Filmnet Daily 2.148 Her Majesty's Secret Service
Filmnet
FILMNET DAILY 2.148 Friday October 29 1999
THE FREE ONLINE WEEKDAILY AUSTRALIAN FILM INDUSTRY NEWSLETTER
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CONTENTS
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Her Majesty’s Cinema?, Gladiator reviews
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COMMENT
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The Monty/publicist thread has probably done its dash but new topics of
discussion are always welcome! The Cinema and Theatre Historical Site
has some interesting news! It would be great if Her Majesty’s were
converted into a cinema.
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NEWS
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HER MAJESTY’S SECRET SERVICE
CATHS has an interesting piece about the future of one of Melbourne’s
landmarks that deserves further investigation by the media:
“Mike Walsh Buys Her Majesty's Theatre Melbourne - We understand that
Mike Walsh, former TV presenter and owner of the Cremorne Orpheum in
Sydney, has recently purchased Her Majesty's Theatre in Melbourne. A
major refurbishment/upgrade of the theatre is planned, including the
possibility of installing projectors for part time operation as a
cinema.”
Lets hope it is still called Her Majesty’s if the republic gets
through! http://home.vicnet.net.au/~caths/news.htm
CINEMEDIA TO THE MAX
CATHS reports that: “Maxvision Cinema for Federation Square - Contracts
have been signed with Cinemedia (the Victorian Government's Film and
Television Office). Maxvision is to provide Giant Screen programming for
their new theatre in the new Federation Square Project in Melbourne.
Maxvision operates a large screen (6 storey high) cinema in the Blue
Mountains in NSW.
http://www.cinemedia.net/fedsqr/ http://www.maxvision.com.au
“http://home.vicnet.net.au/~caths/news.htm
ENTERTAINMENT TONIGHT!
CATHS reports: “Entertainers Online A new website which promotes
entertainers has recently been launched. The Entertainment Store online
talent directory was founded by Melbourne husband and wife team Anton
Berezin and Thereas Borg. The website
http://www.entertainmentstore.com.au features clowns, comedy and lounge
acts, dancers, singers, actors, stilt walkers and musicians whose
services are available for shows, corporate events, weddings etc. Some
of the artists on the website include Lano & Woodley, Scared Weird
Little Guys, and even Rent A Crowd. The site also features Real Player
audio and video clips of the artists.”
http://home.vicnet.net.au/~caths/news.htm
GLADIATOR CUT
Garth has yet another scoop with mixed reviews of a test cut of
Gladiator which stars Russell Crowe.
For Sure: “…Russel Crowe gives an awesome performance (as usual) as
Maximus, the General of the Roman Army (even though he is a Spaniard and
has never been to Rome)…. If there is any reason in the free world to
see this film, IT'S FOR THE BATTLE SCENES!!! My friend cringed as I
watched several decapitations, bodies being speared, shot with arrows,
stabbed, slashed, sliced, tigers being killed. Someone even gets cut in
half by a blade on a chariot wheel. I'm sure the censors will have fun
with this one.”
John Marzo: “…What I disliked: * Underdeveloped characters. Russell
Crowe could have easily been replaced by Arnold Schwarzenegger.
Although Crowe is a fine actor, he really doesn't have much to work with
here. His character at times is very shallow and he does not come across
as a victorious Roman General…”
http://www.darkhorizons.com/reviews/test69a.htm#Rev1
Captain Kirk at AICN liked it: “…The fight sequences are among the most
exciting I have ever seen. Russell Crowe will become a major star after
this…” http://www.aint-it-cool-news.com/display.cgi?id=4596
FILMNET AT THE CINEMA
Gawain Mclachlan, Editor Of Filmnet will give a quick talk after the
Institute of Lens Arts Australia - Photography/Video & Film. Feast on 5
Short Films (16mm) on 29th October at 7.30pm at the Cinemedia Treasury
Theatre. Ticket sales at the door or contact Wendy or John on 9720-6191.
SPAA 99 UPDATE
The SPAA conference program has been updated (Oct 27) and is online at
http://filmnet.org.au/misc/spaa99oct27program.html
IF AWARDS GET MENACED
Rick McCallum, Producer of Star Wars: The Phantom Menace and Star Wars
Episode 2, will present the Most Promising Filmmaker Award at the if
Awards being held on November 9 at the Argyle Rocks Stores, Sydney.
WAVERLY TRUST
Waverly Park may be bulldozed but CATHS reports that: “The National
Trust has recently classified the Waverley Theatre in Waverley Road,
East Malvern. The theatre is a 1936 Moderne, or Art Deco cinema which
for a while used to house the ABC Orchestra. The City of Stonnington
recently permitted a proposal to retain the uninteresting exterior, but
insert 24 flats into the interior, resulting in the complete destruction
of the dramatic decoration. A few years ago the theatre was refurbished
as a reception centre and decoration included over eighty different
colours applied to the art deco plasterwork. For an update visit the
National Trust website at http://www.vicnet.net.au/~nattrust “
http://home.vicnet.net.au/~caths/news.htm
ILLUMINATING
The Lumiere leaves patrons in no doubt as to where it stands on the
republic issue and in between Windhorse ads has big signs saying “VOTE
YES” for a republic.
UK MAY GET SEXY
The HWR says that the UK Government is set up new guidelines governing
sex and violence on screen which may result in less sex censorship for R
rated films. http://www.hollywoodreporter.com/international/index.asp#7
STALKING JOHN MALKOVICH
The Herald Sun has a great little piece about someone who stalked John
Malkovich. John walked out to him, rapped him on the head “if you really
think you’re going to come here and play a psychopath with me, you’d
better go away and study awhile”. Anthony Hopkins is probably not a good
target either!
===IN BRIEF===
The Splodge night is on again on November 15 in Melbourne:
http://www.homestead.com/splodge/nov99.html
Apparently Lord Of The Rings crew and cast who divulge information from
their copies of the script are liable for the $US200M cost of the entire
production!
BWP is now out on DVD and video in the USA.
Variety has an article on the productivity commission report.
http://www.variety.com/article.asp?articleID=1117757454
The Long Lives On Screen film festival screens at the Kino in Melbourne
from Nov 3-4.
===CORRECTION===
In Filmnet 2.143 Geoff Burton was incorrectly mentioned as the producer
of the upcoming film, NSW 2026.
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BUSINESS
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===IN BRIEF===
Digital Tv lobbying continues but there are signs that the Federal
Government may change its mind on some issues.
News Corp’s after tax profits dropped 23% to $A251M.
===OZ FILM SHARE PRICES===
(Closing Prices Of Previous Day in Australian cents)
Amalgamated Holdings (AHD) 405 +11
Barron (BAE) 3.3 +0.2
Becker (BKR) 21.5 –0.5
Beyond International (BYI) 73
Cinema Plus (CIA) 53 -2
Media Entertainment Group (MEG) 40.5 +0.5
News Corporation (NCP) 1088.5 +20.5
Publishing & Broadcasting Ltd (PBL) 910 +9
Scanbox (SOX) not listed
Southern Star (SSR) 91 -1
Village Roadshow (VRL) 300
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REVIEWS
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OUTSIDE PROVIDENCE - **1/2 (Two and a Half Bums on Seats)
(C) Shawn Hatosy, Amy Smart & Alec Baldwin, (Sc) Peter Farrelly, Bobby
Farrelly & Michael Corrente, (D) Michael Corrente
Reviewed By Atlanta Treloar
Although jam packed with Bongs, bad 70's Flares and Vomit, "Outside
Providence" is a departure from the Farrelly Brother's other block
buster comedies, "There's something about Mary", "Kingpin" and "Dumb and
Dumber". This time Michael Corrente "Federal Hill" and "American
Buffalo" helms the director's chair. Based on the novel by Peter
Farrelly, "Outside Providence" is set in the Pawtucket, Rhodes Island.
Because it was about his hometown, Corrente brought the novel for $1,
thinking how bad could it be. Apparently he couldn't stop laughing.
Although the "losers" are less "dumb" in "Outside Providence", the
dialogue is distinctly Farrelly Brothers.
The press kit would have us believe that the marriage between the
Farrelly Brothers and Miramax is made in heaven. The Hollywood rumour
mill reveals a different story. Earlier this year, full page ads for
"Outside Providence" were in various magazines and similar ones are
running in oz papers. The film looks like it is the next big thing from
the Farrelly Brothers – the ads imply that it is contemporary and a
bright comedy - just like "Mary". The Farrellys aren't too happy about
the misleading campaign and the tiff
has been making Hollywood headlines.
In this coming of age dramedy set in the 1970's, the main character Tim
Dunphy (Shawn Hatosy) lacks a future - providence. Whether it's the
excessive bong smoking, or the working class background outside
Providence, Dunph seems fated to spend the rest of his life smoking
grass with his childhood friends; Drugs, Mousy, Tommy the Wire and
Decenz and looking out for his paraplegic brother Jackie. Jackie was in
a freak footballing accident while on the roof of his house. One day Tim
has a freak pot induced accident. Tim's father, Old Man Dunphy (Alec
Baldwin), gets a friend to pull some strings and Tim is headed for Prep
School instead of Prison. Even at Prep School Tim finds a ten gallon
bucket bong. But he also expands his horizons.
The art of the cinematic montage sequence was perfected by Orson Welles
in "Citizen Kane". Other than representing the death of love in a
montage sequence, Welles knew that the blossoming of love should never
be represented by a montage. Corrente utilises a montage sequence to
show Tim falling in love with preppy Jane (Amy Smart). The words
schmaltzy and trite come to mind. The blossoming of love is best
represented by either a poetic scene with dialogue or a sex scene,
anything other than music over frolicking teenagers.
Other than a hokey montage sequence, "Outside Providence" is enjoyable.
The Farrellys and Corrente obviously love their characters, every one of
them. The filmmakers revel in their character's shortcomings; they make
these faults the plot points of drama, comedy and revelation. The
filmmakers' mutual respect fest that bares out in every performance.
It's certainly Alec Baldwin's finest performance. The Highlight: Old Man
Dunphy gives his son some wonderful advice on the art of lovemaking -
using a soon-to-be-classic Chinese food metaphor. It's advice that is
sure to be used by every father who sees this film.
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THE GENERAL’S DAUGHTER [MA] ** - reviewed by Fiona Villella
A Hollywood production, THE GENERAL’S DAUGHTER, is a fairly well paced
and constructed film. It has a strong set of characters, an intriguing
suspense-driven plot, a strong cast and overall good performances.
Produced by Mace Neufeld, it is in keeping with his previous films, THE
HUNT FOR RED OCTOBER, PATRIOT GAMES and CLEAR AND PRESENT DANGER.
However, there are some interesting and unsettling aspects of this film
that give it a certain edge uncommon in Hollywood productions. One of
these is its core thematic of women in the army.
THE GENERAL’S DAUGHTER centres on the investigation of the murder and
rape of Captain Elisabeth Campbell (played by newcomer Leslie Stefanson)
that takes place on a US army base. Top investigator Paul Brenner (John
Travolta) from the Criminal Investigation Division and Sarah Sunhill
(Madeleine Stowe), a rape expert, are instructed by senior army general,
General Joseph Campbell (James Cromwell) to solve the case quickly
before it goes public. THE GENERAL’S DAUGHTER is classic suspense,
playing up the mystery elements of the plot to keep the viewer intrigued
and engaged.
Murder victim, Elisabeth, appears early in the film when she
accidentally crosses paths with Brenner. Their slight exchange reveals
her to be a highly intelligent, attractive and physically strong woman
who lectures in Psychology and what she calls ‘mind fucking’ to army
soldiers. After her death, however, Brenner learns she is also the
General’s daughter and had a very troubled, dark side.
Stowe is an ex-lover of Travolta and their interpersonal battles and
flirtatious moves continue irritatingly throughout the film as a useless
plot/character exercise. Audiences may recognise James Cromwell,
General Campbell, who combines his soft, warm side in BABE with the
cold, ruthlessness in his role in L.A. CONFIDENTIAL by playing a caring
and, also, brutally insensitive father in this film.
THE GENERAL’S DAUGHTER follows a classical structure. Travolta and
Stowe represent the beacons of morality and goodness in a messy world of
violence and dark desires. Their mission is to uncover the truth and
restore order and stability. The twist of course is that the
army-world, which is supposed to represent order and morality, is
revealed to be quite the opposite. Furthermore, the institution of the
army (which could also be the traditional family) is guilty of ignoring
the basic rights of women in the army. Unlike classical Hollywood, the
motives for murder are not rooted in greed or jealousy but, indirectly,
in years of silent psychological trauma and repression caused by a
patriarchal institution.
The army is presented in THE GENERAL’S DAUGHTER as impenetrable to
outsiders – a world within itself, with its own rules, well-kept secrets
and strong ties of allegiance and loyalty. Brenner and Sunhill succeed
in penetrating this world and unearthing the true circumstances of the
murder. What they discover in the meantime is a world full of moral
corruptness and odd, ‘perverse’ behaviour that is strongly at odds with
the ‘public’ face of the army.
Like other army films (A FEW GOOD MEN), THE GENERAL’S DAUGHTER sets up a
contrast between the appearance of the army (order, discipline,
morality) and the moral corruptness and betrayal that lies beneath this
facade. By scrutinising the army in this way these films also ridicule
traditional American values of morality, liberty and freedom. This act
of revealing such moral corruptness is perfectly captured in the scene
where Brenner and Sunhill go to Elizabeth’s home. After searching
through her sanitised and neurotically organised bedroom, they discover
a hidden door beyond which lies a dark bedroom equipped with a full
array of s/m gear. An ‘underworld’ of dark desire and instinct exists
where you never expected it. Through such contrasts and complications,
where the true nature of each character is a mystery, THE GENERAL’S
DAUGHTER keeps you relatively intrigued. It is no surprise then that
the top army General, initially a hero-figure and leader, is revealed to
be the guilty party at the film’s end.
THE GENERAL’S DAUGHTER follows a classic Hollywood structure in its very
strong narrative and clearly defined tension and goals. However, the
results of their investigation lead Travolta and Stowe to a bizarre
father-daughter relationship and a father’s callous and harsh treatment
years ago toward his daughter’s violent and horrific rape. The film
clearly sets up a parallel between the army and the family, suggesting
the patriarch’s violent and oppressive treatment of women. In THE
GENERAL’S DAUGHTER it is the patriarchal institution of the army/family
that is responsible for the death of the daughter.
The film deals with these issues in a disturbing way. The disturbing
and horrific image of the murder victim – naked, stretched, tied and
pinned to the ground – constantly appears throughout the film and
somewhat inadvertently emphasises the vulnerability and exposure of
women in a traditionally male-dominated sphere. Furthermore, in a film
that explores the justice of women in a male-dominated environment,
Madeleine Stowe’s character certainly lacks the strength and conviction
to give the film more integrity as a feminist statement. She wavers
from quasi-submissive flirtation with Brenner to a half-hearted attempt
to solve the crime. It is Travolta who occupies centre stage and Stowe
never seems to exercise any true independence of thought or action.
Irritatingly tokenistic, she performs these ‘strong-women’ moments, for
example, the interrogation of men, but these are inconsistent with her
‘subordinate’ position relative to Travolta. Ironically, it takes a man
to do the job, solve the crime and bring justice. And the violence
committed against women in this film is never fully resolved or dealt
with. This issue, unconventional and problematic, is opened up but not
fully contained or resolved in the film’s strong classical narrative
framework.
Travolta is superb in this film. He demonstrates his acting ability and
range by playing his character in a number of contrasting situations–
from violent killer to shy charmer to a man with conviction. Travolta
has enormous presence in the film as the charismatic and assured
Brenner, and is certainly the centre of the film. Other highlights
include the scenes with James Wood, who plays Elisabeth’s mentor and
confidant. In particular, the battle of wit and charm Wood plays with
Trovalta in one scene is delicious.
Like the intangible soundtrack that opens the film, with its African
rhythms and ethereal sensibility, this film leaves you with an unnerving
feeling. A riveting thriller, huge blockbuster …or a confused, messy
ideological film…the choice is yours.
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MAIL
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Dear Filmnet
I am the producer with Matt Carroll of the project you mentioned in your
last bulletin under the title Suburban Dream - entitled NSW 2026. You
say that it has been announced that Geoff Burton is attached to direct
the feature. This is NOT the case - in fact I do not even know Geoff
Burton. As yet there is no director attached to the project. The mistake
has also been made by the AFC newsletter where I presume you get your
information. It is important that this is made clear. I would greatly
appreciate it if you would please issue a CORRECTION to the effect that
Geoff Burton as director is a mistake.
Many thanks.
Zanna Northam - Producer/writer - mcf...@real.pop.com,au
<GM: Yes the AFC Bulletin was used as a source of AFC funding details.
Will mention it!>
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Dear Gawain,
The more diverse film criticism that's out there the better, I say. At
least with Adrian Martin he never plagiarises from overseas papers or
the internet, and his writing is always original, well thought-out and
with interesting contexts that make you want to at least see the film to
figure out what he means. The problem is that handing the reigns over to
the "yoof" doesn't always work. We see the TV industry ditching all its
old pros and look at the result. With a couple of exceptions, the
screens are full of panel shows (dirt cheap to produce and so ad-libbed
in most cases as to resemble a 1950s party-game). This is (and sorry
for my cynicism) the best way our MAJOR TV PRODUCERS can cream of
maximum profits, because these shows run on a minimum of staff. The
personalities who host these shows don't realise how they are
subsidising the productions by replacing a writing team and production
expertise by making all their own decisions etc. etc. . The Molloy
show is a good example of how strong production barely exists as today's
young producers are not game to stand up to a powerful host or star and
tell them they are not up to scratch. OK then...some of them are
crapola. If you're asking why I am talking about TV on a FIlm site,
then think about it. The same thing has spread to film in Blair Witch
Project, and so many "ad-libbed" films, and so many where the star has
the last say on production, Michael Douglas being notorious for
re-jigging scripts to the point where they are no longer effective or
interesting. Remember The Player? Well, it's happening.
I could rave on for ever about the "de-skilling" that has swept through
the world. Oh, you don't know about that new buzz-word? That's where
they replace an incumbent, experienced guy by a team of juniors with a
variety of talents that are supposed to add up to his/hers. It's
cheaper, you can bung them all on contracts, pay them like shit, burn
them out and they're still young enough to move on (after their therapy)
and look for something else. Some of the "young" critics are so
inarticulate that I feel as though I've just watched "Bill and Ted's
Excellent Adventure" after reading their crits. which have little depth
and don't really treat film as an artform or even a craft. After a
while you get to know who the interesting ones are. And then you go and
see the film and figure it out for yourself if you've got any brains.
Two Hands is a good example. Not a perfect film but definitely worth
buying a ticket to see G. Jordan's talent in the early days of what
should be a great career. The fun part is to read all the overseas
crits. on the 'net first and see for yourself which ones of our esteemed
regular critics rip off someone else's material or just copy the lists
of adjectives from the Press Release. Keep the debates happening;
they're very entertaining, if only for the terrible grammar, typos and
spelling that certainly convince me that some of our wannabe critics
need to go back to school....
Wendy Rawady
<GM: The Oz TV industry seems to shrink by the week. What do you think
about the axing of the Australian version of Entertainment Tonight?
Adrian Martin is great read even if you don’t agree with his views. I
nthought Stratton’s * for the idiots was a bit tough but I can
understand why he didn’t like the film.>
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Gawain,
The previously mentioned big australian screenwriting contest has
extended the deadline for entries in this year's contest is now October
31 1999 at http://www.thesource.com.au/the-big-australian/ Thought you
might be interested.
Regards Damien Routt
<GM: The Australian Writer’s Guild sent a circular to its members
warning them about this contest. As with all internet competitions or
sites asking for money or intellectual property you have to be very
careful. A filmnet reader reported that he found out that the judging
actually takes place in the USA by an American judge.>
--------------------------------------
Yes boys and girls, Monty again. Dragged out from under his rock by the
righteous and the indignant, I guess I must reply to Amanda Huddle's
outrage and Tim Hunter's.. whatever that was.
REP's Amanda says I should research. Okay Amanda, let's research. Could
you clarify why Muggers got sent back to March? Did the contract demand
it? Perhaps the sales agent insisted? Oh, that's right, "promotional
material wasn't ready" for it to be released
this month. So you postponed it for six. You might want to get a better
promotional materials supplier if it takes til March to print
a batch of posters and slides. Perhaps there's going to be Muggers Happy
Meals? That'll be sweet.
Seriously though, I don't really need to research this kind of thing, I
can pull it from the Filmnet release schedule. Let's look
at a whole series of films. Virus. That thing was previewed a year ago,
never been released yet, though scheduled about six different
times. Blair Witch Project, pushed to Christmas because of the fear of
overhype. Next Stop Wonderland, previewed a year ago, scheduled six
times that I can recall, SIX times, recently pushed back AGAIN. Drop
Dead Gorgeous and Summer Of Sam have both been pushed more than once.
BASEketball has been in limbo for eighteen months, He Got Game has sat
in the vault for almost two years. Mystery Men, a film out in the US
months back and scheduled recently for early December, just shifted back
to next year. Dudley Do-Right pushed until next year, The Love Letter (a
June US release) pushed back to February 2000. Do the contracts say it
has to be? Couldn't be because it stank, must be those damn sales agents
again.
Let's be honest folks, a canny distributor wants to see how the US
release of a film goes before they put it on the aussie market. If
it bombs, they keep it in the vault until they've got a slow month. If
it booms, they rush things forward. The publicists, God love 'em,
don't care how long we wait to see films. Why should they? It's not
really their job to. I'm not going to criticise Amanda or any other
publicist for doing their job in that respect, but if they don't preview
a film at all, or when the powers that be decide not to
release a good film because it's not marketable enough, I reserve the
right to get pissy. (Yes Tim, I know Affliction and Playing By
Heart got a release. In Melbourne only. Long commute for those in
Brisbane I expect.)
Perhaps I didn't make it obvious that, yes, there are some good critics
out there. Honest, hardworking folks who have to scrape for
every break they get and will never get on TV because they don't fit the
cherub mold (I've got your back, Schembri). Critics with
integrity. Critics with knowledge. I know some of these critics very
well. Yes there folks out there who dearly love film, and they
should have lots of column inches to trumpet what's great and what's
terrible, but they don't have that luxury. They review a film and it is
never mentioned again. If the casual reader gets them on the wrong day,
they miss out. These writers don't have a daily forum to discuss matters
cinematic, they merely review review review.
But in response to Timbo Hunter, they're not always beautiful people. I
know critics who have been asked, on occasion, to write
freelance reviews *paid* for by the distributor. I know critics who have
been called by publicists with demands to delete sections of a
review. I personally know one TV critic who doesn't write the reviews he
reads on air, and has even walked out halfway through
previews he didn't fancy much. Just because you folks happen to know
them, or even like them, doesn't mean that their shit doesn't stink.
Amanda said something that really proved exactly what I'm talking about.
She said this. "Before I get a little diatribe back about me being a
publicist and therefore sticking up for critics (ie people you think I
need)..." In her own words, Amanda doesn't need the critics. They're not
all that important to her job. I bet if we had an early Ebert, or a Kael
in this country she'd "need" them, perhaps she's "needed" the E!News
folks a time or two.
But the fact that she *doesn't* need "the critics" is what I'm talking
about here, people! She *should* need them! They should be
powerful enough to have her fear them like winged demons of death. Why?
Because the critics are the only safeguard we have to help us avoid
wasting $12.50 (a disgrace in itself) on utter toss. I'm not savaging
the critics because I envy their position. I've been there, done that,
moved on, quite happy thank you very much. No, I'm speaking out because
I'm rooting for the critics! I want them to be respected, not just by
their own or by the industry, but by the common fool. I want to see a
complete hack job like Wild Wild West totally bomb because the critics
made it happen.
I notice everyone saying how "I might not agree with Margaret Pommeranz"
and "Adrian Martin isn't always my cup of tea", but I
don't see anyone putting forward names of folks who ARE their cup of
tea. If I'm so wrong, tell me who you admire. Tell me which critics are
gold. If I'm so wrong, why is it that only critics and publicists are
saying so? Where is your adoring public? Don't you folks see that right
now you're being ignored? That you SHOULD be respected and even beloved
(like the late Gene Siskel for
example). You do what you do because the public needs you. You're the
only test drive we have. If the public stops listening, or only pays a
passing interest, then the advertising takes over and you lose all
relevance. This isn't about individuals, but about the
industry as a whole. I want to see the day when Jim Schembri is a
national celebrity who commands the respect of the entire general public
whenever he deems a film worthy to put his seal of approval forward. I
want to see a film open on two screens and become a blockbuster on the
back of his critical applause. Where will the next Pauline Kael come
from? With more and more people looking to the net for their
information, can a Kael ever come our way again through traditional
media? Why is a complete internet tosser like Harry Knowles driven
around in limos when a respected journo like Craig Mathieson is not?
Despite Amanda's indignation, I have to give credit where it's due,
Beckers does a better marketing job than most. They've got some real
successes under their belt, recently handling Two Hands with monumental
aplomb. Fantastic TV campaign, really well put together ads, smart
build-up, great box office result. Thank God He Met Lizzie also did some
good biz a while ago, and they got a nice phat wad back from Scream. Of
course, they lost almost a million on Primary Colours, but we're all
smarter in hindsight, aren't we, Amanda?
Yes, the internet is a wonderful thing. On the net, if you bullshit you
are passed over. Glitz means nothing. Glamour means diddley.
There are no Donna Gubbay's in cyberspace. And, anonymous or not,
credible or not, out here I have as many readers as the most
syndicated print reviewer in the country. You might not like me, but you
better get used to me, because right now, Garth Franklin, Harry Knowles
and nobody's like me have more power over the box office than you do.
Monty - out.
==========================================================
ADVERTISEMENTS
==========================================================
Institute of Lens Arts Australia - Photography/Video & Film. Feast on 5
Short Films (16mm) on 29th October and 5th November @ 7.30pm at the
Cinemedia Treasury Theatre. We have starved / suffered / sacrificed our
souls & life to bring you our First Film...
AND we want you to SEE IT & FEEL IT. Ticket sales at the door. I suggest
you book the tickets, ..contact Wendy or John on 9720-6191.
----------------------
Dear Gawain
I know that the AFC produces a booklet containing Australian producers.
Does anyone know of a similar booklet containing America producers
and/or American (esp. Hollywood) agents? Or is there a website
containing this info? Thanks JA
<GM: There’s bound to be a booklet. Try in...@afi.org.au as the AFI
library have a pretty good knowledge of the resources that are available
on and offline.>
---------------------------------------
jj splice is currently seeking cast and crew to be involved in a
low-budget Sit-Com pilot of the show I Can't Even Think
Straight. Casting sessions are being held between 5-12 November at the
University of Melbourne; two episodes of the show are
being shot, consisting of a 5 day studio shoot in Melbourne, early
December, 99. Payment is deferred... The concept is a Strangers
With Candy-style family sit-com mock-up revolving around a highly
dysfunctional nuclear family. Great team vibe as
demonstrated by jj splice's proven track record in low-budget
independent film... For further information contact Dean Francis,
Producer at de...@jjsplice.com.au or check out the website
www.jjsplice.com.au
-----------------------------------------
Hi all,
If you need press releases, articles, brochures, features written,
seminars, I can help you and my rates are very reasonable. I work for
business, government, union, media and I have been doing it for 20
years. Email me on gol...@primus.com.au and look forward to hearing from
you. Have a great day
Carole Goldsmith - Freelance Journalism and Public Relations
-----------------------------------------
OFFICE SPACE TO RENT
In the heart of Chapel Street. Modern premises. 200 sqms comprising 5
suites, spacious common area and kitchenette. Natural
light, fully air-conditioned, including outgoings. Share foyer and
toilets. Suit temporary production company or short term lease. Call
Jacqui on 03) 9826 3744
----------------------------------------
Charity night at the movies
On November 3 Fox Studios and Hoyts will jointly host a screening of a
preview of Snow Falling on Cedars. This is Scott Hicks (of Shine fame)
new movie which has received great reviews from international critics.
The purpose of the evening is to raise money for research for the
Millennium Foundation (of which Kim Williams - CEO of Fox Studios is
Chairman). This Institute is dedicated to raising funds to build more
research facilities at Westmead and has a target to deliver a new
building in the year 2000. This is a truly worthwhile cause, run by a
small band of professional people who are dedicated to expanding the
much needed research facilities – research facilities which already lead
the world in fields such as melonoma treatment, pancreas transplants,
cardiac rhythm disturbances, hepatitis C and areas of HIV/Aids.
Now the crunch: $70 will buy a ticket to the special preview of Snow
Falling on Cedars in the new Hoyts theatres, a visit to one of the
attractions in the Fox Studio Backlot and drinks at the Fox and Lion Pub
on Bent St, Fox Studios Australia
afterwards. If it's at all possible please support this function, and
have a peek at what Fox has to offer before the general public has
access the following week. Please email or call Katie Newman on 9383
4019 to reserve your ticket and she will fax you out a Payment Form.
----------------------------------------
SYMPOSIUM | AVATAR PERFORMANCES
dLux media arts presents futureScreen 99 - AvAtArs | phantom agents
identities + role play in web worlds symposium | online performances
featuring inter/national artists presented in association with
Powerhouse Museum and the cooperation of Artspace Australia sat 6 + sun
7 november, Target Theatre, Powerhouse Museum, 500 Harris St Ultimo,
Sydney, half-day saturday $20 full / $15 conc / $10 dLux, sunday $25 /
$20 / $15, both days $30/ $25 / $20, bookings essential tel (02) 9380
4255, sin...@ozemail.com.au
----------------------------------------
NICOLE KIDMAN and CATE BLANCHETT <PRESS RELEASE>
to present at the 1999 AFI Awards. Nicole Kidman is confirmed to present
the Byron Kennedy Award at the 1999 AFI Awards at Fox Studios on
Saturday 13 November. This year Kidman has enjoyed one of the longest
film promotional circuit’s with Stanley Kubrick’s Eyes Wide Shut and
will be seen soon starring opposite Ewan McGregor in Baz Luhrmann’s
eagerly awaited, Moulin Rouge.
Nicole will be joined at the Awards by the 1999 BAFTA Best Actress Award
Winner (Elizabeth) and the 1998 Oscar / AFI Nominee (Elizabeth, Oscar
and Lucinda), Cate Blanchett, who is confirmed to present the Fox
Studios Award for Best Film. The Byron Kennedy Award, established in
1983 in honour of the late Byron Kennedy, recognises innovative and
daring work by talented individuals working in the film and television
industry. Byron Kennedy was a man whose life was characterised by a
relentless pursuit of excellence. His approach to work was unorthodox
and visionary. Nothing excited him more than to find talent in others
and see it nurtured to its full potential — hence the principles behind
the Award. The Award is sponsored by Kennedy Miller, Warner Bros.,
Village Roadshow, Greater Union, Cinemedia and Steven Spielberg, and
carries a prize of $10,000.00.
Gregor Jordan’s Two Hands is leading the nominees field for the 1999 AFI
Awards with 11 nominations, followed closely by John Curran’s Praise
with 9 nominations and 1 Award, In a Savage Land, Passion and Soft Fruit
with equal 7 nominations, and Siam Sunset with 5 nominations. The 1999
AFI Awards presentation will be telecast live by SBS Television and live
webcast by SBS www.sbs.com.au/afi99 from Fox Studios Australia on
Saturday 13 November. Jonathan Biggins (Three Men and a Baby Grand)
will host the Awards. Tickets for the 1999 AFI Awards at Fox Studios are
now on sale. Call eventz bookings ph 02 9966 1622 or
afia...@eventz.com.au
---------------------------------------
AFI short films hit circuit
Short Circuit, two programs of electrifying short films from Australia's
new and emerging filmmakers will screen in Sydney 31 October, Canberra 7
November and Melbourne 7 & 12 December. In each city a selection of
films will be introduced by the filmmakers. Kelli Simpson’s Two Girls
and a Baby starring Claudia Karvan, Brigid Kitchin’s Second Thoughts,
and Sophie Raymond’s darkly comic claymation, Essence of Terror, are
three of program one’s engaging eight short films. In program two look
out for Kerri Armstrong’s great performance in Taken by Hayley Cloake.
David Redman’s highly amusing El Twisto, borrowing heavily and
fragrantly from the classics, delightfully mimics the ever popular
Western genre. Also don’t miss Chris Watson’s uplifting 1999 AFI Award
nomination Pilbara Pearl, and you’ll forever think differently about
Columbian coffee beans after seeing Serge Ou’s Never Too Latte, voted
Best Film at the 1999 Café Provincial Film Festival. The complete
program is at www.afi.org.au
SHORT CIRCUIT
PROGRAM ONE: Second Thoughts 1997 Brigid Kitchin, The Picture Woman
1998 Peter Rasmussen, Jess’ Homecoming 1998 Philip Joseph, Delia
1998 Priscilla Cameron, Two Girls and a Baby 1998 Kelli Simpson,
Alias 1998 Kim Farrant, Redreaming the Dark 1998 Erica Glynn,
Essence of Terror 1998 Sophie Raymond
PROGRAM TWO: Pilbara Pearl 1998 Chris Watson, Icarus 1998 Patricia
Balfour, Never Too Latte 1999 Serge Ou, Structures on Rail 1998 Glen
Eaves, Taken 1998 Hayley Cloake, The Laundry 1998 Alex Chomicz, Has
Beans 1998 Andrew Tamandl, Preoccupied 1998 John Breslin, A Cut in
the Rates 1997 Adrian Hayward, El Twisto 1998 David Redman
SHORT CIRCUIT screening cities, venues and dates:
Sydney, 31 October, Chauvel Cinemas, Paddington Town Hall, Cnr Oxford St
& Oatley Rd, Paddington, Ph: 02 9361 5398, 7pm Program 1 & 2. The
filmmakers introducing films are: Brigid Kitchin - Second Thoughts, Kim
Farrant – Alias, Phil Joseph - Jess' Homecoming, David Redman - El
Twisto, Jane Kennealy - El Twisto
Canberra, 7 November, Electric Shadows, Akuna St, Canberra, Ph: 02 6247
5060, 8.15pm Program 1 & 2. The filmmakers introducing films are:
Michael Tear - Never Too Latte, Serge Ou - Never Too Latte.
Melbourne, 7 & 12 December, Nova Cinemas, Lygon Court, 380 Lygon Street,
Carlton, Ph: 03 9347 5331, 9pm 7 December Program 1, 7pm 12 December
Program 2. The filmmakers introducing films are; 7 Dec: Kelli Simpson -
Two Girls and a Baby & Sophie Raymond - Essence of Terror. 12 Dec:
Hayley Cloake - Taken & David Redman - El Twisto
------------------------------
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PUBLISHING DETAILS
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Website: http://filmnet.org.au
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ISSN: 1441-726X
(C) 1998-99 Gawain McLachlan
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