]The film downplays the colo[...]nialist context and emphasizes, provides while the sister screams ing credibility to the band by his[...]quite understandably, the love[...]mented by the question of whether[...]he ought to wager on the existence Tony Ridge (Lee Holmes), the enters the room unannounced,[...]of God, and another who is fasci[...]interests: their shared status as only perform in the cupboard. "It is disappears.[...]outcasts - at least in a symbolic no good", he says to Charlie; "I can The life of the band is certainly[...]love of gambling and, more impor not glamourized. They stew in their[...]tantly, wagering, in Blaise Pascal's[...]sense (that is, wagering as a matter comes out of the cupboard but own juices and eat in nasty cafes,[...]of life and death or as a matter of turns his back to the audience. He lugging around their Marshall[...]salvation). writes the lyrics, which, it becomes stacks and putting up w[...]The film explores their meeting the suits fit, but they are sick of the in Australia against a background apparent, are all written a[...]one texta-scrawled tortuous practicalities of indepen Directed by Gillian Armstrong. of colonial expansion. Oscar thinks[...]dence. The record company Producers: Robin Dalton, Timothy White. of a plan by which his love of girl called Ann. When Ann appears, poster calls[...]cliched, and the band's choices Associate producer:[...]He decides to build a glass church she has the effect of the coke bot They do have a moment of glory rather too predictable. These sort Scriptwriter: Laura Jones, based on the and to transport it through tle in The Gods Must Be Crazy. when, stranded by the side of the of stereotypes are disappointing in[...]film novel by Peter Carey. Director of riginal territory - to the settlement Eric Ellwood (Steve Parlavec- road, the bass player fixes the van, and could have been easily[...]: at Bellingen. This is the stuff of a[...]Werner Herzog film, and there are chio) is the quick-tempered bass the motor turns, and for one glori[...]The soundtrack of Bandwagon B e a u m a n . Ca s t[...](Os c a r (1982) here, with its highlighting of player who needs to learn better ous moment they hear themselves is certainly one of its strongest[...]grand but ill-fated aspiration and of[...]and it wouldn't be surpris H o p k in s ) , Ca t e B la n c h e t t (Lu c in d a the extent to which the boundaries gun etiquette. Wynn Knapp (Kevin on the radio. They jump victori ing if the music took off in its own Le p l a s t r ie r ), Ciar an[...]between passion and madness Corrigan) is the lead guitarist who, ously on the lonely road until the right. It will be an interesting addi De n n is Ha s s e t ), Tom W ilk in s o n (H ugh can be blurred. Director[...]tion to the rock-road-grunge movie Stratton), Richard[...]was clearly attracted appearance-wise, puts one in mind car battery is extinguished and genre. Think of it as Spinal Tap for Clive Ru ssell (Th e o p h ilu s), Bille B rown to the grandeur of Oscar's idea, to the Clerks generation. (Percy S m ith ). Australian d is t r ib u t o r : the cinematic possibilities and to of a white Jimi Hendrix, if that is they wilt in silence.[...]A u s t r a l ia . 199 8. another touching story of star- possible. The band must learn to cope[...]
	[...]which are underpinned by \ Oscar and Lucinda, and of the nar- So the film is given a very different - no less so that the scene of a ship There are less-satisfying[...], as a consequence, being dragged through the Amazon aspects in the film: Carey's novel the need to wager one's whole life I\ rater's grandfather, to the present. necessarily overlooks or ignores a[...]tir honest and on an unknown but passionately- i In other words, Carey's novel is an number of questions that make the Armstrong's style is vivid, too: she can[...]desired outcome. Lucinda \ affirmation of the narrating func- about the selective rendering of effect; the camera dwells on the tal aspects. The novel was partly[...]historical storytelling, of blind two lovers with great affection; intended to highlight the plight of associates gambling with pleasure; I! tion even as it subverts some of the spots in whitewashed narratives, of many scenes are intercut dynami the indigenous people of this coun it is an extension of her unorthodox j pretensions of narrators in fiction. preferences on the part of story cally to give a sense of two try in the era ofviolent colonization.[...]seemingly separate lives coming The film's representation ofthe bar self, her eccent[...]suddenly baric and unnecessary slaughter of[...]sitions. Carey's and fortuitously; indeed, the direc indigenous people, it must be said, The narrator in the film (Geof I of storytellers, perhaps because of novel highlights such problematic tor's love of these outcasts is does not transcend mere[...]ts within an ostensible almost palpable in countless In one short scene, the only scene frey Rush) also turns out to be a i their vivid imaginations and magi- reconstruction of the story of the frames. They are captured in many really in which the violence is two lovers; the film focuses on the close-ups; and the understatement focused upon, the film shows a gambler of sorts. He is aware of the \| cal qualities (when seen in the story of the lovers. Much is lost in is welcome. group of Aborigines being killed by the translation.[...]Oscar's men (much to his dismay). fact that the union of two gamblers \ context of mythology and myth- The film is quite long (slightly The camera descends as it focuses[...]ding these eva too long, perhaps, given the exclu on the last embers of life ebbing produced him albeit indirectly i[...]suspicious sions, absences or exclusions, the sions, but only slightly); in general, out of their young, twitching bod[...]film is certainly vivid and affecting. however, the tempo is measured ies. It is a forceful scene to be sure, (across the span of a few genera ; of the notion of narrative omni- Certainly, the scenes of the glass carefully, and the marriage of but its forcefulness is compromised[...]mewhat by its brevity. It is as if tions). He is the distant progeny of \| science, impartiality or closure, stream[...]ble and thought-provoking. the filmmakers felt that they had to[...]it an integral part ofthe film's the[...]matic trajectories, in the way that informs the viewer. \ in the film. The film's narrator[...]this theme is woven into the trajec[...]tories of the novel. The film is also concerned with II rarely seems to be as playful or as a key element of the novel's struc \| self-reflexive as Carey's narrato[...]detracts from the film's otherwise ture, namely the genealogy of J The cost of the change is notable:[...]laudable affirmation ofthe figure of[...]the outcast, the inhabitant of the storytelling or the genealogy of II the film's narrator takes himself far[...]opportunity in this respect to say narrative. Carey takes great[...]t and profound, highlight a continuous tradition of [ he is placed next to Carey's ironic,[...]about the status of real outcasts[...]and marginalized figures in this narrative from the time, at least, of i playful and self-reflexive narrators.[...]However, in other respects, the[...]uses colour coding in evocative, if[...]example, black and grey in Oscar's[...]childhood home, dull shades in[...]in Australia); Rennes, as Oscar,[...]actually has the "scarecrow" look[...]Lucinda, has a touch of wildness[...]which the character requires; the[...]deeply satisfying within the film's[...]iconography; and the scenes with[...]the glass church, an embodiment of[...]unforgettable. The final scenes are[...]quite poignant, with just the right[...]measure of irony.[...]This should be one of the high[...]lights of the year.[...]
	[...]THE WIGGLES MOVIE Jamie Du[...]childhood teaching back together in 1980s pub-rock heroes,[...]and down, carry no weight. Chil Director of photography: Scott Preston. ground (Cook, Field and The Cockroaches). But much ofthe JOEY[...]music here is recycled (and not in stor[...], versity), their the post-modern sense in which Directed by: Ian Barry. Producer: Michael[...]colour-coded skivvies much of all their music is recycled). La ke. Executive[...]cripting by numbers, dial-a- Music: The Wiggles and John Field. Jeff, blue for Ant[...]and a Cast: Anthony Field (Anthony, The Blue for Greg, the lead vocalist) and Like To Dance", "Hot Po[...]production Wiggle), Greg Page (Greg, The Yellow their wax-museum grins, The Wig "Can You Point Your Fingers and B[...]en did Sydney get Wiggle), Jeff Fatt (Jeff, The Purple Wiggle), gles are the apotheosis of "nice" Do The Twist?" are known and Beattie. Story by: Max[...]k-style cabs? I Murray Cook (Murray, The Red Wiggle), parentally-approved entertain[...]ey were all Ford Falcons Tony Harvey (Wally the Great), Leeanne software for parents who have lost across the nation. And who could Stuart Beattie. Director of photography: or Holden Commodores. faith in Saturday-morning cartoons ever forget the rollicking sounds of David Burr. Production designer Peta Ashley (Dorothy the Dinosaur). on the telly. Bung in a The Wiggles "D.O.R.O.T.H.Y."? The W iggles[...]deo (and plenty do; W ake Up Jeff, M o vie is, in a sense, a "greatest Lawson. Costume designer: M[...]ctually come out ofthe film Century Fox. Australia. 1 9 9 7. 83 mins. their 1996 release, sold 120[...]units in its first month) and you're SCHIEFELBEIN. COMPOSER: ROGER MASON. bumbling pair of community televi W e all know about exploitation guaranteed of an extra 47 non-vio In such a package, does plot[...]cinema, right? Blood, guts, in bed. For this, The Wiggles are to are not particularly attentive to Alex McKenna (Linda Ross), Rebecca found in the Media Information Kit sex, nubile teens in compromising be praised.[...]positions in cheap and nasty prod their drama to come in short slabs Hopkins (Kanga-Catcher), Tony Brig[...]or their debut motion (there is one rule of thumb that (Mick), Ruth Cracknell (Sylvia), Ed B[...]concepts such as artistic quality or The W ig g les M o vie is a triumph of measures roughly one minute for (Farmer Dixon)[...]longevity of appeal. each year). So if The W iggles Roadshow Film Distributors. Australia.[...]It has no sex (if you except the[...]undoubted appeal of Dorothy the unlikely to suffer in the eyes of its[...]a blind eye to the odd pratfall), and[...]The Wiggles may or may not be[...]an astonishingly cynical crew. In T his latest Australian venture supplied to film reviewers. Could it the pre-pubescent dancers are a niche marketing over virtually point of fact, they seem absolutely be that they were inserted into the sprightly bunch), but The W iggles every other element of contempo charming. Yet they do appear gui[...]rary filmmaking. Technically, of one major miscalculation, which of a disappointment. By trying to lift the lacklustre and formulaic of exploitation cinema. And, what's narra[...]t is (to could yet curtail their success. throw in all the right ingredients, screenplay?[...]ruthlessness of which Roger Cor- the music is a disappointment. address the fact that few parents contrived film, pitched to[...]an American market. think not, because the mercenary take some solace in the fact that dren off to see a movie alone,[...]As any Australian parent with The Wiggles had a solid grounding regardless of its innocuousness. The story is simple: young Billy at the American market" ideal per a child born in the past five years in rock 'n' roll, and were unafraid to Perhaps it is a sign of their whole MacGregor (Jamie Croft) lives on a meates this whole production, and or so knows, The Wiggles (Murray dip into other musical idioms in hearted commitment to their farm with his mother, Penny subsequently robs it of any human Cook, Jeff Fatt, Anthony Field, and search of a catchy riff (in fact, much audience that they have eschewed (Re[...]warmth, individuality and Greg Page) are the biggest thing to of their success with parents has the usual sops to adult viewers (in of the house-he died some years respect for its audience that it happen in pre-school-age chil rested on a nostalgic appeal to the jokes, star cameos, sophisticated ear[...]
	review[...]m as a "hollow hero" or doesn't is not the result of sloppy THE GRIP BOOK[...]emperor", and at his proofreading, but of meticulous Books[...]criticism of R e se rv o ir D o g s research as evidenced in this thor : SECO[...]n Tarantino, 1992) as an ough study of Robert Wiene's continued[...]while Frank describes The G odfa hearts, author David Robinson[...]oppola, 1972) dedicates many lines to the study M ic h a e l G. Uv a & S a b r in a Uv a , well as Bogart himself.[...]as a "triumph of hype over content of the title itself.[...]382 THE THRILLER FILM GUIDE and execution" and B on n ie and The biography sheds much[...]d o n , "meretricious", at least it opens up of the key screen icons of American 1 9 9 7 , 286 p p ., il l u s , in d e x , $ 3 7 .9 5 debate and proves that Frank[...], BFI Publishing, London, Warner and his studio, the inner[...]
	[...]nce punch, you are allowing the actors to ^3 12 screen culture j 17 documentaries momentum the actors are building and connect - whilst they are still in the It's cost-effective and has significant The Conference seemed to offer the can create an intellectual rather than s ce n e -to the essence of the scene, outcomes. possibility of a new maturity for the instinctive environment. there[...]documentary industry. It addressed in The campaign was successful in a mature way an increasing concern The scene may be simply being Once again[...]n-overload talk time, and gets each maintain the status quo regarding fed ate methods of support and market ing on-set prior to a take. W[...]een culture. Equally assistance, and a widening of horizons Again" is sidecoached by yourself, the important, the campaign has, in receiv to include a diverse range of possible character who has just spoken repeats Hints: You may need to remind the ing a supportive response from the outlets and future venues and distribu t[...]stablished a positive rela tion channels for the completed aim is to clarify their intention. Thi[...]onship for ongoing discussion and product. The comprehensive screening may manifest itself thro[...]You may also need to keep your The lesson learnt from the Gonski spectrum of Australian and interna doesn't matter how. The focus is to eye on the actor, saying "And Again" campaign was th[...]tional documentary production with make clear the meaning of the line. from within the scene and make sure for screen culture a[...]they are saying it from the character's ourselves; and that we must not[...]You may sidecoach "And Again" mouth, not the actor's. In other words, ourselves in a position again where the fabric of the Conference, and two, three or four times until you feel using our "You're fired!" scenario, the our contribution to a healthy national appearing on a multitude of panels satisfied the moment is clear and character on the receiving end may say film and television i[...]included: Gil Serine; David Bradbury; again the scene continues. Each actor they utter this[...]increases; they rise slowly from their The next challenge facing the winning British investigative journalist); within the scene. They allow the char chair in shock at what has just screen cultur[...]occurred, their eyes narrow and fix on the lessons learned in the cam author Alan Rosenthal, who came as a character's point of view. hard on the person behind the desk paign, and how to ensure that scre[...]with all the power. culture continues[...]within the film and television industry. The range ofwomen filmmakers allows the scene to keep rolling, and You may after[...]included: British BAFTA Award-winner allows the moments of significance - "And Again"s still not get what you feel The Australian Screen Culture Indus Molly Dineen; Erika Addis; Trish Fitzsi- the turning points, the release of vital the moment requires. Fine. This means try Asso[...]mon; Mitzi Goldman; Fiona Cochrane; information, the moments of crisis, the you may have to stop briefly and alter result. ASCIA formalizes the national recent `racer' Olivia Rousset; and an moments of revelation - to have their the choice the actor is making, as the coalition of screen culture organizations extraordinary diver[...]not heading where it needs to which lobbied in the wake of the Gonski of documentary voices which are vali direct the scene toward the territory it go. For example, staying with our[...]dated by current production and needs to exist in with a simple phrase. nario above, the relish which became[...]new genres, evidenced When "And Again" is said, the person amplified over the four repeats of
	[...]gh his medical exam. Breaking the Waves when she knew -23 F2o4r tLhoei[...]t Emily Watson was very nervous a gang of boastful boys on the beach to watch on the monitor and see how And running through it all are the after a sex scene, and as woman-to- and attended a Booze-cruise on the[...]was. canal, where they found a group of it works. themes of good and evil, the cause of "The next morning Lars came to talk. I girls.[...]know when he hates me", she says The relationship started six years evil (if I[...]say anything There's a `vulture culture' of older men[...]rs. I need her to be so inse who prey on the Schoolies, particularly ago when Von Trier was d[...]cure and I don't want her to know she the younger girls, and, in one case, we[...]is good" , the director told her. And he represented a bo[...]n nically-complicated commercial, and it, the uncertainty of these distinc was right, adds the producer with a[...]f teheek.documentary needed someone to take care of the tions, the beauty of that very[...]In the beginning of Breaking the McCuaig, and she left it to the actors and to help organize things. uncertainty of whether something is Waves, they never[...]on set. The French camera operator, struck by how these kids are old "We never discussed what kind of co evil, and what to do about it. The two with a i,ooo-foot mag on his sh[...]had to but that they don't always make the operation it would be", he says, dishwashers in the basement again find a way to cover the actors. Then right ones and they definit[...]what Von Trier was saying. At one the consequences.[...]point, he wanted the Frenchman off, like working with Von Trier. "Maybe I menting on the goings-on above - the because, " He's too good. I want him to One of the girls who attended[...]10 years' ago now has a child of her have a lighter view of life. Maybe I silliness that is maybe the evil. When a[...]create a kind plate breaks, it is liberated from the told the actors what to do, but shot but that she[...]scenes all the way through in one take McCuaig: of synergy." eternal rounds of being dirtied and - often 6-7 pages of script. Breaking[...]had an 11-week shoot preceded by one In the editing, I've watched these guys I remember an i[...]week of talking it over with the actors. so many times telling the camera these[...]Sometimes they would do 4-5 takes of things they'd never tell their parents[...]ould do If I was to run into them on the street, he said that in Denmark the filmmak as the group-therapy session is inter some pick-[...]s seem to talk to each other and cut with the childish therapeutic ioned."[...]rough it all with them. co-operate more, while in Sweden games of the hospital consultants in Vibeke Windelpv said to me last Advice to young filmmakers: The[...]ed to sneak me longer you can stay out of corporate- each is working on his or her own, the Masonic lodge. And our hypochon into Denmark's Radio TV studios dur culture, the fresher your ideas. It's[...]ing the filming of Kingdom II to get a been great to be abl[...]a promo for the series on Japanese takes so long waiting to be heard Arnfred felt the greater competition was leaving the hospital in the first television channel WOWOW-that he that, by the time you do get your[...]too late and you've when he shot his latest film in Stock episode, is now back with good reason Because of them, he does not waste a lost your energy. The Loud Festival lot of time going to festivals or get dis was a te[...]directed a and back with a mission to save the tracted by promotion, but can[...]concentrate on the creative work. To Getting film funding in Australia feature, you're not likely to go back " Kin[...]onger and this filmmaker trying to fill the eco is a lot like winning the lottery.[...]other director, he sug more central - a detective in touch forthcoming. Windelpv, for one, is any form of film education. The[...]quite happy to continue the working ABC made a point of disqualifying gested, whereas he would have no with the spirits, who lets nothing stop relationship[...]ms about taking on such a role. her get to the bottom of things.[...]The one Von Trier film neither Arn the Loud age requirements). " Denmark is a small cou[...]they call his Christmas film, While the next lot of `Around know each other" , he says. (The role was memorable as the train conductor which he shoots 3 minutes of each the World Racers' were being[...]year with the same actors, to be trained-up from scratch at the of first A.D. in Denmark, it should be in Von Trier's Europa (aka Zentropa), is released in the year 2024. AFTRS over Christma[...]ask what the ABC is offering to film noted, often involves more creative as good as ever as the Denmark-hating As for the real world of hospitals, students who have just spent thr[...]d a fortune putting them input than is generally the case in Swedish doctor. The actor had worried much worse than anythin[...]jured up in Kingdom.
	[...]vison. It was made for the BBC and in Sarajevo who saw about 400 children.[...]bought [for cinema release]. But in the Essentially, I didn't want the girl in UK it was just television. the film to be special. The whole point is that all the children in the orphanage Future Projects are as spec[...]We didn't want it to be that traditional thing of W h a t is y o u r n e x t pro ject? their eyes [Henderson's and Emira's] meeting across the room, of a special I Want You, a love story set in Hast bond between two people which is[...]ted it to be almost by accident that of going-back towards the Butterfly he ends up taking her.[...]Id z ia k t o sh o o t it ? CINEMA WAS IN SUCH A CRISIS TEN YEARS Because of his work on Three Colours: AGO, BUT IS NOW REALLY THRIVING? Blue and The Double Life ofVeronique[...]is, then things inevitably have to get better. The British Labor Party's I Want You[...]d a line about "Things seen through the eyes of a boy. I can only get better" - the same for the wanted an outside view of England. British film industry. Even as recent[...]Slawomir has a real involvement in films being made. every aspect of filmmaking. I hope it is[...]ly Mitevska, who has a small part in gram, which now has a big London Sarajevo. base and is making films for the whole of the world. It is not specifically a W h at are y o u r c in e m a t ic in f lu e n c e s ? British company, but it has a big input in Britain. I come from the north of England, so I particularly liked the films by Lindsay Then there are companies li[...]Anderson, Ken Loach and Karel Reisz- max. In some ways, the way Americans films that had been shot there. perceive the international marketing of films is working now. It favours Britain I also really like Wenders and in that it has a European aspect to it, Fassbinder and a whole lot of stuff but it is also English-language. I watched as a teenager. In the past, that has always squeezed Not Ho[...]films. Maybe it doesn't mat made in Hollywood. I love Scorsese's ter so much now,[...]influenced by European films, so there in the same way around the world. The is a circular thing there. I don't[...]W a n t Y o u a n e x p e n s iv e f il m ? The whole television thing has also No. The irony is that big-budget films changed. People[...]re limitations than low- Mike Leigh made a lot of stuff for tele budget films. This has a budget of vision, and in some ways that has about
	[...]Stree , 2 0 1 0 Q L D \|A D V A N C E D V ID E O IN T E G R A T I O N (0 7 ) 3891 5 7 5 5 \|Uni[...]
	[...]te c h n ic a litie s The making of Space Jam and putting the film- making "assembly line" into transactional space by Annmarie Chandler T his article looks at the was chosen from user organizations tions that could have occurred in physi tion process in 19372would have been impacts of new elec currently doing remote[...]e-built environments are relevant up until the application of internat[...]ectronic networks. computers to post areas in the late tronic networks within tec[...]adopted for Much as we take this for granted in 1980s, when the impact of new digital international collaboration in the near applications such as electronic banking processes (non-linear editing) began the film industry by future. For this[...]study inter or email, there are a broad number of to change traditional workflows by[...]ibuting to their adop introducing new factors of speed but e xam in ingth e irapp li- Bros., LA, and the post-production tion within the media industries to increased flexibility of material pro company Cinesite which has branches carry out the work of media production cessing into film editing and product cation in the production of animated both in LA and the UK. that would have previousl[...]formed in distinct and centralized Dean Cundey capt[...]aphic locations. These applica shock aptly in a statement he uses[...]ion tions include the use of video regularly, "in the old days - about a issues such as facility locat[...]l, email for data year ago", referring to some of the argues that the creation and control transfer, audio and vi[...]adjustments to digital processes that changes to the traditional filmmaking of transactional spaces is positioned transfer of animation and special- filmmaking teams a[...]to become "the strategic resource effects sequences, an[...]efits to large-scale battleground for control of media and electronic libraries for stock foo[...]development funding Until recently, the film industry this industry's view of its organiza[...]ional structures and work practices taking place in the filmmaking process media environment as much as the through to post-production followed[...]development of interactive and multi- for the past 60 years a tried-and-true as stable and unaffected by major in the '90s are linked to more general media content.1[...]the lecture that producer David 0 . in the broader information and busi changes in the digital " information Taking White's defin[...]ave to Columbia University's ness sectors via the development of transactions happen when transac Film Study Group on the film produc new digital technologies and commu- society" itself, where the entertain ment industries have a key role to[...]ely-located workers will take a higher profile in future work practices. The research team found that lead ing network applications in filmmaking are occurring in advanced industrial countries, and predominantly the USA and UK, where the major western film industry sectors are[...]
	[...]n practices. This is however no pans up leaving the standard live called the "backend" of production or works into its schedule, the film went longer the case, and developments in action world behind for a miniature the post-production phase is becom from conception to finished product in these areas are being applied to pro rooftop [...] the camera moves ing more tight and more compressed. one-third of the time for a normal ani duction to create changes in the way higher to a computer created sky In the case of Space Jam, there were mated feature film.5The key facilities organizations perform production and the Nerdluck's planet repre strict marketing deadlines imposing a were the Warner Bros, feature anima tasks, work globally and form produc sented as a 3D world [...] the tight schedule. Flowever, from our tion facility in Sherman Oaks, L.A., tion teams.[...]it was also evident that this which specialized in the 2D characters, then passes into a giant curved sense of a compressed timeframe is and Cinesite, a digital-imaging and Space Jam and Changes to the mouth and ends on a scene of being caused by the increases in the post-production company which has Traditiona[...]c cartoon 2D animation.4 amount and scope of work generated facilities in both London and Holly Space Jam Qoe Pytka, 1996) is the by the number of new visual elements wood, and is well-known f[...]nd visual effects These visual features become the selected for a film. These elements visual effects role in films such as film to be made in recent history. Its major elements of the entire film increase the details and choices Waterworld (Kevin Reynolds, 1995), primary technique, that of combining which is a weave between live-action[...]action real actors (most notably Michael approvals. Obviously, it would not be Mission Impossible[...]e to simply extend 1996). Cinesite provided the creative happening since 1909 in films which computer-graphics environments[...]hedules and and production talent to perform the utilize various film technologies to (most notably the basketball stadi costs to accommodate this increased full spectrum of services, from design achieve a combination of live action ums) and 2D cartoon characters. level of material processing and deci and special effec[...]sion-making, and new ways of working image creation, animation and final[...]ilized this Wendy Aylsworth, Vice President of with time and space factors need to be compositing.6 In this film, many of the effect as their major compositional Technolo[...]ze creative input 3D animation specialists for the wire device include Dot and the Kangaroo Bros. Feature Animation, provides the and minimize the restrictions of sched frame drawings were working from the (Yoram Gross, 1979) and Who Framed most sim[...]uled events. UK end of the company. The work was Roger Rabbit (Robert Zemeckis, 1988). description of this complex process. split by scene. The London crew cre All the different live and composited Because of the complex require ated, animated and rendered the Space Jam, however, took this elements were "shot to film, then the ments of the animation process and practice gym scenes, while the Holly process much further, and the opening pieces of film were combined" to cre their short production schedule, the wood crew did the same for the rest of the film itself illustrates the com ate the final integrated screen image. Warner Bros. Space Jam production of the 3D imagery and did all the com plexity of the combination of many The "combination" work was done recruited a group of internationally- positing of live action, 3D animation different media. The film commences entirely with computer and tra[...]digitally to film. the work. Utilizing new electronic net[...]
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	te c h n ic a litie s It is worth looking in some detail they could be easily matted out of the floor, etc. The ball is real when Michael Network Collaboration here at the complexity of the visual scene with chroma-keying techniques.[...]Practices work on Space Jam to understand the The green scenes of Jordan and the into animated form when the cartoon In the making of Space Jam, the talent challenges now being faced by digital Groundlings were digitized and all the characters were touching it. When was[...]y between both feature-film animators and the enor green then removed, taking everything little mistakes occurred in the footage, locations of Cinesite in the UK and LA; mous achievements performed by this out of the footage except Jordan, the like a green character accidentally however, the largest share of the work film. Many of the aesthetic elements basketball, the hoop and the back- passing in front of Jordan, and there was done in Hollywood. The London that might have once been controll[...]ing him looking like he was fore removing parts of his body during crew created and animated the prac by a cinematographer, under a direc playing basketball against invisible the digital work of removing the green, tice gym. The shots were then tor's guidance on the set while filming, people in a black limbo. they were filled over with animated composited in Hollywood. had to be simulated by compute[...]ls, spread uniformly "Tweety Bird", thus hiding the loss of Cinesite used a 3-tier network sys torealistic performance and visual around the room on a grid, were used his body to the sequence.7 tem for its inter-comp[...]aposteriori to compute the camera work with Warner Bros, during the[...]Other numerous digital effects making of the film. A basic ISDN sys For example, in the construction of the DOP to use a handheld camera, were required in the animation and tem was used to transfer 3D wire files the film it was important to see Jor giving a more natural aspect to the compositing work to simulate the and the occasional image and texture dan's spontaneity as a basketballer; scenes. The camera track data was " look" of a real cinecamera filming the maps between animators in the UK and however, as an actor in the film, he "applied" as input to the animation scenes and to reproduce the live the USA. An ISDN 30 system connected was playing his games with animated package. The camera position was action "feel" . These[...]o-conference system was also characters on the screen. To allow him then used to position cartoon charac ing shadings in the drawings for " key" used by production management peo to perform freely as he would in a real ters in the scene, and as input to the and "fill" lights on the characters and ple at both sites of the company for stadium, Jordan played basketball in a 3D animation system so that the com stadium animations by compiling[...]iations and for cre green gym with a group of green peo puter-generated backgrounds were numerous tone mattes8 and recreating ative approvals of the animation ple, the "Groundlings" . The rendered with the same camera camera effects such as motion blur on sequences (playouts of the animation Groundlings are an improvisational moves. The 2D animators used the movement in the scenes. The effects sequences) where directors and pro comedy group in Los Angeles. They resulting photo-rotos as guides for also included complex rendering of ducers could talk to the animators. were recruited as stand-ins for the car their animation. The photo-rotos lens " perspectives" in the drawings to toon characters. Thus the Groundlings helped them get the perspective provide cinecamera views of object Most of the network collaboration represented various cartoon charac correct and position the animated "distortion" for movements such as on the 3D animation sequences ters from Bugs Bunny to the Monstars. characters within the frame and in pans and dynamic movement in the between the trans-Atlantic bases of the They were dressed in green so that relation to the live action characters, game itself. company was done on the ISDN dial-up[...]
	[...]The state government has established a fundlfor the encouragement of IfOWlJ lilllllllHkCfS.[...]The fund is administered by thb New South Wale[...]
	te c h n ic a litie s The primary transfers were proxies and Cinesite also used a combination of carried into the actual compositing Video Conferencing short video resolution clips to check email on the Intranet with ISDN trans tasks. Doing the pre-composite work Cinesite used their vide[...]look, corrections and continuity. missions of visuals for work between at the client's facility with a few facilities for both inter-company com Most of this work was transferred the distributed offices. A typical visual selected s[...]ns between their two offices asynchronously (not in real face-to- interaction would be for the person more easily and faster over the lines in the UK and USA, and with their face time). Occasionally, the render doing wireframe drawings at one end later, and improved on the conven clients. They regularly used the system files were sent from London to Holly of the network to transmit sketches to tional methods of tape exchange. for senior staff meetings so that the wood to be rendered when there was the graphics modeller at the other, It also improved the turnaround time London and Hollywood people[...]apacity who can then see what's required. The on later approvals. meet and their R&D department had a in Hollywood. All of the 2D cell anima company could foresee this bec[...]ion (backgrounds, characters, etc.) a form of "video mail" in the future. It takes careful and skilled produc video conference every two months. were sent from the animation facility Conventional email was used fre tion management of these systems They see strong advantages to com in Sherman Oaks to Cinesite L.A. quently by the whole team to report and the project to separate what sort pany morale in this practice, creating[...]messages on progress, rather than of communications need to occur an environment where people feel There is a strong possibility of waiting or having to be in the same directly between people, and what they are all part of the same team even increases to workloads provided by the place and time that the message ones can occur remotely. This is one of though they are in different countries. increased flexibility of choices directors arrives. The asynchronous nature of the major challenges in managing new and effects producers have through this form of communication often forms of asynchronous communica During the making of Space Jam, visual network communications. An[...]ion teams tion, which is being learnt by the early they had a weekly conference call electro[...]o could check and respond to their adopters of the systems who will have between the director and people in for example, encourage more transac messages when they had time in the an edge in their application. It is the London. The system has two channels tions to create different versions of the day, not miss important communica view of most people in the film indus so that a video can also be played[...]es possible tions, but also deal with them in try that many creative decisions still sent at either end. The video signal to do a shot, say, 6 different times in appropriate spaces in the working day need to be made through face-to-face has compression in it, but they haven't the same amount of time it would take without being interrupted on more discussions and problem-solving in a found that a problem for most deci to courier a video copy of the one-shot important tasks.[...]ng. If high resolution is version. This increase in creative collab[...]en they send a tape over, orations, however, has the benefit of Having the high-speed connection wrong or right with a shot if you are or the film itself is used in conven improving the shot and, hence, the final in place also facilitated new work prac not there to discuss it and point at the tional couriered communications. film product. tices and collaboration in the animation material. There may be no " right or[...]process. At the outset, it was assumed wrong" answer in coming to a creative video but now find this[...]design decisions that all transmission of elements would decision where there are a variety of necessary for every transaction. about the composition of shots, be from Warner Bros, in Sherman viewpoints and expertise to be[...]d Warner Bros, produced Oaks to Cinesite in Hollywood. When ered, and people need to feel the In conventional work practices, it is what are termed " hero shots" for each the animation elements were transmit confidence of the " presence" of the also usual for the effects supervisor to scene as the first stage of approvals. ted, however, over a fibre optic OC-3 major stakeholders and creators in be on the client's site at all times and The hero shot means that the director, ATM connection, they found that some coming to a decision about what works sit in the projection theatre for special effects supervisor, art directors times something didn't work with the or what doesn't on the big screen. approval of each final shot composi and chief compositor cho[...]tion. However, the new systems mean shot in each scene to define the look was therefore set up where some of At the same time, a lot of produc that work can be approved earlier on of the scene. It is usual that all the col the key Cinesite people went to the tion communication and detail can be in the shot so that the work produced laborations for these purposes would Warner Bros, site to make sure the managed using email and video con nearto completion of a sequence will take place in Hollywood "face to face" , visual elements were working together: ferencing for less crucial elements of be a high-quality result and will where the primary creative people and the production workflows. The art in require less alterations and final decision makers on the film are approvals. People "still have to fly located. The shot was then put onto [A] lot of production communication and detail can[...]ccasionally, because there is nothing film using the Cineon film recorder9 be managed using ema[...]like face-to-face and sitting down with for the producer's approval. Once the for less crucial elements of the production w ork-[...]d reaching over their hero shot was established, the larger flows. The art in production management w ill be the shoulder and stuf[...]hief ele ability to understand and select the communication made it possible for them to communi ments to design all the other shots channel or combination of systems which best suit cate more frequently"10. in a particular sequence to build the the task, the project and the production company's scene. The " hero shot" technique is productivity.[...]These factors of increased " inti not unique to Space Jam or digi[...]t remotely-located post-production, and was used in the i.e., that the camera angles were the production management will be the workers and companies using visual- days of optical visual effects as well. same for all the shots and that the ability to understand and select the networked communications were also It's bas[...]mmunication channel or combina confirmed in our earlier research on which other shots within the scene can working. This necessitated the trans tion of systems which best suit the the Videofax and its application within be compared. The advantage in the mission of live-action elements (usually task, the project and the production the Australian advertising industries11, digital process is that many of the lower-resolution proxies) to Sherman company's productivity. where the systems were being used to parameters that give the shot its look Oaks. Using a combination of the net minimize the need for international can easily be copied and[...]work and co-located workers, it was The work Cinesite completed in Lon travel for creative decisions, but not other shots. In the Cineon compositing possible to identify and resolve prob don on the Space Jam project was able remove it altogeth[...]d having them to be achieved with a number of other tained in a file that can be transmitted projects happening at the same time. A shared view by most people[...]viewed about the new systems is that ing on the show and used as the[...]some interactions, but the systems[...]
	The powerful Henry V8 offers simultaneous work[...]
	[...]penetration and integration with In relation to the search for busi the Australian Film Television & Radio much face-to-[...]these sectors. ness, the centralized financial location School Research Unit and a grant from work. Cinesite saw the systems as These changes are no different to maximizes the opportunity to do the Faculty of Business, University of assisting its staff to work in more effi events happening in other manufac "face-to-face deals" for[...]ays and minimizing time spent turing sectors of the information future contractual work. In an environ getting over jet lag. It is also able[...]rma have its company expertise positioned to the technologies themselves, but freelance a[...]ransactional where they are happiest, regardless of more to the way the market sector is also a necessity for a presence in Space, Bureau of Transport Communi where the work is coming from. There desires to work.[...]re human factors to consider here, Thus the evolution and adoption of which are developed through both paper, 1995, p. 1. such as the workforce generally get the new technologies can be seen as a social a[...]avid . and more resistant to being split the cause of them. geographic proximity.13 because of work. The new electronic It is unlikely that the commercial[...]p. networks can also accelerate higher end of the feature film industry will What is changing through the turnaround of projects in remotely- retract from these developments as is availability of the new network 4 7 3 -9 - located comp[...]a because "there's no way you could with the "culture shock" to 60 years of is the ability to perform contractual move people around the world at this stable practices, and some of their work on a production without the Papers, no. 114, February 1997, p. 18. rate" . The systems have allowed the characteristics will begin to influence need to be located in the same space. 4 Bill Warren, The Technical Background company to do a lot of American films the way lower budget and more inde Early adopters of these networks are in their London facilities where the pendent producers need to work. revealing that they can minimize the to Space Jam, tech notes, Space Jam capabilities of the London personnel However, filmmakers like Ni[...]in relation to the need for the high 5 Bill Warren, op cit, p. 5.[...]6 Compositing is the animation process Are the system s changing the Another commonly-held assumption about new of composing all the elements together film industry?[...]inter for the final film image: i.e., designing It is easy to view new technologies nationalize the industry by changing the major centres and blending visual effects footage, 2D themselves as the agents of change of film production on a global level. It would be fa[...]erefore simplistic, however, to conclude that the. availability of with live-action f[...]with a instrumental to large social and eco the technologies themselves could cause, or be agents[...]moving camera. nomic changes in the way industries for. major r
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	[...]te c h n ic a litie s Australian company gets the big cheese A ustralian audiences are squirming and "Scratchy", the two were carefully studied by create a yellow liver-shaped flesh. Andy Brown then in their seats this summer at the animators at Animal Logic. "[...]has to be completely photorealistic" , says for the texture of the roaches. Says Fleay, " Usually MouseHunt, tha[...]there is a taboo on grunge and yuk, but in this case it based-animation house Animal[...]d to look totally revolting. So we pulled out all the In order to meet the specifications that Verbinski stops!" Logic Film. The popularity of the film orweeqsuimreudc,hAtnoimthael Logic's research division extended For the `goo' to be just right, however, the entire[...]lose communication with Visual realistic quality of its computer-generated creatures. the limits of existing technology by developing com Effects[...]in Los Angeles. In so doing, an effective revision Chris Godfrey, Visual Effects Director of Animal puter programmes specifically designed for the process was worked between Sydney and LA[...]ensure creative feedback and fluency of production. Logic, believes that it was the company's interna project, matching computer-generated cockroach Through the utilization of satellite and ISDN connec[...]hat with live specimen, and also a minutiae of scratches almost instantaneously. The material was finished[...]and rendered in Australia, then sent back on DLT for secured the production for Animal Logic - not only of and reflections for the 3D fork model in order to output in the USA. critters but additional effects work throughout the achieve the highest degree of photorealism. "To "And the film's making money!" , adds Godfrey.[...]s a growth path, movie to movie", he reach the desired effects, we had to go beyond the[...]nown for your last credentials. restrictions of available software", says Senior Ani Executive[...]ne Cartwright integration ... high-quality work. In Australia, we are Animation work was based on the creation of mul[...]tiple cockroach models. Three models in all were Tel. (61.2) 99061232. Fax: (61.2)[...]Email: nicole@al.com.au After the initial brief with MouseHunt director re[...]rbinski, Animal Logic Film art director Andy In the kitchen scene, one whole-bodied version Brown and Godfrey each travelled to the USA to pops its head out of a cigar box and walks into a spend time on the shoot. Even before Godfrey had plate of lobster. Two halves of a cockroach were cre brought back detailed information from the shoot ated for the restaurant scene in which the Mayor (lens and lighting references), extensive work on slices away at his meal, revealing (in close-up) the cockroach models, their textures and movement, rear end of the cockroach stabbed on a fork (which was already[...]extured, lit and composited by Technical Direc The Animal Logic Film team in Sydney had begun tor David Dulac). He then spits out the front half and researching the computer-generated critters, with it wanders offscreen. the assistance of Dr Hayley Rose and two cock The story gets messier. For the revealed insides of roaches from Sydney University. Nicknamed " Itchy" the cockroach, Fleay sourced texturesrin fish[...]
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	[...]Round the Twist 3 59 In The W inter Dark 62 Chi[...]Documentaries 59 Features in Pre-Production 60 M r Pum p[...]60 The Thin Red Line 62 59 Art from the H eart 60 Paperback Hero[...]Documentaries Fa'fafines in Paradise The Astonishing Ashtons 60 Second Dri[...]M uggers 59 The Astronaut 59 Romancing the Chakra 60 Features In Production[...]Feature Films Edge of the Possible 60 In a Savage Land 59 Em ily's Eye 60 Babe in M etropolis 60[...]Dear Claudia 59 The First Star James[...]Adult Televison Drama Servants of the Ancestors 60 Spank[...]A Difficult W om an The Instinctive Architect[...]60 Features in Post-Production[...]Railway Adventures Across Australia 60[...]The Ultimate Sin 60 The Beggars' Opera Cafe 61 H om e of the Blizzard 62 Visions of Yankalilla[...]The Boys 61 I
	[...]roller: FACB L e v in s Production co-ordinator:[...]Production runner: KlM REED Having triumphed at the National[...]assistant director: JOSH A dam home a hero, but in his enthusiasm to Labora[...]Insurer: H .W . WOOD be at the side of his beloved "boss",[...]Travel: TRAVEL TOO the little pig accidentally causes a[...]Camera crew in traction confined to bed. With the[...]althy M unchies & Hoggett's only hope for saving the farm Shooting stock: KODAK[...]lan JOHNSON abilities at an overseas State Fair in Production: FFC, NSWFTO[...]: PHIL JONES encounters an incredible assortment of Cast[...]hr istin a ROBINSON animal friends, experiences the joy and Russell Page (J a m e s ), Rebec[...]3rd assistant director: IAIN PlRRET sorrow of life and learns how a kind (C laire)[...]ger Lamey (St ic k m a n ), George Ka p in ia r is (R estau Greek music co-ordinator:[...]J ames is the comic story of a young Wardrobe supervis[...]underground cafe in their backyard C a t e r in g Production: 19/1 - 13/3/98[...]Hanrahan garage which becomes the most Catering assistan[...]assistant: Karin von B rehren popular place in town. Even the[...]policeman and the nosy next door A[...]uction neighbour become regulars. The Art director: PAUL[...]roduction supervisor: money starts flowing in, finally freeing Art departme[...]sight of their original goals? Art department runner: A dam M cGoldrick Director of photography: M artin M cGrath Di[...]boratory liaison: Ian A nderson THE BOYS Buyers/d[...]Based on the play titled: THE BOYS Craig Carter[...]where everything happens on the run - Poletto (R ocky), M ario Ga m m a[...]Frank M ussolino (V in n y ), V ictoria International distributor[...]tone (T in a ), M arco V enturini (A n g )[...]uction: 24/11/97 - 2/1/98 to set up a cafe in the city's premier[...]a building. Enter local rich kid Rocky The Boys tells the story of Brett M ercedes, Eugenia Fragos, A lex Papps Focus puller: Ka tr in a Crook Producer: DAVID LlGHTFOOT Pisoni, temporarily in charge of his Sprague, a bad-seed brother who[...]roducer: Rolf de H eer and Rocky takes over the project with years in gaol. Things have changed e[...]len, has moved out; youngest brother of dancing, sex and drugs, he's running[...]David Lightfoot Featured in Stevie's pregnant girlfriend now lives head on into his own kind of freedom. 1st assistant director: A drian PlCKERSGlLL Director of photography: David Foreman Podt-Production with the family; and his mother, 2nd assistant direct[...]uction designer: APHRODITE KONDOS THE BEGGARS' his first day ba[...]restoring his own family order. In doing Production company:[...]Director of photography: KATINA B owell Producti[...]Kokkinos, M ira Robertson Director of photography: N ino M artinetti,[...]Director of photography: JAEMS GRANT[...]
	[...]SEE ISSUE 122 FOR THE FOLLOWING:[...]letion guarantor: F.A.C.B. Based on the novel titled: In the Winter Key grip: Leigh T ate[...]Apsychological thriller, in the Legal services: Foster Hart[...]tradition of Hitchcock, with a[...]vel: Stage & S creen T ravel Director of photography: M artin M cGrath[...]The -foliowhig-three
	inhabits a special position in the effects food chain. Our growth traverses cinema f[...]ase _ and experience developed over many years of servicing the[...]international film market makes Animal Logic the JB B
	Apan el o f twelve film reviewers has rated a selection of the latest releases on a scale of 0 to 10, the latter being the optim um rating (a dash m eans not seen).[...]
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Issues digitised from original copies in the collection of Ray Edmondson
Reproduced with permission of one of the founding editors, Philippe Mora

MTV Publishing Ltd, Abbotsford, Cinema Papers no. 123 March 1998 (March 1998). University of Wollongong Archives, accessed 28/11/2024, https://archivesonline.uow.edu.au/nodes/view/5131

Cinema Papers no. 123 March 1998 (2024)

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