Cinema Papers June-July 1980

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Franklin on Hitchcock wooden Clogs Australian Pioneers "10" Beyond Reasonable Doubt

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“These days, you have to finish ^ film commercials on videotape i H I I l C H I f I t d i l l . 4k because the television stations ML dem and it. But you still have the opportunity to decide at w hat stage you go to tape. It is really a question of speed or quality.

If you w ant speed, you transfer the film negative straight to tape and edit electronically. I can turn a commercial around in 24 hours, th at way.

But editing on tape means split second decisions. Decisions, th at given time, you might have made differently.

Editing on film, on the other hand, gives you better optical effects and affords you the time to make better creative decisions.

You can examine the problem, find a solution, then plan its execution.

Thinking it all over for two days instead of two minutes.

I look at videotape as a tool.

It’s a means to an end. A n d the decision w hen to transfer film to tape can make a big difference to th at end.”

lb find a solution« Then plan its execution«”

M ike Reed, Film Editor. M ike R ee d ’s Post P roduction.

Kodak M otion Picture Film K7 W27

KODAK (Australasia) PTY. LTD.

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The Victorian Film Corporation actively involved in film and television investment in Australia ThĂŠ Victorian Film Corporation, 409 King Street, Melbourne 3000, Australia. Telephone (03) 329 7033.

Telex A A 32636.

W hen D on M eAlpine mentioned the colour grader in his acceptance speech at this years ACS awards,he was talking about our Arthur Cambridge.

How did you get into the business Arthur?

From the box. As a projectionist. Started at 15, lasted ten years. Things start to close in a little after ten years in the box. Then I came to Sydney.

Met a man named Phil Budden, and he gave me my job here. I started polishing the processor, ended up as chief operator on the positive machine.

Working on what?

Mostly doccos, 2 reel featurettes. Then we started a production office, which we didn't have before. Then Mr Budden suggested I look over Bill Gooleys shoulder. Bill was the grader then. See what I could pick up. It was all sight grading in those days.

Sight grading?

You’d take 2 frames from every cut. Splice them in order, ending up with two or three hundred sets of two frames.

Then you’d sight grade. There was no machine to analyse it for you, sight graded it again, took a guess, corrected your guess, then corrected again. Two weeks later, you had a two reeler. That was my learning process. And very good for me.

A long winded business. Then along came the Hazeltine.

What are the qualities of a good grader. I mean, would you see colour differently to other people?

I think everybody has their own idea of colour. But grading colour requires time, intense concentration, and the persever­ ance to keep going until you get it right. And insight, I guess, into what the film makers want from the film, you have to understand how they see it.

Colour can change the mood. For a horror film, dark shadows, for a period picture,

a patina of age, or a bright, sharp, crisp, clean look like ‘My Brilliant Career’ which I think was a beautiful job.

From your point of view?

And the cameraman’s. My oath. He captured it. You can’t work with the impossible.

Is there any job you’ve done recently you’re pleased with from the grading point of view?

Well, for time and energy, ‘Mad Max It took double the normal grading time.

Why? It was shot over a period of nine months in Victoria, during which time the grass, for exam­ ple, changed from green to yellow to brown. That all had to be sorted out. Then the cuts.

Six frames, eight frames, ten frames, for hundreds of feet at a time. It made the film work the

way it did. But it was very taxing. m o do you Work most closely with at Colorfilm?

Well, Bill Gooley does most of the liaison. But then Margaret Cardin (neg cutting) and Roger Cowland (opticals) and I work more or less as a team. It’s something that’s formed over the years. We all do our piece, it’s like a chain.

What’s your ideal working relationship with someone bringing in a feature?

Well, the way I worked it this morning. I just spoke to Johnny McLean, he’s coming in next week with his workpnnt of 'Touch & Go! Well run it through mute, talk about it, pull up at the end of each reel, take a few notes, and go through all 13 reels. Then it’s up to me with my notes, what John said, and what I’ve stored in my brain.

Memory and a feeling for the film.

You’ve just graded a feature for America, haven’t you?

Y esT he Earthling! They accepted our first print. No changes. Very gratifying.

How often have you had a job rejected?

Touch wood, never.

Not one?

Not one. I guess it’s all that sitting up till midnight the night before, smoking cigarettes and growing ulcers.

What do you mean?

Well, the night before a big job, especially a feature, you sit down and run the whole thing through your head. Plan out an attack for the next day. You never have time to do that thoroughly before then. And from there, you don’t let any­ thing interrupt that feature. You live with it from beginning to end.

What’s happening at Colorfilm?

We’re about to put in another Hazeltine. A double head machine with electronic frame counting.

Arthur, why Colorfilm?

Well, quite honestly, it’s the relationship we build up here.

You talk to Don McAlpme, I’ve just heard the video of his acceptance speech at the ACS Awards. I nearly died of em­ barrassment, I mean, it’s -the first time to my knowledge anyone’s mentioned a grader.

I think he did this because of the mutual feeling of respect and friendship we have and we’ve developed over the years.

To a film maker, putting a film in the lab, it’s very much like taking your wife to a hospital to have a baby. They care just as much about the outcome. And so do we.

colorfilm Leo B urnett 4.2251

Music in Australia? Hmmm...

Music in Australia is showing good form these days and Film Australia has some real winners for you to see and hear.

Y o u ’d have to be m ad to like opera A film for young people taking the grand out of grand opera and starring Isobel Buchan an and m em bers of the Australian O p era on tour. .

23min. Colour.

In credib le Florid as Richard Meale, Australian composer, talks about and performs a section o f 'I n c re d ib le Floridas'. a work inspired by the poetry of Rimbaud. T his award win ning film was directed by Peter W eir o f ' Picnic at H anging Rock' fame. lOmin. Colour.

T h e Fifth Facade A stunning film from the prod ucer a'nd director o f ' Caddie', covering the construction of the Sydney O p era House. Artists appearing include Birgit Nilsson. Charles Mackerras. Edward Downes, the Sydney Symphony Orchestra and the Australian Opera. Music by W ag n er and Prokofiev. 40min. Colour.

C horus and P rin cip als on stage please T h e staging of Delibes 'L a k m e ' from planning, costumes, set designs, rehearsals to opening night perform ance with J o a n Suther land and musical director Richard Bonynge. 61 min.

Colour.

Im ages for string quartet An insight into the lives and work of the m em bers o f a string qu artet in Australia. T h e string quartet is led by Carl Pini a nd performs the music of Debussy. 20min. Colour.

A B alinese gong orch estra T h e Balinese G a m e la n Orch estra comprises 30 musicians playing a rich and u n ique variety of exotic instruments T h e sounds prod uced have inspired western composers such as Benjamin Britten. T his film very simply takes you through the orchestra and lets you hear the instruments by themselves and in groups. lOmin. Colour.

C oncerto for orch estra T o a backgr ou nd of Bartok's music, this film takes an intimate look at the work of the Sydney Sym phony Or chestra u n d er its one-time Musical Director, the late D ean Dixon. 27min.

Black & white.

Something to think about from Film Australia.

Film Australia. P.O. Box 46 Lindfield. N.S.W .. 2070. Australian Film Commission , C a n b erra House.

10-16 Maltravers St.. Strand. L ondon W C 2 R 3 E H . U.S.A. & Canada. M r j i m Henry, City N ational Bank Building. 4229 Sunset Boulevarde. Los Angeles. California.

Have your cake ...and eat it FILMWEST & SINGAPORE FILMWEST has a lot to offer the film industry in Singapore.

Production time can be reduced since we provide on the spot service.

We create anything from ads to features. We back this up with a complete post-production service, and can supply equipment, facilities and production staff to any producer working in the region.

All this is available without going overseas. FILMWEST . . . we’ve got production in the can.

We are the Singapore agents for: AATON 16mm, Super 16 and 35mm cameras.

KEM editing tables - interchange­ able for 16mm, Super 16 and 35mm.

ACMADE editing equipment.

SATCHLER full range of tripods and heads.

V.C.S. video doors for cine cameras.

SONDOR 16/35 sound transfering systems.

FILMWEST Pty. Ltd. 7 Bowman Street South Perth W estern Australia 6151 Phone 367 7677 Cable ‘Filmwest’ Perth Telex AA 94150 FILMWA

FILMWEST Pte. Ltd. Suite 185, Raffles Hotel 1-3 Beach Road Singapore 0718 Phone 336 1509, 332 8041 Cable ‘Raflotel’ Telex RS 21586 Raffles

FORTY NINE HEADSAREBETTERTHANONE. The next time you sit down to work out the crew tor a shoot, we’d like to help.

The Queensland Film Corporation can now otter you a "w ho’s who and where” of people in Queensland. From grips, technicians, sound recordists, make up, lighting, right through to camermen and producers. In fact, forty nine heads with the technical skills and experience to make a production exercise in Queensland flow smoothly.

So if you're selecting crew and you’d like a little help, give us a call. Forty nine heads are better than one.

Contact Debra Cole at The Queensland Film Corporation, 6th Floor, Comalco House, Cnr George and Ann Streets, Brisbane, 4000. Phone (07)224 8291

If you've got film on the brain, keep us in m ind.

WEIL HELPYOU

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We provide assistance in: Financing script development. Production investm ent Marketing loans and counselling. Developing new talent through the Creative Development Branch.

For information, contact: Australian Film Commission, 8 West Street North Sydney N.S.W. 2060 Tel: (02) 922 6855

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AFC024

Articles and Interviews Randal Kleiser: Interview

Scott Murray

166

The Lincoln Cass Films

Mary Bateman

170

Peter Yeldham: interview

Paul Davies

176

Donald Richie: Interview

C. Ewan Burnett

The Blue Lagoon Kleiser Interviewed: 166

180

Features

The Timeless Land Yeldham Interviewed: 176

The Quarter Obituary: Alfred Hitchcock

164

Richard Franklin 165 Production Preview: Grendel GrendelGrendel 184 * Picture Preview: The Z Men 187 Film Censorship Listings 188 Picture Preview: . . . Maybe This Time 189 Production Survey 191 Box-office 205

Insert Special New Zealand Supplement

New Zealand Film Industry A Special Supplement: Centre Pages

Centre pages

Film Reviews

Lincoln and Cass A History: 170

The Tree of Wooden Clogs 199

Inge Pruks Witches and Faggots — Dykes and Poofters

Dennis Altman

200

“10”

Adrian Martin

201

The Electric Horseman 203

Scott Murray

Book Reviews The Book of Movie Photography

Vince Monton

206

John Ford

Brian McFarlane

206

History and Heartburn

Donald Richie Interviewed: 180

Geoffrey Gardner Mervyn R. Binns

Managing Editor: Scott Murray. Editorial Board: Peter Beilby, Scott Murray. Design and Layout: Keith Robertson. Sub-editing: Maurice Perera Business Consultant: Robert Le Tet. Office Administration: Nimity James. Secretary: Lisa Matthews.

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Telephone: (03) 561 2111. Distributors: NSW, Vic., Qld, WA, SA — Consolidated Press Pty-Ltd, 168 Castlereagh St, Sydney, 2000. Telephone: (02) 2 0666. ACT, Tas. — Cinema Papers Pty Ltd. Britain — Motion Picture Bookshop, National Film Theatre, South Bank, London, SE1, 8XT.

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Reviewed: 201

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Recent Releases

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Cinema Papers is produced with financial assistance from the Australian Film Commission.

Articles represent the views of their authors and not necessarily those of the editors. While every care is taken with m anuscripts and materials supplied for this magazine, neither the Editors nor the Publishers accept any liability for loss or damage which may arise. This magazine may not be reproduced in whole or in part without the perm ission of the copyright owner. Cinema Papers is published every two months by Cinema Papers Pty Ltd. Head Office. 644 Victoria St. North Melbourne. Victoria, Australia. 3051. Telephone (03) 329 5983. © C opyright Cinema Papers Pty Ltd, June-July, 1980.

Front cover: Publicity photograph for John Laing’s Beyond Reasonable Doubt. Vivien (Diana Rowan) and A rthur Thomas (John Hargreaves), and Detective inspector Bruce Hutton (David Hemmings).

Cinema Papers, June-July — 163

W ATTS R E-APPOINTED Ken W atts has been re-appointed full-tim e chairm an of the Australian Film Comm ission fo r two years, after which the position will becom e p a rt-tim e . (A fu ll-tim e general m anager is also expected to be appointed at that time.) The announcement, made by Mr Eliicott, M inister for Home Affairs, on May 2, ends m onths of speculation over W atts’ posi­ tion.

Som e in d u s try bodies, inc lu d in g the Producers and D irectors Guild of Australia and the Film and Television Production As­ sociation of Australia, passed m otions calling fo r a new chairm an to be appointed. In the case of the FTPAA, the m otion, and the mover, were kept secret, leading several in­ dustry observers to com plain that the affair had been tainted by a “ behind closed doors" atm osphere.

In any case, Mr Ellicott’s announcem ent has put paid to the politics — at least for the present.

Mr Eliicott also announced a series of changes to the A ustralian Film Comm ission A ct which will be introduced in Parliament.

Largely, these are based on recom m enda­ tions of the famed Peat, Marwick Mitchell report com pleted and tabled in 1979.

Principal changes include the AFC being given the power to approve monies for pro­ jects w ithout ministerial approval, as was re­ quired in the past for amounts more than $250,000. In only one case, The Unknown In­ dustrial Prisoner, was approval denied (see Cinema Papers No. 17, pp 18-19, 81). But Mr Eliicott said it was desirable to remove any question of political interference in the AFC. Such a move will be w idely applauded.

Other charges related to staff, which will no longer be under the control of the Public Service Act. As well, the present full-tim e com m issioners, Peter M artin and John McQuaid, will not be re-appointed.

Instead of full-tim e com m issioners, the AFC board will have five part-tim ers. Pat Lovell, presently a part-tim e com m issioner, has had her term extended for three years.

The other part-tim ers are Henry Crawford, David Block and David W iiliams. A fifth com ­ m issioner is still to be appointed.

These and other changes, said M r Eliicott, should help the AFC to adopt a more com ­ mercial approach to its operations and more effectively respond to the views of the in­ dustry. W hile it is too early to examine closely the ram ifications of the changes (which will be done in a future Cinema Papers), it is worth rem em bering that a film com mission, whether state or federal, is to a large degree dependent on the projects presented to it.

While it is relatively easy to make struc­ tural changes, the future of any film industry rests significantly on the ability and desire of producers and directors to come up with critically w orthwhile and com m ercially suc­ cessful films. No am ount of legislation can in­ ject energy or inventiveness into the film com m unity; that it must do itself.

EPIC RE-APPEARS Director of the film section of the National Library in Canberra. Ray Edmondson, an­ nounced on May 1 that the Library had ac­ quired a print of the 1927 production, For the Term of His Natural Life, Edm ondson described the acquisition as “ a most im po r­ tant and exciting event in the preservation of Australia's film history".

The print, which is not com plete but has scenes that are not in the Australian print, was found in the U.S. by the American Film Institute. It is believed the print was specially made for the U.S. market.

Edmondson believes that by com bining the U.S. and Australian prints the Library will be able to achieve an alm ost-com plete print of this early film classic.

TELEVISIO N AND OIL

Television, which usually stays out of the c e n s o rs h ip fra y , has be co m e d e e p ly enmeshed over the proposal, by the Seven Network, to screen Death of a Princess. This British docum entary about the love affaire between a Saudi Arabian princess and her com m oner lover, and their subsequent ex­ ecutions for breaking the Islamic moral code, has created controversy throughout the world. Already screened in The Netherlands and Britain, the film is considered offensive to Saudi Arabians and also factually inac­ curate.

While the second claim is d ifficu lt to evaluate (the intricacies of the Islamic code have confused as many scholars in Islamic countries as outside them), the first is not.

Q uite sim ply, the Saudi A rab ia ns feel slighted and want the film banned from as many television screens as possible. And, in an attem pt to see this happen, several p o liti­ cians have resorted to blackm ail; oil or else.

In Australia, fear of the Saudi Arabians cutting off, or even limiting, oil im ports if the docum entary is shown has led the Acting Prime Minister, Mr Anthony, to send an "un official” telex to Channel 7, pointing out the possible dangers of broadcasting the program . Mr Anthony said: “ I don’t believe there is any doubt that showing the film in Australia will harm rela­ tio n s be tw een A u s tra lia and S aud i A rabia."

Mr Anthony also said that trade between the two countries had already approached $5 million annually and may exceed $1000 million within the next five years.

The Opposition has reacted strongly to the telex, claiming attempted censorship. Labor MHR and form er chairm an of the Australian Film Institute, Mr Barry Jones, called the ''pressure" a "m oral outrage". The views of the assistant general manager of Channel 7

in Sydney, Allan Tyson, have been more equivocal. He said: "O ur position is that the print w on’t arrive in A ustralia until late May. It will then have to be classified by the Australian Film Cen­ sorship Board.”

A reading of the Film Censorship A ct does suggest the Comm onwealth Chief Censor, Lady Duckmanton, could settle the matter and ban the program . Regulation 13 (c) of the Customs (C inem atograph Films) Regula­ tions states that perm ission for the im po rta­ tion of a film may be rejected if, in the opinion of the Censor, the film is “offensive to a friendly nation” .

Obviously, the film is offensive to Saudi Arabia, a friendly nation, and the film , ac­ cording to section 13, should be banned.

However, interpretation is the basis; and the danger, of censorship. As usual, tim e will tell.

SUPERM AN 2 Superman 2, according to Screen Inter­ national (April 26), is nearing com pletion and will probably be out at Christmas. Producer Pierre Spengler claim s the com bined budget for Superman and Superman 2 is about U.S. $120 m illion, with the second film being cheaper than the first.

As yet, the question of the dire ctor’s credit has not been resolved. Richard Donner, director of part one, shot some of Superman 2 before leaving and being replaced by Richard Lester. When asked who would get the credit, Spengler replied: “ I don’t know yet. After Richard Donner left we had to make a decision about how much of the material that had been shot we would keep. In fact, we decided to re­ do a lot of it. There's about 30 per cent of D onner’s material in Superman 2.”

When asked if Lester directed the other 70 per cent, S pengler said: “ l d id n ’t say that. There is no question he has made a m ajor contribution as an in­ dividual.”

All one can do is await the release. But the saga won't end there, as Spengler is already planning Superman 3.

ASIAN FILM FESTIVAL The 26th Asian Film Festival will be held in Jogjakarta and Bali, from June 28 to July 3.

Australian feature entries include Chain Reaction. Harlequin. Touch and Go, Final Cut and either Breaker Morant or The Z Men. Five short film s have also been entered: Wild Life Ranger, Mind Made, You Can’t Always Tell, Bound for Alice and Lenpod of Bali.

AUSTRALIAN TELEVISIO N FESTIVA L

V illainous M aurice Frere (Dunstan W ebb) is just about to meet his end in Norman Dawn's For the Term of His Natural Life. Lost scenes have been rediscovered in a print found in America.

164 — Cinema Papers, June-July

The Second Australian Television Festival in Japan, sponsored by the Australian Film Comm ission, is to be held at the Japan National Press Club, Tokyo, from June 24 to 26. C o-ordinated by Doug Hayman of the AFC, the festival will show Australian televi­ sion material to potential buyers.

The first festival, in November 1978, was attended by 150 guests from the Japanese television networks and theatrical and non­ theatrical distributors.

Japan has more than 25 million television sets servicing 116 m illion people. According to Variety, Japanese television pays between $5000 to $6000 an hour (though certain Am erican program s have earned $17,000), and betw een $35.000 and $85,000 fo r features. D espite o b vio u s language d if­ ficulties, 53 foreign-produced film s were broadcast on Japanese television in 1978.

The AFC regards Japan as a m ajor outlet for Australian television product, and it will be interesting to see what sales can be achieved at this year's festival.

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THE QUARTER

CENSORSHIP NEWS In the February-M arch period, three film s were banned: Love, Lust and Violence, Zom ­ bie Flesh Eaters and Caligula. (For details on Caligula see Issue No. 26, p. 89.) The im ­ porter of Zombie Flesh Eaters appealed but lost. The only other film to go to the Films Board of Review was Electric Blue, also unsuccessfuly.

During the period, 10 film s accepted cuts to gain the “ R” classification: Angel Mine, Dawn of the Dead, The Erotic Experiences of Fran ken stein, Eunuch of the W estern Palace, Les Petites Fugues, The Bare Breasted Countess, The Brood, Deep Desire, The Devil Made Me Do It and Dracula Sucks. The average deletion was 32.3 metres (1 min. 10.5 secs).

Sex was the offender in three cases, violence in three, and sex and violence in four. These figures, and those relating to re­ cent bannings, suggest that the Chief Cen­ sor, Lady Duckmanton, is cracking down on film s which interm ix sex and violence.

Of those film s which accepted cuts, Angel Mine was shortened by the deletion of one scene where a blue movie is seen flickering on a screen in the background. The cutting of Dawn of the Dead, however, was much more com plicated. There is some confusion, in that a footnote in the O ctober 1979 listings states the film was originally subm itted for censorship in November 1978 under the title Zombie — Dawn of the Dead. Zombie is credited to “ D. A rgento/A . Cuerno, Italy” and at a length of 3252m. Dawn of the Dead in the O cto b e r 1979 listing is c re d ite d to "R. Rubenstein/Laurel Group, U.S.” and running 3368.50m. This would suggest the com piler of the censorship lists has made an error: (i) Why would an Italian film suddenly become American?; and (ii) If the film had been banned at 3252m, why would it be re-subm itted at the longer length of 3368.50m?

Anyway, after being banned in O ctober 1979, an appeal was lodged in November 1979; it was rejected. A new version, at 3338.50m, was re-subm itted in December 1979, but rejected. Cut once more, and now only 3323.50m, the film was passed “ R” in February 1980, but only after an additional 10.7m were deleted. So the final version runs 3302.9m, or 2 mins 20 secs shorter than the original..

Another interesting censorship decision is that relating to Electric Blue, a one-hour videotape put out by the owners of Men Only and Club International magazines in Britain.

The tape consists of edited highlights of car crashes at Indianapolis, a short film by David Hamilton, interviews in the street conducted

by Fiona Richmond and two segments on naked women.

The first sequence (13 mins) is a sem i­ dram atic episode of a centrefold-type girl as she becom es e ro tic a lly aroused by the school papers she is marking. The other seg­ ment is of housewives as they move about in their houses naked. These sequences are reputedly photographed by either husbands or boyfriends.

Electric Blue is the first attem pt by a men's magazine publishers to put a magazine on video. Playboy, for example, is preparing to put out monthly, hour-long specials on cable television in the U.S.. and Penthouse is said to be considering doing the same.

Given that home video and cable television will continue to expand, the future of publica­ tions on tape seems considerable. The Tasmanian Film C orporation, for example, has been exam ining the idea, though presum ably with less ‘adult’ type projects.

Electric Blue was subm itted to the C om ­ monwealth Censor in January 1970, but was banned for sexual explicitness. This is sur­ prising as it is well short of being a “ blue m ovie” . The overseas m arketing of Electric Blue has, in fact, been based on the tape’s “ social acceptability” .

The Australian distributor then went to the Films Board of Review, but the appeal was turned down. Several cuts were unofficially suggested and the videotape was re-edited.

The tape still runs at 59 mins., as sections of the tape were re-used to fill-in the three minutes of deletion.

The most dram atic issue of the period, however, was the series of statements made

by Lady Duckmanton and reported in The S ydney M o rn in g H era ld (A p ril 1). Lady Duckmanton suggested the Governm ent should set up a new system of film classifica­ tion, whereby people offended by porno­ graphy or violence would be clearly warned, and those who chose it w ould not be restricted.

It appears the new classification(s) would be above the present “ R” , which would re­ main. "The problem w on’t dim inish," she said. “ Hard porn is here to stay and it is time the fact is recognized.”

If Lady Duckmanton is able to bring this

change about, it will be a m ajor victory and one to be applauded.

F u rth e r c o m m e n ts s h o w e d L a d y Duckm anton is prepared to present a public image of herself, unlike her predecessor, Dick Prowse, who stated censorship policy solely, never his personal view. Referring to pornography, Lady Duckmanton said: “ I don't like it, but I’ve got to sit and watch it. Censors pass film s to which they object.

Unless it is tre ated to the p o in t of obscenity, they have to pass a film. What I have to consider is would the majority of people in the com m unity feel the same way as I do?”

Clarifying her personal view, she said: “ I hate seeing people dissected or slit or tortured and I also don't like to see violence and sex associated as in explicit sado-m asochism .”

FILM SCHOOL Storry Walton has been appointed director of the Australian Film and Television School, re placing Jerzy T o eplitz who re tired in Novem ber 1979.

W alton began his career in ABC radio dram a in Perth. From 1960 to 1972 he produced and directed film s and television program s for the ABC in Sydney and the BBC in London, including 10 docum entaries for the Man Alive series.

A wide range of areas is scheduled for dis­ cussion and tutors have been selected for their expertise in film and television produc­ tion.

ACS AWARDS The w inners of the recent A ustra lia n C inem atographers Society Awards are: Feature: Don M cAlpine, My Brilliant Career Television drama series: No award Dramatized documentaries: Dean Semler, Chase That Dream Documentaries: Julian Penney, Like You and I They Are Human Beings Short fiction: Richard Michalak, Tread Softly Current affairs: Richard Bailie Mace, Stress (Four Corners) Newsgathering: Barry Nancarrow, Star Hotel Riot Commercials, cinema: Peter James, Use Your Head (Sunbeam) Com m ercials, television: Graham Lind, Angela (Singapore Airlines) Experimental: Matt Butler, Water Colours Specialized: Dietmar Fill, Estuaries (m icro­ m acro photography) The ACS also made two additional awards: Cunningham -Steward M em orial Award: Malcolm McDonald, S.W. Tasmania — A Wilderness in Question Midi Award, for Cinem atographer of the Year: Don M cAlpine, My Brilliant Career

Freshman cinem a student, Richard Franklin, w alks through the U niversity of South C alifornia cam pus w ith Alfred H itchcock in 1967. Hitch contrived to have his address to the student body interrupted by an overseas phone call — it never came.

W alton's association with the AFTS began in 1968 when he represented the ABC at the Unesco conference, chaired by Lord Willis.

In 1973, Walton left the ABC to head the AFTS’ Interim Training Scheme. At the com ­ pletion of the scheme, Walton became assis­ tant director at the school, and deputy dire c­ tor in 1976.

The Open Program of the AFTS (headed

by Jill Nash) will run an eight-lecture evening course titled “ The P roducer” , starting in M elbourne on June 23. Aimed prim arily at professionals, the course will assist those setting up their first film or television produc­ tions as a producer.

HITCHCOCK - A PERSONAL REMEMBRANCE RICHARD FRANKLIN The first thing that struck one about Hitch was that he was not larger than life. He was a little plum p man, and I believe that this fact is quintessential to an understanding of his vision of an awesome and threatening uni­ verse. in characteristic self-parody he would say, “ I am the most fearful of men. I cannot even stand the suspense of watching my wife

cook a souffle.” Or, as he said at the American Film Institute trib ute last year, “ I could as easily have been here tonight as a rather corpulent drink w aiter.”

At the University of South California in 1967, several students decided to run a retrospective of 25 or so Hitchcock films, and in the course of w riting to Hitchcockjs office to arrange the release of certain studio prints, I decided to invite him to attend.

I was called into the Dean’s office a couple of days later to take a call and I rem em ber vividly the vertignous (track in, zoom out) effect of hearing the drolling cockney “ Good m orning Mr Franklin" on the other end of the line. As a 19 year-old film student at the time, I was in terror (or at least abject suspense) at the idea of chairing the discussion with my idol, and was amazed to find that in spite of his enorm ous television experience, he too was extremely nervous at the prospect of getting up in front of the student body.

In his recent biography (by John Russell Taylor) this night, his firs t such p u b lic appearance, is mentioned and apparently he had con trived to be in te rru p te d by an overseas phone call if all was not going well.

But it must have, for the call never came, and I was fortunate enough to be invited to observe the shooting of Topaz.

The fact that Topaz was a failure on alm ost every level, I believe, had much to do with Universal’s re-cutting of the film , particularly the ending. Hitch spe nt several weeks shooting a pistol due! sequence which in rough-cut was the high point of the film , but which was cut — I imagine because of its political overtones.

On the set there was no sense that this was not vintage Hitchcock, and it was an educa­ tion to see him work. The set was as quiet as a library, and Hitch presided over all with a hawk-like eye, sitting in his suit, not by the camera, but in the midst of the scene, just out of edge of frame. He would fix his perform ers with an unblinking stare, and dictate every nuance and gesture, shooting even dialogue in tiny fragm ents rather than masters, closeups, etc. Then, at the end of a take (there were seldom more than a couple), he would turn and point out some m inor continuity point to his script supervisor and move off to his caravan.

Inside, he sat staring into space — he claimed he d id n ’t need to pore over his script as he had com m itted it to memory. He would som etimes emerge an entirely different per­ son, and. donning his television persona like an overcoat, would move about the set, te ll­ ing funny stories until, if told the set-up was ready, he would return to the caravan, then re-emerge, once again the serious film ­ maker. Otherwise, on the set, he was nothing like his public image.

As to his private persona. I never had the opportunity to discuss with him anything other than his films. But if John Russell Taylor is to be believed. Hitchcock was his films. It was his only interest and. apart from travelling and eating, he spent his entire life “ trying to become one of his film s” . I always had the feeling that beneath the small man who dedicated his life to frightening people was a small frightened man. On the day of his death I thought of Francois Truffaut’s com ­ ment about the way he depicted death, as if he were shooting a love scene.

The only smile Hitch gave during the entire proceedings at the Institute’s tribute was after a montage of his own m urder scenes.

Although this may have suggested the ghoul that his publicity m achine tried to sell us, I believe it proved som ething different and germaine to his astronom ical success as one of the probably only two or three men in our industry whose names have taken on their own meaning in general parlance.

To me, it showed that Hitchcock had a childlike fascination for "sin ” , of any kind or religious denom ination. His extraordinary popularity for more than 50 years indicates that we all share this fascination, and nobody depicted the darkest side of all of us with more rivetting accuracy and artistic vision, than did “ the master of suspense” . To those who consider his art “ po pular” , and there­ fore of a lower order, one can only say that sin too is popular.

Even if one does not allow that Hitchcock assailed the higher planes of higher em o­ tions (and I for one believe he did), then it is undeniable to even the most uneducated film goer that Hitchcock could move an audi­ ence more than probably any other film ­ maker. And this to me is the touchstone of great art.

Beyond this fact, Hitchcock's w ork was universal. His career spanned alm ost the en­ tire history of our medium, and his influence is undeniable. We all pay homage to him in some form or other when we use the tools and techniques with which he so expertly crafted his 53 films, and which remain as benchm arks in the precarious motion picture industry.

For me. Hitch lurks just outside the edge of every fram e of every film he ever made, and maybe some he did n ’t. ★

Cinema Papers, June-July — 165

“The Blue Lagoon” is the story of two teenagers ship­ wrecked on a deserted Pacific Island. Adapted from the 1903 novel by Henry DeVere Stacpole, the film looks at children discovering themselves, and their sexuality, without the benefit or confusion of adult guidance. Starring Brooke Shields, Christopher Atkins and Leo McKern, “The Blue Lagoon” is the second feature by 32 year-old director Randal Kleiser.

Kleiser attended the USC Film School, where his fellow students included George Lucas, John Milius, Basil Poledouris and Australian Richard Franklin. There, he directed the award-winning short, “Foot Fetish” , which led to Frank Price, then head of Universal, inviting him to direct hour-long episodes for television’s “Marcus Welby, M .D .” . This was followed by “Starsky and Hutch”, “The Rookies” and “ Family”, among others.

Kleiser was then approached by Robert Stigwood to direct I haven’t been keeping up, but I think Grease is now No.3 in the Variety “ All-time Box-office Champs” , which staggers me.

When we were doing the film, I had no idea it was going to be success­ ful. Laverne and Shirley and Happy Days were on American television, and our release was at least a year away, so I thought that by the time the film came out the 1950s craze would be over. I was quite amazed by the response.

In the U.S. industry, how much of a 166 — Cinema Papers, June-July

the tele-features, “All Together Now” , “ Dawn: Portrait of a Teenage Runaway” , and “The Boy in the Plastic Bubble” . He also directed “The Gathering” , which won the Emmy for Best Special in 1978.

Kleiser’s first feature was the very successful “ Grease” , also made for the Stigwood Organization. Offers followed, but Kleiser opted to do his own project, “The Blue Lagoon” , which was taken on by Frank Price, now president of Columbia.

Kleiser’s co-producer is Richard Franklin. t “The Blue Lagoon” was shot on location in the South Pac­ ific with a combined American and Australian crew. Nestor Almendros was director of photography, while Vince Monton was responsible for “ additional photography” . The film’s music, composed and conducted by Basil Poledouris, was re­ corded at Armstrong Studios in Melbourne. Kleiser, who was interviewed by Scott Murray, begins by discussing “ Grease”.

film’s success is attributed to the Grease was a film I was hired to do, director? whereas Blue Lagoon is a film I have wanted to do for eight years.

It depends on the film. Grease was packaged by Alan Carr and After “Grease”, were you in a pos­ Robert Stigwood, and was cal­ ition to put together a project your­ culated to be a commercial film. It self? was not a film that just happened to be liked by people; the music, cast­ Yes, though it took me a while to ing and script were all designed to realize this and I spent a lot of time bring people in. trying to interest various producers Alan Carr was the driving force in Blue Lagoon. Finally, I went with behind the film. He chose me be­ the story to the president of Col­ cause I had worked with John Tra­ umbia Pictures, Frank Price. He volta on Boy in the Plastic Bubble. liked it and said, “ Let’s make it.”

In the two years it took to get it launched, I had been offered a lot of commercial-type films, with big stars and commercial plots — the type of thing you would expect the director of Grease to do next.

I almost did a couple of them, but I kept on thinking about Blue Lagoon. I then saw Days of Heaven and finally realized I didn’t want to do another commercial film; I wanted to do something that was a little more my own.

Did your fascination for “Blue

plot, jump to conclusions and think it is a sex film. I keep trying to emphasize that it is a love story in The book. I didn’t realize there the tradition of those big, romantic, was a film version until long after I South Seas movies. It just has a few had read it. I was looking through elements that are not normally seen the television guide one day and in such films. noticed the film was on at 4 a.m.; so I watched it. The film departed Did Columbia have any re­ quite a bit from the novel, pre­ servations about re-making a film? sumably because they couldn’t deal No, because I gave Frank Price with some of the issues in 1948. The book was somewhat controversial the novel to read and he could see when it came out and, though the the merits of the novel. However, film tended to be the same, it the people who turned it down may skirted many things. It also added a have had such reservations. sub-plot that had nothing to do with the children growing up on the is­ Is your film related visually to the earlier film? land.

We have taken it one step fur­ Only in the scene where the child­ ther and made the film a little more honest than the novel. We did this ren enter the lagoon. We used the by asking ourselves what would same beach as they did 30 years happen to people growing up on an ago. I felt it would be a nice kind of island without any input from civi­ cosmic link to the past. lization or knowledge of what they What happened once you had the could go through. go-ahead from Columbia?

So you treat the sexual aspects more I hired Douglas Day Stewart, explicitly than in the earlier film . . . who wrote Boy in the Plastic Yes, but in an honest, natural Bubble, and he and I began working and non-exploitative way. One of on the script. That is about the time the problems we have struck is that I ran into Richard Franklin, who people, when they hear about the was in Hollywood exploring the Lagoon” originate with the book or the film?

possibility of working as a director in Hollywood. He told me about the Australian film industry and also showed me Patrick. I was very impressed by its technical level which compared favorably with many American productions.

I then began thinking about using an Australian crew. Bas­ ically, they are more youthful and enthusiastic than our American crews.

It was also about this time that I saw some issues of Cinema Papers.

I was intrigued by the ingenuity Australians were using to do things.

There was an article, for example, on Newsfront where it described how the crew built half the set of a street in a river; it was very clever.

In the U.S., they, would have built the entire street and then filled it up halfway with water; it would have cost millions. Newsfront was a case of using your mind, instead of just a lot of money.

What is your relationship with Richard Franklin?

During pre-production and pro­ duction, Richard handled all the things that a producer normally does, while I concentrated on being a director. Once we got into post­

Top left: Emmeline (Elva Josephson) and Richard (Glenn Kohan) lay a wreath on Paddy (Leo McKern). Above: the older Richard (Christopher Atkins) and Emme­ line (Brooke Shields).

production, Richard spent time setting up his next film and I took over the producer’s responsibili­ ties. It has worked out well.

I don’t believe anybody can com­ pletely take on the responsibility of producing and directing. How can you think of what you are spending and also get someone to cry? You just end up crying yourself.

Is the film a co-production?

No, because Columbia financed the entire film. It was just a matter of getting a handpicked crew of Australians and young Americans from the USC Film School. I have also used a French cameraman, Nestor Almendros, who is a great 'artist. He loves to work in a loose fashion, and with people who don’t mind the unusual living conditions of camping in tents for four months on an island that has no electricity, roads, water or sewerage. The film was a big adventure, and I don’t think there are many groups of competent technicians that could have handled it so well.

Cinema Papers, June-July — 167

Are you suggesting there is an at­ titude among crews in the U.S. which could be limiting what is be­ ing produced?

No, it is just that for this type of film I don’t think a Hollywood crew would have worked out. They would not have had the same spirit of adventure. Hollywood crews are very good for certain types of films, and my next film, Annie, will be using one. It will be a gigantic pro­ duction and I’ll need people who have worked on musicals.

So, each film is different, and you need different types of people to help you on them. I would like to do a film in Europe, with a Euro­ pean crew, and see what that is like.

Vince Monton (“ additional photography”) behind the camera while Nestor Almendros (director of photography) holds the reflec­ tor. Filming The Blue Lagoon.

spirit of camaraderie as we had on Blue Lagoon.

We spent a lot of time inter­ viewing crew members for Blue Lagoon, looking for compatible types who would not break under the strain of being pushed together for four months. We chose people who were mellow as well as tal­ ented.

How much control did you have choosing your cast and technicians?

The studio left me alone to hire whom I wanted; I had never seen this before. I got all my first choice people: N estor Alm endros I How would you describe the crew hounded for six months; Basil on “Grease”?

Poledouris was my first choice as composer, as was Brooke Shields That was a Hollywood crew. I for the girl. So, I had absolute con­ really didn’t get to know them, be­ trol, which was a wonderful ex­ cause it was such a monumental perience. It is also something I task just pulling the thing together. hope will happen to me again.

It was my first feature and, though On Annie, I will be working for they helped me a lot, there was no Ray Stark and it will be a giant

Director Randal Kleiser. The Blue Lagoon is his second feature.

film, instead of a small intimate one like this; I won’t have control there.

What locations have you used?

We shot on an island called Nanuya Levu. It is six hours by boat from the main city of Nadi, or 45 minutes by sea plane. The island is owned by Richard Evanson, who has now opened the Blue Lagoon Lodge. People can go there and have tours of our rapidly-decaying sets. After people see the film it will become an interesting tourist at­ traction, like the Disneyland of the South Pacific. Visitors can stay in the hut where Richard and Em­ meline first made love.

What did you do for power?

We took small Honda gener­ ators over from Australia. We left one with the native village on the next island — it was their idea. We wired their huts for electricity, thereby destroying their culture.

How long was the shooting period?

Scene from Grease, Kleiser’s First feature.

168 — Cinema Papers, June-July

A couple of days more than 12 weeks. We had a four-day break in the middle, which is unusual, be­ cause we thought everyone would want to get back to civilization. I don’t know what the percentage was, but when the crew went into the main town of Nadi and looked around at all the concrete, cars and billboards, many came back to the island the next day.

I experienced this culture shock too when, at the end of four months, I went back to civilization in the sea plane with Richard.

When we came down on the con­ crete runway, I was just freaked out by the sight of it. I stayed on the plane and said, “ I’m going back. I am going to take the boat instead.”

That was a six-hour trip and I thought I could sink back into society a little more easily that way.

So, I flew back, but the boat had al­ ready left and we had to land on the ocean. I then dived in, fully-

clothed, and swam over to the boat.

The crew was applauding from the ship and helped pull me up on board. It was a very dramatic and fun way to end the whole shoot.

How far behind were you with rushes?

We called them weeklies instead of dailies, because they would come in on the sea-plane about a week later. But we got used to it.

During production we had three units going at once. Nestor shot the prime unit, while Vince Monton handled shooting for the second unit, which was quite extensive.

Vince also shot a lot of sequences at sea, because Nestor gets seasick.

The third unit was Ron and Valerie Taylor, from Sydney, who shot our underwater stuff.

The system we used was to story­ board a sequence. In the morning I would hand out little squares in­ dicating the shots we needed, and Richard would sometimes go off with Vince and direct a sequence, while I would work with Nestor or Ron. We would then juggle things around. It was a very loose and un­ usual set-up, and you could never shoot this way under strict union rules.

Nestor was the key person in terms of making the schedule. We wanted the film to have a certain look, and that look was more im­ portant than anything else. Con­ sequently, we would schedule around the weather, or the dif­ ferent types of light: dawn, dusk, rain.

Sometimes we would ask the crew if they would work on Sunday, which was sunny, and take the next cloudy day off. They always agreed, so it worked out well.

Everyone was on a weekly rate, and that meant we didn’t have to spend all our time thinking about overtime or meal penalties — all the stuff we have in the U.S. At the same time, we didn’t abuse this pri­ vilege. We never, for example, worked the crew more than eight hours in a day.

Nestor Almendros is famous for

wanting to shoot in those 15 minutes of light before dusk. Did this make for slow shooting?

No, because we would rehearse for several hours before that moment. We would get all the cam­ era moves and actors ready, and then wait for the sun to get in the right position. What would nor­ mally have taken a whole after­ noon we would do in 15 minutes.

Did you use multi-camera set-ups?

Yes. If you want to cut during a sequence like that, you need at least two cameras going. Otherwise, you can’t match your shots.

Apart from the light, we also had to consider the tides. Everything was on beaches that mightn’t be there if there was a high tide.

Did you have editing facilities on the island?

We put together certain se­ quences in a little editing hut we built. The rest was done at Bur­ bank Studios.

We have spent a lot of time in the

editing because, as well as telling the story of the two children, we wanted to mirror it with the life on the reef and in the jungle. The aim is to give an impression of the nature around them, and that takes a lot of thought and experi­ mentation to get right.

Nicolas Roeg tried a similar thing in “Walkabout”. Have you seen that film?

Yes. I enjoyed Walkabout a lot and there are certain similarities. I was particularly influenced by the sense of the animals watching as the children went through the outback.

I loved that because you got the feeling of how they were inte­ grating with nature.

Are you using animals in the same way, as observers of an alien pres­ the sequence where the children fall in love. I also show how the cycle of ence? nature is happening, though they Sometimes they are observing, don’t realize it. sometimes they are doing the same things as the children and some­ What brief did you give your com­ times they are predicting what is poser? going to happen next, such as when the bird lands in a nest just ahead of I didn’t have to tell Basil much,

Randal Kleiser (left) goes over the story­ board for the day’s shooting with Nestor Almendros.

because he is a romantic and loves the sea; that’s all I really needed.

Basil had done the score for Big Wednesday, which is one of the best Concluded on p. 212

Dolly shot in front of the hut set, which was built according to Fijian construction principles.

Cinema Papers, June-July — 169

Cass was born at Beechworth in 1867 in the middle of the Victorian gold rushes. His father, John Buckley Castieau, who had arrived in Australia in 1852, was Governor of the Beechworth Gaol and Keeper of Gunpowder at the Powder Magazine.2 His mother was Polly Moore, a resident of Beechworth, whom John Buckley had married on December 30, 1859.3 Cass was one of seven children. The children in order of birth were Harry, Walter, Sissy, Dot­ ty, Godfrey, John and Ernest.4 When Cass was three the family moved to Melbourne, where John Buckley was appointed Governor of the Melbourne Gaol.5 The family lived in quarters at the gaol from 1869 until 1883, after which John Buckley retired and the family moved to “Gosport” , at 62 Hotham St, St Kilda.6 Cass’ formative years were spent at the Melbourne Gaol. The children were frequent visitors and were friends with most of the

Godfrey Cass, whose real name was Godfrey Castieau1, is very much the forgotten man of the Australian stage and screen. Yet he was un­ doubtedly a pioneer of the Australian film in­ dustry. His film career spanned a quarter of a century — from 1910 to 1934 — and his theatrical career a lifetime, up until his death, aged 84, in 1951.

1. For the purposes of this biography he will be referred to throughout as Cass.

170 — Cinema Papers, June-July

2. John Buckley began work for the Penal Institution on December 25, 1852, as Senior Turnkey at the Melbourne Gaol. On December 1, 1854, he was appointed gaoler of the Easter Gaol and on March 13, 1856, he was ap­ pointed Governor of the Beechworth Gaol. Blue Books, Civil Listings fo r the Colony o f Victoria, 1852.

3. Castieau’s diary, December 1859. Polly Moore and John Buckley married secretly. They spent their honeymoon at Everton. riding there and back through the bush on horseback. Polly had a sister Dotty and the Moore fami­ ly lived permanently at Beechworth. Whether the family were miners, farmers or shopkeepers is unknown.

4. Only certain years of the diary have been located. The exact dates of birth of all the children are unknown; it would appear to be in the order given.

5. John Buckley Castieau was appointed Inspector­ General of Penal Institutions in 1881. In July, 1883, he was granted six months’ leave of absence. He retired from the Penal Institution in 1884, aged 58.

Blue Books, Civil Listings o f the Colony o f Victoria, 1880-84. .

Inward and Outward correspondence ledger, Penal In­ stitution.

6. Sands and McDougall’s directories.

warders and gatekeepers.7 In 1880, when Cass was 13 years old, Ned Kelly was one of the more controversial inmates.

Cass, it is told, was taken by his father to meet him. At that meeting, Ned is alleged to have placed his hand on Godfrey’s head and said, “Son, I hope you grow up to be as fine a man as v your father.”8 The next day Cass’ father of­ ficiated at Kelly’s hanging.

Cass was fascinated by Kelly and throughout his lifetime was to collect Kelly memorabilia.9 He was also to play Ned Kelly in three films.

Cass probably began his acting career sometime in late 1883, or early 1884, when he was 17 years old. This was with J. C. William­ son’s.10 Sometime during the late 1880s, or early 1890s, he met Hilda Fraser, the daughter of the Rev. D uncan F ra s e r, founder of the Presbyterian Church in Heidelberg, in 1852.

Hilda was an actress, and she and Cass probably met through their mutual acting careers.

The Fraser family lived at “ Rosarden” in Banksia St, Heidelberg. The sisters Hilda, Anne and Charlotte were the issue of Rev. Fraser’s se­ cond marriage and all were keen on the stage.

Francis and Elisabeth (known as Bessy) were older and the children of Rev. Fraser’s first marriage.

Tom Roberts is reputed to have been Bessy’s beau. Tom Roberts, Frederick McCubbin, Arthur Streeton and, of course, Godfrey Cass were frequent visitors to the Frasers’ Heidelberg home. Bessy carefully kept a diary of these days 7. Castieau’s diaries: 1870, 1871, 1872 and 1875. The diary for 1-875 was discovered this year in the possession of the Gower family.

8. Interviews with Greeba Jamieson and Major Gower.

Guy Castieau does not recollect his father ever mention­ ing this incident. No diary for the year 1880 appears to have survived.

9. Interview with Major Gower.

10. Interview with Guy Castieau.

GODFREY CASS

at Heidelberg. The figures of Bessy, Hilda and Lotte can be seen in the left-hand corner of Tom Roberts’ painting, “ Bourke Street” .11 Cass, it would appear, moved in the bohemian artistic set of the late 1880s and 1890s in Melbourne. His brother John (nicknamed Jack) was also beginning to be known, particularly in literary circles. In 1899, he founded a magazine called The Rambler, which had Lionel Lindsay as an associate editor.12 Cass was therefore as­ sociated not only with the theatrical set, but also with the artists and writers of the day. Cass was also greatly influenced by the work of Adam Lindsay Gordon from whose writings he could fluently recite.13 Cass and Hilda married in 1894 and sometime that year, or early in 1895, they moved to Western Australia to live in Coolgardie. Cass was probably acting with a theatrical company that toured the goldfields.14 Their two children, Marjorie and Guy, were born at Coolgardie.

After their return from the West, Cass and Hilda joined the William Anderson Dramatic Co., which toured the capital cities. In 1901, they played together in William Anderson’s 11. Interview with Mrs Douglas Algie, Lotte's daughter.

Mrs Algie does not remember what happened to Bessy’s diary. James Gleeson in his Masterpieces o f Australian Painting (p. 58) quotes R. H. Croll quoting from Bessy’s diary, and describes the “ three Fraser sisters” in the left hand corner of the work.

12. Jack Castieau was also a close friend of Norman Lindsay. As early as 1886 John Buckley Castieau had written to'A. G. Stephens (of the “ Red Page” in The Bulletin) drawing his attention to the young Norman Lindsay’s fine pen and ink work (see Leon Cantrell, The Selected Writings o f A. G. Stephens, p. 358). Later, Jack Castieau, Lionel Lindsay and Hugh McCrae worked together on a magazine called The Free Lance (see The Letters o f Hugh M cCrae, (ed.) R. D. Fitzgerald, p. 185 and p. 211). Hugh McCrae was later to play Adam Lindsay Gordon in Lincoln’s film The Life’s Romance of Adam Lindsay Gordon. Jack Castieau is also mentioned in Lionel Lindsay’s Comedy o f Life, Svdney. 1967, and in Hugh McCrae’s Story Book Only, p. 117.

13. Interviews with Greeba Jamieson, Mrs Douglas Algie and Guy Castieau.

14. Little is known of Godfrey Cass or Hilda Fraser’s acting career before 1900. They were not established actors un­ til the turn of the century.

production of Serving the Queen and World’s Verdict.'5 They continued acting with the com­ pany until 1903, when Cass joined the Charles Holloway Dramatic Co. to play the part of Cecil Spencer in Why Woman Sins.16 Their acting careers took them in different directions. Hilda continued acting for the William Anderson Dramatic Co. on and off un­ til 1910. (She is reported in 1908, for instance, as acting with the Alan Hamilton Dramatic Co. during its tour of New Zealand.) In 1910, she left William Anderson’s company and started acting at the Tivoli.17 She was to continue to work there until her death, sometime during or shortly after World War l.18 Cass was at the peak of his stage career for the 11 years from 1903 to 1914. He always played the part of the villain and appeared in the leading productions of the day playing opposite the leading stage names of the time: people such as Robert Inman, Eugiene Duggan, Roy Redgrave, Beatrice Holloway and Arthur Bryant, to name a few. In 1912, Theatre inter­ viewed Cass who “has been playing the villain on and off in different companies for the past 15 years” . In this interview, Cass mentions how he was very nearly shot “by a drunken bluejacket” and on another occasion had had “the half of a cooked turkey thrown at me” . He continued, “ My friends tried to console me with as­ Godfrey Cass in W. J. Lincoln’s The Bells (1911). surances that these were tributes to the realism of my acting. Still, an actor, while he In 1908, Cass began his association with the likes to feel his work is appreciated, certainly has no wish to ‘feel’ it in the shape of a well- Bland Holt Dramatic Company, an association which was to continue until the 1940s, after the thrown fowl or a well-aimed bullet.” deaths of the Holts. In 1908, he played in The Theatre commented, “ Mr Cass considers that off the stage the Bondman and Flood tide20 and toured New Zea­ villain is usually a very harmless fellow. As a land for that company.

In 1911, Cass made his first film.21 The impact rule it is the hero who is the troublesome of the moving picture on the theatrical world element.” 19 15.

16.

17.

18.

19.

Australasian Stage Annual, 1901, pp. 59-60.

Ibid. 1904. p. 27.

Theatre. November, 1910, p. 30.

Interview with Guy Castieau.

Theatre. September, 1912, p. 9. This passage is also a good indication of the liveliness of theatre audiences in the early part of this century.

20. Programs in private collection of Greeba Jamieson.

Bland Holt flooded the stage nightly for his production of Floodtide.

21. It, is possible that Cass’ first film was made in 1910. The Taits are reputed to have re-shot segments of The Kelly Gang (or to have re-made it) in 1910. Cass would appear to have acted as Ned Kelly in this film.

Godfrey Cass (left) in The Life’s Romance of Adam Lindsay Gordon (1916), directed by W. J. Lincoln and G. H. Barnes.

Cinema Papers, June-July — 171

GODFREY CASS

was considerable and film production companies had blossomed at a quite phenomenal rate. The Australian Life Biograph Company was one of these and, in 1911, Godfrey made three films with that company. Unfortunately, none of these films has survived. Their titles give some in­ dication of their Australian character: A Tale of the Australian Bush or Ben Hall the Notorious Bushranger, One Hundred Years, and A Ticket in Tatts.22 Cass was a foundation member of the Actors’ Association and one of four members elected to the Benevolent Committee formed by the as­ sociation to aid out-of-work actors. The offices of the association were situated at 554 George St, Sydney. The Actors’ Association was the forerunner of Actors’ Equity.23 It is difficult to know when Billie Lincoln and Godfrey Cass first met; they were contem­ poraries and shared similar interests. In 1913, they formed their film production company, Lincoln Cass Films Proprietary Ltd, in Melbourne. After the company ceased produc­ tion in October of that year, Cass returned to the stage.

In 1914, he was back with J. C. Williamson’s playing in the new stage spectacular of that year, Sealed Orders. It was a drama of the armed ser­ vices, and the production featured a scene in which “ a real airship hovered over the stage” .24 Theatre wrote, “ How essential is experience is shown in breadth and sureness of the acting of H. W. Varna, Godfrey Cass and Beatrice Day in Sealed Orders."15 On January 27, 1915, Cass enlisted in the Australian Army to fight in World War 1. He was 49 years old; on enlistment, Cass gave his age as 38 years and nine months.26 Cass was promoted Lance Corporal on June 18, 1915; Acting Company Quartermaster Ser22. These films are listed in West’s Scrap Book. Very few details are given.

23. Actors1 Equity declined to publish my letter asking for help in locating sources for Godfrey Cass in the access column of their magazine.

24. Theatre. September, 1914. p. 3.

25. Ibid. May. 19 14. p. 3.

26. Army records. Cass was a particularly youthful looking man. He played Ned Kelly for the last time in 1923,

Below: W. J. Lincoln's The Crisis ( 19 13), which starred Cass (right). A Lincoln Cass Film.

geant at Lemnos on September 4, 1915; and to full Company Quartermaster Sergeant at Gallipoli on November 21, 1915. He was in­ valided to England from Alexandria on June 24, 1916, and sent home to Australia on May 23, 1917. He was discharged from the Army in Melbourne on August 25, 1917.27 Cass played in nine films between 1919 and 1935. His last film was Charles Chauvel’s Heritage. It would appear he was never per­ manently employed as a stock actor with any of the theatrical companies that continued after the war. It is important to note here that theatre in Australia, as indeed the world, was in a steady decline. The touring theatrical companies were dying out and, as the moving picture gained in popularity, one by one the live theatres were converted into picture theatres or closed down.

In the 1920s and ’30s, Cass moved into a new stage of his life, that of theatrical producer. He directed many plays for the Proscenium Club and the Old Wesley Collegians. He even produced plays for Trinity Grammar School.

These were all amateur productions, but in the cast was a group of young people who were later to form part of the nucleus of the new wave of professional theatre in Melbourne.

Cass’ impact on these young people should not be underestimated. His enthusiasm, profes­ sionalism and devotion to theatre in those dark days of professional theatre in Melbourne is still remembered by some people today.28 In 1937, Cass married Jessie Hanson. They lived on at “Gosport” , where he had lived since the war. Then, a few years before his death, they moved to Surrey Hills. He died on May 14, 195 1,29 His passing went unnoticed by the acting fraternity to which he had devoted a lifetime of service. when he was 57 years old. In this film. Rose Rooney played Kate Kelly. It survives and is in the National Film Archives.

27. Official Army records.

28. Interview with Irene Mitchell, co-founder of St Martin’s Theatre, who believes Cass’ influence on the young actors in these productions was considerable. She was a . member of the cast for a number of these productions.

Greeba Jamieson remembers Cass’ insistence that each line was perfectly presented and was very strict in rehearsals.

David Reid who was involved in the “ little” theatre movement of the 1940s and 1950s also remembers Cass’ perfectionism and controlled direction.

29. Godfrey Cass died at the Caulfield Repatriation Hospital in Melbourne.

William Joseph Lincoln was born in Melbourne in 1870. His father was a middleclass merchant whose firm, Lincoln, Stuart and Company, was situated in Flinders St, opposite the railway station. It was a very large complex, stretching from 246 to 254 Flinders St, and was v successful financially. The company advertised itself as “importers, clothing manufacturers and general outfitters” .1 William Lincoln (known as Billie) was brought up in comfort in the family home in St Kilda. The family being well-to-do, Billie most probably moved within the growing rich merchant class of Colonial Melbourne. He was three years younger than famous actor Godfrey Cass [Castieau], but it is possible that after the Castieau family moved to St Kilda in 1883 the two young men became acquainted. Certainly their interests in their late teens and early 20s were of a similar theatrical nature.2 1. Theatre refers to Lincoln, Stuart and Co. when reporting on Lincoln’s death (September 1917, p. 20).

George Meudell in his The Pleasant Career o f a Spend­ thrift and his Later Reflections refers to Stuart, “ of Lin­ coln Stuart and Co.” , as being a shrewd businessman and one of the first “ into the arena of the land boom” .

(P- 31.)

Whether Lincoln’s father was involved in land specula­ tion is unknown. The point, however, is that Lincoln came from a successful business background and, through his father and his father’s associates, would most probably have had connections in the Melbourne financial world. Lincoln’s father died in the mid-1920s.

In 1942, the company moved to 259 Collins St, where they are today. Tattersall’s now stands on their original site.

The Lincoln family have no connection with this com­ pany today: it'appears all connection ceased around 1920 or earlier. The Stuarts continued ownership, diver­ sifying into investments. The present chairman of direc­ tors is a Stuart and a descendant of the original Stuart.

He has been chairman for the past 50 years and has no recollection whatsoever of Lincoln or of any Lincoln be­ ing involved with the firm.

2. Little is known of Lincoln’s family or of his childhood at

172 — Cinema Papers, June-July

W. J. LINCOLN

Billie Lincoln married Pearl Ireland in 1896 in the Church of England, South Yarra, and in 1897 their first and only child, Marguerite, was born.3 In 1901, Lincoln began his association, which was to last three years, with the Alfred Dampier Dramatic Company, and in August of 1901 his play The Power o f Wealth was produced. This was followed in 1902 by The Bush King, which was based on the life of Captain Midnight. It was well received and toured throughout Aus­ tralia. Another of his plays, Captain Moonlight, achieved, according to The Bulletin, “a fair measure of success” .4 It was during this period of his career that Lincoln began to establish himself in the theatrical world.

In 1904, Lincoln was hired by J. C. Williamson to manage his Anglo-American Bio­ Tableau. The moving picture had grown in pop­ ularity and Lincoln, working for Williamson, gained first-hand experience in managing mov­ ing pictures throughout Australia and New Zealand. He was also a talented publicity man, and The Bulletin gave him “ pride of place as a prolific writer of striking advertisements” .5 Lincoln appears to have worked successfully for Williamson in the two years he was as­ sociated with him, and toured his Bio-Tableau throughout Australia and New Zealand most profitably.6 It is probable that it was during this period his association with Clement Mason began.

Lincoln started work for the Meynell and Gunn Dramatic Co. in 1906. He continued with that company until 1909, when he became theatrical manager of “ Miss Lancashire Ltd” , which toured Australia.7 It was an exceptionally successful company, and made “ a lot of money” and “a big name” for its leading lady, Florence Baines.8 Throughout this period, in between acting as theatrical manager and writing scripts for the various companies he was associated with, Lin­ coln was also independently writing plays and, it would appear, writing well. He was, along with George Darrell, Garnet Walch and Bernard Espenasse, called by Theatre one of Australia’s “chief authors” . Theatre then added, “Considering the poor support granted to Australian authors it is wonderful that any man has had the heart to write, and we trust that in the future Australian audiences will give a cordial support to all dramatists of a deserving character.”9 Lincoln was a prolific and good writer. During this period he scripted the pantomime, Red Riding Hood, which also enjoyed considerable success.10 By 1909, he was well versed in almost every facet of the theatrical and moving picture

3.

4.

5.

6.

7.

8.

9.

10.

W. J. Lincoln’s Edith Cavell (Nurse Cavell, 1916).

world. He was not, however, noted for his business acumen. One of his difficulties, wrote Theatre, was detail: he could never itemize an expense account. After a tour to Western Aus­ tralia (probably with J. C. Williamson’s Bio­ Tableau) “he put in a docket for one hundred and four pounds. The auditor wanted details, but Billie, with a lofty contempt for nosey auditors, simply took his pen and wrote cabs four pounds; postage one hundred pounds.” 11 Lincoln, like Godfrey Cass, had a good sense of humour. He was probably at his best writing plays and promoting companies in the grand manner, and forgetting about the tedious detail.

11. Ibid, September 1917, p. 20.

Below: advertisement for The Bells, directed by W. J. Lin­ coln for Amalgamated Pictures.

His photograph shows a rather fragile-looking man. His large handle-bar moustache seems to swamp his face and he looks more of a poet than a picture showman.12 Lincoln would have been 35 when the photograph was taken and, although there is no sign of it, he was probably already affected by bouts of heavy drinking and well on the way to the alcoholism that was to kill him 12 years later.

In 1909, Lincoln took over the management of Paradise Gardens, an open air picture theatre situated on The Esplanade, St Kilda. Paradise Gardens was one of the earliest moving picture theatres in Melbourne and it was capable of accommodating a considerable audience: its seating capacity was 2500.13 12. Ibid, October 1905, p. 16.

13. Australasian, October 2, 1909, and A.K.J., March 19, 1914. Mr A. Forecast remembers the theatre. It was a house that was converted to enable the film to be pro­ jected from a front room through the front windows to a screen situated in the garden. The house was set in very large gardens which the patrons would sit in and watch the moving pictures.

St Kilda. He obviously was not interested in the family business, and it would appear from the above note that he had no brothers or sisters interested in it either. It is also possible he was an only child. There is no mention of a Lincoln family being friendly with the Castieaus in any of the extant Castieau diaries.

There is no trace of Lincoln before 1901. It is probable that he was already known by the 1890s as a writer.

There is, unfortunately, no evidence of this or of Lin­ coln’s daughter Marguerite. If she were alive today, she would be the same age as Guy Castieau, Godfrey Cass’s son. Guy barely remembers Lincoln, but knew nothing of Marguerite.

Captain Moonlight and Bush King were later made into films in 1910 and 1911.

Referee February 8, 1911; The Australasian Stage A n ­ nual. 1901, p. 59; 1902, p. 32.

The Bulletin, September 9, 1917.

The Bulletin, September 6, 1917.

Theatre, August 1905, p. 21, reports Mr Lincoln as be­ ing in Queensland and “looking remarkably well and do­ ing good business” . Ibid., October 1905, p. 12, reports his Melbourne season “ opened to a packed audience . . . and finished with a most brilliant fireworks display” .

The Bulletin, September 6, 1917; Theatre, January 1909, p. 12; Ibid., November 1912, p. 22.

Ibid, November 1912, p. 22.

Theatre, October 1906, p. 19.

Ibid, February 1908, p. 9.

Cinema Papers, June-July — 173

W. J. LINCOLN

Billie Lincoln, his wife Pearl and their daughter Marguerite lived at Mitford St, St Kilda, throughout Lincoln’s association with Paradise Gardens and subsequent film com­ panies. According to Guy Castieau and Adele Inman the Lincolns were quite wealthy. Lincoln certainly employed servants and Mr G. B. Stringer’s aunt, Mrs Wheeler, was his house­ keeper while they lived at St Kilda.14 In 1911, Lincoln commenced work for J. & N. Tait who, with Johnson and Gibson, later formed Amalgamated Pictures (that combined with Spencer later that year).15 He directed and wrote at least eight films for that company between 1911 and early 1912, as well as manag­ ing Paradise Gardens. (See filmography.)

In 1912, Amalgamated Pictures ceased operating as a film production company and devoted itself to the importation and distribu­ tion of overseas films, which was cheaper than production. They either distributed through their own theatres (Paradise Gardens was one outlet) or through the independently-owned theatres whose managers dealt exclusively with that exchange for their weekly supply of film.

Lincoln became publicity manager of Amal­ gamated Pictures with an office opposite the St Kilda railway station and directly in front of what used to be the old Amalgamated Pictures film studios.16 He was probably appointed to that position sometime in 1912.

As mentioned previously, he was still manag­ ing Paradise Gardens throughout these years and continued to do so until late 1914. In fact, during 1914, Paradise Gardens amalgamated with the Lyric Picture Gardens in St Kilda and Lincoln managed both theatres.17 In mid-1913, Lincoln and Cass formed their own film company, Lincoln Cass Films Pty Ltd. Through Lincoln’s association with Amalga­ mated Pictures their company enjoyed reason­ able trade publicity, which was rare for an Australian film company at that time. Mr Lou Soumprou, who was 20 in 1913 and working in the film industry, remembers meeting Lincoln at this time. He described him as a slick type and a nice man to deal with. There were no problems involved in any dealings that were undertaken together but, Soumprou stressed, “ Lincoln was a showman through and through.” 15 Lincoln’s Paradise Gardens was featured bi­ weekly in the Australian Kinematograph Jour14. Interview with Adele Inman and Guy Castieau. Mr Stringer's aunt lived with Lincoln until" her death. She often spoke of the Lincolns.

15. This became known as the “combine” .

16. Interviews with Lou Soumprou and A. F. L. Wright who remember the studio and offices. Mr Wright remembers the studio catching fire, but is unsure of the year. Mr Soumprou, as a film exhibitor, remembers dealing with Lincoln at this address for a supply of film.

17. A.K.J.Z August 20. 1914.

18. Interview with Mr Soumprou. The film exhibitors in the main were originally theatrical showmen and the early film theatre managers appear to have had distinctive theatrical or “showy” mannerisms.

W. J. Lincoln’s The Reprieve (1913), made for Lincoln Cass Films.

174 — Cinema Papers. June-July

Godfrey Cass in W. J. Lincoln’s The Life’s Romance of Adam Lindsay Gordon.

nal's “ Melbourne Notes” . In these reports it always seemed packed to capacity audiences.

The Journal believed these large audiences were due to Lincoln’s superb selection of feature films (all of course supplied by Amalgamated Pic­ tures, a member of the Associated Film Ex­ change in 1912) and Lincoln’s outstanding management. A typical excerpt reads: “The huge grounds of Paradise Gardens were absolutely jammed. In fact it is doubtful if there would be room for a single person more . . . Mr Lincoln had been lucky in obtaining two of the best ‘Famous Players’ pictures. . .” and “ If there is one establishment that fears no op­ position it is certainly Paradise in St Kilda, where Mr Lincoln holds the reigns [sic] of management with rare skill and foresight.” 19 Lincoln’s association with Amalgamated Pic­ tures and his management of the Paradise Gardens and Lyric Picture Gardens ended late in 1914 or early in 1915. By 1913, the “combine” had decided against investing money in Aus­ tralian film production and favored distribution of overseas films rather than risk money in local production. These changes had occurred between 1909 and 1913 while Lincoln was employed by Amalgamated Pictures.

C. Spencer, a director of Amalgamated Pic­ tures, had resigned from the board in February1914. Spencer had favored film production and had solidly promoted it through 1911 and 1912; with his resignation went all hope of any film production within Amalgamated Pictures.

Spencer’s resignation was so tied up that “he was prevented for 10 years from taking an active interest in picture matters outside the scope of the combine” .20 It is logical, given Lincoln’s film experience and undoubted talent as a writer and producer, and his knowledge, that there was no outlet for his creative ability within his present position.

He therefore took up a position as director and writer with J. C. Williamson’s when, in 1915, they decided to film their successful stage plays.

(Williamson’s had previously bought the Lincoln Cass studios.)

Lincoln’s drinking appears to have been uncontrollable for a period during his associa­ tion with Williamson’s, and there were fears he would be unable to fulfil his obligations to them.

The film Get Rich Quick Wallingford, which he was originally hired to direct, was eventually 19. It is probable that Lincoln wrote his own section for in­ clusion in the Journal. These two excerpts are from A .K .J., May 14, 1914 and May 21, 1914.

20. Theatre, February 1914, pp. 22-3.

taken over by Fred Niblo, Williamson’s im­ ported American star.21 In 1916, Lincoln directed La Revanche and The Life’s Romance of Adam Lindsay Gordon, which was considered by The Bulletin as one of his best.22 It was also his last film. Lincoln was a talented director and this film shows the maturity he had reached in film production. The Life’s Romance of Adam Lindsay Gordon has a haunting beauty. The long camera shots, interior lighting and sophisticated direction mark him as a particularly sensitive and advanced director for that time.

Lincoln was in partnership with G. H. Barnes for the making of this film. Adele Inman, who acted in it, only vaguely recalls Barnes. Lincoln handled the direction entirely, with Barnes only rarely seen on set. Miss Inman remembers Lin­ coln at that time as an extremely sick man. He was never left alone on set. She remembers he was generally known to be a very sick man, but she did not know for what reason.23 Lincoln died one year later in Sydney on August 18, 1917.. His wife Pearl and daughter Marguerite, now 20, were with him in Sydney at the time. The family appear to have moved to Sydney sometime late in 1915; they were living at Macquarie House, Macquarie St, Sydney.

At the time of his death, Lincoln was working on a script entitled the Worst Woman in Sydney2\ a re-write of the extremely successful stage play entitled The Worst Woman in London, which had been revived by the William Anderson Dramatic Co. in 1914 and again in 1916.25 It is difficult to know if he was going to make it into a film or intended it as a stage play.

Although this is a very brief look at Lincoln, owing to a lack of source material, his outer life does mirror the growth and decline of the early Australian film industry and highlights how closely entwined theatre and film were. The Bells, I t’s Never too Late to Mend, The Bush King and Captain Moonlight, for example, were all successful stage plays scripted by Lincoln and later adapted to film.

Lincoln reached his peak film production out­ put between 1911 and 1913 when Australian film > production generally was at its peak, and, as the local production industry declined due to the policies of the “combine” , his film output declined. The Bulletin on Lincoln’s death stated: “ Lincoln, recently buried, was undoubtedly the pioneer of the Australian picture producing in­ dustry” .26 I would not call him “the pioneer” , but I would call him one of the pioneers of the Australian film industry. ★ 21. Restricted and uncatalogued J. C. Williamson’s Minute Books.

22. Bulletin, September 6, 1917.

23. Interview with Adele Inman.

24. The Bulletin, September 6, 1917; and Theatre, September 1917, p. 20.

25. Theatre. October 1914, p. 22, and March 1916, p. 40.

26. The Bulletin, September 6, 1917.

Scene from Edith Cavell.

Brackets indicate persons who are believed to have worked on the production.

Godfrey Cass 1911 A Tale of the Australian Bush (Ben Hall, the Notorious Bushranger) Producer Director Scriptwriter Photography Cast

Australian Life Biograph Co. Gaston Mervale Godfrey Cass, A. J. Patrick, ( . . . )

1911 One Hundred Years Ago Producer Director Scriptwriter Photography Cast

Australian Life Biograph Co. Gaston Mervale

Godfrey Cass, A. J. Patrick, Harris Ireland, Louise Carbasse, Alfred Scarlette, Harry Beaumont.

First released Sydney, May 8, 1911

1911 A Ticket in Tatts Producer Director Scriptwriter Cast

Australian Life Biograph Co. Gaston Mervale P. W. Marony Godfrey Cass, A. J. Patrick, Alfred Scarlette, James Martin, Louise Carbasse, Harry Beaumont, Harry Ireland First released Sydney June 19, 1911

L. Woods, A. Orbell, I. Millett First released Melbourne, October 24, 1925

1925 Jewelled Nights Producer

Louise Lovely Productions, Milton Welch Director Louise Lovely, Milton Welch Scriptwriter Louise Lovely, Milton Welch Photography Tasman Higgins, Walter Tully Cast Gordon Collingridge, Godfrey Cass, Arthur Styan, Grafton Williams, John Dobbie, Charles Brown, Harry Halley, Leslie Woods, Robert Morgan, Clifford Milton, George Bryant, Reg. Leslie, Frank Dunn, Katrina Barry, Lucille de Rago, Joy Law, Jean Foules First released Melbourne, October 24, 1925

1926 Jungle Woman Producer Production company Director Scriptwriter Cast

Frank Hurley’s Pearls and Savages

Stoll Picture Products Captain Frank Hurley Captain Frank Hurley Godfrey Cass, Eric Bransby Williams, Jamieson Thomas, W. G. Saunders, Lillian Douglas, Grace Savieri First released Sydney, May 22, 1926

Harry Southwell, Southwell Screen Plays Director Harry Southwell Photography Charles Herschell Cast Godfrey Cass, V. Upton Brown, Horace Crawford, Adele Inman, Robert Inman, John McGowan, Maude Appleton, Jessie Macpherson, Clarice Hardwicke, Cyril Mackay, Thomas St Clair Southwell Screen Plays Harry Southwell Harry Southwell, Miss M. F. Gatswood Photography Tasman Higgins Cast Godfrey Cass, Claude Turton, Thomas Sinclair, Beatrice Hamilton, Floris St George, Flo Little First released Sydney, October 23,1920 British Australasian Photoplays Kenneth Brampton Kenneth Brampton, Phyllis Coughlan Photography Lacey Percival Cast Godfrey Cass, S. Shirley, L. Edwards, G. Collingridge, C. Beethan, G. Edwards, Phyllis Coughlan, W. Coulter First released Sydney, June 23, 1923

1923 When the Kellys Were Out Producer Southwell Screen Plays Director Harry Southwell Scriptwriter Harry Southwell Photography Tasman Higgins Cast Godfrey Cass, Rose Rooney, Sydney Everett, Joe Webb, Charles Villiers, W. Ellison, M. Barrington, Beatrice Hamilton First released Melbourne, July 9,1923

1925 The Mystery of the Hansom Cab Producer Pyramid Pictures Director Arthur Shirley Scriptwriter Arthur Shirley Photography Lacey Percival Cast Arthur Shirley, G. Glover, C. Warner, Godfrey Cass, C. Stuart, Ida Crossley, V. Remee, R. Stavely,

1913 Moondyne

Lincoln Cass Films Pty Ltd W. J. Lincoln and Godfrey Cass W. J. Lincoln, Godfrey Cass Maurice Bertel Godfrey Cass, George Bryant, Roy Redgrave, ( . . . ) First released Melbourne, September 1, 1913

Producer Directors Scriptwriters Photography Cast

1913 The Remittance Man Producer Directors Scriptwriters Photography Cast

Lincoln Cass Films Pty Ltd W. J. Lincoln and Godfrey Cass W. J. Lincoln and (Godfrey Cass) Maurice Bertel George Bryant, Godfrey Cass, Roy Redgrave,( . . . ) First released Melbourne, September 13, 1913

1913 Transported

Producer Lincoln Cass Films Pty Ltd Directors W. J. Lincoln and Godfrey Cass Scriptwriters W. J. Lincoln and (Godfrey Cass) Photography Maurice Bertel Cast Roy Redgrave, George Bryant, Godfrey Cass First released Melbourne,September 29, 1913

1913 The Road to Ruin

1913 The Crisis

Lincoln Cass Films Pty Ltd W. J. Lincoln and Godfrey Cass W. J. Lincoln Maurice Bertel Roy Redgrave, George Bryant, Beryl Bryant, Kathleen Lindgren, (...)

First released Melbourne, October 27, 1913

Producer Directors Scriptwriter Photography Cast Captain Frank Hurley’s Jungle Woman (1926), which starred Godfrey Cass.

1928 The Rushing Tide Producer Director Scriptwriter Photography Cast

1923 The Dingo Producer Director Scriptwriter

(...)

First released Melbourne, August 18, 1913

Lincoln Cass Films Pty Ltd W. J. Lincoln and Godfrey Cass W. J. Lincoln Maurice Bertel Roy Redgrave, Godfrey Cass, George Bryant, Tom Cannam, Beryl Bryant, Marion Willis “ and a specially selected supporting cast” First released Melbourne, October 13, 1913

Producer

Producer Director Scriptwriter

George Bryant, Godfrey Cass,

Producer Directors Scriptwriter Photography Cast

1919 The Kelly Gang

1920 The Golden Flame (The Hordern Mystery)

Cast

1930 Tiger Island Producer Director Scriptwriter Cast

Gerald M. Hayle, Koala Films Gerald M. Hayle Gerald M. Hayle Tasman Higgins Godfrey Cass, Norman Lee, Beth D ’Arvall, Eardley Turner, Edwin Lester, Brian Ewart, Dora Mostyn Victorian Film Productions Gerald M. Hayle Gerald M. Hayle Godfrey Cass, Beth D ’Arvall, John Barry, ( . . . )

1935 Heritage Expeditionary Films Charles Chauvel Charles Chauvel Tasman Higgins Harry Jacobs Mary Maguire, Frank Harvey, M. Rhys, F. Barrett, N. French, V. Fitzherbert, A. Whynn, H. B. Meade, V. Gourriet, Joe Valli First released Sydney, April 13, 1935

Producer Director Scriptwriter Photography Music Cast

Lincoln Cass Films Proprietary Ltd 1913 The Sick Stock Rider Producer Lincoln Cass Films Pty Ltd Directors W. J. Lincoln and Godfrey Cass Scriptwriter W. J. Lincoln Photography Maurice Bertel

1913 The Reprieve Producer Directors Scriptwriter Photography Cast

Lincoln Cass Films Pty Ltd W. J. Lincoln and Godfrey Cass W. J. Lincoln Maurice Bertel Roy Redgrave, Beryl Bryant, George Bryant, Godfrey Cass “ and a powerful cast” , ( . . . ) First released Melbourne, November 3, 1913

1913 From the Wreck Producer Directors Scriptwriter Photography Cast

Lincoln Cass Films Pty Ltd W. J. Lincoln and Godfrey Cass W. J. Lincoln Maurice Bertel (Roy Redgrave), (Godfrey Cass), (George Bryant)

1913 The Victory Producer Directors Scriptwriter.

Photography Cast

Lincoln Cass Films Pty Ltd W. J. Lincoln and Godfrey Cass W. J. Lincoln Maurice Bertel (Roy Redgrave), (George Bryant), (Godfrey Cass)

William Joseph Lincoln 1911 It is Never Too Late to Mend Producer Director Scriptwriter Photography Cast First released

J. & N. Tait W. J. Lincoln W. J. Lincoln Orrie Perry Stanley Walpole, ( . . . ) Sydney,January 7, 1911

Concluded on p. 214 Cinema Papers, June-July — 175

Peter M cLean

176 — Cinema Papers, June-July

Continuing his survey of Australian scriptwriters, filmmaker Paul Davies talks to Peter Yeldham, whose credits include “Ride on Stranger” , “ Golden Soak” and “ The Timeless Land” for television, and the features “ Touch and Go” and “Weekend of Shadows”.

Yes, and just after the start of When I started in radio, it was a thriving industry; that was before commercial television. Some pretty television. But I got a bit restless good things were being done for and decided to try it overseas. television, like Maigret and Z Cars.

What really triggered me off was Unfortunately, many years later, the Royal Commission into the the same things are still being done. television stations. I went along and heard Clive Evatt questioning You also wrote a number of Frank Packer about what he was screenplays for the major studios, going to do. Frank Packer refused such as “The Liquidator” with to promise a quota, but he said, Trevor Howard and Rod Taylor. Do “ I’ve always treated Australians you have a favorite film from that well; just trust me.” So I went to period?

B ritain with my fam ily. As expected, it was tough on my wife Funnily enough, it is the First one and our two very young children I wrote: The Comedy Man with Kenneth More. Although it was until I actually got going. based on a book by Douglas Hayes, about an out-of-work actor in How did you get started?

London, an awful lot of me went I was lucky, in that I bumped into it. I knew what it was like to be into an Australian friend and he unemployed and almost starving in said, “ Come and meet Spike London. It was the most personal Milligan.” Spike had just started of the films.

The Comedy Man was the first an agency over a fruit shop in Shepherds Bush with a woman time I had wanted to write a com­ called Beryl Virtue, who was his edy. There is a magical moment in agent. She also handled Simpson a crowded cinema or theatre when and Galton, Eric Sykes and Johnny you hear people start to laugh; it is Speight. Anyway, she took me on very heady. So, from then on, and as a sort of challenge. until I came back to Australia, I Beryl turned out to be a was writing comedy, almost ex­ marvellous agent. She soon moved clusively, in plays and Films. to a building in Bayswater, and then into the West End. Today she Everybody says comedy is the is an executive producer for Robert hardest to write. What is the trick when you don’t have a live audience Stigwood.

I wrote drama plays for the first to feed off? six or seven years, then I switched You have to make yourself smile, to comedy, though never to the same extent as Spike and the if not laugh, while you are writing others. They were writing situation it. I have done a couple of stage comedy for television, which I plays in collaboration, and on one in particular we had the criterion could never do.

It was a lucky meeting, and that if we both laughed, the gag or Spike and the others were very line stayed in. Sometimes, we made ourselves laugh so much that we good to me. were lying on the floor, corpsed So you arrived in Britain just before with laughter. Occasionally though, the golden period of British cinema the next day we found we had had

too good a lunch and that it wasn’t really that funny.

It is very hard to define comedy.

Of all the comedy writers I know, and I knew a lot in Britain, none of them were funny people. Many of them are very sad characters, forever worrying. Tony Hancock was the supreme example.

Is it good to work with an actor when writing comedy?

It usually isn’t possible, except for stage plays. There you can work extensively with actors, partic­ ularly when you are on tour. It is quite dramatic going from town to town and you do tend to rewrite a lot. I had one play open in Liver­ pool, called Birds on the Wing, which I think is the best stage play I have done. Everyone laughed all the way through. Then somebody said those terrible words, “ It’s going to run forever in the West End” , which usually means it only runs three months.

We then took the play to Coventry, where nobody laughed.

It is a different humour there and the actors were far removed from the audience. It was like a different play.

When things started taking off for you in Britain, did producers approach you for scripts, or were you still writing on spec?

They started coming along after the First few television shows. If you work on one television series, they’ll ask you to do another one.

Then somebody would see that, and ask you to do one of theirs, and so on. You get busy very quickly.

I think the training I had in radio, where one had to write quickly and work very hard, also

helped. When I first went to Britain writers felt that if they wrote some­ thing every three months they were doing a lot of work. I find that unless I am busy, I am bored.

You then came back to Australia just as the local cinema was getting off the ground . . .

I returned a couple of times for visits, but I came back for good in 1976. There was sort of a deja vu feeling about Britain in the 1970s; we just seemed to be doing the same things again. The Film industry had gone pretty dead, as had television.

This is one of the reasons why I came back. In fact, the only reason I stayed so long in Britain was because I was having a good run with my stage plays.

Do you still have an urge to write plays?

Yes, though I haven’t written one since I have been back. I Find plays the hardest of all things to write in Australia.

Why is that? Is it because it’s easier to raise money for films?

For a start, you have to sit down and write a play — nobody is going to ask you to write one. Also, I have been inundated with television work, and one tends to do what is paying.

Another reason is that I haven’t come to terms with the sort of play I want to write out here.

Looking at your record in tele­ vision, one notices that you have done an extraordinary number of adaptations. Is that coincidence, or have you pursued adaptations?

Cinema Papers, June-July — 177

PETER YELDHAM

W ell, I h a rd ly ever did adaptations in Britain; it was almost all originals. But since I have been back, I have worked mainly for the ABC and they like to do a lot of Australian classics.

There was only one occasion where I sought out an adaptation and that was Ride on Stranger, which I just happened to borrow from the library one day. I intended to read a couple of chapters, but ended sitting up all night. The next day I rang Kylie Tennant and asked if the rights were still available for television. She said they were, so I went to see her. I then took out a sort of option and went to the ABC with a three-page outline. I also suggested they read the book, but someone replied, “No. If you’re that enthusiastic, we’ll do it.’’

I think it turned out well, and maybe the reason is that they put all that responsibility on me.

Yes. There are eight one-hour episodes. It begins in 1788 and continues for the next 22 years.

It starts with Phillip, then jumps time a bit and becomes mainly concerned with the fictional characters of Eleanor Dark’s book.

All of this is against the authentic background of what happened — the rum trading, the revolt against Bligh, and so on.

and even be involved in, or consulted on, the editing. This happened with The Timeless Land and Ride on Stranger, and made me feel a part of the whole thing. It wasn’t a case of knocking out a script, taking the money and going away.

Another of your television shows, “ Golden Soak’’, starred Ray Barrett who is a personal friend. Did Are you worried about covering you have him in mind, or was that some of the same historical ground just coincidence? as “Against the Wind”?

Good luck really. It was a co­ Not at all. Theirs was mainly the production, so the producers story of a girl and her life, whereas wanted somebody who would be ours is a fairly different canvas. known overseas. Ray was available, Eleanor D ark’s books were and he is known abroad and here. I pretty authentically researched, and was very pleased, of course. we have stuck fairly carefully to I am writing a new series for the history, although it is by no means ABC at the moment which Ray will a history lesson. be starring in. That has been written with him in mind.

Have you found a difference Did you have much discussion with working with Australian directors as Is it an original work?

Tennant about the work? opposed to British or American Wendy Hughes (left), Chantal Contouri, ones? Is it easier to get access to a Yes. It is called Sporting Chance, Barbara Stephens and Carmen Duncan in No, she stood back from it. We director overseas, once your script and Ray is playing a sports Touch and Go, a feature scripted and co­ produced by Yeldham. just had a lunch and she said, has been accepted? journalist. “ Look, it’s a book, and I know you are going to make a television Yes. When I first came back, When doing an adaptation, do you Do you think a writer should have series, so do exactly what you there was a tendency to say, lift the dialogue straight out? some say in the casting? want.” We made a lot of changes, “Thanks for the script, now go but I think we kept the spirit of the away and we will do it.” I told them Very rarely. Generally, I read the It is good if you can, but it’s not book. that wasn’t the way I worked work very thoroughly twice, always possible. I am usually overseas. making notes and marking the consulted on casting, particularly Did you need extra research into the Luckily, working with Carl things that are very relevant to the when I work with Carl. We will go historical setting when adapting the Schultz twice, I have experienced a book. Then I tend to put it aside. I through Showcast together, and book? very good working relationship. have absorbed as much as I want. maybe get the choice down to three And this is now happening with or four people. Then I leave it to No, because it was all pretty well other directors as well. I just made So you don’t consult it when him. documented in the book. Also, a lot it known that I was available at any writing? of those things Kylie was writing time if they wanted to change Do you write with particular actors about the 1930s I had gone through things. I have always said, “ Don’t No. I never look at the book. in mind? in Sydney in the late 1940s and get the tea lady or the set designer early 1950s — the anti-communism to do it, call me. It’s my job.”

Have writers ever accused you of Very rarely. Once or twice I have and Liberal fringe groups, for I wrote the scripts of The destroying their work? done it. and they have not been instance. So, again, I felt I was Timeless Land a year ago, for available. writing about my youth. example, but last week I was called No. The only feedback I have in to re-write a scene that wasn’t had was from Kylie, who wrote me You have had a great deal to do with You have also written “ The quite right, and which was being a lovely letter saying she thought I writers’ guilds in Australia and Timeless Land” for the ABC. Is it a filmed the following day. had given her sto ry a new Britain. Do you find that writers are series?

I like to follow someone through, dimension. She was very pleased. hard to organize industrially?

Barbara Stephens and Michael Aitkens in an episode of Run From the Morning (director Carl Schultz).

178 — Cinema Papers, June-July

David Cameron and Bill Hunter in Golden Soak, which Yeldham adapted from the Hammond Innes book.

PETER YELDHAM

Yes, probably because they are a very small industrial base.

One of the reasons I became involved was that when I was writing radio in Australia there was no guild. We were paid and treated badly, and had no clout at all. And unless you get some kind of organization going, you will be screwed every time.

tralia, but it is certainly not true of the U.S. Actually, a lot of the other things Puttnam said make sense — particularly how people always say the trouble with Australian films is the scripts. We get some excellent scripts, some adequate scripts and some poor scripts, just like any other country. What we really lack is the creative, hustler-type pro­ ducer you find overseas.

Some of them are terrible bastards to deal with, and they will screw you if they can. But if they believe in your work, they will fight to the death to get it produced.

Whereas in Australia, with all the insecurity at present, one only needs to get a frown from an AFC commissioner before somebody says, “ Let’s change the script.”

We had this problem with the one real disaster I wrote here, Weekend of Shadows. We had constant changes and insecurity about it, right up to the day of shooting. I think many of these changes didn’t help the film.

trends in Australia?

The failure rate is growing, as we make more films. That first honey­ moon, when people went to see Australian films because they were Australian, is over. And what is happening in its place is this tendency to say, “We have to sell in the U.S., so let’s Americanize it.”

That’s what worries me most of all, because it may mean we become a service industry like the British.

Do we have a screen-writing industry in Australia?

If you include television, it is becoming quite an industry. I am not sure, but there must be about 25 half-hours of serials a week, and that means quite a few writers are employed. How long they work on those series is, of course, another thing. Even in the best days in Britain people used to say that most of the writing was being done by about 50 writers, even though there were 800 members in the British guild. I guess it is somewhat the same here.

writer. It was quite incredible, and even a writer-producer like Joan Long was listed just as a producer.

These are the kinds of things we There is a lot of discussion about ensuring our films are more inter­ have to stop. national in flavor. Having worked Rosemary-Anne Sisson remarked Do you feel there is still an here and abroad, what do you see as two years ago that she was amazed to find there were so many active ignorance of the function of a writer the necessary ingredients? professional writers in Australia. in Australia?

It is hard to answer. But the best Are we the lucky country in that Yes, but it is certainly much way to be international is to be respect?

Where should the main effort of the better than it was. One of the truly national. If you go for a mid­ I hope we are going to be a lucky amazing things that happened to Atlantic or mid-Pacific type guilds be placed? me when I first went to Britain product, that’s what you end up country, and it is a battle that will The two main areas are our was that somebody said, “ Let’s talk with. It probably plays to packed keep going on. We are always in danger of television stations cutting image and contracts. We recently about it over lunch.” Take a writer houses in Fiji, but that’s all.

The British found this in film and out and films failing, though at the had a long battle with the ABC over to lunch? Christ, that never television. It was only when they moment we are doing all right. contracts and, though it is over, in happened to me in Australia. started making genuinely British I think a good sign is the shorter another sense we are just gearing up shows that they started selling series which the com m ercial for the next round in a few years’ David Puttnam, during his recent overseas. In some ways it is like the stations are doing. Hopefully out of time. visit, said a country could only situation with The Sullivans: it is a those will come some quality shows We also have to put a stop to expect to have three really great such things as the Australian Film directors and four great writers. Do very Australian show, and yet it is which we can sell abroad.

Commission’s 50 Films. Do you you think that is a fair comment? starting to sell in the U.S. Do you see shorter series as a realize that not one writer was You were in Britain during the reaction against the endlessness of mentioned? They mentioned the No. It may be true of small recent rise and fall of the film the serials? director, the producer, the cinema­ Concluded on p. 214 tographer and the stars, but not the countries like Sweden and Aus­ industry. Do you see any common

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Michael Craig and Nicola Pagett in the ABC's The Timeless Land, scripted by Yeldham

Michael Aitkens and Liddy Clark in Yeldham's original television series. Ride on Stranger

Cinema Papers, June-July — 179

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DONALD RICHIE

Shadow Warrior

Shogun

Donald Richie, ex-curator of film at New York’s Museum of Modern Art, has long been regarded as the Western authority on Japanese cinema. His film books include The Japanese Film, written with Joseph L. Anderson, Japanese Movies and The Films of Akira Kurosawa. Richie has also written on other aspects of Japan — such as tattooing, flower arranging and ancient erotic cults — and has collated and edited the Japan letters of Henry Adams and Rudyard Kipling.

Richie, who divides his time between New York and Tokyo, recently spoke to C. Ewan Burnett about the state and future of the Japanese cinema.

How do you rate the healthiness of culties because Japan doesn’t have anti-cartel laws. This means that the Japanese industry? the major film companies can own It’s not particularly good; the all the theatres and that there are quantity of production is down, and no places to show independent pro­ the quality is way, way down. There ductions. The other thing is that it are many reasons, one of which is is very hard ju st to get an television. When Japan started independent production off the becoming affluent, everyone had ground.

If a producer wants to make a plenty of time and television made it possible to lose time. So, as in all film in the U.S., for example, he countries, television took away the finds a script he believes in, a director who wants to do it and a major cinema audience.

What is different about Japan is star. He then goes to the Bank of that the minority audience was America and says, “ I have Sidney never particularly catered for. Lumet, a script and A1 Pacino, so Japanese production is geared, in give me the dough to make the the old Hollywood sense, to enorm­ film.” The Bank of America is ous overheads, large studios, big usually very pleased to help out, wages for everybody, a book­ and if the film is like Dog Day keeping system that looks as Afternoon, and made completely on though it puts the losses in one location with no studio work, it can column and the budget in the next, be made for a majority audience and a double-bill process which with very little money.

In Japan this is impossible means having to make 104 films a year, which is physically impos­ because the theatres and the banks sible. The reaction has been one of think films are far too minor for terror and conservatism of extra­ them to gamble on. They need ordinary dimensions. So, they will stronger collateral.

The single exception to this is the remake the great hit of 1957 with, if possible, the same stars, or use all Art Theatres Guild. With Toho, it sorts of ’scopes and sound systems used to put up half the cost of film; without paying any attention to the producer would put up the other what the film is about. The result half and they would split the take. has been that people don’t go to the The ATG managed to get hold of cinemas anymore. The only major three cinemas — one each in audience left is teenagers, who usually don’t have money but still go to the cinema. And the films the studios make for children are very boring because the people making young love romances are 75-80 year-old company men. You can imagine the calibre of the product; it is lamentable.

The Boy Who Stole the Sun.

Is the major audience interested in Japanese or foreign cinema?

The major audience is gone. The minority audience that is left could become interested in Japanese films, but it has been so alienated and brutalized by product that it now goes mainly for foreign films.

What about the independent producers of quality films?

The type of independent produc­ tion that has been saving cinema in many countries, including Aus­ tralia, has been fraught with diffi­

Tokyo, Osaka and Kyoto — and released films through them. They did this for 10 years, and any good film you have seen in the 1970s, and even the 1960s, probably came from the ATG — for example, the films of Nagisa Oshima, Susumu Hani, Masahiro Shinoda.

T hree or four years ago, however, Toho decided it wasn’t making any money (which it had never intended to do) and put a stop to it. Fortunately, it opened up again under a different aegis. Toho didn’t put up any money this time, but acted solely as a distribution house.

One of the ways an independent production can get distribution is to wait until one of the big companies finds it is missing the bottom half of a double-bill. A director then gives them the film, which he has financed himself, for 10 per cent.

This gives him enough money for his next production. The Shinoda and Hani films came onto the market in this way.

So,these independent producers are not really producing . . .

The reason Oshima and Shinoda put out only one film a year is that it is all they can do. The alterna­ tive, which Kon Ichikawa does, is

to hire out to a big company — a nasty experience. Although it used to be a director’s cinema in Japan, and Yasujiro Ozu, Mikio Naruse and Kenji Mizoguchi could have their own say, let alone Kurosawa, it has now become a producer’s cinema.

The producer, who is a company man, develops a script which is like a child’s coloring book: it says how long a scene is going to be, what angles have to be used, and so on.

Even Ichikawa is handed a script and told to make it as written — and he does.

There are also a number of hypes going on for selling films. There is one big publisher which puts up enormous money — say 20 million yen ($A74,000) — of which five million would be for the junky little film, and 15 for the press and advertising. My figures may not be correct, but the fractions are. The publishing firm inundates Japan with publicity, making every Japan­ ese aware that the film is going to come out. The film then opens at every cinema on the same day and, before the public finds out that it is shit, everyone has seen it.

Another organization involved in film is the religious body, Soka Gakkai. Soka Gakkai people go to films, so when they put money into, say, a mountain melodrama with Toho, every Soka Gakkai buys tickets when it comes out. There are millions of members, so the film makes a lot of money.

There are other ways, too.

Shinoda recently made Melody in Grey, which is not much of a film, but has pretty pictures. Shinoda then made a documentary on Ysuhima Steel, which is the largest steelworks in Japan. The steel com­ pany then sold tickets to everyone in their employ, and everyone who came to see the documentary sat through the feature. This sort of force-feeding of the audience is very common.

So that big business can survive . . .

It is always a gamble. For example, the publisher I mentioned earlier invested heavily in Gothic thrillers. The first one was a great success, in that everyone went.

They tried the same hype a second Cinema Papers, June-July — 181

time. You can even be politically aberrant as long as it doesn’t have a particular focus.

Is film criticism contributing any­ thing positive to the situation?

time and it worked. The third time nobody went, even though the same amount of money had been spent.

So, you can cheat an audience once or twice, but it’s not an on-going process. Economically it defeats itself.

anachronism. The big film com­ panies are going to continue. They have diversified so that only a small percentage of their income comes from film: they own baseball teams, railroad companies, land develop­ ments, kabuki companies. To satisfy their stockholders and What effects has the dearth of talent boards of directors, all they have to in films had on television? Has tele­ do is put money from the land vision product improved? pocket into the film pocket and everyone is happy, because the The people who would ordin­ books are balanced. arily move into film, now go into At the moment, there is no television. But as a medium, tele­ reason it should continue but, this vision is very different to film. In being Japan, there is no reason why Japan, all television is commercial, it will ever change. Also, the except for one channel [actually Government wants to maintain the two], which means you are industrial status quo, so you often brutalized, not by the producers, find it assisting companies which but by the sponsors. should be moribund.

Television hasn’t grown since 1959; one still sees very much the The only quality television I have same type of material. It is con­ seen in Japan has been animation. Is cerned with consuming material that a growing area? and making sure it doesn’t have an Japan has always been strong on hour that isn’t filled. It is carni­ animation, and Toho has recently vorous.

There is no incentive for young spent millions of dollars on a lavish people interested in “the moving new computer system for cartoon image” to want to go into film or making. Animation usually ends up television. There is a further on television, particularly in irritant, in that people in film have Europe where it is heavily sold. always regarded television as satan In fact, half the world’s animated incarnate. So, whereas in the U.S., product emanates from Japan.

I don’t follow animation, nor do where one sees films very cleverly taking over television, this has not I like it, but I know that big occurred in Japan. One also does German companies have enormous not see many old Japanese films on contracts for animation in Japan. television. I don’t think a Kurosawa film has ever been on television.

Is it true that Japan is relying on Is there a chance of a healthy tele­ pornography to sustain independent vision-film relationship in the producers and directors? future?

That’s only a rumour. If one All countries have seen the end of looks at copies of Playboy in this cinema theatre entertainment; it is country, one would think there are already an anachronism. People people at Narita airport who do don’t band together and drive nothing else but scratch out downtown to see “the movies” . It is genitals. In this hypocritical land, in its Hellenistic period and it won’t one hair and you are out. It’s the last much longer. Now, that doesn’t kinkiest place alive, but you mean the visual image is going; on wouldn’t know. the contrary, it is growing more and As for the so-called “porno”, it more. wouldn’t satisfy a kindergarten.

Japan has always been antedilu­ And in an attempt to hype it, they vian and will continue to be a living have turned to sado-masochistic 182 — Cinema Papers, June-July

Shogun, a case of outsiders filming in Japan.

spectacle where the denigration of women is the last thing they worry about. But when you go into the “ porno parlours” , which may be a theatre holding 500 people, you wouldn’t find more than 10. These films have never had an audience.

How restrictive are Japan’s censor­ ship laws?

Japan has no censorship laws; everything is censored by the Customs. In violence, and even politics, you can say almost every­ thing you want. Some foreign countries even make special release prints for Japan, with more red paint.

A self-regulatory system is applied to film, and a panel views all films up for release. They are vigilant on sex and if some happens to get through, it is probably because the board was asleep at the Akira Kurosawa’s new film, Shadow Warrior.

It probably could, but there has never been an ‘institution’ called film criticism. What we have are called hironka or hihioka, who print in their magazines that such and such a film, by such and such a director, will open someplace; it’s like an advertisement. And when it is opened, all they will say is that the star gave his or her best. There are, maybe, two people who write what one would call film criticism, and they publish only in maga­ zines. But they are for a minority audience.

There are no standards, because in Japan, any standards, apart from technical ones in watches and so on, are fraught with problems. If one gets to be a hironka, it is only because one’s teacher helped to get that job. This being so, one doesn’t want to do anything to anger him, and if he happens to like a director, or be his friend, one cannot say anything.

Film and television companies also give large end-of-year presents to all the writers, and they are glad to receive them. Of course, if you cop a present from someone, you don’t go out and say something bad about them. Everything is very genteel, and no information leaks out.

Is there no feedback from the public?

As in most countries, word of mouth is better than reviews and advertising. If good word gets around, then a large number of people will see a film, no matter what a critic might say about it. For example, there is a small company that specializes in art films, and they have a publisher behind them.

They have a 250-seat cinema and

are the only people who show the films of Federico Fellini, Robert Bresson and Luis Buñuel. People come from all over Japan to go to this place. They recently booked in an extremely difficult film O thiasos (The Travelling Players), which is four hours and 20-minutes long, and it caught on by word of mouth and played for two months.

One of the downtown cinemas, which was doing no good with the standard product, heard about it and rented it. It played at the cinema for six months, at top prices.

Why isn’t the Japanese audience saying, “We have enough material here to produce a product as good as that”?

That’s a bootless question. Why didn’t they all band together and say, “This is a lousy war, let’s stop it” ? How can anybody in any country do this? They just don’t.

They are not even that exercised about the state of their politics. So who would do it for film?

What does happen is that there is a growing audience for whatever good films are available. There is within Tokyo, for example, a definite minority audience for film.

You can see it if you go to the Film Centre when they are showing an Ozu program; there will be lines around the block. Now if any entre­ preneur wanted to do that, he could have full houses all the time. But this is something the canny business mind never sees.

What is going to happen in the next few years?

I see no renaissance coming, and it may be even bleaker than that. I have been told that my views are far too optimistic. Even if Japanese directors were given the freedom, there would be no Kurosawas or Ozus hiding in the woodwork.

Hasenawa’s The Boy Who Stole the Sun, which has a script by Len Shrader.

make films anymore, let alone how to look at them.

I have taught film classes in Japan. If I put on a film by MizoThis is due, in general, to the guchi to a class of 30, at the end of affluence that has hit Japan; every­ the period only two students will body has too much money and too still be awake. It doesn’t mean any­ much free time. The kind of educa­ thing to them. It’s about a country tion that contributes to the they haven’t heard of; they are into appreciation of film has dropped to something else. the extent that no one knows how to Eventually, I assume, the new Kurosawa’s Shadow Warrior, made with the “left-over” money from Star Wars).

civilization that is growing here will produce something astonishing, but I have no idea what form it will take.

All the arts are moribund. The only ones that are feasible are graphics — of which Japan is prob­ ably first in the world — architec­ ture and decoration. The art of the C ontinued on p. 209

Bibliography of Japanese Films The Western appreciation of Japanese film culture has been dominated mainly by the influence of the American-born resident of Japan, Donald Richie. Richie’s many books of the 1950s and ’60s have all gone some way to creating a canon of Japanese filmmakers with which the West should concern themselves. This, coupled with his reliance on the auteur theory (not always reliable in Japan where a system of apprenticeships and tendencies held sway for many years), has led to a centring of film criticism around such major names as Kurosawa, Ozu, Mizoguchi, Ichikawa, etc. In this, Richie’s books are a product of their time and almost verge on the publicity puff in their efforts to promote a limited number of directors, rather than the industry as a whole. His major history, The Japanese Film, written with Joseph Anderson, owes much to an indigenous history written by Tanaka Junichiro. His many books acknowledge Kurosawa as a god, and concentrate on the content and style elements of the Japanese film. Ensuing books, such as Japan Film Image (Richard Tucker), and The Waves at Genji’s Door, by Joan Mellen, follow Richie’s example.

Refreshingly, To the Distant Observer, a recent book by the Anglo-French critic Noel Burch, takes a new approach to the films, employing the newest semiotic analysis and making a careful study of all Japanese films available from the 1920s and ’30s, which he refers to as the “ Golden Age” .

Burch’s theories, which are detailed and demanding in the extreme, make the point that Japanese film had the potential and opportunity to create a formalistic approach to film vitally and essentially different to the prevailing Western aesthetic, which formed new codes of film expression and created a corpus of work which was ideologically and formally different to Western film language. Using a system of analysis which is now becoming widely accepted, Burch shows how Japanese film of this period differs fundamentally from Western film, on such major points of film form as the use of close-up, ‘matching’ of eyelines arid shot sizes, the use of reverse angle, the ‘centring’ or asymmetry of screen composition, use of high and low angle, the continuity of sound and action. Through detailed analysis, Burch shows how these differences helped create a body of film work that was ideologically, and therefore politically, different, and indeed the only systematic opposition to the dominant American codes of ‘realism’.

This recent study (very much indicative of a changing world aesthetic of film) is unique, in that it applies a formalistic dialectic to an area which most effectively reflects its conclusion; the inherent difference of Japanese film and culture. As such it makes interesting side points on Western culture.

Unlike Richie, whose recent reviews have shown a marked hostility to Burch’s materialistic analysis, I feel that To the Distant Observer \s a major landmark in the history of film criticism.

Burch’s observations on the development of themes and content may sometimes be rather dry (after all, these are not the thesis of his argument), but in terms of its methodical scientific application of the codes of semiology to a major subject, the work stands alone as a piece of scholarly study, one from which we should all take a cue. ian a . Stocks Cinema Papers. June-July — 183

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186 — Cinema Papers, June-July

6

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sons

FOR THE RETURN HOME The New Zealand Film Commission presents SONS FOR THE RETURN HOME. A film by Paul Maunder. Based on the novel by Albert Wendt. Introducing Fiona Lindsay, Uelese Petaia, Moira Walker, Lani Tupu. Filmed on locations in Western Samoa and New Zealand's North Island. Photographed by Alun Bollinger. Colour. Panavision Equipment.

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Number One D a ile y /A P 87 9

SPECIAL ISSUE The New Zealand Film Industry Goodbye Pork Pie Interview: 16

Articles and Interviews Filmmaking in New Zealand: A Brief Historical Survey

Clive Sowry

6

Paul Maunder on “Sons for the Return Home”: Interview

Peter Beilby, Scott Murray

9

The Size and Structure of the New Zealand Film Industry

John Barnett

14

Geoff Murphy on “Goodbye Pork Pie”: Interview

Peter Beilby

16

The New Zealand Film Commission introduction Bill Sheat: Chairman

Peter Beilby, Scott Murray

21

22

Don Blakeney: Director

Robert Le Tet, Peter Beilby

Sons for the Return Home.

Interview: 9

25

Lindsay Shelton: Marketing Director

Peter Beilby, Robert Le Tet

28

The Film Culture

Lindsay Shelton

30

Features Production Survey Services and Facilities

43 46

Production Report Beyond Reasonable Doubt Production Report: 33

Beyond Reasonable Doubt Introduction John Laing John Barnett

Managing Editor: Peter Beilby. Editorial Board: Peter Beilby, Scott Murray. Design and Layout: Keith Robertson. Sub-editing: Maurice Perera. Business Consultant: Robert Le Tet. Office Administration: Nim ity James. Secretary: Lisa Matthews. Research: Russell Campbell.

Advertising: Sue Adler, Sydney (02) 31 1221; Peggy Nicholls, M elbourne (03)830 1097 or (03)329 5983. Printing: Waverley Offset, 7-17 Geddes St, Mulgrave, 3170. Telephone: (0 3)56 0 5111. Typesetting: A ffairs Com puter Typesetting, 7-17 Geddes St, Mulgrave, 3170.

Telephone: (03) 561 2111. Distributors: NSW, Vic., Old.. WA, SA — C onsolidated Press Pty Ltd, 168 Castlereagh St, Sydney, 2000. Telephone: (02) 2 0666. ACT, Tas. — Cinem a Papers Pty Ltd. Britain — Motion P icture Bookshop, National Film Theatre, South Bank, London, SE1, 8XT.

33 34 37

New Zealand Filmmaking an historical survey: 6

A rticles represent the views of their authors and not necessarily those of the editors. W hile every care is taken with m anuscripts and materials supplied for this magazine, neither the Editors nor the Publishers accept any liability for loss or damage which may arise. This magazine may not be reproduced in whole or in part w ithout the perm ission of the copyright owner. Cinema Papers is published by Cinema Papers Pty Ltd. Head Office. 644 Victoria St. North M elbourne, Victoria.

Australia. 3051. Telephone: (03) 329 5983. < C opyright Cinema Papers Pty Ltd. May-June. 1980.

Front cover: Tony Barry and Kelly Johnston in Geoff Murphy’s G o o d b y e P ork Pie.

Cinema Papers. New Zealand Supplement — 5

A brief historical survey Clive Sowry*

Pioneers

Opposite: Edmund Finney as Kenneth Gordon in Rudall Hayward’s Rewi’s Last Stand. (Frame enlargement.)

Films were first shown in New Zealand in 1896, but it was not until two years later that any were actually produced. In 1898, A. H. Whitehouse, an itinerant showman from Auckland, imported a camera and shot a number of short topical Films: The Opening of the Auckland Ex­ hibition and Uhlan Winning the Auckland Cup were among the First of these.

By mid-1900, Whitehouse had completed 10 such Films and taken them to the Paris Exposi­ tion. On his return Whitehouse again took up Film exhibition but did not produce any more.

Among the pioneer cameramen who followed Whitehouse were Joseph Perry of the Salvation Army’s” Limelight Department, T. J. West of West’s Pictures and James McDonald of the Tourist Department.

Perry was commissioned by the New Zealand Government to make a film record of the Royal

Major Joseph Perry (inset) with two of the Biorama Company’s projectionists.

Visit of the Duke and Duchess of Cornwall and York in 1901. Later, while touring with the Biorama Company, Perry produced and ex­ hibited many scenic films and shot the turn-out of many Fire brigades.

West also made local films to supplement his programs, while McDonald shot films for various government departments as a part-time activity.

In 1914, George Tarr produced a 2500 ft Film based on the Maori legend Hinemoa. The Film was distributed throughout New Zealand by Hayward’s Pictures; Tarr accompanied the Film as lecturer. Shortly after this, Tarr was involved in the production of Just As the Sun Went Down and Her Brother’s Redemption, both two-reel dramatic films shot in Auckland. In 1916, also in Auckland. Rawdon Blandford produced and starred in The Test, a 5000 ft drama based on The Ballad of Stuttering Jim, by William Satchell.

The few Filmmakers working in New Zealand before 1920 concentrated on shooting news films for local theatres or scenic and industrial Films for more general release. Very few dramatic films were made and the only regular produc­ tion came from the newsreel cameramen working for the cinema chains.

T. J. West of West’s Pictures.

* Clive Sowry is Film Archivist at the New Zealand National Film Unit. He would be interested to hear from anyone who has any old New Zealand films, or who has any stills, posters, or information relating to early New Zealand films.

Rudall Hayward The name Rudall Hayward is synonymous with New Zealand Filmmaking in the 1920s and 1930s. During this time he produced six features and a large number of one and two reel comedies, industrial and news films.

His first feature. My Lady of the Cave (1922), was based on a popular serial published in a weekly newspaper. This was followed by Rewi’s Last Stand (1925), a drama-romance set at the time of a famous incident in the Maori Wars.

In the late 1930s Hayward rewrote the script and remade the film in sound. This second ver­ sion of Rewi’s Last Stand is considered to be his best Film.

Hayward’s other features included an histor­ ical drama, The Te Kooti Trail (1927), and two contemporary dramas, The Bush Cinderella (1928) and On The Friendly Road (1936).

Despite small budgets, few of Hayward’s features earned any profit from local distribu­ tion. Nevertheless, he persevered and concen­ trated on distinctly New Zealand Films. During the late 1920s, he travelled from town to town with a stock script making two-reel “community comedies” .

Hayward, whose Filmmaking career spanned more than 50 years, died in 1974 while promoting his last feature To Love a Maori, which he made in 1972.

Cinema Papers, New Zealand Supplement — 7

HISTORICAL SURVEY

New Zealand to shoot Taranga. During filming, Markey was recalled to the U.S. because of un­ satisfactory progress and the film was completed

by Markey’s assistant, Lew Collins, It was released in 1929 as Under the Southern Cross.

Markey returned to New Zealand in 1930 to produce Hei Tiki which was financed by a local syndicate. Post-production problems delayed the film’s release until 1935.

Several New Zealand silent features made use of imported talent. Australians Stella Southern and John Faulkner starred in the 1922 historical epic, The Birth of New Zealand, which was directed by another Australian, Harrington Reynolds. Australian swimmer and Hollywood star.Annette Kellerman was featured in Venus of the South Seas (1924), which was shot mainly in the Nelson district.

Talkies

Trademark of the Melies Company. (Frame enlargement.)

On Location The first foreign producer to use New Zealand as a location for dramatic films was Gaston Melies, who brought his company from the U.S. in 1912 to make three films: Hinemoa, Loved by a Maori Chieftess, and How Chief Te Ponga Won His Bride, all of which featured a cast of Maoris.

8 — Cinema Papers. New Zealand Supplement

Three years later, Australian producer Ray­ mond Longford shot A Maori Maid’s Love and The Mutiny of the Bounty. Later, another Australian producer, Beaumont Smith, also used New Zealand locations in his two features, The Betrayer (1921) and The Adventures of Algy (1925).

In 1925, Gustav Pauli came to New Zealand to shoot two features for a British company, Sphere Films. These films, Under the Southern Cross and The Romance of Hinemoa were com­ pleted in 1926, the latter being distributed world­ wide by Gaumont.

In 1928, Universal sent Alexander Markey to

When talkies arrived in 1929, local film­ makers were quick to adapt to the new medium.

Edwin Coubray, producer of the 1927 horse­ racing drama Carbine’s Heritage, was the first New Zealander to achieve sound-on-film talkies.

Late in 1929 he produced the Coubray-tone News, using sound recording equipment of his own design.

In Dunedin, Jack Welsh and James Gault per­ fected a variable-density sound-on-film system and produced a few talkie shorts. By 1933, Welsh was producing a weekly talkie newsreel, New Zealand Sound-scenes, which ran for six The wedding breakfast scene from The Birth of New Zealand. (Frame enlargement.)

HISTORICAL S U R V E Y

Auckland company, Neuline Studios.

With a change of government in 1949, pro­ duction of the Weekly Review was stopped. It was alleged that the Review had become politic­ ally biased, with appearances by Labour Government politicians too frequent. Depart­ mental information films continued to be produced and, in 1952, a monthly magazine film Pictorial Parade, appeared for the first time.

The Parade series continued for 20 years. in the period 1940 to 1970, only three New Zealand feature films were produced. All were made by Pacific Films Ltd, a Wellington company formed in 1948 by Roger Mirams and Alan Faulkner. Shortly afterwards, Faulkner left and Mirams was joined by John O’Shea.

Together they produced a feature with a race relations theme, Broken Barrier, which was released in 1952.

Mirams left for Australia in 1956 following the introduction of television there. O’Shea carried on, and in 1964 produced Runaway, which he followed a year later with Don’t Let It Get You. Neither film returned its costs and hopes of a feature film industry developing faded.

F e a tu re Film s Produced and Financed

by N e w Z ealan d ers: 1 9 1 4 - 8 0 19 14 19 16 1921 1922 1924 1925 1927 1928 1935 1936

Publicity still for Down on the Farm.

50-minute featurette to mark the country’s cen­ tenary, One Hundred Crowded Years.

months. But it was not until 1935 that New Zealand’s first talkie feature appeared. This was The National Film Unit Down on the Farm which was produced by Lee Hill, with sound recording by Jack Welsh. Hill With the outbreak of War in 1939, the and Welsh co-operated on two further talkie features: The Wagon and the Star and Phar demand for publicity films ceased and there were Lap’s Son (both 1936 — all three features were moves to disband the Government Film Studios.

But recognizing the value of film for wartime shot in the Otago-Southland region. information and propaganda, a Film Pro­ duction Sub-Committee was established under the Director of Publicity to co-ordinate the pro­ G o vernm en t F ilm s duction of a series of anti-waste films.

In 1941, the National Film Unit was set up and production of a weekly war information reel The Government has been producing films began. This reel was later called Weekly Review continuously since 1923 when the Publicity and its “ marching men” title became a familiar Office employed a film cameraman to make sight in New Zealand cinemas during the war. scenic films for local and overseas tourist pro­ The Review usually consisted of a series of items motion. By 1927, the Publicity Office was pro­ from the Home Front, the Middle East and the ducing one reel a week for release by MGM. Pacific where NFU cameramen had been While most of these films followed a standard sent.

At the end of the war, the style of the Weekly formula, a few, such as In Days of Gold and City of Wheels, were outstanding for their novel and Review changed and the reel often concentrated imaginative treatment of previously filmed on a single item in documentary style: The Railway Worker (Weekly Review No. 355) and subjects.

Two of the Publicity Office’s scenics were The Coaster (Weekly Review No. 374) were feature-length: Glorious New Zealand (1925) examples of the trend.

In the late 1940s the NFU began producing and Romantic New Zealand (1934). The latter was made in conjunction with Filmcraft Ltd, other films, in addition to the Weekly Review. whose studios and laboratory were used by The most ambitious of these was Journey for government filmmakers. In 1936, Filmcraft sold Three, a dramatized documentary commis­ its studios to the Government and production of sioned by the Immigration Department. Pro­ sent. duction of tourist films also started about this The most ambitious undertaking of the Govern­ time. Many were made in 16mm Kodachrome, ment Film Studios was the production of a but this work was often contracted out to an

1940 1952 1964 1966 1971 1975 1977 1978 1979 1980

Hinemoa (George Tarr) The Test (Rawdon Blandford) The Birth of New Zealand (Harrington Reynolds) My Lady of the Cave (Rudall Hayward) Venus of the South Seas (James Sullivan with Annette Kellernian) Rewi’s Last Stand (Rudall Hayward) Carbine’s Heritage (Edwin Coubray) The Te Kooti Trail (Rudall Hayward) Bush Cinderella (Rudall Hayward) Hei Tiki (Alexander Markey) Down on the Farm (Lee Hill and Stuart Pitt) Phar Lap’s Son (Dr A. L. Lewis) The Waggon and the Star (J. J. W. Pollard) On the Friendly Road (Rudall Hayward and the New Zealand Film Guild) Rewi’s Last Stand (Rudall Hayward) Broken Barrier (John O ’Shea and Roger Mirams) Runaway (John O’Shea) Don’t Let It Get You (john O’Shea) To Love a Maori (Rudall Hayward) Test Pictures (Geoff Steven) Wild Man (Geoff Murphy) Sleeping Dogs (Roger Donaldson) Solo (Tony Williams) Angel Mine (David Blythe) Skin Deep (Geoff Steven) Middle Age Spread (John Reid) Sons for the Return Home (Paul Maunder) Goodbye Pork Pie (Geoff Murphy) Beyond Reasonable Doubt (John Laing)

D o cum entary F ea tu res 1917 The Wonderland of New Zealand (W. J. Shepherd) 1919 The Land We Live In,(New Zealand Educational Film Company) 1922 Ten Thousand Miles in the Southern Cross (George Tarr) 1925 Glorious New Zealand (Government Publicity Office) 1927 New Zealand at Work and Play (Rudall Hayward) 1930 The Romance of Maoriland (Edward T. Brown) 1934 Romantic Empire Games (Filmcroft Ltd) 1950 British Empire Games (National Film Unit) 1974 Games ’74 (Paul Maunder and others) 1977 Off the Edge (Michael Firth)

O verseas F e a tu re s M ade P a rtly on Location in N e w Z ealan d 1916 1917 1921 1925 1927 1929 1954 1957 1973

A Maori Maid’s Love (Raymond Longford) The Mutiny of the Bounty (Raymond Longford) The Betrayer (Beaumont Smith) The Adventures of Algy (Beaumont Smith) Under the Southern Cross (Gustav Pauli) The Romance of Hinemoa (Gustav Pauli) Under the Southern Cross (Lew Collins) The Seekers (Ken Annakin) Until They Sail (Robert Wise) Rangi’s Catch (Michael Forlong) ★

Cinema Papers, New Zealand Supplement — 9

i_Q _l

An interview w ith Paul Maunder When did you conceive making “Sons For the Return Home”?

I first read Albert Wendt’s book in 1971 when I was working at the New Zealand Film Unit. I thought it would make a good first feature.

There were no feature films being made then, though everyone was talking about them.

To people overseas, the most interesting thing about New Zealand is the Polynesian aspect.

In terms of our European culture we tend to be much the same as everywhere else, though a bit behind, whereas our Polynesian ties are special and unique. We have been affected by the Polynesian culture much more than we think, and they have certainly been affected by us.

When I read Wendt’s book, I found that he saw us as a major culture. This is intriguing because we often consider ourselves a minor culture and second-rate citizens.

There is an embarrassment and self-consciousness about being a New Zealander, but here was a fellow writing about us in the same way people write about New York or Europe.

I also found myself in sympathy with his views on the palagi culture in New Zealand. There is a kind of surrealism in the book, and his cari­ caturing of the Europeans here helps one see things more clearly.

When I last saw the film, which I sensed was the first time I had seen it even vaguely objectively, 1 was in­ trigued by its curiously correct New Zealand texture. That puzzled me, because the film is about a Samoan looking at New Zealand.

Why did you think the book would work well as a film?

Paul Maunder is one of New Zealand’s better-known film­ makers and playwrights. A graduate of Victoria University, Wellington, he also obtained a diploma from the National Institute of Dramatic Art in Sydney and a diploma of film from the London Film School.

For five years, Maunder was a staff director at the National Film Unit, Wellington, where he wrote and directed the award­ winning television dramas “ Gone Up North For a W hile” and “ One of These People Who Lived in the World” . He was co­ director and editor of “ Games ’74” , the official film of the Commonwealth Games. In 1975, his drama, “ Landfall” , won the Golden Prize at the Pacific and Asian Filmmakers Festival in Shiraz.

During the past eight years Maunder has also maintained the Amamus Theatre Group. “Sons For the Return Home” is his first feature, which he discusses in the following interview, conducted by Peter Beilby and Scott Murray.

shots. We then edited the film as scripted. It was only during the final cut that we juggled things about; everyone said it was better that way.

Is the racial disorientation and dis­ location depicted in the film wide­ spread?

I think so. New Zealand is very much a nation of migrants. We are now having a second generation of Polynesian immigration, and the Maoris are once again rising up.

This is going to have a big effect.

There is a certain drop-out tendency among the Europeans in New Zealand. In Australia, which is much more urbanized, there has been more of the American-type experience whereby people arrive, drop their culture and become urbanized. It is not quite the same in New Zealand because everyone is a bit transitory. Europeans have never quite been secure here. We have never been able to surround ourselves quite enough, though we maybe have in Auckland.

Part of this is tenuousness caused by the amount of travelling up and down the country. The man on the run is a very Kiwi theme, and it is interesting that the first few films made here were about men on the run. A lot of novels have also tackled this theme.

So have many Australian Films and books . . .

Director Paul Maunder with lead actress Fiona Lindsay. Sons For the Return Home.

New Zealanders have, which is curious.

Because it is a love story. It also The film intercuts between the past has a certain novelty value by being and present, as well as geographic­ partly set in Samoa, which has its ally. Is this a feature of the novel? own fascinating culture. I had never Yes; it is even more so in the been in Samoa; in fact, very few novel. You turn the page and you are somewhere else and at a differ­ Opposite top: Sione (Uelese Petaia) and his ent time. father paddle across a lagoon. Opposite bot­ The difficulty in adapting the tom: Lovers Sione and Sarah (Fiona Lind­ book was that it had two strands: a say). Sons For the Return Home.

sociological one which follows the family and its experiences, and the love story. It is a bit schizophrenic in structure, though it works in a sort of way. The biggest problem was to unify the whole thing.

Originally, we started at the end of the story and then we went to New Zealand. There was much less intercutting. But during the last days of filming in Samoa we felt it may work better if we intercut more. So we took the necessary

Yes, but it has always seemed to be more of a myth in Australia. I remember teaching outback litera­ ture in Sydney some time ago and thinking how curious this was, given the incredible number of people who live in the cities. I mean, there were children in Parra­ matta who had probably never been in the countryside. This is different to New Zealand where the outback experience is more lived, and one has the dropout thing of going to the West Coast to relive the pioneer experience.

“Sons” gives a fairly pessimistic view about New Zealanders, par-

Cinema Papers. New Zealand Supplement — 11

PAUL MAUNDER

ticularly in regard to European colonization . . .

Yes. I think it is a valid view and the more we accept it the better.

Europeans should feel guilty about our colonization. If the guilt is not comprehended, then it remains as an unsettling pattern and feature of life in New Zealand.

How typical of urban New Zea­ landers are the doubts and contra­ dictions one sees in Sarah?

I felt very strongly when con­ ceiving Sarah that she was more European than Kiwi. If the Samoan was to be fascinated by this girl, given the sort of Samoan he was, then he would be fascinated by that European trait of being vulnerable and strong at the same time.

This is like Christianity, which glorifies the victim. To most cul­ tures this is an outlandish point of view and is probably why Christ­ ianity is so fascinating to other cultures.

One gets the feeling from the film that there is, in some New Zealand­ ers, a sort of deadness; as if doubts about colonization have been sup­ pressed for a long time . . .

Yes. I think this is probably true of most colonial cultures. I have read Doris Lessing’s books about Rhodesia and I see strong similari­ ties between Rhodesians and New Zealanders. Every colonialist eventually gets colonized by those he has colonized. Time will tell.

How concerned were you of not alienating the local audience, but still making it aware of the issues?

It was very difficult to judge.

Wendt caricatures a lot of the Europeans in New Zealand, and I felt we should be mature enough to be able to look at that viewpoint.

At the same time, I was very much aware of balancing the two main parts. In the book, the girl is much

less sympathetic than I think she is portrayed in the film. I felt she should be as sympathetic as the boy. Now, if the Samoans come across more sympathetically, it is perhaps because there is a certain warmth there.

I was aware of not pushing the film into that space where, from experience, I have found things become unviable as commercial propositions — i.e., to push some­ thing into that Ingmar Bergman type space, which would be totally unacceptable to a Kiwi. At the same time I wanted to touch it Sione does a drum dance at a party. Sons For the Return Home.

occasionally, because it seems a very truthful and human space.

I had as an image for Sons the American realist tradition and I tried to fashion a New Zealand ver­ sion of it, whereby I could deal with social matters without push­ ing them into extreme formality.

Several scenes in the film deal directly with anguish. Have audi­ ences found these scenes difficult to watch?

The film has split European audi­ ences. I have made a couple of films that are quite intellectual, and I was aware that I had to say no to this impulse. An audience is made of three groups: the intellectuals, normal people, if you like to call them that,.and the group that falls between. This group is very diffi­ cult to please, but they are quite a small proportion of the popula­ tion. Given this, it seemed to me that all one could do was give it a go and be true to my impulses and intuition.

The male lead in “Sons” had not acted before in a feature. Did that present difficulties for you?

I am reasonably strong on the acting side and, though there were problems, they were mostly in terms of the part. It is always a problem for an actor to play a writer because of the consciousness thing that writers have and actors usually don’t.

I have always felt that what separates an excellent actor from a good actor is this expression of con­ sciousness, and it is the one thing

12 — Cinema Papers. New Zealand Supplement

Sione and his father. Sons For the Return Home.

you can’t teach an actor.

One of the fascinating experi­ ences for me as a director on Sons was the sheer range of people I had to work with, from Samoan villagers to professional N ew v Zealand actors — and a whole lot in between.

There are very few scenes in “Sons” where Sarah and Sione are happy together. Why was that?

If you are happy, nothing much is happening, whereas drama tends to deal with that which is unhappy.

But by showing few scenes of affec­ tion, other than when they make love, you seem to imply the basis of their relationship was sexual . . .

I see the film as being about the relationship between two cultures, in this case symbolized by the rela­ tionship between Sarah and Sione.

She is attracted to him because of the life he has; he is fascinated by her because he can be vulnerable with her, whereas he can’t with a Samoan girl. That, for me, was the nature of the attraction.

If you like, the story is about two people who try and come together.

They are attracted to each other and initially it is a private thing.

But then they have to face the cultural differences within them, plus the wider cultures of the families. To an extent they resolve these issues and they are faced with

PAUL MAUNDER

commercial propositions. On the other hand, the BBC, which isn’t bound to such considerations, is an important part of British culture.

What constitutes a commercial proposition in New Zealand is still very much a trial and error affair.

Curiously enough, ours is not as homogeneous a culture as one might think. We would be happier if we had one really big city, instead of four main centres, all of which are very different. This is a big problem in New Zealand.

Perhaps we should do what the Australian filmmakers have done, and that is talk commercial while still making the films you want to make. Australians play a schizo­ phrenic game and do it well, al­ though the industry hasn’t been a wildly commercial success. In fact, if you look at it in economic terms it is a bloody disaster.

either settling down and living happily ever after, or letting the relationship disintegrate. In terms of this story, it disintegrates.

Obviously, I could have had them wandering through a park being happy, but so what? To me it is just so much dead wood. By your question, I suspect you want to possess a dream of happiness, rather than see the reality of the relationship, as set out. If, as you say, they aren’t happy together, then maybe you start asking ques­ tions — about them, about society, about their families.

Given that Samoan men are ex­ pected to be strong and dominating, the scene of Sione crying must have been very powerful for Samoans?

They don’t accept it. Samoans don’t show emotion publicly, and that scene was for them a public event.

What other responses have you had from Samoans?

For them, the film is meaningful in a way we are unaware of; it split the Samoan community right down the centre. There is a generation gap between the young people and the old Samoans. Families come to New Zealand and the elders want to retain the traditions of the family, while the young people want to be brought up as New Zealanders. So, it is quite un­ acceptable to many Samoans that he should reject his family and the church — i.e., the fundamentals of Samoan society.

The sexual aspects are also totally unacceptable. Samoans are particularly horrified by the scene with the young receptionist, because, even though it is really a private event, for them it is public.

Are you conscious of working against certain filmmaking conven­ tions, like when you hold on a person crying, in preference to keeping the pace moving?

I am against conventions because they are dead. There is no point in pursuing them. If there is any point in making feature films in New Zealand it is a cultural one. I don’t believe we should be adopting over­ seas formulas for some com­ mercial purpose. We are not close enough to these formulas and for us to try them would only look false.

We are continually bombarded by English, American — whatever — culture and this is a big problem, because it is a continuation of colonization.

Obviously, the real difficulty is f in d in g s o m e th in g t h a t is indigenous and which has some­ thing to say to our people. All one can do is be a New Zealander, and hope that maybe something will come out of it.

It is interesting, in this respect, that the Americans are suddenly dealing more with their own social

issues; look at the recent films on Vietnam, and even on babies. Yet these films have enough force for everyone to accept them.

I am in a similar position of trying to make films that will appeal to people, and which deal with significant issues.

Are you hopeful that you will be able to make such films in the future?

Dinner at the Upper Hutt home of Sarah’s parents. Sons For the Return Home.

interested in, and committed to, an industry, as is the government.

At the same time, I am a bit against mythologizing the process.

There is a great desire here to speak in Hollywood terms about film­ making, and that is obviously non­ sense. Everything here is on a very small scale, and if one wants to look elsewhere for comparison, one should look to the Scandinavian countries. Our one pity is that we don’t speak a foreign language. If we did, the need for our own films would be much greater.

I really don’t know. I felt that it would be terrible if Sons were a disaster, but the relevant people were vaguely pleased about it.

I don’t think anyone in their right mind would invest in a New Zealand film and expect to make money. They might invest because they have some money they don’t know what to do with, but that’s It appears the NZFC is increas­ all. If you have $100,000, there are ingly backing those films it thinks many ways to make money, and likely to get a good commercial investing in films isn’t one of them. return. Do you think the NZFC Investors know this, but they are should be acknowledging more the cultural importance of feature films?

Sione is criticized by his parents for his relationship with Sarah. Sons For the Return Home.

Yes. The British film industry has never been secure, because it has always been based on purely

Some Australians, in fact, feel it is time to stop playing this schizoid game and start lobbying for recogni­ tion of cinema as an important art form, and for it to be supported in the same way as opera and ballet Yes, though film is obviously more popular than opera, which belongs to the 18th Century. Film speaks to a great many more people, and one should acknow­ ledge the financial responsibilities.

If I want to make a film that is only going to appeal to an art film audi­ ence, then it shouldn't be made for a lot of money. There is a slight danger in this, however, in that small budgets dictate content.

I think a great deal of propa­ ganda has to be done in terms of making New Zealanders aware that they should see New Zealand films.

We haven’t started doing this here, but the Australians have.

I think the NZFC should always have an overview of the industry because it is too small not to be centralized. I always look at the Eastern European countries like Poland and Hungary for my model; they make films because it is cul­ turally necessary to do so.

Are you interested in working in television?

Yes. One should look at films and television as a unity if people hope to be able to earn a living; one can’t expect to make feature films all the time. If I can do one every three or four years I will be happy.

In the meantime. I have to earn a living and I would be quite happy to do some television.

My next project, I see basically as television. I would like it to be shown as a cinema film, but all I could expect would be a couple of weeks in Auckland and Welling­ ton. and maybe a week in Christ­ church and Dunedin, Then, it should be shown on television. The project after that will probably cost more and will be made for cinemas.

So, it depends on the project. ★

Cinema Papers, New Zealand Supplement — 13

-

,

the New Zealand film industry

John Barnett This paper presents a general view of various aspects of the New Zealand film industry. It is intended as background only: specific areas will be discussed in detail in later issues.

Production Film production in New Zealand has traditionally been concentrated in three areas: 1. The National-Film Unit 2. Television ’ 3. Independent film houses

The National Film Unit The National Film Unit is a division of the Tourist and Publicity Ministry, and was set up to make films that promoted New Zealand at home and abroad. It took over the studios of a private company during the Depression. Today it is housed in a $15 million complex in Lower Hutt.

Its facilities include sound stages, a lab­ oratory, post-production, sound and editing departments, a full range of production equip­ ment, and a production staff whose main output is still films for government organizations or tourist promotion. It is a successful producer of cinema shorts.

Television Since its introduction to New Zealand in 1959-60. television, in its various forms, has been the major consumer of production funds. It has always been a government-owned facility, initially as an arm of the New Zealand Broad­ casting Commission, then as the dominant partner in the Broadcasting Commission of New Zealand, then as two separate' arms — Tele­ vision One and Television Two — and again last month recombined as Television New Zealand, a service of the BCNZ. 14 — Cinema Papers, New Zealand Supplement

The BCNZ’s income is generated from three sources: .

1. Licence fees. Subscribers pay $45 for color television and $27 for black and white; 2. Advertising; and 3. The ownership of the Listener, the only publication- in the country permitted to print program information more -than 24 hours in advance.

BCNZ’s income this year will be as follows: Licences (approximately.) $32 million Advertising Radio $ 15 million Television $50 million $65 million Listener Advertising and sales (300,000 a week circulation) $10 million Total $107 million Of this, about $50-55 million is allocated to television operation and production. Less than 25 per cent — $12-14 million — is budgeted as above-the-line program expenditure. The balance, about 40 per cent, is absorbed in ad­ ministration, and below-the-line costs, par­ ticularly wages and salaries, — i.e.: nearly $20 million a year.

The Television Corporation operates two channels throughout the country, broadcasting 150 hours a week. Of this 25-30 per cent is local content, which includes news, current affairs, documentaries, service programs, light enter­ tainment, video and film drama. Currently, film drama production is only about 20 hours a year.

The Corporation has modern, sophisticated production equipment, outside broadcast vans, sound studios and large video studios.

It buys very little independent material and commissions about 20 hours a year, mostly in documentaries.

Independent Film Houses Until recently, there were less than a dozen in­ dependent film companies in New Zealand.

They employed their own staff, used their own facilities.— mostly 16mm — and were limited to post-production. Most of the income came from commercials and sponsored documentaries.

In the past five years there has been an in­ crease in the number of production houses and personnel, and also a change in the style of operation. There are now about 300 freelance personnel and between 30 and 40 production companies, including the older established houses and, more recently, one-man operations.

The availability of equipment hire facilities and the independent post-production facilities has encouraged this development. Production is still mainly on commercials, but there has been an increase in the number of sponsored films be­ ing produced — i.e., documentaries and trade films, particularly export promotion.

In the past three years there has also been an increasing interest in the production of feature films. With the lack of funds from television, in­ dependent producers had nothing to lose by pro-

Cinema Attendances: 1959-80 Year

Population

1959 1 9 7 3 /7 4 1 9 7 9 /8 0

2 ,0 0 0 ,0 0 0 2 ,8 0 0 ,0 0 0 3 ,0 0 0 ,0 0 0

Admissions

40 m illio n 11 m illio n 15 m illio n

Cinemas

Average Admission Price (NZ$)

450 250 210

.40 .95 1.80

INDUSTRY SIZE AND STRUCTURE

ducing feature films. In 1978, four features were made — the first for almost 15 years. Since then, with the advent of the NZFC, there has been an upsurge of activity and, at the moment, about 20 per cent of freelance activity is in feature film development and production.

Distribution and Exhibition The New Zealand film industry is dominated by two exhibition chains — Amalgamated Theatres and the Kerridge Odeon Corporation.

These two chains control about 25 per cent of the 212 screens in New Zealand and generate about 75 per cent of film revenue. They own all the ‘main street’ locations, and operate virtually without competition. Amalgamated is a whollyowned subsidiary of Twentieth Century-Fox America, and Kerridge Odeon is 50 per cent owned by the Rank Organization.

The New Zealand exhibition industry is licensed, and the opening of new cinemas is a complex and difficult process. There are no drive-ins due to strong opposition from cinema owners. Legislation prevents anyone who has less than 20 cinemas from acquiring more than 20, which has the effect of entrenching the two major chains. There are several operators who own a number of suburban hardtops, but offer no viable alternative to the chains.

The advent of television has been responsible for a major change in New Zealand cinema at­ tendances: this is summarized in the table on page 14.

Cinema admission prices range from NZ$2.75 in the cities to NZ$1 in the provincial centres. It is likely that by December 1980 admission prices will have moved up to NZ$3.

There is an increase in the number of cinema admissions as a result of an increasing dis­ enchantment with television, and the exhibition of a range of well-promoted cinema product.

This increase is despite the fact that more than 100,000 people in the 20-35 year-old age group, who are educated and high earners, have left for Australia and Britain in recent years. The depar­ ture of this group of high frequency cinemagoers had deprived local cinemas of at least $5 million. ( The average New Zealand cinemagoer tends to be male, 15-24, lives in the city, is a light tele­ vision viewer, light radio listener and light news­ paper reader, potentially better educated, is either managerial or technically skilled and is outgoing. He spends less time at his rented home, eats out, enjoys music, live theatre and sport and isn’t interested in church-going, gar­ dening or home decorating. He also likes to be “ different” .

New Zealand films are well patronized and, on average, tend to do at least four times as well as the average film. About 400 films a year are released in New Zealand and the top 10 account for nearly 40 per cent of all revenue. No box­ office figures are released by local distributors and exhibitors, but from the length of runs and the known performances of some New Zealand films, it is possible to deduce certain facts.

Film hire derived from New Zealand films is about 30-35 per cent of the box-office gross.'

Because of the two-chain situation, no New Zealand film has used an established distri­ butor. Dealing with the chains is relatively easy and it is doubtful that any of the overseas distributors operating in New Zealand could bring any skill to a local release that the pro­ ducer does not already have. Added to this, local producers have shown that they can generate more free publicity than the distributors.

Television viewing has recently diminished Concluded on p. 41

Appendix 1 (a)

New Zealand Film Industry Economic Profile: 1977-78' ............... ...........................

—

.....

-

Allocated from BCNZ to TV1 and TV2 for operating budgets.

Tourist and Publicity Dept.

Other govt departments.

Advertising agencies.

Commercial sponsors.

Cinema box-office receipts.

43.0 0.9 — 0.2 — 0.5 _ ., : _ — —

.....

...........

........ * ........ ..

Cinema Exhibitors and Distributors <NZ$m)

Total (NZ$m)

_ 0.2 6.0 0.2 -

_ _ — — _ 20.0

43.0 0.9 0.4 6.5 0.2 20.0

Notes: Private refer to BC N Z NFU Sector Appendix 2 (NZ$m) (NZ$m) (NZ$m)

Amounts spent

—

s *

.

43.5

1.1

6.4

20.0

71.0

—

'—

—

19.4 0.6

19.4 0.6

20.0

20.0

—

51.0

—

0.5 0.4

Less Uses other than Film Production To exhibitors, distributors and overseas producers.

Film hire tax to the government.

ss§ Available for Production

m

From above

43,5

1.1

6.4

—

—

0.5 0.4

43.5

1.1

7.3

—

51.9

—

—

0.8

—

0.8

0.5

—

1.6

plus

: ■ ■ /•/ - / ' ;

7 8

Film Commission.

Private investors.

■11

Types of Feature til Dramas, docu sponsored für News, sport, s< and tight enter Commerci

_

1.1

1.1

.

6.0

43.0 6.5

7.3

51.9

Appendix Allocated from BCNZ 1 and TV2 for operati Tourist and Publicity Other govt departm ent.

Advertising ai_ ^ ..

Commercial sponsors.

Cinema box-office receipts.

■

50.5 0.5

—

—

—

—

—

0.5 ' ' 0.2 10.0 0.5 —

51.0

1.3

11.2

— —

m

—

1.0 0.3

—

25.0 +

51.0 1.0 0.5 10.5 0.5 25.0 +

25.0 +

88.5 +

— — — — —

Less Uses other than Film Production

'

To exhibitors, distributors and overseas producers.

Film hire tax to the government.

24.0

' .

Available for Produc" From above plus

'mm, w Sm

1.0

24.0 1.0

25.0

25.0

mi 51.0

1.3

Film Commission.

Private investors and offshore finance.

51.0

1.3

11.2

63.5

0.5

0.5

2.0

2.0

13.7

66.0

1.5

1.5

2.2

3.5

Types of Production Feature films.

Dramas, documentaries and sponsored film.

News, sport, services, and tight entertainment.

Commercials.

1.351.0 51.0

51.0 1.3

10.0

10.0

13.7

66.0

1. Includes only New Zealand produced product Excludes totally offshore-controlled productions using New Zealand as a location only.

Cinema Papers, New Zealand Supplement — 15

GOODBYE PORK PIE Geoff Murphy Director Wild Man Was your first feature, “Wild Man”, a success?

Wild Man was an opportunity seized. We had very little money and no time for script develop­ ment, or any of those things neces­ sary for making films. But we had a chance, so we went for it and got it.

I think the film is remarkably successful within those para­ meters. But I look at it now and I can see the affects.

We lost about $8000 which, in the context of New Zealand films, makes it very successful! At the time, statistics showed that inter­ national releases in New Zealand returned, on average, about $15,000 in film hire to the producers.

Have you found the low film rentals in New Zealand a drawback in try­ ing to attract investors?

When Roger Donaldson was setting up Sleeping Dogs, I started quoting statistics to him on what I thought a film can reasonably expect to take in New Zealand. He just walked away, saying he didn’t

Geoff Murphy is the director of New Zealand’s latest feature film “ Goodbye Pork P ie” .

Originally a school teacher, Murphy has had wide experi­ ence in the New Zealand industry as a director and technician.

He started at the New Zealand Broadcasting Corporation, directing shorts and documentaries, where he developed an interest in special effects, and has since been responsible for the effects on several films, including Roger Donaldson’s “ Sleeping D ogs” (1977). ........

Murphy’s first feature was a low-budget comedy, “Wild M an” (1977), which he funded himself. The lack of finance for feature film production prevented him from setting up “ Goodbye Pork Pie” until the establishment of the New Zealand Film Commission nearly two years later.

In the meantime, Murphy worked as a first assistant director on Vincent Ward’s “ State of Siege” (1978) and John Reid’s “ Middle Age Spread” (1979), and established an equipment rental and special effects company. “ Goodbye Pork P ie” is a fast-moving comedy about two adventurers — John (Tony Barry), and Gerry (Kelly Johnson) — who drive a rented car from one end of New Zealand to the other, selling off parts of the vehicle to finance the journey.

Murphy wrote the script for “ Goodbye Pork P ie” , and is the co-producer with Nigel Hutchinson.

The film premieres at the Cannes Film Festival in M ay, and is due for release in New Zealand later this year.

Murphy was recently in Australia to work on the special effects for Pegasus Productions’ television series “The Last Outlaw” , and spoke to Peter Beilby about the making of “ Goodbye Pork P ie” .

A mine ex plosion in Sleeping Dogs: Murphy did the special effects

Opposite: Goodbye Pork Pie: Kelly Johnson and Tony Barry.

really want to continue the conversation. And he was right. It didn’t pay to think about it. The facts would depress you so much you would stop, and nothing would happen at all.

Yet, as a result of Sleeping Dogs, there was a terrific increase in film­ making in New Zealand. It did a lot of good at that level. Roger was right not to think about it: if he did, he probably wouldn't have made the film.

Wild Man was only made because it was so cheap it didn’t need any investors.

Without some sort of continuing government shelter, there is just no chance of a revival of the industry in New Zealand; the market is too small.

Goodbye Pork Pie It’s been three years since “Wild Man” was released. Has it taken vou that long to set up “Goodbye Pork Pie”?

1 didn’t have much desire to make features between Wild Man and Pork Pie, because I couldn’t see how it could be done and make a product worthy of a broad release. I knew it would cost more

Geoff Murphy directing Keith Richardson and Bill Sheat in Goodbye Pork Pie.

Cinema Papers, New Zealand Supplement — 17

GEOFF MURPHY

are very reverent about property.

When you go to an accountant or financier with what is basically an anti-materialist script, they hate it, because materialism is the pyramid they are sitting on top of.

There was a very sharp cut-off point in the reactions to the film.

Among people under 30, there was almost a universal reaction — they loved it. People between 30 and 40 were mixed, but people over that all hated it. Some of them even wanted to know' how1 they could stop it being made. This made it hard to finance, because that’s the age group that has all the money.

The point is, if people are investing in a film on an outside chance to make a profit — which is really all you are offering — they want to be involved in the sort of films they like, rather than what the filmmaker necessarily wants. This is one of the inherent disadvan­ tages in the whole Film Com­ mission-private investment dual­ ity: financiers are deciding what sort of films are to be made, and not always with the interests of the market in mind.

Busted! Kelly Johnson as Gerry in Goodbye Pork Pie.

than the market could possibly realize, and I couldn’t see myself furiously telling lies to raise the money! It really only became a possibility with the establishment of the Film Commission.

Where did the idea for the Film come from?

Chris Thompson, who is a free­ lance film producer, told me a story about when he was hitchhiking and was picked up by two very odd people. Along the way they stopped at various places and sold bits of the car. Eventually he realized it was a rental car!

After he told me this the old mind started ticking over, and three or four months later I knocked out a screenplay based on the idea. Ian Mune and I then collaborated on the script and refined it over a period of about 18 months.

How conscious were you of injecting elements into the film which would appeal to overseas audiences?

Pork Pie is definitely designed as a film with a lot of commercial potential. But I agree with Bert Deling, who once said to me that you have to get into the jungle and produce a Film that says what you want to say, but at the same time get a mass reaction to it: that's the ultimate.

So, when writing a script I don’t think I have ever designed what you might say was an intentionally minority audience film, although they all define their audiences to a certain extent.

Pork Pie isn’t really an exploita­

tion film in the genre of Mad Max. all, we just played it the.way we felt The characters are not supermen at wmuld make the material work best. all; they are ordinary .guys. They We haven’t tailored this film for find, however, that the combina­ any market. The object has been to tion of the two of them, and their make each scene work the best, for ability to think laterally, creates a us. potential that neither could achieve Finance as individuals. So they get into some hairy circumstances and pull off quite startling things that neither thought they were capable Did the Commission make the First of. Their progress through the film, Financial commitment to the Film? however, is sequential, and at the No. the first thing we did was to end they are doing things that they would never have considered at the form a consortium of private com­ panies — an equipment hire beginning.

The Establishment won’t be very company, my service company, and keen on it though, because they do a sound production company — things like smoke a lot of dope and which put up 570,000 in the form of fuck for fun, and other terrible services and facilities. Then we things. But they are not really went to the Commission, who criminals; the circumstances« just agreed to invest. So we already had grow up around them. the film tw'o-thirds financed before The big take-off point is when we started looking for a private they rob a service station and get investor. But it took a while. away with SI0.70 worth of petrol The script had a tremendously without paying — that’s their idea polarizing effect on people, because of crime. They never do much it’s anti-materialist, and financiers worse than that.

It’s meant to play the same ground as Butch Cassidy. We are not presenting a comedy to the audience, and we ’ are not reallypresenting a serious film, either, it’s more like a French farce.

Is the action slapstick at all?

No. Suddenly you realize that the characters have got themselves into this ridiculous situation, and it’s funny — the humor almost comes afterwards.

In writing the gags, were you careful not to use dialogue that could have New Zealanders rolling in the aisles, but be lost on other audiences?

18 — Cinema Papers. New Zealand Supplement

We didn’t bother about that at

Did the script undergo many changes during the fund-raising?

It changed considerably as it was being developed, but the concept didn’t alter much.

Actors Why did you choose Tony Barry for the lead?

Tony’s an old friend. He did some of his very first film work in New Zealand. I have worked with him for at least 10 years. Ian Mune suggested him as a character, and I thought he was brilliant for the part. We also thought it might help our creditability in Australia, but we didn’t really know.

People talk about certain actors being ‘bankable’, but that wasn’t really a consideration. Once Tony was proposed, the part tended to be Shooting one of the many hairy stunts in Goodbye Pork Pie.

GEOFF MURPHY

written for him.

tional deal. So in New Zealand we are in a good position to distribute What about Kelly Johnston? it ourselves in league with the Com­ mission.

His total film experience was Overseas, my co-producer, Nigel something like 30 seconds worth of Hutchinson — who worked in commercials. But he had done a distribution in Britain for quite a very solid apprenticeship at Theatre few years — will collaborate with Corporate in Auckland, a private Lindsay Shelton in designing the drama company. They get young basic campaign. people and they train them, and Kerry was one of them.

Who will exhibit it in New Zealand?

Stunts

It hasn’t been finalized. We have made initial approaches to Ker-

stations here for sale? . We will sell it to television if they will pay enough money — but they’re not at the moment. They would only offer us about $4000 for it, I’d imagine.

Other Work You have worked on other people’s films, particularly in the special effects area . . .

screen. So, a very large part of film­ making has to do with observa­ tions and reflections on humanity.

The less cloistered you are, the more likely you are to be able to communicate with people.

You can spend your whole time making feature films that are your own concept and your own ideas, but if you restrict your activities you become less and less effective, and less and less in touch. This is what has happened to New Zealand television: they have become clois­ tered in an ivory tower.

“Pork Pie” involves a lot of compli­ cated stunts. Did these slow down the production?

Not really, because we made the decision early on that we were not going into the big effects arena and compete with the Americans. The stunts we set up were relatively simple to execute — not your cars flying through the air at 150 kmh stuff, which you need expertise to do, and which needs so much developmental work.

The hairiest stunt scripted was a scene where they drive the car on to a train as it goes past a rail embankment. When we did it, it was so simple. He just drove it on: you are left gasping because it looks about as complicated as parking your car in a garage.

We were trying to design stunts that the audience watches and thinks: “ I could do that myself.”

A lot of them were relatively simple, but visually very effective.

For example, in one of the chase scenes they get into a one-way street going the wrong way at high speed with cars peeling off in all directions.

Why did you choose a small car?

The choice of a Mini was very conscious. Have you ever tried to catch a chook? Well, you’re the police car and the chook’s the Mini.

The chook can somehow manage to do a right angle turn at fast speed, and you run into a wall. That’s the way the stunts are set up, with that sort of feel.

There was also another reason to use a Mini: in New Zealand it’s very much the people’s car. It’s like the Volkswagen was to the Germans — little old ladies drive them. It gives the film an underdog quality. '

Marketing What plans do you have for the dis­ tribution of “Goodbye Pork Pie”?

We have promotional support from a lot of people: in particular, the Mini distributors are interested in helping to promote it, as well as a private radio station. So it looks like we don’t need to rely on tele­ vision: we don’t have to go and sell it cheaply to them to get a promo­

Murphy (centre) sets up a stunt in Goodbye Pork Pie

ridge, but I don't think there is any deal.

Were they approached for finance?

No. For a start, other people have tried without a lot of success, and the money that they would have wanted to put in — the sort that comes out early on — was provided by our consortium of companies.

Did you approach television for finance?

No, we didn’t bother. We have found the television stations just so negative and obstructive in the past.

It’s such a bureaucratic dialogue you have to go through, and you can waste months of your life talking to them. We didn’t need it.

Will you offer it to the television

Yes, I did the special effects for Hew Projects Sleeping Dogs, and I was the first assistant director on Middle Age Spread. I’ve also been working on Are there other films you are Pegasus Productions’ television working on at the moment? series The Last Outlaw here in Aus­ tralia doing special effects.

I am trying to develop a script which I will put to the Commission Where did you get your back­ when I get back to see if I get devel­ opment money. ground in special effects?

Normally, what I try to do is get the script to a certain stage, and It has grown out of my own work then go and talk with an exper­ really. I have always tended to ienced writer. I have found it’s a shoot films that need effects, so I good way to work, because they figured out how to do them and bring to the scripts something that then the next thing I found, I was you can't get any other way, except working on other people’s films do­ by spending hours and hours at the ing effects. typewriter. Ian was terrific value on I think I am the only director in Pork Pie — he made it possible.

New Zealand who still regularly I also have another script I’m works with other directors. Most of working on at the moment, which is them just have their own projects. set in the 1870s during the Maori It is frustrating working for other wars. people, but on the other hand, you are getting a lot of experience.

A war epic?

I believe that the success or failure of a feature film largely has No, nothing like that. It’s much to do with how the audience relates smaller scale: more about people to the characters created on the than big events. ★

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From the turn of the century to the 1930s, the New Zealand film industry had a sporadic but continuous output of lively and enter­ taining films.1 With the arrival of sound, however, the output of the local industry declined as the major American production and Only one feature film was produced in New Zealand in the ’40s, one in the ’50s, and two in the ’60s.

The introduction of television, rising costs of film production, the stranglehold over distribution and exhibition by foreign-owned companies, and the exodus of many talented filmmakers also contributed to the decline.

The first moves to revive the industry began in the early ’70s, and for nearly 10 years a small but dedicated group of filmmakers and film lovers worked to convince the New Zealand Government to establish an agency to stimulate film production.

Their efforts eventually bore fruit and, in October 1977, the Interim Film Commission was established. Within a year the Film Com m ission A ct 1978 was passed by Parliament, and the Commission opened its doors on November 13, 1978.

In the two years it has been operating, film production in New Zealand has burgeoned, and a small but active group of feature film producers, directors, writers and technicians has formed.

Cinema sP aper’ editors, Peter Beilby and Scott Murray, accom­ panied by Robert Le Tet, spent a week in Wellington in March, and spoke to members of the Commission about its establishment, its the role it is playing in the development of the industry, and ....

Il—■■■■.—!

Cinema Papers, New Zealand Supplement — J21

Beginnings What were the circumstances sur­ rounding the establishment of the New Zealand Film Commission?

The first move of any signi­ ficance was in 1970 when a National Arts Conference was con­ vened, involving practitioners in all the arts, including film. Veteran filmmaker John O’Shea proposed a couple of resolutions, which, when you look back, really amounted to suggesting the setting up of some­ thing like a film commission. These resolutions were adopted and incor­ porated into the proposal which the Arts Council — of which I was chairman at the time — distilled from the conference.

It then took a little while to get anywhere, because there were a large number of recommendations coming from the whole area of the arts. Film, however, was the one area that particularly interested me, because in the late ’60s I had been associated with John O’Shea on several features.

So, by 1972 I had managed to set up a working party under the auspices of the Arts Council, which was called the Film Industry Working Party.

Unfortunately, things then got bogged down with a change of government, and I was replaced as chairman of the Council. How­ ever, I was still on the Council, and we managed to keep the thing pointing in the right direction. By the beginning of 1975 a first report was completed, which recom­ mended the setting up of what is now the Film Commission.

Between 1976 and 1977 addi­ tional stimulus was provided by several independent producers and directors who initiated a number of projects including Sleeping Dogs (Roger Donaldson), Off the Edge (Michael Firth) and Wild Man (Geoff Murphy).

By mid-1977, things were really developing towards the establish­ ment of some kind of agency to provide government funding to assist in the ongoing production of

Bill Sheat is a leading Wellington solicitor who has been actively involved in the arts in New Zealand for more than 30 years. He was the chairman of the Arts Council in 1970 when the first moves to establish a film commission were made. As a member of the council and chairman of the Film Industry Working Party, he worked for the establishment of the Commission for nearly 10 years.

Sheat has also been involved in film production as an executive producer on a number of feature films, including John O’Shea’s “Runaway” (1964) and “ Don’t Let It Get You” (1966), and Tony W illiams’ “ Solo” (1977).

He was appointed chairman of the Interim Commission and became chairman of the Film Commission — a part-time position — on its establishment in 1978.

In this interview with Peter Beilby and Scott Murray, Sheat talks about the evolution of the NZFC, its policies, and the problems confronting the Commission in its attempts to establish a feature film industry in New Zealand.

films. The argument that was developed was that here we had a group of films that had been pro­ duced by people as a result of sheer guts and determination, and to sustain this drive, it was necessary to establish an agency like the Film Commission.

Lots of people played a part in the long process of establishing the NZFC. I think we were very fortunate in having a sympathetic Minister for the Arts in Allan Highet, who was very receptive and was able to get the idea through on a Cabinet level. He was also instru-

22 — Cinema Papers, New Zealand Supplement

the sense that we wanted to provide opportunities for New Zealand filmmakers to be able to make films.

And was part of the argument that a feature film industry was desirable for cultural reasons?

Oh yes.

Was the film industry also pre­ sented as a potentially important manufacturing industry which the government should help establish for economic reasons?

We put up all those arguments.

We certainly used the cultural one, and the whole question of national identity — the fact that our media were swamped with imported product and the need for New Zealanders to be able to identify with something of a New Zealand nature.

We also advanced economic arguments. Luckily, at that time Sleeping Dogs and Off the Edge had done surprisingly well at the box­ office, so we were able to talk in terms of import substitution, claim­ ing that every seat that’s bought for a New Zealand film represents money that isn’t going out of the country. These are arguments that the government is very sensitive to in our current economic situation.

One other thing we were able to ~ capitalize on was a consequence of §>the restructuring of television, x Whereas up until 1975 television | had commissioned a substantial amount of work from the private sector, with the introduction of the mental in getting funding for the new restructured television system Commission from the Lottery the flow of work to private pro­ Board. The Internal Affairs ducers had virtually been cut off.

Department itself was also very People like Tony Williams, who receptive, and indeed, in the initial had made some very exciting stages, the Commission operated programs — many of which carried inside the Department with staff off the annual prizes — suddenly provided by them. found that there were no assign­ ments. We were able to develop the Was the aim of the people who were argument that here was a whole lobbying for the establishment of a segment of the film community film commission to create a feature who were being denied access to film industry? any kind of outlet, be it cinema screen or television screen.

Yes, but I think the aim was to establish a feature film industry in Is it the aim of the Commission

NEW ZEALAND FILM COMMISSION

Yes, I think that particular seg­ ment of the film world is recog­ nized in two ways. First of all, the Arts Council did not entirely with­ draw from the support of film­ making consequent upon the estab­ lishment of the Commission — they still have a film committee which allocates limited funds towards what are commonly called experi­ mental films. And secondly, the Commission is prepared to look at proposals from experimental film­ makers.

Take Vincent Ward’s In Spring One Plants Alone. We believe Vincent is an important film­ maker. If he decides to make a film that nobody wants to see, it’s a difficult decision. But we back him because, sooner or later, he’ll come up with one that somebody does want to see — like his earlier film State of Siege.

Television Has the attitude of the television stations towards the film industry changed since the establishment of the NZFC?

ultimately to make itself dispens­ able?

No, I don’t think it can be dispensable, unless we reach a stage where all the films made are strictly commercial properties that get their money back. There is no indication that we have reached that stage yet.

What efforts are being made by the Commission to make New Zealand feature films more viable?

' To say our approaches to broad­ casting have been disappointing is the most charitable way you could describe the situation. One of the earliest things the Commission did was to draw attention of the stations to the fact that the number of programs they were commis­ Off the Edge: its success at the box-office sioning from the film industry was was instrumental in the establishment of the virtually nil. The reaction was not NZFC. positive at all.

They did, however, eventually set doing, you don’t need to insult the local audience, but on the other up something called the CIP hand you are going to make films Scheme — the Commissioning of more acceptable to overseas audi­ Independent Productions — and they have moved towards estab­ ences. lishing a set allocation of funds Who is initiating feature film pro­ each year to commission produc­ jects in New Zealand at the moment: writers, directors, or pro­ Vincent Ward: one of several young film­ ducers? makers being encouraged by the NZFC.

tions from the private sector. But it falls a great deal short of the kind of thing I think should be done, because the CIP Scheme isn’t what I would call industry-oriented.

There isn’t any philosophy of pro­ viding a continuity of employment for the people in the industry under­ lying the fund; it merely backs individual projects that are sub­ mitted. We have offered to send an observer along so that we can help them with the kind of expertise and experience we have built, but we have been turned down flat.

So attempts to try and get an integrated approach towards the industry have been very difficult, certainly as far as television is con­ cerned.

How important is the support of television to the establishment of a viable film industry?

Very important, that’s why I am so disappointed with our efforts to establish a realistic, integrated approach with television, because there is no way any filmmaker is going to survive on making a feature film every three years.

What’s he going to do in the mean­ time? He has to do something.

There needs to be other levels of activity in between. Not just from the point of view of the key creative personnel, but also for the rest of the crew.

The problem is to keep a sufficient level of activity going, and you can’t do it with feature films alone. So there needs to be all the other areas of filmmaking activity — television, documen­ taries, promotional films, training films — anything that can be made into a film.

Unfortunately, once the Com­ mission was established, the tele­ vision system, which had pre­ viously supported projects like Sleeping Dogs, opted out of sup­ porting film projects. So instead of the Commission becoming an addi­ tional source of support, it quickly became the only one.

I was just looking at our draft annual report a few days ago, and it appeared as though quite a number of the projects we had given assistance to had come from writers; whereas I think before that the emphasis was on directors.

But having given a number of assistance grants to writers to develop projects, I have rather gone off the idea. I now think that if a writer comes up with an idea, and you think it’s worth developing, one of the things you have to do at an early stage is to get either a pro­ ducer or a director involved with its further development. I don’t think a writer can carry the thing through to any kind of stage where proper final assessments can be made unless he has a director working with him.

One of the things we have to do, and it’s becoming increasingly more apparent to me, is to encourage our producers and direc­ tors — and writers for that matter — to think in much more com­ mercial terms. I am not suggesting that they have to make trashy films, but in dealing with the kind of sub­ jects they want to deal with, they have to think about how they are likely to be received in the inter­ national market. This is something we in the Commission are learning as the films we are helping to finance reach the screens.

I think New Zealand film­ makers should make films for people who come to the cinema with no prior knowledge or under­ standing of New Zealand. 1 don t think that is necessarily going to harm their integrity; if s just a ques­ Does the NZFC support film­ tion of making sure that you are makers whose work is not con­ getting your message across. In so ceived for commercial exploitation?

Cinema Papers, New Zealand Supplement — 23

NEW ZEALAND FILM COMMISSION

Do you think the distribution­ exhibition industry has a responsi­ bility to invest in local production?

Support for Producers

The distributors have been taking nearly $6 million out of the country over the past 80 years. What do we have to show for it, except for a few wedding cake-like structures? There is an argument.

Does the Commission offer any direct financial assistance to pro­ ducers — for example, in the form of finance for producers’ packages?

No, not in that form. I have observed this as a development else­ where and it’s certainly something we should look at. If a producer came' forward we would be pre­ pared to examine a proposal. We realize that of the projects a producer is developing, he is not going to get all of them under way.

And that if he is only developing them one at a time, he has to start from, scratch if it falls through. But if he has three going together, one of those three may well work. After all, this is really what happens in the major studios, and somehow we have to produce the same kind of hot-house effect to make things grow.

The National Film Unit VVhat role do you see the National Film Unit playing in the develop­ ment of the film industry?

At an early stage in our develop­ ment we proposed that the Unit should come under the Commis­ sion. I am not disappointed that we didn’t get it. but I think in the long term the function with the Unit has to be re-thought. The Unit is an incredible resource, and the whole question of the utilization of their facilities is far from resolved.

Take just one aspect: the laboratory. The Unit has a major laboratory on its premises, yet it has been estimated that more than SI million worth of film processing and printing is sent out of the country each year! In particular, the television stations send a lot of laboratory work to Australia. The problem, which is the problem with all their services and facilities, is that the Unit is part of the public service, and operates with all the constraints of the public service.

Do you think any taxes or levies should be made on the distribution­ exhibition side of the industry to support local production?

The New Zealand Film Commission as Studio Do you think there is a role for the Commission to play in the initiation of projects, and in some ways acting as a studio?

Up to now we have resisted adopting the role of studio and we haven’t initiated any project by the purchase of a property or anything of that kind. But I wouldn’t rule out the possibility, although I am reluctant to get into the studio role.

But as we go along, 1 see to some extent that this is unavoidable, although I would still resist very strongly any attempt to invade the autonomy of the producer.

As far as I am concerned — I suppose 1 am a very strong private enterprise person — I believe that the people who want to make films in the private sector should be allowed to do so. If they want to make them in an institutional situa­ tion. they can go and work for tele­ vision. with all the constraints that go with being inside an institution.

We are trying to create some­ thing that will enable people to function independently. Therefore, we want to keep our role down to the minimum. At this very early Beyond Reasonable Doubt: being dis­ tributed bv the producer, with help from the NZFC.

Sleeping Dogs: sold to New Zealand television before the establishment of the NZFC—when NZBC support for local production virtually stopped.

stage, we want to plant the seed with a producer or a director.

Does the Commission involve itself in production decisions once it has made an investment?

Yes we do. Perhaps that might be inconsistent with what I have just said, but it certainly is a standard condition that we would want to approve the key cast and crew, the final budget, everything like that.

Have you ever exercised a veto?

We have never exercised a veto, but on one film I spent an entire afternoon talking with the pro­ ducer, and eventually he saw the wisdom of the recommendations we made. We have never said, no, the film can’t start because we don’t like that actor or actress: but we like to see tests of the actors a pro­ ducer is proposing, just to keep an eye on it. We have to protect the public investment, and in many cases we have persuaded private investors that the thing is worth a go.

■ But as time passes and we acquire more expertise and more confidence. I think we will be able to exercise a more positive role in these areas.

Distribution and Exhibition What has been the reaction of the distribution-exhibition industry to the emergence of local production?

I don’t think you could say there was any enthusiasm on the part of the theatre chains. Although to give them their due, once the films were made they were prepared to show them. The first features of the late ’70s were shown by Amalgamated, and eventually Kerridge-Odeon actually indicated that they would like to participate in the process as well.

24 — Cinema Papers. New Zealand Supplement

At various stages we suggested — I think as far back as 1971 — that to provide the necessary fund­ . ing for a Commission, a tax called the Film Hire Tax could be diverted into a fund. The Film Hire Tax is levied on the net fdm hire of all overseas films, quite separately from any income tax which the dis­ tributors pay.

The actual amount isn’t all that great. I think the last time I looked at it it was $300,000. But add that to the $500,000 we already have and there is something that starts to make sense.

How important an influence is the present distribution-exhibition set­ up on the successful flourishing of the New Zealand film industry?

I think it is important because we have observed that the films pro­ duced so far have done better busi­ ness in smaller cinemas with longer runs. But at the moment, we still have large cinemas in all the main centres. We don’t have a number of small ones, and we don’t have com­ plexes with a variety of seating capacities like the Hoyts, Village and Greater Union complexes in Australia.

The NZFC and Distribution The Commission’s involvement in the film industry has extended to the distribution of several shorts and one feature film. Has this been under­ taken because a local distributor couldn’t be found, or does the Com­ mission intend to involve itself in dis­ tribution as one of its activities?

My view is that we should not get involved with distribution, but that the producer should be able to undertake the distribution of his own film.

But with its own marketing branch, wouldn’t the Commission be a more effective distributor than a pro­ ducer?

Once again, it’s not wanting to get too much into the act. If in fact it’s possible for it to be done out­ side the Commission, it sh-ould. The Concluded on p.42

Finance from the New Zealand Film Commission What role does the New Zealand Film Commission play in Financing Films?

Initially, we assisted by way of production finance, and gave credibility to feature filmmaking, which encouraged private cash investment as well as other com munity investment. This involved active participation on our part in the fund-raising activity. It’s now changing. The sort of skills we have are being picked up by a number of people outside the Com­ mission. Filmmakers are making their own contacts, have their own professional advisers, and some are looking for off-shore money.

With a background in finance and accounting, Don Blakeney joined the film industry in 1976, and undertook a number of management and administrative roles on various docu­ mentaries and features to acquaint himself with the mechanics of film financing and production. He joined the Interim Commission in 1978 as its Chief Executive Officer, and was the sole staff member until the establishment of the Film Commission, when he was appointed Executive Director and additional staff employed.

Don Blakeney spoke to Peter Beilby and Robert Le Tet about the financing of films in New Zealand.

No, we have never gone over 50 per cent.

And as far as the recipients of the funds are concerned, do you have guidelines concerning the creden­ tials of people who receive invest­ ment funding?

Is that a statutory limitation?

It’s a self-imposed limitation.

Quite often we are a long way below that.

_ Every project is looked at on its | merits. Track record is important, | but with a small, fairly new­ s' industry, one has to make intuitive I evaluations of people’s capabili­ ties. Early on we tended to give people the benefit of the doubt. I think it’s like any other field of endeavor; you try and make the most of the performances. But it’s a risky business.

Do you favor Film producers who have raised funds independently, or are ypu prepared to go in first to encourage other investment?

Do you provide development monies?

Yes. It’s normally a step finance, which could start off with a few hundred dollars, and go through to quite a few thousand.

What form does it take?

Our assistance to Films has been

Who makes the decision about which Films will be funded?

An outline of the projects at hand goes to our regular Commission meeting — which is about every six weeks — from the executive staff of the N ZFC. The board then evaluates each project.

At the moment, there is very little authority delegated to the executive staff to make investment decision, apart from a few hundred dollars. As we grow, and as things develop, however, recommenda­ tions from the executive to the deci­ sion-making body — the Com­ mission — are becoming increas­ ingly important.

In the initial stages, was it neces­ sary to bankroll feature films 100 per cent?

A combination of both. If we lead a project, we are quite happy to commit some amount in advance. But that is contingent upon raising the rest of the budget.

in. Then it’s a question of the capabilities of the people lined up.

In these early stages we were taking some punts, because not many people have long track records.

Our involvement also depends very much on New Zealand content. If an off-shore producer comes here and all the command people are off-shore, there is really no reason for him to approach us.

in three ways: grant, equity invest­ ment and loan. Each project is tre a te d in a differ en t *way .

Normally we don’t grant, but of course an investment will turn into a grant if a project falls through.

On average, the Commission’s involvement has been between 40 and 45 per cent of cash budgets.

Around 30 per cent has come from private investors early on, and the rest normally comes from some form of producer input — either through his own services and facili­ ties, a facility company, or com­ munity involvement, such as a city which has thrown its streets open to him.

Assessment What are the criteria laid down by the NZFC for investing in Films?

S ig n ific a n t New Z ealan d content, and viability. We act as a development bank in most respects, although it’s a rather more diffi­ cult field than most to evaluate. We have a number of readers from the production and distribution side of the industry, as well as film buffs and filmgoers, who look at the treatments and scripts as they come

Private Investment What is motivating private inves­ tors in New Zealand: genuine invest­ ment motives, tax beneFits, or the glamor of being associated with feature Film production?

A combination. We have always given private investors priority as

Cinema Papers, New Zealand Supplement — 25

NEW ZEALAND FILM COMMISSION

far as returns go, so investing in feature films is reasonably attrac­ tive. We are now finding, "however, that more genuine investors are becoming involved.

We haven’t had very much luck with television. Sleeping Dogs and Middle Age Spread were pre-sold, but that’s all.

They are paid back before the Com­ mission?

Was the pre-sale finance used as part^of the productions funds, or treated as income above the budget?

Yes. In making films here, it’s possible for the private investor to recover all his investment, even though the film isn’t into profit. But while p riv a te in v e stm en t is increasing, it’s getting harder and more difficult to obtain. The financial community has wised up to the risks involved in film investment and, unless there is some off-shore and possibly some pre-sale money, it’s going to be harder to talk them into it.

What other incentives are being offered to private investors? Is there any loading of equity in their favor?

We do sacrifice a certain amount of equity. But eventually we will get to the stage where, for a number of films, we will go in pari passu, certainly where there is some off­ shore investment.

What role has the Commission played in raising private finance?

It has varied from project to project. Initially we were very active, but it’s not an area one chooses to be active in, because no one likes putting their neck on a big block. I also think it’s important that the person controlling the venture is the one who raises the finance.

H owever, raising finance involves a lot more than just a belief in the product: it’s a very technical side of filmmaking. The Com­ mission has been able to help in the very sophisticated area of the money market. That’s where we have contributed most, rather than a hard sell to investors that, “this is find New Zealand would wear it. Sleeping Dogs and Middle Age Spread: pre­ It’s not something we are actively sold to television. going to be a winner’’. campaigning for.

Is there any legislation that you’d Most films are financed by way like to see implemented to There seems to be two schools of encourage private investment, or to thought on tax incentives: one says of joint venture, and normally the increase the funds available to the that greater incentives are the only producer isn’t in a high tax-paying effective way to stimulate private situation — not nearly as much as industry? investment, while the other argues some of the investors. So normally First of all, I think we need a that tax schemes often militate it’s structured so that these incen­ greater level of funding ourselves. against making commercially tives go to the people who are successful films, because often the putting up the money.

But ultimately, I think it’s the To enable you to invest in more producers and investors only benefit films, or to have greater financial if the film doesn’t go into profit . . . making of viable films that will establish the industry. If you get a involvement in the ones you back . . .

We are totally against that sort finance push, you get a distortion.

To make more films, and cope of thing: it’s very short-term and it If you get no finance, obviously you is distorting. The industry has no can’t operate. The setting up of the with cost increases. real substance if that's the sole NZFC to lead investment, and the making of some viable films, is What about changes to the income basis of film investment.

There are other ways, however, what has and will attract the tax act to enable accelerated write­ to stimulate investment, and finance.. offs for film investors? already there are incentives other Accelerated depreciation exists than those we have spoken about.

Television as it is, so at the moment there are For example, we have export incen­ no obvious tax incentives that I can tives, which apply to film as they do think of. Something like not taxing for a lot of other products, and they income is obviously very attrac­ are very good. Investors can avail Is there any Financial input into the film industry from television? tive, but I doubt if you would ever themselves of those.

26 — Cinema Papers. New Zealand Supplement

No, the money was used to help 'make the film.

What price does New Zealand tele­ vision pay when it pre-purchases?

In those two cases it paid quite s u b s ta n tia l money: between $15,000 and $50,000. but their buying price at the moment is NZ$100 a minute, which is roughly $10,000 for a feature film — which we regard as inadequate.

Television New Zealand has, however, spent a great deal of money on local production, but unfortunately, not a lot of that is on film. In fact, the amount spent on film is reducing, which I believe is an unfortunate trend.

The independent industry can offer a lot to New Zealand tele­ vision and, therefore, a lot to the public at large. There is a lot of scope for the financing of feature films and other projects — cer­ tainly part financing — by the tele­ vision system.

The benefit to them would be a greater diversity of product, a b e tte r - q u a lity p ro d u c t, and certa in ly a b e tte r - m a n a g e d product. So somewhere along the line we should come together.

Does the Commission have a policy of investing in television programs, such as tele-features, series or feature documentaries?

To a limited extent. We have financed some purely television product, but it’s been very much associated with the viability of the project and the track record of the producer, rather than flowing from any set policy. Although, I think it’s important that all areas of film production should be looked at by the Commission and encouraged where necessary.

The National Film Unit Is there any financial involvement in film production by the Department of Tourism or its equivalent in New Zealand?

The National Film Unit is part of a government department called Tourist and Publicity, and they will invest in a feature film if they believe it goes towards achieving their aims and objectives.

So if a film is seen to promote New Zealand, they may be interested . . .

To an extent: but this is an avenue we want to explore further

NEW ZEALAND FILM COMMISSION

Why do you say film distribution in New Zealand is only marginally profitable? With the control of distribution and exhibition concen­ trated in the hands of only two companies, I would have thought it would be highly profitable . . .

At the moment no money goes back into the industry, which may seem morally, ethically, or whatever way you want to look at it, wrong. But I think the day will Film by film it’s marginal. We come. It’s a question of building up are talking about a market where credibility, and building up working the top film hire is around relationships, with those people.

We have also tended not to try to $500,000, and between $50,000 and $100,000 for a good film. But they get first-off-the-top advances from might be spending between $60,000 distributors, because it makes and $70,000 on a national publicity raising of other money — more significant money — so much campaign. harder. But genuine distributor But with a guaranteed supply of investment is obviously what we product from overseas distributors, want. However, again, it’s a matter which seems to be as successful here of development: we don’t have nearly as close a working relation­ ship with the distributors as I’d like, because so few New Zealand films have gone through them. In most cases the producer has acted as distributor.

When that relationship does develop, I hope the distributor’s involvement will start at script level. I think it’s important that we send more producers to approach distributors with, scripts and start getting them involved early on. And there is no reason, if the idea is good and international enough, that some off-shore input couldn’t come through a distributor’s initiative.

The National Film Unit: a world standard production facility.

with them. We are a statutory corporation free to act within the terms of our Act, while the National Film Unit is very tied up within the government system. The Unit has, however, committed sub­ stantial resources to two feature projects, and I would hope this will increase.

Are there any other government departments which offer assistance to filmmakers, with either cash or services and facilities?

Not as a matter of course, although the producers of Goodbye Pork Pie needed the assistance of the Railways, who came to the party. But really, they acted as if they were a private company, giving their support in return for on-screen exposure.

Other departments commission special interest documentaries which are sometimes produced independently.

Goodbye Pork Pie: New Zealand Railways supported the film with services and facilities in return for on-screen exposure.

concentrated within two govern­ ment bodies — the NFU and the television stations — is impeding the development of an independent and viable feature film industry?

Do you think the Government should They impede progress because provide more assistance for the film industry through its various depart­ they don’t have the freedom or ments, and the television stations? flexibility to take advantage of the dramatic growth in the level of Yes, but at this stage we need to production and expertise, that a few lift the Government’s awareness of people in the private sector have the benefits of the industry. I think managed to get going.

We are trying to encourage them one of the keys lies in the effective utilization of the NFU, which is an to work more with the private sector because we have definitely incredible resource. proved that the private sector is What role would you see the NFU more efficient and has much more playing in the New Zealand film access to the real talent that exists in this country. industry?

We are making films that are important to New Zealanders and to New Zealand: therefore it makes sense that a valuable resource, such as the NFU, should be made avail­ able to the film industry, and that it operates efficiently and effectively.

I think the whole interchange of people from the private to the public sector is important, but unfortunately it’s something to which there is a lot of resistance.

Do you think the fact that largescale production facilities are

some of their profits back into the local production industry?

as elsewhere, I find it difficult to believe that the distribution industry isn’t highly profitable. Conse­ quently, the question arises why local distributors haven’t yet put David Hemmings (centre) during the making of Beyond Reasonable Doubt: impressed with what he saw in New Zealand.

The Australian Film Commission often makes it a condition that pro­ ducers get an expression of interest, or even a firm commitment, from a distributor before they finance a film. Obviously that’s unrealistic here.

No, that’s not really unrealistic.

We have had certain exhibitor interest in a number of films before we have gone into them. It’s just one consideration in the market Concluded on p.42

Distributor Finance Distributors are traditionally a source of finance for feature films, but in New Zealand this hasn’t hap­ pened . . .

Film distribution in this country, with our small population, is such a marginally profitable business that local distributors will need a lot of confidence in a film before they decide to come in.

Cinema Papers, New Zealand Supplement — 27

LINDSAY SHELTON Director of Marketing and Information Domestic Marketing New Zealand films have recently enjoyed considerable local box­ office success, particularly in Auck­ land and Wellington. Do you think the audiences are patronizing New Zealand films because they are made in the country?

No. When we were working "on the Sons for the Return Home release, we decided that the time had passed to sell local films on the basis that they were made in New Zealand. We have gone through the stage where people want to see New Zealand films for patriotic reasons, or curiosity.

The entire Sons campaign was done without reference, by us, to the fact that it was local. We sold it as a love story, as an inter-racial story, on its Samoan locations, and its controversy. And we were successful, certainly in Auckland where it had its best season. For most of its run it was doing the best business in the country, even beating Rocky II. What are the difficulties you encounter in distributing New Zealand films domestically?

The problems are basic: we don’t have any established group who can produce the elementary promo­ tional tools — the posters, the stills, the graphic design — for the campaigns. The major Americanowned distributors in New.Zealand have their own staff who are skilled at taking an American campaign and adapting it for New Zealand — there are one or two independent distributors who also have these same skills — but they don’t have any experience in originating campaigns for local films starting from scratch. Certainly, in my first year at the Commission a major difficulty we have attempted to overcome is not having any know­ ledge of where to get the kind of results we want.

Lindsay Shelton joined the New Zealand Film Commission after a long career in television news. For many years he has been actively involved in the production, distribution and ex­ hibition of films through his association with the New Zealand Federation of Film Societies — which has been responsible for the successful first-release of a number of overseas feature films in New Zealand — and as the director of the Wellington Film Festival for the past eight years.

Lindsay Shelton spoke to Peter Beilby and Robert Le Tet about the marketing of New Zealand films shortly before he left for the M IP-TV and Cannes film festivals.

and “Beyond Reasonable Doubt”?

The present plan is for the co­ producer of Goodbye Pork Pie, Nigel Hutchinson, to distribute it through his own production company. To date I have been helping to evolve the campaign.

I haven’t had any talks yet with John Barnett about Beyond Reasonable Doubt, but if he follows his past pattern — he distributed his previous film Middle Aged Spread through his own company — he will handle it himself. He now has acquired the basic knowledge which will enable him to distribute Beyond Reasonable Doubt if he so chooses.

‘In general, we will do specific tasks on behalf of the producer if he asks us to, but we won’t be looking to take over any jobs that are right­ fully the producer’s. We would, however, like to be involved in the press campaigns: some of the early features had major shortcomings in the production of press material.

K What about the television and radio campaigns?

audience to help you evolve a campaign?

No. This information is generally lacking. We are now gathering our own. It’s been a problem which has faced every recent New Zealand film, including Off the Edge, Solo, Sleeping Dogs, Angel Mine and Skin Deep. The producers of these films have not had information on the bêst way to go about releasing their films, publicizing them, where the best theatres were, or the best times to release them.

Does the Commission hope to play' an ongoing role in the domestic distribution of New Zealand films?

That’s a vexed question. Some people within the Commission were opposed to our distributing Sons for Do you have access to demographic the Return Home on the grounds information about the New Zealand that it is not our business to distri­ 28 — Cinema Papers, New Zealand Supplement

bute films. Personally, I don’t agree.

There are four alternatives for a New Zealand producer: to use one of the major American distri­ butors; to use one of the inde­ pendents, who. are very few in number; to distribute a film them­ selves, without necessarily having anybody with any knowledge or experience to work with; or for the Commission to do it.

I would like to think that the Commission could offer assistance to the industry to the extent of distributing at leâst one New Zealand film a year, and I think we could do that with our existing staff. The Commission’s policy, however, is not necessarily to encourage this to happen, and we are still talking it through.

Will you be involved in the domestic marketing of “Goodbye Pork Pie”

We will talk that through with each producer. In the case of Goodbye Pork Pie, Nigel Hutchin­ son has specific and well-developed plans for a television campaign, which involves working alongside a sponsor who is related to a parti­ cular segment of the film.

In that area, we are limited by the fact that we are working with a minimal number of people. There are many things we would like to do, but don’t have the people and the time to get them done: that is an unfortunate fact of life in a small industry.

Do you advance monies to pro­ ducers to enable them to undertake the distribution of their films?

We expect that the budget of such a feature film includes the necessary allocation to carry it into first release — including a national publicity budget.

Given the difficulties in distributing New Zealand films, what do you see as the prospects for the future?

NEW ZEALAND FILM COMMISSION

feature film in New Zealand, inter­ national sales must be very impor­ tant if the industry is to become viable. What strategy have you evolved to find international markets for New Zealand films?

world, and although I would have preferred to have taken my first -ZEALANDIA year at Cannes in a learning situa­ tion, without having titles with me to represent, this hasn’t been possible. Cannes is ideal for launching Sons and Goodbye Pork The ability of New Zealand films Pie to the international market; we to find international markets goes will be showing them during the right back to the choice of films, fortnight and at the same time we styles, and directors, made by the will be learning the workings of the Commission. This problem is one event. which we are just starting to Paul Maunder s bold new film become aware of, and come to terms with. But I think we are doing so remarkably quickly.

But a complete answer involves the whole framework of film­ making, not just the marketing area. It would be foolhardy to say that we will take every film that has ever been made and market it successfully all over the world. We would have to accept that New Zealand will make some films that are not of great interest outside New Zealand, although the subject Goodbye Pork Pie: to be distributed by the Sons for the Return Home: distributed by the matter may be extremely relevant producers in association with the NZFC. NZFC. and important for New Zeal­ anders. It is a decision we haven’t Dom estic m arketing really reached yet, but it is a possibility we Unfortunately, Beyond Reason­ involves the basic reason for the are aware of. able Doubt won’t be ready in time whole film industry getting started In my role as Marketing and for Cannes. We will, however, have in New Zealand, which is to make Information Director, however, I some printed information to distri­ films for people of a country who, have been attempting to establish a bute and start to make the title since films began have always seen flow of information about what is known. other people’s films and never seen happening in New Zealand. We their own to any continuing degree. publish a newsletter six times a From the word of mouth, “Beyond We now have the ability to show year, which is as full as we can Reasonable Doubt” seems to be a New Zealand films to New Zeal­ make it, about every kind of film very powerful film with a lot of anders on an ongoing basis, and activity in New Zealand, and it is international potential. How do you therefore, with each film we make, distributed throughout the world as plan to go about selling it outside we are extending the limits of what quickly as we can develop a New Zealand? relevant mailing list. is possible.

We now have specific statistics Already that flow of informa­ I would like to take the film to on the box-office grosses of New tion is having the effect which we New York and show it in screening Zealand films, and we look forward seek, in that we are seen as a rooms to the distributors we know, to finding ways to get bigger rentals separate production entity and we and let the quality of the film speak than has been possible to date. That can talk to people in a small for itself. I would like to find a is, however, not the be all and end number of major markets we are distributor, at a very early stage, all of the New Zealand industry. aiming at, and get them to look at who we can work with on the kind the product which we want to show of festival exposure the film should them. have, and will benefit the major International Another effort is to take a releases of that film in foreign terri­ Marketing package of New Zealand films to tories.

That is a plan of campaign which MIP-TV, not just features, but also Given that it is not possible to short films of all kinds and docu­ appeals to me very strongly. And recoup the production costs of a mentaries. The benefits we get from the fact that we have built a number MIP-TV are two-fold: we are of contacts, particularly in the U.S. proving ourselves in the market by and Britain in the year since I have selling films; and we are bringing been working means that this is back the responses to those films to something we can do if and when the filmmakers, who otherwise we have a title which we think will would have no connection with the succeed internationally. international market.

That’s not to say we will discount This has the effect of getting festivals as a means of first release them thinking, and giving them and promotion, but I think the information about what they are approach I have described is an doing, which can radically alter equally important system for us to their attitudes to their, work and work with: to go directly to the their range of choices. distributors we know and possibly even to distributors whom we Is the Commission representing haven’t met before, but who could New Zealand films in any other be interested. market besides MIP-TV? What roles are the producers With the two latest features — playing in the distribution of their Goodbye Pork Pie and Sons For the films internationally? Have they Return Home — we are going handed over the marketing to the straight into the market at the Commission?

Skin Deep: distribution hampered by a lack Cannes Film Festival. We accept that Cannes is the biggest gathering We work alongside each pro­ of information about the domestic market. of potential buyers of films in the ducer and our relationship is "ALL NEW ZEALANDERS SHOULD SEE THIS FILM.

SONS FORTHE RETURN HOME K

A p prove d fo r exhibition on iy to p e rs o n s 16 yea rs o f age and over, and to p e rs o n s un de r 16 yea rs o f age i f a c c o m p a n ie d by

different. In the case of Goodbye Pork Pie and Sons For the Return Home, it has been agreed that the Commission should directly handle the international marketing. In the case of Beyond Reasonable Doubt we have agreed to work with the producer of the film. We will identify the markets he wants to handle and those the Commission will look after. It will be a day-by­ day thing, developing on a one-toone basis between the two of us.

What importance do you place on competitive film festivals?

I recognize the fact that a considerable amount of Aus­ tralia’s success in the international market has been due to its success­ ful participation in competitive festivals, and that the commercial results following on from success­ ful participation have been definite.

For the past eight years I have run a film festival in Wellington, and I know from my own exper­ ience that a film which is success­ ful in the festival context can often be taken on and made successful in the commercial market, when, without the festival, such a film would never have got a showing.

So, we are starting to send films from New Zealand on the festival circuits. We are making the selec­ tion on the basis of festivals that are accepted as having the potential to give a film a life past the actual event, and we are limited only by two things: the availability of prints, and the Commission’s lack of time.

Sons for the Return Home, out-grossed Rocky II in New Zealand.

The Marketing Branch of the Com­ mission seems to be working under severe financial and staffing con­ straints . . .

We talk frequently at the Com­ mission about the fact that we are working with a very small staff. We recognize that we could do twice as much with twice as many people, or five times as much with five times as many people, but we accept that there should be a relationship between the Commission and the size of the industry, in relation to the money it has committed inside the Commission and the money that is available for commitment to the industry for film production.

Therefore, comparing those two areas realistically, I think we would be foolhardy to set about expanding Commission staff at this early stage. We have to start proving the industry first. ★

Cinema Papers, New Zealand Supplement — 29

Lindsay Shelton

tablished international film festivals.

Titles for this year’s program (which begins on July 4) include Bertrand Blier’s Get Out Your Handkerchiefs, Claude Sautet’s A Simple Story, Phil Noyce’s Newsfront, King Hu’s Legend of the Mountain, Fassbinder’s Maria Braun, Wajda’s Man of Marble, Werner Herzog’s Woyseck and Miklos Jancso’s Hungarian Rhap­ sody.

Each year, the Federation selects a small number of titles from the Festival and offers them commercial distribution; the choice is made on the basis of audience demand. Last year's titles, which earned distribution as a result of their Wellington success, include Resnais’ Providence and Richard Benner’s Outrageous.

Both films ran for an exceptional four-week season in Wellington.

The Festival is self-supporting and most of its work is done by unpaid volunteers from the film society committee. * The Auckland Film Festival started in 1970, with similar aims. It is presented every year by the Auckland Festival Society, in association with Amalgamated Theatres, New Zealand’s second largest exhibition chain (owned by 2 0 th Century-Fox). Every year it receives some of its titles from the Wellington program.

Amalgamated Theatres now assemble an an-

Film S o c ie tie s The film society movement in New Zealand began in 1945, immediately after World War 2, when groups were formed in Auckland and Wellington to show films representing the history of the cinema. The New Zealand Federa­ tion of Film Societies was formed at the same time to import the films because there was no distribution company offering suitable titles for film society audiences.

The movement reached its peak in the 1950s, with the formation of as many as 80 societies.

But in the ’60s, with the introduction of tele­ vision, the number dropped to less than 2 0 .

A revival of the movement began in 1970, when the Federation began importing new titles.

The films attracted a new generation of filmgoers who were interested in seeing foreign productions which the commercial cinemas were not screening. The Federation now has 45 member societies, representing a national membership of more than 7000. It has an office in Wellington1, which is managed by Bill Gosden, secretary and program director.

The Federation produces an annual catalogue, listing the titles it has acquired from all sources and which are available on loan for affiliated societies.

These societies pay a levy based on membership, so that large and small groups have access to the same range of features and shorts.

The largest societies are in Wellington and Auckland, whose combined membership repre­ sent almost half the national total.

The film society movement receives a small annual subsidy from the Ministry of Recreation and Sport.

Titles being shown by film societies throughout New Zealand for the first time this year include Ousmane Sembene’s Ceddo, Fran­ cois Truffaut’s The Man Who Loved Women, Satyajit Ray's The Middleman, Vilgot Sjoman's You’re Lying, and Rainer Werner Fassbinder's Wild Game.

Classics revived this year (with new prints) in­ clude Alfred Hitchcock’s North by Northwest, Fred Astaire and Ginger Rogers in Swingtime, I. Box 9544 Courtenay Place.

30 — Cinema Papers. New Zealand Supplement

Programs and publications produced by the New Zealand film society movement.

and Orson Welles' Magnificent Ambersons.

Other recent releases (16mm) include Barbara Ripple's Harlan County USA, Miklos Jancso’s Elektreia, Wim Wenders' Kings of the Road, Karen Arthur's Legacy, Robert Kramer’s Milestones, Hail Gerima's Harvest 3000 Years, and Andrzej Wajda’s Landscape After Battle.

The Wellington Film Festival, started in 1972, paved the way for the screening of films of quality. In the first year, the Festival screened seven new features for a one-week season. Last year, its eighth season ran for 17 days and featured 47 new titles. , The Festival is presented by the Wellington Film Society, in association with the Federation which administers the event, and also acts as im­ porter for the films which are selected by Festival director Lindsay Shelton. Selection is made on the basis of the best titles from es­

Outrageous: successfully distributed in New Zealand by the Federation of Film Societies.

FILM CULTURE

of the National Film Unit. This vault has been offered by the NFU as temporary storage for the infant national collection.

Film Library The National Film Library is a section of the New Zealand Department of Education. In its three branches in Auckland, Wellington and Christchurch, it has more than 12,000 titles and more than 45.000 16mm prints for non­ commercial, non-theatrical use.

Membership is open to any organization using film for educational purposes of any kind. Until recently the Library offered a free service. But following changes of government policy sub­ scribers now pay an annual subscription.

Successive heads of the National Film Library have taken an interest in assembling copies of early New Zealand films. On 16mm prints, the Wellington branch of the Library has the nucleus of a basic archival collection, some of which is available for screening.

The National Film Library also handles the distribution of all non-theatrical titles released in New Zealand by the Federation of Film Societies.

Independent Cinema nual touring film festival, which shows the most successful titles from Auckland and Wellington.

The title fram e from pioneer New Zealand filmmaker

Rudall Hayward’s silent historical drama, The Te Kooti Trail.

has used them for storing its nitrate footage. In the past decade or so the collection has been boosted w'ith material from other sources, much of it assembled on an informal basis by success­ New Zealand’s main film course is conducted ive heads of the Department of Education’s at Canterbury University’s School of Fine Arts. National Film Library.

The army vaults now contain up to four It begins with an introductory year, followed by two years specialization in the practical and million feet of nitrate film. Though the bulk of the collection is National Film Unit material theoretical aspects of Filmmaking.

Film history is also studied in the second and dating from 1941, the extra material represents third years. The course is controlled by a super­ much early footage from independent sources — vising tutor, and it allows considerable freedom the earliest in 1901. A survey last summer for students to follow their areas of interest and revealed a small amount of rare material from also work with people in the Film and television other countries.

Responsibility for the material in these vaults industry.

There is also a post-graduate one-year will be taken over by the National Archive when it is formally constituted. The archive will also honours course.

At Auckland University, Dr Roger Horrocks be able to use a vault, which has temperature lectures on Film appreciation, history and and humidity controls, in the new headquarters culture. A number of his students have com­ pleted valuable theses on New Zealand film history.

There are other courses which cover aspects of film history or practical Filmmaking at the Vic­ toria University of Wellington and at the Auckland University.

A practical course on Filmmaking is available at the Wellington Polytechnic.

Film Education

About 80 of New Zealand’s 200 cinemas are owned by independent operators. The rest are controlled by Kerridge Odeon or Amalgamated Theatres, the country’s two major exhibition chains.

One of the country’s biggest independent ex­ hibitors is Lang Masters. He has six cinemas in Christchurch — the best-known of them, the Academy, opened recently at the Arts Centre.

In Wellington, the only full-time art-house is the Penthouse, in suburban Brooklyn. It is run by independent exhibitor Merv Kisby, who also owns the mid-city Paramount, home of the an­ nual Wellington Film Festival.

In Auckland, independent operator Jan Graf­ staad runs four sessions a day in his tiny Classic Cinema, which specializes in Films from past years. Along with Wellington’s Paramount, the Classic makes up New Zealand's only two main­ street cinemas which are independently owned.

Auckland’s only full-time art-house is the sub­ urban Lido, one of Amalgamated’s cinemas. ★

JK ® .

Ws"l6tontgM

Archives

s S g g lf

p e rth o g É S _ .^ S 30, 8.15pm Thur* 8.15pm

Sun to New Zealand does not have a national film Meet Robin and Liza . • • • S i archive, but the New Zealand Film Commission Ultra Violence has formed a trust which will take on the respon­ Beethoven into your 'lfe-STANLiVKUBWCKS. sibility of setting up one.

New Zealand’s only substantial collection of ! .. m o c k v v o r k ■"OUWMIOUS" film archival material is stored in two vaults, " 'T owned by the Defence Department, on the I o « ° n g einterval Rn»?eit shores of Wellington Harbour. The vaults were first used during World War 2 for storage of am­ Newspaper ads for the Paramount and Penthouse, two Wellington's few independent cinemas. munition.

For the past 20 years the National Film Unit

of

Merv Kisby: proprietor of the Paramount and Penthouse.

Cinema Papers. New Zealand Supplement — 31

TONY WILLIAMS PRODUCTIONS

TONY WILLIAMS producer/director

New Zealand and Australia

Credits include: SOLO (Director, co-producer, co-writer) a N.Z.Australian feature film co-production) A SPECIAL KENNY ROGERS (Director) 50-minute top­ rating Easter TV Special for CBS filmed in Texas LOST IN THE GARDEN OF THE WORLD (Di rector, co­ producer) 50-minute documentary on Cannes Film Festival films and filmmakers, including Spielberg, Scorsese, Bartel, Hooper, Herzog and Dustin Hoffman GETTING TOGETHER (Director) Feltex Award, Best TV Programme DECIDING (Director) Feltex Award, Best Documentary RALLY (Director) Feltex Award, Best Documentary ROLLING THROUGH NEW ZEALAND (Director) Kenny Rogers TV Special in N.Z.

New Zealand's major aw ard-w inning TV commercial production company.

TWP productions include: CRUNCHIE WESTERN 90 secs Clio Awards: Best confectionery Best design Runner-up best editing Runner-up best music

TAUBMANS Clio Awards: Best household commodities Runner-up best humour

BASF (Play It Again Sam) TIP TOP (Teenage Queen, Prison; Monks, Stick-line, etc) LOVE HERTZ and others

Contact Tony Williams at TWP Ltd New Zealand: P.O. Box 201 6, W ellington. Telephone 842-350 Australia: care o f Robert Le Tet, M anaging Director, The Film House Pty Ltd, 159 Eastern Rd, South M elbourne 3205. Telephone: (03) 699 9722

*

PRODUCTION REPORT

Detectives bring in A rthur Thomas (John Hargreaves) for questioning about the Crewe murders. B eyond R easonable D oubt.

On June 1 6 ,1 9 7 0 , in the small farming district of Pukekawa, south of Auckland, Harvey and Jeannette Crewe were shot and killed in their home. The police, led by Inspector Bruce Hutton, conducted the most expensive search in New Zealand history. The man they caught and eventually convicted was local farmer, Arthur Allan Thomas.

Despite two trials, two appeals, an official examination by a senior retired judge, a further referral to the Court of Appeal and an applica­ tion to the Privy Council, the verdict was unchanged. What makes the case particularly interesting, and New Zealand’s most notorious, is that throughout these trials at least 80 per cent of the New Zealand public believed Thomas was innocent. On December 1 7 , 1 9 7 9 , that faith, and the relentless campaigning of Thomas’ wife, Vivien, and the Thomas family, was vindicated: Arthur Thomas was pardoned by the Minister of Justice.

Producer John Barnett set out to film this incredible story, and hired British writer David Yallop to do the screenplay. Yallop is author of ‘Beyond Reasonable Doubt?’, the book on the case that many believe was influential in getting Thomas pardoned.

Australian actor John Hargreaves is playing Thomas, while David Hemmings is cast as Hutton. Shot in New Zealand and using many actual locations and props from the case, the film is directed by John Laing.

Cinema Papers. New Zealand Supplement — 33

JOHN LAING DIRECTOR When John Barnett asked me to direct the film, we both felt it should be like a dramatized docu­ mentary. David Yallop’s screen­ play had been developed in documentary-style terms, and it remained pretty much that way until we started shooting. Then it became more of a dramatic piece.

It hasn’t been cut yet, so it is hard to know exactly how much of the original documentary feel is still there.

John Lamg began his film career at the National Film Unit of New Zealand, as an editor and director. In 1970 he joined the BBC in Bristol, England, editing documentaries, and then spent time working as a freelance. This was followed by a stint in Canada at the National Film Board in Montreal.

In 1978, Laing returned to New Zealand for a holiday, and was approached by producer John Barnett to direct “ Beyond Reasonable Doubt” . In this interview, with Scott Murray, Laing begins by discussing his early involvement on the project.

Why was it conceived as a drama­ tized documentary, rather than a drama?

Because it was about a real issue.

The Arthur Thomas case was prob­ ably New Zealand’s biggest issue in the past 10 years. It just wouldn’t go away and when Yallop’s book was published in 1978 it all came up again.

Since we were dealing with real people, all of whom were alive, except for one policeman, our approach had to be absolutely realistic. The court dialogue, for example, is based on the actual tran scrip ts, though we have shortened things a great deal.

But there aren’t transcripts of what happened outside the court, in homes and so forth. What have you done here?

When David Yallop wrote the book, he interviewed almost every­ body involved in the case, and all of them had fairly precise recall. The whole issue was still very present in their memories. This meant they could recount all kinds of scenes on tape.

Yallop wrote the book and later a screenplay based on those recollections. He has stuck very closely to tapes, because there are vast legal problems when one is dealing with people who are still alive. But if a scene or a bit of dia­ logue is based on somebody’s recollection, or on somebody’s opinion of what happened, then we should be safe.

So you had legal counsel working for you all the time . . .

with the two defence lawyers, Paul Temm and Kevin Ryan. They said their relevant parts were very close to what happened and were pre­ pared to stand by our interpreta­ tion.

Naturally, we have checked out different versions of any particular scene, which was often interesting.'

For example, we would have Arthur Thomas’ recollection of a scene and Bruce Hutton’s — two sides of an adversary situation. You have a policeman who is trying very hard to Find the evidence to convict this man, and a man who doesn’t realize the policeman is trying to do this. Putting the two together gave us a number of scenes that work very well dramatically.

Not initially. We brought legal counsel in once we had a final screenplay. The New Zealand Film Commission hired one set of lawyers and we hired another, and both vetted the script. They went back to the source for every line of dialogue that was felt to be conten­ tious.

We also checked out the script How much co-operation did you get 34 — Cinema Papers, New Zealand Supplement

from the people involved?

Initially, very little. The Crown Law Office and the Ministry of Justice weren’t terribly co-opera­ tive at first, but once they realized the film was going ahead they co­ operated. We were given the use of prison exteriors and even had some prison interiors lined up at Mount Eden prison. But these were pulled on us three or four weeks ago. Also, the Police Department gave us the axle that was supposedly used to weigh down the body of Harvey Crewe; we used that as a prop.

So, we had co-operation in small areas like that. But, generally, I wouldn’t say we had a lot of co­ operation.

How does Hutton feel about the film?

That remains to be seen. I don’t know.

Was any contact made with him?

No. We had planned to, but by the time David Hemmings arrived here he had already made up his mind on how the part should be played; we decided there was no point in talking to Hutton. We had the tapes as well, of course.

By this time, the film was also becoming more of a drama and less a dramatized documentary. What we have ended up with is a film about the personalities who made the issue. Everyone knows the issue — it has been in the newspapers for 10 years — but we have never been told the motivations behind the people involved.

Why, for example, did Bruce Hutton do what he did? Why did he pick on Len Demmler, follow him, push him very hard, and then suddenly change and pursue Arthur Thomas? Things like that will come out in the film, and will be obvious in the way that Hemmings has played Hutton.

There was tremendous pressure on Hutton. It was a very expensive police inquiry — something around $5 million — and a couple of cases had gone wrong on him before, where the confessions he had from people collapsed in court and, in one case, where his own testimony was called into question on the stand and the case was thrown out.

On top of this background and financial pressure was also the fact that he was an extremely ambitious man.

Hemmings has played Hutton as a very sympathetic character. You can understand why he was doing what he did; he is a policeman with tunnel vision. He approaches the case by saying, “ I have a murder, a house with bloodstains, a live baby, two people who are obviously missing, possibly dead, so what do I have? N othing.” So he went looking for a candidate who best fitted the picture and then tried to build the picture to fit the candi­ date.

It didn’t work with Demmler, so he went back to his files and came up with Thomas. And, with a bit of pushing and squeezing here and there, he fitted. Immediately, Hutton’s whole attention focused on Thomas, who was also much easier to put away than Demmler, because Thomas lacked the sophis­ tication to know what the hell was going on.

If you make all the participants

PRODUCTION REPORT

sympathetic, do you run the risk of undermining the tension of an innocent man fighting his oppres­ sors?

wéwmâ

I don’t think so. There is no such thing as one-dimensional bad guys or one-dimensional good guys — everybody is totally mixed. A lot of people, for example, think Bruce Hutton is a very polite, friendly and interesting person. To play him as a villain for the purpose of proving a point would make for a very dull film, and a totally untrue one.

A person can be interesting, witty, funny even, and still a total bastard. As it is, people will ask, “That guy doesn’t seem like a baddie, so how could he have really done that to Thomas?” Then they might realize that all these nice guys they see around dressed in blue uniforms are potentially doing the same thing — and, in some cases, certainly are.

Is the film a statement on New Zea­ land justice or justice in general?

The story happened in New Zea­ land, so it is a statement on the way things are there. But I am sure the same story could have happened in Greece or the U.S. Before the film was shot, Thomas was pardoned. What effect did that have on the film?

It was one of the things that made us make the film more a character study. No longer did it have to be a film designed to get Thomas out of prison.

We were right in the middle of pre-production when the pardon came and we suddenly felt as if the authorities had put a seal of approval on what we were doing.

(In fact, they hadn’t.) This made us feel a lot less nervous about some of the.issues we were getting into.

wmm,

The fact that he was pardoned could lead conservative elements to suggest that the legal system did work after all, because it corrected itself in the end . . .

Yes, but 10 years of prison is a hell of a lot to go through; there is no excuse for that. Also, the pardon was a political gesture, rather than a case of justice finally being done.

It was just politically expedient at the time.

I am also sure that the Prime Minister, and the people he con­ sulted as a result of the Adam Smith inquiry, could have come up with the same conclusion five, six or seven years ago. But they didn’t, so the justice issue is still definitely there.

■MKH

Why do you think this particular case has attracted so much interest and controversy, when, presumably, Arthur and Vivien Thomas (Diana Rowan) outside a country church. Beyond Reason­ able Doubt.

Cinema Papers. New Zealand Supplement — 35

PRODUCTION REPORT

group is trying to save it. We built both sets there, though we had to reduce the size of the courtroom by about 1.5 m in length and about 1 m in width to squeeze it in.

other innocent men are in prison?

Because this one was so obvious.

Also, Thomas had an incredibly strong wife and family behind him — that made a hell of a difference.

Vivien Thomas got out there and campaigned, and became for the public an emotional focus. She travelled the country, speaking at meetings and getting entreaties on television and in newspapers, and the public could relate to her being the wife of a wrongly-convicted man.

If he didn’t have a wife, the issue would never have become as big and he would have had to struggle to have things done while still in prison. There wouldn’t have been any emotional focus, which is necessary if the public is to respond.

Is there a lack of studio facilities in New Zealand?

Yes. There are the television studios, but they are used all the time for light entertainment and drama. Anyway, this place was good. The room we used is in the middle of the building, so the extraneous noise wasn’t bad.

Apart from studios, are there any other areas that you regard as lack­ ing in the industry?

How concerned were you, during casting, in matching physical characteristics of the actual people?

Initially, we were very con­ cerned, and for the key people it was necessary. Anyone who plays Arthur Thomas has to look like him because everyone in New Zea­ land knows what he looks like. We didn’t actually pick John Har­ greaves for the role because he looked like Thomas, but because we felt he was the best choice; with a bit of make-up and wardrobe he looks very much like him.

As for Hutton, we knew we would have to compromise a lot in terms of performance if we went solely for a look-alike. We felt it was more important to go for an actor, like David Hemmings, who could bring a lot to the role. So we dressed him like Hutton, cut his hair and did all sorts of things, and made him feel like Hutton, though not physically like him.

We have been very lucky with a lot of the smaller parts. Bill Johnson who plays the forensic expert Jim Sprotts, looks remark­ ably like him. He is a very good actor as well, so there was no com­ promise. As a rule, where we were faced with a choice between getting somebody that wasn’t right for the part but looked right, and someone who could play the role, we went for the latter and did what we could to make them look more like the character.

the rehearsals would have taken as long as the shooting.

How long was the shooting period?

Filming a riot in the foyer of the Auckland Supreme Court. Director of photography, Alun Bollinger, stands under the cigarette sign Beyond Reasonable Doubt.

We built the courtroom. We asked the Justice Department for Did that give you much time for access to the actual courtroom, but they were in session when we were rehearsal on the set? shooting. Anyway, they weren’t too Yes. A lot of rehearsal was interested, though they did let us needed initially, but characters use the foyer and exteriors.

A lot of the exteriors were real, have a tendency to go to the same place and do similar things in situa­ which added an interesting dimen­ tions. So, after a while, it became sion to the film. It made a great much easier to know where those deal of difference to the actors to people should be at various times. know they were recreating a real The whole rehearsal thing became situation in the place where some­ thing actually happened, and, in quicker. some cases, to use some of the real objects.

Did you use any actual locations?

Six weeks.

We used the real Thomas house.

We couldn’t get access to the Crewe house, where the murders took place, because the owners just weren’t interested. So we built a set for that, and used other houses in the area for the exteriors.

Where did you build the sets?

In the Customs House in Auck­ land. It has been disused for a number of years, and is about to be demolished, though a conservation

There are three overseas actors in the film. Did you see their involve­ ment as necessary for commercial reasons, or because they were the best available?

Have you any other projects that you are working on?

I wrote a script in Montreal last year, and I might go back there and do it. But it needs to be done in summer and, by the time I finish cutting this, it will be coming on winter there.

There is also a thriller I wrote a few years ago, and I might rewrite it and try to do it in'Wellington.

Do you think it possible to maintain a full-time career as a director of features, or will you continue to do dramatized documentary work?

I love documentaries and I like editing, so I won’t mind doing either. But, principally, I would like to continue directing features and I hope it’s going to be possible here.

Finance would be one of the main problems. It is not a tremendously wealthy country and, to keep an industry going, you need an immense reserve of capital. That’s one of the reasons why there aren’t many films made here; the other is that the market isn’t big enough for a feature to break even.

How much does that affect your approach to direction?

Hargreaves and Tony Barry, who plays one of the police, were per­ fect for their parts, commercial considerations aside. As for Hemmings, we felt his status would help to sell the film overseas.

Were you able to have a rehearsal period before shooting?

No, it wasn’t practicable. The film is a mass of small parts, and

The main thing we are lacking are people who specialize in areas and make them their own — like design and wardrobe. There are superb sound technicians and light­ ing cameramen, and there are a lot of very good actors and finishing facilities, but the lab leaves some-' thing to be desired. We will prob­ ably have to finish the film in Australia. But we’ll do everything else here, including mixing and dubbing.

Searchers against the Pukekawa skyline during the search for the Crewe bodies. Beyond Reasonable Doubt.

-

36 — Cinema Papers, New Zealand Supplement

You have to make concessions in style. Films cost an enormous amount of money, and there is no point making ones that aren’t going to sell. It’s irresponsible to the investors, and it’s irresponsible to yourself, if you want to keep on working. You can still make films about issues, or about whatever you want, but you have to structure them in a way that is going to be entertaining. ★

JOHN BARNETT PRODUCER In the mid-1970s, I was involved in a number of media-related areas — graphic design, financial news­ paper publisher — and had a lot of contacts with people working in television. There was no New Zealand film industry at this stage.

John O’Shea had made three films in the 1960s, but there hadn’t been anything since.

Then, in 1972, a Labor Govern­ ment came into power and there was a new spirit in the country.

People got together and started making approaches to the New Zealand Broadcasting Corpora­ tion, which employs its own staff, to do some freelance work. I became involved with that group.

We did a presentation for a six-part children’s series, The Games Affair.

The NZBC gave us $92,000 and we shot the thing in Christchurch dur­ ing the Commonwealth Games in January 1974. It was the first time anything like this had been done by an independent.

After having established a situa­ tion whereby independent produc­ tions were legitimate, the NZBC set up a fund for independent film­ makers to make documentaries, at a rate of $15,000 an hour.

Endeavour Television, as we were, got a lot of work from them, and made series of mostly domestic in­ terest: local woman writers, sporting heroes, etc.

Then, all of a sudden, television was split into two channels (Televi­ sion 1 and Television 2) and the fund dried up. The future looked bleak and all the people in the com­ pany, who were involved on an ad hoc basis, went back into the NZBC and left me with a shell of the company and no real work. So I switched hats and became an agent.

I managed Fred Dagg and other local artistes, and managed to graft a couple of programs out of them.

I also got a little seed money out of the NZBC for a series on “ Woman and Power” . I took a crew to India and did a pilot documentary on Indira Gandhi at the height of the crisis, then tried to sell the series on the basis of this.

But it didn’t work and was a good lesson in trying to originate a world series from New Zealand. People kept saying, “ If you had Barbara Walters fronting, it would have worked.”

John Barnett is one of New Zealand’s leading film producers. H is credits include the television series, “The Games Affair” ; the Acme Savage Company feature, “Wild M an” ; “ Middle Age Spread” , an adaptation of the Roger Hall play; and the children’s short feature, “ Nutcase” . His latest venture is the film version of the Arthur Thomas case, “ Beyond Reasonable Doubt” .

Barnett’s involvement in the film industry is not restricted to filmmaking. He is a vocal critic of aspects of New Zealand’s television system, and has even taken on the two major theatre chains, Amalgamated Theatres and Kerridge-Odeon.

Scott Murray and Robert Le Tet interviewed Barnett in Auckland on completion of filming. He begins by describing his start in the film industry.

Blurta, which is a pretty talented bunch of people. They had been given a $24,000 commission from Television 1 to make a six-part light entertainment series. They were also given some Television 1 belowthe-line facilities, though they were constantly harassed and kept under Wild Man surveillance — presumably people thought they were going to take the cameras away with them at night.

The success of Fred Dagg and the Anyway, they made a very funny, lack of activity in the television slightly risque local community business led me into the feature film series.

One episode of the series was a area. I became involved with

anything on local television.

Did you try to distribute the package through either of the theatre chains?

I took Wild Man in its 16mm roughcut form to Amalgamated Theatres, who said they’d give it a go. We also showed it to KerridgeOdeon, but they didn’t appear that interested. Amalgamated, to their credit, have always been prepared to run New Zealand films — depending on the time of year, that is.

We hoped the thing would run two weeks in Queen St, Auckland, but to everybody’s surprise it ran six. The p ro g ra m also ran throughout the country, but as it went on, attendances got worse — the reviews had obviously got around. Wild Man wasn’t a bad film, it just lacked discipline in the script. But, again, it was an important and interesting exper­ ience.

Television Does the NZBC get anything from overseas sales of films it has invested in?

It used to be 50/50, but they have changed things since. They are now putting small amounts of money into some productions and still claiming a few of the overseas rights.

What does the NZBC pay for a feature?

50-minute film called Wild Man. It was set in a village Blurta built out of demolition materials on the West Coast. I looked at the rough cut and thought it was amusing, so we decided to stretch it out to 72 minutes, which was most probably not such a good idea. We then put a half-hour film on Fred Dagg in front of it, and put out the first all­ New Zealand film package.

At this time, Sleeping Dogs and Solo were also being shot. This ac­ tivity was a direct result of frustra­ tion over not being able to get

Anything between 510.000 and $20,000. It is a terrible price, and right now there are people who won’t sell their features. Tony Williams has never sold Solo. He wants $25,000 for it, and they won’t give it to him. And we probably won't sell Beyond Reasonable Doubt, because it is worth a hell of a lot more than $ 10 ,0 0 0 , I think we will have to force the NZBC into a situation where they pay proper money for a product.

On average, the NZBC pays 5100 a minute for New Zealand product. They do put in facilities, though, and these are valued at a rate far below average. So they may put in $2 0 ,0 0 0 worth of facilities, but only call it S 10,000.

What do you think is a fair price for a New Zealand feature on television?

Cinema Papers, New Zealand Supplement — 37

PRODUCTION REPORT

Probably 525,000. I think 5100 a minute is right off the wall. After all, it costs them something like 55000 an hour to make a drama.

At the same time, you have to remember that New Zealand has a small population and television only pays 51000 an hour for imported programs. We have something like 8000 hours of programming a year, on the two channels, and 5000 of that is bought.

So, if you compare 525,000 to the imported price, then I think it would be a good starting price. It would be better, too, if one had the money at the beginning, as with a pre-sale.

How can television stations be forced into paying more reasonable amounts for New Zealand features?

When they are successful at the box-office. If Beyond Reasonable Doubt takes an enormous amount of money and creates the impact we hope it will, then people will ask, “ When is it going to be on tele­ vision?” What we have to say is, “ This film will never be on television, unless w'e get more money for it.”

As well, w;e must keep exposing the finances of the NZBC. I was recently in a lot of trouble for taking them on again, because they have more than 555 million a year to spend on programs and most of it is frittered aw-ay in administra­ tion. The New Zealand Film Com­ mission gets 5500,000 a year, and it made the same amount of drama in the past year as the television stations.

Has there ever been a government inquiry into television broad­ casting?

Yes. There was a program on Television 1 called The Governor, w;hich was a piece of navel gazing about Sir George Grey, who wras a governor of New Zealand, a premier, and a governor of South Australia and Cape Colony. The production took about seven months to do. and. to be fair, when it finally got to screen it rated well.

But the stories of production are terrible. For example, the cast was flown down to Christchurch to film a ballroom sequence, but the set wasn't ready so they were all flown back again. Another time, the cast went out to location only to find the crew had been given the day off. So, the Government finally called an inquiry.

Originally, the controller of the programs at Television 1 said the program cost 5400,000. When he was pushed, he said, “ Maybe it's 5700,000.” When he was pushed some more he said, “5900,000” .

And then when he was pushed again, he said, “ Well, actually, the computer can’t keep up with the expenditure.” That really onlyconfirmed what we had been saying for a long time — that the stations

Colin (Grant Tilley) with neighbor Isobel (Bridget Armstrong), left, and wife Eliza­ beth (Dorothy McKegg). Middle Age Spread.

What effect did the setting up of the NZFC have on television product?

If anything, it made television feel more entrenched. In fact, the day the NZFC was set up, the chairman of the television corpora­ tion said, in effect, that private filmmakers now had a fund to which they could go and that the NZBC was now absolved of any responsibility of giving them Did the inquiry do any good? money. The NZFC commissioners What it did do was split the tele­ lobbied to change that situation, vision system up again, and remove but the television administrators some of its autonomy. That is had very cunningly fooled the poli­ probably the problem with the tele­ ticians who don't really understand vision system here: no one ever lets the way finances work inside tele­ it settle down. In 1972, two vision.

Two weeks ago, for example, channels were mooted: in 1974 they came in. under one format; three there was a report in the Auckland years later they were changed: and Star in which somebody suggested three years later they were changed that the NZFC should make tele­ again. It is a political football, and vision series here. I am very vocal I wouldn't like to work inside that on this, because the N Z F C ’s climate, apart from the fact that budget, as I said, is 5500,000 and the NZBC’s is 555 million. I don’t you are well paid. believe it is the role of the NZFC to Do you think it would be better if subsidize television. one of the stations went into the hands of free enterprise, or for drama production to be taken away Middle Age Spread from the stations and given to private enterprise? have no accrual system of financing, and that they spend money before it appears in their books. Anyway, the final figure was 51.4 million, but even then the NZBC had fudged the figures.

I think the latter. Many people in New Zealand have confused the role of television and see it as a production organization. I am not opposed to public service trans­ mission, but I am opposed to public service production, because I don’t believe it gives good value. Apart from things like the news, current affairs and documentaries, the rest should all be farmed out to independents.

38 — Cinema Papers, New Zealand Supplement

What happened to you after “Wild Man”?

It was a period of high activity in management and at the agency. But I was really keen to do another film. I had tried to buy the rights to a Roger Hall play, Glide Time, but television offered Hall a six-part series — which they didn’t ever give him — and he sold out to them.

I then just hung around for a

property to come. I had looked at the finances of independent produc­ tion and realized it was difficult, but when I saw Hall’s new play, Middle Age Spread, and noticed the thousands of people going to see it — 80.000 people saw' it in New Zealand — I figured that it would be possible to finance. So I ac­ quired the rights and, with John Reed, started to develop it.

The NZFC then came into being, and this made the job a lot easier.

They w-ere very keen to see that project go, and when a merchant bank put up 50 per cent of the finance, the NZFC put in the rest.

It was a modest little film and did very well at the local box-office. I also think it helped raise the public’s opinion of New Zealand films.

So far it has played the four main towns, and a number of provincial ones. It has grossed more than 5150,000, and th a t’s with an admission price of 52.50. I think it will take 5200,000-odd in the end.

What percentage of that are you likely to see back?

About 35 per cent.

In Australia, the quoted figure is usually 25 per cent . . .

We are doing better than that.

One reason is that there is no distributor. As the two chains control all of the major outlets, there is no real need to get involved with a distributor. Amalgamated, for example, fulfil some of the func­ tions of a distributor — and they don’t charge for it. They make sure that the prints arrive, place the

PRODUCTION REPORT

advertising and so on; it makes the job that much easier.

We have also put the film through some independent situa­ tions. In some we have done very well, in others we have done appal­ lingly because we haven’t been paid. That brings to light an interesting situation. If you can put a film on 60 km from Auckland and never get paid, what happens when you put it on 2 0 ,0 0 0 km away?

Did you go into “Middle Age Spread” expecting to lose?

I told the investors that we wouldn’t get our money back, certainly out of New Zealand. I see its greatest potential in television sales overseas.

I feel you have a very definite responsibility to be honest with an investor. Private investors are putting up 50 to 60 per cent of the budget, and it is a hard road to earn that back. When you look at the Australian figures, you will notice a much smaller proportion is coming from private investors. We are even in the fortunate situation of having more dollars available from the private sector than there are projects.

Who would these investors generally be?

Well, one merchant bank got involved in a film, so all the others felt they ought to. In the first case it was a loan, but since then it has been actual investment.

With Beyond Reasonable Doubt, we have a small syndicate of private investors who put in $4000 or $5000 each. There is also a very large industrial conglomerate, Brierley Investments, who put up a signifi­ cant proportion of the money, and a merchant bank, Fay Richwhite, who put up a large amount. There is also a private individual, Bob Jones, who invested because he thought it would be a bit of a hoot.

What motivates them to invest? Is it the glamour, the tax benefits, or do they think they will make a profit on their investment?

Investors are fairly hard-headed, and it is probably a combination of taxation and PR. For instance, on Middle Age Spread, South Pacific Merchant Finance, which is a rela­ tively small merchant bank, took the punt but held back all publicity until the film was made. They made a PR decision. Right now, they are very pleased to have been involved.

The most important thing to remember is to treat your investors well. You can’t afford to neglect them, nor can you afford, in a small country like New Zealand, to bull­ shit them. This is where the NZFC plays a vital role. If an investor goes along to the NZFC with a proposal, the NZFC will give them an indication of whether it is any good. Of course, if the NZFC has already decided to invest, the private investor is pretty safe.

This means the NZFC is the arbi­ trator of what’s going to be made Yes, and I can see what you are leading to. In the case of Beyond Reasonable Doubt, for instance, we are dealing with a contentious political and judicial issue. The NZFC obviously depends on government funding, so I signed up the private investors first. In fact, I think I could have made the film without N ZFC involvement, though it would have taken a lot longer to put together.

As it happened, the NZFC did bite the bullet and came in, and this was before Thomas had been pardoned and the thing had acquired a veneer of respectability.

Now, if you are suggesting that the NZFC can say what films are made and what aren’t, then I agree it is a dangerous situation. For example, there is a film being made

Godzilla (Ian Watkin) and McLooney (Michael Wilson) in a scene from Nutcase

here called Nightmoves, about a guy who is bi-sexual and whose relationships become exposed to each partner. Again, it is a conten­ tious issue. The NZFC hasn’t funded the film. Although there are some questions about the quality of the film, I suspect the NZFC could have been a little bolder.The NZFC should always remember that its role is to serve the film industry and not to dictate the terms on which it develops.

Nutcase What did you do after “Middle Age Spread”?

Nutcase, which is a 50-minute children’s film directed by Roger Donaldson. I had always been intrigued by the long queues for school holiday attractions, yet no New Zealand feature had ever been released during school holidays.

The reason for this is that the theatre chains have commitments to overseas product. Middle Age Spread, in fact, was taking top dollars in Auckland and Welling­ ton, but was yanked out to make way for an overseas film during the holidays.

So, I felt the time was right to make a children’s film, and to exhibit it myself at Christmas.

Now, you can’t open a cinema in New Zealand without going before the Films Licensing Authority, and that authority listens to submis­ sions from all interested parties before deciding whether they are going to give you exhibition rights.

For example, an exhibitor can appeal if a school is planning a oneoff showing of a film to raise funds.

The licensing situation has, in fact, turned into a closed shop.

Although the independents are active in the licensing situation, it is n o r m a lly the c h a in s — in particular, one chain — which initiate most of the action against anybody planning to exhibit a film.

And the film may be 30 or 40 km away from the nearest cinema.

I thought I would apply for a licence for three locations, all live theatres which had been cinemas

Detective Inspector Bruce Hutton (David Hemmings), left, and Inspector John Hughes (Tony Barry) question original suspect Len Demmler (Martyn Sanderson).

Beyond Reasonable Doubt.

during the 1930s and ’40s. Each had a projection box, but no equipment in it — they didn’t even have screens. But they were very large venues and we planned to turn the program around every hour-and-ahalf, and pack the audiences in.

So, I was conducting two campaigns at once: producing a film which was written very quickly, and produced even more quickly, and making an applica­ tion to the licensing authority. The submission we made was very thorough and attracted a lot of media attention. That, naturally, incurred the wrath of the chains.

The authority then adjourned, and in the intervening period we were offered a May school holiday release.

I believe we could have won our case, but whether our plan would have been economically successful, I don’t know. In fact, if I had been in the chains, I wouldn’t have appealed against the application.

They already owned all the tele­ vision advertising time, which meant we were in a very weak situa­ tion. They could have creamed us.

But they turned it into a fight and the media made huge mileage out of it. There were editorials and all sorts of comments in the media about overseas-dominated chains squeezing out the local producer.

Emotionally, it was a hard argu­ ment for them to fight.

Did you attempt to get a release through a chain?

Yes. The chains would have a slightly different interpretation of this, but I did approach them and ask if there was any room for school holiday product at Christ­ mas. Amalgamated said they were full up and Kerridge-Odeon was less kind.

To give them th e ir dues, however, had we asked for a May release, instead of Christmas, there may have been some situations available.

Cinema Papers, New Zealand Supplement — 39

PRODUCTION REPORT

Zealand in 1977 writing his book on the Thomas case when I met him through a mutual acquaintance. I then read some of the manuscript, in particular a chapter describing some action in the courtroom.

There was some technical evidence being given, and though I read it carefully I couldn’t understand it. I read it again, and then a third time, and still I couldn’t understand it. It then occurred to me that if the jury didn’t have recourse to the tran­ script, and weren’t even allowed pencils and paper, how could they follow it either?

I had never been particularly interested in the case, but then I felt there was something going on, and that a film ought to be made about it. And the more I read of the book, the more I realized you could make a great film.

My initial feeling was to go for a documentary style and shoot it on 16mm. So I offered David some money and he started to work on a screenplay. A year after this, in February 1979, I approached John Laing, who was in New Zealand on holiday.

At this point, we were working on a film that was obviously very contentious; we were talking about a man who was still in gaol and who was protesting his innocence. We had planned to start shooting Feb­ ruary, 1980, and by December last year were into casting and pre­ production. It was then that Thomas was pardoned. It was an incredible feeling. Obviously it was highly desirable from his point of view, but we had developed a film which was intended to leave people in an extremely angry state of mind.

As soon as I heard of the pardon, I contacted Yallop, and a week later he was out here re-writing the film. This didn’t just mean adding an end to it, but having to change the whole structure. It was a very hasty re-write, and we started shooting only two weeks after origi­ nally scheduled.

What was the rationale behind choosing three foreign leads?

It was an interesting fight and worth doing, because I believe that the licensing of cinemas is outdated and inefficient, and is not in the best interest of the public or the cinema chains.

I know the economics of exhibi­ tion aren't all that tremendous, but the people that own the main street sites are doing quite well. It is the independents who are in trouble, because it takes a long time for product to get through to them.

Had you not withdrawn your Yet, they are the ones who are most application and won, would the against de-licensing. They don’t decision have helped to break down realize that if cinemas were de­ licensed, then it is the people who the present restrictive situation? already have theatres who are going Yes, because we would have been to be best off. It always costs less to able to say, “You don’t just have to do up a situation than it does to build a new one. go to those remaining cinemas.”

40 — Cinema Papers, New Zealand Supplement

Allan (Jack Bongard) and Ivy Thomas (Hazel Cole) visit their son Arthur in prison.

Beyond Reasonable Doubt.

Beyond Reasonable Doubt How did “ Beyond Reasonable Doubt” come about?

David Yallop was in New

Firstly, it is a big budget film for New Zealand, which meant it had to appeal to an overseas market.

Secondly, we had chosen to make Inspector Bruce Hutton, who masterminded the case and put Thomas away, the central charac­ ter. Now, a lot of New Zealanders have an innate belief in the law and the police force, and I don’t think having a New Zealander playing that part would have helped the credibility of the film in New Zealand.

Also, if we had a New Zealander in the role, and his portrayal left reservations about the behaviour of the police, he then had the problem of continuing to live here. So it became easier for a lot of reasons to go for an imported lead, and David Hemmings was the man we chose.

As for Arthur Thomas, who was

IN D U STRY S IZ E AND ST R U C T U R E

PRODUCTION REPORT

the victim o f the whole thing, we needed someone who looked like him. I had seen John Hargreaves in Don’s Party, and was impressed, so I contacted him.

One o f the interesting things about this film is that there are still a lot o f wounds, and a lot o f reputa­ tions at stake. During the filming, for instance, we were denied access to all sorts o f places.

I approached the M inister of Justice, who released Thom as, and his feeling about the film was quite positive. I invited him on the set and he came into our courtroom, which was a replica of the Supreme Court in Auckland. There was a judge who looked like the first trial judge and lawyers and the whole thing — it was happening in front o f him. I think he is an intelligent man and he could see we were going to make a film that was going to have some impact. The next day a Commission of Inquiry into the Thom as case was announced.

W hat is rem arkable is that Thom as had been pushing for an inquiry since his pardon, but it happened the day after this visit.

Though there were a lot of other things happening, the film was the final straw.

the overseas distribution and sales of local features?

Prim arily a back-up one. I think they should provide some o f the funding, although the tax situation relating to export promotion is already favorable. I don’ t think the N Z F C should be a sales agent, but through constant contact make people more aware o f its films.

There are a lot o f very enthus­ iastic people at the N Z F C , and that helps a hell of a lot.

Future Plans What plans do you have for the future?

Before I started Beyond Reason­ able Doubt, I had three or four

How will the film be released in New Zealand?

the film, Am algam ated said they w ould be in te rested . I had a meeting with them recently and we talked about a multiple release in 10 or 15 centres. They agree that the film has to go out as soon as possible, and in as many centres as possible. They think that if the film looks all right, it could run a long tim e, p articu larly in the main centres.

Through Am algam ated. The day I said publicly I was going to make

Have you got as far as planning international distribution yet?

New Zealand’s Minister of Justice, Jim McLay, visits the set of the Supreme Court.

Actor David Hemmings is at right. Beyond Reasonable Doubt.

N o, we are still a couple of months away from that.

Will you hire a sales agent?

D efin itely. Because o f Hemmings’ involvement, he is very keen for Hemdale to become involved.

What role should the NZFC play in

Size and Structure

Organization

Staff

Continued from p. 15

N a tio n a l F ilm U n it T e le v is io n N e w Z e a la n d In d e p e n d e n t in d u s tr y

1 40 ( in c lu d e s la b o r a to r y s ta ff) 1 5 0 0 (a ll p e rs o n n e l) 300

partly due to confusion in the television corpora­ tion and partly due to poor programming. The The financial involvement of the Government most recent change in corporation structure has in the film industry is summarized in Appen­ eliminated competition between the two chan­ dix 1 (see page 15). nels and this is also reflected in the pro­ gramming.

Appendix 2 * McNair Research figures show: A v e ra g e a u d ie n c e v ie w in g 6 -1 0 p .m . b o th c h a n n e ls ( p e r c e n t)

March 1979 March 1980

Basis of Figures Appearing in Appendix 1 1. Broadcasting Commission of New Zealand

39

35

Government and the Industry The Government is deeply involved in the film industry. This is manifested in the following ways: 1. Complete control of the National Film Unit; 2. Statutory control of the Broadcasting , Corporation and its television arm; 3. Funding of the NZFC through the Depart­ ment of Internal Affairs; 4. Licensing of cinemas and distributors, and the administration of censorship, through the Department of Internal Affairs; 5. Support for overseas export promotion and trade fairs (including film festivals) through the Department of Trade and In­ dustry.

The following table summarizes the employ­ ment situation in the two major government film organizations compared with the private sector.

T h e B C N Z a llo c a te s a p r o p o r tio n o f its in c o m e to TV1 a n d T V 2 by w a y o f o p e ra tin g b u d g e ts . T h e p u b lis h e d fig u re is $ 4 3 m illio n . N o s e p a ra te a c c o u n ts a re p u b lis h e d fo r th e tw o c h a n n e ls , b u t it a p p e a r s th a t th e $ 4 3 m illio n d o e s n o t in c lu d e s u c h c o s ts as t r a n s ­ m is s io n s e rv ic e s , p u rc h a s e o f o v e rs e a s p ro g r a m s , p ro v is io n o f o v e rs e a s n e w s fa c ilitie s a n d s h a re d s e r ­ v ic e s s u c h as c o m m u n ic a tio n s n e tw o rk , p a y ro ll s y s te m , a u d ie n c e re s e a rc h , e n g in e e r in g d e v e lo p ­ m e n t, c o m p u te r c e n tre , s u p p ly a n d fin a n c ia l s e r ­ v ic e s , a n d th e c o s t o f c a p ita l e m p lo y e d .

It h a s b e e n a s s u m e d , th e re fo re , th a t it la rg e ly re p r e s e n ts th e c o s ts o f lo c a l p ro g r a m s u p p ly . It m a y

projects to work on. Since I have been in production, I have given away most of these. So, I am just looking.

I have also begun to worry about what I can do. Obviously I would like to m ake a lot more films here.

But I think it’ s really important to make films that entertain people, and a lot o f the ideas that are floating around New Zealand at the moment áre a bit self-indulgent.

So, there are a lot o f things I want to sort out before I jum p into som ething else. I know I am supposed to have three projects on the go, but I just don’t. ★

u n d e r s ta te th e re a l c o s t to th e c o u n tr y , as it e x c lu d e s th e o v e rh e a d s m e n tio n e d a b o v e a n d a n im p u te d c o s t o f th e c a p ita l e m p lo y e d .

2.

Tourist and Publicity Department A n n u a l e x p e n d itu r e b y th e N FU v a rie s a c c o rd in g to e q u ip m e n t r e q u ir e m e n ts . E x p e n d itu re e x c lu d in g e q u ip m e n t a m o u n ts to a b o u t $ 1 .6 m illio n o f w h ic h it is e s tim a te d $ 0 .9 m illio n re la te s to film p ro d u c tio n p e rs o n n e l a n d a c tiv itie s .

3. Other government departments T h e s e a re e s tim a te s o b ta in e d fr o m in q u iry .

4. Advertising Agencies T h e v a lu e o f c o m m e r c ia ls p ro d u c e d b y th e c h a n n e ls is n o t k n o w n . F o r th e p u rp o s e s o f th is a rtic le it h a s b e e n e s tim a te d a t $ 0 .5 m illio n . T h e e s tim a te o f $ 6 .0 m illio n to th e p riv a te s e c to r is b a s e d o n a s u rv e y b y th e F e d e ra tio n o f In d e p e n d e n t F ilm , V id e o a n d S o u n d F a c ilitie s , s u p p le m e n te d b y in q u ir ie s fr o m m a jo r in d e p e n d e n t p r o d u c e r s n o t c o v e re d b y th e F e d e r a tio n ’s s u rv e y .

5. Commercial Sponsors T h e a c tu a l fig u re is v e ry d iffic u lt to e s ta b lis h . T h is e s ­ tim a te is b a s e d o n lim ite d in q u irie s .

6 . Cinema Box-office Receipts T h e o ffic ia l Y e a r B o o k 1 9 7 7 q u o te s th e 1 9 7 4 -7 5 fig u re at $1 4 .1 m illio n . P ric e in c re a s e s , a lo n e , a t a b o u t 5 0 p e r c e n t w o u ld s u p p o r t a c u r r e n t le v e l o f $ 2 1 .1 m illio n .

7. Film Commission A n n u a l lo tte ry b o a rd g r a n t o f $ 0 .5 m illio n .

8 . Private Investors A s s u m e d a t $ 0 .4 m illio n . H o w e v e r, th e A u s tr a lia n e x ­ p e rie n c e s u g g e s ts th a t th is m a y b e o p tim is tic . ★

Expenditure by the BCNZ on Services and Commissioned Programs: 1975-73 O f th e a m o u n t s p e n t by th e B C N Z , a p r o p o r tio n g o e s in to th e p riv a te s e c to r, b u t little b y w a y o f c o m m is s io n e d p ro g r a m s . T h e a m o u n ts fo r th e p a s t th re e y e a rs a re e s tim a te d b e lo w b a s e d o n in fo rm a tio n s u p p lie d by th e BCNZ. : S e rv ic e s (i.e.: c o n tra c t c a m e r a w o rk , r e c o r d in g a n d p ro d u c tio n fa c ilitie s e tc .)

C o m m is s io n e d o r p a rt c o m m is s io n e d p r o g r a m s to ( in d e p e n d e n t p ro d u c e r s .

1975/76

1976/77

1977/78

0 .5

0.7

0 .4 (to NOV. 1 9 7 7)

0.2

0.3

0.1 (to N o v. 197 7)

Cinema Papers, New Zealand Supplement — 4l

NEW ZEALAND FILM COMMISSION

Bill Sheat

Continued from p.24

them. One is being set up by M ichael F irth with R o b ert Radnitz, and will be financed by a pre-sale to television, and the other one is Andrew Brown’s production of the Graham Murders. Both have had Commission support, but not of a financial nature — although we have given Michael Firth limited financial support towards script development.

producers of Goodbye Pork Pie will distribute that film themselves, as will the producer of Beyond Reasonable Doubt.

I don’t think the Commission wants to set itself up specifically as a distributor and take over the dis­ tribution of all New Zealand films.

What I’d like to see — although I Is a co-production agreement with realize there is reluctance on the Australia being negotiated? part of producers — is one of the major distributors take on the dis­ I don’t think it’s necessary. tribution of a film with the same kind of drive they do with imported What about problems that may arise product. with unions like Equity?

There appears to be a feeling among producers, however, that local dis­ tributors lack expertise in originating campaigns . . .

Yes, but that’s where we can come in. The Commission, through Lindsay Shelton, who is head of marketing, can develop a cam­ paign in consultation with the dis­ tributor and then off they go.

Co-productions What is your attitude towards joint­ ventures and co-productions?

There are two co-productions on the goi but the Commission is not heavily involved with either of Don Blakeney

Continued from p.27 potential and viability of the produc..

International Finance Are you actively seeking overseas investments in New Zealand films?

I’d like to answer it in this way: if you look back to when the Interim Commission first started, there wasn’t very much discussion or communication between film­ makers, on a producer-to-producer, or producer-to-director level. Now we are all talking to each other and relationships have started to emerge as more films are being made.

I think a co-production or joint venture with someone off-shore should arise naturally from rela­ tionships, such as with Tony Williams and David Hannay, or John Barnett and David Hemmings. We have nothing against co­ productions, but I think it’s a matter of time, of relationships between producers developing naturally. The same sort of rapport has to exist between directors, w rite rs , and other crea tiv e personnel. .

To attract the right off-shore partners, it’s also a matter of track

There is a fairly free interchange of actors now. I can’t- see there will be any difficulties.

Do you see Australia as a natural co-production partner with New Zealand?

Given appropriate projects.

Obviously the existence of govern­ ment film-funding bodies in both countries provides the opportunity for financial co-operation. But so far. appropriate projects have not eventuated, although I have recently been talking to the South Australian Film Corporation which, of all the Australian com­ missions and corporations, seems to be the freest as far as production outside their territory goes. ★ record. But I think we are now getting that. For instance, John Barnett’s film, Beyond Reasonable Doubt, used a certain amount of off-shore talent, including David Hemmings. Hemmings is not just an actor, he is also a producer and d ir e c to r ; and he was most impressed with what he saw. Some­ thing could come from a relation­ ship like that. He can see what New Zealand has to offer: not only a variety of locations, facilities, and technicians, but also a real commit­ ment, and a passion. So I am hopeful.

We have been approached by a number of overseas producers, but so far none have gone ahead. But it’s not because we are resisting overseas involvement; the projects that have been put to us have just fizzled.

I think it's accepted that as an industry starts to develop, it will tend to be regarded as a soft touch.

But I don’t think we are quite as soft as some people think.

I must point out that to regard New Zealand as a great source of money is really stupid. We are a small country with a limited market. And to regard us as a super cheap labor force is silly, too.

Because although we can make films fairly cheaply, in real terms we are not. We are making films that are low-budget now because people are investing in the future by not charging out fully their contributions. ★

42 — Cinema Papers, New Zealand Supplement

Film lighting problems in New Zealand?

Gels Film Lighting Ltd Owner/Operator

Pav Govind (Licensed electrician) Operator experience includes: Features, documentaries, and commercials in , Australia, New Zealand and Pacific Islands.

Fully equipped truck includes *

2

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FE A TU R ES

IN RELEASE

A W A IT IN G RELEASE

P R O D U C TIO N

The follow ing feature film s were released GOODBYE PORK PIE theatrically in Australia and New Zealand Prod, com pany ....... Pork Pie P roductions between 1978-80.

Dist. com pany ......... Pork Pie P roductions P ro d u c e rs ......................... Nigel Hutchinson, A N G E L M IN E Geoff M urphy PICTURES D irector ......... .'......................... G eoff M urphy Prod, com pany ......... ....... ILA P roductions Prod, com pany ........................Pacific Films S crip tw riters ..........................G eoff M urphy, Dist. com pany ........... ....... ILA P roductions P r o d u c e r.................................... John O’Shea lan Mune P ro d u c e rs .................... .............. David Blyth, D ir e c to r .....................................M ichael Black Based on the original idea W arren Sellers S crip tw rite rs ............................Robert Lord, b y ............................................G eoff M urphy D ir e c to r ........................ .............. David Blyth John O’Shea, P h o to g ra p h y ........................... Alun Bollinger S crip tw riter ................ ..............

David Blyth M ichael Black Sound r e c o rd is t......................Don Reynolds P h o to g ra p h y ............... ....... John Earnshaw P h o to g ra p h y ............................... Rory O’Shea Editor .................................... M ichael Horton .........

M ike W estgate Audio c o n s u lta n t.......

Sound recordists .............. G raem e M orris, C o m p o s e r.................................. John Charles Editor ........................... .............. Philip Howe Craig M cLeod Prod, m a n a g e r........................... Pat M urphy .........

M ark Nicholas C o m p o s e r....................

Prod, m a n a g e r.............Dorthe Scheffm ann Prod, secretary ...........Veronica Lawrence Assoc, p ro d u c e rs __ ....... Jennifer Jakich, 1st asst d ire cto r .. Steve Locker-Lam pson Assistant prod.

Larry Parr Camera ope rator ....... M ichael Hardcastle secretary ................................ Shirley Dunn Prod, m a n a g e r........... ......... W arren Sellers G a ff e r .............................................. Pav G ovind Prod, a s s is ta n ts ..................... Kerry Robins, Prod, secretary ......... ....... Jennifer Jakich Art d ire cto r ............................. Russell C ollins Jeff W illiam s Prod, a s s is ta n ts ......... . .. Phillip M ontrowe, M ake-up ..........................Lesley Vanderwalt 1st asst d ire c to r .................... Sam Pillsbury M ary W ilson W a r d ro b e ..................................................Gwen Kaiser C o n tin u ity ........................Dorthe Sheffm ann M ix e rs ...................................... Don Reynolds, C o n tin u ity .................... .............. Sally G riffin SKIN DEEP Props .....................................T revor Haysum Camera operator ............... Graeme Cowley Brian Shennan Camera ope rator __ ....... John Earnshaw L a b o ra to r y ....................... National Film Unit Focus puller .................................... John Day Dialogue coach .................. Robert W illiam s ...........Sim on Cotton Underwater cam era ..

G a u g e ..................................................... 35 mm C la p p e r/lo a d e r........................... M urray Milne Best boy ......................................

Don Jowsey Camera assistant . . . . .........Andy Roelants Shooting s to c k ........................Eastm ancolor MIDDLE AGE SPREAD Cam era assistant .......... M ike Hardcastle R u n n e r.......................................... Karl Mutch, Key g r ip ........................ ...........Peter M ardell Progress ........................................ P roduction Key g r ip ......................................... A lister Barry ■ Greg Piper Prod, com pany ...E n d e a v o u r P roductions Asst g r i p ...................... ...........C hris Paulger Synopsis: An historical dram a based on the 2nd unit p h o to g ra p h y .................. Peter Reid M ixed at ...........................National Film Unit and South Pacific M erchant Finance Costum e designer . .. . .. Elizabeth M itchell exploits of the pioneer photographers, the G a ff e r ...................................... Stuart Dryburgh Laboratory .......................

National Film Unit with assistance from M ake-up ...................... ....... M argaret Fisher B u rton B ro th e rs, c h ro n ic lin g the v ic is ­ A d dition al lighting .....................Sim on Wiat, Length ..............................................103 mins.

The New Zealand Film C om m ission Hairdresser ................ .............. Sue Dudley situdes of their lives as they struggle to Don Jowsey G a u g e .....................................................

35 mm Dist. com pany ....E n d e a v o u r P roductions Props ........................... ....... Phillip Norman, docu m en t life around them in the colony of Boom o p e ra to r....................... Lee Tam ahori Progress ..........................................In release Kim Smith P ro d u c e r.................................... John Barnett New Zealand.

Art d irectors .............................. Kai Hawkins, First released ...............Novem ber 10, 1978 D irector ............................................ John Reid M usic perform ed by . ....................Auckland Robin O utterside — 14th C hicago International Youth O rchestra, S crip tw riter ........................... Keith Aberdein M ake-up ................................. C hris Reynolds Film Festival £ Peter Kerin, Based on the play b y .................. Roger Hall W ardro be .................................Robin M urphy Cast: Jim M acfarlane (boxing manager), Suburban Reptiles Sound r e c o rd is t....................Craig M cLeod Asst e d it o r .............................. C indy Bowles Ken Blackburn (Bob W arner), Alan Jervis M ix e r .............

Editor .................................... M ichael Horton M usical d ire c to r ........................John Charles P O S T-P R O D U C TIO N (Vic Shaw). G rant Tilly (Phil Barrett), Bill C o m p o s e r......................... Stephen M cCurdy Still p h o to g ra p h y ....... .............. Pierre Vinet Sound e d ito r ...........................Jay Berryman Johnson (M ike C am pbell), A rthur W right Prod, m a n a g e r......................W arren Sellers G ra p h ic s ...................... ....... Reston G riffiths M ix e r......................................... Don Reynolds ( L e s S i m p s o n ) , K e v in J . W ils o n Prod, accountant .........................Penny Carl Title designer ............. ................ Tom Sm ith Stunt d r iv e r .............................Peter Zivkivoc (Policem an), Glenis Levestam (Alice B a r­ Prod, a s s is ta n t..........................Christine Carr Lighting assistant — ................ Karl M utch S tu n ts ..........................................Tim othy Lee rett).

Deryn C ooper (Sandra Ray). W endy 1st asst director ..................... Geoff M urphy Laboratories ............... ...........Agfa Gevaert, BEYOND REASONABLE DOUBT Best boy .............................. M atthew M urphy M acfarlane (m otel m anageress).

M ortsel, C o n tin u ity ................................................ Jackie Sullivan C a te rin g ............................ B arbara Pillsbury, Synopsis: A m asseuse from the city moves Belgium Humphries, Lighting c a m e ra m a n .............. Alun Bollinger Prod, com pany ...............BRD Productions Robin McGhie to a sm all town to m ake a new life for London Camera operator ........................Paul Leach Dist. com pany . . . . Endeavour Productions M ixed at ........................Associated Sounds herself.

The local businessm en think she’ll Length ......................... ..................... 70 mins. Cam era assistant ....... M ichael Hardcastle P r o d u c e r..................................................... John Barnett Laboratory ......................................... Colorfilm help the town im prove its image. But their Key g r ip .......................................Trou Bayliss D irector ..........................................John Laing G a u g e ........................... ....................... 16 mm Lab. liaison .................................... Bill Gooley wives are unfriendly and the masseuse (for blow -up to 35 mm) G a ffe r ....................................................W arwick Attewell S crip tw rite r ............................... David Yailop C olour g ra d in g .............. A rthur C am bridge finds that sm all town life can contain just as Shooting s t o c k ........... .............................Agfa Boom o p e ra to r........................Lee Tam ahori Based on the book Length ............................................. 109 mins. many pressures as the city.

M ake-up ........................... Lesley Vanderwalt Progress ...................... ..................In release Beyond Reasonable Doubt?

G a u a e .....................................................35 mm First released ............. ...........O ctober 1978, W ardrobe .....................................Pat Murphy, b y .............................................. David Yailop Progress .............................. P ost-production Liz Jowsey Auckland Photography ........................... Alun Bollinger C a s t: K e lly J o h n s o n (G e rry ), C la ire Cast: Derek W ard. Jennifer Redford, Myra Props ................................. Dorthe Scheffm an Sound r e c o rd is t.....................Don Reynolds O berm an (Shirt), Tony Barry (John), Shirley Set design ...........................Gaylene Preston SONS FOR THE RETURN HOME de Groot, M ike W ilson.

Editor .................................... M ichael Horton G ruar (Sue), M aggie M axwell (Sue’s sister), Synopsis: A young Auckland suburban Asst e d it o r .............................M argaret Kelly Exec, produce r .........................John Barnett Dist. com pany ......................... New Zealand Bruno Law rence (Mulvaney), lan W atkin couple attem pting to m odel their lives on M ix e rs ......................................Don Reynolds.

Prod, s u p e rv is o r............ G raham e McLean Film Com m ission (father in car), M arshall Napier (patrol car Brian Shennan m edia advertising, become enm eshed In a Prod, s e c re ta rie s ............ M idge M eidrops, D ir e c to r ..................................... Paul M aunder driver), Bill Julliff (w recker yard man). John surrealistic w orld when their inner fantasies Still p h o to g ra p h y .............. Stephen McCurdy Jane G ilbert S crip tw riter ............................. Paul M aunder Bach (Snout).

Best boy ............................... Stuart D ryburgh break through.

Prod, accountant ........................... Dean Hill Based on novel b y .................................A lbert W endt Synopsis: A com edy chase film in which C a te rin g .................................... Louise Doyle, Prod, a s s is ta n t......................Trisha Downie P hotography ........................... Alun Bollinger Gerry, John and Shirl attem pt to drive from Jo Blackm an 1st asst d ire cto r .................. M urray Newey Sound r e c o r d is t .. . ..................Don Reynolds one end of New Zealand to the other in a M usic recorded at ....................EMI Studios, 2nd asst d ire c to r ......... Jonothan Culllnane Editor .............................. Christine Lancaster frau dule ntly rented Mini, pursued at every Lower Hutt C o n tin u ity ................................................ Jacqui Sullivan C o m p o s e r............................... M alcolm Sm ith turn by the Law. JBË»: M ixed at ................ N.Z. National Film Unit Cam era ope rator .........................Paul Leach Exec, produce r ......................Don Blakeney L a b o ra to ry ............................................... Atlab Focus puller .................................... John Day Prod, m a n a g e r................ G raham e M cLean Length ................................................. 94 mins.

THE SQUEEZE C la p p e r/lo a d e r................................ Ian Turtill Prod, assistant (N.Z.) . Barbara Jorgensen G a u g e .....................................................16 mm Key g rip s ............................... Jeff Jam ieson, (Samoa) Narelle Barsby Prod, com pany ....................................T rilogic Progress ..........................................In release . « R jf S H r .

Vic Yarker, 1st asst director .................. John Anderson Film P roductions First released .......................................... 1979, _ Trou Bayliss 2nd asst d ire c to r.................................. RussellCam pbell Dist. com pany ..................................... T rilogic W intergarden, Auckland G a ffe r ............................................................ Don Jowsey Assistant to the director Film P roductions E le c tric ia n ................................................ Sim on W yattP ro d u c e r/d ire c to r............................... Richard Turner Cast: Grant Tilly (Colin), Dorothy M cKegg (Sam oa) ................................... Lucky Slade (Elizabeth), Peter Sum ner (Reg), Bridget C o n tin u ity ..................................... Pat M urphy Boom o p e ra to r..........................Lee Tam ahori S crip tw riter ............................Richard Turner Arm strong (Isobel), Donna Akersten (Judy), A rt d ire cto r ............................... Kai Hawkins Lighting c a m e ra m a n ................................Alun Bollinger S cript c o n s u lta n ts ................ David Stevens, Bevan W ilson (Robert), lan W atkin (W rightM ake-up ..........................Lesley Vanderwalt Camera operator .........................Paul Leach David Herkt son), Kerry M cG regor (Jane), W iki Oman M ake-up asst ......................Sarah Anderson Focus puller .................................... John Day Sound re c o rd is t.................... Craig .McLeod (Diana), John Linaker (Roddy).

W a r d ro b e ....................................................Julie d’ Lacey C la p p e r/lo a d e r.......................................... DaveReeves Editor ......................................... Jam ie S elkirk Synopsis: A com edy of bad m anners in W ard, assistant ............................Sian Jones Key g r ip ........................................................Trou Bayliss C o m p o s e rs .................................................A ndy Hagen, fÉttflìHL - f i r É È Ê tk'W m w h ic h a m id d le - a g e d s c h o o lte a c h e r Props ..........................................Chris Paulger M orton Young, G a ffe r ............................................ Pav Govind struggles to com e to grips with his la ck­ Standby p r o p s ...................... Trevor Haysom Music perform ed b y .................Nancy Kiel, Toy Love, lustre m arriage, spreading waistline, preg­ Set d e c o ra to r s ......................Steve Sorensen, The M arching Girls, Nik Brown nant daughter, outrageous neighbours, and John Fisher Sound e d ito r ....................................Dell King The Features. his a w akening love fo r a te m p o ra rily Set construction ......................... Tony Austin Associate e d ito r ......................Sim on Reece M ark H ornibrooke separated fellow teacher.

Asst e d it o r .................... C hristine Lancaster M ix e r ............................................................Brian Shennan Asst d ire c to r s ...........................Roger Monk, M ix e r .............................................................. Don Reynolds Still p h o to g ra p h y .................................... M iles Hargest.

Bernard M cBride Still p h o to g ra p h y ..................................... Philip Peacock G eorge Harris C o n tin u ity ............................David Franklin S K IN DE EP C a te rin g ....................................................Louise DoyleLighting c a m e ra m a n ........................lan Paul G raphic designer ................Nigel Buchanan Catering a s s is ta n t................................... Robin M urphy Prod, com pany ..............Phase Three Films T ra n s la to rs ...................................................LaniTupu, Camera assistant ......................... Peter Day L a b o ra to r y .........................National Film Unit Dist. com pany ............... Phase Three Films Key g r ip ....................................................... Trou Bayliss Soti Enari (Processing) A N G E L M IN E P ro d u c e r................................. John M aynard G a ffe r .................................David M ulholland M echanic ............................. G errard M urphy Length ..............................................120 mins.

Director ....................................... Geoff Steven Boom o p e ra to r................................... M alcolm C rom le Best boy ........................................Annie Wells G a u g e ..................................................... 35 mm S crip tw riters .............................. Piers Davies.

M ake-up .................................... Esme Sm art C a te rin g ..................................................... Sarah Hancock S hooting s to c k ..........................Eastm ancolor Roger Horrocks, Boom o p e ra to r........................Lee Tam ahori M usic perform ed b y ................................. Toy Love, Progress .............................. P ost-production G eoff Steven The M arching Girls, Art d irector ............................. Vincent W ard ART MAN Scheduled r e le a s e ............................. July — Based on the original idea The Features.

M ake-up ......................... Lesley Vanderwalt (THE SADNESS OF THE New Zealand nationwide b y .............................................................G eoff Steven W ardrobe ............................C hristine Hansen M ark H ornibrooke Cast: David H em m ings (Bruce Hutton).

POST-INTELLECTUAL P h o to g ra p h y .............................................. Leon Narbey Asst editor .......................... A d rienne Rogers R u n n e r................................. G regor Nicholas John Hargreaves (A rthu r Allan Thomas), ART C R ITIC ) Sound re c o rd is t.................... G raham M orris No. of s h o ts .................................................. 510 Laboratory .............................. Vidcom , Atlab Diana Rowan (Vivien Thomas), Ian W atkin Editor ......................................

Simon Sedgely M ixed a t ................ N.Z. National Film Unit Length ................................................. 80 mins.

P ro d u c e r................................................ G eorge Rose (Kevin Ryan), Tony Barry (John Hughes).

C o m p o s e r..................................................... NeilHannan Laboratory ..........................................C o lorfilm G a u g e .....................................................16 mm D ir e c to r s ................................................George Rose, G ra n t T illy (D a v id M o r r is ) , M a rty n Prod, m a n a g e r.................................Sue May Length .............................................. 117 mins.

Richard Adam s Shooting s to c k ..........................Eastm ancolor Sanderson (Len Dernier), Terence C ooper G a u g e ..................................................... 35 mm P ro g re s s ................................ Post-production Length ..................................................61 mins. Prod, a s s is ta n t......................Karen Jackson (Paul Temm).

1st asst director ...................... Susy Pointon Shooting s to c k ..........................Eastm ancolor Scheduled re le a s e ....................................May 1980, G a u g e .....................................................16 mm Synopsis: A search fo r two bodies and a C o n tin u ity ............................. Jackie Sullivan Progress .......................................... In release Auckland Progress ......................................... In release m urd ere r, subsequent trials and a convic­ First released ................. O ctober 19. 1979, Camera operator ....................... Paul Leach Cast: Robert Shannon (Grant), Paul Eady First released ................................ July 1979, tion, and an eventual pardon. A c o ntem ­ C la p p e r/lo a d e r..........................................

John Spurdle Auckland, W estend (Paul), Peter Heperi (Riki), David Herkt W ellington Film Festival porary story of a fight against a ju dicial Camera assistant ......................Sean Leslie Cast: Uelese Petaia (Sione), Fiona Lindsay (John), Donna Akersten (Joy), Faye Flegg, Synopsis: An experim ental film exploring system.

(Sarah), M oira W alker (S ione’s mother), Don Farr, M artyn Sanderson, Dinah Rus­ Key g r ip ....................................................... DaveReeves subconscious versus intellectual m odes of Lani Tupu (S io n e ’s fa th e r), A m a la m o Asst g r i p ....................................................Bryan Kassler sell, Bruce Weston. apprehending reality.

G a ffe r .........................................Alun Bollinger Tanielu (Malie), Alan Jervis (Sarahls father), Synopsis: Torn between his fem ale fiancee Boom o p e ra to r......................... Lee Tam ahori Anne Flannery (Sarah's m other), Malam a and his yo u n g m ale lover, G rant, an M asina (receptionist). Sean Duffy (Sarah’s Art d irector ............................... Ron H ighfield Auckland businessm an, reaches the m o­ first lover), Tony G roser (headm aster).

M ake-up ......................... Lesley Vanderwalt m ent of decision. His story is told against a Synopsis: The tribula tions of a defiant love W a r d ro b e ........................Lesley Vanderwalt background of m id-city Auckland nightlife.

Props ........................................ Russell Collins affair between a young Samoan Sione, Asst e d it o r .......................................R uth-M ary Buddicom brough t up in New Zealand, and a w hite girl from a w e ll-to -d o fam ily; Sione and his M usic perform ed by ..........................Beaver and the Flyers fam ily return to Samoa.

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Cinema Papers. New Zealand Supplement — 43

M ixed at ........................Associated Sounds Laboratories ................ .N ational Film Unit, C olorfilm Length ................................................. 1 2 jn in s .

G a u g e .................................................... 16 mm Shooting s to c k ....................... Eastm ancolor Progress ...............................Awaiting release C ast: Ian W atkin, A n nie W hittle, Lucy M cGrath, Allan Wray.

Synopsis: Black hearted Barney Blackfoot m arries Billy's and Lucy’s m other under false pretences. After the m arriage, his evil nature is revealed, and together with his friend the w ardrobe, who walks around the small cottage eating crockery, he breaks up the happy home. But all ends happily.

keep one step ahead of the police, but three children ride to the rescue, with the help of som e am azing e le c tro n ic gad gets and several hundred helpers.

Prod, m anager ............................. Sue May Prod, assistant .......................... C hris Short Asst director ......................... M ike Roberts Lighting cam eram an ........... Brian M organ Camera operator ......... Robin Higginson Focus puller .................... M aurice Arnold RIBONO Key grip .................................... Arty Thomas Prod, com pany ..........................James Siers Electrician ........................... Keith Hayward, Pav G ovind Productions Dist. com pany ......................... New Zealand W ardrobe .................................. Keith Cook Film Com m ission Props .......................................... Keith Cook P ro d u c e r/d ire c to r................................. James Siers Set construction .............. Rob O utterside S crip tw riter .................................James Siers Maori consultant ...................... Napi W aka Photography ............................... Pierre Lods, Tattooist ...................................... Napi W aka Lynton Diggle Asst. Tattooist ................ Jerry Rautangata Sound re c o rd is t................. Stephen Upston Length ...................................... 4 x 25 mins.

Editor ............................................. Chris King Cast: Rawiri Paratene, M arnie Morgan, Exec, producer ......................Tim othy W hite Jerry Rautangata, Maria M itai-Ngatai, David A NICE SORT OF DAY L a b o ra to ry ....................... National Film Unit Noda.

Prod, com pany ......................Valhalla Films B u d g e t...................................................$66,000 Synopsis: Three Maori fairytale episodes Dist. com pany ........................Valhalla Films Length ................................................. 50 mins. and one Samoan fairytale film : part of a 24P ro d u c e r/d ire c to r...............................W arrick Attewell G a u g e .................................................... 16 mm program m e series.

S crip tw riter ..........................W arrick Attewell Shooting s to c k ....................... Eastm ancolor P h o to g ra p h y ......................W arrick Attewell, Progress ......................................... Production Keith Hawke Synopsis: An adventure story about a Sound re c o rd is t......................Craig M cLeod young New Zealand boy who spends a sum ­ Editor ........................................Rick Spurway mer vacation on the tiny atoll of Ribono in C o m p o s e r.................................Phil Oxenham the R epublic of Kiribati.

Musical d ire c to r....................Steve Robinson M usic perform ed b y .............. Phil Oxenham THE SEA CH ILD Sound e d ito r ....................................Dell King M ix e r......................... John Van der Reyden FEATURES Prod, com pany .............. Anson Associates M ixed at ........................Associated Sounds Dist. com pany ................ Anson Associates L a b o ra to ry ....................... National Film Unit, P ro d u c e rs ................................ Annie W hittle, Atlab Bruce M orrison Length ................................................29 mins.

D ir e c to r .................................................... Bruce M orrison THE BRIDGE G a u g e .................................................... 16 mm S crip tw riter ...........................Bruce M orrison Shooting s to c k ........................Eastm ancolor P ro d u c e r/d ire c to r ........... Gerd Pohlm ann Photography .......................... Kevin Hayward Progress ..........................................In release S criptw riters .................. Gerd Pohlm ann, Sound re c o rd is t........................................ M ike W estgate First released W ellington Film Festival, Editor ................................... Michael Hacking M erata Mita ' July 1979 Photography ......................... Leon Narbey C o m p o s e r................................ Annie W hittle Cast: Laurie Gallagher, Steve Firth, John Camera assistant ..................Barry Harbert Gauge ................................................... 16 mm Hood. M ichael HackingM usical d ire c to r....................... Keith Hunter Shooting stock .................... Eastm ancolor Synopsis: A teacher and a gardener escape L a b o ra to ry ......................................... C olorfilm Progress .................................. Production from the city — their challenge is rock­ Length ................................................. 25 mins.

Synopsis: When carpenters and labourers c lim b in g . The film d e m o n s tra te s th e ir G a u g e .................................................... 16 mm s topped w o rk on the M angere B rid ge pleasure as they dare im possible heights.

Shooting s to c k ......................... Eastm ancolor construction project in Auckland in May AG AINST THE LIGHTS Progress .............................. Awaiting release 1978, they were not to know that they would Prod, com pany ....................... Sam Pillsbury Cast: Rosanna Tahana.

NO RM AN'S NEW GARDEN become enmeshed in the longest running Film Productions Synopsis: A short film about a nine-year-old industrial dispute in New Zealand history. A Prod, com pany .......................... Gibson Film in association with girl, and her mystic attraction for the sea, study in the effect of a crisis situation on Productions the National Film Unit film ed in a remote coastal com m unity in the w orkers' lives.

Dist. com pany .. Gibson Film Productions Dist. com pany .........................Sam Pillsbury far north of New Zealand.

P ro d u c e r/d ire c to r....................Dave Gibson Film Productions S crip tw riter ...............................Burton Silver P ro d u c e r/d ire c to r................... Sam Pillsbury THE HAMMER AND THE ANVIL P h o to g ra p h y ......................W arrick Attewell S crip tw rite r ............................. Sam Pillsbury YIORGOS Producers ......................... Gerd Pohlmann, Editor .................................... Michael Horton Based on the short story M erata Mita Prod, com pany ... Clonezone Productions Prod, d e s ig n e r............................. Dean Cato "T ruth of the M atter" Dist. com pany ...C lo n e z o n e P roductions/ D irectors ........................... Gerd Pohlm ann, C o m p o s e r................................................... RossHarris b y .............................................. W iti Ihim aera Merata Mita New Zealand Film Services Set construction ..................Rob O utterside P hotography ........................... Lynton Diggle P ro d u c e r/d ire c to r...................Barry Thomas S crip tw riter ............................. M erata Mita M ix e r..........................................Don Reynolds Sound r e c o rd is t.......................Don Reynolds Photography .........................

Leon Narbey, S criptw riter ...............................

Julie Grenfell Mixed at .......................

Associated Sounds Editor ..........................................M elanie Reid Steve Newman P h o to g ra p h y .............................. Chris Ghent L a b o ra to ry ........................ National Film Unit Prod, m a n a g e r.........................M elanie Reid Sound recordists ...........

Gerd Pohlm ann, Sound re c o rd is t.........................Ken Sparks Length .................................................

12 mins.

Prod, secretary . . : ..................Shirley Dunn Steve Hope Editor ........................................... Rob Ritchie G a u g e .................................................... 16 mm Cam era ope rator ................. John Phillpotts Editor ..............................

Gerd Pohlm ann C o m p o s e r.................................

Barry Thomas Shooting s to c k ..........................Eastm ancolor Key g r ip ...................................... Trou Bayliss Musical d ire c to r...................... Barry Thomas Prod, assistant ........................ M ark Darby Progress ........................................... In release M ake-up ................................. Chris Reynolds Music perform ed by ...............Rudy Sunde L a b o ra to ry ....................... National Film Unit C ast: Ross Jolly, S tuart Devine. Bob M usic .................................................... Schtung Length ................................ ................22 mins. M ixer ...................................... Craig McLeod Gillespie, Bernard Kearns.

M ix e r ........................................... Don Reynolds N arrator ................................ Tony Simpson G a u g e ....................................................

16 mm S yn opsis: A c o m ic e n v iro n m e n ta l film M ixed at ......................... Associated Sounds Mixed at ....................... C inem atic Sounds Shooting s to c k ....................... Eastm ancolor about the im portance of planting trees.

L a b o ra to ry .........................National Film Unit Laboratory ........................................ Vidcom P ro g re s s .........................................

In release Norm an and Cyril are good friends, but fall Length ................................................. 27 mins.

Length ............................................. 60 mins.

First released ..................March 25, 1980, out when Norm an fails to share C yril’s silvi­ G a u g e .....................................................16 mm Gauge .................................................

16 mm Auckland, Berkeley cultural enthusiasm . Some years later.

Shooting s to c k ..........................Eastm ancolor C a s t: A n to n io u s K a ra n tz e , M e r io l Shooting stock .................... Eastm ancolor Norm an learns the erro r of his ways, and is Progress ......................................In release Progress ...........................

Awaiting release Buckingham , Joy Ng, Ian Forsythe, Neil helped by Cyril to plant a new garden First released ...................January 18. 1980, Synopsis: A history of the trade union Sutherland.

Sydney. Film m akers Cinema Synopsis: A Greek boy begins his first day m o v e m e n t in New Z e a la n d , u tiliz in g Cast: Hemi Rapata, Peter Brunt, Catherine NUTCASE at school. Unable to speak English or com ­ historical film , photographs, and interviews W ilkin, Ross Jolly. m unicate with his classmates, he has a dis­ with labour activists.

Prod, com pany ...E n d e a v o u r Productions Synopsis: Two Maoris are accused of as­ turbing tim e until the barriers of language Dist. com pany ....E n d e a v o u r Productions saulting a white taxi driver in the m iddle of and culture start to be broken down.

P ro d u c e r.....................................................John Barnett KESKIDEE-AROHA the night. Seen through the eyes of these Director ...............................Roger Donaldson three men and a pakeha schoolm istress, Prod, com pany .............. Scratch Pictures S criptw riters ........................Keith Aberdein, who observed part of the action, the film Dist. com pany ................ Scratch Pictures Ian Mune contrasts the justice meted out by society P ro d u ce r/d ire cto r . . . . M artyn Sanderson Based on the original idea w ith the com plexity of the real issues.

S crip tw riters ......................... M erata Mita, b y ........................................ Keith Aberdein, M artyn Sanderson Ian Mune Research .................................. M erata Mita BLACK HEARTED BARNEY BLACKFOOT Sound re c o rd is t.................................. Graeme M orris Photography ....................... Kevin Hayward Prod, c o m p a n y ....................................G ibson FilmEditor ...................................... M ichael Horton Sound recordist .................. M ike W estgate Prod, m a n a g e r..................................... W arren Sellers Productions GOODNIGHT OLD MAN Editors .................................. Annie Collins, Prod, secretary ...........Priscilla Edbrooke Dist. com pany ............................ G ibson Film Simon Reece P ro d u c e r/d ire c to r....................Euan Frizzell Prod, accountant ........................... Dean Hill Productions Assoc, producer .................... M erata Mita S crip tw riter ...............................Euan Frizzell 1st asst director .......................Michael Firth P ro d u c e r...................................... Dave Gibson Prod, co-o rd in a to r ................ M erata Mita Length .................................................10 mins.

C o n tin u ity ...............................Jackie Sullivan D ir e c to r ................................ Yvonne Mackay Prod, m anager ........................ Nevan Rowe G a u g e .................................................... 35 mm Lighting c a m e ra m a n ......... Graeme Cowley S crip tw riter ............................. Jack Lazenby Laboratory ........................................ Vidcom Shooting s to c k ....................... Eastm ancolor Camera operator .............................. Ian Paul Adaptation .........................................Ian Mune Gauge ............................................. .. 16 mm First released .................. January 18, 1980, C la p p e r/lo a d e r..........................................Gary Helm P hotography ............................... Peter James Shooting stock .................... Eastm ancolor Sydney, Film m akers Cinema Progress ........................... Post-production Cam era assistant .................. John Mahaffie M usic recording ............................. John Neil Synopsis: An a n im a te d film a b o u t a Cast: Keskidee Theatre, local groups.

Key g r ip .................................................... Stuart Dryburgh Editor .......................................... Simon Reece nameless old alcoholic alone in a bedsitter, Synopsis: A visiting London-based black Gaffer ........................................ Alun Bollinger Prod, d e s ig n e rs .............. Janet W illiam son, with his bottle of booze, and his cat.

Boom o p e ra to r...............................Eric Biggs Dean Cato theatre troupe, Keskidee, perform s plays Art director ................................. Kai Hawkins C o m p o s e r................................................... Jack Body with a them e of black consciousness and M ake-up .........................

Lesley Vanderwalt Prod, m a n a g e r.................. . Alison Langden pride at rural Maori settlem ents, gang W ardrobe .................................. M elvine Clark Prod, a s sista n ts ..................Richard Lander. headquarters, urban youth clubs and com ­ Props ..........................................Louise Doyle Alastair M urray m unity centres, and prisons throughout C o n tin u ity .............................Fiona Buchanan Special e ffe c ts ......................................... Geoff M urphy New Zealand. They are w elcom ed with Asst e d it o r .................................Roger Hyton Camera assistant .........................Peter Read trad itiona l M aori cerem ony and dances, Still p h o to g ra p h y .................. Albert McCabe Key g r ip ........................................ Brian Kassler jazz, and poetry, and their visit provokes R u n n e r...................................Rosslyn Dawson E le ctricia n s...................................Kevin Beale, discussion of urgent social issues.

C a te rin g .................................. M elanie Bisley Terry Bryan THE FLYING KIWI Length ................................................. 50 mins.

M ake-up .................................Patricia Cohen, Producer ................................. Jack George Progress ............................... Post-production Louise Gray NAMBASSA FESTIVAL Scheduled re le a s e ................................... May,1980 W a r d ro b e ........................... Joan G rim m ond Prod, com pany .................Nambassa Trust Cast: Aaron Donaldson (Crunch), Melissa Props .................................... Gaye Bergquist.

STORYBOOK INTERNATIONAL Donaldson (Nikki), Peter Shand (Jamie). and Dale Films Robert Fowles, Prod, com pany Hem isphere Productions Dist. com pany .................. Nambassa Trust Simon Sinclair, Nevan Rowe (Evil Eva), Ian W atkin (G od­ in association with Producer .................................... Peter Terry Rex Perkin zilla), John Gadsby (Cobblestone), Michael Harlech Television Director ...........................

Philip Howe W ilson (M cLooney).

Puppet m a k e r.................. Hillary Bertinshaw NZ prod, com pany ................ Gibson Film Photography .................... Kevin Hayward, Synopsis: New Zealand's biggest city is M odel m a k e r........................... Bob M avsmor Productions th re a te n e d by a gang of in te rn a tio n a l John Earnshaw.

Special effects ........................... Tony Rabbit, Producer ............................. Barry Levinson villains, who hold the inhabitants to ransom C hris Strewe Johnny M orris Director ...................... Sebastian Robinson Sound recordists ............. M ike W estgate, from a hideout on a subm arine, and from a Music perform ed b y .................. Jack Body Assoc, producer .................. Dave Gibson G raham M orris secret laboratory. The villains m anage to M ix e r ......................... John Van der Reyden

A STATE OF SIEGE

Prod, com pany ......... School of Fine Arts, University of C anterbury D is trib u to r.................................Tim othy W hite P ro d u c e r...................................Tim othy W hite D ir e c to r .......................................Vincent W ard S crip tw riter ...............................Vincent Ward Based on the novel b y ...........Janet Frame P hotography ...........................Alun Bollinger Sound recordists ................ Don Reynolds, M alcolm Moore Editor ............................................. C hris King C o m p o s e r................................. John Cousins 1st asst d irector ....................G eoff M urphy C o n tin u ity ..........................Christine Hancox Additional pho tograph y . .. .Mike Rathbone W ardrobe .................................. Gwen Kaiser M ixed at ........................... National Film Unit Laboratories .................. National Film Unit, Atlab Length ................................................. 52 mins.

G a u g e .....................................................16 mm S hooting s to c k ........................ Eastm ancolor P r o g r e s s ......................................... In release First released .................................July 1978, W ellington Film Festival C ast: Anne F lannery (M a lfre d Signal), Peggy W alker, John Bullock, Jennifer Kahn, Peter McCauley, M aim e W hite, Dorothy M cKegg.

Synopsis: M alfred Signal, a retired drawing teacher, journeys north after her m other's death and settles Into a sm all cottage by the sea. Alone in her new home, she ex­ periences te rro r at the onslaught of a storm and the intrusion of a prowler, and begins to lose her grip on reality.

D O C U M E N TA R IES

SHORTS

A N IM A TIO N

TE LE V IS IO N

44 — Cinema Papers. Neu Zealand Supplement

Editor .................................... Philip Howe C om poser ........................... Schtung Music Exec, produce r ...............Nambassa Trust Assoc, produce r ........................ Dale Films Prod, m anager .................. D ebbie H atherly Lighting cam eram an ....... John Earnshaw Cam era operators .................. Alan Locke, Andy Roelants Special fx photography ....... Philip Howe Gaffer ........................................ Trou Baillss Choreography ............. M ary Jane O'Reilly Neg. m atching .............. Negative Cutting Services M ixer ...................................... Brian Shennan O pticals ........................... C olorfilm , Sydney Title designer ....................... Neil W ernham Catering .................................. M rs Earnshaw M ixed at ................................. National Film Unit, W ellington Laboratory ..................... C olorfilm , Sydney Lab. liaison ........................ David S chubert Budget ............................................... $55,000 Length ............................................ 100 mins.

Gauge ................................................. 16 mm Shooting stock .................... Eastm ancolor Progress ...................................... In release C a s t: S p lit E n z, S c h tu n g , L im b s , Cockroach, Sam Fords Vrandah Band, S teve T u llo ch , Sw am i S a tch id a n a n d a , Acorns Puppets.

Synopsis: A film record of the Nambassa Festival.

SHORTS

ALL THE WAY UP THERE Prod, com pany .................. Valhalla Films Dist. com pany .................... Valhalla Films P roducers ........................ Gaylene Preston, W arrick Attewell Director ........................... G aylene Preston Com m entary w ritten by ......... David Yerix Photography ...................... W arrick Attewell Sound recordist .................... Steve-Upston Editor ............................................. Dell King C om poser ............................. W ayne Mason Asst com poser ............... B arry Saunders A d d it io n a l photography ........... M ichael Hardcastle M usic perform ed by ...........W ayne Mason Narrator ...................................... David Yerix M ixed at ........................Associated Sounds Laboratories .............. National Film Unit, Atlab, C olorfilm Length ............................................. 27 mins.

Gauge ................................................. 16 mm Shooting stock .................... Eastm ancolor Progress ...................................... In release First released ........................22 June 1979, W intergarden, Auckland Synopsis: Bruce Burgess, a 24-year-old c e r e b r a l p a ls y v ic t im , r e a lis e s an im possible dream — to clim b a m ountain — with the help of Graeme Dingle, one of New Zealand's best known m ountaineers. After training, the clim bing party m ounts an assault on the active volcano peak M ount Ruapehu and, despite Bruce's handicap succeeds.

BURMA Prod, com pany .................... N im rod Films Dist. com pany ...................... N im rod Films P roducers ...................................... Ian John, Craig M cLeod Director ............................................. Ian John S crip tw riter ...................... C hris A nderson P hotography ..............................Keith Hawke Sound recordist .................. Craig M cLeod Editor ............................................... Dell King Prod, m anager .................... Craig M cLeod Asst edito r ................................... Pru Burch M ixer ...................................... Craig M cLeod N arrator ......................... Peter Vere-Jones M ixed at ..........................C inem atic Sounds Laboratory ............................................ Atlab Length ............................................... 48 mins.

Gauge ................................................. 16 mm Shooting stock .................... Eastm ancolor Progress ...................................... In release First released ...................... NZ Television, O ctober 1979 S y n o p s is : A d o c u m e n ta r y s tu d y o f contem porary Burm a through the lives of four fam ilies — a peasant rice-fa rm er, a travelling circus, a dance teacher and the m onks. Locations include a lake where farm ers plant rice on floating land; Pagan, the ancient capital, where 5000 pagodas and shrines still exist; and M andalay, where the gold-beaters carry on their age-old craft.

CHILDREN OF SAMOA Prod, com pany

....................... Gibson Film Productions ......................... G ibson Film Productions Producer ................................. Dave G ibson Director ...............................John A nderson Photography .............................. Peter Read Sound recordist ............. M alcolm Crom ie Editor ...................................... Sim on Reece Prod, m anager ............. G raham e M cLean Cam era assistant .................. Jeff W illiam s Dist. com pany

M ixer ....................................... Don Reynolds Still p h o tograph y ................. B arry D urrant Lab ora tory .................... National Film Unit Length .............................................. 12 mins.

G auge .................................................. 16 mm Shooting stock .................... Eastm ancolor Progress .......................... Aw aiting release Synopsis: llasa and M ose live in the sm all village of M atautu in the Pacific islands of W estern S a m oa . The film show s th e ir life s ty le a n d th a t of th e ir fa m ily , in s e q u e n c e s d e p ic tin g s c h o o l, g a m e s ,

DAY 507 A M ita Narbey Pohlm ann productio n Length .............................................. 26 mins.

Gauge ................................................. . 1 6 mm Progress .......................... Aw aiting release Synopsis: A docu m en tary account of the action by police and troops against Maori a c tiv is ts o c c u p y in g B a s tio n P o in t, in A u ckland, which had becom e a sym bol of Maori resistance to loss of their land. A c o m p ila tio n in c o rp o ra tin g in d e p e n d e n t film , television footage, pho tograph s and radio tapes.

FIGHT THE GOOD FIGHT Prod, com pany ...................... Reel Images Dist. com pany ........................ Reel Images P rodu cer .......................................... John Keir D irector .......................................John M cKay S crip tw rite r .....................................John Keir P h otography .................... Donald Duncan Sound recordists .................. Ken Saville, Tony Keesing Editor .......................................... John M cKay N arrator ............................................ John Keir O pticals .......................... C o lorfilm , Sydney Title designer ................ Gaylene Preston M ixed at ........................ National Film Unit Laboratory .................... National Film Unit B udget ................................................ $16,000 Length ............................................... 50 mins.

Gauge ..................................................... 16 mm S hooting stock .................... Eastm ancolor Progress ........................... P o st-production Scheduled release .......................... May 30, 1980 (TV NZ) S y n o p s is : T h e m o d e r n p r o h i b it io n m o v e m e n t in New Z e a la n d s ta g e d a tem p era nce revival durin g 1979. The film d o c u m e n ts th e ir p ro g re s s as they re ­ in troduce tem perance rallies, “ the Pledge", and cam paign fo r tougher liquor laws.

FROM WHERE THE SPIRIT CALLS (TE OHAKI O TE PO) Prod, com pany .................... Pacific Film s Dist. com pany ...................... Pacific Film s P roducer ................................. John O'Shea D irector .......................................... John Reid S crip tw rite r .................................. John Reid Photography ............... M ichael H ardcastle Sound re cordist ................ G raham M orris E ditor ................................................ Dell King M ixer ........................................ Steve Upston M ixed at ................................. Pacific Film s Lab ora tory .................... National Film Unit Length .............................................. 43 mins.

Gauge .................................................... 16 mm S hooting stock .................... Eastm ancolor Progress .......................... Aw aiting release S y n o p s is : A d o c u m e n ta ry a b o u t the restoration of two historic M aori m eeting houses, revealing outstanding deco ratio n of the 1870s, and dep icting the im portance of m eeting houses in contem porary Maori culture. .

GUNG HO: REWI ALLEY OF CHINA Prod, com panies ........ Phase Three Films and the NZ National Film Unit in association with A ir New Zealand and the B roadcasting C o rpo ratio n of New Zealand Dist. com panies ......... Phase Three Film s and the NZ National Film Unit P rodu cer ............................... John M aynard D irector ................................... G eoff Steven S crip tw rite rs ...................... G eoff Chappie, G eoff Steven P h otog rap hy .......................... Leon Narbey Sound re co rd ist ................ G raham M orris E ditor ...................................... A nnie C ollins Exec, pro d u ce r ............... David H. Fowler Asst e d ito r .......................... Barbara Hardy M ixer ..................................... Brian Shennan N a rrator .......................... Peter Vere-Jones Still p h o tograph y ...................... Rewi Alley, C ourtney Archer, Fred Stevens, Gwen Som erset A rchival Film ........................... Sandan and Rewi Alley c1945, film ed by C ourtney Archer, Visnews Ltd, H earst M etrotone News Lab ora tory ............................... NZ National Film Unit Length .......................................... 50 mins.

Gauge .................................................... 16 mm Progress .......................... Aw aiting release Synopsis: A docu m e n ta ry account of the life of Rewi Alley, the New Zealander who has spent fifty years in C hina w orking fo r the revolution.

Editor ........................................ Gail W erbin C om poser ........................ Bobby G oodm an Exec, produce rs ............... Barry Everard, Peter Rachtm an Prod, m anager .................. Peter Appleton Laboratory .................... C onsolidated Film Industries, U.S.A. Length .............................................. 29 mins.

Gauge ................................................... 1 6 m m Progress ..................................... In release First released .................. January 11, 1980 Cast: A rth u r Lydiard, John W alker, Heather Thom son. Max Telford, Jack Foster.

Synopsis: A docu m en tary study of New Z e a la n d ru n n e rs , d is c u s s in g tra in in g m ethods and exploring the psyche of many w orld-class athletes.

THE HUMBLE FORCE Prod, com panies ....... Phase Three Film s and the NZ Film Unit in association with A ir New Zealand and the B roadcasting C orporation of New Zealand Dist. com panies ......... Phase Three Film s and the NZ National Film Unit Producer ............................... John M aynard D irector ................................... G eoff Steven S crip tw riters ...................... G eoff Chappie, ^ G eoff Steven Photography .......................... Leon Narbey Sound recordist ................. G raham M orris Editor ....................................... A nnie C ollins Exec, p roduce r ............... David H. Fowler Asst edito r ......................... Barbara Hardy M ixer .................................... Brian Shennan N arrator .......................... Peter Vere-Jones Still pho tograph y ...................... Rewi Alley, C ourtney Archer, Fred Stevens, Gwen Som erset Archival Film ........................... Sandan and Rewi Alley c1945, film ed by C ourtney Archer, Visnews, Hearst M etrotone News Laboratory ............................... NZ National Film Unit Length .......................................... 50 mins.

Gauge ................................................... 16 mm Progress .......................... Aw aiting release Synopsis: A docu m en tary panoram a of China in 1979 with background provided by Rewi Alley, the New Zealander who has spent 5 0 'y e a rs in the country w o rking for the revolution. Sequences include Tai Chi, a Shanghai film studio, the Yangtze River, the Old Silk Road, the giant Sleeping Buddha, the Yumen oil fields, and M ongolian horse herdsm en and wrestlers: together with interviews w ith old peasant revolutionaries, an oil w o rker and a silk w orker.

.................. 21 M arch, 1980, Auckland, Berkeley Synopsis: A docum entary portrayal, film ed over 18 m onths, of the delicate and often strained relationship between an 82-yearold Maori woman and her handicapped 40year-old son, living in a rem ote rural district.

H U N C H IN ’ DOWN THE TRACK

JANE: THE PLACE AND PAINTINGS OF JANE EVANS

Prod, com pany

...................... Gibson Film P roductions ........................ Gibson Film P roductions P roducer ................................. Dave Gibson D irector .................................... Geoff Dixon P hotography ......................... Bob Hughes, Gary Hansen, Allan G uilford Sound recordists ............. Don Reynolds, Graeme M orris Editor ................................... M ichael Horton Prod, m anager ...__ Roim ata M acgreqor Prod, assistants ......................Eleanor Toft, Chris Short, M itch Matthews P rodu cer’s assistant .. G raham e M cLean A d dition al pho tograph y ....... Geoff Dixon, Graeme Cowley, John Day Cam era assistant .................... M ike Fuller Key g rip ................................... Brian Kassler G affer .......................................... Pav Govind Asst edito r ........................... Roger Huyton M usic ..................................................... Mojo, Groove Meyers, Dave Fraser and Dale W rightson Sound edito r ............................. Kit Rollings Tracklaying assistants .......... Kerry Coe, M ike Stephenson M ixer ..................................... Brian Shennan Still pho tograph y ................ Barry D urrant O pticals .......................................... C olorfilm Lab ora tory .................... National Film Unit Length .............................................. 48 mins.

Gauge ................................................... 1 6 m m Shooting stock .................... Eastm ancolor Progress .......................... Aw aiting release Cowboys:: Harley May, T. J. W alters, Mel Colem an, Larry Robinson, Bob Arm itage, Nigel W estlake, Steve Hodge, Greg M orris.

Synopsis: Two Australian cow boys jo in two New Z e a la n d e rs on the ro d e o c irc u it, driving from one event to the next in an old Dodge. By the tim e of the big final they have been jo ined by fo u r top A m erican and Canadian riders.

Dist. com pany

IN SPRING ONE PLANTS ALONE Prod, com pany

..................

Vincent W ard Productions Dist. com pany .................... Vincent Ward P roductions and New Zealand Film Services P ro d u c e r/d ire c to r ............... Vincent Ward S c rip tw rite r .......................... Vincent W ard Photography ...................... Alun Bollinger, Leon Narbey Sound recordist .................... Steve Upston Editor .......................... C hristine Lancaster C om poser .................................... Jack Body M ixers ................................... Don Reynolds, Brian Shennan Still pho tograph y ................. M iles Hargest M ixed at .................... Associated Sounds, National Film Unit Laboratories ............... National Film Unit, C o lorfilm Length .............................................. 42 mins.

Gauge .................................................. 16 mm S hooting stock .................... Eastm ancolor Progress ...................................... In release

PSYCHOTHERAPY Prod, com pany ......................Vortex Films Dist. com pany ........................V ortex Films Producer ................................... C hris Ghent D irectors ................................. C hris Ghent, Alister Barry, M argie Barr-B row n Script consultant ....... M argie Barr-B row n Photography ........................... C hris Ghent Sound recordist ......................Alister Barry Laboratory .................... National Film Unit Gauge ................................................. 16 mm Shooting stock .................... Eastm ancolor Progress ..................................... Production Introduce d by: Ken M ellor.

Synopsis: A docum entary on the subject of parenting and re-parenting, and the use of th is tre a tm e n t fo r s c h iz o p h re n ia and p a tie n ts w ith o th e r seriou s p e rs o n a lity problem s.

First released

Prod, com pany Phoenix Com m unications and the Broadcasting C orporation of New Zealand Dist. com pany Phoenix C om m unications P ro d u c e r/d ire c to r ...................... John Reid S crip tw riter ................................. John Reid P hotography ............. M ichael Hardcastle.

Alun Bollinger Sound recordist .................... Lee Tam ahori Editor .................................... M ichael Horton C om poser ...................... Stephen M cCurdy Exec, produce r ............... Richard Thomas Prod, c o -o rd in a to r ............ Lynne Newport Asst editor ................................... Ina Cutten M ixer ........................................ Don Reynolds Narrator ...................................... Jane Evans Laboratory .................................... Colorfilm Length ............................................. 28 mins.

Gauge ................................................. 16 mm Shooting stock .................... Eastm ancolor Progress ........................... Awaiting release Synopsis: A docu m en tary portrait of the real and im aginary w orlds of Jane Evans, a boldly expressive artist who since the age of 19 has been s tric k e n by rh e u m a to id arthritis.

KILLER WHALE Prod, com pany

.................. M edisea Films, in association with the Broadcasting C orporation of New Zealand Dist. com pany ...................... M edisea Films Producer ................................. Sim on Cotton D irectors ................................. David Barker.

M alcolm Hall S crip tw rite rs ............................. Ken Catran.

Brent Leslie Photography .................. Peter Thom pson Sound re cordist ...............Dale Farnsworth Editors ............................. Dale Farnsworth, Peter Thropp C om poser ................................. David Calder Prod, assistant ................ D ebbie Hatherly U nderwater cam era ............. Sim on Cotton M am m al voices ............... Dr Roger Payne and C apitol Records Dr W illem H. Dudok van Heel, H arderw ijk D olfinarium Still pho tograph y ........... Susanna Burton, Phyllida Cotton, Roger M cQuilkan Other expedition m em bers ........................ Paul M orrison, Derek Paterson Length .............................................. 25 mins. (also 50 m ins. "IN SEARCH OF KILLER W HALE” ) Gauge ................................................... 16 mm Shooting stock .................... Eastm ancolor Progress ...................................... In release First released ...................... NZ Television M arch, 1980 S yn o p s is : A S outh P a cific u n d e rw a te r film m a ke r sets out to discover whether Orca. the Killer W hale, will attack a diver in the wild.

ON THE RUN Prod, com pany .................. Everard Films Dist. com pany .................... Everard Films P ro d u c e r/d ire c to r ............. Sparky G reene Photography .......................... G ary Hansen Sound recordist .................... A ndy W iskes

RED DEER Prod, com pany ................ S p rocket Films Dist. com pany .................. S p rocket Films P roducers ........................... Bruce M orrison.

Keith Hunter D irectors ............................. Bruce M orrison.

Keith Hunter S crip tw riters ..................... Bruce M orrison, Keith Hunter Photography ...................... Ham dani Milas Sound recordist ............... Ham m ond Peek Editor ........................................ Philip Howe C om poser ........................... Keith Ballantyne M ixer ................................... Brian Shennan N arrator ............................. Terence C ooper M ixed at ......................... National Film Unit Laboratory ...................... National Film Unit Length .............................................. 28 mins.

Gauge ................................................... 16 mm Shooting stock .................... Eastm ancolor Progress ...................................... In release First released ................ BBC Television.

February 1980 Synopsis: A docum entary study of the red deer, brough t to New Zealand last century from the great estates of England and Scotland, and subsequently recognised as a t h r e a t to n a tiv e e c o lo g y . In te n s e •comm ercial interest in deer began in the 1960s with the opening up of the European v e n is o n m a r k e t a n d t h e A s ia n pharm aceutical m arket, and the film shows the daring techniques of helicopter hunting which have been introduced.

SADDLEBACK Prod, com pany .................. S procket Films Dist. com pany .................... S p rocke t Films Producers .......................... Bruce M orrison, Keith Hunter D irectors ........................... Bruce M orrison, Keith Hunter S crip tw riters .................... Bruce M orrison.

Keith Hunter P hotography ........................ Robert Brown Sound recordist ..................G eoff Shepherd Editor ........................................ Philip Howe C om poser ......................... Keith Ballantyne Asst editor ........................... Colleen Hodge M ixer .................................... John Carpenter Narrator ............................. Terence C ooper M ixed at ............................. Television One Laboratory ...................... National Film Unit Length ................................... 40 or 25 mins.

Gauge ................................................. 16 mm Shooting stock .................... Eastm ancolor Progress .......................... Aw aiting release Synopsis: A docu m en tary account of an expedition to the rem ote M uttonbird islands far to the south of New Z e a la n d , to in v e s tig a te the s u c c e s s of a re scu e operation aim ed at saving one of the w o rld ’s most rare and ancient birds.

SEAMEN

S hooting stock .................... Eastm ancolor Progress ........................... P ost-production Synopsis: A docu m en tary dep icting the work of seam en and the history of the New Zealand Seam en’s Union.

TEINE SAMOA: A GIRL OF SAMOA Prod, com pany

...................... G ibson Film P roductions ........................ G ibson Film P roductions Producer ................................... Dave G ibson D irector ...............................John A nderson Photography ............................. Peter Read Sound recordist ............. M alcolm Crom ie Editor ........................................ Sim on Reece Prod, m anager ............. G raham e M cLean Cam era assistant ................ Jeff W illiam s M ixer ....................................... Don Reynolds Still photography ................. Barry D urrant M ixed at ......................Associated Sounds Laboratory .................... National Film Unit Length .............................................. 25 mins.

Gauge ................................................... 1 6 m m Shooting stock .................... Eastm ancolor Progress ...................................... In release First released ...................... Television New Zealand, M arch 18, 1980 Synopsis: Situe, a 19-year-old girl, lives in the sm all co a sta l villa g e of M ata utu.

W estern Samoa. Through her eyes, the film lo oks at S am oan villa g e life and the expectations of the young educated girl who is faced with the choice of either rem aining with her fam ily or seeking new opp ortunities further afield.

Dist. com pany

THAILAND Prod, com pany .................... N im rod Films Dist. com pany ...................... N im rod Films P roducers ...................................... Ian John.

Craig M cLeod D irector ............................................ Ian John S crip tw riter ...................... C hris Anderson P hotography ........................... Keith Hawke Sound recordist .................. Craig M cLeod Editor .............................................. Dell King Prod, m anager .................... Craig M cLeod Camera assistant . . . . M ichael H ardcastle Asst editor .................................. Pru Burch M ixer ...................................... Craig M cLeod N arrator ......................... Peter Vere-Jones M ixed at ..........................Cinem atic Sounds Laboratory ............................................ Atlab Length ............................................. 48 mins.

Gauge ................................................. 16 mm Shooting stock .................... Eastm ancolor Progress .......................... Aw aiting release S y n o p s is : A d o c u m e n ta r y s tu d y of contem porary Thailand through the lives of four fam ilies — an old fisherm an and sw allow -nester who has to give up his dangerous w ork; a young wom an who renounces her role as a nun and tries to find a new life in village society; a young man preparing for a village boxing m atch: and a tem ple restorer whose jo b is his life.

TWO RIVERS MEET Prod, com pany

...................... T rilogic Film Productions ........................ T rilogic Film P roductions P ro d u ce r/d ire cto r ............. Richard Turner S crip tw riter .......................... Rowley Habib Based on the original idea by ......................................... Rowley Habib.

Richard Turner P hotography ....................... Bayly W atson.

Alister Barry Sound recordists ............. Craig M cLeod, M alcolm Crom ie Editor ................................... Richard Turner N arrator ................................. Rowley Habib M ixed at ......................Associated Sounds Laboratory ................... National Film Unit Length .............................................. 30 mins.

Gauge ................................................. 16 mm Shooting stock .................... Eastm ancolor Progress ...................................... In release First released .................. W ellington Film Festival, July 1978 C a st: H o ne T u w h a re .

R o w le y H a b ib , Katarina M aitaira.

Synopsis: A docu m en tary celebration of M aori po e try as an e xp re s s io n of the political, social and cultural struggle of the Maori people.

Dist. com pany

THE VALLEY OF THE SACRED FIRE Prod, com pany

...................... N im rod Film P rodu ctions ........................ Nim rod Film P roductions P ro d u c e r/d ire c to r ............................Ian John Photography ..............................Keith Hawke Editor ................................................ Ian John C om poser ................................. Dave C alder Camera assistant ........... W arrick Attewell M ixer .................................... Craig M cLeod N arrator .......................... Peter V ere-Jones M ixed at ..........................Cinem atic Sounds Laboratory ............................................ Atlab Length .............................................. 25 mins.

Gauge .................................................. 16 mm Shooting stock .................... Eastm ancolor Progress ....................................... In release S y n o p s is : A d o c u m e n ta r y on te m p le restoration in the Katm andu Valley of Nepal — a coun try that has m ore shrines than temples.

Dist. com pany

Prod, com pany ................ Vanguard Films Dist. com pany .................. Vanguard Films P roducers ................................. Rod Prosser, A lister Barry, Russell Cam pbell Directors .................................. Rod Prosser, A lister Barry, Russell Cam pbell S crip tw riters ........................... Rod Prosser, A lister Barry, Russell C am pbell Photography ........................... A lister Barry Sound re c o rd is t ........... Russell C am pbell Editor ........................................ Rod Prosser Prod, m anager ........................Rod Prosser Laboratory .................... N ational Film Unit Budget ................................................$15,500 Gauge .................................................. 16 mm

Cinema Papers. New Zealand Supplement — 45

W e a p o lo g iz e to a n y s u p p lie r o f s e r ­ v ic e s o r fa c ilitie s w h o h a s b e e n in ­ a d v e rte n tly o m itte d fr o m th is lis t c o m ­ p ile d b y th e N e w Z e a la n d F ilm C o m m is ­ s io n . A n y o m is s io n s o r e r r o r s s h o u ld be n o tifie d to C in e m a P a p e r s a n d th e N Z F C fo r fu tu r e r e fe r e n c e a n d p u b lic a tio n .

Wellington

Christchurch

Film Facilities

Orly Productions

9 C o lle g e S t, W e llin g to n 1 T e le p h o n e : 84 4191 T e le x : N Z 3 1 2 5 5 A ttn : F ilm F a c ilitie s

S e e E q u ip m e n t R e n ta l

Filmobile Services

Post-production Facilities

14 H o lla n d S t, W e llin g to n 1 T e le p h o n e : 84 3 2 9 0 T e le x : N Z 3 1 2 5 5 A ttn : F S L /W N /N Z C o n ta c t: N o rm a n E ld e r ( m a n a g in g d ir e c ­ to r)

Auckland

Vidcom

National Film Unit

Ian John Productions

3 4 B u r le ig h St, A u c k la n d 3.

T e le p h o n e : 79 6 4 4 6 T e le x : N Z 2 5 5 0 C o n ta c t: B ill M a g ill (m a n a g e r)

S e e L a b o r a to rie s C o n ta c t: Ian P a la m o u n ta in

105 F e d e ra l St, A u c k la n d 1 T e le p h o n e ; 79 4 7 7 9 C o n ta c t: Ian J o h n

Laboratories Auckland

Wellington National Film Unit F a irw a y D r., L o w e r H u tt T e le p h o n e : 67 2 0 5 9 T e le x : T o u r is to N Z 3491 C o n ta c t: W a r re n O ’ K e e ffe

Associated Sounds W o r ld T ra d e C e n tre , 68 G h u z n e e S t, W e llin g to n 1 T e le p h o n e : 84 8 9 8 4 C o n ta c t: D o n R e y n o ld s

Asosco Cranes B o x 1 9 -0 8 8 , W e llin g to n T e le p h o n e : 85 7 4 7 5 T e le x : N Z 3 1 0 4 8 A ttn : F ilm c o m /A s o s c o

Amphibian Film Services

Equipment Rentals Auckland Film Facilities B o x 6 8 -0 8 3 , A u c k la n d T e le p h o n e : 77 4 5 5 2 T e le x : N Z 3 1 2 5 5 A ttn : F ilm F a c ilitie s

Video Workshop 91 C o o k S t, A u c k la n d - W e s t T e le p h o n e : 79 6 5 6 9 C o n ta c t: A n d y T y le r; C h a rle s S im m o n d s

Dale Film Productions 71 S t M a r y ’s R d, S t M a r y ’s, A u c k la n d T e le p h o n e : 76 8 8 9 5 C o n ta c t: D a le F a rn s w o rth

Cinehire G e o rg e a n d A s s o c ia te s , 10 P o lle n St, A u c k la n d T e le p h o n e : 76 6 0 4 9 T e le x : S e e A K N Z 2901 C o n ta c t: J a c k G e o rg e

Cinematic Sound 105 F e d e ra l S t, A u c k la n d 1 T e le p h o n e : 79 4 7 7 9 C o n ta c t: C ra ig M c L e o d

McAlpine Productions 25 B u r w o o d C re s ., R e m u e ra , A u c k la n d T e le p h o n e : 54 3 3 6 2 C o n ta c t: A n d r e w M c A lp in e

Ponsonby Picture House 8 5 J e rv o is R d, H e rn e B ay, A u c k la n d T e le p h o n e : 76 2 1 0 5 C o n ta c t: M u r r a y S a v id a n

11 B e a c h S t, Is la n d B ay, W e llin g to n T e le p h o n e : 8 3 6 0 2 6 C o n ta c t: S te v e L o c k e r - L a m p s o n

Christchurch Orly Productions 2 0 9 S a lis b u r y S t, C h r is tc h u r c h 1 T e le p h o n e : 62 0 4 7 C o n ta c t: P ie r r e L o d s ; R o s s B e c k

Studios and Sound Stages Auckland

Post-Production Services 101 F e d e ra l S t, A u c k la n d 1 T e le p h o n e : 37 2 9 9 5 C o n ta c t: P a tric k M o n a g h a n

Stan Wemyss 3 8 O ls e n A v e , H ills b o r o u g h , A u c k la n d T e le p h o n e : 65 7 7 8 9

Video Workshop S e e E q u ip m e n t R e n ta l

Peach Wemyss Astor 18 N u g e n t St, A u c k la n d 3 T e le p h o n e : 79 5 4 7 7 ; 79 5 4 7 8 ; 79 5 4 7 9 C o n ta c t: T o n y S m a ll; K e lv in P e a c h

Reynolds Film Productions 2 3 0 P o n s o n b y R d, A u c k la n d T e le p h o n e : 76 2 0 7 9 C o n ta c t: H a rry R e y n o ld s ; D o n W h y te

Sam Pillsbury Film Productions

Sam Harvey Animations 18 N u g e n t St, A u c k la n d 3 T e le p h o n e : 79 5 4 7 7 ; 79 5 4 7 8 ; 79 5 4 7 9 C o n ta c t: S a m H a rv e y

Reynolds Film Productions S e e S tu d io s a n d S o u n d S ta g e s

Lindsay Whipp 9 A T itc h e n e r St, N e w L yn n , A u c k la n d T e le p h o n e : 87 3 1 1 4

Wellington Morrow Productions

S e e E q u ip m e n t R e n ta l

Sam Pillsbury Film Productions

Gaylene Preston Productions

S e e S tu d io s a n d S o u n d S ta g e s

S e e S tu d io s a n d S o u n d S ta g e s

26 R o x b u rg h S t, W e llin g to n 1 T e le p h o n e : 8 4 6521 C o n ta c t: G a y le n e P re s to n

Reynolds Film Productions

Gnome Productions

S e e S tu d io s a n d S o u n d S ta g e s

3 2 B la ir S t, W e llin g to n 1 T e le p h o n e : 8 4 4 6 9 7 C o n ta c t: E u a n F riz z e ll

Ponsonby Picture House

Peach Wemyss Astor

Wellington Fine Cut Film Editing Services 3 2 B la ir S t, W e llin g to n 1 T e le p h o n e : 84 4 6 9 7 C o n ta c t: D e ll K in g ; A n n ie C o llin s

Mr Chopper Film Post-production B o x 2 7 -0 7 2 , W e llin g to n T e le p h o n e : 84 5 3 6 7 C o n ta c t: J a m ie S e lk ir k (h o m e 26 6 2 8 8 ); S im o n R e e c e (h o m e 8 4 2 5 8 4 )

National Film Unit S e e L a b o r a to rie s C o n ta c t: M a rtin T o w n s e n d

Christchurch Murray Freeth Animation 2 0 9 S a lis b u r y St, C h r is tc h u r c h 1 T e le p h o n e : 62 0 4 7 C o n ta c t: M u r r a y F re e th

National Film Unit S e e L a b o r a to rie s C o n ta c t: R o ss C h a m b e r s

Pacific Film Productions 3 C r u ic k s h a n k S t, K ilb irn ie , W e llin g to n 3 T e le p h o n e : 87 2191 C o n ta c t: A d r ie n n e R o g e rs

Wellington

S e e E q u ip m e n t R e n ta l

46 — Cinema Papers, New Zealand Supplement

1 st flo o r, 17 E m ily P la ce , A u c k la n d 1 T e le p h o n e : 37 5 5 8 5 C o n ta c t: D a v id W a te rs (m a n a g in g d ir e c to r )

51 W e ra ro a R d, L e v in T e le p h o n e : (69 ) 87 136 C o n ta c t: B o b M o rro w ; M ic h a e l W a lk e r

Christchurch

National Film Unit

Paint Pot Film Studios

Dale Film Productions

101 F e d e ra l St, A u c k la n d 1 T e le p h o n e : 37 1071 C o n ta c t: S a m P ills b u r y

S e e L a b o r a to rie s C o n ta c t: A r th u r S la n k a r d

Auckland

S e e E q u ip m e n t R e n ta l

Cinehire G e o rg e a n d A s s o c ia te s S e e E q u ip m e n t R e n ta l

Animation, Titles, Opticals, Graphics

Orly Productions

Negative Matching Auckland Negative Matching Services 101 F e d e ra l S t, A u c k la n d 1 T e le p h o n e : 37 2 9 9 5 C o n ta c t: C h ris B e w le y

Academy Film Services 3 G le n c o u r t P la ce , G le n fie ld , A u c k la n d 10 T e le p h o n e : 4 4 4 3381 C o n ta c t: P e te r P a rs o n s

Reynolds Film Productions S e e S tu d io s a n d S o u n d S ta g e s

Wellington Pacific Film Productions S e e P o s t- p ro d u c tio n F a c ilitie s C o n ta c t: A d rie n n e R o g e rs

Coronado Film Services 27 T re lis s ic k C re s ., N g a io , W e llin g to n T e le p h o n e : 79 5 3 8 4 C o n ta c t: J a y B e rry m a n

Mr Chopper Film Post-Production S e e P o s t- p ro d u c tio n F a c ilitie s

Sound Recording, Transfer and Mixing Facilities Auckland

Dale Film Productions Ltd

EMI Recording Studio

S e e E q u ip m e n t R e n ta l

7 W a k e fie ld St, L o w e r H u tt T e le p h o n e : 69 4 7 5 9 T e le x : N Z 3 4 1 3 C o n ta c t: P e te r H itc h c o c k ; F ra n k D o u g la s

Mascot Recording Studios 34 C h a rlo tte S t, E d e n Tee, A u c k la n d 3 T e le p h o n e : 79 3 7 6 3 ; 79 3 7 6 4 T e le x : P D N Z 2 1 6 7 4 C o n ta c t: H u g h L y n n

Stebbing Recording Studios

Cinematic Sound

1 0 8 -1 1 0 J e rv o is Rd, H e rn e Bay, A u c k la n d T e le p h o n e : 76 2 4 2 6 ; 76 0 6 0 7 ; 76 1218 C o n ta c t: E ld re d S te b b in g

S e e E q u ip m e n t R e n ta l

Genesis Sound 91 C o o k St, A u c k la n d W e s t T e le p h o n e : 79 6 2 9 7 C o n ta c t: L a rry K illip

Wellington

National Film Unit

Peach Wemyss Astor

Associated Sounds

S e e L a b o r a to rie s C o n ta c t: C h ris T y s o n

S e e S tu d io s a n d S o u n d S ta g e s

S e e E q u ip m e n t R e n ta l

Reynolds Film Productions

National Film Unit

Christchurch

S e e S tu d io s a n d S o u n d S ta g e s

S ee L a b o r a to rie s C o n ta c t: R on S k e lle y

Orly Productions

112 A lb e r t St, A u c k la n d 1 T e le p h o n e : 77 935 3 C o n ta c t: D o u g R o g e rs ; S im o n A le x a n d e r

S e e E q u ip m e n t R e n ta l

Harlequin Recording Studio Pacific Film Productions S e e P o s t- p ro d u c tio n F a c ilitie s C o n ta c t: S te v e U p s to n

Radio New Zealand Studio Centre B r o a d c a s tin g H o u s e , B o w e n St, W e llin g to n 1 T e le p h o n e : 72 177 7 e x t. 961 T e le x : NZ 31031 C o n ta c t: B o b C a m e ro n (s tu d io ,m a n a g e r)

Television New Zealand F a c ilitie s S e c tio n , P e rc y C a m e ro n St, A v a lo n , L o w e r H u tt T e le p h o n e : 66 6 9 6 9 T e le x : N Z 386 7 C o n ta c t: N o rm a n A d a m s

Christchurch Orly Productions S e e E q u ip m e n t R e n ta ls

Marmalade Recording Mandrill Recording Studios V a c a tio n H o u se , 50 P a rn e ll R d, P a rn e ll, A i ipk" la n H

W o rld T ra d e C e n tre , 13 S tu rd e e St, W e llin g to n 1 T e le p h o n e : 85 90 5 0; 8 5 9051 C o n ta c t: R o c k y D o u c h e

T e le p h o n e : 79 3 2 2 2 ; 79 3 3 2 8 C o n ta c t: G ly n T u c k e r

THE BIGGEST PROBLEM OUR CLIENTS HAVE IS DECIDING WHAT GEAR TO BRING .

FILMOBILE

LO C A T IO N SYSTEMS ^ N . Z . W ID E 14 HOLLAND ST, WELLINGTON, N.Z. PH. 8 4 3 -2 9 0 . TELEX NZ 31 255

Cinema Papers. New Zealand Supplement â&#x20AC;&#x201D; 47

Based on the book by David Yallop THE MOST IMPORTANT FILM TO BE PRODUCED IN AUSTRALASIA

STARRING

DAVID HEMMINGS AND

JOHN HARGREAVES WITH

IAN WATKIN GRANT TILLY TONY BARRY MARTYN SANDERSON TERENCE COOPER and introducing DIANA ROWAN

AN ENDEAVOUR PRODUCTION Producer JOHN BARNETT Director JOHN LAING Screenplay DAVID YALLOP Photography ALUN BOLLINGER

Sales contacts: Cannes: Lindsay Shelton New Zealand Film Commission 3rd Floor Villa Cinna 8 Rue Jean Baptiste Dumas Phone: 390262

New Zealand: John Barnett Endeavour Productions RO Box 2689 Phone 859421 Wellington Tx c/o NZFC 31048 New Zealand

AMA Presents

From one end of the country to the other nothing could stop the menf the mini, the madness!

Starring Tony Barry, Kelly Johnson, Claire Oberman, Shirley Gruar.

Written by Geoff Murphy & Ian Mune. Music by John Charles with additional music by Streettalk, Photography by Alan Bollinger.

Produced by Nigel Hutchinson & Geoff Murphy. Directed by Geoff Murphy.

See it a t Cannes - Screening a t Les Ambassades No 1.

Sales in New Zealand Nigel Hutchinson Producer Phone 850766 Pork Pie Productions Box 6698 Wellington N.Z Telex NZ31255 Intcom attention Filfax Lindsay Shelton Marketing Director New Zealand Film Commission

in Cannes 3rd Floor, Villa Cinna 8 Rue Jean Baptiste Dumas Phone 390262

NewZealand’s top shooters come to Colorfilm Both New Zealand films going to the Cannes Festival in 1980, ‘Goodbye Pork Pie’ and ‘Sons tor the Return Home' were finished a t Coiorfiim.

Top New Zealand film makers are discovering what the Australians have Fiona Lindsav and Uelese Petaia known for a long time. in Paul M aunders ‘Sons for the Return Home'.

W hen you want a film finished by the technicians who are also craftsmen, you’ll come to Coiorfiim.

just ask Geoff M urphy or Alun Bollinger, the director and cinematographer of ‘Goodbye Pork Pie’ or Paul M aunder the director of ‘Sons for the Return Home' if they're happy with our work.

And look at the quality of the rest of the films that follow our leader.

You can contact Colorfilm at 35 Missenden Road, Camperdown 2050 Australia.

Telephone (02) 5161066, Telex AA24545

coiorfiim

Developing the Australian Film Industry.

V

John Bach in Geoff M urphy’s New Zealand production o f ‘Goodbye Pork Pie.

Leo Burnett 4.2203

THE Z MEN A John McCallum Productions Central Motion Picture Corporation co-production

Produced by Lee Robinson D irected by Tim Bur stall Scrip t by Roger Marshall

-

Cast

Crew

John Phillip L a w ............. Lieutenant Jan Vietch Mel Gibson..........Captain Paul Kelly Sam Neill . . . Sergeant Danny Costello Chris Heywood ........... Able Seaman Arnold Bird John Waters ............. Sub Lieutenant Teddy King

Photography ......... Lin Hung-Chung Sound recordists ........Don Connolly, Tim Lloyd Editor...........................David Stiven Prod, designer............Bernard Hides Exec, producers . . . . John McCallum, George Chang Prod, supervisor......... Betty Barnard Prod, manager....... Me Chang Kwen Unit manager . . . . Rosanne AndrewsBaxter

Story A film illustrating a typical World War 2 Z-force operation which, though successful, culminates in the death of most of the Australian team.

Clockwise from top: Chris Heywood (Able Seaman Arnold Bird), Sam Neill (Sergeant Danny Costello), Mel Gibson (Captain Paul Kelly), and John Phillip Law (Lieutenant Jan Vietch); John Waters as Sub Lieutenant Teddy King; Lieutenant Vietch.

FILM CENSORSHIP LISTINGS Films examined in terms of the Customs (Cinematograph Films) Regulations and States’ film censorship legislation are listed below.

An explanatory key to reasons for classifying non-“G” films appears hereunder:

S V L 0

FEBRUARY, 1980 FOR GENERAL EXHIBITION “G ” FILMS REGISTERED W ITH O U T ELIM INATIONS

NOT RECOMMENDED FOR CHILDREN “ NRC” FILMS REGISTERED W ITH O U T ELIM INATIONS

(Sex) .........................

(V io lence).................

(Language)...............

(Other) .....................

.......... ........ ......... .........

Purpose

Explicitness/lntensity

Frequency Infrequent

Frequent

Low

Medium

High

Justified

Gratuitous

i i i i

f f f f

I i I I

m m m m

h h h h

j j j j

9 9 9 9

Producer

Country

Submitted Length (m) Applicant 2482.00 1316.00 2276.00 1316.00 975.00

GUO Film Dist. P/L O nsy Boutros/O. Caratzas U nitalia Films of M elbourne O nsy Boutros/O. Caratzas Castellorizian Club

M idnight M adness Modern Thief (16mm)

Disney Not shown F. Calzavara Not shown A. Pergantis Fries Enterprises/ Stonehenge Prods Disney T. Kawadri

USA Egypt Italy Egypt G reece UK USA Lebanon

312 3.46 3047.79 1143.00

Seven Keys Films GUO Film Dist. P/L N. Avram ides

Breaker Morant Dominique (reduced version) (a) The Electric Horseman Fisherman (16mm) Fly Up W ith Love (1 6mm) Holiday in Egina (1 6mm) Ireland Behind the W ire (1 6mm) The Man You Loved to Hate (1 6mm)

SA Film Corp.

Subotsky/D onally R. Stark Jamil Tamim & Co. M. Chi/C. Jer-Sheng H. Pergantis Not shown Film Profiles Inc.

Australia UK USA Lebanon Taiwan Greece UK USA

2928.24 2235.00 3208.20 1316.00 1016.00 976.00 1196.00 987.00

Roadshow D istributors P/L Roadshow D istributors P/L Cinema Int'l Corp. P/L Onsy Boutros/O. Caratzas C hinese C ultural Centre C astellorizian Club Q uality Films Q uality Films

V (i-l-j) V (f-l-j) L (i-l-j) V (i-l-j) L (i-l-g), V (i-l-j) S (i-l-j) V (f-m-j), L (i-m-j) V (i-l-j),

M usic in My Life (16mm) Ragheb Fouk Safieh Sakhen (16mm) Scavenger Hunt S.O.S. Titanic (reduced version) (b) Tsar to Lenin (16mm)

Not shown Not shown Melvin Simon Prod L. Morheim H. Axelbank

Egypt Egypt USA UK UK/USSR

1316.00 141 7.00 3154.00 2808.00 702.08

Onsy Boutros/O. Caratzas Fares Radio & TV Roadshow D istributors P/L GUO Film D istributors P/L Labour Press

S V L V V

(i-l-j) (i-l-j), O (petty crim e) (i-l) (i-l-j) (i-l-j)

V V V V L V V L

(i-l-g), L (i-m-g) (f-l) (f-m-j) (f-m-j) (f-l-g), S (i-l-j) (i-m-j) (f-m) (f-m)

Title The Apple Dumpling Gang Rides Again Care for Zouzou (16mm) Dagli Apennini Alle Ende The Good People (16mm) I Ftohia Thbli Kaloperasi (1 6mm) The M artian Chronicles

Reason for Decision

(a) Reduced by im porter's cuts from 2621 metres (July 1979 List) (b) Reduced by im porter's cuts from 33 1 8 m etres (January 198 0 List)

FOR MATURE AUDIENCES “M” FILMS REGISTERED W ITH O U T ELIM INATIONS

Agency Angels Brigade Enter the Fat Dragon The Fists, the K icks and the Evils Foolin’ Around Flarlequin Fleaven and Hell Just Tell Me W hat You W ant The Lovers (1 6mm) (a) Magyar Rapszodia

R. Lantos G. Clark L. Sun Not shown Film Packages Inc. F.G. Film Prods Shaw Bros.

S. Lumet I. Leriche Mafilm

Canada USA Hong Kong Hong Kong USA Australia Hong Kong USA France Hungary

2539.82 2342.00 2593.29 2398.37 2733.00 2593.58 2486.00 3074.00 965.00 4713.00

Hoyts D istribution P/L Roadshow D istributors P/L J.S. & W.C. Int’l Film Co. J.S. & W.C. Int'l Film Co. Fox Colum bia Film Dist. P/L GUO Film D istributors P/L J.S. & W.C. Int’l Film Co. W arner Bros (AusL) P/L Australian Film Institute Pan Am erican Productions

My Kung Fu Master Nahtche and the General 1941

Not shown Fishke Film A-Team Prod.

Hong Kong Israel USA

2539.00 2486.35 3262.00

J.S. & W.C. Int'l Film Co. Kochavim Attractions Fox Colum bia Film Dist. P/L

Odd Couple The Three Superguys Strike Again

Kar Mak K unkera/lnanoglu

Hong Kong Turkey

2496.00 2362.90

J.S. & W.C. Int’l Film Co. N.S. Prods P/L

.

V (I-m-j), 0 (shooting of horse) V (f-m) L (i-m-j) L (f-m-j), 0 (sexual innuendo) V (f-l-j) V (f-l-g), S (i-l)

(a) Previously registered in 1959, with cuts, as Les Amants.

FOR RESTRICTED EXHIBITION “ R” FILMS REGISTERED W ITH O U T ELIM INATIONS

A rtist of E cstasy (1 6mm) Auntie's Secret Society Et La Tend resse ? Bordel I The Gory Murder Heroine in the Dust The Island of the Rshmen La Luna Laura’s Toys Love on W heels Night of the Juggler Not My Daughter O Fovos (The Fear) Satan’s Black W edding Soul Ash

J. M archant Preferred Pictures C hloe/Foch Eternal Film Co. United M otion Picture Co. Dania/M edusa Fiction Cinem atografica L. W estfelt C. Tobalina J. W eston Carvel Prods Not shown T. Brown Kam Kung Film Co.

USA USA France Hong Kong Hong Kong Italy Italy Sweden USA USA USA Greece USA Hong Kong

625.00 2031.00 2705.14 2406.15 2432.88 2677.00 3849.84 2780.44 1952.00 2753.70 2286.82 2400.00 1701.17 2621.00

Esquire Films 14th Mandolin Pan Am erican Productions J.S. & W.C. Int’l Film Co. M artin Louey P acific T elecasters Fox Colum bia Film Dist. P/L Blake Films P/L Esquire Films Fox Colum bia Film Dist. P/L Esquire R im s Lyra Films Astral Distributors M andarin Cinema P/L

Sun Dragon Three Way Split Young Hot n Nasty Teenage Cruisers

Eternal Film Co. Green Dolphin Prod. Prods Raunchy Tonk

Hong Kong USA USA

2486.35 2031.86 2221.83

J.S. & W.C. Int’l Film Co. 14th M andolin Esquire Films

S (f-m-g) S (f-m-g) S (f-l-j) V (i-m-g) V (i-h) V (f-m-g) 0 (incest theme, drugs) S (f-m) S (i-l-g), V (i-l-g) V (f-m /h-g), L (f-m /h-g) S (i-m), O (drugs) V (i-m-j), S (i-m-j) V (f-m-g) S (i-m-g), V (i-m-g), 0 (horror) V (f-m-g) S (f-l-g), V (f-l-g) S (f-m-g), L (i-m-g)

Special condition: That the film be shown only to its members by the National Film Theatre of Australia in its 1980 "W om en in Japanese C inem a" season.

NFTA 3209.00 Japan Toho Bangiku (Late Chrysanthemum s) NFTA 2880.00 Japan Daiei Bonchi (The Son) NFTA 3374.00 Japan Horupu Eiga En To Lu Onna (A Woman Called En) Flana No Yoshiwara Hyakunin-G iri NFTA 2990.00 Japan Toei (Killing in Yoshiwara) NFTA Japan 3401.00 Takarazuka Eiga/Toho Horoki (Her Lonely Lane) NFTA Japan 3895.00 N ikkatsu Jochu kko (The Maid) NFTA 2716.00 Japan Tokyo Eiga/Toho Kaei (The Shadow of a Flower) NFTA Japan 3209.00 Iwanimi Ega Kanojo To Kare (She and He) Bungei Production/ Karamiai (The Inheritance) NFTA 2962.00 Japan Ninjin Kurabu Karayuki-San (The Making NFTA Japan 1920.00 Not known of a Prostitute) Karumen Kokyo Ni Kaeru NFTA Japan 2359.00 Shochiku (Carmen Comes Home) NFTA 329 2.00 Japan Toho Meoto Zenzai (Marital Relations) NFTA Japan 320 9.00 Toho Nagareru (Flowing) Zenkoku Noson Eiga Niguruma No Uta (Ballad of the Cart) NFTA Japan 4005.00 Kyokai/S hintoho NFTA Japan 3374.00 Nikkatsu Nippon Konchuke (The Insect Woman) NFTA 2908.00 Japan Shochiku O koto To Sasuke (Okoto and Sasuke) NFTA 3347.00 Japan Shintoho Osaka No Yado (An Inn at Osaka) Saikaku Ichidai Onna NFTA 4060.00 Japan Shintoho (The Life of Oharu) NFTA Japan 3319.00 Nikkatsu Shuen (The Flame of Devotion) Waga Seishun Ni Kui Nashi NFTA Japan 3017.00 Toho (No Regrets for My Youth) NFTA 2853.00 Japan Daiei Yoru No Kawa (Night River) Zangiku Monogatari (The Story NFTA 392 3.00 Japan Shochiku of the Last Chrysanthem um s)

FOR RESTRICTED EXHIBITION “ R” FILMS REGISTERED WITH ELIM INATIONS

I88 — Cinema Papers, June-July

Angel Mine Deletions: 1 2.1 metres (26 secs.)

Reason: Indecency Dawn of the Dead (2nd reconstructed soft version) (a) Deletions. 1 0.7 metres (23 secs) Reason: Excessive violence

1 .2 A Prods

New Zealand

1812.72

Valhalla Films

R. R ubenstein/Laurel G roup

USA

332 3.60

United A rtists (A’asia) P/L

S (i-h), V (i-m)

V (f-h)

Continued on p. 209

MAYBE THIS TIME A Cherrywood Film Production

Produced by Brian Kavanagh

Directed by Chris McGill

Script by Anne Brooksbank and Bob Ellis

Cast Judy Morris ..............

Bill H u n t e r ................

Mike Preston ............

Jill P e rry m a n ..............

K en S h o rte r................

Crew

...................Fran ..............Stephen ................ Paddy ..............Mother ...................Alan

P h o to g rap h y ............ . . . . Russell Boyd Sound recordist . . . . . . Lloyd Carrick E d i t o r ..................... . . W ayne Le Closs Prod, designer . . . . . . . Chris W ebster Prod, manager . . . .......... Ralph Storey Costume designer . ......... Anna Senior

Story The focus is on a modern woman turning 30 . Overall the film concerns, hopefully and humorously, the rising cost of emotional freedom in modern times, and the mixed bag of qualities that go to make up the Australian male.

An international starts Australian debut KEM the sophisticated German editing system has proved itself as a vital tool in Hollywood film pro­ duction.

KEM now introduces versatility and economy to the Australian film industry.

FILMWEST, the sole import agents in Australia and Asia can supply a full range of KEM tables, and provide interchangeable modules for S8, 16mm S16 and 35mm picture and sound editing as you need them.

The KEM RS8-16 8-plate twin pic editing table is available to pro­ ducers for a free demonstration and trial.

KEM & FILMWEST, the state of the art.

F o r in form ation and ap p o in tm e n ts c o n ta c t: F IL M W E S T E quipm ent P ty Ltd 7 Bow m an S tr e e t S o u th P erth W estern A u stralia 6151 P h on e 367 7677.

C a b le ‘F ilm w est’ P erth T e le x AA 9 4 1 5 0 FILM W A

F IL M W E S T P te Ltd S u ite 1S5, R a ffles H otel 1-3 B e a c h Road S in g a p o re 07 1 8 P hon e 3 3 6 1509, 3 3 2 8041 C a b le ‘R a flo te l’ T e le x R S 2 1 5 8 6 R affles.

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Move talent, crew and equipment in one package.

Charter a DC-3 Our DC-3’s can carry 28 passengers, 3000 kg (1300 cu.ft.) or a combination of these.

We have recently moved Norman Gunston.

PHONE US NOW FOR A FREE QUOTE.

Y ft A V M A R A V IA T IO N SYDNEY (02) 231 1766. MAITLAND (049) 33 5263 ______________________________________________________

Scenic a r t is t ................................................ Billy M alcolm Sound edito r .................................. Greg Bell Set construction .................. H erbert Pinter Editing assistant .................... Helen Brown M usical d ire cto r ............................ Brian May M ixer ........................................ United Sound Sound edito r .........................Tony Paterson Still p h o to g ra p h y .................. M ike G iddens Editing assistants ................ Carm en Galan O p tic a ls ...............................................C olorfilm M ixer ......................................... Peter Fenton Dialogue c o a c h ...........................Nina Mann ROADGAMES R u n n e r.................................M arshall Crosby Stunts co -o rd in a to r ................ Dennis Hunt Prod, com pany ...........................Quest Film s C a te rin g .............................Cecil B. De Meals Still p h o to g ra p h y ...................M ike Giddens.

Dist. co m p a n ie s . GUO and Avco Embassy on Wheels David Sim m onds (U.S. and W orld) O p tic a ls .........................O ptical and G raphic S tu d io s ................................................S pectrum P r o d u c e r/d ire c to r............ Richard Franklin M ixed at .................................. United Sound Best boy ...................................... Reg G arside C o -p ro d u c e r...............................Barbi Taylor Laboratory .........................................Colorfilm 3rd e le c tr ix .......................... G raem e Shelton S c rip tw rite r...................... Everett de Roche 4th electrix .........................Sam Bienestock Lab. lia is o n ...................................Bill Gooley To ensure the accuracy of your Based on the short story G enerator o pe rator ............... Sim on Purton B u d g e t................................................. $350,000 entry, please contact the editor of this by ................................... Richard Franklin, R u n n e r...................................... Janene Knight Length ................................................. 90 mins. column and ask for copies of our Pro­ Everett de Roche P u b lic ity ...................................Tho rbu rn-S teer Gauge ................................................... 35 mm duction Survey blank, on which the P h o to g ra p h y .........................V incent M onton Shooting s to c k ..........................Eastm ancolor Unit p ub licist .................. Lynette Thorburn details of your production can be Sound recordist ...........................Paul Clark Progress ................................P o st-production C a te rin g .............................................Ross Coli, MONKEY GRIP entered. All details must be typed in E d it o r .................. Edward McQueen Mason Prod, com pany ...................... Pavilion Films Helen T ripp Scheduled release .......... Christm as, 1980 upper and lower case Prod, d e s ig n e r........................Jon Dowding Cast: Ben O xenbould (Fatty Finn), Bert M ixed at ...................................United Sound Pty Ltd The cast entry should be no more C o m p o s e r......................................

Brian May Newton (M r Finn), Noni Hazlehurst (M rs Laboratory .........................................C o lorfilm P r o d u c e r .................................Patricia Lovell than the 10 main actors/actresses — Exec, producer . Bernard Schwartz (USA) Lab. lia is o n ...................................Bill Gooley Finn), G erard Kennedy (Tiger M urphy), Director .....................................Ken Cameron their names and character names. The Prod, m anager .................... B arbara G ibbs Length ..................................................94 mins.

Greg Kelly (B ruiser M urphy). Lorraine Bayly S c r ip tw rite r ..............................Ken Cameron length of the synopsis should not Unit m a n a g e r.......................Greg Ricketson Gauge ................................................... 35 mm (M aggie M cGrath), Henri Szeps (M r Zilch), Based on the novel b y ........ Helen G arner exceed 50 words.

Prod, secretary .......................... Helen W atts Shooting s to c k .......................... Eastm ancolor Tony Llewellyn-Jones (dunnym an), Peter P h o to g ra p h y ............................David G ribble Entries made separately should be Prod, accountant ........................ Lea C ollins Progress ................................P ost-production C a rro ll (tea cher), Ross H iggins (ra d io E d it o r .......................................David Huggett typed, in upper and lower case, D irector's assistant .................... Sue Parker Scheduled release .......... Decem ber, 1980 announcer).

Prod, d e s ig n e r.............................Ross M ajor following the style used in C in e m a 1st asst d ire c to r .................. Robert Kewley Synopsis: Tim es were rough, clothes were Cast: Robert Powell (David Keller), Joseph C o m p o s e r.............................Bruce Sm eaton P a p e rs .

2nd asst d ire c to r .................. W arwick Ross hand-m e-dow ns, fun was what you made C o tte n (th e p r ie s t ) , A n g e la P u n c h and others Completed forms should be sent to: 3rd asst d ir e c t o r ..........................................BillBaxter M cG regor (Beth Rogan), Peter S um ner yourself. Guts, cunning and itching pow der Assoc, produce r .........................Pom Oliver C ontinuity .............................. Annie M cLeod (Tewson), Ralph C otterill (Slater), Lorna trium p hed over Chinese burns, nugget on Casting consultant ................ Alison Barrett Production Survey, C a s tin g ...........................................Helen W atts your bum and the tough son of the local Leslie (Susan G oodw in), T yle r C o p p in M usical d ire c to r ................ Bruce Sm eaton Cinema Papers Pty Ltd, Camera ope rator ....................... Louis Irving (boy), Jo-A nne M oore (girl).

S.P. bookie.

B u d g e t................................................. $535,000 644 Victoria St, Focus p u lle r ...........................David Brostoff Length ............................................. 100 mins.

C lappe r/loa der .............................Phil Cross North Melbourne, Vic., 3051 Gauge ................................................... 35 mm Key g r ip ..................................G raham M ardell Progress ............................... P re-production Telephone: (03) 329 5983 Asst g r ip s ...............................Greg Wallace, Synopsis: Adaptation of the book by Helen Karel Akkerm an Garner.

G a ffe r .......................................Tony Holtham E le c tric ia n s .............................Colin W illiam s, THE UNFORGIVEN B Darryl Binnings P r o d u c e rs ........................... Brian W illiam s, Boom ope rator ...........................

Ray Phillips Graham Varney Costum e designer . . . . A p hro dite Kondos D ir e c to r .....................................Ross Dimsey M ake-up .................................Lois Hohenfels S c rip tw rite r......................... G eorge M ulgrue P r o p s ........................................... Harry Zettel Based on the novel by .. C. J. Cairncross Standby p r o p s ...................... Nick Hepworth Gauge ................................................... 35 mm C arpenter .............................Ken Hazelwood P R E -P R O D U C TIO N Release date ........................ January, 1981 Set construction ......................John M organ Sound editor ....................... Andrew London For c o m p le te d e ta ils of the fo llo w in g Stunts co-o rd in a to r ................... G rant Page features see Issue 26: Still p h o to g ra p h y ...................................... Suzy W ood, BILLY W EST The Backstreet General Stephen Sm ith Prod, com pany .....................Survival Film s Bushfire M e c h a n ic .........................................Steve W ells International Good Vibrations R u n n e rs ................................ David Retallick, Directors ...............................Billy Leim bach, Race to the Yankee Zephyr Jim Richards David G ulpilil C a te rin g ..................................... Dean Stobie, S c r ip tw rite rs .......................Norm an Ingram, Helen Tripp David G ulpilil, S tu d io s .......................................Starch Factory Billy Leim bach Laboratory .......................................Colorfilm Based on the original Idea PR O D U C TIO N Lab. lia is o n .................................................... BillGooley by ......................................... David G ulpilil, B u d g e t..........................................................S1.7m illion Billy Leim bach Length ............................................. 110 mins.

P h o to g ra p h y ............................. Ray Henman Gauge ................................................... 35 mm Assoc, produce r ..................Anthony Wallis Shooting s to c k ........................ Eastm ancolor Length ................................................. 90 mins.

THE CLUB Cast: Stacy Keach (Quid), M arion Edward Gauge ................................................... 35 mm Prod, com pany ..................South Australian (Frita).

Shooting s to c k ........................Eastm ancolor Film C orporation Synopsis: Pat Q uid, on a line-haul from Scheduled re le a se ................ January, 1981 Dist. com pany . . . . Roadshow D istributors M elbourne to Perth, finds out that one of his Cast: David G ulpilil, Buffy St Marie.

P r o d u c e r ..............................................M atthew C arroll fellow travellers is a mass m urderer.

Synopsis: A cattle ow ner drives his herd of D ir e c to r .....................................................Bruce Beresford special stock into Arnhem Land in 1898.

S c rip tw rite r........................David W illiam son Short of trained ja ckeroos, his success or Based on the play The Survivor failure depends on local A boriginal labor. by ...................................David W illiam son P h o to g ra p h y ................................................ Don M cAlpine PO S T-P R O D U C TIO N CROSSROAD Sound recordist ...................... Gary W ilkins E d it o r ..................................W illiam Anderson Synopsis: A pilot, the only survivor of a C o m p o s e r...................................................M ike Brady plane crash, tortured with gu ilt and unable Prod, com pany .............. Em erald Pictures THE SURVIVOR p r o d u c e r ........................ Moya Iceton to explain the reason fo r the disaster, sets P r o d u c e r/d ire c to r................................... Carlo D imAssoc, itri FATTY FINN Prod, co-o rd in a to r ................

Barbara Ring upon a course of discovery, desperately S c r ip tw rite r ................................................C arlo D im itri Prod, com pany ......................C hildrens Film Prod, com pany . . . . Riaci Investm ents and Prod, accountant .............. Harley M anners seeking to overcom e his loss of m em ory.

Based on the original idea C orporation Tuesday Film P roductions b y ............................................................ Carlo D im1st itri asst d irector ..........................Scott Hicks P ro d u c e r ....................................................

Brian Rosen for F. G. Film P roductions 2nd asst d ire c to r . . . . C hristopher W illiam s Exec, produce r ...........................Carl Kneipp THE Z MEN D ir e c to r ...............................M aurice M urphy Dist. c o m p a n y ........GUO Film D istributors 3rd P rodu cer’s a s s is ta n t..............................Eliane Bram i asst d ir e c to r s ...................... Bill Baxter, Prod, c o m p a n ie s ................ John M cCallum S c rip tw rite rs ................................... Bob Ellis, P r o d u c e r ........................... Antony I. Ginnane Geoff W right Length ............................................... 90 mins.

P roductions (Sydney), and Chris M cGill Director ............................... David H em m ings Continuity .......................... Therese O'Leary Gauge ...........................16 mm and 35 mm Central M otion P ictu reC orporation (Taipei) Based on the original idea S c rip tw rite r............................................... David A m brose Lighting cam eram an .......... Don M cAlpine Shooting s to c k .........................Eastm ancolor P r o d u c e r .......................................................

Lee Robinson by ................................................... Bob Ellis Based on the novel Cam era ope rator .................. Don M cAlpine Synopsis: A m odern dram a set in Kings D ir e c to r ....................................... Tim Burstall P h o to g ra p h y .................................John Seale b y .........................................Jam es Herbert Focus p u lle r ...................................David Burr Cross and dow ntow n Sydney. The film S c r ip tw rite r .............................Roger M arshall Sound recordist ...........................Tim Lloyd P h o to g ra p h y .................................. John Seale C la p p e r/lo a d e r ........................ Paul Nichola explores the adventures of people attracted P h o to g ra p h y .......................Lin Hung-Chung E d it o r .................................... Robert Gibson Sound recordist ...........................Tim Lloyd Key g r ip ....................................................... NoelM cDonald to the city, and the circum stances which Sound recordists ...................Don C onnolly, C o m p o s e rs ..........................

G raham e Bond, E d it o r .......................................Tony Paterson Asst grip ...........................Geoff R ichardson lead them to a situation in which they have Tim Lloyd Rory O 'Donoghue Prod, d e s ig n e r.......................Bernard Hides G a ffe r ............................................................ Rob Young no control.

Exec, producer ......................... John Sexton C o m p o s e r.................................................. Brian MayE d it o r ............................................ David Stiven Boom operator .................. M ark W asiutak Prod, d e s ig n e r.....................................B ernard Hides Prod, m anager .......................Su A rm strong Exec, producer ................... W illiam Fayman Art d ir e c to r ............................................... David C opping CYCLONE C o m p o s e r.................................................. Eric Jupp Unit m a n a g e r............................................ Greg Ricketson Assoc, producer ...........................Jane Scott M ake-up ........................................Judy Lovell E x e c .p ro d u c e rs ................

John M cCallum .

P ro d u c e rs ............................. Brian W illiams, Prod, secretary ........................Keri M cGarry Prod, manager ............................. Jane Scott W ardrobe ........................ Ruth de la Lande G raham Varney George Chang Prod, accountant ...................... Lyn Barker Unit m a n a g e r............................Tim Sanders Props b u y e r .................................................. Jill Eden Prod, s u p e rv is o r ..................

Betty Barnard S c r ip tw rite r ...............................Henry James Prod, secretary ...........................Jenny Barty S tandby p r o p s ............................................ Ken Jam1st es asst d irector ..................... M ark Egerton Prod, m anager ................ Me Chang Kwen Based on the original idea 2nd asst d ire c to r ................................... Steve Andrews Prod, accountant .................. Cathy Barber Set d e c o ra to r................................................ Jill Eden Unit m anager .. .Rosanne A n dre w s-B axter by ........................................... Henry Jam es 3rd asst d ir e c t o r ................................M arshallCrosby 1st asst d ire c to r .....................M ark Egerton Asst edito r ...........................

Jeanine Chialvo M ixed at ................................... United Sound Gauge ................................................... 35 mm C ontinuity ............................C aroline Stanton 2nd asst d ire c to r ...................Steve Andrews Sound editor .................. W illiam Anderson Laboratories . .. I . . Central M otion P icture C a s tin g ...................... Alison Barrett Casting 3rd asst d ir e c t o r ................ M arshall Crosby Edge n u m b e r e r ............................................ IanFowler Laboratory (Taipei), Lighting cam eram an ................

John Seale C ontinuity ............................C aroline Stanton M ixer ..................................................Phil Judd C olorfilm (Australia) DADDY’S LITTLE GIRL Camera operator .......................John Seale Producer’s a s s is ta n t............Sylvia Van Wyk Still p h o to g ra p h y .......................Jim Townley Length .............................................

110 mins.

Prod, com pany .........................Cash Penny Focus p u lle r .................................David Burr Casting consultants .............. M arvin Paige Tech, a d v is e r ............................................. Tom Hafey Gauge ................................................... 35 mm Productions C lappe r/loa der ............ Richard M errym an and Associates (U.S.A.), Best boy .................................. Peter M aloney Shooting s to c k ..........................

Eastm ancolor P r o d u c e r ..................................... Nancy Cash Key g r ip .......................................................RossErickson M ichael Lynch (Australia) R u n n e r.........................................................John W harton Cast: John Phillip Law (Lt Jan Vietch). Mel S c r ip tw rite r ........................... Alan H opgood 2nd unit photography ............ Tony W ilson Camera operator ........................Peter Moss Unit publicist ........................B arbara Harper Gibson (Capt Paul Kelly), Sam Neill (Sgt Based on the original idea G a ffe r ........................................................... M ick M orris Focus p u lle r .................................... Jan Kenny Prom otions Danny C o ste llo ), C h ris H ayw ood (A b le by ............................................. Nancy Cash Boom operator ..................... Jack Friedman C la p p e r/lo a d e r .................... Daro G unzburg C a te rin g ....................................... Frank M anly Seaman A rnold Bird), John W aters (S ub-Lt M usical d ire cto r ................ Glenn W heatley Art d ir e c to r .............................................. Lissa Coote Key g r ip ...................................Ross Erickson S tu d io s .............. Collingw ood Football Club Teddy King). Ko G shing Chung (Lin), Sylvia Length ............................................. 100 mins.

Asst art d irector ...............Sally Cam pbell Asst grip .................................Robin M organ M ixed at .................................................... Atlab Chang (C hien Hua), E Yuen (C aptain Progress ............................... P re-production Costum e designer ...........Norm a M oriceau G a ffe r ............................................. M ick M orris Laboratory ................................................ Atlab Imanaka), Long Show (Sgt-M aj W atanabe), Synopsis: A big-b u d g e t rock m usical film M ake-up ................................

Cheryl W illiam s Boom ope rator .....................Jack Friedm an Lab. lia is o n .............................. Greg Doherty O Di (Shaw Hu). about a young girl's search for success in H a ird re s s e r............................

Cheryl W illiam s Art d ir e c to r ............................

Bernard Hides Length ..................................................90 mins.

Synopsis: A film illustrating a typical W orld the Sydney ro c k /p o p m usic world.

W ardrobe ................................... Sue Bowden Asst art director .......... Virginia Bienem an Gauge ................................................... 35 mm W ar 2 Z -fo rce operation which, though Props b u y e r ........................Sally Cam pbell Costum e designer ......................

Terry Ryan Shooting s to c k ..........................Eastm ancolor successful, culm inates in the death of most Standy p r o p s ......................George Zam m it DINGO M ake-up ......................................... Jill Porter Scheduled release .........................Late 1980 of the Australian team.

Set d e c o ra to r ........ '.................................... Billy M alcolm ....................... Pom Oliver, H a ird re s s e r.................................. Sash Lamey P roducers ..

Cast: G raham Kennedy (Ted Parker), Alan Scenic a r t is t ................................................ NedMcCann Errol Sullivan W ard, a s s is ta n t................ Heather M cLaren Cassell (Gerry Cooper), Jack Thom pson C arpenter ...................................

Hans Thiele ............ G illian A rm strong Props b u y e r ............................Owen Paterson For c o m p le te d e ta ils of the fo llo w in g D irector . . . .

(Laurie Holden), Frank W ilson (Jock Riley), Asst editors ........................... Andrew Jones. ............ O liver Robb Standby p r o p s ............................ John C arroll features see Issue 26: S crip tw riter .

H a ro ld H o p k in s (D a n n y R ow e), J o h n Claire O 'Brien ...................Hilary Linstead Chain Reaction C o -produ cer Special e ffe c ts .......................................... Chris M urray Howard (Geoff Hayward), M aggie Doyle Neg. m a tc h in g .................................C olorfilm The Earthling 2nd special e f fe c ts ................................M onty Fieguth (Susy).

M usic perform ed by ........ G raham e Bond.

Manganinnie 3rd special effects ....................... Vic W ilson Synopsis: A probe into the confrontations Rory O’Donoghue Set d e c o ra to r......................... Owen Paterson Maybe This Time and pow er struggles of Australian Rules

PRODUCERS, D IR E C T O R S AND P R O D U C T IO N C O M P A N IE S

MICK

Prod, com pany ............................ Geoff Beak P roductions P r o d u c e r ......................................... Geoff Beak D ir e c to r ............................................ Jane Oehr S c r ip tw rite r .....................................Geoff Beak Based on the original idea b y ................................................. G eoff Beak Length ................................................. 90 mins.

Gauge ................................................... 35 mm Progress ............................... P re-production Synopsis: A film about a w orking-class A us­ tralian teenager grow ing up with his mates in the late 1970s.

b a c k r o o m b o y s . A ta u t film a b o u t organizational pow er politics, laced with David W illiam son's incisive dialogue and hum our.

FE A TU R ES

Cinema Papers, June-July — I9l

C o m p o s e r.......................................Kim Jones Neg. m a tc h in g .......................... Chris Rowell Productions M usic perform ed by ................ Kim Jones O p tic a ls ...............................................Colorfilm Title d e s ig n e r.............................. Peter Elliott M ixed at ...................................Palm Studios Laboratory ........................................ Colorfilm Lab. lia is o n .................. Richard Piorkowski Gauge ...................................................16 mm Shooting s to c k ..........................Eastm ancolor Progress .............................Aw aiting release Cast: Robin Ramsay, M ercia Deane Johns.

Synopsis: A sym bolic depiction of a sim ple evolutionary process — from Darwinian theory (Prim ordial m ud) to a highly-civilized tea party.

TOUCH AND GO

A W A IT IN G RELEASE

Prod, com pany ....................M utiny Pictures Dist. com pany ........................................GUO P ro d u c e r.........................................John Pellatt Director .....................................Peter Maxwell S crip tw riter ............................ Peter Yeldham Based on the original idea HARD KNOCKS b y ............................................................. Peter Maxwell ( p r e v io u s ly Sam) Photography .............................John McLean Prod, com pany ........................... Ukiyo Film s Sound re c o rd is t....................................... Brian M orris Dist. com pany . . .A ndrom eda Productions Editor .......................................... Sara Bennett P r o d u c e rs ...............................Hilton Bonner, Prod, d e s ig n e r....................... David Copping Don McLennan C o m p o s e r..................................................... Jon English Director .................................Don McLennan Exec, producers ....................Peter Maxwell, S c rip tw rite rs ................................................ DonM cLennan.

Peter Yeldham Hilton Bonner Prod, m a n a g e r.................................... M ichaelMcKeag P h o to g ra p h y .................... Zbigniew Friedrich Location m anager ..................Tim Sanders Sound recordist ......................Lloyd Carrick THE GIRL WHO MET SIMONE DE Prod, secretary ...........................Susi Parker E d it o r ................................ Zbigniew Friedrich BEAUVOIR IN PARIS Prod, accountant ........................ Lea Collins Prod, m anager ........................ Rod M cNicol Prod, com pany .................................. AFTVS 1st asst director ....................Ken Am brose 1st asst director ...................... Rod M cNicol P ro d u c e r .............................Richard Brennan 2nd asst d ire c to r............... Ken Richardson C ontinuity ......................................Juiie Cutler D ir e c to r ............................. Richard W herrett C o n tin u ity ............... M argaret-Rose Stringer Cam era operator ........ Zbigniew Friedrich S c rip tw rite r.......................Frank M oorhouse Producer's assistant .............. Vivien Hobbs Focus p u lle r ............................................. Philip Cross Based on the short story Lighting c a m e ra m a n ............ John M cLean C lap p e r/lo a d e r ....................... Ginny Brooke b y ........................................................... Frank M oorhouse Camera operator ....................... Kevin Lind Key g r ip ........................................................ RodM cLennan P h o to g ra p h y ............................................. Geoff Burton Focus puller ........................... Russell Dority G a ffe r ............................................. Gerry Lock Sound recordist ......................Lloyd Carrick.

C la p p e r/lo a d e r.................Richard M errym an Boom operator .................. Chris G oldsm ith E d it o r ..................................................... Stewart Young Key g r ip ....................................Paul Thom pson M ake-up ..................................... Carol Devine Nightmares Exec, producer ....................... Tony Buckley Asst g r i p ....................................................Wally W llm ott H a ird re s s e r.................................Carol Devine Assoc, p r o d u c e r ...................................... Julia Overton G a ffe r .................................. Frank Heffernan W ardro be .....................................Julie Cutler.

Prod, m anager ..................... B arbara G ibbs Boom o p e ra to r...................Andrew Duncan Penelope Hester 1st asst director ................ Arch Nicholson Art director ........................... David Copping P r o p s ...............................................Anne M oir Gauge ...................................................16 mm NIGHTMARES 2nd asst d ire c to r .................. Daro G unzberg Asst art d irector ................ Lindsay Hewson Still p h o to g ra p h y ............... M axine Rosewall Shooting s to c k ........................

Eastm ancolor Prod, com pany ......................

John Lam ond C ontinuity ........................... Caroline Stanton M ake-up ........................................... Jill Porter Length .................................................85 mins.

Motion Picture Enterprises Progress ..............................Post-production Lighting cam eram an ............ Geoff Burton M ake-up assistant ............ Brita Kingsbury Gauge ................................................... 35 mm Scheduled release .................... June, 1980 P ro d u c e rs ...............................John Lamond, Camera operator .....................Geoff Burton Hairdresser ............................... Jenny Brown Progress ............................ Aw aiting release Colin Eggleston Cast: M argaret Snedden, Peter Gregory.

Focus p u lle r ............................................G illian Leahy W a r d ro b e ...................................... Kate Duffy Cast: Tracy Mann (Sam), John Arnold Synopsis: A short film which counteracts Director .................................... John Lam ond Key g r ip ....................................................... PaulMoyes W ard, assistant ..................... W endy Sugars (Wally), Bill Hunter (Brady), Max Cullen some of the societal myths of ageing and S c rip tw rite r................................................Colin Eggleston G a ffe r ................................... Brian Bansgrove Props b u y e r..........................................Lindsay Hewson (N ew m an). Tony B a rry (B arry), H ilton women.

It looks at society's response to Based on the original idea Boom operator ................ C hris G oldsm ith Standby p r o p s ....................D errick Chetwyn B o n n e r (F ra n k ), J a c k A lle n (fa th e r). a g e in g a n d in v e s tig a te s th e s o c ia l, b y .........................................John Lam ond.

Art d ir e c to r ............................................... Chris M audson Asst standby props . . . . Karan M onkhouse Penelope Stew art (Raelene), Kirsty G rant John Michael Howson econom ic and political factors influencing M ake-up .......................................... Liz M ichie Asst e d it o r ............................... Duncan Taylor (Debbie), Liz Stevenson (Joan). the way older women are regarded.

P h o to g ra p h y .............................................. Gary W apshott Musical d ire c to r.......................................... Jon English W ardrobe .......................... Lesley M cLennen.

Synopsis: A young girl, with a background Sound recordist .................... John Phillips Sound e d ito r .............................................. PaulMaxwell Asst edito r .................... Annabelle Sheehan of urb a n p o ve rty and ju v e n ile crim e, E d it o r ..........................................................Colin Eggleston C a te rin g ........................................................ Lisa Hennessy Stunts co-ordina tor .........Peter Arm strong attem pts to becom e a fashion m odel. The Art d ir e c to r ....................................Paul Jones THE COMING Still p h o to g ra p h y .......................................Chic Stringer M ixed at ................................................ AFTVS hypocrisy and double standards of society Exec, producer ...................... Helen Watts O p tic a ls ...............................................C olorfilm Laboratory ................................................Atlab are juxtaposed against the confusion and Prod, s u p e rv is o r.................... Michael Hirsh Best boy .................................. Ric M cMullen Lab. lia is o n ...................................................Jim Parsons Prod, com pany .......................Valhalla Films frustration she feels as she struggles to Prod, secretary .................. Denise Peterson D ir e c to r .......................................... Craig Lahiff R u n n e r........................................... Nigel Abbott B u d g e t...................................................$16,000 becom e part of a com m unity that has no Prod, accountant ................ M ichael Hirsch P u b lic ity ........................................Carlle Deans Length .................................................23 mins.

S c rip tw rite rs ............................... John Emery, place for her.

1st asst director .................. Ross Hamilton C a te rin g .................................... Frank Manley Gauge ...................................................16 mm Craig Lahiff, 2nd asst d ire c to r.......................... Bill Baxter Shooting s to c k ..........................Eastm ancolor M ixed at .................................. United Sound Laura Jones Continuity .............................. Anne McLeod L a b o ra to ry ......................................... C olorfilm Progress .............................. Awaiting release P h o to g ra p h y ...............................Peter Smith STIR Focus p u lle r ............................ Denis Nikolic Lab. liaison ....................................Bill G.ooley Cast: Tony Llewellyn-Jones (He), Judy Sound recordist ...................... Rod Pascoe C lappe r/loa ders .............

Peter Arm strong, M orris (She), Anna Volska (Mia), John Length .................................................95 mins.

E d it o r .....................................................A ndrew Prowse Prod, com pany ........................Sm iley Film s Greg Watson Prod, manager .................... M ardi Kennedy G a u g e .................................................... 35 mm Clayton (Cooper), Peter C arroll (Anderson), Dist. com pany ........................................ Hoyts Shooting s to c k .........................

Eastm ancolor Key g r ip ..........................................Noel M udie N ancye Hayes (a n o th e r w o m an), John Prod, a s s is ta n t.................................Tom Pett P ro d u c e r.............................Richard Brennan Cast: W endy Hughes (Eva), Chantal Con­ Asst grip .................................. Gary Scholes S h e e r in (c h e f), K a tr in a F o s te r 1st asst director .................. Simon Bennets D ir e c to r ................................................ Stephen W allace tour!

(Fiona), Carm en Duncan (Mlllicent), 2nd unit photography ..........

Barry W ilson (p ro p rie tre s s ), B rand on B u rke (kitch e n Camera assistant ............ Graham Shelton S crip tw riter ................................. Bob Jewson Jeannie Drynan (Gina), Jon English (Frank), G a ffe r .......................................Tony Holtham hand).

M ake-up .................................... Sash Lamey Sound re c o rd is t......................... Gary W ilkins J o h n B lu th a l (A n a to le ), B ria n B la in Boom operator ...................... Geoff W ilson Length ................................................. 48 mins.

Editor ........................................Henry Dangar (George), Liddy Clark (Helen), Christine M ake-up ..........................M argaret Archm an Gauge ...................................................16 mm Prod, d e s ig n e r....................... Lee W hitm ore Am or (Sue), Barbara Stephens (Julia).

W ardrobe ....................... Aphrodite Kondos. Shooting s to c k ...................... Eastm ancolor KEEPING UP WITH THE JONESES C o m p o s e r...........................................Cam eron Allen Synopsis: A com edy-th rille r about a group Jan Barkell Progress .............................. Pre-production Prod, com pany . . . Rob Brow Productions Prod, m a n a g e r...................... B arbara Gibbs of attractive young women who take to Special e ffe c ts ................ Conrad Rothmann Synopsis: C om m unications, com puters and P ro d u c e r.................................Peter Johnson Unit m anager ........................B arbara Gibbs crim e to financially support a school for M ixer ........................................ Bob G ardiner technology in general are beginning to D ir e c to r ...........................................Rob Brow Prod, secretary ...................... Barbara Ring underprivileged children. A series of mixStunts co-ordina tor ..................Max Burns break down due to some unknown, external S c rip tw rite r.....................................Noel Field Prod, accountant ................... Digby Duncan ups causes the women to lose the loot, their S tu n ts .............................................

A. Roberts, cause.

A man struggles with his fears and P h o to g ra p h y .................................Peter Sykes 1st asst d ire cto r .....................M ark Turnbull B. Martin, anxieties that som ething else is com ing. dignity, but not their freedom .

Sound recordist .......................Geoff W ilson 2nd asst directors .............Chris Maudson, P. Morse E d it o r ......................................................... David Hipkin Arron M ansfield Still p h o to g ra p h y ......................Suzy W oods Prod, co-ordina tor ................ W arwick Field 3rd asst d ir e c t o r ....................................Jenny Miles R u n n e r........................................

Phillip Lasky For c o m p le te deta ils of the fo llo w in g Prod, secretary .........................................Nola DOMINO C o n tin u ity ............................................ Caroline Stanton C a te rin g ........................................................Ann Dechaineux features see Issue 26: Camera assistant .................Robert M urray C a s tin g .................................... M & L Casting M ixed at ................................

SAFC Studios Against the Grain Key g r ip ......................................................Colin Chase Casting c o n s u lta n ts .............M & L Casting Prod, com pany .................. Tasmanian Film Laboratory ........................................ Cinevex G a ffe r ..................................................... Lindsay Foote Lighting c a m e ra m a n .............................. Geoff Burton C orporation Study Grant Scheme Cast: Jenny Neumann (Helen, Cathy), Terry Music perform ed by ....................... Cobbers Camera operator ..................... G eoff Burton Besanko (Gary Sweet), Nina Landis (Judy), P ro d u c e r/d ire c to r.......... Peter R. Schm idt Laboratory .................................................. VFL Focus puller ......................... David Foreman M ax P h ip p s (G e o rg e D a lb e rg ), Jo h n S c rip tw rite r...................... Peter R. Schm idt Length .................................................26 mins.

C la p p e r/lo a d e r............................................. GillLeahy Lighting cam eram an .. .Gerald Thom pson Michael Howson (Bennett Collingswood), Gauge .......................... 16 mm and 35 mm Key g r ip ......................................................Brent Collins IN RELEASE Sound recordist ..............

David C rocom be Edmund Pegge (Bruce), Sue Jones (Fay), Shooting s to c k ..........................Eastm ancolor 2nd unit p h o to g ra p h y ....... Vincent M onton Exec, producer .......................Damien Parer Adele Lewin (Sue), Briony Behets (Angela), Synopsis: A short film about a couple living G a ffe r ..................................... Brian Bansgrove Prod, accountant ...................... Robyn Tolot M aureen Edwards (Mother). in the outback, who are doing som ething to E le ctricia n s.................................................. PaulMoyes, 1st asst director ..........Maree-Rose Jones Synopsis: A thriller, set in a theatrical alleviate the loneliness of outback life, Paul Gantner 2nd asst d ire c to r.............C hristine Schluter location.

Boom o p e ra to r..........................................M ark W aslutak C ontinuity .............................. W endy Crosby PACIFIC BANANA Art director .................................... Kim Hilder KEEP MOVING Camera assistant .......... David Hudspeth For c o m p le te deta ils of the fo llo w in g A rt d ir e c to r .........................M eredith Phillips M ake-up ...................................M onica Brown Prod, com pany .....................Australian Film Prod, com pany .................... Pacific Banana H airdresser ............................. M onica Brown features see Issue 26: Set d e c o ra to r.....................Kirsten Fogarty and Television School P ro d u c e r/d ire c to r................ John Lamond W a r d ro b e ....................................................Edie Kurzer Harlequin Dist. com pany .......................Australian Film Musical director ......................... Glenn Long S c rip tw rite r.................................................Alan Hopgood W ard, assistant ................. Leslie McLennan The Little Convict and Television School Music perform ed by ................Glenn Long, P h o to g ra p h y .............................................. Gary W apshott Props b u y e r................................................ AnniBrowning P r o d u c e r/d ire c to r.................. Paul Schneller Peter Schm idt Sound recordist .......................John Phillips Standby p r o p s .................

Clark M unro S c rip tw rite r...............................Paul Schneller M ixer .......................................George Goess E d it o r ...............................................Ray Daley Special e f fe c ts .........................................C hris Murray, P h o to g ra p h y ...................... Joseph Pickering Mixed at ....T a s m a n ia n Film C orporation Art d ir e c to r .............................. H erbert Pinter Rob M organ Sound recordist ....................John Cruthers Laboratory ..................................................VFL Exec, producer ...........................John Chase Set construction .................... H erbert Pinter E d it o r ................................................ Ray Argali Lab. lia is o n ............................Bill Harrington Assoc, p r o d u c e r ..................John Pruzanski Asst e d it o r .............................................. Cathie Sheehan 1st asst director ......................... Erika A ddis B u d g e t...................................................... $5000 1st asst director ................... M ichael Hirsch Edge n u m b e r e r .................................. Carm en Galan Continuity .......................... Caroline Stanton Length .................................................

25 mins.

C a s tin g ................ Valerie Vanost (London), Stunts c o - o r d in a to r ......... Peter Arm strong Cam era operator .....................Simon Sm ith Gauge ...................................................16 mm South Australian Casting (Adelaide) Still p h o to g ra p h y .......................................M ike G iddens Camera assistant .................Gabe Reynaud Shooting s to c k ..........................Eastm ancolor AGE BEFORE BEAUTY Camera assistant ..................Dennis Nikolic C a te rin g ...................................................... Keith Heygate G a ffe r ...........................................Ron M cClung Progress ..............................Post-production Key g r ip .................................... Robin Morgan (previously Hot Flushes) S tu d io s .............................................. G ladstone Gaol Boom operator ........................ Bruce Emery Scheduled release ....................

June, 1980 G a ffe r ............................................................ RayThomas Laboratory .................................................Atlab Sound editor ................................ Ray Argali Cast: Meegan Leverett (Dom ino), Andrew Boom operator ................... Bruce Lamshed Prod, com pany ............Red Heart Pictures Hickm an (Curtis), Adrian Barber (Jones), Lab. liaison .................................Jim Parsons M ixer ........................................... Bruce Emery Asst art director .............. Peter Tem pleton Dist. com pany ............... Red Heart Pictures Kirsten Fogarty (Jenny), M eredith Phillips Length ............................................... 100 mins.

Laboratory .......................................C olorfilm M ake-up ........................ M argaret Archm an P ro d u c e r............................... Susan Lam bert (th e w o m a n ), A n d re w Febey (M ik e ), G a u g e .................................................... 35 mm Length ................................................. 15 mins.

W ardrobe .................................Dianne Smith.

D ir e c to r .................................................... Sarah Gibson Shooting s to c k ..........................Eastm ancolor Gauge ...................................................16 mm W andy M acintyre (Jill Ball), John O’Connor Ruth de la Lande S c rip tw rite rs ........................ Susan Lam bert, Shooting s to c k ........................ Eastm ancolor Cast: Bryan Brown (China), Max Phipps (Willis), Tim Knight (Crab).

Volcanic e ffe c ts ........ .............. M odelm ation Sarah Gibson Synopsis: Four m em bers of a school bush­ (Norton), Dennis M iller (Redford), Gary Cast: Drew Forsythe (Peter), W iki Oman D ubbing edito r .....................Lindsay Parker P h o to g ra p h y .........................M artha Ansara W addell (Dave), Michael Gaw (Andrew), (Michelle), Bill Lyle (taxi driver). walking expedition becom e separated from Laboratory .......................................... Cinevex Sound recordist ..............................Pat Fiske the main party. As night falls, they becom e a Synopsis: In a w orld of alienation, against a P h il M o th e rw e ll (A lb y ), Ray M a rs h a ll Cast: Graeme Blundell. Robin Stewart.

E d it o r ........................................................ Sarah Gibson background of com puters, surveillance and (Chalmers), Ted Robshaw (Partridge), Syd p re y fo r n a tu re and th e bush w h ich D e b o ra h G ra y , A ly s o n B e s t, H e le n C o m p o s e rs ..............................Sandra Zurbo, surrounds them. paranoia, Peter has found a way to survive: Heylen (Old Bob), Robert (Tex) M orton (The Hemm ingway, M anuia Taie. Luan Peters.

Celeste Howden he keeps moving.

Governor).

A u d in e L e ith , G ra e m e D u c k e tt, A lan Prod, m anager .................. Susan Lam bert Synopsis: A prison dram a where the build­ Hopgood.

Prod, a s s is ta n t.......................... Vicki M olloy up of tension between b rim s ' and ‘screw s’ GENTLEM AN’S HALT Synopsis: Take one broken-dow n 1942 Camera assistant .....................M argot Nash leads to a large-scale confrontation.

LONG AGO HURT DC3 aircraft, two randy airline pilots, two M ake-up ........................................ Irene W alls Prod, com pany .......................... Henry Tefay Prod, c o m p a n y ........ University of Sydney sexy, willing air hostesses, one bosom y tour Sound editor ................ Ronda M acgregor P ro d u c e r/d ire c to r.................................. Henry Tefay director, a host of m adcap passengers, plus Still p h o to g ra p h y .................Susan Lam bert Dist. com pany .......... University of Sydney S c rip tw rite r.............................................. Henry Tefay and Film m akers Co-op. an idyllic French Polynesian setting and you Title d e s ig n e r............... Optical and G raphic Based on the original idea Based on the original idea have the in g re d ie n ts fo r an h ila rio u s Laboratory .......................................C olorfilm b y .......................................................... Henry Tefay b y .........................................M arr G rounds com edy.

Lab. lia is o n .................. Richard Piorkowski P h o to g ra p h y ........................................Stephen M iller P h o to g ra p h y .............................................. Colin Hawke B u d g e t.................................................$20,705 Sound recordist .........................Chris Oliver Sound recordist ........................ Paul Turner Length ...............................................20 mins.

E d it o r ..........................................................C hris Oliver E d it o r ................................................. Jim Dale

SHORTS

192 — Cinema Papers, June-July

C o m p o s e r............................... Stephen M iller Lab ora tory ...................................................VFL B u d g e t....................................................... $6954 Length ..................................................21 mins.

G auge ..................................................... 16 mm S hooting s to c k ..........................Eastm ancolor S y n o p s is : A s h o r t film t r a c in g th e relatio nship of foetal life, birth and infancy to the deve lopm ent of hum an personality.

Assoc, p r o d u c e r .......................... Janet Ryan Prod, secretary ............................ Janet Ryan C la p p e r/lo a d e r ...........................Greg Lewin Cam era assistant .................. Steven Foster Key g r ip ...................................... Dale Dinham Boom o pe rator ..................Nicholas C ulliton No. of shots ................................................. 200 Laboratory .............................K.G. C olorfilm B u d g e t....................................................... $1000 Length .................................................. 17 mins.

Gauge ..................................................... 8 mm PLANE TALE Shooting s to c k .................... Eastman Kodak Prod, com pany .. .Plane Tale Productions P ro d u c e r/d ire c to r . '. .............................R obert BullProgress ......................................... Production S c r ip tw rite r ............................................. Robert Bull C a s t:; G uy G u ia n a (D a v id ), J e n n ife r Jannson (Sarah).

Based on the original idea b y ..........................................................R obert Bull Synopsis: David, 15, is condem ned to a life in a w heelchair because of a car accident.

P h o to g ra p h y ................................................PaulC ostello The accident which killed his parents was Sound re co rd ist ................ Ian M cLoughlln caused by a chem ical com pany. David E d it o r ......................... Kerstine H ill-H arrison gains strange pow ers and seeks revenge on Prod, m anager ................ Susan Cam pbell the com pany.

Prod, accountant ............ Susan Cam pbell Prod, a s s is ta n t.............................................RonChoo 1st asst director ........ George Karpathakis THE WAIFS C o ntinuity ...................................Liz G oldfinch P ro d u c e r/d ire c to r................. Robert W allace S crip t a d v is e r...............................................Don M eloche S c r ip tw rite r ..............................Robert Wallace C a s tin g ......................................................Robert Bull P h o to g ra p h y .................................. John Elliott D irector of p h o to g ra p h y ........ Peter Strain Prod, secretary ......................Anna Dalforno Cam era o pe rator .................... Paul C ostello Prod, a s s is ta n t.............................. John Elliott Cam era assistant ................... Sally Bongers Script assistant ...................Francis Burgess Key g r ip ..................................... Don M eloche Cam era assistant .................. Bruce Barnes Asst grip ............................. Laurie Silvestrln Key g r ip ...............................Peter Piotrow ski G a ffe r ........................................... C arlo Buralli M ake-up .................................. Anna Dalforno Boom operator .................. Sarah Howroyd W ardrobe ................................ Anna Dalforno A rt d ir e c t o r ...................................... Jo Hobson Best boy ............................ A nthony Dalforno W ardro be ....................................... Jo Hobson Laboratory ................................. M astercolor P r o p s .................................................Jo Hobson Length .................................................. 15 mins.

Asst edito r ................................Frank Rijavec Gauge ................................................... ,16 mm Neg. m a tc h in g ................ Elizabeth Rapsey Shooting s to c k ..................................... Tri - X Sound edito r .......... Kerstine H ill-H arrison Progress ................................P ost-production C ast: F re d e ric k A u den (the old m an), Editing assistants ................... Frank Rijavec M ichael Filosa (the little boy). Sonia Filosa M ixer ..................................... Ian M cLoughlln Still p h o to g ra p h y .. . Kerstine H ill-H arrison (the little girl).

Synopsis: An old man, a little boy and a little B u d g e t......................................................$5600 girl: together, and. each alone, they are The Length ..................................................20 mins.

Waifs.

Gauge ..................................................... 16 mm S hooting s to c k ........................ Eastm ancolor Progress ............................... P ost-production For com ple te details of the follow ing film s S cheduled release ...................... June, 1980 see Issue 26: C a st: E lizab eth M oxham (K itty), Ju lia Balm ain Daddy M oody (June).

B u ckley’s Chance Synopsis: A short film about a girl's dream

By N ight of flying, which she shares with an older C itysco pe w om an and a toy koala. This film stresses C o untry E ditor the positive side of dream ing.

Dancing D ow nw ardly M obile SEE HOW THEY RUN G etting Out P r o d u c e r/d ire c to r............... C arm elo M usca The Inhabitan t S c r ip tw rite r ............................C arm elo Musca The Jogger Joseph Based on the original idea by .................................................. Judy West Just an O rdinary Life The Q uick Brow n Fox Sound recordist ..........................Bolette Hall C o m p o s e r.................................................. Peter LevyThe Search for Harry Allw ay Prod, m anager ........................ John Green S erpentine Skylaugh Prod, secretary ..................... Terry McGlynn C ontinuity .............................M argaret Musca Take the Plunge The W edding Cam era operators .......... Jerem y Robbins, Roger Dowling W inter Key g r ip s ...................................Percy Porter, Harold C halm er Cast: Sam G erwien (Sam), Alan Green (A la n), C la u d io V e rin i (P aul), B e rna rd F la n a g a n (B a rn e y ), D o ro th y S h e ffin s (M atron), Peter Taylor (bus driver), M ichael Read (orderly), M atthew Lewis (orderly 2).

Jam es Taylor (sports coach), C hristopher M oynihan (car driver).

Synopsis: Sam, a handicapped child in a FEATURES w heelchair, leaves his school party and m eets a couple of boys of his own age who take him to a pin-b all parlour. They then rush back to the Lucy Creeth C rippled C h ild r e n ’ s h o m e in tim e fo r S a m ’ s MY SURVIVAL AS A , . . basketball game.

“DEVIANT”?!

D O C U M E N TA R IE S

Synopsis: The docum entary exam ines the rising tide of c om puter crim es.

SHO RTS

THE BEGINNING ENDS Prod, com pany . .C ellar Film Productions Photography .................................Tim Sm art Editor ..................................... Andrew Jones Cam era assistant . . . . . . Peter Arm strong Exec, produce r ............................M ertonfilm Laboratory ................................................. VFL Length ......................................... 10 m inutes Gauge ..................................................... 16mm Shooting stock ........................ Eastm ancolor Progress ..........................................In release Synopsis: A short docum entary on the m anufacture of the first all-A ustralian pipes using an Australian process. Produced for Humes Ltd.

BOWLING THE WORLD Prod, com pany . .Cellar Film Productions D irector ..................................... Barry M erton S crip tw riter ...............................Barry M erton P hotography ..................................Tim Sm art Jack Endacott, Reg Perier.

Jim Davis.

Peter Zakarov.

Kevin Anderson Sound recordists ..................... Darryl Davis, John Rowley Editor ....................................... A ndrew Jones Cam era assistants ........ Peter Arm strong.

John Elliott.

Robert G rant Key grip ...................................... Noel M udie Exec, produce r ............................M ertonfilm Laboratory .................................................VFL Length ...............................................25 mins Gauge ..................................................... 16mm Shooting stock ........................ Eastm ancolor Progress .............................P o st-production Synopsis: A short docum entary on the game of bowls and the ultim ate com petition — W orld Bowls. Produced for the Wales Bank and W orld Bowls 1980.

COAL iS COAL Prod, com pany .................................G alfilm s P ro d u c e r/d ire c to r ..................G illian Leahy S crip tw riter .............................. G illian Leahy, Ian M illiss Photography .............................. Ned Lander Sound recordist ...........................Pat Fiske Editor ........................................... Jim Stevens Assoc, producer ........................ Ian M illiss Prod, m anager .................. John C ruthers Cam era assistant .................... Erika Addis Laboratory ....................................... Colorfilm Budget .......................................j . . . . .$46,000 Length ............................................... 50 mins.

Gauge ................................................. 16mm Shooting stock ........................ Eastm ancolor Progress ..............................P o st-production Scheduled release ...................... late. 1980 S y n o p s is : A d o c u m e n ta ry a b o u t the forthcom in g expansion of the coal industry in the Hunter Valley region. The film will e x a m in e th e b e n e fits and p o s s ib le problem s the changeover from farm ing to m ining will bring to the area.

THE CONSERVATION OF TOM ROBERTS

........ C anberra College of Advanced Education P r o d u c e r ....................................... Glen Lewis P ro d u c e r/d ire c to r ...........................Ian Hart D irector ........................................ Toby Zoates S crip tw riter .................................Tom Dixon.

P ro d u c e r/d ire c to r......................Glyn M orris S c r ip tw rite r ................................................ Toby Zoates Ian Hart S c r ip tw rite r .................................. Philip W itts Based on the original idea P hotography .................. John Houlds.vorth P h o to g ra p h y .........................Stephen A rnold by .............................................. Toby Zoates Sound recordist ...........................Jim Wise Sound recordist .......... St John Parm igiani P h o to g ra p h y ...............................Toby Zoates, Editor .................................Helene Jam ieson 1st asst d irector ........ Stephanie R ichards Glen Lewis M usical director ..........

Maj Colin Fischer C ontinuity .................................... Yvonne May E d it o r ........................................... Toby Zoates.

M usic perform ed by . . .

C a s tin g ................................... Steven Costain Glen Lewis Band of Royal M ilitarv C ollege Cam era assistant .............. Robyn Petersen M usic perform ed by .............. X Ray Spex, Title designer ..................................Ron Jubb G a ffe r ................................... Deborah C ollins Rejex, Laboratory .......................................C olorfilm Length ................................................. 45 mins.

X L Capris Length .............................................. 20 mins.

Progress ................................P ost-production Title d e s ig n e r ............................................ Toby Zoates Gauge ..................................................... 16mm Cast: Louise Christie (Helen M asters), Tony P u b lic ity .......................................................Toby Zoates Shooting stock ......................E astm ancolour M artin (Craig M asters), W. P. Brennan M ixed at ............................................... Film 8, Progress ..............................P ost-production (G eoff Lacey), Ron Yates (Rob Bennett), Ian Adkins Scheduled release .....................June, 1980 Sue S m ith (C arol), Peta R iley (Lucy), B u d g e t.......................................................$3000 Synopsis: A docum entary which charts the A n n a b e l M c C a r th y (K a te ), V ic to r ia Length ................................................ 60 mins. c o n s e rv a tio n and r e s to ra tio n of Tom L aR ondie (J u lie Lacey), S im o n B u tle r Gauge ................................................ S uper 8 Roberts' huge picture of the opening of the (W aiter), Elizabeth C ranefield (cleaning (with video transfers) first federal parliam ent. lady).

Shooting s to c k .......................................1 in 7 Synopsis: A film which transacts, on two Progress ............................. «.Post-production FIRST IMPRESSIONS levels, a penetrating account of the need for S cheduled release ..........................M id-1980 Prod, com pany . . . Perth Institute of Film c o m m u n ic a t io n a n d u n d e r s t a n d in g Synopsis: The docum entary looks at the and Television between its two lead characters. To avoid concept of deviance. It concentrates on one Producer ................................. Paul Barron b e in g a s p e c ta to r re q u ire s c o n s ta n t m an's struggle to survive in the city — poor, Director ................................... David Rapsey aw areness of the allegory — we cannot unem ployed and gay. He is one of many Based on the original idea app roa ch the futu re until we com e to term s people la belled as a lunatic or a ratbag, but by ........................................... Paul Barron with the present. who is ju st plain hum an.

Photography .............................Tony W ilson Sound recordist .................... Bob Clayton TRAPPED TAKE THE PRINTOUT AND RUN Prod, c o -o rd in a to r ............ Helen V idovich Prod, com pany .............. - .. .. R and R Film Length .................. ............................ 30 mins.

Prod, com pany .............. Ryan Productions Productions Gauge ................................................. 16 mm P ro d u c e r/d ire c to r....................................Peter RyanDist. com pany .........................R and R Film Progress ............................... P re-production S c r ip tw rite r ................................................Peter Ryan P roductions Cast: George Schm eisser.

Based on the original idea P r o d u c e r .................................Ron V. Brown Synopsis: A short docum entary illustrating b y ............................................................ Peter Ryan S c r ip tw rite r .............................Russell Porter the artistic process and the stages in P h o to g ra p h y ..............................................Peter RyanBased on the original idea creating an etching.

Sound re co rd ist .............. Edward Jansson b y ............................................... Ron Brown E d it o r s .......................................................... Film Eight, Length ................................................. 60 mins.

Peter Ryan Progress ............................... P re-production

SPECTATORS

Prod, com pany

LOY YANG OCEAN OUTFALL Prod, com pany . .C ellar Film Productions D irector ...................................Barry M erton S crip tw riter .............................Barry M erton P hotography .................................Tim Sm art Editor .....................................Andrew Jones Cam era assistant .......... Peter A rm strong Exec, p roduce r ............................ M ertonfilm Laboratory ................................................. VFL Length ................................................ 23 mins.

Gauge ................................................. 16 mm Shooting stock ........................ Eastm ancolor Progress ........................................ Production Synopsis: A short docum entary on the ocean outfall schem e being researched, developed and constructed in association with the Loy Yang Power Station project.

P ro d u c e d fo r G u tte rid g e H a skins and Davies.

MAZDA IN MELBOURNE

Prod, accountant .............. Richard M ichel Prod, a s s is ta n t...........................................PearlErnest C ontinuity .........................Deborah M adden Producer's a s s is ta n t............Julieanne M ills Lighting cam eram an ....................Jon Noble Camera assistant .. S arip bin M ahom m ad Tahir Sound edito r ....................... Eddy A lfire vich M ixer ................................................. Kim Lord A 'lim a tio n ....................................... Cam Ford O p tic a ls ................................. O ptical G raphic Title d e s ig n e r ....................... Peter Newton Laboratory ................................................ Atlab Lab. lia is o n ........................Greg D ougherty Length ................................................. 46 mins.

Gauge ....................................................16 mm Progress ................................P ost-production Scheduled release ................ May 30, 1980 S y n o p s is : A d o c u m e n ta r y on th e developm ent of the dry area of Sri Lanka.

By the construction of five dam s, large areas are to be irrigated. It shows the in c re a s e in ric e p ro d u c tio n , h y d r o ­ electricity schem es to provid e pow er for industry, etc.

Prod, com pany . .C ellar Film P roductions Producer ................................. Andrew Jones Director ......................................... Tim Sm art S crip tw riter ...................................Tim Sm art P hotography .................................Tim Sm art Sound recordist ....................... Neil Torode E d it o r .........................................Andrew Jones Camera assistant ......................... Ian Jones Key grips ..................................... Noel Mudie.

Garry Scholes Laboratory ...................................................VFL Length ..................................................10 mins.

Gauge ................................................... 16 mm Shooting s to c k ..........................Eastm ancolor Progress ....................................... Production Synopsis: A sales training film on the w orkings of the Mazda distrib u tio n centre and head office in M elbourne. Produced for Mazda M otors.

Prod, com pany R and R Film P roductions Dist. com pany . R and R Film P roductions P r o d u c e r ................................. Ron V. Brown Prod, s u p e rv is o r .....................Jody Borland Length ..................................................30 mins.

Gauge ................................................... 16 mm Shooting s to c k ..........................Eastm ancolor Progress ............................... P re -production Synopsis: A docum entary update of the s u c c e s s fu l 1976 p ro d u c tio n of S o la r H eating, with a broade r look at the fu tu re of solar energy usage In Australia in this decade.

THE MOVIE VERSION

SELF-PORTRAIT BLOOD RED

SOLAR ENERGY FOR THE 80s

P r o d u c e r ..............................................C arm elo Musca Prod, com pany ........................Q uality Meats D ir e c to r .................................................... Barrie Pattison P r o d u c e r/d ire c to r...................................... IvanD urrant S c r ip tw rite r .............................................. Barrie Pattison Based on the original idea Technical d ire c to r .........................Peter Ellis by ...............................................Ivan D urrant Videotape operator ............ Stuart Pointon P h o to g ra p h y ...................................Louis Irving Camera operator ..................... Colin Hawke E d it o r ............................................................. Ivan D urrant Videotape e d i t o r .......................Drew Gibson Prod, d e s ig n e r............................................ Ivan D urrant Prod, secretary ...................... Terri M cGlynn C o m p o s e r.....................................................Ivan Durrant A dditional m u s ic ...........................Peter Levy Prod, secretary ......................Judith Durrant Title b a c k g ro u n d s ...........................“ Illusions" Art d ir e c t o r ...................................................Ivan Durrant Length ................................................. 30 mins.

P r o p s ........................................ Judith D urrant ‘M ovies’ in cluded: It's A Dog’s Life (Nicky Props b u y e r ............................ Judith D urrant Meyers), Science Fantasy (Nicky Meyers). A Standby p r o p s ............................................ Ivan Durrant V ideo Reality (A ndrew Frost). U n title d Scenic a r tis ts ...............................................Ivan D urrant (A n d re w F ro s t). S u p e ry u ts a k o (S ean Asst, e d it o r ................................................Juliet Darling O 'Brien, Sim on W olkenstein), A Nursery Sound edito r ..........................Robert Gibson Tale (R osanna Lillie). Illu sio n s (K atie M ixer ........................................ Robert Gibson Florance), Life (Alisa Ford). Why (Stephen M ixed at .......................R. G. Film Services M orrell), Intentions (Joe Iliad is).

Laboratory ........................................... Cinevex S y n o p s is : A d o c u m e n ta ry a b o u t Sue B u d g e t................................................... $12,000 W ilson's Super 8 mm w orkshop, which Length ..................................................25 mins. brought together 12 children who made Gauge ....................................................16 mm productio ns in a surprisin g range of styles Shooting s to c k ..........................Eastm ancolor and subjects.

Progress ................................P ost-production C a s t: Iva n D u rr a n t. J u d ith D u r r a n t, Jacqueline Durrant, Jam ie Durrant.

ON TIME AND ALL CORRECT Synopsis: A short docum entary illustrating Prod, com pany . . Cellar Film P roductions a dream by Ivan Durrant, with im ages that D ir e c to r ......................................................Barry M erton give a hint to the way his creative thought S c rip tw rite r.............................

Barry M erton patterns evolve.

P h o to g ra p h y ...................................Tim Sm art Sound recordist .........................Neil Torode E d it o r .........................................Andrew Jones TUCKER Exec, producer ............................. M ertonfilm Camera assistant .................. Andrew Jones Prod, com pany ............ The Vision Factory Laboratory ...................................................VFL Dist. com pany ...............The Vision Factory Length ................................................. 22 mins.

Director .......................................

G eoff Easton Gauge ....................................................16 mm P h o to g ra p h y ............................... G eoff Easton Shooting s to c k ..........................Eastm ancolor Sound re cordist ................

G raham W ithers Progress ....................................... Production E d it o r ........................................... G eoff Easton Synopsis: A short prom otional film on the B u d g e t....................................................... $1600 m a n u fa c tu re and p a s s a g e of s te e l Length .......................................................12'30" reinforcing products, from the steel works Gauge ................................................. Super 8 to the building site. Produced for the Steel released on video cassette Reinforcem ent Prom otions G roup.

Shooting s to c k .....................K o dachrom e 40 Scheduled release .........................In release PLASTILINE FOR BAGHDAD Synopsis: Deals with our eating habits and Prod, com pany .. C ellar Film Productions how th e y a re fo rm u la te d fro m e a rly D ir e c to r ......................................................Barry M erton childho od and the role the school canteen S c rip tw rite r................................................Barry M erton and teachers can play in prom oting good P h o to g ra p h y .................................................Tim Sm art eating habits using the basic five.

Sound recordist ......................... Paul Elliott E d it o r .........................................A n drew Jones For c o m p le te d e ta ils of the fo llo w in g Camera assistant .................. Andrew Jones docum entaries see Issue 26: Exec, produce r ..............................M ertonfilm Laboratory ...................................................VFL The Angel and the Rat Length ..................................................10 mins.

Aussies All Gauge ................................................... 16 mm The Dangerous Summer Shooting s to c k ..........................Eastm ancolor Every Little Twinge Progress ........................................... In release The Last Great Rally Synopsis: A short docum entary about the Raccolta D’lnverno (Winter’s Harvest) adoption in Baghdad of a unique, Australian Stairway to the Moon p ro c e s s of lin in g b u ild in g s and tra c ts Union Made exposed to highly corro sive atm ospheres w ith a PVC c o m p o u n d . P ro d u ce d fo r Humes Ltd.

RIVER OF LIFE Prod, com pany ............................... Film west Dist. com pany ................................. Film west P r o d u c e r ........................................ Jon Noble D irector ......................................... Jon Noble, Eddy Alfirevich S c rip tw rite r.................................................... Ian Barry P h o to g ra p h y ................................................. Jon Noble Sound recordist ...................... John O’Brien E d it o r ...........................................................Zsolt Kollanyi Exec, produce r ..............................Jon Noble Assoc, produce r ..................... Frank Zuppar Prod, c o -o rd in a to r .......... B. L. Hem apriya Prod, secretary ..........................Nellie Chew, Julieanne M ills

TE L E V IS IO N

Johnnie Bell, his two sisters Anne and Sue, and an Am erican friend, Pete Dobraski, are w arned off as they approach a strange traw ler pulling into the bay near the Bell’s house. The others turn back, but Johnnie goes on and is run down by a rem ote­ controlled speedboat . . .

father, use their ingenuity to hide their situation from the authorities as well as the people living in the sam e block of flats.

parents are still very Italian, w hile the c h ild r e n a re v e r y A u s t r a lia n a n d challenging of their parents’ views.

FALCON ISLAND

THE LAST OUTLAW

Cast: Val Lehman (Bea), Patsy King (Erica), Colette Mann (Doreen), Elspeth Ballantyne (M e g ), G e ra rd M a g u ire (J im ), S h e ila Florance (Lizzie), George M allaby (Paul), Betty B o bbit (Judy), Jude Kuring (Noeline), Fiona Spence (Vera).

S y n o p s is : A d r a m a o n l i f e In a contem porary Australian wom en's prison.

Prod, c o m p a n y ........ Pegasus Productions Prod, com pany .......... Excallbur Nominees for the Seven Network P r o d u c e rs ................................................Judith West, P r o d u c e r ........................ Roger Le M esurier Paul Barron PILO TS D irectors .................................. George Miller, D ir e c to r s .................................. Peter Maxwell, LAND OF THE LOTUS EATERS Kevin Dobson A TOWN LIKE ALICE David Rapsey Prod, com pany .............. Em erald Pictures S c rip tw rite rs ..........................Bronwyn Blnns, Prod, com pany ................Alice P roductions c rip tw rite r...............................Joan A m brose P ro d u c e r/d ire c to r...................................C arlo DimSitri Ian Jones Dist. com pany .......................Seven Network on the original Idea S c rip tw rite r............................................... Carlo D imBased itri P r o d u c e r.................................Henry C raw ford P h o to g ra p h y ........................................... Ernest Clark b y ........................................... Joan A m brose Based on the original idea Sound recordist ......................Lloyd C arrlck D ir e c to r .....................................David Stevens PEOPLE LIKE US P h o to g ra p h y .................................... Kevin Lind by ........................................... Charles Boyle E d it o r .............................................Philip Reid S c rip tw rite rs .......... Rosemary Anne Slson, Prod, com pany ................... Hannay-Oakden Sound recordist ......................Don Connolly P h o to g ra p h y ............................. Charles Hope Tom Hegarty Prod, d e s ig n e r..............................

Les Blnns Productions E d ito r s .............................................. G eoff Hall, Sound recordist .....................Charles Boyle C o m p o s e r.......................... Ivan Hutchinson Based on the novel b y ............. Nevil Shute for the Seven Network Kerstine Hill-H arrison Prod, d e s ig n e r......................................... Carlo Dim itri Exec, producers ...........................

Ian Jones, P h o to g ra p h y ..........................................

RussellBoyd Dist. com pany .................. Hannay-Oakden C o m p o s e r.................................................. Greg Shultz Exec, producer ........................ Carl Kneipp Bronwyn Binns Sound recordist ..................... Lloyd Colm an Productions Exec, producer .......................... Paul Barron Assoc, p r o d u c e r ....................... Eliane Brami E d it o r .........................................

Tim W ellburn Assoc, p r o d u c e r ........................ Tom Blnns P r o d u c e rs ...................... M ichael Laurence, Prod, m anager .................... Betty Barnard Prod, a s s is ta n t........................... Eliane Brami C o m p o s e r...............................Bruce Sm eaton Unit m a n a g e r.............................. P-. J. Jones David Hannay Prod, secretary ...........................Dixie Betts Script assistant ........................ Eliane Bram i Prod, m anager .......................... Lynn Gailey Prod, secretary .......................... Trlsh Foley D irector ...................................... Ian Coughlan Prod, accountant ............. Joan Greenwell Camera operators ................Charles Hope.

Unit tran sport m a n a g e r............ John Chase Prod, accountant ...................... Philip C orr S c r ip tw rite r ........................ M ichael Laurence 1st asst director .....................James Parker Carlo Dim itri Accounts assistant . .. Lesleigh Sim m onds Prod, secretary ..........................Fiona Gosse Based on the original idea 2nd asst d ir e c to r ... Chris H oppenbrouers Special fx p h o to g ra p h y ........ Charles Hope 1st asst directors ...................... M ark Piper.

Business m anager ................ Penelope Carl b y .....................................M ichael Laurence 3rd asst d ir e c t o r .............. James Richards Special e ffe c ts ................................... Charles Boyle M urray Newey Prod, a s s is ta n t...........................Jenny Miles Prod, m anager . . Jacqueline Eyre Ireland ontinuity ........................................ Lyn Hyam Still p h o to g ra p h y ..................................... Carlo DimCitri.

2nd asst d ire c to r ............Philip Hearnshaw 1st asst director .....................M ark Turnball Floor m a n a g e r.......................................... John Holm es Camera operator ..........

Peter Letenm aier Charles Boyle 3rd asst d ir e c t o r ................. Louise Johnson 2nd asst d ire c to r................ Chris M audson' D irector’s a s s is ta n t................................Jenny Quigley Focus p u lle r ...........................Jerem y Robins W ra n g le r ...................................Charles Boyle Continuity ....................................

Julie Bates 3rd asst d ir e c t o r ........................................ Kim Anning Location technical d ire c to r .. .Ian Sneddon C lappe r/loa ders .........................R obert Bull, Length ................................................. 55 mins.

Casting consultants . . . Mitch Consultancy S tudio technical director ........ David Alley C ontinuity ............................... Joanna W eeks Paul Costello Gauge ...................................................16 mm Focus p u lle r .............................................

Harry Glynatsis Lighting d irector ......................Peter O’Brian Extras casting ................ Mitch C onsultancy Key g r ip ...................................Karel Akerm an Shooting s to c k ....................................... NewsStock C lappe r/loa der ...................... W arwick Field Cam era operators .......... Doug Hampson, Casting consultants ............ M & L Casting Asst grip .............................................Phil Rich Progress .......................................Production Key g r ip .....................................................David Cassar M artin Lee Focus p u lle r .............................................Nixon Blnney 2nd unit photography S y n opsis: A te le -fe a tu re e x p lo rin g the Asst grip .................................... Jam ie Leckie E le c tric ia n ........................ Len B iddlecom be C lappe r/loa der ........................... Kim Anning (underwater) .................... Hugh Edwards legends of A boriginal tribes of the Alligator 2nd unit photography ............Harold Koch Key G rip ......................................... Ray Brown Lighting assistant ........................... Pat Hagen G a ffe r .......................................Darryl Binning and Dally River systems In the Northern G a ffe r..................................................... Stew art Sorby A udio .........................................W eston Baker Asst grip .................................. Stew art Green Boom operator ...............................Phil Croal Territory.

E le c tric ia n .................................................

Craig Bryant G a ffe r ...................................Brian Bansgrove Senior boom ............................. M itch Knight M ake-up ............................. Linda Sanderson Boom operator ................... Bruce Lamshed D ubbing editors ......................Dean Gawen, Boom ...................................................D. Steele W ardrobe ........................... Linda Sanderson Peter Burgess Asst art director .....................

Peter Kendall M ake-up .............................Veyatie M cLeod W ard, a s s is ta n t.............Sue-Ellen Rawlings Dubbing a s s is ta n t............ Shirley Kennard Costum e designer ................... Jane Hyland W ardrobe .............................T herese Rendle Props b u y e r ............................................... Dick Bristow S ER IES Still p h o to g ra p h y .....................................

David Parker M ake-up ................................. Kirsten Veysey Props .............................................M itch Vallis Standby p r o p s ........................................... Dick Bristow T upbell to r .................................................Ahzar Nik H a ird re s s e r...............................................Fiona Cam Set d e s ig n e r................................... Steve M uir Sound editor ........................Glenda Hambly Location n u rs e s .....................................

O delia Anthony W ard, a s s is ta n t........................................... PatM urphy Set d r e s s e r ........................................... G ordon Brown Editing assistants ................... Liz G oldfinch, (Malaysia), Standby p r o p s ............................ Robert Steel Videotape e d i t o r ........................................Bob Nowland G eorge Karpathakls Liz Riley (Australia) Special e ffe c ts ......................................... Geoff M urphy Staging .............................Tony Hunt (sets), Stunts co-ordina tor .................... Peter West Malaysian lia is o n .......... All A bdul Rahman C onstruction supervisor ................ Ian Doig Russell Clay (location) Still p h o to g ra p h y ............................... Stephen Smith ALL THE GREEN YEAR Malaysian dialogue coach ........ Azhar Nik Asst editor .................................. Ken Sallows Location stage hand ............ Michael Kent Dialogue coach .......................Kathy W atters Prod, com pany .. Australian Broadcasting Malaysian re p re s e n ta tio n .......... Producers Neg. m a tc h in g .........................................

Atlab CCU operator ................ Graham Mannion R u n n e r..................................

Phil M onaghan Com m ission Film Services (Kuala Lum pur) Sound editor ..........................Terry Rodman P o st-production facilities .. Custom Video B u d g e t.................................................$500,000 D irector ...................................Douglas Sharp Best boy ...................................Paul G antner Editing assistants ....................

Robert Grant Cast: Lucky G rills (Bert Stanley), David Length .........................................8 x 30 mins.

S c rip tw rite r..................................... C liff Green Unit publicist ................................Wendy Day M ixer ....................................... David Harrison Atkins (Tony Stanley), Brian Hannan (Ted Gauge ...................................................16 mm Based on the novel C a te rin g ................................... Keith Heygate Dialogue c o a c h .......................................Frank G allacher Phipps), Kit Taylor (Jim Brookes), Kerry Shooting s to c k ..........................Eastm ancolor b y ....................................... Don Charlwood Production facilities ..........................Film slde M aster of h o rs e ..............................John Baird Elchorn (Annabel M artin), Rosie Bailey Progress ......................................... Production Sound recordist ......................John Boswall P o st-production facilities .......... S pectrum P u b lic ity ...........................................Channel 7 (Fran Scott), M ark Spain (Damien M artin), Cast: Francesca Shoesm ith (Kate Ellery), Prod, d e s ig n e rs .......... Carol Harvey (film ), C a te rin g ................................ Catering Capers Boom operator ...................Andrew Duncan Lyn Collingw ood (M aisie Stanley), Marion Greg Duffy (Paul Ellery), Justin Hollyock Alwyn Harbott, Art d ir e c to r ...........................Larry Eastwood Laboratory ................................................Atlab Johns (M rs Johnson), Michael Galeazzi (Jock Dixon), Sevan Lee (Vim ), Allan Colin Gersch (studio) Length ......................................... 4 x 90 mins. Asst art directors .................... C lark M unro, (Paul M a rtin ), A lls te r S m art (D etective C assell (B rady), M aurie O gden (Frank Exc. producer ................... Oscar W hitbread Sally Cam pbell Gauge ...................................................16 mm Rogers).

Ellery), M ichael Loney (Constable Harris), Prod, manager ...................... Frank Brown Shooting s to c k ..........................Eastm ancolor Costum e designer ................ Ron W illiam s Synopsis: A pilot tele-feature about five Joan Sydney (M rs Yates), M errln Canning Prod, secretary .................... Barbara Hewitt M ake-up .................................Rochelle Ford Progress .........................................

Production fam ilies living in the Western suburbs of an (Miss Fitzgerald). Alan Fletcher (Alan).

1st asst directors .......... Chris W eymouth, C ast: John J a rra tt (Ned Kelly), Elaine H a ird re s s e r..............................................CherylW illiam s Australian city — their problem s, their Synopsis: The final eight episodes of a 13W alter Boston Standby p r o p s ..................................

Barry Hall C u slck (M rs Kelly), S teve B isley (Joe part television dram a serial for children. relationships.

2nd asst d ire c to r..................................... Peter M urphy Byrne), John Ley (Dan Kelly), Lewis Fitz­ Carpenter .................................Alan Fleming These episodes continue with the three Producer’s a s s is ta n t.......... Christine Lipari C onstruction m a n a g e r........

Brian Hocking Gerald (Tom Lloyd), Peter Hehir (Aaron children, Kate, Jock and Paul, solving the C a s tin g ......................................... Pauline Sell Sherritt), Ric H erbert (Steve Hart), Debra Asst editor ..............................Vicki A m brose For com plete details of the following film s m ystery of strange happenings in the night.

Lighting cam eram an ..........Ian W arburton Lawrance (M aggie Kelly), Sigrid Thornton Laboratory ................................................ Atlab see Issue 26: Camera operator ...................... Ron Hagen Lab. lia is o n .......................... Greg D ougherty (Kate Kelly), Tim Eliott (Steele).

Punishment FALLING STARS Camera assistant .............. Mike Patterson B u d g e t..............................................$1,250.000 Synopsis: The story of Ned Kelly.

Secret Valley Prod, com pany R and R Film Productions Key g r ip ..................................................... Philip Oyston Length ....................................... 6 x 50 mins.

Dist. com pany .

R and R Film Productions Asst grip ...........................................Tony Hall Gauge .....................................................16 mm PRISONER P ro d u c e r ................................ Ron V. Brown E le c tric ia n .....................................Stan Smith Shooting s to c k ..........................Eastm ancolor Prod, com pany .The Grundy Organization S c rip tw rite r..............................

Chris W orrall.

M ake-up ..................................Paddy Opwald P r o g r e s s ......................................... Production Dist. com pany .............................Network 10 Ron Brown W ardrobe ...................... Norm a Landregan Cast: Helen M orse (Jean Pager), Bryan F EA TU R E S P ro d u c e r .......................................Philip East Ruth Brown N a rr a to r ...................................... Alwyn Kurts Brown (Joe Harm on), G ordon Jackson D ir e c to r s ...................................Rod Hardy.

Based on the original idea P u b lic ity .................................Jim M cPherson by ...........................................Chris W orrall M arcus Cole. (Noel Strachan). Yukl Shim oda (Sergeant Length ..........................................6 x 30 mins.

M iffune), Dorothy A lison (Mrs Frith), Anna Leigh Spence.

P r o g r e s s ............................ P re-production Progress .......................................Production Bill Hughes Volska (Sally), Pat Evison (M rs Collard), Synopsis: A situation com edy television Cast: Greg Stroud (Johnno). Darius Perkins Richard Narita (Captain Sugano). Hatsuo S c rip tw rite rs .............................Sheila Sibley. series, about the life of a nsmg rock star.

(C harlie Reeve).

Carl Hansen (S quid), DEAD MAN'S FLOAT Uda (C aptain Y o niata). C e cily Poison Denise Morgan.

M o n ic a M a u g h a n (M rs R eeve). A lan Prod, c o m p a n y .......................... A ndrom eda (Eileen Holland).

Ray Kolle, Hopgood (Mr Reeve).

HOME SWEET HOME Productions Synopsis: A W orld W ar 2 romance, based John Upton Synopsis: Set in M elbourne, in T929, the Prod, com pany .................................... ABC Dist. com pany ........................ Androm eda on the novel by Nevil Shute M argaret McClusky, series is about three teenagers.

Charlie P r o d u c e r ..................................

Michael Mills Productions Dave W orthington.

For com plete details of the follow ing series Reeve Johnno and Squid, who experience D ir e c to r s .................... Geoffrey Portmann, P r o d u c e r .......................... Tom Broadbridge Ian Bradley. see Issue 26: the grow ing up' process, including dis­ David G oldie D ir e c to r ........................................Peter Sharp John Wood, covering girls for the first time.

S c rip tw rite rs ............................

Vince Powell, Lucinda Brayford S c rip tw rite r................ Roger Vaughan Carr George Mallaby The Tim eless Land Hugh Stuckey.

Based on the novel Based on the original idea David Dominic, CORNFLAKES FOR TEA W ater Linder the Bridge b y ............................ Roger Vaughan Carr b y ................................................Reg Watson Charles Stamp Prod, com pany . .Androm eda Productions Sound recordist ....................... Gary W ilkins Sound recordists ....................

Gary Hayes.

Based on the original idea P r o d u c e r ..........................

Tom Broadbridge E d it o r .............................................. Ray Daley Rob Saunders, by ............................................. Vince Powell D ir e c to r .............................John C olquhoun C o m p o s e r........................ .. . .Greg Sneddon David Keates Sound recordist ........................... Ben Osmo S c rip tw rite r.......................Judith C olquhoun Exec, produce r ........................ Ewart W ade E d ito rs .........................................Keith Elliott.

E d it o r .....................................Matti Heinonen Sound recordist .......................John Rowley Prod, m anager ........................ Sue Hornby David Jaeger Prod, d e s ig n e r.......................Barbara Major E d it o r .........................................

Tony Paterson Prod, secretary ........Heather M acPherson Prod, d e s ig n e r...............................Ian Costello Exec, p r o d u c e r ........................................ John O ’Grady C o m p o s e r................................. Greg Sneddon 1st asst director ..................... M ike McKeag C o m p o s e r...................................Allan Caswell Prod, m anagers ............................ Bill Miller.

Prod, secretary .......................Tracie Rayner C ontinuity .......................... Judy Whitehead Exec, producer ........................... Ian Bradley Judy M urphy 1si asst director .................. Geoff M orrow Lighting cam eram an .............. David Eggby Prod, co-ordina tor ............Fay Rousseaux Prod, secretary ........................

Anne Jones Asst d ire c to rs ..................................... W arwick Ross, C la p p e r/lo a d e r ................... M alcolm Davie Prod, m anager ...................... Valerie Unwin 1st asst directors ................... Wayne Barry.

C R E A T IV E D E V E L O P M E N T Peter Thom pson Camera assistant ............ David Connell Prod, a s s is ta n t.............................................FayRousseaux Brian Sandwell C ontinuity ................................... Anne Dutton Key g r ip ............................................... Ian Parke BRANCH 1st asst director ........................ Bob Gillow 2nd asst d ire c to r ................... Gae M ulvogue Lighting cam eram an ...M a lc o lm Richards Asst grip ...................................Ian Bennallac C a s tin g ............................................M aura Fay Projects approved at the AFC m eeting in P roducer's a s s is ta n ts ........Maggie Hegarty Focus p u lle r ...................................Phil Cross G a ffe r ......................................... Tony Holtham M arch, 1980: Camera operators .................... Peter Hind.

Jenny Newton G a ffe r ..........................................Gary Plunkett Boom operator .................. M ark W aslutak Ken M ulholland, Lighting cam eram an , . . Danny Batterham Boom operator ................ Chris G oldsm ith A rt d ir e c to r ........................................... Richard Francis Script Development Noel Penn (Studio), Camera assistants ................

David Collins, M ake-up ...........................................Nola lies Special e ffe c ts ........................................A rthur Hoadley * Joe Battaglia, Chris Doig Harry Bardwell, for research and script P r o p s ......................................... Mary Harris Asst edito r ................................. Simon Boyle Steve Mann developm ent of Field of Thunder — $1850 Key g r ip .................................. Paul Lawrence Neg m a tc h in g .............................. Rikki Main Neg. m a tc h in g .....................................Cinevex Boom operator .................. Paul Covington Geoffrey Bennett, for scrip t developm ent of E le c tric ia n .....................................Geoff Smith M ixer ....................................... Steve Edwards Sound editor ...........................Peter Burgess M ake-up ......................Vivienne Rushbrook, The Guardians — $800 M ake-up .....................................

Suzie Clemo Still p h o to g ra p h y ........................................Rob Suggett Still p h o to g ra p h y ........................................ RobSuggett Adrienne Lee Jam es Bradley, for script developm ent of W ardrobe .......................................Edie York R u n n e r.........................................Tom Herbst Title d e s ig n e r .............................................Mike Hudson H a ird re s s e r...................... G ilbert Broadway Memories of Icarus — $800 Props b u y e r .................................

Tony Cronin P u b lic ity ..............

Kiplings Public Relations Best boy .................................Colin W illiam s W ardrobe .........................Jennifer Carmen, Bryan Brown and G erry Bostock. for script Technical producer ................... John Nixon Laboratory ...........................................Cinevex R u n n e r..........................................Tom Herbst Jan Petersen developm ent of Here Comes the Nigger — Asst editor .............................Derek Catterall Length ..........................................6 x 24 mins.

P u b lic ity .............. Kiplings Public Relations P r o p s .................................... Stephen Walsh $2000 Musical director .................W illiam Motzing Gauge ................................................ 16 mm C atering ..................................... Dish s Diner Asst edito r ..........................Peter Barbedos Ben Cardlllo, for script developm ent of The Studio w arm -ups ............

Bruce Brom head Shooting s to c k ..........................Eastm ancolor Length ..................................................72 mins.

Musical d irector ................W illiam Motzing Last Voyage of the Star — $1000 Stunts . . . Peter Arm strong and Associates P r o g r e s s ............................... Post-production Gauge ................................................... 16 mm M usic perform ed Jinks Dulhunty, for script developm ent of Dialogue c o a c h ........................................Rosa Saladino Cast: Howard Kloester (Richard). Linda Shooting s to c k ..........................Eastm ancolor b y ...................... Australian Screen Music One Ambitious Career — $400 Length .........................................6 x 30 mins Hartley (Trlsh). Tam Lord (Chris), Max Progress ................................Post-production Sound edito r ..........................

Greg Gurney M ichael Hill, for scrip t developm ent of Two Progress ......................................

Production C ullen (Stan). Bunney B rooke (Gran), Cast: Sally Boyden (Anne). Greg Rowe Still p h o to g ra p h y .......................... Ray Hand Lovely Young Girls in a Jam — $1100 Cast: John Bluthal (Enzo Pacelli), Arianthe Candy Raymond (Robin), Kerry Arm strong (Johnny), Jacqui G ordon (Sue). Rick Ireland P u b lic ity ..........................

Felicity G oscom be Clytie Jessop, for script developm ent of Galani (M aria Pacelli), Miles Buchanan (C h e ry l), B ru c e K e rr (F o rb e s ), V in ce (Pete). Bill Hunter (Eddie). Bunney Brooke C a te rin g ............................Anne Dechaineux Emma’s War — $300 (Tony Pacelli), Carm en Tanti (Anna Pacelli), D 'A m ico (S ilvio), Peggy N ich o lls (M rs (P arish). Gus M e rc u rio (M r D o bra ski), S tu d io s ........

Channel “ 10” — Nunawadlng Carol Kostanich and M adelon W ilkens. for C hristopher Bell (Bobby Pacelli).

Banker).

M arcel Cugola (Mr Luth), Ernie Sigley Length ........................................ 2 x 60 mins. script developm ent of Single Parents — Synopsis: A television series about an S y n o p s is : R ic h a rd , T ris h and C h ris , (Sharks), John Haywood (Captain Collins).

First re le a s e d ........................ February 1979 $1700 Italian m igrant fam ily in Australia. The deserted firs t by their m other, then by their S y n o p s is : A y o u n g A u s tra lia n s u rfie .

— National 0-10 Network

AU STR A LIA N FILM

COM M ISSION

194 — Cinema Papers, June-July

PROJECT DEVELOPMENT BRANCH Projects app rove d at the AFC m eeting in M arch, 1980:

Script and Production Development investment Nancy Cash, a d d itional funding fo r Daddy’s Little Girl — $26,000 B e rt D e lin g , s c r ip t d e v e lo p m e n t fo r re s e a rc h and tre a tm e n t of Vanda and Young — $5000 G urull Pty Ltd, s c rip t deve lopm ent for a revised firs t dra ft of The Queenslander — $6000 JNP Film s Pty Ltd, scrip t deve lopm ent fo r a second d ra ft of Sweet Juliet and the Macho — $3000 Lim elight P rodu ctions Pty Ltd. add itional funding for Puberty Blues — $10,000 G odfrey Phillip, scrip t deve lopm ent for research and trea tm ent of 25 Years in the Making — $5000

Project Branch Loans E x c a lib u r N o m in e e s (PIFT). a d d itio n a l overage facility fo r Falcon Island — $1200

Women’s Film Fund Julie Jam es-B ailey, s crip t deve lopm ent for research on Come In Spinner — S4750 Helen Boyd, p ro d u ctio n investm ent for Evolution — $17,444 Lilias Fraser, scrip t deve lopm ent fo r Who Cares? — $550 Ros G illespie, add itional p o st-p ro d u c tio n investm ent for Climbers — $2000 Jeni Kendell, add itional post-p ro d u c tio n investm ent for Birth and Beyond — $859.84 C atherine Shirley, s crip t deve lopm ent for Joy: Inner City Survivor of the Old School — $588.70 Projects approved at the AFC m eeting in A p ril, 1980:

Script and Production Development Investment CCP Pty Ltd, s crip t deve lopm ent for a second d ra ft of The Number of the Beast — $35,160 Pattie C rocker, s c rip t deve lopm ent fo r a second d ra ft of Shoem aker’s Children — $7000 E d gecllff Film s Pty Ltd, scrip t deve lopm ent fo r a first d ra ft of Vanished — $23,564 Esta Handheld, p re -p ro d u ctio n tests for Kangaroo — $1050 Sonia Hofm ann, s c rip t deve lopm ent fo r a first dra ft of O Babylon — $12,500 M cE lro y and M c E lro y Pty Ltd, s c rip t deve lopm ent fo r a tre a tm e n t of Cat Burglar — $4950 M ingara Film s, scrip t d e ve lopm ent fo r The Clouded Legend — $5200 Perkins Film P rodu ctions Pty Ltd, add itional funding fo r The Dig Tree — $5600 Brian Syron, scrip t deve lopm ent fo r Aus­ tralian Aboriginal Achievers — $18,345

Project Branch Production Investments M inga ra Films, pro d u ctio n investm ent for W hatever Happened To — $10,000 Quest Film s, a d d itional p ro d u ctio n invest­ m ent (overage fa cility approved previously revoked), fo r Roadgames — $83,588

Synopsis: A m ontage of A u stralia and its lifestyle using the w o rds of Henry Lawson to describ e this unique continent.

BUILDING RESTORATION TECHNOLOG Y

Gauge .................................................... 16 mm Synopsis: A trainin g film to in stru ct coaches and potential coaches abo ut the nature of Injuries suffered by peo ple who play sport, so that th e ir coach ing w ill in co rp o ra te practices w hich reduce the risk of injury.

S ponsored by the S p o rt and Recreation Division of the D epartm ent of T ransport.

S c r ip tw rite r .....................M ario A n dre acchio Exec, pro d u c e r .............................Bruce M oir Length ................................................. 25 mins.

Prod, com pany .......................Film Australia Gauge ......................................................16 mm C ly tie J e s s o p , d i s t r ib u t io n lo a n fo r Dist. com pany .........................Film A u stralia Synopsis: A short film to create greater Flamingo Park — $1030 P r o d u c e r ...................................Peter Johnson pub lic aw areness of the need to preserve.

D ir e c to r .........................................................Nick Torrens Sponsored by AM DEL. S c r ip tw rite r ................................................ David Roberts NORTH HAVEN E d it o r .............................................................Nick Torrens P r o d u c e r/d ire c to r .....................Justin M ilne THE CARE WE TAKE P rodu cer’s a s s is ta n t.......... R osem ary Gow S c r ip tw rite r ........................................Newfilm s Prod, com pany .............................Film house Length ..................................................20 mins.

E d it o r ...................................................... A n dre w Ellis P r o d u c e r .................................................... G eoff M ichels Gauge ....................................................16 mm Exec, p roduce r .............................B ruce M oir D ir e c to r ......................................................... Tim Sullivan S hooting s to c k .......................... Eastm ancolor Cam era o p e ra to r .......... G eoffrey S im pson S c r ip tw rite r .............................Ron Saunders Progress ............................... P re-production Gauge .................................................... 16 mm E d it o r ..............................................................Tim Sullivan Scheduled r e le a s e S eptem ber, 1980 Synopsis: A short film on the d eve lopm ent Exec, pro d u ce r ...........................Bruce M oir Synopsis: A short film to prom ote the of a new estate. S p onsored by the North THE CAPITAL Length ..................................................15 mins.

N o rth e rn T e r r ito r y to A u s tr a lia n and Haven Trust.

Prod, com pany . . . . C am eracraft B risbane Gauge ..................................................... 16 mm overseas audiences.

Dist. com pany ....................... Film A u stralia Synopsis: An expo rt prom otion film fo r the P r o d u c e r ..................................Peter Johnson ORGA N IZA TION OF C O A C H IN G Australian Barley Board.

RUGBY D irector ..........................................Greg Parry S c r ip tw rite r ............................ Terry Jennings Prod, com pany .....................M otion Picture S c r ip tw rite r ...........................M ichael Falloon Exec, pro d u ce r .............................B ruce M oir Associates P h o to g ra p h y ..................................................Jim G ilbert Length ....................................................8 m ins.

C H ILD /P A R E N T DEVELOPM ENT Dist. com pany .........................Film Australia E d it o r ............................................. Kevin Franzi Gauge ....................................................16 mm SERIES P r o d u c e r .................................................... Peter Johnson P rodu cer's a s s is ta n t.......... R osem ary Gow Synopsis: A short film fo r use with trainee S c r ip tw rite r .............................. W endy Taylor D ir e c to r ..................................... David Barrow Length .................................................. 20 mins. coaches. S p onsored by the S p orts and Exec, p roduce r ........................... Bruce M oir S c r ip tw rite rs .........................Peter Johnson, Gauge ....................................................35 mm Recreation Division of the D e partm ent of Length .......................................10 x 10 mins.

David Barrow.

Shooting s to c k .........................Eastm ancolor Transport.

Gauge ....................................................16 mm M ichael R obertson Progress .............................. P o st-production Synopsis: A series of short film s aim ed at P h o to g ra p h y ................................. John Leake S cheduled release .......................... M id 1980 THE ROLE OF THE COACH p r o v id in g p a r e n t s w ith a g r e a t e r Editor . ....................................... Peter Fletcher Synopsis: A short film on the national Prod, c o m p a n y .......... Bosisto P rodu ctions u n d e rs ta n d in g of the p ro ce ss of th e ir P rodu cer's a s s is ta n t.......... R osem ary Gow capital which looks at the p ictoria l attrib utes D ir e c to r .............................................. John Dick c h i ld r e n 's d e v e lo p m e n t , to e n r ic h Cam era assistant .....................Steve Mason of C a nberra and its environs.

S c r ip tw rite r .............................T erry Jennings c h i ld / p a r e n t in te r a c t io n w ith in th e Length ..................................................25 mins.

Exec, p roduce r .............................B ruce M oir com m unity. S ponsored by the K indergarten Gauge ....................................................16 mm FIRE POWER Cam era op e ra to r ...................Brian Bosisto Union of South Australia.

Shooting s to c k .........................Eastm ancolor Prod, com pany ........................Film A u stralia Length ................................................. 14 mins.

Progress ..........................................P roduction Dist. c o m p a n y ............................................ Film Australia G auge .................................................... 16 mm CHILDREN OF AID S cheduled release ................ O ctober, 1980 P r o d u c e r .................................................... Peter Johnson Synopsis: A training film to be used as a P r o d u c e r ..................................................... Brian H annant Synopsis: A short film on Rugby Union in D ir e c to r ......................................................... RoyBissell discussion starter in the d eve lopm ent of S c r ip tw rite r .................................................Brian H annant Australia.

P h o to g ra p h y .......................Peter Viskovich, new and practisin g coaches. S p onsored by Exec, produce r ...........................B ruce M oir A ndy Fraser, the S p ort and Recreation Division of the Cam era o pe rator .................David Forem an SEAW ATCH K erry Brown D epartm ent of Transport.

Length ........................................... 8 x 4 mins.

Prod, c o m p a n ie s .....................K ingcroft and Sound recordist ...................Rod S im m ons Gauge ....................................................16 mm Film A u stralia E d it o r ......................................... Louis A nivitti TEENAGE DRINK DRIVING Synopsis: A series of short film s on children Dist. com pany .........................Film Australia Cam era assistant .................... Jam es W ard Prod, c o m p a n y .......... P epper A u diovisual in Asia. S p o n s o re d by th e A u s tra lia n P r o d u c e r .................................. Peter Johnson Gauge ....................................................16 mm S c r ip tw rite r ...................................... Bruce M oir Developm ent A ssistance Bureau.

D irectors ....................................... Bill Stacey.

Shooting s to c k .......................... Eastm ancolor Exec, pro d u ce r .............................B ruce M oir Terry Ohlsson Progress ..........................................P roduction Length ..................................................10 m ins.

COACHING — DEVELO PM ENT OF S c r ip tw rite r ....................................G eoff Pike S cheduled release .......................Late 1980 Gauge ....................................................16 mm E d it o r .............................................. Bill Stacey SKILLS Synopsis: A short film about som e of the Synopsis: A short docu m en tary fo r schools P rodu cer’s a s s is ta n t.............Rosem ary Gow S c r ip tw rite r ................................................ Terry Jennings weapons in use by the Australian Arm ed and c o m m u n ity g ro u p s , d e s ig n e d to M ixer ............................................... Jon M arsh Exec, pro d u ce r ...........................Bruce M oir Services in the 1980s. Produced for the educate young people who d rin k and drive.

N a rra to r.........................................................Paul R icketts Length ..................................................30 mins.

Australian Arm y.

Sponsored by the D epartm ent of T ranspo rt Length .................................................. 20 mins.

Gauge ..................................................... 16 mm and the Road Safety Council.

Gauge ........................... 16 mm and 35 mm Synopsis: A short film for trainee coaches.

G YM N A STIC S Shooting s to c k .......................... Eastm ancolor Sponsored by the S port and Recreation Prod, com pany .......................Film Australia W ISE LAND USE FOR THE FUTURE Division of the D epartm ent of Transport.

Progress ................................P o st-production Dist. c o m p a n ie s ........................Film Australia S c r ip tw rite r .............................H arry Bardw ell S cheduled release .......................... Mid 1980 and Shell Exec, pro d u ce r ........................... Bruce M oir Synopsis. A short film to explain why A u s­ A CRY FOR HELP P r o d u c e r .................................................... Peter Johnson Length ..................................................20 m ins. tralia needs a navy, and the Royal Aus­ Prod, com pany ................................. Newfilm s D ir e c to r .......................................David Barrow Gauge .................................................... 16 mm tralian Navy in action.

D irector ................................Stephen W allace S c r ip tw rite r ................................ David Barrow Synopsis: A short film to persuade rural S c rip tw rite r...................................Rob G eorge P ro d u c e r’s a s s is ta n t.......... Rosem ary Gow com m unities, farm ers, coun cils and local Exec, p roduce r .............................Bruce M oir Length .................................................. 20 mins. conservation groups, to p a rticip ate in c o ­ Length ..................................................50 m ins.

Gauge ..................................................... 16 mm operative efforts.

Gauge ..................................................... 16 mm Shooting s to c k .......................... Eastm ancolor Synopsis: A short film aim ed at corre cting Progress ............................... P re-production WHY PLAY SPORT? th e m is c o n c e p tio n s p e o p le h a v e of S cheduled r e le a s e ........ Septem ber, 1980 S c r ip tw rite r ............................. Terry Jennings psychiatric hospitals. Sponsored by the Synopsis: A short film to prom ote and Exec, p roduce r ........................... Bruce M oir D epartm ent of M ental Health. publicize the sp o rt of gym nastics.

Length ..................................................15 m ins.

Women’s Film Fund

THE NORTHERN TERRITORY

FILM A U S TR A LIA

.

Production and Post-production Erika A d dis, Women Break Out — $14,174 M ario and Vincenzo A n dre acchio. Juva — $1708 Sharon Bell, The Exorcists — $2305 Bill Bennett, The Sirens Call — $600 Rod Bishop. Ground Zero — $4225 Loretta Fisher, See Ya Round the Ridges — S3017 Pat Fiske, Boots and All — $30,519 M ark Foster, Blow — $610 G illian G uthrie, Dust to Dust — $13,261 David H alliday, Trifles — $750 Roger H udson, Betrayal — $10,488 Pat Loughren and Carolyn Howard, Exits — $2600 M itch M atthew s and Pam ela Vanneck, And M ollie M akes Three — $11,577 Daryl M ildenhall, Close to the Edge — $11,829 David Noakes and Bryan M cLellan, W agerup W eekend — $10,806 C hris Noonan, Stepping Out — $2250 Nick Parsons and A n dre w Speers, Red — $650 C h ris to p h e r P lo w rig h t, D e p ra v ity — $12,950 ‘ ' David P o ltorak and Paul Leadon, Making W eekend of Sum m er Last — $9700 Kay Self, The Actress and the Feminist — $13,440 M artin S harp and Hayden Keenan, Tiny Tim -S taym ’ Alive — $13,220

Project Branch Loans John Lam ond M otion Picture Enterprises, bridg ing loan fo r Nightmares — $25,000

SO UTH A U STR A LIA N FILM CO RPO R ATIO N

HOCKEY

AIR POLLUTION

S c r ip tw rite r .................................... Rob Bath Prod, com pany .......................Film A u stralia Exec, produce r ...........................Bruce M oir Dist. c o m p a n ie s ........................Film Australia Length ..................................................15 mins. and Shell Gauge ....................................................16 mm P r o d u c e r ..................................Peter Johnson Synopsis: A short film , aim ed at convincing S c r ip tw rite r ............................................... O liver Howes the p ub lic of the need to be responsible in P roducer's a s s is ta n t.......... R osem ary Gow areas where they c ontribute to the quality of Length .................................................. 20 mins. the air we breathe. Sponsored by the Health Gauge ..................................................... 16 mm Com m ission.

S hooting s to c k .......................... Eastm ancolor Progress ............................... P re-production S cheduled r e le a s e S eptem ber, 1980 Synopsis: A short film to prom ote and publicize the gam e of hockey. .

G erard Lee, for s crip t d e ve lopm ent o f Drag­ line — $1080 M ick Rodger, for s crip t deve lopm ent of Tam ara the Exotic Dancer — $1500 John Ruane and John Flaus, for scrip t deve lo p m e n t of Overdrive — $1400

THE AUSTRALIAN MEAT INDUSTRY

ENTERPRISE IN STEAM Prod, com pany ........................ Brian Bosisto Exec, produce r .............................B ruce M oir Cam era ope rator .................... Brian Bosisto Length ..................................................14 mins.

Gauge ..................................................... 35 mm Synopsis: A theatrical short show ing the reconstruction of the historical Pichi Richi Railway.

THE FIRST 90 DAYS

Gauge .................................................... 16 mm Synopsis: A short film for use with trainee coaches. S ponsored by the S p o rt and Recreation Division of the D epartm ent of Transport.

T A S M A N IA N FILM C O R P O R A TIO N

S c r ip tw rite r ...................................Rob George Exec, pro d u c e r .............................B ruce M oir Length ..................................................25 mins.

Gauge ..................................................... 16 mm Synopsis: A short film aim ed at creating an understanding of the problem s, risks and pressures, experienced by prison ers in their first 90 days of release. S ponsored by the D epartm ent of C o rrectiona l Services.

Prod, com pany .......... Bosisto P roductions FRANKLIN RIVER JOURNEY S c r ip tw rite r ...........................Andrew Prowse Dist. com pany ....................Tasm anian Film Exec, p roduce r ...........................Bruce M oir MALE GENERAL EN LISTM EN T Length ..................................................14 mins.

C o rpo ratio n •Prod, com pany .......................Film Australia P r o d u c e r ............................. A nne W hitehead Gauge ....................................................16 mm Dist. com pany .........................Film A u stralia D irector .......................................Bob C o nnolly Synopsis: A tra d e /e x p o rt prom otion film on P r o d u c e r ..................................Peter Johnson C o -s c rip tw rite r...................Robin A n derson the Australian m eat industry. Sponsored by D ir e c to r ....................................................... Bob W alker th e A u s tr a lia n M e a t a n d L iv e s to c k Sound re cordist ............ John S cniefelbein S c r ip tw rite r ................................................David Stiven E d it o r ................................. M ike W oolveridge P h o to g ra p h y ............................................... Ross KingC orporation.

HANDLING AND STORAGE OF Production m anager . . . . Robin A n derson Sound recordist ..........................B ruce Nihill FISH AT SEA Cam era ope rator ...................G ert K irch ner A TTITU D IN A L BEHAVIOUR Unit m a n a g e r ........................................... G rant Harris S c r ip tw rite r ................................. Nigel Starck Cam era assistant ................. G ary Clem ents P ro d u c e r’s a s s is ta n t.R osem ary Gow SERIES Exec, p roduce r ...........................B ruce M oir M ixer ........................................Peter M cK inley Cam era assistant ..................... Jam es W ard Length ..................................................15 mins.

Prod, com pany ...................C hrysalis Film s N a rr a to r ............ ...........................John Bluthal Length .................................................. 20 mins.

P r o d u c e r ................................Terry Jennings Gauge ....................................................16 mm Length ..................................................25 m ins.

G auge ..................................................... 16 mm Synopsis: A short film designed to convince S c r ip tw rite rs ...............................................John Dick, Gauge ....................................................35 mm S hooting s to c k .......................... Eastm ancolor Rob George fisherm en to use better storage facilities at Progress .............................. P o st-p ro d u ctio n Progress ..........................................P roduction Exec, pro d u ce r .............................Bruce M oir sea. S p onsored, by the D epartm ent of Synopsis: A short film which follow s the Scheduled release ......................... Late 1980 Fisheries and W ildlife.

Length ......................................... 24 x 2 mins. travels of Tony M oscal, a b o ta n is t/c o lle c to r, S ynopsis: A recru iting film fo r the A u s­ Gauge ....................................................16 mm on his jo urn ey dow n the Franklin River, one tralian Arm y, to encourage young men to Synopsis: A series of s h o rt film s on HOUSING ALTERNATIVES of the last wild rivers in A u s tra lia . P roduced c onsider a career in the A rm ed Forces. b e h a v io u ra l s itu a tio n s , d e s ig n e d fo r S c r ip tw rite r .............................Ron Saunders for the National Parks and W ildlife Service. specialist audiences. Sponsored by the Exec, pro d u c e r .............................Bruce M oir D epartm ent of M ental Health.

THE NEVER NEVER LAND Length .................................................. 20 mins.

M IN IN G AND CONSER VA TIO N Prod, com pany . . . . K ingcroft P rodu ctions Gauge ....................................................16 mm Dist. com pany ....................Tasm anian Film Dist. com pany ......................... Film A u stralia BRAIN DEATH Synopsis: A short film to persuade people C o rpo ratio n P r o d u c e r ..................................Peter Johnson Prod, com pany ............................... Newfilm s that there is a satisfacto ry life to be lived, P r o d u c e r ...................................Dam ien Parer D irectors ...................................... Harry Booth, P r o d u c e r/d ire c to r .....................Justin M ilne w ithout the free -standing cottage on the D irector ....................................

Dam ian Brow n Terry Ohlsson S c r ip tw rite r .............................Terry Jennings q u a rte r-a c re b lo c k . S p o n s o re d by the S c r ip tw rite r ..........................................C h ristine S chofield S c r ip tw rite r ................................................ Harry Booth Housing Trust.

E d it o r ...................................................... A ndrew Ellis Sound R e c o rd is t............ Tim H o henboken Sound re c o rd is t ........................... Jon M arsh Exec, produce r .............................Bruce M oir E d it o r ........................................................ Denise Hunter E d it o r ............................................................... BillStacey Cam era ope rator .......... G eoffrey Sim pson INJURY IN SPORT M usic ................................................Pink Floyd P ro d u ce r’s a s s is ta n t.......... R osem ary Gow Length ..................................................15 mins.

Prod, com pany ............................... New film s Unit m a n a g e r ............................. Ian Berw ick Length ............................................. .25 mins.

Gauge ....................................................16 mm P r o d u c e r/d ire c to r.......................Justin M ilne Prod, a s s is ta n t........................... Gaye A rnold Gauge ........................... 16 mm and 35 mm Synopsis: A teaching film for hospital staff. S c r ip tw rite r .............................Terry Jennings C Shooting s to c k .......................... Eastm ancolor Sponsored by the Royal A d elaide Hospital. E d it o r ...................................................... A ndrew Ellis am era o p e ra to r ............ Russell G alloway Cam era assistant .................Harry G lynatsis P rogress .......................................... P roduction Exec, pro d u ce r .............................B ruce M oir Length .................................................. 17 mins.

Scheduled release ........................ July, 1980 Cam era o pe rator .......... G eoffrey S im pson Progress ...............................P o st-p ro d u ctio n Length ...................................................16 mins.

Cinema Papers, June-July — 195

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console studio to hold up to 1 0 0 musicians with sync, facilities fo r 35m m , 16m m or U-M atic y rd h c tio n . -

Cinevex Film Laboratories, Melbourne.

BOOM HIRE Available for the first time in Australia A F i s h e r l o c a t i o n / s t u d i o b o o m is u n l o a d e d a n d s e t u p in 1 0 m i n u t e s .

It g i v e s y o u v e r s a t i l i t y , s p e e d , a n d q u a lity of s o u n d p ro d u c tio n im p o s s ib le to m a tc h w i t h a F is h p o le .

F e a t u r e / s e r ie s rate n e g o tia b le .

E x p e rie n c e d o p e ra to rs a v a ila b le .

M o l e - R ic h a r d s o n B o o m a ls o a v a ila b le

ESP Entertainm ent Services & Prom otions

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QUEST F I L M S CAMERA

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Synopsis: A short film which exam ines the m ining in dustry — its benefits and its pitfalls. P roduced fo r the D epartm ent of Mines.

ROUND THE BEND

effects of retirem ent for the over-65s. the R .S .V .P . (R e tire d S e n io r V o lu n te e rs P rogram ) integrates senior citizens back in to th e c o m m u n ity to s h a re t h e ir know ledge and skills. S ponsored by the D epartm ent of Recreation.

Dist. com pany ..................... Tasm anian Film C o rpo ratio n A SAFE PLACE P r o d u c e r ................................................ Damien Parer Dist. com pany .....................Tasm anian Film D ir e c to r ............................... Anne W hitehead C orporation S c r ip tw rite r .........................Anne W hitehead P r o d u c e r .............................Anne W hitehead Length ..................................................50 mins.

Director ...................................Robyn Cooney Progress ............................... P re-production S c r ip tw rite r .................... C hristine Schofield Synopsis: A dram atized docu m en tary for Sound recordist ............ John Schiefelbein television, follow ing the case history of Tom, E d it o r ........................................... Kerry Regan a schizophrenic patient in a psychiatric Prod, m anager .................. Daphne Crooks institution. Produced for the M ental Health Cam era ope rator ............ Russell G alloway Com m ission.

Cam era assistant .......... John Jasiukow icz Length ................................................. 15 mins.

Progress ................................P o st-production R.S.V.P. Synopsis: A short television docum entary Dist. com pany ..................... Tasm anian Film on the circum stances that contribute to C o rpo ratio n accidents involving children in the home, P r o d u c e r .....................................Barry Pierce and ways of reducing this risk. Produced for D ir e c to r ....................................Bob Connolly the P rem ier’s Departm ent.

Technical p roduce r ............ Peter Puchner Sound recordist .......................Tom G iblin Prod, m anager .................Robin A nderson Cam era o pe rator .............Russell Galloway Cam era assistant .......... John Jasiukow icz Key G rip .................................Gary Clem ents G auge ..........................................................VTR Progress .............................. P ost-production Synopsis: A docu m en tary highlighting the

SECOND HOBART BRIDGE Dist. com pany .................... Tasm anian Film C orporation P ro d u c e r....................................................Barry Pierce Sound recordist .......................... Tom G iblin E d it o r ..........................................................Kerry Regan Camera operators .............. C hris M organ, Russell Galloway Gauge ................................................... 16 mm Progress .......................................Production Synopsis: A long-term p roje ct which will cover the building of a second bridge over the River Derwent, which will be com pleted in 1983.

YOU FOR UNION Dist. com pany ..................... Tasm anian Film C orporation P ro d u c e r/d ire c to r.................... Barry Pierce S c rip tw rite r...........................John Patterson Sound recordist ............ John Schiefelbein E d it o r ...........................................Kerry Regar Camera ope rator ................... Chris M orgap Editing assistant .....................Debbie Regan M ixer .....................................Peter M cK inley Gauge ................................................... 16 mm Progress .......................................Production Synopsis: A d ra m a tiz e d d o c u m e n ta ry , d e s ig n e d f o r h ig h s c h o o l s tu d e n ts , explaining why we have unions, and how they work. Sponsored by the D epartm ent of Industrial Relations.

Winning

VIC TO R IA N FILM CO RPORATIO N FRESHWATER FISHING IN VICTORIA Prod, com pany .................. The Film House Director ...................................G ordon Glenn S c rip tw rite r.............................Russell Porter Exec, produce r .................. Kent Chadwick Length ................................................. 17 mins.

Progress .......................................Production Synopsis: A short docum entary about the fishing resources of Victoria's rivers and the need to conserve them. Produced for the M inistry for C o nservation' (Fisheries and W ildlife Division).

GOONAWARRA PROJECT P ro d u c e r ........................ David Bilcock sen.

D ir e c to r ...........................David Bilcock sen.

Exec, producer .................. Kent Chadwick Length ..................................................25 mins.

Gauge ................................................... 16 mm Progress ......................................... Production Scheduled release ........................May. 1980 S y n o p s is : A d o c u m e n ta r y on th e construction of a m ajor housing estate, p ro g re s s iv e ly film e d o v e r tw o y e a rs .

Produced for the Housing Com m ission,

P ro d u c e r/d ire c to r......................... John Dixon E d it o r ................................................... Jill Rice Exec, producer .................. Kent Chadwick Length ..................................................25 mins.

Gauge ................................................... 16 mm Progress .............................. Aw aiting release Synopsis: A docum entary about the history and contem porary significance of Victoria's Shrine of Rem em brance. Produced for the D e p a rtm e n t of the P re m ie r and th e D epartm ent of Crown Lands and Survey.

SMOKING AND THE TEENAGE CONSUM ER Prod, com pany ....................Dennis T upicoff Anim ation A n im a to r ................................................. Dennis Tupicoff Exec, produce r .................... Kent Chadwick Length .................................................... 6 mins.

Gauge ................................................... 16 mm Progress ................................ Production Synopsis: A film on the im m ediate short­ term effects of sm oking as a deterre nt to e a r ly a d d ic t io n . P r o d u c e d f o r th e D epartm ent of Youth. S port and Recreation and the Anti-C ancer Council of Victoria.

WESTERNPORT C A TC H M EN T AREA

Prod, com pany ....................... V ictorian Film C orporation and Australian B roadcasting Com m ission Director ....................................... H arris Sm art S c rip tw rite r.................................H arris Sm art Exec, produce r ..................... Kent Chadwick I’M A FILM Length ......................................... 3 x 30 mins.

Prod, com pany .................................Al Et Al Gauge ..................................................... 16 mm S c rip tw rite r................................................. Alex Stitt A n im a to r ......................................................Alex Stitt Progress ............................... P re-production Scheduled release .......... Novem ber. 1980 Exec, producer .................. Kent Chadwick Synopsis: A series of three docum entaries Length ................................................... 6 mins. on the effects of industrialization on a new Gauge ................................................... 16 mm com m unity. C o -produ ced by the V ictorian Progress ....................................... Production Film C o rpo ratio n and the Australian B road­ Synopsis: An anim ated prom otional film casting Com m ission for the D epartm ent of produced for The State Film Centre. the Prem ier.

PLUMBING Prod, com pany ...........................R & R Film P roductions Director .........................................Ron Brown E d it o r ............................................. Ron Brown Exec, produce r .................. Kent Chadwick Length .................................................. 1 5 mins.

Gauge ................................................. 16 mm Progress ....................................... Production Synopsis: A practical instructional film on the aspects of drainage. Produced for the D e p a r tm e n t of E d u c a tio n (T .A .F .E .

Division).

THE SHRINE OF REMEMBRANCE

W INNING Prod, com pany ......................... Kestrel Films Director ...................................David M organ P h o to g ra p h y ............................ Alex M cPhee Exec, produce r .................. Kent Chadwick Length ..................................................20 mins.

Gauge ................................................... 16 mm Progress ....................................... Production Synopsis: A pro file of a young, m entallyr e ta rd e d c o u p le — th e ir h is to ry and inspirations, it is set against a background of new care available for the treatm ent of the m entally handicapped. Produced for the Health Com m ission.

Prod, com pany ................ C a m brid ge Film P roductions

Cinema Papers. June-July — 197

SHOOTING FILM IN PERTH??

SAVE A LOAD ON EXCESS FREIGHT CHARGES,

BY HIRING THE “ HEAVIES” IN THE WEST.

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The Tree of Wooden Clogs (L’albero degli zoccoli) Inge Pruks Ermanno Olmi first made his name with II Posto (1961) late in the Italian neo-realist

period when the reputations of Roberto Ros­ sellini, Vittorio de Sica and Luchino Visconti had already been established.

Although he has made some nine feature films and many television documentaries for RAi (Radio Televisione Italiana), Olmi has not enjoyed the fame of other Italian direc­ tors, and his work is hard to assess from a vantage point as isolated as Australia.

However, The Tree of Wooden Clogs marks an important turning point in Olmi’s for­ tunes: the film not only won a number of major prizes at Cannes in 1978, but it is also a popular success with audiences, an unusual

achievement for a film of its length (three Olmi’s look at his own peasant origins is hours) and its very understated style. much more authentic. The film’s cast is totally non-professional, peasants who speak The Tree of Wooden Clogs is an elegy to rural life in Lombardy at the turn of the cen­ the local dialect quite unselfconsciously, sing tury. Set in a large farmhouse in the spontaneous harvest songs and spin yarns countryside around Bergamo, the film gives which will no doubt be orally passed on in us a privileged look at the lives of five pea­ times to come. The whole texture of the film sant families living as tenants in this is “ realistic” (or “ neo-realistic” , depending farmhouse and working to share the fruits of . on how you wish to define the term), in that their labors with the landowner. Another Olmi only films in natural light, no filmmaker might have seized on the political backgrounds are painted or stylized in any possibilities of the situation, but Olmi shows way, clothes are muted in color and without no interest in stirring up tensions between that obvious quality of period costumes, and landowner and peasant. He has said that he the acting is very low key. Olmi has found refuses to rewrite history, and that there colors enough in the world of nature: the were no such movements of revolt in that warmth of the bunches of corn hanging on region at that time. Thus, the film is certain­ the verandah: the striking orange of the ly not Olmi’s version of 1900, but it might be polenta, or corn-pudding, which is the his answer to Bernardo Bertolucci’s region’s staple diet; the varying hues of green portrayal of life on the land: the latter’s over the fields, changing as the light changes “ peasants” were not only not peasants, but with the seasons; or the blue-grey drizzle on an autumn day. most of the actors were not even Italian.

Olmi consistently avoids the dramatic, and this also helps to give his narrative the flow o f ‘unstructured’ reality. Of course, this is only apparently so, for Olmi deliberately concentrates on moments between the traditional high points. Thus, for example, when the birth of a baby is imminent, one meets mother and baby only after the birth.

The eviction of the family at the end is told second-hand: the confrontation between lan­ downer and tenant is not shown. Maddalena (Lucia Pezzoli) and Stefano (Lranco Pilenga), the young couple who marry, pur­ sue a strangely mute courtship ritual, and the first one hears of their marriage is again at second remove: someone mentions it to the hawker from whom Maddalena is buying cloth for her wedding dress.

Events are told unhurriedly, and are not in any necessary or logical order. Rather, it is the order of the seasons, or the wear of time, the coming of night, the beginning of a new

Shoeing the horse that ‘steals’ the gold coin. Ermanno Olmi’s The Tree of Wooden Clogs.

Cinema Papers, June-July — 199

THE TREE OF WOODEN CLOGS

balconies, doors, and interconnecting win­ dows and stairways it is very much like a theatrical set. This is not to detract from its authenticity as a farmhouse: rather, it gives the structure a symbolic unity which would not have been evident from the anecdotal vagaries of the plot. This then allows Olmi at the end to pay tribute to his cast as actors. when, in order to watch the departure of the evicted family, the characters emerge from the darkened doorways as though to take their curtain call. They may have been non­ professionals. but they have not just been playing “ themselves". The film is not a documentary, and Olmi has sensitively recognized their contribution as actors and artistes in the last scene.

The Tree of Wooden Clogs is a nostalgic journey into the past, and it should not be forgotten that Olmi scripted, directed, photographed and edited the film. It is a pro­ ject which has obviously meant a lot to him. “ I have not invited the peasants to court," says Olmi. “ I have simply come back to my own people . . . by describing a peasant culture which is, finally, my own."

Old Anselmo (Giuseppe Brignoli) covering up his fermenting tomato seeds. The Tree of Wooden Clogs.

day. Life is presented as an unbroken flow, and the high points are those events which the peasants themselves find important.

Thus, the killing of a pig is a major event, and the collecting of its blood causes a great flurry in the central courtyard. The widow's sick cow turns out to be a minor heroine: even though the vet pronounces a rather solemn and hopeless verdict, the widow's prayers work their miracle and the cow recovers. Old Anselmo's (Giuseppe Brignoli) tomatoes are another case in point, and the old man creeps up in the dead of night iO carry out his experiment with fowl manure.

His trip to the market is beautifully filmed in long-shot, where the very tall Anselmo. basket on his arm, hand in hand with his granddaughter, strides towards the scene he has been imagining throughout the long, dark winter. It is indeed a triumph when he shows off his tomatoes to goggle-eyed ad­ mirers at the market — a pleasure which we, as city dwellers, may never know.

The film’s unusual title is explained at length as Olrni relates an incident which could well be compared to that of the stolen bicycle in De Sica’s Bicyde Thieves. One little boy, Minek (Omar Brignoli), has started go­ ing to school, but he has to walk 15 km to get there. His wooden clogs are essential to him, and when one breaks it is a major tragedy. The father realizes this, and waits for nightfall to cut down a tree which, of course, belongs to the landlord. During that same night he fashions a new pair of clogs for his son.

By making this incident a crucial one, Olmi is perhaps suggesting that one day a change will come — through education, and through a slow realization that injustices have been suffered. It is certainly not a call to revolution, but Olmi has sown a seed and it will slowly germinate.

Communal life, for all its hardships, is for Olmi a sweetly remembered paradise. He dwells on warm scenes of family life and records the evening gatherings, when women knit and men tell stories, and courting cou­ ples l6ok at each other with shy under­ standing. And the local idiot is always of­ fered food and treated in a kindly way — it seems that in this community no one is an outcast — and the children are chided if they laugh at the poor fellow. Olmi even asks the audience to join forces against an outsider when the once-a-year hawker comes to the farm to display his wares. All the women bargain with his prices and turn a deaf ear to his superlatives and his talk of foreign fashions.

Religion, too, is very important in the lives of these people, and it is to Olmi’s 200 — Cinema Papers, June-July

credit that he is able to show this without any trace of condescension. Praying is as natural as breathing to the people of this community, and again the children learn this from a very early age.

Olmi's camera keeps a respectful distance from these people, and they are given a dignitv which perhaps a closer look could have destroyed. The Bach organ music also helps to establish the elegiac quality of the film: simple acts such as planting seeds or gathering corn are given an extra dimension by the use of the music, and so it is with many homely or everyday acts throughout the film. The music helps to ritualize gestures, and this in fact lifts the film out of its “ realistic" constraints.

The audience is occasionally invited to laugh at the foibles of these people: the recurring scuffle between the same two men; the story of the gold coin which is put into a horse's hoof: the awkward advances of Stefano as he courts Maddalena. But Olmi’s camera is as respectful as the people are towards each other. A touching example of this is when the neighbours, who have been acting as midwives at a birth, withdraw quietly when the husband arrives, saying. “ Let us leave them: they need to be alone now."

Throughout the film, there is a sense of harmony between man and woman, man and nature, and man and God. One of the great qualities of the film is this sense of serenity and fulfilment which comes to people who live close to the land. Perhaps it is an idealized vision, but it is also a beautifully photographed homage to Olmi’s own past.

The peasant community is a harmonious whole, and the setting effectively suggests this. The farmhouse is an enclosed space, the courtyard and the high walls defining the limits of this microcosm. Characters will venture out beyond these confines, but they always return because this is where each is assured of a place and a purpose. Thus it is with the young married couple who make their honeymoon trip to Milan; or, in lighter vein, the man who finds the gold coin: or the widow who has been washing linen in the river. The world of politics, of work, of education, of entertainment, may be outside, but this enclosed space is the hearth, the magnet which regulates these lives. And that is why the ending is so structurally ap­ propriate: the fabric of this small society is torn when one family is evicted and banished from within its walls. The film can go no further.

However, the farmhouse also has an ad­ ded quality. Olmi often gives us a frontal shot of the whole structure, and with its

The Tree of Wooden Clogs (L’albero degli zoccoli): Directed by: Ermanno Olmi. Screenplay: Ermanno Olmi. Director of photography: Ermanno Olmi.

Editor: Ermanno Olmi. Music: J. S. Bach, per­ formed on an organ by Fernando Germani. Art director: Enrico Rigoni. Sound: Amedeo Casati.

Cast: Luigi Ornaghi (Batisti). Francesca Moriggi (Batistina). Omar Brignoli (Minek), Antonio Ferrari (Tuni), Teresa Brescianini (Widow), Giuseppe Brignoli (Anselmo). Carlo Rota (Peppino). Production company: Gruppo Produzione Cinema. Distributor: Sharmill Films. 35mm. 177 min. Italy. 1978.

Witches and Faggots — Dykes and Poofters Dennis Altman In the short history of the gay movement in Australia there have been two events that stand out as the basis for dramatic treatment: the drowning of Dr Duncan in Adelaide in 1972 and the Mardi Gras in Sydney in 1978 that ended in a police riot and mass arrests (of the demonstrators, not the rioters) in Kings Cross.

The makers of Witches and Faggots — Dykes and Poofters originally conceived it as a documentary of International GaySolidarity Week, of which the Mardi Gras was to be the conclusion; the events took

over and the filmmakers were presented with a series of events that could have been the basis for a full-length film. Unfortunately, they then sought to broaden the film to en­ compass the whole story of gay oppression, and ended with a film that attempts too much and lacks sufficient focus.

There are moments here with very strong impact, as when the police blocked friends of the defendants from entering Central Court, despite the wish of the presiding magistrate that his court be open, or the mass meeting after the Mardi Gras which developed into a fight between anarchists and gay movement veterans. But neither of these incidents are allowed to fully develop: the filmmakers are too quick to move on to the next interview or piece of footage.

Equally, there are some very good bits on general gay oppression, and at least once, in the story of a women 'persuaded' to undergo a leucotomy. one is moved to anger and/or tears. But. again, these moments are too brief.

Witches and Faggots raises several general questions about gay filmmaking that should not be glossed over in a commendable desire to develop more films from within social movements themselves. That it is an engaged movie, made essentially from a lesbian feminist viewpoint, is, of course, not in itself a weakness: if anything, the style is too reminiscent of a Four Corners documentary to fit the message. But there is something disturbing about the assumption that the rhetoric of the movement need not be ex­ plained. as if its audience were already con­ vinced of the rightness of the view that links together “gays, women and blacks” as com­ mon victims of an oppressive state.

It is interesting to compare this film with a recent French film. La race d’ep, made by Lionel Soukaz and Guy Hocquenghem, which is an attempt to portray the history of the modern homosexual in four episodes.

(The film has been released in the U.S. with an English soundtrack, but I am not sure of its new title.)

Witches and Faggots is, by comparison, less ambitious, more professionally filmed, much more ideologically solid. (La race d’ep is totally male-orientated and self­ indulgent.) But at the same time, La race d’ep has an element of irony and insight that transcends the earnestness of Witches and Faggots.

Both films were made cheaply groups of people who were not perienced in filmmaking. Both however, from not really closing

and by all ex­ suffer, the gap

Witches and Faggots — Dykes and Poofters, made by the ‘One in Seven’ Collective.

“ IO”

between movement homosexuals and the much larger numbers of gay women and men “out there” (not to mention the other six-sevenths of the population, assuming the Witches and Faggots collective is correct about numbers). 1 hope this is the beginning of a movement to see Films made that will succeed in doing this.

Witches and Faggots — Dykes and Poofters: Directed by: 'One in Seven’ Collective. Producer: Digby Duncan. Camera operators: Wendy Freecloud, Jan Kenny, Jeni Thornley, David Perry.

Editor: Melanie Read. Music: Pen Short. Sound recordists: Meghan McMurchy. Wendy Freecloud, Jennifer Neil. Sound editor: Ronda MacGregor. Narration: Jude Kuring. Distributor: Sydney Filmmakers Co-operative. 16mm. 48 min.

Australia. 1980.

“10” Adrian Martin Blake Edwards’ position in the modern American cinema is unique. His career ef­ fectively began when the collapse of the Hollywood studio system in the early 1960s spelt virtual death for most of the great American auteurs, from Howard Hawks and John Ford to Sam Fuller and Nicholas Ray. Yet. not only has Edwards managed a steady yearly output, working in relative in­ dependence, he has managed to create a dis­ tinctive and coherent world — a set of thematic and stylistic preoccupations — as significant as that of a Sam Peckinpah or an Alan J. Pakula.

This fact has not been often recognized, for on a superficial level Edwards’ Films can appear slick and opportunist: Julie Andrews is a singer, therefore Edwards cashes in on the fact by having her sing in all her roles for him; the films are often set in lush, exotic locales, calling forth the derogative label of travelogue. Worst of all, Edwards seems to prey upon the worst stereotypes and fan­ tasies of our culture: the desire for bourgeois wealth and luxury, the Playboy ethos of beautiful women existing for the pleasure of debonair men.

One wouldn’t deny that Edwards is a shrewd businessman, and that he knows two or three things about how to survive in the commercial film world. But this superficial view ignores the consummate art of these films and their disturbing — even subversive — complexities.

In Edwards, every detail has a place, a meaning, a function, in evoking a particular view of the world and, more speciFically, Western culture. Edwards sees the state of things as constantly precarious and unstable, ruled over by bad luck, missed connections, lack of trust, loss of identity. The security of ‘normality’ — and particularly for men — is forever being undermined.

In a Freudian sense, Edwards’ heroes — in the comedies and dramas alike — are haunted by the idea of castration. In the Pink Panther series, Dreyfus (Herbert Lorn) progressively loses his thumb, his nose . . . and it is only, presumably, Edwards’ strictly limited possession of ‘good taste’ that pre­ vents him from making a joke out of an ac­ tual castration.

Edwards’ films are also marked by an in­ sistent refusal — or inability — to be resolved or closed off. Many of his films (particularly Gunn) end almost exactly as they began, kicking off the narrative and all its cultural/sexual problems once again. The greatest problem is precisely sexual dif­ ference, the placing of men and women within patriarchy. The women are forever threatening to exceed their given roles — whether ‘villains’ (the prostitute in Gunn who turns out to be a man) or ‘heroines’ (an endless parade of characters with ambiguous names like Sam) — and the men lose more

and more of their power and persuasion, culminating in Inspector Closeau in Return of the Pink Panther, hopelessly behind every move of the story, its passive victim.

In this context, Dudley Moore in “ 10” — neurotic, diminutive, clumsy, decked out in a white suit, “one of the great Anglo-Saxon heterosexual bores” — is the perfect Edwar­ dian ‘hero’1. To quote one of Julie Andrews’ songs in the film, “ He’s no more than a man.”

After the low point of The Pink Panther Strikes Again. Edwards has happily risen to top form again with “ 10” . The visual and narrative economy of the film is superb. The First scene, a surprise birthday party for George Webber (Dudley Moore), establishes immediately the age of the hero — 42 — and hence his menopausal problem; and his oc­ cupation as a pianist and songwriter, hence his cultural position and image. One learns too about his relationship with Sam Taylor (Julie Andrews) — she feels settled, he doesn’t — and his slight distaste over the homosexuality of his musical collaborator, Hugh (Robert Webber). And the very situa­ tion — George fumbling in the dark, sudden­ ly and surprisingly greeted by all his friends — is a vivid, quintessential image of the precariousness of the Edwardian world.

The same economy extends to the Film’s comedy, from which the likes of Mel Brooks could learn a great deal. In the great comic tradition, Edwards — unlike Woody Allen — refuses to let go of physical slapstick, the dynamic relation of the actor to his external world and its objects. Nothing is lingered on past the moment it takes to state it; the film cuts immediately from such jokes as George getting attacked by a bee in church, or fall­ ing into his swimming pool, to the next scene. What would take other directors several shots to do, Edwards achieves in one, exploiting the full resources of the Panavi­ sion screen: for example, the shot in which a very old tea lady trundles slowly across the full width of the screen before banging her head against the fireplace.

The film’s seeming ‘travelogue’ sojourn in Mexico is not wasted: George running to get off the hot sands is a source of pure slapstick as well as a sign of his bumbling anxieties.

Finally, Edwards’ comedy is free enough to include digressions that are almost sur­ realist. like the obviously fake shark Fin that surfaces in the water, or the dentist’s as­ sistant who talks to all patients as if they were children: (“Tut-tut, you forgot to brush your teeth.'”).

The advertising for “ 10” — “ See the world’s most beautiful woman” — makes it dear the Film is concerned with male sexual fantasies; but at this level it is far from being simple-minded. Edwards delves into the many-sidedness, the duplicity of male desire within patriarchal society. Like in American Graffiti. George first sights Jennifer (Bo Derek) as he stops his car at traffic lights; he turns, sees a woman in the adjoining car dressed in bridalwear, and in a moment the car moves on and she is gone. The film thus implies that what George desires is an image, a fantasy projection that by its very nature cannot be grasped.

Later. Edwards conjures, via George’s im­ agination. the cliche sequence of shots alter­ nating George and Jennifer running towards one another in slow-motion. But the cliche is subverted, for the sequence ends before the bodies can make contact. Indeed, George’s fantasy position as a voyeur necessarily ex­ cludes any awareness of the other as a per­ son: when Jennifer looks back at him on the beach at Las Hadas, he goes to pieces.

George much prefers the security of his home telescope, through which (with permis­ sion) he observes the ‘perverted’ sexual prac­ tices of his neighbour, his ‘ego ideal’.

Little wonder, then, that George’s relationships in the real world are less than successful. After an argument with Sam in which he inadvertently reveals his brutal sex­ ist assumptions (“ I’m tired of you calling sexually emancipated women ‘broads’,” she complains), he spends roughly one-third of the film trying to get in contact with her to apologize. But, as always in Edwards’ Films, chance and coincidence get agonizingly in the way: they ring one another at the same time, thus both getting the engaged signal; George’s car travels down a road which, two seconds later, Sam’s enters from another direction; after going to the dentist, George gets a call from Sam, but she cannot

George Webber (Dudley Moore) and his desired “beautiful, intact bourgeois girl” , Jennifer (Bo Derek). Blake Edwards’ “ 10” . recognize the voice and calls the police to arrest this “sexual pervert making obscene noises” .

Unable to deal with such frustration, George flees to Mexico to chase his fantasy woman. What exactly is his image of Jen­ nifer? Here, Edwards plays on the instability of sexual identity. The viewer can infer that what George is chasing is the ‘virgin bride’, the beautiful, intact bourgeois girl dressed in white. George gazes at her dancing with her husband before their wedding night, and the image emphasizes her stirring, yet-to-besavoured sexuality. But when George, thanks again to chance (he rescues her hus­ band at sea), finally gets close to Jennifer, he finds something even better: a super-broad, eager to be promiscuous, inquiring, “ Have you ever done it to Ravel’s ‘Bolero’? My uncle showed me how . . .”

However, George's fantasy does not reach its fulfilment. Jennifer, careful to follow ‘technique’, keeps insisting that the “ Bolero” record be re-started. Then her hus­ band rings and George, suddenly stricken with a distaste for her loveless promiscuity, leaves Jennifer to return to Sam. Mixed in with this history of a particularly male fantasy is another, which counter­ balances and criticizes it. In the Las Hadas bar. George meets Mary Lewis (Dee Wallace). What she desires in him is in fact another image: the sophisticated star (“ We met at Truman Capote’s party” ), the glamorous man.

The scene in which George plays the piano in the bar is not merely a chance to show off Dudley Moore's talents. Cutting between Mary gazing at George, and George staring off fantasizing about Jennifer, it sets in place this double structure of sexual fantasies.

They get drunk and go to bed together, but this liaison, too. does not work. The dif­ ference is that the woman blames herself for the failure to ‘get him up’ (even though he is too drunk to manage anything). It is her responsibility to satisfy him. Even if she Cinema Papers. June-July — 201

<s>

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actively desires him, she has a strictly defined role to play. Mary, falling short of that role, is condemned by our culture to misery and loneliness.

In what is probably the most moving and disturbing line of the film, Edwards indicates the total inadequacy of the way patriarchy has constructed sex roles: as Mary watches George and Jennifer dancing, she asks the bartender, “ Is it fair that when a man gets older he looks distinguished, while when a woman gets older she just looks old?”

The final sequence, the reunion of George and Sam, is extremely complex and deserves extended attention. At qne level, it is beautifully expressive and touching: they hesitantly, nervously sing the song George has just composed, “ It’s Easy to Say I Love You” ; George, finally wiser, proposes to her, but she refuses to accept there and then, because of their relationship and her pre­ vious failed marriage; finally, they make love to the ‘Bolero’, not for the sake of ‘per­ formance’ and technique, but playfully, in­ ventively, reciprocally. Likewise, Edwards plays on with voyeurism by filming the scene through the neighbour’s telescope. For once, a happy ending which is well-earned.

But one must go further than this humanist reading. On another level, this scene caps the film’s profoundly reactionary ideological message — to affirm the heterosexual monogamous couple, and ex­ clude all other possible sexual practices. This message is stated in several ways.

Throughout the film, several characters have incarnated a free love philosophy, extolling the primacy of pleasure, of “ whatever makes me happy” — Jennifer, obviously, but also the homosexual Hugh, and George’s neighbour. Hugh ends up miserable, his boyfriend leaving him for another, and he urges George: “ Don’t do what I’ve done; don’t lose that lady.” In other words, Hugh desires his homosexual relationship to follow the dominant heterosexual pattern: mutual dependence and possession between two people.

Similarly, George’s neighbour, searching in vain for something exciting to look at through his telescope, bucks his lifestyle and tells his girlfriend, “ From now on, we do it in the dark!” — like George and Sam. Another detail can also be noted. Just before the final sequence, one hears a single line from Sam’s operetta performance: “ I give my love to just one man.”

How'ever, Edwards’ films are not simply complicit with such an ideology. A third reading of the final scene is possible.

Throughout the film, there is an implicit connection between the fantasy images held by the characters and the images one sees on the screen. This connection is clinched, for example, in the shot where George observes two girls in his rear-view mirror, but even more in the angry comment of George’s neighbour before he gives up his promiscuous ways: “ I give you ‘X’ rated and you give me back ‘PG’!” (in Australian terms, the distance between “ R” and “ NRC”). And so it is at the moment this character leaves the telescope that Edwards’ camera irresistibly dollies towards it and takes its image for its own. Suddenly, the audience is shown the terrible fact that he or she is the voyeur, the ‘third party’ who has paid money (as George might pay for a broad) to gaze at the relations of others from the secure anonymous end of the telescope, this Panavision peephole of the screen.

While the fiction sews up normality and resolves itself perfectly, Edwards brings us to the realization that the abnormal lies at the very heart of this, our society — that ab­ normality is the cinema itself, “the very in­ stitution of perversion” (Raymond Bellour).

“10”: Directed by: Blake Edwards. Producers:

Blake Edwards, Tony Adams. Screenplay: Blake Edwards. Director of photography: Frank Stanley.

Editor: Ralph E. Winters. Music: Henry Mancini.

Production designer: Rodger Manus. Sound: Bruce Bisenz. Cast: Dudley Moore (George), Julie Andrews (Sam), Bo Derek (Jenny), Robert Web­ ber (Hugh), Sam Jones (David), Brian Dennehy (Bartender), Don Calfa (Neighbour). Production company: Godrey Productions. Distributor: Road­ show. 35mm. 122 min. U.S. 1979.

The Electric Horseman Scott Murray Sonny Steele (Robert Redford) is a five­ time rodeo-champion who has sold his image to the giant corporation, Ampco.

Sonny’s promoting of their Ranch Break­ fast, a packet cereal, is earning enormous profits for Ampco and guaranteeing an easy life for himself and his small entourage. But in the process he has lost touch with the values, and even the lifestyle, that pre­ viously sustained him. In fact, the only connection Sonny has with his previous career is when he appears at shows riding the champion stallion. Rising Star, to advertise the cereal.

Sonny would be prepared to follow this debased lifestyle indefinitely were it not for the humiliating way Rising Star is treated by Ampco executives. Taken to Caesar's Palace. Las Vegas, for an Ampco conven­ tion, Rising Star is drugged and then stabled in a small pen in the car park. Sonny, by electing to free the stallion and return it to nature, is also accepting, probably for the first time, active control of his own life. So, in the middle of the convention show, he rides off on Rising Star, down the boulevards of Las Vegas and out into the Nevada hills.

This image of rider and horse is the central one of the film. Wired into Sonny’s costume and saddle is a myriad of little lights w'hich glow in the Vegas evening.

Visually, they connect with the flashing neon lights of the town and. in a sense, typify Ampco’s philosophy — namely, it is the image that counts, not the product. It therefore does not matter to Ampco who Sonny is as a person, only that his name is exploitable.

This point is rather unnecessarily spelt out during the scene where Sonny, after arriving late for a performance, sees another man in

his costume being introduced as Sonny Steele. When Sonny protests, an Ampco executive casually remarks that the audience won’t know the difference.

This scene, unfortunately, is indicative of the laboredness of this part of the film; Pollack’s sending up of corporate and adver­ tising morality is too obvious, and his satire often lacks focus. His lampooning of the Ampco bosses, for example, is very flaccid and unfunny. This is pa'rtly due to poor dialogue, but even when the scriptwriters (there were six, but only one, Robert Garland, is credited) come up with some clever fines, the actors deliver them in a bland, perfunctory manner.

One suspects that Pollock wasn’t par­ ticularly interested with this aspect of the film, and it is with relief that things pick up dramatically with Sonny’s exit to the hills.

What follows is a delightful encounter between two people who meet only briefly, but in their passing gain something.

Hallie Martin (Jane Fonda) is a television reporter who is sent to Las Vegas to cover the convention. Hearing of Sonny’s depar­ ture, she tracks him to the hills. He is angered at her interference, but, after several clashes, allows her to stay.

Hallie. by trailing and then accompanying Sonny, begins to sense that Rising Star’s journey from Las Vegas to a remote canyon is as important to Sonny as to the horse. But being an educated, modern woman, she does not accept the journey and its lessons in the same way Sonny does.

Hallie is aware that she is experiencing change, and not only from observer to participant, but she is still unable to just accept it. Instead, she analyses and records all she is going through. Thus, when her video-pak is tossed into a river by Sonny, she resorts to taking notes. Seeing this rationalizing as a barrier to her absorbing the experience. Sonny asks her not to take notes on the day Rising Star is released.

The above scene is one of many where one person becomes a teacher to the other. This shared learning, particularly between people only briefly placed together, is a theme in several of Pollack's previous films, par­ ticularly Three Days of the Condor and Bobby Deerfield. Sonny, in fact, has impor­ tant similarities with Kathy (Faye Dunaway) and Deerfield (A1 Pacino), being withdrawn

and suspicious of expressed emotions.

In one marvellous scene near the end of The Electric Horseman, Hallie admits to Sonny that she has tipped off her camera crew on the likely release-point for Rising Star. Apologizing, she says, “ I don’t want you to be hurt.” “ I been hurt,” he replies ironically, “and I still get up.” As with Kathy and Deerfield, it has been at a price.

However, the shared journey does result in a gained understanding. Thus, when Sonny says goodbye to Hallie, she asks, “ What will you do tomorrow. Sonny?” (This echoes the closing “ What will you do tomorrow, Bobby?” from Bobby Deerfield.) The answer to Hallie’s question is given later when Sonny remarks, “ I keep wanting to thank you, but I keep wondering what for . . .

Maybe for how I’m going to feel whenever I see your face on the TV.” And just as Sonny has learnt to accept the need for affection in his life, so Hallie comes to appreciate a wider perspective on life.

Wisely, Pollock doesn’t overstate this point and he shows Hallie slip only too easily back into her television career.

Bobby Deerfield ended with the death of Lillian (Marthe Keller); Deerfield’s escaping his shell had been partly motivated by an awareness of an approaching loss. In Three Days of the Condor, Joe (Robert Redford) and Kathy are ‘unnaturally’ placed together when Joe kidnaps her. In The Electric Horseman. Pollock has chosen less dramatic circumstances, and the affected changes are smaller, though no less important. It is a gentle vision and typical of a director who maintains a unique presence and sensitivity in American cinema. That is why, apart from the sheer entertainment value of its second half, in particular the wonderful interplay between Fonda and Redford, The Electric Horseman is a film worthy of note.

The Electric Horseman: Directed by: Sydney Pollack. Producer: Ray Stark. Screenplay: Robert Garland. Director of photography: Owen Roizman. Editor: Sheldon Kahn. Music: Dave Grusin.

Production designer: Stephen Grimes. Sound editor: Gordon Davidson. Cast: Robert Redford (Sonny), Jane Fonda (Hallie). Valerie Perrine (Chariotta), Willie Nelson (W’endell), John Saxon (Hunt Sears). Nicolas Coster (Fitzgerald). Allan Arbus (Danny). Production company: Ray Stark.

Distributor: C1C. 35mm. 120 min. U.S. \919rk

Sonnv Steele (Robert Redford) and Hallie Martin (Jane Fonda) in Sydney Pollack’s The Electric Horseman ' ' —— — — __________________ _

.... ...................

Cinema Papers. June-July — 203

a d iv is io n o f R A IM K E L E C T R O N I C S P T V L I M I T E D

for the HIRE or SALE of LIGHTING for ENTERTAINMENT R A IM K PTV

LIM ITED 12 Barcoo Street, East Roseville Sydney 2069. Telephone: 406 6176 60 Rosebank Avenue, Clayton South, Vic 3169. Telephone: 541 8502 299 Montague Road, West End, Brisbane 4101. Telephone 44 2851 101-105 Mooringe Avenue, Camden Park SA 5038. Telephone: 294 6555 430 Newcastle Street, Perth 6000. Telephone: 328 3933 120 Parry Street, Newcastle 2300. Telephone: 26 2466

SOUND STUDIO FOR H IR E S u i t a b l e f o r F ilm > V id e o a n d S t i l l s a t :

FILM SETS 88 Warrigal Road, Oakleigh, MELBOURNE 3166

ACME TITLES OPTICALS GRAPHICS

Studio 75’ x 46’ with 14 ’ to lighting grid.

Large three sided paintable fixed eye.

ANIMATION

Good access to studio for cars and trucks.

Design and set construction service available.

QUALITY

Dressing rooms, wardrobe, and make-up facilities.

STUDIO BO O K IN G S, PH O N E: Alex Simpson,

(03) 568 0058, (03) 568 2948

AH (03) 25 3858

SERVICE 14-16 Whiting St., Artarmon, N.S.W. 2064 438 2993

BOX-OFFICE CROSSES Distributor

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B o x-office grosses of individual film s have b ee a supplied to C i n e m a P a p e r s by the Australian Film Comm ission.

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BOX-OFFICE GROSSES

Cinema Papers, June-July K)

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P E R IO 2 .3 .8 0

The Book of M ovie Photography David Chesire Nelson

Vince Monton It is intriguing that this publication is called The Book of Movie Photography; more accurately it should be titled The Encyclopaedia of Filmmaking.

Although acknowledging the pivotal posi­ tion of the film camera, the book tackles sub-headings such as “ Film and the Power of the Cut“ , “Atmosphere and Character“ , “Symbolic Editing" and “ Film and the Sub­ jective Camera”, and even manages a candid history of the cinema from the primitive Mutascope to the impact of videotape.

All this is done crisply and intelligently, avoiding the pitfalls of describing images in thousands of words. Instead, the book is richly illustrated with excellent technical diagrams and frames in story-board form taken from films such as Battleship Potemkin. Citizen Kane, 1900, and The French Connection — a refreshing change from those grubby shots done in the author’s backyard which usually pollute this type of publication.

The book approaches the technology of cinema with intelligence and authority. The author. David Cheshire, writes: “There is less distance now' between the inspired amateur and the professional multi-million dollar spectacular than at any time since the first days of the silents.”

This is certainly true in the technical area.

The average Super 8mm camera, for in­ stance, is far more innovative than the most advanced professional equivalent. But while it should be easier than before to achieve professional results with relatively inexpen­ sive equipment, 1 suspect that most aspiring filmmakers are unnecessarily confused by this technical wizardry.

Aimed squarely at the film student and advanced amateur, the text guides the film­ maker. step by step, through the maze of equipment and terminology which all too often surrounds the filmmaking process with a mystic fog. It is difficult to think of a technical problem that is not covered, however briefly, by this book.

Helpfully, the filmmaker is usually given several options ranging from an expensive professional solution to the simplest “home­ made” approach, a bonus for filmmakers with limited resources.

Certainly, this book will be a valuable reference and teaching aid that ranks among the best available. However, I look forward to the day when publications of this nature are accompanied by a video cassette or video disc to complement the text.

John Ford George Allen and Unwin, L o n d o n ,1979 Andrew Sinclair

Brian McFarlane The best biography of John Ford is firmly enshrined in the films he made, films which 206 — Cinema Papers, June-July

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A typical double page spread from The Book of Movie Photography which uses stills from Nicolas Roeg s Walkabout

dramatize, so eloquently, the life-long loyalties, the obsessive interests, the often divisive ambivalence that lie at the heart of his experience as a man and a filmmaker.

Though Andrew' Sinclair lists more than a hundred people who “have helped [him] the most with their w'ords and concern”, his bio­ graphy remains blandly external, offering very little new insight about the man or the films. It is never less than readable and coherent, but it lacks either the passion or the penetration that would have made it ex­ citing.

Perhaps the book’s epigraph indicates why Ford is a difficult subject for bio­ graphy. “The truth about my life is nobody’s damn business but my own” points to an in­ sistence on privacy that forces a biographer in the end to “print the legend". Peter Bog­ danovich’s documentary, Directed by John Ford, with its anecdotes from Henry Fonda, John Wayne and Jimmy Stewart and its per­ versely cryptic utterances from Ford him­ self, gives us almost as much understanding of Ford’s working habits as Sinclair’s book.

And, like the book, they don’t take us far in­ side the man.

Sinclair carefully charts Ford’s Irish heritage, which Ford seems to have embroidered, his Maine upbringing, and his early fascination with the nickelodeons.

Sinclair launches his account of Ford’s Hollywood career by saying: “ He had grown up with three passions and had been given one extraordinary oppor­ tunity. He loved the sea and Irish Catholicism and the great West of the American continent . . . If he was shaped

by his Irish immigrant heritage, he needed a new and growing culture for his develop­ ment.”

The book’s coherence lies in its faithfully tracing of the course of those “three pas­ sions” of Ford’s life and work, and how they found voice through his grasping of that “one extraordinary opportunity” . But the depth of feeling Ford reveals and communi­ cates in such diverse master-works as The Searchers, My Darling Clementine, The Sun Shines Bright and The Quiet Man eludes his

biographer.

Ford’s Hollyw'ood career began at Uni­ versal w'here he had been preceded by his elder brother Francis, who subsequently played many small character roles in Ford’s films. In the last of these (The Sun Shines Bright) Francis ironically played a character called Feeney, the Fords’ real surname.

However. John quickly outstripped Francis and was promoted by Carl Laemmle to as­ sistant director.

Sinclair deals somewhat perfunctorily with Ford’s silent career. Though many of Ford’s films of this period do not survive, there is not much evidence of Sinclair’s giv­ ing serious attention to those that do. It is not, for instance, even clear whether he has seen The Outcasts of Poker Flat or Marked Men which, he tells us, were the only two with plots which could “bear analysis” . Nor is there much evidence for the statement (p.25) that “ At the birth of the film industry Jack Ford had become an experienced direc­ tor by the age of twenty-five. He worked most of the time and learned on the job.”

Potentially the most interesting aspect of

these superficial early chapters is its reference to Ford’s “double life” as a film­ maker and navy spy, a realizing of his “boyish dream of being both D. W. Griffith and John Paul Jones” . By playing both roles he was able to do homage to his patriotic love of the U.S. as his “public film career and clandestine surveillance for the navy were becoming enmeshed” . Nevertheless, his naval career seems often to have been shrouded in secrecy at this stage and its ef­ fect on his other career much less noticeable than that of his World War 2 service on his subsequent films.

The beauty of They Were Expendable, by contrast with the more consciously wrought poetry of The Grapes of Wrath, reflects, as Sinclair notes, “a new austerity of style [which] had come with his knowledge of the actual hardships of fighting” . As well, a new complexity and maturity of viewpoint emerge: it is hard to imagine Fort Apache making part of the pre-war canon.

What his two careers have in common is his remarkable capacity for inspiring a con­ tinuing allegiance in those who worked with and for him. As film director and naval com­ mander, he inspired and greatly valued “group sense and loyalty” . He required and, sometimes by methods which look vindic­ tive, achieved “total obedience mixed with personal responsibility” .

In his films, it is not merely the recurring presence of stars like Wayne, Fonda and Stewart that testify to the loyalty he could command. As well, the same character players (Ward Bond, Anna Lee, Alan Mowbray, Mae Marsh and a dozen or so

BOOKS

others) and behind-camera people (photo­ graphers Winton Hock and Archie Stout, scriptwriters Frank Nugent and Dudley Nichols, music director Richard Hageman) are used again and again in his Films. If on occasions he appears to have been auto­ cratic in his procedures, this clearly did not stop him from gathering about him one of the most remarkable stock companies ever associated with a director.

Sinclair’s book offers a convincing reading of this aspect of Ford’s working life: his long affections for people and for institu­ tions, the latter surfacing in his films in their loving recreation of ceremonial and, more unpredictably, in his naval career in the way in which he would make “a sudden switch to the braid and brass of a full navy captain” .

The two careers converge unforgettably in the famous shot of the raising of the flag on Midway which Sinclair describes as “ the synthesis of his life” : “The flag in the documentary of The Bat­ tle of Midway is hoisted as if the military personnel were extras under Tory fire in their wooden fort in Drums Along the Mohawk or cavalrymen holding their ban­ ner high in the charge in Stagecoach . . .

At the battle of Midway illusion and fact were one.” (p.l 12) The persistent dualities at work in Ford — the scruffy naval man who could rise to full dignity as the mood seized him, the dogged simplism about his work in films even as he created some of the screen’s images of en­ during beauty — remained throughout his life. He is conservative and rebel, cham­ pioning the hierarchy and habits of the cavalry regiments and, without senti­ mentality, endorsing the humanity of prosti­ tutes, travelling players, alcoholic doctors and others at odds with conventional society.

Sinclair makes a case for seeing these dualities (most sharply focussed perhaps in Ford’s treatment of Indians), not as un­ resolved elements in his work, but as evidence of his openness to the contrarieties of human experience. He claims that: “ Ford always knew that one Film could only show a partial truth, while the body of a man’s work might suggest his beliefs and his vision of his country’s history.”

And in the facts of his life, before settling down to his iast and most idiosyncratically chosen political friendship — with Nixon — there is the heartening memory of his stand against Cecil B. deMille and the California Un-American Activities Committee. Having listened for four hours to the debate in a ses­ sion of the Screen Directors’ Guild, Ford’s words appear to have saved the day as deMille and his cronies tried to bully all directors into signing a loyalty oath and monitoring the political beliefs of those working with them. “ My name’s John Ford . . . I make Westerns” , he began. Ford paid tribute to deMille’s acumen, and ended by saying, “ But I don’t like you C.B. I don’t like what you stand for and 1 don’t like what you’ve been saying here tonight.”

This episode has been reported elsewhere (in Robert Parrish’s Growing Up in Holly­ wood and Kenneth Geist’s Pictures Will Talk, the biography of Joseph Mankiewicz) but it is important that it is given in Sinclair’s book. Very often Ford the man does not emerge with particular credit — the boozing, the hectoring and humiliation of those now out of favor, the at-least-arguable racialism, the boorish practical joking — so that it is good to be reminded that this giant among filmmakers could, on a crucial occa­ sion, be found unequivocally on the side of the angels.

Sinclair is distinctly disappointing about the films themselves. Of course, a biography is not necessarily where one would expect to Find the most perceptive treatment of an ar­ tist’s work, but it is hard to respect a bio­ graphy of Ford that can discuss The Searchers in a bare page. Sinclair records the public and critical coolness to it at the

time of its release and the fact that “later critics found it Ford’s masterwork” , but there is no attempt to account for this remarkable change of opinion.

The Searchers seems to me absolutely central to an appraisal of Ford’s work and 1 deeply suspect a biographer who glances at its centrality and then turns away from it. In fact, the great films of the 1950s, from Wagonmaster to The Horse Soldiers, are very summarily treated indeed.

The strongly pervasive sense of the 1960s as a period of wrapping up, of farewell, is aptly characterized by Sinclair in his summ­ ing up of Liberty Valance: “The Film needs no analysis, because it has expressed all of the statements that Ford had spent forty-Five years in making, the themes of the law against the outlaw, the town against the wilderness, the civilized man against the savage, the farmer against the rancher, the family against the loner, the church against wicked liberty. Everything was pared down to the bone, only the necessary was shown.”

And he is right, I believe, in describing Cheyenne Autumn, that last sprawling, generous, muddled Western, as “more an act of penance than a Film production” , acknowledging that it is “visually gorgeous and sympathetic to its subject”, but failing crucially in coherence and fatally com­ promised in its casting.

The lovely island pastoral of Donovan’s Reef, in which knockabout comedy and sentimentality are subsumed in a tranquil vi­ sion that comprehends the lures and con­ straints of freedom, and the strange and haunting Seven Women, in which Ford so sensitively directs his marvellous cast, are Fitting elegies to the most remarkable direc­ torial career in American — in any — films.

Sinclair is curt enough with both of these late glories.

Perhaps we will not get a much clearer picture of how these Films were achieved — Anna Lee’s remark, “ You could never really analyse what he did as a director to get the results he got” , may be the clue to why. And perhaps it is “the results he got” which ought to — and do — fascinate us most. Nevertheless, those of us who revere the work must be tantalized to know more about the workman, more certainly than Sinclair’s lightly competent book is able to deliver.

The many personae of Sherlock Holmes on stage, in Film ana in advertising.

Too Young to Die Patricia Fox Sheinwood Cathay/Macmillan Australia, $9.95 The stars the world lost. Includes more than 30 stories and 500 photographs.

Academy Awards Annual 1979 Esecalif./Imp., $11.95 The annual paperback covering the 1979 awards.

Biographies, Memoirs and Experiences in Filmmaking and Filmographies

capital: and for one which is prepared, however idiosyncratically, to set out a view of whom, and what films, have most contributed to the art of the Australian film.

Eric Reade’s aptly named History and Heartburn is none of these. Its approach remains as anecdotal as his others. The method is fraught with critical danger. First, it does not make any distinction, in terms of space or information, between the good and the indifferent. Secondly, it tends to give all sorts of trivial information, including references to Reade’s own bit parts. Finally, it fails to provide what was the chief virtue of the previous books, albeit in a limited form, a detailed filmography which ought to contain information like whether the film still exists, where prints are held and so on.

For an amateur film buff who seemed to operate in that Films in Review area which Andrew Sarris described (with a nod to Wilde) as those who know the credits of everything and the value of nothing, the omission is unforgivable and makes the book’s contribution to Australian film history even more negligible than its predecessors.

Recent Releases Mervyn Binns This column lists books released in Australia be­ tween March and April I980 which deal with the cinema or related topics. All titles are on sale in

Eric Reade Harper and Rowe

bookshops.

The publishers and the local distributors are listed below the author in each entry. If no distri­ bution is indicated, the book is imported (Imp.).

The recommended retail prices listed are for paperbacks, unless otherwise indicated, and are subject to variations between bookshops and states.

This list was compiled by Mervyn R. Binns of the Space Age Bookstore, Melbourne.

Geoffrey Gardner

Popular and General Interest

Eric Reade’s fourth and last book on Aus­ tralian film history is much the same as those that preceded it, though he has added some notes on television production and information on Australian production since 1976.

When The Australian Screen was published (1976) I reviewed it fairly unfavorably. I bemoaned the fact that Reade’s history and historical view was in danger of becoming, by default, the standard accepted ‘text’. At that time, however, there seemed to be the hope that other, more serious, works might eventually supersede the essentially amateur histories of Eric Reade.

However, that vacuum has not been filled by anything except a Final instalment by Reade and we are still waiting for a book with some extended thematic and narrative analysis; for one which provides an economic history of film in Australia, parti­ cularly in terms of the influence of foreign

The Black Hole Poster Book Walt Disney Productions Octopus/Macmillan, S8.70 Lost Lands, Mythical Kingdoms and Unknown Worlds Val Warren Simon and Schuster/Ruth Walls, S8.70 Featuring 300 photographs from mainly old Films, including serials and silents. Nostalgia buffs will love this one.

Mork and Mindy: A -Videonovel Richard Anobile Arkon/Angus and Robertson, $2.95 • The Rocky Horror Picture Show Book Bill Kenkin Hawthorn/Imp., $11.20 Photos, music and lyrics. Covers all aspects of the show.

The Rocky Horror Scrapbook Star Fleet Productions/Imp., $19.50 Photos of stars of the Film and others in front of the cameras and behind the scenes.

The Rose — An Illustrated Book Diane Masters Wilson Star/Kennard International, $9.95 A look at what it is like at the top for a lady who is there and comes crashing down.

The Sherlock Holmes File Michael Pointer Potter/Imp., $7.50 (HC)

History and Heartburn: The Saga of Australian Film 1896-1978

An Actor and His Time John Gielgud Hutchinson/Hutchinson Group Australia, $19.95 (HC) A fascinating account of his life, and also a welldocumented record of the past 50 years of the British theatre.

Lauren Bacall by Myself Coronet/Hodder and Stoughton, $4.95 A frank and moving memoir: her career, friends and life with Bogart. Now in paperback.

A Dreadful Man Brian Aherne Simon and Schuster/Ruth Walls, $11.95 (HC) A biography of George Sanders.

Growing Up In Hollywood Robert Parrish Panther/Gordon and Gotch, $4.95 Hollywood memoir by the well-known writer on the screen.

Loser Takes All — The Comic Art o f Woody Allen Maurice Yacowar Ungar/Ruth Walls, $15.40 (HC) A biographical and critical volume on the work of this very successful actor and Filmmaker.

Mommie Dearest: A Memoir Christina Crawford Panther/Gordon and Gotch, $4.25 The story of the relationship between a child trying to stay alive and a ruthless, cunning and lonely woman who knew every trick of survival — Joan Crawford. Now in paperback.

More or Less Kenneth More Coronet/Hodder and Stoughton, $3.95 The autobiography of British actor, Kenneth More.

Not Quite a Gentleman Roland Culver William Kimber/Novalit, $23.95 (HC) A rich and moving book by an actor whose variety of roles has seldom been equalled.

Critical

Films and Values Peter Malone Chevalier Press/Chevalier Press, $3.75 Some thought-provoking insights for the serious student and the more average Filmgoer. A dis­ cussion of select Films offered as a background for further discussion.

Hollywood Renaissance Diane Jacobs Delta/Imp., $8.70 In-depth commentary on the American Films of the 1970s, and the work of seven distinctive directors.

Sexual Stratagems — The World o f Women in Film P. Erens Horizon/Imp., $11.20 Writings on women in the cinema and their contri­ butions to the screen as Filmmakers. " Story Telling and Mythmaking Frank O’Connell Oxford/Oxford University Press, $21 (HC) Images from Film and literature show how the ele­ ments essential to literature are also present in popular and classic Films.

History of Film Industry and Accounts of Filmmaking

Hollywood — The Pioneers Kevin Brownlow William Collins/William Collins, $24 (HC) The author recaptures the legendary days of Film­ makers like Cecil B. deMille, King Vidor. Erich von Stroheim and D. W. Griffith.

Reference

International Film Guide 1980 Peter Cowie Tantivy/Second Back Row Press, $11.95 The annual survey of Filmmaking and festivals throughout the world.

Making a Monster A1 Taylor and Sue Ray Crown/Imp., $17.95 (HC) A book devoted entirely to Hollywood’s make-up men and the characters they have created, in films from Frankenstein to Star Wars.

Making Money Making Movies Sheldon Tromberg New ViewPoints/Vision Books (Grolier Society), $9.95 The independent Filmmakers handbook.

Scriptwriting for Animation Stan Hayward Focal Press/Pitmans, $11.50 A Focal Press media manual covering up-to-theminute “how to” information. ★

Cinema Papers, June-July — 207

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CENSORSHIP LISTINGS

Donald Richie

Censorship Listings

Continued from p.183

Continued from p. 188

woodcut print is still producing in­ teresting, viable work.

Does the new film by Kurosawa (“Shadow Warrior” ) and the deal with George Lucas and Francis Coppola indicate any new move­ ment?

Well, Shadow Warrior wouldn’t have been made if it weren’t for the left-over money from Star Wars and the goodwill of Coppola and Lucas. This is a one-shot thing, and if it succeeds Kurosawa will make Chaos, which is the film he wants to make. It is King Lear in a Japan­ ese setting. I have read the script which is magnificent.

There seems to be a trend whereby the Japanese are relaxing and allowing foreign involvement.

There is a political film by a young Japanese director, Hasenawa, called The Boy Who Stole the Sun. The script was written by an American, Len Schrader, who is Paul Schrader’s brother. Schrader has other plans, and it wouldn’t be the first time that the foreigners act as the guardians for things Japan­ ese.

People are also coming over to make their own films, like Shogun, and they buy what they want.

Shogun was not a happy experi­ ence for both sides.

Coppola is coming to Japan to live for a year, and during this time he is planning to make a film, which, according to him, will run five days and five nights. It will be a very personal, very Proustian film about how he sees the impact of one culture on another. You wouldn’t find a more perfect paradigm in Japan. He is going to reconstruct the Meiji Period [the period of modernization].

The age of co-production didn’t work here. No one is talking of co­ productions, and the money will come from one side. At least you don’t have money squabbles.

Maybe someone intelligent will come in'and make a film about the country.

So you think the Japanese audience is so materialistic or wealthy that it couldn’t be bothered involving itself in conflicts or drama . . .

This country is in a state of aesthetic shock. Imagine a country that for centuries had been poor and had developed a culture or ethos based on poverty. The ideas of space come from not having anything to put in it. The idea of Japanese painting — all white with one or two lines — is based on poverty. All of the aesthetic terms implied poverty. Then, all of a suaden, we have inflation, and everyone has too much money and too much time.

Continued on p. 211

Title The E rotic Experiences of Frankenstein Deletions: 31.2 metres (1 min. 8 secs) Reason: Excessive violence Eunuch of the W estern Palace Deletions: 14.5 m etres (32 secs) Reason: Excessive violence

Producer

Country

Submitted Length (m) Applicant

Reason for Decision

R. De Nesie

France

2005.12

N.S. Prods P/L

S (i-i-g), V (f-m-g)

Golden R im s (H.K.) Co.

Flong Kong

2593.00

M andarin Cinem a P/L

V (f-m)

Esquire Films P acific Telecasters (Aust.) P/L

S (f-m-g), V (f-m-g) V (f-h-g)

(a) Previously shown on December 1979 List.

FILMS REFUSED REGISTRATION Love, Lust and Violence Zom bie Flesh Eaters (a)

N. Meisel Variety Rim s

USA Italy/U SA

2095.50 2442.40

(a) See also under “ Film s Board of Review".

FILMS BOARD OF REVIEW Electric Blue (videotape) (a) A. Cole Decision reviewed: Refusal to register by the Rim C ensorship Board.

Decision of the Board: Uphold the decision of the Rim C ensorship Board.

Zom bie Flesh Eaters Variety Films Decision reviewed: Refusal to register by the Film C ensorship Board.

Decision of the Board: Uphold the decision of the Film C ensorship Board. (a) Previously shown on January 1 98 0 List.

UK

59 m inutes

Electric Blue (A'asia)

Italy/U SA

2442.40

P acific Telecasters (Aust.) P/L

M ARCH 1980 FOR GENERAL EXHIBITION “G” FILMS REGISTERED WITHOUT ELIMINATIONS Submitted Length (m) Applicant

Title

Producer

Country

The Black Stallion Coping (16mm) The Day Before Premiere A Dog on the Piano Forget the Word ‘Death’ The G lacier Fox in Quest of the Northern Sun G row n-up Son Heroes of the East Invitation to the Dance (1 6 mm) (a) Les T rois M ousquetaires (1 6 mm) Little M iss M arker Lubasha My Love My Sorrow Several Interviews on Personal Problems Sleeping Beauty (70mm) (b) S m ilin’ Through (1 6 mm) (c) Sombrero (16mm) (d) A Timetable for the Day after Tom orrow The T rouble-m aker Vanity of Vanities Young W ife

F. Coppola Film Australia Dovzhenko Studio Central G orky Studios O dessa Film Studio

USA Australia USSR USSR USSR

3179.23 1 048.00 1 885.00 2249.00

Film ways A'sian Dist. P/L Film Australia USSR Em bassy USSR Embassy USSR Embassy

Toho-Sanrio Mosfilm M. Fong M etro-G oldw yn-M ayer Pathe Cinema J. Lang Dovzhenko Studio M osfilm /Tugrafilm Georgiafilm W alt Disney M etro-G oldw yn-M ayer M etro-G oldw yn-M ayer Belarusfilm Studio Central Gorky Studios Mosfilm Lenfilm

Japan USSR Hong Kong USA France USA USSR USSR/T urkey USSR USA USA USA USSR USSR USSR USSR

2432.88 2356.00 2967.58 1019.00 1459.01 2743.00 2152.00 2610.00 2616.00 2525.00 1096.00 11 29.00 2384.00 2470.00 2393.00 2694.00

The House of Dare USSR Embassy JS & WC Int’l Film Co. Tw entieth C entury-Fox Films French Embassy Cinema Int’l Corp. P/L USSR Embassy USSR Embassy USSR Embassy GUO Film Dist. P/L Tw entieth C entury-Fox Films Tw entieth Century-Fox Films USSR Embassy USSR Embassy USSR Embassy USSR Embassy

(a) (b) (c) (d)

Previously Previously Previously Previously

registered registered registered registered

in in in in

1956.

1 959.

1 942.

1953.

2111.0 0

Reason for Decision

NOT RECOMMENDED FOR CHILDREN “NRC” FILMS REGISTERED WITHOUT ELIMINATIONS

By Love O bsessed Chapter Two Clim ats (16mm) Colonel Zorin’s Version Coal M iner’s Daughter Devata Dis-moi Que Tu M'Aim es (16mm) Duo Agapes (Two Loves) (1 6 mm) Festive Day-

Suen M otion Picture Co. Columbia S. Lorenzi Mosfilm Universal Not shown F. Cosne/G. Beytout Not shown Mosfilm

Hong Kong USA France USSR USA India France Greece USSR

2700.35 3457.1 1 1151.85 2445.00 3341.87 4263.00 987.30 932.50 2384.00

JS & WC Int'l Film Co. Fox Colum bia Film Dist. P/L French Em bassy USSR Embassy Cinema Int’l Corp. P/L SKD Film Dist. P/L French Embassy C astellorizian Club USSR Embassy

Ek Hi Rasta The Final Challenge Five Evenings Head Over Heels Him self as Herself (1 6 mm) II Fiacre No. 13 Ivantsov, Petrov, Sidorov Judgem ent Day La G arçonnière L’age En Fleur (16mm) La Mort En Ce Jardin (Death in th is Garden) (16mm) Le Rouge Et Le Noir (16mm) Le Samourai (1 6 mm) Les Anciens De St. Loup (16mm) Les Feux De La Chandeleur (16mm) Love and Fury Love Me or Leave Me (16mm) (a) M alaspina M idnight E ntertainer No Sym pathy for Ladies (16m m) Simon Thomas L’Im posteur (16mm) Two in a New Home W hen W ives Leave (16mm) W ildcats of St Trinians W oyzeck (16mm)

M. Sencel F. Chia Mosfilm United Artists G. M arkopoulos Excelso Mosfilm G eorgie Films R. Amoroso P. Agostini

India Hong Kong USSR USA Switzerland Italy USSR Israel Italy France

3800.00 2688.14 2883.00 2649.36 4824.62 2570.00 2509.92 2509.92 987.30

SKD Film Dist. P/L JS & WC Int’l Film Co. USSR Em bassy United Artists (A'asia) P/L National Library of Australia Unitalia Films of Australia USSR Embassy Kochavim Attractions P. Z eccola French Embassy

Jacques Image/O. Dancigers Societe Televog Not Shown G. Lampin SNC/Mega Uzbekfilm /S utjeskafilm M etro-G oldw yn-M ayer R. Amoroso Not shown Not shown Orion Pictures Filmel Lenfilm Sabah W. Sm edley-Aston W. Herzog

France France France France France USSR USA Italy Israel Lebanon USA France USSR Lebanon UK W. Germ any

945.00 2632.80 987.30 987.30 1151.85 2207.00 1337.00 2272.47 2646.76 1645.00 2621.47 1151.85 2207.00 1050.40 2482.03 877.60

French Embassy French Embassy French Embassy French Embassy French Embassy USSR Em bassy Tw entieth Century-Fox Films U nitalia Films of M elbourne Kochavim Attractions N. Avramides W arner Bros (Aust.) P/L French Em bassy USSR Embassy N. Avram ides Roadshow Dist. P/L Le Ciezio Films

1 200.00

V (i-l-j). O (adult theme) 0 (emotional pitch) 0 (adult theme) V (i-l-j) 0 (sexual innuendo) V (i-l-j), 0 (adult theme) 0 (dom estic discord) 0 (adultery theme) V (i-l-j), O (emotional stress) 0 (marital discord) V (i-l-j) 0 (emotional stress) 0 (adult theme) S (i-l-j) V (i-l-j) 0 (adult theme) 0 (adult theme) 0 (adult theme) S (i-l-j) V (i-l-j) 0 (adult theme) V (i-l-j) 0 (adult themes) 0 (adult theme) V (i-l-j), S (i-l-j) V (i-l-j), O (adult theme) 0 (sexual allusions) 0 (adult theme) 0 (sexual allusions) V (i-l-j) 0 (adult themes) S (¡-I) 0 (nudity) V (i-l-j)

FOR MATURE AUDIENCES “M”

(a) Previously registered “ G” with cu ts in 1955.

FILMS REGISTERED WITHOUT ELIMINATIONS All That Jazz Being There A Boy and His Dog (videotape) Caning

Colum bia Lorim ar A. Moore Hop W o/S hack Ying

USA USA USA Hong Kong

3374.45 356 9.66 90 mins 2219.00

Fox Colum bia Film D is i P/L Roadshow Dist. P/L Video C lassics M andarin Cinema P/L

Chaos The Death Duel of Kung Fu Defiance (re-edited version) (a) The Eagle's Killer

Arm enfilm Not shown G ilm ore Jnr/B rockheim er Not shown

USSR Hong Kong USA Hong Kong

2646.76 2370.48 2780.44 2482.03

Ararad Import Export Co. J S & W C Int’l Film Co. Roadshow Dist. P/L JS & WC Int’l Film Co.

0 (adult concepts) S (i-m-j) V (i-l-j), S (i-l-j) V (i-l), 0 (sexual and scatological allusions) S (i-l-j), V (i-l-j) V (f-m) V (i-m) V (f-m)

Concluded on p. 211 Cinema Papers. June-Julv — 209

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Any draft of the script will be typed in either American, British or Australian layout on an IBM golf ball typewriter. A complete script printing — by Gestetner or by photocopy — and binding service. A photocopying service. An answering service for short or long periods. A tape transcription service (from regular cassettes only). A complete temporary pre-production secretarial ser­ vice.

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Donald Richie

CENSORSHIP LISTINGS

Censorship Listings

C o n tin u e d f r o m p . 2 0 9

C o n tin u e d f r o m p . 2 0 9 Title

Producer

Country

Full Moon Scim itar Just Out of Reach (16mm) Kasme Vaade Killer Fish

Shaw Bros/M . Fong Ross M atthew s R. Behl Ponti/Film ar Do B ra sil/ Faw cett-M ajors CMPC IN A/G M F/Sunchild A. Fenady S hani/Flans/D iam ant Serendipity Prods D. M errick Rank F. W eintraub/Solar F. Kung

Hong Kong Australia India B ra z il/lta ly / USA Taiwan France USA Israel USA USA UK USA Hong Hong

The Lawman (16mm) Les Enfants Du Placard (16mm) The Man with Bogart's Face A Movie and Breakfast Salem ’s Lot Semi-Tough (re-subm ission) (b) Silver Dream Racer Tom Horn Tough Kung-Fu Iron Bridge III

Submitted Length (m) Applicant

Reason for Decision

2700.32 691.11 4202.00

JS & WC Int’l Film Co. Sydney Film m akers Co-op SKD Film D is t P/L

V (f-m) S (i-l-j) V (f-m-j)

2816.69 1031.18 1199.00 3039.79 2673.50 3039.79 2860.64 3039.79 2646.76 2539.82

Hoyts DisL P/L Chinese Cultural Centre French Embassy Roadshow DisL P/L Kochavim Attractions W arner Bros (A ust) P/L United Artists (A’sia) P/L GUO Film DisL P/L W arner Bros (Aust.) P/L M andarin Cinema

V (i-m-g) V (f-m-j) O (incest theme) V (i-m-j) S (i-l-j), 0 (adult theme) V (f-m) L (f-m-j) V (i-m-j), L (i-m-j) V (i-m-j) V (i-m-j)

(a) Reduced by producer's cuts from 3047.79 m etres (September, 1979 List). (b) Previously cla ssified “ R” (February, 1978 List).

FOR RESTRICTED EXHIBITION “R” FILMS REGISTERED WITHOUT ELIMINATIONS

Shogun.

One of the great things about the Zen masters is that they picked up their brush and did a masterpiece in two seconds. Now the Japanese have hours and hours to fill. This has demoralized almost every­ body. It will tak e a lot of culturalization before they come to terms with it. Either they will be stabilized or they will turn into a ‘tag-along’ type of country, neither one thing nor the other.

The sense of identity is being lost in Japan, but Japan is very tenacious and out of this may come some wonders. I know history well enough to know this has happened before; this is a mannerist period.

The Japanese national character, if there is such an animal, is extra­ ordinary: one disaster and it’s off again. I have often said that a nice fat war or a nice earthquake would pull the country together like nothing else.

W hen the J a p a n e s e were absolutely sure of themselves in their misery — from 1945 to 1960 — it had a Golden Age of Cinema, to name but one thing. ★

Bad Timing

Rank Org.

UK

3346.56

GUO Film Dist. P/L

The Bitch Cops and Robbers C ruising E lectric Blue (videotape) (soft version) (a) The G host Story Hand Cuffs Jeet Kune the Claws and the Supreme Kung Fu Jungle Blue

Brent W alker Prod.

Not shown Lorim ar

UK Hong Kong USA

2537.81 2566.56 2726.97

Hoyts DisL P/L Golden Reel Films P/L Roadshow DisL P/L

S (i-m-j), L (i-m-j), 0 (psychological violence) S (i-l-g) V (f-h-g) S (i-m-j), V (i-h-j)

A. Cole M. Fong Hung Ying Film Co.

UK Hong Kong Hong Kong

59 mins 2956.13 2620.03

Electric Blue (A’sia) JS & WC Int’l Film Co. M andarin Cinema

S (f-m) V (i-m-j), S (f-m) V (f-m-g)

L.B anito Diamond Film s/C ine Peru Internacional Eternal Film Co. R. Boner M ercury Cinem atografica Rosa/M ica

Hong Kong USA

2565.70 1756.94

JS & WC Int’l Film Co. Esquire Films

V (f-m-g) S (f-m-g)

Hong Kong France Italy Israel/France

2459.62 3708.00 2119.49 2509.92

JS & WC Int'l Film Co. Le Clezio Films B. Parri/U. Tinelli Pan Am erican Productions

V S S S

(f-l) (i-h-j) (f-m), V (i-m) (i-m-j)

0 . Righini R. Shaw G. Corman J. Claydon

Italy Hong Kong USA Australia

2539.80 2646.76 2379.41 1107.99

NS Prods P/L J S & W C Int'l Film Co. United Artists (A’sia) P/L National Library of Australia

S S V V

(i-l-g) (f-m) (f-m-g) (f-m)

Last Strike Les Petites Fugues (b) Love Slaves of the C aribbean Moments The Red Nights of the G estapo (reconstructed version) (c) T hat's A dultery Vigilante Forces (re-subm ission) (d) W orkstitles (16mm) (a) (b) (c) (d)

Previously show n on January, 1 980 List.

See also under "Film s Registered with Elim inations” .

Previously show n on January, 1 980 L is t Previously shown on June, 1976 List.

Special Condition: That the film be show n only to its members by the National Film Theatre of A ustralia in its 1 9 7 9 -1 9 8 0 “ British C lassics of the T hirtie s” season.

Bank Holiday Not Shown UK 2359.00 NFTA

FILMS REGISTERED WITH ELIMINATIONS For Mature Audiences “M” R. Boner Les Petites Fuges (a) Deletions: 13 metres (28 secs) Reason: Indecency For Restricted Exhibition “R” The Bare Breasted Countess Brux Int’l Pictures Deletions: 55.8 metres (2 mins 2 secs) Reason: Indecency and excessive violence The Brood New W orld Pictures Deletions: 31.1 metres (1 min. 8 secs) Reason: Excessive violence Freeway/G olden Gate Deep Desire Deletions: 6.5 metres (1 4 secs) Reason: Indecency A. Mamar The Devil Made Me Do It Deletions: 1 02.2 m etres (3 mins 44 secs) Reason: Indecency D. M arshak Dracula Sucks Deletions: 46 metres (1 min. 41 secs) Reason: Indecency

France

3708.00

Le Clezio Films

S (i-h-j)

France

2203.15

Cosmopolitan Motion Pictures

S (f-m-g), V (i-m-g)

Canada

2509.92

Everard Films (AusL) P/L

V (i-h-g), 0 (horror)

USA

1478.06

SHS Box O ffice Gold

S<f-m-g), V (i-m-g)

USA

1711.04

Esquire Films

S (i-h-g)

USA

2398.37

Roadshow Dist. P/L

S (f-m-g)

(a) Deletions made at im porter’s request to obtain lower classification

FILMS REFUSED REGISTRATION C aligula

Penthouse Int'l Corp./ Felix Cinem atografica

Italy

425 0.20

Roadshow Dist. P/L

S (f-h-g), V (f-h-g)

FILMS BOARD OF REVIEW NIL Note: Title of film shown as “ The Last M arried Couple in Am erica” (January, 198 0 List) has been altered to “ The Last M arried Couple".

★

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PH: 7*47-15667 Cinema Papers, June-July — 211

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RAN D ALL K L E IS E R

The Blue Lagoon

Continued from p.169 music scores I have heard. I even tracked the work print of Blue Lagoon with the music from Big Wednesday. But the way things are turning out, this new score is even better.

Basil and I began talking about Blue Lagoon two years ago. I told him the kind of music I wanted, and he sent me a tape with five dif­ ferent themes on it. We picked one of these for the main titles, and during the shooting I played this theme every day on my cassette as I walked around the island.

During the post-production, I would call Basil from wherever I was — London, New York or Hawaii — and he would play a cue on his piano. I could then figure how it worked and could suggest if it should be made more romantic or needed pulling back.

[Basil Poledouris joins interview.]

Poledouris: I can't imagine any­ one listening to the piano over the telephone, particularly in London, and being able to notice anything other than the lousy quality. I have a big Steinwav grand and I play loudly, so I am sure it must have sounded like a blur. But Randal has the uncanny ability to pick up the tone of a cue and catch on to its dramatic feel. And if it was wrong, he went right to it. Then he would discuss the cue in dramatic terms, which is much easier for a com­ poser than someone saying, “Oh, I want it to sound like Tchai­ kovsky”, because you rarely know what they are referring to.

The film begins with the main titles, which are very bold gold let­

Nestor Almendros. Richard Franklin (co­ producer). Randal Kleiser. Peter Bogart (1st asst.) and Marilyn Giardino (script super­ visor).

ters — they are like the embossing on an old novel. Randal’s concept was to start with a 1940s kind of South Seas, lush and romantic score, and, as we got into the film, to begin scaling it down. It be­

comes as exotic as the island itself, and the situations in which the children find themselves, and a bit more contemporary.

Why was the music recorded in Aus­ tralia?

Kleiser: By recording in Aus­ tralia we have been able to spend the time to get what we want.

The cost of studios and musicians is much higher in the U.S., and we would have had to rush things.

Here, we could relax and not have to compromise.

Are there any technical limitations in recording in Australia?

don’t have to cut away things that are antiquated.

What is Brian May’s role on the film?

Poledouris: Brian is the musical co-ordinator. He has been our liaison with the recording facilities and has also hired the musicians.

They are all excellent and come from the Melbourne Symphony Orchestra and Brian’s own band. It is very comforting to know when you walk onto a stage with 70 people that they have all come highly recommended.

Kleiser: Basil was a little appre­ hensive about coming down here as he d id n ’t know any of the musicians, or what kind of facilities there were. It was somewhat frightening, but it is working out well.

Poledouris: Absolutely not. As a matter of fact, there are many advantages that we don’t have in the U.S. Kleiser: We have used a compu­ terized sync system with video Will the film be mixed at Burbank? cassettes, rather than a projection Kleiser: Yes. facility. This keeps everything in sync and you can hear a bar or section over again by quickly And when do you hope to release it? rewinding and then playing image It will be out in July in the U.S., and sound together.

Poledouris: At home we have and possibly at Christm as in sprocket-driven machines and you Australia. only go at sound speed; there is no ■ fast forward. If for some reason Do you have any control on the you have a false start, it takes at marketing and distribution? least a minute to re-rack it. It is Not control, but they do consult very time-consuming and it drains me. I can’t take a strong stand, away a lot of one’s energy.

Kleiser: They are not quick to though, because I don’t know any­ pick up on innovations in the U.S. thing about marketing or distri­ because the industry is used to bution. Fortunately, Frank Price is doing things in certain ways. In so high on the film that I am sure it Australia, the industry is young and will get the best treatment it poss­ ★ people jump on new things; they ibly can.

212 — Cinema Papers, June-July

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PETER YELDHAM

The Lincoln-Cass Films

1911 The Lost Chord

Continued from p. 175 1911 The Mystery of a Hansom Cab Producer Director Scriptwriter Photography Cast First released

Amalgamated Pictures W. J. Lincoln W. J. Lincoln Orrie Perry (...)

Melbourne, March 4, 1911

1911 The Luck of Roaring Camp Producer Amalgamated Pictures Director W. J. Lincoln Scriptwriter W. J. Lincoln Photography Orrie Perry Cast Ethel Buckley, Robert Inman, George Marlow’s Dramatic Company First released Melbourne, March 24, 1911

1911 Called Back Producer Amalgamated Pictures Director W. J. Lincoln Scriptwriter W. J. Lincoln Photography Orrie Perry .

Cast Charles Hawtrey, Arthur Styan, (...) ' First released Melbourne, April 15, 1911

1911 The Bells

Producer Amalgamated Pictures Director W. J. Lincoln Scriptwriter W. J. Lincoln Photography Orrie Perry Cast Arthur Styan, Nellie Bramley,

( ...)

First released Melbourne, October 7, 1911

1911 The Double Event Producer Director Scriptwriter Photography Cast First released

Amalgamated Pictures W. J. Lincoln W. J. Lincoln Orrie Perry Edith Kongdon, Jack Marsden Melbourne, October 21, 1911

P eter Yeldham

Continued from p.179 I think so. Some of those serials do go on and on. Still, the advantage of the serial is that people are working, and you can only get better by working. We have a good depth of acting talent; what we need is a lot more directors and writers. But that situation is improving all the time.

Producer Director Photography Cast

Amalgamated Pictures W. J. Lincoln Orrie Perry (...)

1912 Breaking the News Producer Director Scriptwriter Cast

Amalgamated Pictures W. J. Lincoln W. J. Lincoln Harrie Ireland, Arthur Styan,

(...)

First released Melbourne, March 16, 1912

1912 Rip Van Winkle Producer Director Photography Cast First released

Amalgamated Pictures W. J. Lincoln Orrie Perry Arthur Styan, ( . . . ) Melbourne, April 6, 1912

1915 Within Our Gates (Deeds that Won Gallipoli) Producer Director Scriptwriter Photography Cast

J. C. Williamson’s (W. J. Lincoln), (Frank Harvey) W. J. Lincoln (Maurice Bertel) Frank Harvey, Cyril MacKay, Leslie Victor, Norman Estey, Raymond Lawrence, Charles Morse, John Ralston, Dorothy Cummings First released Melbourne, July 19, 1915

1916 Within the Law Producer Director

J. C. Williamson’s (George Willoughby), (W. J. Lincoln) Scriptwriter W. J. Lincoln Photography Maurice Bertel Cast Monte Luke, Muriel Starr, ( . . . ) First released Melbourne, January 10, 1916

1916 Get Rich Quick Wallingford Producer

J. C. Williamson’s

find the second half of the script is written much more quickly than the first.

There is a great emphasis these days on having a script editor. How important are they?

I find an editor can be handy, but I prefer to work with the director, or even the executive producer.

The advantage of the script editor is, if you get stuck in the middle, Could you tell us about your new you can ring him up and have him throw ideas at you. film, “Touch and Go”?

On the whole, though, the It is a light and entertaining function of the script editor should comedy-thriller. The original idea be as unobtrusive as possible. was Peter Maxwell’s, who is the Can you imagine going back to director.

The idea was to use Hayman work in Britain?

Island and, because of Reg Ansett’s No, I think my future is here. I connection with the place, we felt we could do a deal with Channel 10 have really enjoyed these past and Ansett Airlines. But Ansett couple of years. When I first left could never see the joke about Australia, people thought a script­ having his island robbed. We writer was a man who sat in the should have known, I suppose, after back of a chemist shop, copper­ plating the bottles of old medicine. looking at his photograph.

At least now, when you say you are You haven’t re-floated the idea with a writer, they don’t ask, “ But what do you do for a living?” That is the Rupert Murdoch? big improvement since I left.

No, by that time we had the You are part of a generation of money together.

Australians who left this country out What’s the hardest part about of the belief that there weren’t big opportunities here . . . writing?

Starting. The first five or so pages often takes me days. I once did a stage play and the first act took me three months, while the second act took six days. I suppose it’s all in your mind, but I always 214 — Cinema Papers, June-July

Yes. Quite apart from what I said about Frank Packer, I really went abroad for a year or two to get some experience, which a lot of other people did. But it went so well for me that I stayed.

Director Scriptwriters Photography Cast

Fred Niblo W. J. Lincoln, Fred Niblo Maurice Bertel Fred Niblo, (Muriel Starr), Charles Clary, Kathryn Williams, Max Figman, Burr McIntosh First released Melbourne, February 21, 1916

1916 Edith Cavell Producer Director Scriptwriter Photography Cast First released

1916 La Revanche

W. J. Lincoln W. J. Lincoln and G. H. Barnes W. J. Lincoln and (F. D. Kehoe) Arthur Styan, Agnes Keogh, Stewart Garner, (W. J. Lincoln) First released Melbourne, April 10, 1916

Producer Directors Scriptwriters Cast

1916 Officer 666 Producer Director Scriptwriter Photography Cast

J. C. Williamson’s (Fred Niblo), (Frankly Barrett) W. J. Lincoln Maurice Bertel Fred Niblo, Edith Bennett, Marion Marcus Clarke, ( . . . )

1916 The Life’s Romance of Adam Lindsay Gordon

Producer Lincoln-Bames Scenarios Director W. J. Lincoln and G. H. Barnes Photography Bert Ive Cast Hugh McCrae, Adele Inman, Audrey Worth First released Melbourne, September 5, 1916 ★

The author would like to thank Ina Bertrand, Chris Collier, Ross Cooper and Andrew Pike for their kind as­ sistance. "

Actually, a lot of people still can’t quite forgive me for being away all that time. “ Expatriate” has become a sort of dirty word.

When I grew up, expatriates were glamorous figures, like Ernest Hemingway and F. Scott Fitz­ gerald. But in Australia it became, * “ You abandoned us.”

You have a number of future plans, but do you have an overall strategy?

I have this new series for the ABC, which is going to take me all year, and I have a couple of ideas for films which I would like to do.

I’d also like to work again as a writer and co-producer, as I did on Touch and Go, because I really enjoyed being involved in pre- and post-production.

Very few writers are in that position Yes, and more of us should be. I know Joan Long and Margaret Kelly are trying to do this, as is John Dingwell. Obviously we need experienced producers beside us, but giving writers a creative say will help our films, and help us as well.

FILMOGRAPHY The following are Peter Yeldham’s Austra­ lian credits.

Features Touch and Go Weekend of Shadows T elevision S e rie s Ride on Stranger Run from the Morning Golden Soak The Timeless Land

J. C. Williamson’s W. J. Lincoln (W. J. Lincoln) Maurice Bertel (...)

February 7, 1916

Television P lay Money in the Bank

The following are Yeldham’s overseas credits. All are British unless otherwise in­ dicated.

Features

Include: The Comedy Man The Liquidator The Long Duel Age of Consent Our Man in Marrakesh Ten Little Indians 24 Hours to Kill S ta g e P lay s Birds on the Wing Fringe Benefits But She Won't Lie Down A way Match

Television P lay s Thunder on the Snowy A Visit from Anna East of Christmas The Cabbage Tree Hat Boys A Sort of Stranger The Gambler A Dragon to Kill Reunion Day The Juggler A Really Good Jazz Piano Ant and the Grasshopper O w n Television S e rie s Birds on the Wing The Five Midnights Mis-adventure Harriet’s Back in Town T elevision S e rie s

Include: Love Story Maigret No Hiding Place Van der Valk The Zoo Gang (U.S.) Espionage (U.S.) The Persuaders Ward Ten Probation Officer Zodiac The Nurses (U.S.) The Third Man ★

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1080

Edited by Peter Beilby

For the first time, a comprehensive national guide to every major aspect of the Australian film industry.

Compiled by the publishers of C in em a Papers, Australia’s leading film magazine.

Contents include:

* A National Services and Facilities Directory covering laboratories,.................J sound ,

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equipment, lighting, editing, recording and mixing studios, sound stages, animation and titles, publicity, preview theatres, freight, insurance, and catering.

* A Who’s Who of Producers and Directors * A National Directory of Film and Television Production Companies * A National Directory of Film Organizations * A National Listing of Distributors and Exhibitors * A Comprehensive Media Guide * A Guide to Every Major Australian and International Film Festival * Comprehensive Details on Film and Television Awards and Competitions * Outlines of Film Copyright, Censorship, Tax and Trade Incentives * Film Industry Statistics plus A 50-page round-up of recent developments in all major areas of the Australian film industry by John Langer; and profiles on two outstanding new directors — George Miller, and Gillian Armstrong —

by John Tittensor.

320 pages, illustrated throughout 250mm x 176mm Solidly bound with a laminated cover in full color.

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