Cinema Papers No.76 November 1989 by UOW Library

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INCORPORATING NOVEMBER NUMBER

FILMVIEWS

1989

c o n

t e

t s

BRIEFLY: NEWS AND VIEWS

SIMON WINCER: Trusting His Instincts Interview by Scott Murray

KENNEDY MILLER: Cross-over and Collaboration Debi Enker

24 COVER: DENHOLM ELLIOTT IN KEN C A M E R O N 'S BANGKOK HILTON. SEE PAGE 25

Interview by Scott Murray

Patricia Amad

p u b l is h e r

TECHNICAL EDITOR

Scott Murray

c o n s u l t i n g e d it o r

Joan Wakim

[CHAIRM AN],

Natalie Miller, Gil Appleton,

Ross Dimsey, Patricia Amad LEGAL ADVISER d e s ig n

Paula Amad

f o u n d i n g p u b l is h e r s

t y p e s e t t in g

Ian Robertson

DISK p r o c e s s in g p r in t i n g

RON COBB Interview by Paul Harris

FACES: Deborah Unger Andrew Urban

On The Ball

Photo Offset Productions

d is t r ib u t io n

Peter Beilby,

Scott Murray, Philippe Mora

BOULEVARD FILMS and FRANK HOWSON Paul Kal ina

Patricia Amad

s u b s c r ip t i o n s

FLASHBACK: Dennis Hopper and Kiefer Sutherland Rod Bishop

Nicholas Pullen

Ian Robertson

a d v e r t i s in g

ROMERO and FATHER KIESER Peter Malone

MTV BOARD OF DIRECTORS

John Jost

JOHN DUIGAN: Flirting Interview by Scott Murray

Fred Harden

EDITORIAL SECRETARY

TERRY HAYES: Bangkok Hilton

Network Distribution

DIRTY DOZEN

TECHNICALITIES: IREECON '89, Laser-d isc Editing Fred Harden

FILM REVIEWS Island Anne-Marie Crawford Sex, Lies and Videotape Hunter Cordaiy Buried Alive Marcus Breen Blind Fury Adrian Martin Paris by Night Scott Murray

Signed articles represent the views of the authors and not necessarily that of the editor and publisher. W hile 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 every two months by MTV Publishing Limited, 43 Charles Street, Abbotsford, Victoria, Australia 3 0 6 7 . Telephone (03) 4 2 9 5 5 1 1 . Fax (03) 4 2 7 9 2 5 5 . Telex AA 3 0 6 2 5 . Reference ME ME 2 3 0 .

PRODUCTION SURVEY

CENSORSHIP LISTINGS

ROD BISHO P is a senior lecturer at Phillip Institute of Technology; MARCUS BREEN is a

freelance writer on film; HUNTER CO RDAIY is a writer and lectures in Mass Media at N SW U niversity; ANNE-M ARIE CRAW FORD is a freelance writer on film; DEBI ENKER is a freelance writer on film and television critic for The Sunday Age; FRED HARDEN is a film and television producer specializing in special effects; PAUL HARRIS is a freelance writer on film; PAUL KA LIN A is a freelance writer on film; ADRIAN MARTIN is a freelance writer on film; PETER MALONE is editor of Compass Theology Review; ANDREW URBAN writes for several journals on film, including Screen International.

CINEMA

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FINANCING AUSTRALIAN FILMS Q„

Channel is Australia's largest com m unitybased video organisation. We operate a broadcast standard television studio, hi-band and lo-band production and post-production facilities as well as VHS and Betamax dom estic standard cameras, recorders and editing systems. A comprehensive training program m e assists m em bers o f the public, com m unity groups and independent film and video producers to learn about and fully utilise our resources and facilities.

The Australian Film Finance Corporation has been established to provide new impetus for the production of Australian feature films, television dramas and documentaries. In 1989-90 the FFC will aim to underpin production of approximately $100 million. The FFC has offices in Sydney and Melbourne. Investment executives in each office are available to discuss proposals for Finding. The FFC welcomes funding proposals from the industry. Guidelines and application forms are available at the Sydney and Melbourne offices.

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SYDNEY •

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CIN EV EX S U N D A Y 11P.M. TO F R ID A Y 11P.M. 24HRS A D A Y P R O V ID IN G Q U A L IT Y & S E R V IC E TO THE V IC T O R IA N FILM IN D U ST R Y CIN EVEX FILM LABORATORIES 15- 17 GORDON STREET, ELSTERNWICK 3185. VIC. TELEPHONE: 528 6188 FAX: 528 5098 TLX: 38366 2

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E D I T O R P h il ip p a H a w k e r , who edited Cinema Pa pers since issue 61, has resigned to join The Sunday Herald, Melbourne, as its books editor. The Board of MTV Publishing, the public company which publishes Cinema Papers, is presently seeking a replacement. In the in terim, S c o t t M u r r a y , one of the founding editors and publishers, has agreed to edit the magazine.

NFTA BLUES BARRIE

PA TTISO N

The most interesting recent piece of local activity did not come from those organizations which are sopping up the tax funds allocated to film. It was a weekend of French 1920s features organized in Canberra by the Humanities Research Centre of the A.N.U., where Roger Hillman got together with the Cultural Service of the French Embassy and brought in Cinematheque Française copies. Movies had to have labels when those were made. That was what criticism was about. How ever, these French “Impressionist”films, the work of Louis Delluc, Jean Gremillon and Jean Ep stein, actually did stand apart from those of the celebrity directors like Jean Renoir, Jacques Feyder and Rene Clair, which make up our limited notion of the French silent cinema. Surprisingly, it is the “Impressionist” titles that contain the roots of the later French work. The bogus high fashion of Epstein’s La Glace a Trois Faces prefigures Alain Resnais’ L ’AnneeDemiere a Marienbad. In the barges and canals of Epstein’s La Belle Nivemaise and Gremillon’s Maldone one sees those of L Atalante, Les Amants de Bras Morts AUSTRALIAN FILM FINANCE CORPORATION FUNDING DECISIONS: SEPTEMBER FEATURE DEATH IN BRUNSWICK (96 m in s)

Meridian Films. Executive Producer: Bryce Menzies. Producer: Tim White. A chef in a seedy rock ’n ’ roll club seeks to escape from personal poverty and shame. DOCUMENTARIES (58 mins) Stella Productions and South Australian Film Corporation. Producer: Mike Piper. A salu tary programme about the human face and its reconstruction through surgery. RAJNEESH: SPIRITUAL TERRORIST! (50 mins) Cynthia Connop. Producer: Cynthia Connop. The surprising comeback of the man condemned as a con-man and wor shipped as an enlightened being. WHEELING FREE (50 mins) Stormbringer Films. Producers: Kim Batterham, Judith Ditter. The adventures of political activist, Olympic sportsman and paraplegic, Jeff Heath, through Central America. FACING T H E WORLD

In the current financial year, the FFC has supported 14 projects to an approxim ate total of $15 million. The total value o f the Septem ber meeting’s investm ent is m ore than $450,000.

and the rest, while the costumed, mass-going is landers of Gremillon’s Gardiens de Phare foreshadow Dieu a Besoin des Hommes. The graffited Marseilles bar of Gremillon’s Coeur Fidele anticipates the Marcel Pagnol trio and comes complete with Van Dael’s cigarette-in-mouthcorner-and-cap Jean Gabin prototype, playing opposite the sultry Gina Manes. Note how much more effective is the knife fight of the 1928 CoeurFidele, intercutwith the montage of fair ground activity, than the more celebrated scene in Clair’s Sous Les Toits de Paris two years later. Even more unexpected was their form of film syntax, including a system of fades, wipes and irises all going to white, rather than black, or Glace a Trois Faces’ recapitulation, playing jump cut images in reverse order. It was interesting to get a look at the work of Delluc - basic and a little stiff but coming from the mind of the creator of both the film societies and art cinema movement. It was not that these films were outstanding. They were limited by simple-minded story con tent, though all were intriguing and CoeurFidele and Finis Terrae considerably more. The striking thing was that the screenings threw into relief the problems of serious film viewing in this country. Good as the 16mm copies were, they were a poor reproduction of the tinted originals. These nine films were only a fraction of those in the 47 programmes run in London, in turn taken from a far more extensive collection. The atten dances were disappointing and even more- dis turbing was the lack of a mechanism to give wider exposure to copies brought half way round the world at considerable effort. The enthusiast network which once would have been delighted to have access to such prints has been thoroughly disrupted, theN.F.T. “mergered” out of existence, government charges introduced on formerly free libraries (NSW’s no longer lends prints) and film history made marginal in media courses. For the enthusiast group who did roll up a few days later with a vari-speed projector and a player full of K-Tel Classics for accompaniment, the pleasure of seeing the material was muted by the knowledge that this was the only glimpse we were going to get into the range of historical material, no longer explored here. We must look to the Australian Film Commis sion - more it seems to locate the problem than the solution. It has proven impossible to establish any kind of discussion on the matter. Though you would never know it from reading the subsidized film

publications, the destruction of the National Film Theatre of Australia has now been raised twice in federal parliament with very unsatisfactory re sponses from the AFC: funded studies used as an excuse for delays and rejected when delivered, refusal to offer specifics, no hint of commitment to archival exhibition. The Peat Marwick study of that organization, which might have been a point at which the whistle was blown on this issue, took no action. The author, despite having read, among other things, the suppressed Rabinowitz Report on Subsidised Exhibition, commented “the Cine matheque concept is alive and well”, presumably a reference to an outside Enthusiast initiative, largely by Dr. George Miller. (Just be glad he’s on your side!) Instead of the pilot programme of screenings which should have been put in place when the Australian Film Institute proved incapable of functioning as an archival exhibitor, we are to have another funded report and do not hold your breath there either. The AFC’s Cultural Affairs officer has already told the Commonwealth Om budsman that they are going to adhere to the recommendations ofyet another of their in-house studies and put all their money into local produc tion. Australia has now been without a National Film Theatre for a decade. In the 1960s it took a handful of enthusiasts, operating part time out of someone’s living room, six weeks to set up the NFTA. That provided a supply of serious film unparalleled here, before or since, for eleven years. It would still be there, if some accounts are correct, without the intervention of the bureauc racy. No one has yet explained why $40,000-a-year bureaucrats operating out of a North Sydney high rise have been unable to match that, for a decade. Watching those remarkable French silents brought home the scale of the problem. ■ CORRIGENDA • Margot Nash’s Shadow Panic was incorrectly referred to in the last issue as Shadow Picnic. The photographer was Corrie Ancone. • Mike Harris’ ratings in “TV Scanners” (No. 75, p. 55) are incorrect. Harris used 1 as his highest rating, not 10 like the other reviewers. Harris has declined to participate further. • In the review of Sweetie (p. 57), it was in correctly stated that the film had failed to get nominated at the AFI Awards for Best Screenplay. CINEMA

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LAIR By

Paul Davies Film and Television Entertainment Post Production By

T H E EDITING MACHINE PTY LTD

Tel: (02)416 9011 101 Eton Road, LINDFIELD, NSW 2070 Fax: (02) 416 9179

C om puter Negative M atching and Prints by

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BANNED FILM UNBANNED Leonard Kastle’s cult classic, The Honeymoon Killers(above), which has been banned in Austra lia since its U.S. release in 1969, has finally been cleared by the Commonwealth Censorship Of fice. Though the Censor felt the film no longer deserved to be banned, his office was faced with the legal problem of how it to unban it. At first, the distributor, Mark Spratt, was told that he would have to re-submit the film to the Censor, who would have no option but to rule it still banned. However, the Appeals Board would then overturn that ruling and classify it “R”. Spratt suggested that this was a waste of time and money (two submission fees), but the Censor felt there was no legal alternative. (The distributors of the now unbanned Beyond the Valley of theDolls faced a similar problem.) Spratt argued that there were in fact precedents for the Censor unbanning a film and, afterfurther research, the Censor agreed and then certified the film.

MIMA'S OTHER PLEASURES The Modem Image Makers Association is run ning a season of 11 programmes of film and video at the State Film Centre, Melbourne, 1 7 - 2 2 November. The programmes include “Feminist Avant Garde Film”, which ranges from the 1970s to the present and includes work by Helen Grace and Erica Addis, Jane Campion, Tracey Moffatt and Margot Nash; “Sound Sync - In Perform ance”, where film- and video-makers and musi cians will work collaboratively to explore the various approaches to combining images and music in a live-performance context; and “Into the Nineties”, a diverse view of recent video. For more information, contact MIMA on (03) 650 7692.

ATOM AWARDS The Australian Teachers of Media organization is seeking entries for the 1990 ATOM Awards to Short, Educational Films and Videotapes. Entries will be considered for their use in education, but previous winners have not always been made with that intention in mind. Any short under 60 min utes and made after October 1988 will be eligible. Entries close 6 November. Telephone: (03) 482 2393.

FOR THE RECORD AFC and FILM AUSTRALIA

As has already been widely reported, Daniel Rowland has left his position as chief executive of the Australian Film Commission. Cathy Robin son, who heads cultural activities for the AFC, has become acting chief executive. Peter Sainsbury, general manager, film development, has become deputy chief executive. Both will retain their existing functions. A1 Clark, head of film production and develop ment with the Beyond International Group, has been appointed to the AFC board for a term of three years. Sandra Levy has been re-appointed for one year. Robin Hughes has chosen not to renew her contract as managing director at Film Australia. She will leave at the end of this year. Applicants are now being sought for the position.

1 9 8 9 A U S T R A L I A N FILM I N S T I T U T E A W A R D S THE FOLLOWING AWARDS WERE ANNOUNCED AT THE PALAIS THEATRE, ST KILDA, ON THE EVENING OF OCTOBER 11.

FEATURE FILM BEST FILM

Evil Angels BEST DIRECTION

Fred Schepisi (Evil Angels) BEST ORIGINAL SCREENPLAY

Gerard Lee and Jane Campion (Sweetie) BEST ACTRESS

Meryl Streep (Evil Angels) BEST ACTOR

Sam Neill (Evil Angels)

MULTI AWARD-WINNER, FRED SCHEPISI'S EVIIAHSELS

BEST SUPPORTING ACTRESS

Victoria Longley ( Celia)

BEST SOUND

BEST SUPPORTING ACTOR

Liam Egan, Greg Bell, Robert Sullivan (Bodywork)

Chris Haywood (Emerald City) BEST CINEMATOGRAPHY

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Dean Semler (Dead Calm)

RAYMOND LONGFORD AWARD

BEST ADAPTED SCREENPLAY

Robert Caswell, Fred Schepisi (Evil Angels)

(posthumously) John Meillon

BEST EDITING

•

Richard Francis-Bruce (Dead Calm) BYRON KENNEDY AWARD BEST ORIGINAL MUSIC SCORE

Graeme Revell (Dead Calm) BEST PRODUCTION DESIGN

Chris Kennedy (Ghosts ... of the Civil Dead)

Jane Campion TELEVISION SECTION MINI-SERIES

BEST COSTUME DESIGN

Rose Chong (What the Moon Saw)

BEST MINI SERIES

BEST SOUND

Edens Lost

Ben Osmo, Lee Smith, Roger Savage (Dead Calm)

BEST DIRECTION

MEMBERS PRIZE FOR EXCELLENCE IN A FEATURE FILM

Evil Angels KODAK NON-FEATURE AWARDS BEST DOCUMENTARY

Neil Armfield (Edens Lost) BEST SCREENPLAY

Joint Winners Suzanne Hawley, Chris Lee, Denis Witburn (Bodysurfer) Michael Gow (Edens Lost) BEST ACTOR

Peter Kowitz (Bodysurfer)

foe Leahy’s Neighbours

BEST ACTRESS

BEST SHORT FICTION FILM

Julia Blake (Edens Lost)

Bonza Still Flying

TELEVISION SECTION TELEFEATURES

BEST EXPERIMENTAL FILM

BEST TELEFEATURE

Soul Mate

Police State

BEST ANIMATED FILM

BEST CINEMATOGRAPHY

Sally Bongers (Shadow Panic) BEST DIRECTION

David Ogilvy (The Contract)

BEST DIRECTOR

Peter Fisk (Rescue) BEST SCREENPLAY

Ian David, Francine Finnane (Police State)

BEST EDITING

Denise Haslem, Tim Litchfield (Australia Daze)

BEST ACTOR

Bill Hunter (Police State)

BEST SCREENPLAY

BEST ACTRESS

David Swann (Bonza)

Pat Thomson (Malpractice)

CINEMA

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TRUSTING

HI S

INSTINCTS

Simon Wincer is one o f Australiaâ&#x20AC;&#x2122;s finest directors, though he has rarely been given his proper^due at hom e. Perhaps it is that his skills are too unobtrusive or are mistakenly seen as too conventionally mainstream. W incerâ&#x20AC;&#x2122;s greatest ability is to simply and effectively tell stories, always heightening the tale, never getting in its way. Many actors have given their finest perform ances under his direction, and when the em otional strings o f an audience are meant to be tugged, they invariably are. It is for these reasons that his recent American m ini-series, Lonesome Dove, has received unstinted praise in the U.S. and a record 18 Emmy nom inations. Wincer is currently back in Australia film ing Quigley Down Under, a $16 m illion production for Pathe Entertainment. Starring Tom Selleck and Laura San Giacomo, this 1860s adventure-romance is being film ed near Alice Springs, at the Port M elbourne Studios and on the Warrnambool coast. Wincer was interviewed at his Yarra Valley property by Scott Murray, during pre-production,

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i n t o n < w i n a e x • ft U I G INCER: Quigley Down Under is the story of Mathew Quigley, a rather trouble-prone cowboy with a fabulous long-range rifle. He arrives in colonial Australia to face two problems: Crazy Cora, who thinks h e ’s h er husband, and a ruthless landowner, who wants him to kill Aborigines. Quigley wants nothing to do with either, but ends up involved with both, ultimately becoming an unlikely legend.

Apparently the screenplay had been around for some time. Yes. It was originally written for Clint Eastwood, who had it for a long time at Warners. About four years ago, Tom Selleck heard of it and UAA got involved. They tried putting it together for W arner Bros, and I think CBS Films, with Lewis Gilbert as director. But it fell over during pre-production. By this stage, the script had gone through many drafts, all written by people not associated with Australia. You could see how comm ittees had completely ruined it with re-writes. I didn’t know much about that period of Australian history, so I gave it to Ian Jones. And it wasjonesy who said, “Actually, th ere’s a bloody good story here.” I then took it on, but only on the condition we could make the thing accurately Australian, as opposed to being an American western superimposed on Australia. Ian Jones and I then went back to the original draft and literally started again. We changed the period and took out a little of the ‘local’ colour, such as koalas chained to guys’ shoulders. Why have you changed the period? Itw assetin the 1880s and we’ve taken it back to the 1860s. It deals with things like the convict era and redcoats that couldn’t have happened as originally portrayed in the script. W e’ve made it historically accurate - n ot that it’s a history lesson. Who have you cast so far?

Yes. Pathe was form ed by Giancarlo Paretti and swallowed up the French company, Pathe Pictures, the Cannon Group and several Tom Selleck is Quigley and Crazy Cora is being played by a sen other smaller companies. It has become a major studio overnight sational actress, Laura San Giacomo, from Sex, Lies and Videotape. and is headed by Alan L addjnr. Crazy Cora is one of the better roles written for a woman, and W hen he was at Fox, Laddy was the one who kept giving George Laura could actually walk away with the film. T hat’s n ot dem eaning Lucas the money to finish Star Wars and the one who financed Tom, it’s ju st that hers is such a good role. Chariots of Fire. But h e ’d left Fox by the time Chariots was due to be Cora’s kind of in and out of sanity the entire film, right until the distributed and, when Fox decided not to handle it, he picked it up very end. She and Quigley start for the Ladd Company. The rest is history off on the wrong foot and their "Q U IG LEY DOWN UNDER IS THE STORY OF and it went on to win the Best Picture Oscar. relationship goes from bad to MATHEW QUIGLEY, A RATHER TROUBLE-PRONE Laddy has been around a lot of interest worse. They never really become COW BOY ... [WHO] ARRIVES IN AUSTRALIA TO FACE ... ing movies, including Willow, Moonstruck, close until well into the picture, CRAZY CORA ... AND A RUTHLESS LANDOWNER WHO Norma Rae, A Fish Called Wanda, The Right which is nice. WANTS HIM TO KILL ABORIGINES." Stuff and the original Police Academy. H e’s a The ruthless landowner is very good operator, very quiet and not your being played by Alan Rickman, a typical American studio chief. H e’s very approachable and a real film terrific actor who was the baddie in Die Hard. O f course, it’s all subject buff. It was really Laddy’s persistence that got me to look at the script to Equity approval. But because it’s American finance and quite a of Quigley in the first place. large Australian cast, I think we’ll get it through. T h ere ’s a terrific part for a young kid, and I’m really pleased we were able to get Ben M endelsohn, who has the potential to go a long way. We also have W arren Mitchell, who is playing a wonderful German character, and Evelyn Krape. I d o n ’t think Evelyn’s done anything in a mainstream film before, but she is a terrific actress. You are doing Quigley Doom Under for the newly formed Pathe Entertainment. 8

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Pathe is also doing Fred Schepisi’s The Russia House. Yes, and possibly a new film with Gillian Armstrong. Pathe has announced it is going to make 10 movies a year. The head of Creative Affairs is Rebecca Pollock, a daughter of director Sidney Pollock. Although I haven’t m et Sidney, I call him “my stringer photographer”. I rang and asked him to take some photo graphs of western artifacts he has in his log cabin in Utah, which I

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STORYBOARD SEQUENCE FROM Q U IG LEY DOWN UNDER

needed for research on Quigley. I am now having conversations with him about his credit on the movie! Who is shooting Quigley? David Eggby, who I used to work with at Crawfords. He has made a bit of a name for himself in the States with Warlock, which is a terrific looking film, and his second-unit work on Predator. Ross Berriman is shooting second unit, which Adrian Carr, who is the editor, is directing. As everyone goes up in the business, it’s hard to keep the old team together. Are you returning to the anamorphic format of The Lighthorsemerp Yes. But because the video m arket is so im portant in America, I have agreed to block all the scenes for 1.85:1, which you can usually squeeze onto television. I will only really use the anam orphic format for landscapes. It must be quite challenging switching back and forth from an amorphic to the near square television frame of Lonesome Dove. I suppose it is, but because I started in television I’m used to it. The biggest challenge, actually, is how wide you can make your wide shots. In television, you always seem to do them two-tenths wider than they should be. You can never shoot too tightly on television and you become quite adept at squeezing a lot into a frame. The beauty of the wide screen is just being able to use the full

amount. I went and saw Lawrence of Arabia again a couple of weeks ago in Los Angeles with Ianjones, and wejust drooled. Leanjustused every corner of the frame. There were scenes where the camera didn’t move, but he was able to use the format to move people around. No one does that now, which is a pity. Probably because of the video market. Yes. If you look at Lawrence on video, you’ll see it has been bastardized by panning and scanning. Cripes, it’s awful. Having worked in Australia and America, have you found many differences with crews? Actually, they’re very similar. The main difference is not so much in the crewing but the back-up. In America, they anticipate every possible occurrence: what happens if the set blows over, or if there’s a plane strike, or if we can’t get to location. On D.A.R. Y.L., for instance, we were relying on the Airforce for a particular location and at the last minute they withdrew their co operation - they didn’t agree with the approach the film was taking. This is the scene where the kid steals the SR71 spy plane. Lockheed still wanted us to use the plane, but we suddenly didn’t have an airport. So overnight the art departm ent created a set at the back of Orlando Airport. They chartered 15 helicopters, spray painted them and brought in old B52s and lots of trucks and things. It was fantastic, and ended up looking better than the location we had planned to use. T hat’s where they’re so good. CINEMA

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mo n Crew-wise, I think they are pretty similar the world over. They dress the same, tell the same jokes and drink the same beer. But maybe American crews are ju st a little m ore professional in their approach. People specialize m ore, and are proud of their particular niche. They also take the trouble to go see your last movie before they work with you. With crews in Australia, you get the sense they are doing it more as a way of making a living. In America, they do it m ore because they love being part of the movies. They’ve usually seen everything that’s showing and you can have a good conversation about a particular film with almost any crew member. I regard it as part of m yjob to go to the movies two or three times a week to see what else is happening. People here tend not to do that as much. Perhaps one o f the reasons there’s so little crew specialization in Australia is that everyone is concentrating on moving to the next rung up the ladder. I guess th at’s because the industry is still relatively young. You and I fit into that same category. I started as a mail boy at the ABC and worked my way up. You began as a film critic and now you’re a direc tor. Everyone has their ambitions. But, yes, there isn’t that willingness here to specialize, to becom e the best focus puller or the best cam era operator. T here are guys in America I know who could be cinem atogra phers but enjoy operating too m uch to take the step. They feel they can contribute ju st as much by perfecting what they do.

me how gruelling it is, particularly on a Friday, which is usually the last day of an episode. Sometimes they’re on stage for as long as 14 or 15 hours, which is very unfair on the cast. A 12-hour day is probably long enough for anybody. What’s your reaction to the present state o f the Australian film industry? O ur film industry is virtually non-existent. Hopefully it will get back to the situation where the projects that get made are those where the people involved really have a passion for their project. It was not all that hard to get finance for a movie three years ago, and too many films got m ade for our limited resources. I must say, though, I have been quite removed from things since The Lighlhorsemen, and it’s hard for me to be objective. But I have no doubt good scripts will always get made. T h ere’s a universal shortage of them, notjust in Australia. I get sent hundreds of the bloody things and most of them you go, “So what!” W hen a Lonesome Dove comes along, it’sjoyous. Do you worry that we might become little more than a service industry to the Ameri cans.

I ju st hope that what happened in Eng land doesn’t occur here. In the late 1960s and early 70s, English people suddenly found themselves working solely for Americans. Today the English industry is virtually non existent. We are probably making m ore in digenous movies than they are in England. It’s all very well to make Mission Impossible here, especially from the technicians’ and ac On Lonesome Dove, you worked a six-day tors’ point ofview, but it doesn’t advance our week. How does it feel coming back to Aus industry at all. W hat happened with New tralia and the five-day week? W orld and Dino de Laurentiis makes me very "OUR FILM INDUSTRY IS angry: how they m anaged to come out here Well, America is a five-day week in the VIRTUALLY NON-EXISTENT. and con investors into buying shares. T hat major cities like Los Angeles or New York. was ju st appalling. But as soon as you’re away on location it’s six HOPEFULLY IT WILL GET BACK TO But the thing that makes me disappointed days. THE SITUATION WHERE THE is that I ’m one of a handful of local filmmak As a director, I certainly prefer a six-day PROJECTS THAT GET MADE ARE ers to have worked extensively both here and week. Usually you are working in a place THOSE WHERE THE PEOPLE IN in the States. Yet n ot once have I ever been where you w ouldn’t want to spend two days asked to give an opinion on the industry by off. You also get a terrific m om entum going VOLVED REALLY HAVE A PASSION organized bodies like the Film Commission and on Sunday you ju st want to collapse and FOR THEIR PROJECT." or the Film School. It seems strange that the recover. people deciding the course of the film indus The biggest difference in America is the try d o n ’t contact people like myself. twelve-hour shooting day instead of o u r ten. And they d o n ’t have tea As for some of the so-called experts that I believe are giving breaks, but som ething m uch better called craft service. T h ere’s a guy lectures at the Film School, that ju st amazes me. I’m n o t after ajo b who keeps tea and coffee and little snacks on the go all the time. So lecturing at the Film School, but if I were asked to give a class, and people ju st grab a cup o f coffee when th ere’s a pause to do a set-up I had the time, that is the sort of thing I ’d enjoy doing. Phar Lap, or the director’s rehearsing the cast. It’s m uch m ore efficient. Snowy River and. The Lighthorsemen are Australian movies that all had In the States, you have six hours without a break, then a meal major distribution in the U.S. and I could probably talk as knowl break of only thirty minutes, tim ed from the last person to get his edgeably about distribution there as any Australian filmmaker. dinner, and then six m ore hours straight. It’s a very concentrated As for television, I d o n ’t think th ere’s anyone locally who would working day, but it’s m ore satisfactory than the stop-start you get in have my experience with American networks. Lonesome Dove is the Australia. fourth network television show I ’ve done. I would happily tell people O n television over there, they shoot each day until they finish the about the politics of network television and w hat’s expected of you. schedule. The deadlines in episodic television are so tight theyjust I know some of the problems. can’t afford to get behind schedule. Sigrid T hornton recently told 10

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LEFT: GU S McCRAE (ROBERT DUVALL) AND LORENA (DIANE LANE) IN SIMON W IN CER'S AW ARD -W IN N IN G ADAPTATION OF LARRY MCM URTRY'S LO N ESO M E DOVE.

The stealing of the horses at night is one example. Originally, Bill had them stealing some cattle, which they also do. But cattle d o n ’t run very fast, and I felt it would be much m ore spectacular if the first confrontation with the Mexicans was with the horses. A nother idea I had was to have the boys run the stolen horses through the town of Lonesome Dove the next m orning. Such ideas were heavily influenced by the fact that I knew from previous experience how we could do that sort of stuff fairly successfully, without consuming much shooting time. Wittiiff has written a very intelligent screenplay. It is also one of the most faithful adaptations I have seen. Bill is a great writer and I owe him a lot. After all, you are only as good as the material you have to deal with. The dialogue is wonderfully succinct. There are no long speeches and a lot happens between the lines, with unspoken dialogue. The words were always so right the actors never wanted to change things to suit themselves. T hat’s a great com plim ent to McMurtry and to Bill, who tried to use where possible the dialogue from the book. Apparently, Wittiiff is a friend o f McMurtry’s.

L O N E S O M E DOV E How did you become involved in Lonesome Dove? The rights to Larry McMurtry’s novel were owned by Mowtown Productions, which is headed by a very bright black lady, Suzanne de Passe. She had bought the rights when every other studio had turned them down. O ne m onth later, the book won the Pulitzer Prize and, of course, everyone then wanted the project. Mowtown was doing the mini-series for CBS with Robert Halmi Productions as deficit financiers. * Halmi at that time was being taken over by Qintex. The head of Qintex in America, David Evans, a friend and a fan of my work, suggested me as director to Suzanne, and the other two producers, Bill Wittiiff, who was also the writer, and Dyson Lovell. T hat same day, I was also suggested by Steve Mills, then head of mini-series at CBS. I had already done two mini-series for the network: The Last Frontier, which had been an absolute ratings winner, and Bluegrass, which h a d n ’t as yet gone to air but which CBS had seen and really liked. The next thing that happened was that the three producers sat down and looked at The Lighthorsemen and Phar Lap, which they loved. They then flew m e over to L.A. for an interview. At that stage, they had also cast Robert Duvall. As he had director approval, he also looked at my movies. Was the screenplay finalized at that stage?

Yes and it was Bill who in fact told me about the genesis of the book. W hen Peter Bogdanovich was shooting The Last Picture Show, McMurtry used to go on the set a lot. And one day Bogdanovich suggested they do a movie together featuring old cowboys. So McMurtry dream ed up the idea of three old cowboys having one last great adventure together. The cowboys were to be played by screen legends: Henry Fonda was to be Jake; John Wayne, Call; and Jimmy Stewart, Gus. It was called The Streets of Laredo, but for one reason or another people weren’t available and it d idn’t get made. McMurtry then decided that there was m ore to the story than just a screenplay. And as h e ’d always wanted to write a salute to his heritage in Texas, he developed his 100-page script into a thousandpage novel. As for the name Lonesome Dove, McMurtry apparently saw a church group bus broken down on the side of the road with Lonesome Dove written on it. T h ere’s no such place as Lonesome Dove. There is now. It is part o f the Western mythology. You’re right. After the show went to air in America, I got hundreds of letters from various people. One guy in Miles City, Montana, who is a writer and a bit of a fan of my movies, wrote and said there are signs hanging everywhere in Miles City now: “Gus McCrae poked h ere”, “Gus McCrae drank h ere” ... Did you meet McMurtry? No, I still haven’t m et him - that’s how far removed he was from it. But Bill fed him each draft of the script as it was finished. I think McMurtry’s major com m ent was that Bill had come up with a slightly better ending than in the book.

Bill Wittiiff had spent a year writing various drafts and it was virtually in its final draft form. There were a couple of m inor adjustments after that, and a few I ’m pleased to say came from my suggestions. They incorporated a few visual things from the book which I felt we could capitalize on.

Yes, and by having Call recall the cost of the journey. It sort of rounded things off. Overall, though, I gather McMurtry is very pleased by what we did.

*i.e., the difference between what the network paid for the series and the real cost of making it.

One o f the real challenges in scripting terms must have been the number of interweaving stories. Was there much juggling involved?

By moving to the end the scene where the journalist asks Call [Tommy Lee Jones] about his “vision”?

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¿Sim on I think everybody thought that problem had been solved at the script level, but quite a lot of juggling went on in post-production. Virtually the first 100 pages of Lonesome Dove deals with the main characters up until they go to Mexico to steal the horses. And that’s basically what we tried to do. But we ended up inter-cutting the story m ore than had been scripted, and introducing some of the other characters a little earlier to help the pacing. You have captured exactly the laconic opening o f the novel. What is inconceivable is that an American network let you get away with it. The dramatic high point, I guess, is when the biscuits are finally cooked. Yes, or when Gus [Robert Duvall] shoos away the pigs [laughs]. We were faithful to the book and I suppose the network had to go with it. If you’re going to do the story of Lonesome Dove, you have to establish the lifestyle the boys had before they leave it. And the one way to do that was this sort of atm ospheric opening. Lonesome Dove doesn’t have the usual peaks and valleys Ameri cans artificially inject into their screenplays. In a sense, you have filmed the novel ‘innocentiy’. It feels as if it could be the first Western ever told on film. T h at’s intentional. I chose not to look at any Westerns, so that I w ouldn’t be consciously influenced by anything that had gone before. I guess the last W estern I saw was Silverado. Which is the complete antithesis. Exactly. Silverado is very stylistic in its approach, whereas mine was to capture the sense that this was really what it must have been like. Bill Wittliff is a wonderful historian and has a terrific research library. With Carey White, the production designer, I looked at hundreds and hundreds o f old photographs. Every building and every town was based on research. It was the same with the wardrobe. Van (Broughton) Ramsey went for total accuracy. T here are no low-slung guns, no strings tied around legs and stuff like that. Guns misfired and guys were dirty and dusty. They spat a lot and had dirty teeth. T heir clothes were mostly worn out and nobody had any money. Life was boring, and it was hot and dusty. All the things Hollywood tends to avoid, we chose to show. So, the look of the thing is certainly different. The other thing was we had a wonderful cast, people who were not scared to play a pause or lean on a rail to take a breath between lines of dialogue. W hen you’re working with actors like that, you can achieve a greater sense of reality. How closely were able to use the actual locations o f the book? Pretty much. W hen I first came on the project, they wanted to film all of it in New Mexico. But New Mexico doesn’t look like Texas, and the whole genesis of LonesomeDove is in Texas. Luckily Bill Wittliff being Texan knew the only way to show the story was to try and use Texas locations for Texas. Carey White drew a m ap o f the whole journey and then we got photographs taken of all the different places on the journey. Then we ju st m atched them to the locations. We found four main points where we could base the production, and branched out from there. So, half of Lonesome Dove was shot in Texas. Part o f the pleasure o f watching Lonesome Dove is observing the ever-changing backgrounds. 12

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GUS MCCRAE AND W O O DROW CALL (TOM MY LEE JO N ES) IN LO N ESO M E DOVE. AT ONE STAGE, MCMURTRY CONCEIVED THAT THE ROLES BE PLAYED B Y JIM M Y STEWART AND JO H N W A Y N E, RESPECTIVELY.

A lot of thought went into that, because the landscape becomes one of the characters. How long was your schedule? Ninety days, but we lost the first two days through rain and the producers never gave them back to me. I had to be finished by July 2nd because of the July 4th weekend. It was tough, but it was good. I like working at that pace. Half the show was shot at magic hour, n ot intentionally, but because it got to that time of the day and we had to keep going. A lot of the wonderful look is fortuitous rather than planned. The snow storm is an example. It was scripted, but it was ju st by sheer luck that we actually got it. We got to the location one day and down it came. Naturally, I said, “Roll.” We were pretty lucky with the weather. W hen we filmed in Texas, it was hot and clear, and when we needed it to be grim in Santa Fe we got amazing storms. W hen Call rides back to tell the guys that Gus is dead, the lightning was so frightening we actually had to stop filming two or three times and flee to the buses. But it gave the sequence an edge. And that’s what filmmaking is all about: capital izing on circumstances. Anyone who has read the book will probably have some pet moment that couldn’t be fitted into the mini-series. Mine is when Jake gives his horse to Newt [Ricky Schroder] before he is hanged. It later links in with Call’s giving his horse to Newt. It is that obsession with two ‘fathers’ you see in Oliver Stone films. I know. We shot that m om ent, but took it out during the final cut. We had an enorm ous time problem , and, because there was no op portunity to show Newt riding that horse, it got too complicated. Actually, that cut was suggested by Bill Wittliff. I was reluctant to lose it, because Ricky was so wonderful in that scene. I rem em ber him looking up from u nder the hat, with those tears running down his face. However, the scene is still very strong without it. • CONTINUED

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The ubiquitous n arrator o f Kennedy M ille r’s productions m ight say it w as a tim e o f change, a tim e when a mood o f optim ism existed fo r the fledglin g A ustralian film industry, a perio d th at witnessed an unprecedented burst o f crea tive energy. Then, th at distinctive voice - the voice o f destiny, of omniscience, the prophetic voice th at has dominated so many o f Kennedy M ille r’s film s and mini-series - m ight talk o f how no one, a t th at tim e o f so-called renaissance, could have foreseen the upheavals to come: the economic pressures, the escalating feelings o f fru stration and disillu sionment, the subsequent exodus o f so many o f the pioneers. Finally, our narrator m ight turn his or her attention tb the outsider, the one who a rrived in an unexpected blaze o f glory, who stood resolutely, even defiantly, a p a rt and yet consistently m aintained a steady course through the uncertainty. A nd here, our narrator m ight continue in that measured, unhurried voice, is the story o f th at outsider...

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*This is a revised and updated version o f “Cross-over and Collaboration”, first published in hack o f Beyond: Discovering Australian Film and Television, Australian Film Commission, 1988. The catalogue was commissioned fo r a program m e of film and television held at the University of California, Los Angeles, in October-November 1988. It is available from the AFC and Cinema Papers.

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TISAROMANTICVIEW, asimplistic accountof the life and public image of a company formed by Byron Kennedy and George Miller, initially called Kennedy Miller Entertainm ent and subse quently just Kennedy Miller. It is an account that ignores the canny business decisions, the shrewd analysis of the economic^ climate, the company’s survival following the tragic death of Ken nedy in a helicopter crash in 1983. It ignores the company’s prag matic refusal to limit its horizons by specializing in film or television. It overlooks the spirit of innovation that has driven the company and the gambles that have paid off. And, equally, not all the outsiders created for the large and small screens by Kennedy Miller have been trium phant, or calculated their courses so deliberately, or necessarily succeeded in the conventional sense of the word.

Yet, in some ways, placing the company into one of its own scenarios seems oddly appropriate. It does stand alone, quite apart from the film and television industries, maintaining its own rhythms, staffing structures, approach to production and aversion to public ity. And, since Mad Max (George Miller, 1979) burst on to Australian screens, the company’s image has lent itself to descriptions that might fit its first protagonist: capable, isolationist, renegade, tena cious. Terry Hayes, who joined the company as a writer on Mad Max 2 (George Miller, 1981; also known as The Road Warrior), could, in fact, have been summarizing a rom antic’s view of the organization when he said, during filming on the mini-series Vietnam (John Duigan, Chris Noonan, 1987), “We have a saying here at Kennedy M iller-B e Bold or Be N othing.”1 , Mad Max appeared at a time when the industry was in the midst of a boom, when Australians were beginning to believe in the viability of a home-grown film industry and take pride in it. Yet, there were also doubts. There existed a nagging feeling that the industry was content to churn out nostalgic accounts of the past rather than to tackle more contem porary issues and concerns. Although Austra lians had not had the benefit of the sort of popular visual history that Americans enjoyed from Westerns, some critics m aintained that the budding industry was taking the soft and safe options, a view that currently applies to mini-series. Then, unexpectedly, there was Mad Max, a futuristic action film, boldly brandishing its literary and cinematic origins with a hero who would be equally at hom e in Dodge City or ancient Rome. It seemed brave, innovative and accomplished, exhibiting a seductive kinetic energy that was unique at the time - and has only rarely been achieved since. Prior to Mad Max, Kennedy and Miller had collaborated on the short film Violence in the Cinema.. .Part 1 (George Miller, 1972) and an hour-long television special, Devil in Evening Dress (George Miller,

1973). However, the critical and commercial success of their first feature, which returned $A100 million from its world-wide release and became one of the few films of the period to make money, catapulted the pair to international prominence. A decade later, the company they established has produced five features, six mini-series, a television documentary series and three tele-features, and become the country’s most consistently successful film and television produc tion house. Clearly, Kennedy Miller’s development owes some debt to forces beyond its control, such as the 10BA tax incentives introduced by the Federal government. But, equally, an examination of the organiza tion must recognize the distinctive attitudes and work methods that have contributed to its position. From the time that the company completed its first mini-series, The Dismissal (George Miller, Phillip Noyce, George Ogilvie, Carl Shultz2,John Power, 1983), a num ber of fundamental elements have characterized the television production, in particular, and had varying degrees of influence on the features. Initially, there is the commitment to what Miller calls the “comprehensivist” ideal: Byron and I began by just trying to make films, looking to learn as much as we could about the process. Intuitively, both of us were comprehensivists: we wanted to explore all facets of filmmaking. We felt it was essential for us, as it is for everybody in a small industry, not to specialize. Then Terry Hayes came in, and he too is very much a comprehensivist, even though he had been a journalist and writer. He was able to adapt the methodology he had learnt in journalism to filmmak ing. We further consolidated that ideal when Doug Mitchell joined us in 1983. Doug came to us as finance director but has emerged as the ‘silent power’ behind Kennedy Miller. He would pooh-pooh this, but his creative instincts are extremely acute. You see, beyond his business skills, he has evolved into a very skilled filmmaker. CINEMA

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So, if there is any one thing that characterizes Kennedy Miller, it is our belief in being as generalist as possible. We see the filmmaking process as organic and comprehensive.3 But, Miller adds, it wasn’t originally comprehensive enough to include television: When we began Kennedy Miller we despised television as a lower level of existence. But soon we realized it wasjust a different level a different ecology, if you like. Now we are addicted to it.4 Equally, the desire to explore all facets of the process seems to have im bued a spirit of innovation, a desire to attem pt different forms and styles of visual story-telling. At the same time, the way that Kennedy, Miller and Hayes worked together, coupled with the unique dem ands of The Dismissal, produced a com m itm ent to pro duction based on collaboration at many stages: conception, writing, perform ance and direction. Says Hayes: There was never any selfishness in George or Byron. They were al ways collaborative by nature. They never saw themselves as the mak ers of Mad Max who had to protect themselves from this new person. Rather, it was, ‘Come and join the commandos. If you are stupid enough to want to join, we want to have you.’5 Finally, and evident in retrospect, Kennedy Miller’s output has largely focused on Australian history and values in the 20th Century, and it has chosen a wide-angle lens for that focus, a view that encom passes a broad range of moti vations, opinions and actions. Collaboration has become a cornerstone of the com pany’s approach to produc tion. “Film-making is collabo rative”, says Terry Hayes: I’ve heard all these stories about the auteur theory of filmmaking. In the real world, that’s not how it happens. You have to work with your cine matographer, producer, di rector...5 Collaboration requires a catalyst to work properly, and that’s not always me. George did it to Phil Noyce and me on Dead Calm [Noyce, 1989]. Phil and I had been squirrel ling away on the script and we were really quite proud of it. Then George came back from America [where he had directed The Witches of Eastwick] and read it. He sat me down in particular and said, ‘It starts on page 50. Drop the first 49.’ I told him he was nuts... At this point, we were about to start pre-production and 16

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the pressure was really on. But I thought about what George had said, and I had to admit he was right. Now, if George had been a polite person, if he had felt sensitive towards me, he wouldn’t have been so blunt. He might have just said to look at a certain scene or try re-working some dialogue. And that wouldn’t have resulted in the problems getting fixed.7 The com pany’s approach, however, can be harrowing for writers in particular, to the extent that the Australian W riters’ Guild cau tions its members about working for Kennedy Miller. Tony Morphett, who wrote the screenplay for The Riddle of the Stinson (Chris Noonan, 1988), was involved in scripting TheDirlwaterDynasty (Michael Jenkins, Jo h n Power, 1988) and is an active Guild m em ber, told a Sydney newspaper that some writers had com plained that working for the company resembled “being raped by a 90-tonne gorilla”8. While he understands the sentiments underlying that viewpoint, he describes his work with Kennedy Miller as “a genuine collaboration exercise”: We wrote and re-wrote and tore each other’s work apart and put it together again ... Everyone was writing bits. There are some writers who hate this. It’s a total collaboration ... A lot of writers are recluses by nature and, I imagine, would be horrified by the process. But even a cursory exam ination of the com pany’s production credits reveals an ensemble of actors (including Bruce Spence, Hugo Weaving, Nicole Kidman and Nicholas Eadie) and writerdirectors (such as Phillip Noyce, Jo h n Duigan, Chris N oonan, Jo h n Power, Ken Cameron and Carl Schultz) who find the collaborative approach productive and keep coming back for more. M ichaeljenkins, who worked on T heDirtwater Dynasty script and directed six of its 10 hours, found the process stimulating in both capacities: It’s no one’s great single passion. Although the idea for The Dirtwater Dynasty came from Terry, no one was precious about it - he certainly wasn’t. Even in post-production, if you had a difference of opinion about whether a scene should go or stay, or should be shortened or changed in some way, it was a pretty democratic argument. They are not high-handed at any stage, and that’s pretty rare. For an actor, the priority given to workshop ping and rehearsal can be a refreshing change, moving the often com partm entalized process of film or television production closer to the m eth ods of theatre. Bruce Spence, who plays the Gyro Captain in Mad Max 2, Jedediah in Mad Max Beyond Thunderdome (George Miller and George Ogilvie, 1985), Jonah in The Year My Voice Broke (John Duigan, 1987) and Lonely Logan in The Dirtwater Dynasty, says: Kennedy Miller’s work methods and approach to creating drama are exciting collaborative acts. They create a situation for actors - and I know it applies to other people as well - in which you really feel you are an important part of the contribution. You’re not just a cog, and, as a result, you find yourself giving an enormous amount because you know how much your contribution is valued.

\ \ 1 1/ The emphasis on a creative ensem ble’s working together from the beginning o f a production was consolidated by the inclusion of theatre director George Ogilvie in the team working on The Dis missal, and by the requirem ents of that six-hour mini-series’ tracing the demise of Australia’s Labor Governm ent in 1975. Says Miller: The Dismissal was a tremendous learning process - a baptism of fire, if you like. More important, it was a quantum leap for us in terms of working with new writers and directors, and in evolving an under standing of the collaborative process ... George Ogilvie had come to work with us, and he brought with him this ensemble method of working with actors. It was a way of achieving a cohesive style and group rhythm amongst a disparate group of actors.9 T hat landm ark mini-series also shaped the public perception of the company and constructed an approach to narrative that would recur in its work throughout the 1980s. The decisipn to produce an account of the most traumatic upheaval in Australia’s constitutional history, less than adecade after its occurrence, can only be regarded as a m onum ental risk. The dismissal of Gough W hitlam’s Government by the Governor Gen eral, Sir Jo h n Kerr, divided the nation and initiated a controversy unresolved to this day - about the nature of the constitution. At the time that Kennedy Miller undertook the project, the events still burned fresh in the public psyche and many of the participants in the furore still occupied prom inent and highly visible positions in public life. By the time it was completed, the television network that had secured the broadcast rights perceived it as such a political hot potato that it twice delayed its scheduled screening prior to the March 1983 Federal election. To attem pt to convey accurately the complexity of the events and emotions surrounding the crisis, while depicting those involved, and their motivations, was no m ean feat in itself. But other crucial needs also had to be met. The mini-series could not take sides. There was no mileage to be gained from allowing individual feelings, which could alienate many viewers, to colour the narrative, nor would such prejudices help to illuminate the network of events surrounding the expulsion. Yet, repressing such prejudices could not have been easy. In addition, politics is not traditionally an irresistible attraction for viewers; in fact, the opposite is probably true. Therefore, wooing and sustaining interest over three nights would n o t be easy. The most succinct measure of Kennedy M iller’s success in negotiating this minefield is the fact that the television network subsequently pro m oted four mini-series, three tele-features and one feature simply as

FACING PA G E, TOP TO BOTTOM: FRAME ENLARGEMENT FROM GEORGE M ILLER'S M AD M A X , WITH MEL GIBSO N AS M A X . GEORGE M ILLER'S M AD M A X 2 . THE FERAL CHILD (EMIL M INTY) AND M A X DURING THE BIG DRIVE. AN D, THE ENERGY CENTRE OF BARTERTOWN IN GEORGE MILLER AND GEORGE O G ILV IE'S MAD M A X BEYO ND THUNDERDOME. A B O V E: GEORGE M ILLER, WRITER-DIRECTOR-PRODUCER; AND A FEW KENNEDY MILLER DIRECTORS (CLOCKW ISE FROM TOP LEFT: JO HN DUIGAN ( VIETNAM, THE YEAR M Y VOICE BRO KE AND FLIRTIN G), CARL SCHULTZ (THE DISM ISSAL AND BO DYLIN E), PHIL NOYCE (THE COWRA BREAKO U T AND DEAD CALM ), AND KEN CAMERON (THE CLEAN M ACHIN E AND BA N G K O K HILTON).

Kennedy Miller productions. The company name, in itself, had become a marketable commodity, synonymous with quality produc tions of an ambitious nature. The Dismissal also introduced an approach to dram a that has since become a keynote of the company’s television productions. Says Hayes: If there is anything that characterizes Kennedy Miller’s work, it is that everything we make has a strong belief. The most common belief in the things we make is, ‘Don’t trust the bastards’, don’t trust anybody in authority because they will sell you down the river. Vietnam is about being sold out by people who should have known better: parents, governments ... In Bodyline [Carl Schultz, George Ogilvie, Denny Lawrence, Lex Marinos, 1984], the evils were the cricketing lords who sent Jardine [Hugo Weaving] out here on a godforsaken task, and the Australian Cricket Board. The Dismissal is about a man who had the authority, Kerr [John Meillon], who sold everybody out, including his country. Mad Max is about a guy who operates in a world where there is no authority, yet he chooses to do the moral thing. But, as Hayes notes, another philosophy must operate in tandem with the “D on’t trust the bastards” credo in order to avoid simplistic, kneejerking narratives: It would have been the easiest thing in the world to play Kerr as a rabid, power-crazed maniac. It would have been easy to playjardine as a most hateful man. In The Dirtwater Dynasty, Hasky Tarbox [Dennis Miller] is a vile man. Yet when he loses his property, you understand why he’s vile: that’s what he thought he had to be in order to survive. Richard Eastwick [Hugo Weaving] is a madman: he’s obsessed, neurotically driven, avaricious. Yet, at the the end of it all, you see his humanity. A writer cannot write, a producer shouldn’t produce and an actor certainly can ’t play a character who isjust evil. That’s not drama. You must look for what is redeeming in a man. That’s really the core of drama, and that’s the hallmark of a Kennedy Miller production: it doesn’t take cheap shots. CINEMA

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THIS PA GE: LEFT: DR FYNE (ARTHUR DIGNAM ) AND AN UNCREDITED GEO RGE MILLER, AT THE END OF THE NO O SE, IN M ILLER'S VIOLENCE IN THE C IN E M A ... PART I . RIGHT: FRAME ENLARGEMENT FROM THE DOCUM ENTARY, DEVIL IN EVEN IN G DRESS (GEORGE MILLER). BELOW : DARYL VAN HORNE (JA C K NICHOLSON) IN GEO RGE M ILLER'S THE WITCHES OF EASTW ICK, A KEN NEDY MILLER FILM.

The approach that Hayes describes is a fundam ental premise of hum anist dram atic construction, and it is certainly one that has created a distinctive elem ent of Kennedy Miller’s mini-series, a style that Stuart C unningham has aptly labelled “multiperspectivism”.10 Essentially, rather than offer heroes or villains, The Dismissal, as an example, eschews simple ju dgem ent on its characters, offering instead a myriad of motivations, perspectives and justifications. O f the primary players in the Labor Party’s demise, treasurerjim Cairns (John Hargreaves) is depicted as a progressive, sensitive and television progeny who will emulate him, Pelham W arner (Rhys thoughtful idealist. He is also seen as som ething of a political McConnochie) in Bodyline and H ordern (Simon Chilvers) in The innocent, but cast in that light only by virtue o f his refusal to Cowra Breakout (Phillip Noyce, Chris Noonan, 1985), he unwittingly capitulate to racism, sexism and innuendo. finds himself in the eye of an ugly storm. The other ostensible culprit in the pivotal ‘loans affair’, Minister None of these characters, at any point in the spectrum, is m ade for Minerals and Energy, Rex C onnor (Bill H unter), is portrayed as a man zealously pursuing a dream of fully utilizing Australia’s natural an object of derision or a martyr. Their motivations are all delineated with clarity and compassion. If anything, the scenario unfolds like a resources. Both are seen to lack political nous, rather than integrity, Greek tragedy, with all the players moving inexorably towards their and both are seen as m en of vision. The Achilles heel attributed to destinies. And, as in Mad Max Beyond Thunderdome and Bodyline, the Prime Minister Whitlam (Max Phipps) is also naivete. narration reinforces this feeling of fate’s taking its course. Across the Parliamentary floor, Opposition leader Malcolm Fraser (John Stanton) is seen as a resolute, if taciturn, tactician, This kaleidoscopic, rather than telescopic, approach to history and to dramatic construction is also evident in Kennedy Miller’s surrounded by party m embers who agree that the Governm ent has other mini-series. Vietnam, for example, reduces crippled the economy and the myriad of perspectives to four: the members that the voters are itching to of the G oddard family. It offers the Goddards as a switch their m andate to more THE APPROACH THAT symbol of Australia between 1964 and 1972, the com petent recipients. He, HAYES DESCRIBES IS A FUNDAMENTAL fractures within the family unit m irroring those of too, is seen to take an un PREMISE OF HUMANIST DRAMATIC the wider society. The tum ultuous events of the precedented gamble, though period are filtered through their generally con he is also credited with a po CONSTRUCTION ... A STYLE THAT STUART trasting outlooks, establishing interwoven yet au litical acum en and discipline CUNNINGHAM HAS APTLY LABELLED tonom ous paths for each family member. lacking in his opponents. At Douglas G oddard (Barry Otto) starts out as a worst, Fraser and party m em "MULTIPERSPECTIVISM" conservative governm ent official, his wife Evelyn bers such as Reg Withers (Veronica Lang) as a loyal and unquestioning (Tom Oliver), Phillip Lynch partner. Their son, Phil (Nicholas Eadie), is a classically restless (Ed Devereaux) and Tony Staley (David Downer) are ambitious op university drop-out and their daughter, Megan (Nicole K idm an), a portunists, traits that are arguably ideally suited to careers in politics. relatively carefree teenager. The war is a catalyst for all four. Douglas’ In the middle is Jo h n Kerr, the appointee representing the convictions about the legitimacy of Australia’s involvement in the Queen. As Hayes noted, he is easily the juiciest target for ajaundiced, conflict crumble and he comes to represent the shifting views of the even bitter, characterization. Yet Kerr is drawn as an isolated and tor middle class about the validity of the war. Evelyn breaks away from m ented figure, wrestling with his conscience, exam ining his commit the marriage and establishes an independent life, symbolic of the m ent to the letter of the law and barely containing his feelings of emerging w om en’s movement, and Megan becomes involved in resentm ent at being relegated to the role of an outsider. Like the 18

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TOP RO W : IM AGES FROM THE D ISM ISSAL: SIR JO H N KERR (JO HN MEILLON) SW EARS IN THE NEW PRIME M INISTER, MALCOLM FRASER (JO HN STANTO N), W ATCHED BY KERR'S OFFICIAL SECRETARY (TIM BU RN S); THE LO NELY, BROODING FIGURE OF M INERALS AND ENERGY M INISTER, REX CONNOR (BILL HUNTER); AND THE DOOMED PRIME M INISTER, GOUGH W HITLAM (M AX PHIPPS). MIDDLE RO W : M EGAN GODDARD (NICOLE KIDM AN) AND HER FATHER, DOUGLAS (BARRY OTTO). A N D , PHIL GODDARD (NICHOLAS EADIE)VIETNAM . BOTTOM RO W : DOUGLAS JARDIN E (NICHOLAS GLEDHILL) RECEIVES A CRICKET BAT FROM LORD HARRIS (FRANK TH RIN G ), WATCHED BY DO UGLAS' PARENTS (JAN E HARDERS AND ARTHUR DIGNAM ). AN D , FACE TO FACE ON THE FIELD OF BATTLE: AUSTRALIAN CAPTAIN BILL WOODFULL (JOHN W ALTON) AND ENGLISH CAPTAIN DOUGLAS JARDIN E (HUGO W EA V IN G ). BO DYLIN E.

university politics, personifying the anti-war movement. Phil, like the Vietnam veterans he represents, returns to discover that he is an outsider, alienated from family and community. Also depicting Australia at war, The Contra Breakout initially appears to be an Australian soldier’s view of the Pacific conflict of World War 2. Unlike Phil Goddard, Stan Davidson (Alan David Lee) starts out like a blank page: he has no family life, no sweetheart and no jo b before he is sent to war. Stan seems to personify the ‘everym an’, an average city boy carrying out his duty to his country, innocently seeking adventure, who returns from the horrors of front-line battle a changed man. It also seems that The Cowra Breakout will be, through Stan and his platoon, a microcosm of Australia’s war experiences, in m uch the same way as the G oddard family has been in Vietnam. But by midway through The Cowra Breakout's ten hours, it be comes clear that the perspective of Japanese soldier Junji Hayashi (Junichi Ishida), Stan’s adversary at the pivotal mission house battle, will be equally relevant to the drama. The mini-series develops the two as counterparts, eventually transferring the periodic narration from Stan to Junji and using the characters in an identical fashion. They each becom e windows on the vastly different conventions that govern behaviour in their respective cultures. By the end of the eighth hour, they have undergone similar ex

periences, moving from an innocent belief in their duties as soldiers to a passionate hatred of the enemy, then to painful self-examination and finally to forgiveness and understanding. It is with an appropri ate symmetry that the hours spent with Stan at the beginning of The Cowra Breakoutaxe balanced towards the end when it concentrates on the traumas of thejapanese prisoners and their Australian captors at the Cowra detention camp. Thisjuxtaposition of the groups achieves the necessary balance because a clear perspective on each group has been created and explored. Where The Cowra Breakout juxtaposes the Australians with their Japanese adversaries during the war, Bodyline looks at a different sort of combat but also uses a battlefield, the cricket arena, as a spring board for contrasting cultures and offers distinct perspectives on them. This account of the 1932-33 test cricket series between Austra lia and England chronicles the controversy surrounding English captain Douglas Jardine and a strategy that he called leg theory which was nicknamed ‘bodyline’ by the m edia - and employed to stymie Australia’s star batsman, Donald Bradman (Gary Sweet). Essentially, Bodyline uses the Australian and English teams and those associated with them as microcosms of their respective cul tures, in much the same way as Vietnam uses the Goddards to reflect Australian society. And, as in The Dismissal and The Cowra Breakout, it tries hard to avoid taking sides. Although it does, particularly towards CINEMA

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the end, succumb to the tem ptation of portraying the Australians as plucky colonial battlers standing firm in the face of a cruel onslaught by a desperate Empire, for the most part such blatant barracking is rendered irrelevant. As Jo h n C. Murray observes: The production nicely established Bradman’s stature as a folk hero for a nation that was in desperate need of one; but his function in the drama was not that of crucial agent. Bradman was the target against who the bodyline plot was directed - the focus of it. In plain terms, he was acted upon by events, rather than, like Jardine, initiating them. And the victims of events are essentially less interesting than the generators of them." Body line uses Jardine as its dram atic focus and as a variation on the unit com m ander despatched by the generals - the Marylebone Cricket Club lords - to defend the h o nour of a sagging empire. It then examines the nature of that em pire through the team. Class divisions, a recurrent m otif of Kennedy M iller’s mini-series, are delineated here by contrastingjardine, an educated son of the Raj, with bowler H arold Larwood (Jim H o lt), a Nottingham -born miner. The bitter debates on ethics between Jardine and team m anager Pel ham W arner are clearly differences of opinion about the very nature of the em pire that each seeks to serve to the best of his ability. By contrast, the Australian team, led by Bill Woodfull (John W alton), is viewed as m ore egalitarian - though equally disposed to debates on ethics, albeit less heated ones - perhaps reflecting a sort of unity born o f digging in at the trenches together in the face of an overwhelming assault. But, having established the composition and ethics of both teams, and, by implication, the countries that they serve, Bodyline then draws parallels between their situations, casting both groups as foot soldiers in a war waged by arm chair generals. It is the clearest case of Hayes’ ‘D on’t trust the bastards’ dictum, and Jardine refers directly to that philosophy in his bitter speech to W arner about “old m en too weak and too m endacious to sully their own hands ... but they’re quick to share the fruits of victory.” 20

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LEFT: DANN Y (NOAH TAYLOR) AND FREYA (LOENE CARMEN) IN JO H N DU IGAN 'S THE YEAR M Y VOICE BRO KE. ABO VE: JO H N INGRAM (SAM NEILL) AND RAE (NICOLE KIDM AN) IN PHIL N O YCE'S DEAD CALM. FACING PA G E: RICHARD EASTW ICK (HUGO W EAV IN G ) IS RESTRAINED DURING A FIGHT BY LONELY LOGAN (BRUCE SPENCE). A N D , EASTW ICK AND HIS FAITHFUL JO SH MCCALL (STEVE JA C O B S ). THE DIRTW ATER D YN ASTY. BOTTOM: THREE W O M EN: FROM LEFT, M EGAN FROM VIETN AM ; EDITH (HEATHER MITCHELL), BO D YU N E; AND KATE (VICTORIA LO N GLEY), THE DIRTW ATER DYN ASTY.

Finally, Bodyline presents detailed perspectives on both sides involved in the conflict and also manages to draw Jardine, who is initially described as “the most hated m an ever to set foot in Australia”, with compassion. Like Stan Davidson and Phil Goddard, he is depicted as a man who sets out simply to serve his country, but, unlike them, he never weakens in his resolve or questions his methods. In that light, he becomes as much a pawn in the conflict as Bradman: a weapon deployed in the service of country. The multiperspectivism of Kennedy Miller’s mini-series m ight be a result of the determ ination to avoid ‘cheap shots’ at characters, or that intention coupled with an understanding of the mechanics of devising engrossing drama. It could also be a concession to the form at itself: 10 hours of television invites attention to m ore than one narrative thread if viewer interest is to be sustained, sometimes over four consecutive nights. Interestingly, the company’s recent tele-features, The Clean Machine {Ken Cameron, 1988), The Riddle of the Stinson and Fragments of War: The Story of Damien Parer (John Duigan, 1988), do not dem onstrate this multiperspectivism. Each has a protagonist who acts as a fulcrum for the narrative. It is the perspective of this protagonist that shapes the viewer’s responses. Even Fragments of War, which offers a narrator, does not use the narration to present a perspective that differs from that of its central character. The acclaimed feature, The Year My Voice Broke (John Duigan, 1987), which won five Australian Film Institute awards, is the story of Danny (NoahTaylor) and his view of events in a country town during the 1960s. His is the voice of the title, and the other characters and situations are filtered through his wry observations. Similarly, the thriller Dead Calm (PhilNoyce, 1989), with three characters, does not

IT IS ALSO IMPORTANT TO NOTE THAT THE FEMALE CHARACTERS WHO POPULATE KENNEDY MILLER'S PRODUCTIONS ARE lend itself to a m ultitude of perspec tives. The genesis of the features also makes them different from the mini series. Miller:

them at any cost and succeeds. In the same way that Douglas Jardine OF MALE CHARACTERS. WITHOUT EXCEPTION, aims to regain the Ashes and Mal colm Fraser aims to lead a new THE WOMEN ARE STRONG, INTELLIGENT government, Eastwick aims to es The feature films tend to be less col AND INDEPENDENT tablish an em pire from the dirt and laborative and much more the work water of the outback. All three real of the directors. The screenplay of The ize their ambitions. These, then, Year My Voice Broke was very complete are Kennedy Miller’s ‘winners’, the characters who achieve their when John gave it to us, so it didn’t need our input. Kennedy Miller really just provided the finance, though in post-producdon we got most prized ambitions. involved by making the odd suggestion. Interestingly, all three are seen to be capable of a disconcerting In the case of Dead Calm, that was a project Phil had been coldness and awillingness to m anipulate those around them in order interested in for some time and had even spoken to Tony Bill, the to achieve their goals. They are also motivated by a zealous determ i American producer, about it. But the rights were tied up until we nation that causes casualties among those closest to them. They play were eventually able to purchase them from Orson Welles’ estate.12 tough, adhere to the letter of the law and effortlessly disregard But while it appears that Kennedy Miller’s multiperspectivism is niceties like convention. Eastwick refuses to share his abundant confined to mini-series, its most recent mini-series, The Dirtwater water supply with drought-stricken neighbour Hasky Tarbox, though Dynasty, breaks that convention, perhaps harking back to a desire to it is arguably the wrong thing to do in terms of the outback’s maintain flexibility and try new approaches to production. And, in behavioural codes. Fraser will not relent on his blocking of funds to a num ber o f ways, The Dirtwater Dynasty does represent a departure. the Government, though this action contravenes the conventions Unlike the other mini-series, it does n o t have a specific, factual that have dom inated the operation of government. Jard in e’s adap incident from Australian history as its pivot. It is a sprawling, ten-hour tation of leg theory as a tactic to defeat the Australian cricketers falls saga tracing eighty years in the life of fictional protagonist Richard with the rules of cricket. T hat it ignores the unwritten code of ethics Eastwick, starting late in the 19th C. In style and structure, its generic that governs the game is not his concern. cousins are the W estern and the Soap Opera, and its tale of an So Eastwick gets his empire, Jardine his test victory and Fraser his obsessive, patriarchal p ioneer’s battling harsh natural and m an appointm ent to Prime Minister. But all three productions depict made obstacles to carve out an em pire is a scenario familiar to these rather aloof winners with ambiguity and their victories as devotees of both genres. And, although wives, children, nasty neigh pyrrhic, each trium ph carrying with it a bitter aftertaste. Eastwick has bours and lifelong friends move through the tapestry of Eastwick’s no heirs who will accept his fortune; Jardine is eventually shunned by life, in narrative terms none achieves his prom inence or rivals him as the establishment that he sought to serve; and Fraser’s appointm ent a central focus. precipitates a national uproar. But, if The Dirtwater Dynasty seems like a departure from the style If these are the winners, who are the losers, the characters who of story-telling that has characterized Kennedy Miller’s mini-series, fail to realize their ambitions? At face value, they are Woodfull and it is also thematically consistent with them. At one level, Richard Bradman in Bodyline, who lead the team that loses the Ashes, or Eastwick is a character who sets his goals, fights doggedly to achieve perhaps Whitlam in The Dismissal, as he fails to retain government. In The Cowra Breakout, the losers must be Stan and Junji, who both recognize the gravity of the escalating tension at the camp but are powerless to diffuse it. Yet, finally, these characters are also deem ed to be winners as they are all seen to win moral victories by retaining their integrity in the face of adversity. The lines between victory and defeat are deliberately blurred in each era and in each confrontation. Woodfull and Bradman agree to “cop it sweet”, to stay true to their ideal of the game. Whitlam stands firm on his ideals of leadership and to the conventions that he believes are the basis of democracy. Stan and Junji discover new concepts of duty and loyalty, and feel vindicated by adherence to these ideals. It is also im portant to note that the female characters who populate Kennedy Miller’s productions are seen as vital counter parts for this array of male characters. W ithout exception, the women are strong, intelligent and independent, from Evelyn and Megan in Vietnam to Freya (Loene Carmen) in The Year My Voice Broke, and Rae (Nicole Kidman) in Dead Calm. Even the seemingly rem ote winners, Jardine, Fraser and Eastwick, achieve a new perspec tive through the women closest to them. As Bodyline s narrator, Edith (H eather Mitchell) is able to provide an insight into Jardine that no other character has: only she sees his warmth and hum our, the tragedy of his obsession and the eventual irony of his ostracism. SEEN AS VITAL COUNTERPARTS FOR THIS ARRAY

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T hough Tam ie Fraser (Faye Anderson) is n o t often seen in The Dismissal, at two critical points in Fraser’s career (election to party leader and appointm ent to Prim e Minister) his im m ediate response is to call h e r with the news. A close bond between the two is suggested and, though it bears little relation to the surrounding events, it clearly affects the perception of the character. Eastwick’s first wife, Kate McBride (Victoria Longley), is seen to be his spiritual and tem peram ental equal, a woman tough enough to handle the life they choose and capable o f withstanding all its pressures. And, though scenarios similar to the one in TheDirtwater Dynasty are notorious for introducing second wives who resemble monsters, Frances (Judy Morris) is seen only in a positive light. However, two male protagonists exist alone, isolated from the support, vitality, affection and insight offered by the female charac ters in particular, and from their environm ents in general. They are Phil Goddard and the title character o f the three Mad Max films. In the worlds that Phil and Max come to inhabit, there can’t be female partners or friends. T heir trajectories propel them through hell and back. To emerge, to survive at all, the price they pay is stand alone. Survival negates any notion of winning or losing or the possibility of any nurturing relationship. Phil’s war experiences, and particularly his stint with the commandos, cripple him emotionally. He becomes a misfit in both o f the places he has called home. Max, too, dwells alone and on the fringes of communities. From the time that he is widowed in Mad Max, he becomes a lone road warrior, form ing only the transient associations mitigated by neces sity, as with the Feral Child (Emil Minty) in Mad Max 2. By Mad Max Beyond Thunderdome, however, a softer side of Max evolves by virtue of his association with Savannah Nix (Helen Buday) and h er tribe of orphaned children. Just as Vietnam concludes with a very cautious note of optimism - Phil’s reunion with his family - Max ends the last chapter of his trilogy as a man who has, at last, found his place. These two war veterans share none of the am bition of the winners, or the assured idealism of the losers, but their screen lives conclude with a glimmer of hope for characters who have learned to survive in worlds devoid of it. This, then, is the gam ut of Kennedy Miller’s protagonists: the winners, losers, dreamers, schemers and survivors. A thum bnail chronology charting the time span covered by the company’s work reveals a concentration on the milestone events that have affected Australia in the 20th C. But rather than present these events as sig nificant in themselves, Kennedy M iller’s productions have been con cerned with context. The actual dismissal in The Dismissal occurs in the last hour; the breakout in The Cowra Breakout takes place in the penultim ate hour; and the controversial cricket test doesn’t begin until midway through Bodyline. W hat precedes these flashpoints, and characterizes the other mini-series, is a broad hum anist examination of Australian society, a concern with the circumstances of history and the diversity of characters throughout it. Though the com pany’s foundations with the Mad Max films may not have intended this result, in retrospect, the body of Kennedy Miller’s work - mini-series, tele-features and theatrical features -c a n be seen as a detailed excavation of recent Australian history. Some times, the nature of the culture is illustrated via internal conflict. Sometimes, the Australian mentality and customs are juxtaposed with those o f other countries: the British in Bodyline, the Vietnamese in Vietnam, thejapanese in The Cowra Breakout. Sometimes, as in Sportz 22

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Crazy (Marcus D ’Arcy, M. Charles Lamprell, 1988), the television series produced by the company, a particular obsession, in this case with sport, can be docum ented with hum our. But, finally, the perspective adopted is a detailed and m ulti faceted one, choosing perception over nostalgia and preferring compassion to judgem ent. V For further material on Kennedy Miller sees the interviews with George Miller an d Terry Hayes in Badt o f Beyond: Discovering Australian Film, and Television, Scott M urray (Ed.), Australian Film Commission, 1988.*1

NOTES

Ken Brass, “Vietnam: Television re-lives the war that tore Australia ap art”, The Australian, 5-6 April 1986, pp.1-2 (W eekend Section). 2. Ed.: Schultz is spelt “Shultz” on the television credits (but n o t on the commercially released video cassettes). O n all subsequent Kennedy Miller productions the “c” is added. 3. “George Miller”, interviewed by ScottM urray, Back o fBeyond: Discovering Australian Film and Television, Scott Murray (Ed.), Australian Film Commission, 1988, p. 35. T he paragraph “We further ... skilled film m aker.” is from a p h o n e conversation with the Ed., Septem ber 1989. 4. ditto, p. 36. 5. ‘T err)' Hayes”, interviewed by Scott Murray, Back o fBeyond, e t al, p. 46. 6. This quote, and all others which are not credited, are from interviews conducted by the author. 7. “Terry Hayes”, et al, pp. 49-50. 8. Jam esM urray, T alk in g Turkey with the Gorilla”, The Sydney M orning Herald, 4July 1988, p.7 (The Guide). 9. “George Miller”, et al, p. 38; p. 36. 10. Stuart Cunningham , “Style, Form and History in the Australian Mini-series”, Filmviews, W mter 1988, pp.30-36. 11. John C. Murray, “Bodylind', Cinema Papers, October-November 1984, pp.330-34. 12. “George M iller”, et al, p. 43. 1.

KENNEDY MILLER . FILMOGRAPHY 1979 1981 1983

1984

M ad M ax (George Miller) - feature M ad M ax 2 (George Miller) - feature The Dismissal (George Miller [ep. 1], Phillip Noyce [ep. 2], George Ogilvie [ep.3], Carl Shultz [eps 4,6], Jo h n Power [ep. 5]) - mini-series Bodyline (Carl Schultz [eps 1,2,7,9,10], George Ogilvie [eps 3,5,6], Denny Lawrence [ep. 4], Lex M arinos [ep. 8]) —mini-series

1985

The Cowra Breakout (Phillip Noyce [eps 1,2,4,6,8], Chris N oonan [eps 3,5,7,9,10]) - mini-series

1985

M ad M ax Beyond Thunderdome (George Miller and George Ogilvie) - feature The M aking o f M ad M ax Beyond Thunderdome —docum entary

1985 1987 1987 1987 1988 1988 1988 1988 1988 1989 1989 1989

The Witches o f Eastwick (George Miller) - feature Vietnam (John Duigan [eps 1,4,5,9,10], Chris N oonan [eps 2,3,6,7,8]) —mini-series The Year M y Voice Broke (John Duigan) —feature The Dirtwater Dynasty (Michael Jenkins [eps 1,4,5,6,9,10], John Power [eps 2,3,7,8]) - mini-series Sportz Crazy (Marcus D’Arcy, M. Charles Lamprell) —docum entary series The Clean M achine (Ken Cameron) —feature The Riddle o f the Stinson (Chris N oonan) - tele-feature Fragments o f War: The Story o f Damien Parer (John Duigan) —tele-feature Dead Calm (Phil Noyce) - feature Bangkok H ilton (Ken Cameron) - mini-series Flirting (John Duigan) - feature

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Terry Mayes I N T E R W E A V I N G

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Before joining Kennedy M iller in 1980, Terry Hayes was an extremely successfuljournalist. A t only 21, he was the New York correspondent fo r the Fairfax group of newspapers, including T h e turned to Australia to work as an investigative reporter fo r

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and, later, as its state political correspondent. In

1976, Hayes diversified his media skills by writing fo r and producing Melbourne’s Derryn Hinch’s current-affairs ft ANGKOK HILTON really came out o f the Barlow Chambers case, where two Australians were hanged in Malaysia for drug trafficking. Like everybody else in the country, I followed that story pretty closely. But when I read that Roadshow Coote & Carroll was going to do it as a mini-series, it occurred to me what a disastrous project that would turn out to be - n o t ju st because of the people involved, but because of the story itself. Dramatically, you were going to run yourself into a terrible problem by asking the audience to sympathize with two people who are heroin im porters. Given the m ood of Australia and its attitude to drugs, I thought it would get a totally schizophrenic response from the audience. They m ight well start to sympathize with these people, but they would pull themselves up short every time and say, ‘Yes, but these people are motivated by greed.” The only way I could see of doing it would be to go right into the dark side o f hum an nature. But Barlow and Cham bers were n o t those sortofpeople. If anything, they were an illustration of the banality of evil. At the same time, it struck me that if they’d been innocent you would have a pretty good story, n o t unlike Midnight Express. The guy in that wasn’t innocent, but most o f the audience thought he was because it was only dope. T hen I abstracted fu rther and thought it would be really interesting if it were about an innocent woman convicted and sentenced to death on a heroin-trafficking charge. T hen a connection flashed in my m ind with another story I had read about a young Irish girl who had fallen desperately in love with an Arab guy. She was a most unsophisticated woman, living away from hom e in London, and he convinced her he was highly sympa thetic to the Jewish cause. W hen she got pregnant, he decided that they would go to the Middle East for a vacation. But at the last m om ent he concocted a story by which he couldn’t travel with her. He took h er out to the airport and p u t her on an El A1 plane. It was then they found a bom b in h er luggage. It has always struck me what a devastating m om ent that m ust have been: to within one second realize that somebody with whom you were desperately in love had ju st used you completely, somebody

radio programme But the siren call of the cinema would soon be heard and he joined Kennedy Miller. Now, he is one of A ustralia’s most regarded writers and producers offilm and television, and a dynamic force in the development of Kennedy Miller into the country’s premier production house. In the following interview, conducted by Scott Murray, Hayes begins by describing the genesis of Kennedy M iller’s latest mini-series,

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who felt so little for you that he was willing to destroy you in a mid air explosion. O f course, as soon as you had dealt with that mom ent, you then had to cope with the fact that you’re about to spend a lifetime in prison unless you can convince the authorities you have been an unwitting dupe. And the only way to do that is to completely expose yourself and your stupidity . Once I had the connection between these two stories, I was certain there was a great mini-series there. You change the bomb to heroin, make h er an Australian girl and p ut her in a Thai gaol where death is by machine gun. The audience will be so behind her that you’ll get a really exciting ending. Then I took one m ore step. Because it is a six hour mini-series, and you really need a wealth of story material, I decided that the man who helps save her would be her father. The only problem would be that she w ouldn’t know who he was until the last m om ents of the mini-series. So, it is also a story of reconciliation and resurrection. Tony Morphett was originally hired as the writer on it. Yes. I was so exhausted from Dead Calm that I d id n ’t want to write it myself. And as I had worked very happily with Tony on The Riddle CINEMA

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Ig B g LO W : FATHER AND DAUGHTER: K A TR IO N A (NICOLE KIDM AN ) AND

TERRY

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HAL STANTON (DENHOLM ELLIOTT) IN B A N G K O K HILTO N, W RITTEN B Y TERfcY H AYES AND blRECTED B Y KEN CAM ERO N. R IG HT: K A TR IO N A CONTEMPLATES A N IM PRISO NED LIFE A S SHE A W A ITS HER TRIAL FOR DRUG TRA FFIC K IN G . B A N G K O K HILTON.

of the Stinson and The Dirtwater Dynasty, I got him to come in and start writing. Tony was involved mainly at the discussion stage, helping resolve the com plex plotting that goes into a mini-series. But then he got totally caught up with Confidence, the Bryan Brown feature, and a mini-series about Neil Davis for the South Australian Film Corpora tion. T h a t’s the trouble with Australia: th e re ’s so few good writers that you have to beat everyone else to death to get to work with them. Anyway, as Tony d id n ’t have enough time to give it the effort it needed, we came to an agreem ent whereby I’d take it on and do the screenplays. I sat down over Christmas and scribbled it out, having by then recovered from the nightm are of Dead Calm. It was the m ost fun I ’ve ever had writing. M ight I say, it’s the only fun I’ve ever had writing. I knew the story really well. All the discussions had been very useful. One o f the difficulties o f the collaboration process must be in getting someone else to develop and write out ideas you have germinated. They must inevitably take paths you hadn’t intended. Yes, I think th a t’s true. The way I work is to make sure I have a beginning and one hell of an ending. It is a bit like unknown territory in between. O ther people tend to work differently. If they’re happy with the beginning, they then want to build from that m om ent by m om ent. T h at’s fine. In fact, it’s probably the most sensible way to work. T he only trouble is that they can often miss the ending that I have in mind. And I do know that the one thing a mini-series absolutely needs if you’re going to get the reviews - and if you d o n ’t get the reviews, you d o n ’t get the ratings - is an ending. W hen the critics and the reviewers have seen it, they must feel that they have had a com plete experience. For some writers, one o f the difficulties o f working at Kennedy Miller is coping with the fact that I ’m a writer myself. T hat can lead to a higher level o f insecurity for writers, who are pretty insecure people anyway. Writers usually deal with a film producer who doesn ’t write, so they have a fair degree of power. At Kennedy Miller, the dynamic is different. People come with the view that if things d o n ’t work out th e re ’s a couple of people here who can take it over. And I d o n ’t ju st m ean me: George [Miller] is a writer as well.

Who were most involved in the discussions at pUsstage? Tony, Ken Cam eron [the director] and myself. Ken was there for them all, which is absolutely necessary. The story was a coalition; it wasn’tjust my thoughts. So, when Ken walked o ut onto the set, he felt a proprietorialness to the story because h e ’d been involved in its whole evolution. He had an understanding of it. He knew exactly what sort of story we were trying to tell. It was an extremely happy marriage of things because the writing was fairly overwrought, which is, I guess, my fashion. Ken brought a great realism to perform ances and the drama. He prevented it going over the top. In a sense, Bangkok Hilton begins with a continuation o f the melo dramatic style o f The Dirtwater Dynasty and gradually shifts towards a more realistic mode. T h at’s true. I did n ’t want to do a prison story, like a Chained Heat. T hat d id n ’t interest me. I wanted to do a rite-of-passage story about a girl who breaks out of a series of prisons through h er life. T he first prison is the family hom e, G uardbridge, and h er extremely eccentric family. She escapes from there, but ends up in an even worse prison: a Thai gaol, the “Bangkok H ilton”. W hen she finally manages to escape from that, you sense she now has the skills and wherewithal to re-build an original world, the world of Guardbridge. But you’re quite right about the shift in style. At the beginning it is very much like Now Voyager, a film which I drew on. The extremely difficult thing to do - n ot for me, but the director - was to make it all appear holistic. A key to that was Nicole Kidman. H er character, Katriona Stanton, starts off in hour one as “dawk of the week” and ends up in hour six with the realization that nothing is beyond her. She becomes very much like the girl - ah, the woman - in Dead Calm. Nicole tells me that the m ost challenging thing she’s ever had to do was make that trajectory believable. We were treading a pretty fine line there. Itwas n o t like doing Dirtwater which pretty m uch plays the same stylistic note for ten hours. T here you had the relatively simple problem of how many m ore people you could kill. This was much different. You mentioned the prisons o f Katriona’s home and the Thai gaol. But there is the third prison, that o f her mind. The way you have treated1hat is classically ‘Kennedy Miller’: namely, you link her inner personal struggle with an external social, political or cultural drama. You in turn mirror that personal transformation with a stylistic change towards realism and bal ance. Exactly. O ne of the characters in Bangkok Hilton says, ‘T h e first prison you have to escape is in your m ind.” T hat was originally a line for Nicole’s character, b ut we changed it because we felt h er saying it gave too m uch fore-knowl edge. T he girl is the same physical person at Guardbridge as in the

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Because you do so much linking and doubling, which is in all your work, you tread a fine line between writing about believable charac ters caught in individual dramas and building an entirely artificial and unconvincing edifice. Absolutely. You can forget that they have to be totally believable characters. The great risk you run is that the audience will reject the show because of coincidence. During the evolution of this story, I came up with the idea that the lawyer who helped save Kat was her father. Well, for months George kept saying, ‘You can’t make him her father”, and we had these arguments about coincidence and things like that. In the end, we resolved that in a movie you couldn’t make him her father, because you only have 90 minutes. The coincidence would be too apparent and an audience would reject you. In a mini-series, however, you can bury that information under a much deeper pile of story. The other thing I have realized about mini-series is that audi ences hunger for characters who d o n ’t just have a present, but also a past and a future. In most movies, and especially in the movies we’ve done, characters tend to have only a present. Mad Max is about living m om ent to moment; Dead Calm all happens in 24 hours. But with a mini-series, audiences want a much more holistic experience of their characters, because they are spending six to ten hours with them. prison. The only thing that’s changed is her attitude to the world; When we did The Dismissal, I didn’t have to worry about the past how she is beginning to escape the prison of her mind. Now that’s or the future because the audience brought that knowledge with pretty interesting, butyou have to make that manifest. T hat’swhy we them to the mini-series. All I had to do was worry about the present have her build a doll’s house which is an exact replica of Guardbrand the events of that particular year. idge, except that it hasn’t any windows: just like a prison. It was very similar with Bodyline. When I re-capped at the end With an imprisoned and twisted doll which reminds one of Jane everything that had happened to these characters, the really power Eyre. ful moments were those which dealt with the men that history had forgotten. I didn’t have to tell the audience anything about Brad Yes, crushed and crippled. Bangkok Hilton is entirely about man; they already knew. prisons, entirely about escape. The other thread to this story is the resurrection of Hal Stanton With Vietnam, the audience brought a future because the mini series tapped into the debate about the way that we had treated our [Denholm Elliott]. At the beginning, we know that he has been court vets. martialled, and during the passage of the story you discover the Dirtwater has a past, a present and a future. In the beginning, circumstances of his cowardice. This is done via three major flash Richard Eastwick emerges from a fairly Dickensian world - the past back sequences, which are stylistically very bold. The first is when he goes to visit Kat in Thailand, in the same - and in the end his daughter be gaol where he was held prisoner during the comes a nun, so you are saying "[WITH MINI-SERIES,] AUDIENCES HUNGER War. that while the future is totally FOR CHARACTERS WHO DON'T JUST HAVE A blighted on a temporal basis, on a The second is when she’s sentenced to spiritual basis maybe there’s some death and he turns to camera and staggers PRESENT, BUT ALSO A PAST AND A FUTURE ... thing going on. forward. You go into his head and h e ’s back [THEY] WANT A MUCH MORE HOLISTIC EXPERIENCE at his own court martial. He wasn’t physi That is a long and involved OF THEIR CHARACTERS BECAUSE THEY ARE cally sentenced to death, but it was an answer. But I’m agreeing with you in saying that you have to be ex equivalent thing for him. It ‘killed’ him. SPENDING SIX TO TEN HOURS WITH THEM." tremely careful not to use your The third flashback is in the tunnels underneath the gaol, where he goes to find characters merely as dramatic devices to take you on a journey through an artificially created her escape. He re-encounters his m om ent of great shame, which is edifice. The aim is to be able to do take that journey in a meaningful that he has surrendered several of his m en to the Japanese and they and believable fashion. were executed. This time, however, he keeps going forward. The But, to be honest, I don’t know how it happens. I think Ijust have sword strikes down not just upon the soldier, but also upon himself. one of those minds which happens to be a bit convoluted. He screams in that m om ent and she hears the scream. That is what guides her out. And they are re-united there. So he, too, has escaped I must disagree, if I may, about Mad Mas. and Dead Calm. The a prison - the prison of his past. principal characters do have a past: Max is set up by the murder of Because he had thwarted an escape and thereby imprisoned himself. Yes, exactly.

his wife and child, and in Dead Calm the couple’s baby crashes through that car windscreen. But it’s done in a very short-hand, instant way. CINEMA

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LEFT: HAL STANTO N, A S HE STRUGGLES TO RESURRECT HIS LIFE, W ITH FELLOW LA W YER , CARLISLE (HUGO W EA V IN G ). B A N G K O K HILTON. BELO W , FILM ING B A N G K O K HILTON O N THE B A N G K O K W A TER W A YS: DIRECTOR KEN CAM ERO N, DIRECTOR OF PH O TO G RA PH Y GEO FF BU RTO N , AND ACTO RS HUGO W EA V IN G AND DENHOLM ELLIOTT.

part o f the conservative, middle-class soldier. He started to put in all these scenes which detailed the character’s upbringing and his political and social views. But when he cast Michael J. Fox, he immediately realized that he didn’t need any o f those scenes: Fox brought all that history with him to the screen. Now you have said that Bangkok Hilton was the first time you have specifically written for an actor or actress. In what sense did you specifically write it for Nicole Kidman?

But you still put it in. Many filmmakers would have settled for a line o f dialogue, if that. Yes, th a t’s true. I’m glad you pointed that out. Now that I think about it, th at’s true. I suppose I ju st can’t help myself. What you have done is classic Kennedy Miller: establishing at the outset the emotional scars o f the main characters. In Bangkok Hilton, it is the various forms o f imprisonment, such as Stanton’s war memories and his alcoholism. The audience is thus made very clear what the personal struggles, the dramatic trajectories, are going to be. This raises another potential scripting danger: linearity. The au dience knows you have to get Stanton o ff his booze and reconciled with his past and his daughter. So you have to be very careful not to do it in a too obviously step-by-step manner. T h at’s where it becomes extremely complex. You are plotting various stories, n o t ju st Rat’s and Stanton’s. W hen I sit down and write, I generally find I have six to eight m ajor threads to interweave. But before I can start, I have to look at all of those threads individually and be happy with them. Only then can I begin interweaving the fabric. And that is when writing gets really exhilarating. It is by this interweaving, this criss-crossing o f plots and sub-plots, that you avoid the linearity, the predictability, th at’s death to a mini-series. If I have one criticism to make of a lot of Australian mini-series, it is that thematically they d o n ’t m ean anything. They d o n ’t leave you with the impression that you’ve had a totally fulfilling and impactive experience. They are ju st plots and sub-plots, and the sub-plots often have nothing to do with the primary plot. W hen you do a mini-series, it is absolutely necessary that you have a them e to it all, a premise which you’re trying to prove. O ther people may disagree, but I think it’s incum ben t upon the filmmakers to come up with sub plots which serve to illustrate the them atic nature of the m ajor plot. Dirtwaterin a very pop mythological way did that. All o f the sub-plots were about greed and avarice, and of course the m ajor plot was about that too. It tries to take an issue and exam ine it from many different perspectives. Bangkok Hilton is all about the dif ferent forms o f im prisonm ent, The Dismissal and Bodyline about power and corruption. In a recent interview about Casualties of War, Brian De Palma talked about writing the 28

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The example you give is very interesting. As for Nicole, I specifically wrote it to push and test her. She has so m uch potential as an actress that had been untested. The opening of Bangkok Hilton is designed to highlight a charac ter who is totally different to the person Nicole is. I mean, Nicole reads as a pretty sophisticated, very self-confident, attractive woman. So we asked her to play someone w ho’s been crushed and who is physically unattractive. You failed on the latter. [Laughs.] T h ere’s only so m uch I can do! Interestingly enough, Stanton’s part was also written for a par ticular actor. Very early on in the discussions about the characters, D enholm ’s nam e came up a n d lju stc o u ld n ’tg eth im out of my head. Everytime I had to write som ething about Stanton, I saw Denholm. I h ad n ’t m et him, but I had an image of him from all of the work h e ’d done. H e was a m an whose face looked somewhat dissolute, b ut who had a courage and a decency that the world had rather tram pled upon. My character became exactly that, a m an accused of doing a despicable thing b ut who, as you later learn, was really given no choice at all. He was n o t as cowardly as he m ight at first have appeared. W hen I finally m et Denholm, I found that part of him was exactly how he presents on screen, but there was also a part that was much, m uch different. It was my version of the actor that became the character.

TERRY

Now that I am working on my next project with Phil Noyce, I find I am trying to cast it in my head. Putting faces to the characters tends to make your writing less mechanistic and m ore three dimensional. T he other thing I have learned is that actors are really hungry for over-the-top moments. They wantyou to push them. They d o n ’tw ant to do safe, conservative roles. They feel they have this instrum ent which they’re desperate to play, b u t all anybody ever asks them to do is the same two notes. So, if you have a difficult m om ent, play it the opposite way. If it’s tragic and they’re supposed to be crying, find a way to get them to laugh at it. Go in the opposite direction. A lot of that has to do with the confidence I have found in myself to play things differently. But it has also come from talking to actors. T heir biggest criticism of scripts is that things are m undane. Dead Calm was extensively audience tested in the U.S. and changes were subsequently made, including a new ending. How has that audience testing experience affected the way you write? Well, it taught me an enorm ous am ount. The most im portant thing was the virtue of economy. Because writers love words, and because they often have a show-off quality, they tend to overwrite. Most 120-page screenplays really should be about 90 pages. They d o n ’t give the actor or the audience enough credit for getting on to the idea quickly. The audience sits in a darkened place with all of their senses totally focused on that screen. A nuance in one line of dialogue can carry m ore inform ation than a page of a script. Audience testing has also reinforced how writers should work with the director. W hether they like it or not, directors and writers must hold each o th er’s hands. I’m not saying on the set: I d o n ’tw ant to go near the set. Can you imagine anything m ore boring unless you’re actually doing it? I ’m talking about everything that leads up to the first day o f principal photography. B A N G K O K HI LTON Prod, company Producers

Director Scriptwriter D.O.P. Sound recordist Editors

Prod, designer Com poser Assoc, producer Prod, coordinator Prod, m anager Unit m anager Loc. manager Prod, secretary Financial controller Prod, accountant 1st asst director 2nd asst director 3rd asst director Continuity Casting Extras casting

Kennedy Miller Prods Terry Hayes Doug Mitchell George Miller Ken Cameron Terry Hayes G eoff Burton Ben Osmo Henry Dan gar Frans Vandenberg Louise Innes Marcus D’Arcy Owen Williams Graeme Revell Barbara Gibbs Fiona King Barbara Gibbs Justin Plum m er P eter Lawless Amelia Marzocchi Catherine Barber Jo h n May Keith Heygate ‘PJ’ Voeten Maria Phillips Pam Willis Alison Barrett Gabrielle Healy

Focus puller C lapper/loader Key grip Asst grip G affer Electrician Boom operator Art director Costume designer Make-up H airdresser W ardrobe coord. Standby wardrobe Art dept m anager Props buyers Standby props Scenic artist Set finisher Set construction Asst editors

Neg matching Sound editors

HÀYES

A director has to understand the totality and complexity of the piece. Now he can do that by himself, by reading and working on the script, or he can be involved in the discussions from day one. Either way, a director must take a screenplay, even if it’s the world’s best, and re-work it into som ething of himself. Audience testing can show you, m ore than anything else, where confusion has crept into a film - con fusion of character motivation, of logic; confusion often between the director and the writer. It can also show you the great moments, too - where everything is completely focused; where the director, the script and the actor all hit exactly the same note. Unfortunately, these m om ents are no where near as common. Writers d o n ’t think like directors; they tend to think in words and scenes. The great thing I get from a director like Phil is his telling m e, ‘W e d o n ’t need that. The actor will give it to us.” I never, for example, write the words “I love you”, because I know the actors can do that for you. • CONCLUDES

TERRY HAYES

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• FILM OGRAPH Y

AS WRITER

1989

1981 M ad M ax 2 (co-) 1983 The Dismissal (co-) 1984 Bodyline (co-) 1985 The Courra Breakout (script editor) M ad M ax Beyond Thunderdome (co-) 1987 Vietnam (co-) 1988 The Dirtwater Dynasty (co-) Sportz Crazy (co-) The Clean M achine (co-)

Dead Calm Bangkok Hilton

AS PRODUCER

O n all the above except M ad M ax 2, as well as 1985 The M aking o f M ad M ax Beyond Thunderdome 1987 The Year My Voice Broke 1988 The Riddle o f the Stinson Fragments o f War: The Story o f Damien Parer 1989 Flirting

P RO DU C TI O N CREDITS D arrin Keough Kathryn Milliss Bruce Barber Kerry Jackson Ian Plummer Robbie Burr Andrew Duncan Michael Bridges Glenys Jackson Lesley Van der Walt Jan Ziegenbein ‘Ziggy5 Jenny Miles Devina Maxwell Kate Highfield Jenny Green Mark Dawson George Zammit Eric Todd Frank Falconer Bill Howe Wayne Pashley Juba Gelhard Jane Maguire Basia Ozerski Miriam Cortez Lee Smith P eter Townend Annabelle Sheehan

Editing assts

Mixer Asst mixer Still photography Title designer Best boy R unner U nit publicist Catering Studios Mixed at Laboratory Lab liaison Length Gauge Shooting stock

Nicholas Breslin Kimberley Walls Noeleen Westcombe Ian McLaughlin Julius Chan Brian McKenzie G am er MacLennan Grant Atkinson John Martin Wendy Day Marika’s Catering Co. Kennedy Miller Soundfirm Colorfilm Denise Wolfson 3 x 2 hours 16mm Kodak

Cast: Nicole Kidman (Katriona Stanton) Denholm Elliott (Hal Stanton) H ugo Weaving (Carlisle) Joy Smithers (Mandy) Norm an Kaye (McNair) Judy Morris (Katherine) Jerom e Ehlers (Aride) Pauline Chan (Pretty W arder)

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John Duigan A W A K E N I N G

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John Duigan is a deeply personal and individualistic writer-director. H is film s draw on the emotional and ethical issues o f his generation, and, a t their best, conjure with the forces that so often lie dormant within us. He has rigorously pursued his areas o f interest and side-stepped the pseudo-Hollywood concerns o f much o f the Australian industry. It was no surprise that when Duigan d id go to America to make a film , R omero (1989), it should be about something as fundamental as liberation theology. In some ways, then, it was unexpected that Duigan should have elected to work with Kennedy Miller: a lone in dependent immersing him self in its intensely collaborative approach to filmmaking. But, as with almost everything connected with that mini-studio, the relationship has been a major success, from the pow erful Jk

mini-series Vietnam (1987), which Duigan co-wrote

ENNEDY MILLER invited me to come in and and -directed, to the highly acclaimed feature T he Year work on the mini-series Vietnam. I sat around with Chris N oonan, Terry Hayes and Francine M y Voice B roke (1987). Today, Duigan is back a t Finnane and worked out a rough plot line. We then divided it into episodes that we each would write. I went away and wrote mine and, Kennedy M iller making Flirting , the second p a rt of a subsequently for reasons o f time, wrote some more. I then basically directed the episodes I had written. trilogy begun with The Year M y Voice B roke . It was

Was there a lot o f discussion involved? There was quite a lot o f discussion before the actual writing process started. I think the discussion was very interesting and fertile. It was also a good way of Chris N oonan [co-director] and I getting to know each other. We m aintained that very close contact throughout the filming. We watched each o th er’s rushes and tried to make sure that what we were doing was stylistically harm onious. We also talked about how individual actors were going, how the characters were evolving and that sort of thing. It was a surprisingly peaceful and trouble-free project to work on, given its complexity and the potential for dispute. Terry, Chris and I were fairly united in what we were attem pting to achieve. The post production period also w ent pretty smoothly. Some writers have found difficulty with the collaboration proc ess at Kennedy Miller. Is it a question o f personalities or o f finding a shared view o f a project’s direction? Tensions between writers and producers, or between writers and directors, occur when people d o n ’t agree with w hat’s been written. The script has to be som ething th at’s in accordance with what the producers and the director are hoping to achieve. If it isn’t, then the writers go back and do some m ore work on it. T hat wasn’t a situation that occurred here.

during the shooting that he spoke with Scott Murray. He begins by describing how he became involved with Kennedy Miller.

Was any casting done during the discussion stage? No, that came after the scripts were completed. We all brought our ideas to the casting. I had strong views on certain characters and others had certain views on some other characters. We did our tests and there was remarkable unanimity of agreement. I was very keen on using Nicole Kidman as I’d worked with her before [on Winners] and knew she was very good. But she was over in Perth doing Windrider at the time we were casting, so the others agreed to hold off until she could come back and test for us. They also liked h er very much. Workshopping with actors is part o f the Kennedy Miller process. Had you done it on your previous films? People call it workshoppi'ng, but I ju st call it rehearsals. Coming from a theatre background, as I essentially did, I have always insisted CINEMA

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Yes. Before we even shot Vietnam, I m entioned to Doug Mitchell and Terry that I had a script I wanted to do next. They asked m e to show it to them, and they liked it. T here was the expectation that I would do that next. Again, that was a script that d id n ’t undergo any re-writing. The main creative input from Kennedy Miller came during the casting and the post-production. The producers were interested in watching the screen tests and the evolution of the casting decisions.

on having a m inim um of two-weeks rehearsal. So, that was all familiar territory. I tend to rehearse m ore on the text than to do a lot of exercises. Only occasionally do I have actors improvise, postulating scenes that d o n ’t exist to see what happens. Do you do much re-writing during this period? Almost none. Occasionally I change an odd line that doesn’t sit well, but n o changes occurred to the scripts of Vietnam during that period. I d o n ’t use rehearsals as a re-writing time. Your next involvement with Kennedy Miller was The Year My Voice Broke. 32

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A great strength of the Kennedy Miller producers is that they’re very good in post-production. Terry and George are both extremely creative at looking at projects in their entirety during that period. They work as the best producers do, which is to keep a certain dis tance during the actual shoot. This enables them to come in during the latter stages of editing with a good degree of detachm ent. They can pick up certain weaknesses quicker than you can yourself. T hat was certainly the case with Vietnam and The Year My Voice Broke. And even though George was doing The Witches ofEastwick in the U.S. at the time of Voice B rokers sent him over cassettes o f the different cuts and he was able to have an input. Both Hayes and Miller have said that they view features a little dif ferently from television. There is much more collaboration on the television than on the features. To an extent, they give me a lot of space because I am directing what are essentially my own scripts. But they’ll make quite im portant suggestions during the preliminary stages.

FA CIN G P A G E: (BELOW ) THE JO U R N EY BEG IN S: DAN N Y (NO AH TA YLO R ), CENTRE, W ITH TOM (HAROLD H O PKIN S) AND JO N A H (BRUCE SPENCE) IN JO H N D U IG A N 'S THE YEAR M Y VOICE BRO KE. A N D , A FURTHER STAG E: DAN N Y (NO AH TAYLO R) AND THANDIW E (TANDY NEW TON) IN JO H N DU IGA N 'S FLIRTIN G. THIS P A G E, TOP TO BOTTOM: TWO INFLUENCES: LEFT: FREYA (LOENE CARMEN) FROM THE YEA R M Y VOICE BRO KE. R IG HT: THAN DIW E, THE DAUGHTER OF AN AFRICAN NATIO NALIST, AT A SCHOOL PERFORMANCE IN FLIRTIN G. DAN N Y AND HIS FRIEND, G ILB Y (BARTHOLOM EW RO SE). FLIRTIN G. THE ACTORS REHEARSE IN PREPRODUCTION. NAOM I W ATTS AND TANDY NEW TO N . (FLIRTING PHOTOS B Y LORRIE GRAHAM )

In the evolution o f the Flirting script, Terry had a couple of very im portant suggestions to make, while George essentially prodded me into pushing it further. They created a climate of continually raising the expectations of the script. And I did quite a lot of additional honing of the script u n d er that stimulus. With your early films, did you ever have the feeling o f being a lone battler? Did you miss being pushed and challenged as much as you have been at Kennedy Miller? [Long pause.] No, I had great support from Richard Mason during the period I worked with him. But I think that some of my projects could have benefited from m ore work at the script stage. There is the strong awareness at Kennedy Miller of the need to get the scripts as right as possible before you start shooting. The three producers here are interesting because they all are very different people. Doug Mitchell always says h e ’s not a film ex pert, b u t his view is often very valid, partially because he considers himself to be an average sort of audience member. His view is different to Terry’s, and Terry’s is different to G eorge’s, and so on. And, as we’re all friends, it has a sense of collaboration, n o t coercion. I respect them individually and I ’ll give their points of view a lot of consideration. I won’t always agree with them, and I w on’t always follow up what they suggest, b ut often they open up very fertile lines of thought. I enjoy the environm ent and cam araderie here. I have a real affection for the whole institution of Kennedy Miller. I feel it has achieved a body of work which is distinguished by a com m itm ent to quality. I want to maintain an involvement with them, even if from time to time I go away and do other films. And it’s probably healthy for me to do things elsewhere from time to time. But I hope that I’ll keep coming back to do other things with them. I think they probably have that expectation, too.

How different was the original character in Flirting to Danny [Noah Taylor] in The Year My Voice Broke? The Flirting character was not defined to the extent that he became. It was an early draft and there were some edges of the character that only became distilled in my m ind when I made The Year My Voice Broke. I then went back and rewrote things. I mean, it would have been prem ature to really think about a sequel until The Year My Voice Broke had been made and released. If it had been an unm itigated disaster, obviously the rest would never

During The Year My Voice Broke were you look ing towards doing another project with them, or were you thinking o f going to America? I did a tele-feature for them [Fragments of War: The Story of Damien Parer] immediately after The Year My Voice Broke. So that was the next thing. I also talked to them about a project set on Norm an Lindsay’s property, but they passed on that. I was then offered Romero and decided to do it. So I suspended work on trying to set up the Norm an Lindsay film. While I was working on Romero, I had a num ber of conversations with Kennedy Miller. They were keen to do the second part of the The Year My Voice Broke trilogy, so we agreed to slot it in in the middle of this year. At what stage did you begin to conceive o f the trilogy? Well, I in fact wrote Flirting before I wrote The Year My Voice Broke. And it was while I wrote Voice Broke, that I had in the back of my m ind the idea of adapting Flirting to fit Danny’s character. CINEMA

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R IG HT: NICO LA (NICOLE KIDM AN)

JOHN

DUIGAN

W ATCHES A FOOTBALL MATCH IN : FLIRTIN G.

be made. Then, once we decided to do Flirting, we were com m itted to a trilogy. Essentially, the trilogy is about the developm ent of a certain view of the world of a young m an o f that period, a philosophical and po litical view that tentatively takes form as he travels through the three films. And that point o f view is drawn very largely from his experi ence as an outsider within institutions: the town in the first one, the boarding school in the second. In the third, this view is thrown into focus when he experiences at first-hand a series o f political events which, it is my intention, lead up to the student revolution of Paris in May ’68. T hat is when his still unform ulated political views distil. This view is also drawn from his individual relationships, in Flirting from his relationship with Thandiwe [Tandy Newton], the daughter o f an African nationalist academic who is lecturing in Australia for a year. T hrough Danny’s contact with her, all sorts of additional worlds open up for him. Are there many characters common to The Year My Voice Broke? JO H N DUIGAN 1975 1976 1978 1979 1981 1982 1984 1985 1987

1987 1988 1989 1989

The Firm Man (feature) - director, producer, writer, com poser The Trespassers (feature) - director, producer, writer Mouth to Mouth (feature) - director, a producer, writer Dimboola (feature) - director Winter o f our Dreams (feature) - director, writer Far East (feature) - director, writer One Night Stand (feature) - director, writer Room to Move (part of Winners) - director Vietnam (mini-series) - a director [eps 1,4,5,9,10], co-writer [eps 4,5; 1,2,3 with Chris Noonan, T erry Hayes; 6,7,8,9,10 with Chris Noonan] The Year My Voice Broke (feature) - director, writer Fragments of War: The Story of Damien Parer (tele-feature) director, writer Bitter Rice (documentary) —director Romero (feature) - director

Prod, company Producers

Director Scriptwriter D.O.P. Sound recordist Editor Prod, designer Assoc, producer Prod, m anager U nit m anager U nit asst Post-prod, super. Fin. controller P rod, accountant 1st asst director 2nd asst director 3rd asst director Script supervisor Casting

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Kennedy Miller Prods T erry Hayes Doug Mitchell George Miller Jo hn Duigan Jo hn Duigan G eoff Burton Ross Linton R obert Gibson Roger Ford Barbara Gibbs Barbara Gibbs Paul Enright Tony Hole Marcus D’Arcy Catherine Barber Jo hn May Charles Rotherham ‘PJ” Voeten Emma Schofield Daphne Paris Liz Mullinar & Assocs

[Laughs.] We d o n ’t know that. Maybe that will be revealed in the fourth or fifth one. The Year My Voice Broke has almost exclusively been praised as a well-made and sensitive rite-of-passage story. Yet the second half o f the film in particular strongly attacks the inherent repression o f this country which destroys ideas and people from outside the accepted norm. Were you surprised that this aspect was not picked up by the critics?

Danny’s ending up in Paris in May ’68 seems to address the need felt by many Australians o f that period to leave in search o f some sort o f creative life force in foreign places. T hat’s true. But Danny is someone who is never going to really feel particularly at hom e in expressing any of the coded political phi losophies of this time. Essentially, he is someone who hasn’t p u t his ideas together in any logical way. He somehow feels that there are other, m ore fundam ental questions which need to be asked before dealing with the questions usually posed by Marxists and others. During his gradual immersion in society, Danny becomes in creasingly aware that there is som ething fundam ental to him that he

1989 Flirting (feature) - director, writer

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And is the great Australian erotic novel nearing completion?

Yes. I d o n ’t feel the film was adequately discussed, particularly in the print media. Certainly it is very strongly about that, ju st as it is also about a mystical view of the world. T h at’s a difficult dim ension to discuss, so people essentially talked about the rite-of-passage aspects. But, to me, the film ’s really n ot about that at all.

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No, it’s basicallyjust Danny. His parents do appear in one scene and Freya [Loene Carmen] is there in photographs that he keeps. But it is my intention that Freya and Thandiwe re-surface in the third one. Basically, we want Flirting to be able to operate autonomously of The Year My Voice Broke for the benefit of those people who haven’t seen it. But there are a lot of allusions to that film which people familiar with it will hopefully pick up.

P R O D U C TIO N CRED ITS

Extras casting Focus puller C lapper/loader Key grip Asst grips

Gabrielle Healy D arrin Keough Kathryn Milliss Bruce Barber Kerry Jackson Kent Santilla

G affer Electrician Boom operator Art director Asst art director Costume designer Make-up H airdresser Costume coords

Ian Plum m er Graham Dickson Cathy Gross Laurie Faen Sarah Tooth Roger Ford Sherry H ubbard Adele Wilcox Fiona Nicolls Lyn Askew Karen Johnson Colin Gibs Gill Falsen

Asst hair/m ake-up Standby props Choreography Set decorators Scenic artist

Kerrie Brown Glen Johnson Eric T odd

Set finisher Set construction Asst editor Musical director Music coordinator Editing asst Still photography Best boy R unner Catering Laboratory Lab liaison Shooting stocks

Frank Falconer Billy Howe Jennifer H orton Sarah D ejong Christine W oodruff Shawn Seet L o m e Graham Robbie Burr John Martin Kollage Katering Colorfilm Simon Wicks Eastman Kodak Agfa

Cast: Noah Taylor (Danny), Tandy Newton (Thandiwe Adjewa), Nicole Kidman (Nicola), Kym Wilson (Melissa), Naomi Watts (Janet), Bartholomew Rose (Gilby), Marshall N apier (Mr Elliott), J e ff T rum an (Mr Cutts), Jane H arders (Miss Anderson), Maggie Blinco (Miss MaCready).

experienced in those days when he wasn’t a part of society. He feels that is becom ing sm othered and lying dorm ant within him. I hope to try and distil that sense in its most acute form in the third part, although you sense it’s starting to happen in Flirting. In some respects, it is perhaps an attem pt to describe what I feel is beginning to take shape in the world at the m om ent, where the old political philosophies are beginning to give way to people asking different questions, ones which derive from a feeling that a whole part o f hum an life and the hum an life force has been lost. By “old”, do you include political philosophies like Marxist Len inism? Yes. Thandiw e’s father in Flirtingis an im portant figure in African nationalist movements at that time. He would be p art of the Pan-Af rican m ovem ent that N krum ah of Ghana sponsored in the early 1960s. Thandiwe probably considers herself a Marxist and Danny becomes aware of Marx for the first time through her, although it’s n ot a big part of the story. The fact that Danny ends up in Paris seems significant in that the first new wave o f Marxist criticism has come out o f France, such as Bemard-Henri Levy and his oft-quoted “Marxism leads to the Gulag.” Yes. Danny’s becom e very interested in Sartre, who, along with M uham m ed Ali, is a hero figure for him. Sartre was not a particularly influential figure in criticizing Marxism, but he and de Beauvoir did become disenchanted with it at about that time. There is a whole intellectual climate in France out of which has em erged a fairly comprehensive critique of Marxism. Intuitively it seems right to me that that is where he goes. May 1968 has been quite romanticized in the movies. Is your intention to re-evaluate it? I haven’t done my research on it yet, but it seems to me that the majority of activists at that time really had no comprehensive politi

cal agenda. They created a climate out of which significant change might have come, but d idn’t really have any constructive things to implement. There was a m ood of trem endous effervescence based on a real desire for change, but essentially I feel the movement was intellectually shallow. So I d o n ’t have a particularly positive attitude towards it, no. Is that because they were looking for political solutions, whereas - and you used the word “mystical” earlier - you think the solutions lay in something more spiritual? Yes. I tend to think May ’68 was a reflection of som ething which has been steadily distilling during the course of this century: that is, a sense that the spiritual dimension of life has gone. This isn’t a unique point of view by any means. But that burst of activity was probably an expression of something else - that something is missing from our lives, even if we are unable really to define what it is. So it manifest itself in a sense of outrage at the injustices of the Vietnam War, and, in other more superficial senses, of the education system in universities and schools, a sense of feeling that workers should have more say in the m anagem ent of factories and all that kind of thing. To an extent I think that what was underneath was not addressed. So, yes, I agree.

RÖMER 0 What attracted you to the Romero project? Most of the material I’ve been offered from America has been essentially B- or C-grade thrillers and comedies. They are probably scripts which have filtered down through the higher echelons of established directors. There were a couple of good ones I was attached to, but they never got m ade. This one was funded at the time I was approached. •

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PETER MALONE

ROM ERO

R E P O R T S FRO M

NEW Y O R K

ON TH E W ORK

AND

AND V IS IO N O F

F A T H E R K IE S E R

FA TH ER K IESER,

(AT R IG H T )

PRO D U CER OF

JO H N D U IG A N ’S

is the brain-child of pro ducer Father Ellwood P. (Bud) Kieser. Kieser is an American Catholic priest and, after many years in television, it is his first venture into cinem a features. Some of the money for Romero came from the religious order he belongs to, the Paulists, and from the Catholic Com m unications Campaign. Kieser has worked in Los Angeles since 1956. He knows the movie industry well. The Paulists are an American order, established in the 19th Century by Isaac Hecker, a journalist concerned that Catholi cism be not merely an inward-looking religion, but one which had the confidence of its beliefs and the courage to communicate them in contem porary media. Kieser produced a religious series for television, Insight. In pro duction from 1960 to 1983, it won six Emmy Awards for religious programmes. He had a constant succession of Hollywood stars, writers and directors in his 30-minute made-for-television dramas whose religious ‘message’ was not always explicit. The philosophy behind this kind o f television production was the opposite of the proselytizing of the television evangelists. This was the presentation of Christian values in the market-place by story-telling. With the deregulation of program m ing in the U.S. during the 1980s, Kieser found that the networks were less willing to screen religious program m es unless the churches paid big money to spon sor their own programmes. While Sunday m orning has become prim e time, it has not stopped some of the wealthy evangelists (especially R obert Schuller and his Hour of Power from the Crystal Cathedral) from paying their way. The Catholic Church supports a talk show, hosted by Cardinal Jo h n O ’C onnor of New York, on CBS at 7.30 a.m. Sunday and a Mass on the Nine Network. However, Insight and many other religious program m es appear regularly on cable channels. The deregulation m eant that Kieser decided to go for television productions that would com pete in the open market. He produced The Fourth Wise Man, an h o u r special on ABC, in 1984. His first tele-feature production was We are the Children, which was presented as an ABC “Movie of the W eek” in 1987. In Australia it was screened as a “Wednesday Night at the Movies”, in May 1986, by the Nine Network. Directed by R obert M. Young, whom Kieser acknow ledged as easy to work with and creative, it was shot in four weeks. Kieser’s memories of the British crew are not entirely happy - quite om ero

RO M ERO (1989).

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a contrast, he declares, to the easy collaboration of Americans and Australians on Romero. We are the Childrenwa.s the story of the photo-journalist who broke the news of the Ethiopian famine to the world media. Ted Danson stars as the journalist, Ally Sheedy is a young Philadelphia doctor and Judith Ivey gives the lie to the Hollywood cliche nun as a vigorously down-to-earth missionary sister. Kieser is satisfied with We are the Children as a first attem pt, but feels that the short time for filming (threatened at one stage by hostile Kenyan and Ethiopian governm ent officials holding the company literally at gunpoint) and Sheedy’s lack of experience took away from the overall impact. Romero was first intended as a tele-feature. However, the networks turned down the idea. An assassinated, outspoken Salvadoran Arch bishop was too controversial. He was also too depressing. And, besides, there was no love interest. Kieser decided to make a theat rical movie. The death of Archbishop Romero had already been seen on the screen in Oliver Stone’s Salvador (1986). Stone included a sequence where Major Max, head of the death squads, goaded his followers at a dinner into volunteering to kill the critical Archbishop. The sequence was rem iniscent of Henry II’s hin t to his nobles to get rid

of Thom as a ’Becket, familiar from Becket and T.S. Eliot’s “Who will rid me of this troublesom e priest?”, from Murder in the Cathedral Stone and co-writer Richard Boyle had Jam es Woods as Boyle attend the Mass at which the A rchbishop spoke out strongly against the military oppression in his serm on and had him killed while distrib uting Com m union. Australian audiences would be familiar with the tele-feature Choices of theHeartand the docum entary (screened on ABC television), Roses inDecember, which focused on Jean Donovan, the American lay missionary (played by Melissa Gilbert in Choices and Cynthia Gibb in Salvador) who was raped and m urdered in El Salvador in 1980, an incident that brought the country’s woes to U.S. and world headlines and prim e time news. Australian audiences would also be familiar with David Bradbury’s docum entary about the Nicaraguan troubles in Nicaragua, No Pasaran. Kieser and his writer-friend (from Insight days) Jo h n Sacret Young went to Salvador in 1983 to get a feel for the country and its problem s as well as to research R om ero’s life and career. They interviewed colleagues and talked to enemies who condem ned Romero as a dupe of the Communists, a p uppet of the Jesuits and brainwashed by a psychologist in Costa Rica (statements that were in corporated into the screenplay). Young (writer o f the nuclear film Testament and co-creator of the television series China Beach) is n o t a Catholic, but is an Episcopalian

admitting to a fascination, b ut also a love-hate relationship, with the church. Kieser thought that an outsider who could get the feel of things Catholic would be able to tell the story for a wider audience than the religious audience. It took Young several years to come up with the final draft of the screenplay. W hen Kieser was ready to go into production (eight weeks in Mexican locations with two weeks of rehearsal), the American directors he was interested in were not available. Friends in Los Angeles m entioned Jo h n Duigan. Kieser breakfasted with him, and looked at Winter of Our Dreams and Far East. T he latter was o f interest insofar as Duigan had tackled the similar social problems in The Philippines o f the Marcos regime and had been impressed with missionaries, sisters and lay, in Manila in 1981. T he screenplay of Far Easthas a lay missionary who is tortured as one of the m ajor support ing characters. Kieser liked the films b u t felt that Bryan Brown lacked “heart” (perhaps not being on the wavelength o f Brown’s laconic, ironic yet feeling, anti-heroes). But he also saw The Year My Voice Broke and felt that there was a great deal of heart, the quality he wanted for Romero. It persuaded him that Duigan should be the director for Romero. Duigan professes a kind of pantheistic belief (that the whole universe is energizing: echoes o f com m ents m ade by Bruce Spence’s

character in The Year My Voice Broke about force fields). However, Duigan had also been interested in the problem s of social justice in Central America in which the Catholic Church has been heavily involved. Kieser did n ot want a ‘holy’ or ‘sanctim onious’ view of the Church. He could make the distinction between the essence of the Church and its mission, and the limited, sinful faces of Church people. Lines like this are incorporated into the screenplay, espe cially the criticism by some Salvadorian clergy of the Vatican in appointing the unlikely and unpopular, reticent and conservative, Oscar Romero as Primate of El Salvador. W hat emerges in Romero is a strong portrait of a nervous, bookish priest, with friends ranging from socially active priests to aristocratic Salvadorian families, who gradually experiences at first hand the ruthless military oppression, with its treading down of the poor, and its torture and m urder. He finds that circumstances and providence have conspired to make him the one who must speak out and protest the cruelty and injustice. From mild priest, he becomes outspoken Church leader - and martyr. It is interesting to note that most of Australia’s major directors have n ot made films with explicitly religious characters or themes at home. Fred Schepisi is the exception. However, when they have gone to the U.S., they have accepted projects which are explicitly religious: Bruce Beresford and Texas Baptists in Tender Mercies and his biblical epic, King David', Peter Weir and the Amish in Witness', Gillian Armstrong and the Bible-reading and preaching Mrs. Soffel; even Carl Schultz with antichrists in The Seventh Sign. And now we have Duigan with the most explicit, especially in Jo h n Sacret Young’s screenplay, where the Christ-figure parallel is drawn so explicitly: Romero kneeling in bewildered agony as to what he must do, being stripped by the military on the road, and shot to death as he raises the chalice, it spilling as he falls dead. Kieser says that the shoot of Romerowas the happiest in his career. To foster a community spirit, he celebrated four Masses for the company during the filming period. Few of the crew were Catholics, though Raul Julia, originating from Puerto Rico, was an inactive but educated Catholic. However, the group attended, even participating by placing their tools of the trade on the altar as part of the Offering. The shoot ended with a Mass and a wrap party. Kieser has high praise for the Australians and for Duigan and, especially, for director of photography Geoff Burton and those working in editing and script supervision. Romero is based on a true story which has had its impact round the world. In M elbourne, Catholic social justice groups still celebrate a Mass at St Francis Church on the anniversary of R om ero’s death. Kieser says that there are the usual liberties taken with dramatizing a character. He is a filmmaker, not ajournalist. But validity is the key to appreciation of this kind of film, not accuracy. The same point is made in Constantine Costa-Gavras’ films, such as Missing. It has been rem arked that Romero is a Costa-Gavras kind of film. Romero is not destined to be a box-office smash hit. It will probably do well in the U.S. on video cassette. This was already the pattern in the U.S. response to Salvador. However, critics have been favourable. Kieser has several projects going. In keeping with his Christian vision and his desire to make movies that challenge his audiences, he wants to make a movie next of the dynamic New York social activist, Dorothy Day. Romero is the first mainstream movie with church backing (al though the Billy Graham organization was behind movies like Cross and the Switchblade, The Hiding Place,Joni). But Kieser has set a pattern for Catholic Church involvement in the movie industry. Romero is one of those heartfelt films that is a labour of love. ■ FACING PA GE: ARCHBISHO P ROMERO (RAUL JU LIA ), CENTRE, IS BARRED ENTRY TO AN EL SALVADORIAN CHURCH. JO H N DU IGA N 'S ROMERO. A B O V E: ARCHBISHO P ROMERO AND A RISTA ZALADS (A N A A LIC IA ), A W O M AN OF THE W EALTHY RULING CLASS W HICH TURNS A G A IN ST HIM . ROMERO. CINEMA

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ROD

B I S H O P

REPORTS: ON

LOCATION WITH

DENNIS

HOPPER AND

KIEFER

SUTHERLAND

DENNIS

HOPPER

and Kiefer Sutherland are starting rehearsals for the first scene of the night. O n the far side of the Roaring Fork River an early coyote begins whining, and the camera crew are talking quietly am ong themselves. Suddenly, H opper explodes: “If you guys are gonna talk like that, then do it on your own time. Not while I ’m rehearsing!” Everyone freezes. H opper has a legendary reputation for a hot tem per and it’s reflected by the crazed, psychopathic introverts he has been playing since Easy Rider. That famous 1969 cult movie not only made H opper a countercultural hero, it also changed Holly wood’s ideas about the way films could be made. Twenty years later, H opper is greying at the temples, and once again playing a character from that notorious time. His outburst at the crew passes quickly, and it isn’t until 3.30 am that he throws another tantrum . As the dawn breaks over the snow covered Rockies and the production winds down for the night, the crew sighs with relief: “It’s been a quiet night. Must be all you reporters.” This is Glenwood Springs, Colorado, the location for Param ount Pictures’ $14 million production of Flashback. W ritten by David Loughery, produced by Marvin W orth and directed by Italian Franco Amurri, Flashback is the saga of a 1960s radical, Huey Walker (Dennis H o pper). Walker, a yippie who once uncoupled Spiro Agnew’s train while Agnew was waving goodbye to his supporters during a whistlestop tour, has been on the run for this offence for the past twenty years. Kiefer Sutherland plays Jo h n Buckner, the young FBI agent who finally arrests the ageing radical. The shoot is now into its eighth week and there are plenty of indications from crew m embers on the periphery of the production that it has not been without problems. Producer W orth is always at the centre of the action. At the end of each take, H opper, Suther land, Loughery and Amurri surround him for intense discussions. It e n n is h o p p e r

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is unclear w hether a single voice is calling the shots. Dermis H opper is, however, the star attraction. His career started in the 1950s when he acted with his close friend James Dean in Rebel Without a Cause and Giant. D ean’s prem ature death has affected H opper all his life. In 1958, H opper had a famous run-in with veteran director Henry Hathaway on the set of From Hell to Texas. Dissenting from the director’s wishes, H opper was pushed by Hathaway into an astonish ing 86 takes on one scene before the actor finally relented. This d id n ’t help H opper’s subsequent career. He found work in B-grade Roger Corman bikie and drug pictures like The Glory Stompers (1966) and The Trip (1967) - a genre of films now somewhat strangely labelled “psychotronic”. In 1969, H opper became the hottest property in Hollywood when he co-wrote, directed and acted in Easy Rider. Made for $370,000, it grossed more than $40 million at the box-office, but H opper was to fall from grace only a few years later when his new film, The Fast Movie, was mauled by the critics, died in the cinemas and has hardly been seen since. The experience was traumatic for Hopper: “But I won first prize at the Venice Film Festival. I was up against Bergman, Kurosawa, Satyajit Ray and other big nam e directors, and I beat them all. T hat film has got to be seen, and reconsidered, particularly by the MTV generation who will understand its non-linear structure.” During the 1970s, H opper roam ed the world, but always return ing to his hom e in Taos, New Mexico. He made films in Australia (Philippe M ora’s Mad Dog Morgan); West Germany (Wim W enders’ The American Friend); the U.S. (Henry Jaglom ’s Tracks); Spain, Italy and the U.S. {Reborn); and Canada (H opper’s own Out of the Blue). Returning to Hollywood in the 1980s, H opper acted in Apocalypse Now and Rumblefish (both Francis Ford Coppola), River’s Edge (Tim H unter), Blue Velvet (David Lynch), and was nom inated for an Academy Award for Best Supporting Actor for Hoosiers.

Recently, H opper retu rn ed to directing with the L.A. gang-war film, Colors, and has ju st com pleted directing and acting in Backtrack (Do It the Hard Way). For almost three decades, H opper consum ed vast quantities of drugs and alcohol, and towards the end was doing an ounce of cocaine every couple of days and, believe it o r not, a gallon of rum a day. N ot surprisingly, he began suffering from intense paranoia, and narrowly escaped death in Mexico in 1982. By 1984, his condi tion had worsened and H opper was com m itted to the psychiatric ward of the Cedars-Sinai Hospital in Los Angeles. Now detoxed, it is a sober, clear-eyed and talkative H opper who strolls into the H otel Colorado after his regular game o f golf. During the interview, he consum ed nothing stronger than coffee. Six years without alcohol and drugs has shown me my self-abuse was caused by hate. It started in the 1960s when I hated everything, particularly Hollywood, Am erica’s involvement in Viet nam and the racism that gave birth to the Civil Rights movement. I was a person who thought it was all rig h tfo rm e to drink and take drugs because I was an actor. All the actors, musicians and writers I liked were all drinkers and druggers. Besides, I never thought I was an alcoholic; I ju st drank all day. I was shocked when I got sober and found out everyone d id n ’t drink like that. HO PPER :

The 1960s was a period o f experimentation with drugs. Do you consider the drug problems o f the 1980s to be the result of that abuse? T here was a time in the 1960s when it was all working. T hen organized crime took over and the drugs started working against us. But by that time we had becom e addicted. I now belong to a twelve-step program m e for helping people with drug and alcohol problems. It’s an anonymous organization with no leaders or outreach program m e. It’s designed for the individual and I’m not allowed to discuss it with the press. How did you survive this self-abuse?

I d o n ’t think it was my destiny to survive, I was ju st lucky. W hen Jam es Dean died, my sense of destiny died with him. If the 1960s were sourced by drug use, they were celebrated for their political activism. What do you consider the political issues of the 1980s? The environm ent, the inner cities and drugs. But these aren ’t the same kind of issues as Vietnam or Civil Rights. I’m n ot sure how you can protest these 1980s issues. I think the youth should ju st go to school, and do whatever they w ant-W all Street, big business. I d o n ’t have a problem with any of that. And American foreign policy? I d o n ’t think America has any major foreign policy problem s at the m om ent. There aren ’t any Contras in Nicaragua any more. Have you considered "I'VE ONLY 5 that George Bush is okay? T hat maybe h e ’s DIRECTED a g ° ° d President? I also d o n ’t see a problem with nuclear war; I d o n ’t think it will hapFIVE MOVIES; pen. Nor am I down on nuclear power - I still think it can be made safe. The ozone I SHOULD problem is another matter, however. HAVE DIRECTED

Could you tell me something about your new film, Backtrack?

TWENTY I’m trying to get the title changed to Do It The Hard Way. It’s the title of a Chet Baker song used in the film. Basically, it’s about a young woman artist, played byjodie Foster, who’s driving hom e from her studio one day when she gets aflat tyre near a deserted oil refinery. She is making her way across the refinery site to a gas station when she stumbles across a Mafia ‘h it’ in progress. She escapes to a police station, but the Mafia come after her and kill her boyfriend. I ’m hired by the Mafia to find and kill her. She disappears and changes her identity. By the time I catch up with her, I ’ve fallen in love and have to give her the choice of coming away with me forever or being killed. Vestron had bought the script and I rewrote it with Alex Cox. BY NOW."

Recently, you published a book of photographs (Book Of The Sixties) and you have shown an interest in fine art painting. James Dean and I both believed we had to know about great art before we could even begin to think about becoming actors, so Jimmy and I would hang around galleries and museums. I developed a good eye, and, when a painting bothered me, I ’d return to reconsider it. Generally, that work later became famous - paintings by Jasper Johns, Rauschenberg, Warhol, Lichten stein, O ldenburg and others. ^ FACING PA G E: HUEY W A LKER (DENNIS HO PPER), THE AG EIN G RADICAL, AND JO HN BUCKNER (KIEFER SUTHERLAND), THE FBI AGENT W HO TRACKS HIM DO W N. FRANCO AM URRI'S FLASH BAC K. LEFT: DURING THE FILM ING OF FLASH BACK, FRANCO AM URRI DIRECTS DENNIS HOPPER AND SUTHERLAND. CINEMA

PAPERS

• 39

I collected them before they were fa mous, and over an eight-year period spent about $36,000. If I h a d n ’t lost them all in my divorce to my first wife, they’d be worth $40 million today. I also painted myself at this time, but lost over 300 of my paintings in a fire at my Bel Air house in 1961.1 never had the desire to paint again. And my photographs were all taken be tween 1961 and 1967 —they were a way of getting to direct films. After Easy Rider I never took photographs again. Is the Huey Walker character in Flashback close to the personality o f Dennis Hopper? Whoever I was in the 1960s, I now con sider that person dead. Huey Walker is m ore like Abbie Hoffman, but without the politics. I was shocked when I was offered the part, as big names like Robin Williams and Bill Murray had been considered. My agency, CAA, d id n ’t want me to take the part - they had som eone else in m ind who would have made them m ore money. But I really like the character of Huey Walker. It gives me the chance to play comedy, which I really haven’t done since I was a kid doing clown roles in Shakespeare. It gives me a chance to work with the producer Marvin W orth, who has been a friend for years, and to work for Param ount, which seems to be the best major studio in Hol lywood these days. Did you enjoy working with Italian director Franco Amurri? Franco A murri is a very pleasant and nice man. I ’m sure he will have a great career m anaging a hotel on the Italian Riviera. And the revolution? Has that died for you as well? It’s a young m an’s game. If you live through it, then you can try to make the changes. I ju st want to work. I’ve only directed five movies; I should have directed twenty by now. KIEFER

SUTHERLAND

first major screen role was in the Ca nadian dram a The Bay Boy in 1984. In the next four years, Sutherland appeared in a further ten projects : Trapped in Silence (1986), The Mission (1986), At Close Range (1986), Stand by Me (1986), The Lost Boys (1987), The Killing Time (1987) 1969 (1988), Bright Lights, Big City (1988), Young Guns (1988) and Renegades (1989).

IE F E R S U T H E R L A N D ’S

Are you interested in the 1960s? People of my age have parents from that time. W e’re always hearing stories from the 1960s, sometimes every night after dinner, or when o ur parents have their friends over. In some ways you d id n ’t have any choice: you have to becom e interested in the 1960s, even if you d id n ’t want to. It was part of my family life. My political beliefs have been shaped by the 1960s, but I try not to impose my political morality on others. Did your father [Donald Sutherland] influence you in choosing your career? I started when I was eleven at the Odyssey Theatre in Los Angeles. I lived with my m other in Toronto and in England for all my life. My father lived in the U nited States. I left hom e when I was fifteen. My brother had becom e an actor, and my m other was a very talented 40

• CINEMA

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A BO VER : HUEY AND JO H N IN FLASHBACK.

actor. My first film The Bay Boy was a very informative experience. I learned a lot from the director Daniel Petrie. How did you get the part o f John Buckner in Flashbackw* I auditioned like everyone else. There was a lot of interest in the project. I think it was Dennis who made the final choice. I have never worked with an actor as co-operative and as helpful as Dennis. For example, h e’s taught me how to act in a mastershot, so that when it comes to the close-ups I d o n ’t have to work so hard to get the shots to match. You only learn that from someone with D ennis’ experi ence. I’ve also learnt to concentrate my energies. On a shoot like tonight, I concentrate everything into the ten to twenty m inutes of film thatgoes through the camera. I think it was Orson Welles who said: “I get paid to wait and I do the acting for free.” "I'M NOT KEEN But it’s a strange profession, particu ON FILMS THAT larly when you do as many films as I have in the last four years. Having children has TRY TO INTIMIDATE changed my percep tion of most things as well. My wife has a twelve-year-old daugh AN AUDIENCE ter, and we have a two-year-old. INTO FEELING Are you lined up for another project? THEY ARE

I go to England as soon as Flashback is finished to do ChicagoJoe and the Show Girl, INTELLECTUALLY a true story about the only American GI to be convicted and hung by an English INFERIOR." jury. He was a private in the Second W orld War who went AWOL, m et a girl and went on a killing spree. It’s being directed by Bernard Rose, who ju st finished The Paper House. After that, I’m going to take a break. What is your personal taste in films? T here was a tim e,’when I was ten or eleven, when I loved every movie I saw. Luckily, I ’m past that stage. I ’d like to do another Western, a good cop movie. I really like films that can be looked back on with respect - Serpico, Dog Day Afternoon or The Godfather. I d o n ’t like overtly commercial films, and I d o n ’t like films like Stranger in Paradise. I know everybody else loved it, but I couldn’t stand it. I ’m not keen on films that try to intim idate an audience into feeling they are intellectually inferior. ■

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NUMBER 1 (JANUARY 1974): David Williamson, Ray Harryhausen, Peter Weir, A ntony Ginnane, Gillian Armstrong, Ken G. Hall, The C a rs th a t A t e Paris. NUMBER 2 (APRIL 1974): Censorship, Frank M oorhouse, Nicolas R oeg, Sandy Harbutt, Film under Allende, Betnveen The W ars, A l v i n P urple

NUMBER 3 (JULY 1974): Richard Brennan, John Papadopolous, Willis O ’Brien, William Friedkin, The T ru e Story O f E skim o N ell.

NUMBER 10 (SEPT/OCT 1976) Nagisa Oshima, Philippe Mora, Krzysztof Zanussi, Marco Ferreri, Marco Belloochio, gay cinema. NUMBER 11 (JANUARY 1977) Emile D e A ntonio, Jill Robb, Samuel Z. ArkofF, Roman Polanski, Saul Bass, The P ictu re Show M a n .

NUMBER 12 (APRIL 1977) Ken Loach, T om Haydon, Donald Sutherland, Bert D eling, Piero T osi, John Dankworth, John Scott, D a ys O f H ope, The G e ttin g O f W isdom .

NUMBER 13 ( JULY 1977) Louis M alle, Paul Cox, John Power, Jeanine Seawell, Peter Sykes, Bernardo Bertolucci, In Search O f A n n a . NUMBER 14 (OCTOBER 1977) Phil N oyce, M att Carroll, Eric Rohmer, Terry Jackman, John H uston, L u k e ’s K in g d o m , The L a s t W ave, B lu e Fire Lady.

NUMBER 15 (JANUARY 1978) Tom Cowan, Francois Truffaut, John Faulkner, Stephen Wallace, the Taviani brothers, Sri Lankan cinema, T h e Ir is h m a n , The C h a n t O f J im m ie B la cksm ith .

NUMBER 16 ( APRIL-JUNE 1978) Gunnel Lindblom, John Duigan, Steven Spielberg, Tom Jeffrey, The A fr ic a Project, Swedish cinema, D a w n !, P atrick. NUMBER 17 (AUG/SEPT 1978) Bill Bain, Isabelle Huppert, Brian May, Polish cinema, N ew sfro n t, The N ig h t The

NUMBER 26 (APRIL/MAY 1980)

NUMBER 46 (JULY 1984)

NUMBER 59 (SEPTEMBER 1986)

Charles H . JofFe, Jerome Heilman, Malcolm Smith, Australian nationalism, Japanese cinema, Peter Weir, Water Under The Bridge.

Paul Cox, Russell Mulcahy, Alan J. Pakula, Robert Duvall, Jeremy Irons, Eureka Stockade, Waterfront, The Boy In The Bush,A Woman Suffers, Street Hero.

Robert Altman, Paul Cox, Lino Brocka, Agnes Varda, The AFI Awards, The Movers.

NUMBER 27 (JUNE-JULY 1980)

NUMBER 47 (AUGUST 1984)

Randal Kleiser, Peter Yeldham, Donald Richie, obituary o f Hitchcock, N Z film industry, Grendel Grendel Grendel.

Richard Lowenstein, Wim Wenders, David Bradbury, Sophia Turkiewicz, H ugh H udson, Robbery Under Arms.

Australian Television, Franco Zeffirelli, Nadia Tass, Bill Bennett, D utch Cinema, Movies By Microchip, Otello.

NUMBER 28 (AUG/SEPT 1980)

NUMBER 48 (OCT/NOV 1984)

Bob Godfrey, Diane Kurys, Tim Burns, John O ’Shea, Bruce Beresford, Bad Timing, Roadgames.

Ken Cameron, Michael Pattinson, Jan Sardi, Yoram Gross, Bodyline, The Slim Dusty Movie.

NUMBER 29 (OCT/NOV 1980)

NUMBER 49 (DECEMBER 1984)

Bob Ellis, Uri W indt, Edward Woodward, Lino Brocka, Stephen Wallace, Philippine cinema, Cruising, The Last Outlaw.

Alain Resnais, Brian McKenzie, Angela Punch McGregor, Ennio Morricone, Jane Campion, horror films, Niel Lynne.

NUMBER 20 (MARCH-APRIL 1979) Ken Cameron, Claude Lelouch, Jim Sharman, French cinema, M y B r illia n t C areer.

NUMBER 22 (JULY/AUG 1979) Bruce Petty, Luciana Arrighi, Albie T hom s, S ta x, A lis o n ’s B irth d a y NUMBER 24 (DEC/JAN 1980) Brian Trenchard-Smith, Ian H olm es, Arthur Hiller, Jerzy T oeplitz, Brazilian cinema, H a rle q u in . NUMBER 25 (FEB/MARCH 1980) David Puttnam, Janet Strickland, Everett de R oche, Peter Faiman, C h a in R e a c tio n , Stir.

NUMBER 62 (MARCH 1987)

Screen Violence, David Lynch, Cary Grant, ASSA conference, production barometer, film finance, The Story O f The Kelly Gang. NUMBER 63 (MAY 1987)

NUMBER 50 (FEB/MARCH 1985)

Kevin Dobson, Brian Kearney, Sonia Hofmann, Michael Rnbbo, Blow Out, Breaker Morant, Body Heat, The M an From Snowy River.

Stephen Wallace, Ian Pringle, Walerian Borowczyk, Peter Schreck, Bill Conti, Brian May, The Last Bastion, Bliss.

NUMBER 37 (APRIL 1982)

Lino Brocka, Harrison Ford, Noni Hazlehurst, Dusan Makavejev, Emoh Ruo, Winners, The Naked Country, M ad Max: Beyond Thunderdome, Robbery Under Arms.

Nostalgia, Dennis H opper, Mel Gibson, Vladimir Osherov, Brian TrenchardSmith, Chartbusters, Insatiable.

NUMBER 52 (JULY 1985)

Angela Carter, Wim Wenders, Jean-Pierre Gorin, Derek Jarman, Gerald L’Ecuyer, Gustav Hasford, AFI Awards, Poor M an’s Orange.

Stephen MacLean, Jacki Weaver, Carlos Saura, Peter Ustinov, women in drama, Monkey Grip. NUMBER 38 (JUNE 1982)

Geoff Burrowes, George Miller, James Ivory, Phil Noyce, Joan Fontaine, Tony Williams, law and insurance, Far East. NUMBER 39 (AUGUST 1982)

NUMBER 19 (JAN/FEB 1979) Antony Ginnane, Stanley Hawes, Jeremy Thomas, Andrew Sarris, sponsored documentaries, B lu e Fin.

NUMBER 61 (JANUARY 1987)

Alex Cox, Roman Polanski, Philippe Mora, Martin Armiger, film in South Australia, Dogs In Space, Howling III.

NUMBER 36 (FEBRUARY 1982)

Prow ler.

NUMBER 18 (OCT/NOV 1978) John Lamond, Sonia Borg, Alain Tanner, Indian cinema, D im boola, C a th y ’s C hild.

NUMBER 60 (NOVEMBER 1986)

Helen Morse, Richard Mason, Anja Breien, David Millikan, Derek Granger, Norwegian cinema, National Film Archive, We O f The Never Never. NUMBER 40 (OCTOBER 1982)

Henri Safran, Michael Ritchie, Pauline Kael, Wendy H ughes, Ray Barrett, My D inner With Andre, The R eturn O f Captain Invincible. NUMBER 41 (DECEMBER 1982)

Igor Auzins, Paul Schrader, Peter Tammer, Liliana Cavani, Colin Higgins, The Tear O f Living Dangerously. NUMBER 42 (MARCH 1983)

Mel Gibson, John Waters, Ian Pringle, Agnes Varda, copyright, Strikebound, The M an From Snowy River. NUMBER 43 (MAY/JUNE 1983)

Sydney Pollack, Denny Lawrence, Graeme Clifford, The Dismissal, Careful He Might Hear Tou. NUMBER 44-45 (APRIL 1984)

David Stevens, Simon Wtncer, Susan Lambert, a personal history o f Cinema Papers, Street Kids.

NUMBER 51 (MAY 1985)

John Schlesinger, Gillian Armstrong, Alan Parker, soap operas, TV News, film advertising, Don’t Call Me Girlie, For Love Alone, Double Sculls. NUMBER 53 (SEPTEMBER 1985)

Bryan Brown, Nicolas Roeg, Vincent Ward, H ector Crawford, Emir Kusturica, New Zealand film and television, R eturn To Eden. NUMBER 54 (NOVEMBER 1985)

Graeme Clifford, Bob Weis, John Boorman, Menahem Golan, rock videos, Wills A n d Burke, The Great Bookie Robbery, The Lancaster Miller A ffair.

Gillian Armstrong, Antony Ginnane, Chris Haywood, Elmore Leonard, Troy Kennedy M artin, The Sacrifice, Landslides, Pee Wee’s Big Adventure, Jilted. NUMBER 64 (JULY 1987)

NUMBER 65 (SEPTEMBER 1987)

NUMBER 66 (NOVEMBER 1987)

Australian Screenwriters, Cinema and China, James Bond, James Clayden, Video, De Laurentiis, New World, The Navigator, Who’s That Girl. NUMBER 67 (JANUARY 1988)

John Duigan, George Miller, Jim Jarmusch, Soviet cinema- Part I, women in film, shooting in 70m m , filmmaking in Ghana, The Tear My Voice Broke, Send A Gorilla.

NUMBER 55 (JANUARY 1986)

NUMBER 68 (MARCH 1988)

James Stewart, Debbie Byrne, Brian Thompson, Paul Verhoeven, Derek Meddings, tie-in marketing, The RightH and Man, Birdsville.

M artha Ansara, Channel 4, Soviet Cinema Part II, Jim McBride, Glamour, nature cinematography, Ghosts O f The Civil Dead, Feathers, Ocean, Ocean.

NUMBER 56 (MARCH 1986)

NUMBER 69 (MAY 1988)

Fred Schepisi, Dennis O ’Rourke, Brian Trenchard-Smith, John Hargreaves, DeadEnd Drive-In, The More Things Change, Kangaroo, Tracy.

Special Cannes issue, film composers, sex, death and family films, Vincent Ward, Luigi Acquisto, David Parker, production barometer, Ian Bradley, Pleasure Domes.

NUMBER 58 (JULY 1986)

NUMBER 70 (NOVEMBER 1988)

Woody Allen, Reinhard Hauff, Orson Welles, the Cinémathèque Française, The Fringe Dwellers, Great Expectations: The Untold Story, The Last Frontier.

Film Australia, Gillian Armstrong, Fred Schepisi, Wes Craven, John Waters, A1 Clark, Shame Screenplay Part I.

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in Distribution is available three times a year. It covers Australian and imported titles, listed alphabetically under category headings, and enables anyone seeking informa tion on a particular title, or films on a specific subject

area, to find out details about distributors and availability. The Guide covers 35mm and 16mm features, shorts, documentaries

and home video releases, as well as educational, management training, health and safety and ‘how -to’ programs. Also listed are all new acquisitions available for free borrowing from Government film libraries. Each entry includes: title, director, country o f origin, year o f completion, running time, censorship classification, format, synopsis and source. There is also a comprehensive listing o f distributor’s addresses and telephone numbers. PRICE: The Guide is published three times a year. One year’s NUMBER 123 AUTUMN 1985 The 1984 W om en’s Film U nit, The Films o f Solrun Hoaas, Louise W ebb, Scott Hicks, Jan Roberts NUMBER 124 WINTER 1985 Films for Workers, Merata Mita, Len Lye, Marleen Gorris, Daniel Petrie, Larry Meltzer NUMBER 125 SPRING 1985 Rod W ebb, Marleen Gorris, Ivan Gaal, Red Matildas , Sydney Film Festival NUMBER 126 SUMMER 1985/86 The Victorian W om en’s Film Unit, Randelli’s, Laleen Jayamanne, Lounge Room Rock, The Story o f Oberhausen

NUMBER 131 AUTUMN 1987 Richard Lowenstein, N ew Japanese Cinema, Ken Russell, Taking a Film Production Overseas, Richard Chataway and Michael Cusack NUMBER 132 WINTER 1987 Censorship in Australia, Rosalind Krauss, Troy Kennedy Martin, N ew Zealand Cinema, David Chesworth, NUMBER 133 SPRING 1987 Wim Wenders, Solveig Dommartin, The Films o f Wim Wenders, Jean-Pierre Gorin, Michelangelo A ntonioni, Wendy Thom pson, Michael Lee, Jonathan Dennis, Super 8

NUMBER 127 AUTUMN 1986 AFTRS reviews, Jane Oehr, John H ughes, Melanie Read, Philip Brophy,Gyula Gazdag, Chile: Hasta

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NUMBER 128 WINTER 1986 Karin Altmann, Tom Cowan, Gillian C oote, Nick Torrens, David Brad bun', Margaret Haselgrove, Karl Steinberg, AFTRS graduate films, Super 8,

NUMBER 135 AUTUMN 1988 Allred Hitchcock, Martha Ansara, New Chinese Cinema, Lindsay Anderson, Sequence Magazine, Cinema Italia, N ew Japanese Cinema, F a ta l A ttr a c tio n

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NUMBER 136 WINTER 1988 Film Theory' and Architecture, Victor Burgin, Horace Ove, Style Form and History in Australian Mini Series, B lu e

NUMBER 129 SPRING 1986 Reinhard Hauff, 1986 Sydney Film Festival, Nick Zedd, Tony Rayns, Australian Independent Film, Public Television in Australia, Super 8 NUMBER 130 SUMMER 1986/87 Sogo Ishii, Tom Haydon, Gillian Leahy, Tom Zubrycki, John Hanhardt, Australian Video Festival, Erika Addis, Ross Gibson, Super 8, Camera Natura

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NUMBER 137 SPRING 1988 Hanif Kureishi, Fascist Italy and American Cinema, Gillian Armstrong, Atom Egoyan, Film Theory and Architecture, S h a m e , Television Mini Series, Korean Cinema, S a m m y a n d Rosie G et L a id ■

catalogue especially prepared for the recent season o f

Australian film and television at the UCLA film and television archive in the U.S. are now available for sale in Australia. Edited by Scott Murray, and with exten

sively researched articles by several o f Australia’s leading writers on film and television, such as Kate Sands, Women of the Wave; Ross Gibson, Formative Landscapes, Debi Enker, Cross-over and Collaboration: Kennedy Miller, Scott Murray, George Miller, Scott

NUMBER 71 (JANUARY 1989)

Yahoo Serious, Film Finance Corporation, David Cronenberg, Co-productions, The Year in Retrospect, Philip Brophy, Film Sound - the role o f the sound track, Young Einstein, Shout, The Last Tempta tion o f Christ, Salt Saliva Sperm and Sweat NUMBER 72 (MARCH 1989)

Charles Dickens’ Little Dorrit, Australian Science Fiction movies, Survey: The 1988 Mini-Series, Stop Making Scents: Aromarama, Ann Turner’s Celia, Fellini’s La dolce vita, Women and Westerns NUMBER 73 (MAY 1989)

Special Cannes Issue, Phil Noyce, Franco Nero, Jane Campion, Ian Pringle, Frank

Pierson, Australian films at Cannes, Production Barometer, Pay TV, Film Finance, Fanzines

Murray, Terry Hayes; Graeme Turner, M ixing Fact and Fiction; Michael Leigh, Curiouser and Curiouser; Adrian Martin, N u rtu rin g the Next Wave.

NUMBER 74 (JULY 1989)

Kylie M inogue’s first film The Delinquents, Australians in Hollywood, Chinese Cinema, Philippe Mora, Yuri Sokol, Twins, True Believers, Ghosts... of the Civil Dead, Shame screenplay

The Back of Beyond Catalogue is extensively illustrated with more than 130 photographs, indexed, and has full credit listings for some 80 films. PRICE: The Catalogue price is $ 2 4 .9 5 , which includes postage and

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Sally Bongers, The Teen Movie, Anim ated, Edens Lost, Mary Lambert and Pet Sematary, Scorsese and Schrader, Ed Pressman, Sweetie, Batman, Lover Boy, Dead Poets Society, New York Stories, Georgia ■

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REPORT

PAUL

KALINA

Since the release o f B oulevard of B roken D reams (Pino Amenta) in 1988,

J &j

....

Frank H ow son’s production company, Boulevard Films, has completed a record number offive film s in the past 12 months, m aking it A ustralia’s most prolific producer o f feature films.

HAT IS MORE, Boulevard Films has continued to make films at a time when few others could. Peter Boyle, Three film s are scheduled fo r production in who serves as chief executive officer and has execu 1990, and more further down the track. tive produced the films, admits that it is tough out there: ‘T h e whole ball game has changed. It changes every time the To finance this ambitious slate, tax laws change.” He hopes that the governm ent will leave the tax concessions as they are so that once again producers have the the company has raised opportunity to stabilize the investment base, but cautions that there $38.45 million during the is n o t m uch life for 1OBAu n d er 100 per cent. H e also believes the jo b of attracting investment has been m ade a lot m ore difficult by past three years. Hem dale in the U.S. not m eeting several distribution guarantees on local films. Despite the hard times of late, Boulevard Films’ present fortune is very m uch a legacy of days gone by. ABO VE: TOM GARFIELD (JOHN The financing of the first five films, which only com pleted production when Flynn (Brian Kavanaugh) WATERS) IN BOULEVARD'S FIRST FEATURE, BOULEVARD OF BROKEN w rapped in October, was under-written before Septem ber 1985 at the old 133/33 10BA tax rate. The DREAMS (PINO AMENTA, 1988). package totalling $16.75 million was backed by 55 per cent pre-sales via Boulevard’s distribution arm, FACING PAGE, LEFT: FOUNDER OF BOULEVARD FILMS, FRANK HOW SON, Bravo Entertainm ent. DURING THE FILMING OF HEAVEN Indeed, Howson and Boyle are keen to dispel the notion that the com pany’s rise had been meteoric. TONIGHT l PINO AMENTA, 1989); Howson admits that there was initially resentm ent from some people in the industry when it appeared that AND PETER BOYLE, CHIEF EXECUTIVE the company had suddenly sprouted from nowhere with its hefty production schedule. In fact, the OFFICER OF BOULEVARD FILMS. BOYLE HAS EXECUTIVE PRODUCED ALL ITS company was form ed in 1981, seven years before production of its first film, Boulevard of Broken Dreams. FILMS. (ALL PHOTOGRAPHS Most of that time, according to Boyle, was spent in the backroom “developing scripts, ideas and contacts, BY GREG NOAKES.) speaking to people, producers, film bodies, bankers accountants and lawyers”. Much of that time was also taken up by a project that d id n ’t take off, and another that, to the regret o f some, did. T he one that d id n ’t transpire was the still-unproduced “Som ething G reat”, a project based on the life of folk hero Les Darcy. The Michael Edgley Organisation was interested at one stage, b ut the problem o f control was a stumbling block, claims Howson. T he $6 million project suffered another set back with the fall-out between Antony I. G innane’s International Film M anagem ent and Hem dale, which had provided a significant pre-sale. The oth er project was Backstage (Johnathan Hardy, 1988), which was finally produced by the Burrowes Dixon Group. The project went to that production company, says Howson, u nder the condition that it act as executive producer only, and have no creative input: “I knew very clearly what audience it should be m ade for. But all of a sudden I found myself dealing with production by committee. To even make the

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YARD smallest decision required everyone sitting around the table. ” Howson eventually walked away, leaving to conjecture what m ight have becom e of this controversial film, which has come to epitomize the 10BA era. The eventual em ergence o f productions from Boulevard Films was certainly timely, n o t only for the company but for the industry. Howson admits that “had we not m ade Boulevard of Broken Dreams, we would have been left with an incredible d eb t”. For the industry, feature film production in M elbourne would have ground to a virtual stand-still had it n o t been for the five M elbourne-based projects. Although Boulevard of Broken Dreams won two AFI Awards from seven nom inations, it was less than a success with the critics, leading to letters being sent from the production company to a few reviewers. Howson insists th at it was a box-office success, reflecting nonetheless that its local release should have been better staged. To capitalize on the AFI Awards, the film ’s distributor, Hoyts, rush released it before the soundtrack album and m arketing campaign Boulevard had envisaged were ready. However, what sounds like a soft-sell gives way to a m ore earnest explanation by Howson: It was the first film we’d done, and it was made with a lot of commercial requirements because we weren’t in the position to just

make a film and hope for the best. We set out to make a film that would do well here and internationally.

One of those commercial requirem ents was the film’s somewhat bathetic ending, in which the dying Tom Garfield (John Waters) is intercepted at the airport by his tear-stricken and conciliatory wife and child. Originally, Tom was to have hopped on the plane without anyone knowing that he returned to L.A. to die. This dark ending would have pleased the critics, Howson predicts, but audiences would have felt cheated. Howson claims that the range and variety of Boulevard’s films reflects his eclectic tastes. Boyle believes it is a trap to produce films that look and feel the same. He feels it is im portant that distributors see a spread of styles, further enabling the company to move into various areas of the m arket place. Nonetheless, similarities exist between the way the films are made. They are all produced and written (or co-written) by Howson, who also directed Hunting. Three of the six films m ade to date were directed by Pino Amenta. Many of the same actors re-appear: Kim Gyngell and Guy Pearce having appeared in three, Jo h n Waters in two. The aim, say Howson and Boyle, is to nurture new talent and develop a stable of actors and crew members. The films tend to be m ade on short shooting schedules, often CINEMA

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shot back-to-back. Budget-wise, Boyle likes to keep them below $3 million, “anything above that really needs support from a U.S. dis tributor, an American or British actor.” In terms o f subject matter, the films tend toward domestic dramas rather than lurid excavations of the entertainm ent world a la Bob Fosse. (Flynn, assures Howson, will tactfully avoid some of Flynn’s infamous party tricks.) The films’ casting is likewise calcu lated to ensure widest possible audience appeal. Guy Pearce made his feature film debut in Heaven Tonight (Pino A m enta), staying on board for Hunting and the lead role in Flynn. Like Kim Gyngell, he is best known to audiences for his roles in television. In the case of Pearce, however, his popular reputation and following is somewhat higher calibre, having been forged in the high-rating and, signifi cantly, internationally-known Neighbours. Concom itant with these ploys is the priority given to the films’ soundtracks. Boulevard intends to produce and m arket soundtrack albums for all the films. Boulevard of Broken Dreams was comple m ented by a soundtrack album featuring original recordings by wellknown international artists. Five singles with corresponding film clips (shot by Howson) have been lifted from Heaven Tonight. CBS Records will distribute the records, which will, predictably, see yet another Neighbours star em bark on a music career. This particular strategy goes m uch further than simply using the marketing muscle of an international record company, significant though this is, to capitalize on what is effectively free advertising for the movie in another medium. It is m ore like a linchpin of the company, and an integral ingredient in the way projects are con ceived. Howson says: From day one when perceive what style of film it will be, we almost decide how we’d like the poster shot. It may sound funny but it’s 44

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thought out that carefully. We also incorporate the various songs we’d like to use in our scripts, so that we have a visual image of how the whole thing will end up in terms of the music component. We carefully plan the type and style of the songs we want. We’ve even contracted people to write particular styles o f songs that fit into various moods of the film if we haven’t got anything in our publish ing catalogue or access to something.

Boyle goes so far as to state that the company’s music interests are a key to its survival: What people are realizing is that it’s very hard to make money in the Australian entertainment business out of one area, be it music publishing, records, movies or theatre ... We’ve been fortunate in that we’ve been able to spend money from our music activities to develop our film activities, and that’s something that perhaps other producers haven’t had.

In spite of the present economic climate, Boyle has m anaged to raise $12.5 million this year at the reduced 100 percent tax conces sion. He is understandably confident about Boulevard Films’ ability to reach investors: “O ur products are attractive because they’re commercial. They stand a chance of breaking out and we’re very realistic in terms of our budgets”. A nother secret of his success, he believes, is the company’s long-term view: “You really have to go to those people with a long-term view, rather than ‘H ere’s a film; I need this much money; it’s going to be a hit.’” On the production slate for 1990 are three projects: Highway Hero; The Envoy, a thriller concerning CIA involvement in Australia; and Friday On My Mind, a contemporary youth-oriented film about street kids. Howson stresses once again that these films will be very different from each other. •

TOP, LEFT TO RIGHT: G U Y PEARCE IN PINO AMENTA'S HEAVEN TONIGHT; GUY PEARCE A S THE YOUNG ERROL FLYNN IN BRIAN KAVANAUGH'S FLYNN, NOW IN POST-PRODUCTION; THE WRITER-DIRECTOR TEAM OF ALEX GOWER (ALAN FLETCHER) AND CHRISTOPHER BROOKES ( DAVID ROBERTS) IN DAN BURSTALL'S BEYOND M Y REACH; THE BO Y (ANDREW SHEPHERD) FROM WHAT THE MO O N SAW , WHO "IN M ANY W AYS ... COULD BE TOM GARFIELD A S A CHILD."; ANDREW SHEPHARD AND PAT EVISON IN PINO AMENTA'S WHAT THE MO O N SA W , BASED ON A MUSICAL WRITTEN BY FRANK HOW SON; TERRI NEILSON (TERRI GARBER) AND CHRISTOPHER IN BEYOND M Y REACH; AND, JOHN WATERS AND KIM GYNGELL IN PINO AMENTA'S HEAVEN TONIGHT.

What is the philosophy behind the films the company produces? You have made films in various genres.

FRANK HOWSON TO HIS REGRET; the title “Magical Frank” still comes back to haunt Frank Howson. T he m oniker harks back to Howson’s younger days when as a child actor he appeared on a New Faces-type program. He played a tap-dancing magician whose tricks went hopelessly wrong. Instead of flying away, the doves dropped dead, and so on. The routine turned into a cult attraction and spawned live appearances, a hit record and a theatrical musical. Since then, Howson has written four musicals for children, one of which has been filmed as What the Moon Saw, penned songs that have been recorded far and wide, and, through his company Boule vard Music, published songs that have been recorded by such groups as Little River Band and Pseudo Echo. “Moving into film was a natural progression”, says Howson. “It brings all that experience und er one um brella.” Howson in fact wears many hats, writing both the scripts and songs of his films, as well as producing them and, on Hunting, directing.

BOULEVARD FILMS' FILMS IN RELEASE:

Boulevard of Broken Dreams (Pino Amenta)

AWAITING RELEASE:

Hunting (Frank Howson); What the Moon

Saw (Pino Amenta); Heaven Tonight (Pino Amenta) IN POST PRODUCTION:

Flynn (Brian Kavanaugh); Beyond My Reach (Dan

Burstall) IN DEVELOPMENT: Highway Hero; The Envoy; Friday on My Mind

I have never understood anyone who locked into one type of film. I have quite eclectic tastes; they run across the board. I think you select a film like music: to suit different moods. Sometimes you want to be intellectually stimulated, other times you want some light diversion. The only time I get angry is when I see a film of a particular genre and it is badly done, shoddily produced or at the end of the film you d o n ’t care one way or another about the characters. It ends and you think, ‘Fine. I spent 96 m inutes in the presence of these people and I d o n ’t give a fuck about any of them .’ I got a lot of negative thoughts from some about the Les Darcy project. Michael Edgley and others wanted to change the sad ending. It has always seemed strange to me the thinking that you have to leave the audience on a high. It doesn’t m atter at the end of a movie if the audience is moved to tears or laughter; the im portant thing is that they are moved. If an audience cares enough about a character to cry, then the film has obviously worked. Most of the characters in the films I have done so far are very flawed people. Tom Garfield in Boulevard of Broken Dreams has been very selfish and is struggling for some kind of redem ption. The same with the character in Beyond My Reach, who some will probably find unlikable. But, if they are honest with themselves, they will realize he represents aspects of our own natures. He is multi-layered, enigmatic and, hopefully as a result, real. The im portant thing for me is that at the end of a screenplay you feel that you’ve been on an emotional journey, that you have started at one point and either descended to something or risen above it. At the end of afilm, even if it’s avery subtle message, there must be some sort of enlightenm ent about the hum an condition. Are there any particular types o f films you would not be inter ested in producing? I never thought I would do an action film, but then next year we are doing a film called Highway Hero, which is an ironic title. It is an action film, but hopefully it’s one that has some intellectual meat beneath the surface. A film that influenced me very much when writing it was Peckinpah’s Straw Dogs, which is a film about violence, and about what somebody can become when he is under threat from other people. T hat theme has been explored in films like Death Wish. It is a good them e that has usually been sold down the line. All the films you have made so far are set in the entertainment world. F. Scott Fitzgerald was once told by his editor to write about what he knew. Heaven Tonight is a film I can go on record as saying every incident is true: either I have lived it, or I know somebody who has. There is no fabrication, except in the names, which have been changed to protect the guilty. What particular aspect of the industry do you want to show? Each film explores a different aspect. Boulevard is about some body who has achieved what most people dream about, but is still n ot happy. What the Moon Saw is the total opposite: it’s about a little boy at the very beginning of his life who sees the enchantm ent and CINEMA

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In several o f your films you have written in parts for Americans. Is it necessary to do this for marketing purposes? It certainly doesn’t hurt, and I’d be lying to say otherwise. Do your investors also require name casting? N ot at all. As for Jo h n Savage in Hunting, I tried to cast his part in Australia and it was a part that could have been an Australian. But a requirem ent of that film’s financing was casting somebody known to an international distributor. Unfortunately, because of the spiralling costs of budgets and pro ductions, and because the industry is in a financial depression, it is harder and harder to get movies up and funning. If a requirem ent of a pre-sale is having a known nam e, then you have to seriously consider it. But if you are going, to bring in an im port, then, for godsake, make sure you get a good one. T h at’s my attitude. Some of the films we will do next year have that requirem ent. O thers have smaller budgets and we may be able to tap dance around it. W hen we start talking of budgets of $3-5 million and higher, I d o n ’t think it is an unfair requirem ent that you cast somebody an inter national audience has heard of. But I would resent it if somebody stood over me, like in the old Hollywood system, and dem anded that I cast somebody who was inappropriate for a role. Fortunately I d o n ’t have those restrictions. Does your role as producer influence what goes into the screen plays you write, and vice versa? ABO VE: MICHAEL BERGMAN (JOHN SAVAGE) IN FRANK HOW SON'S HUNTING. HOW SON: " . . . IF YO U ARE GO ING TO BRING IN AN IMPORT, THEN, FOR G O DSAKE, MAKE SURE YO U GET A GOOD O N E." AND, MICHELLE HARRIS (KERRY ARMSTRONG) AND DEBBIE MCCORMICK (REBECCA RIGG). HUNTING.

seductive w onderm ent o f theatre. In many ways, the boy could be Tom Garfield as a child. / People have said that it is antiHollywood, but I d o n ’t think it is. Anybody who goes to Hollywood and self-destructs carries that darkness within himself. Having done a lot of reading about Fitzgerald, Faulkner and others who went to Hollywood and were supposedly destroyed by it, I think those people would have self-destructed wherever they went. Hollywood gave them the opportunity to bring about the inevitable. Can the same be said o f Errol Flynn? Most certainly. But I think there are o ther reasons why he went down that path. H e was an adventurer and for the first time in his life he had to turn up on time every day and do so many films every year. T hat ate away at him because he was devoid of any discipline. He stagnated, got bored and that amazing light force within himself b u rn t out. O ur movie, though, doesn’t deal with the dark side, but instead explores the early years, the promise ... How far will you continue with the entertainment-industry theme? The three films planned for next year d o n ’t have any aspect of the business in them . And in Hunting; even though the m ain character is a m edia mogul, it doesn’t really focus on his business; it is m ore to do with the personal lives of the characters. Are you interested in producing projects for others, or only ones you initiate yourself? We had developed a lot of projects and ideas during our eightyears, and when the time came they were the first cabs off the rank. I am now starting to actively seek out oth er writers and screenplays, because I think it would be interesting to every year do one of my own projects and one o r two from outside. In fact, we have even looked at executive producing projects for oth er producers that are, I suppose, in the same position as we were in with “Som ething Great”: that is, a terrific project, b u t maybe they ju st haven’t the experience to get into “go m o d e”, as they say in L.A. 46

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Initially a writer sits down and writes the screenplay. At a later date, when the screenplay has been through several drafts, the producer takes over and starts thinking of casting, international appeal, pre-sales and distribution requirem ents. Woody Allen once said that he loves writing a script because it is his masterpiece. Everyday thereafter, a new truck load of compromises will arrive outside the door. The interesting thing about producing is you have to balance and juggle these things to m aintain the original integrity of the project. Sometimes it is a fine line to walk. So while you are writing a screenplay, you will also be thinking o f things that a producer will need to consider further down the track? A certain location maybe expensive; the screenplay may be timed at 130 minutes, in which case why shoot 130 m inutes when you know that only 96 or 100 m inutes will end up on the screen? These sort of things come into question. At the same time, you have to juggle what the original message and intention of the film was. On some o f Boulevard’s films, you have written the screenplay, produced, written the music and lyrics, even directed. Is involvement in so many areas a good thing? Most of the people who work with me, like Kim Gyngell a n d jo h n Waters, think I am very open to suggestions and ideas. The thing they love most is the rehearsal period, because it is a m atter of sitting around a table and having a think-tank, bouncing ideas off one another, talking about the characters, trying to get to the heart of what we want portrayed on the screen. It is n ot as if I do any of those things in isolation. Obviously I have the final say, but only a m adm an would turn his back on a good idea. How do you tend to allocate money within the budget o f your films? O ne thing I have always spent probably m ore money on than most other Australian producers is the soundtrack. With Boulevard of Broken Dreams, we recorded a great deal of those songs in L.A. with people like Richie Havens, Dan Hill and Marc Jordan. O n most Australian productions, the soundtrack tends to be done last and usually at a stage when they have almost run out o f money. It suffers as a result. To me, the soundtrack is one of the most im portant things for the em otional balance of a film. ■

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P A U L

H A R R I S

Ron Cobb is truly a man fo r all seasons: political cartoonist, freelance artist and conceptual designer o f hi-tech and effects film s. H is unusually varied and striking work has ranged from breakdown artist on Disney’s S l e e p in g B e a u t y (1957), to the alien designer on George Lucas’ S t a r W a r s ( 1977), and the principal set designer on fam es Cameron’s A l i e n s (1987) and T h e A b y s s (1989). Cobb first came to Australia in 1972 on a lecture tour sponsored by the Australian Union o f Students, stayed a year, married an Australian, Robin Love, and has been commuting since on an irregular basis. H is eventual aim, once he has made the transition from from Burbank High School in 1955 and went to work for Disney. I must confess I was not a great adm irer of his family-oriented style of entertainm ent, which seem ed to me to be endorsing particularly false the potential of anim ation, and in those days Disney was the only studio that would hire unproven talent. They had the volume of work and money to be able to hire inexperienced people and train them on-site at their own school. Disney immediately p u t me to work on their current anim ated feature, Sleeping Beauty. I spent two years working on one sequence, and it was quite an education to observe and be part of the lengthy process involved in making anim ated fea tures. GRADUATED

You w ere best known until the 1980s for your p olitical cartoons and illus trations. How did you make the transition back to filmmaking? I had worked as a political cartoonist in the American under ground press during the 1960s. It turned out that Dan O ’Bannon was a fan of my work and, through him, I eventually becam e involved in the low-budget film that Dan and Jo h n C arpenter were making at USC. CalledDarfc Star, itwas conceived as a 40-minute, 16mm student film. I helped them out with some design work but had to leave to do a tour of Australian university campuses, prom oting my cartoon

designing to writing and directing, is to move to Syd ney, where he and his wife have bought a house. A n amiable, genially enthusiastic bear o f a man, he exudes values. But I loved

a genuine delight and enthusiasm fo r his craft that seems unjaded by ten years o f working on major Holly wood features. He begins this interview by describing his first involvement with the film industry. work. W hen I returned to the States, I discovered that Dan had organized reshoots and a 35mm blow-up. The film then achieved a theatrical release [in 1974] and suddenly I found myself back in the film business. On the basis of Dark Star, Dan was snapped up by George Lucas to work on his Star Wars as a visual consultant. Dan recom m ended to George that I could be useful on the scene involving the aliens in the cantina. I made six designs at a hundred dollars a piece, which were then turned over to Rick Baker who m oulded them out of rubber. From this experience I started to develop a reputation, even though it was largely accidental. I then became involved with [director] Jo h n Miliuswho commis sioned some paintings on the basis of his having been a fan of my work over the years. I d o n ’t think that I ever m ade a conscious effort to become involved in the film business. I ju st seemed to be pulled into it. It seems producers have had problems over the years pigeon holing your various duties. I started out with no particular film experience, living in a noCINEMA

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million. But when it looked as though Stone m ight be unavailable, the script was shopped around and eventually was seen by Milius. His immediate reaction was that Stone was wrong for the film, that the script’s structure was all awry and that he must salvage the project. He was totally intrigued by the Conan mythology and its echoing of Viking lore. He was also a great adm irer of The Vikings [Richard Fleischer, 1958], with Tony Curtis and Kirk Douglas. You spent much time and effort on a frontier epic that Milius was developing following the release o f Big Wednesday (1978). Yes, that was about Jedediah Smith, one of the early m ountain m en who made his way across the old, old west, travelling through the Rockies and across to Spanish-held California. Jo h n wanted to make this incredible tale as an historical sci-fi movie. We were intrigued by the early paintings of the American wilderness where all the details were exaggerated. We thought that it m ight be possible to make a film of W agnerian grandeur, but it never came to be. m an’s-land, helping fill out vacuums and making suggestions to the production designer when he was stuck with a design problem. I d id n ’t belong to the union and was ineligible to be considered an art director, except overseas. So I was variously described as a concept artist, illustrator or designer. My favourite credit is on Back to the Future [Robert Zemeckis, 1985], where I am billed as a “De Lorean time travel consultant”. Have you ever had an assignment where you were allotted sufficient time and money to properly realize your ambitions? I spent two years working on my first m ajor feature, Conan the Barbarian [John Milius,1982], even though m uch of this time was wasted. We w andered the world scouting for a suitable location and finally settled for Spain. It was the first time that I was really in charge of the overall visual look of a film, so I was rather nervous. I was also not a great fan of the Conan books or comics, but Milius was attracted to the project as the ideal opportunity to make a pseudo-Kurosawa epic in the style of Seven Samurai. I found R obert E. H ow ard’s novels to be lurid, stereotypical and uninteresting. I have always been a history buff, but with a taste running to period films rather than to fantasy history. To appease the pulp fans, Jo h n and I conspired to say that there was such a time as depicted in the film, and that there really were these strange civiliza tions which Howard had imagined but got wrong. We attem pted to make a period film about the ancient world but we ran amok designing sets with Freudian symbolism to depict the snake cult, orgy cham ber and flesh-coloured pillars. How did you get on with Milius? Good and bad. I have always been grateful to Jo h n because he argued for me as production designer on the project against the wishes of the producer, Dino de Laurentiis. I love J o h n ’s storytelling strengths and enthusiasm, although we are quite different in our professed political orientations. I must admit, though, that I prefer opinionated people to those who have no opinions at all. John is a skilful writer, but I w onder w hether he enjoys the physical process of actually directing, which seems to wear him out. Sometimes he would succumb to the tem ptation to make things a bit simpler and would skip coverage here and there. Originally, Conan had been planned as Oliver Stone’s directing debut. He had written an elaborate screenplay, budgeted at $60 50

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On Ridley Scott’s Alien (1978), you were described as a concept artist. W hen Dan O ’Bannon sold the Alien script to Fox, the actual pro duction plans were fairly vague. I m et Steven Spielberg when he was interviewed about making the movie, but he dropped out because of other commitments. I also recall spending several m onths working up designs for Walter Hill, when he was director for a while. A few others were also briefly involved. Just prior to all this taking off, Dan had become linked up with Alexandro Jodorowsky, who was attem pting to set up a film version of Dune in Paris. Alexandro wanted me to becom e involved and he already had Moebius and Gieger as part of his team. But it suddenly came unstuck. Back on Alien, the English production designer, Michael Sey mour, was experiencing difficulties. It soon became clear that he was a little out of his depth on an undertaking of this m agnitude, and I came in to “fill out a few vacuums”. Gieger also came on and handled the alien designs. W hen it was all over, Gieger and I were both given “concept artist” credits. As is typical of Eng lish production design ers, Michael organized the logistics of the whole project, running the art departm ent and working in an administrative ca pacity. He designed most of the lower decks, while I took care of the earth technology and the inte rior of the Nostromo. A confusion existed in the public m ind due to the fact that A rthur C. C lark e a n d S tan ley Kubrick had established the idea of deep space ships thatw eren’tstreamlined and that had all their plum bing on dis play. G eo rg e L ucas,

LEFT: THE COBB-DESIGNED SPACE SHIP NOSTROMO FROM RIDLEY SCOTT'S ALIEN. COBB SAYS THE FILM'S SPACE SHIPS "ENDED UP RESEMBLING AIRPLANES WITH EXTERIOR PLUM BING". BELOW: TWO COBB CONCEPTS: THE HAND WEAPON HELD BY RIPLEY (SIGOURNEY WEAVER) WITH NEWT (CARRIE HENN); AND THE COLONY'S MEDICAL LABORATORY, WITH GORMAN (WILLIAM HOPE), BISHOP (LANCE HENRIKSEN), BURKE (PAUL REISER) AND HICKS (MICHAEL BIEHN). JAMES CAMERON'S ALIENS.

though, wanted the space ships to look like airplanes, so they ended up resem bling airplanes with exterior plumbing. It was difficult to achieve a consistent look on Alien because Ridley would becom e bored and ask for different ideas to be incor porated into the overall plan. As for Aliens, Jim Cam eron envisaged it purely as an action movie. I was flown to England prior to the com m encem ent of shooting to help out with designs on weapons and the dropship. Jim is also an excellent artist and designer and had used his own designs for the Arnold robot in The Terminator [1984]. What was your role in the overall design o f The Abyss? I was aware thatjim harboured the notion of making a large-scale underwater movie. Underwater is an “in ” concept in Hollywood with a glut of strange, silly movies in production. I did all the m ajor designs while based in California, where I supervised the construction of the submarines. I never actually visited the set in N orth Carolina, but I was in daily contact and felt supremely confident that Jim would see my work through to our mutual satisfaction. Essentially, the film is set on a near-future oil platform populated by a group of industrial workers in an Alien-Yike setting, but living in the deepest depths of the ocean. Jim asked me to design a mobil platform which would be located on the sea bed. It was three stories high, 200 ft long and with a big derrick on the back. It looked like a gigantic skeletal scorpion with thruster engines and huge feet, almost like an underw ater helicopter. Jim then found an uncom pleted nuclear power station in Gaff ney, North Carolina, with a concrete containm ent tank 200 ft in diam eter and 100 ft deep. It was made to hold water in case of a nuclear leak for the reactor that was never added. We built a full-scale platform three stories high on the bottom of the tank and flooded it. I then designed two full-scale submarines, dropped them in the tank and had actors drive them around as though they were 3000 ft at the bottom o f the ocean. At that depth there is no light, so we had to erect a black circus tent over the tank and then floated black

styrofoam balls on the surface so that not even a glimmer of light could get through. Just prior to The Abyss, you had worked on a similarly themed project, Leviathan (1989). Dino de Laurentiis had been developing some projects with director George Cosmatos, including “China M arines”, which I was involved with as a script consultant. For the first time in my career, I worked almost exclusively with the writers on various versions of the storyline and with early designs. Suddenly, for a series of complicated reasons, “China M arines” fell through and we ended up doing Leviathan, from a script by David Peoples. The film was actually an Italian production, produced by D ino’s cousins, that was picked up by MGM for release. The underwater setting called for som ething original but David had been told to concoct an “alien underw ater” scenario. Much time was spent on rewrites to veer away from the more plagiaristic aspects of the storyline. I was called away prior to the start of shooting, so I d id n ’t really expect to retain a screen credit as production designer. But it was George’s wish that my designs be followed as closely as possible in the finished film which is, unfortunately, too much of an Alien rip-off. For this reason I think the film failed quite profoundly, as most reviewers were quick to point out. How did you get to work with Spielberg on Raiders of the Lost Ark? I had met Steven while I was working with Milius on the aborted “Half The Sky” project. Spielberg was sharing space in the same office building: on one side of the hall Steven was finishing 1941 and preparing Raiders Of The Lost Ark, while on the other we were working on Conan. I became excited when Steven described the Raiders storyline to me and started working weekends designing antique aircraft and experim ental jets. Most of the basic ideas were his, but I loved having the chance to visualize them, as in the case of the Peruvian temple, the flying wing and the rolling stone. The general consensus on Spielberg’s plunge into television an thologies with a fantasy base, Amazing Stories, seems to indicate a failure of artistic nerve and compromise. Prior to helming Amazing Stories, my only other experience handling live-action work was uncredited second-unit work on Conan, as well as designing and directing its opening credits sequence. I was thrilled to hear that Steven planned to p ut his influence and money into what am ounted to a revival of the old Twilight Zone concept. Everyone was excited at the possibilities of wacky, strange and pithy pieces of television writing and wonderful stories with different actors and directors each week. Steven was encouraging all kinds of people, including myself, to write stories, but it soon became evident that he was gravitating towards light, cheerful and harmless Disney-like fantasies that were family oriented. The stories d idn’t take any chances and lacked any meaningful drama. The Last Starfighter (1984) is an underrated sci-fi fantasy that had the misfortune to be released in the wake of the decidedly inferior Iron (Peter Yates, 1982). W hen I was making the early designs for Alien, I was keen to use com puter simulation for the visuals of the instrum entation on board CINEMA

PAPERS

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RO N C O B B

FILMOGRAPHY

1957

Sleeping Beauty (Clyde Geronimi)

1974

In-betweener/breakdown artist. Dark Star (John Carpenter) Designed space ship exterior .

1977

Star Wars (George Lucas) Designed some o f the more elaborate aliens in the cantina scene.

1978

Alien (Ridley Scott)

1981

Concept artist. Designed exterior (miniature) and interior sets o f the earthship Nostromo. Raiders Of The Lost Ark (Steven Spielberg) Designed the Nazi Flying Wing and the early concept o f the Peruvian temple .

1981

Close Encounters Of The Third Kind: Special Edition (Steven Spielberg) Designed stranded tanker sequence and Mother Ship interior.

1982

Conan The Barbarian (John Milius) Production designer and director o f additional secondunit photography.

1982

Hitchhiker’s Guide To The Galaxy (TV Series)

1984

Designer o f cancelled project. The Last Starfighter (Nick Castle Jr.)

1985

Production designer. Computer simulation effects. Real Genius (Martha Coolidge) Designed laser technology and laser weapon system. My Science Project (Jonathan Betuel) Designed central UFO device. Back To The Future (Robert Zemeckis) Initial design o f the De Lorean time machine. Steven Spielberg’s Amazing Stories

1985 1985 1986

Co-designed the computer-simulated opening sequence. Directed the live action segments. Rough Boys (Z.Z.Top video clip.) Art Director.

1986

Designed space station/car wash set and some props. Robotjox (Stuart Gordon)

1986

Designed the 50m, multi-mode robots (inside and out), along with their support systems and the world they battle in (auto-mobiles, training devices, costumes). Film due to be released in 1990. Aliens (James Cameron) Designs for interior/exterior sets and land vehicles of the earth colony complex on the alien planet. Designs for

1987

the Drop Ship (small military space ship), the armoured personnel carrier and some o f the hand weapons. Peter Gabriel Concert Film.

1987 1989 1989

Art Director. Untitled feature shot on location in Athens. Leviathan (George Cosmatos) Production Designer. The Abyss (James Cameron) Interior/exterior set designs for the underwater drilling platform. Designed two full-sized operable submarines,

1989

plus the main diving suits and helmets. Total Recall (Paul Verhoeven) Concept art/design. Created the overall look for the Mars colony and mine complex, including operable taxi cabs, full sized “mole” mining machines, some alien architecture/machines and general transportation (utility vehicles, a Martian mag-lev train, a Marsliner spaceship, etc). Also designed the REKALL machine, a few key props, a squad car and a robotic taxi for the earth sequence, and many o f the costumes.

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the Nostromo. Ridley Scott shared my enthusiasm and we visited the California headquarters of a company that had been form ed byjohn W hitney J r and was to become Digital Productions. After Conan, Jo h n [Milius] called me and asked me if I would be interested in joining his company. O ne of the first projects I worked on there was Lorim ar’s The Last Starfighter, which presented the opportunity to work in the advanced com puter simulation area using state-of-the-art technology. At this time, everything was in place except a director. Lorim ar was looking at the work of new directors and promising student filmmakers. O ne of the films they saw was a prom ising low-budget film called The Assassination Game (1982). It was Nick Castle’s first feature and he was subsequently hired. We decided that the time had come to flirt with the idea of almost photo-real simulation: i.e., m aterial that could be intercut with live action without necessarily stylizing the live action to make it fit the simulation as had been done in previous films like Tron. We used a gigantic com puter to assemble all the detail. I think we just pulled the effect off, although if you look at the film with a keen eye you may notice that some of the effects scenes have a certain airbrushed anim ation look. The sets were stylized and given a slighdy cleaner look than is the norm . Certain logistical problems relating to budget and scheduling m eant that we retreated slightly from our original game plan in the sense that many of the simulated shots were m ore complicated and realistic than ended up in the com pleted film. We discovered that we would not have enough time to com pute images to that level of realism. To get the film done in time, we had to use slightly less detail and go for a m ore simplified look. Despite some failings and a slight silliness, I have a great fondness for that film and feel that it is rom antic and sweet. You started work on Back to the Future at an early stage in the preproduction phase. Was this a decided advantage in terms o f being able to formulate ideas? I was involved with the early meetings on the project and had known director Bob Zemeckis from my uncredited involvement with an earlier film of his, an underrated comedy called Used Cars (1980). I was hired to design the plans for the De Lorean car and add the various devices and instruments. With design work of this nature, you are usually the first person on deck after the writer because you need as m uch lead time as possible. This, in turn, gives you a greater influence on the project in terms of script changes and the possibility of suggesting different plot elements that can enhance the effects and general design. It’s really a creative and dynamic period in the realization of a film. Total Recall (1989) seems to have been around forever and a day, most recently as the aborted De Laurentiis production to be shot at his Queensland studios. T he script has gone through various incarnations with various companies and directors [including David C ronenberg and Bruce Beresford], and is finally reaching the screen. The original screen play, written by Ronald Shusett and Dan O ’Bannon, has been modified by director Paul Verhoeven to accommodate the casting of Arnold Schwarzenegger and is being shot in Mexico, which is standing in for Mars. To give you an idea of how Hollywood works in the developm ent of projects, I can recall that my involvement with Total Recall stretches back 11 years when I did a set of designs for Disney! ■

would like my next role to really ;

With her malleable face and voice,

smaller, quieWrtrble, in a film that

her energy and enthusiasm,

focusesqn the court-room drama

push the learning process, a role

Deborah Unger is establishing her film credits in quick succession:

of a little-imb'iftm but controversial Japanese war-crimes trial. Directed

with a big range. I’d like to go off the edge, to explore everything ,

After two Small television rolles (A,

by Stephen Wallace and starring

from extreme passion, simplicity ...

Country Practice, Coma Bretakout),

Bryan Brown, the film does not

an emotional rainbow with ex

Unger was cast as Marion in

stretch Unger’s talents, but does

tremes. Something feisty. I want to -

Breakaway, directed by Don

give her welcome experience (“I

be dartbing in gumboots.” Unger’s

McLennan. In this, her first film

love watching [director of photog

energy and enthusiasm are

role, she plays “an ex-heroin

raphy] Russell Boyd work...”),

bounded by the discipline acqüired

addict, a big red country singer

After a shprt break, Unger tackles:'';

at the National Institute of Dramatic

desperately trying to make it in

her third film, Till Theie Was You, in

Arts, Sydney, for which she came

Nashville”. The day after this film

which she plays a lead role, as

specially to Australia from Canada:

wrapped, Unger moved on to the

Anna. If all this seems fast-tracking

ANDREW It. URBAN

set of Blood Oath as Sister Littell, a

a career, Unger is not satisfied: "I

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It’s Your Image ODAK held seminars in August in both M elbourne and Sydney, and at the Ex hibitors Convention in Surfers Paradise. They were aim ed at theatre m anagers and projectionists, and de signed to improve the business of presentation in theatres. Called “MBO: M anagem ent by Observation - It’s Your Im age”, it was presented by Terri Smith from Eastman Kodak in the U.S. Smith (at right) travels across the U.S. with the seminar as a service by Kodak. She approaches the subject by asking the m anagers to take the view of a regular m em ber of the audience and consider w hether they would like to be paying customers in their own theatres. From the favourable com m ents of the people who attended in M elbourne, Sm ith’s sm ooth presentation and the audio-visual ma terial reached their target and addressed many of the litany of woes that I have assembled (further contributions invited):

Marked screens; poor focus and being left that way; incorrect masking; incorrect framing; wrong ratio aperture; noisy/scratchy soundtracks; badly set-up surround sound that after crackling from a side speaker suddenly bursts into life; external sound intruding; auditoriums that smell, usually from the disinfectants and carpet cleaners used (let alone the popcorn); over-bright auditorium EXIT lighting; and spill light.

(At the perform ance of Dead Poets Society I saw recently in Sydney, light spilled in through the entrance doors that had been left open behind me. T hat gap also let in the conversations of the ushers taking place in the foyer. I felt like dem anding that they apologize to Jo h n Seale, whose pictures they spoiled.) The Kodak seminars, then, are a small butvaluable contribution to ensuring that the quality images the production crews p ut so much time and energy into end up that way on the screen. Now all we need is m ore people who know what they are talking about to complain!

Although the movie industry has long becom e accustomed to the fact that our film stock has always been im ported with the attendant problems that release dates, shipping and stock control have caused, there has been som ething comforting about having the backing and technical assistance of our biggest supplier as close as Mel bourne. Some of us have grown up with that plant: as photography stu dents we had guided tours, visited the labs and knew that we would have im mediate assistance as expert as the actual technicians m anufacturing our printing paper and proc essing our standard 8mm Kodachrome. And it happened enough times to make the idea of Kodak asjust another ‘m ulti-national’ seem silly. These were the people that you spoke to on the phone and saw when you dropped your Kodachrome in for processing with the urgent overnight medical run. Although there is no talk of stopping the processing operation, the decision to cut photographic paper m anufacture has already cost 100 jobs and, with it, the loss of export income (apparently m ore than 70 per cent of the m anufacturing output is for export to the Pacific region). The potential loss of another high-technology industry at this time would mean that Australia will never get that expertise back, and it will be just another case where we will become consumers of an im ported product. The fact that the local m em ber for Wills, the electorate that includes the Coburg plant, is Mr Bob Hawke may have had som ething to do with the prom pt action, but the decision is to be applauded, especially with the provisions requiring that Kodak spread the technology to a wider local base. ■

KODAK (AUSTRALASIA) IN TROUBLE?

Again, ju st as this issue was going to the printers, the newspapers headlined the Kodak threat to cut its m anufacturing operation (and 500 jobs) at the Coburg plant in M elbourne unless it could receive some governm ent assistance. In a time where industry protection is being discouraged, it was surprising to see the quick response from the Victorian governm ent and from Canberra.

The Editor apologizes for the error in the last issue which headed the article on Ian Jones’ underwater camera housings as “New Perspex Underwater Housing for Arri II”. The heading should have referred, as the article indeed did, to the Arri III. The error was made in-house, not by Fred Harden. Ian Jones’ company is called Trudian Film Productions Pty Ltd and is at 5 Tovan Akas Ave, Bendeigh Vic. 3204. Ph: 557 6145. The engineer who constructed the housing also makes acrylic housings for other cameras, including video 8 camcorders. Murray Wills can be contacted on (053) 92 2294.

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Laser Disc Editing on

Lonesome Dove COTT MURRAYS taped interview with director Simon W incer (pp 6 - 12, 78 -79 this issue) contained the following interesting details of editing Lonesome Dove on the laser disc-based CMX 6000.1 also spoke to Wincer (above) about the process before he journeyed to Alice Springs to start Quigley Down Under. The prime advantage of laser discs for inform ation and image storage is the access time. It is far easier to slide the laser read head across the flat surface of a videodisc than it is to spool through a roll of tape (or film for that m atter). Com bined with a com puter, the

videodisc has proved to be a reliable and flexible tool, and the num bers in use around this country for education and industrial audio visuals are surprising. A M elbourne friend, Ray Hughes, has developed a multi-screen video projection system th at uses six synchronized laser-disc players. These operate at intervals through out the day u n d e r com puter control and with sufficient reliability to be left unattended. The tourist theatrette is in Alice Springs, and there is the option that the installation can be interrogated by phone from M elbourne to ensure th at it is operating correctly. For videotape editing, the laser-video player has a nother advan tage over linear rolls o f film and tape. By adding a second play/read head that can move independently, or duplicating the disc on another player, you can switch w ithout delay to another position on the disc, enabling you to cut to the end of the same shot that you are playing (if you want to ). With two or m ore players linked to the edit com puter, the editor chooses the shots’ edit points in and out, using the same SMPTE time code as conventional videotape, b u t it is encoded in the digital signal of each frame. A list of shots can be entered and, because the com puter can decide which head can play the sequence fastest, there is no need to actually record any sequence oth er than a list of num bers. This list o f num bers can be modified instan tly and you do n ot lose any previous versions. So it is quite feasible to be able to com pare the first cut, the director’s cut, the pro d u cer’s cut, the network’s cut, etc. With a list of time-code num bers cross linked to the film edge num bers, the negative cutter can then assemble the rolls to m atch the final edit. And sound is ju st as accessible. W hen the first o f these systems was launched almost three years ago, most people felt that they would be the first video-based system that could com pete with the flexibility of flat-bed film editing. Systems such as Lucasfilm’s Editroid appeared, and a num ber of companies have invested in them knowing that they were developing the future. But it is only now that the m ajor edit controller compa nies, like CMX, have been able to deliver ‘off the shelf units (and even then, as W incer relates, they are writing software as they g o ). W incer had seen the CMX 6000 dem onstrated at a trade show about two m onths before he started shooting Lonesome Dove. Wincer: I was really impressed. They were using it for commercials and I suggested to Corky Ehlers, the editor at The Post Group in Los Angeles, that we should investigate it. I was impressed by the flexi bility, but also by the portability. I knew that if I wanted to bring the film back to Australia to cut, it would be almost impossible to haul the millions of feet of workprint back there, yet a couple of suitcases of laser discs was feasible.

W hen the process was investigated, W incer found they could also offer the producers considerable savings in cost against a conven tional film edit. He estim ated that, We saved about a quarter of a million dollars. Although the equip ment cost was expensive, it completely eliminated the need for film workprints and reprints. We also could not have done the cut that fast because you physically cannot try as many things. You get to the stage where you can cut up a bit of film only so many times. The other saving was in people. Normally on a mini-series of eight hours, you would have four editorial teams, each with an editor, one or two assistants, and an apprentice. We had one editor, one assistant and a computer operator.

The process began with the transfer of each day’s rushes to videodisc, as well as to cassettes for the director and producers to view. For each sequence, there were four disks, two identical for picture and two for sound. The process o f reviewing the material on disc is also very fast. W incer says it allowed him To review every single take and every moment because you are not taking down and lacing up rolls of film. Some of the big montages,

such as the river crossings, had been shot over a long time, and there might be two or three different discs with an hour and a half of material to review. That is a dayjust to look at the material, if you are loading and unloading film. On videodisc, you can do that in 15 minutes. You can even watch it in fast forward.

W incer feels that “for television it is the perfect way to edit. It does n ot have any spooling and it is m uch m ore frame accurate than vid eotape editing” (where you have the problem s o f m atching field sequences and can be often forced to edit two frames away from your chosen cut p o in t). Video was also the choice for many of the optical and anim ation effects. These were done on Q uantel’s ‘H arry’ digital edit suite that is linked to the Video Paintbox. Frame-by-frame effects, such as the lightning running through the cattle’s horns, were drawn as video on the Paintbox and then transferred back to film on a high-definition kine system. This allowed the sequences to be cut into the final film print and W incer believes that the result is undetectable from the original film. Sprockets also found a place in the mixing of the film’s soundtrack, and the final result was a double-head telecine transfer in NTSC and PAL for the network and world market. Wincer: It isjust so much more satisfying for a director - and editor - because there are no mechanics involved. Half an editor’s work is just physical cutting and splicing. That does not happen with this system. For me it is joyous because it allows you to review every single take. When you are in a hurry during shooting, or you are concentrating on the performances, you cannot always do another take because of continuity problems. So there is quite a bit of mis-matching. Laser disc is the most accurate editing I have ever done, because you can try out all the alternatives so easily andyou can actually ‘rock’ against the cut to fine tune the loose cuts. On film you can be one frame out and you don’t bother to change it because it takes time and you think, ‘Who is going to notice one frame?’ But it does make a difference and it is easy to correct on laser disc. It is just terrific.

For inform ation about the CMX6000 contactM agnatechPtyLtd, on (03) 826 4111, or (02) 427 0666. ■

IREECON 11-15

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SEPTEMBER

HE Institution of Radio and Electronics Engineers Australia holds its convention and exhibition on alternate years to the SMPTE. Together these form the best local opportunities for m anu facturers and im porters of predom inantly radio and television equipm ent to display their new product and for us, the users of it, to catch up with prototype and NTSC equipm ent that we will eventually have access to in PAL formats. Selection of significant items is always in the reviewer’s interests and level of expertise, so I am always conscious of what I am bypassing and hope that the stand with broadcast satellite transmitters does n ot hold some device that will turn around later and bite my ignoránce. Similarly with the program m e of lectures when I pass up the talk on “Com pliant Press-Fit Connectors” and then see the dem onstration of a startling colour data-compression process for two-way telephone and video links at the exhibition and find that I missed the talk modestly titled, “Teleconference Equipm ent from NEC”.

SO WHAT’S NEW?

Not a lot. The ‘toys’ are getting better, smaller, but n ot m uch cheaper, and, if you do not have a com puter by now, forget it. There were a num ber of significant items that point to changes in film and video production, such as hand-held RDAT portable audio recordCINEMA

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I R E E C O N ’ 89 ers that will inevitably make Nagras items of nostalgia, and the steady im provem ent of CCD video chips that have such advantage over tube cameras that we talk about the good old Philips LDK 14 days (“Daddy, what is a plum bicon?”) . O ne need only look at the quality of the EP-3 CCD cam era from NEC with 700 lines horizontal resolution and all the other advantages of solid state electronics, such as variable shutter speeds to 1 / 1500th of a second. The Videssence Sustained Plasmatic Ionic Light sounds pretty scientific for a well-designed broad-source fluoro light, but you know how these Americans like to go on. The Videssence 12/8K gives the equivalent of an 8,000-watt broad source without the head and infrared, and was dem onstrated as a particularly suitable source to use for Ultimatte work. T here is a narrow 4K equivalent strip light for eye lighting as well. The range is handled by Techtel, which also had a PC-based edit controller, Edit Master, that drew appreciative comments and was priced at the off-line market. It could control most professional machines and had particularly good EDL soft ware. Canon had its NTSC Video Stills system on display and the first of the PAL domestic units, the Xapshot RC-250. It is slated for endof-the-year release and should cost less than $1,500. W ant to build your own camera? Philips had a bare-bones Imaging Module for about $560 ex tax for the basic m ono CCD version. It ju st needed power and a lens. There were colour models and they use surface m ount techniques on flexible PCBs to cram it all in to an area 89 x 170 x 45mm. Overshadowing the Fuji film cans and tapes on the Hanimex stand, which hardly m ade a riveting display, was a one-piece edit controller and video enhancer from France called the Portax Video Edition VHS VEU 100. M ounted on aVHS video player, it allows you to m ark 100 in and out points of your VHS tape and then assembles onto any other VCR that has an infrared rem ote control. With the record m achine in record/pause the VEU 100 starts and stops it as it finds each new cue point. T here is a variable start and stop delay to fine tune the adjustm ent for new VCR, and it is worth a look. I hope that the m anual was translated by different people to the ‘Franglais’ ad brochure, as it m ade even those who write the Korean brochures look literate. The big news from Fuji was the release of its F-series motion picture stocks and I will be covering these later. BUY AUSTRALIAN

It is m ore because of an honest appreciation of how we can actually make innovative things of quality, rather than a desire to attract their advertising, that I have concentrated on Australian manufacturers. Because they usually d o n ’t have decent advertising budgets, these are the items that we d o n ’t hear about. As a result, we assume that there are no alternatives to the big brand names. It is often a case of existing customers and word of m outh only, so companies like Digiteyes, with its n ear saturation of their Shotlister product, are to be congratulated. Drifting into areas that I do n o t normally frequent, I found that AWA MicroElectronics has ju st spent $65 million on a plant at Hom ebush, Sydney, to design and m anufacture ASICs (Application Specific Integrated Circuits), yet the list of ICs that they have already produced suggests applications for the local video-equipment de signers. ADx Systems is probably better known overseas than in its own country for a range of well-designed time-code and audio synchro nizers. Its ADx-25 TurboLock synchronizer keeps turning up in more audio suites and ADx released its ADx-03, a very flexible package of VITC/LTC reader, generator, analyzer and com parator 58

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that includes its now-standard timecode standards converter m odule that allows you to jam sync from one time-code standard to another. Q uinto Communications is now the local agent. Editron Australia Pty Ltd’s Sydney office should help redress its predom inantly Victorian local market and it has developed export sales of its synchronizers (including one, it proudly announced, to Dolby Studios in San Francisco). The new Editron 440 is a budgetpriced audio synchronizer and editor that shows the experience Graham Thirkel’s team has with non-standard applications. The 440 is ju st at hom e with film projector or dubbers, and sync from Pilot tone, video, bi-phase, or tachom eter pulses, as it is to multiple (3 m achine), 24-track interlocking. It includes a built-in time SMPTE/ EBU code generator for 24,25 and Drop frame and NDF. With an in built software library of most audio, video and film equipm ent, this looked a very smart device. In the same breath, there were new things from A.E.C. (Auto matic Edit Controllers Pty L td), including a slow-motion add-on for the Sony BVW-75 machine, its AXIS video editor, a laser-disc control ler, the ATCL, their inexpensive broadcast quality STILL frame store, and CAM (all their acronyms, not m ine). CAM matches timecode num bers to edge num bers for negative matching, and I am going to catch up with it in a later issue. The Digiteyes Shotlister edit list software has had a boost for users of it in VHS edit suites, with the release of its new VITC (Vertical Interval Time Code) generator that allows the VHS Hi-Fi track on the Edit VCR to be used. The Digiteyes generator regenerates time code complete with the existing user bits to keep the code continuous. This frees up the the other linear audio track for editing. I do n ot know who Possum Video Products is, but the name makes a difference from the other HighTechNames approach. From Ringwood, Victoria, it showed a 12-volt 100-watt battery fill light. Rated at 3350 deg K, the battery pack in a neat nylon case with shoulder strap will run the lamp for 20 m inutes with a 2.5 hour recharge. Designed with a pole m ount and a hot-shoe adapter, Possum also offered a range of heads and AC adapters and plugs.

Lemac Sales dem onstrated the West Australian-designed Cinekinetics One Man Grip kit. It had its own very classy catalogue with lots of tasteful white space which receives my Lowell Memorial Americanization Award for 1989. Despite the catalogue and the (shudder) Incredible Spreadable tripod spreader (yes, it is the same three bits of chain grips always have in their trucks), the product looks well m ade and, for a small m arket item, reasonably priced. There is a Micro Jib arm m ount on a tripod head (and sells for about $3,000); a small PVC pipe dolly in a carry case called a Pocket dolly; a foam-padded Cine Saddle that substitutes for shot or sandbags when m ounting a camera on a car bonnet or platform but with enough loops to securely tie it down; and a tough-zippered canvas Sand Sack as a reusable sandbag. The whole kit comes for about $4,700 ex tax and would make a useful addition to a lot of ENG and 16mm camera shoots. I especially liked the Jib arm and the finish on all the items was very good. The Americans will love it. Sharing a small stand, but attracting a lot of interest, were two products that are significant for their software design. The FAME Television Production Facility system is an integrated software sys tem that tries to do it all. Developed by Continuum Software in Melbourne for AAV M elbourne and Pro-Image, Melbourne and Sydney, it handles facilities bookings, scheduling, library, labelling, invoicing and provides reports on facility usage analysis (Sorry Beryl, we will have to letyou go) and cost-centre profitability. The introduc tory manual is uniquely Australian and blunt in parts (to put it mildly), but with their experience they can probably afford to be. It is hard to believe that anyone else could compete in the local market and, before long, you will be receiving the same computerized invoice from even m ore places. AAV is also the hom e o f Alchemy Research, Geoff Baxter, John Leonard and T he Brat. With a particularly bad run of puns (Would you leave your valuable equipm ent in the hands of a BRAT?, O ne day the world may be run by BRATs, Be the first on your block to adopt The Brat...) the Brat is a small (220 x 220 x 45mm) program m er/ controller for a range of Audio/Visual systems. With its own lan

guage, Bratchat, it looked relatively simple to write sophisticated control sequences for use with videodisc and U-Matic players that can be controlled by a range of touch screen, keyboards or simple push buttons. Using Non Volatile storage chips and with onboard clock and smart software, it can control two players, has three remote-control inputs and two power-switching outputs, and two parallel ports for 8-bit com puter data inputs/outputs. Available from mid November for about $1,820 ex tax, The Brat will really simplify the production of specialist interactive audio-visual programmes ■ 1

I 1

M A N U FA C T U R ER S OR D IS T R IB U T O R S O F PR O D U C T S M EN TIO N ED NEC Australia 4th floor, 11 Queens Road, Melbourne Vic.

Digiteyes Pty Ltd P.O. Box 450, Kings Cross, NSW 2011

Techtel Pty Ltd 1 /2 Cambell Street, Artarmon, NSW 2064

Cinekinetic 2 Avon Court, Thom lie WA 6108

Canon Australia Pty Ltd 1/123 Wicks Road, N orth Ryde, NSW 2113

Lemac Sales 2 Griffith Street, Richmond Vic, 3121 and Unit 1, 33 College Street, Gladesville NSW 2111

ADx Systems Pty Ltd 11-82 Reserve Road, Artarmon, NSW 2064 Quinto Communications Pty Ltd 260 Auburn Road, Hawthorn Vic. 3122 Editron Australia Pty Ltd 36 Lever Street, Oakleigh Vic and Unit 4, 65 Hum e Street, Crows N est NSW 2065. A.E.C. Pty Ltd Shop 3, 84 Great N orth Road, Five Dock NSW 2046

1 |

Alchemy Research 180 Bank Street, South M elbourne Vic. 3205 Philips Com ponents (02) 439 3322, (03) 881 3677 also Adelaide, Perth, and Brisbane. Hanim ex Pty Ltd 108 O ld Pittwater Road, Brookvale NSW 2100

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THIS ISSUE: ISLAND; SEX, LIES AND VIDEOTAPE; BURIED ALIVE: THE STORY OF EAST TIMOR; BLIND FURY AND, PARIS BY NIGHT

ISLAND ANNE-MARIE CRAWFORD

to approach a new Paul Cox film w ithout the fact of its being a Paul Cox film appearing m ore prom inent than the film itself. More than any oth er Aus tralian feature director, Cox has acquired the status o f auteur. The rem arkable consis tency with which he is able to produce films on them es o f personal concern makes him a truly singular figure in the Australian con text. His films are apparently without the taint of m arket com prom ise. This is reiter ated overtly or implicitly in interview after interview. His integrity may in fact be one of his best m arketing devices. O ne o f the privileges awarded to auteurs is the latitude to make unspectacular films. This relief from the need to strain to attract attention is sometimes a good thing, but in the case of Island it has produced a rather insubstantial film. T here are two main im pulses at work in the film: the impulse to evoke, and to some extent docum ent, the atm osphere and life on the particular Greek

T IS ALMOST IMPOSSIBLE

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island of the film ’s setting; and a storytelling impulse which conjures three women, each of them in a particular kind of exile on the island. The visual evocation of the island conveys little m ore than picture postcards: white washed walls, blue doors, the sea, the rocks, the obligatory native-with-donkey. Cox seems to be working with a photographic style popularized by Life magazine, a style which renders all people and places hom ogene ously exotic and intense. O ne rarely gets a tangible sense of ‘real’ life on the island, despite the textural detail. Island has n ot so m uch a narrative as the vague structural outline of one. The rela tions between the three female characters, Eva (EvaSitta), Sahana (AnojaWeerasinghe) and Marquise (Irene Papas), and their indi vidual em otional struggles are ostensibly the focus o f the story. The film has all the appro priate signs of hum an feelings - long gazes, ‘m eaningful’ pauses, tearful goodbyes - but somehow these come across as superficial or n o t vividly expressed. T he characters’ most intim ate m om ents are spent sitting in the

A B O V E: S A H A N A (A N O JA W EER A SIN G H E), LEFT, AN ISLAN DER, EVA AND M ARQUISE (IRENE P A PAS) IN PAUL C O X 'S ISLAN D.

dark amidst single shafts of light delivering gems about women being the strength of the earth (which is why m en try to keep them dow n), and their nature being about love, not war. Cox presents these ideas as though, in his visionary way, he is presenting them to us for the first time. But of course these things have been in popular circulation for at least twenty years. Beneath the visual and formal em bellishments, and the tone of wonderous revelation, the them es are cli ches. T here is in Cox’s work a deep identifica tion with any kind of outsider and a rom antic attachm ent to alienation as a state of being. T h ro u g h its visual style a n d its portentousness, Island becomes a kind of tasteful travelogue for exotic alienation. The tastefulness is all-pervasive. The film’s treat m ent of such ‘controversial’ issues as m ur der and drug addiction (here too there is som ething a bit dated about Cox’s shockh o rro r tone) is amazingly delicate. The m u rd er happens oh-so-quietly, in the night,

and is handled quickly and w ithout fuss. T here is only one insipid reference to sex. Aside from these inconsequential incidents, there are ju st a few isolated statem ents about war and political conflict as an attem pt to depict the dram a of life. For all these token gestures, the film is ultimately passionless. The dual impulse o f the film, towards docum entary and fiction, results in the co existence of two very different filmic tex tures. O n the one hand, there is an implicit drive towards some kind ofverite. Cox’s use of non-actors to provide ‘realistic’ back ground detail and texture can be attributed to this drive. But such processes can some times have bizarre effects on the fiction. There is, for instance, a scene in which Sahana stumbles out of the local coffee house screaming in distress after the news of her husband’s death. T he locals placed at tables outside the cafe rem ain impassive through out, despite the fact that the scream could have burst an eardrum or two. In any con text, this is a fascinating and strange mo ment. In Island, however, it highlights the way that the docum entary and fiction tex tures do n ot weave together as it seems they should. In this film, they exist for the most part in two quite separate spheres as two solid forms rubbing uneasily together. Cox is often identified as Australia’s great film artist. He seems to identify himself with such figures as the tragic genius Van Gogh (the subject of his film Vincent). In a critical sense, these associations do not enhance Cox’s work. The exceptional virtuosity and creative inspiration one is led to expect by the rhetoric surrounding him are simply not apparent in his films. In Island, the safe familiarity of his- ‘beautiful’ images are an example of the lack of aesthetic inspiration in his work, as are the montages that are nothing m ore than postcard series, generat ing little energy in the juxtaposition. Yet one cannot help but admire the dili gence and persistence with which he pur sues his particular quest, a quest that has resulted in films that are entirely idiosyn cratic within the Australian context. Perhaps Cox’s greatest genius lies simply in his ability to find a viable m arket for the kind of work he wants to create. As he has him self pointed out many times, his films do not lose money. This is no small achievem ent for a producer of independent and ‘personal’ films. ISLAND D irected by Paul Cox. Producers: Paul Cox,

Sam antha K. Naidu. Executive producers: William Marshall, Jeannine Seawell. Associate producer: Takis Em m anuel. Screenplay: Paul Cox. Director o f photogra phy: Mike Edols. Sound: Jim Currie. Editor: John Scott. Production designer: N eil Angwin. Music consultant: Anil Acharya. Cast: Eva Sitta (Eva), Irene Papas (Mar quise), Anoja W eerasinghe (Sahana), Chris Haywood (Janis), N orm an Kaye

(Henry), Francois Bernard

(F renchm an). An Atlantis Releasing presentation o f an Illum ination Films production. Distributor: Newvision. 35m m . 93 mins. Australia. 1989.

SEX, LIES AND VIDEOTAPE HUNTER

CORDAIY

film comes to Australia with strong credentials from Cannes: the Palme d ’O r and Best Actor awards. Such accolades are an easy and tempt ing reference point for a review of this debut independent feature, but the film has ante cedents which are equally interesting. For instance, Sex, Lies and Videotape could be seen as a film starring the children of the charac ters in Decline of the American Empire. In Denys A rcand’s film, the characters talked about sex, life and history. They were, mostly, middle-aged and middle-class, belonging to a generation which felt the need to confess through dialogue, using the supposed hon esty of conversations between friends to explain their emotional behaviour and ra tionalize their deceits. For them, sex was the only source of happiness at a time when everything else was visibly decaying around them. By contrast, the characters in Sex, Lies and Videotape are a generation younger and sev eral steps deeper into post-modernist cul ture. For some of them, talking about sex has to be done on screen, via videotape, because sex is so problematic, if not impossible, for them. Now thoughts and feelings have a cold blue image-distance from the heart and its surrounding flesh. These ‘second genera tion’ characters live with different layers of deception, as indicated by the film’s title: mom entary sexual relief replaces true feel ing, outright lies displace the truth, and relationships on screen become preferable to engaging daily life. These narrative levels are encountered from the opening sequences when Ann (Andie MacDowell), the wife of a young fastlane lawyer, John (Peter G allagher), is talk-

TEVEN SODERBERGH’S

BELOW : ANN (ANDIE MACDOWELL) IN STEVEN SODERBERGH'S S E X , LIES AND VIDEOTAPE.

ing with her psychiatrist. She searches for a pattern in h er nightm are world where gar bage cans produce even m ore garbage, and she is reluctant to be touched by h er hus band. These two repulsions are symptoms of the ‘decline’ in A nn’s world, offset by her husband’s confidence that all is ro sy- he has a rapidly ascending career and a frenetic affair with his wife’s sister, Cynthia (Laura San Giacom o). Video is added to the sex and lies of Ann and Jo h n when an old friend, Graham (James Spader), visits them. Gra ham quickly becomes the most compelling character in the film, a reclusive personality who hesitates when Jo h n suggests he take an apartm ent nearby because that would mean h e ’d have two keys in his life (the first being for his car). The film uses Graham as a catalyst for un ravelling the complexes of Ann, Jo h n and Cynthia. Like them, the viewer is drawn slowly, deliberately, into his life as a voyeur. Graham has the attractive and disquietening appearance of someone who has witnessed a great horror, or is perhaps a refugee from the lot of Down By Law or Repo Man. There are disconcerting pauses in his speech and comments which slide into scenes without warning, such as: Graham: My mother is a prisoner of public television now. and Graham (to Ann): Have you ever been on tele vision? Ann: Why? Graham: Just curious.

Only later does the viewer realize that in this context “television” means his private productions. For Graham, the confessions of women on tape are the closest he has come to sexual satisfaction. Soderbergh explores the relationship between sex and video (doing and watching) in a way which makes willing accomplices of his audience (Hitchcock perfected the technique in Rear Window) because the voyeurism is half re spectable, half fetishistic. W here’s the harm, after all, in telling a dispassionate camera about your first sexual experience, and, if that becomes arousing, surely th at’s only natural? The cinema has always exploited these dark sides ofits characters, the work of Hitchcock and Buñuel being good examples. In Sex, Lies and Videotape, this shadow-world is revealed when Ann, then Cynthia, agree to ‘appear’ on screen for Graham. Their inter est is , in part, a fascination with the idea, and partly a reaction against John, who has be trayed Ann and is becoming less interesting to Cynthia. Graham appears ‘safe’ by com parison, because he admits to being impo tent (“Does that bother you? Now?” runs the dialogue with Ann), and so his obsession with their images is directed towards himself rather than against them. This allows all CINEMA

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three to happily indulge in the experience. If there is a flaw in the plot of Sex, Lies and Videotape, it is th a tjo h n becomes predictably enraged when he discovers both his women have been filmed by Graham. As self punish m ent he watches the tapes, attacks Graham, and, being so distracted by his domestic crises, loses his jo b as ju n io r partner in the law firm. H ere the film slides comfortably into a m oral framework that is safe in every respect. Cynthia realizes she doesn’t need her affair with John, and Ann reverses Gra ham ’s impotence, allowing him at last to turn off his cam era because sex has become possible again - image is made flesh. The final shot of Ann and Graham sitting con tentedly on the stoop of his apartm ent reading The New York Times, apparently now socially and sexually adjusted after their traumatic journey through the dark side of the video screen, is the last perverse joke in a film overshadowed by a persistent black hum our. Despite these narrative concessions, Sex, Lies and Videotapehas an erotic tension which is supported by imaginative camerawork from Walt Lloyd, and sustained by a dark hum our which this writer found attractive. If this $1.2 million film set in Baton Rouge, Louisiana, doesn’t quite live up to the accolades it has received, it does suggest that independent projects are still capable of overcoming the immense barriers to success that often de feat m ore m ainstream films, which in turn m aintains an audience for some of cinem a’s m ore compelling fetishes. SEX, LIES AND VIDEOTAPE Directed by Steven Soder

bergh. Producers: Robert N ewm yer.John Hardy. Execu tive producers: Nancy T enenbaum , Nick W echsler, M organ Mason. Screenplay: Steven Soderbergh. Direc tor o f photography: Walt Lloyd. Sound: Paul Ledford. Art director: Joann e Schmidt. Music: Cliff Martinez. Cast:James Spader (Graham D alton), Andie MacDowell (Ann M illaney), Peter Gallagher (John Millaney), Laura San Giacomo (Cynthia B ishop), Ron Vawter (Thera pist), Steven Brill (Barfly). Ajq Outlaw Production. Dis tributor: Newvision. 35mm . 101 mins. U.S. 1989.

BURIED ALIVE THE STORY OF EAST TIMOR MARCUS BREEN

HEREISA refreshing EDGE to Buried Alive thatjust saves it from being a depressing linear documentary about one of the great tragedies of contemporary international politics.

In a word, the edge is Naom Chomsky. It is no surprise that the person who first ana lysed the concept of the industrial-military complex, and, indeed, coined that term, should have a m ind like a vice, and analytical skills and knowledge that is locked out of the mainstream of western media. From his high profile role in the 1960s and ’70s, Chomsky has become a marginalized figure, such has been the nature of the swing 62

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to the Right in the so-called liberal media. His disappearance from the scene repre sents, in part at least, the effectiveness of the Right in not reporting on progressive and radical ideas. This was a major success of Reaganism-Thatcherism and the like. These people cannot run economies, but they can decimate active intellectual environments. Buried Alive represents an unequivocal statem ent that ideas, analysis and facts can n o t be suppressed any longer. It is sad to have to say that Australian federal govern ments have been at the forefront of sup pressing debate about East Timor. Even Gough Whitlam, an icon of the Australian Labor Party, was little more than a puppet of that pernicious reality, geo-politics, siding with Indonesia almost inadvertently, when he should have been siding with the call for independence and autonomy by the people of East Timor. But it is the nature of geo-politics to never allow “independence and autonomy” asjohn Pilger explained so brilliantly in his book Heroes. Australia was an unwitting co-con spirator in the imperialistic intentions of Indonesia, when it allowed Indonesia to crush Fretelin late in 1975. With W hitlam’s demise came the Fraser years and truly slavish assis tance. The Australian governm ent went about its task of handing over East Tim or to the Indonesians which crushed the progres sive independent elements on the island. Fretelin and the Democratic Union of Ti mor, which had engaged in a short-lived civil war, were to be decimated. In later years, when East Tim or was to be raised as a major issue at the United Nations, Prime Minister Malcolm Fraser contacted sympathetic Pa cific Island nations, like Fiji, and told them not to support East T im or’s claims or Fretelin’s request for a full debate, lest they suffer repercussions in the region. How pleased the U.S. must have been to have a belligerent bastard like the Australian Prime Minister doing its dirty work. While Fraser was looking after that side of the geo politics, the nasties in the Indonesian army were slaughtering up to 200,000 East Ti morese. This is nothing new for the Indone sians, who must rank alongside the Chilean Government as one of the great neo-fascist regimes of the late 20th Century. The Indonesian military ju n ta (in truth that is what it is) has a policy of smashing communism and progressive causes gener ally. T here are reports that up to 500,000 Indonesians were butchered for their Leftwing tendencies, after the coup that installed current President Suharto and destroyed the happy liberal regime of founding Presi den t Sukarno. None of this information is readily reported in the Australian media. This brings me back to Naom Chomsky and the conspiracy to silence the voices of

the Left. But it is notjust about silencing pro gressive voices; it is about a m uch more worrying trend, namely, keeping the public in the dark lest the truth cause it to rise up and strike at the heart of the system that keeps it ignorant. It is eminently sensible that Buried Alive begins with a prolgue in which Chomsky (mysteriously unnam ed and ju st appearing as a talking head) sets the agenda for the film. He utters the following words with the intense directness that American academics and public figures often have: As far as the American population is concerned there are a number of reasons why the East Timor issue should be important and these, in fact, are the reasons why the population knows nothing about it, why knowledge about it is kept from them.

At the end of the film this statem ent makes sense. At the head, it is puzzling. It is one of those cases where some innovation may have assisted the construction of the film. To use exactly the same statem ent at the conclusion of the film, as well as at the head, would have made the point eminently clear and rein forced the point that this is a film and an issue about which we know too little, and there are good reasons for that. This is one example that typifies the prob lems that conventional documentary filmmaking incorporates.Statements on film like Chomsky’s; bold, brilliant and biting; are just sounds, little more than compressed air. Why is it assumed that a statement, once uttered by an individual on film, has on going value? We read books for pleasure and for reference, but we watch films for quite different forms of pleasure and experience. In particular, we watch documentary films to learn, to be inform ed and to be touched, and Buried Alive is certainly effective in this sense. It conveys an overpowering sense of despair and disgust. And, yet, it inevitably struggles to m aintain the interest of the viewer because of the endless string of infor mation and analysis that it conveys. It is another of the im portant Aussie ag itprop docum entaries that need to be made, but which have a myriad of limitations. The first is their often distinct lack of filmic inno vation. I have discussed this m atter in this publica tion quite recently and will n ot reiterate (see Cinema Papers, No. 74). However, it does need to be said that while Buried Alive may lack innovation, it does not suffer from some of the problems of its stablemates, simply because the story is so incredible, so shock ing and international in scope. It is good that co-director Gil Serine trav elled to New York arid did a door sto p / footpath interview with Bill Hayden outside the UN, when Hayden was Australia’s for eign minister. There is footage ofjose Ramos-

H orta, Fretelin/E ast T im or’s U nited Na tion’s representative. We see him in his small New York apartm ent, walking the streets in a poorish suburb, working up support inside the UN, addressing meetings of the UN. We also see H orta in his early days in the 1970s and watch his progress as a political activist, diplom at and citizen o f the world. Serine and his co-directors have n o t been content with ju st this and the rem arkable Chomsky. They have also taken their cam era to Zimbabwe for a m eeting of the non-aligned nations, to Angola and Mozambique - the two African states that have struggled to find their own way, as did East Timor, after the military coup in Lisbon on 24 April 1974 ushered out the neo-fascists and introduced liberal democracy. Archival footage, perhaps even some scratchy super-8, conveys the sense that what happened in EastTimorwas poorly reported, that all that rem ains in an archival sense are fragments of film of the brave people who fought to control their own destiny. There is also some rem arkable footage of the five Australian journalists m urdered by Indonesian troops. This perhaps is the most telling m aterial in the film, reflecting on the brutality of the Indonesian military and the very core of Buried Alive - that the story was once being told and with this film it is now being told with history as our guide. This is n ot a great film, simply one that had to be made. It is an indictm ent of our coun try and our world. BURIED ALIVE: THE STORY OF EAST TIMOR Directed by Gil

Serine, Fabio Cavadini and Rod Hibberd. Producer: Gil Serine. 59 mins. Director o f photography: Fabio Cavad ini. Sound recordists: Gil Serine, Marco Petdni. Supervis ing editor: Rod Hibberd. Editors: Tom Litchfield, Gil Serine, Bob Burns. Narration writers: Rod Hibberd, Gil Serine. Narrator: Gil Serine. Music: Martin Wesley-Smith. 16mm. Australia. 1989.

BLIND FURY ADRIAN

MARTI N

Blind Fury’s denoue m ent, there is an especially good mom ent. In a patently artificial, almost dream like process shot, the arch villain of the piece, Slag (Randall ‘T e x ” Cobb), having been dispatched by the blind swordsman hero, Nick (Rutger H au er), goes plunging down a snowy ravine. Just at the split second when the shot seems to have conveyed its in form ation and is about to becom e redun dant, som ething else is added: Slag separates cleanly into two halves at his waist. To quote an apposite line from Lubitsch’s To Be Or Not To Be. “It’ll get a terrific laugh.” A lot comes together (as well as apart) in this m om ent. It is a typically ‘saturated’ event in an action movie - the kind of film that people tend to call, w hether admiringly or dismissively, a ‘g en re’ movie. The shot puts T THE HEIGHT OF

together, all at once: the fi nale to the big show-down th e a u d ie n c e has b een prim ed for; a gag ‘to p p er’ to this finale; and a breathtak ing vista of the film’s ‘exotic’ location (it often goes u nre m arked that an elem ent of ‘tourist spectacle’ is almost m andatory for commercial films these days). The gag itself is the culmination of a line of jokes throughout the film based on a familiar trope of samurai hum our: three lightning swishes of the blade; a pause as the audience tries to fathom exactly who or what has been cut; then the breath taking a n d /o r hilarious reve lation of the results. And let one n o t forget to note the wonderfully inventive char acter nam e given to the vil lain, Slag, and the fact that he brings to this film the ‘intertextual’ or generic asso ciation of many a role, but perhaps particu larly that of the ‘Lone Biker of the Apoca lypse’ from the Coens’ Raising Arizona. T here are two things to be argued for on behalf of Blind Fury and a torrent of other fine, neglected movies: the virtues o f ‘genre’ movies, and then m ore particularly of action movies. Phillip Noyce’s film, assuredly, claims to be nothing more or less than an action movie, and it is particularly inappropriate in this case to ‘lam ent’ (as some reviewers, predictably, are compelled to do) that this director once made such serious, socially relevant works. Phooey to that: Blind Fury is a good action movie, in an entirely different cultural universe to Newsfront or Heatwave, and it has to be taken on its own terms. In a great deal of film reviewing and criticism, however, those ‘term s’ have hardly begun to be recognized. Indeed, the standard critical response to action movies, even in praise, tends to be one of apologetic defensiveness: “It’s no great work of art, but it’s two hours of thrills and fun, and at least it doesn’t take itself seriously.” O ne writer revealingly re ferred to Blind Fury as a “nuisance of a film”, and so it is - a nuisance for ‘serious’ criti cism. It is probably common knowledge that contem porary commercial cinema long ago learnt to defile what Peter Wollen called “the doctrine of the purity of genres”. Today genre movies are, routinely, multi- or ‘mutant’-genre creations, rigorously ‘calculated’. They have to be this way in order to achieve the desired high num ber of narrative twists, spectacular effects and cultural ‘m arkers’ or recognition points for different demographic

A BO VE: N ICK (RUTGER H AU ER), THE BUND SW O RDSM AN, IN PHILLIP N O YCE'S BLIND FURY.

or subcultural audiences. Almost every commercial film nowadays - and certainly every one that proudly thinks of itself as a ‘genre movie’ - is a more-or-less-familiar, more-or-less-novel reworking of a m ultitude of currently ‘available’ (i.e., saleable) plot lines, stars, character actors, hit songs, stylis tic ambiences, topical references and so on. The key point is not that movies merely ‘quote’ other movies (as Blind Fury, for in stance, reworks both a Japanese ‘Zatoichi’ movie and Cassavetes’ Gloria) - in popular culture territory, this is surely a banal obser vation by now - but how they quote, how they materially combine, energize and animate their chosen elements. The heart of a genre action movie like Blind Fury, like with so much popular cul ture, is not in its ‘m eanings’ (the Vietnam pretext to this film, for instance, is purely that - a pretext, a plot device) but in its movement, its achieved energy, what Law rence Grossberg calls its “affective economy”. Blind Fury is a model of pure textual move ment: a circulation of plot devices and bits of spectacular events into highs and lows, clinches and toppers. This goes not only for the obviously action-oriented sequences, but also the character-based ‘em otional’ ones. The ‘p o in t’, ultimately, of all the interplay between Nick and the difficult child, Billy (Brandon Call), he must m ind until return ing to the redeem ed dad, Frank (Terrance O ’Quinn, from The Stepfather]), is n ot espe cially ‘ideological’ (although it’s that, too, in a routine sort of way). Rather, these characCINEMA

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ter relationships are ‘functional’, m echani cal even, allowing some crisp ‘feel good’ dynamics to play themselves out. As so often in action movies, the very attributes of the hero - in this case, his lack of sight, his super sensitive hearing - are scarcely ‘psychologi cal’ traits; instead, they provide away for the ‘m achine’ of the film to materially em pha size and extend its own games with the cine matic param eters of vision, sound and space (Predator provides another good example of this). Every genre movie, through its selection and repositioning of available elements, brings upon itself unique problem s of struc ture, tone and effect to be solved, hopefully inventively. With Blind Fury, that means for Noyce getting two essential things right. THe first is being able to turn the merry implausibility of the plot premise (a blind swords man?) n o t into a self-defeating, uneasy run ning gag, but the very wellspring of the film’s energy and its performative solicitation of the viewer. Scenes such as Slag’s hair-raising van drive seem to me to succeed admirably on this level. The second problem is how to ‘pitch’ scenes that intend to be comically violent so that the laugh doesn’t die as the audience starts wondering about ‘real’blood, real death. The initial choice of a samurai premise is wise in this regard, for swordfights, like old Hollywood gunfights in prePeckinpah days, can easily be rendered as rather bloodless affairs, all ‘flash’ and panto mime. Blind Fury pushes the interesting prob lems of comic violence even further, how ever, with its running-gag rednecks, Tector (Nick Cassavetes) and Lyle Pike (Rick Overton) , who are rather m ean and foul at times (brilliant stroke: they end up killing each other!), and its com plem ent of outrageously severe slicings and dicings of bodily parts. This is, of course, the classic edge on which genre movies work - courting only a movie, ‘dum m y’ artificiality. While I suspect that some reviewers, and indeed some filmgoers, may never “get a terrific laugh” from that sight of Slag’s splitting in two, it’s nice to be able to note that some of us still do - and that genre filmmakers will have to keep coming up with new ways of impressing us. BLIND FURY D irected by Phillip Noyce. Producers: D aniel

Grodnik, Tim Matheson. Executive producers: Robert W. Cort, David M adden. Screenplay: Charles Robert Carner. Based on a screenplay by Ryozo Kasahura. Direc tor o f photography: D on Burgess. Editor: David Sim m ons. Music: J. Peter Robinson. Production designer: Peter M urton. Cast: Rutger H auer (Nick Parker), Bran don Call (Billy Deveraux), Terrance O ’Q uinn (Frank Deveraux), Lisa B lount (Annie W inchester), N oble W illingham (M acCready), M eg Foster (Lynn D everaux), Nick Cassavetes (Tector P ike), Rick Overton (Lyle P ike), Randall “T ex ” Cobb (S lag), Charles Cooper (C obb ), Sho Kosugi (Japanese swordsman). A Tri Star-Interscope Com m unications production. Distributor: Fox Colum bia. 35mm. 85 mins. U.L n989 64

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PARIS BY NIGHT SCOTT MURRAY

of Thomas Hardy, and his thwarted love for Tryphena Sparks, that:

OHNFOWLES has written

... never was an English genius so devoted and indebted to one muse and one muse only ... This tension ..; - between lust and renuncia tion, undying recollection and undying repres sion, lyrical surrender and tragic duty, between the sordid facts and their noble use - energizes and explains one of the age’s greatest writers; and beyond him, structures the whole age it self.1

Like Hardy, David Hare is obsessed with the one female muse. And like that great author, Hare has by chronicling his W oman’s movements through a more-modern age inci sively dissected the malaises of post-war England. This muse has already found several forms, including Anna in Licking Hitler, Caroline in Dreams of Leaving, Susan in the archetypical Plenty, Jean and Karen in Wetherby, and Clara in Paris by Night. But she remains essentially the same Woman: unknowable, melancholic, spirited and at times powerful, deceitful, with a quick intellect disconnected from her emotions, varyingly troubled and often sexu

ally maladjusted. This Woman is, in AlbertJ. G uerard’s nom enclature2, the “hedonist tending to neurosis”, a modern-day Sue Bride head. C l a r a p a i g e (Charlotte Rampling) is H are’s personification of the hypocrisies of Thatch erism. She is the bright and beautiful new face of the English Right. She stands for the trium ph of individual will over a depend ency on State: one succeeds or falls, without excuse, by dint of o n e’s actions. Clara prom otes herself as a successful, selfmade woman, but she lives out a lie. H er one known business enterprise faltered badly and was passed on deceitfully by her Tory husband, Gerald (Michael Gam bon), to their business partner, Michael (Andrew Ray). There is also the question, n ot resolved in the film, of how much Clara’s first successful steps into politics were the result of her being the wife of a Westminster parliam en tarian. Clara claims that most people need and want to be led, and she presents herself as their leader. Yet the m om ent things start to go wrong, she shows herself to be incapable of rational action, of leadership. Instead of living up to her own creed, she looks for others to blame. She becomes revisionist

LEFT: CLARA PAIG E (CHARLOTTE RAM PLIN G ): THE ELEGANT NEW FACE O F THE ENGLISH RIG H T. DAVID HA RE'S P A R IS B Y N IG HT.

about h er past and she psychopathically creates for herself a bete n oir in Michael, as if to explain h er panic. It is this self-deluding impulse, this tension between appearance and sordid truth, that accelerates the col lapse of h er corrupt political and m oral expediency. H are contrasts Clara’s downward spiral with a quite moving re-evaluation of Michael. At first, the audience is deeply mistrustful of him (he looks like a dissolute blackm ailer), b ut this alters to a feeling of sympathy (when his daughter reveals a ‘tru e r’ image o f the m an). This shift of perception reinforces o n e ’s already intense dislike o f Clara and all she pretends to stand for. O f all the H are W omen, Clara is the most flawed: she kills w ithout need or remorse, she is wantonly cruel (look at how she talks to h er h usband), quite incapable of giving of herself emotionally, to either h er son (she is an even worse p aren t than Diana (Barbara Hershey) in A World Apart) or to h er (typi cally) insipid lover, Wallace (Iain G len). In short, she exhibits no moral worth. And had n o t fate intervened, she would have gone on to, in H are’s terms, wreak havoc on a society which, while it should have known better than encourage her, deserves nought so bad. And there is n o t a hin t that she, let alone her political philosophy, m ight in any way be redeem able. H er death reads nothing so m uch as H are’s bitter wish fulfilment. Surprisingly, this is n o t a view to which H are publicly subscribes: .•Clara is not a cold-hearted woman. There is a goodness in her ambition, she is capable of delight and deep melancholy. In short, she’s a fully rounded person ...3

Well, H are’s view o f goodness and delight is obviously n o t to everyone’s taste. W hat is revealing about that quote, apart from the disturbing interregnum between creator and creation, is that H are seems to list deep melancholy as one o f Clara’s virtues (an “a n d ” instead o f a “b u t” is telling). And certainly m elancholia is a prim e characteris tic of his Woman, but it is never a virtuous one. Invariably it is a form of self-indulgence which forestalls any hope of self-realization. H ence the often wilful path to traum a or destruction, This is why A nna doesn’t resist the d runken Scot in Licking Hitler and why Caroline in Dreams of Leaving sets herself on the path to insanity rath er than acknowl edge a positive em otion. H are’s attacks on Establishm ent males is no less acid: they act out repressed and re pressing lives in the wood-panelled world of m en ’s clubs, parliam entary cham bers and private dining rooms. They wield power

ruthlessly so as n o t to be disturbed. (One imagines Gillvray (Robert Hardy) will have a h ard time living down Clara’s bursting into his club.) Such a view is cliched and little m ore than an undram atic trivialization. Has H are noth ing m ore original or perceptive to say about male power in England? Why can’t English dram atist of the Left, of which H are is one, attem pt to write Right-wing characters who are m ore than ju st caricatures, people with the odd intriguing quality so as to afford a frisson with the hypocrisy of their politics. Charm has been the only thing ever ac corded the m en of the Right, and th ere’s precious little of that in Hare. H are’s reliance on caricature, on the tooeasily targetted barb, comes in part from his obsession with words. W hen the words flow so easily, so majestically, there is the risk that they are n o t sufficiently challenged. Usually a director can come in and scalpel the re dundant, but H are is now often his own director, or he dem ands in his script con tract that n o t a word be changed (cf the strictures on Fred Schepisi with Plenty). Paris by Night'm particular suffers from this uncritical verbosity, as seen in this scene where Clara first visits h er sister, Pauline (Jane A sher): Clara: You’ve had a new haircut. It does look attractive. Pauline: Clara, I’m your sister. It’s a perfectly ordinary haircut, neither good nor bad. I don ’t need flattery. You have my vote.

First, one can see immediately that it is an ordinary haircut. H are doesn’t yet seem to realize th ath e doesn’tn e e d words to explain what the eyes can clearly see. Second, Ram pling’s perform ance, especially in the bril liant use of her intense physicality, has al ready convinced the audience she is an invet erate vote-catcher. Verbal explanation ju st isn’t needed. Yet, even then, Hare can’t let well enough alone and drives the point home even further when, in the next scene, Clara says to a visitor, “I like your haircut.” Given this deadening onslaught, it is difficult for the audience n ot to feel it is being dressed down by a very bossy teacher. O f course, H are is n o t using language re alistically: how many people, after all, speak as precisely as his characters do. H are’s dia logue is a stylization, ju st as is Roger P ratt’s 1940s lighting, or the script’s structure with its doubling and false mirrorings (what looks like G erald’s m urder at the start reflects perversely on his m urder of Clara at the e n d ). But this very stylization yields up no special pleasures, no nuances thatjustify the relentless explicitness. As for the ‘thriller’ aspects of the plot, these too are trite. Mostly they hinge around several anonymous and m enacing phone calls to Clara, which H are would like one to

believe are from Michael or someone con nected with his ‘blackmail’ attem pt. But the voice of actor Robert Hardy, who plays Tory power broker Adam Gillvray, is so distinctive that it is hard to imagine anyone n o t imme diately recognizing it. This is a m ajor m isjudgm ent and makes the inexorable m ovem ent towards the ‘sur prise’ resolution at Gillvray’s club rather tedious. Worse, since the audience has proba bly deduced from the start that the caller is n ot Michael, Clara’s pushing him off the Pont des Arts appears even m ore cold blooded and unm otivated than H are per haps intended. Also sapping at the dram a are several moments of out-of-character behaviour, used by H are in a vain attem pt to paste over plot holes. A m uch cited example is Clara’s tell ing Wallace to answer the phone in h er hotel bedroom . This is entirely out of character and H are has h er do it simply because he hasn’t thought of a better way for Clara’s husband to learn that Wallace is with her. A nother is not having Clara immediately recognize the voice of the m enacing caller (Gillvray is, after all, her frien d ). One could put this down to Clara’s desire to create Michael as the villain, but H are gives no help on this and one is left to conclude that it is probably again ju st sloppiness on his part. O ne can’t help feeling that the indignant teacher in H are is not only disdainful of the conventions of the genre he is plumbing, but, far worse, of his audience itself. H are has shown him self to be a majorwriter director with his early television films. But today his work looks crude and played out. The precision has been replaced with a garrulous bitterness, the love that fashioned his enigmatic W oman now replaced with anti-Thatcherist hate. His ending to Dreams of Leaving sounds even m ore self-prophetic: “O ur lives dismay us. We know no comfort. We have dreams of leaving ... everyone I know. ” 1. John Fowles, T he French L ie u te n a n t’s W om an, Jonathan Cape, London, 1969, pps 263-64. 2. Albert J. Guerard, T hom as H ardy, Harvard Uni versity Pres, Harvard, 1949. 3. Quoted in the press kit for P a ris by N ight. PARIS BY NIGHT Directed by David Hare. Producer: Pa

trick Cassavetti. Executive producer: Edward R. Press man. Screenplay: David Hare. D irector o f photography: Roger Pratt. Editor: George Akers. Sound recordist: Clive Winter. Production designer: A nthony Pratt. Composer: George D elerue. Cast: Charlotte R am pling (Clara Paige), M ichael Gambon (Gerald Paige), Robert Hardy (Adam Gillvray), Iain Glen (Wallace Sharp),Jane A sher (P aulin e), Andrew Ray (M ichael Swan to n ), Niam h Cusack (Jenny Swan ton) Jon ath an W hite (Sim on P aige), Linda Bassett (Janet Swanton), Robert Flem yng (Jack Sid m outh). British Screen, in association with Film Four International, Zenith. A Greenpoint-Pressman produc tion, in association with C ineplex O d eon Films. Distribu tor: CEL. 103 mins. 35m m . UK. 1988. CINEMA

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THE CROSSING Prod. co. Beyond International Group Dist. company Hoyts P roducer Sue Seeary ALMOST ALIEN D irector George Ogilvie Prod. co. E ntertainm ent Partners Scriptwriter Ranald Allan P roducer Jam es Michael V ernon Exec, producers A1 Clark D irector Rolf de H eer Philip Gerlach Scriptwriter Peter Lofgren S y n o p s is : A rom antic drama. Assoc, producer Penny Wall D.O.P. Martin McGrath THE PHANTOM MOVIE 1st asst director Don Cranberry Prod, company Phantom Films E ditor Pippa Anderson Producer Peter Sjoquist Casting Forcast Ken Shadie Scriptwriter Publicity LionelMidford Lee Falk Based on comic strip by S y n o p s is : A television weather forecaster Prod, designer Grace Walker goes through a mid-life crisis when he dis Exec, producer Bruce Sherlock covers, after 18 years o f m arriage and two Assoc, producer Mark Turnbull children, th at his wife is an alien. S y n o p s is : no details supplied.

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THE STARS ARE UPSIDE DOWN Goshu Films Prod. co. Soundstage International Ltd Ronin Films Dist. com panies Australian T.V. Denise Patience Network Ltd., B.B.C. Solrun Hoaas Acquisitions, B.B.C. Enterprises, D irector Solrun Hoaas G rasshopper Productions Scriptwriter Solrun Hoaas P roducer T ibor Meszaros D.O.P. Geoff Burton Director Mario Andreacchio Sound recordist Jo h n Phillips Scriptwriter Joy Whitby E ditor Stewart Young Based on novel by Gabriel Alington Prod, designer Jennie Tate Exec, producers H annah Downie Assoc, producer Katsuhiro Maeda T ibor Meszaros Prod, coordinator Jo-anne Carmichael Assoc, producer Joy Whitby Prod, m anager Robert Kewley Prod, supervisor Robert Cocks U nit m anager Leigh Ammitzbol Studios Soundstage Australia Limited 1st asst director Euan Keddie Tracks Art director Clive Jones G rasshopper Productions Costum ier Lynne Heal Laboratory Movielab Make-up Kirsten Veysey Budget $1.4 million W ardrobe sup. Margot Lindsay Length 92 mins Props buyer Danae G unn Gauge 16mm Standby props Chris Jam es S y n o p s is : T he story of Tavy, a 16-year-old Still photography Jennifer Mitchell English servant girl, who finds love and a Dialogue coaches Julie Forsythe challenging new life in mid-19th Century Yoshiharu Abe Australia. U nit publicist Richard Payton Budget $1,800,000 TILL THERE WAS YOU Length 96 mins Prod, company Ayer Prods Gauge 35mm Producer Jim McElroy C a s t Eri Ishida (Aya), Nicholas Eadie Director Jo h n Seale (Frank). Scriptwriter Michael Thomas S y n o p s is : A post-war story o f love, mar D.O.P. Geoffrey Simpson riage and friendship, begun during the Sound recordist Gary Wilkins occupation o f Japan, and set in 1950s and Editor Jill Bilcock ’60s Victoria. H ere the cultural shift and Prod, designer George Liddle new pressures force three people through Tim Sanders Line producer inevitable change.

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Mark Westlake Set const, m anager Bob H earn Still photography Bill Bachman Best boy Roy Pritchett R unner Andrew Power Publicity Eileen O ’Shea Pub. Catering Band-Aide Laboratory Cinevex Lab liaison Ian Anderson Budget $3.2 million Length 95 mins Gauge 35mm Shoodng stock Kodak Cast: Max Von Sydow (Joe), Carol Drinkwater (Anne), Julia Blake (Leah), Steve Jacobs (Bobby), Simone Robertson (Rebecca), Kahli Sneddon (Amy), Nicho las Bell (Jam ieson), Tim R obertson (George), Bruce A lexander (Racine), Denis M oore (Gabriel). Synopsis: Anne W inton is a happily mar ried m o th er o f two whose com fortable life is tu rn ed inside-out when Joe, her aging father, is publicly accused o f having been a Nazi war criminal. Anne vehemently defends h er fath er’s reputation until, with startling consequences, doubt begins to overtake her.

Make-up driver Paul Naylor Stunts coord. Glen Boswell Still photography Brian McKenzie Best boy Peter Bushby Prod, ru n n er Lyndie M enken Catering David & Cassie Vaile (O ut to Lunch Catering) Sound post-prod. Soundfirm Laboratory Colorfilm Budget $3.3 million Gauge 35mm Shooting stock Kodak C ast:John H annah (Neal), Steven Vidler (Lancelot), Gary Day (W alker), Bill Young (Cimino), Emily Simpson (Mason). Synopsis: T he story of two off-beat police man. O ne is Glasgow cop Neal McBride who busts a corrupt Glasgow alderm an with protection from people in high places. McBride’s police chief transfers him “down u n d er” to Sydney, where he is partnered with Lance Cooper. Rejecting the dull routine on offer, McBride plunges the two of them into an undercover drug investigation in the harbourside suburbs.

Mark Taylor Lon Bentley Vivienne Rushbrook Make-up asst A nna Karpi H airdresser Tony M ered Asst hairdresser Greg Staines Asst hair/m ake-up Doug Glanville Animal trainer Evanne Chess Animal handler Cody H arri Horse master Gerald Egan Horse wranglers Jim Willoughby Bill Willoughby Malcolm Pritchard Lloyd Ventry NO CAUSE FOR ALARM Brendon Egan Prod, company International Film Stable girl N idra Watson E ntertainm entBullock master Graham Young Jadran Film Bullock wranglers Happy Bradford Dist.company ITC-Sugar E ntertainm ent Max Scanlon Producers Antony I. Ginnane Safety officer Ken McLe Steven Strick Stunt coordinator GuyNorris Director Frank Shields Asst stunt coord. Danny Baldw Scriptwriter David Peoples Stunts Gary Amos D.O.P. Richard Michalak Ken Connley Sound recordist Bob Allen Murray Chesson Art director Misha Scenecic Lou Horvath Exec, producers Paul Lichtman Rick Anderson A KINK IN THE PICASSO Arnie Fishman Rocky McDonald Prod, company Rosa Colosimo Larry Sugar Paul M urtagh Dist. company Octopus Worldwide Line producer Basil Appleby Jo h n Raaen HARBOUR BEAT Media Enterprises Prod, accountant Jim Hajicosta Greg Stuart Prod, company Palm Beach Pictures Producer Will Spencer 1st asst director Bob Howard Stunt horse wrang. Colin Lowe (H arbour Beat) Director Mark Gracie Casting Rosemary W eldon Brian Faye Producers DavidElfickScriptwriter H ugh Stuckey Length 94 minsn (approx) A rm ourer Brian Burns Irene Dobson D.O.P. Jaem s Grant Gauge 35mm Asst arm ourer Peter Gronow Director DavidElfickSound recordist Jo h n Wilkinson Shooting stock Eastm ancolor Special fx sup. Steve Courtley Scriptwriter Morris Gleitzman Editor Ted McQueen-Mason Cast: Michael Nouri (Milker), D arlanne Special fx coord. Conrad Rothm an Based on orig. idea DavidElfickExec, producer Rosa Colosimo Fleugel (Bird), Charles D urning (Clancy), Special fx Monty Feiguth D.O.P. Ellery Ryan Prod, coordinator Veronica Toole Maxwell Caulfield (Abbott). Chris Murray Sound recordist PaulBrincat U nit m anager Mark Jam es Synopsis: A crazy girl pilot and an investi Paul Gorrie Editor Stuart Arm strong Prod, accountant Reg McLean gative reporter join forces to crack a gov Tom Davies (Mighty Movies) 1st asst director Ray Hennessy ernm ent cover-up. Special fx asst Rodney Burke Prod, designer MichaelBridges 2nd asst director Maria Hyland Asst cost, design. Jean T urnbull Assoc, producer Nina Stevenson 3rd asst d ir./ru n n e r Troy Walsh W ardrobe sup. Julie Middleton Prod, m anager Catherine Knapman Continuity Ann Beresford QUIGLEY DOWN UNDER Prod. co. Quigley Down U nder Prods W ardrobe buyer Rosalie H ood Prod, coordinator Sharon MillerCasting director Angelo Salamanca Standby dresser A ndrea H ood Stanley O ’Toole U nit m anager Ian Freeman C lapper/loader GayleH untProducers Asst standby Morag Smart Alex Rose Asst u n it m anager Geoffrey Guiffre Camera asst Mandy Walker W ardrobe asst Lauryn Forder Director Simon Wincer Location m anager Peter Lawless Key grip Freddo Dierck Original screenplay Jo h n Hill Cutter Sheryl Pilkington Prod, accountant Jill SteeleAsst grip Wayne McPherson Seamstresses KateGreen Ian Jones (Moneypenny Services) Gaffer Peter ScottScript editor David Eggby Laura Jocic Asst accountant Kerrin Begaud Best boy StevePriceD.O.P. Art director Ian Gracie Sound recordist Lloyd Carrick Prod, assistant Rebecca Coote Boom operator Greg Nelson Sue Jarvis Adrian Carr Art dept coord. 1st asst director Colin Fletcher Art director Maria FerroSupervising editor Chris Robson (Syd.) Editor Peter Burgess 2nd asst director Sarah LewisMake-up Vivienne MacGillicuddy Brian Edmonds Prod, designer RossMajorSet decorator 3rd asst director Nicholas Cole W ardrobe Anita Fioravanti Buyers Brian Dusting Prod, supervisor David Munro P roducer’s asst Basia Plachecki Set dresser Ian Rae Production m anager Pamela Vanneck Peta Lawson Casting Christine King Still photography Greg Noakes L e n ju d d Prod, coordinator Barbara RingAsst props buyers Camera operator David Williamson Publicity Lionel Midford P roducer’s asst Rosemary Marks Peter Forbes Focus puller Jo h n Platt Catering Sweet Seduction Prod, secretary Toni WingGraphics Jan e Murphy C lap p er/lo ad er Barry Idoine Mixed at Soundfirm Location m anager Andrew Ellis Draughtsm an Glen M cDermot Key grip RayBrown Laboratory Cinevex Aboriginal liaison Craig Bolles (Gove) Standby props Robert Moxham Ian Anderson Grips Ian Bird Lab liaison Mark Leonard (Alice Springs) Asst standby props Murray Gosson Length 90mins W arren Grieff Storyboard artist Graeme Galloway Continuity J u dy W hitehead Gaffer Simon Lee Gauge 35mm Construction sup. WayneAllan P ro d .ru n n e r Shane Rooney 3rd electrics Greg Allen Shooting stocks Kodak 5247, 5297 Scenic artist Christo Reid 1st asst director Bob Donaldson 4th electrics Vaughan Ottaway Cast: Jane Menz (Alex), Jane Clifton Construct, m anagers Ian Doig 2nd asst director Hamish McSporran (Bella), Jon Finlayson (Lionel), Andrew Art director Jen n ifer Carseldine Alan Good Co-2nd asst dir. Nikki Long Daddo (Nick), Tiriel M ora (Stan), Peter Art d ep t coord. Julianne White Leading hand Alan Fleming 3rd asst director Debbie Atkins Farago (Harvey), Michael Bishop (Tony), Costume designer Bruce Finlayson Carpenters Phil Backler Focus pullerDerry Field Femi Taylor (Nadia), Peter Hosking Costume supervisor Sandi Chichello C lapper/loader Adrien Seffrin Ian Baxter (Minister). Make-up LesleyVanderwalt Cam. m aintenance Peter Stott Andrew Chauvel Synopsis: If Joe h ad n ’t stolen the Picasso H airdresser Cheryl Williams Grip Graham Litchfield Jo h n Kingston and Wendy h ad n ’t argued with Bella and Standby wardrobe Julie Barton Guy Miller Asst grips Ian McAlpine Nick h a d n ’t got him self into debt with Props buyers Mark Dawson Mark Ramsay G ordon McIntyre Tony and his two gay heavies, then Cyril Kristin Reuter B randon Mullen Gaffer Ian Dewhurst ouldn’t have got a cigarette stuck up his Standby props Jo h n Osm w ond Best boy Lex Martin Frank Phipps nose. Special effects Applied Explosives Asst electrics Tim Morrison David Robson Acdon veh. coord. Peter Cashman THE MAGIC RIDDLE Trevor Ripper Jerem y Sparks Const, m anager Bob Paton G enerator op. DarrylPearson Driver Mark Schultz Prod. co. Yoram Gross Film Studio Scenic artist BillUndery Boom operator Chris Goldsmith Set finishers Gus Lobb Dist. co. Beyond International Group Carpenters Frank Phipps Chris Jones P roducer Yoram GrossU nit m anager Alan Brom head Alan Armitage Ken Moffat Brush hands Anthony Smith Director Yoram GrossAsst unit m anager C arpenters’ asst Robert Morrison Craig Dillon B rendon Cavallari Scriptwriters Yoram GrossU nit assts Stage hand 1 Adrian Knowles Peter M unro Bob Graham L eonard Lee Stage hand 2 Bob H eath U nit nurse Ju d ith Knapp Dennis Hulm Jo h n Palm er Asst editor Deborah Reid Personal m anager DavidMuntz Kevin McDonald Assoc, producer Sandra Gross U nit nurse SueAndrews 68

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Music Guy Gross Ray Nowland Storyboard Prod, supervisor Jeannette Toms Prod, m anager Rod Lee Length 80 m inutes Gauge 35 mm Cast: Robyn Moore, Keith Scott Synopsis: An enchanting story which borrows characters and events from popu lar fairy tales and weaves them into one charm ing and suspenseful tale of love, mystery and m irth.

Make-up

American publicist Australian publicist Publicity sec. Stills photographer Casting consultants

H u n t Downs Susie Howie A ntonine Kacala Barry Peake Michael Lynch Rae Davidson (Forcast) Extras casting Jo W arren Caterer Chris Smith Asst caterers Roger Jarrett Rosalind Ja rrett Hali G ordon Glen M cDermot Asst editor Jam es Harvey Sound editor Terry Rodm an Cost controller Vincent O ’Toole Asst accountants Angela Kenny Tunya Williamson Travel Katie Yeowart Freight Greg Helm ers 2nd u nit director Adrian Carr 2nd u n it D.O.P. Ross Berryman 2nd u n it focus David Stevens 2nd u nit clapper Peter White Laboratory Colorfilm Lab liaison Denise Wolfson Simon Wicks Cast: Tom Selleck (Matthew Quigley), Laura San Giacomo (Crazy Cora), Alan Rickman (Elliot Marston), Tony Bonner (D obkin), Chris Haywood (Major Ashley Pitt). Synopsis: Matthew Quigley, a troubleprone cowboy with a fabulous long-range rifle, arrives in colonial Australia to face two problems: Crazy Cora, who thinks he is h er husband, and a ruthless landowner who wants him to kill Aborigines. Quigley wants nothing to do with either, but ends up involved with both to becom e an un likely legend.

FEATURES POST-PRODUCTION BEYOND MY REACH Producer Frank Howson Director Dan Burstall Scriptwriters Frank Howson Philip Dalkin D.O.P. Peter Bilcock Editor Peter Carrodus Sound recordist Jo h n Phillips Tel Stolfo Prod, designer Executive producer Peter Boyle Line producer Barbi Taylor Lynn Howson Production exec. Production m anager Lesley Parker Deborah Prod, co-ordinator Samuels Financial controller Belinda Williams Accounts asst Am anda Kelly Anne Cashin Exec, p ro d .’s asst Receptionist Annette Nevill Location m anager Ralph Price U nit m anager Michael Batchelor 1st asst director Brian Giddens 2nd asst director Peter Voeten 3rd asst director Rob Visser P ro d ./u n it ru n n er Andrew Power Continuity Kay Hennessy Focus puller Peter van Santen C lap p er/lo ad er Paul Tilley Camera assistant Ross Williams Boom operator Stephen Vaughan Gaffer Rob Young Peter Moloney Best Boy Roy Pritchett G enerator operator Ian Benellack Grip Grips assistant A rthur Manousakis Costum er designer Jeannie Cameron Standby wardrobe Marion Boyce W ardrobe assistant Sue Armstrong Make-up Jose Perez H air Loli Sanchez Art director Bernadette Wynack Props buyers Murray Kelly

Daryl Mills Set dresser Trish Keating Standby props Brian Lang Assistant buyer Hamish Alderson-Hicks Safety/stunts New Generation Stunts Co-ordinator/safety Archie Roberts Artist van driver Frank M angano Make-up bus driver Alan Boyd U nit gennie driver Lloyd Milne Caterer Bandaide Publicity Lionel Midford Stills photographer Greg Noakes Asst, editor Alan W oodruff Edge num berer Peter T hornton Sound editor Craig Carter Dialogue editor Livia Ruzic Sound assistant Jam es Harvey Casting Liz Mullinar Casting Cast: Terri Garber (Terri Neilson), David Roberts (Christoph er Brookes), Alan Fletcher (Alex Gower), Nicholas Ham m ond (Steven Schaffer), Nancy Black (Jennifer Sellers), Belinda Davey (Emma), Christine Harris (Jade), Nicki W endt (P am ),Jon Craig (Curt D ’Angelo), Con stance Landsberg (Sally), Chuck McKinney (Phil). Synopsis: The story of two friends, Christopher Brookes, a director, and Alex Gower, a writer. After a few m inor suc cesses in Australia, they head for Holly wood. But the pressures there p ut a strain on their creative relationship. O ne stays in L.A. and the other, disillusioned, re turns hom e. Years later they m eet again ... BLOOD OATH Prod, company Blood O ath Prods Producer Charles W aterstreet Director Stephen Wallace Sriptwriters/Producers Denis W hitburn Brian Williams D.O.P. Russell Boyd Sound recordist Ben Osmo Editor Nick Beauman Prod, designer Bernard Hides Co-producer Annie Bleakley Line producer Richard Brennan Prod, coordinator Bernadette O ’Mahony Prod, m anager Helen Watts U nit/loc. m anager H ugh Johnston Prod, secretary Chris Gordon Prod, accountant Gill McKinlay (Moneypenny Services) Accounts asst Liane Lee 1st asst director Chris Webb 2nd asst director Henry Osborne 3rd asst director Maria Phillips Continuity Linda Ray Casting Alison Barrett Casting Camera operator David Williamson Focus puller Jo h n Platt C lapper/loader Richard Bradshaw Key grip Ray Brown Ian Bird Asst grips W arren Grieve Aaron Walker Gaffer Brian Bansgrove Paul G antner Electricians Colin Chase Grant Atkinson Gerry Nucifora Boom operator Art director Jam es Kibble Roger Kirk Costume designer Make-up Lesley Vanderwalt H airdresser Cheryl Williams W ardrobe supervisor Mel Dykes W ardrobe standby Jo h n Shea W ardrobe assts Andrew Short Julie Frankham W arren Kelly Props m aker Sue Maybury Props buyers Paul Dulieu Harry Zettel Standby props Special effects Visual Effects Ray Pedler Scenic artist

Construct, m anager Danny B urnett Construct, forem an Phillip W orth Sound editors Karin W hittington Nicholas Breslin Editing assistant David Grusovin Stunts coordinator Guy Norris Stunts T he Stunt Agency Still photography Jim Townley Runners Sara Probyn Alan Long U nit publicist Annie W right Catering Feast Film Catering Studios W arner Village Roadshow Studios, Queensland Laboratory Colorfilm Length 110 mins Gauge 35 mm Shooting stock Kodak Cast: Bryan Brown (Cooper) J o h n Clarke (Sheedy), D eborah U nger (Littell), George Takei (T akahashi), Nicholas Eadie (Keenan) Synopsis: The story of an Australian Army Captain who was assigned by the Austra lian Army Legal Corps to prosecute the Japanese war criminals in com m and of the Ambon Island POW camp during W orld War II. BREAKAWAY Prod, company Breakaway FilmsUkiyo Films Disi. co. Smart Egg-Cinema Enterprises Producer Don McLennan Director Don M cLennan Scriptwriter Jan Sardi D.O.P. Zbigniew Friedrich Sound recordist Lloyd Carrick Supervising editor Zbigniew Friedrich Co-producer Jane Ballantyne Exec, producer Les Lithgow Prod, m anager Euan Keddie Producers’ asst Michelle Wild Prod, coordinator Jenny Barty Prod, secretary Kimanie JonesHam eister Location m anager Neil McCart U nit m anager Leigh Ammitzboli Runners Matthew Baker-Hazell Joseph Donghia Accountant Juanita Parker Asst accountant Mary Makris 1st asst director Euan Keddie 2nd asst director Paul Ammitzboli 3rd asst director Julie Burton Focus puller Mandy Walker C lapper/loader Peter Stoti Boom operator Chris Goldsmith Gaffer David Parkinson Best boy Michael Hughes Key grip Peter Kershaw 2nd grip Michael Madigan Electrics Stuart Crombie Daryl Pearson Jam es Perkins Trevor Ripper 1st stills photog. Kim Baker 2nd stills photog. Sam antha Carter Costume designer Sally Grigsby Standby wardrobe Rachel Nott Make-up Maggie Kolev 2nd make-up Anna Kapinski Casual make-up Vivienne MacGillicudy Casting Greg Apps (Liz Mullinar) Extras casting Robbie Gibbs U nit publicist Tony Johnston Prod, designer Paddy Reardon Props buyer Marita Mussett Decorator Marita Mussett Scenic artists Kate Joyce Jo h n Rauche Stunt coordinator Glen Reuhland Safety officer Arch Roberts Action vehicle coord. Robert McLeod T ransport captain Colin Forsythe Special fx coord. Brian Holmes

A rm ourer Driver Nurse Caterers

Brian Holmes Antonio Yegles Leanne Shine Christina Frollich Keith Fish Annette Kelly Assembly editors Nicholas Lee Tony Buettel Music prod. Tony Buettel Music engineering Cinevex Laboratory Ian Anderson Lab liaison 35mm Gauge Dist. guarantee Sm art Egg-Cinema Enterprises Com pletion bond Motion Picture Guarantors Cast: Bruce Boxleitner (Joey), Bruce Myles (Reginald), D eborah U nger (M arion), Toni Scanlan (Hilda), Terry Gill (Hank Stardust). Synopsis: W hen Joey, a prisoner on the run, takes Reginald, an accountant, as his hostage, he gets more than he bargained for. CONFIDENCE

(See issue no. 73 fo r details) THE DELINQUENTS Prod, company The Delinquents Dist. company Greater Union Producers Alex Cutler Michael Wilcox Director Chris Thom son Scriptwriters Mac Gudgeon Dorothy Hewett Lex Marinos Based on novel by Criena Rohan D.O.P. Andrew Lesnie Sound recordist Paul Brincat Editor Jo h n Scott Prod, designer Laurence Eastwood Composer David Bowie Executive producers Greg Coote Jo h n T arnoff Graham Burke Line producer Irene Dobson Prod, consultant Clay Frohm an Prod, coordinator Sharon Miller Prod, m anager Rosslyn Abernethy U nit m anager Phil U rquhart Location managers Colin Oddy Jo h n Watson Prod, secretary Rebecca Coote Prod, accountants Lea Collins Dianne Brown Base liaison Trish Wallace 1st asst director Colin Fletcher 2nd asst director Toby Pease 3rd asst director Emma Schofield Continuity Jackie Sullivan Producers’ assist Rebecca Coote Casting Michael Lynch Rae Davidson (Forcast) Extras casting Jane O ’Hara U nit assistant Gabrielle D unn Focus puller Colin Dean C lapper/loader Lyddy Van Gyen Key grip Robyn Morgan Asst grip Robbie van Amstel Gaffer Simon Lee 3rd electrics Peter Bushby 4th electrics Glen Court Boom operator Alex Paton Art director Rob Robinson Asst art directors Diaan Wajon Tim Ferrier Michelle McGahey Costume designer Bruce Finlayson Make-up Judy Lovell Asst hair/m ake-up Yvonne Savage Costume supervisor Sandi Cichello W ardrobe asst Marilyn Brent Standby wardrobe Julie Barton Props buyer David McKay Standby props Jo h n Osmond CINEMA

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Special effects C horeography Set decorator Scenic artists

RayFowler Props buyer Rolland Pike Asst, editor Peter McBain Lorry d ’Ercole Set dresser Hamish AldersonEdge num berer Peter T hornton LissaCoote Hicks Sound editor Craig Carter RayPedler Colin Robinson Dialogue editor Jam es Harvey Peter Collias Standby props DarylPorter Casting Greg Apps C arpenters Drew Young Caterer (Melb) Sweet Seduction Liz Mullinar & Associates Gary Wilson Caterer (Cairns) Cathy T rout Cast: Jo h n Savage (Michael Bergm an), Dave Franks Publicity Lionel Midford Kerry Arm strong (Michelle H arris), Jef Bruce Fletcher Stills photographer Greg Noakes frey Thomas (Larry H arris), Rebecca Rigg Set construction PhilW orth Casting Liz Mullinar Casting (Debbie McCormick), Rhys McConnochie Asst editor LizGoldfinch Asst, editor Peter McBain (Stockton), Ian Scott (Holmes), Stephen Musical coordinator Christine W oodruff Edge N um berer Peter T hornton W hittaker (Roberts), Guy Pearce (Sharp), Set finishers DaveDriffin Cast: Guy Pearce (Errol Flynn), Paul Nicholas Bell (Piggott), Stacey Valkenburg Desmond Keena Cantoni (Klaus Reicher), Rebecca Rigg (Young Michelle). Wayne Truce (Penelope W atts), Jo h n Frawley (Head Synopsis: no details supplied. Dialogue editor Greg Bell master) , Jan Friedl (Deidre W atts), Sue Sound editor Soundage Jones (Elsa Chauvel). LINDA SAFARI Editing assistant RajOakley Synopsis: The story of the early years of Prod, company Soundstage Australia Fx editor Ashley Grenville Australia’s favourite son, Errol Flynn. It Dist. company UAA Stunts coordinator Bob Hicksdeals with his childhood and wild exploits Producer Tibor Meszaros Action vehicle coord. Gerald Knight in Tasmania, as well as his legendary ad Animation director Laszlo Ujvari Still photography Barry Peakeventures in Sydney with the notorious Scriptwriters Joan Ambrose Best boy Greg Allenrazor gangs. Flynn then travels to New Tibor Meszaros R unner Alan LongGuinea to participate in the Gold Rush. Peter Jeffrey Rushes’ ru n n er Shane Minslow The story endsjust prior to Flynn’s leaving Script editor Joan Ambrose U nit publicist Fiona Searson to seek his fame and fortune in Holly Based on novel by Coper, Gat & Dennis Davidson & Assoc. wood. Rozgoni Catering Denni G ordon D.O.P. Sandor Polyak HUNTING Studios W arner Roadshow Studios Sound recordist Ric Curtin Producer Frank Howson Mixed at Colorfilm Pty Ltd Editor Geza Paal Director Frank Howson Laboratory Colorfilm Pty Ltd Prod, designer Sandor Polyak Scriptwriter Frank Howson Budget $10million Composers K. Peek D.O.P. David Connell Length 100 minutes R. Szikora Dan Burstall Gauge 35mm C.S. Bogdan Sound recordist Jo h n Rowley Shooting stock Agfa G. Berkes Editor Philip Reid Camera equipm ent Samuelsons M. Fenyo Production designer Jo n Dowding Com pletion guaran. T he Com pletion A. Bodnar Exec, producer Peter Boyle Bond Co. G. Szentmihalyi Line producer Barbi Taylor Cast: Kylie Minogue (Lola), Charlie Schlat Assoc, producer Robert A. Cocks Prod, executive Lynn Howson ter (Brownie), Desiree Smith (Mavis), Exec, producer H annah Downie Prod, m anager Lesley Parker Todd Boyce (Lyle), Angela Punch McG Prod, supervisor David Downie Prod, co-ordinator D eborah Samuels regor (Mrs Lovell), Lynette Curran (Mrs Prod, m anagers Endre Sik Financial controller Belinda Williams H an sen ), MelissaJaffer (Aunt W estbury), Janos Juhasz Accounts assistant Christine Hodgson Bruno Lawrence (Bosun). Prod, secretary Allie Conley Assist, to exec. prod. Anne Cashin Synopsis: Set in the 1950s, The Delinquents Prod, accountants Robert Sharpe Receptionist Annette Nevill is a love story that follows the growing Sandor Antalne Location m anager Jo h n Shur relationship between Lola and Brownie, 1st asst director Miklos Katalin Unit m ngr. Hamish Alderson-Hicks two young teenagers on the run. Casting W atermelon Valley P rod’ns 1st asst, director Jo h n Powditch Storyboard Janos Katona 2nd asst, director Brett Popplewell FLIRTING Janos Katona 3rd asst, director Rob VisserCharacter designer Prod, company Kennedy Miller Music perform ed by Kevin Peek P ro d ./u n it ru n n er Lisa Hohenfels D irector Jo h n Duigan Sound editors Ric Curtin Make-up van driver PaulEgan (See p. 30 o f this issue fo r details) S. Kalman Artist van driver DavidHolloway Mixers Ric Curtin Continuity Jenni Tosi S. Kalman FLYNN Focus Puller Greg Ryan Animation Hollo Laszlo Film Studio P roducer Frank Howson C lapper/loader Terry Howells Opticals H ungarian Film Laboratory D irector Brian Kavanagh Camera attachm ent Warik Lawrence Studios Soundstage Australia Limited Scriptwriters Frank Howson Steadicam operator Ian Jones Hollo Laszlo Film Studio Alister Webb Underwater D.O.P. Ian Jones H ungaroton D.O.P. Jo h n W heeler Assistant DavidLindsey Tracks Sound Recordist Jo h n Rowley Boom operator Christopher Roland Laboratory H ungarian Film Laboratory Editor Tim LewisGaffer Rob Young Length 90 mins Prod, designer Brian Dusting Best boy Peter Moloney Gauge 35mm Executive producer Peter BoyleG enne operator Roy Pritchett Shooting stock Eastmancolor Line producer BarbiTaylor Grip Ian Benallack Synopsis: A story o f intrigue, adventure, Production executive Lynn Howson Grips assistant A rthur Manousakis mystery, action and rom ance, com bining Production m anager Tatts Bishop Costume designer/ hum our and heroism with rock ‘n ’ roll Prod, co-ordinator Am anda Crittenden Standby w ardrobe Aphrodite Kondos music for all ages. T he heroine is Linda, a Financial controller Belinda Williams W ardrobe co-ord M argot Lindsay police officer with Interpol. She is well Accounts asst Simone Higginbottom Standby wardrobe Jeannie Cameron known for her Tae Kwon Do and her Exec, producer assist. Anne Cashin Make-up Amanda Rowbottom linguistic skills. Several stories operate si Location m anager Chris Odgers Lloyd Jam es multaneously and the protagonist always U nit m anager (Melb) RoryHogan H air Pam Murphy wins against great odds, without guns, in 1st asst director Carolynne Cunningham Jay Liebowitz her fight against organized international 2nd asst director Mark Chambers Art director Bernadette Wynack crime and terrorism. P ro d ./u n it ru n n er Derek Richards Props buyers Keith Hanscom be Continuity Shirley Ballard Danielle Conroy WENDY CRACKED A WALNUT Boom operator Chris Roland Set dresser Victoria Rowell Grip (Melb) Robbie H ansford Hoyts Prods-ABC Standby props Brian LangProd, company Producer Grips asst (Melb) Rod ShortA rm ourer/S p fx Jo h n Edwards Film Guns Pty Ltd Director Michael Pattinson Grip (Cairns) Jack Lester Safety/stunts New Generation Scriptwriter Suzanne Hawley Grips asst (Cairns) Gary Shearsmith Stunt Co-ord/Safety Off. Archie Roberts Suzanne Hawley Costume designer RoseChong Based on orig. idea Caterers Keith Fish D.O.P. Jeffrey M alouf Standby wardrobe GailMayes Trio Catering Sound recordist Nicholas W ood Make-up artist Lloyd Jam es Catering assistant Ken McGregor H air Vivian Rushbrook Editor Michael Honey Publicity Lionel Midford Prod, designer Art director H ugh Bateup Leigh Tierney Stills photographer Greg Noakes 70

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Com poser Exec, producers

Bruce Smeaton Brian Rosen Sandra Levy Ray Brown Assoc, producer Prod, coordinator Sandy Stevens Prod, m anager Susan Wild U nit m anager C hristopher Jones Location m anager M aude H eath Jan e Symonds Prod, secretaries Janie W ardman Shuna B urdett Budget officer Director’s asst Gillian Campbell 1st asst director Scott Hartford-Davis 2nd asst director Karen Kreicers 3rd asst director W arren Parsonson Ken Moffat U nit asst Continuity R honda McAvoy Casting Liz Mullinar Casting assts Sue Walsh Vanessa Brown Camera operators David Williamson Geoff W harton Focus puller Garry Phillips C lapper/loader Sean McClory G enerator op. Robert Woods Key grips W arren G rieef David Nicholls Asst grip Mark Abraham Stills Gary Johnston Gaffer Ken Pettigrew Electricians Greg Allen Robert Burr Boom operator Christopher Nilsen Asst designer Jo h n P rycejones Design assts Will Soeterboek Eugene Intas Leore Rose Costume designer H elen H ooper M ake-up/hair Ron Bassi Cate O ’D onoghue W ardrobe coord. Wendy Falconer W ardrobe asst Pia Kryger Props Don Page Props buyers Adrian C annon Mervyn Asher Standby props Jo h n King Tal Oswin Special effects Brian Cox David Hardie David Young Peter Leggett Choreography Tony Bartuccio Set dressers Richard K ennett L eanne Bushby Scenic artist Paul Brocklebank Standby carpenter Gerry Seymour Standby painter Steve Burns Set construction Laurie Dorn Asst editors Elizabeth Walshe A ntoine Boissonnas Neg m atching Pam ela Toose Musical director Bruce Smeaton Stunts coord. Bem ie Ledger Still photography Gary Johnston W rangler Vera’s Animal Agency R unner Jo n ath an Swain Publicity Read McCarthy Group Catering O u t To Lunch (David Marshall) Studios ABC Frenchs Forest Laboratory Colorfilm Length 90 mins Gauge 35mm C ast Rosanna Arquette (Wendy), Bruce Spence (Ronnie), H ugo Weaving (Jake), Kerry Walker (Deidre), D oreen Warburton (Elsie), Desiree Smith (Cynthia), Susan Lyons (Caroline), Barry Jenkins (Pierre), Betty Lucas (Mrs Taggart), Douglas H edge (Mr Leveredge). Synopsis: Wendy works in a shoe factory; her husband, Ronnie, is a confectionery salesman. T heir m arriage is threatened when W endy meets Jake, a perfect stranger, at the superm arket W ho will Wendy choose: good, hardworking, pre dictable Ronnie, o r handsom e, sauve, rom antic Jake?

Music perform er Robert Krai Lawrence Johnston Sound editor Andrew Ganczarczyk Chris McGill N arrator George Skowronski Lisa Doherty Budget $3000 Leonie Sheedy Length 10 mins Lisa Doherty Gauge U-matic David Marks Synopsis: The British criteria for estab Greg Brett lishm ent of brain death are dem onstrated. Rebecca McLean Boom operator Jacki Koolen Art director Lawrence Johnston CATALYST Make-up Simon Wain T ru Vu Pictures Prod, company Stunts coordinator Jo h n B ram pton ABC Still photography David Marks Chris Oliver Producers David Taylor M argot Phillipson R unner Stephen Mattson Colin Haynes Directors Mixed at Soundfirm Margaret W ertheim Laboratory Filmplus Margaret W ertheim Scriptwriter Length 30minutes Prod, m anager Glenyss Steedman Gauge 16mm Sue Tarney Prog coordinator Shooting stopck TRI-X Glenys Melgaard Education adviser Cast: Colin Batrouney (Tony), David Prod, secretary Beleinda Pribil Bonney (Steve), Matthew Willis (John), Cathy Montgomery Prod, accountant Tom Sherlock (Man in Beat) J o h n Bram p Michael Frankel Solicitor ton (Rob), Luke Elliot (Johnny), Andrew ABC Adelaide Studio Larkin (Garry), Andrea Swifte (Cathy). 6 x 30 min episodes Length Synopsis: Night Out explores the severe 1" videotape Gauge bashing of a m an in a public toilet one night, and the effect this has on his life Music perform ed by These CHILDREN'S WEEK and relationship with his lover. NIGHT CRIES Future Kings Prod, company TV ED ProdsProd, company Night Cries and Widdershins Min. o f Ed. (Vic.) THE PAINTING Producer Penny McDonald Sound editor Catherine Birmingham Lily Steiner Producer Director Tracey Moffatt Prod. Company Voyager ProdsDirector Still photography Jennifer Mitchell Lily Steiner Scriptwriter Tracey Moffatt Producer Henry Ciesielski Title designer Dirk de Bruyn Susan MacGillicuddy Scriptwriter D.O.P. Jo h n W hitteron Director Henry Ciesielski Tech, adviser Sam Sabbagh Lily Steiner Editor Sound recordist Liam EganD.O.P. YossiDayan R unner Lisa H orler Composer Peter Sullivan Editor Philippa Harvey Music AmirelLachish Catering Cooley Catering Length 12 mins Prod, designer Stephen Curtis H air/M ake up Liora GivonSynopsis: The film looks at the imporLaboratory Cinevex Com poser Deborah Petrovitch Cast: Henry Klemens. Lab. liaison Philip Carpenter tance of participation in Children’s Week. Prod, co-ordinator Molly Pullicino Synopsis: An artist is having trouble with Budget $64,217 Highlights awareness o f needs, rights, Tracy Padula his painting. During the night little mites Length 30mins Continuity responsibilities, accom plishments and Camera assistant Jam es Rickard create a painting on his palette. T he next Gauge 16mm aspirations of children, and examines how Key grip Pip Shapiera m orning the artist returns and claims their Shooting stocks ECN 7291, 7292 all comm unities can take part. 2nd unit D.O.P. Fabio Cavidini work as his own. Cast: Phillip Dean (Rick), Sharon Rider Gaffer Jam ie Egan (Loretta), Juliet W ard (M onica), James A GOOD TIME TONIGHT Make-up Violette Fontaine Cruickshank (Howard), Alex Robertson Prod, company West Ed Media DOCUMENTARIES W ardrobe Rosalea H ood (Terry), Patrick Doyle (Jack), Wayne Producer Ken Miller Props Daniel M orphett Williams (Factory worker), Rey Pearce Director Ken Miller AMPUTATION •FROM DIAGNOSIS TO Scenic artists Carolyn Gyucha (Housewife), Esme Melville (O ldw om an), Scriptwriter Glenda Hambly REHABILITATION Sandra Pallin Simon Woodward (Guy in coffee shop). D.O.P. Ray Grenfell Prod, company Flinders Media Set construction Ross Cairns Bands: These Future Kings and W idder Sound Jo h n Van Rullen Dist. company Flinders Media Margaret Seymour shins. Editor T ang Thien Tai MikeDavies Music perform ed by Jimmy LittleProducer Synopsis: T he story o f Rick, a washingArt director H elen Smith Director MikeDavies Sound editor Philippa Harvey m achine serviceman, and his relationships Composers Chris Norm an Scriptwriters Mike Davies Still photography EvaFernandez with two young women. Roi H uberm an Pam Kneller Gaffer’s assistant LizWatts Exec, producer Howard W orth Sound recordist Andrew Ganczarczyk R unner Debbie Hawkins BLOTTO Prod, m anager A1Kemp Com poser Robert Krai Studios AFTRS Prod, company Blotto Prods 1st asst director Graeme MacLeod Exec, producer Bronte T urner Babysitter Julie Wiggins Producers Jerem y Johnson 2nd asst director Annie Gladdon Assoc, producer Rod Larcombe Mixed at Colorfilm Jam es M iddleton Continuity Jan Piantoni Camera operator Ja n et Todd Laboratory Video Film Company Elizabeth Koops Gaffers Guy Bessell-Browne Make-up Ja n et T odd Lab. liaison Peter Wilson Director Jam es Ferguson Darryl Binning Music perform er Robert Krai Length 15minutes Scriptwriter Jerem y Johnson Philip Golombick Sound editor Andrew Ganczarczyk Gauge 35mm Bases on play by Jerem y Johnson Grip Leigh Sandow N arrator Jo h n Ovendon Shooting stock Agfa-Gevaert D.O.P. EmilNovak Camera asst GavinCum m ing Length 14mins Progress Pre-production Sound recordist Moon U nit Ayres W ardrobe/runner Anna Pedulla Gauge U-matic Scheduled rease December 1989 Editor Laura Stanley Make-up Gabrielle Ratcliffe C ast Dick Bland (Patient), Rose Todd Com poser Jon athon MillsCast: M arcia L an g to n (A boriginal H airdresser Liddy Reynolds (Wife). woman), Agnes Hardwick (Old white Exec, producer Jerem y Johnson Standby props Denise Goudy Synopsis: A dram atization of the events m other), Jimmy Little (Singer), Elizabeth Prod, m anager Elizabeth Koops Asst props SteveMason before and after an am putation following Gentle (Young white m other), Alkira Fitz Prod, secretary Valerie Brown Best boys Jo M ercurrio peripheral vascular insufficiency, and the gerald (Young girl), Liam Ridgeway Prod, assistant Jacinta Kitson Phil Mulligan eventual rehabilitation of the patient. (Young boy), Shaun Saunders (Young 1st asst director Stephen Dunne Still photography MikeNicholls boy). 2nd asst director Elli Parker Studio operation Mark Barrett Synopsis: In a decaying and isolated BRAIN DEATH - ASSESSMENT AND Continuity Mark Nagy School liaison Mara Basanovic hom estead, a middle-aged Aboriginal DIAGNOSIS Producers’ asst. Judy Komaromi C ast Viv G arrett (Bev), Paul W inchester woman is forced to care for her ageing, Prod, company Flinders Media Casting Jan King & Associates (Sim on), H annah Wilkins (Mandy), invalid white m other. Dist. company Flinders Media Casting consult. Taima D onna Leach (H elga), Mario (Ivan MeProducer MikeDavies Camera O perator Lazslo Barranyai neghetti), Phil Sparrow (Danny), Anne NIGHT OUT Director MikeDavies C lapp er/lo ad er Stephen Dunne Gabrielson (Nikki), Mel Thomas (Dar Prod, company Swinburne Institute Scriptwriters MikeDavies Key grip Je ff Maslen ren); David W inch, Zeke Langsford of Technology George Skowronski Boom operator Roger Parkes (Simon’s mates); Jo h n Mulock (Brad), Swinburne Based on orig. idea MikeDavies Art director KateKouriProducers Laura Black (Helga’s m um ), Jay Walsh Lawrence Johnston Sound recordist Bronte T urner Make-up Tina Cowper-Hill (Helga’s dad), Bruno Napolitano (LavorDirector Lawrence Johnston Com poser Robert Krai Hairdresser Tina Cowper-Hill gna), Leslie W right (Cam eron), Robert Lawrence Johnston Exec, producer Bronte T urner W ardrobe MichaelOfferScriptwriter Van Macklenberg (Form teacher), Rod Brent Crockett Assoc, producer Rod Larcombe Props KateKouriD.O.P. Hall (Patterson), Mark Garcia (Ben), Valerie Fisicaro Camera operator Jan et Todd C arpenter Trevor KeyesSound recordist Bernie Davis (Sim on’s d ad ), Doug Walker

Music perform ed by Junkstam p Still photography Mark Nagy R unner Tracy Kelly Publicity Kirsty Verran BETWEEN US Catering Delini MacPherson Prod, com pany Innersense Prods Studios A.F.T.R.S. P roducer Bill Mousoulis ABC Townsville D irector Bill Mousoulis Mixed at A.F.T.R.S. Scriptwriter Bill Mousoulis $70,000 D.O.P. Mark LaneBudget Length 30 min Sound recordist Phillip Healy Gauge 16mm E ditor Catherine Birm ingham Shooting Stock Kodak Com poser These Future Kings Cast: Diane Cilento (Joycie P ound), and W iddershins Ritchie Singer (Harry Zilco), Arna-Maria Prod, m anager Bill Mousoulis W inchester (Sonia Zilco), Athol Comp Prod, assistants D arron Davies ton (D onger B unam urra), Marcelo Silva George Goularas (Billy Pound), Claude Andersen (Roly 1st asst director Jo h n Balzan Doyle), Nan M edcalf (Myrtle), Donna 2nd asst director Connie Steinhard Ahlers (Coral), Ben Steiner (D rum m er), Continuity Mike Collins Focus puller Peter Falk Allirah Tan (Fire eater). Synopsis: An American game-show host C lapp er/lo ad er Fran Bosch (Harry Zilco) comes to Townsville to open Gaffer Steve Price the Australian tour of his nightclub act. Boom operator SteveVaughan T he show flops. Harry gets trapped in Art directors Anna Kotanidis Townsville and ends up staying at a board G eorgina Campbell ing house run by Joycie Pound and her Asst art director Cal Heath half-caste Aboriginal children. Musical director Charles Caldas

Editor Exec, producer Prod, m anager Prod, assistant Continuity Camera assistant Gaffers

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Carm en Galan Editor Angela Meloni Melody Cooper Prod, designer Louise Willis Jim Cotter Com poser Denise Ingham Mariel Beros Prod, m anager Ken McSwain Don Colantonio 1st asst director Ken McSwain Deborah Green 2nd asst director Paul Kolsky PEOPLE WHO STILL USE MILK Sue Scott 3rd asst director D ana Rayson BOTTLES Mojgan Khadem Continuity Frank Vidinha Prod, company Standard Films Shauna Wolfson Casting consultant Stewart Green Producer Jo h n Cruthers Kym Vaitiekus Lighting camera Trish Ryan Director Brian McKenzie Tim Thomas Camera assistant Trish Ryan Scriptwriter Brian McKenzie Stuart Green Key grip Rachel Pilcher D.O.P. Ray Argali Ian Bosman Gaffer Sara Hourez Sound recordist Mark Tarpey Mark Cornish Boom operator Louise Willis Associate producer Rod Larcombe Assoc, producer Jan et McLeod Make-up T ina Cowper-Hill Casting Shauna Wolfson Camera operators Jan et Todd Prod, m anager Jan et McLeod W ardrobe Melody Cooper Studio AFTRS Mike Davies Prod, accountant Bernadette Standby props Tania Creighton Mixed at AFTRS Music perform ed by Robert Krai Breitkreuz Special effects Steve Courtley Length 1 hour Sound editor Andrew Ganczarczyk Music perform ers Yarraville Mouth (Cineffects) Gauge Betacam N arrator Adran Shirley Organ Band C arpenter Ken Manning Synopsis: Action Replay is a continuing Budget $12,000 Sound editor Livia Ruzic A rm ourer Bob Colby playback of a comedy of dramas involving Length 11 mins Research Angela Borelli Editing assistant Nicholas Cole sexual incompatibilities and warfare in Gauge BVU SP Laboratory Cinevex Mixer RickyPrice personal relationships. The action con Synopsis: This program m e prom otes and Lab liaison Ian Anderson Still photography DavidKirk stantly returns on itself and leads the six dem onstrates Safe-T-Cap needle handling Budget $190,000 Best boy Geoff Downes characters down different roads (over 25 and disposal system, a single-handed Length 58 mins Laboratory Atlab years), of their own choosing, to other procedure that is a significant step to Gauge 16mm Lab. liaison Kerry Jenkin possibilities. wards safer needle use. The risk of neeShooting stock Fujicolor Budget $90,610 dlestick injury is reduced thereby reduc Synopsis: The milk bottle is no more. In Length 30mins MYTHS & LEGENDS ing the risk of transmission of blood borne Victoria, it finished service on 15 October Gauge 16mm pathogens in health care settings. Prod, company AFTRS 1987. O nce it had been the most wide Shooting stock Fuji Dist. company AFTRS spread and com m onplace re-usable con Cast: Greg Saunders (Theo), Colin BaWHAT SHOULD HAPPEN? Producer Julie H annaford tainer in our lives. How quickly do things trouney (Lucas), Gillian Jones (Rachel). INVESTIGATING COMMUNITY DECI Director Dana Rayson change? How much do we care that it is SION MAKING Synopsis: A m an’s delusion that he is Scriptwriters Sylvia Johnson for the better? Prod, company TV ED Prods being followed attracts another m an to Dana Rayson Dist. company Min. of Ed. (Vic.) follow him. The complicated game that D.O.P. Dana Rayson SOMETHING CLOSE TO HELL Producer Jam es Mann ensues binds the pursuer to the pursued Sound recordists Mark Cornish Prod, company Excalibur Nominees Director Jam es Mann until it is hard to tell which is which - a Paul Neeson D.O.P. Chris O ’Rourke Producers Andrew Wiseman strong need creates and sustains an oppo Editor Wendy Chandler Paul Roberts Sound recordist Tony Paice site need. The madness is contagious. Prod, designer Trish Ryan Editor Jam es Mann Director PaulRoberts Com poser NSW Conservatorium Lighting Rob McCubbin Scriptwriter PaulRoberts SPARKS of Music Length 21 mins D.O.P.s Nancy Sokil Prod, company AFTRS Exec, producer Tom Jeffrey Laszlo Baranyai Gauge BVU Producer Prue Adams Assoc, producer Elisabeth Knight Stock Sony Sound recordist Catherine Montigny Director Robert Klenne Prod, m anager Julie H annaford E ditor DavidFosdick Synopsis: An account o f how a Year 9 /1 0 Scriptwriter Catherine Zimdahl 1st asst director BronwynCoupe class investigates a local issue and, in doing Exec, producer PaulCoulter Based on story by Catherine Zimdahl Casting Joy Sargant so, learns a lot about the political process. Assoc, producer SueHaberfeld D.O.P. Kriv Stenders Camera operator Peter Borosh The film dem onstrates the ‘inquiry proc Prod, accountant Jo h n Pacey Prod, designer Stavros Efthymiou Costume designer Suska ess’ in practice, with emphasis on collabo Still photography SkipWatkins Make-up VanessaBrown 1st asst director Bronwyn Thom pson rative learning, w ell-planned field work Jo h n Austin Casting Joy Sargan Chloe and classroom reflection. T hrough their Tech, adviser Cyrus Mistry Lighting camera Kriv Stenders Musical director William Motzing investigations, students observe tactics Length 55 minutes Costume designer Stavros Efthymiou Music perform ed by NSW used by people to influence decision Gauge Betacam SP Sound editor MichaelWebst Conservatorium of Music making processes. Synopsis: A tribute to burns survivors, Mixer MichaelWebst Still photography Karen Borger their struggle and their will to fight back. Title designer Stavros Efthymiou Animation Dana Rayson

(Salesman);A1 Kemp, Libby Stone (Neigh bours) . Synopsis: A look at the last day of term , its highs and lows, o f Year-12 students.

Prod, coordinator TOWARDS SAFER NEEDLE USE Prod, m anager Prod, company Flinders Media 1st asst director Dist. company Flinders Media Continuity Producer MikeDavies Script assistant Directors MikeDavies Camera operators Jan et Todd Scriptwriters MikeDavies Brian Sincock Key grip Based on orig. idea Brian Sincock Art director Sound recordist Andrew Ganczarczyk Costume designer Editor Ja n et Todd Make-up Com poser Robert Krai Publicity Exec, producer Bronte T urner

See previous issue for details of: CHOCOLATES, GIANTS AND PEACHES; ROALD TAKING ACTION DAHL LIVE IN MELBOURNE; COVER TO COVER Prod, company TV ED Prods - ROALD DAHL; DOWN FROM DARWIN; Dist. company Min. o f Ed. (Vic.) P roducer Jam es MannGIANTS OF TIME; HANDMAIDENS AND Director Jam es MannBATTLEAXES; IN MORAL PANIC; INNOVA TORS IN AUSTRALIAN MUSIC & ART (Work Scriptwriters Mark Poole ing Title); INTRODUCING THE CAFETERIA IM Phillip M oreland PROVEMENT PROGRAMME; MARBURY ... D.O.P. Nicholas Sherm an MORE THAN JUST A SCHOOL; PARENT/ Sound recordist Robert Wanless Editor Jam es MannTEACHER INTERVIEW SKILLS; PARENTS Key grip Freddi JuercjHELPING CHILDREN TO READ; TALES OF HELPMANN; UNDER SOUTHERN SKIES; Make-up Janyne Catterina Music perform ed by Mark FerrieWORDS AND SILK; ZAFARI ART/WHAT IS ART? Terry Doolan Mixed at Pro-Image Length 18mins AUSTRALIAN FILM, Gauge 1"Sony TELEVISION AND RADIO Stock Betacam Sony SCHOOL Cast: Rona McLeod (Presenter/C onsult ant) , Jim Daly (Roy), Penelope Shelton ACTION REPLAY (Pauline), Robyn Gibbes (June), Tibor Gyapjas (Tony), Peter Stratford (John), AFTRS Prod, company William Fitzwater Christine Andrew (Veronica), Louise Kan Exec, producer Sara Hourez (1st T e a c h e r), Kevin C o tter (2nd Producer Sara Hourez Director T eacher), Marie Cook (3rd T eacher), Jonathon Ogilvie Lance Cross (4th T eacher). D.O.P. Fay Weldon Synopsis: T he film depicts three case stud Scriptwriter Fay W eldon ies which typify situations in which work Based on the play by Trish Ryan perform ance and organizational issues Prod, designer im pact on staff relations. Keiran Usher Prod, supervisor 72

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Mixed at AFTRS Studios AFTRS Budget $177,374 Laboratory Colorfilm 30minute Lab. liaison Martin HoyleLength Budget $145,000 Gauge 16 mm Length 10minutes Synopsis: Chaos, insomnia, labels, cups, m edication, institutionalisation and op Gauge 35 mm era - Sparks is a journey through life in a Shooting stock Fuji halfway house for young people who have Cast: Edward Jowsey (Christo), Luke been in psychiatric hospitals. Carroll (Jack), Shane Tickner (H am ish), Derrin Seale (Charles). Synopsis: Christo and Jack are the best of See previous issue for details of: friends. T ogether they explore and treas WITH FLYING COLOURS ure h u n t in their fantasy playground: the Wasteland. W hen Charles and Hamish FILM AUSTRALIA attack the boys and escape with their loot, Jack consoles his young friend with a story based on an Aboriginal legend. T he story A.R.L. BLACK BOX comes to life through Christo’s imagina Prod, company FA-Telecom Video tion, and Charles and Hamish suffer the Dist. Company FA consequence of their greed. Producer Sonia H um phrey Director Graham Cavana Scriptwriter Graham Cavana THE PURSUED Exec, producer PaulHumfr AFTRS Prod, company Publicity Jane Glen AFTRS Dist. company M arketing Jo h n Swinde Producer Bronwyn Thom pson Length 1 x 20 - 25 m in x 5 x 5 m inute Rex Cram phorn Director modules Rex Cram phorn Scriptwriters Gauge 1"videot Kim Spinks Synopsis: A program m e detailing the Horacio Quiroga Based on story by achievements, past, present and future, of Kym Vaitiekus D.O.P. the Aeronautical Research Laboratory in Ricky Price Sound recordist

Victoria. It was m ade for presentation at its O pen Day on the 10 O ctober an d for subsequent use in inform ing politicians and the public o f the Laboratory’s contri bution to the nation. ARMY APPRENTICES Prod, company FA Dist. company FA P roducer Sonia H um phrey Director Michael M undell Scriptwriter Michael M undell D.O.P. Jan Kenny Sound recordist Howard Spry Exec, producer Paul Humfress Prod, m anager Ron H annam Prod, secretary Lori Wallace Prod, accountant Elizabeth Clarke Prod, assistant Jo Malcolm Publicity Jan e Glen M arketing Jo h n Swindells Length Approx. 25 mins Gauge 16mm Shooting stock Eastm ancolor S y n o p s is : A program m e to present the profession o f soldier-trades person, via the Army A pprentices School, as a chal lenging and rewarding career. CHILDREN OF ’39 Prod, company FA Dist. company FA P roducer Aviva Ziegler Director Aviva Ziegler Exec, producer Paul Humfress Prod, m anager Ron H annam Prod, secretary Lori Wallace Prod, accountant Elizabeth Clarke Publicity Jane Glen M arketing Jo h n Swindells S y n o p s is : T he story o f 17 Jewish children who were sent by their parents to Australia from Germany ju st p rior to the outbreak o f W orld War I I . HISTORY OF DISEASE Prod, company FA Dist. company FA Director Aviva Ziegler Scriptwriter Dr Norm an Swan Exec, producer Ja n e t Bell Prod, m anager Catriona Macmillan Prod, secretary Jan e Benson Prod, accountant W aldemar Wawrzyniuk Publicity Jane Glen M arketing Jo h n Swindells Length 4 x 1 hour S y n o p s is : A look at the im portant role disease has played in hum an history, even m ore im portant than the art o f healing or the developm ent o f m edicine itself. IF IT WAS YOU - CARING FOR PEOPLE WITH DEMENTIA FA Prod, company P roducer H elen Bowden H elen Bowden Director Scriptwriters H elen Bowden, Susan MacKinnon, Penny Mulligan Phillip Bull D.O.P. Sound recordist Paul Finlay Margaret Sixel Editor Exec, producer Ja n e t Bell Susan MacKinnon Prod, coordinator Prod, m anager C atriona Macmillan Prod, secretary Jan e Benson Prod, accountant W aldem ar Wawrzyniuk Penny Mulligan Prod, assistant Annie Benzie -Camera assistant Still photography Roz Sharp Jan e Glen Publicity Jo h n Swindells 35 mins Length

Shooting stock Betacam C a s t : Colleen Clifford (Mrs Oaks), Pat T hom son (Nurse Rose), Angela Toohey (Nurse W endy), Jo h n G rant (Nurse R alph), Jo n Dowling (Old M an), Mary Regan (N urse),Josephyne Oliveri (Nurse M aria), C athren Michalak (M rsjohnson), Tessa Mallos (Director of Nursing). S y n o p s is : A docum entary-training pack age for staff working with people suffer ing from dem entia. KOALAS - THE BEAR FACTS Prod, company FA D irector Paul Scott Scriptwriter Paul Scott D.O.P. Jim Frazier Sound recordist Paul Finlay E ditor David Lourie Exec, producer Bruce Moir Prod, m anager Jo h n Russell Publicity Jane Glen M arketing Martin Wood Laboratory Atlab Length 50 mins Gauge 16mm S y n o p s is : Fifty-minute docum entary for television reviewing the koala’s predica m ent and efforts to ensure its survival.

P roducer Sonia H um phrey Gauge BVU Scriptwriter Robert Lawreiice S y n o p s is : This video is concerned with Exec, producer PaulHumfress domestic violence, focusing on the legal options available to victims. Prod, m anager Ron H annam Prod, secretary Lori Wallace Prod, accountant Elizabeth Clarke ELDERLY CITIZENS SAFETY Publicity Jane Glen Exec, producer Rachel Dixon M arketing Jo h n Swindells Scriptwriter Anam aria Beligan L ength 45 mins (approx.) Prod, company Entreg Gauge 16mm D irector Colin Skyba Shooting stock Eastm ancolor D.O.P. Chris Reed S y n o p s is : A series of short films totalling E ditor MichaelVann approx. 45 m inutes to detail the vital role Sound recordist Paul Hellard played by university graduates in today’s Length 12mins Navy, in an attem pt to sign up those pres Gauge Betacam ently at university as Naval Officers. S y n o p s is : To assist senior citizens to cope

with traffic as pedestrians, drivers and SAVE A NUGGET END users of public transport. Prod, company FA Dist. company FA RIVER MANAGEMENT Producer Jan et Bell Exec, producer Rachel Dixon Director Richard Sattier Scriptwriter Bridget Goodwin Scriptwriter Katherine Thom son Length 20-25mins Prod, designer Louella Hatfield Gauges 16 mm, 1" video Prod, m anager Catriona Macmillan S y n o p s is : To raise the awareness ofVictoFloor m anager Katrina Fancsali rians to the uses of their rivers and the Vision m ixer Margot Pulsford benefits obtained from them, and also Prod, secretary Jane Benson showing what action can be taken to halt Prod accountant W aldem ar Wawrzyniuk their degradation. D irector’s asst Juliet Phillips C asting/research Juliet Phillips MASTERS OF THE HIGH VALLEY VEHICLE OCCUPANT SAFETY M ake-up/hair Michelle Myers Prod, company FA Exec, producer Rachel Dixon Puppets, set construction Alan Manning Scriptwriter Tony M orphett Scriptwriter David Taft Publicity Jane Glen Script Editor Peter Gawler Length 10-12 mins M arketing Jo h n Swindells Exec, producer Jan et Bell Gauge BVU Catering Katering Co. Prod, m anager Catriona Macmillan S y n o p s is : To illustrate ways in which ve Studios FA Prod, secretary Jane Benson hicle occupants are at risk, whilst dem on OB facilities Hoyts Television Prod, accountant W aldemar strating m eans to increase vehicle occu Post Production Tram Broadcast Wawrzyniuk pant safety with em phasison restraintuse. Length 24mins Publicity Jane Glen Gauge 1" video Marketing Jo h n Swindells NEW SOUTH WALES FILM AND C a s t: Kim Valentine and puppeteers: Length 2 x 96 mins TELEVISION OFFICE Sean Steinmuller, Adrian N orm an, Mur S y n o p s is : A family saga set in the high lands of Papua New G uinea and spanning three generations, it tells the story of Pat H annan - white adventurer, gold prospec tor and plantation owner. PLAYMAKERS/MUSIC MAKERS Prod, company FA P roducer Ja n e t Bell Researcher Mary Colbert Prod, m anager Catriona Macmillan Prod, secretary Jane Benson Prod, accountant W a l d e m a r Wawrzyniuk Publicity Jane Glen Marketing Jo h n Swindells Length

2 series of 4 x 20 mins

G au g es

V id eo /film

S y n o p s is : Two series for upper-primary school children which look at the world of theatre and music through the roles of the practitioners.

ray Raine and Ross Browning. S y n o p s is : A puppet dram a for the Austra lian Electoral Commission which explains the preferential voting system to upperprimary school children via a fantastic voyage to an abandoned am usem ent park. THE WITNESS Prod, company FA Dist. company FA Producer Sonia H um phrey Scriptwriter Richard Ryan M arketing Jo h n Swindells S y n o p s is : A 20-minute film commissioned by the Military Police assigned to the Unit in interrogation techniques appropriate to the military circumstances in which they will be applied. S e e p r e v o u s is s u e f o r d e t a ils o f : THE BOMB IN YOUR BACKYARD; COMMU NITY SERVICES AND HEALTH; HOW WON DERFUL; LIGHTHOUSES; MANAGER ON THE

PRE-SCHOOL HEALTH VIDEOS Prod, company FAYoram Gross Studios Dist. company Film Australia Researcher Judy Menczel Exec, producer Ja n et Bell Prod, m anager Catriona Macmillan Prod, accountant W aldemar Wawrzyniuk Publicity J ane Glen M arketing Jo h n Swindells Length Various Gauge Video C a s t : Noni Hazlehurst. S y n o p s is : Anim ated videos designed to help pre-schoolers cope with health prob lems. R.A.N. UNDERGRADUATES Prod, company Dist. company

FA FA

CASE; NATIONAL PARKS

FILM VICTORIA CHILD PROTECTION FILM Exec, producer Rachel Dixon Scriptwriter Gail Sullivan Length 30 mins Gauge Video Synopsis: To prom ote a responsible and inform ed response to child m altreatm ent am ong professionals who work with chil dren. DOMESTIC VIOLENCE & THE LAW Exeç. producer Ann Darrouzet Scriptwriter Tony W right Fritz Hammersley Sue McCauley 18 mins Length

INVESTING IN PEOPLE Prod. co. W oolloomooloo Prods Producers Peter Cox Corrie Soeterboek Director Peter Cox D.O.P. Grant Watson Scriptwriter H arold Lander Prod, m anager M aryjoy Lu Editors Robert Gibson Stephen D unn Sound Robert Lish Art direction Ruth Bracegirdle Post-production Frame Set & Match Length 19mins Gauge Betacam to 1" S y n o p s is : The Maritime Services Board of NSW, working closely with the Labor Council of NSW and various unions, has established an injury-prevention and rehabilitation program m e to help injured staff return to norm al work as soon as possible. This video outlines the rehabili tation program m e and shows it in action through examples of injuries which might occur in the workplace. NATURE’S SENTINELS Production company Accolade Com m unications Producer Sandra Alexander Director Peter Smith D.O.P. Martin McGrath Scriptwriter Peter Smith Prod, assistant MarkLogan Editors Deborah Reid Stuart Armstrong Graphics Frances Smith N arrator A rthur Dignam Length 22 mins Gauge 16 mm S y n o p s is : T he Lord Howe Island region is a World H eritage area, adm inistered by the Lord Howe Island Board. It is o f great CINEMA

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value for n ature conservation, education, research and passive recreation. This video shows the special nature o f the island, as well as its geology and its history. WILDLIFE CORPORATE STRATEGY Prod, company T andem Prods Producer Marta Sengers Director Michael Ewers Scriptwriters Ian Charles Gavin Gatenby N arrator Jo h n Dengate Length 17 mins Gauge Betacam to 1" Synopsis: Produced for the National Parks and Wildlife Service o f New South Wales to inform staff o f the aims and objectives o f the Service in the years 1989 to 1991, and provide a history o f the service which places it in a wider social context.

Exec, producer Roger Mirams Length 4 x 100 mins Gauge 16mm Synopsis: Four family adventure stories: ‘W ildfire”, “M issionTop Secret”, “Pirates’ Island” and ‘T h e Phantom H orsem en”.

TELEVISION PRODUCTION

Set dressers

Richard K ennett Tim Tulk Catering The Katering Company Gauge 35mm Cast: Griffin D unne (Mordy), Stuart Wilson (H ounam ).Joe Petruzzi (Felix). Synopsis: This film is based on the true story of Mordechai Vanunu. See previous issue fo r details of: AUSTRALIA’S MOST WANTED; THE BIG GIG;

Continuity Suzanne Brown Casting coordinator Irene Gaskell Casting consultants LizMullin Camera operator Paul Costello Focus puller Andrew McClymont C lapper/loader Matthew Tem ple Key grip Gary Burdett Asst grip Benn Hyde 2nd unit D.O.P. Paul Pandoulis Gaffer Tim Jones Electricians Pierre Drion Tim Harris Boom operator Chris Nielson Designer Catherine Silm Designer asst Charlotte Watts Asst designers Karen Land H elen Baumann Costume designer Jim Murray M ake-up/hair Christine E hlert Sandi Bushell David Jennings

BEYOND 2000 CASSIDY; A COUNTRY PRACTICE; E STREET Prod, company Beyond Productions THE FLYING DOCTORS (Series V); G.P. Dist. company Beyond International HAYDAZE; HEY DAD ... !; HOME AND AWAY Group NEIGHBOURS Producer Tim Clucas Director Judith John-Story POST-PRODUCTION D.O.P.s various Sound recordists various Editors Harley Oliver ADVENTURES ON KYTHERA II Robert Davidson Prod, company Media World Mark Verkerk Dist. conpany Richard Price Com poser TwilightProds W ardrobe coord. M iranda Brock Television Assocs Exec, producer Peter Abbott Michelle Letters TELEVISION Producers Jo h n Tatoulis Prod, secretary Therese Hagerty W ardrobe assts Lorraine Verheyen Colin South PRE-PRODUCTION Prod, accountant Ara Sahargian N ina Parsons Director Jo h n Tatoulis Camera operator various Props buyers Colin Bailey Scriptwriter Deborah Parsons JACKAROO Boom operator various Ian Andrawartha Sound recordist Jo h n Wilkinson Prod, company Crawford Prods Make-up various Sen. standby props Chris Ryman Editor Michael Collins Exec, producer Ian Bradley H airdresser W arren H anrahan Standby props A nton Cannon Com poser TassosIoannides Producer Bill Hughes Props David King Steve Pembroke Assoc, producer TassosIoannides Director Michael Carson Props buyer David King Special fx Jo h n Neal Prod, m anager Yvonne Collins Assoc p ro d /p ro d , superv. Vince Smits Special effects Custom VideoUnit m anager Choreography Jo h n O ’Connell Tania Peternostro Prod.m anager Terrie Vincent Set designer Freddie Lawrence Set decorator Robert J. Simon Prod, secretary Frances Shepherdson Casting Jan Pontifex Set construction Up-Set Jason Holm an Prod, assistant Georgia Hewson Publicity Susan Elizabeth Wood Musical directors Murray Burns1st asst director Scenic artist Paul Brocklebank Sonya Pem berton Synopsis: A four-hour mini-series, jacka Colin Bayley Standby set m aker LyallSmith Camera operator Harry Panagiotis roo is the story o f a wild Australian stockMusic perform ed by Twilight Prods Standby set finisher Robert Griffin Key grip Freddo Dirk man, a part-Aboriginal jackaroo whose Sound ed./m ixer Julian Ellingworth Set construction Austin Nolan Boom operator Greg Nelson bitter family struggle for power and land Still photography various Asst editor Martin C onnor Art director PhilChambers erupts in the blistering heat o f the West Tech adviser Charlie Busby Linda Gahan W ardrobe Lilly Chorny Australian outback. Publicity Michael Shephard Neg m atching Pam Toose Still photography BillyChapman Georgina H arrop Musical director M artin Armiger Publicity Paul Sime SHADOWS OF THE HEART Studios ATN 7 Music perform ed by Vince Jones T utor J u dyMalmgren (formerly Katie’s Rainbow) Mixed at Beyond Facilities Grace Knight Length 6 x 30 mins Prod. co. South Australian Film Corp. Length 1 hour Sound editors DesH orne Gauge SP Betacam Producer Jan Marnell Gauge 1" video Lionel Bush Cast: Rebekah Elmaloglou (Tik), Zenton Director Rod Hardy Cast: Iain Finlay,JeffWatson, Chris ArdillDorothy Welch Chorny (Zeonton), Amelia Frid (Moly), Scriptwriter Deborah Cox Guinness, Amanda Keller, Simon Reeve, Asst sound editors Margaret Goodwin Garry Perazzo (Spike), George Lekkas D.O.P. DavidForem an Maxine Grey, Bryan Smith (Presenters). Geoff Moseley (Johnny), Richard Aspel (Johnny), Tas Prod, designer Tel Stolfo Synopsis: Beyond 2000is a one-hour weekly David Connelly sos Ioannides (Philippas). Executive producer Jock Blair television program m e, exploring the Stunts coordinator Guy Norris Synopsis: Adventures on Kythera II is a sixProd, coordinator Diane Stuart progress of science and technology. It Still photography Martin Webby part series which follows the antics and Prod, m anager Ron Stigwood features the latest scien tific breakthroughs Graphics Belinda Bennett adventures of five children who, through U nit m anager Mason Curtis and those ingenious technical innovations R unner Melissa W oodhams unusual circumstances, m eet up again on Location m anager Mason Curtis which are shaping the world and prepar Publicity Virginia Sergent the Greek island of Kythera. They em bark Prod, accountant Sharon Jackson ing one for life beyond the year 2000. Catering Johnny Faithful on a variety of escapades that bring them 1st asst director Eddie Prylinski Laboratory Atlab into contact with new friends, unusual Story editor Peter Gawler SECRET WEAPON Lab. liaison Ian Russell customs and exciting places. Casting consultants M aura Fay & Prod. co. Griffin Productions Length 4 x 50 minutes Associates (UK)-ABC COME IN SPINNER Gauge 16mm Set construction LipsStudio Producer Nick Evans Prod, company ABC Shooting stock Kodak Mixed at H endon Studios Director Ian Sharpe Dist. company ABC Cast: Lisa Harrow (Claire Jeffries), Kerry Length 2 x 2 hoursScriptwriter Nick Evans Producer Jan Chapman Armstrong (Deb Forest), Rebecca Gibrtey Gauge 16mm Alan Hum e D.O.P. Director Robert M archand (Guinea M alone), Gary Sweet (Jack For Synopsis: Summer, 1927: Doctor Kate Peter Grace Sound recordist Scriptwriter Nick Enright est), Gary Day (Nigel Carstairs), Rhys M unro arrives at rem ote G annet Island to Prod, designer Julie Belle Lissa Benyon M cConnochie (Angus M cFarlane), Bryan take up a practice. The locals resist Kate’s Michael Deakin Exec, producer Based on novel by Dymphna Cusack Marshall (Col. Bryron Maddocks), Jay m odern m edicine as vigorously as they Penny Chapman Florence Jam es H ackett (Kim Scott), Justine Clarke oppose h er stormy rom ances with the two Wayne Barry Assoc, producer D.O.P. Stephen W indon (Monnie Malone), Susan Lyons (Dallas H anlon brothers. She must call on all her Sandy Stevens Prod, coordinator Sound recordist Peter Grace M cIntyre). courage before she wins acceptance and Carol Chirlian Prod, manager Editors Bill Russo Synopsis: Sydney 1944: a garrison town in finds happiness. Kerrie Mainwaring Prod, secretary Chris Spur flux, tested by the social upheavals o f war Peter Fitzgerald 1st asst director Prod, designer Ja n et Patterson and the convergence o f American forces. SOUTH PACIFIC ADVENTURES Clinton White 2nd asst director Com poser Martin Armiger In this world o f chance three rem arkable Prod, company Grundy Television R honda McAvoy Continuity Sandra Levy Exec, producer women, Claire, Deb and Guinea, are plying Scriptwriters David Phillips Casting Liz Mullinar Prod, m anager Jo h n W inter for the highest stakes: survival, security Rick Maier Roger Pearce Camera operator Roberta O ’Leary Prod, coordinator and love. Ysabelle Dean Andrew McClymont Focus puller Prod, secretary Lisa Hawkes Matthew Tem ple C lapper/loader U nit m anager INSIDE RUNNING Jo h n Downie Gaffer Ken Pettigrew Paul Viney Location m anager Prod, company ABC Tim Harris Electricians Location finder Peter Lawless Scriptwriter Peter Hepworth Pierre Drion FOR INCLUSION IN Wayne Henry Prod, accountant Based on orig idea Jo h n Reeves, Dave Pearson Boom operator THE PRODUCTION SURVEY 1st asst director Russell W hiteoak Bill G arner Art director Michelle Milgate Clint White 2nd asst director Ross Dimsey CO N TACT CINEM A PAPERS Design assistant Andy Connolly Peter Branch 3rd asst director Barbara Bishop ON (0 3 ) 429 5511 Barry Lumley W ardrobe 2nd u nit asst dirs Steven Stannard Peter Hepworth Mandy Vuksanovic W ardrobe asst Dave Tunnell Directors Gary Conway 74

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Audio

Videotape editor

Prod, designer Com poser Exec, producer Producer Prod, coordinator Prod, m anager Prod, secretary

1st asst directors

2nd asst directors

Continuity

Script assistant Casting

Lighting directors

Camera operators

Peter Dodds H elen Gaynor Karl Steinberg Peter Baroutis Robert Meillon Brendan M aher Steve Witherow Ron Lee Blair Burt Chris Brannigan Gary Watson Ken Tyler Paul Cleveland Peter Sullivan Ross Dimsey Marie Trevor Gail Meillon M argaret Greenwell Kathleen Burns Diane Lopes Sue Gandy Karen Williams Ross Allsop Bill Sm ithett Chris Weymouth Jim Oastler Jo h n Slattery Peter Murphy Jan Deason Paul Brook Neil Proud Aideen Stevenson A ndrea Fitzpatrick Kay Hennessy T ara Ferrier Tony Watts Dina Mann Jo Rippon Jan e Ham ilton Clive Sell Ron Cromb Peter Lewis Richard Willoughby Jo h n Pavlovic

Darryl Martin Terry Mitchell Peter Holmes Technical producers Graham Brumley Neil Franks A1 Finnegan Key grips Peter Dehaan Dave W ashbourne Leo Carroll Electrician Graeme Cornish Boom operators Gary Lund Neville Kelly Costume sups R honda Shallcross Anne Brown Jurgen Zielinski M ake-up/hair Bill Jackson-Martin W ardrobe M arianne Wakefield Janice Chalmers Dawn D’O r Props buyers B rent MacDonald Max Lawler Peter H enderson Standby props Joe Shevlin Publicity Angela Ang Marian Page Catering Backdoor Length 20 x 50 mins C a s t : Peter Curtin (Derm ott O ’Brien), Genevieve Picot (Penelope Phillips), Scott Burgess (Chris Parvo), Robert Coleby (Andrew Foster), Kirsty Child (Beverly Lam b), Rod Mullinar (Simon Skidm ore), Gia Carides (Tricia Dolchetti). S y n o p s is : An insight into the private and working life of barristers. THE PRIVATE WAR OF LUCINDA SMITH Prod, company Dist. company Producers Director

C E N S O R S H I P K i m u r a F a m i l y , T h e S. Miyajima-S. Kawai, Japan, 111 mins, Ronin Films, Sexual scenes an d adult concepts, S(i-mj) O (adult concepts) ' K o k o d a C r e s c e n t P. Emanuel, Australia, 85 mins, Village Roadshow Corporation, Occasional violence and coarse language, L(i-m-g) V(i-m-g) L a b e d z i S p i e w Film Polski-Kadr, Poland, 83 mins, Artus Arts Prom otion, Occasional violence and adult concepts, V(i-m-j) O (adult concepts) L e t ’s G e t L o s t B. Weber, U.S., 119 mins, Dendy Cinema, D rug use and occasional coarse language, 0 (d ru g use) I.(i-m-j) L i f e O n T h e E d g e J . Chavez, J . Grace, U.S., 87 mins, Reid & Puskar, H orror, O (horror) M u t a n t O n T h e B o u n t y R. T orrance/M . Lopez, U.S., 92 mins, Village Roadshow Corporation, Coarse language, occasional h o rro r and violence, L(f-mg) O (sexual allusions) V(i-m-g), O (horror) M y L e f t F o o t N. Pearson, UK, 102 mins, Village Roadshow Corporation, Coarse Language, L(f-m-g) N i g h t m a r e O n F .lm S t r e e t - T h e D r e a m C h i l d , A R. Shaye-R. Harvey, U.S., 87 mins, Hoyts Distribution, H orror, O (horror) O b y w a t e l P i s z c z y r C i t i z e n P . T. Drewno, Poland, 104 mins, Artus Arts Prom otion, Sexual scene and occasional coarse language, S(i-m-j) L(im-j)

Resolution Films Revcom Geoffrey Daniels Ray Alehin Ray Alehin

L I S T I N G S

P a la is R o y a l e D. Daniels-L. Zack, Canada, 91 mins, Village Roadshow Corporation, Some coarse language, sexual scenes andviolence, L(i-m-g) S(im-g) V(i-m-g) R i c h B o y s N. Leigh, U.S., 82 mins, Village Roadshow Corporation, Frequent coarse language and sexual scenes, L(f-m-g) S(i-m-g) S a lu t e O f t h e J u g g e r , T h e C. Roven, U.S., 107 mins, Filmpac Holdings, F requent violence and occasional coarse language, V(f-m-g) L(i-m-g) s e x , lie s , a n d v i d e o t a p e R . NewmyerJ. Hardy, U.S., 100 mins, Newvision Film Distributors, Adult concepts, L(i-m-g) O (adult concepts, sexual allusions) S o m e o n e T o L o v e M. Simonsons, U.S., 108 mins, Ronin Films, Occasional coarse language, L(i-m-g) S o n s O f S t e e l J. Vernon, Australia, 95 mins, Cinema 100, Sexual allusions and occasional language, V(i-m-g) O (sexual allusions) S t a n d B y M e B . Evans-R. Gideon-A. Schieman, U.S., 87 mins, Fox Columbia Tri Star Films, L(i-m-g) 0(sexual allusions) T h a t S u m m e r O f W h i t e R o s e s S. MacCorkindale-M. Mihalic, UKYugoslavia, 102 mins, Village Roadshow Corporation, Occasional violence, V(im-g) T o x i c A v e n g e r P a r t E l, T h e L. KaufmanM. Herz, U.S., 95 mins, CBS-Fox Video, Occasional violence and sexual scenes,

Scriptwriter DOP Sound recordist Editor Art director Financial business affairs m anager Executive producer Prod, m anager Prod, coordinator Prod, secretary Prod, accountant Asst, accountant Prod, runner Samoan coord. Location m anager U nit m an. (Samoa) U nit man. (Aust.) 1st asst, director 2nd asst.- director 3rd asst, director Continuity Camera operator Focus puller C lapper/loader 2nd cam era op. Key grip Asst, grip Gaffer Best boys Boom operator Prod, designer Asst, art director Draftsperson Props buyers Art dept, assistant Art dept, runner Const, m anager Carpenters Scenic artist Costume designer

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Peter Yeldham Peter Hendry Tim Lloyd Pippa A nderson Tony Raes Danielle Taeger Peter Yeldham Dennis Kiely Caroline Bonham Monica Sims Cynthia Kelly Caitlyn Stevens Derek Thom pson Uelese Petaia Val W indon Phil U rquhart William Matthews Philip Rich Jo h n Meredith Jenny Couston Larraine Quinnell Roger Lanser Robert Foster Phillip Murphy Danny Ruhlm ann Brett McDowell Jo h n Tate Peter O ’Brien Steve Carter Jo h n Bryden-Brown Mark Van Kool Q uentin Hole Michelle McGahey Diaan Wajon Ian Allen Bill Booth David Joyce Peter Forbes Laurie Dorn Mike Carroll Steve Blatchford Peter Collias Douglas Smith

c o n t i n u e d

f r o m

V(i-m-g) S(i-m-g) L(i-m-g). W e e k e n d A t B e m i e ’s V. Drai, U.S., 97 mins, Filmpac Holdings, Adult concepts and occasional violence, O (adult concepts) V(i-m-g) W h e n H a r r y M e t S a l l y ... R. Reiner-A. Scheinman, U.S., 93 mins, Hoyts Distribution, Occasional coarse language and sexual allusions, L(i-m-g) O (sexual allusions) W i l d O n e s , T h e (main title not shown in English) D. Lam, H ong Kong, 91 mins, Yu Enterprises, Occasional violence, V(i-m-g) Wired (a) E. Feldman-C. Meeker, U.S., 109 mins, Village Roadshow Corpora tion, Drugs and Coarse Language R (RESTRICTED EXHIBITION) A n g e l E n f o r c e r s (main title not shown in English) Not shown, H ong Kong, 88 mins, Yu Enterprises, Frequent violence V(f-m-g) C a s i n o R a i d e r s (m ain title not in English) Wins’ Movie Productions, H ong Kong, 125 mins, Chinatown Cinema, Occasional graphic violence, V(i-m-g) C i t y W a r r i o r s (main title not in English) Dragon Ray Motion Pictures, H ong Kong, 92 mins, Chinatown Cinema, F requent graphic violence and drug abuse, V(f-m-g) 0 (d ru g abuse) H o r r o r S h o w , T h e S. Cunningham , U.S., 94 mins, Village Roadshow Corporation, Graphic violence, V(i-m-g) K i l l e r , T h e (main title not in English)

Louise Wakefield Caroline Suffield Lesley Rouvray Debbie Lanser Chris Murray Brian Cox Brian Burns A rm ourers Kevin Bestt Glen Boswell Stunt coordinator Julia Gelhard 1st asst editor Jan e McGuire 2nd asst editor Peter Townend Sound editor Faith Martin & Assoc. Casting Wendy Day U nit publicist C a s t : Nigel Havers (Edward), Linda Crop per (Lucinda), Burt Cooper (Gustav), Andrew Clarke (LtAndrews), Peter Baaske (Com m ander Spier), Bill Kerr (Scotty Q uinn), Jonathan Biggins (Private Mur ray) , Rob Baxter (Sgt Barry), Vincent Ball (Col. Foster), Alfred Bell (Minister), Paul Smith (Private Reed), W erner Stocker (Hans), Anne Haddy (Mrs Spencer G rant), Jam es C ondon (Mr Spencer Grant), Tiare Schwalger (Kiri), Karona Schwalger (Native Guide), Uelese Petaia (Chief), Olivier Sidore (Armand), Kath erine Thom son (Nurse Hardy), Gonzalo Fernando (Spanish C aptain), Jacqy Phil lips (Glenda), Edm und Pegge (George Howard), David W hitford (Theatre m an ager), Ainslie Masterton (Sally), Jo e Mar tin (Leading Man); Francesca Lawrence, Raquel Suarstzman, Poppy Dupont, Becky Bowles (Glenda’s Girls). S y n o p s is : The rivalry between two friends over Lucinda is further complicated when they find themselves on different sides during World War I. Costume supervisor Standby w ardrobe M ake-up/hair sup. M ake-up/hair ardst Special fx

S e e p r e v i o u s is s u e f o r d e t a ils o f : THE DRUM MACHINE; FLAIR; KABOODLE 2

p a g e

s o

Tsui Hark, H ong Kong, 109 mins, Chinatown Cinema, Frequent graphic violence, V(f-m-g) K i n j i t e - F o r b i d d e n S u b je c t s P. Kohner, U.S., 94 mins, HoytsDistribution, AntiSocial concepts and drug abuse, © (anti social concepts, drug abuse). L u s t y S t o r y o f G o l d e n V a s e , T h e (said to be - title not shown in English) Not shown, Taiwan, 73 mins, Yu Enterprises, Frequent sexual activity, S(f-m-g) R u n a w a y B l u e s (said to be - title n ot shown in English) Not Shown, H ong Kong, 95 mins, Chinatown Cinema, Occasional graphic violence, V(i-m-g) HUMS BOARD OF REVIEW D o T h e R i g h t T h i n g * S. Lee, U.S., 119 mins, U nited International Pictures. Decision Reviewed: Classify ‘R’ by the Film Censorship Board. Decision of the Board-. Confirm the decision of the Film Censorship Board W i r e d (a) E. Feldman-C. Meeker, U.S., 109 Mins, Village Roadshow Corpora tion, Drugs and coarse language. Decision Reviewed: Classify ‘R’ by the Film Censorship Board. Decision of the Board. Direct the Film Censorship Board to Classify ‘M’. (a) see also u nder For Mature Audiences - ‘M’ *NOTE: Previously shown u n d er ‘Films Registered without deletions for Restricted Exhibition - ‘R’ on Ju n e 1989 list. CINEMA

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TERRY • FROM

HAYES PAGE

The French presumably don’t want Rae [Nicole Kidman] to blow away Hughie [Billy Zane] the way the Americans do.

W hat so often happens is that the director or editor feels that the writer is going to be really upset if a scene is cut. I have seen it happen on Dead Calm, the Mad Max films and especially the mini-series. Edi tors find it very difficult to come to terms with a w riter-producer like myself saying, “Drop that scene” or “Get rid of those lines - we d o n ’t need them ”. So, I love audience testing. I’ve learnt m ore about writing from it than anything except editing. You sit there and, boy, do you live with every one of your mistakes. A criticism of audience testing is that the new ending of Dead Calm is a more ‘common denominator’ ending than the original.

The difficulties with the ending of Dead Calm were n ot with the audience testing, but in the original conception. The film did not have a satisfactory ending - ever. The problem should have been solved at the script stage, but wasn’t. We were relatively happy with it during editing, but, the m om ent we saw it with an audience, we knew it d id n ’t work; we d id n ’t need to read the test cards. The audience felt that it was a fantastic film that dribbled away. W hat we should have done was n o t start shooting the film until we were absolutely sure we had an ending that worked. You can’t denigrate audience testing because of a failure in the scriptwriting. But could it be argued that an audience will only want a genre ending to a genre picture, and that there may exist an ending more inventive than any audience could conceive?

Absolutely. I ju st wish we had found that inventive ending. But we d id n ’t do that. T hat was our failure. And if you had audience tested in a different country, you would have different results.

Now th at’s a very valid point.

T h at’s absolutely true. However, I have no shadow of doubt that every change we made to that film enhanced it no end. I w ouldn’t go and make a film now without having the ability to audience test it. I’d dem and it in the contract if the studio d id n ’t want to do it, I want to see the film through somebody else’s eyes. There is a danger of hearing stories like the one about the Dead Calm’s ending and discounting what is a very valuable tool. And th at’s all it is: a tool. And, of course, tests can be fallible. You only have to rem em ber that Innerspace got one of the highest test results in history, yet it died when it went out on release. The studio decided the campaign had been wrong and re-released it u n d er a different campaign. But still it d id n ’t do any business. My theory was that once you got the audience into the cinema, they enjoyed the film; hence you got high test results. But the fact was that people had no interest in going to see that film u nder any circumstances. Itjust seemed like an old fashioned idea. What most people do is look at the test cards and if the film got, say, m ore than a 70% approval rating, they think that warrants spending $ X million on the campaign. We d id n ’t do that; we went one step further. We read every one of those several thousand cards. We found two really interesting things. First, Americans are ju st hopeless at spelling. The level of literacy in that country is appalling. There is absolutely no doubt about that. Second, the vast majority of the audience had similar responses to certain sections of the film. They felt that the Nicole character was too dum b on the short-wave radio. They also told us where they felt the film got slow. And when we went back and looked at it, we were amazed how you could tell exactly the same story with a couple of minutes taken out. At the end of the day, all audience testing can do is confirm your intuition. We thought there was a problem on the ending of Dead Calm. The test results confirm ed that was the case. Now, there are those filmmakers who d o n ’t give a shit about the audience, but I’m not one of them. ■

B A C K OF BEYOND A LIMITED NUMBER OF THE BEAUTIFULLY DESIGNED CATALOGUES ESPECIALLY PREPARED FOR THE SEASON OF AUSTRALIAN FILM AND TELEVISION AT THE UCLA FILM AND TELEVISION ARCHIVE IN THE U.S. ARE AVAILABLE FOR SALE IN AUSTRALIA. THE CATALOGUE PRICE IS $24.95, WHICH INCLUDES POSTAGE AND PACKAGING, AND IT CAN BE PURCHASED MAIL ORDER FROM THE AUSTRALIAN FILM COMMISSION, 8 WEST ST NORTH SYDNEY 2060, OR FROM MTV PUBLISHING, 43 CHARLES ST ABBOTSFORD 3067. PLEASE MAKE CHEQUES OR MONEY ORDERS PAYABLE TO "AUSTRALIAN FILM COMMISSION - BACK OF BEYOND", OR TO "MTV PUBLISHING". "BACK OF BEYOND: DISCOVERING AUSTRALIAN FILM AND TELEVISION" WAS PUBLISHED BY THE AUSTRALIAN FILM COMMISSION WITH THE GENEROUS FINANCIAL ASSISTANCE OF THE AUSTRALIAN BICENTENNIAL AUTHORITY.

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JOHN • FROM

DUIGAN PAGE

Both Parer and Romero get killed by repressive forces.

Yes, th at’s true. How did you find making your first American film?

I have always been interested in a distant way to the politics of Central America and I knew a fair am ount about Romero and El Salvador. I thought it was an im portant project for a num ber of reasons, principally because it dealt with the Catholic Church and its role in countries like El Salvador. It m ade very clear how the traditional view of the C hurch as a stabilizing influence between people and State in fact helps bolster and perpetuate some pretty horrific regimes. The liberation theology elements within the Church have a very different view to this, and have created extraordinary tensions within C hurch hierarchies. I am n o t a Christian myself, b u t I know the Church is an extremely potent force in that part o f the world. W hat it does is very significant politically, and I thought that the film could make a useful contribu tion to understanding the tensions within the Church and maybe point out some useful ways for theologians to orient themselves. T h at’s why I was attracted to it. To what extent do you see the Church in those countries as being negative as opposed to neutral? How much has it become part of the problem that liberation theology is trying to resolve?

To a very great extent. Its role as a m oderating force has become institutionalized and any capacity for internal reform in a lot of the Church leaders has gone. There is a kind of moral lethargy and a tendency for its leaders to identify with the aristocracies of these countries. T hat certainly mitigates against them really having any kind of realistic appraisal o f the implications of their institutions for the country as a whole. You are dealing with an intellectual debate which is not part of many Western lives. Were the producers and yourself in unison as to whom the film was aimed?

I would say that there was a certain harm ony on moral levels in our intentions. I approached it from a hum anist point of view, rather than a theological one. I was also very interested in the politics of the thing. But, yes, there were some areas of disagreement. I would have liked to have spent m ore time dealing with the American involve m ent in El Salvador. The producer, Father Kieser, felt that in order for the film to speak to a large cross-section of people in the U nited States, we had to be very wary of what could be considered as antiAmerican diatribes. The audience would ju st switch off completely. I also wanted to have some coverage of R om ero’s visit to the Vatican: he visited there twice and had audiences with the current Pope. Father Kieser felt that the thrust of the story was the transfor m ation of a rather aesthetic, bookish and unworldly man, who, because of a nightm arish series o f revelations, finds within himself the moral authority to becom e a leading spokesman for hum an rights. T hat is indeed the core of the film, but I was equally drawn by the role and politics o f the Church.

Well, it was m ade in Mexico and had a largely Mexican crew. So the actual front-line experience of it was probably very different to doing an American film in the sense that the term is normally used. During the pre- and post-production periods, I was often in dis agreem ent with the producers, and occasionally with the writer. I did, for example, want to shorten the screenplay quite a lot. We shot quite a lot m ore than is in the final film. Some of what was cut was not stuff that I particularly wanted to cut, and there was other stuff that I wanted to n ot shoot. Obviously the less you shoot the m ore time you have for what you really want to shoot. The script was clearly over length to me, but the view of the producer was to give ourselves maximum options in the editing. T hat was a luxury we really couldn’t afford. I am good friends with Father Kieser and it was through his tenacity that the film got made. As well, there are probably things I wanted to do which may not have worked, as, equally, there are things he insisted on which d o n ’t entirely work. A certain am ount of strongly voiced debate between collaborators is, I ’m sure, very healthy, but the situation was not as creatively ideal as some I ’ve experienced. O ne of the differences was that the script was written by someone else. I ’m n ot used to working like that. I ’m a writer and I have very strong ideas on dialogue and script. So it was no surprise that there were quite a lot of things I disagreed with. It was also a project that Father Kieser and Jo h n Sacret Young [the scriptwriter] had evolved together over a num ber of years. It was necessary for me to respect it as Father Kieser’s film at least as much as mine. It wasn’t som ething like The Year My Voice Broke or Winter of Our Dreams or Mouth to M outh, which I had written from scratch and taken to people to get made. I prefer a situation where I ’m in control of the script and can make changes as I want to. This experience underlined that. Basically, it is the director who makes the script come to life. It is therefore necessary for writers to relinquish hold of the thing at a certain point. And if I have a criticism to make of the situation over there, it was that the project was not relinquished to the director to the extent that I would have felt more comfortable with. But that notwithstanding, I feel that the film achieves a lot of what I set out to make as my contribution to it. ■

An interesting aspect of your Damien Parer film, which many people feel is atypical, is its treatment of Parer’s religious faith. You don’t see yourself as a Christian, but Christianity is a very strong element of both films.

Absolutely. It occurred to me at the time I agreed to do Romero that I was doing two films about Christians in a row. But in both cases they were biographical pieces and it was necessary to buy into that whole aspect. This is clearly so in Romero, but also in Fragments, where Parer’s faith was a very im portant part o f his life and was reflected in everything he did. But yes, that area o f interest is atypical. R IG HT: ARCHBISHO P ROMERO (RAUL JU LIA ) IS DETAINED BY THE EL SALVAD ORIAN M ILITA RY, IN JO H N DU IGA N 'S RO M ERO CINEMA

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£ i m o n <w i n c z x • FROM

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Another change readers are sure to notice is that the boys don’t kill the pigs.

T hat was a conscious decision, because Bill felt we couldn’t have all of America watch these pigs trek 3,000 miles to M ontana only to be sliced up for bacon. I d o n ’t think we would ever have been forgiven if the boys had eaten them . So, scallywag McMurtry lost out there. It’s interesting that you say you have never seen anything th at’s as faithful to a book as this. I think everyone in America felt the same way. Each elem ent people come away from the book rem em bering is addressed in the mini-series. How did you find working within the strictures of American network television?

Because I’d done three network television things before - two for CBS and one for ABC - 1 knew the ground rules. But Lonesome Dove blazed new trails everywhere in terms of language, content and violence. The producers and I felt the violence was particularly im portant, because it was part of the times. Lonesome Dove is about how the West really was and n o t how Hollywood chooses to see it. We felt we had to push it as far as we could. The violence is fairly done and never glorified. I tried to treat it as if it were ju st part o f these guys’ lives. The biggest problem was the language, because the book is quite explicit, especially about having a “good poke”. Now, you can say that on Australian television, but network television in America is so strange. You can say ‘G od’, for instance, but not ‘G oddam n’! In America, the networks are their own censors; th ere’s no board of censorship. So what they do is commission a Deforrest Report. Deforrest reviews the whole project and says what it thinks legally you can or can’t do and say. The network legal people then look over it and say, “Well, we think that you should make sure you shoot alternate coverage on certain scenes and d o n ’t dwell on the arrow on Gus’ leg”, etc. Another network restriction is nudity and sexual nuance. In the book, for example, Lorena [Diane Lane] bathes naked in the river, but in the mini-series she’s wearing long johns.

We never actually considered doing that scene naked. To do that sort of stuff you need twice the am ount of time. And on American television you can’t show bare bottom s or bare breasts, so it’s not even worth the trouble. Actually, I think it’s very sexy when she bounces up out of the water in h er underwear. What about the sexual cruelties inflicted on Lorena after she’s kidnapped by Blue Duck [Frederick Forrest]? You only hint at those.

It all happens off-screen because Bill Wittliff decided it d id n ’t need addressing. You can see on L orena’s face what she’s been through. There is a reference in the mini-series to Blue Duck’s being a halfbreed, whereas in the book he is a full blood. Was that changed for political reasons?

Yes. The network is very sensitive to addressing issues like the American Indian. So, we m ade him a m ongrel half-breed. T he only other thing the network asked us to change was take out a few frames from one of the scalping scenes. But I can’t rem em ber a single occasion where I was troubled about how I was going to do something. I did everything the way I thought it should be done. I stuck to the script, which the network had approved. 78

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I think the hardest p art was com ing up with a cast. All the really top people are film actors, b u t the network really pushed for television actors. Very few actors in America have appeal to both the television and film audiences, apart from Tom Selleck and Michael J> Fox. Even Robert Duvall is n o t a big nam e in terms of the television audience. Had anyone other than Duvall been cast when you came to the project?

No, only Bobby. They had originally approached him to play the part of Call, which is the m ore obvious character for Duvall to play. But he had said, “I d o n ’tw ant to play Captain Call; I ’ve already done that type of character. But I’d love to play Augustus.” Now, who could say no to Robert Duvall? The three hardest parts to cast were Call, Blue Duck and Elmira. We ju st couldn’t find an Elmira everyone was happy with. I ’m delighted we finally got Glenne Headly because she was one of my early thoughts. But she wasn’t a favourite with some of others, particularly the network. They finally and reluctantly agreed to her three days before we started shooting. And she was on the first day’s shoot: the whiskey boat sequence. I’m delighted she has been nom inated for an Emmy award. As for Blue Duck, we had actually cast Charles Bronson. But he was contracted to Cannon and had a deal whereby, once h e ’d approved a film, they could p u t him on notice to make it. And after he agreed to do Lonesome Dove, Cannon suddenly decided to make a movie h e ’d approved. We could do nothing about it. So, we cast Freddy Forrest, who I think is very good. He played the role in a totally different way, of course. Call was also very hard to cast, because the actor needed to be a certain age and a good horsem an. Most of the older actors in America ju st couldn’t have coped with the physical challenge. T ommy Lee Jones is perhaps a surprising choice. In the first half, he seems to me too young and without enough Calvinism running through his veins. But in the second half he is extremely effective and moving. He ends iip ‘stealing the show’.

Yes, it is quite extraordinary. And you have to rem em ber that Tommy Lee is only 41, so h e ’s playing someone 20 years older. But h e ’s a wonderful horsem an and a Texan through and through, with a great knowledge of the period. T hat character was in his blood. I d o n ’t think anyone could have played it better. Tommy Lee is always beautifully prepared. You knew that you could count on him when the chips were down. Take the last shot, where he is walking with the young journalist through Lonesome Dove. That was shot at the magic hour and I could see the producers looking at their watches thinking, “Wincer is n o t going to get finished today.” T here was enorm ous pressure on us to finish, and the kid who played the journalist was a stage actor who had never worked on film before. Douglas Milsome, the cinem atographer, was saying, ‘T his is a risky tracking shot. We only have one chance.” I told him n ot to worry: ‘Tom m y Lee knows what to do.” And sure enough, when I said, “Cut and p rin t”, we knew we had it. Tommy Lee had been so good that everyone stood there for a m om ent, almost crying. Everybody then ran to get back for the final wide shot where Call walks off across the bridge. We literally did the whole scene in ten minutes. And the first thing Tommy Lee said when we finished was, “Gee, it’s really enjoyable doing a shot like this, when you’re aware of the concentration all around you and how everyone’s fighting for this one take to be perfect.” We had terrific m om ents like that, especially with Tommy. He ju st loved working on the edge. How was it working with Robert Duvall?

Robert Duvall is extraordinary and one o f the world’s great actors. He does an enorm ous am ount of research, carefully building

up his characterization. O n Lonesome Dove, for example, he lined up an old sheriff, talked to a gunfighting expert and even m et somebody who had shot a m an. H e also went and stayed with some Cajun cowboys down in Louisiana. Anything Bobby takes on, he does to perfection. A few years ago he took up tennis and I ’m told he almost reached professional standard. H e took up tango dancing after that Broadway show Argentina, and becam e a brilliant tango dancer. As for horseriding, it is the same thing. He rides now almost to Olympic standard. I have never worked with an actor where his continuity is so exact. And n o t ju st continuity of a perform ance, but make-up, hair, ward robe - every little detail. H e could walk out this door today and into the next room two m onths later and you’d swear that h e ’d done it all the same day. You have no idea where it comes from, because he doesn’t talk about his craft. It’s ju st there. O n the set, Bobby is very obliging and he seemed to enjoy working with me. But occasionally he could be difficult. He would sometimes ju st eru p t for no reason at all and this kept everyone a bit tense. W hen Bobby wants to make you feel uncom fortable, he can. O ne day, Bobby threw a ju n io r photographer off the set after he was asked to do some silly things. Unfortunately, the photographer worked for Rupert M urdoch and that cost us the cover o f TV Guide, which is three ratings points. I d o n ’t think CBS enjoyed that. Bobby had o th er problem s with CBS in that he wanted us to cast a Blue Duck that nobody else did. The guy was a full blood Coman che, but n o t an actor. We ended up with Freddy Forrest and Bobby, who is a friend o f Freddy’s, was pretty upset about that, and said so in the press. So, Bobby has his moments. But I’m really only interested in the final product, and th e re ’s no question h e ’s wonderful. Take Gus’ death scene, which I think is rem arkable. It goes for ten m inutes and both he and Tommy Lee did only two takes. I had two cameras on each of them , and we literally did that scene in three hours. It was quite a difficult scene, b u t both o f them were absolutely perfect, right down to each little subtlety and nuance. Diane Lane was another wonderful choice.

Yes, she was great. We saw a lot of girls for the part of Lorena, but Di ended up being self-selective. I think it was 3 or 4 weeks into the shooting before she came on to the set. I rem em ber she had sort o f brown hair and was in jeans and a t-shirt. The next time I saw h er she was in h er wardrobe, with her hair dyed blonde. She had suddenly becom e Lorena. She was great. Two oth er actors I thought were terrific are Danny Glover and Robert Urich. Danny is one o f the world’s great instinctive actors. He doesn’t have a lot of words in the piece, but you could play a whole Scene on his face. It was always hard picking the m om ents of Danny’s you’d use because there were so many joyous ones. Right from the first rehearsal, Danny’s finger was right on the button. He was exactly there. As for Robert Urich, he is a very experienced television actor. But it was a bit difficult for him being the TV glam our boy com ing to work with these film heavyweights. He was very nervous, b ut then so was I.

FINAL THOUGHTS Your most recent Australian film is The Lighthorsemen. Appar ently you re-cut it for the U.S.

Yes, they w anted us to make it a bit shorter. So Adrian and I, with the help of an A merican editor, trim m ed it down. Actually, I think the second half o f the film is probably better now. But I d o n ’t like the opening as m uch, because I miss the little Australian section we had. The charge is certainly better. In Australia, we were working to a really tight deadline, and Adrian and I could never really get away from the film. We kept making changes right u p to the end of the mix, b ut I was still not 100% happy with it. It’s such a complex sequence, with nearly 800 shots. I ju st d id n ’t have the heart to ju st go

slice, slice, slice. It needed m ore of a honing-down process. I’m very fond of the film, so I was very disappointed when the mass audience stayed away from it. But I think most people who went to see it came out feeling pretty exhilarated. The charge is a wonderful climax. Actually, it opened in Texas when we were shooting Lonesome Dove. Chrissie [Wincer’s wife] and I flew to H ouston for the pre miere. T he film was terrifically well received and almost all the reviewers came out in the papers the next day and said , ‘You can relax. The guy who is directing Lonesome Dove is okay. ” This was nice because doing Lonesome Dove over there was a bit like re-making The Bible. Texans love that book so m uch they were really nervous about how Hollywood was going to treat it. And I think th at’s why a lot of them went to see the film. The Lighthorsemen also did okay in Los Angeles for a couple of weeks, then completely died. It’s just one of those things. In Australia it came out at a time when audiences had swung away from watching very ‘Australian’ films. I think that holds today.

You might be right; I d o n ’t know. All the same, it has perform ed better than most Australian films in terms of its return. Its pre-sales and television sales were about $6 million or 60% of the budget. Ian Jones, myself and Tony G innane actually put a lot of money in to prop the film up when it looked like falling over. W e’re suffering a bit from that now. Which version has been released on video in Australia?

The Australian, and in America the American. It’s not that different a film. Have you had any experience with the American audience-testing process?

I ’m not a great fan of that. Having grown up on television, I believe you should go with your instincts. There was an article the other day in The Sunday Age by Tom Ryan1 about happy endings. And someone in that article expressed a view I share: that audiences recruited for test screenings shouldn’t be telling us what they like or d o n ’t like in a film. T h ere’s not one thing in Lonesome Dove which is there as a result of the dem ands of an audience. Everything th at’s there is a result of how the producers and I saw the film. And, as you know, it was a huge success. I believe movies are the same. As soon as you start testing with an audience, everyone becomes an expert. They say, “Well, w ouldn’t it be good i f ...”, or “Maybe you should try this.” A nother example of how dangerous this testing can be was Phar Lap. I ’m not unhappy with the American version of the film, b ut the reason Jo h n Sexton and I chose to go with 20th Century-Fox was because they’d done a good jo b with The Man from Snowy River. And yet all Fox wanted to do was spend $300,000 making changes to the film. If we had gone, for example, with Disney, they intended releasing the film in its Australian form. Fox originally planned to release the film in the spring. But they did some audience testing and it did better than anything since Star Wars. So, they released it in the sum m er peak season. Well, that was the sum m er of the Olympic Games, Ghostbusters and Indiana Jones and the Temple of Doom - their biggest summer ever. We got killed in the rush. It got nice reviews, but d id n ’t do m uch business. I still believe that if they’d stuck to their instincts and released it in the spring, things would have been different. But look, you can’t become an instant expert. These guys spend between 5 and 7 million dollars releasing a film, and they’re justified in doing what they believe is necessary to cover their bet. O n the other hand, if you d o n ’t take a gamble, all we’ll end up doing is making form ula films. We should stand firmly by our instincts, because that’s what we’re filmmakers for. ■ 1. Tom Ryan, “Why Hollywood Loves Happy E ndings”, The Sunday Age, “Agenda”, p. 11. CINEMA

PAPERS

• 79

JULY

O u t C o l d G. Braunstein-R. Hamady, U.S., 91 mins, Hoyts Distribution, Occasional coarse language and adult concepts, L(i-m-j) S(i-m-j) P r i n c e o f P e n n s y lv a n ia , T h e J . Fishman, U.S., 93 mins, Hoyts Distribution, Occasional coarse language and adult concepts, L(i-m-g) O (adult concepts) R e n e g a d e s D. Madden, U.S., 105 mins, Village Roadshow Corporation, Frequent violence and coarse language, V(f-m-g) L(f-m-g) R u s s i c u m M. Cecchi Gori-V. Cecchi Gori, Italy, 112 mins, Fox Columbia Tri Star Films, Occasional coarse language and violence, V(i-mJ) L(i-m-g) S w e e t ie J. Maynard, Australia, 100 mins, Filmpac Holdings, Occasional coarse language and adult concepts, L(i-m-j) O (adult concepts) U H F G. Kirkwood-J. Hyde, U.S., 94 mins, Village Roadshow Corporation, Occasional violence, V(i-m-g) V a m p i r e ’s K is s B. Shils-B. Zitwer, U.S., 102 mins, Hoyts Distribution, Frequent coarse language and occasional violence, L(f-m-g) V(i-m-g) W i l d S e a r c h (main title not shown in English) R. Lam, H ong Kong, 98 mins, Chinatown Cinema, Occasional violence and coarse language, V(i-m-g) L(i-m-g)

1989

PG (PARENTAL GUIDANCE) B u r n i n g S e n s a t io n Golden Harvest, H ong Kong, 90 mins, Chinatown Cinema, Supernatural them e, V(i-m-j) O (supernatural them e) F i e l d o f D r e a m s L. Gordon-C. Gordon, U.S., 105 mins, Fox Columbia Tri Star Films, Occasional low-level coarse language, L (i-l-g) ) O (adult concepts) J e S u is L e S e i g n e u r D u C h a t e a u ( I ’m T h e K i n g O f T h e C a s t le ) Y. Bernard, France, 87 mins, Dendy Cinema, Adult concepts and occasional violence, O (adult concepts) V(i-m-j) K a r a t e K i d P a r t I I I J. W eintraub, U.S., 111 mins, Fox Columbia Tri Star Films, Frequent low-level violence and coarse language, V(f-l-g) L(f-l-g) M r C a n t o n a n d L a d y R o s e Golden Harvest-Golden Way Films, H ong Kong, 126 mins, Chinatown Cinema, Occasional coarse language and violence, L(i-m-j) V(i-l-j) S a n a ’y W a l a N a n g W a k a s R. Salvador, The Philippines, 103 mins, Multiskills International (Syd) Promotions, Adult Concepts, O (adult concepts) T h i n B l u e L i n e , T h e M. Lipson, U.S., 101 mins, The O ther Films, Adult concepts and occasional low-level violence, V(i-l-j) O (adult concepts)

R (RESTRICTED EXHIBITION) B l a c k W a l l , T h e (main title n ot shown in English) Lau’s Film Production, H ong Kong, 88 mins, Yu Enterprises, Frequent graphic violence, V(f-m-g) D a m n e d R i v e r L. Hool, U.S., 95 mins, Filmpac Holdings, Graphic violence, V(i-m-g) P r o u d a n d C o n f i d e n c e (main title not shown in English) Not shown, Hong Kong, 88 mins, Chinatown Cinema, Occasional graphic violence, V(i-m-g)

M (MATURE AUDIENCES) C a p p u c c i n o A. Bowman-S. Wilde, Aus tralia, 82 mins, Ronin Films, Occasional coarse language and adult concepts, L(i-m-g) 0 (a d u lt concepts) G e o r g i a B. Weis, Australia, 91 mins, Jeth ro Films, Occasional violence, V(im-j) L(i-m-j) G r e a t B a l l s o f F i r e ! A. Fields, U.S., 107 mins, Village Roadshow Corporation, Sexual scenes and adult concepts, S(i-mg), O (adult concepts) K i c k B o x e r (edited version) M. Di Salle, U.S., 102 mins, Village Roadshow Corporation, Frequent violence and occasional language, V(f-m-g) L(i-m-g) L e t h a l W e a p o n 2 R. D onnerJ. Silver, U.S., 113 mins, Village Roadshow Corporation, F requent violence and coarse language, V(f-m-g) L(f-m-g) S(im-g) L i s t e n T o M e M. Powell, U.S., 109 mins, Hoyts Distribution, Adult Concepts, Occasional violence and coarse language, V(i-m-j) L(i-m-g) 0 (a d u lt concepts) O l d G r i n g o L. Bonfiglio, U.S., 119 mins, Fox Columbia Tri Star Films, Occa sional violence and sexual scenes, V(i-mj) S(i-m-j)

SPECIAL CONDITIONS (a) (b) and (c) apply B i g (a) (German Language version) J. Brooks-R. G reenhunt, U.S., 104 mins, Goethe-Institut C h o u a n s (c) P artner’s Production-Films A2-Canal Plus, France, 145 mins, French Embassy L a f a y e t t e (c) Les Films Copernic-Paris Cosmos Film-Rome, France, 160 mins, French Embassy L e s R e v o lt e s D e L o m a n c h (c) Cinephonic Gaum ont (Paris)-Orso Film (Rom e), France, 88 mins, French Embassy M a n M a rk e d to D ie : T w e n t y Y e a rs A f t e r , A (b) E. Coutinho, Brazil, 120 mins, Australian National University M ille S e p t C e n t Q u a t r e V in g t N e u f

“ 1 7 8 9 ” (c) Les Films Ariane, France, 88 mins, Australian National University P a t r i a m a d a (b) T. Yamasaki, Brazil, 100 mins, Australian National University R e m o n t o n s L e s C h a m p s E ly s e e s (c) Cineas, France, 100 mins, French Embassy S i V e r s a ille s M ’E t a i t C o n t e (c) C.L.M. Cocino, France, 165 mins, French Embassy (a) (b) (c) - T hat this film /tape will not be exhibited in any State in contravention of that State’s law relating to the exhibition of films. (c) - T hat this film will be exported within the period of six weeks com m encing on 19 August 1989.

AUGUST

1989

G (GENERAL EXHIBITION) A d v e n tu re s o f M ilo a n d O tis , T h e Masaru Kakutani-Satoru Ogata, Japan, 75 mins, Village Roadshow Corporation B e a r , T h e C. Berri, France, 93 mins, Fox Columbia Tri Star Films PG (PARENTAL GUIDANCE) B u r ie d A liv e ...T h e S to ry o f E a s t T i m o r G. Serine, Australia, 61 mins, G. Serine, Adult concepts, O (adult concepts) E m p e r o r ’s N a k e d A r m y M a r c h e s O n , T h e (main title not shown in English) Sachiko Kobayashi, Japan, 120 mins, State Film Centre of Victoria, Adult Concepts, 0 (a d u lt concepts) V(i-lJ) G o d s M u s t B e C r a z y I I , T h e B. Troskie, U.S.-South Africa, 96 mins, Fox Columbia Tri Star Films, Occasional low-level violence and coarse language, V(i-l-j) L(i-l-j) Honey, I Shrunk T he Kids P Finkelman Cox, U.S., 93 mins, Village Roadshow Corporation, Scene of low-level violence, V(i-l-J) L o b s t e r M a n F r o m M a r s E. Rimmon-S. Greene, U.S., 95 mins, Village Roadshow Corporation, Mild horror, 0 (m ild horror) M r . C o c o n u t (main title not shown in English) C. Ko, H ong Kong, 99 mins, Chinatown Cinema, Adult Concepts, 0 (a d u lt concepts) N o b l e s , T h e (main title not shown in English) D. Poon, H ong Kong, 93 mins, Chinatown Cinema, Occasional lowlevel coarse language, L(i-l-g) N u o v o C in e m a P a ra d is o (C in e m a P a r a d i s o ) F. Cristaldi, Italy-France,120 mins, Village Roadshow Corporation, Adult Concepts, O (adult concepts) P e r f e c t M a t c h (main title not shown in English) D & B Films, H ong Kong, 90 mins, Chinatown Cinema, Occasional low-level violence, and coarse language,

F ilm s e x a m in e d in t e r m s o f t h e C u s to m s ( C i n e m a to g r a p h F ilm s) R e g u la tio n s a s S ta te s ’ film c e n s o r s h ip le g is la tio n a r e lis te d b e lo w . A n e x p la n a t o r y k e y to r e a s o n s f o r c la ssify in g n o n -" G " film s a p p e a r s h e r e u n d e r : F req u en cy In fre q u e n t

E x p l ic i tn e s s /I n te n s i ty F re q u en t

Low

M e d iu m

P u rp o se H ig h

J u s ti f i e d

G r a tu ito u s

S (S e x )

V (V io le n c e )

L (L an g u ag e)

O (O th e r)

V(i-l-g) L(i-l-g) 0 (a d u lt concepts) R e tu r n o f th e M u s k e te e rs , T h e P . Spengler, UK, 99 mins, Village Roadshow Corporation, Occasional violence, v(i-m-j) L(i-l-j) R e u n i o n A. Francois, UK-France-West Germany, 110 mins, Village Roadshow Corporation, Occasional violence, V(im-j) L(i-m-j) T u r n e r & H o o c h R. Wagner, U.S., 98 mins, Village Roadshow Corporation, Occasional violence, V(i-m-j) U n c l e B u c k J . Hughes-T. Jacobson, U.S., 99 mins, United International Pictures, Some low-level coarse language and sexual allusions, L(i-l-g) O (sexual allusions) W o r l d I s W a t c h i n g , T h e H . Crooks-P. RaymontJ. Monro, Canada, 57 mins, Ronin Films, Adult Concepts, O (adult concepts) M (MATURE AUDIENCES) A b y s s , T h e G. H urd, U.S., 138 mins, Fox Columbia T ri Star Films, Adult Concepts, O (adult concepts) B a n d O f T h e H a n d M. Rouch, U.S., 109 mins, Fox Columbia Tri Star Films, Adult concepts and occasional coarse language, 0 (a d u lt concepts) L(i-m-g) B i g T a l k J. Krane, U.S., 95 mins, Fox Columbia Tri Star Films, Adult concepts and occasional coarse language, O (adult concepts) L(i-m-g) C l o w n h o u s e M. Danty-R. Mortarotti-V. Salva, U.S., 79 mins, Village Roadshow Corporation, Occasional violence and coarse language, L(i-m-g) V(i-m-j) C o ld e s t W i n t e r I n P e k i n g , T h e CMPC, Taiwan, 123 mins, Chinese Cultural Centre, Occasional violence, V(i-m-j) D e a le r s W. Cartlidge, UK, 89 mins, Filmpac Holdings, Occasional coarse language and sexual scenes, L(im-g) S(i-m-g) O (drug use) D i e J u n g f r a u e n - M a s c h i n e M. Treut, West Germany, 86 mins, Prem ium Films, Occasional sexual scenes, S(i-m-j) L(i-m-g) D i e V e n u s f a l l e ( V e n u s T r a p ) R. Van Ackeren-T. Hinz-M. Moszkowicz, West Germany, 102 mins, Hoyts Distribution, Sexual scenes, S(i-m-g) E m p t y B e a c h , T h e T. ReadJ. Edwards, Australia, 90 mins, Hoyts Distribution, L(i-m-g) V(i-m-g) F r u i t M a c h i n e , T h e S. Morrison, UK, 107 mins, Vestron Pictures, Coarse language, sexual scenes and adult concepts, L(i-m-g) V(i-m-j) S(i-m-g) O (adult concepts) G h o s t F e v e r The Grand March Movie Production, H ong Kong, 95 mins, Yu Enterprises, H orror, O (horror) H e a t h e r s D. Di Novi, U.S., 100 mins, Village Roadshow Corporation, Adult Concepts, Frequent coarse language and violence, 0 (a d u lt concepts) L(f-mg) V(i-m-j) I f I W e r e F o r R e a l Young Sun Prods, Taiwan, 92 Mins, Chinese Cultural Centre, Occasional violence, V(i-m-j) O (adult concepts) CENSORSHIP

T itle

P ro d u cer

• CINEMA

PAPERS

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